This show has a young, but energetic and highly motivated amateur, cast are presented by Studio2Stage Youth Productions in conjunction with Phoenix Theatre. Although aged 11-18 years, they gave a quality performance in a broad range of dance, and advanced theatrical styles.

This two-hour show can be seen at the Phoenix Theatre Inc, in the Memorial Hall at 435 Carrington Street, Hamilton Hill. The season runs on Wednesday, Friday and Saturday evenings until 27^th January, with all the shows have curtain up at 7.30 pm. There are a couple of Sunday matinées at 2.00. As always at the Phoenix, the foyer was decorated having a glowing, realistic jukebox (Jodie Innes, Emma and Mark Foster, Michelle Shoosmith and Carrie Lewis).

A couple of key nights have sold out already, so get in quickly.

Studio2Stage have a merchandise table with fun 50’s items for sale.

Nightly raffles and programme sales profits will go to two worthy causes, Autism WA and The Lupus Foundation.

The main sets were the classroom and sports field of Rydell High School in 1958. There were several minor sets on the stage apron, e.g. café. The sets were quite symbolic, but the numerous, fascinating props of the era supplied by Narelle Thoms enhanced the scenes.

Alexander Coutts-Smith and Mikaela Innes’ lighting and sound design helped the show bounce along and added to the spectacle. Michelle Shoosmith operated the complex lighting design smoothly.

Bryan Shoosmith was the sound operator, retaining an ideal balance of accompaniment volume for the singers, and kept up with the numerous headsets (they all worked!! Wow).

         It is the end of the summer holidays, and T-bird greaser, Danny Zuko (Liam Pini) is keen to tell his pals consisting of his best friend Kenickie (Lincoln Tapping), guitar strumming Doody (Tim McClelland), the group’s sex bomb Sonny (Rudi Palmela), and Roger (Edan Frazer), all about the dream girl he met on the beach. She was beautiful Sandy Dee (Rebecca Collin), they fell in love, but Danny added a few tasteless comments into the affair and these got back to Sandy.

         Meanwhile, the Pink Ladies, who are a clique of stylish girls consisting of Rizzo (Kel Camponova), Marty (Mia Frazer) and Jan (Ruby Thoms) are sitting in the classroom, disclosing to each other their holiday affairs. As they chat, an old maid teacher, Miss Lynch (Lili Thoms) introduces them to a new girl, Sandra. Most of the Pinks ignore her, but welcoming Frenchy (Phillippa Bialas) befriends her. Before long, Sandy meets Danny, but she is horrified to find he described her as a loose woman.

        Frenchy invites Sandy to a pyjama party, but after trying a cigarette, drinking and getting her ears pierced by Frenchy, Sandy is feeling even worse. Rizzo makes fun of her virtuous nature. Kenickie buys a wreck of car, that he names ‘Greased Lightning’ to impress Sandy, but Danny borrows it and takes Sandy to a drive-in.

        Frenchy feels that school is a waste of time and decides to go to college to study makeup. However, she is visited by a teen angel (Elias Shoosmith) who advises her to return to school.

       The school dance is hosted by DJ Vince Fontaine (Elias Shoosmith) who flirts with Marty. Kenickie attempts to spite Rizzo by dating Cha-Cha (Emmalee Bialas). Although she is very pretty, poor Patty (Laura Foster) finds that along with geek Eugene (Lachlan Felstead) they are the leftovers when the dance competition is announced.

       Broken hearted, Sandy sits at home singing along with the radio singer (Amalie Meneghetti). Still in love with Danny, Sandy decides to do all she can to win him back, so with advice from Frenchy, she arrives at the school in a stunning black leather outfit. Could this bring the answer to her prayers?

 The ensemble is an unfortunate name for the group of wonderful, remaining performers; they are Tara Butt, Charlotte Holly-Little, Eliza Lewis, Keira Butt, Rebecca Winn, Bethany Tandy and Riley Innes.

Normally a director has an uphill battle trying to mould a young cast into their characters, whilst praying that the whole show will come together in the end. However, this cast has been superbly trained in all the theatre skills by the Studio2Stage acting school. Thanks to director, Jodie Innes and her assistant Narelle Thoms, this whole cast were acting years above their age. Their stage presence was jaw dropping.

The delivery of the songs was done with power and perfect pitch – I didn’t notice bum note anywhere. There was some tremendous singing by the leads and featured singers, but when 13-year-old Mia Frazer sang ‘Freddy my Love’ I was blown away at the skills shown. Every singer was outstanding.

The lively orchestral music was on a licenced disc, but the musical direction of the cast was by 16-year old (yes 16!!) Lincoln Tapping; who along with choreographer Mikaela Innes, gave us numerous memorable numbers. The young stars gave us acrobatic lifts, with graceful and interesting dance routines.

With a large cast, Leanne and Emily Winn managed the stage wonderfully well, and with Ebony Howard and Bethany Tandy helping with the muscle work on stage everything flowed smoothly. The colourful and well researched costumes were excellent. The hair (loved Teen Angel) and makeup were also by Jodie and Elaine Innes.

I went expecting a simple musical from some youngsters and came away totally impressed. Quite a few names to remember, I hope their Stage School has a year book for future reference.

Playwrights Marshall Brickman and Rick Elice wrote the hilarious storyline, Andrew Lippa, who was later nominated for a Tony Award for ‘Best Original Score’, then added the music and lyrics. Lippa has brilliantly written the score to match each character’s personality – e.g. Gomez a Spanish Flamenco-style melody.

The $15 million production (co-incidentally produced by Phoenix Entertainment) ran for 722 performances on Broadway, grossing over $62 million, third only to ‘Wicked’ and ‘The Lion King’. The Broadway production starred Brooke Shields as Morticia.

The Australian Premiere was in Sydney, March 2013, with John Waters as Gomez Addams.

Now is your chance to meet this ghoulish family in their two and a half hour, offbeat production, presented by Phoenix Theatre Inc. and Dark Psychic Productions at the Phoenix Theatre, 435 Carrington Street, Hamilton Hill on Thursday, Friday and Saturday nights at 8.00 until 10^th December. There is one matinée on 4^th December at 2.00 pm.

