This very funny, adult play has bawdy and strong language. It was revived in July 2008 at the Duke of York’s Theatre, and starred Chris O’Dowd, Catherine Tate and Francesca Annis.

This very entertaining production consists of three, half-hour plays (no interval) and is being presented by the Melville Theatre Company at the Melville Theatre, on the corner of Stock Road and Canning Highway in Melville. The performances start at 8.00 pm on Thursday, Friday and Saturday nights until 23^rd July. There is one matinée on Sunday 17^th July at 2.00 pm.

The scenery is a very effective, crisscross arrangement of white muslin hangings against a black drape background. Designer, Susan Lynch has then added minimal furniture, just enough to establish the location. Stage manager Victoria Dixon and assistant Roy Sainsbury had a wonderful team who moved in rapidly and changed a kitchen to a bedroom in just a few seconds.

Lars Jensen’s lighting design had the usual floods, but employed new strip LEDs at the foot of the hangings, this helped them change colour simply and successfully. Great effect, with well selected colours for the action in each Act. Lighting and sound smoothly operated by Vici Richardson.

Act 1 – an apartment near the London docks, Feb 1996.

       Disinterested schoolteacher, Nick (Sean Bullock) has invited his warm, loving girlfriend, Helen (Georgina Kling – a solid, emotional performance) back to his flat for the first time in their year long, unrequited relationship.

     Nick has prepared a delicious meal and is about to make his important announcement.

Act 2 – Graham’s bedroom, Essex May 1997

        Shy, school laboratory technician, virginal Graham (Zac Bennett-McPhee) has managed to lure sexy schoolmistress, Michelle (Petrina Harley – the ultimate slut) to his bedroom.

       Could this be the answer to all of his dreams and even marriage?

Act 3 – Anne’s patio in Devon, August 1998

        In her late middle age and now retired, Anne (Joy Northover) is serving drinks to a visitor; an ex-work colleague, youngish Robert (Garry Davies) has travelled from north east of London to see his secret cougar, Anne, and share with her gossip of their old work friends.

Three very different tales, one intense, one light-hearted and the last, plain deep affection are an impressive collection for an enjoyable evening’s entertainment. The characters are well written and skilfully interpreted – from deep love to pure lust.

Director Susan Lynch can always be relied upon to give the audience quality and value for money. This is the type of play that can be watched and enjoyed on a basic level, or by reading between the lines, a much richer story can be discovered.

It was well worth leaving the warmth of home, on the foul night I saw it.

The two-week season ran at The Melville Theatre on Stock Road until Saturday 5^th December.

The scene is a storage and audition area of the Melville Theatre. To the right, on the stage apron, is the office. Central, in front of the stage at auditorium level, is Justin Freind on keyboard.

Jeff Hansen and Ben Cooke’s lighting setup is operated by Susan Lynch.

        The theatre’s most amazing thespian ever – in his eyes – Charlie (Alan Kennedy) is ignoring the committee’s desire, to have a musical representing their three decades of performances. Charlie wants the high drama of Shakespeare and Greek tragedy. Wisely, the committee have hired party co-ordinator, Fredrick (Sean Bullock alternating with Garry Davies) to make their celebrations swing. This led to wonderful light-hearted banter.

       The show started with first of the nine musicals that have appeared in the hallowed hall over the past three decades. So, with a rousing chorus from the cast of ‘A Funny Thing Happened On The Way To The Forum’ the show had a great start. Then Stan Schirmer and Trinity Ellis tunefully reminded us of ‘Scrooge’.

      The two next shows were presented by the soft voice of Ellie Hart in ‘A Chorus Line’, followed by the powerful, operatic voice of Katherine Freind in ‘The Dancing Years’. Her husband, Justin Freind, then joined Katherine as they jitterbugged and Charlestoned to the ‘The Boyfriend’.

       The laugh of the night went to Neroli Burton as she represented the ‘Old Time Music Hall’, gradually replacing the musical ‘bars’ with alcoholic ones.

       Amy Gunnell, Trinity Ellis, Amelie Broadbent, Amy McCann, Erin Whitehead gave an inspiring chorus of ‘Fiddler on the Roof’. ‘Sunrise, Sunset’ followed, it was outstanding with a rendition from Michael Trestrail, Julia Hern, Alyssa Billington, Blake and Cooper Jenkins.

      A sensitive and poignant version of ‘Marilyn Munroe’ from the musical ‘Blood Brothers’ was sung by Julia Hern and Darren Peterson; and as the tissues were put away, Ellie Hart joined in for the next song.

       ‘The Sound of Music’ was the winner of the Finley Award in 1984 – here it gave a rousing ending to this fun show. Katherine Freind and Children’s Chorus gave it their all. It rounded up with little Cadence Smyth giving a beautiful finale. Matilda Jenkins soft-shoed along with the lively final chorus.

The standard of singing and choreography was very high. Even the youngsters could belt out their pieces without losing tune or stumbling. Pleased I caught this show and look forward to the next celebration in 2045.

Sadly, Nora recently died aged 71, of acute myeloid leukaemia.

