This captivating, 80-minute heart-rending, enthralling Red Ryder production (Benj D’Addario) can be seen at the Blue Room Theatre, James Street – in the Northbridge Arts Complex – each evening at 7.00 (time was changed) until Saturday 1^st October.

There is an AUSLAN production on 20^th September.

As well as being named one of the Top 10 London Play of 2013, the ‘Scotsman’ newspaper awarded it a prestigious ‘Fringe First’. On Broadway the pilot was played by Anne Hathaway.

The set (consultant, Frances Danckert) is simply a two-metre square, black dais and a black leather office chair. A wisp of smoke drifts across the stage. Karen Cook’s lighting was exceptional; comprising dozens of spotlights or small floods, she picked out the areas with carefully chosen lighting angles. The subtlety continued in the soft, background music (Brett Smith) and the soundscape with its magnificent sound effects. The music complemented the highly realistic, video design (Mia Holton) depicting pictures from a plane’s computer cameras.

The stage manager, Georgia Smith was operating the consoles. There was probably around a massive 200 lighting and sound cues, most of them requiring split second timing or subtle changes, and she did not miss a single one. Superb work.

The minor scene changes just ‘happened’ in the pitch dark.

      A powerful fighter jet, an F16, roars low overhead. The lights rise to show a smiling pilot, proudly dressed in a sap green, American Air Force jumpsuit. In a slight neutral American accent (coach – Luzita Fereday) the aviator (Alison van Reeken) explains how she has flown numerous types of planes, risen through the ranks and is now flying the ultimate fighting machine. She is an omnipotent fighting God.

      We learn of her joy, flying through blue beyond with her teammates and their amusing camaraderie. However, shopkeeper Eric becomes the new love in her life, and gives her the only thing missing – a baby. Unfortunately, due to health and safety regulations, she can no longer fly and is grounded.

       Three years later, she calls into the office, simple routine and is to be allotted another squadron. However, fighters are now going out of fashion and she is now assigned an $11 million ‘Reaper’, a type of drone. This will mean security, regular hours, an air-conditioned office and be home safely to the family each night. What more could a pilot ask for?

Who in their right mind would accept a part that is 80 minutes of monologue? You would have to be mad – or exceptional. Alison is exceptional, having already won the most prestigious theatre award, Equity’s ‘Best Actor (Female) of the Year’; even so, this intense play is still the ultimate challenge. Guided by an Equity award-winning director, Emily McLean, success was practically assured. All there was left was a colossal amount of work! Could this be the performance of the year?

There was little physical action by the actor, other than meaningful, discreet face and body movements. The director has carefully chosen a crew that is oozing quality, to accompany this solo performer’s tour of action and ensure a rich, vivid image.

I always feel sorry for actors in plays with tragic or surprise endings, as inevitably the applause is muted whilst the mesmerised and drained audience gathers its breath after the assault.

It is always good for publicist to have a thought-provoking show that they can be proud to promote; Alison Welburn has the very best.

Any student studying, or thinking of studying acting should see this play – it will set the bar for you and leave you gasping. A triumph.

This is a Hayman Theatre Company’s production at the Hayman Theatre, upstairs in Building 102. There is free parking in carpark B13 – multistorey – then follow the light trail from carpark.

Last Saturday was the 400^th anniversary of Shakespeare’s death, in addition to being his 456^th birthday.

In this hour and a half edited version of the play, many of the main players have changed sex.

 The black set (designed by Amy Tamati) has layered rostra, with numerous white, gauze curtains draped from the ceiling. There were quite a few comical props provided by Sam Elliott and Jessica Nyanda Moyle for the ’ass scene’. Stage managed by Britany Manifis.

       The play opens with Theseus, Duke of Athens (Chris McIntosh), making love to Hippolyta, Queen of the Amazons (Alex Gerrans). For their wedding celebrations, Theseus has arranged four days of revelry.

