As a musical celebration and tribute to 100 years of King Edward Memorial Hospital for Women, fondly known as ‘King Eddy’s’, and their work assisting mothers and babies; Agelink Theatre and the King Edward Memorial Hospital Centenary Committee have joined forces to bring us memorable events from over the years.

Vocal Ensemble ‘Voiceworks’, the 15 strong, Subiaco Community Choir, under the direction of Maggie Wilde West and Joshua Webb, add to the memories, by reviving charming songs from the 1950s and 60s. The keyboard accompaniment was by Gavin Nicklette. The technical direction was by Aaron Stirk, and the production managed by Bernie Davis.

On Saturday 6th August, for one day only, there are two 90-minute performances; the first at 2.00 pm, and the second at 7.30 pm in the main auditorium of the Subiaco Theatre, Subiaco Arts Centre, 180 Hamersley Road, Subiaco.

The choir are seated at the side of the stage. In the centre of the stage is podium with a matron’s tall desk and chair.

       For the first 80 years of giving birth in Western Australia, parturition took place at home, a dangerous process. A few charitable clinics appeared, but these could be expensive and prohibitive to the general public.

 

      The play begins with a stirring meeting in 1909, led by Dame Edith Cowan (Sarah McNeill). A decision is taken to sell bricks at a shilling each, for the new hospital. Soon, enough money was raised to buy and convert a deserted, rundown school for orphans.

      Initially, twenty beds were created under the supervision of Matron Agnes Walsh (Polly Low) and the dedicated Irish ward Sister, Mary Carson (Alinta Carroll). With Dr Clements (Benj D’Addario) working tirelessly for the cause, the hospital expands. As a cute 6-year-old patient, Saskia (Saskia Haluszkiewicz) recalls, it took her lifetime to reach 100 deliveries in half a year.

       A young newspaper reporter (David Ratcliffe) is dispatched to write an article on the miraculous new gift to the women of Perth, King Eddy’s. He catches the eye of a trainee nurse (Cassidy Dunn), but marriage could mean the end of her career.

       With World War 1 under way, the newspaper boy (Oliver Haluszkiewicz) is kept busy informing Perth of the European tragedies, and local losses.

       We are shown how the hospital blossoms with the hard work of the dedicated team, and how today, 60,000 babies can call King Eddy’s their first home.

Directed with love and passion by Jenny Davis and her assistant director Laurie McAinsh, this play brought tears, along with outbursts of chattering in the audience as various surgeons’ names were mentioned and warmly recognised. With the talented cast giving numerous cameos of radio reports, visits from the toffee-nosed aristocracy, and a mother with countless children, the tales were poignant and delivered with plenty of belly laughs – no pun intended.

The musical interludes with songs of the time, gave us an uplift after the depressing description of the conditions of the building and the lack of facilities. Even 50 years ago, when many of the audience would have been alive, the pregnant mothers suffered at the hands of the male chauvinists on various committees.

A fascinating, fast moving piece that is relevant everywhere; it could easily be modified and produced almost anywhere in the world. An important part of our history.

Another triumphant play from Jenny. Her celebratory Centenary Book is also available.

This tightly written, cleverly structured, 55-minute play can be seen Studio Theatre at the Subiaco Arts Centre, 180 Hamersley Road, Subiaco each evening at 7.30 until Saturday 25^th June.

The set shows several roadside shrines, shaded by overhanging branches. Memorials set up by the families and friends for their recently departed. The tree stumps are surrounded by a collection of their friend’s personal treasures, varying from religious statues to fun junk.

The scene is completed with Joe Lui’s incredible lighting and soundscape. The tech operator is Jarrod (?) who applied one of the slowest and most subtle light changes I have seen – great work.

      A young couple are laughing and joking as they drive along a remote Australian country road. Suddenly, their car runs off the road and into a tree. Luckily, they are not injured, but their car is in a sorry state. Even when they realise that they are stuck in the middle of nowhere, the young girl, Abby (Amy Johnston) just chuckles nervously at having avoided death; and asks her angry boyfriend, Sam (Barnaby Pollock) what the Hell had made him run off the road.

     As Sam explains, unconvincingly, how he thought he had seen someone and had swerved to avoid hitting her, a dishevelled old woman steps out of the forest. She introduces herself as Ruth (Nicola Bartlett) and starts chatting to Abby. She asks what Abby does for a living, and discovers that she works for a company called ‘Moving On Inc.’ that carries out house clearances for the traumatised families of recently deceased. Abby chuckles as she explains how many unusual treasures she seems to gather.

