Arielle has acted in many major stage productions, often with the leading part, and collecting prestigious awards on the way.

‘The Last Great Hunt’ have taken their previous shows to such diverse places as South Korea, Japan, Germany, Slovenia, Canada and the US.

This 55-minute, jaw-dropping show is being presented by PICA and the 2016 Awesome Festival, in the PICA Performance Space, at the Perth Institute of Contemporary Art. There are a couple of performances at various times each day, until 16^th October.

On Saturday 8^th October, there will be a Tactile Tour at 11.45 am, with an Audio Description performance at 1.00 pm.

The set appears simple. There is a black wall with a central window, approx. 1 metre high by 3 metres wide. There are three, black, roller blinds that rise and fall to reveal the various areas and scenes beyond the window. A precisely-positioned projector provides a selection of stunning scenery onto the ensemble.

       When 80-year old Mabel’s husband Arthur dies, she is left alone; and so the widow goes to the Animal Haven to choose a new companion – a scruffy, boisterous puppy. She shares his affection, and he sleeps on the bed with her.

     However, weeks later, on returning from the shops, it can be seen that Mabel is wearing odd shoes. It is obvious that Mabel is becoming senile, and sadly, even forgetting to feed her best friend.

       One day, whilst out shopping, Mabel becomes separated from her fluffy little friend. Alone in the world, what will the little Scots Terrier do? Will he find his way home?                  

(SPOILER for those with very young children – there is a happy ending).

This dialogue-free show is most likely to travel the world, and so to ensure that the simplicity of the story is retained for all nationalities, the creators have included the suggestions of an international – Danish – creative advisor, Søren Højgaard.

The puppeteers, dressed in black onesies and black hoods, provided the sound effects; however, it was Rachael Dease who composed the accompanying subtle music. The backing was often a single instrument, such as a guitar or vibraphone, with a mellifluous ethereal vocal accompaniment.

The main characters of the show are the dogs. They were designed and constructed by Chloe Flockart. Sadly, I have seen so-called puppet shows where characterless, stuffed toys have been bounced around in an attempt to bring a smile. In this production, Chloe and the creators have gone for mobile, active characters with personalities. When every nuance of the animal was exhibited, it was very easy for the children to forget that these puppets were not real, even the adults were completely absorbed. The show was accurately advertised as suitable for children over 7, although I took my 4 year old grandson and he was totally engrossed throughout, even during a darkish patch of the story, towards the end his stare never left the stage. Totally mesmerised.

The inventiveness of Anthony Watts’ sets and gadgets have amazed us in the past, but in this show, the scenery and props were truly exceptional. A television actor has to be extremely precise at ‘hitting their mark’, and this presentation was very similar. With tight lighting, a tiny set, moving backgrounds with which to interact, the stress put on the actors was huge. There could be no leeway for error. With a computerised soundtrack and visuals, there could be no second chances; every move precise and timed to perfection. The puppeteers had to get it right – or crumble.

This show was crammed with magic, and like any good magical act, the secret is in making the whole performance look simple and unspectacular. In one scene, to show the dog’s desolation and isolation, the scenic background expanded into ‘Cinemascope’ and the rain started.

Many of the effects required split-second timing, coupled with accurate puppet positioning – often within a couple of centimetres either way. For two puppeteers to maintain this accuracy for 55 minutes, whilst ‘acting’ and supplying meaningful ‘dog dialogue’ was gobsmacking! All of the usual human theatrical skills also had to be employed precisely and at their very best.

The scenery artwork had outstanding detail, with magnificent perspective. A moving aerial shot really was 3D. The dog convincingly scaled the heights and descended into a warren of tunnels, such was the meticulous artwork and puppetry. The technical / stage manager often gets an obligatory or polite mention in reviews, but I am sure that Liz Newell will have been almost as exhausted as the cast after each show. Brilliant.

Yes, there are heart-wrenching moments in this delightful tale, but be assured, you won’t find a softer wimp than myself when it comes to animals, and I still left with a smile on my face. So treat yourself to this year’s best COMPLETE production and catch this magnificent show.

