The musical was not seen for decades, as the original scores went missing during Bart’s ‘unsettled’ years. In this period, he sold the rights to ‘Oliver’ for $200 to Max Bygraves, in order to get money for booze. A 19-year-old Australian fan, Andrew Jarrett, restored the show.

This two and a half hour, energetic and lively musical is being presented at the Limelight Theatre, in Wanneroo at 8.00 pm on Wednesday, Thursday, Friday and Saturday nights until 10^th December.

Alan Brock’s elaborate sets, included the Bank Underground, Victoria Station, Petticoat Lane, and a London street on fire during an air raid. Alan Brock and Dave Browning built the sets. The magnificent scenic artist was Ursula Kotara.

The sets were cleverly designed to rotate to produce a new location, but it was the extras like the ruins after a bomb had dropped – and a special effect in the last few seconds – that really gave depth and realism to the show. The stage crew of Deb Anderson, Maddie Innes, Helen Smolders, Zak Ozolins and Jen Edwards worked quickly and silently.

The highly realistic lighting design was by Robert Benson Parry and Jacob Anderson, with the operators being Wally Fry and Jacob Anderson. The lights flickered as the bombers flew over, and the red glow was threatening. To the number ‘As long as this is England’ the lights oscillated red, white and blue as the Union Jacks were waved.

The most convincing and multifaceted soundscape was designed and produced by Patrick McGinn and Kim Elford. With a sensible use of the smoke machine, the technicians gave us a true day in the Blitz.

This complex production with a cast of ‘thousands’ was co-ordinator by Ros Guye.

The orchestra was positioned in front of the stage, but in a ‘below the ground’ pit. Thanks to the multi-talented Musical Director, conductor and on keyboard, Lyn Brown, the sound balance was perfect and you could even pick out individual instruments. The orchestra musicians were Violins – David Maconochie, Pam and Henri Pougnault, Jeanne Vernon and Tamara Scott. Cello – Russell Vernon, Bass – Roger Tuffley, Reeds – David Lawrence, Miriam Wholer, Chelsea Kittler and Bronwyn Booth. Brass section – David Lawrence and Sandra McKenna with Terry Murphy on drums. Great accompaniment.

     The scene is the platform of Bank Underground station, where the residents of Petticoat Lane are sheltering. They are singing along with Vera Lynn on the radio. The widowed, pickled herring seller, patriarchal Mrs Blitztein (Susan Vincent – outstanding) then sings to the people who are lying on the platform, avoiding the bombs outside. Her Yiddish accent and singing are abused and insulted by fruiterer, Alfred Locke (Alan Markham).

     Alfred’s son, Georgie (Oliver Bourne) is in love with Mrs Blitztein’s daughter, Carol (Catherine Dunn), and her son Harry Blitztein (Adrian Price) seems to have rejected his usual girlfriend, lodger Elsie (Tania Morrow) preferring a married Shiksa (a disparaging Yiddish term for a non-Jewish woman) posh Joyce Matthews (Libby Cooper) whose husband is fighting overseas.

     The bombings are becoming worse, and so with suitcases in hand, the schoolchildren are led by their teacher (Elinor King) to Victoria station for evacuation in the country. Next to leave are the army reserves, supervised by the Sergeant Major (Glenn Rowan), who are heading for the docks and the Front.

     Ever pessimistic Ernie (Tim Riessen), Alf’s best friend and fellow air raid warden, announces the damage so far. Mrs Blitztein’s best friends, shopping bag maker, Mrs Joseph (Kerry Goode) and her husband, baker Mr Joseph (David Nelson) are desperately trying to get a few shillings by selling their wares. Rachel (Colleen Hopkins) and Cissy Blitztein (Colleen Hopkins) are well-loved in the market and help the stallholders.

   The ‘Queen of Petticoat Lane’, Mrs B. has taken in Mr Sen (RJ Smolders) and his wife (Karen Thompson) as lodgers, because they have lost their home to a bomb. Mrs Murphy (Gwen Browning) and daughter Peg (Lauren Hulatt) go to live with Alfred’s family. The other folks in this close community are Mr and Mrs O’Hara (Tom Kinshela, Jayne Triffitt), Mrs Smith (Joan Braskie), Mrs Jones (Carol Keppler) and Mrs Higgins (Hope Baylis).

     We soon find that Harry has not boarded the troop ship, and is actually AWOL. He met an old friend, Bird (Andrew Brown) and has become a spiv.

     Playing several parts were Taneeka Hall, Dave Browning, Brad Beckett, Jacinta Buckland and Gabrielle Bright.

‘The Kids’ troupe comprising Brandon Orgill, Zackary Gosatti, Lucie Lockyer, Grace Elford, Arion Marama, Katie Moloney, Faye Whitwell, Indianna Rowan, Daniel Grant, Jenna McGougan-Shaw, Lilly Varley, Georgie Lockyer, Joe Neil and Jacob Miles was the best set of young singers and dancers that I have seen in years. Every single member was perfectly in step, even throughout the complex routines, everyone smiled; and when acting was required, the expressions and body language were that of an experienced adult. Fabulous work from every single ‘kid’. Superb stage awareness and wonderful teamwork.

