This 2-hour Ellenbrook Theatre Company’s spectacle can be seen at the Ellenbrook Performing Arts Centre, 100 Main Street, Ellenbrook on Sunday, 18^th December at 2.30 pm and 7.30 pm, as well as Monday, Tuesday and Wednesday at 7.30 pm.

All credit to the City of Swan for sponsoring this – one of only two  – Perth Christmas pantomimes.

The sets are stunning. The flats are book style, being hinged in the middle this allows them to be turned over for a set change. The artwork on the 5 massive flats is exceptional. The village green, the kitchen, Palace Garden, the woodland glade, and the ballroom, each truly a work of art in its own right. Bright attractive colours, perfect perspective and crammed with detail. Set painting by Stacy Gardoll. Her company, The Painted Room do murals and art designs for the home.

Many unusual props, such as truncheons and glass slippers were sourced by Ian Howard, Brian Harris, Bryony Oliver, Jordan Lenihan and Suzanne Perry. The complex show was smoothly stage managed by Guy Jackson.

The sound and lighting design was by Mark Turnbull. It was exciting and most professional.

The makeup was clever and bright thanks to Jan Oliver, Sylvia Guest and Jasmin Lenihan.

The numerous colourful and unusual costumes were designed by Jan Oliver (of Masquerade costumes) and very well made with the help of Bryony Oliver and Nicky Stewart.

The whole production was supervised by Jan Oliver – a massive amount of work.

       In a forest, we meet a Fairy Godmother (Sabrina Davies) and her young assistant (Ruby Oliver). They explain in rhyme, and with heavenly singing, what is happening at the Palace. As they finish, a local thief, Burglar Bill (Damion Brown) is pursued through the wood by the town’s incompetent police force – PC99 (Alex Griffin) and Sergeant Letsby-Avenue (Lyndsey Turner).

       We see a young girl in tatty clothes, she is Cinderella (Emily Schinkel) helping an old lady pick up sticks for her fire. What Cinderella doesn’t know is, that the old woman is the Fairy Godmother in disguise. The fairy gives Cinders a magic token, a star.

       Walking through the woods comes Prince Charming (Jordan Lenihan) and his reliable servant, Dandini (Lloyd Matias). The Prince falls in love with the peasant girl and so gives her a ticket to the Royal Ball. However, Cinderella’s cruel stepmother, the Baroness (Meredith Corr), has forced this daughter of her new husband, the Baron (Peter Boylen) to do all the housework. So, poor Cinderella’s only friend is Buttons (Bryony Oliver); her two ugly, loud and hideous stepsisters, Gwyneth (Giordarna Rigoli) and Gwendolyn (Rebecca McRae) are desperate for a husband, but have no quality and absolutely no chance of success.

       Following the Fairy Godmother’s advice, Buttons helps Cinderella collect a pumpkin, a pair of lizards (Angela Gethin, Chardonnay Mitchell), a big rat (Lisa Reith) and a pair of mice (Isabel Davies, Lexi Brindley – delightful). Soon the fairy’s magic is worked and with a pair of horses (John Paul Botha, Max Hughes) the gold carriage arrives.

       What will happen next?

I often feel that the word ‘Chorus’ can suggest that the remaining characters in a pantomime were just hangers-on. Far from it, here every dancer, even the tiniest had tremendous stage presence, and carried out the dance routines – Gangnam, tap, several very different styles – with smiling confidence. They were Jasmin Pradhan, Kaitlin Pradhan, Kasey Burgess, Breannah Rigoli, Letisha O’Neill, Charli Crouch, Ebony Crouch, Hollie Burgess, Jordan Reith and Madison Reith.

The print artwork, the poster and programme (Sean Breadsell of Immaculate Photography) were of the highest quality.

Director Chris McRae has gathered a wonderful, keen and talented cast. Many of the young cast members could have a real future on the stage. Chris has given us a sing-a-long, great music and just a delightful fun show. The choreographer – and colourful sunflower – Shirelle Burgess, with the aid of the dance captains, Max Hughes and that terrific dancing Christmas tree, Renae O’Neill, has trained the youths (aged from 8 to 17) to an incredible standard.

Ugly sisters – boo hiss – were terrific. They communicated with the audience wonderfully. In fact I am fixed up with one for later in the week.

The super Baroness had a wonderful air of grandeur and dominance, putting fear into the audience (well slightly – there was nothing truly frightening).

The Fairy Godmother, Sabrina Davies is a professional star and has happily given her time to this wonderful cause.

