‘Nexus Theatre’, ‘Murdoch Theatre Company’ and ‘From The Hip Productions’ are presenting this fun-filled production at the Nexus Theatre, Murdoch University, 90 South Street, Murdoch – near car park 3. The series has a crew of over 40, and combined casts of over 30, promising us something that Perth has never yet experienced.

After a warm welcome from Front of House, Rachel Doulton, the one and a half hour performances commence at 7.30 each evening until 16^th July, with one matinée at 2.00 pm on Saturday 16^th July.

The scene is Saqqara, the City of the Dead in Egypt. The year, 1890. The stage is divided into the Waldren’s home and the tomb of Artek Bey. An inscribed, limestone sarcophagus leans against a wall. The rear wall of the cavernous tomb is covered in hieroglyphics.

Later the stage becomes the storeroom at the British Museum. Another triumph from production designer, Allison Snell and her construction and artwork team, John King, Katie Southwell, Andrew David and Sam Knox. There was clever use of the smoke machines, such as when the coffin was opened, and there were cobwebs everywhere.

The period costumes were stunning, and beautifully tailored by Alli Snell, Sophie Braham and Bella Doyle. The Mummy was not simply wrapped in crêpe bandages, but had tassels and rotting material on him too.

The stage management was slick, thanks to Keaton Howe and his assistant Mike Casas.

       It is Egypt 1890, and we hear the sounds of the explorers hacking through the final layer of stone, before entering the tomb of Grand Vizier, Artek Bey. The leader of the British expedition, John Waldren (Tim Brain) and his labourers, Alfie (Andrew David) and Charlie (Tay Broadley) are first into the cavernous tomb.

      Then Lord Preston (Dean Lovatt) demands that they open the sarcophagus. The leader’s daughter, Claire Waldren (Christie Strauss) is an expert on hieroglyphic, so warns them that on opening the coffin a curse will result on all of those invaders. The casket lid is prized open and the bandaged Mummy, Artek Bey (Andrew Dawson) appears to move. There is a rapid exit from the grave, but poor Charlie was a little too slow in leaving.

       Back in the Waldren home, Claire is saying ‘Goodbye’ to Lady Harriet Preston (Anna Weir) who is being treated abominably by her husband. Young Alfie calls around, and we find that there is romance in the air.

       All of the treasures are shipped back to the British Museum in London, where we meet the mad librarians, Miss Dalrymple (Kate Willoughby) and Cora (Abbey McCaughan) trying to catalogue the new items. As they work, the lights flicker and the attractive Priestess, Abrar Ali (Bella Doyle) seems to appear from nowhere. Uttering ancient texts, she commands Artek Bey to come back to life.

      Will her commands work? Who will die? Will the handsome policeman (Andrew Dawson) discover what is going on?

This adroit, original comedy thriller was directed by Tim Brain, with movement advice from Tym Sanders. On opening night, there were a few nerves and it took a little while for the play to gather pace and for the actors to project their voices; but by the second Act everyone was tuned-in and the show moved up a few gears. Tim is exceptionally talented in numerous theatrical fields, sound, music, directing etc., but to tackle all of these – and several more – in one play I think might have been a touch too much. Perhaps a separate director could have taken this masterful play to yet another level. It must be said that this is a very clever and brave production, with Tim breaking a huge amount of new ground in bringing it to the stage. So much talent, well done.

The soundscape of creepy noises and bodies being broken was created by Tim Brain and operated by Kiah Van Vlijmen. Tim also composed the musical backing that varied from the double bass ‘breathing’, violas scraping to ethereal organ music – even a burst of bagpipes crept into the score. Tim played the various instruments and was ‘accompanied’ by legends Anne Dudley, Jaz Coleman, Erik Satie and the Warner Music Group.

Scott McArdle’s ingenious, complex and highly atmospheric lighting design was set by Katie Southwell, Sarah Bond and Bella Doyle; being operated by Katrina Johnson. The imaginative makeup and hair designs were supervised by Leah Toyne and Sophie Braham.

The main cast members brought depth to the serious drama, with episodes that made the audience wince on occasions – well done. However, the director was a brave man in deciding to mix humour with the creepy violence, an idea that to succeed, takes special acting skills; but the eccentric librarians (Willoughby and McCaughan) captured their brief and chalked up another success for the show.

A must see quality event, but be quick.

This Murdoch Theatre Company’s 100-minute (including interval), fast moving show is suitable for children aged 6 to 96. It can be seen for 3 more shows only at the Nexus Theatre, Murdoch University – near car park 3 – on Friday 17^th at 7.30, with Saturday 18^th having two performances, a matinee at 2.00 pm (meet the characters after this show) and at 7.30 again in the evening.
The sets are colourful, though the backdrops and trees are recycled, they have been spruced up with large leaves. The witch’s house was particularly impressive.

       As the music of ‘Peter and the Wolf’ faded, the narrator, dressed in a nightshirt – like Wee Willie Winkie, (12 yrs old Amalie Meneghetti – excellent – the only non-Murdoch performer) introduces us to the local village of Grimm Dark. The Mayor (Nicola Brescianini) told us what a wonderful and exciting town it was to live in, however the locals did not seem to agree.

        Into the street wanders Little Red (Cat Perez) with her dim, but brave friend, Peter (Aaron Vanderkley). Little Red is asked by her mother (Meagan Dux) to visit her Grandmother’s (Rhys Hyatt – outstanding, what are you doing after the show Baby?) house in the forest.

