This very diverse 80-minute selection has ‘curtain-up’ at 8.00 pm nightly until Saturday 10^th September.

For all of the plays, the stage has black drapes on all sides and various tables and chairs.

The quality lighting and sound design were by John Spurling and operated by Evan Skinner.

‘Widow’s Peak’ was written and directed by WA’s Noel O’Neill.

      It is 1917 in a small, sparsely furnished room in Eire. Two middle-aged women, Peggy (Denice Byrne) and Siobhán (Mairead Dempsey) are dressed in their widow’s weeds discussing the loss, some months earlier in The Rising, of their husbands at the hands of the Black and Tans.

     As they share a drink, young Moira (Roisin Nash) who is also a widow, calls around. They notice she has a ‘bump’, and her husband has been dead for almost a year – could it be a miracle? On the other hand, has Moira been unfaithful to her husband’s memory? The older women have plenty to say.

This is a beautiful tale, touching, humorous with a powerful and angry message in the storyline. Noel has a wonderful ability to write dialogue that flows naturally, and with which everyone can connect. The three women are typical of those in a small community, and are portrayed perfectly and with genuine emotional depth by the cast. A fresh topic, most enjoyable.

‘Moby Dick’ is a 25-minute farce, in the unruly style known as ‘coarse acting’; which is a skit with things going wrong in theatre. This madcap adaption of the 685-page novel by Herman Melville was by Mike Green. Directed by Sarah Christiner.

        A thumbs-up signal from the wings to the bio box sets the amateur approach (as deliberately requested in the script) of this talentless, but self-admiring troupe to community theatre.

       The lights come up, and Ishmael (David Heder) makes a false entrance and exits quickly. He re-enters and does a short monologue, mispronouncing numerous words. He wanders into a local pub searching for crew, where he sees the landlady (Noah Humich) and a serving wench (Eileen Leake) taking jugs of beer to a rabble in the corner. Starbuck (Michael Dornan), Elijah (Phil Barnett) and friends are the worse for wear and volunteer for his crew.

       A scarred seaman (Sarah Christiner) says he knows a talented harpooner, the highly tattooed Queegueg (Josh Harris). As a carpenter (Kit Leake) joins the crew, the pub doors fly open and an old salt, Captain Ahab (Chris Thomas) staggers in on his peg leg. He wants to join the gang and wreak revenge upon the white whale, known as Moby Dick who ate his limb!

There follows a series of quick-fire scenes, all of them a shambles. Props fail, the actors are under rehearsed, and the play staggers from bad to worse.

Director Sarah Christiner has grasped the fact that this type of sloppy presentation actually requires hard work, slick staging, with the actors retaining unflinching, poker faces. This shambolic style of presentation is similar to that in the ‘Farndale Avenue Housing Estate’ series of plays. I found Farndale to be annoying as they are so close to the truth, whereas with Moby Dick, because the whole genre is slapstick, the pandemonium works so much better.

There were plenty of belly laughs, fun props and the genre well presented. However, I think the audience could be split 50/50, with some absolutely detesting the style.

‘Under The Rainbow’ was the evening’s second play written and directed by Noel O’Neill.

      The scene is several years after Dorothy’s magical trip to see ‘The Wizard of Oz’.

      Still dressed in scarlet shoes and her pale blue, gingham check dress, Dorothy (Valerie Dragojevic) goes to a rundown bar, known as ‘Under the Rainbow’. Despite the colourful rainbow design and the twinkling lights on the bar front, the barman known, as Wiz (Noel O’Neill) is less than welcoming.

    Cackling in the corner is Witchy (Lindsay Cliff, alternating with Siobhán Robertson-Skinner), an enchantress who is determined to ruin Dorothy’s night. Seated at a table, with party hats on their heads, are three old friends, soft-hearted Leo (Yad Sand), callous Rusty (Cameron Leese) and the lovable, but brainless, Mr Crow (Andrew Hobbs). Sadly, for Dorothy, as the evening goes on, the original warmth of the groups seems missing.

Many of us will have been to school reunions, and for some it is fun and a great success, for others it can be a regrettable embarrassment. Likewise, this dark comedy is really quite poignant, giving us an ingenious and novel look at a possible sequel of the world famous tale.

The cast were delightful, with each member totally embracing their characters.

The array of plays ranged from the sublime to the ridiculous, so you are guaranteed to enjoy yourself.

This two-hour production, in two Acts, by the Old Mill Theatre Company, is in conjunction with Maverick Theatre Productions and can be seen at the Old Mill Theatre, on the corner of Mends Street and Mill Point Road, South Perth. There are shows at 8.00 on Wednesday, Thursday, Friday and Saturday evenings, until Saturday 27^th August. There are 2.00 pm matinées on Saturday 20^th, Sunday 21^st and 28^th August.

The scene is the vestry and office of Father Costello. The walls are limestone blocks adorned with photos of religious dignitaries. To the right of the stage is an area that acts as part of the office, then as a courtyard garden.

