This play is based on the most famous of Carlo Goldoni’s works, ‘A Servant of Two Masters’, written in the 1740s. ‘One Man, Two Guvnors’ went on to win the Critics’ Circle Theatre Award in 2011, then Best New Play in the Evening Standard Awards also in 2011.

The Melville Theatre Company is presenting this hilarious, madcap two-hour play, and it can be seen nightly until Saturday 10th December, at the Melville Theatre, on the corner of Stock Road and Canning Highway in Melville.

The time is 1963, in Brighton on the south coast of England. The main scene is the sitting room of Charlie’s house, but with the movement of the odd flat, it was transformed into the dining room of the local hostelry. The set construction was led by Ross Bertinshaw, who was aided by Don Callison, along with Lars and Jacob Jensen. The whole cast ‘mucked in’ with the painting of the set.

There were several involved scene changes, but stage manager, Garry Davies assisted by Ross Bertinshaw and Jeff Hansen were quick and efficient. The lighting design could have been simple, but designer Lars Jensen had some nice extra touches. Vanessa Jensen operated the lighting and sound desks.

         Thanks to the skills of bent solicitor, Harry Dangle (Peter Neaves), cockney criminal, Charlie Clench (Kim Taylor) has been released from prison – yet again. Now his Jamaican minder, Lloyd (Amri Mrisho), is guarding him.

         In Charlie’s house, there is an engagement party. Charlie’s beautiful but brainless daughter, Pauline (Pip Tompson) was in love with Rosko, but he was discovered murdered by Stanley (Sean Bullock). So Pauline has found a new love, and is about to marry the solicitor’s son, the ham actor and drama queen, Alan Dangle (Lachlan Stewart).

         The doorbell rings and a rotund character, Francis Henshall (Chris Bedding) enters. He is Harry’s odd job man, whose appetite for food is insatiable. Francis spots Charlie’s secretary, Dolly (Victoria Dixon) and immediately there is a love bond. As the party progresses, the dead boyfriend, Rosko arrives – it is in fact his twin sister, Rachel (Sarah Christiner) dressed in Rosko’s suit.

       The group move by taxi, (driver Jeff Hansen) to a private room in the local pub. On the way, they encounter a nervous old lady (Michelle Sharp) and are chased by a policeman (Ross Bertinshaw). At the venue, smart waiter, Gareth (Warren McGrath) and his ancient, accident-prone assistant, Alfie (Don Callison), are serving cordon bleu food for the celebration. The barman (Garry Davies) tries to deal with the demand for drinks.

       Will love blossom? Will anyone ever get married?

The soft background music was arranged and played by Josiah Pad. The costumes, and there were a few unusual ones, were crafted by Michelle Sharp who was assisted by Barbara Lovell.

With Francis’s demand for food, Cally Zanik was kept busy with the preparation of multiple courses for the dining scene.

The play is refreshingly different. It is a blend of farce, slapstick, pantomime and is partly in the style of a series of plays (‘The Farndale Avenue Housing Estate‘) which I cannot stand. With the actors playing straight to the audience, and even becoming slightly involved with them, this was a new kind of humour.

Director, Vanessa Jensen was so lucky in getting Chris Bedding to play the part of Francis. Chris, who is a man of the cloth – no, he is not a window cleaner – specialises in impromptu comedy, where the comedians have to think rapidly as events unfold. He was magnificent in this play, and had all of the body actions. He carried the show. A good comedian often requires a good ‘feed’ man, and the rest of the cast all excelled with their lines and timing. Could Chris be nominated for next year’s Finleys?

There were numerous styles of dialogue for the very different interesting characters; for Pauline she was superb as the dumb daughter, and then there was Rachel who had to deliver a lengthy explanation, in medical terms, of her zygotic structure – hilarious. Poor Alfie must have to lie down for a few hours after every performance.

This show was one constant belly laugh from beginning to end.

The word went rapidly around as to how extremely funny this play is. Every house has been fully booked, and with the demand is still being there, I wish there was another week.

Simon grew up in a poor Jewish area of the Bronx. Growing up in a broken and violent home, Neil found refuge in cinemas, hence his interest in comedy. Simon began writing comedy scripts for Sid Caesar, Mel Brooks and Phil Silvers’ ‘Sergeant Bilko Show’. There followed plays and books, most with strong autobiographical background. In 1991, he won a Pulitzer Prize for Drama in 1991.

