This very diverse 80-minute selection has ‘curtain-up’ at 8.00 pm nightly until Saturday 10^th September.

For all of the plays, the stage has black drapes on all sides and various tables and chairs.

The quality lighting and sound design were by John Spurling and operated by Evan Skinner.

‘Widow’s Peak’ was written and directed by WA’s Noel O’Neill.

      It is 1917 in a small, sparsely furnished room in Eire. Two middle-aged women, Peggy (Denice Byrne) and Siobhán (Mairead Dempsey) are dressed in their widow’s weeds discussing the loss, some months earlier in The Rising, of their husbands at the hands of the Black and Tans.

     As they share a drink, young Moira (Roisin Nash) who is also a widow, calls around. They notice she has a ‘bump’, and her husband has been dead for almost a year – could it be a miracle? On the other hand, has Moira been unfaithful to her husband’s memory? The older women have plenty to say.

This is a beautiful tale, touching, humorous with a powerful and angry message in the storyline. Noel has a wonderful ability to write dialogue that flows naturally, and with which everyone can connect. The three women are typical of those in a small community, and are portrayed perfectly and with genuine emotional depth by the cast. A fresh topic, most enjoyable.

‘Moby Dick’ is a 25-minute farce, in the unruly style known as ‘coarse acting’; which is a skit with things going wrong in theatre. This madcap adaption of the 685-page novel by Herman Melville was by Mike Green. Directed by Sarah Christiner.

        A thumbs-up signal from the wings to the bio box sets the amateur approach (as deliberately requested in the script) of this talentless, but self-admiring troupe to community theatre.

       The lights come up, and Ishmael (David Heder) makes a false entrance and exits quickly. He re-enters and does a short monologue, mispronouncing numerous words. He wanders into a local pub searching for crew, where he sees the landlady (Noah Humich) and a serving wench (Eileen Leake) taking jugs of beer to a rabble in the corner. Starbuck (Michael Dornan), Elijah (Phil Barnett) and friends are the worse for wear and volunteer for his crew.

       A scarred seaman (Sarah Christiner) says he knows a talented harpooner, the highly tattooed Queegueg (Josh Harris). As a carpenter (Kit Leake) joins the crew, the pub doors fly open and an old salt, Captain Ahab (Chris Thomas) staggers in on his peg leg. He wants to join the gang and wreak revenge upon the white whale, known as Moby Dick who ate his limb!

There follows a series of quick-fire scenes, all of them a shambles. Props fail, the actors are under rehearsed, and the play staggers from bad to worse.

Director Sarah Christiner has grasped the fact that this type of sloppy presentation actually requires hard work, slick staging, with the actors retaining unflinching, poker faces. This shambolic style of presentation is similar to that in the ‘Farndale Avenue Housing Estate’ series of plays. I found Farndale to be annoying as they are so close to the truth, whereas with Moby Dick, because the whole genre is slapstick, the pandemonium works so much better.

There were plenty of belly laughs, fun props and the genre well presented. However, I think the audience could be split 50/50, with some absolutely detesting the style.

‘Under The Rainbow’ was the evening’s second play written and directed by Noel O’Neill.

      The scene is several years after Dorothy’s magical trip to see ‘The Wizard of Oz’.

      Still dressed in scarlet shoes and her pale blue, gingham check dress, Dorothy (Valerie Dragojevic) goes to a rundown bar, known as ‘Under the Rainbow’. Despite the colourful rainbow design and the twinkling lights on the bar front, the barman known, as Wiz (Noel O’Neill) is less than welcoming.

    Cackling in the corner is Witchy (Lindsay Cliff, alternating with Siobhán Robertson-Skinner), an enchantress who is determined to ruin Dorothy’s night. Seated at a table, with party hats on their heads, are three old friends, soft-hearted Leo (Yad Sand), callous Rusty (Cameron Leese) and the lovable, but brainless, Mr Crow (Andrew Hobbs). Sadly, for Dorothy, as the evening goes on, the original warmth of the groups seems missing.

