This perceptive, but slightly predictable insight is being presented by the Wanneroo Repertory at the Limelight Theatre, Civic Drive, Wanneroo. The 2-hour performances commence at 8.00 pm on Wednesday, Thursday, Friday, and Saturday evenings until 26^th August. There is one matinée at 2.00 pm on Sunday 20^th.

The scene is Noosa in 2007. An impressive, single set (designer Rob Benson-Parry, built by Tim Riessen and Dave Browning) is of a modern house with high, plain grey walls. The décor is a set of illuminated louvered windows, with one large picture window at the rear, showing the sky beyond.

The left of the stage is Toby’s home. The right is Ron’s Noosa home, and on a central platform at the rear, is café.

Beth Crowley, Rachel Williams, and Cherilyn McMeekin care for the stage management.

Rob Benson-Parry and Jillian Betterton’s lighting is very well considered, and is used to selectively move the action around the stage, from location to location. The sound operator was Kim Elford, who played first class musical backing, selected from the works of local musician and vocalist, Kieran Ridgeway – an absolute delight.

     When left wing, Toby (David Nelson), a once ‘hard-hitting’ but now failing, documentary maker reaches 60, his wife Ros (Rosalyn Anderson) decides to throw a party, but Toby has very few friends and just wants to forget the event. The only person that might come is an old friend, Ron (Michael Balmer), whom Ros secretly detests. Ron is a wealthy property developer who has ruined the area, but earned himself $200 million in the process.

     Ron’s wife, Natasha (Gillian Binks) tries to avoid the invitation – without success. On the night of the celebratory dinner out, Toby takes along his son Rick (Nick Thomas), a struggling, singer / songwriter. Likewise, Natasha brought her Greenie daughter, Emma (Catherine Dunn), a ruthless corporate lawyer. It is an evening when no one is on good terms with any other. Even the children have trouble with their parents.

     The day after the party, Toby decides that they must move to Sydney and be with people of a similar nature to their own, but can this really be the answer?

 This play is Tim Riessen’s directing début, but sadly, he has chosen what must be one of David Williamson’s worst plays. The script had chunks of complicated finance theory, coupled with heavy going accounts of the politics of the day. Some of the dialogue was so complicated that it was a major task for the talented cast to cope; and the audience? Well their eyes probably glazed over. Having to concentrate so intently upon the script caused the actors to slow their pace, loose their enunciation and have a weak projection. The body language and chemistry at times disappeared. Very sad because the cast were word perfect and working hard – they deserve credit, in fact a medal.

The storyline was fairly predictable. As a David Williamson fan, I was disappointed.

The musical was not seen for decades, as the original scores went missing during Bart’s ‘unsettled’ years. In this period, he sold the rights to ‘Oliver’ for $200 to Max Bygraves, in order to get money for booze. A 19-year-old Australian fan, Andrew Jarrett, restored the show.

This two and a half hour, energetic and lively musical is being presented at the Limelight Theatre, in Wanneroo at 8.00 pm on Wednesday, Thursday, Friday and Saturday nights until 10^th December.

Alan Brock’s elaborate sets, included the Bank Underground, Victoria Station, Petticoat Lane, and a London street on fire during an air raid. Alan Brock and Dave Browning built the sets. The magnificent scenic artist was Ursula Kotara.

The sets were cleverly designed to rotate to produce a new location, but it was the extras like the ruins after a bomb had dropped – and a special effect in the last few seconds – that really gave depth and realism to the show. The stage crew of Deb Anderson, Maddie Innes, Helen Smolders, Zak Ozolins and Jen Edwards worked quickly and silently.

The highly realistic lighting design was by Robert Benson Parry and Jacob Anderson, with the operators being Wally Fry and Jacob Anderson. The lights flickered as the bombers flew over, and the red glow was threatening. To the number ‘As long as this is England’ the lights oscillated red, white and blue as the Union Jacks were waved.

The most convincing and multifaceted soundscape was designed and produced by Patrick McGinn and Kim Elford. With a sensible use of the smoke machine, the technicians gave us a true day in the Blitz.

This complex production with a cast of ‘thousands’ was co-ordinator by Ros Guye.

