Collyer specialises in controversial and adult plays, and this very funny production from Black Martini is no exception. Due to the lurid dialogue, this is an adult’s only production.

This two-hander can be seen at Studio 411, near car park 4, in Murdoch University, South Street in Murdoch. The season of this 55-minute play, runs nightly at 7.00 until Saturday 12^th November.

The year is about 2030, and the scene is an upmarket apartment, with marble walls. The room has a settee on one side of the stage, and a kitchen area on the other (set design, Thomas Dimmick with an original, special effect by Andrew David)

The production manager and lighting designer was Jess Serio, and stage manager – Ashleigh Barrow. Sound Design by Tay Broadley.

      Anjali (Shannon Rogers) is making a chocolate cake in the kitchen, when Ven (Hock Edwards) dressed in a bright orange protective work suit (costume design, Anna Weir) enters the room. He tells Anjali that he has finished the adjustments and that everything should work well from now onwards.

     Then a whimpering sound can be heard from one of the bedrooms. Ven explains that he does not know how the robot’s chip has picked up this fault, but everything else should be OK.

      Anjali, a brothel Madame, continues to chat to the computer repairman. She explains how business is tough for her and her lifelike robot prostitute and so she must find new ways to make a bit of extra money. Then, a phone call from a client changes her life.

 

The play’s director, Tay Broadley, and his assistant Sean Wcislo, have grasped the dry, black humour of this piece beautifully. The two actors have wisely underacted their parts, giving a hilarious ‘matter of fact’ attitude to the whole situation. Good solid performances.

The cleverly written, but weird script gradually feeds you scraps of the story, whilst keeping you in a state of limbo. You watch, wondering where the bizarre story is going, whilst filled with suspense desperate for the next morsel.

It is always good to see a new play that is a little bit different, with Black Martini; they give you something fresh each time.

Mary wrote ‘Frankenstein’ when she was only 21 years old – a similar age to the adaptor and director of this play. The book was first made into a film 85 years ago and was true to the text, by giving the creature real depth and personality. In the 1960s, a string of tacky films came out from companies like Hammer, when the creature was a monster with a bolt through his neck, giving the occasional grunt.

One of Perth’s most respected independent theatre companies, Second Chance Theatre, is proudly presenting this Gothic classic at the Nexus Theatre at Murdoch University until Saturday 23^rd July. The amazing performances are 2 hours 40 minutes long – with one interval – and commence at 7.30 pm.

At the rear of the stage is a raised platform that acts as the brig of a ship, and later as street level.

Stage right is the home of Victor, stage left is the Captain’s cabin on the ship. This ingenious and versatile set was adapted from those of the previous two plays in the Gothic series, again designed by Allison Snell. The numerous slick scene changes were under the supervision of stage manager Georgia Smith and her assistant Dylan Dorotich.

        The snow is falling. It is a bleak winter and a ship has become trapped in the Arctic ice. On board are a desperate crew, and landlubber, Victor Frankenstein (Scott McArdle), a scientist who has paid the female captain, Walton (Rhianna Hall) to help him escape a nightmare. Victor starts to explain to the captain his strange past, and why he left Switzerland in a hurry.

        Fifteen years earlier as a weakly, bullied child, Victor was the first born of Alphonse (John King) and Caroline Frankenstein (Izzy McDonald). He became a stepbrother to their adoptees, Henry (Launcelot Ronzan) and beautiful Elizabeth (Shannon Rogers) – whom they hoped Victor would ultimately marry. Eventually the Frankensteins managed to give birth to another child of their own, a cheery young lad called William (Toni Vernon).

        The children were lovingly cared for by the maid, Josephine (Ellin Sears), the cook (Kate Willoughby) and butler (Andrew Dawson). Then one evening, an accident on the farm resulted in the death of Frau Frankenstein. Feeling lost, Victor sets off to Ingolstadt University to study anatomy and physiology under Professor Dippel (Jenia Gladziejewski). Victor finds some miserable lodgings, with an even more miserable landlord (Stephen Platt).

       Wishing to further his studies and theories, Victor visits a few mortuaries, ingratiating himself with two of the attendants (Daniel Buckle, Justin Crossley). He ‘borrows’ bodily parts from their morgue. One stormy night, a flash of lightning energises Victor’s creation. The Creature (Laughton Mckenzie) is born.

        The Creature’s only friends are a pack of wolves (Rhys Hyatt, Jenia Gladziejewski, Ellin Sears). He meets and helps a poor blind man, Felix (Alex McVey) and his thoughtful daughter, Agatha (Abbey McCaughan) but a tragedy befalls them, and an unfortunate old tramp (Andrew David) who gets in the way.

        With a wedding in the offing, Elizabeth takes on a ‘special’ butler, De Lacey (Rhys Wyatt).

Scott McArdle has wisely taken us back to the original script and theme, by allowing us to see behind the broken body of the hapless ‘creature’. This ‘vision’ took us on an emotional rollercoaster ride, first we feel sorry for the creature and wish it success; before we hit the skids and witness it crashing into another killing spree. The writing skills exhibited in this adaptation are exceptional; just a little subtle humour, a genuine feeling of hopelessness for the creature, rapidly followed by anger at attitudes of the public to this poor human.

