Innovative ARENAarts have brought Stephen Briggs’ amusing, stage adaptation of Pratchett’s much-loved, fantasy book to the Latvian Centre Theatre, 60 Cleaver Terrace in Belmont – no you aren’t in the wrong street! Plenty of free parking.

This progressive group are looking for directors – if you are inexperienced, they will guide you – and ideas for some challenging plays for 2017-18 seasons, anything from farce to heavy drama. Suggestions so far include Jane Austen’s ‘Emma’, George A. Romeo’s ‘The Night of the Living Dead’, Roald Dahl’s ‘James and the Giant Peach’, Neil Simon’s ‘The Odd Couple’ (female version) and Anthony Burgess’ ‘A Clockwork Orange’.

This is ARENAart’s sixth, dastardly, Pratchett play and they have really conquered this genre, with each production getting better than the last. Great fun for the family.

The two-and-a-half hour performances are on Friday and Saturday nights at 8.00 until Saturday 5^th November, with Sunday matinées on the 23^rd 30^th October and 6^th November at 2.00 pm.

There are a couple of dozen scenes, varying from a castle battlement, several rooms, street scene, zoo etc., each represented with minimal – but very well presented – scenery and props (Set construction by Jim Chantry, adorned by scenic artists Kiri Vinsen, Sheila Wileman and Ashling Townsend, with the cast helping).

It was essential with so many scene changes that the stage team should be well focused and quick. Stage manager Janet Vinsen with her assistants Callum Vinsen and Sean Schliwa were magnificent. With an average of 5 – 8 seconds, the stage was transformed each time.

Josh Shoebridge and Simon Walters skilfully operated Simon James’ lighting and sound design. It was obvious that a great deal of thought and precision was put into the complex plan and operation.

     Young Footnote (Callum Vinsen), the narrator of the story, sets the scene, popping in now and again to clarify the action.

     One day, when 6 ft 3 inches (1.9 m) strong, fearless Carrot (Paul Davey) comes home from a day working in the mines, his 1 metre high father (Michael Moshos) takes him aside and explains to Carrot that he is not really a tall dwarf, but was found abandoned as a baby. Carrot, feeling the need to prove himself, goes to the big city of Ankh-Morpork to join the bold Guards.

   Guard Captain Vimes (Ron Arthurs) is drunk when Carrot arrives. Vimes has been letting things slip, and Carrot is a stickler for law and order.

   It is a miserable, wet night and Fingers (Sarah Langridge) is knocking on doors, trying to find where the underground gathering of the Unique and Supreme Lodge of the Elucidated Brethren of the Ebon Night is being held. Eventually Doorkeeper (Susie Stevenson) admits Fingers to the secret meeting, where the Supreme Grand Master, Lupine Wonse – boo hiss (Brendan Ellis) explains that all of the Dragons are not really dead, and that according to legend, one is due to become King of the area. Lupine hopes that the Dragon will select him as his regal representative on Earth. As the meeting progresses, the coven – Varneshi (Natalie Djudjevic), Dunnykin (Tia Evers) and Watchtower (Rachael Leech) – dressed in green, crushed velvet capes, receive a threatening visit from the Body of Death (Jeremy Smith).

     Colon, the guard (Jim Chantry) lets it slip, that nearby there is a sanctuary for injured dragons run by Lady Sybil Ramkin (Lis Hoffman) and her small team of helpers (Tashie Baker, Michael Vinsen). Lady Sybil has a favourite dragon, an old, wise one with damaged wings called Errol.

     The local Patrician, Lord Vetinari (Andrew Smalley) is a nasty conman, trying to trick the citizens with dire deeds, but bold Discworld carrier (Bronny Baker) and Ridcully (Sean Schliwa) are fighting back.

     Will the dragon return? Will the evil Lords of the city keep control? There are two love affairs in the air.

Director and multi-tasker, Simon James, has presented this play in the style of a pantomime, aimed at 9 yrs. and up. It is quite dark in places, and the script is rich with puns, double-entendres and subtle jokes. The kids will miss at least half of the humour, but will love the special effects, excellent costumes (Janet Vinsen and armourer Callum Vinsen) and dragons.

There was a large cast, who were impressive and worked together with great chemistry. The delivery of the lines, humour and build-up of tension were all presented most proficiently. The main actors were superb, but even the ‘bit’ players gave it their best.