Ellenbrook is one of the few community theatres that can produce a professional looking show every time. Another solid success – but are there any tickets left?

It is a beautiful day in May 1957 in the Garden of England – Kent. In this countryside lie Pop Larkin’s farm and fruit orchards.
This outstanding set must have been a massive undertaking for producer Jan Oliver and stage manager Tony Perry’s team. It has to the left of the audience, a farmhouse sitting room / kitchen complete with all of the fixtures and fittings of the 50’s era, such as fridge, oven and two old TV sets. This is a truly ‘lived in’ house, and one that has you looking at the props and thinking ‘Granma had one of those’ (props Richard Hadler). On the other side of the ‘dividing wall’ is the farmyard, complete with straw bales, old tyres and patio furniture.
The artistically painted landscape gave real depth to the scene, with a red brick wall and white picket fence finishing off the effect beautifully. The cast along with Debbie Smythe, Nicola Stewart, Freya Gleeson, Jordon Lenihan, Anne Anderson, Seth Oliver and Gerran Turner created the set.
The programme, one of this year’s best (photography Sean Breadsell), inside it has a few countryside recipes and killer cocktails. Other hard working helpers included Suzanne Hadler, Hayley Stopp and Angie Brown.

        The Larkins have just returned home after a family day out. As Ma, ‘the most wonderfully caring, yet strong-minded wife ever’ (Meredith Corr) is warming up the fish and chips for the kids, Pop (Richard Hadler) is preparing one of his potent drinks. Their only son, Montgomery (Damion Brown) is setting the table. The twins, Zinnia (Ruby Oliver) and Petunia (Breannah Rigoli) are arranging the dining chairs. Youngest daughters, Victoria (Lily Stopp) and Primrose are watching the ‘Lone Ranger’ on the ancient TV set.
         The sixth child, who is almost 18, is the attractive and blatantly lustful Marietta (Giordarna Rigoli) has just found a shy, handsome young man wandering around the farmyard. Despite being a tax inspector, Cedric Charlton (Dominic Masterson), Marietta shamelessly moves in for ‘the kill’. When offered food, Cedric succumbs and is dragged into the house.
          Cedric, now nicknamed Charlie, has called at the Larkins’ Farm because, like many of the neighbours, including the senile Brigadier (Ryan Marano) next door – Pop Larkin has not paid any tax for decades. How could he pay? After all the necessities of life he showers onto people, he has no money left. When a second senior tax inspector (Tim Ward) turns up a couple of days later, Pop is still undaunted.
          The sexually frustrated, horsey Miss Pilchester (Lindsey Turner) explains to warm and loving Pop how grateful she is for his help with the gymkhana. As the crowds gather, it is not long before Marietta has some passionate competition for Cedric from farmhand, Pauline (Samantha Stein); but who is the mysterious visitor, Angela Snow (Larissa Ferns) and what is she doing looking around the farm?
          Dancing in the barnyard are neighbours Sir George Bluff-Gore (Peter Boylen) and Lady Rose (Sylvia Guest) who have a title and a sizeable mansion, but why does Pop seems extra keen to have a special word them?

The immaculate costumes (Jan and Bryony Oliver) were ‘perfick’ for the era, from the twins’ pinafores to the well-worn Brigadier’s clothes. There were several costume changes for the Larkins, all rustic but beautifully styled. Further help came from Suzanne Hadler, Hayley Stopp and Angie Brown.
Director Andrew Hemstock and his assistant, Bryony Oliver, have capably captured the warmth of this play. The whole story is based around a loving family atmosphere, where nothing else matters than the happiness and welfare of the family. With two superb leads, Richard and Meredith as ‘Pop’ and ‘Ma’ this show glows.
Ryan Marano, who is in his early twenties, was most convincing as the slightly senile, 80 year old neighbour, I really thought he was over 50 in real life. Sexy Giordarna and timid Dominic worked convincingly as the young loving couple. The whole cast oozed warmth, with perfect interaction and chemistry.
The lighting and sound designs were by Tony and Suzanne Perry, with technical operations by Mark Turnbull. The colour of the lighting was well considered, as the pink glow of evening turned to the blue of the night. The accurate sound effects of the vehicles, blackbirds and nightingales were crisp and most realistic.
It took me 45 minutes each way from my home in Ardross, but it was well worth the journey – Ellenbrook is not the end of the earth! This beautifully presented production, in a comfortable theatre, is certainly worth seeing.
Enjoy a delightful evening in the country, with the family that was a major hit in every home for five years in the 1990s.