The director and choreographers, Jen Edwards and Alan Brock, even in quiet scenes such as the homeless sleeping on the platform, ensured that there were various groups doing different antics. The stage was alive. The intricate dances with the lively foot work, was jaw dropping at times.

The demand upon the costumes department was huge. With the show being based 80 years ago, the dresses had to be researched, and then made with the styles and patterns of the day. There were soldiers and police uniforms – all tricky to source. The children’s clothing and their board suitcases added to the nightmare. However, Joyce Gilbert, Kim Elford, Kerry Wood, Elinor King, Meg Considine, Marion James, Shelley McGinn and Pearl Jensen have done a mammoth task, to bring such quality to the stage. There were a few unusual props supplied by Susie Benson-Parry and Carryn McLean.

The blitz was obviously a depressing time, but this cast clearly demonstrated the greatest message of the day – love and support your neighbour through hard times.

This was a very expensive show to present (a massive licence fee), with numerous sets and a huge cast, but thank you for taking the risk and giving us a rarely presented musical. A wonderful, light-hearted fun show, crammed with several great singers and catchy tunes. Every scene was a visual feast. Dare I mention that some of the dancers were a little more mature than usual, and yet they had all of the drive and vivacity of youth in every step? The mass entrances and exits ‘just happened’ with no obvious crowding, such polished planning.

This production had to show tragedy, happiness, antisemitism, the darker side of a blitz, as well as find a cast that could tirelessly sing and dance. Everything worked a good, solid success.

Hare’s plays tend to be wordy with virtually no action, and this is typical of his genre. That doesn’t mean that his plays are boring. Far from it, he has a great talent for giving huge depth to his characters. He often leaves the audience squirming as his beautifully structured dialogue exposes the personalities.

This two and a quarter hour play is being presented by the Limelight Theatre Repertory Company, at the Limelight Theatre, Civic Drive in Wanneroo. The performances are on Thursday, Friday and Saturday nights at 8.00 pm until 8^th October.

It is a freezing November evening in 1995. Robert and Susie Benson-Parry have completely captured the semi-squalor of this post war residence – built to a budget. The scene is Kyra’s downmarket, top-floor flat, in Kensal Rise situated in the Borough of Brent – one of north London’s most deprived areas. There is a cramped, shabby dinette, with a single bedroom leading off the room. Well fitted out with Carryn McLean’s props.

Stage managed by Pearl Jensen and Dayle Seaman. Wardrobe advice from Shelley McGinn.

The show was given the mood of the film ‘A Brief Encounter’, with well-chosen music by Alan McPherson. The sound techs were Patrick McGinn and Kim Elford, with lighting by Zachary Ozlins.

     Shivering schoolteacher, Kyra Hollis (Emma Shaw) is home after a gruelling day, of educating disinterested kids in East Ham. Her flat seems even colder than the bleak weather outside. She puts on woollen mitts, and plugs in her ineffective, one-bar electric fire.

     Kyra rushes through to the bathroom to run an ache-easing bath. When she comes back into the sitting room, a young man is standing there. He is Edward (Jacob Turner), an eighteen-year-old student whom she has not seen for three years. Kyra gives him a peck on the cheek. Edward is the son of Tom (Gino Cataldo), a wealthy businessman with whom this much younger woman had a 6-year affair.

      Edward tells Kyra that his bedridden mother has now died; and that his father has not been the same since Kyra left their household. Before leaving, he pleads for Kyra to come back.

      No sooner has Kyra finished her bath, but her doorbell rings. It is the highly charismatic, but manipulative Tom, come to work his spell on Kyra – or will she see through him and his dubious ideologies this time?

It takes a special kind of director to make a psychological drama interesting to the audience, and James Hough-Neilson certainly succeeded. It also takes tremendous skill to carry out what is virtually a two-hander for 130 minutes. Emma was on stage the full time, and Gino for a large portion. All three actors were exceptional, portraying full depth to their very different characters.

Jacob set the scene with his ‘little boy lost’ dialogue, hinting to us what a lonely childhood he had experienced. Then Gino came in, showing us the self-centred restaurateur, who felt that throwing money at a situation was always the answer and that people did not really matter.

Both Gino and Emma conquered the mountain of dialogue, mingled with several challenging monologues. They incorporated the subtle changes of mood, and the personality swings wonderfully. Emma was flawless as the poor ‘sponge’, mopping up all of the muck flying around – magnificent performance.

The language of the play was at times quite crude, and I heard some of the older members commenting on it. However, the script was beautifully written and structured, so the language was appropriate to the situation.

An admirable presentation of a very difficult and thought-provoking play.