This Old Mill, 90-minute production can be seen at the Old Mill Theatre, Mends Street in South Perth. This curtain up at 7.30 pm each evening until Saturday 16^th December. Tickets are scarce.

The stage has two sets; on one side is the office of Scrooge and Marley – the flats were a grubby brown – and on the other side of the stage is the Cratchit’s kitchen. Centre stage became Scrooge’s meagre bedroom.

The set was designed by Justin Friend, and then built by Justin, Les Hart and Phil Barnett. The production manager, Sheila Wileman provided most of the antique props. The copyright owner supplied the orchestral music on CD, but this was melodiously enhanced by the choral accompaniment provided by the talented cast in the wings – well, trained by the musical director, Justin Freind.

Stage manager, Megan Burley, had a cast of thousands to control, but they entered and exited smoothly, from both the wings and the rear of the auditorium. This worked very well and added to the audience involvement. The set changes were smooth and unobtrusive.

The operation of the sound effects (Nina O’Doherty) and smoke machine were faultless.

John Woolrych’s lighting design was one of his best yet. Real candles lighted Scrooge’s office and the accompanying glow was of perfect tone and level. There was also good selective lighting on the soloist singers. One costume had small blue lamps built into the seams, well worth the extra work. The limelights of the era were replaced by two strips of LEDs that gave a chilling effect to some of the dream sequences. Ian O’Doherty faultlessly operated the lighting.

       The miserly owner, Ebenezer Scrooge (Barry Park), has paid Bob Cratchit (Craig Menner) minimal wages for decades. Ebenezer’s partner, the friendly and well-loved Jacob Marley died several years earlier. Poor Bob has also to help the two trainee accountants, Thomas and Richard (Blake Jenkins, Cooper Jenkins – great soft shoe shuffle) learn the trade. When Scrooge announces to his staff that they must come into work as normal on Christmas Day, the locals, Harold (Ashley Garner) and his friends (Cassidy Pemberton), Topper (Bonnie Kerslake) and Polly (Eliza Malcolm) are horrified and discuss Scrooge’s meanness.

       Bob lives in a decaying house with his dear wife, Mrs Cratchit (Hayley Grant) and their daughters, Belinda (Tahlia Menner) and Martha (Atira Shack). They also have a weak and disabled son, Tiny Tim (Orlando Borg – beautiful solo).

       Bob answers the office door to two charity workers, (Harriett Du Pont, Jenny Trestrail), who are asking for donations for the poor. As they leave empty handed, Scrooge’s nephew, Fred (George O’Doherty) and his girlfriend, Emily (Claudia Sciano) call around to invite Scrooge to their home for Christmas dinner – the reply is ‘bah humbug’.

On Christmas Eve, as the clock is striking midnight, Scrooge climbs into bed. Soon he is asleep. In a frightening dream sequence, he sees his old partner, Jacob Marley (Grant Malcolm – fabulous) wrapped in chains. Then he meets the Ghost of Christmas Past (Matilda Jenkins – beautiful voice), who shows him the happiness that once surrounded him as a schoolchild (Bradley Paulet) with young friends, Fan (Tashie Baker) and Wilkins (Jamie Buttery). Then, years later as a young man, Scrooge (Felix Malcolm) is seen spending his Christmas doing bookwork with his old kind boss, Fezziwig (David Major). Even a visit from his childhood sweetheart, (Jade Gibbons) fails to make him happy.

       The nightmare continues as the ebullient Spirit of Christmas Present (Nelson Clemente – more of a bubbly champagne than a ‘spirit’) appears as a wild Spanish dancer; with castanets clicking, he shows Scrooge the sadness and poverty of the Cratchit’s home, and the mercenary local pawnbroker (Wesley Williams) ripping off poor Mrs Dilbert (Georgia Dixon).

      Then the 3 metre tall Spirit of Christmas Future (Grant Malcolm), draped in black with a skeletal skull and arms, arrives and demonstrates to Scrooge what a difference he could make to his workers’ lives.

      Could life be changing for this wretched old miser?

This the year of the Scrooge. This version, directed by Justin Freind, is different to all of the others. It is filled with superb singing, fun and at times frightening ghosts. With a young cast, age range from eight to eighteen, the show sparkled and bounced along at a perfect pace. The numerous costumes were all carefully considered for the period and beautifully tailored by Jenny Prosser. Michelle Buttery’s makeup design was excellent, with Marley’s ghost looking particularly creepy.

