The show ran on Broadway for 1597 performances over 4 years.

This updated version has had extra dialogue added by Michael Meyer, with the lyrics modified by Andrew Lippa.

The Murdoch Theatre Company actors, in their last show for the year, bring you this two-hour upbeat sparkling, light-hearted spectacular. There are three performances; for the Thursday and Friday night shows, the curtain rises at 7.00 pm, and on Saturday 3^rd December at the earlier time of 5.30 pm.

The scene is Charlie’s schoolyard. The set is symbolic, being a delightful replica of the cartoon strip that we all love. A background of blue skies, clouds, a lone fir tree, a mailbox and a water hydrant; all painted in primary colours. There is a big, red kennel with a flat area on the roof – where Snoopy sleeps.

On each side of the stage is a 4 x 12 metre high flat, showing reproductions of Peanuts cartoons. In the centre of each flat is a curtained doorway. The set design and much of the artistic construction was by Jess Bennett-Hullin, who had helpers working 18 hour days to meet the deadline.

Stage Manager Meagan Dux controlled the large cast flawlessly. The flies’ operator, Sean Wcislo, was also prompt and efficient.

       Everyone seems to like the dim, shy, insecure Charlie Brown (Oliver Kaiser), but is he really a ‘Good Man’? His friends come out to praise him, but all with reservations. Today he is late for the school bus again, and despite Pig Pen (Mike Casas) holding the bus back, Charlie misses it, watching as his friends Violet (Paige Mews), Tapioca Pudding (Claire Tebbutt), Peppermint Patty (Tijana Šimić), Marcie (Rhiannon Moon), Pig Tail Girl (Briana Dunn), Patty (Isla McLeod), Peggy Jean (Grace Pusey) and Sherman (Justin Crossley) disappear into the distance.

     Snoopy (Thomas Dimmick) just turns over and goes back to sleep on top of his kennel, even when his yellow friend, Woodstock (Nashyhithah MD Zaini) arrives for a chat, he remains asleep.

     Charlie is infatuated with the red-haired girl whom he sees each lunchtime, but cannot even look at her without becoming nervous.

     Musical prodigy, Schroeder (Launcelot Ronzan) is fixated with Beethoven, and constantly plays the ‘Moonlight Sonata’ on his piano. Lucy (Paige Morawiec) adores Schroeder and explains to him how someday she will marry him and become Queen. The Intellect of the class, Linus (Will Moriarty), explains to his sister Lucy, that royalty is inherited – but Lucy is not discouraged. Despite his brains, Linus is a child at heart and is devastated when he mislays his security blanket.

       Charlie’s attractive, but dumb sister Sally (Corina Brown) cannot understand why her art class sculpture, made from coat hangers, only got a ‘D’. To cheer Sally up, Snoopy takes her rabbit hunting, but the ballet dancing bunny (Emily Botje) seems to escape every time.

       Snoopy sits on his kennel, and fanaticises of the years he was a fighter pilot in World War I and how he defeated the infamous Red Baron.

Director, Keaton Howe and his assistant director Claire Mosel had to find a cast that could sing well, dance gracefully and have good stage presence, whilst displaying exuberance and energy throughout the show. What a great cast they gathered. The show’s vocal coach (Thomas Dimmick) ensured the whole cast were speaking precisely and with the same drawl.

With numbers like ‘Linus’ blanket’ and the ‘Beethoven tribute’ combined the choreographers (Kelly Buckle, Sara Bluntish, Emily Botje) demanding routines led by the dance captain, Emily Botje, the tongue twisting lyrics flowed smoothly and the smiles never left the chorus’s faces. Snoopy’s solo number about his food and sloth was hilarious.

The play’s copyrighters supplied the quirky, lively music on CD. This ensured a well-balanced musical accompaniment, but CDs are unforgiving if a performer mixes up their lines or stumbles over a phrase. Musical director (Kelly Buckle) gave the cast vocal and singing guidance; with some of the major performers being talented singers, the musical numbers were perfect. In such a musical, maintaining the characterisation is more important than the vocal range or richness of tones, so that Schroeder, Lucy and Sally were most entertaining.

Jess Bennett-Hullin’s costume designs were well tailored and colour co-ordinated in simple primary colours. A great deal of attention has been given to matching any patterns with the cartoon characters e.g. Charlie’s zigzag shirt design.

Lighting designer and operator, Shannen Precious again gave us the primary colours as sky light, with some delightful effects for a star-lit sky and Snoopy’s fighting plane attacks. Shannon has teamed up well with the sound designer and operator, Katie Southwell to ensure a bright and lively event.

Finally, a quality, comedic delivery was essential. This cast had good chemistry and perfectly captured the essence of the Peanuts cartoons. From Charlie’s deadpan ‘loser’ expression; to his temperamental sister, Sally, who was too thick to realise her failures. With the fine work of the directors the characters really came to life.