This show’s selected charity is Cystic Fibrosis (a debilitating genetic lung condition), so please buy a programme and give a donation to this worthwhile cause. Thank you.

The entrance foyer is lined with empty picture frames, gravestones, ‘Thing’ in a box, with various black magic and torture implements. Even the coffee counter had jars of ‘creepy specimens’ as tasty treats. Huge amount of work, but a great scene setter for what is ahead – the work supervised by Jessica Tarnowy, with props supplied for this and the musical by Chantal Kerkhof, Krispin Maesalu, Ryan S McNally, Allan Veal and Pat McMahon.

The set, designed by Ryan McNally, was simple but extremely effective. There were walkways off each side of the stage, around the orchestra pit, to the front of the audience.

The curtains open to show a decrepit, weatherboard house with a glow coming from the attic window. In front of the house, next to a wooden bridge, is Bernice, a 2-metre high Venus flytrap. At each side of the stage is a cobweb covered stone arch. There are various plinths for the ‘dead’ – as opposed to ‘living’ – statues.

The production manager was Alison Kovacs, who with stage manager Nikita Harwood ensured a fast and effective stage crew (Daniel Rooney, Eleanor Weller-Brown and Luke Locantro). Slick work. The technical director, Alexander Coutts-Smith, designed both the soundscape and, aided by Krispin Maesalu, the lighting. Benjamin Albert added the fun sound effects; the sound operator was Simone Ostle.

The live orchestra are in the ‘pit’ in front of the stage. The musicians were conducted by the musical director, Krispin Maesalu who covered the various scores from soft love songs to the loud, creepy and slightly discordant tunes required when the ancestors were around. The reed section comprised Jeni Stevens, Trish Telcik and Talitha Dunn, the brass players were Paul Marion and Emma Mondy. Chris Johnston was on guitar, with Josh Haines and Ethan Walters on keyboard. The string section was Benjamin Cooke, Amanda Reynolds and Greg Critchley.  Drums and castanets played by Jake Isard. The percussionist was also assistant musical director, Ben Albert. With the musicians facing a side wall instead of directly at the audience, I found the instrument balance better than normal.

       The orchestra strikes up their Overture with the well-known Addams Family refrain. As they play, a hand – ‘Thing’ – comes out of the centre of the proscenium curtains and beckons us to join the Family. Poised on a plinth to the side of the stage is a one-legged woman, ‘the Sideshow’ (Sally McMaster).

       The curtains open and reveal the Addams Family on their way to the cemetery. Even after many years of marriage, Gomez Addams (Paul Reed) and his wife, Morticia (Holly Denton) are still as passionate over each other as ever. Lanky and bald, Uncle Fester (Callum Siegmund-Bant) and young Pugsley (Charlie Martin) are excited about the annual family gathering and all of the decaying corpses they will meet. Sadly, if Wednesday gets married she will no longer be available to give Pugsey his daily torture on the rack. Scruffy and coarse Grandma (Devetta Ridgwell) enjoys meeting all of the family members, many of whom have been dead for centuries. Butler Lurch (Declan Roden) keeps her company.

      This year however, the daughter, Wednesday (Rosie McGavock) would rather be with her new boyfriend. She has fallen madly in love with caring Lucas Beineke (Matthew Arnold), who is unfortunately ‘normal’! Gomez and Morticia are horrified, until they discover that he wants to be an embalmer.

     Wednesday invites Lucas and his parents to the Addams’ Towers for a meal. Whilst the group were led in by the ballerina (Tabitha Kerlin), a gypsy (Chantal Kerkhof) with crystal ball in hand cast a spell. The straight-laced, passionless father, Mal (Lee Wilson) and Lucas’s inappropriately dressed Mum, Alice (Claudia Van Zeller) are looking forward to meeting their prospective daughter in law. On arrival, the ancestors were lined up on their plinths; there were the abandoned bride (Melanie Doust), the flapper (Charlotte Williams), the Indian (Bernadette Ward) and the courtesan (Steph Hickey). The gravedigger ancestor (Pat McMahon) took an instant dislike to Lucas, and had to be stopped before an incident arose. Uncle Fester calls for an intermezzo as he plays his ukulele, but nothing can prepare the visitors for ‘The Game’ at the end of the dinner.

      How can Wednesday and Lucas prove their love for each other with an apple? Or will the Grim Reaper (Craig Rickards) be called?

     The ancestor ‘flight attendant’ (Sara Urban) brought a smile on the curtain call.

 Other ancestors that visited the family included a puritan (Zack Inglis), the conquistador (Christopher Doney), the soldier (Allan Veal), the convict (Shaun Griffin) and the gambler (Julian Monck). Every actor and ‘ancestor’ extra had their moment of glory in this show, whether dancing, singing or merely their creepy presence adding wonderfully to the show.

The director, Ryan S McNally acted as a mentor for his assistant, Eleanor Weller-Brown. Ryan is certainly not one to accept ‘average’ or even ‘good’, he demands the best and then helps the cast give him the best and more. The script was extremely funny, and the cast delivered the subtle jokes perfectly. Gomez and Morticia’s love rapport was brilliant, even though delivered in Spanish, like ‘querida’ (darling) and ‘cara’ (my heart) it was when he spoke French that Morticia melted.

A couple of years ago, community theatre musicals would have one good singer, and the remainder would be able to dance OR sing. Recently I have noticed that invariably, all of the main characters in a musical can sing and dance brilliantly. The singing in this production was WAAPA standard, powerful, huge vocal range and a natural – full body – delivery. These stars strutted the stage, and engaged the audience from the moment the curtains opened. Even the fun songs like Uncle Fester’s, who sounding a little like Kermit, sang a beautiful song to the moon. Lurch’s song was possibly a unique event in Australian theatre.

The high quality choreography covered many genres from soft shoe, high kicking and a tango d’amour. The choreographers, Sarah-Rose Kelly, Ryan S McNally and Steph Hickey, amazingly managed to control this large cast, with several groups dancing simultaneously. The dancers were energetic and did not miss a beat.