Many of us will have been to school reunions, and for some it is fun and a great success, for others it can be a regrettable embarrassment. Likewise, this dark comedy is really quite poignant, giving us an ingenious and novel look at a possible sequel of the world famous tale.

The cast were delightful, with each member totally embracing their characters.

The array of plays ranged from the sublime to the ridiculous, so you are guaranteed to enjoy yourself.

This two-hour production, in two Acts, by the Old Mill Theatre Company, is in conjunction with Maverick Theatre Productions and can be seen at the Old Mill Theatre, on the corner of Mends Street and Mill Point Road, South Perth. There are shows at 8.00 on Wednesday, Thursday, Friday and Saturday evenings, until Saturday 27^th August. There are 2.00 pm matinées on Saturday 20^th, Sunday 21^st and 28^th August.

The scene is the vestry and office of Father Costello. The walls are limestone blocks adorned with photos of religious dignitaries. To the right of the stage is an area that acts as part of the office, then as a courtyard garden.

The textbook costumes were supplied by Jenny Prosser, and Cathy Puzey.

Award winning lighting designer, John Woolrych has taken relative newcomer, John Spurling under his wing and allowed him to come up with some quite complex lighting effects. Spurling tried dimming the lights when a dramatic speech was being made, but did so with subtle careful control, the desired effect was excellent.

      It is late in the evening in the Our Lady of the Vines convent. Into the dimly lit office come two nuns, leaping and dancing to wild radio music. Yes, Sister Abbott (Caroline McDonnell – excellent) has been sipping the communion wine for most of the day. She is accompanied by the newest holy sister, nervous Rosa (Sofie Reidy-Crofts) who is still trying to come to terms with life in a convent.

      Staggering in comes Father Costello (Noel O’Neill – hilarious), as always the worse for wear. He heads straight for his whisky bottle.

      Since the tragic accidental death of the Mother Superior, Theresa (Norma Davis), dedicated Sister Marilyn (Susan Meikle) seems the only vestal interested in the religious faith, and the upkeep of the crumbling convent.

      The trendy Italian, Sister Vinnie (Valerie Dragojevic), who is trying to fight off her Mafia upbringing is sitting in the garden of Remembrance, listening to young Rosa’s concerns about some ghostly noises she has heard in the night. Their conversation is interrupted by the arrival of the bewildered and worried Archbishop Monticello (Rex Gray). He has been sent by the church hierarchy, who have just learned about Father Costello’s dubious lifestyle, and has asked the Archbishop to give Costello a warning.

      Sister Francis (Vivienne Marshall) has come up with a sacrilegious suggestion to solve Rosa’s haunting problems, but under no circumstances must the Archbishop find out.

Director Noel O’Neill, assisted by Valerie Dragojevic have retained most of their previous, strong, award-winning team. Why not? The chemistry was again superb, with subtle delivery of the beautifully structured script and perfectly timed interaction. Great cast. Noel allowed himself to slip out of character and have a couple of ‘Boom, Boom’ jokes, but the audience loved it. There is certainly no place in Heaven for Noel.

The audience on the night I saw the show, included a couple of dozen fans, who were there to support their actor friends. Many of them had never been to a Community Theatre show before, and were blown away by the quality. One even said that she came prepared to fall asleep with boredom, but laughed the whole way through. They will all come back again.

Sequels are rarely as good as the original, but Noel’s zany lateral thinking has once again produced a laugh-a-minute show. Highly recommended. If you didn’t see the first episode, don’t worry, a knowledge of the previous show – fore play? – is not necessary.

Many nights are already sold out, so perhaps try Wednesday night or phone first.

‘It’s All Greek to Me Too!’ is Noel O’Neill’s magnificent sequel to the play that wrote just over two years ago, ‘It’s All Greek to Me’. This is even funnier than the original, and that was a sell-out! Even though Noel writes about two or three plays a year, the standard of his writing, dialogue and the superbly constructed script, ensures a happy audience. This play has a laugh in every line. It is wonderful to see so many of the original actors returning.