This would be the perfect show to bring your kids along to – as an excuse to see it yourself! This very professional musical is for everyone! It is not often these days to have a theatre show that ALL of the family can enjoy – from age 5 to 95.

An absolute delight.

This 1924 stage adaptation by Hamilton Deane was further revised by John L. Balderston in 1927, when he reduced the characters significantly. Theirs was the first adaptation of the novel authorised by Stoker’s widow.

When the play was revived years later, in 1977, the production won Tony Awards for Best Revival, Best Costume Design, nominated for Best Scenic Design and Best Leading Actor in a Play.

The Murdoch Theatre Company’s trilogy of horror presentations, ‘The Gothics’, opens with this 2-hour production of ‘Dracula’. It can be seen at the Nexus Theatre, within Murdoch University (near carpark 3) at 90 South Street, Murdoch.

The performances are at 7.30 each evening until 9^th July.

Ally Snell has given us one of the best sets I have seen in community or university theatre.

It is 1900 in a cavernous Gothic house in Purley, south London. The scene is a doctor’s home, with patina-coppered walls and arsenic green paintwork. The largest, most sumptuous Chesterfield settee I have seen and various office furniture. There is a massive fireplace, crowned with a family crest embellishment. A pair of patio doors led onto a balcony. A stone staircase climbs to the attic and the arched, neo-Gothic windows.

The numerous, difficult to source, fascinating props of the period were gathered by Andrew David. The Production Managers were Andrew David and Scott McArdle. Stage Manager was Brianna Lea assisted by Justin Crossley and Sean Weislo.

     A young man, Renfield (Rhys Hyatt), is waiting in the surgery of psychologist, Dr Seward (Stephen Platt) when three beautiful women in diaphanous black dresses seem to materialise from nowhere – they are the Brides of Dracula (Jess Serio, Christie Strauss, and Jenia Gladziejewski). They feast on his blood and now poor Renfield is one of their family.

     Later, the doctor is discussing with the naïve, nervous fiancé of his daughter Lucy, Jonathan Harker (Philip Hutton), how Lucy (Toni Vernon) has suddenly become very anaemic and is having strange dreams. The men leave the room and the housemaid, Miss Wells (Rhianna Hall) tidies the surgery. The lights flicker, animal noises can be heard from beyond the balcony; a handsome man sweeps into the room; it is the mysterious Transylvanian, Count Dracula (Joel Sammels), who recently bought the house next door.

     Whilst writing at his desk, Dr. Seward is interrupted by his whinging, overworked assistant, Butterworth (Alex McVey) who tends the doctor’s insane patients. Butterworth tells the doctor that poor Renfield has escaped – amazingly – over a 30-feet wall. The doctor is racked with worry, his daughter’s safety is now in doubt, and so Seward decides to call in a Dutch medical specialist in mysterious diseases, Van Helsing (Jason Dohle).

Will this expert be able to help? If so, how? Or is it too late?

Scott McArdle’s lighting totally captured the mood, from the warmth of the sitting room with friends, to the chilling, threatening night scenes. Shannen Precious smoothly operated the many tricky, lighting effects.

All too often have we heard a poorly recorded thunderclap that even had needle-dust crackle. Here, Tim Brain’s soundscape team, of Katie Southwell and Luke Gratton, shook the house with their booming, convincing effects. Magnificent work perfectly cued and operated by Tay Broadley. Talented composer, Drew Krapljanov, was once again responsible for the production’s background music. His skill is in his meaningful minimalism; the occasional chord, a few bars on the cello and lower keys of the piano, gave us mellifluous harmony.

The period costumes (Sophie Braham) and demanding makeup (Leah Toyne) were well-researched, giving authenticity to the era. Director John King must be congratulated on creating such a brilliant production. The actors were perfectly rehearsed, filled with depth of character. The drama had all of the vital elements, tension, creepiness, love, beauty and excitement in copious helpings. With such a large stage, Launcelot Ronzan helped supervise the movement and choreography.

The whole cast worked so hard, all giving exceptional performances. The Count was suitably repulsive and creepy, Renfield totally deranged. The voyeuristic, glamourous Brides popped up everywhere, and the ailing Lucy. A little light relief came from Butterworth. All complemented in their own way the powerful performances of the main characters, and the convincing, chilling suspense.

Highly recommended.

Coming soon to this same theatre are the other two play in this Gothic trilogy, ‘The Mummy Rises’ from the 14^th – 16^th July, and ‘Frankenstein’ on 21^st – 23^rd July.

‘Punk Rock’ premiered at the London’s ‘Royal Exchange Theatre’ in 2009. Although it has crude and inappropriate language throughout, it is still frequently chosen as a final year text for UK schools.

The Murdoch Theatre Company (MTC), in Studio 411 Theatre (off Car Park 4) at Murdoch University, South Street, Murdoch, is producing this drama, with music.

