This perceptive, but slightly predictable insight is being presented by the Wanneroo Repertory at the Limelight Theatre, Civic Drive, Wanneroo. The 2-hour performances commence at 8.00 pm on Wednesday, Thursday, Friday, and Saturday evenings until 26^th August. There is one matinée at 2.00 pm on Sunday 20^th.

The scene is Noosa in 2007. An impressive, single set (designer Rob Benson-Parry, built by Tim Riessen and Dave Browning) is of a modern house with high, plain grey walls. The décor is a set of illuminated louvered windows, with one large picture window at the rear, showing the sky beyond.

The left of the stage is Toby’s home. The right is Ron’s Noosa home, and on a central platform at the rear, is café.

Beth Crowley, Rachel Williams, and Cherilyn McMeekin care for the stage management.

Rob Benson-Parry and Jillian Betterton’s lighting is very well considered, and is used to selectively move the action around the stage, from location to location. The sound operator was Kim Elford, who played first class musical backing, selected from the works of local musician and vocalist, Kieran Ridgeway – an absolute delight.

     When left wing, Toby (David Nelson), a once ‘hard-hitting’ but now failing, documentary maker reaches 60, his wife Ros (Rosalyn Anderson) decides to throw a party, but Toby has very few friends and just wants to forget the event. The only person that might come is an old friend, Ron (Michael Balmer), whom Ros secretly detests. Ron is a wealthy property developer who has ruined the area, but earned himself $200 million in the process.

     Ron’s wife, Natasha (Gillian Binks) tries to avoid the invitation – without success. On the night of the celebratory dinner out, Toby takes along his son Rick (Nick Thomas), a struggling, singer / songwriter. Likewise, Natasha brought her Greenie daughter, Emma (Catherine Dunn), a ruthless corporate lawyer. It is an evening when no one is on good terms with any other. Even the children have trouble with their parents.

     The day after the party, Toby decides that they must move to Sydney and be with people of a similar nature to their own, but can this really be the answer?

 This play is Tim Riessen’s directing début, but sadly, he has chosen what must be one of David Williamson’s worst plays. The script had chunks of complicated finance theory, coupled with heavy going accounts of the politics of the day. Some of the dialogue was so complicated that it was a major task for the talented cast to cope; and the audience? Well their eyes probably glazed over. Having to concentrate so intently upon the script caused the actors to slow their pace, loose their enunciation and have a weak projection. The body language and chemistry at times disappeared. Very sad because the cast were word perfect and working hard – they deserve credit, in fact a medal.

The storyline was fairly predictable. As a David Williamson fan, I was disappointed.

This two hour, hilarious show by the ever-reliable Stirling Players, can be seen at the Stirling Theatre, in Morris Place, Innaloo on Thursday, Friday and Saturday nights until 14^th May, with curtain up at 8.00 pm. There are also matinees on Sunday 1^st and 8^th May at 2.00 pm.

The main set is of an untidy, family home sitting room. On the apron at the side of the stage, is a Marriage Counsellor’s consulting room (Jim Chantry). There is a surprise set in the final scene (artwork Margot and Luc Watkins).

       The curtain opens to reveal a Marriage Counsellor (Jenni Glassford, continuing her everyday occupation?) chatting to a couple with marital problems. Barry (Tim Riessen) has been married happily for many years to Sally (Janet Weston – excellent), however, he has now retired and cannot understand why his domestic tasks should be increased, even though Sally is still in fulltime work.

     We flash back 3 months and find Barry languishing in his armchair, even though the room is desperately in need of cleaning. As he is reading, a young girl, Alice (Gema Seenarain) wanders into the room. He has never seen her before. It becomes clear that she is the new girlfriend of his lazy, useless son, Cameron (Steve Anderson).

      Barry and Sally’s elder daughter, Alisha (Natasha Van Odyck) is madly in love with an obsessive conservationist, James (Kieran McDonald), whilst the younger daughter, Kya (Neve Havercroft) is happy just to annoy everyone in order to get her own way.

      When Grandad Albie (Jim Chantry) arrives, Barry’s influence in the house seems to finally evaporate.

       Two other love interests are played by Melissa Skeffington and Carole Wilson – and there is little Chanel.

Few directors are capable of writing and directing their owns plays. Peter has had years of experience at both and although now proficient enough to tackle this play himself, he has recruited the help of an assistant director, Jann Rutherford.

The script was very well written, with the dialogue and attitudes of the young and old perfectly observed. I could hear the play dividing the audience, with the women commenting (during the play) ‘of course the house is dirty, men never do any housework’. Whilst the men could be heard sympathising with Barry, and commenting on the kids being glued to their mobiles.

