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.

This 60-minute play runs nightly at 8.30 pm until 6^th June in the Blue Room Studio Theatre, 53 James Street, in Northbridge.

I don’t normally comment on the marketing of productions, but Jamie Breen’s promotional photograph is outstanding.

At first glances the set is simple, merely a rostrum with a couple of buckets of red desert dust sprinkled on top. Then the stars come out and the designer, Tessa Darcey along with lighting designer Emily Crane (operator Daley King), gives us an innovative treat.

The soundscape is beautifully subtle, with the hint of the desert wind, clever work by sound designer Mike Podmore.

         We find ourselves in a pub, just past the black stump. In the bar, celebrating his 18^th birthday is Cooper (Peter Lane Townsend), a bush born and bred lad with very little between his ears. In fact, for his birthday treat, his father is going to abandon him out bush to harden him up. Cooper is being served by Grace (Maja Liwszyc) who spends her time between customers reading legendary Aussie poetry. Grace is worried because five days earlier her brother went out bush and has not returned.

       At the other end of the bar stands city slicker, Jeremy (Tristan McInnes), an adventurous lover of nature, with no real idea how dangerous and oppressive the outback can be. He has come to central Australia to follow in the footsteps of the American poet, Jean-Louis ‘Jack’ Lebris de Kerouac – one of Bob Dylan’s idols and his major source of inspiration.

Director Warwick Doddrell has gathered a wonderful team that has created a tangible desert atmosphere. The audience could really feel the harsh desert sun, the arid atmosphere was palpable. The direction kept the pace moving along rapidly, as the story took us from one location and story thread to another. Each actor created a rich persona that the audience wanted to more about and really cared for. There were plenty of laughs and brief times of terror.

Symbolism was used most effectively on occasions such as in the bar, tending the desert creatures and climbing the local monolith.

A clever production that really captured the atmosphere of central Australia.

In previous years, the Upstart Theatre Company has given us memorable plays such as ‘Romeo and Juliet’ and ‘A Midsummer Night’s Dream’ as it was meant to be seen, raw and in the round, with the audience literally moving around. Here, the audience are seated for the whole show.

The set is simple, comprising various sized pine boxes. The lighting is almost ‘as available’, but this seemed perfectly acceptable. The costumes are dark blue vests for the lower class and soldiers, with white shirts and shorts for the nobility. There are no scene changes, the action simply moves from one area to another.

      The year is 1915. Singing ‘Once a jolly swagman’ a Venetian army of soldiers enter the auditorium.

      In a corner, an argument is taking place between the rich, but irresponsible, Roderigo (Ben Wilkinson) and Othello’s twenty-eight years old, standard-bearer, Iago (Patrick Downes). It appears that extremely jealous Roderigo is angry as he has given Iago money to arrange his engagement to the determined and self-possessed, Desdemona (Maja Liwszyc) but has not yet won her.

      Desdemona’s father, Brabanzio (Garreth Bradshaw), is a loud-mouthed and arrogant senator, who feels betrayed when he finds Othello (Maitland Schnaars), has secretly married his daughter and taken her to Cyprus. Army hero Othello, is a caring, well-respected man but because of his age and race (he is a Christian Moor – a black man), tends to be vulnerable and gullible. To make things worse, Othello has given the post of lieutenant to a fledgling soldier, handsome Michael Cassio (Geordie Crawley) and not Iago. Iago is furious so tells Brabanzio that Othello has actually kidnapped his daughter. Brabanzio is frantic and accuses Othello of witchcraft.

      When Brabanzio discovers that Othello is meeting the Duke of Venice (Tegan Mulvany), he decides to accuse and embarrass Othello in front of all the politicians. Surprisingly, when Othello explains how he really courted Desdemona the senate are very sympathetic. Desdemona confirms her love for Othello. Later, the Governor of Cyprus, Montano (Garreth Bradshaw) and several others go to the harbour to meet Othello. As they wait, Cassio clasps Desdemona’s hand. The cunning and conniving bigot, Iago, spots them. When Roderigo again challenges this heinous villain, he decides to implicate Cassio as being one of Desdemona’s lovers. On hearing this, poor Othello suffers tremendous mental anguish.