The orchestra was positioned in front of the stage, but in a ‘below the ground’ pit. Thanks to the multi-talented Musical Director, conductor and on keyboard, Lyn Brown, the sound balance was perfect and you could even pick out individual instruments. The orchestra musicians were Violins – David Maconochie, Pam and Henri Pougnault, Jeanne Vernon and Tamara Scott. Cello – Russell Vernon, Bass – Roger Tuffley, Reeds – David Lawrence, Miriam Wholer, Chelsea Kittler and Bronwyn Booth. Brass section – David Lawrence and Sandra McKenna with Terry Murphy on drums. Great accompaniment.

     The scene is the platform of Bank Underground station, where the residents of Petticoat Lane are sheltering. They are singing along with Vera Lynn on the radio. The widowed, pickled herring seller, patriarchal Mrs Blitztein (Susan Vincent – outstanding) then sings to the people who are lying on the platform, avoiding the bombs outside. Her Yiddish accent and singing are abused and insulted by fruiterer, Alfred Locke (Alan Markham).

     Alfred’s son, Georgie (Oliver Bourne) is in love with Mrs Blitztein’s daughter, Carol (Catherine Dunn), and her son Harry Blitztein (Adrian Price) seems to have rejected his usual girlfriend, lodger Elsie (Tania Morrow) preferring a married Shiksa (a disparaging Yiddish term for a non-Jewish woman) posh Joyce Matthews (Libby Cooper) whose husband is fighting overseas.

     The bombings are becoming worse, and so with suitcases in hand, the schoolchildren are led by their teacher (Elinor King) to Victoria station for evacuation in the country. Next to leave are the army reserves, supervised by the Sergeant Major (Glenn Rowan), who are heading for the docks and the Front.

     Ever pessimistic Ernie (Tim Riessen), Alf’s best friend and fellow air raid warden, announces the damage so far. Mrs Blitztein’s best friends, shopping bag maker, Mrs Joseph (Kerry Goode) and her husband, baker Mr Joseph (David Nelson) are desperately trying to get a few shillings by selling their wares. Rachel (Colleen Hopkins) and Cissy Blitztein (Colleen Hopkins) are well-loved in the market and help the stallholders.

   The ‘Queen of Petticoat Lane’, Mrs B. has taken in Mr Sen (RJ Smolders) and his wife (Karen Thompson) as lodgers, because they have lost their home to a bomb. Mrs Murphy (Gwen Browning) and daughter Peg (Lauren Hulatt) go to live with Alfred’s family. The other folks in this close community are Mr and Mrs O’Hara (Tom Kinshela, Jayne Triffitt), Mrs Smith (Joan Braskie), Mrs Jones (Carol Keppler) and Mrs Higgins (Hope Baylis).

     We soon find that Harry has not boarded the troop ship, and is actually AWOL. He met an old friend, Bird (Andrew Brown) and has become a spiv.

     Playing several parts were Taneeka Hall, Dave Browning, Brad Beckett, Jacinta Buckland and Gabrielle Bright.

‘The Kids’ troupe comprising Brandon Orgill, Zackary Gosatti, Lucie Lockyer, Grace Elford, Arion Marama, Katie Moloney, Faye Whitwell, Indianna Rowan, Daniel Grant, Jenna McGougan-Shaw, Lilly Varley, Georgie Lockyer, Joe Neil and Jacob Miles was the best set of young singers and dancers that I have seen in years. Every single member was perfectly in step, even throughout the complex routines, everyone smiled; and when acting was required, the expressions and body language were that of an experienced adult. Fabulous work from every single ‘kid’. Superb stage awareness and wonderful teamwork.

The director and choreographers, Jen Edwards and Alan Brock, even in quiet scenes such as the homeless sleeping on the platform, ensured that there were various groups doing different antics. The stage was alive. The intricate dances with the lively foot work, was jaw dropping at times.

The demand upon the costumes department was huge. With the show being based 80 years ago, the dresses had to be researched, and then made with the styles and patterns of the day. There were soldiers and police uniforms – all tricky to source. The children’s clothing and their board suitcases added to the nightmare. However, Joyce Gilbert, Kim Elford, Kerry Wood, Elinor King, Meg Considine, Marion James, Shelley McGinn and Pearl Jensen have done a mammoth task, to bring such quality to the stage. There were a few unusual props supplied by Susie Benson-Parry and Carryn McLean.

