This very funny play is being presented by the Harbour Theatre Inc. at the Camelot Theatre within the Mosman Park Memorial Hall, 16 Lochee Street, in Mosman Park.

The two-hour performances run until Saturday 24^th September. Curtain up at 7.30 pm. There are matinées on Sunday 18^th and 25^th at 2.00 pm.

The scene is Bill’s flat – designed by Kirstie Francis. The set is one room, a kitchen / dining area / sitting room / office; a typical male flat, a tip with carefully organised stacks of books and papers everywhere (Props Grace Hitchin and Brian Mahoney). A solidly constructed, impressive and well-finished set.

The lighting was rigged and operated by Rob Tagliaferri. The ‘in demand’ sound operator was Vanessa Gudgeon, who just finished at Melville Theatre last week.

        The front door of the flat opens, and boring Bill (Jarrod Buttery), a dreary statistician deserted by his wife, staggers in. His pal, a struggling author, Leon (Alan Morris), accompanies him. Feeling sorry for Bill, who seems to lead the life of a recluse, lecherous Leon took his lonely friend out for meal to celebrate his 50^th birthday.

      As they are chatting, Leon produced his birthday gift to Bill – an envelope purchased from a numinous gypsy. Inside is a form from a dating service, with ten questions to be completed. Bill looks at the form and gasps. These questions ask for the ten qualities Bill would most like to see in the ideal partner. Bill rejects the present saying that he is quite happy as he is; but Leon, having paid quite a few dollars for this introduction service, insists that Bill completes it. Leon is helpful, but his ideal woman seems somewhat different to that of Bill.

     Within hours, there is a knock on the door. Standing there is a stunning, smartly dressed woman – Justine (Cassandra Gorman) – exactly as requested by Bill. However, have all of his dreams really come true?

Director, Kirstie Francis can be relied upon to give the audience a well-crafted play. With this wonderful cast, who did not miss a beat, we were treated to a smile and belly laugh every minute. The script is not a farce, but a well-written dialogue that flowed beautifully. There were numerous twists that lead to pandemonium with the men, and several severe mood swings from Jasmine. The chemistry between the three actors was amazing, and Cassandra’s performance in the second Act was superb.

I have recommended his play to several friends already. It is a short season, so do not miss out.

Exceptionally funny script, perfectly delivered by a well-proven cast of comedy actors.

Simon grew up in a poor Jewish area of the Bronx. Growing up in a broken and violent home, Neil found refuge in cinemas, hence his interest in comedy. Simon began writing comedy scripts for Sid Caesar, Mel Brooks and Phil Silvers’ ‘Sergeant Bilko Show’. There followed plays and books, most with strong autobiographical background. In 1991, he won a Pulitzer Prize for Drama in 1991.

This Melville Theatre Company’s delightful production of ‘Barefoot in the Park’ can be seen at the Melville Theatre, on the corner of Stock Road and Canning Highway in Melville.

The hilarious 2 and a half hour performances are at 8.00 pm on Thursday, Friday and Saturday nights until 17^th September. There is one matinée, at 2.00 pm on Sunday 11^th.

It is an open stage. The single room acts as the sitting room, dining room, kitchen and storage area. The set constructors (Paul Bray, Trevor Dhu, Rex Gray, Lloyd Hamer) have done well as the script requires a short staircase, pot belly stove, a skylight and a rain effect. When the play begins the flat is empty. There are the pale green walls, a set of stepladders and piles of dust sheets.

In the brief interval at the end of scene 1, the apartment furniture and props had to be installed. Considering the number of items to be moved, three-piece suite, tables, screen and props, the stage team were most speedy and efficient. Well done stage manager, Paul Bray, and his assistants, Trevor Dhu and Erin Gray.

Aaron Smith’s lighting design took us through the various weather patterns and time of day. The lighting was smoothly operated by Vanessa Gudgeon, who also controlled the sound – with accurate sync on phones and light switches.