The textbook costumes were supplied by Jenny Prosser, and Cathy Puzey.

Award winning lighting designer, John Woolrych has taken relative newcomer, John Spurling under his wing and allowed him to come up with some quite complex lighting effects. Spurling tried dimming the lights when a dramatic speech was being made, but did so with subtle careful control, the desired effect was excellent.

      It is late in the evening in the Our Lady of the Vines convent. Into the dimly lit office come two nuns, leaping and dancing to wild radio music. Yes, Sister Abbott (Caroline McDonnell – excellent) has been sipping the communion wine for most of the day. She is accompanied by the newest holy sister, nervous Rosa (Sofie Reidy-Crofts) who is still trying to come to terms with life in a convent.

      Staggering in comes Father Costello (Noel O’Neill – hilarious), as always the worse for wear. He heads straight for his whisky bottle.

      Since the tragic accidental death of the Mother Superior, Theresa (Norma Davis), dedicated Sister Marilyn (Susan Meikle) seems the only vestal interested in the religious faith, and the upkeep of the crumbling convent.

      The trendy Italian, Sister Vinnie (Valerie Dragojevic), who is trying to fight off her Mafia upbringing is sitting in the garden of Remembrance, listening to young Rosa’s concerns about some ghostly noises she has heard in the night. Their conversation is interrupted by the arrival of the bewildered and worried Archbishop Monticello (Rex Gray). He has been sent by the church hierarchy, who have just learned about Father Costello’s dubious lifestyle, and has asked the Archbishop to give Costello a warning.

      Sister Francis (Vivienne Marshall) has come up with a sacrilegious suggestion to solve Rosa’s haunting problems, but under no circumstances must the Archbishop find out.

Director Noel O’Neill, assisted by Valerie Dragojevic have retained most of their previous, strong, award-winning team. Why not? The chemistry was again superb, with subtle delivery of the beautifully structured script and perfectly timed interaction. Great cast. Noel allowed himself to slip out of character and have a couple of ‘Boom, Boom’ jokes, but the audience loved it. There is certainly no place in Heaven for Noel.

The audience on the night I saw the show, included a couple of dozen fans, who were there to support their actor friends. Many of them had never been to a Community Theatre show before, and were blown away by the quality. One even said that she came prepared to fall asleep with boredom, but laughed the whole way through. They will all come back again.

Sequels are rarely as good as the original, but Noel’s zany lateral thinking has once again produced a laugh-a-minute show. Highly recommended. If you didn’t see the first episode, don’t worry, a knowledge of the previous show – fore play? – is not necessary.

Many nights are already sold out, so perhaps try Wednesday night or phone first.

‘It’s All Greek to Me Too!’ is Noel O’Neill’s magnificent sequel to the play that wrote just over two years ago, ‘It’s All Greek to Me’. This is even funnier than the original, and that was a sell-out! Even though Noel writes about two or three plays a year, the standard of his writing, dialogue and the superbly constructed script, ensures a happy audience. This play has a laugh in every line. It is wonderful to see so many of the original actors returning.

This 2-hour comedy can be seen at the Old Mill Theatre, on the corner of Mill Point Road and Mends Street, South Perth on Thursday, Friday and Saturday evenings at 8.00, until the 27^th February. The Sunday matinees are at 3.00 pm on the 14^th and 21^st, with all proceeds going to the South West Bushfire Appeal.

The setting is a northeast London suburb, at Christmas 1960. The scenery (designed and built by Noel O’Neill) is that used in the first play, comprising the kitchen and lounge room of the crazy Greek Clan – the Pilancous ‘Plank’ Family. The music from ‘Zorba the Greek’ is playing as the house lights dim. Very good lighting and sound effects, thanks to John Spurling and his occasional helper, John Woolrych.

Jenny Prosser’s costumes reflected the era perfectly, in both style and the materials used. The hairdos brought a smile too. Well stage managed by Melissa Munoz Escobar.
In the first play ‘It’s All Greek To Me’, Nicky Plank arranged for his cousin Stavros, living in a dump somewhere in Greece, to get married to his unsuspecting London neighbour, Circe.

      Only months after the wedding, disillusioned Circe (Nada Dilevska), leaves her husband Stavros (Andre Balzelli) and returns to London. Because Nicky (Kim Taylor) and his long-suffering wife, Athena (Vivienne Marshall) generously paid for the couple’s wedding, she blames them for her misery and places a curse on the family.

      Nicky and Athena’s daughter, Jenna (Valerie Dragojevic) is due to have her baby any day now – perhaps even Christmas Day. The family friend, Andronikos (Rex Gray), who is a potent oracle and surrounded by a powerful aura, is summoned to help them.

