Innovative ARENAarts have brought Stephen Briggs’ amusing, stage adaptation of Pratchett’s much-loved, fantasy book to the Latvian Centre Theatre, 60 Cleaver Terrace in Belmont – no you aren’t in the wrong street! Plenty of free parking.

This progressive group are looking for directors – if you are inexperienced, they will guide you – and ideas for some challenging plays for 2017-18 seasons, anything from farce to heavy drama. Suggestions so far include Jane Austen’s ‘Emma’, George A. Romeo’s ‘The Night of the Living Dead’, Roald Dahl’s ‘James and the Giant Peach’, Neil Simon’s ‘The Odd Couple’ (female version) and Anthony Burgess’ ‘A Clockwork Orange’.

This is ARENAart’s sixth, dastardly, Pratchett play and they have really conquered this genre, with each production getting better than the last. Great fun for the family.

The two-and-a-half hour performances are on Friday and Saturday nights at 8.00 until Saturday 5^th November, with Sunday matinées on the 23^rd 30^th October and 6^th November at 2.00 pm.

There are a couple of dozen scenes, varying from a castle battlement, several rooms, street scene, zoo etc., each represented with minimal – but very well presented – scenery and props (Set construction by Jim Chantry, adorned by scenic artists Kiri Vinsen, Sheila Wileman and Ashling Townsend, with the cast helping).

It was essential with so many scene changes that the stage team should be well focused and quick. Stage manager Janet Vinsen with her assistants Callum Vinsen and Sean Schliwa were magnificent. With an average of 5 – 8 seconds, the stage was transformed each time.

Josh Shoebridge and Simon Walters skilfully operated Simon James’ lighting and sound design. It was obvious that a great deal of thought and precision was put into the complex plan and operation.

     Young Footnote (Callum Vinsen), the narrator of the story, sets the scene, popping in now and again to clarify the action.

     One day, when 6 ft 3 inches (1.9 m) strong, fearless Carrot (Paul Davey) comes home from a day working in the mines, his 1 metre high father (Michael Moshos) takes him aside and explains to Carrot that he is not really a tall dwarf, but was found abandoned as a baby. Carrot, feeling the need to prove himself, goes to the big city of Ankh-Morpork to join the bold Guards.

   Guard Captain Vimes (Ron Arthurs) is drunk when Carrot arrives. Vimes has been letting things slip, and Carrot is a stickler for law and order.

   It is a miserable, wet night and Fingers (Sarah Langridge) is knocking on doors, trying to find where the underground gathering of the Unique and Supreme Lodge of the Elucidated Brethren of the Ebon Night is being held. Eventually Doorkeeper (Susie Stevenson) admits Fingers to the secret meeting, where the Supreme Grand Master, Lupine Wonse – boo hiss (Brendan Ellis) explains that all of the Dragons are not really dead, and that according to legend, one is due to become King of the area. Lupine hopes that the Dragon will select him as his regal representative on Earth. As the meeting progresses, the coven – Varneshi (Natalie Djudjevic), Dunnykin (Tia Evers) and Watchtower (Rachael Leech) – dressed in green, crushed velvet capes, receive a threatening visit from the Body of Death (Jeremy Smith).

     Colon, the guard (Jim Chantry) lets it slip, that nearby there is a sanctuary for injured dragons run by Lady Sybil Ramkin (Lis Hoffman) and her small team of helpers (Tashie Baker, Michael Vinsen). Lady Sybil has a favourite dragon, an old, wise one with damaged wings called Errol.

     The local Patrician, Lord Vetinari (Andrew Smalley) is a nasty conman, trying to trick the citizens with dire deeds, but bold Discworld carrier (Bronny Baker) and Ridcully (Sean Schliwa) are fighting back.

     Will the dragon return? Will the evil Lords of the city keep control? There are two love affairs in the air.

Director and multi-tasker, Simon James, has presented this play in the style of a pantomime, aimed at 9 yrs. and up. It is quite dark in places, and the script is rich with puns, double-entendres and subtle jokes. The kids will miss at least half of the humour, but will love the special effects, excellent costumes (Janet Vinsen and armourer Callum Vinsen) and dragons.

