This light-hearted, two and a half hours, Shakespearean play can be seen at The Latvian Centre (LC Theatre) 60 Cleaver Terrace, Belmont each Thursday, Friday and Saturday night at 8.00, until Saturday 20^th August. There are matinées on Sunday 7^th and 14^th at 2.00 pm.

The play’s presentation is ‘in the round’, with seating on 3 sides and the stage – used minimally – on the fourth side. There is token scenery and the props negligible (Michael Falconer), but on the few occasions that they are used, they are most effective. Callum and Janet Vinsen provided the swords and shackles.

The excellent costumes are managed by Anne-Marie Piccoli, aided by Katy Piccoli and Hannah Evelyn.

The sound and lighting were designed and operated by Simon James.

      The Governess of Messina, Leonata (Julie Holmsure), is a caring woman who lives with her sweet young daughter, Hero (Hannah Evelyn), her elderly head-wagging brother, Antonio and her niece, Beatrice (Joanne Lamont) who has been brought up as Hero’s sister.

      We join the household as Leonata’s friends are returning from war. A war between the Prince of Aragon, Don Pedro (David Cotgreave) and his illegitimate half-brother, the morose, vicious and evil Don John (Paul Davey). Also returning is the admired, young nobleman, Count Claudio (Andrew Sutherland), and his intelligent, but droll friend from Padua, Benedick (Michael Lamont).

       To attract each other’s loving attention, the reluctant lovers, Benedick and Beatrice hurl abuse at each other in fun. Meanwhile, Claudio has fallen rapidly in love with Hero and wishes to marry her as soon as possible. Being jealous, Don John arranges for his drunken companion, Borachio (Brendan Ellis) to make love to Hero’s flirty maid, Margaret (Hayley White), at Hero’s bedroom window before telling Don Pedro and Claudio it is Hero, and they should go and see what is happening.

       Claudio is horrified and broken hearted, at Hero’s infidelity and that she is a mere wanton harlot. On the day of the wedding Claudio demeans Hero, and their wedding is called off by Friar Francis (Ellis R. Kinnear). Wise Benedick suspects that there has been some trickery, and this is confirmed by the watchwoman (Jeremy Smith) who has overheard Borachio bragging about his involvement.

       The constable of the Watch, Dogberry (Tara Hoban) and Headborough – the commander – Verges (Mark Falconer), arrest Borachio and Conrad, and take them before the Sexton (Charlotte Weber).

       Is it too late to save the love affair? Is Hero really dead?

Director, Jo Lamont has been acting for about twenty years. Initially with the Endeavour Theatre, then the WA Youth Theatre Company and lately with the Graduate Dramatic Society. Now she and her husband Michael are involved extensively with ARENAarts.

With a top notch piece of directing, Joanne has taken us right back to Shakespeare’s time and the Globe Theatre. Once again it is ‘in the round’ and with few props, but cleverly she has honed in on the most important part of the plays in those days – communication.

This fabulous cast were not only word perfect, but they obviously, thoroughly understood every word. Gone was the arrogant posing delivery that is too often seen in contemporary productions, and back was the rapport with the audience. Any ‘thoughts’ or soliloquys were almost discussed with the audience in a search for their approval. No swaggering and strutting, just everyday body language that we all understand.

How often have we returned from a Shakespearean production and had to double check a line, or even worse, try and confirm the storyline? Here, everyone knew their character’s strengths and foibles, so gave us a 150-minutes of fun and satisfaction without the common tedium.

There were a few songs in the style of 16^th century madrigals and even a cheerful dance at the curtain call.

All of the leads were exceptional, but a special mention of Julie Holmsure and Andrew Sutherland who were magnificent. Congrats to Jo and Michael Lamont who have obviously worked so hard.

It is a long time since I felt so in tune with a Shakespearean play. Clever and skilful work.

This 90-minute, linguistically complex play is being presented by the outstanding, Murdoch Postgraduate Performance Group and can be seen at 7.30 nightly in the comfortable Nexus Theatre, Murdoch University, for three nights only, until Saturday 27^th February, for the giveaway ticket price of $10, available at the door.

Although Shakespeare’s play is set during the latter days of the Roman Empire, the director has placed it in around 1935. The costumes are similar to those of Russian soldiers (costumes Jenny de Reuck, Tiffany Banner).

Luke Gratton’s soundscape was excellent (operator Tay Broadley). Mainly cello and strings, the music was low-level, subtle and perfect for the action.

With very few major pieces of scenery, a great deal of the atmosphere was created by Tim Brain’s lighting. He used a follow spot (operated accurately by Jordan Baynes) and many intricate lighting changes (operator Shannen Precious). The whole show was smoothly managed by John King and SM Tiffany Banner, with Nick Morant on Flies.

       We are welcomed to ‘Rome’ by the obsequious Andrew Kocsis. Looking like a cross between Charlie Chaplin and the Master of Ceremonies in the 1972 film ‘Cabaret’ – Joel Grey.