      The youngest Plank son, Dimitri (Cameron Leese), is well named, as his IQ is probably negative. Nicky, now with two un-married relatives again, recommences the matchmaking routine. He brings around a friend’s beautiful daughter, Christiana (Sofie Reidy-Crofts) in a desperate attempt to marry off Dimitri, but the son seems quite interested in the even more brainless, Katarina (Aimee Claire Nicholls).

      Randy Nicky goes around the houses, collecting seasonal ‘gifts’ from his lady friends, Cassandra (Berti Moso) and Irena (Charlotte Weber).

      Will Athena discover Nicky’s misdemeanours? Will anyone become wedded, or even remain married.

Director Noel O’Neill, and his assistant Valerie Dragojevic, both have a wealth of experience in comedy direction; what a magnificent show they have given us. The multitude of laughs was perfectly delivered by the wonderful cast. Each actor had a rich character to portray, and this they did with superb team chemistry. A special mention for Kim Taylor and Vivienne Marshall’s performances. Kim with his hilarious lack of conscience, and Vivienne’s desperate desire to advance the family’s welfare.

A really good, side-splitting start to the Old Mill’s 2016 season.

‘Armistice Day’ poignantly written by Noel O’Neill and powerfully directed by Valerie Dragojevic.

The scene is a down-market pub around 1950, with a bar and hardwood chairs and tables.

     The barman, Blackie (Rex Gray) announces ‘time’, but the two ex-servicemen have no thoughts of going home. They are waiting for their friend Davey (Phil Barnett), after all this is their annual get together to reminisce on their war years.

     As he sinks another whisky, Mick (David Partridge) recalls having his toes blown off, but for poor young, trembling Tommo (Travis McCurry) things are much worse, he has still not overcome his shellshock. When Davey arrives, with fury in his eyes, the conversation turns to an event that happened in the last few days of the war.

     Can their comradery be strong enough to get them through their psychological problems?

For those old enough to remember returning servicemen – from any war – we know their silence, the secrecy as to what actually happened, their character changes and often the inability to see the lighter side of life; Noel has once again hit the nail on the head, he has written a super script, with a huge depth to the four, perfectly conceived characters. Director Valerie has taken the cast, given them courage and guidance to enact the tremendous emotion and tension demanded. The performances were all outstanding, but a special mention must be given of Travis and Phil’s depiction of the suffering vets. A stunning play.

‘The Tip of the Spear’ is richly written monologue from the pen of James Forte. It is based on an actual army Glider Regiment’s mission in June 1944. It has been described as the most daring and clever piece of flying in the whole of World War ll as carried out by Staff-Sergeant Jim Wallwork, who died only a couple of years ago, aged 93.

The star of the play, Ray Egan, directs himself.

The scene is a local bar, just after a Veterans’ parade.

     An ex-army serviceman in a smart suit, proudly wearing his red service beret, and with a beer in hand, takes a seat at a pub table. With a wistful look on his face, he starts to relate the amazing story of his night mission to destroy Pegasus Bridge.

Ray is an extraordinary actor. Famous for his madcap ‘Dinner for One’; he now turns on the pathos, as with tears in his eyes, he recalled the ghastly happenings of that astonishing night. A magical performance.

‘Dolls from the Sky’ is a cleverly structured play, written from the heart by local playwright, Yvette Wall. It is then brought to life by director Mary Wolfla.

It is Australia in 1948; the scene is a comfortable sittingroom, with a three piece suite and coffee tables.

     Anna (Natalie Aung Than) is a widowed Polish emigrant, who has been the housekeeper – ‘and nothing more’ – for an ex-soldier, Tom Johnson (Andrew Watson), who each night, is still reliving his war memories.

     To help her mental state, Anna has asked the local priest if she can help clean the church each week. Snobbish, Miss Betty Brown (Kerry Goode) a ghastly bigot, is in charge of the roster and is sent around, with her assistant Margaret (Yvette Wall) to talk to Anna. Prudish Miss Brown detests this foreigner being on Australian soil; but Margaret, also a war widow, seems to have formed a bond with Anna.

     Will the friendship take an unexpected turn?

Yvette has written a deeply moving script. A tale that starts with the rich characters making the audience laugh and yet cringe at the same time. Award winning Kerry played an extremist, the type that were still commonly around even a few years ago. Then the mood changed to tragic drama, with this dynamic cast firing perfectly on all cylinders.

Magnificent performances that made you gasp at the tension within the house, and what a broken heart can do to a person. Luckily, we still had a few tissues left from the first play.

Often with short play productions, there is one good play with the other one or two sadly there to give a local author a chance to try out their first – sometimes, very average – play. On this occasion we had three, truly outstanding pieces of writing, cleverly directed and presented by three hugely talented casts. Not a weak link to be seen.

The middle play, is at the Old Mill for two nights only, before it moves over to the other side of the suburbs, Marloo on Greenmount Hill, where it will play for a couple of nights there.

You do not have many opportunities to see these plays, but cancel everything else to see them. An amazing night of theatre.