There was a large cast, who were impressive and worked together with great chemistry. The delivery of the lines, humour and build-up of tension were all presented most proficiently. The main actors were superb, but even the ‘bit’ players gave it their best.

With so many players on stage, there can easily be pandemonium, with actors bumping into each other and fighting for exits – this team moved well, truly professional.

Josh Shoebridge and Kiri Vinsen created the magnificent robotic performers, Errol and other dragons. They really were ‘alive’, practically stealing the scene from the living actors.

At the interval, I enjoyed one of the best cups of community theatre coffee, yes, it was $2, but I would rather pay than have some of the anaemic, free, flavourless offerings at some venues.

Even on a Wednesday night, the show had almost a full house. Not many shows left, but try to catch this slick, hilarious family show. Many congratulations.

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.

The theatre now has a smarter entrance hall, a proper Bio Box, an improved lighting grid, cushioned bench seats, along with thickly insulated walls between the theatre and the rehearsal space next door.

The play is 65-minutes with no intermission. There are three performances, Friday 21^st August and Saturday 22^nd at 7.30 pm, with an extra matinee fitted in at 3.00 pm on the Saturday due to sell out evening performances. This leaves one wondering – Why are there so few Science Fiction plays?

 The scene (set design – John King) is a dimly lit laboratory, with a thermal awakener unit leading to the cryogenic area. There are computer screens controlling the authentic airlock doors (operator John Bailey). At the rear of the laboratory is the control centre, comprising a massive screen with never-ending computer jargon flowing and various technical boxes glowing. A hospital bed is at the side of the room.

Nick Morant operated John King, Tim Brain and Katie Southwell’s realistic and creepy lighting design. The whirring door noise was straight from space, super work by Ryan Partridge.

       The Esana Inc. cryonics facility is available to the public for hire. If for some reason you wish to be stored at icy temperatures until a future date, then for a fee this company will look after you. Seven very different people, who had signed up, are now being urgently awoken.

     First out of the chamber is James (Dean Lovatt), who has been in storage until a cure is found for his ‘delicate condition’. He checks the computer screen information, hoping to find the date, or even the decade! The airlock door buzzes and angry Hedy (Anna Weir) emerges, quickly followed by conman Matt (Aaron Jay) who looks very sick. Matt explains how he had arrived 10 years after Hedy had expected to depart – why had not she been woken up?

     Disabled Paula (Nicola Brescianini) and pregnant Tara (Bethsaida Tapsall) are both looking for some special medical treatment. The Transfer door buzzes and a happy, elderly man emerges, this is John (Ron Arthurs), who believes every day should be joyous. Seconds later Dr. Ettinger (Jason Dohle), the controller of the Unit, emerges. At last, there might be some good answers to the pandemonium and upset.

Writer / director Stephen Platt has skilfully created seven believable characters for his unusual story. So rare is this genre for the stage, that when I was trying to think of a play to compare it with, I was at a loss. In the last decade, I think this production has a unique style. The characters are well considered, filled with traits and attitudes that helped keep the story threads twisting. The storyline included all of the important elements, suspense, black comedy, straight slapstick, mild violence, tragedy and of course, love. The dialogue was a little thin near the beginning, but by the end, the interaction was crisp and the words matched the personalities well.

The costumes were simple grey, medical pathology suits with the company logo. John had a wild waistcoat (wardrobe – Ellin Sears, Denise Smith, Dean Lovatt). All of the inpatients had blue-flashing earpiece monitors – nice touch. Catherine Dunn dexterously created the hair and makeup.

Sci-Fi is not normally my favourite style, but I really enjoyed this play. It was so much more than being blinded by weird science; the storyline was solid, with a clever, unexpected ending.

To a nice bloke and a name to remember, good luck for the future Stephen B. Platt.

His writing style is to slowly develop and release the personae of his characters. In the end, the people who originally appeared to be the ‘average man in the street’ are found to be complex with difficult lives.

This two and a quarter hour classic can be seen at the Stirling Theatre, Morris Place, Innaloo, at 8.00 each night until Saturday 25^th April.

Set designer, Jane Sherwood, has completely stripped the stage of proscenium curtains and wings’ flats. This has allowed her create the huge, luxurious guest bedroom of the 28,000 acre Mississippi mansion. The room walls are of fine muslin drapes allowing the audience to see into the passageway behind, and the balcony overlooking the lush garden (backdrop painted by Gabriel Dahmen).