With more than two dozen characters, all very different, the costume section (Ryan McNally, Rebeka Thomas and Rhiannon Thomas) had a great deal of work. Each costume was a masterpiece, well-tailored and created with imagination, whilst still ensuring a faithful reproduction of the character we all know so well. The makeup girls, Jessica Langdon and Amy Heath Murdoch, gave the finishing touches. For shows like this, the audience have a definite expectation as to what the Family should look like, and they were immaculately represented.

Superb acting, packed with energy and great fun. I expect rave reviews.

Despite this play being about all things macabre, I think that any children over nine would love the characters. Be warned, several performances are already sold out.

The venue remains open after the show, to allow the guests to enjoy the setting, meet the stars and become acquainted with the artworks.

‘Portraits’ is an hour long, first-class show and it can be seen each evening at 8.00 pm until Saturday 15^th October. There is an extra matinée on Saturday at 2.00 pm.

The wonderful venue, ‘The Round Room’ is actually oval, and has superb acoustics. The seating was ‘in the round’ with a central, mini-stage of white cubes. As an amateur artist, I expected this to be an exhibition of a few lame paintings, but the walls were crammed with quality local artwork. The pieces are superb, and most are for sale at giveaway prices, with a portion of the profit going to a most deserving cause, the Starlight Foundation. Stage managed by Alison Dirix.

        The audience pass the ‘Spirit of the Portrait’ (Chantal Kerkhof) and enter the theatre; the actors are living statues, situated quietly around the room. The Art Maître d’ (Jayde Clarke) welcomes us and then, in top hat and tails, the leggy narrator (Bethsaida Tapsall) introduces us to Serendipity (Em Rose), a bubbling, bouncy lady, who looks upon herself as another Queen of Hearts. Serendipity presents to us, Little Alice (Mikayla Wyartt) – straight from ‘Alice in Wonderland’. Alice displayed to us her youthful exuberance for life, before showing us her ‘older being’, the veiled, damaged, Dark Alice (Natasha Davison).

      The rear row of the audience stand and break into song, this is the Portraits’ Choir. They mingle around the room singing in perfect, unaccompanied harmony. The Acappella singers all had beautifully balanced voices. With gentle backing from sopranos Angharad McEvoy and Tallulah Starkie, Bhavna Venkat went centre stage with fellow alto, Jen Gadeke and sang ‘By the Wall’, a sad song, sung from the heart.

     The colourfully dressed, pessimistic Mad Hatter (Ryan S. McNally) introduced his dark and depressed friend, Mr Black (John P. Gray); but good shone through in the end, when young Master White (Nicholas West) and diaphanously dressed, Lady Rose (Zoe Jay) showed that pleasure and happiness is there if you look for it.

      The choir regathered as Liana Russell and baritone Michael Baker sang the moving, ‘Heavens Hands’. In Madrigal counterpoint, Sarah Hynes and Alisa Dowson rendered a beautiful and meaningful number, before vibrant Gabby Burrett rocked the place with a lively, country-style number.

      A mysterious gypsy woman (Kate Lloyd), adorned with gold necklaces and tokens of life around her neck, awakes. She encourages any of us who are feeling low, to rediscover ourselves, and to lay ourselves bare. A smartly, retro-dressed woman, the Voice of Eden (Elissa Heffernan) explains and encourages us to leave our low feelings behind and like her  friend, a beautifully adorned, body-painted model (painted by Elissa, model Gabriella Guidone, alternating nights with Ashleigh Riley and Stacey Wyartt) face the world with a new freshness.

Being a civil celebrant, Sally has developed a keen understanding of human emotions, and she has used this knowledge to great effect in this unique show. However, my greatest surprise was the incredible standard of writing. Richly written in several styles and genres, from Lewis Carroll to Keats, the prose, poetry and songs were professional and outstanding. Bob Dylan may have won a Nobel Prize for his writing, but I am sure Sally is not far behind.

Then, as the director, Sally Newman has taken a few – dare I say average performers, that I have known for years – and raised them, to confident, first class actors giving impressive, strong, meaningful performances that I suspect may have even surprised them too.

Sally, now with her musical directors, Lee and Ashlea, has gathered a bunch of youngsters who have never sung together in the past, and created an outstanding, enchanting choir. They had angelic, unfaltering voices that just had the audience asking for more.

The flawlessly styled costumes perfectly reflected the characters of the story.

Many of the performers are still teenagers, but every one of them showed amazing feeling and rapport with the words they were saying or singing. Moving around the audience they connected with individuals in the seats.

At the end of the evening, Richard Lilje, Bryan R. Dalton, Ella E and Ru provided light, background musical entertainment.

Truly, a gobsmacking evening that will blow you away.

Be sure to buy one of the quality programmes, designed by photographer Jarrad Sharman and Sally Newman, for a full appreciation of the event.

This is one of those rare occasions, when every show is deservedly sold out in advance, but telephone in case there is a cancellation.

This fun-filled, family show is being presented by Phoenix Theatre Inc, in the Memorial Hall, 435 Carrington Street, Hamilton Hill; the hour and a half shows commence at 8.00 pm on Friday and Saturday nights until the 30^th July with matinées at 2.00 pm on the 16^th and 24^th July.

The production is supporting Puss in Thongs’ favourite charity, the ‘Cat Haven’ with the profits from raffle ticket and programme sales.

The stage has a bright and colourful, artistically painted backdrop showing fields and a castle. The stage apron has a garden seat and large, attractive rockery (designed and built by Wayne Gale).

The Phoenix regular lighting designer, Alex Coutts-Smith has produced another vibrant display, operated by Jayde Clark. The soundscape was mainly supplied by the copyrighter and operated by Aubrey Cason.

The colourful and unusual costumes are the work of Sheryl Gale and Jaclyn Fogg, with the makeup for the Witch and Puss being by Ryan McNally.

