The unmissable 70-minute, sexy cabaret performances will blow your mind and leave you in a puddle of perspiration. Some girls practise burlesque to give them more confidence with their body. Others may want to improve their sex drive and sensuality – perhaps even be better in the bedroom – or they simply enjoy the wild costumes and fun exercise.

Scarlet Bell was started by a group of Murdoch theatre students who as well as the aforementioned, want to expand their theatrical skills. The show is kinky and sexy, but not embarrassing, stopping just short of nudity. Once Burlesque was a pretty basque or a simple fan dance, this talented troupe gives their audience much more.

This lusty show can be seen at Studio 411, Murdoch University South Street, Murdoch, each evening at 8.30 until Saturday 4^th February.

The walls and floor are matte black, but the vibrant lighting (operator – Nick Morant) and the booming, arousing music (operator – Kiah van Vlijmen ) had the temperature rising rapidly. The stage manager (Launcelot Ronzan) kept the show’s pace flowing smoothly.

     With a riding crop in her hand, Dollar Dazzler strutted up to the audience, before doing a quick survey as to how ’educated’ they were. It was amazing how many of the audience were at Burlesque for the first time; admittedly some could have been grandparents, there to see their treasured offspring.

     Dollar’s beautiful assistant, Ivy, demonstrated how the cast would be shaking their boobs and oscillating their butts – but most importantly, how loud we were expected to cheer and encourage the performers.

     The thing about Burlesque is that it covers all ages, heights, body shapes and dress sizes; the larger ladies were often the best strutters. The performers were well rehearsed and the choreography slick. They smiled boldly as their attire floated to the floor. There was even a Mr Scarlett, a whip wielding dominator, who had a penchant for cutting off the ladies’ clothes.

     With a dozen artistes, all immaculately undressed, the diaphanous garments fell, the feather fans skilfully fluttered and the pasties popped. There numerous routines, all very different; with a little bondage, a great deal of flesh stroking, the temperature in the room soon rose rapidly.

     The dancers’ exotic names included Alice D’ Wilde, Belle Bliss, Campanillo en Fuego, Clara Devine, Elle Entice, Foxxxy Curves, La Bananae Split, Mystical Belle, Opal D’Sire, Smoky Wilshore, Trixie La Rose. Whatever your fetish, they satisfied.

With any kind of nudity or risqué performance it is important that the performers show no sign of embarrassment, even if they are palpitating inside that corset. This troupe was superb, giving us a wonderful set of fun-filled routines, with courage and a warm smile.

For the older men in the audience, don’t forget your asthma puffers and blood pressure tablets.

Great fun.

This 14-minute presentation was a special (private) premiere screening of this Apex Blue film at Studio 411 within Murdoch University on Thursday 15^th December. There were two screenings, one at 5.30 the second at 7.00 pm.

       The scene is the present day in an English-speaking country, one that has enjoyed freedom and happiness for centuries. Now the regime has taken over, and even people’s simple rights have vanished overnight. Any enjoyment or education of women must suffer the consequences.

     A young teacher, Mellori (as a child – Charlize Rebelo, adult – Dailin Manning) has dedicated herself to advancing the lives of street children. When a representative of the corrupt authorities (Paul Davey) calls at the mother’s (Charlotte Matilda-Weber) house, and then the local school. They must take away her students (Ava Gillies, Dailin Manning, Noah D’annunzio, Lilas Areias Da Mata) to be trained for their military.

     The soldiers are heartless and Mellori finds herself helpless, thank goodness, she has her brother (youngster – Rohan Eshraghi, as an adult – Anthony Smith) for support, who has just walked back into her life after 10 years, but he seems to have changed.

The film’s music comprised of the ‘Raven Lullaby’ that was composed by Scott Majidi, and performed by Dailin Manning; along with the ‘Project Phoenix’  played by the Secession was used in the trailer. The resultant background music was perfect for the speed and action of each scene.