There has been a huge amount of work put into the set by Michael Stronach, Les Farrell, Lisa Matthews, Callum Santiago, Ron Arthurs and Richard Mananga. The well managed props and children courtesy of stage manager, Carla Griffiths.

The lighting and sound designs are by James Wilson, operated by Callum Calder and Ian Wilson. For decades community productions have used the on / off fader for the sound and lighting, no subtlety or ‘50 shades of light’. However, recently, stereo sound effects have become the norm, with birds singing where the garden is, the sound of the telephone ringing from the position of the ‘phone; seems a basic expectation, but for years the sounds even came from a poorly positioned speaker at the side of the auditorium. In this show, a great deal of work has been put into these visual and sound effects, there were even a few quiet and non-intrusive notes, when Big Daddy made a powerful statement.

The costumes were excellent, reflecting the wearer’s character and the era (Bree Vreedenburgh).

         Big Daddy (Ron Arthurs) is shouting for his black manservant, Lacey (Richard Mananga) to hurry with the wine. The guests are gathering for the 65^th birthday of this self-made millionaire.

        The once charming Brick (Michael Dornan) is the favourite son of the family. He is considered by Big Mama (Dimity Wehr), a mother who seems to be permanently in denial of what is happening in her family, and Brick’s nervous wife, Maggie (Amanda Watson), as the perfect man. Brick formerly showed textbook masculinity and as being untouchable, however, severely depressed at the death of his best friend Skipper, Brick hides behind his endless stream of liquor. Could he have had a homosexual attraction for Skipper? A desire that he keeps in abeyance, a topic to avoid discussing with Big Daddy.

       Whilst hurdling at school, Brick broke his ankle, considered by Maggie as the start of his broken life. Over the years, Maggie has become bitter as she desperately wants children, but it is eons since Brick and her made love. Maggie, the play’s the ‘cat’, a semi-hysterical, anxious and dissatisfied woman, because of Brick’s indifference to her womanly demands. Inexplicably bound to her man, Maggie has tried undressing seductively, posing in front of the mirror, but Brick is unmoved.

      When her Brick’s brother, high flying attorney, Gooper (Craig Edwards) and his haughty, malicious wife, ‘the monster of fertility’, Mae (Gael Campbell-Young) take great joy in pointing out that they have a brood of ‘wonderful’ children, and that Maggie is still virginal, the atmosphere is acrid. The young tactless, Reverend Tooker (Damian Forbes) is horrified at the family feuds, but hypocritically ignores them.

        Gooper and Mae’s litter of ‘no-neck’ children are repeatedly forced to perform for Big Daddy, as they try to oust Brick and ingratiate themselves as sole beneficiaries in Big Daddy’s Will. Daddy is no fool, he sees through this, still preferring the younger son – or as Mama says – ‘the only son’, still hoping that Maggie will produce the much wanted grandson.

        When Dr Baugh (Brett Shircore) arrives with the results of Daddy’s latest health check, to save Mama’s feelings, Gooper tells Mama that her Daddy has a spastic colon and not cancer as previously thought.

        Assuming that he is in fine health, good for another twenty years, Daddy takes Brick aside and bullyingly challenges him to face up to life, just as he, Daddy, has had to suffer the miserable bitch that has been his wife for 45 years.

 

        What will happen? Will jealous Gooper or alcoholic Brick win; will sexually frustrated, unloved Maggie or the bitch of the century, Mae triumph? Alternatively, will they all be losers?

 

‘Cat on a Hot Tin Roof’ is one of these plays that looks like a good basic story, and on two the five occasions that I have seen this play, it has been presented as a simple interesting story. It has in fact a great number of hidden meanings, symbolism and subtleties often missed by the directors and cast. The size of the audio console, the double bed, Brick’s crutch etc all have much more meaning than is seen at first. Thirty percent of this play can be enjoyed without knowing the full meaning of Tennessee’s script, but when produced correctly the full 100% power of the story blows you away. This production under the skilful direction of award winning Jane Sherwood was a 100% job.

