The first production in 2005 won three Tony Awards, including ‘Best Musical’. Its initial season grossed $175 American million. ‘Spamalot – the Musical’ is a musical comedy adapted from the 1975 film ‘Monty Python and the Holy Grail’

This energy packed show can be seen in the main theatre, Koorliny Arts Centre in Kwinana until Saturday 17th September. The 150-minute shows are at 8.00 pm, with a matinée at 2.00 pm.

Stephen Carr and Jethro Pidd’s set design was impressive; on each side of the stage was a limestone tower topped with a large turret window. The back wall was a limestone battlement and castle gate, that converted to a forest scene. Set beautifully dressed by Kate Smith.

The stage manager (Taneeka Loreto) had to be well organised, as there were an abundance of entrances and exits, often with numerous actors going off to one wing at a time. The crew (Chris Footer, Sam Taylor, Jayden Fern, Ben Steel, Tiarna Wills) were ‘invisible’ and most competent. 

     It is England in 934 AD. The sound of horses’ hooves approaching can be heard, it is the bold King Arthur (Mitch Lawrence – magnificent voice) and his scruffy, Baldrick-like servant, Patsy (Jon Lambert). They are searching the land for a wife for the King. When going through a pestilence stricken village, where the dead are being taken away on carts by the mortician (Darren Gould); one poor man, Not-Dead-Fred (Tate Bennett) refuses to lie down and die. Even the vicar (Troy Plackett) and the flying Nun (Liam Gould) could not save the situation. Then there was the actor who was in the wrong musical, but kept appearing (Jayden Lyon).

     The King decides to gather a group of knights together, The Knights of the Round Table. In the street he finds a tatty, bearded woman (Adam Dean) and her son, Denis, whom he renames Galahad (Joshua Towns). Then he finds Sir Robin (James Massey) an audacious knight, who is incontinent at the slightest fright, accompanied by his manservant (Jarrad Thomas). Shortly after they find Galahad’s rival-to-be, the muddled Sir Lancelot (Carl Grice).

     As the knights wander the countryside in search of a potential Queen, out of the freshwater comes a troupe of lackadaisical water nymphs, the Lakettes (Emily Geling, Sara Stanford-Bluntish, Malia Bennett, Eibhlis Newman) and their leader, the Lady of the Lake (Rachel Monamy – what a voice).

     Whilst travelling through mysterious lands, they meet a French mime artist (Alex White) who gives them wise advice.

There was a brief cameo appearance by David Stapleton, an audience member – Now a STAR.

The marvellous director, Jethro Pidd, has chosen an outstanding cast. The lead singers had perfect pitch and could belt out a song with feeling, whether with sensitivity or humour; each of them could blow ‘The Voice’ apart with talent. Headsets perfectly controlled by Mishka Miller and experienced sound operator Alex Coutts-Smith gave his best.

Jethro also showed immense flare in guiding each and every cast member, with their comedic delivery. Even the singers and dancers, who are normally expected to simply smile whilst performing, had some whacky actions to cope with. Eric Idle’s songs are crammed with humour, so clear diction was essential and delivered.

Jethro proved that not only can he lead, but he can perform as well as he demands. His screwball, animated performance in the ‘Interval’ was hilarious, I am amazed he didn’t suffocate in the process.

The vivacious choreography (Anita Telkamp, Sam Nielson) was astonishing, it was audacious and packed with energy, covering many genres; whether acrobatics, tap, Can-Can or comedy, the dancing was faultless. The costumes for this type of production are often cardboard armour and show signs of economy; however, these costumes (Lara’s Clothing in Warnbro) were immaculate. The chainmail looked real, the tabards beautifully sewn and the dance costumes bright and stylish.

Musical Director, Taui Pinker, and his large band were in a room adjacent to the stage, this allowed for perfect musical balance. The musicians were Taui, with Kate McIntosh and Andrew Dobosz on keyboard; Talitha Dunn and Wayne Griffiths on reed instruments; Jeni Stevens, Paul Marion and Warren Bracken on brass; Vlad Sturdy, guitar and Chris Ingram, bass; with Luke Casserly and Andrea van Graan on percussion. This talented group also supplied perfectly co-ordinated sound effects and soundscape.