This 2-hour comedy can be seen at the Old Mill Theatre, on the corner of Mill Point Road and Mends Street, South Perth on Thursday, Friday and Saturday evenings at 8.00, until the 27^th February. The Sunday matinees are at 3.00 pm on the 14^th and 21^st, with all proceeds going to the South West Bushfire Appeal.

The setting is a northeast London suburb, at Christmas 1960. The scenery (designed and built by Noel O’Neill) is that used in the first play, comprising the kitchen and lounge room of the crazy Greek Clan – the Pilancous ‘Plank’ Family. The music from ‘Zorba the Greek’ is playing as the house lights dim. Very good lighting and sound effects, thanks to John Spurling and his occasional helper, John Woolrych.

Jenny Prosser’s costumes reflected the era perfectly, in both style and the materials used. The hairdos brought a smile too. Well stage managed by Melissa Munoz Escobar.
In the first play ‘It’s All Greek To Me’, Nicky Plank arranged for his cousin Stavros, living in a dump somewhere in Greece, to get married to his unsuspecting London neighbour, Circe.

      Only months after the wedding, disillusioned Circe (Nada Dilevska), leaves her husband Stavros (Andre Balzelli) and returns to London. Because Nicky (Kim Taylor) and his long-suffering wife, Athena (Vivienne Marshall) generously paid for the couple’s wedding, she blames them for her misery and places a curse on the family.

      Nicky and Athena’s daughter, Jenna (Valerie Dragojevic) is due to have her baby any day now – perhaps even Christmas Day. The family friend, Andronikos (Rex Gray), who is a potent oracle and surrounded by a powerful aura, is summoned to help them.

      The youngest Plank son, Dimitri (Cameron Leese), is well named, as his IQ is probably negative. Nicky, now with two un-married relatives again, recommences the matchmaking routine. He brings around a friend’s beautiful daughter, Christiana (Sofie Reidy-Crofts) in a desperate attempt to marry off Dimitri, but the son seems quite interested in the even more brainless, Katarina (Aimee Claire Nicholls).

      Randy Nicky goes around the houses, collecting seasonal ‘gifts’ from his lady friends, Cassandra (Berti Moso) and Irena (Charlotte Weber).

      Will Athena discover Nicky’s misdemeanours? Will anyone become wedded, or even remain married.

Director Noel O’Neill, and his assistant Valerie Dragojevic, both have a wealth of experience in comedy direction; what a magnificent show they have given us. The multitude of laughs was perfectly delivered by the wonderful cast. Each actor had a rich character to portray, and this they did with superb team chemistry. A special mention for Kim Taylor and Vivienne Marshall’s performances. Kim with his hilarious lack of conscience, and Vivienne’s desperate desire to advance the family’s welfare.

A really good, side-splitting start to the Old Mill’s 2016 season.

On arrival everyone was greeted with a free glass of champagne, delicious canapes and melodious live jazz music from Nicola Milan and Stray Cats.

The Award Night was introduced by Meredith Cook, as her co-presenter Jarrod Buttery was appearing in the first snippet from the plays seen in 2015. There followed some wonderful reminders of why The Old Mill is one of WA’s leading community theatres.

Meredith and Jarrod were in excellent fun form as they called out the names of the winners.

The actors were most pleased to have the daughter of Constance Ord – the leading light in the setting up the theatre group many decades ago – to present the Ord Award.

BEST PRODUCTION Wolf Lullaby (Director Alide Chaney)

BEST DIRECTOR Noel O’Neill (Hail Mary)

BEST ACTOR Phil Barnett (Summer of the 17th Doll)

BEST ACTRESS Anna Head (Summer of the 17th Doll)

BEST SUPPORT ACTOR Tom Rees (The One Day of the Year)

BEST S/ACTRESS Beryl Francis (Jigsaws)

BEST STAGE MANAGER Ruhama Geiger (The One Day of the Year)

BEST SET Wolf Lullaby

BEST COSTUMES Hail Mary

MEMORABLE MILLY Shirley Toohey for an outstanding performance in Summer of the 17th Doll

MEMBER OF THE YEAR Joint – John Woolrych and John Spurling

A few ‘Silly Milly Awards’ were then presented for various theatrical disasters.