       Peter and Red follow the Yellow Brick Road and meet hungry Hansel (Rebecca Dilley) and beautiful Gretel (Shannon Rogers); they had just been in the gingerbread house and killed the Witch (Claire Tebbutt) – or had they?

        Peter tries to protect Little Red but soon they are lost in the woods. A strange and threatening Woodsman (Kieran Renouf) was never far away. Hiding – dressed as a sheep – is The Wolf (Sean Mackey), who is seeking revenge on Peter. 

        Can Little Bo Peep (Karen Hansord) find her sheep? Will the three bears, Papa Bear (Launcelot Ronzan), Mama Bear (Abbey McCaughan) and Baby Bear (Tijana Simich) save poor Red? Is Grandma all she seems?

Director Kate Willoughby has gathered several of her friends, all of whom have proved themselves numerous times as first class actors, for her pantomime, however, Panto is another genre and not everyone can make it work. This band of actors were magnificent, they threw themselves into a laissée-faire attitude, enjoyed themselves and the pleasure flowed from the stage to the audience who loved it. Kate has also put in many asides and novel ideas, such as the comical bear family’s walk.

Sean Mackey was amazing as the wolf; even when faced with a front row of rowdy children from hell, he was unfazed. Hansel and Gretel’s rapport was also top notch.

Unfortunately I haven’t a techies list so cannot give credit to the excellent mood lighting and sound. I did learn that the striking poster design was by Mama Bear, Abbey McCaughan.

The stylish costumes were bright and well made, from Hansel and Gretel’s buttercup yellow to the furry wolf.

Plenty of laughs, well-written, well directed and well acted. Well, well well, three holes in the ground. A good winter holiday laugh for ALL of the family. Family tickets available at the door, at a sensible price.

Betzien also received a Drama Victoria Award for Best Production. In 2007, she gained the Richard Wherrett Award for excellence in playwriting; because of her amazing ability to write complex stories, a Patrick White playwright scholarship came her way. She is now university lecturer.

This poignant play by the Murdoch students can be seen at the Nexus Theatre (near car park 3), Murdoch University, South Street, Murdoch nightly until 25^th October. The 80-minute performances commence at 7.00 pm.

The set is remote woodland and an old orphanage, with a shower, boiler room and dormitory. The building is tall with external water pipes, and large, wooden window frames. The appearance is that of a miserable, unwelcoming dwelling. Good work by designers Alison Snell, Andrea Solymos and Breanna Morgan.

       Children wandering through a forest come across an old orphanage, and the ghosts of the children who lived there tell their tales.

      Another nameless new girl (Samantha Larke) arrives at the railway station, suitcase in hand. Young Rosie (Chelsea Pullen) takes her to the children’s home. The young girl’s belongings are taken from her and thrown into the furnace. She is sent for a shower, and then put into a large dormitory along with a dozen others and old ghosts. New One is consoled by Old One (Lillybelle Walton) before being inspected by the matron. The matron is symbolised by an impersonal mannequin, dressed in widow’s weeds, whose puppet arms and head are moved by sticks (operator Nick Morrant). She has most of the ‘Black Skirt’ gentry and officials tied to her apron strings and under her control, not least Mr Horrocks, the school inspector (Jordan Baynes) who lives under her skirt.

       In London, young John (Alex McKell) is caught pickpocketing a gentleman (Peter Evans) and is transported to Australia for 7 years hard, convict labour by the local magistrate (Ryan Partridge).      

       Meanwhile in Scotland, young Lizzie (Jess Serio) who has been babysitting dropped the baby and so she is taken from her brother, Hamish (Kieran Renouf) and mother (Amanda Ferguson), and put in care. Likewise, Iris (Sara McIntosh) and her friend Tom (Jonathan Maddocks) are separated.

       The miserable supervisor at the home (Jess Patrick) makes the young children, Ruby and her friend (Georgia Baker, Kathryn Vincent) work hard scrubbing the floor, whilst Lucy (Stephanie Fitz-Henry), Maggie (Amelia Dee) and the Baby (Chloe Laffar) continue to live in misery.

Director Dr David Moody has generously engaged three others to assist him, and allowed the cast plenty of input. The assistant directors include Anna Brockway, who has worked with WA’s well-respected group ‘Class Act’ for some time, along with students Kate Willoughby and Rebecca Thompson. The result is amazing.

The movement and choreography of the large cast is exiting and effective. The atmosphere of the movement helps build the tension and tragedy. The cast were well tuned in to the theme and worked hard to give their best. The script moves through the many issues over the years from about 1860 to 1960. It covers all kinds of child abuse, stolen generations – both black and white, and the misery of children’s homes is laid bare.

With clever script writing, Betzien paints a lucid picture but with a brief piece of humour inserted it immediately lightens the scene. The overall effect is that of interest, sympathy and anger at what went on, but the playwright has avoided making the audience feel too despondent. Very clever writing perfectly interpreted by the directors. The audience are left to build their own picture of the situation from the ingenious symbolism.

Matt Pashley’s lighting design was exciting and outstanding. The furnace effect, coupled with the quality sound effects (Katie Southwell, Luke Gratton and Melissa Da Silva) and smoke machine (stage managed by Yukiko Kinjo, Brianna Lea) produced the desired effect of confronting horror on the audience. The final touches of costume and style are co-ordinated by Cassee Lazic, with the whole production being overseen by Tim Brain.

Dean Lovatt’s job of selling this dark play should be an easy one, as the whole production, rich script, direction, pace and interest is held throughout. A quality show at a sensible price.