The one and a half hour performances (no interval) can be seen nightly at 7.30 until Saturday 30^th April.

 The scene is the second floor library of a fee-paying grammar school in working class Stockport, a southern suburb of Manchester. The set shows a large bay window with small leaded panes, and a box seat the length of the window. There are oak student lockers, tables and chairs, but the whole schoolroom has the appearance of decay and lack of funding. The designer of this quality set was Jessica Bennett-Hullin assisted by Ellie Hopwood. The set construction was by Michael Bennett-Hullin, Jessica Bennett-Hullin, William Burgess and Mathew Neale.

The school costumes were all handmade including skirts and trousers. There were specially designed school badges for the blouses and jackets, a huge amount of work, by Ellie Hopwood, Jessica Bennett-Hullin and Anna Weir.

The production manager, Claire Mosel, and her stage manager Grace Pusey have manged to pull this major production together beautifully.

        Seated in the library, studying for his mock exams is teenager, William (Mike Casas), an intelligent pupil who tends to fantasise. When the new girl, Lilly (Paige Mews), who has just moved to the area from Cambridge enters the room, William is only too willing to help her settle in. The next to enter is the heartthrob of the class, Nicholas (Will Moriarty) who is more interested in the older women than students.

       The pleasant conversation is soon broken by the arrival of the class bully, Bennett (Thomas Dimmick), who is crass with the girls as well as degrading with the boys. He creates conflict wherever he goes. Even his girlfriend Cissy (Bella Doyle) only tolerates him because of his perceived power. When Bennett abuses her friend Tanya (Shannen Precious), Cissy is too scared to support her despite Tanya’s obvious inner turmoil.

       Almost unseen, the school genius, Chadwick Meade (Sean Wcislo) enters the library. As soon as he spots Bennett, he begins to tremble and stammer. Bennett loves to see him suffer by pointing out his sexual inadequacies.

       It is not long before there is a tragedy at the school; will they ever be the same again?

I don’t normally quote paragraphs of dialogue from plays, but this drama has what is considered one of the best monologues in modern writing, when near the end, Chadwick Meade says:-

‘Human beings are pathetic. Everything human beings do, finishes up bad in the end. Everything good human beings ever make is built on something monstrous. Nothing lasts. We certainly won’t.

We could have made something really extraordinary and we won’t. We’ve been around one hundred thousand years. We’ll have died out before the next two hundred. You know what we’ve got to look forward to?

You know what will define the next two hundred years?

Religions will become brutalized; crime rates will become hysterical; everybody will become addicted to internet sex; suicide will become fashionable; there’ll be famine; there’ll be floods; there’ll be fires in the major cities of the Western world. Our education systems will become battered. Our health services unsustainable; our police forces unmanageable; our governments corrupt. There’ll be open brutality in the streets; there’ll be nuclear war; massive depletion of resources on every level; insanely increasing third-world population. It’s happening already. It’s happening now.

Thousands die every summer from floods in the Indian monsoon season.

Africans from Senegal wash up on the beaches of the Mediterranean and get looked after by guilty liberal holiday-makers.

Somalians wait in hostels in Malta or prison islands north of Australia.

Hundreds die of heat or fire every year in Paris. Or California. Or Athens.

The oceans will rise. The cities will flood. The power stations will flood. Airports will flood. Species will vanish forever. Including ours.

So if you think I’m worried by you calling me names, Bennet, you little, little boy, you are fucking kidding yourself’.

 On arrival at the theatre, a clue as to the play content is given by the front of house, St Trinians schoolgirls Kiah Van Vlijmen, Claire Mosel and Rhiannon Moon. In the theatre a feature punk duet, Michael Bennett-Hullin and William Burgess, belted out the preshow music. They also filled in briefly between the scenes.

Bella Doyle and Shannen Precious’s clever lighting design changed subtly with the mood of the classroom conversation (carefully operated by Tijana Simic). Combined Corina Brown’s sound design (operated by Jordan Baynes) the atmosphere was electric.

The magnificent director was Tay Broadley, who along with his co-director Justin Crossley and assistant Katie Southwell, have given us a drama to remember. The choice of cast was perfect. Each actor completely understood and captured the depth of their character’s strengths and weaknesses. The team had impeccable chemistry and timing. Tay has cleverly decided on the slow, underplayed delivery for most of the play, only turning up the drama at specific harrowing points. This took the audience’s breath away several times.

When the play finished there was silence before a half-hearted applause began. I just want the actors to know that this did not reflect the audience’s full appreciation, only that they were stunned and drained – such was the power of the acting. When the cast left the stage, again the audience sat numb. It was clear that a few tears had been cast.

This is one of the most powerful and challenging plays that I have seen in years. Everyone concerned should be extremely proud of their success.