The three-hour performances can be seen nightly at 8.00 until Saturday 28^th January, with a matinée on Sunday 29 at 2.00 pm.

‘Lives that are Parallel’ this quirky romance is approx. 65 minutes. It was written by James Forte and directed by Fran Gordon, with assistance from James Forte.

James spent a year with the select Black Swan Emerging Writers Group, and this has helped him develop a tight script with a natural dialogue. This storyline is novel, several well-developed story threads, and very relevant to today’s youngsters.

The stage shows two bedsits. They are in student flats in two very different countries. Stage crew Franklin Burke, Mallory Sallingen and Jack Gordon.

             The LA airport announcer (Calvin Payne) asks passengers not to leave their cases unattended. A group of girls on a sports tour are rushing through the crowds, when one, Sacha (Lily Baitup) literally bumps into a group of Aussies boys on their way home. As one of the lads, William (Steve Anderson) picks himself up, he locks eyes with Sacha. They seem to become spellbound with each other. Sacha’s friends, Hannah (Tanzyn Crawford) along with the bossy team captain, Helga (Crystal Dawson) grab her, dragging Hannah off to the plane.

       Back at home, his friend Tim (Samuel Jones) is mocking William, who is still in a dream. His girlfriend, Gailene (Sara Burke) is annoyed about her mysterious competition. Desperate, William pesters his sister Jane (Chanice Edmonds) to help him trace this fleeting angel.

A tricky situation to make believable, and with a couple of ethereal scenes I was starting to have doubts, however, with clever writing, good acting and strong direction the final result felt perfectly plausible.

A minor weakness is that the characters are all, by necessity, very similar in age and personality. It might be worth developing a real ratbag or madcap individual. Solid performances from the two leads.

Most unusual and enjoyable.

‘The Bright Side of Life’. This touching comedy was 55 minutes long. Written and directed by Siobhán Wright, and the assistant director being Denice Byrne.

Written by all-round, theatrical enthusiast, Siobhán Wright, the dialogue is exceptional and delivered by a well-chosen cast. This was Siobhán’s first time directing, and was most admirable.

 The scene is the lounge of an old folk’s home in Dublin. A semi-circle of armchairs and numerous props (Melissa Skeffington) ensured an authentic look.

        The nurse (Siobhán Wright, alternating with Denice Byrne) welcomes Kathleen (Claire Westheimer) to the old folks’ home. Her son Paul (Ken Ratcliffe) explains to his Mum that she will only be there for a couple of weeks, whilst he fixes up a Granny Flat.

       Kathleen is then introduced to a strange mixture of ‘inmates’, such as Betty (Julie Holmshaw – great) – a severe hypochondriac, and poor Annie (Karin Staflund) who spends her day cuddling a doll. Then there is the bright and sparkling Mona (Clare Wilson – well done) who loves to share the highlights of her better days.

       Quietly knitting the most repulsive jumpers, is Magser (Marian Byrne – delightful). She still has all of her screws; she needs to be alert when her money-grabbing daughter, Frankie (Kathleen Alloway) and son Jason (James Donnelly) call around. The only highlight of the week is when the occupational therapist, Oliver (Paddy McAuley), comes to give them ‘yoga’ lessons.

   When young GP, Bella (Melissa Skeffington) visits, she learns more than she expects from this strange mix of residents.

I know that the gay character was meant to be comical relief, but he was so far over the top (the actor performed well to the direction and script) that he became an annoying caricature. Even the most ‘sheltered’ audience member would get the message and still raise a smile, with just a subtle hint.

This was still a beautiful play, plenty of humour; well-observed characters brought to life with great acting, and topped with good dialogue. It brought a tear to a few eyes; one could hear the tissues coming out. Well done.

‘Being Juliet’ a cleverly written, 55-minute romantic comedy, from playwright Yvette Wall and is directed by Carol Hughes.

Yvette has won many writing awards, and is not frightened to try something new. I consider Yvette to be one of WA’s top three writers. This clever script included a few different writing styles and acting genres, with numerous hilarious misquotes (deliberate) from Shakespeare.

The scene is the backstage of a second rate, community theatre production. The costumes range from the sublime fairy costume, to the wild dominatrix outfit of Tina. Costumes by Fran Gordon, Carol Hughes and Sue Murray.