This series of brief monologues is being presented by the Melville Theatre Company, at the Melville Theatre on the corner of Stock Highway and Canning Highway, Melville. This production can be seen at 8.00 pm on Thursday, Friday and Saturday evenings until 19^th September. There is one matinee at 2.00 pm on Sunday 13^th September.

The attractive set, comprised four, open, wardrobe units, with colourful hatboxes on a shelf above. The garments hanging on the racks were in groups of mauve, red, green and burgundy (décor by Barbara Lovell, Kit Leake). At the side of the stage apron, was an office set – thanks to Peter Bloor, Ross Bertinshaw, Susan Lynch, Jacob, Lars and Vanessa Jensen.

The lighting and sound (Lars Jensen) were well designed and operated, with some clever touches to create the correct mood. At one point the luminescence even matched the script dialogue – electric blue.

       The narrator, Gingy (Joy Northover) sits at the side of the stage with an easel of beautiful artistically drawn fashion cards (superb, but no credit in programme) that remind her of her lifetime of outfits. Some getups bring warm memories, whilst others make her cringe. The garments recall three marriages, along with various tragedies. Her lifespan of clothes begins with a Brownies uniform and extends through many eras of her life.

     With four women (Cassandra Gorman, Petrina Harley, Sue Lynch and Kayti Murphy) dressed in black, playing numerous characters, we hear of parents’ inability to choose trendy clothes – preferring ‘sensible’, the first bra, to the little black number for the school ball.

     Then there are the magical materials of the day, healthy woollen outfits knitted by Grandma, sugared cotton dresses through to Spandex. Then there are those beautiful leather boots, and the matching accessories.

      We learn how many lovers lost to the wrong choice of clothing.

Vanessa Jensen is one of Perth’s most respected directors, so not surprisingly the direction of this show was slick and beautifully paced. When friends are relating an event, there is always one who can really keep you open-eyed and anticipating the next part of the story; Vanessa has her whole cast doing this. The actors’ faces and bodies illuminated their deepest inner thoughts. In short, two or 3-minute episodes for dozens of topics are examined in this lifetime capsule of clothing; most episodes have the audience laughing aloud.

At first glances, this looks like a ‘chick play’, and certainly, the ladies in the audience in their own daily lives, will have experienced most of the observations. However, the men were laughing just as much, as they saw their partners portrayed on the stage.

The style of this show reminded me of ‘The Vagina Monologues’, but on a much lighter level.

When the whole audience leaves the theatre with a broad smile, then you know the show is a hit.

Great fun, from a strong cast working perfectly as a team.

This 160-minute comedy can be seen at the Melville Theatre, on the corner of Stock Road and Canning Highway, Melville nightly on Thursday, Friday and Saturday nights at 8.00. The 20 minute interval is after 85 minutes, allowing the comedy to develop to its pinnacle in the second and third Acts.

The scene is the library of Marshwood House, a countryseat in Kent.

The set is possibly the most stunning that I have seen this year (designed and built by John, Anne and Sean Bullock, Jay Shaw, Alan Muir, Darren Goodison). It has quality antique furniture, a massive jarrah bookcase, an old-fashioned, carved fireplace and a set of patio doors. The trimmings were terrific and these even carried out through the French windows to the walled garden. Superb.

      In the library, the butler and family retainer, Crestwell (Kim Taylor) is teaching the young maid, Alice (Juliett Greenock) the finer points of service. The lady of the House, Felicity, Countess of Marshwood is awaiting the imminent return of her son, Nigel (Sean Bullock) from his long trip to America. He is to be accompanied by his new fiancée, Miranda (Tatiana Dalin) an international film star.

      The Countess (Susan Lynch) is talking with her young nephew, Peter (Darren Goodison) and dotty but loveable friend, Lady Cynthia (Geraldine Harrington). As the Countess is explaining what she has in mind for the couple’s future, the large, room doors open and personal maid, Mrs Moxton – Moxie (Sharon Greenock) enters. She is practically in tears, and explains that after two happy decades in service, for personal reasons she will have to leave.

       The happy couple arrive at the mansion, with self-centred Miranda living the dream. Then, as the family are dining, a friend, Don (Cameron Leese) arrives causing tension in the house.

Tarryn Harris (nee Bullock) is quite new to directing, but one could assume that she has been directing for years. Coward has a particular style of his own that demands the highest skills to present – and even then, some feel that Coward’s result is aged and stuffy. Tarryn, however has cleverly managed to keep the style and rich characterisation, making the script much more acceptable.

The play gets off to a very slow start, taking almost quarter of an hour to flow. This due solely to the playwright’s garrulous and verbose script, despite being beautifully delivered by Kim Taylor. Susan Lynch was wonderful as the manipulating mother and Countess, but it was Sharon Greenock who excelled as the personal maid – she really lived the part.

The cast can be very proud, their hard work, well-rehearsed play paid off wonderfully.

The lighting design by Lars Jensen was well considered and controlled by Barbara Lovell. Michelle Sharp’s costumes were correct for the period and the ‘class’ of the character, when class played a major part of the storyline.

Still a very funny play, although it would benefit from losing 30 minutes. Even if you have seen it before, this production is well worth a trip out on a cold night.