On a point of interest, 450 years ago, the Ridolphi Plot was linked to Guy Fawkes and his attempt to blow up Parliament.

This gripping drama is being presented as part of the Fringe Summer Nights, in the main Blue Room Theatre, 53 James Street in Northbridge.

This MUST SEE, one-hour show is on nightly at 9.30 until 20^th February.

At first glances, the set (designer, Trent Suidgeest) appears simple, with a table and a couple of chairs; however, in the corner of the stage is a telephone box, which has all of the magical properties of Superman’s ‘phone booth and a Dr Who box. The white rear wall of the box has projected onto it, video (also by Trent Suidgeest) of the old magician at work, and scenes of the many localities his son will experience on the way through this tale. I rarely comment on posters, but Jamie Breen’s stunning photo captured the play’s mystery perfectly. 

As always, Ben Collins soundscape was beautifully composed, and played subtly in the background.

 

       When he died, the world’s greatest escape artist and magician – The Great Ridolphi – left his immense wealth to a charity, with his sole son, Victor O’Meara receiving only a battered suitcase, filled with what appears to be trashy, op shop contents.

      A decade after his father’s death, Victor (Steve Turner) received a visit from a detective linked to the Art Fraud and Theft section of Scotland Yard. It seems at the time of his father’s death, a priceless museum painting had been swapped for a copy.

      The policeman was keen to hold onto the father’s suitcase, but Victor suspected there might be clues in it that he had missed.

      What did the random objects mean? Could his father really have been a master thief?

 

In an exciting and intriguing tale of mystery, you feel as though it is the Da Vinci Code all over again – except this time with quality! When I looked at the names of the scriptwriter, technical team, the actor and director, then considered their amazing achievements, with all of them having won every major WA prize in their field, I was blown away. Naturally, I was expecting a quality show, but what they have given us is just another realm.

Every member of the team has given their VERY best. Everyone left the theatre stunned at the overall perfection of this play. Amazing skills.

The set depicts a rudimentary family dining room, with a large wall of kitchen units in a modern-day, American home (voice coach Julia Moody thankfully developed just a hint of accent). On the other side of the wall is a bedroom with en suite facilities. These props are on a central revolve, which no doubt created a great deal of extra work for the stage manager Hugo Lopez and his assistant Christabel Fry.
There is an outer, concentric revolve that moves in the opposite direction. On the stage apron at one side is a comfortable chair and reading lamp, on the other a bed in a hospital ward.
A massive pair of net / scrim curtains hides the whole of the rear wall of the stage. Set and costume designer, Bruce McKinven was helped with his costume construction by Jenny Edwards and Molly Werner. The Artistic Interns are the talented, still to be discovered, Ellin Sears and Sarah Courtis. Bruce has decided on a simple, uncluttered set that would not detract from the storyline. He has framed the whole stage with Tudor-like, oak beams.

          Diana Goodman (Rachael Beck) is a strong minded but ‘bipolar’ woman, determined to find ways around her mental troubles that started a decade earlier after a tragedy. When her loving, but slightly overbearing, husband Dan (Brendan Hanson) comes home, Diana relieves her anxieties with sex.
          Because of her psychological problems, Diana’s caring GP, Dr Fine (Michael Cormick) sends her to a mercenary and unethical psychiatrist, Dr Madden (Michael Cormick), in whose rooms she again finds relief by sexual fantasizing. Madden prescribes dozens of contraindicated tablets in a rainbow of colours.
          Teenage daughter, Natalie Goodman (Shannen Alyce) is experimenting with drugs, whilst managing to resist the advances of adoring classmate, Henry (Joel Horwood). Natalie’s older brother, Gabe (James Bell) is still at home, and although the father thinks it is time he left, his Mum is still keen to have Gabe around.
          Can Diana’s problems be solved? Will the family ever find relief from the hassles and stress of modern day suburban life?

The term ‘Rock Musical’ suggests ear-splitting, cacophonous music; however, this score is catchy and perfectly paced. The lyrics are fascinating short stories, giving a true insight to the family structure. The dialogue is crammed with humour, as well as explaining the tragic circumstances.
Under the guidance of the internationally admired Musical Director, David Young (also on keyboard), who has come straight from a huge tour with ‘Wicked’, are the musicians Michael Perkins (drums and percussion), Shane Pooley (bass), Andrew Weir (guitar), Brian Kruger (violin) and Laura McGorgan (cello) impeccably balanced, allowing the lyrics to be heard perfectly.
In a musical, the audience expect to have catchy tunes, meaningful lyrics, powerful delivery, clear enunciation and colourful action; sadly, we are often lucky to get only a couple of these aims in any show. Here we have a MAGNIFICENT cast of six, all outstanding singers and actors giving us all of the qualities.
Rachel Beck was amazing with her crystal clear voice, superb stage presence and movement. How often does one hear the songs being presented mechanically? In this production, every syllable was filled with emotion and really meant something. Many of the audience were close to tears. Ben Collin’s sound balance was perfect; the cast did not have to battle to be heard.
Choreographer Claudia Alessi has the actors gliding, almost dreamlike, through some of the scenes. Lighting designer Trent Suidgeest has employed a whole range of lighting techniques, from glaring pure white spots depicting tension, to the warm glow of a family gathering. The special lighting at the end of each Act was something special, the first act had a radiant, pink cloud effect that seemed to stretch to infinity; the second Act had a dazzling, warm glow that filled the whole theatre.
The story may sound depressing and even uninteresting, but in the hands of WA’s amazing director, Adam Mitchell – assisted by a new talent, Warwick Doddrell – they have given us one of the Heath Ledger Theatre’s most challenging, but best, productions. It is no surprise that show has won so many prestigious awards over the years.
brenda

The scene is around the 1950s in Ménilmontant, a poor area of Paris. On each side of the stage is a ramshackle, three-storey house with shuttered windows. At the rear of the stage is a park with a small hill. At the edge of the stage is a rubbish tip, where vermin gather.

