‘STAGE ONE’ is an initiative of the Theatre Arts course at Curtin University. Now in its 5th year, it offers Western Australian playwrights the opportunity to write and premiere a new play. It is then produced at the Blue Room Theatre, providing undergraduates with the acting and technical experience of working and exploring a new work.

Previous Curtin students, who have benefited from this perfect opportunity, include Frances O’Connor, Mandy McElhinney, Kate Atkinson, Clare Hooper, Kate Mulvany and Jess De Gouw.

This 70-minute dark unsettling play, with touches of black comedy, can be seen at The Blue Room Theatre, Perth Cultural Centre, Northbridge until Saturday 10^th December. Please check the performance times.

Alexander Gerrans set of Patrick Howe’s design, is a very convincing garage and store room. There are several very good weather and woodland effects. Lizzie Howard had some unusual and difficult props to acquire. The costume supervisors were Taylor Burtenshaw and Gemma Wilkie, who created realistic gore damaged clothes.

Joe Lui mentored both Noah Bateman with his realistic soundscape, and Kane Scriven’s wonderful mood lighting.

Stage Management ran smoothly thanks to Sally Davies and her deputy, Jack Wilson.

The whole production was overseen by Stephen Carr and Karen Cook.

The scene is today in the region of the NSW Blue Mountains.

     In the mountainous countryside is a Body Farm, this is where people who have left their bodies to science are left lying around in different soils and fluids so that pathologists can gather information on how quickly bodies decompose in different circumstances.

     When Anton died, his family found that he had left his body to the Farm; his sister (Jess Nyanda Moyle) is devastated that he did not have a proper funeral. One day at university, a girl with an angelic face and a nervous smile (Caitlin McFeat) approaches the sister, and gabbling away asks if she would like to join her church.

     In a nearby garage, owned by the aunt and uncle of #2 (Bianca Roose), is a group known as ‘The Family of the Book’ – who, for anonymity reasons, prefer to use numbers rather than names. Dressed in white forensic overalls are two threatening men #3 and #4 (Frazer Shepherdson, Sam Ireland). After painstaking planning, they have kidnapped the Body Farm’s caretaker (Ming Yang Lim) in order to gain access.

       A slightly dozy member of the group, #6 (Anna Lindstedt) arrives wearing non-standard ‘Family’ clothing. With her is the leader, #1 (Declan Brown) who, knowing that it won’t be long before the police arrive, decides to quickly move in on the Farm.

       After such planning and with God on their side, what could possibly go wrong?

The director and guiding light of this highly original play, is the multi award-winning actor and writer, Will O’Mahony; who on this occasion is assisted in the directing by Chelsea Gibson. The play has superbly observed and richly written characters. The action starts with humour and slowly works up to a gripping climax, followed by a scene that had the whole audience squirming.

The actors each knew their part in the story’s colourful jigsaw. Many very different parts working in perfect harmony. One small suggestion, when there is a great deal of shouting, either lower the voices down an octave, or speak more slowly – even in the wildest argument – as some of the diction was lost.

Adroit direction of a terrific script, involving an interesting set of characters and backed by clever technical skills. Strongly recommended, you will not have seen a play like this before.

Although this 55-minute, adult performance does not contain nudity as such, it does have attractive skimpy underwear, sexually explicit dialogue and raunchy acting, so it is recommended for ages 15 plus.

This daring Blue Room / Clara Loveny production can be seen at the Blue Room Studio Theatre, Perth Cultural Centre, Northbridge nightly at 8.30 pm. The season runs until Saturday 26^th November with a matinée at 6.00 pm on Saturday 26^th November.

Joshua Walker’s set comprises a large white dais, 60 cms high, centre stage, with a further smaller dais giving a pyramidal effect. Stage manager is Katie Moore. The lighting (design by Rhiannon Petersen) varied from the red-hot, sex scenes, to the cooler informal meetings, when a blend of UV and blue light was employed.

Leanne Puttick’s musical composition gave the perfect background to the variety of scenes.

        The theatre is pitch dark. Heavy breathing and panting can be heard. The lights rise to show two girls and a boy who are finishing a webcam porn scene. There is a fade to black.