       After her 6-day honeymoon in a luxury hotel, the passionate, free-spirited new bride Corie (Georgina Hamer) is still filled with romance and so excited about starting a new life in their New York, tiny 5th-floor rundown apartment. There is no lift – just a never ending staircase. Her boring husband, solicitor Paul Bratter (John Gray) trusted Corie to take out the lease, and has yet to see the minute bedsit.

     The door buzzer goes; it is the telephone installation man. After a few minutes, this tall, heavy-set man, Harry Pepper (Paul Bray) staggers through the front door. Another victim of the 5 flights of stairs. He is soon followed by another wheezing delivery man (Trevor Dhu), with a wedding gift from a relative.

     The first telephone call comes from Corie’s widowed mother, Mrs. Ethel Banks (Sharon Menzies) who wishes to call around, see the flat and offer some ‘smotherly’ love. When the eccentric, randy neighbour, Victor Velasco (Rex Gray) who lives in the attic upstairs pops in, Corie thinks that perhaps he would be ideal for her lonely mother. However, the special meal for four turns out to be a nightmare for everyone. Adjusting to married life isn’t so easy!

Director, Trevor Dhu, has squeezed every ounce of humour from this play script. The cast had great chemistry. Georgina was excellent as the besotted, fawning wife, and John wonderful as the boring, straight-laced husband. Sharon was great as the mother-in-law that we all dread getting. Rex was at his best as a wonderful aging letch, who thinks that he is still the Casanova of his youth. The two amusing cameos, Paul and Trevor warmed the audience up on the cold night. There was very good pace, plenty of movement and slick delivery of the lines, and yet at times I found myself the only one laughing aloud. Dare I suggest the audience had a problem?

In the ecstasy of her marriage, Georgina performed a short ballet routine that was choreographed by Trevor and Georgina, both of who are professional dancers. This added an original and pleasant touch.

At 50, the play is slightly showing its age. There are a couple of comments that are now politically incorrect, but neither of these points detract from the story, and it has retained its humour well.

This was a full house, so don’t rely upon tickets at the door. Congrats to all.

This almost three-hour production can be seen at the Old Mill Theatre, Corner of Mends Street and Mill Point Road, South Perth each Thursday, Friday and Saturday nights at 8.00 pm, until Saturday 25^th June. There is a Sunday matinée at 2.00 pm on the 12^th and 19^th June.

It is London, near Black Friar’s Bridge, in the 1990s.

Trevor Dhu and Jo Little’s set design is simple, comprising at the rear of the stage a central archway, flanked by white drapes. Above the arch is a projection screen (video effects Vanessa Gudgeon and Duncan Shaw). On each side of the side stage is a rotating dais, with a white outer wall, and on the other side, a room (built by Trevor Dhu, Lloyd Hamer, Phil Barnett). The numerous props were supplied by Paul Bray and Rex Gray.

Sadly, the scene changes were all calamities, culminating in a final disaster.

The projection screen collapsed, a curtain fell, the rotating stages took ages to align – accuracy wasn’t really that necessary. The decent sized crew did not enter the stage until the cast had left, and several seconds had passed. The instant the lights go off, everyone should be there, going immediately to their specific job. Good planning is essential. Walk on, place a prop, grab another, walk off. Don’t stand in the dark looking to see what requires attention, or what others are doing.

Then, don’t hide behind the back drapes discussing the disaster during the play – the audience can hear. You really owe it to these superb actors who have built up the tension and mood, not to ruin it. Sorry, but there was no easy way of putting this.

        Dan (Jeff Watkins) has been in a relationship for some time, but has never really outgrown the ‘Mummy’s Boy’ syndrome. He works as a reporter in Fleet Street, writing obituaries. One day, as he leaves the office, he manages to grab a hippy looking girl and pull her out of the path of a taxi. The girl, Alice (Georgina Hamer), is part-time stripper and a lonely streetwise waif. Alice’s leg has a minor gash, so Dan suggests it is checked. He takes Alice to hospital, where she flirts with him.

      A disinterested doctor, dermatologist Larry (Dylan Sercombe) passes the waiting room, but on seeing attractive Alice returns to check her wounds. Alice and Dan meet regularly, and soon Alice feels loved and wanted for the first time in her life, and Daniel feels needed.