     The Athenian nobleman, Egeus (Sally Davies), arrives with his daughter, Hermia (Jessica Nyanda Moyle – very good) who is in love with Lysander (Terence Smith), but Egeus insists that she marries Demetrius (Indiana Powell) who is besotted by her. When Egeus asks Theseus for his Royal support, Theseus warns Hermia that if she disobeys her father, she could be sent to a convent.

When Hermia’s friend, Helena (Anna Lindstedt), who was previously engaged to Demetrius, tells Demetrius of the eloping couple – she hopes he will love her again, but instead he rushes off to find them in the forest.

     Deep in the woods, a band of sprites, including the Fairy King, Oberon (Chris McIntosh), and his ‘Killer’ Queen, Titania (Alex Gerrans), are arguing about who should bless the marriage of Theseus and Hippolyta. Also in the forest are Quince (Annika Jane – good) and his artisans; they are rehearsing for their wedding entertainment – a madcap play. Quince’s inept group, including Snout (Caitlin McFeat), Flute (Kharla Fannon), Starveling (Lauren Beeton) and Snug (Eleanor Davidson) are struggling with even the most basic acting tasks.

       Oberon sends his dynamic servant, Puck (Daisy Coyle – outstanding performance), to obtain the juice of a magical flower, which, when dropped on the eyelids will make the sleeping person fall in love with the first thing seen upon waking. It is placed on the eyelids of Titania and Demetrius.

       Puck confuses the Athenians, instilling the liquid in the wrong eyes, resulting in the lovers becoming muddled. When Titania (Alex Gerrans – very good) awakes, the first creature she sees is Bottom (Maddie Mullins – great comedic delivery), whose head is transformed into that of an ass. Titania falls for this ass-headed weaver, feeding it unusual delicacies whilst giving him a ‘Bohemian’ treat.

   After the confusion, all the loves are reunited and the newlyweds watch Bottom and his fellows perform their bumbling ‘Pyramus and Thisbe’ play. Puck and the Fairy (Dylan Dorotich) explain that the whole story has been ‘but a dream’.

The interesting and colourful costumes by Amy Tamati and Evangalyn Little (aided by Ellis Kinnear) covered a large range including soldiers, kings and an asses head – a novel, floral version.

Sound designer, Ben Collins, who has tackled major Heath Ledger productions, gave us powerful music, blended with well-known top hits from the 80s. The sound was operated by Brittany Manifis.

Lighting designer Karen Cook created some clever effects with the older style lamps. The lighting was operated by Chelsea Gibson.

Director Philip Miolin, with his assistant Olivia Dugandzic, have accepted a massive challenge by taking one of Shakespeare’s most loved plays and turning it on its head. For someone like myself who has seen this play numerous times, I found it refreshing, but no doubt the newcomers will have been confused, and the true, traditional classic lovers perhaps even upset.

The actors’ performances were very varied. There were a few stunning performances, but one or two actors who have proved themselves in the past, struggled with this new genre – or even the standard Shakespearean delivery. However, thanks to the director, the overall result was clever, fun and will certainly have made the students think laterally, on how to involve the audience and the auditorium.

This delightful show for children of all ages is being presented by Spare Parts Puppet Theatre, the leading contemporary group of puppeteers and puppet designers in the country. Over the years, this team of artistic boffins has taught children how to interpret stories, and in turn, the presenters have learned from their audiences what the youngsters love and expect.

This production can be seen at Spare Parts Puppet Theatre, 1 Short Street in Fremantle, adjoining the lawn opposite the Fremantle railway station. Shows are daily at 10.00 am and 1.00 pm, from 4^th to the 30^th of January 2016.

Centre stage is a short staircase leading to the front door of Miss Lily’s exotic holiday resort hotel (set designer Iona McAuley).

     Three koalas enter carrying a cricket bat; they are Mum (Rebecca Bradley), Dad (Shane Adamczak) and their mad son (Nick Pages-Oliver). The koalas are renowned for being stupid. They are training for a sports competition against the wombats, not knowing that the actual competition sport is footie.

     Dragging his suitcase is a large quokka-looking animal called Potoroo. He is exhausted and is relieved to find his hotel – ‘Miss Lily’s’. He is horrified to find that Miss Lily is actually a large crocodile (Rebecca Bradley), she seems very friendly, but will Potoroo be eaten?