        We see Alex (Elijah Melvin), a chef who is on his way home from work. He meets Zoe (Taryn Ryan), a shy veterinary surgeon who works at the local Animal Shelter. After a day’s work, Zoe smells of animal pee. She apologises to Alex, they laugh and the couple arrange to meet another evening.

        As a relief from his day’s work, and with Zoe in mind, Alex opens up his $35 a month, porn site and settles down for a night of solo, guilty pleasure. Zoe tells her friend, Nicola (Ann-Marie Biagioni) who works in a sex shop, about her new boyfriend. Nicola has a wealth of knowledge and plenty of sexual advice for her naïve friend.

        The relationship becomes adventurous, but seems to be going down a track that both do not seem agree upon. However, what happens in the bedroom stays in the bedroom – or does it?

Sex is always a difficult topic to depict on the stage, but Samantha Maclean and Timothy Green have blended plenty of humour into the storyline, helping make the topic more acceptable. Often directors and playwrights, possibly due to their own awkwardness, will hint at what they mean and the audience can quickly spot this discomfort, and in turn become embarrassed. Our daring scriptwriters jump wholeheartedly into the fray, no punches pulled. Occasionally, the actors chat with a friendly, informal air (and non-threateningly) to audience members, this helps the patrons feel part of their instructive adventure.

The bold, courageous actors are faced with quick, tongue-twisting dialogue and numerous acrobatic positions, and yet the pace of the show did not miss a beat. There were powerful and quite touching performances by this talented team.

I left the theatre a fully educated, satisfied punter.

The last Hammond Fleet Production was the sell-out season of ‘These Things Happen’ that won the ‘Best Theatre’ award at the Adelaide Fringe.

This joint Blue Room Theatre and Hammond Fleet Production can be seen at the Blue Room main theatre, Perth Cultural Centre, Northbridge nightly at 7.00 pm until Saturday 3^rd December.

A 60 cms dais is central stage; crowned with a beautifully Manchestered, double bed. The bedhead has drapes up to the ceiling. This muslin acts as a screen for superbly filmed and acted AV – set design by Joe Lui. The soundscape and video are the work of Joe Leach. Kennah Parker is the Stage Manager.

       It is early morning, Paul Macbeth (Greg Fleet) awakes and cuddles his wife Lainey (Nicola Bartlett). After a personal tragedy, could this special day breathe new life into the Macbeths? It is Election Day in Cannington, and the Liberal candidate, Paul Macbeth is hopeful of winning the seat. However, in his sleep he dreamt of three crony constituents (Sarah McNeill, Summer Williams, Russya Connor) who tell him that he will become Thane of Cannington, Thane of Claremont and King hereafter – but with a few limitations, including ‘until lions crawl the street of Perth’.

      ‘Mac’ is a charismatic person but with a shortage of brain cells. On the other hand, Lainey is an ambitious and powerful manipulator. They watch Dennis Commeti (Matt Dyktynski) on TV as he passes to the live reporter, Caitlyn Beresford-Ord in Cannington for a vox pop. A magician (Matt Penny) is trying to work his election wizardry, but a snarling, venom spitting woman (Kate Keady) states her disgust at Macbeth and the whole election.

      Soon the WA State Premiere (Shaun Micallef) is congratulating Macbeth on his success, not realising that Lainey has a devilish scheme to push her husband’s career further. The congratulatory TV interview turns sour when the reporter (Roz Hammond) asks a few pertinent questions. Even Macbeth’s best friend, Banquo (Luke Hewitt) has doubts about Mac and Lainey’s tactics.

      What has the future in store for the Macbeths?

The show is a two-hander, with all of the other characters appearing on the screen. Some of WA’s top actors present these multi-media, cameo performances, at times very funny, then extremely dark.

Joe Leach’s soundscape had a few masterful touches, such as the sound of a massive storm breaking when a certain email is sent. By using a wide angled lens, Joe has created a slightly distorted appearance to the facial features, adding an extra depth of menacing, especially to the ghost scenes. Joe Lui’s lighting was warm and dim.