       That night, Cassio is slipped a Mickey Finn by Iago, and becomes extremely drunk before starting a fight with Roderigo. Cassio, who is subsequently stripped of his rank by Othello, stabs Montano. Iago convinces Cassio that by manipulating Desdemona, he will gain Othello’s favour; but in the soliloquy that follows, Iago explains how he intends to frame Cassio and Desdemona as lovers. Desdemona finds Othello feeling unwell. She offers him her handkerchief but lets it drop to the floor. Her maid, Iago’s wife, Emilia (Tegan Mulvany) picks up the handkerchief and gives it to Iago. This handkerchief, planted in Cassio’s room, is found by a Cyprian harlot, Bianca (Kat Shaw), who has Cassio as a much-loved ‘punter’.

      Desdemona arrives with Brabanzio’s kinsman, Lodovico (Chris Ratcliffe) who is carrying a letter calling Othello home and re-instating Cassio. Othello is shattered by the news.

    With Iago’s cunning and Othello’s depression, can there be any hope for the love and marriage of Othello and Desdemona? 

This is a fast moving play, presented by a company that always gives more than expected. The director is the well-respected Perth actor and comedian, Paul ‘Werzel’ Montague. The cast have captured the full depth of their characters, and with so much trickery, duplicity and passion this is essential. Although every actor was very good, Patrick Downes as Iago really proved to be outstanding – a truly nasty bit of stuff.

The director often had his actors performing straight to individual audience members, in Iago’s case, his shifty eyes really sent a shiver down the spine as he plotted his miserable schemes. Desdemona and Emilia had a wonderfully warm relationship that ended in genuine tears as their lovers cheated and lied.

Othello’s love for Desdemona could be seen in their eyes and the tragedy that ensued was tangible, as Iago’s lies became enacted. Plenty of action, packed with emotion – wonderful performances all around.

Powerful voices were often called for, but in the large open space of this theatre space, the odd reverberation distorted some lines of dialogue. This experienced cast soon learnt that good volume control gave a much better delivery.

There were a few laughs, songs to lighten the brutal tale. This is a play that is rarely performed, but even people that had no idea of the story thoroughly enjoyed the riveting performance. Most enjoyable.

This drama is a joint project between Creative Collaboration and the Fremantle Festival programme. It can be seen in The Victoria Hall, 179 High Street, Fremantle nightly until 30^th October. The eighty-minute performances are at the earlier time of 7.00 pm.

 The Victoria Hall is a listed building and so in the past the lighting rig and scenery was limited by having to take extra care to preserve the interior. The hall has now been fitted with a massive complex rig, suspended on a few chains it is capable of holding a large quantity of lights. The whole proscenium arch is filled with a projection screen, and then flooded with some stunning and dramatic photographs of the Pilbara (multimedia by Curtis Taylor and Tony Gajewski).

 The seating is tiered and on two adjoining sides. The stage acts as another wall. The performance takes place mainly on the hall floor, where there is a layer of the rich red soil from north WA covering it (set by Cherie Hewson).

     It is a couple of years ago in the north-west settlement of Violence. Violence is like any other town in the region, populated by no-hopers. Young, handsome Aboriginal Jake (Rubeun Yorkshire) is playing soccer with his friends whilst his fifteen-year-old sister, Jackie (Maja Liwszyc) is teaching herself to box. A misplaced kick and Jake is in trouble, he has broken a window with his football.

     Jake’s father spends his time shared between hitting family members and drinking. Jake is petrified; but his father catches him, beats him and then abuses Jackie for good measure.