With so many players on stage, there can easily be pandemonium, with actors bumping into each other and fighting for exits – this team moved well, truly professional.

Josh Shoebridge and Kiri Vinsen created the magnificent robotic performers, Errol and other dragons. They really were ‘alive’, practically stealing the scene from the living actors.

At the interval, I enjoyed one of the best cups of community theatre coffee, yes, it was $2, but I would rather pay than have some of the anaemic, free, flavourless offerings at some venues.

Even on a Wednesday night, the show had almost a full house. Not many shows left, but try to catch this slick, hilarious family show. Many congratulations.

This light-hearted, two and a half hours, Shakespearean play can be seen at The Latvian Centre (LC Theatre) 60 Cleaver Terrace, Belmont each Thursday, Friday and Saturday night at 8.00, until Saturday 20^th August. There are matinées on Sunday 7^th and 14^th at 2.00 pm.

The play’s presentation is ‘in the round’, with seating on 3 sides and the stage – used minimally – on the fourth side. There is token scenery and the props negligible (Michael Falconer), but on the few occasions that they are used, they are most effective. Callum and Janet Vinsen provided the swords and shackles.

The excellent costumes are managed by Anne-Marie Piccoli, aided by Katy Piccoli and Hannah Evelyn.

The sound and lighting were designed and operated by Simon James.

      The Governess of Messina, Leonata (Julie Holmsure), is a caring woman who lives with her sweet young daughter, Hero (Hannah Evelyn), her elderly head-wagging brother, Antonio and her niece, Beatrice (Joanne Lamont) who has been brought up as Hero’s sister.

      We join the household as Leonata’s friends are returning from war. A war between the Prince of Aragon, Don Pedro (David Cotgreave) and his illegitimate half-brother, the morose, vicious and evil Don John (Paul Davey). Also returning is the admired, young nobleman, Count Claudio (Andrew Sutherland), and his intelligent, but droll friend from Padua, Benedick (Michael Lamont).

       To attract each other’s loving attention, the reluctant lovers, Benedick and Beatrice hurl abuse at each other in fun. Meanwhile, Claudio has fallen rapidly in love with Hero and wishes to marry her as soon as possible. Being jealous, Don John arranges for his drunken companion, Borachio (Brendan Ellis) to make love to Hero’s flirty maid, Margaret (Hayley White), at Hero’s bedroom window before telling Don Pedro and Claudio it is Hero, and they should go and see what is happening.

       Claudio is horrified and broken hearted, at Hero’s infidelity and that she is a mere wanton harlot. On the day of the wedding Claudio demeans Hero, and their wedding is called off by Friar Francis (Ellis R. Kinnear). Wise Benedick suspects that there has been some trickery, and this is confirmed by the watchwoman (Jeremy Smith) who has overheard Borachio bragging about his involvement.

       The constable of the Watch, Dogberry (Tara Hoban) and Headborough – the commander – Verges (Mark Falconer), arrest Borachio and Conrad, and take them before the Sexton (Charlotte Weber).

       Is it too late to save the love affair? Is Hero really dead?

Director, Jo Lamont has been acting for about twenty years. Initially with the Endeavour Theatre, then the WA Youth Theatre Company and lately with the Graduate Dramatic Society. Now she and her husband Michael are involved extensively with ARENAarts.

With a top notch piece of directing, Joanne has taken us right back to Shakespeare’s time and the Globe Theatre. Once again it is ‘in the round’ and with few props, but cleverly she has honed in on the most important part of the plays in those days – communication.

This fabulous cast were not only word perfect, but they obviously, thoroughly understood every word. Gone was the arrogant posing delivery that is too often seen in contemporary productions, and back was the rapport with the audience. Any ‘thoughts’ or soliloquys were almost discussed with the audience in a search for their approval. No swaggering and strutting, just everyday body language that we all understand.

How often have we returned from a Shakespearean production and had to double check a line, or even worse, try and confirm the storyline? Here, everyone knew their character’s strengths and foibles, so gave us a 150-minutes of fun and satisfaction without the common tedium.

There were a few songs in the style of 16^th century madrigals and even a cheerful dance at the curtain call.

All of the leads were exceptional, but a special mention of Julie Holmsure and Andrew Sutherland who were magnificent. Congrats to Jo and Michael Lamont who have obviously worked so hard.

It is a long time since I felt so in tune with a Shakespearean play. Clever and skilful work.

When the play was first produced, American audiences were surprised to hear that Australia even took part in the Vietnam War.