The lighting design was complex, yet smooth and slick thanks to Lee and Joshua Germain.

This show is a musical, so the musicians and singing must be quality – they were superb. Then it is a riotous comedy, with laughs in every song and throughout the script, so high-class comedy skills were essential – EVERYONE had magnificent delivery. It had to be bright and colourful, and thanks to the stunning costumes, the show sparkled. A total success that is rounded up with a classic Monty Python song.

A great deal of praise must be given to the Kwinana Council for supporting this show.

This hilarious and energy packed production is a ‘must see’, not just for Monty Python fans but for anyone that fancies a great night out. However, there is one minor problem – some shows in this 250-seat theatre, have almost sold out already. BRILLIANT.

This 3-hour production is a joint venture between Stray Cats Theatre Company and the Mandurah Performing Arts Centre. It is wonderful to see a local shire giving the children of the town a chance to see live theatre.

The musical came to Mandurah on the wettest and wildest weekend in years. After a wonderful first night, the Saturday matinee suffered a power failure – twenty minutes from the end. Five hours later the power had still not been restored, and most of Mandurah’s houses and streets were in pitch darkness. However, having seen ’Mary Poppins’ and ‘Chitty Chitty Bang Bang’ the audience was not going to be put off, the crowds still turned up, and the Arts Centre was packed. The cast gathered in the gloom and, unaccompanied, sang their hearts out, giving their loyal audience a few numbers from the show. I had made a 120 kms return journey to see the show, and it was this singing that decided me to return a further 120 kms next morning, for the full show – well worth it.

It was decided to cancel the performance and have an extra at 10.00 the next morning. The three-hour performance went flawlessly, finishing at 1.00 leaving only an hour before this energy packed show hit the stage again.

The proscenium arch and the railings around the orchestra pit were covered in gold painted bicycle wheels of varying sizes. On the ceiling of the theatre, a massive dragon flapped its wings as smoke belched forth. A map of Munchkin Land (Alan White) is projected onto the safety curtain.

       The citizens of Oz are in the streets, celebrating the death of the uncaring, Elphaba (Kimberley Harris), when, from the sky, a bubble descends carrying the much-loved, blonde, giggling Galinda (Lisa Taylor) who just loves to tell everyone how good she is. Even the monkeys (Hayley Pilcher, Terina Henry, Tracy Harrington) are excited, as they do their aerial tricks.

       Glinda tells the Ozians how Elphaba’s mother (Malia Bennett) gave birth to a green-skinned baby. Her father, the Governor of Munchkinland (Scott Hansen) loathed her and gave all of his affection to her disabled sister, Nessarose (Cassandra Power). The girls are sent to Shiz University where the nasty Principal, Madame Morrible (Alyssa Burton) rules with a stern hand and a little sorcery.

       Elphaba’s favourite lecturer is the history teacher, Dr. Dillamond (Erik Bunch), a goat-like animal professor who is discriminated against and sacked by Madame Morrible. When the unscrupulous Prince, Fiyero (Joshua Towns) arrives, Galinda is immediately in love with him. Unfortunately, when a poor Munchkin Boq (Braeden Geuer) declares his love for Galinda, she suggests that he should love Nessarose instead. Boq ends up guiding Nessarose’s wheelchair (creators Jo Bickford, Peter Sydney-Smith) whilst still yearning after Galinda.

       Having no friends, Elphaba is taught by Galinda how to attract men, and Fiyero then shows interest. The two help rescue and free a caged lion cub. Soon, the famous Wizard (Peter Sydney-Smith) asks Elphaba to visit him at the Emerald City. Madame Morrible, who now works as the Wizard’s Press Secretary, gives Elphaba the ‘Grimmerie’ – a priceless spell book.

       When the Wizard’s acrobatic, monkey servant, Chistery (Bailey Bridge-man-Peters) sprouts wings, Elphaba realises it is the Wizard who has been cruelly controlling the Animals’ freedom. Not only that, the Wizard cannot read the special codes in the Grimmerie, he is in fact a fraud. Elphaba, now known as ‘The Wicked Witch of the West’ grabs a broomstick and flies off to sanity (Mechanical crew Stephen Carr, Jamie Murray). Meanwhile, ‘Glinda the Good’ starts working for the Wizard and Morrible, against Elphaba.

