This delightful show for children of all ages is being presented by Spare Parts Puppet Theatre, the leading contemporary group of puppeteers and puppet designers in the country. Over the years, this team of artistic boffins has taught children how to interpret stories, and in turn, the presenters have learned from their audiences what the youngsters love and expect.

This production can be seen at Spare Parts Puppet Theatre, 1 Short Street in Fremantle, adjoining the lawn opposite the Fremantle railway station. Shows are daily at 10.00 am and 1.00 pm, from 4^th to the 30^th of January 2016.

Centre stage is a short staircase leading to the front door of Miss Lily’s exotic holiday resort hotel (set designer Iona McAuley).

     Three koalas enter carrying a cricket bat; they are Mum (Rebecca Bradley), Dad (Shane Adamczak) and their mad son (Nick Pages-Oliver). The koalas are renowned for being stupid. They are training for a sports competition against the wombats, not knowing that the actual competition sport is footie.

     Dragging his suitcase is a large quokka-looking animal called Potoroo. He is exhausted and is relieved to find his hotel – ‘Miss Lily’s’. He is horrified to find that Miss Lily is actually a large crocodile (Rebecca Bradley), she seems very friendly, but will Potoroo be eaten?

     Potoroo is sad because he is the only Potoroo left in the world. He has searched everywhere to find others without success.

     Miss Lily tries to cheer up Potoroo by dancing the tango with her magical, pink feather boa. In his excitement, Potoroo gets into trouble and perhaps danger too.

This is a delightful story that thanks to clever direction and planning by Michael Barlow, moved at a cracking pace ensuring that even the youngest audience members – there were quite a few aged only four – were enthralled. The youngsters sat open-mouthed at the hilarious action and the visual effects. Lighting designer Karen Cook’s work was exceptional, some of the illusions required careful lighting. Musical composer, Lee Buddle, created quirky fun-filled tunes to complement the action.

Although all of the scenery shifting was carried out by the cast, the production managers, Elliot Chambers and Chad Wetton safeguarded that the costume changes were slick, as the action was timed to the split second. On several occasions, the cast exited stage left and reappeared stage right seconds later, wearing a different costume.

The puppets were some of the best I have seen that the Spare Parts theatre, which can always be relied upon to produce top-class puppets. So respected are Spare Parts that they have linked with WAAPA and Curtin Theatre students creating courses to show the complex tricks behind making and operating a quality puppet. The puppet makers for this show were Iona McAuley, Sanjiva Margio, Leon Hendroff, and Bryan Woltjen. Miss Lily was a full-sized crocodile that appeared most realistic. It had to be light enough for the puppeteer and operator to dance with and yet look convincing. Lyndell Darch supervised the fabric construction.

This play, in the intimate atmosphere of this theatre, was perfect for children over 4 years old. The three actors, who are recognised as first-class stand-up comics, vividly brought to life the many characters of the story. It was wonderful to hear so many young children loving, possibly, their first live show. Highly recommended.

Over the years, Lockwood’s slick, beautifully constructed comedies have been performed in Edinburgh, New York and Italy, all to rave reviews.

This hilarious, one-hour, World Premiere from producer Talei Howell-Price, can be seen at the Blue Room Theatre Studio, in the Perth Cultural Centre, Northbridge each evening at 8.30 until the 4^th July.

The set is a rustic table and chairs, with red curtains as a backdrop. There are several unusual religious props and costumes – designer Cherie Hewson.

      The time is 4 months BC, and Mary (Andrea Gibbs) and Joseph (Nick Pages-Oliver) are discussing Mary’s enlarging tummy, when a booming voice from above (Sean Walsh as God) states that Mary is now bearing the son of God. Mary has a major contraction, screams ‘Jesus’, and God decides that this could be a great name for the child.