Normally the public suspect some of the dirty tricks that take place behind the scenes, but after Donald Trump bringing the dirt to the surface, this wonderful play brings plenty of smiles, chortles and gasps.

Greg Fleet has presented us with a script that blends action, several hundred years apart that is high drama whilst presenting the farce that is politics today. The dialogue is contemporary, although the many appropriate Shakespearean quotes make one think how current the Bard’s stories still are.

Greg presented the character of the arrogant, incompetent politician perfectly. Nicola Bartlett was amazing as the ambitious wife, who starts as a caring partner and gradually melds into a schizophrenic megalomaniac, and finally becoming a pathetically, sad case.

Both actors gave rich and powerful performances.

It is always good to see theatre with something new, clever and brilliantly presented. Loved it.

This captivating, 80-minute heart-rending, enthralling Red Ryder production (Benj D’Addario) can be seen at the Blue Room Theatre, James Street – in the Northbridge Arts Complex – each evening at 7.00 (time was changed) until Saturday 1^st October.

There is an AUSLAN production on 20^th September.

As well as being named one of the Top 10 London Play of 2013, the ‘Scotsman’ newspaper awarded it a prestigious ‘Fringe First’. On Broadway the pilot was played by Anne Hathaway.

The set (consultant, Frances Danckert) is simply a two-metre square, black dais and a black leather office chair. A wisp of smoke drifts across the stage. Karen Cook’s lighting was exceptional; comprising dozens of spotlights or small floods, she picked out the areas with carefully chosen lighting angles. The subtlety continued in the soft, background music (Brett Smith) and the soundscape with its magnificent sound effects. The music complemented the highly realistic, video design (Mia Holton) depicting pictures from a plane’s computer cameras.

The stage manager, Georgia Smith was operating the consoles. There was probably around a massive 200 lighting and sound cues, most of them requiring split second timing or subtle changes, and she did not miss a single one. Superb work.

The minor scene changes just ‘happened’ in the pitch dark.

      A powerful fighter jet, an F16, roars low overhead. The lights rise to show a smiling pilot, proudly dressed in a sap green, American Air Force jumpsuit. In a slight neutral American accent (coach – Luzita Fereday) the aviator (Alison van Reeken) explains how she has flown numerous types of planes, risen through the ranks and is now flying the ultimate fighting machine. She is an omnipotent fighting God.

      We learn of her joy, flying through blue beyond with her teammates and their amusing camaraderie. However, shopkeeper Eric becomes the new love in her life, and gives her the only thing missing – a baby. Unfortunately, due to health and safety regulations, she can no longer fly and is grounded.

       Three years later, she calls into the office, simple routine and is to be allotted another squadron. However, fighters are now going out of fashion and she is now assigned an $11 million ‘Reaper’, a type of drone. This will mean security, regular hours, an air-conditioned office and be home safely to the family each night. What more could a pilot ask for?

Who in their right mind would accept a part that is 80 minutes of monologue? You would have to be mad – or exceptional. Alison is exceptional, having already won the most prestigious theatre award, Equity’s ‘Best Actor (Female) of the Year’; even so, this intense play is still the ultimate challenge. Guided by an Equity award-winning director, Emily McLean, success was practically assured. All there was left was a colossal amount of work! Could this be the performance of the year?

There was little physical action by the actor, other than meaningful, discreet face and body movements. The director has carefully chosen a crew that is oozing quality, to accompany this solo performer’s tour of action and ensure a rich, vivid image.

I always feel sorry for actors in plays with tragic or surprise endings, as inevitably the applause is muted whilst the mesmerised and drained audience gathers its breath after the assault.

It is always good for publicist to have a thought-provoking show that they can be proud to promote; Alison Welburn has the very best.

Any student studying, or thinking of studying acting should see this play – it will set the bar for you and leave you gasping. A triumph.

These bold new creations are showing at The Blue Room Theatre, 53 James Street, Northbridge each evening – for two hours – commencing at 7.00. The season runs until Saturday 10^th September, with a Saturday matinée at 2.00 pm.

The first week of ‘Tilt’ had five diverse pieces; this second series has four equally as exciting offerings.