      A year later, Dan has had a book accepted for publication and professional photographer, Anna (Anna Head), is taking a picture for the book’s jacket. Dan asks to see Anna again, but Alice overhears. Practically in tears at Dan’s duplicity, Alice then insists that Anna takes a picture of her. This photo ends up on the wall of a museum. One day, whilst visiting the art gallery, Larry sees Alice looking at her portrait. They chat and recall the hospital incident. They continue meeting.

      Soon the four friends share love, tensions and heartbreak.

John Woolrych’s superior lighting design was smoothly operated by Callum Cook. The wonderful selection of music and sound effects were operated by Vanessa Gudgeon. Wearing some of Jenny Prosser and Sue Sator’s colourful and sexy costumes, Georgina learned Alice’s stripping routine from choreographer, Claudia Cirillo.

Director, Trevor Dhu is a much admired director, who never avoids a challenge. The play ‘Closer’ is particularly difficult for the director and exceptionally demanding for the cast. Jeff, Anna and Dylan have many years of quality dramatic productions under their wings, but although Georgina has risen to the highest heights as a singer, she had never before had a dramatic role. The role of Alice is extremely challenging, possibility one of the most difficult in modern theatre, so I have to admit I was worried about a newcomer’s ability to do justice to the part. All of the characters had to show extreme levels of passion, hate, pathos and humour, combined with good chemistry and interaction. I need have had no doubts, Georgina was magnificent, and who along with her fellows gave us a brilliant interpretation of this play.

A first class version of the lives and loves of four people. Many congratulations.

This 90 minute, strange but very funny, black comedy is being presented by the Harbour Theatre Company in the Camelot Theatre Complex, 16 Lochee Street, Mosman Park.

The curtains rise on Wednesday, Friday and Saturday nights at the early start of 7.30 pm until 14^th May. There are Sunday matinees on 8^th, 14^th and 15^th at 2.00 pm.

This show has no interval.

The opening scene (designed by Peter Kirkwood, Nicola Bond) is the middle class home of Kenneth and Hilary in the London suburbs. The stage apron acts as the working class home in East London, of Cockney Laura. The set is almost cellar like, with threatening black walls and blood smeared over them. Next to the proscenium arch were three metre paintings of a blood covered knife and fork (Melissa Bassett).

The scene is the dining room, with fine wooden tables and chairs (Grace Hitchin, Brian Mahoney). Most of the props, food and furnishings are left to the audience’s imagination – and surprisingly, it works very well.

The simple set décor was a wise decision, as it allowed the audience to follow the richly written script without distraction. The reliable team of Rob Tagliaferri on lights, and Vanessa Gudgeon on sound, worked well, showing subtlety succeeds.

       Today is Kenneth and Laura’s third wedding anniversary, and to Laura’s horror, Kenneth has accepted an invitation from his ex-wife Hilary to go around for a meal. The atmosphere is very tense and uncomfortable.

      We then flashback about four years.

      At a friend’s birthday party middle-aged, philandering Kenneth (Jarrod Buttery) finds himself in the arms of Laura (Cordelia Clarke), a leggy beauty half his age. His poor wife Hilary (Meredith Hunter) has numerous domestic talents, but for Ken her body after 20 years of marriage has collapsed, and in the sack she is stale and boring.

       How will this trio’s relationship develop?

Under the direction of the multi-award winning team, Peter Kirkwood and Nicola Bond – who have presented a couple of dozen memorable plays for Harbour over the years – these three most experienced actors were at their best. Jarrod as the unashamed letch, Cordelia as the gullible young woman and Meredith – outstanding – as the poor abused wife. They all delivered their lines with conviction and emotion. 90 minutes non-stop, with all three on stage continuously, is a big ask, but they had perfect pace, beautiful intonation and their expressions spoke volumes. Top notch acting.

You know that the actors’ acerbic comments are successfully getting through to the audience, when, like last night, one lady shouted out ‘Kill him’, and I think if the ending wasn’t to her liking she would have obliged.

Great fun, try and catch it.