The children, Buster (James Matthews), Dixie (Lakeesha Motbey), Trixie (Colette Campbell) and Sonny (Charlie Motbey) were wonderful. How often does one see children who are wooden puppets, mouthing a few monotonic words that only a devoted Grandparent would appreciate? Well these kids gave it their all. They sang beautifully and truly acted. Even 6 years old, Charlie had his few seconds of fame.

I have seen Amanda Watson act hilarious comedy, and yet here she heartbreaking plays the wife that has been cast aside. Every muscle in her body and face expressed her feelings. Her accent is perfect for the Deep South. This has to be the performance of the year. Let us hope that the bigger Perth theatre companies ‘discover’ her soon, a fabulous actress.

Michael Dornan, another actor known for his comedy, showed every emotion of the alcoholic struggling to come to terms with the loss of the only person he ever cared for. Michael literally threw himself into the part, crashing to the floor repeatedly. Ron, as Big Daddy, was the first Daddy since Burl Ives to demonstrate the real psychological and physical power over Brick, to be omnipotent in his own home. Dimity was wonderful as the loving mother, who could have quite a sting in the tail when she wanted.

I know I normally praise the programme when there is nothing else to like, but Fran Gordon’s full colour programme has a font easy to read, and good clear photos so essential for knowing which actor is which. Bree Vreedenburgh’s poster was most clever, encompassing the mood and fiery atmosphere of the play.

One of the best versions of this play that I have seen, that is including the professional productions. Outstanding, not a weak link in sight. Plenty of WOW factor.

The stage setting for all of the plays is a black backcloth and several pieces of well-chosen furniture. The lighting for all shows is by Jacob Anderson, the sound by Ryan Perrin.

‘Deadly Relations’ is the latest, 50-minute play written and directed by local lad, Bob Charteris. His plays are usually comedies, with this being his first mystery / thriller – but still with a few chuckles thrown in.

        A middle-aged man, Mr Owens (Alan Bascombe), is pouring himself a stiff drink as he and his secretary (Gael Campbell-Young) await news. The doctor (Alan Brock) has been called and is in the bedroom attending Owens’ dying wife. Soon the doctor announces the tragic news that Mrs Owens has passed away. The couple are stunned – the wife was so young.  

      No sooner had the doctor left, than the doorbell rang. It was a police inspector (Ron Arthurs) investigating a hit and run, a couple of weeks earlier.

     A few days later, just as Mr Owens is getting a little grieving time, a smartly dressed, officious woman (Lynda Hunt) arrives at the home.

 Bob has produced a fun script, with good dialogue. At the end of each scene of this quirky one-Act play, he throws in a surprise or red herring. The audience loved it.

‘Screaming Inside’ is a superbly written, 35-minute piece, by an accomplished writer, Sean Byrne. Directed by Sean Byrne and Jason Pearce.

        It is now some time since teenage Alison died, and her mother (Dale James) is drinking a little more than she should – to help her cope with her loss. She explains her feelings and the emptiness of her new life. She seems to get little compassion from her husband, who is more like a mute ornament in the corner of the room.

The story threads are well blended and the amount of skill involved is undeniable. Directing a 35-minute monologue is very difficult, as one tries to keep up the visual interest and find different tasks for the actor to perform, nevertheless, Sean and Jason Pearce have conquered this challenge.

The acting was first class, although with so much drapery around a little more voice projection would have been helpful.

Sadly, the final result was very heavy going with little light relief. You know when you ask someone how he or she is feeling and they then go on for 35 minutes, telling you in great and intimate detail every ailment known to man, ennui develops rapidly. I felt the same with this play.

A huge amount of talent, highly respected, plenty of admirable qualities – but with little likely public appeal. My eyelids drooped.

‘Stones’ is the second, 30-minute part of this pigeon pair for the above play. Another monologue, again written by gifted Sean Byrne, and directed by Sean Byrne and Jason Pearce.

       It is now the turn of the husband; Steven (Gino Cataldo), who, deep down has also been shattered by the death of his daughter. However, he is tackling the problems thrown at him with a very different approach.

Another fine performance, with the monologue cleverly written in a more masculine style. This contrasted perfectly with the mother’s sensitive and emotional approach.

Many of the comments for the last play are applicable to this one.