The performance making course is one of the few that trains each student in so many aspects of stagecraft. The idea of the course is to encourage lateral thinking and originality, whilst making the student accept responsibility for their decisions.

The skills cover the full gamut, from the initial draft, actor guidance, through the direction process to the final production.  As can be seen in these brilliant plays, playing safe is not an option for these students, they must push the envelope. Their training covers from classical to contemporary, from book to cinema and all in between – there are no limits.

This collection of pieces mainly demonstrates contemporary movement.

The superb lighting and sound was designed and operated by Phoebe Pilcher. This called for numerous accurate cues in fast succession. Faultless.

‘Where the Giant Fell’ was written and devised by the cast – Jennah Bannear, Laura Cameron, Amy Murray, Reilly O’Byrne-Inglis and Gala Shevtsov, and their director Frieda Lee,  (40 minutes)

Drew Krapljanov composed the incidental music.

The set comprises a boat constructed with milk crates, filled with coloured beer bottles and night-lights. Around a body lying in the corner, are dozens of miniature (5 cms high) houses, with their room lights on. Handheld torches supplied much of the lighting.

      Several years ago, Joséphine’s (Jennah Bannear) father left home. Now she has decided to find him. She was told that he was living in ‘a shit hole at the edge of the earth’. So, adapting a boat, she sailed to a beautiful tropical bay only to find that Jack, the local pub owner, had disappeared. In fact, there were no men around.

     Joséphine spoke to the broken-hearted barmaid, Jen (Laura Cameron) and discovered that another girl, Bea (Reilly O’Byrne-Inglis) is pregnant and the child’s father has gone. A strange girl, Pete (Gala Shevtsov) is also searching for her father, but being a little simple could she be mixing facts with her favourite fairy-tale?

     The only stable person in this seaside village is Abagail (Amy Murray), or is she?

What appears at first to be a modest story, gradually unfolds to show several very clever story threads. The cast build up the tension perfectly, to a disturbing climax. Very good character development. Chilling. Congrats.

‘The Disposables’ was written and devised by the cast, Adam McDowell and Sam Stopforth. I can find no credit for the wonderful Spanish stagehand. (10 minutes)

        In a pink – sorry ‘peach’ – jacket, Ben (Adam ‘Dowey’ McDowell), a suave stagehand who is a legend in his own mind, has decided to grab his chance of 10 minutes of fame between Acts, to bring quality to the evening. With stunning prizes on offer, he tries to lure the audience to join his act.

This is a very funny, well-observed look at a typical, insincere personality of the game show host. He has all of the smoothness of an echidna’s bottom.

Not to lose out, his friend Jack (Sam Stopforth), who is sweeping the stage floor, decides that he too can bring culture to the audience by relating an ode in Shakespearean style. Very clever, and when delivered with a sincere, stiff upper lip it increased the humour. Great fun. Well done.

 ‘Hunting Beauty’ was written and devised by the performer, Sarah Pantlin. (15 minutes)

The musical accompaniment was by Kevin MacLeod.

       An immaculately dressed model, Lilith (Sarah Pantlin) enters – strutting in catwalk style. She stares superciliously at the audience, before entering her dressing room and placing her makeup suitcase in front of the mirror.

      Living up to being a ‘Storm Goddess’, the meaning of her Hebrew name, Lilith describes her wonderful makeup, what it has done for her skin and what it could do for others – if they only ‘buy, buy, buy! Her brand’.

      However, she seems to gloss over the origin and testing of the products involved in the making.

Very clever script. Sarah slowly draws you under her spell, first subtly and then blatantly pushing the sales of her goods. Wonderful performance.

‘Rocketman’ was written and devised by the cast, Sean Crofton, Phoebe Sullivan and Jessica Russell. (30 minutes)

      Two women, Alex (Jessica Russell) and Jane (Phoebe Sullivan) are dressed in spacesuits; along with fellow astronaut, Lewis (Sean Crofton) they are trembling from head to toe as their rocket ship hurtles through space.

      We flash back to their initiation course, and the various physical and psychological tests they undergo before selection. Are they really the calm, even-tempered people that base control thought they were?