ARENA Arts and Entertainment are a highly respected WA independent, not-for-profit arts organisation, dedicated to supporting Community Theatre and Theatre for Schools productions. They are presenting this, their latest drama at The Latvian Centre (LC), 60 Cleaver Street in Belmont, conveniently situated just off Great Eastern Highway, a couple of kms east of The Burswood.

The 2-hour production is nearing the end of its season, with performances on Thursday 23^rd, Friday 24^th, and Saturday 25^th June. All shows begin at 8.00 pm.

The set comprises several black rostra at heights varying from 20 cms to 1 metre across the rear of the stage. There are brightly coloured cubes acting as seats. An impressive tree fills one corner.

The clever lighting and sound design by Simon James gave the impression of a much more substantial lighting and sound rig. The sound and lighting operators were Callum Vinsen and Brendan Ellis.

Stage manager Simon James was assisted by ASMs Stewart Mulligan, Sarah Langridge and Gema Seenarain, who worked speedily as a team between scenes. They were helped by the sprites and fairies from the Shakespearean opening scene of the play. These fairy costumes were made by Phylissa Meagher and Chris Ellis.

       The audience find themselves as parents watching the last few seconds of Shakespeare’s ‘A Midsummer Night’s Eve’. The sprites and fairies fill the aisles and run onto the stage. Year 12 student, ebullient Tom (Brad Albert) who is acting as Puck, moves to the front of the stage and takes his bow. The surprisingly prejudiced headmaster, Roy (Andrew Smally), congratulates his cast and their director, Miss Latrobe (Gema Seenarain).

     After show, Tom meets attractive student, Meg (Madeleine Shaw). Meg’s hypochondriacal, snobbish mother, Gwen (Valerie Henry) is bossing her hen-pecked husband, Jim (Don Weaver), who loves Meg. Gwen then berates daughter Meg for talking to boys – especially Tom, one of those new Pommie immigrants!

     For their holidays, Meg and her parents are hoping to travel afar in their luxury caravan. Gwen is never happy or satisfied, and even sets up contentious situations.

     As the headmaster and his nervous wife, Coral (Stephanie Locke) leave the school, he starts to bully her for talking to staff and parents. Coral is broken hearted at losing a son decades earlier, and is trying to come to terms with the constant grief and needs friends. Perhaps her overfriendly meeting with Leonie (Sarah Langridge) or her passionate encounter with honeymooner, Rick (Stewart Mulligan) will cheer her up.

     Tom’s Mum, Vic (Phylissa Meagher) proudly cuddles her son; her ‘blue collar’ husband from Nottingham, Harry (Simon James) tells Tom how proud he is. Tom’s parents are struggling financially, and are heading off for a basic camping holiday.

     To everyone’s horror, it is not long before the headmaster and his wife, Meg’s family and Tom’s clan all find themselves in the same camping site for their 1967 Christmas break. The campsite has Christmas entertainment with Hawaiian dancers and a zany and enthusiastic Master of Ceremonies, (Michael Moshos), who parallels Ariel in the ‘Tempest’. However, the weather turns nasty and a storm causes destruction to the camping area – a real life ‘Tempest’.

Director Christine Ellis has lucidly directed this complex character study. Every person has been richly written, and in this production, we can immediately connect and recognise them with people we know in our lives.

The ARENAarts is always keen to give newcomers a chance to act, and in this play the impressive male lead was new to the stage. There were some very good performances, with ‘old troupers’ like Val and Simon giving superb performances whilst generously, but subtly, helping others around them on the stage. One actor was word perfect, with good powerful diction but was so locked off on the script that the acting suffered. Try to think what the words mean as you are saying them, and let your body go with the flow.

The pace was very good, and the mood of the play, which varied from hilarity to deep tragedy well displayed.

It was good to see Simon James – as good as ever – back on the stage, after years of designing the lighting and sound.

A beautifully written play, well presented with some very strong performances.

Because the story is called a ‘Carol’, Dickens preferred to think of the five chapters as being musical ‘Staves’. The first run of the book, bound in Moroccan leather, was sold for $45 a copy (today’s prices). The 6,000 copies sold in a few weeks, however, even after the seventh edition Dickens made very little money from the book, being ripped off on the way, as had happened to him with ‘Martin Chuzzlewit’.