A fun night that gave us all a chance to see some of the star scenes of the year.

‘Armistice Day’ poignantly written by Noel O’Neill and powerfully directed by Valerie Dragojevic.

The scene is a down-market pub around 1950, with a bar and hardwood chairs and tables.

     The barman, Blackie (Rex Gray) announces ‘time’, but the two ex-servicemen have no thoughts of going home. They are waiting for their friend Davey (Phil Barnett), after all this is their annual get together to reminisce on their war years.

     As he sinks another whisky, Mick (David Partridge) recalls having his toes blown off, but for poor young, trembling Tommo (Travis McCurry) things are much worse, he has still not overcome his shellshock. When Davey arrives, with fury in his eyes, the conversation turns to an event that happened in the last few days of the war.

     Can their comradery be strong enough to get them through their psychological problems?

For those old enough to remember returning servicemen – from any war – we know their silence, the secrecy as to what actually happened, their character changes and often the inability to see the lighter side of life; Noel has once again hit the nail on the head, he has written a super script, with a huge depth to the four, perfectly conceived characters. Director Valerie has taken the cast, given them courage and guidance to enact the tremendous emotion and tension demanded. The performances were all outstanding, but a special mention must be given of Travis and Phil’s depiction of the suffering vets. A stunning play.

‘The Tip of the Spear’ is richly written monologue from the pen of James Forte. It is based on an actual army Glider Regiment’s mission in June 1944. It has been described as the most daring and clever piece of flying in the whole of World War ll as carried out by Staff-Sergeant Jim Wallwork, who died only a couple of years ago, aged 93.

The star of the play, Ray Egan, directs himself.

The scene is a local bar, just after a Veterans’ parade.

     An ex-army serviceman in a smart suit, proudly wearing his red service beret, and with a beer in hand, takes a seat at a pub table. With a wistful look on his face, he starts to relate the amazing story of his night mission to destroy Pegasus Bridge.

Ray is an extraordinary actor. Famous for his madcap ‘Dinner for One’; he now turns on the pathos, as with tears in his eyes, he recalled the ghastly happenings of that astonishing night. A magical performance.

‘Dolls from the Sky’ is a cleverly structured play, written from the heart by local playwright, Yvette Wall. It is then brought to life by director Mary Wolfla.

It is Australia in 1948; the scene is a comfortable sittingroom, with a three piece suite and coffee tables.

     Anna (Natalie Aung Than) is a widowed Polish emigrant, who has been the housekeeper – ‘and nothing more’ – for an ex-soldier, Tom Johnson (Andrew Watson), who each night, is still reliving his war memories.

     To help her mental state, Anna has asked the local priest if she can help clean the church each week. Snobbish, Miss Betty Brown (Kerry Goode) a ghastly bigot, is in charge of the roster and is sent around, with her assistant Margaret (Yvette Wall) to talk to Anna. Prudish Miss Brown detests this foreigner being on Australian soil; but Margaret, also a war widow, seems to have formed a bond with Anna.

     Will the friendship take an unexpected turn?

Yvette has written a deeply moving script. A tale that starts with the rich characters making the audience laugh and yet cringe at the same time. Award winning Kerry played an extremist, the type that were still commonly around even a few years ago. Then the mood changed to tragic drama, with this dynamic cast firing perfectly on all cylinders.

Magnificent performances that made you gasp at the tension within the house, and what a broken heart can do to a person. Luckily, we still had a few tissues left from the first play.

Often with short play productions, there is one good play with the other one or two sadly there to give a local author a chance to try out their first – sometimes, very average – play. On this occasion we had three, truly outstanding pieces of writing, cleverly directed and presented by three hugely talented casts. Not a weak link to be seen.

The middle play, is at the Old Mill for two nights only, before it moves over to the other side of the suburbs, Marloo on Greenmount Hill, where it will play for a couple of nights there.

You do not have many opportunities to see these plays, but cancel everything else to see them. An amazing night of theatre.

This fabulous, two and a half hour play by Sandi Buckley’s Clover Creative Productions has its curtain up at 7.00 pm in the Irish Club Theatre, 61 Townshend Road, Subiaco each evening until Saturday 13^th June.

