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.

The dark set was simple, several dark chairs, a barbed wire fence and a grave cross (designer Shannen Precious).
The muslin backcloth, scrim, acted as a screen for the projected, well-researched photos of Laramie and the main characters of the story – design by Katie Hutton.
The costumes required researching the fashions of the late 1990s, plus police uniforms, prison outfits and angels; the wardrobe ladies, Deborah Huntley, Milena Sheridan and Ramiah Alcantara excelled.
The sound design had just the right level of music and sound effects, with such a delicate subject they had to enhance and not intrude, well done Jordan Baynes.
The lighting was well designed by Kiah van Vlijmen, then rigged by Justin Crossley and Leigh Fitzpatrick. Smoothly operated by Claire Mosel.
The production manager, Kel Fox, was helped by Deborah Huntley and Athena Thompson; with the stage manager, Hannah Summers, assisted by Meagan Dux. A good pace was essential to retain the emotion and tension of the script, the crew worked most efficiently.

        Whilst walking on Brokeback Mountain, young Aaron Stephen (Thomas Ward) finds the severely bashed body of twenty-one years old Matt Shepard tied to a fence. He calls for the police, and Officer Fluty (Tijana Simich) and Senior Officer (Mitchell Johnson) at first think the young boy is dead. However, he is taken to hospital and despite Dr Cantway (Toni Vernon) trying her best, Matt dies. His devastated parents arrive at the hospital, but there is nothing to be done except for the father, Denis (Justin Crossley) to console Mum, Judy (Shannen Precious).
        Very quickly, two locals were rounded up; one was an extreme homophobe and sadist, Aaron McKinney (William Moriarty), the other his subservient, but repentant friend, Russell Henderson (Sean Mackey). On hearing the news, two lesbians (Xarna Rappold, Kiah van Vlijmen) were consoled by the Baptist Minister (Bradley Clarke), whilst a well-meaning bigot (Tay Broadley) thought Matt got what he deserved.
        A group of newspaper reporters (Ramiah Alcantara, Imogen Appleby) arrived along with a TV reporter (Grace Pusy), desperate to hear the comments from the Judge (My Ekstrand) before blowing the whole incident into a major controversy.
       Ten years later, the Tectonic Team returned to see how the atmosphere in the town had changed. Had homophobia reduced? They interviewed a cowboy (Leigh Fitzpatrick) and his girlfriend (Claire Tebbut), before asking the local newspaper editor (Nashyhithah Md Zaini) who was giving the readers the biased opinion that they wanted to hear.
       What had the local school children learnt about the incident from their parents? Had the legal system changed under the State Politicians?

Director David Moody, who has sensitively combined the two plays into a single script, was assisted by Chloé Laffar, Jessica Serio and Tay Broadley. Even with this large cast, most of whom had several parts, the actors had to be alert and well rehearsed. One or two of the cast occasionally struggled with minor parts of their lines, the Wyoming accent or the emotion when changing characters, but this did not impede the power or enjoyment of the story line.

The team have decided to have various actors play Matt, employing males and females, with different nationalities to show that the victim is symbolic of gays everywhere. The actors all wore rainbow T-shirts.

I have seen ‘The Laramie Project’ a couple of times in the past, and even though those productions were first class, the story seemed dry and mechanical. This blended version had extra life and achieved more sympathy for the murdered boy and his family.
A heavy and challenging subject, but sensitively handled so no desire to check my watch.
The tickets are at a sensible price and the venue comfortable, so give this show a viewing.

This 150-minute production ran for three nights until 26^th September, at the refurbished Studio 411 on the Murdoch campus on South Street, near car park 4.

       The scene is an interrogation room in an American police station where the female officer, Sarah Stein (Nicola Brescianini) is giving the quaking prisoner, Seth (Scott McArdle) a rough time. During the interrogation, Seth’s ex-wife, Grace (Kaitlyn Barry) appeared declaring that she was God. One of her crucified followers, Herman (Eamonn Skov – great) declared how happy he was to be one of her sacrifices. Then there was Seth’s sister (Shannon Rogers), the mad detective, Gabe (Rhys Hyatt) and Hodge Podge (Rhianna Hall). I may have got various characters mixed up – but who cares? I don’t.

 

The director, Andrew Dawson, has done a fine job of leading this talented team through this multifarious maze of words and situations. Aiden Willoughby’s musical backing was beautiful, but too loud so became invasive, and really quite unnecessary, especially during the interrogation scene. Scott and Sarah Bond’s lighting was clever, selective and with the well positioned lamps, captured the mood well.