This wonderful adaption is by RADA-trained, Karen-Louise Hebden, who is known for giving new playwrights a chance. Many productions of ‘A Christmas Carol’ can be heavy-going and message-pushing; this show is filled with mirth, comical asides, and even several genuine ad-libs are thrown in, giving real warmth to the presentation.

The show’s admirable producer is ARENAarts, an independent, not-for-profit arts organisation supporting Community Theatre productions.

This two-hour show can be seen at The Latvian Centre (LC Theatre), 60 Cleaver Terrace, Belmont – plenty of free parking – with curtain up at 8.00 pm on Thursday, Friday and Saturday nights until 28^th November. There are Sunday matinees at 2.00 pm on the 15^th and 22^nd.

The set is quite simple, but the furnishings and the fun props are many and varied (construction by Jim Chantry). There are numerous scene changes, but these are carried out silently by the stage crew (Margaret Styles, Natalie Pierotti  and Callum Vinsen) whilst the choir sing a selection of verses from Christmas carols – a great idea that worked extremely well. The lighting rig is very limited, but Simon James created magic in some scenes.

Janet Vinsen’s costumes were of a very high standard and exactly correct for the era.

       Clutching a large tome, our hostess (Kate Phillips) welcomes us to the theatre before she took a seat in front of the stage. Behind her were three immaculately dressed ladies, they form a melodious madrigal trio (Trish Theisinger, May-Anne Oliver and Jill Richardson). As they sing their first Christmas carol, the golden proscenium curtains slide smoothly open.

      We are in the drab office of the miserable skinflint, Ebenezer Scrooge (Willy Smeets). Three storytellers light-heartedly set the scene, explaining what a disliked person Scrooge is. An undertaker wheels in a black coffin, and slowly an ashen face pops up, explaining that he is the ghost of Jacob Marley (Peter Nettleton), Scrooge’s late partner.

      In a dark corner of the office, despite it being Christmas Eve, a clerk is still working away. This is Bob Cratchit (Les Lee), struggling to feed his wife (Trish Theisinger) and children. When a local businessman (Jim Chantry) calls asking for a charity donation for the poor, Scrooge’s answer is simply ‘Bah Humbug’.

      In the dream, Scrooge then notices that Mr and Mrs Thompkins (AJ Cheka, Sarah Christiner) are behind with their rent and orders that they be evicted. Later that night, in another dream, Scrooges is shown himself as a child (James Matthew) playing with his friend Fanny (Rachel Philips), and then as a happy young teenager (Callum Vinsen) with his first and only girlfriend, Belle (Simonne Matthews).

Scrooge observes poor Bob and his loving daughter, Belinda (Natasha Robertson), tending for his ‘crippled’ child, Tiny Tim (Ten-year-old Rohan Pierotti).

Will Scrooge wake up in the morning and see the world in a new light?

Most of Dickens’s books are quite heavy going, so this cheerful adaptation that remained true to the novella’s messages, still allowed us to have a surprisingly welcome, fun night out. Musically trained director Trish, who recently won an award as best director, has gathered a great team to give us this exposé of a seedy side of human life.

The cast seemed to really enjoy acting their parts, I suspect even Willy in portraying miserable Scrooge brought him a great deal of pleasure. There is a strong chemistry between the actors, who have worked well as a team and gave a slick performance.

On a minor detail, I do not normally get excited at the way proscenium curtains are opened, but this operator was the best I have seen in years, just the correct pace and in one smooth, continuous flow.

I can see the smile on publicity expert, Chris Thomas at having such a delightful, fun-filled family show to promote. Nothing frightening, just a great tale, well told, suitable for everyone from 8 to 80. Enjoy.

The producers of the play, ARENAarts, have already brought us half a dozen wonderfully colourful and thrilling Pratchett stage plays over the past few years. This tongue-in-cheek story – ‘comedy theatre production of operatic proportions’ – is loosely based on the ‘Phantom of the Opera’ musical. Like most of Pratchett’s stage plays, the book was adapted for the stage by Stephen Briggs, and the director has further modified this (slightly).

As a child, Terry was desperate to be an astronomer, writing his first spooky, astral story for his school magazine in 1961, aged 13! His first children’s novel, written and illustrated by Terry, followed 10 years later when he was a journalist. He gave up an excellent job to become a full time author in 1987 and by 1996; he was the top selling author. Pratchett’s books are filled with suspense and humour. Writing 2 books a year, ‘Maskerade’ was the eighteenth of the forty novels in the Discworld series, and the fifth witches’ story.

