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.

Last night was a charity event when all of the ticket profit and raffle money went to a family, sadly experiencing troubles through no fault of their own. A most generous action.

Often ‘One Act’ shows are an excuse for theatre groups to water down the standards. The scripts can be thin and amateurish, the acting ‘barely satisfactory’ and the whole set lit by a single white flood. So it was a pleasant surprise to experience three beautifully written plays, with very different themes, being presented with full professionalism.

The directors are all competent actors, but for Caroline this was her first venture into directing alone. The whole trio showed a huge amount of skill and technique.

For each play, the stage is surrounded by black drapes, so the atmosphere and location relies upon the well-chosen props.

The lighting and sound design is by Phyllis Graham who has provided some most realistic dramatic effects for the wartime play. In the same play, Liz Quigley has provided authentic uniforms and dresses of the First World War era. Great work.

‘Voices in the Rubble’ is a fast-moving, absurdist comedy written by Irish playwright and poet, Darren Donohue, and directed by Lisa Reilly (45 minutes).

After he was invited onto the ‘New Playwrights’ Programme’ at Dublin’s Abbey Theatre in 2010, Darren has been shortlisted for a Hennessy Literary Award three years out of the last four.

The scene is the sitting room of an average house.

     When 30 yrs. old Tony (Adrian Mills) comes home from a hard day at the office, his loving wife, Avril (Mary Murphy) enquires what kind of day he has had; he casually replies that he has ‘screwed’ the secretary. Totally unfazed, Avril, who is seemingly without any morals or conscience, goes on to describe her strange day and how she killed the milkman – or was it the postman?

     As the evening goes by, Avril become aroused by the details of Tony’s midday fun and the couple start to plan a wild romp of a holiday in Europe; however, the loving couple are interrupted by a half-dressed young man, George (Bobby Greaney) – Avril’s toy boy? Then who is the elderly man (Brian O’Donovan) in the flat, who seems to be paying more than a passing interest in Avril.

This is a very funny play. In the beginning you find yourself wondering where this tale is going and just as you think you know, the whole thing swings around and leaves you gasping and grinning as the couple lead their daring, private lives. Well-developed characters with very funny ‘muted’ delivery. Top-notch acting.

‘Over the Top’ highlights the harsh reality of war. It was written by Irish playwright, Rodney Quinn and directed by Katie Galvin (40 minutes).

This play is an extended version of Quinn’s 2005 play. This full version was first performed two years ago in south London.

The scene is a Great War battlefield trench in 1918; but this situation is relevant to any country’s troupes, in any war, at any time.

        Two, twenty-year-old soldiers are sitting in a damp trench waiting for their breakfast to be delivered. Jack (Brian Donohue) who is missing his beloved Maggie (Lisa Whelan) back home in Eire, is wondering why he is fighting for the English. Tommy (Blake Prosser) with his crisp upper-class English accent is determined to make a name for himself as a hero. Sergeant Jones (Liam McDonald), a loud bully, who has become tired of the endless war, breaks the peace. He is delivering two new recruits, both barely 16 yrs. old. ‘Witter’ (Oliver Kaiser) has joined because he does not want to be seen as a coward in the eyes of his girlfriend, Mary (Sofie Riedy-Crofts) or her mother (Charlotte Weber). Young Billy (Matthew Brennan) has left a broken-hearted mother (Jo Hennessey) behind.

     Will any of them see home again?

This is a beautifully constructed script, as it passes back and forward from the trench misery to the warmth of home. The poignant situation highlights the cruelty of war, and the dirty tricks used to get volunteers to fight for the lost cause.

Katie Galvin’s direction is a perfect balance, being powerful and yet not over sentimental. The cast, with the brutal sergeant and the weak helpless youngsters, brought convincing reality to the situation. Even the short cameos by the women ‘back home’ gave depth to the cruelty and the heartbreak war causes. The interaction of the cast was convincing and horrific, with each actor knowing exactly what was expected of them. A wonderfully moving play.

‘W.A.G.’ was written by multi-award winning playwright, Gemma Doorly and directed by Caroline McDonnell. (50 minutes).

Gemma was nominated for an IFTA ‘Best Actress Award’, however, Dooley is probably best known in Ireland for her 10 years in the soap ‘Fair City’.

The scene is an upper-class home, with comfortable furnishings.

        A smart but jaded, middle-aged woman (Rachel Bartlett) pours herself another vodka. The doorbell rings and in comes a smartly dressed woman (Chantelle Bertino-Clarke) about twenty years younger. The older woman thanks the girl for coming to have a chat – a chat about her husband’s infidelity!

     The girlfriend is an airline pilot who has made love to the husband in most cities in Europe. Naturally, the long-suffering wife has numerous questions to ask, and even more comments to this ‘slut’ who has pinched her husband.

     As the belligerent conversation progresses, and with a few more vodkas consumed, the wife mellows. Faced with four alternative actions, which compromise will be found for the two relationships?

For those that lead an innocent life, WAG means ‘wives and girlfriends’.

This play demanded subtlety in the facial expressions, body language and voice tone, with excellent guidance from the director and perfect chemistry between the two ‘lovers’ the result was outstanding. The actors were like tennis players, passing the ball back and forward, sometimes softly and then occasionally giving a good belt to rock the boat. Superb timing.

The good solid cheer at the end of the play showed how successful this wonderful play was. Many congrats.

This set of three plays is well worth going out on a cold night to see, probably the best trio that I have seen in some time. Try to catch them.