      After a while, Ruth says she can get the couple’s car repaired, if they can do her a favour in return. A rather demanding favour!

 

There are plenty of laughs in this creepy and haunting play, as it grabs your attention and keeps you in its grip throughout. The three, very different characters are beautifully portrayed by the cast. Amy Johnston, who is in her first major professional production, played Abby; WAAPA graduate, Barnaby Pollock, accompanies her. Nicola Bartlett, who has been much admired for decades as one of WA’s finest actors, gives a superb performance as Ruth.

Directed by Mikala Westall and dramaturged by Will O’Mahony, the body language and chemistry flow naturally in this most enjoyable piece.

This production oozes quality in every department. Many congratulations to all concerned.

This 75-minute Tempest production can be seen at the Studio Theatre, Subiaco Arts Centre, 180 Hamersley Road, Subiaco each evening at 7.30 until Saturday 14th November.

The scene is 1933 in Le Mans, in the boudoir of ‘Madame’s’ affluent home. The superb furnishings are a mix of classic French and Art Deco. To the left are a dressing table and a privacy-dressing screen. To the right, a pair of armchairs and a vintage ‘phone. At the rear of the stage is a large dresser with a vase of flowers.
The set has been very well lit by Mitch Whelan, who has achieved an old-fashioned glow to the room. He is also the sound operator.

        The play starts with ‘Madame’ strutting around the bedroom, admiring herself in the mirror, playing with her expensive dresses and jewellery whilst belittling and abusing the poor maid.
        Later the two sibling chambermaids are cleaning the room and discussing their obnoxious, affluent Madame (Maree Grayden). The older sister, the powerful, bullying and manipulating Solange (Kylie Maree) taunts the whining, nervous and insecure Claire (Aisling McGrogan). The sisters are so alone in the world, and allowed little time off; their only real pleasure in life is sadomasochistic role-playing, normally with one of them acting as Madame.
       The telephone rings and Claire answers. It is ‘Monsieur’, Madame’s husband, who in an error of justice, was sent to prison. The maids are panic stricken on hearing the news. It is not long before Madame returns from a social event, and the maids have a special treat for her.

Gifted director Susie Conte has gathered an extremely talented cast for this difficult play. Each character has not only achieved a great deal of depth but an unusual amount of intensity. The personalities are complex and change in waves throughout the play.
I have seen this tale several times and still feel slightly cheated at the end of the play. This cast could not have been better, but although I don’t like to have the end to a production spelled out, another ten minutes by the playwright would, I feel, have given a more satisfactory ending.
Clever and admirable, the team should be proud.

Lockwood, who was nominated by Actors’ Equity for a Best Actor award, has since appeared regularly in major productions at the Heath Ledger Theatre. Likewise, Sam Longley has appeared at the State Theatre. Both actors work in Improvisation and as a result are very well known for their wacky humour, and fabulous rapport. This kind of comedy is becoming quite rare these days, with the natural quips almost being a thing of the past. The couple have captured the essence of Woody Allen’s old stand-up routine, with clever use of puns, double-entendres and a full-bodied comedy script with laughs every 15 seconds.

If you saw ‘The Godfather’, in one scene, a horse’s head appeared on a film producer’s pillow; this is the ‘true’ story as to how the horse head got there. If you had written a play about the Mafia, where is the one place you would avoid performing the show? Italy!! Not for these two madmen, they took the show to Italy – for an astounding six seasons – and even won the prize for Best Play at the Rome Fringe; before going on to the New York Fringe.

This crazy 50-minute production can be seen at The Studio Theatre, in the Subiaco Art Centre, 180 Hamersley Road, at 7.30 each evening until Saturday 6th June. The show can be seen at a later date in Mandurah and Merredin.

The scene is the Fonzie Brothers’ flat in Miami. There is a bentwood hat stand, a small side table with an old fashioned ‘phone and a large sofa. Set and costume designer, Cherie Hewson, has crafted an amazing prop that had the audience rocking in their chairs with laughter.

The atmospheric, Italian soundscape and musical composition was by multi-award winning musician, Stephen J. Hearne. The well-designed lighting was the work of Andre van Vulpen.

       After a year working in Hollywood, Eddy Fonzie (Damon Lockwood) has returned to live with his rather nervous brother, Philippo (Sam Longley) on the East Coast.