This Melville Theatre Company’s delightful production of ‘Barefoot in the Park’ can be seen at the Melville Theatre, on the corner of Stock Road and Canning Highway in Melville.

The hilarious 2 and a half hour performances are at 8.00 pm on Thursday, Friday and Saturday nights until 17^th September. There is one matinée, at 2.00 pm on Sunday 11^th.

It is an open stage. The single room acts as the sitting room, dining room, kitchen and storage area. The set constructors (Paul Bray, Trevor Dhu, Rex Gray, Lloyd Hamer) have done well as the script requires a short staircase, pot belly stove, a skylight and a rain effect. When the play begins the flat is empty. There are the pale green walls, a set of stepladders and piles of dust sheets.

In the brief interval at the end of scene 1, the apartment furniture and props had to be installed. Considering the number of items to be moved, three-piece suite, tables, screen and props, the stage team were most speedy and efficient. Well done stage manager, Paul Bray, and his assistants, Trevor Dhu and Erin Gray.

Aaron Smith’s lighting design took us through the various weather patterns and time of day. The lighting was smoothly operated by Vanessa Gudgeon, who also controlled the sound – with accurate sync on phones and light switches.

       After her 6-day honeymoon in a luxury hotel, the passionate, free-spirited new bride Corie (Georgina Hamer) is still filled with romance and so excited about starting a new life in their New York, tiny 5th-floor rundown apartment. There is no lift – just a never ending staircase. Her boring husband, solicitor Paul Bratter (John Gray) trusted Corie to take out the lease, and has yet to see the minute bedsit.

     The door buzzer goes; it is the telephone installation man. After a few minutes, this tall, heavy-set man, Harry Pepper (Paul Bray) staggers through the front door. Another victim of the 5 flights of stairs. He is soon followed by another wheezing delivery man (Trevor Dhu), with a wedding gift from a relative.

     The first telephone call comes from Corie’s widowed mother, Mrs. Ethel Banks (Sharon Menzies) who wishes to call around, see the flat and offer some ‘smotherly’ love. When the eccentric, randy neighbour, Victor Velasco (Rex Gray) who lives in the attic upstairs pops in, Corie thinks that perhaps he would be ideal for her lonely mother. However, the special meal for four turns out to be a nightmare for everyone. Adjusting to married life isn’t so easy!

Director, Trevor Dhu, has squeezed every ounce of humour from this play script. The cast had great chemistry. Georgina was excellent as the besotted, fawning wife, and John wonderful as the boring, straight-laced husband. Sharon was great as the mother-in-law that we all dread getting. Rex was at his best as a wonderful aging letch, who thinks that he is still the Casanova of his youth. The two amusing cameos, Paul and Trevor warmed the audience up on the cold night. There was very good pace, plenty of movement and slick delivery of the lines, and yet at times I found myself the only one laughing aloud. Dare I suggest the audience had a problem?

In the ecstasy of her marriage, Georgina performed a short ballet routine that was choreographed by Trevor and Georgina, both of who are professional dancers. This added an original and pleasant touch.

At 50, the play is slightly showing its age. There are a couple of comments that are now politically incorrect, but neither of these points detract from the story, and it has retained its humour well.

This was a full house, so don’t rely upon tickets at the door. Congrats to all.

This very funny, adult play has bawdy and strong language. It was revived in July 2008 at the Duke of York’s Theatre, and starred Chris O’Dowd, Catherine Tate and Francesca Annis.

This very entertaining production consists of three, half-hour plays (no interval) and is being presented by the Melville Theatre Company at the Melville Theatre, on the corner of Stock Road and Canning Highway in Melville. The performances start at 8.00 pm on Thursday, Friday and Saturday nights until 23^rd July. There is one matinée on Sunday 17^th July at 2.00 pm.

The scenery is a very effective, crisscross arrangement of white muslin hangings against a black drape background. Designer, Susan Lynch has then added minimal furniture, just enough to establish the location. Stage manager Victoria Dixon and assistant Roy Sainsbury had a wonderful team who moved in rapidly and changed a kitchen to a bedroom in just a few seconds.

Lars Jensen’s lighting design had the usual floods, but employed new strip LEDs at the foot of the hangings, this helped them change colour simply and successfully. Great effect, with well selected colours for the action in each Act. Lighting and sound smoothly operated by Vici Richardson.

Act 1 – an apartment near the London docks, Feb 1996.

