In previous years, the Upstart Theatre Company has given us memorable plays such as ‘Romeo and Juliet’ and ‘A Midsummer Night’s Dream’ as it was meant to be seen, raw and in the round, with the audience literally moving around. Here, the audience are seated for the whole show.

The set is simple, comprising various sized pine boxes. The lighting is almost ‘as available’, but this seemed perfectly acceptable. The costumes are dark blue vests for the lower class and soldiers, with white shirts and shorts for the nobility. There are no scene changes, the action simply moves from one area to another.

      The year is 1915. Singing ‘Once a jolly swagman’ a Venetian army of soldiers enter the auditorium.

      In a corner, an argument is taking place between the rich, but irresponsible, Roderigo (Ben Wilkinson) and Othello’s twenty-eight years old, standard-bearer, Iago (Patrick Downes). It appears that extremely jealous Roderigo is angry as he has given Iago money to arrange his engagement to the determined and self-possessed, Desdemona (Maja Liwszyc) but has not yet won her.

      Desdemona’s father, Brabanzio (Garreth Bradshaw), is a loud-mouthed and arrogant senator, who feels betrayed when he finds Othello (Maitland Schnaars), has secretly married his daughter and taken her to Cyprus. Army hero Othello, is a caring, well-respected man but because of his age and race (he is a Christian Moor – a black man), tends to be vulnerable and gullible. To make things worse, Othello has given the post of lieutenant to a fledgling soldier, handsome Michael Cassio (Geordie Crawley) and not Iago. Iago is furious so tells Brabanzio that Othello has actually kidnapped his daughter. Brabanzio is frantic and accuses Othello of witchcraft.

      When Brabanzio discovers that Othello is meeting the Duke of Venice (Tegan Mulvany), he decides to accuse and embarrass Othello in front of all the politicians. Surprisingly, when Othello explains how he really courted Desdemona the senate are very sympathetic. Desdemona confirms her love for Othello. Later, the Governor of Cyprus, Montano (Garreth Bradshaw) and several others go to the harbour to meet Othello. As they wait, Cassio clasps Desdemona’s hand. The cunning and conniving bigot, Iago, spots them. When Roderigo again challenges this heinous villain, he decides to implicate Cassio as being one of Desdemona’s lovers. On hearing this, poor Othello suffers tremendous mental anguish.

       That night, Cassio is slipped a Mickey Finn by Iago, and becomes extremely drunk before starting a fight with Roderigo. Cassio, who is subsequently stripped of his rank by Othello, stabs Montano. Iago convinces Cassio that by manipulating Desdemona, he will gain Othello’s favour; but in the soliloquy that follows, Iago explains how he intends to frame Cassio and Desdemona as lovers. Desdemona finds Othello feeling unwell. She offers him her handkerchief but lets it drop to the floor. Her maid, Iago’s wife, Emilia (Tegan Mulvany) picks up the handkerchief and gives it to Iago. This handkerchief, planted in Cassio’s room, is found by a Cyprian harlot, Bianca (Kat Shaw), who has Cassio as a much-loved ‘punter’.

      Desdemona arrives with Brabanzio’s kinsman, Lodovico (Chris Ratcliffe) who is carrying a letter calling Othello home and re-instating Cassio. Othello is shattered by the news.

    With Iago’s cunning and Othello’s depression, can there be any hope for the love and marriage of Othello and Desdemona? 

This is a fast moving play, presented by a company that always gives more than expected. The director is the well-respected Perth actor and comedian, Paul ‘Werzel’ Montague. The cast have captured the full depth of their characters, and with so much trickery, duplicity and passion this is essential. Although every actor was very good, Patrick Downes as Iago really proved to be outstanding – a truly nasty bit of stuff.

The director often had his actors performing straight to individual audience members, in Iago’s case, his shifty eyes really sent a shiver down the spine as he plotted his miserable schemes. Desdemona and Emilia had a wonderfully warm relationship that ended in genuine tears as their lovers cheated and lied.

Othello’s love for Desdemona could be seen in their eyes and the tragedy that ensued was tangible, as Iago’s lies became enacted. Plenty of action, packed with emotion – wonderful performances all around.

Powerful voices were often called for, but in the large open space of this theatre space, the odd reverberation distorted some lines of dialogue. This experienced cast soon learnt that good volume control gave a much better delivery.

There were a few laughs, songs to lighten the brutal tale. This is a play that is rarely performed, but even people that had no idea of the story thoroughly enjoyed the riveting performance. Most enjoyable.

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.