This world famous and much-loved story is now being presented by the Stirling Players at the Stirling Theatre, Morris Place, Innaloo. The performances are at 8.00 pm on Thursday, Friday and Saturday nights until the 16^th July. There are also Sunday matinées on the 3^rd and 10^th July at 2.00 pm.

The fascinating foyer displays by Fran Gordon, Bree Vreedenberg and Kevin Forward set the mood. The usherettes are dressed in white and gold with pillbox hats.

It is the winter of 1938-39, just months before the start of the Second World War.

At the side of the stage on the apron is the corner of Laura’s swish sitting room. At the other side of the stage is cinema seating and the lounge in Alec’s flat.

The main stage depicts a railway tearoom furnished with black tables and bentwood chairs. There is a coal stove burning against one wall. To the side is a large, cafe counter with various cakes and crockery. The back wall has a photo of a railway station roof projected onto it (operator Jane Sherwood, with film footage from Fuller Media).

Another scene is a plush, candlelit restaurant brought to life by its dapper waiters, tablecloths and vases of flowers. The effect is completed with an impressive, illuminated chandelier.

A riverside scene is simple, but most effective. Despite the number of settings, each one was fully furnished with numerous props of the era. Fran Gordon, Emma den Hartog and Joel Howe’s costumes were stunning and perfectly selected. It was obvious what a huge amount of work had gone into the set design, furnishings and costumes to create the perfect mood.

      As Dr. Alec Harvey (Glenn Scott) enters the Milford railway station tearoom, he notices a smartly dressed lady trying to wash a mite of train smoke from her eye. She is, Laura Jesson (Maree Andersen) a bored and ignored housewife. As the couple share a table, the tearoom manager, Myrtle (Ann Speicher) watches them, intrigued by the warmth of their conversation. She is initially unaware of the advances being made to her by the stationmaster, Albert (Hadrian Fuller).

     Just as the young waitress, Beryl (Simonne Matthews) clears the tables and puts another lump of coal on the fire, the platform service boy, Stanley (Zack Inglis) comes into the café to have his tray replenished, and to smile longingly at Beryl. Two soldiers on leave, Bill (Damien Johnson) and Johnnie (William Errey) stagger into the café and create havoc.

   The married woman and the married doctor agree to meet for a cinema matinée the following Thursday – purely for the company. We see Laura arriving home; she kisses goodnight to her son, Bobbie (Charlie Motbey) and her daughter, Margaret (Lakeesha Motbey) before trying – unsuccessfully – to have a sensible conversation with her disinterested husband, Fred (Craig Edwards).

     Both with loveless marriages, the couple have no qualms at meeting again. As they enjoy a sumptuous meal after the film, they are unaware that two of Laura’s nosey and interfering neighbours, Hermione (Karin Staflund) and Mary (Liz Pemberton) have spotted them and are approaching in search of gossip.

     How will the love affair develop? Will they make love secretly in this morally unacceptable affair?

      Janet Brandwood and Oliver Kaiser played multiple cameos, giving depth to the storyline.

The musical numbers have been beautifully created and orchestrated by Bree Vreedenburgh, from the copyrighter’s score. The music plays very subtly in the background throughout the play, thanks to smooth operator, Melissa Skeffington. Young Zack and Simonne’s singing was delivered with feeling, and Karin and Liz gave a powerful backing chorus to several songs. Ann brought a smile with her vivacious and saucy delivery. The excellent musical interludes were often used to ‘cover’ the set changes (very efficiently carried out by the cast under the supervision of stage manager Janet Brandwood).

Ian Wilson’s lighting design is always good, but for this show it is exceptional; complex in design and filled with atmosphere. Paul Anderson had the nightmare of operating the numerous changes, but he carried out the task smoothly and with accuracy.

The low point of the play was the dreaded headsets. I appreciate that these can be very expensive, but some crackled and others dropped out. The experienced operator was probably as frustrated as the audience was. I suspect that the complete sound desk needs an overhaul, as even the speakers seemed a little unreliable too. Perhaps ditch the aging headsets and let the performers use their theatre skills? The techs were very aware of the problem, and as it was the preview I was attending, then I am sure the problem will be cleared for the opening night.

The stunningly beautiful and sensitive 1945 David Lean film was in black and white, with very few scenes filmed outside of Carnforth Station. The film’s brilliant camera work was by a Perth born cinematographer, Robert Krasker. The 1945 film was made just after WW2, at a time when virtually no one would have intimate relations before marriage. Then in 1974, just after the Free Love era of the 60s, Carlo Ponti brought out a dreadful, brash Technicoloured version that starred Ponti’s wife, Sophia Loren with Richard Burton. It was fussy, heavy handed and totally without atmosphere.

