This fast moving, 75-minute show about confrontation, is in the main Blue Room Theatre, Perth Cultural Centre, James Street, Northbridge and runs nightly at 7.00 until 28^th May.

The opening scene is the sitting room of a comfortable flat, with coffee table and settee, all in cream / white. The walls are covered with numerous, small artworks.

The three units forming the walls are rotated, and we find ourselves in a down market, somewhat sleazy pub. A clever and innovative set from WAAPA trained, Tessa Darcey and stage managed by Georgia Smith.

Joe Lui’s powerful and dramatic soundscape is taken to a new level with the stunning; electro-soul music is by Fremantle’s ‘St. South’, the work of instrumentalist and haunting vocalist Olivia Gavranich. Olivia has also composed for TV dramas.

      Quiet and easy going Max (Peter Lane Townsend) and his warm, healthy living, girlfriend, Norah (Maja Liwszyc) are having a relaxing night at home when an old, childhood friend of Max’s arrives. She is Blythe (Emily Kennedy) tense, stroppy and begging for an argument. She has recently broken up with her long-term partner and is looking for support and guidance – but is unlikely to accept it.

     The scene changes to the local pub, where barmaid Blythe is cleaning up for the night, before setting off home. At the last minute, a middle-aged man, Dean (Benj D’Addario) comes in wanting a drink – and perhaps a bit of female company, unaware that Blythe is more interested in girls. Even so, Dean will play a major part in her future life.

The much-admired director, Emily McLean, has worked several times at the Blue Room and for the Black Swan State Theatre Company, always giving us a play to remember. She is a dedicated director, carefully considering every aspect of her productions. Emily has selected a very capable cast, from the highly experienced Benj to the relative newcomer, Peter.

Emily Kennedy gives an amazing performance, filled with emotion ranging from heartbreak to raging anger and guilt.

This is a cleverly written play, with the action taking place on several ‘levels’. The strong, well-focused performances gave justice to this excellent play. Highly recommended to those that appreciate quality.

The stage has a two metre high, gold shimmer curtain totally covering the walls on three sides. The floor is pale blue with gold writing, stating ‘All that glitters’. Above is a mirror ball. Designer, Tessa Darcey has fashioned a wonderfully warm and exciting nightclub location. She has also created the costumes of gold lamé onesies, like spacemen’s suits, for the four cast members.

The lighting and sound design by Joe Lui has been carefully thought out, ranging from a lively scene to a stark and dark, lonely location.

       To loud Taylor Swift music, the four Hunters dressed in gold, with sparkling gold dust on their face and hair, enter the stage. They appear to be hugging or caressing an invisible baby – a refugee. After an energetic dance routine, one of the male Hunters (Chris Isaacs) steps forward and explains how their aim is to ‘save’ a refugee from being deported every few minutes. A counter appears on the rear wall stating that so far, no one has been saved.

       With all of the pseudo-sincerity of the actors in a TV advertising programme for kitchen appliances, the four smile and explain their aims. We are next invited to join Chris and Arielle (Arielle Gray) with two of their friends (Adriane Daff, Jeffrey Jay Fowler) in their tastelessly decorated dining room. Adriane and Jeffrey – with ham acting (intentional) that would make ‘The Days of Our Lives’ look like high drama – explain to their hosts how much more they have done for the suffering minorities.

       Will a heart rending, arousing speech and an amazing tap dance sequence by this highly dedicated team save a few more dozen downtrodden lives?

Talented director Gita Bezard has packed this show with subtle laughs. From the dryly delivered, yet overstated performances with the flowery ingratiating script, the belly laughs flowed non-stop. This highly experienced cast, with Equity nominated members, had the audience in the palms of their hands. Each actor played several characters, from shy to bold, from wimpy to orator; the whole of life is packed into this fun hour. A great start to the Blue Room’s new season.

This powerful Premiere is a Nest Ensemble and Blue Room presentation, in conjunction with Pride Festival. It can be seen nightly at 7.00, in The Blue Room Main Theatre, 53 James Street, Northbridge. The 60-minute shows are for one week only, running until Saturday 22^nd November. There is a 4.00 pm matinee performance on Saturday 22^nd November.

The stage is divided into three parts, a home dining room, an office, and a small ward in a private research hospital. The office is a mountain of psychology books. The ward has a Heath-Robinson, scruffy arrangement of pipes and wires, all held together with packing tape. This wonderful design was conceived by WAAPA trained Tessa Darcey, and built by Phil Miolin.

         In the late 1940s, the trophy bride (Margi Brown Ash) of a serviceman has a baby boy, Joey. Being a trophy bride, she is preoccupied with her appearance and so has little interest in the child – a ‘refrigerator’ mother. Very soon, she sees that the baby boy is not responding normally, and when she consults the local paediatrician, Dr Bruno Bettelheim (also Margi Brown Ash) who is a world-renowned child psychologist and personal friend of Sigmund Freud, he diagnoses that the child has autism. Doing what she thinks is the right thing for her boy; she hands over Joey to the doctor to be cured.

       Now, Joey is 9½ years old (Philip Miolin) and spending all of his day in his pyjamas. Having been brought up with machines and instruments all of his life, even when he pees a light tells him when he has finished, Joey wants to become a machine. His mother wants him back home.

      Now that Joey is in Dr Bettelheim’s institution, will he ever be cured and get out to a normal life?

Knowing that this is based on a true story – published in Scientific American in 1959 – watching this powerful, dramatic presentation left the audience gasping at the cruelty that was being allowed by the medical boards and health authorities only 50 years ago.

Singer Brenda Lee was known as ‘little miss dynamite’ but even her exuberance pales against the highly dynamic, diminutive (1.50 cms tall) Margi. Looking like Einstein on drugs, Margi has magnificent stage presence, filling every square inch of the stage as she brings to life the mad, obsessed scientist. With clever direction from Leah Mercer, we found ourselves being drawn into the misguided logic of the admired quack.

I have known Phil Miolin for more than a decade, but behind the special mask designed by Per Brahe, his display of nerves and quivering uncontrollably, he was unrecognisable.

Karen Cook, the lighting designer, has put a great deal of thought into the illumination. The home is warm and soft lighting. The child’s ward is cold blue lighting, with several scenes lit by small spotlights on Joey’s helmet. Sound designer, Joe Lui, took us from soft music to the full 100 decibels, in stereo, of a plane taking off. Joe always gives that little extra. The completely mad experience being handled by stage manager, Jessica Harlond-Kenny.

The unpredictability of the situations and the fast pace of the delivery – much of the hour was an impeccable monologue from Margi – kept the audience enthralled. There are plays that are simply disturbing but admirable, but this was something very special. Masterly performances, a tight script, and a wonderful production.

A very short season, so try to catch a performance or regret missing the show.