       When the local miller dies, his three young sons have to survive the best they can. Instead of sharing the inheritance, the oldest brother, Tom (James Buckland) takes everything, giving his two younger brothers, Dick (Adian Mellor) and Harry (Chris Doney) only $5 each.

       With so little money their future looks dim, until Harry meets a talking cat, Puss (Sylvia Mellor). Being a bit of a trickster, Puss talks Harry into going to the local op-shop, run by three deaf and senile ladies, Dora (Valerie Greeves), dotty Doris (Jude St. Clair) and Daisy (Beryl Francis) to buy her some boots and a hat. Puss is much admired by the folk of the village (Katy Cowie, Shelly Cowie).

       Puss tells Harry that if they cross the Great Sandy Desert and reach the King’s Palace, The King (Shaun Griffin) will allow Harry to marry his attractive daughter, the Princess (Bernadette Ward). However, on the way they encounter a confused Bunyip (Benjamin Steel) and a strange camel (Adian Mellor, Olivia Goud).

       Soon Harry learns that a wicked witch, Winifred (Liana Russell – absolutely glowed), lives nearby and is sure to kill them. Will the witch bring misery? Or will there be a possible marriage?

Directed by Sheryl Gale and assisted by Shaun Griffin, produced a cast who were word perfect, filled with enthusiasm and large smiles. I saw the final rehearsal, but the main members of the cast sang melodiously and had wonderful audience rapport. Puss had a magnificent threatening Meow, and the kids will have the chance to dance with a Bunyip. Alison ‘A.J.’ Kovacs was a most efficient stage manager, with props moving around quickly and silently, and good crowd control of the large cast.

The choreography by Sarah-Rose Kelly, was relatively simple, but this ensured that the whole cast grooved together.

A small warning, the theatre heating is faulty, so come well wrapped up in case it doesn’t work.

This children’s musical is written on one level, for younger children – best age groups from 5 to 12 – without the usual double-entendres for the parents.

Being presented by an all adult cast, the story is easy to follow; there are lots of singalong songs and nursery rhymes that all children will know. So find some kids to use as your excuse to see this latest fun rendering at the Phoenix Theatre.

Lookout for some more great shows lined up including ‘Portraits ‘and ‘The Addams Family’.

The first play, ‘The Kraken’, is PG rated and starts at 7.30 pm, with a matinée showing on Saturday 18th at 2.00 pm.

The second show, ‘The Darkness’, rated M+ – because of the subject matter – begins immediately after the first production.

‘The Kraken’ is a semi-autobiographical play, adapted by Cody Fullbrook from his favourite children’s book. Internationally acclaimed, Brisbane author, Gary Crew, wrote the book. Crew was generous and brave enough to allow Fullbrook to unreservedly make the adaptation.

Gary Crew, who started life as a draughtsman, did not publish his first book until he was 39 years old. Then, as an English teacher, he specialised in picture books for primary school-age readers, his awards include the prestigious ‘Children’s Book Council Book of the Year’ – four times. His illustrator is Marc McBride, who has a wonderful series of books on ‘How to draw Deltora’s monsters’. Crew also has awards for his adult detective fiction.

The Kraken

The word ‘Kraken’ is derived from the Scandinavian ‘Krake’ meaning ‘crooked’ and the German (plural) word meaning ‘octopus’.

 The scene is a coastal village in the south of WA. A jetty reaches out into the sea; waves are lapping (artwork Tekima Wiland, Jordy Roelofs). A freezing haar is drifting in. On shore is the back door of a house, with a table and chairs on the patio. On the main stage is the interior of a kitchen. The side of the kitchen bench has Christopher’s artwork displayed on it. Set by Wayne and Sheryl Gale and stage management by Shaun Griffin. The inspired foyer display is enhanced by Dean Goodwin’s photography.

Powerful and low cello and double bass music gives an eerie setting to the cruel sea setting. Slowly and softly, the musician / composer, Miro Kepinski introduces a piano accompaniment.

      It is late in the day when 16 year old Antonia (Simonne Matthews) takes her young brother, Christopher (James Matthews) to his favourite place, the end of the pier. Antonia is holding her kid brother’s hand because he is blind. Christopher has always shown a special interest in the sounds of the ocean. The sister is worried about the creepy darkness, but being blind, this is of no concern to Christopher.

      As they sit on the jetty, Antonia receives a disturbing phone call from her friend (Zack Inglis). At home, their Mum (Rachel Bartlett) answers the knock on the door, to find a saturated fisherman (Adrian Alajberg) selling fish – but strange things happen. The Mum calls her husband (Matthew Sullivan) who is on his way home, and standing on the station platform talking to a homeless man (Ron Arthurs). The father spots a strangely dressed old woman (Samm Coad-Ward) getting dangerously close to the edge of the platform.

      At home, Christopher chats to a young boy (Ethan Dixon) who is new to the area, unaware of the boy’s strange skin colour.

The three children were amazing actors, good strong assured diction and enunciation. The story was filled with intrigue and the suspense held until the very end. Most of the parts were short cameos, but the players managed to convincingly portray the full depth of the characters. Samm demonstrated that if you get the walk right, the character falls into place.

The tale is about various forms of fear – real and imagined.

Cody Fullbrook has brilliantly captured the feel of this story, and young adults will leave the theatre wanting to read the book.

The Darkness

‘The Darkness’ is a documentary style, contemporary play penned by Brisbane born, WA actor, Bethsaida Tapsall. Originally presented at the 2014 Perth Fringe Festival, this is a revamped and expanded version. This poetic drama is presented by Phoenix Theatre Inc., as part of their new ‘Local Writers’ Showcase’ season.

Starting at 8.30, this one-hour show immediately follows ‘The Kraken’ in the Memorial Hall Round Room in the Phoenix Theatre complex. The choice of this room is perfect, adding intimacy to the delicate subject being enacted. The slight echo of the room also adds an extra dimension to the storyline.

The room is set up as a church for a memorial service, with nightlight candles along the aisle. In the centre of performing area is a memorial with wreaths and tributes scattered around. On one side of the stage is a park bench, to the other, a nurse’s flat.