The photography angles, frame composition and depth of field were carefully used to excellent effect. The video was skilfully edited – I only saw one ‘mistake’ – with just the right length of shots to build up the suspense.

Other techniques such as using monochrome and solarisation added to the disturbing situation. The director, Scott Majidi, can be proud of his storyline, quality of shooting and all the support from his actors and crew. Short in length but he still managed to create real empathy. An admirable amateur WA film.

Hand in Hand Theatre is proud to present its 75-minute, debut show in Studio 411 at Murdoch University, Murdoch each evening at 7.30 until Saturday 3^rd September.

The stage has a mass of greenery at each side representing the Aussie Bush. Against the back wall is a run-down forest cabin, with a set of steps leading down from the veranda. Justin Crossley’s set was built and painted by Claire Mosel, Nashy MZ, Amber Jantjies and Hannah Anderson.

The stage manager, Nasyhithah Zaini, had her team well organised. At the beginning of the play, there are several short scenes and cameos, so it was imperative to keep the pace up with quick scene changes. There were occasions where, for example, a stage assistant (Alex McVey – amongst others) would briskly walk on, hand a bunch of flowers to an actor, pick up a chair and exit without any hesitation; this style worked extremely well. Congrats.

The lighting rig is limited, but Amanda Ferguson managed to capture the night scene beautifully. The atmosphere was further enhanced by Aiden Willoughby’s soft musical compositions and Corina Brown’s clever and subtle use of sound effects – so many operators get the volume far too high.

Bobby Cooper, Ellie Hopwood and Cody Lam. designed the makeup and costumes that covered skank to garage owner.

       16-year-old Connor (Bradley Clarke) has decided that his parents are not the shining examples that he has admired for years, but actually narrow-minded dags. He finds his caring mother (Grace Pusey) smothering.

       One day on his way to school, he tells the bus driver (Hock Edwards) exactly what he thinks of him and his work as a mere public servant. Later, when Connor meets his best friend Timo (Kieran Renouf), his young hormones create yet another crisis. Even his beautiful, concerned classmate, Seannah (Hannah Anderson) seems to bring out the worst in Connor.

       At their wits end, Connor’s parents take him into a forest and, in boot camp style, leave him to fend for himself – this is where bolshie Lotte (Karen Hansord) finds him.

 Director, Justin Crossley and his production manager, Claire Mosel, have gathered a very good cast. Some performers are experienced and others getting their first big chance on stage. Not only has Justin managed to understand the complex and deep emotions involved – buckets of anger, self-doubt and repressed love – but he has also managed to pass these feelings on to his actors, and have them present them subtly.

This is a beautifully written and structured play that could so easily have been ruined by overacting; Justin’s approach was spot on.

Connor is a youth that we have either been, or know well. This play lets young students know that they are not alone, they are loved and there is hope.

A strong first production for ‘Hand in Hand Theatre’.

She is also a member of Ensemble Studio Theater’s Youngblood, a group of emerging playwrights under the age of 30.

This 80-minute (no interval), Black Martini Theatre’s production can be seen for a sensible ticket price, in Murdoch University’s Studio 411, opposite car park 4 in Murdoch University, South Street, Murdoch. The curtain rises at 7.00 pm each evening, until Saturday 11^th June.

Thomas Dimmick’s lounge room set design was representational of the New England 18^th century wood panelled rooms. There was a patio window with a rod curtain. In the corner was a toy box. Central stage was an Axminster runner carpet with several beautiful antique chairs.

Stage manager Rebecca Dilley, assisted by Sean Wcislo had one of the best stage teams I have seen in months. Even with major pieces of furniture, each member was totally focused and moved onto the stage, placed or removed the props and left, with no scene change taking more than 3 or 4 seconds. Superb work.

       Mrs March, Marmee (Maddy Jolly Fuentes) has gathered her four daughters in the sitting room. She tells them how their father had been wounded in the Civil War, and that she must go to his side. The girls’ faces showed their devastation at the news, however, when their mother left the room the mood changed.