Multi-award-winning Pratchett was second only to J. K. Rowling, selling 2.5 million books in the UK alone, and more than 85 million books worldwide, in 37 languages.

After being knighted, Pratchett thought it only correct that he should make his own sword – this he did from ore he dug himself, blended with meteor ore. He gained nine honorary degrees, but after suffering from Alzheimer’s for 7 years – not the stroke he was thought to have had – he died in March this year. Admired by Margaret Atwood and George R. R. Martin, only four years before his death, Pratchett had the third fastest selling adult hardback in history – dictated to a friend as he had lost his writing skills.

He gave a million dollars to the Alzheimer’s Foundation.

The two and a half hour fun performances – which cost only the price of a cinema ticket – are brought to life by ARENAarts each Thursday, Friday and Saturday night (Sunday matinees), curtain up at 8.00 pm in The Latvian Centre (LC Theatre), 60 Cleaver Terrace, Belmont – just off the Great Eastern Highway. Plenty of free parking. The season runs until Saturday 18^th June.

The stage has a 60 cms raised area at the rear, giving two very effective performance levels. The scenery was fairly simple (designer Simon James) but there were a great number of interesting props supplied by Linda Redman, who, along with Chris Ellis and Rachel McCann also provided the quality costumes.

The director employed several areas of the stage, moving the attention of the audience with his clever lighting design – operated by Gordon Johnson (no relation, this tech has class) – this kept the pace moving very well with the minimum stagehand interruptions. The stage manager was Linda Redman, efficiently aided by Janet and Callum Vinsen.

       The show opens with a powerful welcoming speech by a Teller (Callum Vinsen), who sets the scene.

      We join Granny Esme Weatherwax (Ursula Johnson), an obsessive and self-centred witch, sitting on the blasted heath. Seated next to her at the small fire, is her dizzy witch friend, Nanny Ogg (Julie Holmshaw).  They are searching for a third witch to join their coven and have in mind, Agnes X. Nitt (Joanne Williams), but she has ambitions to become a famous opera singer. Adopting the stage name of Perdita, Agnes goes to the local Ankh-Morpork Opera House owned by Mr Seldom Bucket (Michael Lamont) and asks for a part in the next show.

      The house manager, Salzella (Robert Whitehead) has already chosen an attractive lead singer, Christine (Emily Theseira) who is full of her own importance, but untalented as a vocalist. Musical director, Herr Undershaft (Johan Smit) decides to use Perdita voice to sing along to Christine’s movements. As the audition takes place, Pounder, the rat catcher (Penny Phillips) and Walter Plinge, the young janitor (Sarah Christiner) weave in and out of the three ballet stars, Giselle, Solange and Collette (Lily Bailup, Riti Smith and Rachel McCann) as they rehearse their routines.

       Walter’s Mum, Mrs Plinge (Christine Ellis) prepares the refreshment for the visiting world famous, Italian Tenor, Senior Enrico Basilica (Jim Chantry). Basilica cannot speak a word of English so relies upon his manager (Maria Passalacqua) to translate.

       Soon, random corpses start appearing; have they been murdered? Then the witches find that the Opera House is haunted, so decide to investigate the mysterious deaths. They come face to face with a threatening thief (Elizabeth Meath) and the production manager, André (Brendan Ellis) is acting strange. Could the murderer possibly be the innocent scenery painter, Mr Cripps (Donald Weaver) or stagehand, Amo (Ned Wolf)?

Director Simon James has been bringing joy to the Perth audiences for 30 years, winning many awards on the way for his directing, acting and set designs. This is Simon’s sixth Pratchett play, and he has regathered his regular team for this show. When you have a great cast, stick to them.

This troupe was superb, not a weak link anywhere, they had pace, empathy, good comedic delivery – even the ballet dancers brought a big smile with their subtle, fun movements. The script was like that of a pantomime, plenty of one-liners and written on two levels, one for the young audience (this show would suit 10 years and above) and the ‘mature’ double-entendre jokes for the parents.

With a larger cast, one often spots the daydreamers who are not too sure what is going on, here the cast were word perfect, attentive and moved beautifully.

Special mention should go to the two witches, Perdita and Christine who were magnificent; however, from Opera House owner down to the rat catcher and Walter, the cast were exceptional.

A very funny show, with plenty of dry humour and the odd reference to well-known phrases from the cinema. A reasonably priced, most professional, fun night out.