I was apprehensive as to which style the director, Jane Sherwood, would employ, and could the frustrated love translate to the stage? Thankfully, Ms Sherwood’s version was much nearer the original. Jane can be relied upon to check every aspect of her productions, ensuring depth and reality in every scene. Small touches like the train smoke drifting past the café, the dozens of railway sound effects. Her skilled direction ensured powerful and yet romantic performances from the couple, backed by a strong cast.

The play includes several Noel Coward songs, but it is not a musical, but rather a drama with songs. This blend of drama and music is the idea of the play’s adaptor, Emma Rice; and although she won an award for the adaptation, I felt it slowed the play down slightly and was even distracting.

Tackling a story that has lasted more than 70 years in the top 200 movies can be risky, as the audience will certainly have their own expectations, but this ambitious, quality and enjoyable production gave a very pleasant evening’s entertainment.

The demand for tickets has been enormous, so get in quickly for the night of your choice.

The book adaptation was produced as a play (starring Cecil Parker, Fay Compton and Margaret Rutherford) in London’s West End in 1941. It had the ‘longest run’ record of 1,997 performances. After the radio drama, television play and musical, ‘Blithe Spirit’ was in 1945 made into a successful film, this was only David Lean’s fourth film as a director, yet his third Coward film. ‘Blithe Spirit’ was soon followed by Coward’s major classic ‘Brief Encounter’.

After the war, the theatres suffered and so Coward metamorphosed into a cabaret and TV star, with songs such as ‘Mad Dogs and Englishmen’.

He was knighted in 1970, and in 1973 died peacefully in Jamaica, his home for 20 years.

This wonderfully funny 2 hour 30 minute production is being produced and presented by the Black Swan State Theatre Company, at the Heath Ledger Theatre, State Theatre Centre of Western Australia, Northbridge each evening at 7.30 until 9^th August.

Sadly Perth actor, Roz Hammond, the versatile star of Shaun Micallef’s ‘Mad as Hell’, has had to withdraw from the show due to illness; but she has been replaced by Equity award winning Alison van Reeken. Having only been given the part three days ago, Alison carried a script – which she subtly referred to infrequently. Most actors have a 5 week rehearsal period, and yet she has captured her quirky character perfectly. The facial expressions, body language and diction could not be improved upon, a stellar performance.

It is 1940. The setting is the cavernous sitting room in the Condomines mansion near Folkestone, on the south coast of England (award winning set designer Bryan Woltjen). The cream painted room has a cathedral ceiling. On one side is a fireplace, a wall covered in oil paintings and electric gramophone. At the rear of the room is a huge arch, with plush red velvet drapes hung on each side. On the other wall are patio doors with ceiling height windows above. These doors overlook a well-tended garden. The scene is lit with warm lighting (lighting designer Jon Buswell) that subtly changed as the day went by, until the pink sky outside gave a cosy glow. When the ghost appeared, a blue white follow spot gave an amazing iridescence and genuinely eerie appearance.

The costumes have been very well researched (costume designer Bryan Woltjen), from the shimmering white of the ghost’s outfit, to the perky feathered hats (milliner Susi Rigg). Mrs Condomine wore a full-length, dark green velvet dress, a particularly difficult material to sew, but the style and finish was superb (costume makers Jennifer Edwards, Jennifer Stewart). Most of the time Madame Arcati wore an almost hippy outfit, however, she had the most immaculate, pastel checked, flared short jacket and knee-length culottes. Mr Condomine wore a pair of red Turkish / Arabian curled-toed slippers, a very popular souvenir with the ‘desert rat ‘soldiers returning from the war in the Middle East.

The hair styles (consultant Virginia Hawdon) and wig construction (Lynn Ferguson) not only had to reflect the 1940s, but make the actors that little bit eccentric.

The visual creations, lighting, costumes and set, were all exceptional.

          Before the1940s tableau-style proscenium curtain was raised, we were treated to composer, Ash Gibson Greig’s idiosyncratic overture. This was a clever blend of so many topics from the play, there were the eerie ghostly sounds, the bouncy madcap freedom of the acting, and even the tinkle of the strange Madame Arcati’s bicycle bell could be heard in the music. Clever and innovative writing.