      The stage manager (Ryan Taaffe) calls for the actors to take their opening positions.

     The fairy, Lillian (Jenni Glassford) notices that young Brenda (Yvonne Lingua) is looking depressed. Brenda feels that in spite of all her hard work, brassy Tina (Sue Murray) seems to get all of the better parts, whilst she – Brenda – is constantly over looked.

     Randy Jordan (Dan Wilson), the dashing hero of the play tries to pacify poor Brenda.

     Will Brenda get a chance to blossom? Or is she doomed to being the understudy forever?

I loved the concept, there were several unexpected twists and it was most enjoyable, however, it sadly this did not quite satisfy or work for me. I appreciate that the ’troupe’ were meant to be an incongruent shambles, but perhaps the characters were a little too diverse, with the result that none of them quite melded at any stage. I am sure that a few tweaks are all this clever writing requires.

For all three plays, the effective lighting design was by Ian Wilson and John Woolrych, and smoothly operated by Carole Wilson.

One or two of the younger actors did not realise how the black drapes absorb their voices. A little more projection and a slightly slower delivery can help overcome this problem.

The three plays had a total performance time of 3 hours. Although very different and well presented, three hours (including the two intervals) is a little long. This however did not stop this play’s run from having many full houses.

A most enjoyable night out with three solid presentations, topped with a warm welcome.

This two hour, hilarious show by the ever-reliable Stirling Players, can be seen at the Stirling Theatre, in Morris Place, Innaloo on Thursday, Friday and Saturday nights until 14^th May, with curtain up at 8.00 pm. There are also matinees on Sunday 1^st and 8^th May at 2.00 pm.

The main set is of an untidy, family home sitting room. On the apron at the side of the stage, is a Marriage Counsellor’s consulting room (Jim Chantry). There is a surprise set in the final scene (artwork Margot and Luc Watkins).

       The curtain opens to reveal a Marriage Counsellor (Jenni Glassford, continuing her everyday occupation?) chatting to a couple with marital problems. Barry (Tim Riessen) has been married happily for many years to Sally (Janet Weston – excellent), however, he has now retired and cannot understand why his domestic tasks should be increased, even though Sally is still in fulltime work.

     We flash back 3 months and find Barry languishing in his armchair, even though the room is desperately in need of cleaning. As he is reading, a young girl, Alice (Gema Seenarain) wanders into the room. He has never seen her before. It becomes clear that she is the new girlfriend of his lazy, useless son, Cameron (Steve Anderson).

      Barry and Sally’s elder daughter, Alisha (Natasha Van Odyck) is madly in love with an obsessive conservationist, James (Kieran McDonald), whilst the younger daughter, Kya (Neve Havercroft) is happy just to annoy everyone in order to get her own way.

      When Grandad Albie (Jim Chantry) arrives, Barry’s influence in the house seems to finally evaporate.

       Two other love interests are played by Melissa Skeffington and Carole Wilson – and there is little Chanel.

Few directors are capable of writing and directing their owns plays. Peter has had years of experience at both and although now proficient enough to tackle this play himself, he has recruited the help of an assistant director, Jann Rutherford.

The script was very well written, with the dialogue and attitudes of the young and old perfectly observed. I could hear the play dividing the audience, with the women commenting (during the play) ‘of course the house is dirty, men never do any housework’. Whilst the men could be heard sympathising with Barry, and commenting on the kids being glued to their mobiles.

The acting pace was superb, but although the scene changes were good, they could possibly be better planned. The fast moving stage team could carry props onto the stage when entering to clear the previous set, instead of making two journeys. On a floodlit stage, don’t worry about chair positions being correct to the centimetre. Even slowish scene changes can make it hard for the cast of a comedy to bring the pace back up.

This show was very well acted, almost the whole cast had to have ‘attitudes’, from anger to that of the 13-year-old going-on-23. Very good comedic delivery and body language. Michelle Tennant’s costumes clearly stated the personalities.

Ian Wilson’s tech design was above average, with good use of lighting and crisp, realistic, stereoscopic sound effects (operator Jane Sherwood).

This play was a huge amount of fun, very near the bone for many families, but one that I can recommend for a good night of entertainment. The script is a Peter Flanigan triumph.