      When the Queen of the Goths, Tamora (Sarah Courtis) arrives in Rome, one of her sons is taken and sacrificed by the notorious Roman general, Titus Andronicus (Joel Sammels). Titus has just finished a decade of fighting and crushing the Goths.

     Titus then drags his daughter, Lavinia (Ellin Sears) from her long time love, Bassianus (Stephen B. Platt) – the son of the late Emperor of Rome – and gives her to Saturninus (Jason Dohle), Bassianus’s brother, in recognition of his military service.

     Titus’s Aunt, Marcus Andronicus (Melissa Merchant), greatly respected by the people of Rome, tries to smooth out the family tiff, announcing that the popular vote goes to Titus.

      Tamora, who is a dark skinned Goth, decides to gain the support of a Moor leader, Aaron (Uzi Khan), with whom she is having a sexual relationship. A powerful couple then plot to destroy Titus and his family.

     Titus’s eldest son, Lucius (Dean Lovatt) tries to warn his relatives and pacify the situation, but Tamora’s two sons, Demetrius (Alex McVey) and Chiron (Philip Hutton) are cruel and feral – and so the inter-family battle begins.

This is renowned as a difficult play to follow and gory to the extreme; however, with a great deal of skill by the director, Jenny de Reuck, the production was amazingly lucid. Thankfully, the trauma of the multiple deaths was clearly demonstrated, without repulsing the audience.

Jenny employed the skills of Murdoch’s talented Postgrad students, giving us a first class, solid production.

The interracial / family struggles were very clearly demonstrated, with some very moving performances, especially that of Ellin Sears as the mutilated Lavinia.

An admirable production.

After a run of 1,000 nights on Broadway, it swept the board at the 1949 Tonys, then went on to win another dozen Tony Awards for the revivals in the years that followed. A film was made in 1953, starring Howard Keel. This was MGM’s first 3-D musical in MIRACULOUS stereo!

If you are over 30 then you will know a couple of the songs, over 50 and you will be singing along with half a dozen tunes that you did not really know came from a musical, such as ‘Wunderbar’, ‘We Open in Venice’, ‘I Hate Men’ and ‘Too Darn Hot’.

Many congratulations to Gwyne Marshall on her rare award from the ITA, for her services to community theatre. Most deserving.

The Darlington Theatre Players are proudly presenting this spectacular musical at the Marloo Theatre, 20 Marloo Road, Greenmount at 8.00 pm on a Thursday, Friday and Saturday nights until 13^th December. Sunday matinees are on Sunday 30^th and 7^th at 2.00 pm.

      A production of a musical is about to open, and the cast are warming up in the wings. Hattie (Eileen Coleman) steps forward and gives a rip roaring rendition of ‘Another Op’nin’, Another Show’ as the wardrobe mistress (Rachel Vonk) wheels in a rack of costumes.

      However, for the show’s arrogant director and male lead, Fred Graham (Chris Gerrish – see below), and the leading lady, Fred’s famous ex-wife, Lilli Vanessi (Katherine Freind) things are about to get overheated. Fred is now in love with man magnet, Lois Lane (Nyree Hughes). Lois, as well having a laugh like a horse, already has a steady boyfriend, gambler Bill (Sean Yeo).

      The stage manager (David Seman) gives a 5-minute call, just as two debt-collecting, dapper gangsters (Keith Scrivens, Alex Markham – hilarious team work) appear at the theatre door. It seems someone has signed Fred’s name on an IOU and they are here to collect.

       Lilli advises Fred that she has recently become engaged to General Harrison Howell (Brendan Tobin) and flashes her stunning engagement ring.

      Their production, ‘Taming of the Shrew’ has started on stage, and the wealthy but distraught Baptista (Michael Hart) is desperately trying to marry off his obnoxious daughter, Kate (Katherine Friend) to anyone stupid enough to take her. Baptista’s servants (Barbara Lovell, Luke Heath) are laying out a feast as an encouraging lure. The locals (Natasha Smith, Elanor Cooper-Ritter, Tanya Doogan, Angus Cummings, Lachlan Kessey) arrange for the revelry.

     When the army general arrives to see his fiancée Lilli, he sees an old love, Lois, and arranges to meet secretly with her at a later date.

      With so many people in love with each other, who will end up with whom?

The director of this magnificent production is Neroli Burton, who has been responsible for a couple of dozen major musicals in WA. She really has that magic touch of keeping large crowd scenes moving and all of the performers looking interested. When your outstanding, leading man gets as a sore throat and has to call off, Neroli was so lucky to have such a talent as Musical Director, Justin Friend who managed to step in, script in hand (although hardly used). Justin managed to give an amazing full dramatic and comedic performance. Katherine might have had her bottom smacked by her real-life husband, but he received several face slaps in return.

The singers, especially the leads, had powerful voices that retained clarity and perfect pitch, a joy to listen to. There was an exhausting, thigh slapping dance routine with Jake Fryer, David Zuiddam and a young lady, sorry not sure who) which was one of the highlights of choreographer, Jessica Russell’s superbly creative routines.