There is a mix of live acting and film. The video being projected onto each side of the ‘stage’. The video sound was a little variable due to inclement weather whilst filming, and not using a foam windsock on the microphone.

      Seated on a park bench is a middle-aged woman, Patricia (Melanie Hannah). She has three heavy bags of shopping, and so is waiting for her daughter Roxanne (Kate Lloyd) to meet her. However, there is a tragedy and Roxanne dies. In disbelief, the traumatised mother tries to explain her loss.

      Standing on her memorial stone is the ghost of a young girl in a fine shroud, it is the deceased Roxanne. The girl describes her last few moments before her death. Then the hospital nurse, Emilee (Karen Hansord) who is at home after a horrendous 12-hour shift, shares the shocks of her day.

       Roxanne’s sister and best friend, Cherish (Bethsaida Tapsall) is heartbroken at the loss of her soulmate, especially as she was about to introduce her boyfriend, William (Matt Sullivan) to the family.

       Gradually, we learn the full truth behind the relationships.

The writer / director combination rarely works, as often assumptions are made as to how well the story’s message is being conveyed to the audience. When the director is also an actor, the problem can be exacerbated. However, thanks to Bethsaida Tapsall’s finely honed talent, she has conquered all three tasks, presenting a subtle, powerful and moving play.

Miro Kepinski has composed the accompanying sensitive, subtle and moving musical background.

The talented cast guide us through the first, roller-coaster stages of mourning, showing the loss of love, feeling abandoned and then anger at being deserted by the deceased. The cast each had their own very different confronting outlook on the impact of death and managed to drive their message powerfully through to the audience.

Most adults will have experienced this ‘darkness’ that has been captured perfectly by a strong cast and the beautifully structured, heartrending script.

This joint production between ‘S2S’ – Studio2Stage – and Phoenix Theatre Inc., can be seen in the Memorial Hall, 435 Carrington Street, Hamilton Hill twice nightly at 6.00 pm and 8.00 pm on Friday and Saturdays until 28^th May. There is a 1.00 pm matinee on Saturdays, with 3.00 and 5.00 pm matinees on the Sunday.

‘S2S’ is a Medina acting school, teaching 13 to 17 year olds most of the skills required by the theatre, including acting, singing and dance.

This 55-minute show has NO interval. The one act performance is at the sensible price of $15 – for all ages.

The producers are pleased to donate the profits from the programmes and raffle to the worthy cause of Autism WA.

The scene is 1952, in Room 4 of the Little Red Schoolhouse. The set is of a well presented classroom, with all of the fittings (set and costume designer Jodi Innes). Charlotte Johnson’s lighting is bright and colourful, setting the mood for the lively and catchy, pre-recorded backing track that was supervised by the musical director, Krispin Maesalu. The sound was presented and operated on a digital desk, by Scott Anderson; the result was a clearer, crisper presentation than Phoenix’s normal, slightly unreliable, fader desk.

         When the teacher of Grade 4 has a nervous breakdown, poor young Miss Quackenbush (Emily Chivers – excellent) is asked by the weird Principal, Miss Crabapple (Lili Thoms – delightful) if she will take over. Miss Crabapple, who has a grating voice that sounds like a blend of Ethel Merman and Homer Simpson, also has the worst memory. The class are horrendous, and their chances of graduating to the next grade is nil.

      Miss Quackenbush decides to test the class’s knowledge with a series of questions covering most subjects, Dorothy (Annie Tapping) and Bonnie (Ebony Howard) are little brighter than most of the others, but still hopeless. Little Mary (Ella Griffiths), who looks a little ill, recites a poem; this encourages George (Charles Montgomery) to pipe up with a terrible piece of poetry. After every bad joke or poem, Skippy (Brooklyn Thomas) gives a quick blast on her trumpet.

      Just as Beatrice Quackenbush thinks that she is winning, Patsy (Laura Foster) starts licking a huge lollypop, causing aggravation to her friends Peggy (Kesha Girsang) and Lolly (Ruby Thoms). A small riot starts, and mystical Jack (Edan Frazer) topples off his chair. Silence falls as newcomer, Shirley (Rebecca Collin) arrives. In an attempt to befriend her, Fred (Elias Shoosmith) shows her what he has in his lunch box!

       Will any of these monstrous youngsters graduate into Grade 5?

Director, Jodie Innes and her Dance Academy trained daughter Mikaela, have given us a wonderfully bright and up lifting show. As the story behind this show demonstrates so well, this is the kind of success that you get with having loving caring teachers. These youngsters just glowed. They had wonderful stage presence, hitting their marks perfectly, and good synchronisation in the dancing. Their delivery of the corny, but funny, ‘Granddad jokes’ of the script had the audience laughing aloud.

Often with children in a production, there is inevitably one trying to be noticed, or hogging the limelight – here we had perfect harmony. The actors were aged between 13 and 17; some of them I recognised from previous ‘S2S’ productions, but many were first timers in a major production.

The singing was clear, perfectly in tune, delivered with enthusiasm and a broad smile. The choreography covered not only the dancing, but also the general movement about the stage. With more than a dozen youngsters, this could have been pandemonium, but here it was slick and quick. EVERY actor can be proud of their performance.

Thoroughly enjoyable, a great family show for ages 5 – 95.

Youngsters nowadays have been brought up to think they are perfect and always right. This show demonstrates, with blatant honesty how, despite the admiration given by people close to you, along with most of the idealistic images created by TV programmes, have lied and that life is in fact a bloody hard struggle. It tackles topics like racism, homosexuality and sexism with taste (?).

This hilarious two and a half hour, light-hearted fantasy, a Dark Psychic Production can be seen at the Phoenix Memorial Hall, 435 Carrington Street, Hamilton Hill, at 8.00 pm on Thursday, Friday and Saturday nights until 19^th March. There is one matinee, on Sunday 13^th March at 2.00 pm.

The eleven, large puppets are operated and voiced by neutrally dressed puppeteers, who are constantly in full view of the audience, mingling with three human actors. However, the strength of the puppets’ characters, and their complex but smooth operation, quickly help the audience forget about the operators.