The blitz was obviously a depressing time, but this cast clearly demonstrated the greatest message of the day – love and support your neighbour through hard times.

This was a very expensive show to present (a massive licence fee), with numerous sets and a huge cast, but thank you for taking the risk and giving us a rarely presented musical. A wonderful, light-hearted fun show, crammed with several great singers and catchy tunes. Every scene was a visual feast. Dare I mention that some of the dancers were a little more mature than usual, and yet they had all of the drive and vivacity of youth in every step? The mass entrances and exits ‘just happened’ with no obvious crowding, such polished planning.

This production had to show tragedy, happiness, antisemitism, the darker side of a blitz, as well as find a cast that could tirelessly sing and dance. Everything worked a good, solid success.

Hare’s plays tend to be wordy with virtually no action, and this is typical of his genre. That doesn’t mean that his plays are boring. Far from it, he has a great talent for giving huge depth to his characters. He often leaves the audience squirming as his beautifully structured dialogue exposes the personalities.

This two and a quarter hour play is being presented by the Limelight Theatre Repertory Company, at the Limelight Theatre, Civic Drive in Wanneroo. The performances are on Thursday, Friday and Saturday nights at 8.00 pm until 8^th October.

It is a freezing November evening in 1995. Robert and Susie Benson-Parry have completely captured the semi-squalor of this post war residence – built to a budget. The scene is Kyra’s downmarket, top-floor flat, in Kensal Rise situated in the Borough of Brent – one of north London’s most deprived areas. There is a cramped, shabby dinette, with a single bedroom leading off the room. Well fitted out with Carryn McLean’s props.

Stage managed by Pearl Jensen and Dayle Seaman. Wardrobe advice from Shelley McGinn.

The show was given the mood of the film ‘A Brief Encounter’, with well-chosen music by Alan McPherson. The sound techs were Patrick McGinn and Kim Elford, with lighting by Zachary Ozlins.

     Shivering schoolteacher, Kyra Hollis (Emma Shaw) is home after a gruelling day, of educating disinterested kids in East Ham. Her flat seems even colder than the bleak weather outside. She puts on woollen mitts, and plugs in her ineffective, one-bar electric fire.

     Kyra rushes through to the bathroom to run an ache-easing bath. When she comes back into the sitting room, a young man is standing there. He is Edward (Jacob Turner), an eighteen-year-old student whom she has not seen for three years. Kyra gives him a peck on the cheek. Edward is the son of Tom (Gino Cataldo), a wealthy businessman with whom this much younger woman had a 6-year affair.

      Edward tells Kyra that his bedridden mother has now died; and that his father has not been the same since Kyra left their household. Before leaving, he pleads for Kyra to come back.

      No sooner has Kyra finished her bath, but her doorbell rings. It is the highly charismatic, but manipulative Tom, come to work his spell on Kyra – or will she see through him and his dubious ideologies this time?

It takes a special kind of director to make a psychological drama interesting to the audience, and James Hough-Neilson certainly succeeded. It also takes tremendous skill to carry out what is virtually a two-hander for 130 minutes. Emma was on stage the full time, and Gino for a large portion. All three actors were exceptional, portraying full depth to their very different characters.

Jacob set the scene with his ‘little boy lost’ dialogue, hinting to us what a lonely childhood he had experienced. Then Gino came in, showing us the self-centred restaurateur, who felt that throwing money at a situation was always the answer and that people did not really matter.

Both Gino and Emma conquered the mountain of dialogue, mingled with several challenging monologues. They incorporated the subtle changes of mood, and the personality swings wonderfully. Emma was flawless as the poor ‘sponge’, mopping up all of the muck flying around – magnificent performance.

The language of the play was at times quite crude, and I heard some of the older members commenting on it. However, the script was beautifully written and structured, so the language was appropriate to the situation.

An admirable presentation of a very difficult and thought-provoking play.

Presented by the Wanneroo Repertory Inc., this two and a quarter hour, fast moving, hilarious show can be seen at the Limelight Theatre, Civic Drive in Wanneroo each Thursday, Friday and Saturday night at 8.00 until Saturday 13^th August.