A young pupil, Pascal (Dylan Christidis alternating with Rory McLaughlin and Jack O’Neill), is late for school as usual. En route, he finds a large, red balloon tangled around a lamppost. He unties it, only to discover that the balloon has a mind of its own. Forgetting about school, the boy meanders around the neighbourhood entranced by his find.
In the early morning sun, a rat (Ben Mortley) searches for food in a dustbin. A pigeon (Ella Hetherington) looks for a statue to ‘decorate’. Pascal soon finds that the massive balloon is not as popular with everyone; his mother will not allow it in the house and the bus driver (St John Cowcher) will not allow him onboard.
The local wily cat (Sarah Nelson) rubs herself against Pascal, looking for affection and a chance to burst the balloon.
Soon Pascal meets a young girl with an equally large, blue balloon (Eloise Hunter alternating with Katie Price). Naturally, a friendship follows, but with bullies in the area, the two must take care.
Will the balloon stay safe? (Sky flying puppet by Chloe Flockart)

How often do producers think, ‘it is a kids’ show, the story can be simple, the scenery undemanding and the acting effortless – they won’t know any better’. However, nowadays the children are discerning. This simple story was filled with warmth, the outstanding scenery most impressive, and the acting first-class.
Nationally recognised director, Chrissie Parrott, has transferred her acclaimed ballet skills to these dramatic performers, they glide across the stage. The controllers of the balloon meld into the background as the children become hypnotised by the mobile, mysterious balloon.
Creative mentor, Kate Cherry, has helped assemble the atmospheric production.
The magnificent set and costume design is by possibly WA’s best designer, India Mehta. India’s sets always show a brilliant use of materials and ingenuity of construction, whether it is a house, boat, animal costume her work is jaw dropping. These Parisian houses had smoking chimneys, fire escapes, balconies, working shutters – and the whole assembly could be moved by two stage crew, Georgia Landre-Ord and Claudia Blagaich. With talented sound designer and composer, Ash Gibson Greig and lighting designer, Trent Suidgeest every sense was stimulated. You could feel the poverty, smell the decay and hear the creatures just out of view.
This was an extraordinary piece of theatre.

Hannie Rayson has written fourteen plays, but is mainly known for ‘Hotel Sorrento’ and her Miles Franklin Award nominated ‘Life after George’. However, Hannie has also been awarded two Australian Writers’ Guild Awards, four Helpmann Awards, two NSW Premier’s Literary Awards and a Victorian Premier’s Literary Award as well as the Age Performing Arts Award and The Sidney Myer Performing Arts Award, putting her in a small, select Australian group of authors.

The Black Swan State Theatre Company is presenting this wonderful, two and a half hour play nightly at 7.30 until the 4^th October.

Bryan Woltjen’s innovative sets consist of a vet’s operating room, an office and a residential, high-rise flat – all minimalistic, with no trimmings. The view from the rear windows brought life to the rooms. In the second Act, there was a woodland scene, which blew everyone away bringing the designer an enthusiastic applause.

The complex sound effects (Ben Collins) ranged from the tropical storm, to squeals of the quoll and the chatter of the woodland creatures, very clever. As ever, Trent Suidgeest’s lighting design was employed to great effect in creating atmosphere.

Voice coach, Luzita Fereday, guided Hannah Day’s soft Philadelphia accent.

     Veterinary surgeon, Andy Dixon (Myles Pollard) has travelled the world treating exotic animals. On one of his trips, he met a young woman, Piper Ross (Hannah Day) who was wholeheartedly dedicated to the conservation of animals. Now, back in Australia, they open a country veterinary practice.

     One night, as a storm rages, a man rushes into the practice carrying a wild animal wrapped in a blanket. It is an injured quoll. The concerned driver, Harry (Matt Dyktynski) has just hit the creature with his 4-wheel drive. As Piper starts treating the Tiger Quoll, she is inwardly quite thrilled, as quolls have not been seen in their area for at least a decade. Andy returns from delivering a calf, and after a clash with Piper on the best therapy for the quoll, continues the treatment.

     The vet’s sister, Heather Dixon-Brown (Sarah McNeill) has a research PhD, and is Professor of Conservation at the university. She too is devoted to preservation, but is frustrated that all of the government funding seems to go to the wrong causes and her projects could close through lack of support.

What a wonderful script. In the wrong hands this could easily have become a tedious lecture, however, Hannie has given the story dozens of interesting and controversial story threads, some of which explode when you least expect.

The director, Stuart Halusz, was faced with a dialogue-based script and little action, but being an award-winning actor, he has the skills to ensure his magnificent cast have dominated their complex, fascinating characters.

For most scenes, Rayson had only two of the cast on stage at a time; this allowed the true temperaments, and various foibles, to become slowly obvious to the audience. This permitted us to see how strong or delicate the interrelationships actually were.

The play had controversy, humour, suspense, sadness and of course, the all-important SEX.

It is a long time since I have heard such an enthusiastic final applause from an audience. The ‘Quollity of enthusiasm was not restrained’, a superbly written, uplifting, wonderful night’s entertainment by a skilled cast.