For years now, Johnny has been giving absolute beginners, stacks of encouragement along with that all-important ‘little leg up’ on their desire to be on the stage. This show sees a few new faces with a lot of potential.

Johnny has again found ‘a cause’ to generously support, and this year the raffle money went to a Rotary project, the local women’s refuge.

This fun show from Elfin Productions can be seen at The Latvian Centre, 60 Cleaver Terrace, Belmont – lots of free parking. This venue is gradually being turned into a very smart, well-equipped little theatre. For this show, there was glitter and tinsel everywhere, with dozens of Santa parcels in front of the stage.

The 135-minute performances begin each evening at 8.00 pm; and the season runs until Saturday 20^th December. There are Sunday matinees are at 5.00 pm on the 14^th and 21^st December.

       The curtains open to reveal a Christmas toy workshop. Pixie, Mr Pickles (Jane Sherwood), the chief toymaker, and his assistant, Zebedee (Eamonn Skov) are packing their high quality, wooden toy into boxes, when Rudolph (Bob Morshidi) and a reindeer friend arrive. They explain to the Elves that the children no longer want wood, but colourful plastic toys.

       After hundreds of years of excellent service, even Santa Claus (Pete Nettleton) can see the end is near.

       On a Jerusalem hillside, two shepherds, Seth (Cally Zanik) and  Obadiah (Callum Martin Santiago Calder) are watching their flocks, when they spot Balthasar (Graeme Cross) guiding the other two wise men across the desert, as he follows the star.

       Meanwhile, in a local shopping centre, the smiling spruiking promoters, Ashley (Amanda Watson) and Toby (Reece Darch) ooze insincerity from every pore, as they encourage the panic buyers to shop even more. On the other side of the world, Haggith (Alison Arrowsmith), a Glasgow wee nyaff, is trying to do shady business in his own way.

        At Santa’s workshop, the removal man (Dylan Grimshaw) is emptying the shelves and installing Lego kits.

        In a desperate attempt to bring cheer to the season, a choir chants outside a front door, but this is the house of Bah Humbug, Mr Robinson (Adam Salathiel). Will he change and love Christmas?

Director Johnny Grim has once again, gathered a wonderfully dedicated team, who have given it their all. Marjorie DeCaux has helped Barb Walton, the wardrobe queen. There are some amazing outfits, from the pixies, to the reindeers and the wise men. The quality of the sewing and design show their dedication.

The years of experience show in Graeme Johnson’s sound and Kathryn Carney’s lighting. With quite a limited rig, they have given a colourful and lively background to every scene.

Stage managers Linda Redman, Adam Salathiel and Dan Madgwick had a huge amount of work to do, but this they did – a little slowly (mainly due to limited wings space) – but were silent, well organised and most efficient. They also supplied many of the numerous props, other coming from Marg Milne.

An AV screen at each side of the stage added greatly to the mood, and worked amazingly well at filling in on the limited scenery. The delightful seasonal photos and video were the hard work of Graeme Johnson, Denys Lunn, Graeme Cross, and Chris Thomas.

You can feel the warmth of the whole team glowing through. The script is typical of Johnny Grim, edging on the ‘PI’ border. Johnny cleverly worked in the words of 70s songs into the script, which brought many a grin to the older members of the audience. Everyone came away with broad grins, but do not forget, the show is 15+. A completely different, zany and madcap Christmas show.

This bright and original musical theatre can be seen at the easily accessible Latvian Centre Theatre, 60 Cleaver Terrace (bottom of the hill on the right – plenty of free parking) in Belmont. Presented by ARENAarts, this 150-minute show has curtain up at 8.00 pm, on Thursday, Friday and Saturday nights until 25^th October, there is a matinee at 2.00 pm on the 19^th.

Part proceeds from the show go the WA Men’s Shed Association and Enterprise 33, an organisation that focuses on men’s suicide prevention and delivers post-suicide assistance for families.

The opening set is ‘another brick in the wall’, with a back lane wall covered in graffiti. The wall is removed to reveal an admirable fairground scene, complete with ice-cream stall, a beautifully painted backcloth depicting a big wheel, but the main attraction is a working horse ride / carousel that actually rotated! A masterpiece by the team of Peter Nettleton, Jim Chantry, Tim Prosser, and Gabrielle Dahmen.