The scene is 1921, in the office / library of Churchill’s home. The walls are lined with leather-backed books. There are a couple of comfortable chairs and a writing table. Around the walls are photographs ranging from his wife Clementine to Lawrence of Arabia. Above the proscenium arch is a Union Jack and the Irish tricolour (bratach na hÉireann). Production manager – John Spurling.

     The play opens with the British Colonial Secretary, Winston Churchill (James Hagan) ranting and dictating to his secretary (Maggie Meyer), a letter ordering an Irish Rebel leader to come to England so that they may discuss a possible truce between the English controlled Ulster and Eire – the Anglo-Irish Treaty. Thankfully, Churchill’s secretary suggests modifications to this Liberal Cabinet’s member’s vitriolic letter.  

      Eamon de Valera chose Sinn Féin leader, Michael Collins (Bryn Coldrick), and although Collins fervently protested to the Irish political leader, he was ordered to go.

      On arrival at Churchill’s residence, Collins was shown into the office by Churchill’s butler, William (Kim Taylor), where he stood for a few minutes before Churchill even acknowledged his presence. Collins was about to leave in disgust, when the English politician softened and started to talk to his enemy.

      Churchill spoke condescendingly to this ardent Irishman. As they discussed their hard upbringing, Churchill tells of having to drink poor wine and how he missed his Cuban cigars, Collins tried to explain the potato famine and his ancestors being forced to emigrate to America; but this was brushed off by the Liberal statesman as a minor problem. Slowly the two men appear to bond and each seeing the man behind ‘the face’.

      What will win the argument? Churchill’s stubborn arrogance or Collins heartrending explanation of the situation?

Talented director and playwriting lecturer, Noel O’Neill, has been lucky enough to employ two of Perth’s best talents to act this two-hander play. James Hagan, who is WA’s leading teacher of voice, diction and drama and Irishman, Bryn Coldrick, who is a master of various genres. Bryn has made us laugh with his portrayal in ‘Black Books’, cringe with a Mafia like portrayal, and now, in this powerful drama, shows his full command of voice and body coordination in creating possibly the most powerful piece of acting that I have seen in years. Although the real Michael Collins was a tall and solidly built man, and Coldrick is finely built, he still managed to exert his authority over Churchill.

Hagan was wonderful as 47-year-old Churchill trying his best to bully Collins. He captured the politician’s speech defect immaculately. Both showed a huge range of emotions with genuine tears flowing, once in anger, then in total despondency.

Two hours of historical dialogue may sound like a nightmare to some theatregoers, but with the perfect pace, the powerful acting and the immense emotional tension, this production leaves you breathless.

Similar to the essence of this story, I saw a photograph in the paper the other day, of Gerry Adams and Prince Charles meeting. Both were smiling and seemed to be enjoying each other’s company, however, one wonders what Charles was really thinking when, in August 1979, his favourite uncle, Lord Mountbatten was killed on his boat, probably by Sinn Féin.

Inevitably a few friends or relatives will come to a show, and a few will give a ‘loyal supporters’ standing ovation, but when the WHOLE audience stand in rapturous applause then you know that you have seen something extra special.

At the Irish Club, one can always be assured of a warm welcome. A very short season with most seats gone already – try to catch it.

Irish born, university lecturer Noel has a real penchant for writing deeply moving plays, but it is the comedies for which he is mainly known, and this is one of his funniest. Noel is now destined never to pass through the Pearly Gates.

The two-hour production by the Old Mill Theatre Company can be seen at the Old Mill Theatre, on the corner of Mends Street and Mill Point Road, South Perth. There are shows at 8.00 on Wednesday, Thursday, Friday and Saturday evenings until the 24^th April. There is also a Sunday matinee on the 19^th.

The scene is Father Costello’s office in a WA convent. The walls are limestone block – another impressive piece of theatre artwork from Tim Prosser and his construction partner, Phil Barnett. To the right of the stage is an area that acts as part of the office, then as a courtyard garden.