      Philippo, who has always wanted to become a famous and respected gangster, has just been offered a major job by the mob – an offer he can’t refuse. The task is a grisly one (don’t worry folks, there is no gore), a mission he is not too enthusiastic to carry out, however, his brother Eddy is keen to try anything.

Magnificently directed by Damon Lockwood, you find yourself unable to blink in case you miss another priceless expression or gesture. Although probably rehearsed to incredible detail, and performed around the world over seven years, every move and mannerism flowed perfectly, with the performances still having a wonderful freshness to them. The duo’s timing was immaculate, being reminiscent of Laurel and Hardy at their best.

The fast moving show occasionally went into a humorous, slow motion routine. Even though this farce was slick, I suspect that there were an extra couple of private joke lines, with a few additional punches and slaps as these professionals soaked up the audience’s enthusiasm.

50 minutes of riveting absurdity, so seldom seen these days. Definitely worth going to see, even on the wettest of winter’s nights, be sure to go for a warm, feel-good chuckle.

Jenny’s plays are filled with emotion and rich, well-researched memories. I saw this play on Remembrance Day, 96 years after the end of World War 1. Combined with the ever so moving ceremonies in Albany last week, this is a play, which is still extremely relevant today. It is also important to teenagers, who should be fully aware of the happenings in the time of their grandparents.

Presented by Perth Theatre Trust and Agelink Theatre Inc. this most poignant love story is playing at The Studio Theatre, Subiaco Arts Centre in Hamersley Road, Subiaco. The remaining show dates for this two-hour ten minute production are Thursday at 2.00 pm, Friday at 7.30 pm and Saturday 15^th November at both 2.00 pm and 7.30 pm.

This season could be a sell-out, so booking is advised.

On arrival, you navigate past the stack of protective sandbags, before being handed a ration book (programme) and a poppy by the army corporal at the door.

 The set is fairly basic, with a couple of tea crates on one side of the stage that acts as Cis’ home or service headquarters. On the other side is a table and chair, Barbara’s bedroom study area.

A large screen at the back of the stage shows dozens of delightful photos of the actual couple, their friends and Liverpool during the blitz; brought vividly to life with some clever sound and lighting effects (Aaron Stirk).

       In her late teens, Barbara (Siobhan Dow-Hall) is a ‘nut-brown maiden’ living with her strict mother, Mrs Rigby (Alinta Carroll) in an upper-class suburb of Liverpool. The loves of her life are Rufus, her Scots terrier and Sabu (named after the cinema’s elephant boy) her cat. One day a twenty-two year old trainee airman from Marseilles, Francis – ‘Cis’ (Mark Desebrock) sails into the Liverpool docks. He has arrived in England to be trained as a fighter pilot.

       Cis is boarded out at the Rigby’s home, and is immediately attracted to the innocent and shy student, calling her Barbiche (French for goatee beard). After a few weeks, he is sent to Lossiemouth in the north east of Scotland, experiencing the freezing cold weather for the first time in his life.

       The affectionate billets-doux soon arrive at Barbara’s street (the ‘rhuBarb’?) – Similar puns come thick and fast from this young man (an ‘omelette’?) in the letters that are to follow. Then, one day Barbiche is told that he is about to leave on a bombing sortie to Essen.

In this day and age, very few teenagers will have ever handwritten even a simple letter on paper. A modern love letter now being an SMS, consisting of a smiley face with a kiss. It was so refreshing to hear the beautiful structure of these letters, and the amazing emotion that used to be created with the correct use of words. This couple were filled with innocent, sex-free love – true ‘agape’. Real-life Barbara is so lucky to have these letters to treasure; now Facebook is so fleeting and the youngsters of today will have nothing to look back on in their old age.

The melodious, crystal-voiced Alinta Carroll sang the wartime songs from France, Scotland England and Germany beautifully, all with the appropriate accents. Accordionist, Nikki D’Agostino, who accompanied her, is a WAAPA trained musician recently returned from the wars herself – with an ankle broken in Italy. Dressed in black, Nikki had a black beret with French plumes adorning it. The costumes were top notch, Cis’ uniform was that of genuine French airmen, and then of course, there were the stockings with the seams up the back.