     Potoroo is sad because he is the only Potoroo left in the world. He has searched everywhere to find others without success.

     Miss Lily tries to cheer up Potoroo by dancing the tango with her magical, pink feather boa. In his excitement, Potoroo gets into trouble and perhaps danger too.

This is a delightful story that thanks to clever direction and planning by Michael Barlow, moved at a cracking pace ensuring that even the youngest audience members – there were quite a few aged only four – were enthralled. The youngsters sat open-mouthed at the hilarious action and the visual effects. Lighting designer Karen Cook’s work was exceptional, some of the illusions required careful lighting. Musical composer, Lee Buddle, created quirky fun-filled tunes to complement the action.

Although all of the scenery shifting was carried out by the cast, the production managers, Elliot Chambers and Chad Wetton safeguarded that the costume changes were slick, as the action was timed to the split second. On several occasions, the cast exited stage left and reappeared stage right seconds later, wearing a different costume.

The puppets were some of the best I have seen that the Spare Parts theatre, which can always be relied upon to produce top-class puppets. So respected are Spare Parts that they have linked with WAAPA and Curtin Theatre students creating courses to show the complex tricks behind making and operating a quality puppet. The puppet makers for this show were Iona McAuley, Sanjiva Margio, Leon Hendroff, and Bryan Woltjen. Miss Lily was a full-sized crocodile that appeared most realistic. It had to be light enough for the puppeteer and operator to dance with and yet look convincing. Lyndell Darch supervised the fabric construction.

This play, in the intimate atmosphere of this theatre, was perfect for children over 4 years old. The three actors, who are recognised as first-class stand-up comics, vividly brought to life the many characters of the story. It was wonderful to hear so many young children loving, possibly, their first live show. Highly recommended.

This 80-minute, high drama can be seen for one week only, at The Blue Room Main Theatre, 53 James Street, Northbridge. Performances are nightly, at 7.00 pm until Saturday 13^th December.

A two-metre high, wire fence, with barbed wire around the top surrounds the rough and tough senior school. The yard is littered with leaves, school desk, an old rusty oil barrel and the stark concrete walls of the school, with steel girders as their hard, crowning glory (Designer, Patrick Howe and built by Bianca Stewart, Jennifer Scullion, Annika Jane, Eleanor Davison and Alexander Gerrans). Christopher McIntosh sourced the unusual props.

        In the corner of the schoolyard sits 14-year-old Eva (Eloise Carter), a slightly nerdy introvert. Because her Grandfather was on the Kokoda Trail, and her brother, Clint (Ryan Hunt) is serving in the forces in Afghanistan, Eva is obsessed with war history. Much to her mother, Trish’s (Ashleigh Morris) horror she wants to join the forces.

Latching on to Eva’s infatuation with history, the two school bullies, Sophie (Zoe Street) and Cate (Gemma Middleton) attack her ruthlessly, and regularly, Eva has to be rescued by her caring teacher, Ms Carlton (Amelia Tuttleby).

Eva’s only real friend is the shy youngster, Lucy (Amy Johnston) who may have designs on Eva. Lucy is forced by the school slut, Paige (Holly Dodd) to find her customers. Poor insecure Harry (Kane Parker) is ripped off in his determination to discover ‘the meaning of life’.

Eva’s older sister, Matilda (Violette Ayad) is pregnant to her abusive boyfriend, junky Turk (Sean Guastavino). Will Eva take Ms Carlton’s advice and leave the area?

McCall has cleverly blended present day tragedies with flashbacks of the horrors of war, as Eva recalls her Grandfather’s stories. There are dozens of good solid, interesting storylines in this meld of human psyche and life’s inevitable route. These are brought to life with the photographs (Leigh Brennan) and visual projections, Tristan McInnes.