Ben Davis’s fine lighting design was operated by BioBox tech John Spurling.

 

        Sister Abbott (Caroline McDonnell – hilarious) sips at another glass of communion wine, as she tries to do some bookwork in the convent’s office. Across the room, Sister Marilyn (Julia Trefeli) takes another pathetic swipe at some balls of tissue with the golf putter she has pinched from Father Costello (Noel O’Neill – brilliant). Meanwhile, Sister Francis (Vivienne Marshall) is having severe doubts about her commitment to the Lord and the convent, especially when her Mother Superior (Norma Davis) thinks she is Julie Andrews in the ‘Sound of Music’.

        The housemaid (Dale James) has just topped up the drinks trolley, when Father Costello returns from his round of golf – half drunk. The Father seems to have no qualms about working his way through the many sins mentioned in the Bible. The trendy nun, Sister Vinnie, who has red trainers and a gold chain around her neck, reminiscent of TV’s Mr T, announces that the Archbishop (Rex Gray) has arrived with bad news. The convent is in a dire financial state and must be closed. However, an incident with the new shy and very nervous nun, Sister Rosa (Jesse McGinn – superb), might save the day.

 

Noel has gathered a very strong team together. Dry, subtle humour can be a little difficult for some actors to perform, but in this show they all worked together beautifully, and the laughs just kept coming. With the perfect costumes by Jenny Prosser, Claire Wynne and Cathy Puzey, it was hard to believe that you were not a fly on the wall of a real convent.

In the past, when Noel is acting as well as directing, he has been known to miss the odd line of dialogue, giving the impression he was still supervising the directing instead of concentrating upon his own part. Here Noel knows he has a talented cast, with great characters, and he just went for it. Slightly over the top, he really milked every line. Exceptionally funny.

This is certainly a hilarious play, definitely worth going out on a wet winter’s night to see. Highly recommended.

The theatre’s new committee have literally, laid down the red carpet to lead you into a plush, casino-like environment. Their aim is to raise enough money to replace their old element lamps with LEDs, and to renew the sound system.

The scene is the sitting room of a 1960s house in the East End of London. A very good set, with all of the trimmings and furniture of the era (artistic director Mary Murphy).

Around the dining room table, a group of men are playing cards. They are Bert, the overbearing house owner (Kim Taylor – magnificent), his simple son Harold, who hasn’t two brain cells to rub together (Cameron Leese) and Bert’s best friend, quiet Eddie (Noel O’Neill) who has just been released from prison. The group are gambling with peanuts for money, but Harold keeps eating the winnings.       

Next to the fire, reading the paper is Bert’s other son, the lazy good-for-nothing, Alan (David Buckley); in the opposite corner sits suave young Billy, a criminal in the making (Emilio Evans). This gang have decided to raise cash for a trip to America, and think that voluptuous Susan (Clare Mulchinock), who has a wealthy husband, may be the answer to their prayers.

The experienced director, Noel O’Neill and his most capable assistant, Caroline O’Donnell, have amazingly turned, what could easily have been a static sitcom, into an action-filled romp. The characters were perfectly believable; in fact, we have all met, or ‘know’, most of the individuals. The cleverly written dialogue was unique to each personality, with some very funny one-liners. Half the cast were relatively newcomers, but they were not distracted by having to speak with Cockney accents – all VERY accurate – and yet they still managed to keep up with the rapid pace.

Booking is essential, and The Irish Players have linked on to the ‘www.trybooking’ system, so that you will know in advance the number of seats still available. An excellent cast, working perfectly in tune with each other, generating a wonderful evening of chuckles. Highly recommended.

These richly written plays can be seen at the Old Mill Theatre, on the corner of Mends Street and Mill Point Road, South Perth each evening at 8.00 until 24^th September. LAST SHOW THURSDAY.

‘Under any Old Gum Tree’ (50 minutes)

A brief film flickers on the wall, showing the hell of the First World War trenches.

It is now 1918 in a military hospital. The room door opens and a young man is led by the hospital orderly (Rex Gray) to his iron framed bed. The man (Kieran Garvey) is dressed in blue striped pyjamas, and has a Victoria Cross pinned to the jacket pocket.