The action takes place about 1988, in two venues, a maisonette in Wimbledon and another flat in Streatham. Two adjoining suburbs in south London.

The stage is divided in half, one side a plush, well-furnished apartment – Streatham; the other side of the stage is a cottage-style flat in Wimbledon, with exposed brickwork and large patterned graphic wallpaper. Great design by Robert Vincent and Carol Keppler. The set was built by the cast and techs – Wally Fry, Zach Ozolins, Grace and Kim Elford.

The settees and furnishings, however, belong to both flats so at times the same sofa could have a person from each flat, speaking to each other by ‘phone – a tricky setup, but it worked beautifully.

Some great props gathered by Colleen Hopkins, Andrew Govey and The Vincents.

As well as being judged on the immediately visible set, a quality design like this, has that extra touch. When the kitchen door opened, there was a light on – not just a black void – and the kitchen dresser, with crockery was visible through the doorway.

        The curtains open to the tune of ‘Love and Marriage’, revealing two women still in their night attire, looking anxiously out of their lounge windows. Then, in unison they telephone the police. One woman Mary Smith (Christine Smith) calls the Wimbledon Police Station, the other Barbara Smith (Susannah Bell), Streatham, both with the same story, their husband, John Smith is missing.

        With thick bandaging on his head and slight concussion, London cabbie owner, John Smith (Gordon Park) is helped into his Wimbledon home by a detective, D S Troughton (R. J. Smolders). John’s wife, Mary is so relieved to have her husband back, especially on hearing he was the hero of a mugging attack. As the group is chatting, into the flat wanders John’s best friend, Stanley Gardner (Andrew Govey), a yob with a thick mullet haircut who lives in the upstairs flat. Before leaving, the detective asks if he could clear up a puzzle, the hospital had two addresses for John – why was that?

        Later, whilst Mary is making a cup of tea, John confides in Stanley that he is a bigamist, with two flats and two wives. He is sharing his time between them, and at present, according to his precisely planned diary, he is actually in the wrong home. He should be in Streatham and not Wimbledon.

        As John is leaving for his other home, a newspaper reporter (Tom Melanko) arrives. If John’s photo should hit the press, his duplicity will be exposed. Panic stricken, John arrives at his other home, only to find that his second wife, Barbara, is describing him to her local detective, D S Porterhouse (Peter Boylen). Barbara’s new, overtly gay, upstairs neighbour, Bobby (Chris McCafferty) calls to introduce himself.

       Even with the help of Stanley, how much longer can John fool his two wives, and those around him?

Susan Vincent is an accomplished actress, as well as an experienced and admired director, with every theatre skill possible acquired over her lifetime in the theatre. She has also had experience in broadcasting. Here she directs the perfect troupe in a brilliant farce.

The cast is divided into three groups, the panicking John and Stanley who look like star fish as their arms and legs flail around. Then there are the two confused and emotionally upset wives and the two detectives who are the straight men – Bobby is definitely not a straight man.

Gordon, who never does eye contact when he is acting, uses it to his advantage when he blankly looks around, with fear in his eyes, as he thinks up the next mad excuse. Andrew has wonderful chemistry with Gordon as they try to fool the police and the two wives. The girls were delightful, scantily clad (costumes Joyce Gilbert) so sexy without being tasteless. Susannah was the hard, angry wife and poor Christine as the heartbroken, screaming spouse, devastated by the situation. The timing was absolutely perfect, the delivery of every double-entendre went without a hitch. The cast nailed it.

Limelight is accustomed to full houses, but this show was a sell-out almost instantly.

One of the best farces that I have seen.

The 1935 Hitchcock film was possibly one of the cinema’s first thrilling spy films; it was followed by the 1959 film starring Kenneth More, which was much softer in its approach. Now we have this VERY light-hearted, multi-award winning version, which is the fifth longest running London West End play and it had 771 performances on Broadway.

It is August 1935 in England and Scotland. The opening scene is Richard Hannay’s apartment, across the road from Broadcasting House in central London.

There are few flats or pieces of scenery but masses of nifty gadgets (Dave Browning); the whole effect is by well-chosen furniture and some ingenious props (designer Robert Benson-Parry, props Carryn McLean).