Ellenbrook Theatre Company Inc. is presenting this world favourite, musical pantomime at the Ellenbrook Performing Arts Centre, 100 Main Street, Ellenbrook. This 130-minute, colourful and most professional show can be seen at 7.30 nightly until Tuesday 22nd December. There are afternoon performances at 2.30 on Saturday the 19th and Sunday the 20th December. Please be aware that due to the theatre regulations, latecomers cannot be admitted into the auditorium until the interval.

Pantomimes should be filled with vibrancy, colour and an excess of zany props (Richard Hadler, Tony Perry). Immediately you could see that this company was on the right track. The big stage had several large flats, depicting various scenes, including a cave, desert and street scene, all skilfully painted.

         The avaricious and cruel Abanazar (Richard Hadler) boo hiss, tells us of his search for the cave of jewels and treasures. In frustration, he rubs his ruby ring and a beautiful Genie (Amber Moore) appears. He asks her to find the jewels but she explains only one person, Aladdin (Giordarna Rigoli), can enter the cave. Abanazar then sets out to find Aladdin.
        Aladdin’s mother, Widow Twanky (Peter Boylen) is talking to her laundry boy, Wishee Washee (Gerran Turner) and his intelligent pet monkey, Nobby (Aryan Menon – superb) when the palace guards deliver the washing to the widow’s laundry. The loyal, but brainless police, Ping and Pong (Jack Hammon, Tim Ward) announce that the Emperor of China (Nick Stamos) will be arriving soon in his sedan chair, carried by his servants (Damion Brown, Dominic Masterson). They must ensure that no one is around before the Emperor allows his beautiful daughter, Princess Jasmine (Bryony Oliver) to leave the Royal Palace.
        Aladdin and Jasmine manage to meet, and instantly fall in love. When the Emperor discovers this he orders the executioner (Sarah White) to cut off Aladdin’s head. However, Aladdin rubs an old lamp that he found and the bright blue, Genie of the Lamp (Jack Williams) appeared.
       Princess Blossom (Ruby Oliver) and Chelsey Ward danced and sang beautifully, as the mishap and mayhem took place. Will Aladdin die? What will happen to poor Widow Twanky?

The director of this delightful pantomime was Suzanne Perry. Suzanne has completely captured the atmosphere of pantomime’s pure magic. The sets were outstanding; and the very high quality costumes (Jan Oliver, Bryony Oliver, Nicky Stewart) included the Princess’s stunning and opulent clothing, the sublime dancers’ outfits, to the wonderfully horrendous, over-the-top getups of the Dame and Abanazar.
The vivacious cast were word perfect, and moved around the stage adeptly. The delivery of the corny jokes and puns were made with aplomb. Abanazar had wonderful audience rapport, extracting the hiss like a trouper; on the other hand, Widow Twanky, dressed like a Christmas tree, and brought peace, love and humour.
The styles of choreography (Emma Poolman) was varied – from tap to ribbon dancing. The athletic dancers carried out the splits and ‘no-hands’ cartwheels, whilst smiling throughout. The dancers were Holly Burgess, Shirelle Burgess, Jessica Greene, Tylah Maher, Jasmin Pradhan, Kaitlin Pradhan, Summer Roscoe, Lynda Morey-Ludlow, Breannah Rigoli, Bethany Robinson, Samantha Stein, Jade Stewart and Ebony Ward.
There were a group of Cave Sprites (Isaac Angage, Kurtis Angage, Kasey Burgess, Phoebe Marcinkowski, Tsz Kwan Pradhan, Bertie Turrell Knight, Alex Westbrook) – the oh, cute factor – who even though they were around only 5 or 6 carried, out their routine fearlessly and in perfect sync.
The face makeup (Berti Mosso, Sylvia Guest, and Jan Oliver) of the dancers was ornate and perfectly applied.
The lighting was clever with some wonderful effects. The two follow-spots were handled with skill. The high quality soundscape (Suzanne Perry, Mark Turnbull, Tony Perry) had some magnificent sound effects and was one of the best I have heard at a pantomime. The tech operators were Yasmin Perry and Isobel Clare.
On a large show like this, with a massive cast, good stage management is essential well done Tony Perry, Erin Smylie and Megan Jackson.
This show had warmth, fun, colour and most of all magic. A first class pantomime from a dedicated team of performers. Not surprisingly, very few tickets left.