With such a large cast, the importance of knowing how to move around the stage without bumping and causing chaos had been well learned. There were some novel touches, such as the white-faced ghosts wandering around Scrooge’s bedroom and then the audience.

Barry ‘Scrooge’ Park has been nominated this year for a Finley, and here he is with great characterisation and a soft, mellifluous voice, again proving why he was nominated.

An exceptional cast, I looked for the ensemble member who may nod off or be distracted – not even one, everybody was focused and dedicated.

Justin Freind’s shows are always quality, and this is another wonderful show to add to his résumé.

This almost three-hour production can be seen at the Old Mill Theatre, Corner of Mends Street and Mill Point Road, South Perth each Thursday, Friday and Saturday nights at 8.00 pm, until Saturday 25^th June. There is a Sunday matinée at 2.00 pm on the 12^th and 19^th June.

It is London, near Black Friar’s Bridge, in the 1990s.

Trevor Dhu and Jo Little’s set design is simple, comprising at the rear of the stage a central archway, flanked by white drapes. Above the arch is a projection screen (video effects Vanessa Gudgeon and Duncan Shaw). On each side of the side stage is a rotating dais, with a white outer wall, and on the other side, a room (built by Trevor Dhu, Lloyd Hamer, Phil Barnett). The numerous props were supplied by Paul Bray and Rex Gray.

Sadly, the scene changes were all calamities, culminating in a final disaster.

The projection screen collapsed, a curtain fell, the rotating stages took ages to align – accuracy wasn’t really that necessary. The decent sized crew did not enter the stage until the cast had left, and several seconds had passed. The instant the lights go off, everyone should be there, going immediately to their specific job. Good planning is essential. Walk on, place a prop, grab another, walk off. Don’t stand in the dark looking to see what requires attention, or what others are doing.

Then, don’t hide behind the back drapes discussing the disaster during the play – the audience can hear. You really owe it to these superb actors who have built up the tension and mood, not to ruin it. Sorry, but there was no easy way of putting this.

        Dan (Jeff Watkins) has been in a relationship for some time, but has never really outgrown the ‘Mummy’s Boy’ syndrome. He works as a reporter in Fleet Street, writing obituaries. One day, as he leaves the office, he manages to grab a hippy looking girl and pull her out of the path of a taxi. The girl, Alice (Georgina Hamer), is part-time stripper and a lonely streetwise waif. Alice’s leg has a minor gash, so Dan suggests it is checked. He takes Alice to hospital, where she flirts with him.

      A disinterested doctor, dermatologist Larry (Dylan Sercombe) passes the waiting room, but on seeing attractive Alice returns to check her wounds. Alice and Dan meet regularly, and soon Alice feels loved and wanted for the first time in her life, and Daniel feels needed.

      A year later, Dan has had a book accepted for publication and professional photographer, Anna (Anna Head), is taking a picture for the book’s jacket. Dan asks to see Anna again, but Alice overhears. Practically in tears at Dan’s duplicity, Alice then insists that Anna takes a picture of her. This photo ends up on the wall of a museum. One day, whilst visiting the art gallery, Larry sees Alice looking at her portrait. They chat and recall the hospital incident. They continue meeting.

      Soon the four friends share love, tensions and heartbreak.

John Woolrych’s superior lighting design was smoothly operated by Callum Cook. The wonderful selection of music and sound effects were operated by Vanessa Gudgeon. Wearing some of Jenny Prosser and Sue Sator’s colourful and sexy costumes, Georgina learned Alice’s stripping routine from choreographer, Claudia Cirillo.

Director, Trevor Dhu is a much admired director, who never avoids a challenge. The play ‘Closer’ is particularly difficult for the director and exceptionally demanding for the cast. Jeff, Anna and Dylan have many years of quality dramatic productions under their wings, but although Georgina has risen to the highest heights as a singer, she had never before had a dramatic role. The role of Alice is extremely challenging, possibility one of the most difficult in modern theatre, so I have to admit I was worried about a newcomer’s ability to do justice to the part. All of the characters had to show extreme levels of passion, hate, pathos and humour, combined with good chemistry and interaction. I need have had no doubts, Georgina was magnificent, and who along with her fellows gave us a brilliant interpretation of this play.

A first class version of the lives and loves of four people. Many congratulations.