       Disinterested schoolteacher, Nick (Sean Bullock) has invited his warm, loving girlfriend, Helen (Georgina Kling – a solid, emotional performance) back to his flat for the first time in their year long, unrequited relationship.

     Nick has prepared a delicious meal and is about to make his important announcement.

Act 2 – Graham’s bedroom, Essex May 1997

        Shy, school laboratory technician, virginal Graham (Zac Bennett-McPhee) has managed to lure sexy schoolmistress, Michelle (Petrina Harley – the ultimate slut) to his bedroom.

       Could this be the answer to all of his dreams and even marriage?

Act 3 – Anne’s patio in Devon, August 1998

        In her late middle age and now retired, Anne (Joy Northover) is serving drinks to a visitor; an ex-work colleague, youngish Robert (Garry Davies) has travelled from north east of London to see his secret cougar, Anne, and share with her gossip of their old work friends.

Three very different tales, one intense, one light-hearted and the last, plain deep affection are an impressive collection for an enjoyable evening’s entertainment. The characters are well written and skilfully interpreted – from deep love to pure lust.

Director Susan Lynch can always be relied upon to give the audience quality and value for money. This is the type of play that can be watched and enjoyed on a basic level, or by reading between the lines, a much richer story can be discovered.

It was well worth leaving the warmth of home, on the foul night I saw it.

Living in Chile as a cultural adviser to President Salvador Allende, he left the night before the Pinochet coup. He has been a university professor of literature in North Carolina, since 1985 and became an American citizen in 2004.

The Melville Theatre Company is performing this chilling drama – which Roman Polanski made into a film in 1994 – at the Melville Theatre, on the corner of Stock Road and Canning Highway, in Melville.

This two-hour play can be seen at 8.00 pm on Thursday, Friday and Saturday evenings until the 21^st May. There is also a Sunday matinee on 15^th May at 2.00 pm.

 ‘Death and the Maiden’, is a nick name for the classic chamber music (used in the play) about the terror and comfort of death, namely the ‘String Quartet No. 14 in D minor’, written by Franz Schubert 1824, when he was 27 years old – only three years before he died of tertiary syphilis.

      The Maiden: ‘Oh! leave me! Prithee, leave me! thou grisly man of bone! For life is sweet, is pleasant. Go! Leave me now alone! Go! Leave me now alone!’

      Death: ‘Give me thy hand, oh! maiden fair to see. For I’m a friend, hath ne’er distress’d thee. Take courage now, and very soon, within mine arms shalt softly rest thee!’

The scene is beach house, about 1980, in an unspecified post-dictatorship country (generally assumed to be Chile).

The stage has a third as the outside balcony festooned with Chinese lanterns, and facing the sea. The remainder is a bright white dining / sitting room, entered through patio doors. A bamboo curtain at the rear leads to the main bedroom, another curtain leads to the kitchen and spare room. The décor is international ethnic.

The scenery was designed and constructed by Jacob, Lars and Vanessa Jensen, and painted by Kit Leake and Barbara Lovell. The costumes were by Nicola Gredziuk. High quality, realistic soundscape by Lars and operator Sean Bullock.

       It is late evening, and Paulina Escobar (Kayti Murphy) is relaxing on the veranda listening to the waves crashing in the bay. As a car drives up the road to the isolated house, Paulina rushes into the sitting room and takes a gun from a drawer. To her relief, it is only her lawyer husband, Gerardo (Nick Kadmos).

      On his way home from a Cabinet Meeting, where he has been offered a major post, his car has had a puncture. He then found the spare tyre was also flat. Luckily a medic, Dr. Miranda (Alan Kennedy) was passing and helped Gerado get home.

       As Paulina’s husband talked to the doctor over a drink. With horror, Paulina couldn’t help thinking that she recognised the doctor from her days as an anatomy student in the university.

Director Lars Jensen has been most fortunate in getting three such superb actors. Alan Kennedy seems to be nominated for an award for almost every show in which he performs. It is only months since one of Kayti’s dramas won best production. Nick has only recently returned to Perth, but he too has a well proven track record.

The script is demanding, it needs a director that can handle the storyline with conviction and yet sensitivity, which Lars has achieved impeccably. The power, suspense and pure electricity that this team built up was amazing. There were passages of pure chill, along with someone torn between love and justice, and the GP simply helping a man in distress only to face danger.