     On hearing Elphaba is to be ‘melted down’, Fiyero ignores Glinda’s approaches and goes to Elphaba’s rescue. On the death of her father, Nessarose becomes the Governor of Munchkinland, but still she cannot capture Boq’s heart. Elphaba tries to help Nessarose by giving her sister special, magical shoes and the power to walk. When Boq still shows no interest, Nessarose tries the Book of Spells, accidentally shrinking Boq’s heart; he turns into the ‘Tin Man’.

       Whom will Fiyero finally fall in love with? Will Elphaba remain cursed?

Other major players included Malia Bennett, Matthew Walford, Elizabeth Willow, Cat Perez, Corinna Gosby, Nicholas Gaynor and Jared Pettit.

The scenery crew, under the supervision of head builder, David Hartly, produced lively, intricate and amazing pieces. The quality of every piece of scenery was top-class, from the crashed witch’s house to the massive talking head of the Wizard. There were the retractable wings on the monkeys (Peter Francis) and the magical Hour Glass (Paul Fieldwick). At no stage was there the impression of ‘that will have to do’, the finish was always immaculate – great work by Peter Francis, Duncan Anderson, Mal Thompson, Alan White, Wayne Gale, Daniel Corbishley, Steven Sallur, Vanessa Thompson, and Alex Paolino. There were also several impressive backdrops and sets designed by Bronwyn White. Sheryl Gale supplied the numerous props, such as spears and oil lamps.

The sound was magnificent, with a great soundscape from Peter Lovell. Ruby Liddelow flawlessly operated the dozens of dreaded microphone headsets, often famed for their unreliability.

Karen Francis’s complex lighting design was outstanding, completely capturing the mood. The bio-box operator, Clint Gerard was impeccable, and the two spotlight operators (Thea Clarke, Khaijun Pearce) were smooth and accurate, even on the narrowest of beams. Visually exciting work from the team.

Then comes the result of months of sewing. Head seamstress Cathy Wainwright had to design several changes of costumes for the cast, a total of more than 300 costumes. She was helped by Linda Lowry, Jordan Hopkins, Kerry Tarbuck, Rebeka Thomas, Rhiannon Thomas, Michelle Thompson, Bronwyn White, Erin Thomson, Geraldine Harris and Pat Francis. Again, all of the costumes were trimmed with extras, many actors wore hats and fancy tights; the result was a visual feast. Then in combination with the makeup team of Jodie Mars, Rhiannon Francis and Monique Kinnest, the characters of Madame Morrible, Dillamond, the monkeys and Chistery came alive. Superb work.

The director, Karen Francis, was the major driving force, being intensely involved in almost every aspect of the production; she gave the cast drive, enthusiasm and confidence. The vocal director was Kristie Gray, who luckily had several trained vocalists – a special mention for Kimberley and Lisa who were magnificent, strongly backed by Alyssa and Cassandra. Even Joshua, who has performed in numerous quality dramas, sang admirably in this his first major musical. The powerful backing singers, who were positioned in the orchestra pit, were Kristie Gray, Kim Moore, Daniel R. Nixon, Jason Arrow, Sean Williams, Andrew Coshan and Alexandra Cornish.

Choreographer, Megan Doohan bravely faced around 60 extras to train and direct, and yet each performer gave routines packed with every ounce of strength and enthusiasm. They smiled, danced, sang in perfect harmony.

Musical director and conductor, David Hicks, had at the end of his baton, on reed Jennifer Currenti, David Lawrence, Blake Howieson and Liam House. On Brass, Aishah Chadwick-Stumpf, Jack Sirett, Harry Josland and Ned Holland. On percussion and keyboard, Mark Beasy, Sam Bradbury, Bronwen Herholdt, Vanitha Hart, Brendan Talty and Sarah Palmer. On string Stuart Robertson, Darsha Kumar, Liza Kotze, Josh Dunne and William Christensen. The orchestra, playing first thing on Sunday morning after a late night on Saturday, were still impeccable. A three-hour show is a marathon for a musician, to have an hours rest and then another marathon, was mind boggling. well done.