There are a couple of incredible wild horses in this play that can be seen through the subdued, misty light. Their eyes glow, they can rear up and trot convincingly around the stage, superbly designed by Anna Sheehy (assisted by Andrew David and Sam Knox) and controlled by the equine wrangling team of Joel Sammels, Tay Broadley and Abbey McCaughan.  Likewise, the wolves sniffed around, showed apprehension and even circled like real animals before they lay down. It was the attention to such minute details that took this whole concept to that only expected of a major professional production.

The complex lighting (designer Scott McArdle, operator Sarah Bond) and crisp sound effects (Katie Southwell) played a major part in the presentation of this play. There were a multitude of effect such as snow, just the right amount of fog and mist, with well-placed lights and perfectly chosen colours to augment the mood. The costumes (Sophie Braham, assisted by Allison Snell, Bella Doyle, Melanie Buchanan) ranged from the tatty urchins to the sumptuous ball gowns of Elizabeth. Every costume fitted immaculately, and was made from fabrics of the era – not simply cotton dyed or painted to appear realistic. The shoes and accessories were carefully chosen.

The makeup design is always important, but in this play the Creature has to look realistically disfigured and not ridiculous. The horrendous scarring and gore was thanks to the talented hard work of Leah Toyne.

The musical soundscape was once again the clever work of Drew Krapljanov, who has just the right touch of matching the scene’s atmosphere with the correct emotion in music. Especially in a play like this, one should be unaware of any accompaniment without actually listening for it. The notes should be mellifluous, invisibly and smoothly coating the vision.

The technical manager, Keaton Howe, and the production managers, Andrew David and Scott McArdle have gone for quality and at no point have they taken the soft option. Quality was always paramount.

It is easy to say that ‘all of the actors did well’, but in this case it is true. The entrances and exits slick, the diction clear, the body language and chemistry exceptional for EVERY single member of the cast. Some stunning and moving performances, but I must give a special mention to Scott McArdle as Victor, and Laughton Mckenzie as the Creature – WOW !!

The thing I like mainly about Murdoch productions is that you can sense that every member of the cast and crew are keen, truly enjoying themselves and determined to give the audience a great night out, by using every ounce of their skills. Enthusiasm brings perfection. A great show that will last in our memories for decades to come.

This superb adaption of ‘Frankenstein’ can be strongly recommended to amateur and professional theatre everywhere. Give yourselves and your audiences something different.

This 150-minute production ran for three nights until 26^th September, at the refurbished Studio 411 on the Murdoch campus on South Street, near car park 4.

       The scene is an interrogation room in an American police station where the female officer, Sarah Stein (Nicola Brescianini) is giving the quaking prisoner, Seth (Scott McArdle) a rough time. During the interrogation, Seth’s ex-wife, Grace (Kaitlyn Barry) appeared declaring that she was God. One of her crucified followers, Herman (Eamonn Skov – great) declared how happy he was to be one of her sacrifices. Then there was Seth’s sister (Shannon Rogers), the mad detective, Gabe (Rhys Hyatt) and Hodge Podge (Rhianna Hall). I may have got various characters mixed up – but who cares? I don’t.

 

The director, Andrew Dawson, has done a fine job of leading this talented team through this multifarious maze of words and situations. Aiden Willoughby’s musical backing was beautiful, but too loud so became invasive, and really quite unnecessary, especially during the interrogation scene. Scott and Sarah Bond’s lighting was clever, selective and with the well positioned lamps, captured the mood well.

I don’t believe that an audience should be spoon fed, but made to ponder on various aspects. Nor should they be required to have to carry out a PhD research to understand the story. The public go to the theatre to be entertained, rarely to admire the writer’s work. If the cast are exceptional, all well and good, but the major reason for their presence is to have a good night of fun, or to have an emotion stimulated. I think that 150 minutes of asking, ‘what the hell is going on?’ and then leaving not much more informed is not what the audience is looking for.

On ‘The Antiques Roadshow’ a woman had a 4-foot model of Buckingham Palace made by her father from 500,000 matchsticks. It took him 5 years to make, and was immaculate in every detail. The antique expert asked ‘Why?’ and said that despite the obvious talent and hard work it would be lucky to get $400 as no one other that the family would want it.

So sorry Scott, you have a matchstick model. A huge amount of work, a brilliant cast (9 out of 10) and technically on the ball (7 out of 10) – but you have to ask – ‘why?’

I lost part of my life, and at my age I need all I can get.

This Murdoch Theatre Company’s 100-minute (including interval), fast moving show is suitable for children aged 6 to 96. It can be seen for 3 more shows only at the Nexus Theatre, Murdoch University – near car park 3 – on Friday 17^th at 7.30, with Saturday 18^th having two performances, a matinee at 2.00 pm (meet the characters after this show) and at 7.30 again in the evening.
The sets are colourful, though the backdrops and trees are recycled, they have been spruced up with large leaves. The witch’s house was particularly impressive.