The colourful set is the exterior of a block of flats in rural New York City (design assisted by Pat McMahon, Kerron and Danial Muller). Constructed by the designers, with further help from Wayne Gale, Leon Dekker and Aubrey Cason. The stage management was smooth, totally unobtrusive all thanks to Alison Kovacs and Nikita Harwood.

Alex Coutts-Smith’s lighting was colourful and very well designed.

The Musical Director, Lee Wilson, operated the music and sound. It is often tricky for a cast to follow a pre-recorded musical track as there is no leeway for error, but this cast was perfectly rehearsed and well advised by Lee.

      On graduating, young, naïve Princeton (Darren Bilston), decides to search for his purpose in life. After discovering that accommodation in Avenue A in central New York is atrociously expensive, he finds himself in the suburbs at Avenue Q, where he meets the tactless Nicky (Ryan McNally). Nicky says that there is a room to let in his block of flats; a block that is supervised by Gary Coleman (Bernadette Ward) who was Arnold Jackson in TV’s ‘Diff’rent Strokes’.

     Whilst living in the flat he meets the other tenants, there is the svelte therapist, Japanese girl, Christmas Eve (Jayde Clark) and her fiancé, ‘Blian’ or Brian (John P. Gray) who is a poor stand-up comic. Upstairs is friendly but tight-fisted, Republican banker, Rod (Andrew Dawson) and Trekkie Monster (Sean Williams) who spends most of his time watching porn.

     One day Princeton meets an old school friend, Kate Monster (Danni Close) a kindergarten teacher who wants to leave her boss, Mrs Thistletwat and open her own Monstersorri (sic) school. They rekindle the love of their youth. However, in the ‘Around the Clock Café’ the big busted, sex mad singer, Lucy T Slut (Elouise Eftos), and two of her friends, the charismatic, Bad Idea Bears (Sally McMaster, Ruby Reye) are determined to lead Princeton astray. The couple do have some good friends – Ricky, Jumper and Suzi (Dan Rooney, Em Rose, Chantal Kerkhof).

    Will Nicky and Kate Monster find their lifelong loves?

Confession time. I have never been a fan of ‘Sesame Street’ or ‘The Muppets’, often finding them infantile and annoying, but this show has warmth and demands empathy from the audience. The content is definitely for adults only – the first Act ends in raunchy hilarity, whilst depicting half the positions of the Kama Sutra.

Thanks to the supreme skills of the operators, the puppets are mesmerising. The puppeteers have to work the immaculately made and dressed puppets (assembled by ‘Cursed Creations’), whilst speaking in an American accent, and capturing the nasal, squeaky voices of the TV characters. The result was amazingly accurate.

When a production opens with a powerful and happy chorus, you know that the show is going to be well above average. The opening number was magic.

There was a couple of dozen musical number and songs, which were required to be sung in the strange voices, and once again with brilliant presentation and perfect enunciation.

Directed by Jayde Clark, with solid production assistance from Gabriella Guidone and Bethsaida Tapsall, the show was fast moving throughout. The songs were delivered with plenty of power and feeling – fabulous singing voices. Special mention for performers Darren Bilston, Danni Close, Ryan McNally and Andrew Dawson, their voices were amazing. Sean Williams’ gruff Trekkie voice was incredible.

The quirky songs were accompanied a soft-shoe shuffle and such convincing puppet arm movement that at times you would swear that the facial expressions were changing too.

This must be Dark Psychic’s best production yet – and over the years, they have had a very high standard. Slick, professional and great fun. Highly recommended, the type of show you could see again.

The camp, stage adaptation became a classic, adult musical three years later with the music being written by Jonathan Croose and Robin Forrest. It opened in London, but only gained its cult status on becoming a fill-in show at the Edinburgh Fringe.

This joint Blak Yak Theatre and Phoenix Theatre Inc. presentation has a selection of cabaret acts when the doors open at 7.30, with ‘curtain up’ on the main two-hour, fun production at 8.00 pm in the Memorial Hall Theatre, 435 Cannington Street, Hamilton Hill nightly until Saturday 5^th December.

There will be an awesome midnight show on Saturday 28^th November, with prizes for the best sci-fi costume! There is some coarse language and plenty of racy double-entendres.

Most of the action takes place around the cabaret style, table seating. There is a catwalk reaching out from the stage to a central pole-dancing pole. The cast skilfully worked the floor, connecting brilliantly with the audience. It was not long before the punters were tapping along with the catchy tunes.

I was shown to my seat by the beautiful, and incredibly colourful dance captain and hostess (Rachel McCallum) – she showed me a trick or two – but do not tell my wife! The pre-show cabaret was worth the ticket price alone, and well worth getting there early to see.

I ordered a snack and a drink from a smiling hostess (Tay Howard) from their very reasonably priced Merkindice – sorry merchandise.

        After a warm rousing welcome to Saucy Jack’s Night Club, from the barman and Master of Ceremonies, Mitch Maypole (James Hynson), the cabaret began. It started with blues saxophonist, Sammy ‘Sax offender’ (Lee Wilson) and Jenny Tall (Kate Lloyd, returning to the Phoenix alive – she often plays a Zombie) a tap dancer who chases moonbeams. Then came professional belly dancer, Fatima Queef (Christie Strauss) who brought Bollywood to Phoenix; followed by Misty Falls (Thérèse Cruise) who was FANtastic.

       As the cabaret finished, the snarling, blood-sucking misogynist, Jack De’Ath (Tom Hutton, WAAPA trained with a vast number of musicals to his name) the owner of Saucy Jack’s Cabaret Bar appeared, the beautiful girls fled in fear, he was not well liked.

       It is not long before poor Vulva Savannah (Sherryl Spencer – who has previously starred in Shakespeare and opera) is found murdered; stabbed with a sling back, high-heeled shoe. Cocktail waitress at Saucy Jack’s, Booby Shevalle (Josh Towns, who recently excelled in ‘Chitty Chitty Bang Bang’) and the cabaret girls want to escape from Jack’s cruel treatment, and start their own club. Psychoanalyst Dr Willy von Whackoff (Stuart Porter) gives them guidance.