      Happy but sickly Beth (Virginia Cole) coughs into her handkerchief and sets off to see elderly Mr Lawrence (Michael Casas) in an attempt to borrow money to pay for her mother’s trip.  Uncaring and self-centred, thirteen year old Amy (Claire Tebbutt) immediately complains about the economies that will be required to pay for the mother’s ticket. Meg (Cat Perez) starts to fantasise about meeting a man, because in their remote home she has never even met one.

      Meg decides that they should put on a play to cheer themselves up. Bolshie and politically inclined Jo (Shannen Precious), being the most verbose and snide, is insistent on playing the male part. Then like a gift from God, handsome, alluring Laurie (Hock Edwards) appears, Meg is excited, could this be her big chance? Unfortunately, Laurie sets off to travel the world. The family receive a visit from John, sorry, ‘call me Mr Brooke’ (Matthew Abercromby) – Meg is happy again.

     When the dashing German Professor Bhaer (Will Moriarty) arrives, Jo shuns his attentions. Will she never marry?

 

As you may gather, this play is NOT a version of Louisa May’s Civil War novel, ‘Little Women’, it is more of an anti-play. It mocks the mellifluous overtones of the original, being full of dry, sarcastic and disrespectful humour, in a superbly written, acerbic script.

Director, Jessica Serio, has presented a first-class comedy, by selecting a magnificent cast who fully understand the subtleties of the author’s writing. Jess has staged the play as though it were a BBC tv series, complete with fine costumes (costume design – Anna Weir) and clever lighting (design – Kiah Van Vlijmen). The choice of background music and sound effects by designer Tijana Šimić are perfect.

The cast enunciate and deliver their lines as would be expected for the original, but the brazen attitude of the daughters, and their outlook on life, is very much contemporary. The sisters can be real bitches to each other. The understated, almost throw away delivery coupled with a perfect pace, added greatly to the zany situation.

This is one of the funniest plays in months that works particularly well because of the skilled team presenting it.

This 30-minute show is brief, but oozes quality. It is the first production of the year for the Black Martini Theatre, with tickets at the bargain price of $10. The show has its ‘curtain up’ at 7.00 pm on Thursday, Friday and Saturday night until 2^nd April in Studio 411 (the old rehearsal studio), near car park 4 in Murdoch University, Murdoch.

Designer, Nick Morant’s set is of a street café in Paris. The cream walls have a fleur-de-lis design, and paintings of Parisian scenes. There are two white, cast iron tables with matching chairs.

The bright, French costumes were by Ash Spring. The simple but effective lighting was designed by Shannen Precious, with the music and sound effects by Ryan Partridge. Stage Manager was Meagan Dux, assisted by Claire Tebbutt.

       The narrator (Hock Edwards) is a complex character, a blend of self-importance and the lack of feeling for other’s emotions. Sitting at a café table drinking a coffee, the narrator tells of how an American, Olston (Launcelot Ronzan) is here in Paris from Boise, Idaho on business; but he is cheating on his wife. His new love is Chastity (Tijana Simić), a beautiful woman who is totally in love with Olston, but is very aware of the instability of their relationship.

     As the couple talk passionately to each other, they are served by an efficient waiter (Tay Broadley). The narrator divulges to us that the waiter is an ex-lover of Chastity; as he does, Chastity becomes aware that this strange man, sitting on the table adjacent to theirs, is actually talking about Olston and herself.

     Olston challenges the narrator, but the result is a surprise to the couple.

Director, Luke Gratton, has perfectly captured the required genre. It is a very dry play, acted straight but tongue firmly in cheek. The story has a very funny undercurrent, ensuring plenty of smiles and belly laughs. The cast are perfectly tuned in, milking every situation. Even when the situation becomes ‘riotous’, the couple never flinch.

A very funny show, presented perfectly.