The acting pace was superb, but although the scene changes were good, they could possibly be better planned. The fast moving stage team could carry props onto the stage when entering to clear the previous set, instead of making two journeys. On a floodlit stage, don’t worry about chair positions being correct to the centimetre. Even slowish scene changes can make it hard for the cast of a comedy to bring the pace back up.

This show was very well acted, almost the whole cast had to have ‘attitudes’, from anger to that of the 13-year-old going-on-23. Very good comedic delivery and body language. Michelle Tennant’s costumes clearly stated the personalities.

Ian Wilson’s tech design was above average, with good use of lighting and crisp, realistic, stereoscopic sound effects (operator Jane Sherwood).

This play was a huge amount of fun, very near the bone for many families, but one that I can recommend for a good night of entertainment. The script is a Peter Flanigan triumph.

The two-hour performances begin at 8.00 pm and run until Friday 24^th April, but be warned, so far this show has sold out ever performance.

It is 1950 in the Garden of England, Kent. In the countryside lie Pop Larkin’s farm and fruit orchards. The stage is divided in half. This exceptional set (design Doug McLean) has to the left of the audience a farmhouse sitting room and on the other side of the ‘dividing wall’ is the farmyard, complete with a full sized ‘real’ tree (Lorretta Gibbs), a barn and landscape (painted by Ursula Kotara). Having to find farming implements is difficult, but when they have to be 50 years, old then things get tricky for the décor girls Polly Waugh, Shelley McGinn, Carryn McLean and Dayle Seaman).

The costumes were ‘perfick’ for the era, with the demand on Shelley and Dayle for a wide range that covered the dignitaries next door, to the rustic outfit of Pop Larkin. Well done.

There were a huge number of lighting and sound effects, many with split second timing, but Wally Fry and Ryan Perrin were on the ball.

It is a red-hot day, and the farming Larkins have just returned home. As Ma, the most wonderfully caring, yet strong-minded wife ever (Loz Haynes) is warming up the fish and chips for the kids, Pop (Tim Riessen) is preparing one of his special drinks. The only son, Montgomery (Ethan Gosatti) is setting the table.

      Outside, their ‘almost 18 yrs old’ daughter, the attractive and lustful Marietta (Natasha Christie) has found a handsome young man wandering around the farmyard. This is tax inspector, Cedric Charlton (Jacob Turner), immediately Marietta’s eyelashes flutter, starving Cedric succumbs and is dragged into the house for something to eat. He is here because like many of the neighbours – including the Brigadier (Gordon Barnett) next door – Pop has not paid tax for decades. How could he pay? After all the necessities of life he showers onto people he has no money. In fact, a second senior tax inspector (Roger Oakes) turns up a couple of days later.

      The sexually frustrated, horsey Miss Pilchester (Gwen Browning) explains to warm and loving Pop in her ‘ghastly’ accent exactly what she is looking for. (A beautiful comedy performance by Gwen).

      It is not long before Marietta has some passionate competition for Cedric from farmhand, Pauline (Maddy Innes). Then who is the mysterious visitor, Angela Snow (Elinor King) and what is she doing looking around the house? Sir George (Paul Anderson) and Lady Rose (Helen Tudge) may have a title, and a sizeable mansion but Pop seems extra keen to have a word with them both.

With such a wonderful TV cast, this troupe had a challenge on their hands to win over the nostalgic audience – and this is precisely what they did. Loz as Ma was wonderfully caring and understanding, even when her husband had to ‘service’ the maids of the village. Tim’s cheeky grin and innocent, yokelish expression ‘perfickly’ hid the knowledge and the cunning that Pop really had. Cedric’s shy demeanour subtly changed slowly throughout the play, often with the help of alcohol, was a masterpiece by Jacob Turner.

The delightful children, who alternated nights, included Isobel Green, Asha MacDonald-Razvi, Camryn Gillet, Alyssa Yates, Zoe Karagiannis, Charlotte Yates and Imani Benfell. They were alert and gave relaxed natural performances.

The direction by Carryn McLean was well considered, inventive and with such a large cast still remained firmly in control.

Limelight’s admirable web site is changing to a self-booking’ system, which is giving a little teething trouble, but like Playlovers and Rockingham it will be well worth the hard work.

Not only did we get a most enjoyable night out, but also the programme – designed by ‘Chick and Egg’ – had one recipe for apple pie and another for cider.

The enjoyment of this extremely funny show will continue.