     We jump forward to the present day. Jake’s parents have disappeared from the scene, and the kids do not know where. Sadly, Jake is now becoming more like his father. Jake’s main friend is a giant of a lad, Baloo (Amri Mrisho), one of the few people that seems to have any control over Jake.

     Jake enjoys the excesses of life mainly at the expense of poor, naive Michaela (Caitlin Jane ‘CJ’ Hampson), whom he treats a sex object. One day a couple of free spirits, nomads, blow into the town from the desert, they are Mercy (Della Rae Morrison) and Freeman (Maitland Schnaars).

     Can things change in this township? Or on the other hand, will standards continue to collapse?

Directed by Monica Main (a major figure in WA theatre) this simple storyline, that has been richly written and cleverly structured, weaves its magic between reality and ghosts. There is plenty of movement, tension and realistic violence as Monica brings the audience face-to-face with reality of some communities. The acting is powerful and convincing, a great cast working perfectly together.

As well as the drama, we are treated to short dance routines (choreography by Claudia Alessi) and singing. Coupled with the superb sound effects of sand storms (sound design by Max Porotto) and wonderful lighting.

Cherie Hewson’s costumes for the spirits were remarkable in their design and construction. The red dust brought alive the north-west situation, although stage manager Rebecca Garlett must have a terrible job cleaning up the dust thrown around in the fight sequences (fight choreography by Andy Fraser and Nastassja Kruger) and washing the costumes that were scarlet by the end of each performance.

A powerful play in an intimate setting, congratulations all concerned.

Class Act Theatre, WA’s leading company in presenting unusual and quality local works, are proudly presenting the premiere of this theatre adaptation at the Studio Theatre, Subiaco Arts Centre, 180 Hamersley Road, Subiaco. The 2-hour play commences nightly at 7.30 pm until 31^st May, when the run moves to the Mandurah Performing Arts Centre from the 4^th – 7^th June. It was in Mandurah that Louise won a number of prizes in the Mandurah / Murray Literary Competitions for her poetry, plays and prose.

The stage is surrounded by black drapes. There are numerous white picture frames at different levels around the periphery. There is a dining table and four chairs centre stage.

        A typical Australian family are just about to have their evening meal. The somewhat neurotic, domineering mother (Angelique Malcolm – Pascoe) is panicking over a simple ‘what to wear’ decision. Her daughters, Lizzie (Maja Liwszyc) and her younger sister (Keren Schlink) who is munching on a muesli bar, are seated at the table playing with their iPhones. They are waiting for their indifferent father (Maitland Schnaars), who seems to enjoy a little too much drink, to return from another ‘hard’ day at the office.

        We flash back six years, to when Lizzie was ten years old, see her happy carefree attitude and the wonderful relationship that she had with her family.

        Back to the present time, the father arrives home and the arguments start. The meal is served, but Lizzie does not show any interest in the dishes offered, and prefers to go out for a run. Lizzie fancies Ben (Nick Pages-Oliver), but he too has many personal problems and is depressed, and their feelings never really develop.

        Will Lizzie and Ben win their psychological and social battles? Indeed, will their parents win their battles too?

The topic of this play is very serious, but it has been delivered in a most acceptable way. It does not feel like a lecture or a medical presentation. The dialogue is filled with humour and is scripted skilfully to fit today’s teenage style of conversation. The symbolism of the ‘frames’ is meant to include not only the windows and doorframes, but is carried through to represent mirrors and iPads. The audience becomes aware of Lizzie’s changing body frame, and several more teenage problems are hinted at. The actors captured their characters well and skilfully demonstrated the family problems.

The lighting design, with one or two clever effects, was designed by Aaron Stirk.

The director, Helen Doig, and actor, Angelique Malcolm, were recognised in last year’s Actors’ Equity Awards list for their work in the profession.

This a play that parents and their teenagers should see. Well presented, with a genuine air of lives that sadly, can be seen too often in houses in Australia.