Alinta played several cameos, and some hilarious caricatures. The main actors were Mark Desebrock, who despite an immaculate, faultless French accent is an Englishman. Equity Award winner, Siobhan Dow-Hall portrayed Barbara magnificently; she captured the couple’s nervous, first meeting and then subtly carried the love affair development through. The tender chemistry between the couple was outstanding, and when the time came for Cis to part, director Jenny slipped in her version of the famous scene from ‘A Brief Encounter’ – a truly romantic touch – and a caring hush fell across the audience.

Director Jenny Davis has done a breath-taking job of the adaptation and direction, with the music, photos and remarkable acting, the audience were transported to an era of austerity, and of people who genuinely cared about each other’s wellbeing.

Take the tissues along – for laughs as well as tears – and see this very special and touching love story.

This play is being presented by 2014 The Actors’ Hub graduating students. The Gap Course is a one-year programme, in a friendly atmosphere and led by dedicated, talented tutors. The course prepares students for performing arts auditions, for courses such as those offered by NIDA and WAAPA.

The two and a quarter-hour performances are at the Subiaco Arts Centre Studio, 180 Hamersley Road, Subiaco nightly at 7.30 pm (NOT at 8.00 pm as on some lists/ sites) until Saturday 1^st November.

Amanda Crewes designed the simple but most effective set that consists of a dozen or so, large, different sized white boxes that act like a set of Cuisenaire Rods to create mountains, staircases, and piles of rocks. The back wall is a large white cyc.

        Fifteen nerdy scientists, wearing white lab-coats and black horn-rimmed spectacles, enter the stage. Their leader (Harrison Close) apologises for the fact that the actors’ bus has not arrived and that they are going to have to act the 70 characters with no costumes or props.

      A young girl (Ciara Taylor) is faced with a major decision, which of the two young men in love with her should she marry? She chooses the man that promises her happiness (Justin Gray) rather than the more athletic suitor (Adam Droppert). They are married and soon the wife is asking for the midwives (Angela Mahlatjie, Ashana Murphy and Sarah Cajaglis) to attend a birth. Her husband is excited, but when the baby arrives and is a ‘mere girl’, the father is furious. Another midwife (Jerry Bates) tries to pacify him without success. The baby hears this dissent and in the years to come, refuses to talk. Years later, this mute girl, Shylyla (Emma Harvey) is now a young woman.

      Despite all of her parent’s love, gifts and attention, Shylyla is still silent, and then one day her father finds a beautiful, multi-coloured feather. The girl is immediately reborn, happy and talking non-stop. However, the feather blows away and the girl regresses. When the father sets out to find another feather, he discovers that it is from the blazerbird (Nicholas Allen) that is guarded by a young Prince. In a scuffle with the father, the Prince is killed.

     The King (Harrison Close) and his distraught Queen (Crystal Della Posta) order the soldiers to search the town and find the stolen bird and capture the murderer. The head soldier (Sarah Vertigan) and her group of soldiers search Shylyla’s house and at first do not find the bird, however, on the persistence of one of the soldiers (Caitlin Gee) they eventually discover it.

     In the next village, two men, TwoTwo (Jordan Holloway) and his cousin (Quaid Kirchner) are plotting how they will marry into the royalty and gain all of the surrounding lands. The cousins engage in a war with the King.

     Who will win the war? What will happen to the loving happy people of the land?

Throughout the play, there is a live musical soundscape on piano and straight soprano sax, composed and played by award-winning musician, Tim Newhouse.

Director Amanda Crewes has thrown the cast into the deep end. There is the saying, never have children in a cast, but almost as bad is having to perform FOR children. Phil Ridley’s play is like a junior version of ‘Game of Thrones’, with death, destruction and all the loveable characters being massacred, sacrificed and dying by the dozen. The poster states ‘suitable for 7+’, but although some of the adults were cringing at certain situations, the kids seemed to be totally absorbed, unmoved and loved every minute.

Do not worry, it is not all doom and gloom, there are some very funny parts and even the darker scenes are presented light-heartedly. The lighting and sound effects (Jamie Davies) are bright, colourful and interesting. The cast does not slow for one second of the two, 1-hours acts. There is singing, dancing, synchronised choreography and energetic fight sequences – a huge amount of work has been demanded of the cast, but after all that is what they are there for!

There are numerous messages in this moral loaded storyline, such as the importance of family, belonging, compassion and companionship; and how occasionally we make wrong decisions.

The cast were wonderful, energetic, engaging and had conquered all of the different genres and methods for grabbing the audience’s attention. An interesting piece professionally presented.