      Suddenly the doors fly open, and through the mist enter the gorgeous Space Vixen. The Vixen are training men for sex and introducing the clitoris to planets where has yet to be discovered. Leader of the lesbian Vixens, Jubilee Climax (Joanna Tyler) has an astonishing, smooth yet powerful, vocal range. Busty Space Vixen, Bunny Lingus (Nicquelle Rhodes – choreographer, and new Mum) and Space Vixen, Anna Labia (Thérèse Cruise) say ‘that those that don’t appreciate glitter are oppressed’.

      Intergalactic plastic smuggler, Chesty Prospects (Sarsi Grace) is the queen of plastic and leather; she tries to exert her power against Jack.

     There is a flashback to Jack’s days as a magician in a lowdown bar. Will Jack’s past catch up with him?

 

It has been said that this show is like ‘Cheers meets Red Dwarf meets Rocky Horror’. Like the cinema’s ‘Carry on’ films, the show is brash and sexy but not vulgar, appearing more lewd than it really is. As you will gather the language is a little coarse, but never embarrassing. The fabulous studded and colourful costumes with magnificent glitter boots, combined with the revealing and beautiful bodies, but no sleaze or nudity. Magnificent costume design, construction and sourcing by Lynda Stubbs, assisted by Hannah Radford who was in turn aided by backstage dressers, Rebecca Myers and Julie Zajer to give us numerous stunning costumes. A huge amount of work.

With powerful delivery, clear enunciation and every note filled with emotion, every singer was capable of being a solo cabaret act. Many of the cast are WAAPA or Murdoch Theatre trained, and it shows in the confidence and quality of the overall production. Each cast member proved to be incredibly talented, with their script giving them their 10 minutes of fame. Cailin O’Neil and Sherryl Spencer were the talented pit, backing singers.

A couple of years ago, Lorna Mackie for her directorial debut gave us ‘Reefer Madness’, a similar musical which was nominated for a number of prestigious Finley Awards. Now, she is the director and musical director of this magnificent show.

The sound operator was Shelly Miller, and sound mixer Mike McAllan (was also production manager). Not often are there two techs in charge of the sound, but the complexity of the show, headsets, effects etc. meant they both were working non-stop. On a gantry above the whole area, in his lighting box, was the ever-reliable Alex Coutts-Smith operating his complex lighting design. In the final death scene, Alex’s lighting gave the audience a stunning new experience.

Often the stage manager simply moves a couple of chairs and opens the curtains, poor Bec Alosi and her assistant Emma Coyne never stopped for breath with buckets of effects and a large cast to control.

For many of the actors, this show was a first step into musical production, first burlesque, but you would never guess, no one showed nerves – they just put heart and soul into every number. The orchestration, mellifluous singing and Nicquelle Rhode’s energetic choreography make for a fast-paced, energy packed show something well above average.

With the abundance of laughs, ignore the off-putting title; this is a great show that all adults will love.

Presented by Phoenix Theatre Inc. and Dark Psychic Productions at the Phoenix Theatre, within the Memorial Hall, 435 Carrington Street, Hamilton Hill; this lively two-hour musical, with almost two dozen number, starts at 8.00 pm on Thursday, Friday and Saturday evenings until 26^th September. There is a matinee on Sunday 20^th September at 2.00 pm.

All funds raised from the programme and raffle sales each night will be donated to Motor Neurone Disease Association of WA and the Perth Zombie Walk.

     It is Prom night in the 1950s at the Enrico Fermi High. The class heartthrob, Jonny (Oliver Kaiser) is a bit of a rogue. He was called Johnny, until the ‘H’ dropped off the back of his leather jacket. He falls for Toffee (Kathryn McCarthy) and gives her his treasured jacket as a love token. The miserable Principal, Miss Strict (Bethsaida Tapsall), who seems to have a big chip on her shoulder, supervises the Prom. The Prom ends and the janitor (Pat McMahon) cleans up the mess.

     Toffee’s mother (Emma Muller) and father (Daniel Rooney) know of Jonny’s reputation and so ban their meeting again. Furious, Jonny rides off to the local nuclear power plant and commits suicide by throwing himself into the nuclear dump. Months later, Jonny returns as a green, glowing Zombie, repulsing all who knew him.

     The local press are looking for a story and find Jonny. TV reporter Eddie Flagrante (Glenn Scott) does an exposé. On hearing this, Miss Strict threatens Toffee that she must never bring Jonny to a school celebration again. However, Toffee’s friends, Candy (Megan Kerr), Ginger (Jayde Clark) and Coco (Gabrielle Guidone) try to console her. The schoolboys in the group, Jake (Karl Smith), Joey (John Gray) and Josh (Luke Williams) are of course pleased to see Toffee back on the ‘available’ list.

     The TV station has the ‘phones running hot, with the secretaries (Ruby Reye, Maggie Meyer) working overtime. Singer, Ramona Merengue (Sara Urban) is finishing her TV show, as the Motorwise Dancers (Kate Searle, Charlotte Williams, Jasmine Glenister, and Bernadette Ward) finish their routine. As the announcer (Jessica Sullivan) tells of some breaking news, the TV’s floor manager (Ebony Uetake) shows in a special guest.

     Will Jonny find a new love? Why is Miss Strict so miserable? What will happen at the next Prom?

The lively ensemble comprised Noah Slater-Gauci, Nichola Balestri, Jacob Spinks, Sarah-Rose Kelly, Aiden Mellor, and Daniel Muller.

The lighting design (Kate Lloyd, Alex Coutts-Smith) was exceptional, with the new LED lamps being used to their full potential. The musical numbers had numerous lighting changes in time with the beat, coupled with various pattern effects. The smooth sound design and operation was by David Hardie.

With massive casts, the entrances and exits often result in a line building up to get off stage and into the wings, this time the cast were quick, slick and did not impede the set changes.

