It is 1982 in the London apartment of Max and Charlotte. The set is well constructed and perfectly furnished. As the play progresses, two major scenery flats forming the rear wall swing back to allow the scene to be converted to another venue and other era. This was quite an undertaking for the substantial stage crew, but the stage management (Bronwyn Hammond – assisted by Neale Paterson) had the moves very well planned, and the designer really did ‘change’ the location.

        The curtains open to show Max (Neil Cartmell) anxiously awaiting the return of his actress wife, Charlotte (Maree Grayden) from an overseas business trip. When she does arrive home, an argument ensues. When the next scene opens, Charlotte is now married to a scriptwriter, Henry (originally played by Ewan McGregor, but he couldn’t come, so they got Peter Clark), and as they are preparing the evening meal, the doorbell rings and in walks Max with his ‘new’ actress wife, Annie (Bethwyn Legg). It becomes obvious that Max and Charlotte in the first scene were actually an invention of the playwright, Henry; with the characters actually based on Henry and Charlotte’s friends.

       Charlotte complains that the women in Henry’s scripts are written as bimbos, in order for Henry to express his misogynistic feelings through his affable character ‘Max’. However, it is probably the fact that Charlotte sees Henry’s cast member, Annie, as the person she used to be.

        Henry starts writing scripts for television, and in one ghost written episode, Annie announces to Henry that she is visiting Brodie (Alex Ripper), a rebel in her play; but could this actually be an invitation for some hanky panky? On the train north, Annie regularly meets Billy (Patrick Barton), another actor half her age – a further opportunity for Henry to use his imagination and writing skills.

       Henry is happy creating these immoral characters, but the lifestyle of his real-life, young daughter Debbie (Melissa Kiiveri) and her attitude to monogamy is a major worry to him. Soon Henry is ‘living out’ his creations, just as Stoppard did in his life, with his alimony and affairs.

This is a very tricky play to direct, as the actors glide seamlessly between fantasy and reality, however, with an experienced director like Barry Park it works well, clearly showing the fun and sense of abandonment equally well. Stoppard’s plays are often absurdist, but this story is filled with the lives of real people that we will all know in the theatre, their honesty, dedication and loyalty.

The lighting (Fiona Reid) and sound effects (Guido Nigro) were both well-conceived, and smoothly operated. Jennifer Prosser’s costumes were as always well designed and gave an instant recognition of the actor’s personality.

If ever an accent is called for, but an actor cannot manage it comfortably, and after some intonation training it is still no better, then it is wise to look at the actor’s part and decide if the brogue is really necessary. If not, then drop the twang altogether. A poor accent can at the least be most distracting, and at worst spoil a faultless play. Sadly, one accent was possibly the worst I have heard in some time; please, just play it straight. This is no reflection upon the actual acting, which like all of the others in this experienced cast, was well above average.

This is very well directed and produced play. It is a tricky play that only a talented cast – like this – could achieve; any less gifted and the whole play would have fallen over in an incomprehensible heap.

Once again, another full house, for a famous play, by a skilled troupe. Congratulations.

This GRADS production, under the eye of producer Arnold Wong, is two and a half hours of traditional fun. It begins at 7.30 pm at the Playlover’s theatre in Hackett Hall, Draper Street, Floreat; the season runs until December 20^th.

Stephen Lee and Jonathan Beckett designed the sets, which are brightly painted in primary colours. The street scene has a couple of shops, one of which is Widow Twankey’s laundry. Then there is the treasure cave scene that produces the magical and opulent effect required. Finally, the Royal Palace has balcony and several pedestals with Ming vases sitting on top. Again this set is quite sumptuous, with good artwork by Jenia Gladziejewski.

          China Town’s laundry owner, Widow Twankey (Jarrod Buttery alternating with Barry Park) lives with her two sons, the handsome and talented Aladdin (Melissa Kiiveri) and her waste-of-space son, Wishee Washee (James Parker). Aladdin’s long lost uncle is Abanazar, the Evil Wizard (Grant Malcolm), who has re-appeared after many years, kindly offering to exchange old oil lamps for new.

        Nearby, live the sadistic, cold-hearted Empress of China (Kerri Hilton) and her beautiful daughter, Princess Balroubadour (Grace Edwards). A sexually frustrated cougar, So Shi (Lis Hoffman), attends The Princess. The Empress’s head adviser is the wise, Grand Vizier (Jonathan Beckett), but the Empress rarely listens to his advice.

        Peking has two law officers, the strict policeman Ping (Judd Millner) and the easy going, Pong (Jennifer van den Hoek), neither of whom seems to do their job particularly well.

        It become clear that whoever owns the magic ancient lamp also gets the Genie of Lamp (Kate O’Sullivan), a beautiful servant that will carry out the owner’s every command.

Every pantomime should open with a high-quality, lively number and musical director, David Harries, ensured this. The opening sequence included plenty of good, well-synchronised choreography (Seanne Sparrow) from the village children. Although aged from about 5 to 10, they all seemed to have great stage presence. They smiled, performed acrobatics and yet never lost a beat with their singing. Often in pantos, there is the odd little stage-struck youngster who just lives on another level, but here the whole team were focused, and performed beautifully. (The town’s inhabitants were Naomi and Rebekah Andrews, Julia and Mercy Anthony, Andre and Marie Beidatsch, Eliza, Felix and Sharon Malcolm, George O’Doherty and David Raeburn – with a special appearance by the stage manager Glynis Best).

Various primary schools appeared in each show, these included St Norbet, MLC, Darlington, Sawyers Valley and West Byford. By having a different school each night, meant that the children do not tire too easily and that all of their relatives guaranteed a full audience every evening.

Wendy Lui’s Chung Wah Dance Group brought an authentic Chinese act to the show by performing a complex ribbon dance. Very impressive.

John Woolrych’s exceptional lighting design was operated slickly by Cedric Beidatsch. The sound called for several split second cues and numerous sound effects, all co-ordinated perfectly by Richard Kalukal.

There are several points that should appear in all of the traditional pantomimes and renowned British Director, Stephen Lee, ably assisted by Sarah Courtis, conquered them all. The leading ‘boy’ slapping his thigh and swaggering (well done Mel K), a colourful simple minded Dame (Jarrod nailed it on the night I saw the show), an evil person for us all to hate and boo – but who can work the audience up into a frenzy with their nastiness (Grant Malcolm captured the part perfectly), and some fine singing from Mel K, Kate O’Sullivan and Grace Edwards. Kate showed how lithe she was, by performing a wonderful piece of Genie magic, mysteriously appearing from a box on a table. Kerri Hilton’s portrayal of the Empress was wonderfully pan faced and creepy as she carried out her wicked deeds, inviting even more boos and hisses.

The musical background had many catchy tunes, even a sing-along in Cantonese!! There was the usual collection of Christmas cracker quality jokes, but the audience love to groan and shout back. Stephen’s script linked the Chinese life to the present day audience with numerous references to the ‘lousy script’, and ‘what do you expect for $25?’

A very strong cast, who all gave the audience what they came to see, fun, frolics, audience verbal participation and a smile to go home with. A fast paced, well-rehearsed performance, well above standard. A great show.