        The very nervous, enthusiastic but slightly dippy housemaid, Edith (Ella Hetherington – delightful) is trying to please her long-suffering employer, Ruth Condomine (Adriane Daff) by not running around the house. Sitting in his chair supping a wine is Ruth’s husband, Charles Condomine (Adam Booth). He is a successful novelist, who wishes to learn about the occult for a book he is writing. Charles has organised for an eccentric medium, Madame Arcati (Alison van Reeken) to hold a séance at his house. The family GP, Dr Bradman (Michael Loney) and his sycophantic wife, Mrs Bradman (Michelle Fornasier) are invited along to witness ‘the happening’.

     When the guests have left for home, Charles’s first wife, Elvira (Jo Morris), turns up at the house. Elvira is still very much in love with Charles, which causes Ruth a great deal of distress. The jealousy becomes really serious when a vase gets thrown and the dirty tricks become vicious. After a highly dramatic finish, who actually won Charles’ hand, Ruth or Elvira?

Thankfully WA director and NIDA graduate, Jeffrey Jay Fowler, has had years of theatrical experience including playwriting, acting and direction, winning many awards on the way, this enabled him to capture the unique Coward style perfectly. Coward’s slightly dated dialogue requires accurate intonation and pacing, with a precise body language to create the full effect of this classic. The humour contained in the personalities and subtle writing, rather than straight jokes and one-liners. Fowler and his terrific cast were totally in tune.

Credit should go to stage manager, Georgia Landré-Ord and her assistant, Claudia Blagaich – they worked for their money.

This magnificent cast has conquered every little expression and twitch, making the whole show exciting to today’s audience. Jo Morris was almost balletic as she flitted across the floor. The Bradmans gave that extra sparkle to the séance sequence. I have always admired Adriane Daff’s work, but this performance is her best yet. The chemistry between Charles Condomine and his two wives was convincing and electric.

Once again, congratulations to Alison van Reeken on mastering such a difficult challenge.

A terrific presentation of ‘a rave from the grave’.

This 160-minute comedy can be seen at the Melville Theatre, on the corner of Stock Road and Canning Highway, Melville nightly on Thursday, Friday and Saturday nights at 8.00. The 20 minute interval is after 85 minutes, allowing the comedy to develop to its pinnacle in the second and third Acts.

The scene is the library of Marshwood House, a countryseat in Kent.

The set is possibly the most stunning that I have seen this year (designed and built by John, Anne and Sean Bullock, Jay Shaw, Alan Muir, Darren Goodison). It has quality antique furniture, a massive jarrah bookcase, an old-fashioned, carved fireplace and a set of patio doors. The trimmings were terrific and these even carried out through the French windows to the walled garden. Superb.

      In the library, the butler and family retainer, Crestwell (Kim Taylor) is teaching the young maid, Alice (Juliett Greenock) the finer points of service. The lady of the House, Felicity, Countess of Marshwood is awaiting the imminent return of her son, Nigel (Sean Bullock) from his long trip to America. He is to be accompanied by his new fiancée, Miranda (Tatiana Dalin) an international film star.

      The Countess (Susan Lynch) is talking with her young nephew, Peter (Darren Goodison) and dotty but loveable friend, Lady Cynthia (Geraldine Harrington). As the Countess is explaining what she has in mind for the couple’s future, the large, room doors open and personal maid, Mrs Moxton – Moxie (Sharon Greenock) enters. She is practically in tears, and explains that after two happy decades in service, for personal reasons she will have to leave.

       The happy couple arrive at the mansion, with self-centred Miranda living the dream. Then, as the family are dining, a friend, Don (Cameron Leese) arrives causing tension in the house.

Tarryn Harris (nee Bullock) is quite new to directing, but one could assume that she has been directing for years. Coward has a particular style of his own that demands the highest skills to present – and even then, some feel that Coward’s result is aged and stuffy. Tarryn, however has cleverly managed to keep the style and rich characterisation, making the script much more acceptable.

The play gets off to a very slow start, taking almost quarter of an hour to flow. This due solely to the playwright’s garrulous and verbose script, despite being beautifully delivered by Kim Taylor. Susan Lynch was wonderful as the manipulating mother and Countess, but it was Sharon Greenock who excelled as the personal maid – she really lived the part.

The cast can be very proud, their hard work, well-rehearsed play paid off wonderfully.

The lighting design by Lars Jensen was well considered and controlled by Barbara Lovell. Michelle Sharp’s costumes were correct for the period and the ‘class’ of the character, when class played a major part of the storyline.

Still a very funny play, although it would benefit from losing 30 minutes. Even if you have seen it before, this production is well worth a trip out on a cold night.