A script with a great deal of depth. Well presented, with convincing action and excellent effects.

These short plays clearly demonstrate the immense talent of the students and the quality of their training. A wonderful night at the theatre.

This 55-minute, Sean Guastavino production about eco-disaster, can be seen at 7.00 each evening until Saturday 27th August, in the main theatre of The Blue Room Theatre complex, 53 James Street, Northbridge, Perth.

The scene is a filthy, damp bunker; a most convincing set from designer, Matt McVeigh and set constructor, Matt Crock. The walls are graffiti sprayed black concrete. The low ceiling is comprised of white slabs. Graphic designer, Joseph Dennis added the finishing touches.

The sparse furnishings include a camp bed, a few milk crates, and a couple of 20-litre water bottles. Centre stage is a tub of compost containing a pathetic, dying tree with the odd shoot on the branches.

The production was stage managed by Georgia Smith.

    It is early morning, obsessed and deranged Margo (Zoe Street) is worshiping the failing tree that is struggling to grow in the bunker where Margo has lived for decades. Margo compliments and praises the struggling plant in the hope it will blossom again.

    Thanks to climate change and nearby chemical works, the whole area for kilometres around has died off. Not a tree, bush or blade of grass remains. It is therefore essential that Margo does her best for this remaining tree. Like Lord Byron’s ‘Prisoner of Chillon’, she never dares to leave her prison.

     Margo shares the bunker with a loving, sensible young man, Flint (Peter Lane Townsend) who everyday goes in search of potable water, and tries gleaning the minimal remaining food. If he is lucky, he may even find a few seeds that can be planted for the future, but with the chemical works gestapo patrolling around, it can be extremely risky.

     How long can this dire situation go on? Is there light at the end of the tunnel?

The topic of ‘climate change’ as a theme for a play did not exactly fill me with enthusiasm. Was this to be another message bashing experience? Absolutely not. This was something exciting and completely new.

When a playwright directs his own play the result is rarely satisfactory, but Monty has proved his immense skill in both fields by giving a truly gripping play. The two amazing actors had us on the edge of the seat as the tension rose. The clever lighting by designer Rhiannon Petersen, accompanied by Alex and Yell’s sound design, gave a tremendous climax that shook the building and surprised us all.

It is always good for a production marketer to have something genuinely worthwhile to promote. Amelia Tuttleby has an outstanding play to offer the lovers of quality theatre.

This City of Perth’s Winter Arts Festival, 50-minute production, which has inoffensive adult concepts, can be seen at The Blue Room Theatre, 53 James Street, Northbridge.

The performances start at 8.30 each evening until Saturday 9^th July.

A mantelshelf clock chimes and the pendulum ticks. In the corner of the 60’s style sitting room is an old TV on a G-plan table, a standard lamp and an old, easy armchair. In the centre of the room is a solid oak dining table, buried in jigsaw pieces. The pieces are in thick layers all over the floor. Not just one jigsaw, but 2-3 dozen 1,000 piece sets – all mixed together.

This unusual set design is the brainchild of Isabel O’Neill. Matthew Osborne’s clever vision and lighting design is combined with the graphic designs of Rhys Morris. The tech operator is Tim Green who works closely with the production manager Amelia Trenaman.

       As the clock stops chiming, the elderly recluse, Gwen (Samantha Chester) awakes. She puts down the National Geographic magazine resting on her lap, and picking up a cup of cold tea from the sideboard, she shuffles across to the table. Pushing aside some of the jigsaw pieces, she starts assembling another picture.

     Amongst the pieces she finds a few small, audio tape cassettes. Selecting one, she inserts it into a machine on the table. The audio tapes are memories of significant times of her life; these clippings from TV and radio, are of famous events and musicals – Elvis is her favourite – they give the old dear security from the fast moving dangerous world outside.

     Whilst watching the 1969 July moon landing her life changes.

Sam Chester’s slow, physical theatre radiates warmth that immediately has the audience empathising with the old lady – Gwen is someone every one of us knows well, perhaps a mother, a grandma or maiden aunt that some members of our family may think is a little dotty, but is still greatly loved.