The costumes were numerous, from the exotic to the plain weird.

Wardrobe mistress, Joyce Gilbert, had to make many of the costumes capable of rapid change. The wardrobe team built plenty of humour into the costumes, with their good lateral thinking.

   Handsome, suave Richard Hannay (Gino Catalado), the hero of the story, is sitting in his flat. After an awful day, he decides to relax by going to the theatre. Whilst watching a variety show, a foreign woman enters his box and takes a seat. She is Anna Schmidt (Emma Shaw), a mysterious woman who within minutes is wildly firing a pistol. Chased by the police, Hannay takes her back to his rooms.

     Anna warns Hannay that she is being pursued by a secret agent who is trying to kill her. She points out of the window to the dark street below; two men (Gordon Park, Andrew Govey) in cream overcoats are staring back at the window – hired killers?

     Hannay is hunted throughout the Highlands of Scotland, with some daring escapes. Will he ever find the truth about the ‘39 Steps’?

Director James Hough-Neilson certainly had his hands full. Although there were only four cast members to deal with, there were about 130 different roles, 100 sound effects (Pat McGinn) and about 120 lighting changes (Wally Fry). The follow spots (operated by Jordan Jensen, Caroline Kaye) gave a touch of the 1930s theatre atmosphere.

This style of play relies upon the rapid pace being maintained. The actors – not surprisingly with the amount of work – flagged slightly towards the end, but the stage crew (Pearl Jensen, Christine Smith, Dale Seaman, Karen Thompson, Susie Benson-Parry) led by Bronwyn Hammond and Polly Waugh were swift and well organised, good team work. There were many mechanical props that required operation, such as the names of the station flashing by and even the dagger in the dead woman’s back!

The four actors were outstanding, moving smoothly from one character to another. One language and accent to another – even one sex to another, often all in one brief cameo scene.

This play is certainly not for those who studied Buchan’s book for their school English; although the characters and the plot are true to the book, the production is a whacky show, verging on Monty Python and even pantomime at times. The audience loved it, with spontaneous applause regularly throughout. It is great fun, but like most of Limelight’s productions, the whole season was sold out before opening night.

If you wish to see the show, you will need to put your name down on the reserve or cancellation list. A good, solid, delightful production with everyone pulling their weight.

The two-hour performances begin at 8.00 pm and run until Friday 24^th April, but be warned, so far this show has sold out ever performance.

It is 1950 in the Garden of England, Kent. In the countryside lie Pop Larkin’s farm and fruit orchards. The stage is divided in half. This exceptional set (design Doug McLean) has to the left of the audience a farmhouse sitting room and on the other side of the ‘dividing wall’ is the farmyard, complete with a full sized ‘real’ tree (Lorretta Gibbs), a barn and landscape (painted by Ursula Kotara). Having to find farming implements is difficult, but when they have to be 50 years, old then things get tricky for the décor girls Polly Waugh, Shelley McGinn, Carryn McLean and Dayle Seaman).

The costumes were ‘perfick’ for the era, with the demand on Shelley and Dayle for a wide range that covered the dignitaries next door, to the rustic outfit of Pop Larkin. Well done.

There were a huge number of lighting and sound effects, many with split second timing, but Wally Fry and Ryan Perrin were on the ball.

It is a red-hot day, and the farming Larkins have just returned home. As Ma, the most wonderfully caring, yet strong-minded wife ever (Loz Haynes) is warming up the fish and chips for the kids, Pop (Tim Riessen) is preparing one of his special drinks. The only son, Montgomery (Ethan Gosatti) is setting the table.

      Outside, their ‘almost 18 yrs old’ daughter, the attractive and lustful Marietta (Natasha Christie) has found a handsome young man wandering around the farmyard. This is tax inspector, Cedric Charlton (Jacob Turner), immediately Marietta’s eyelashes flutter, starving Cedric succumbs and is dragged into the house for something to eat. He is here because like many of the neighbours – including the Brigadier (Gordon Barnett) next door – Pop has not paid tax for decades. How could he pay? After all the necessities of life he showers onto people he has no money. In fact, a second senior tax inspector (Roger Oakes) turns up a couple of days later.