      Twenty years later, the Church is having trouble keeping their congregation and so they call for an advertising team to help promote their message. The company is run by self-centred manager (Sean Walsh) and his assistant Luna (Talei Howell-Price), who see Jesus (Shane Adamczak) going around doing his party tricks, but decide that he has not quite the body image that they are looking for. Eventually they settle on a male model with plenty of sex-appeal, Mr Lot (Brendan Hanson).

       This new recruitment programme is working well until God and the author, Damon Lockwood (voiceover played by Nick pages-Oliver) think the whole situation should be revised.

The director, Damon Lockwood, has gathered a few of his best friends to perform this new sacrilegious play. Although some may consider the script blasphemous, it creates a great deal of doubt about the preached ‘truth’ surrounding the good book. The cast are all wonderful comedians, many stand-up solo performers, with some working as a part of Perth’s most successful and talented improvisation team.

Damon’s inventive dialogue comes from years of professional storytelling and comedy work, so his writing is tight and uproarious. His work requires a special kind of dry delivery, and the whole cast operated perfectly as a team, carrying the audience along with the riotous story.

A few comical pieces of artwork from Yvonne Doherty, Pascale Giorgi and Alex Manfrin gave a novel twist to the storyline. Robert Woods dramatic sound effects along with Michael MacLean’s lighting helps the pandemonium to flow.

As always with Lockwood’s productions, every show is sold out within hours of the season starting. Get a ticket by any means – tell them Jesus needs you.

An adult show that will have you smiling days later.

This 70-minute play, by world famous Australian comedian, Greg Fleet, can be seen at the Blue Room Studio Theatre, James Street, Northbridge, each evening until the 6^th September. The show begins at 8.30 pm.

The scene is a typical student bedsit in the early 80s. In the one room, there is a convertible bed / settee, a kitchen table and chairs, and of course the record player. In the corner is a bar, strangely housing a keyboard player (Michael de Grussa, newly returned from performing on several continents).

The kitchen furniture is painted onto the orange walls. Set designer Christian Barratt has used a great deal of symbolism, as he depicts and emphasises the ‘fluid’ mentality of the tenants. Smoothly stage managed by Rhianne Perrie.

       A middle-aged man, Jimmy Harrison (Greg Fleet) wanders around the student flat. He tells us how he lived there decades ago, and how in his mind he has visited the place many times since. He smiles as he watches himself thirty years earlier as a young, pot smoking art student (Shane Adamczak).

      The front door opens and a young girl, Sophie (Tegan Mulvany) enters. She is Jimmy’s date. The girl looks around at the semi-squalor, the LP record collection and Jimmy’s amazing artwork on the walls. Soon a relationship develops and Sophie moves in, with her even more incredible LP collection – the bonding is immediate. The older Jimmy slips the musician in the corner a few dollars and he starts to play a Daryl Braithwaite song. Love is complete.

       The older Jimmy reminisces, soaking up the warmth of that long lost happiness. Then seconds later, as he watches the couple, finds himself desperately trying to change history. The things that were said and done and brought his life crashing down. Life in retrospect is so much clearer and easier to control. Then Jimmy asks, ‘Is life really clearer now?’ or is has he simply blotted out episodes or tidied up situations without even knowing?

        What has happened since those student days? What happened to Sophie?

Most of us will have had similar experiences to this story. Recalling the happiest days of our lives, whilst cursing the stupid things we said at the time, changing our future forever. The partner that you loved so much, may look so different in the rear-view mirror.

The structure of the ingenious writing is superb, with some passages that will have you roaring with laughter and then mopping away the tears. Greg’s writing and Tegan’s direction work perfectly together. The symbiotic result gives a very vivid picture of our student days. The acting has Greg as an older, wiser man, quietly and logically looking at his youth, whilst the young couple live out their loves, frustrations and joys, with highly emotional performances. Some powerful acting, dramaturge by Kate Mulvany.

I went to the theatre expecting a light comedy but got so much more. Superb acting, great story and a memorable night out. Try to catch this fresh look at young love and its complexities.