Again, the new LED lamps coupled with Mike Hart, David Bain and Mike Small’s skills, showed that extra range of hues and luminescence control brought visual excitement to every scene. Greg Rusha and Chantelle Pitt’s soundscape was crisp and lively. The costumes were perfect for the late 1940s and the historical Shakespearean play, their style, cut and colours were immaculate, from the Mobster suits to the flowing gowns, all were created by Marjorie DeCaux, Nyree Hughes and Rachel Vonk. There were numerous props required, but again Lesley Sutton and Carol Hall spared no effort.

The musicians (sorry no names) were playing at the rear of the stage. They kept the pace flowing flawlessly, with a fine balance and just the correct volume.

Finally, but by no means least – the scenery. The backcloth artwork (Adrian Ashman, Owen Davis) gave an extra depth to the stage and had a wonderful warm Mediterranean glow. The required ‘full sets’ of flats and furniture, ranged from a small theatre passage, to two dressing rooms, a sitting room, an Italian town square complete with balconied mansions and a church; who better to entrust the task to than George Boyd? George is renowned for his set ‘convertibility’. His stage team were silent and swift as they manoeuvred huge blocks of set, like a Rubik’s Cube, in seconds. Even by George’s standard, this series of sets were unbelievable, the lateral thinking astounding.

How often is a show advertised as a ‘spectacular musical’ and you find it flat? A true spectacle should have superb singing, well-synchronised imaginative choreography, dancers who smile and look interested, stunning scenery, quality sound and lighting, lots of laughs and brilliant costumes – well folks, this show has EVERYTHING. Only a couple of shows to go, but even for a company that is well known for its musicals, this has to be one of their best. Energy packed. Fabulous.

The newly renovated venue is wonderful. Gone are the damp cobbles, intertwined with pollen-laden soil and dirt, having been replaced by a new, polished concrete floor that gives a much warmer feel to the venue, coupled with improved sound properties. As there are no seats for the whole performance, – the audience move from one scene to another – the floor is much easier on the legs.

 I will not give a rundown of this very well-known storyline, but simply list the characters. The teamwork was outstanding, and under the guidance of the innovative and courageous director, Garreth Bradshaw, the cast were stretched to the limit of their acting abilities. Each character, no matter how simply stated or minor in the text came alive with unique mannerisms and personality.

The whole cast was stunning, and it seems unfair to pick out a few for special mention, however, extraordinary performances were given by the first few below:-

 Romeo Montague (Daley King) demonstrated his total frustration at struggling to be with Juliet. Excellent enunciation.

The demure, diminutive 14 year-old, Juliet Capulet (Madelaine Page) is presented perfectly as heartbroken on being separated from her love, by her manipulating mother.

Lady Capulet (Sally Bruce), normally played as a slightly disinterested mild mother, was shown here to have real anger and fire in her belly.

The Cockney nurse (Hannah Day), dressed in a Madonna style, gold lamé dress, was – on appearances – the kind of woman that no one would employ as a babysitter, however, she gave a most moving performance at the loss of her ‘child’.

The self-assured Tybalt (Jordan Gallagher) gave an astounding fight scene.

The rough, streetwise, Mercutio (Patrick Downes) really put fear into everyone he encountered.

Friar Francis (Richard Mellick) is usually depicted as a quiet, pious priest; however, Richard took the final scene to a new level, when he confessed to supplying the drugs and laid his soul bare.

The supporting cast of Benvolio (Nic Doig), Sampson (Amy Murray), the wimpish County Paris (Keifer Short) and The Prince (Garreth Bradshaw) brought further humour and tension to the play.

The very large stage / floor has several scene areas, the street, the church, the Friar’s rooms, a kitchen and Juliet’s chamber. The performers subtly act as sheepdogs, herding the audience to the appropriate area. Because of the intimacy, and most of the acting was within arm’s length, you felt as though you are right at the centre of the family battles or a voyeur in the boudoir.

The funeral service for Juliet was heart-rending, one of the most moving scenes I have experienced in the theatre, as the mourners (the audience) followed the bier, accompanied by the dirge-like tune, ‘Salvation’.

The occasional contemporary music was supplemented by music specially composed by the local musicians, ‘The Men from another Place’. Wandering minstrel, Richard Mellick leading the ensemble in the final chorus.

The lighting of silver festoons of fairy lights, glowed beautifully against the simple white set. The  Stage Manager of this complex production was Rebecca Thompson. Costume design, from the sublime to the weird, was by Sally Phipps.

Andy Fraser directed the fight scenes between the families, with épais and rapiers crashing – not just the usual foils – the movements and choreography of the combatants was complex and at times horrifying. The producers gave the show the tag of R18, which is a slight exaggeration; considering the sexy but restrained scenes, and the violence, an M or MA would perhaps be nearer the mark.

There was a great deal of humour in the script, but I felt that the audience were slightly embarrassed to laugh at some very droll comments.

This truly is a special version of this theatrical favourite, with all of the characters studied and depicted as they should have been – no punches pulled. ‘Upstart’ has a reputation for quality and this was another success to add to their collection. Magnificent.