      The sexually frustrated, horsey Miss Pilchester (Gwen Browning) explains to warm and loving Pop in her ‘ghastly’ accent exactly what she is looking for. (A beautiful comedy performance by Gwen).

      It is not long before Marietta has some passionate competition for Cedric from farmhand, Pauline (Maddy Innes). Then who is the mysterious visitor, Angela Snow (Elinor King) and what is she doing looking around the house? Sir George (Paul Anderson) and Lady Rose (Helen Tudge) may have a title, and a sizeable mansion but Pop seems extra keen to have a word with them both.

With such a wonderful TV cast, this troupe had a challenge on their hands to win over the nostalgic audience – and this is precisely what they did. Loz as Ma was wonderfully caring and understanding, even when her husband had to ‘service’ the maids of the village. Tim’s cheeky grin and innocent, yokelish expression ‘perfickly’ hid the knowledge and the cunning that Pop really had. Cedric’s shy demeanour subtly changed slowly throughout the play, often with the help of alcohol, was a masterpiece by Jacob Turner.

The delightful children, who alternated nights, included Isobel Green, Asha MacDonald-Razvi, Camryn Gillet, Alyssa Yates, Zoe Karagiannis, Charlotte Yates and Imani Benfell. They were alert and gave relaxed natural performances.

The direction by Carryn McLean was well considered, inventive and with such a large cast still remained firmly in control.

Limelight’s admirable web site is changing to a self-booking’ system, which is giving a little teething trouble, but like Playlovers and Rockingham it will be well worth the hard work.

Not only did we get a most enjoyable night out, but also the programme – designed by ‘Chick and Egg’ – had one recipe for apple pie and another for cider.

The enjoyment of this extremely funny show will continue.

The stage setting for all of the plays is a black backcloth and several pieces of well-chosen furniture. The lighting for all shows is by Jacob Anderson, the sound by Ryan Perrin.

‘Deadly Relations’ is the latest, 50-minute play written and directed by local lad, Bob Charteris. His plays are usually comedies, with this being his first mystery / thriller – but still with a few chuckles thrown in.

        A middle-aged man, Mr Owens (Alan Bascombe), is pouring himself a stiff drink as he and his secretary (Gael Campbell-Young) await news. The doctor (Alan Brock) has been called and is in the bedroom attending Owens’ dying wife. Soon the doctor announces the tragic news that Mrs Owens has passed away. The couple are stunned – the wife was so young.  

      No sooner had the doctor left, than the doorbell rang. It was a police inspector (Ron Arthurs) investigating a hit and run, a couple of weeks earlier.

     A few days later, just as Mr Owens is getting a little grieving time, a smartly dressed, officious woman (Lynda Hunt) arrives at the home.

 Bob has produced a fun script, with good dialogue. At the end of each scene of this quirky one-Act play, he throws in a surprise or red herring. The audience loved it.

‘Screaming Inside’ is a superbly written, 35-minute piece, by an accomplished writer, Sean Byrne. Directed by Sean Byrne and Jason Pearce.

        It is now some time since teenage Alison died, and her mother (Dale James) is drinking a little more than she should – to help her cope with her loss. She explains her feelings and the emptiness of her new life. She seems to get little compassion from her husband, who is more like a mute ornament in the corner of the room.

The story threads are well blended and the amount of skill involved is undeniable. Directing a 35-minute monologue is very difficult, as one tries to keep up the visual interest and find different tasks for the actor to perform, nevertheless, Sean and Jason Pearce have conquered this challenge.

The acting was first class, although with so much drapery around a little more voice projection would have been helpful.

Sadly, the final result was very heavy going with little light relief. You know when you ask someone how he or she is feeling and they then go on for 35 minutes, telling you in great and intimate detail every ailment known to man, ennui develops rapidly. I felt the same with this play.

A huge amount of talent, highly respected, plenty of admirable qualities – but with little likely public appeal. My eyelids drooped.

‘Stones’ is the second, 30-minute part of this pigeon pair for the above play. Another monologue, again written by gifted Sean Byrne, and directed by Sean Byrne and Jason Pearce.