The story leaves one in no doubt what happened in the dictatorship, but the story is more of a mystery than a history lesson. A powerful topic given first class treatment by Community Theatre’s best. Highly recommended.

Clemens developed timeless, TV classic series such as ‘The Avengers’ and ‘The Professionals’, he worked on ‘Bergerac’, ‘Danger Man’, ‘Adam Adamant’ and even ‘Perry Mason’. He was so prolific that he had to use a pseudonym, Tony O’Grady.

The Melville Theatre Company are presenting this cleverly written thriller at the Melville Theatre on the corner of Stock Road and Canning Highway, in Melville,

The curtain rises on this gripping, two hour play at 8.00 pm every Thursday, Friday and Saturday night until 5^th March. There is a Sunday matinee on 28^th February at 2.00 pm.

 The scene is an upmarket, rented holiday villa on one of the Spanish Islands. It is a wonderfully designed (Joan Scafe) and eye-catching set, with the typical Spanish white walls, quality furnishings and bright coloured accessories. The superior set was built by Peter Bloor and Ross Bertinshaw.

The Bio Box operator was Susan Lynch, who had several lighting changes and special effects (aided by Stage Manger Vanessa Jensen) to deal with. Visually a stunning set. 

     Whilst on holiday in Spain, Suzy (Kirstie Francis) – who has an abusive husband – sees a handsome man chatting up a bunch of holiday girls. A few months later whilst in Marbella, she sees the same man. On asking the locals, she finds that this chap, Larry (Max Maxville) is probably a professional safe-cracker on the run from the UK police.

     Kirstie decides to ask Larry back to her villa whilst her diamond dealing husband, Alex (Wayne Cant) is out on business. Larry thinks it yet another holiday romance, but glamourous Suzy has something quite different to propose.

 Joan Scafe is a well-respected director, often going for the quirky and challenging scripts. For this three-hander, she has chosen a magnificent cast. Kirstie and Max have proven their talents many times, but Joan has selected complete newcomer, Wayne Cant for a major part. Wayne hasn’t even swept a stage before, let alone having a huge, complex and challenging part, but all three actors have fully rewarded Joan’s faith in them. They gave a perfectly paced performance, and certainly built up the suspense and terror. Great acting with clear enunciation.

This really is one of those plays that ticks all of the boxes, from the set, teching, script, acting and direction. Pure quality.

The two-week season ran at The Melville Theatre on Stock Road until Saturday 5^th December.

The scene is a storage and audition area of the Melville Theatre. To the right, on the stage apron, is the office. Central, in front of the stage at auditorium level, is Justin Freind on keyboard.

Jeff Hansen and Ben Cooke’s lighting setup is operated by Susan Lynch.

        The theatre’s most amazing thespian ever – in his eyes – Charlie (Alan Kennedy) is ignoring the committee’s desire, to have a musical representing their three decades of performances. Charlie wants the high drama of Shakespeare and Greek tragedy. Wisely, the committee have hired party co-ordinator, Fredrick (Sean Bullock alternating with Garry Davies) to make their celebrations swing. This led to wonderful light-hearted banter.

       The show started with first of the nine musicals that have appeared in the hallowed hall over the past three decades. So, with a rousing chorus from the cast of ‘A Funny Thing Happened On The Way To The Forum’ the show had a great start. Then Stan Schirmer and Trinity Ellis tunefully reminded us of ‘Scrooge’.

      The two next shows were presented by the soft voice of Ellie Hart in ‘A Chorus Line’, followed by the powerful, operatic voice of Katherine Freind in ‘The Dancing Years’. Her husband, Justin Freind, then joined Katherine as they jitterbugged and Charlestoned to the ‘The Boyfriend’.

       The laugh of the night went to Neroli Burton as she represented the ‘Old Time Music Hall’, gradually replacing the musical ‘bars’ with alcoholic ones.

       Amy Gunnell, Trinity Ellis, Amelie Broadbent, Amy McCann, Erin Whitehead gave an inspiring chorus of ‘Fiddler on the Roof’. ‘Sunrise, Sunset’ followed, it was outstanding with a rendition from Michael Trestrail, Julia Hern, Alyssa Billington, Blake and Cooper Jenkins.

      A sensitive and poignant version of ‘Marilyn Munroe’ from the musical ‘Blood Brothers’ was sung by Julia Hern and Darren Peterson; and as the tissues were put away, Ellie Hart joined in for the next song.