Frances Barbe’s direction is blended with dramaturge by Victorian College of Arts’ graduate in dance, Julie-Anne Long. With melodic backing by Sydney based composer, Ekrem Mülayim, the result is an almost dream-like performance from Sam.

This play is unusual in its presentation, almost without dialogue and with many loving recollections from the past. A poignant, loving look at old age.

This ‘Jeffrey the Cat’, 70-minute Elinor King production has adult concepts, and is part of the City of Perth’s Winter Arts Festival.

This superbly written and structured drama – with a great twist at the end – can be seen at The Blue Room Theatre, 53 James Street, Northbridge where the performances start at 7.00 each evening until Saturday 16^th July.

Chris Brain’s set design is stunning. The scene is the back alley at the rear of the ‘Man Hole’ gay club. There are mountains of black bin bags rotting amongst the decaying brickwork, along with discarded shopping trolleys and boxes.

The lighting designer, Chloé Ogilvie came from the wilds of the bush (well Tom Price) to WAAPA to train. Her subdued lighting and subtle control of the faders helped developed the most realistic slum conditions. The whole effect is topped off by yet another WAAPA trained student, Taylor Everitt, who provided the soundscape. This show has a great deal of work for the stage manager, Rebecca Davidse.

       Tank (Maitland Schnaars) is an Aboriginal down-and-out, living with as much pride as society allows. He spends his day listening to his portable radio and drinking bottles of wine ‘acquired’ from the local grog shop. His best friend and arguing partner is Fred (James Hagan) an ex-radio announcer who lost his family, job – everything.

      One night, a half-dressed gay man is thrown out of the club and into their alley. This is Terry (James Taylor). Terry is less than polite to Tank, so the hobo forces the young man to drink his cheapest and nastiest grog. The man becomes comatose, and this is where the problems begin.

 

This story is a superbly observed piece, the dialogue is true to life and fits the characters perfectly; the topic may be a little heavy, but there is dark humour and raw ‘real life’ contained within, giving the tale the necessary lift. Just when you think you have the full picture of the characters, and you know where the story is going, the detrimental effects of the grog show in a most unexpected and dramatic way. Splendid writing from an author who developed his creative skills with ‘Playwriting Australia’.

Talented director, Ian Wilkes has gathered three very experienced actors, who were filled with unrelenting energy and wonderful chemistry, the result was three amazingly powerful performances. Not much wonder there were gasps and ‘wows’ from the audience at the final curtain.

This quality theatre is difficult to fault, and I am pleased to announce that the show is going to travel across to the eastern states to demonstrate WA’s capabilities.

This 45-minute play is part of the City of Perth Winter Arts Festival, and it is recommended for ages 15+.

This presentation can be seen in the main theatre, at the Blue Room, 53 James Street, Northbridge each evening at 7.00 pm, with performances until 25^th June.

Could Tina Turner’s disc of 1984, with the same name be the idea behind this play?

The scene is a bright, white laboratory and boardroom in a pharmaceutical factory. There is a long white Board table with white leather cubes for seats (designer Olivia Tartaglia). The numerous red rose petals seemed to represent love and truth. The plain set allowed the lighting designer (Scott McArdle) and the soundscape designer (Shaun Pickett) to cleverly add the various moods. The stage management is by Liz Newell

      An International Pharmaceutical Group are developing a complex pill – ‘The Remedy’ – that can cure a broken heart and remove any romantic stress or conscience. The company seems to be run by a Board of automatons, all in mindless tune but sure where they are heading.

     With so much money at stake, and increasing vocal opposition from well-known, global personalities, a Board meeting has been called. The CEO, board member three (Phoebe Sullivan) is a bully who will try anything to succeed.

    In charge of product promotion is smooth talking ‘number five’ (Tristan McInnes), but like the others he has been chosen to be the CEO’s ‘yes’ man. ‘Number one’ (Zoe Hollyoak) has great, but whacky ideas, ‘number two’ (Tristan Balz) is a lacklustre married man and ‘number four’ (Mariah O’Dea) a shy girl, looking for love and attention.

    A mixed team controlled by one omnipotent leader.