        The back lane is where many of the druggies meet; sadly, Rhys (Anthony Smith) is one of these youngsters. There is a rousing opening number as the wall parts to reveal a lively, fairground with twinkling lights and all of the fun of the fair.

        The fairground manager, Mr Anderson (Graeme Cross) is asking his carousel operator, Alan (‘AJ’ Lowe) to stay on late and repair the Ferris wheel. 42-year old Alan has hit a low, and feels that he is being used. Despite one of his attractive assistants, Julie (Alison Arrowsmith) trying to cheer him up, he misses the ‘affection signals’ in her approach and he walks off the site.

       We next meet Alan at a Group Therapy Session, having been sent there by his GP. He is most reluctant to participate, especially when he sees the smiling, almost euphoric counsellor, Tim (Nima Raei). Alan looks around at the other members in the group; there is druggie Rhys, and aggressive punk, Ang (Rachael Maher) who is determined not to partake under any circumstances. Then there is the very smartly dressed Abby (Gabrielle Dahmen) and alternative lifestyler, Rosa (Dimity Wehr); oh, and in the corner, the one no one ever notices, Beth (Bree Vreedenburgh).

      As Beth sits in the session, she recalls her younger days as a dancer and singer. This flashback is brought to life by the graceful ballet of Brigitte Channer and Georgia Brice (both star quality for the future?). The chorus of Dee Rowlands, Hery Setiawan, and Stacee Parkinson gave extra life to the musical numbers.

      After his first group session, Alan is unconvinced and that night is approached in his dreams by the Devil (Kathleen Uhlmann), who, with the help of her fellow seductresses (Simonne Matthews, Sarah-Rose Kelly – the excellent choreography assistants) works her evil spell.

The stage management (Jane Sherwood, assisted by Chrissie Mavrofridis) was slick, although the occasional set of fingers coming around a flat in anticipation of a move brought a few laughs. By the end of the season, the two lasses will have muscles on their muscles with manually turning the carousel and its riders.

The sound quality (James Wilson) was excellent; it had tremendous depth and richness. The solos of Aussie music classics and a few numbers penned by Bree, gave every actor their own moment of glory. They seemed to have a backing group in the background? Simon James’s lighting design is brought to life by technician Mario Piccoli and operator Callum Calder. The theatre lighting is very limited, but the team gave true life to every musical number. In addition, the programme was high quality, full colour 16 sides of A5. Great costumes, but no credit listed in programme.

Director, Bree, freely admits that she wrote this play after having her own depression problems. This taboo topic appears to be a common problem, with 20% of the population having serious troubles at some time. This topic of this play looks like a real drag, a subject to avoid, but not for a second was it heavy going; it really was fun and with its rousing ending, most enjoyable.

The strong cast were filled with energy, plenty of smiles and several very good solos.

The dialogue started a little quickly after Anthony Smith’s solo, which was a shame as he was excellent, but the audience could not quite get their applause in. Gabrielle and Bree also had powerful melodic voices, but I am sure the cast will not mind me making special mention of Rachael Maher who has amazing stage presence. Every show that I have seen her perform in, she just captures the part with her voice, expressions and body language. Superb.

PLEASE don’t look at the topic, you are NOT going to be preached to, although there are many pearls of wisdom subtly in the script. This is a very good WA musical, and you will come out smiling and feeling uplifted. Congratulations to all concerned.

This latest treat is being produced by ARENAarts – a wonderful team that is interested in giving the underdog (!) a chance – at the Latvian Centre Theatre, 60 Cleaver Terrace in Belmont, where there is plenty of free parking.

Most of this team brought you last year’s hugely successful ‘Hound of the Baskervilles’, the uproarious show that had patrons coming back for a second helping.

These performances start at 8.00 pm, on Thursday, Friday and Saturday evenings until 23^rd August. There are matinees at 2.00 pm on Sunday the 10^th and 17^th. Children often go to the matinee, so perhaps I should warn that there is some slightly crude – but not too offensive – language. In addition, the story is quite sad in places.

The set is a bare stage with a countryside view on the backcloth; the cleverly conceived wire cages are added later. The set was designed by Jane Sherwood and Dan Madgwick; then built by them, assisted by Callum Calder, Johnny Grim, Cally Zanik and Linda Redman.

         There is a high-pitched yapping noise from the back of the theatre. A woman has found a stray canine in the street, so leads the dog (an actor in a pink tutu and fluffy crown), down the theatre aisle to the stage. This little yappy, overactive dog, Molly (Rachael Maher, great performance) has been brought to the pound!