A few months ago, many of these actors were in the wilderness, but director Mark Storen, to quote a school movie, has ‘taken them from crayons to perfume’. There were some amazing performances, all were WELL above average, but top marks must go to Eloise Carter and Sean Guastavino. The dramaturg was under Michelle Endersbee guidance, and she had the large group of actors perform well in the small space. With a flash of light, or an explosion, the schoolyard was converted for a few seconds to the trenches, the horrors of internment camps with the inmates clawing the wires, before returning to a parallel situation in modern life. The comparisons were at times quite horrific.

The clever costume choice described the wearers’ personalities perfectly (Sally Ostrowski and Amanda King). The lighting effects (designer, Karen Cook) were well thought out and presented. From blood red sets to the stark coldness of the battlefield. The lighting operators were Rhiannon Peterson and Aaron Smith. The sound effects were numerous, but the most spectacular being the overhead helicopter (Soundscape Elliot Macri, George Ashforth and Stephen McGuire).

Samantha Barrett and her deputies, Kharla Fannon and Amy Tamati, efficiently handled the stage management.

A very powerful play, with many metaphors on life over the years. From the seedy to the brave, the controlling to the dominated, this show has it all. One of Curtin’s best presentations. Try to catch it and admire how all aspects have been undertaken and conquered.

This powerful Premiere is a Nest Ensemble and Blue Room presentation, in conjunction with Pride Festival. It can be seen nightly at 7.00, in The Blue Room Main Theatre, 53 James Street, Northbridge. The 60-minute shows are for one week only, running until Saturday 22^nd November. There is a 4.00 pm matinee performance on Saturday 22^nd November.

The stage is divided into three parts, a home dining room, an office, and a small ward in a private research hospital. The office is a mountain of psychology books. The ward has a Heath-Robinson, scruffy arrangement of pipes and wires, all held together with packing tape. This wonderful design was conceived by WAAPA trained Tessa Darcey, and built by Phil Miolin.

         In the late 1940s, the trophy bride (Margi Brown Ash) of a serviceman has a baby boy, Joey. Being a trophy bride, she is preoccupied with her appearance and so has little interest in the child – a ‘refrigerator’ mother. Very soon, she sees that the baby boy is not responding normally, and when she consults the local paediatrician, Dr Bruno Bettelheim (also Margi Brown Ash) who is a world-renowned child psychologist and personal friend of Sigmund Freud, he diagnoses that the child has autism. Doing what she thinks is the right thing for her boy; she hands over Joey to the doctor to be cured.

       Now, Joey is 9½ years old (Philip Miolin) and spending all of his day in his pyjamas. Having been brought up with machines and instruments all of his life, even when he pees a light tells him when he has finished, Joey wants to become a machine. His mother wants him back home.

      Now that Joey is in Dr Bettelheim’s institution, will he ever be cured and get out to a normal life?

Knowing that this is based on a true story – published in Scientific American in 1959 – watching this powerful, dramatic presentation left the audience gasping at the cruelty that was being allowed by the medical boards and health authorities only 50 years ago.

Singer Brenda Lee was known as ‘little miss dynamite’ but even her exuberance pales against the highly dynamic, diminutive (1.50 cms tall) Margi. Looking like Einstein on drugs, Margi has magnificent stage presence, filling every square inch of the stage as she brings to life the mad, obsessed scientist. With clever direction from Leah Mercer, we found ourselves being drawn into the misguided logic of the admired quack.

I have known Phil Miolin for more than a decade, but behind the special mask designed by Per Brahe, his display of nerves and quivering uncontrollably, he was unrecognisable.

Karen Cook, the lighting designer, has put a great deal of thought into the illumination. The home is warm and soft lighting. The child’s ward is cold blue lighting, with several scenes lit by small spotlights on Joey’s helmet. Sound designer, Joe Lui, took us from soft music to the full 100 decibels, in stereo, of a plane taking off. Joe always gives that little extra. The completely mad experience being handled by stage manager, Jessica Harlond-Kenny.

The unpredictability of the situations and the fast pace of the delivery – much of the hour was an impeccable monologue from Margi – kept the audience enthralled. There are plays that are simply disturbing but admirable, but this was something very special. Masterly performances, a tight script, and a wonderful production.

A very short season, so try to catch a performance or regret missing the show.