There were a couple of fun numbers, ‘Rules, Regulations and Respect’ that had a particularly good, complicated dance routine (choreographer Kate Lloyd), and the saucy number ‘Exposé’ which brought a smile.

Once again the director is the wildly adventurous, Ryan S McNally, who with his regular team of Musical Director, Maree Andersen and Choreographer, Kate Lloyd has given us a wonderfully colourful, dynamic show. The story lines are a bit thin, although there a couple of twists at the end, however, the singers and dancers put every drop of enthusiasm and strength into their well-rehearsed performances.

Sheryl Gale and Alison Kovacs created the bright and colourful 1950s costumes, designed by Ryan S. McNally, especially for the show.

This review relates to the final rehearsal, which was admirable and flawless.

Despite the title, there is no gore or horror in this show, and so it is suitable for all of the family. Full of energetic, sparkling songs and good fun.

This fast moving show brings joy to all ages, and is being presented by Phoenix Theatre Inc, in the Hamilton Hill Memorial Hall, 435 Carrington Street, Hamilton Hill.

Every day this week, this bright, two-hour show has a performance. The Sunday twilight matinee is at 5.00 pm and the rest are as follows:-

Monday a Matinee at 1.00 pm

Tuesday Twilight Performance 5.00 pm

Wednesday Evening 7.00 pm

Thursday Matinee 1.00 pm

Friday two shows, a matinee at 1.00 pm and in the evening 7.00 pm

Saturday 18^th July – Closing Night 5.00 pm

The story is set in Chicago during the 1920s. For a decade, the production of liquor was banned – Prohibition – and so the gangsters took over, namely Al Capone and Bugs Moran. In this fun musical production, there is only extremely mild violence, and with cast of ages ranging from seven to seventeen, it means that an audience of children as young as even five, will love the singing and dancing.

In this production, the children do their own singing, unlike the film when adults dubbed the kids’ voices.

The scenery had some clever touches to it, such as the library and the getaway car (Scott Anderson, Richard Taylor, Leanne Winn, Emily Winn). There are a couple of very good scenery flats on wheels, but the youngsters need a little more practise handling them, however, as the show was light hearted, some people actually thought it was part of the entertainment. Tricky stage management for SM Jeni Stevens, with entrances coming from several directions around the auditorium.

     Within seconds of the opening overture, by the melodic swinging band (Musical direction was by Krispin Maesalu and his associate Josh Haines) featuring wind musicians, Catherine Motteram, Trish Telcik, Emma Mondy and Vanitha Hart, a poor mobster Ritzy (Chelsea Ameduri) had been ‘splurged’. Killed by the gangsters controlled by Fat Sam (Ashley Garner – excellent). When Bugsy Malone (Connor Gosatti – a natural) hears that his man has been killed, he goes to Fat Sam’s speakeasy – nightclub – to settle the score. He pushes his way past the stunningly talented, Charleston-style tap dancers, Billie (Jessica Huntley), Bangles (Ella Griffiths), Tillie (Erin Barrett), Velma (Shoshanna Olson) and Judy (Emmalee Bialas).

       As Bugsy reaches the bar, Tallulah (Abigail Banister-Jones) – Fat’s girlfriend – starts to flirt with him. Meanwhile, the members of Fats’ gang, Snake Eyes (Rebecca Winn), Knuckles (Edan Frazer), Shake Down (Gabriel Newman) and Captain Smolsky (Daniel Muller) disappear out the back quickly.

      Fat Sam has another enemy, Dandy Dan (Julian Monck) a conman who wants to cheat poverty stricken Bugsy out of his boxing gym. Therefore, Dan sets his men – Bronx (Matthew Styles), Yonkers (Libby Taverner) and Doodle (Luke Newman) to wipe out Fats’ gang along with Bugsy.

    One day Fats has a talent audition to get new entertainment for his club. As he is served with a tray of food by the waiter (Olivia Goud), Fats and his assistant (Amy Roche) judges the acts. The poor shoe-cleaning boy, Fizzy (Adeson Oyasope – well done) wants to apply but is not given the chance. Even skilled dancers, such as Dotty (Phillipa Bialas), Louella (Mikaela Innes) and Loretta (Mmoloki ‘Milo’ Hartill) do not get through the door, even the Great Marbini (Casidhe Gerrish) did not get to do one trick. A wonderful song and dance routine by a young girl (Tiffany Narrier) got nowhere.

      As Bugsy is buying a paper from the paperboy (Mia Frazer), he bumps into singer Blousey Brown (Sarah-Rose Kelly – fabulous voice) who is leaving the club; she too has been rejected. They flirt, and decide to run away together to Hollywood, but neither has any money. Bugsy goes to Fat’s bar and asks the staff, barman Joe (Liam Telcik) and the waitresses (Ruby Thoms, Lili-Mai Thoms, Saoirse Gerrish) if Blousey can have another proper audition.

    Which gangsters will survive the inter-gang battle?

Stunning programme (Mike Allan, Joanna Harrison, Devetta Ridgwell) in the sepia style of the 20s period, however the print was a little faint and so difficult for elderly reviewers to read – I have been told. The only other problem, and it happens all the time for many companies, the headsets did not seem to work for the first Act and a half, although towards the end of the show, life started to appear. I have full faith in sound operator Simone Ostle to correct these devilish devices.

Director, Jodie Innes, has ignored the old warning ‘never work with children’ and excelled. Every single child was totally focused, everyone knew their dialogue, and even the younger members seemed to understand the subtleties of the story. At no stage was there a cast member looking lost – many congratulations.

The magical, complex choreography was the brainchild of Mikaela Innes. The dancers – I guessed wrongly – were part of a troupe that worked regularly together. Most had not worked together before. They hoofed and tapped their way through the difficult routines of the era. The costumes (Jodie Innes, Elaine Innes, and of course the parents), makeup and hair (Thérèse Cruise) had all of the frills and quality of the 20s. A huge amount of work, but made the show classy and sassy.

I went expecting a simple children’s production and came away mouth gaping at their first class effort. Take the kids along, if you do not have any, borrow some.