    When the CEO comes across a shy, gullible girl (Jacinta Larcombe) who is happy to act as the guinea pig for the drug trial, the drug’s success must surely be just around the corner.

Director, Rachael Woodward, has selected a skilled cast with proven credentials, who physically look different and then carefully matched the play’s personalities to their appearance. With some lateral thinking, the director has given the play a range of genres.

The cast members have created an interesting script, with numerous laugh-aloud moments. The actors have several characters each to portray, and without the need for a costume change, they capture familiar personalities with flare and energy.

This was a fast moving, fun-packed novel show. Professionally presented both by the actors and techs.

After an extremely successful season at the Melbourne Fringe 2015, where it won ‘Best Emerging Indigenous Artist’, under Anna Kennedy’s management it also won 2 tour awards. The show conquered the Wellington Fringe (NZ) and Adelaide Fringe 2016, winning Best Emerging Artist.

‘HART’ now returns to Noongar country at The Blue Room Studio Theatre, 53 James Street in Northbridge. The 50-minute performances run nightly at 8.30 until Saturday 11^th June. There is one Saturday matinee at 4.00 pm.

On the floor of the completely matt black set is a two-metre diameter, ring of white flour. Within this circle is a black chair. Seated on the ground nearby is a young Noongar man, dressed in a grey T-shirt and grey shorts. Set and costume design by Chloe Greaves and stage managed by Tonie-Rayne Steele.

        The lights are dim (lighting designers: Shannah McDonald, Katie Sfetkidis), a young man stands, smiles and introduces himself as Ian Michael; he turns to face the rear wall of the stage, where dozens of photos of aboriginals from the past, many most disturbing, are shown in a five minute sequence. One wonders how, less than a hundred years ago, man could treat a fellow man in such a way. These carefully edited visions by Michael Carmody, matched the clever composition of sound designer and composer, Raya Slavin – whose CV experience reads like a Who’s Who of Australian music. The images changed with the beat of the music. As the photos moved back in time, Raya’s haunting music seemed to be played backwards (?), as in the Beatles ‘Day in the Life’ giving an extra depth.

     There then followed a sound sequence of snippets from radio and TV. The clips included the ‘Sorry speech’ intermingled with some jaw-dropping, politically incorrect comments from the past 50 years, spoken by well-known, admired politicians, celebrities and self-opinionated radio presenters.

     Michael explained that he was about to tell us stories of the stolen generation and abuse from the 1930s to the 1980s. He blended the testimonials and experiences of 60 Aboriginals with those of his own family.

With the horrendous news stories of thousands dying in Syria, massive death figures from famines in Africa, the numerous boat tragedies, the average person can be hardened to the huge, detached figures. Likewise, for many people the sad reaction to the Stolen Generation stories is ‘Oh not again’ or ‘heard it before’. However, like the previous topics, if you haven’t met anyone who has actually been in this situation, experienced and suffered, one can easily brush aside the feelings.

Very wisely, Ian Michael did not lecture the audience with impersonal figures, but he told us intimate tales in such a way that you, the audience, actually felt as though you were part of the family concerned – and then Michael delivered the catastrophic punchline.

The stories were filled with love, teetotal relatives who really cared, close family bonding, but because of their colour and mad politicians, our Aboriginals were considered incompetent parents.

Our half cast story teller then explained how as a child he played perfectly happily with Wadjela kids, not noticing the skin difference until he was told by ‘wise authorities’ – and then followed a confused, heart-breaking period of not being accepted by either the white men or the Aboriginals.

Under the direction of Penny Harpham, the stories were communicated with warmth, perfect enunciation and pace, as Michael drew you into his turbulent past. He managed to link the events to everyday happenings to those in a typical, modern day family; the result was that the audience left the theatre, emotionally aware and feeling as though their own family had been raped, violated or disrupted. Very clever writing, impeccably related. The personalising of the testimonials really hit home to the audience.

Delivered free of over-sentimentality and devoid of self-pity, the facts of hard hitting stories of bravery and resilience, spoke volumes for themselves.

A wonderful, personal revelation. A top class show, most worthy of its International awards.