This 55-minute, Sean Guastavino production about eco-disaster, can be seen at 7.00 each evening until Saturday 27th August, in the main theatre of The Blue Room Theatre complex, 53 James Street, Northbridge, Perth.

The scene is a filthy, damp bunker; a most convincing set from designer, Matt McVeigh and set constructor, Matt Crock. The walls are graffiti sprayed black concrete. The low ceiling is comprised of white slabs. Graphic designer, Joseph Dennis added the finishing touches.

The sparse furnishings include a camp bed, a few milk crates, and a couple of 20-litre water bottles. Centre stage is a tub of compost containing a pathetic, dying tree with the odd shoot on the branches.

The production was stage managed by Georgia Smith.

    It is early morning, obsessed and deranged Margo (Zoe Street) is worshiping the failing tree that is struggling to grow in the bunker where Margo has lived for decades. Margo compliments and praises the struggling plant in the hope it will blossom again.

    Thanks to climate change and nearby chemical works, the whole area for kilometres around has died off. Not a tree, bush or blade of grass remains. It is therefore essential that Margo does her best for this remaining tree. Like Lord Byron’s ‘Prisoner of Chillon’, she never dares to leave her prison.

     Margo shares the bunker with a loving, sensible young man, Flint (Peter Lane Townsend) who everyday goes in search of potable water, and tries gleaning the minimal remaining food. If he is lucky, he may even find a few seeds that can be planted for the future, but with the chemical works gestapo patrolling around, it can be extremely risky.

     How long can this dire situation go on? Is there light at the end of the tunnel?

The topic of ‘climate change’ as a theme for a play did not exactly fill me with enthusiasm. Was this to be another message bashing experience? Absolutely not. This was something exciting and completely new.

When a playwright directs his own play the result is rarely satisfactory, but Monty has proved his immense skill in both fields by giving a truly gripping play. The two amazing actors had us on the edge of the seat as the tension rose. The clever lighting by designer Rhiannon Petersen, accompanied by Alex and Yell’s sound design, gave a tremendous climax that shook the building and surprised us all.

It is always good for a production marketer to have something genuinely worthwhile to promote. Amelia Tuttleby has an outstanding play to offer the lovers of quality theatre.

This fast moving, 75-minute show about confrontation, is in the main Blue Room Theatre, Perth Cultural Centre, James Street, Northbridge and runs nightly at 7.00 until 28^th May.

The opening scene is the sitting room of a comfortable flat, with coffee table and settee, all in cream / white. The walls are covered with numerous, small artworks.

The three units forming the walls are rotated, and we find ourselves in a down market, somewhat sleazy pub. A clever and innovative set from WAAPA trained, Tessa Darcey and stage managed by Georgia Smith.

Joe Lui’s powerful and dramatic soundscape is taken to a new level with the stunning; electro-soul music is by Fremantle’s ‘St. South’, the work of instrumentalist and haunting vocalist Olivia Gavranich. Olivia has also composed for TV dramas.

      Quiet and easy going Max (Peter Lane Townsend) and his warm, healthy living, girlfriend, Norah (Maja Liwszyc) are having a relaxing night at home when an old, childhood friend of Max’s arrives. She is Blythe (Emily Kennedy) tense, stroppy and begging for an argument. She has recently broken up with her long-term partner and is looking for support and guidance – but is unlikely to accept it.

     The scene changes to the local pub, where barmaid Blythe is cleaning up for the night, before setting off home. At the last minute, a middle-aged man, Dean (Benj D’Addario) comes in wanting a drink – and perhaps a bit of female company, unaware that Blythe is more interested in girls. Even so, Dean will play a major part in her future life.

The much-admired director, Emily McLean, has worked several times at the Blue Room and for the Black Swan State Theatre Company, always giving us a play to remember. She is a dedicated director, carefully considering every aspect of her productions. Emily has selected a very capable cast, from the highly experienced Benj to the relative newcomer, Peter.

Emily Kennedy gives an amazing performance, filled with emotion ranging from heartbreak to raging anger and guilt.

This is a cleverly written play, with the action taking place on several ‘levels’. The strong, well-focused performances gave justice to this excellent play. Highly recommended to those that appreciate quality.

This 60-minute play runs nightly at 8.30 pm until 6^th June in the Blue Room Studio Theatre, 53 James Street, in Northbridge.

I don’t normally comment on the marketing of productions, but Jamie Breen’s promotional photograph is outstanding.

At first glances the set is simple, merely a rostrum with a couple of buckets of red desert dust sprinkled on top. Then the stars come out and the designer, Tessa Darcey along with lighting designer Emily Crane (operator Daley King), gives us an innovative treat.

The soundscape is beautifully subtle, with the hint of the desert wind, clever work by sound designer Mike Podmore.

         We find ourselves in a pub, just past the black stump. In the bar, celebrating his 18^th birthday is Cooper (Peter Lane Townsend), a bush born and bred lad with very little between his ears. In fact, for his birthday treat, his father is going to abandon him out bush to harden him up. Cooper is being served by Grace (Maja Liwszyc) who spends her time between customers reading legendary Aussie poetry. Grace is worried because five days earlier her brother went out bush and has not returned.

       At the other end of the bar stands city slicker, Jeremy (Tristan McInnes), an adventurous lover of nature, with no real idea how dangerous and oppressive the outback can be. He has come to central Australia to follow in the footsteps of the American poet, Jean-Louis ‘Jack’ Lebris de Kerouac – one of Bob Dylan’s idols and his major source of inspiration.

Director Warwick Doddrell has gathered a wonderful team that has created a tangible desert atmosphere. The audience could really feel the harsh desert sun, the arid atmosphere was palpable. The direction kept the pace moving along rapidly, as the story took us from one location and story thread to another. Each actor created a rich persona that the audience wanted to more about and really cared for. There were plenty of laughs and brief times of terror.

Symbolism was used most effectively on occasions such as in the bar, tending the desert creatures and climbing the local monolith.

A clever production that really captured the atmosphere of central Australia.