Holding the whole show together were Production Managers Bronwyn White and Ashleigh Riley, aided by Anita Telkamp and Rach Hayter, and with a cast of over 70, this was no easy task. However, at the end of every scene, the packed stage would empty silently and without any pandemonium in a couple of seconds. I have seen shows where even two or three actors have struggled to leave the stage without crowding.

Kristie Hennessey took the cast’s headshots. Jon Lambert’s excellent 16-sided, full colour gloss programme was being sold for only $5 – too cheap. Some patrons were apprehensive of buying one, thinking that, like the Burswood, the price would be around $25.

This production was the ULTIMATE in community theatre, very many congratulations. I just hope it was entered for the Finleys Awards.

Breath-taking, amazing, spectacular with 400 giving a standing ovation – what more can one say?

Aged nineteen, Levon directed a trailer for a bogus Bollywood Kung Fu film, which became a finalist in Margaret and David’s ‘At the Movies’ 25^th Anniversary trailer competition.

This riotous 150-minute show runs each night at 7.30 pm until the 21^st March in The Nexus Theatre, Murdoch University, near car park 3.

Ally Snell’s set is a dark, bleak forest in Huntersville in 1880. The music in the background is Credence Clearwater’s ‘Bad Moon Rising’, a hint as to the wacky humour to come. Set builder, John King has brought Ally’s creations to life. Many of the sets were flies, operated by Tay Broadley.

The superb costumes were created by Melanie Buchanan, and had lots of little extras and trims to ensure an authentic look.

The forest scene was lit by LEDs at ground level, emphasising the creepy effect. Good lighting design by Scott McArdle, with precision timing by operator, Katie Southwell. The quality soundscape had a huge amount of work put into it by Jess Serio, with crisp lively effects.

The excellent fight scene was most convincing, congrats to Launcelot Ronzan.

         There is a full moon, and a young priest, Father Hank Grimby (Thomas Dimmick) is walking through the woods, when a bloodcurdling sound is heard. In terror he flees, but is caught and mauled by a creature.

        When he awakes, he finds himself in the home of Mayor Gainsborough (Timothy Brain) being attended by the maid (Cat Maree Perez), and more affectionately by the Mayor’s beautiful young daughter, Brooke (Harriet Fettis). His scars are being examined by anatomy researcher and family quack, Dr Talbot (Jason Dohle).

       After a worldwide search, the Mayor has found a suitable husband for Brooke, explorer George Waggner (Joshua Towns), a legend in his own mind. This rumbustious and loud swashbuckler loves to tell stories of his journeys around the planet and of his many passionate affairs on the way. However, Brooke is in love with another, will she really have to marry this braggart? On his arrival in the village, George meets yokel Farmer Brandybuck (Michael Casas with a hilarious accent, coached by Shona Beringer), Missus Hornblower (Kiah Van Vlijmen) and Tabitha (Bella Doyle), and foolishly asks them for directions.

       When a local farmer (Andrew Dawson), his wife (Claire Tebbutt) and daughters (Shannon Rogers, Maggie Clark) are all attacked by the illusive werewolf, bold George takes on the help of the village yokel, Tomas (Phillip Hutton) and seeks revenge  – and a replacement girlfriend, the innocent Angelique (Tijana Simic).

Directing his first major production is Keaton Howe. Keaton has done a wonderful job; the actors were charged up and perfectly cast. I first saw this play at the Blue Room and the more intimate setting worked better, as the scene changes were quicker – less distance to carry the furniture – and the actors kept up the pace better in the changes. The Murdoch Workshop may have worked better in some ways, but of course does not have the technical qualities.

The acting was very good, with a perfect, straight delivery; but at times a hammier, tongue in cheek genre could have been better. Some of the lines had double-entendres, or were designed to have pauses mid-sentence, to hint at another meaning, this was often missed. Nevertheless, the overall effect was creepy and frightening; the performances were assured and the singing melodious. Even the gory scenes brought a laugh. People squirmed a little, but there was always a smile at the end.

Levon J Polinelli’s clever lyrics were comical, with subtle hints at famous films and musicals. Musical director and composer, Ash Gibson Greig, has blended into his score some special sound effects. Hats off to Harriet – a divine voice – and to Joshua, whose singing and musical performance was well on the way to that of Hugh Jackman.

An all-round night of entertainment, with quality singing, horror and visual excitement.

A really good night at the theatre, presented by a talented team.