       As the music of ‘Peter and the Wolf’ faded, the narrator, dressed in a nightshirt – like Wee Willie Winkie, (12 yrs old Amalie Meneghetti – excellent – the only non-Murdoch performer) introduces us to the local village of Grimm Dark. The Mayor (Nicola Brescianini) told us what a wonderful and exciting town it was to live in, however the locals did not seem to agree.

        Into the street wanders Little Red (Cat Perez) with her dim, but brave friend, Peter (Aaron Vanderkley). Little Red is asked by her mother (Meagan Dux) to visit her Grandmother’s (Rhys Hyatt – outstanding, what are you doing after the show Baby?) house in the forest.

       Peter and Red follow the Yellow Brick Road and meet hungry Hansel (Rebecca Dilley) and beautiful Gretel (Shannon Rogers); they had just been in the gingerbread house and killed the Witch (Claire Tebbutt) – or had they?

        Peter tries to protect Little Red but soon they are lost in the woods. A strange and threatening Woodsman (Kieran Renouf) was never far away. Hiding – dressed as a sheep – is The Wolf (Sean Mackey), who is seeking revenge on Peter. 

        Can Little Bo Peep (Karen Hansord) find her sheep? Will the three bears, Papa Bear (Launcelot Ronzan), Mama Bear (Abbey McCaughan) and Baby Bear (Tijana Simich) save poor Red? Is Grandma all she seems?

Director Kate Willoughby has gathered several of her friends, all of whom have proved themselves numerous times as first class actors, for her pantomime, however, Panto is another genre and not everyone can make it work. This band of actors were magnificent, they threw themselves into a laissée-faire attitude, enjoyed themselves and the pleasure flowed from the stage to the audience who loved it. Kate has also put in many asides and novel ideas, such as the comical bear family’s walk.

Sean Mackey was amazing as the wolf; even when faced with a front row of rowdy children from hell, he was unfazed. Hansel and Gretel’s rapport was also top notch.

Unfortunately I haven’t a techies list so cannot give credit to the excellent mood lighting and sound. I did learn that the striking poster design was by Mama Bear, Abbey McCaughan.

The stylish costumes were bright and well made, from Hansel and Gretel’s buttercup yellow to the furry wolf.

Plenty of laughs, well-written, well directed and well acted. Well, well well, three holes in the ground. A good winter holiday laugh for ALL of the family. Family tickets available at the door, at a sensible price.

This 65-minute production is being presented by the Black Martini Theatre Group, in the Murdoch University Drama Workshop, next to car park 4, 90 South Street, Murdoch. The performances are on nightly until Saturday 16^th May, with curtain up at the slightly earlier time of 7.30 pm.

Sam Knox’s set depicts a typical young student’s diseased bedroom. Dark blue walls covered in posters of the cinema’s famous heroes. In the corner stands an old wardrobe. The floor is covered with clothes and junk. In the centre of the stage is a double bed with octopus tentacles crawling out from underneath. Stage Managed by Michael Casas.

       The sun shines through the drawn curtains. The mound in the bed is static. Lazarus (Alex McVey) is depressed, and has been lying there for the past three days, refusing to move. His flat mate, Panda (Shannon Rogers) is madly in love with Laz, but he is too self-centred with his troubles to notice. Panda tries every trick in the book and various enticements, to get Lazarus to leave his bed, but he won’t even talk to her.

      In his little world, Laz sees himself as the master of his own fate there. Then, like a scene from the ‘Lion, the Witch and the Wardrobe’, his wardrobe door opens and out steps the mysterious, mischievous Sidney Arthur (Philip Hutton). Lazarus seems to recognise Sid, but is not too sure who he is.

      Sid chats to Lazarus, trying to get him to open up about his past memories and why he won’t leave his bed. Even when Lazarus’s red-hot friend, Mackenzie (Rhianna Hall) calls around, he cannot be tempted from his kip. Lazarus even prefers his exotic fantasies about Harry Potter and Superman, than to make love – or sabre fight (choreographed by Launcelot Ronzan) – with Mackenzie.

       Can Sid get to the bottom of Lazarus’s problems? Will Sidney ever be normal again?

Plenty of lateral thinking from the director, Thomas Dimmick, has this very funny play belting along at a cracking pace. The cast are exceptional, with the miserable Lazarus being perfectly countered by the zany and whacky Sidney. Two superb performances, but Philip won the day with his numerous accents and impersonations.

The soundscape called for numerous split second cues, but designer Luke Gratton was well up to the task. His choice of music showed great imagination, and was perfect. The sound effects ranged in volume from 10 to 100 decibels.

The lighting designer, Scott McArdle, created some wonderful effects from sunrise to the dappled light of the fantasy sections. Slick operation by Jess Serio.

Some extra fun was added by the choice of costumes by designer Cat Perez.

If you like ‘Harry Potter’, ‘Star Wars’ and ‘The Young Ones’, then you will love this skilfully presented, madcap blend. Plenty of belly laughs, sensitively mixed in with the odd sad cameo. MOST enjoyable, great theatre.