I don’t believe that an audience should be spoon fed, but made to ponder on various aspects. Nor should they be required to have to carry out a PhD research to understand the story. The public go to the theatre to be entertained, rarely to admire the writer’s work. If the cast are exceptional, all well and good, but the major reason for their presence is to have a good night of fun, or to have an emotion stimulated. I think that 150 minutes of asking, ‘what the hell is going on?’ and then leaving not much more informed is not what the audience is looking for.

On ‘The Antiques Roadshow’ a woman had a 4-foot model of Buckingham Palace made by her father from 500,000 matchsticks. It took him 5 years to make, and was immaculate in every detail. The antique expert asked ‘Why?’ and said that despite the obvious talent and hard work it would be lucky to get $400 as no one other that the family would want it.

So sorry Scott, you have a matchstick model. A huge amount of work, a brilliant cast (9 out of 10) and technically on the ball (7 out of 10) – but you have to ask – ‘why?’

I lost part of my life, and at my age I need all I can get.

Betzien also received a Drama Victoria Award for Best Production. In 2007, she gained the Richard Wherrett Award for excellence in playwriting; because of her amazing ability to write complex stories, a Patrick White playwright scholarship came her way. She is now university lecturer.

This poignant play by the Murdoch students can be seen at the Nexus Theatre (near car park 3), Murdoch University, South Street, Murdoch nightly until 25^th October. The 80-minute performances commence at 7.00 pm.

The set is remote woodland and an old orphanage, with a shower, boiler room and dormitory. The building is tall with external water pipes, and large, wooden window frames. The appearance is that of a miserable, unwelcoming dwelling. Good work by designers Alison Snell, Andrea Solymos and Breanna Morgan.

       Children wandering through a forest come across an old orphanage, and the ghosts of the children who lived there tell their tales.

      Another nameless new girl (Samantha Larke) arrives at the railway station, suitcase in hand. Young Rosie (Chelsea Pullen) takes her to the children’s home. The young girl’s belongings are taken from her and thrown into the furnace. She is sent for a shower, and then put into a large dormitory along with a dozen others and old ghosts. New One is consoled by Old One (Lillybelle Walton) before being inspected by the matron. The matron is symbolised by an impersonal mannequin, dressed in widow’s weeds, whose puppet arms and head are moved by sticks (operator Nick Morrant). She has most of the ‘Black Skirt’ gentry and officials tied to her apron strings and under her control, not least Mr Horrocks, the school inspector (Jordan Baynes) who lives under her skirt.

       In London, young John (Alex McKell) is caught pickpocketing a gentleman (Peter Evans) and is transported to Australia for 7 years hard, convict labour by the local magistrate (Ryan Partridge).      

       Meanwhile in Scotland, young Lizzie (Jess Serio) who has been babysitting dropped the baby and so she is taken from her brother, Hamish (Kieran Renouf) and mother (Amanda Ferguson), and put in care. Likewise, Iris (Sara McIntosh) and her friend Tom (Jonathan Maddocks) are separated.

       The miserable supervisor at the home (Jess Patrick) makes the young children, Ruby and her friend (Georgia Baker, Kathryn Vincent) work hard scrubbing the floor, whilst Lucy (Stephanie Fitz-Henry), Maggie (Amelia Dee) and the Baby (Chloe Laffar) continue to live in misery.

Director Dr David Moody has generously engaged three others to assist him, and allowed the cast plenty of input. The assistant directors include Anna Brockway, who has worked with WA’s well-respected group ‘Class Act’ for some time, along with students Kate Willoughby and Rebecca Thompson. The result is amazing.

The movement and choreography of the large cast is exiting and effective. The atmosphere of the movement helps build the tension and tragedy. The cast were well tuned in to the theme and worked hard to give their best. The script moves through the many issues over the years from about 1860 to 1960. It covers all kinds of child abuse, stolen generations – both black and white, and the misery of children’s homes is laid bare.

With clever script writing, Betzien paints a lucid picture but with a brief piece of humour inserted it immediately lightens the scene. The overall effect is that of interest, sympathy and anger at what went on, but the playwright has avoided making the audience feel too despondent. Very clever writing perfectly interpreted by the directors. The audience are left to build their own picture of the situation from the ingenious symbolism.

Matt Pashley’s lighting design was exciting and outstanding. The furnace effect, coupled with the quality sound effects (Katie Southwell, Luke Gratton and Melissa Da Silva) and smoke machine (stage managed by Yukiko Kinjo, Brianna Lea) produced the desired effect of confronting horror on the audience. The final touches of costume and style are co-ordinated by Cassee Lazic, with the whole production being overseen by Tim Brain.

Dean Lovatt’s job of selling this dark play should be an easy one, as the whole production, rich script, direction, pace and interest is held throughout. A quality show at a sensible price.