       ‘The Sound of Music’ was the winner of the Finley Award in 1984 – here it gave a rousing ending to this fun show. Katherine Freind and Children’s Chorus gave it their all. It rounded up with little Cadence Smyth giving a beautiful finale. Matilda Jenkins soft-shoed along with the lively final chorus.

The standard of singing and choreography was very high. Even the youngsters could belt out their pieces without losing tune or stumbling. Pleased I caught this show and look forward to the next celebration in 2045.

Sadly, Nora recently died aged 71, of acute myeloid leukaemia.

This series of brief monologues is being presented by the Melville Theatre Company, at the Melville Theatre on the corner of Stock Highway and Canning Highway, Melville. This production can be seen at 8.00 pm on Thursday, Friday and Saturday evenings until 19^th September. There is one matinee at 2.00 pm on Sunday 13^th September.

The attractive set, comprised four, open, wardrobe units, with colourful hatboxes on a shelf above. The garments hanging on the racks were in groups of mauve, red, green and burgundy (décor by Barbara Lovell, Kit Leake). At the side of the stage apron, was an office set – thanks to Peter Bloor, Ross Bertinshaw, Susan Lynch, Jacob, Lars and Vanessa Jensen.

The lighting and sound (Lars Jensen) were well designed and operated, with some clever touches to create the correct mood. At one point the luminescence even matched the script dialogue – electric blue.

       The narrator, Gingy (Joy Northover) sits at the side of the stage with an easel of beautiful artistically drawn fashion cards (superb, but no credit in programme) that remind her of her lifetime of outfits. Some getups bring warm memories, whilst others make her cringe. The garments recall three marriages, along with various tragedies. Her lifespan of clothes begins with a Brownies uniform and extends through many eras of her life.

     With four women (Cassandra Gorman, Petrina Harley, Sue Lynch and Kayti Murphy) dressed in black, playing numerous characters, we hear of parents’ inability to choose trendy clothes – preferring ‘sensible’, the first bra, to the little black number for the school ball.

     Then there are the magical materials of the day, healthy woollen outfits knitted by Grandma, sugared cotton dresses through to Spandex. Then there are those beautiful leather boots, and the matching accessories.

      We learn how many lovers lost to the wrong choice of clothing.

Vanessa Jensen is one of Perth’s most respected directors, so not surprisingly the direction of this show was slick and beautifully paced. When friends are relating an event, there is always one who can really keep you open-eyed and anticipating the next part of the story; Vanessa has her whole cast doing this. The actors’ faces and bodies illuminated their deepest inner thoughts. In short, two or 3-minute episodes for dozens of topics are examined in this lifetime capsule of clothing; most episodes have the audience laughing aloud.

At first glances, this looks like a ‘chick play’, and certainly, the ladies in the audience in their own daily lives, will have experienced most of the observations. However, the men were laughing just as much, as they saw their partners portrayed on the stage.

The style of this show reminded me of ‘The Vagina Monologues’, but on a much lighter level.

When the whole audience leaves the theatre with a broad smile, then you know the show is a hit.

Great fun, from a strong cast working perfectly as a team.

Shaffer was born in Liverpool in the mid-1920s; despite being Jewish, he went to school at St Paul’s School in London. To replace the miners who had gone to war, Shaffer was conscripted into the coalmines by the Minister of Labour, Ernest Bevan – a Bevan Boy. After the war, he went to live in New York where he started writing. He returned to the UK and became a professor at Oxford, and was then knighted in 2001.

The Melville Theatre Company is presenting this bold and emotive play at the Melville Theatre, on the corner of Stock Highway and Canning Highway in Melville. The two and a quarter hour play has ‘curtain up’ at 8.00 pm on Thursday, Friday and Saturday nights until 23^rd May, with a 2.00 pm matinee Sunday 17^th May.

The scene is 1970 Winchester, in the south of England. The open stage shows a magnificent stable with wooden plank walls, and a central horse stall. The roof of the stable is made of 10 cms wood strips with equal spaces between, giving the effect of a complete ceiling but allowing dappled light to flow through. The Jensen family, Jay Shaw, Sean and John Bullock, Jeff Hansen, Peter Bloor, Ross Bertinshaw, Alan Kennedy, and Darren Goodison, constructed this realistic set.

The horses’ heads hang on the wall. Wooden benches are all around the stable, allowing it to become a hospital waiting room and cinema; the cast are seated on these benches throughout the whole production. At the side of the stage, on the apron, to the left is a hospital wardroom, to the right Dr Dysart’s well-furnished consulting room.

