In her youth, Churchill started writing with feminist or Brechtian themes, but in her later years has swung around to the more surreal and ‘open writing’ approach.

This 95-minute collection of vignettes, produced by Theatre Arts at Curtin, can be seen at Hayman Theatre Upstairs, in building 102, Curtin University, Kent Street, Bentley. The parking in Carpark B13 is free after 5.00 pm. The performances are nightly at 7.00 pm until the 5^th March at the low-ticket price of $15.

The set was designed by Sally Phipps with input from Amy Tamati, and built by the Hayman stalwart, Ian Stewart. Sally has built a low-level stage, with three sides of plain white flats, allowing the audience to spy effectively in private, into the white box. There are three flush, white doors leading into the box. Half a dozen, 60 cms white wooden cubes symbolised such diverse objects as ‘hedgehogs’ and ‘cinema seats’. Dylan Dorotich and Sally Davies managed the stage.

Maddy Mullins conceived the massive selection of costumes. With the show being so fast moving, one wonders how the characters managed to change in time for their next appearance. I suspect that the assistant stage managers (Jack Bengough, Paris Fields, Ellen Parfrey) were also acting as dressers for the cast.

Lighting and projection designer, George Ashforth had a myriad of well thought out lighting combinations. He employed under floor lights and colourful lasers, as well as the normal LEDs. George also provided difficult to obtain videos, and projection slides. Monique Bertolini operated the lighting flawlessly. Ryan Hunt’s audio design was excellent.

With 57 different ‘Acts’, some lasting a couple of minutes and others as short as even ten seconds, I will simply list the hard working and impressive actors, who had roughly 10 parts each.

 

Lauren Beeton

Declan Brown

Eloise Carter

Chelsea Gibson

Anna Lindstedt

Holly Mason

Nelson Mondlane

Jess Nyanda Moyle.

Director Teresa Izzard and her assistant director Becca Jackson were faced with a cliff face to tackle in presenting this play. The playwright has not created any characters, names and often, even the gender is not mentioned. There are no direction instructions, nor hints on how to approach the extremely varied topics – just dialogue. Subjects like sex – it had to be there – along with torture, children’s problems, marriage and anti-vivisection are all included in the three-score topics. The director had to invent the scenarios and then encourage the cast to add any of their own experiences to the story threads. This major challenge was proficiently conquered with the whole cast giving the numerous characters instant and recognisable personalities.

The show went at a tremendous pace, with only two or three of the stories not working (the writer perhaps being a little too adventurous). A very enjoyable night at the theatre, with something a little offbeat. It is always pleasant to see a team trying something new.

This 610 Production is presented by The Blue Room Theatre and can be seen in the Studio Theatre, Blue Room, 53 James Street, Northbridge. The 95-minute performances are nightly at 8.30. The season finishes on Saturday 9^th May, a couple of days before Tom’s birthday.

There is an AUSLAN interpreted performance: Thursday 30^th April.

Welcome to the new publicity manager, Kimberley Fulton.

The scene is the interior of a Scout Hall in the middle of the wilderness.

The set (designer Sally Phipps) is exceptional, with cream walls, wood panelling on the lower half. The numerous scouting props from flags, photos and wooden benches give a most convincing scout group venue.

Lighting designer Chris Donnelly has chosen old utility-style lighting, which, along with interesting soundscape by William Langdale and the stage manager, Emily Stokoe, created some surprise special effects.

       A slightly daggy, middle-aged man, Neil (Matthew Kiely) is preparing the scout hall for his bonding weekend away with the boys. Neil is an idealistic but dedicated, hospital psychologist who has decided to try a new approach to communicating with his clients.

       The hall door bursts open and in walks leather clad, rock and roller, Robbie (Ben Weirheim), a musician who was big 10 years ago but is now unknown and having home problems. A few seconds later, a quiet, nervous young lad enters. This is Mawkie (Danen Engelenberg), a recovering druggie who has just had bad news. The last to arrive is Quentin (Joel Sammels), a powerful looking man, who is ex-SAS and newly returned from a Tour overseas.

        It is obvious that none of the patients / clients really wish to be there, so what chance has Neil of getting them to bond?

I always cringe when a writer is also the director of his / her own play, as it is uncommon to find a person that can do both credibly. Tom Jeffcote is one of the rare breed who can succeed. He has created four very different characters and developed their personae beautifully. Tom’s dialogue was perfectly structured for each character, helping to ensure that we have a genuine interest and care for their welfare. For example, it is revealed that Mawlie is highly intelligent, but with no self-esteem, he has nervous twitches and exhibits the constant scratching of a druggie.

The actors have really worked hard on their characterisation, and did not let their façade drop for a second in this fast moving 90-minute production. Their stories were interesting, the acting very good and the production slick; fascinating as it was I am not sure however, that the overall topic is strong enough on its own. As a subplot, this would give great depth to another story or theme.

The result was admirable in all aspects.