        As Molly mingles with the other dogs, they suddenly find that the pound attendants, supervisor Hillary (Michelle Diston) and schoolgirl volunteer, Leah (Simone Diston) are building cages around them; dividing the sexes and removing their freedom.

       The Dalmatian, Measles (Jacob Duggar) and an older dog, which looks like he is a bikie’s pal, Titan (Graeme Cross) have been in the pound for some time, as has the sad old bitch, Jude (Cally Zanik) sitting quietly at the back of her cage. The two other dogs, a sexy stylish, leggy French poodle, Meg (Amanda Watson) and a bitzer, Peppa (Alison Arrowsmith) seemed to be streetwise.

        The keeper arrives with another male dog, Red (Reece Darch) who thinks he is on holiday, but the wise Socks (Willy Smeets – at his best), has obviously been trained by Michael Jackson, soon educates Red in the ways of the pound. The slightly dim Spock (Brett Shircore) befriends Red.

        When the visitors call, who will be the lucky one to be chosen? What happens to upset the schoolgirl helper?

Although I have suggested breeds, Johnny has left this to the audience’s imagination. He has amazingly created several very different breeds, with rich characters and distinctive dialogues of their own. Finley Award winner Director, Jane Sherwood has a doubly difficult task, directing ‘animals’ with all their irrational mannerisms, and next having them become human, with the everyday problems of life.

The cast had superb knowledge of the dogs they were playing, from simple tasks like lying down to sniffing each other, it was hilarious to watch. With a large cast on stage the whole time, it was essential that the dogs kept moving and showing various canine peculiarities, this the actors did with aplomb.

There was incidental, live mood music, from keyboard player Mel Kay – herself an award-winning actress. She kept the volume to a subtle level and the accompaniment was not intrusive or jarring. Danni Close had a small but effective soundscape.

Bree Vreedenburgh’s costumes were inspired, they had to show the character of the dog instantly, which they did most effectively. Very good indeed.

This was a most enjoyable and clever play. Recommended, but take a packet of tissues.

After a one-off performance at the Fremantle Workers’ Club for the Fremantle Heritage Festival, the 2-hour show transfered to the pleasant Latvian Centre Theatre, 60 Cleaver Terrace (just off Belmont Avenue), Belmont with shows nightly until Saturday 31^st May.

The surrounding walls are black drapes. The set, although simple, worked very well. It consists of the Judge’s Bench, complete with the Insignia on the rear panel, the Dock and the Witness Box. There is a large wooden table in the centre of the stage for the use of the defence and prosecution Counsels.

         The Clerk of the Court (various, but on our night Peter Nettleton) leads the accused, Irishman C. Y. O’Connor (Tim Prosser) to the Dock. He is followed by the Counsel for the defence (Trish Theisinger) and the Counsel for the Prosecution (Dale James). The Clerk calls for the Court to be upstanding. The audience are the gallery and jury combined, and so stand whilst the Judge (Norm Heath) enters.

       It becomes clear that a case has been called against O’Connor because of the amount of WA Government money that he has ‘wasted’ on various ‘doubtful’ schemes, and that he should be called to justify this and any backhanders that he may have received.

       The first witness for the precaution is called; she is a snooty, self-opinionated, retired UWA historian (Francesca Meehan). Next to be called is a scruffy young man, Vosper (Mario Piccoli) who also tries to discredit the WA legend.

       The State Premier John Forrest (Justin McAllister) and his business owning brother, Alexander Forrest (Dale Lovett) are called to the Witness Stand, followed by O’Connor’s sister Mrs Irvine (Caroline McDonnell) who, in a flash-forward, refers to her late brother and his fine qualities.

      After the summaries from the Counsels, we are asked by the Judge to go away and consider our verdict.

 There is very little one can do to create movement in a Courtroom, but the director, Peter Nettleton has kept the pace moving along very well. The acting was a little variable, but this did not detract too much from the fascinating story and the exposé of the mud thrown at poor O’Connor. The achronistic changes were a little confusing, but were soon easily accepted.

The witnesses were almost caricatures, but this light relief added to the play’s enjoyment.

All of the teching was capably handled by Simon James, with excellent costumes of the day and barristers bar gowns by Bree Vreedenburgh.

An interesting and educational night out (not for under 12 years as the topic is quite staid), well presented and enjoyable.