Nicola Gredzuik’s horses’ heads are stunning, and even seem to have a personality. Nicola has constructed them using her immense knowledge of millinery. She also chose the costumes of the era, wonderful flared trousers and pleated skirts.

        Martin Dysart (Alan Kennedy) is a weary and lonely hospital psychiatrist, who has become bored dealing with hopeless cases that have no desire to be helped. He is counting the days until he retires and can go to Greece to research the Hellenic history. Dysart begins with a monologue outlining the case of 17-year-old Alan Strang (Oliver Kaiser), and how in doing horrendous deeds, the youth found release from the monotony of his work. We then flash back a year or two.

       Hesther Saloman (Jay Shaw) is the local Magistrate, given the ominous job of dealing with an attack on six horses. She calls at the hospital to see her old psychiatrist friend, Dr Dysart, to have him interview the strange boy who carried out the act.

       The nurse (Sean Bullock) leads the withdrawn and silent boy to Dysart’s consulting room. In the beginning, Alan’s only response to the psychiatrist’s questions was to sing TV jingles and give a cold stare. As a result of this disturbing consultation, that night Dysart had a gruesome dream.

      Next day, when Alan’s parents arrive at the hospital, Dysart hopes to find clarity, only to discover that Strang’s Bible-thumping mother, Dora Strang (Lauren Henderson), is a trained teacher who reads the good book to Alan daily. His father, Frank (Cary Hudson), who is a local printer, is so irritated by the mother that he so preaches atheism to his son.

       Dysart guesses that truthfulness is probably the best approach for this confused youth. He then learns from the young man, how the oppressive father has unknowingly created links between anger, violence and religion in his son’s mind.

       Whilst working in an electrical shop, Alan serves Jill Mason (Elouise Eftos), a young woman that seems to have everything he has not – freedom, vivacity and happiness. When she asks to buy horse clippers, Alan tells her of his equine interest and so she suggests that he applies for a groom’s job at Harry Dalton’s stables where she works. Having no real friends, Alan begins to show a sexual attraction to the horses with their sweaty, muscular bodies. One horse in particular, Nugget (Michael Fagan) which Alan calls ‘Equus’, is his equine God that he rides in his fantasies to kill his enemies.

        Later, when Dr Dysart meets the stable owner (Darren Goodison), he is told that Alan was a great worker who kept the stables immaculate.

       During a consultation, Dysart discovers that Jill had asked Alan to take her to see a porno film at the local cinema, and this is when most of the troubles began.

Rhonda Beresford, Nicola Gredzuik, Kate Hitchins, Helen Jackson and Abbey McCaughan played the horses and ensemble. With their enactment, they brought genuine horror with the attack scene and a broad smile with the cinema snippet.

Lars Jensen is a brave man to tackle such a controversial play, but this he does with aplomb. I have seen the film and two other stage versions of this play, and in all cases, a great deal of emphasis has gone into the grandeur of the production, and promoting the nude scenes.

Lars has given this production the ‘common’ touch, both to the characters in the play and the stable set, most authentic – not the spectacular sets seen elsewhere. You can readily connect to each and every character. Even though Alan is weird, the direction is so sensitive and Oliver’s acting so outstanding, that the storyline is extremely easy to follow. The parents are peculiar, but you can certainly feel for the family’s plight. The doctor / patient relationship is powerful and tangible, congrats also go to Alan Kennedy.

In this production, gone are the two famous nude scenes. Alan rides Nugget fully clothed, but with Lars’ wonderful direction, coupled with his superb lighting and sound effects the audience are left in no doubt as to the erotic relationship between horse and rider. Then the shocking love scene; now the couple are wearing underwear, but once again the atmosphere is electric, with the overall effect being one of exhilaration.

Even without any nudity, this is definitely an adult play. Beautifully acted and presented. A powerful and admirable production, a treat for those who enjoy a quality, award-winning script. Highly recommended – drama at its very best.

The two-hour performances run nightly, for one week only, until 7^th March. Curtain up at 8.00 pm. There are matinees on Sunday afternoon 1^st and 8^th March at 2.00 pm.

Excellent Bio Box operation by Sue Lynch.

‘An Unwritten Page’ is a glance at one man’s hopes and dreams, by local playwright, Angela Pritchard. Val Henry caringly directed this 25-minute well-structured play.