This is the true story of Martin O’Meara VC, we learn how he left his job as a sleeper cutter in the forests near Collie to go to Europe and fight the Huns. Here he is, back in the safety of his home surroundings, yet he is strangely restless and at times extremely distressed at his comfortable surroundings.

What has brought about this shell shock in such a young man?

This is only Kieran’s second part on the stage. Not only does he have the challenge of a 50-minute monologue, but also it is packed with every emotion. He is happy one minute, followed rapidly by severe depression. He relives the stench and horrors of his trench traumas. Kieran has completely captured the fabulous depth of character created by Noel. It is a heart-rending performance that subtly packs a great deal of detail into the script and acting, but without feeling preached at. This is an exceptional performance.

‘October’ (25 minutes)

           The front door slams and young Betty (Jayne-Louise O’Connell) enters her Mum’s kitchen, yet again catching her Mum, Shirley (Rachel Bartlett) smoking another cigarette. Betty is angry, because despite her mother knowing that she has cancer she seems to be making little effort to help herself.

This is a dark comedy / drama. The basic storyline is one we all know, and may have had to deal with, but Noel has created two very recognisable characters, and added a plenty of humour. Two very good performances.

The lighting, sound and AV beautifully handled by Graeme Johnson and Kathryn Carney.

Director Noel O’Neill has once again, bravely given a ‘chance’ to a couple of stage newcomers. He has skilfully guided them through the pitfalls and shown them some good stage techniques. It is always wonderful to have someone who generously ‘risks’ disaster by giving his new play to an inexperienced cast, but in both these plays they have shown their appreciation by producing admirable performances.

This is the second last night so try and catch these treasures.

This wonderful blend of hilarity and character-study is now being presented at the Old Mill Theatre, on the corner of Mends Street and Mill Point Road in South Perth. This 90-minute play starts at 8.00 pm, with the evening performances on Wednesday, Thursday, Friday and Saturday, running until Saturday 8^th March, and with one matinee on Sunday 23^rd February.

The curtain-less stage is divided into Karen and Gabe’s dining area in one flat, and Tom and Beth’s bedroom in another Connecticut flat. The bedroom is built on a rotating stage, with ‘interesting’ artwork by Tim Prosser.

       Middle-aged Gabe (Michael Dornan) and Karen (Laila Gampfer) are happily married with kids; have invited their friends of many years around for a meal. They understand that Tom (Phil Barnett) is away on business and so only Beth (Maree Grayden) has arrived. Effervescent and wearisome Karen is relating to Beth every second of her recent Italian holiday, with a few prompts and corrections from Gabe. Suddenly Beth bursts into tears and explains that Tom is not ‘on business’, but that she has in fact asked her manipulating, two-timing husband to leave their home.

      The four characters meet two at a time, trying to win each other’s support. It is these private and outspoken meetings – along with a flashback to a decade earlier – that gives us a real insight into the situation.

Skilfully and delicately directed by WAAPA lecturer and well known scriptwriter, Noel O’Neill, the play opens with an extremely funny first scene before swinging around to an intriguing glimpse of the true depth of the couples. The American accents were well matched and thankfully not overpowering. A cleverly constructed story, with well thought-out and fascinating dialogue.

The cast had a full understanding of the mood changes, the humour and the understated acerbic attitudes. Their delivery was perfect whether it was passion, hate or confusion.

Good lighting design by Ben Davis with additional modification (as Ben is on holiday) by the operators, Sarah Christiner and Cassie Stafford. One minor problem was that as the cast took their bow they were in total darkness, perhaps they were too far forward on the stage, but there didn’t appear to be any lamps available on the house rig to light them. The sound effects by Graeme Johnson were crisp and realistic.

The stage crew Susan Sator and Rex Gray, led by Stage manager Kirsty Loader, were very efficient, although I felt that the amount of prop removal on the dining room set was excessive and unnecessary, when dimming of the well considered lighting could isolate the areas.

An excellent, very well presented play by any standard. Highly recommended.