This 45-minute play is part of the City of Perth Winter Arts Festival, and it is recommended for ages 15+.

This presentation can be seen in the main theatre, at the Blue Room, 53 James Street, Northbridge each evening at 7.00 pm, with performances until 25^th June.

Could Tina Turner’s disc of 1984, with the same name be the idea behind this play?

The scene is a bright, white laboratory and boardroom in a pharmaceutical factory. There is a long white Board table with white leather cubes for seats (designer Olivia Tartaglia). The numerous red rose petals seemed to represent love and truth. The plain set allowed the lighting designer (Scott McArdle) and the soundscape designer (Shaun Pickett) to cleverly add the various moods. The stage management is by Liz Newell

      An International Pharmaceutical Group are developing a complex pill – ‘The Remedy’ – that can cure a broken heart and remove any romantic stress or conscience. The company seems to be run by a Board of automatons, all in mindless tune but sure where they are heading.

     With so much money at stake, and increasing vocal opposition from well-known, global personalities, a Board meeting has been called. The CEO, board member three (Phoebe Sullivan) is a bully who will try anything to succeed.

    In charge of product promotion is smooth talking ‘number five’ (Tristan McInnes), but like the others he has been chosen to be the CEO’s ‘yes’ man. ‘Number one’ (Zoe Hollyoak) has great, but whacky ideas, ‘number two’ (Tristan Balz) is a lacklustre married man and ‘number four’ (Mariah O’Dea) a shy girl, looking for love and attention.

    A mixed team controlled by one omnipotent leader.

    When the CEO comes across a shy, gullible girl (Jacinta Larcombe) who is happy to act as the guinea pig for the drug trial, the drug’s success must surely be just around the corner.

Director, Rachael Woodward, has selected a skilled cast with proven credentials, who physically look different and then carefully matched the play’s personalities to their appearance. With some lateral thinking, the director has given the play a range of genres.

The cast members have created an interesting script, with numerous laugh-aloud moments. The actors have several characters each to portray, and without the need for a costume change, they capture familiar personalities with flare and energy.

This was a fast moving, fun-packed novel show. Professionally presented both by the actors and techs.

This fast moving, 75-minute show about confrontation, is in the main Blue Room Theatre, Perth Cultural Centre, James Street, Northbridge and runs nightly at 7.00 until 28^th May.

The opening scene is the sitting room of a comfortable flat, with coffee table and settee, all in cream / white. The walls are covered with numerous, small artworks.

The three units forming the walls are rotated, and we find ourselves in a down market, somewhat sleazy pub. A clever and innovative set from WAAPA trained, Tessa Darcey and stage managed by Georgia Smith.

Joe Lui’s powerful and dramatic soundscape is taken to a new level with the stunning; electro-soul music is by Fremantle’s ‘St. South’, the work of instrumentalist and haunting vocalist Olivia Gavranich. Olivia has also composed for TV dramas.

      Quiet and easy going Max (Peter Lane Townsend) and his warm, healthy living, girlfriend, Norah (Maja Liwszyc) are having a relaxing night at home when an old, childhood friend of Max’s arrives. She is Blythe (Emily Kennedy) tense, stroppy and begging for an argument. She has recently broken up with her long-term partner and is looking for support and guidance – but is unlikely to accept it.

     The scene changes to the local pub, where barmaid Blythe is cleaning up for the night, before setting off home. At the last minute, a middle-aged man, Dean (Benj D’Addario) comes in wanting a drink – and perhaps a bit of female company, unaware that Blythe is more interested in girls. Even so, Dean will play a major part in her future life.

The much-admired director, Emily McLean, has worked several times at the Blue Room and for the Black Swan State Theatre Company, always giving us a play to remember. She is a dedicated director, carefully considering every aspect of her productions. Emily has selected a very capable cast, from the highly experienced Benj to the relative newcomer, Peter.

Emily Kennedy gives an amazing performance, filled with emotion ranging from heartbreak to raging anger and guilt.

This is a cleverly written play, with the action taking place on several ‘levels’. The strong, well-focused performances gave justice to this excellent play. Highly recommended to those that appreciate quality.