      Ben (Kit Leake), disabled and in a wheelchair is about to celebrate his 40^th birthday. Two very different friends (Cathy Parr, Patrick Harvey) arrive to bring him happiness and fond memories, and help him through this ‘traumatic’ mid-life birthday.

The novel premise of the play is unusual and well presented. The dialogue did not flow too well, whether it was the actual writing – it was a complex and clever topic to tackle – or the variable performances I am not too sure. However, the play was a great idea and good fun.

‘That’s What Friends Are For’ is a romantic comedy by prolific writer, Bob Charteris – from north of the river! He may be inexhaustibly fertile in his plays, but you can always be assured of a novel storyline, a twist and with ample dry humour added.

     Helen (Judy Davies-Moore) is mentally alert, but terminally ill. One of her few visitors is her best friend, Irene (Di Ryman), a lass she has known most of her life.

    Her husband of many years is the loving and caring, Tom (Willy Smeets), who tries hard but is a boring, semi-capable cook. Helen’s biggest worry is what will happen to Tom if she passes away.

The play is well directed by the playwright, Bob Charteris. There is strong chemistry between the very capable actors, and you can sense the emotions. Fascinating and enjoyable.

‘Under The Bright Sun’ is by playwright, Norm Foster – Canada’s most popular writer of light dramas.

      Oddball, Ernst (Cameron Leese) thinks he is God’s gift to women, and is standing at the bus stop outside his house watching the talent walk by. A smartly dressed businessman, Jake (Max Maxville) arrives. Jake is waiting for his wife, Joanne (Kirstie Francis) because they have an important meeting arranged.

      When nervous Violet (Cassandra Gorman) reaches the bus stop, it becomes apparent that each person seems to have a mental block regarding even their immediate past.

This is an extremely funny play, totally new in concept. The conversation could be confusing, but with the well-structured dialogue and the outstanding direction by Jay Shaw, the whole play brought laughs from beginning to end.

With a fairly inexperienced cast, skilfully depicting very different characters, the director was taking a risk; but they bonded superbly and gave very fresh and hilarious performances all-round. A tricky play to present, direct, and act, but this team were wonderful.

A good fun night out, highly recommended.

The two-hour performances of this extremely funny comedy (not a farce) can be seen at the Melville Theatre, on the corner of Stock Road and Canning Highway, Melville nightly on Thursday, Friday and Saturday until 6^th December. There is one matinee; it is on Sunday 30^th November at 2.00 pm.

The scene is the present day, in the Thursby’s sitting room. The set is a sumptuous room with French windows (designer Joan Scafe, built by Peter Bloor and Ross Bertinshaw).

The walls are ice green, the furniture a white three-piece suite, with antique oak table and mirrors. In the centre of the room is a casket and wreaths on a trestle.

     The highly popular TV comedian, Dave Thursby, has died and his friends are gathering in his house for his funeral. The first to arrive is Dave’s scriptwriter and best friend, curmudgeon Harvey (Peter Bloor) who has kept him top of the ratings for a decade. With Harvey is his long-suffering wife, Vi (Sharon Menzies) who is trying to get her squeamish husband to look into the open coffin and pay his last respects to Dave.

       Harvey whispers to Vi that only a day or two earlier, Dave had confided in him, admitting to a rather delicate subject that could blow their careers to pieces.
       One of the TV executives, Kevin (Andrew O’Connell) and his production secretary, wife, Jane (Tatiana Dalin) have helped Dave’s leggy wife, Laura (Jennifer McGrath) arrange the private funeral – for close friends and relatives only. Just before the service begins, a rather tarty looking woman, who no one seems to recognise, appears at the house, she is Kay (Andrea Von Bertouch).

The Melville Theatre is renowned for its quality drama productions, but recently they do not have many comedies under their belt. I was therefore a little dubious as to how good this production would be, as Chappell’s comedy is a specialised genre and takes particularly good comedic actors to carry out the dry humour.

The highly experienced director, Joan Scafe, has chosen a wonderful cast and led them skilfully through all of the twists and turns. The teamwork was magnificent and every joke delivered with subtlety. This must have been one of Peter Bloor’s best performances.

The lighting design and set painting was by courtesy of the Jensen Clan, with sound and lighting operated by Sue Lynch.

Plenty of surprises and fresh humour in this family comedy. Very well acted and certainly worth seeing.