       It is now the turn of the husband; Steven (Gino Cataldo), who, deep down has also been shattered by the death of his daughter. However, he is tackling the problems thrown at him with a very different approach.

Another fine performance, with the monologue cleverly written in a more masculine style. This contrasted perfectly with the mother’s sensitive and emotional approach.

Many of the comments for the last play are applicable to this one.

With the photos taken by Terry Logan, a professional photographer married to one of the models, the 2000 WI calendar was released in April 1999. By Christmas, it had sold 88,000 copies raising half a million pounds. The proceeds were used to fund new laboratories in Leeds University, specifically for lymphoma and leukaemia research.

The script of this production seemed to have quite a few differences to the previous versions that I have seen, with more humour. You can see this very funny and bold 135-minute production at The Limelight Theatre, Civic Drive, Wanneroo.

Evening shows commence at 8.00 pm on Thursday, Friday and Saturday until the 17th August, there are no matinees.

The set is the interior of an old fibro building, with plain walls and a serving hatch. There is a piano in the corner. At each side of the proscenium arch are scenes of the rolling hills of the Yorkshire dales. During the show, the rear wall splits to reveal an even bigger, stunning panorama – all the artwork of Ursula Kotara.

It is evening in the Yorkshire Dales’ village of Knapely. In the church hall, the ladies of the Women’s Institute, led by Chris (Gwen Browning) are finishing their Tai Chi class, whilst Cora (Loz Haynes) is left to sing the organisation’s anthem ‘Jerusalem’ alone. They are awaiting the arrival of Brenda (Susie Benson-Parry), possibly their most boring guest speaker ever, her visit being organised by finicky Marie (Helen Tudge).

During the meeting, Annie (Johanne Brigham) is updating her friends with the progress of John, her 54-year-old very sick husband (Richard Tudge).

The visits to the hospital involve long periods sitting on plastic chairs, so Chris and her husband, Rod (David Browning), suggest that they raise money for a settee for the waiting room. Marie is keen to have a change from the usual plum jam and sponge cake competitions, with the same old judge – the supercilious, Lady Cravenshire (Nadine Sampson) – and instead to sell a calendar with beautiful photos of Wharfedale bridges. Chris utters ‘Boring’ and suggests a spicy calendar of photos produced by, and of, the girls of their Chapter.

Voluptuous Celia (Michelle Varley) is keen on the calendar idea, as is their older member Jessie (Sue Mainwaring); however, it was not until they explained to the vicar’s daughter, Cora that they meant nude photos that the panic started. Ruth (Clare Fazackerley Wood) said she had misunderstood and refused to strip.

Annie found that one of the hospital porters, shy Lawrence (Emerson Brophy), was a keen and capable photographer so he was ‘volunteered’. Ruth found a professional makeup girl, Elaine (Nadine Sampson) who was renowned for her generous free help.

The girls had to face the National Conference of this staid organisation and put forward their case. Then, to their horror, another photographer, Liam (Justin Vallow) arrived to take promotional pictures.

With a cast, dare I guess at an average age of around 50 and of all different figures, a great deal of credit must be given for them possibly having even more courage and pluck than the original calendar ladies, who were only photographed. This cast has a tremendous laisse-faire attitude, getting down to the nitty-gritty and showing the audience what fun the original group must have had in the process. The audience were extremely supportive, giving a good round of applause with each ‘scenario’ and joining in the fun. At the interval the comments about courage were pouring forth, some spoken with a little jealousy by people who wish that they had had the chance and pluck.

The director, Robert Benson-Parry, helped the whole show flow naturally, with no shocks or crude titillations – just good family humour. The girls delivered the jokes and the team spirit beautifully. There is a sad scene, which is handled very well with dimmed lights and a slow exit. Johanne Brigham gave a most wonderfully moving speech as she broke down in her friend’s arms.

The techs, Alan Brock and Alaric Korb captured the feel of the situation perfectly. The final set dressing – on the hill – was spectacular and must have taken days to prepare. Congratulations to Polly Waugh, Justin Vallow, Paul Bassham and Carryn McLean on their fine work.

A fine production that captured all of the emotions from sadness to hilarity with skill. The audience loved it. A fun night in a theatre that was fully booked with only the odd ticket returned.