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

This 80-minute, Second Chance Theatre and Blue Room production can be seen in the Blue Room Main Theatre, Perth Cultural Centre, James Street, Northbridge nightly at the earlier time of 7.00, until Saturday 26^th September.

The set is a bedroom / cabin in a massive, aging spacecraft. The room has three airlock doors, but no windows. Set designer, Sara Chirichilli has created an impressive, ‘well-worn’ room, superbly built by John King. The reality is such, that very quickly you believe that you are on-board. The costumes are by Sophie Braham.

A large interactive computer screen hangs on one wall. The jaw-droppingly ingenious AV design is by Warwick Doddrell, which along with Scott McArdle’s lighting effects brings a completely new environment to the Blue Room theatre.

Tim Brain’s soundscape, combined with Drew Kraplijanov’s subtle music, brings life to the whole scene. (Operated by Daley King)

       The room light comes on, showing a young man, Vincent (Nick Maclaine), asleep on his bed. A semi-robotic voice, Vi (Jo Morris) announces over the spaceship’s Tannoy that it is a new day, before asking what Vincent would like for his breakfast.

       Vincent has been on this same spacecraft alone, since he was three years old. He has not seen another human being in more than twenty years. As he has matured, his desire to know more about his parents, why he is alone in space and what his future holds, has come to the surface of his mind.

       One day whilst resting, a girl in a bathing costume (Emily David) appears in his room. Is she real? On the other hand, is she yet another virtual laser projection? Should Vincent challenge the system, and what will happen if he does?

Nick Maclaine was on stage for the whole 80 minutes; he played several very different characters, with various accents. His energy-packed performance was flawless, as the script swung from pedantic to threatening terror.

Jo Morris, who supplied the controller’s voice, was magnificent as she tried to command the captive space traveller. Emily David also had various characters and personae; the overall teamwork was exceptional, and even on a genre in which I am not usually interested, the suspense was complete.

Scott has a dry sense of humour and there were many comic lines, which helped balance the script mood.

An amazing amount of thought has been put into this production, so I am sure that this play will become a multi-award winner. The acting, set, lighting and AV effects were all supreme. With all of the twists, the story grabs you until the end. Highly recommended.

This 60-minute play runs nightly at 8.30 pm until 6^th June in the Blue Room Studio Theatre, 53 James Street, in Northbridge.

I don’t normally comment on the marketing of productions, but Jamie Breen’s promotional photograph is outstanding.

At first glances the set is simple, merely a rostrum with a couple of buckets of red desert dust sprinkled on top. Then the stars come out and the designer, Tessa Darcey along with lighting designer Emily Crane (operator Daley King), gives us an innovative treat.

The soundscape is beautifully subtle, with the hint of the desert wind, clever work by sound designer Mike Podmore.

         We find ourselves in a pub, just past the black stump. In the bar, celebrating his 18^th birthday is Cooper (Peter Lane Townsend), a bush born and bred lad with very little between his ears. In fact, for his birthday treat, his father is going to abandon him out bush to harden him up. Cooper is being served by Grace (Maja Liwszyc) who spends her time between customers reading legendary Aussie poetry. Grace is worried because five days earlier her brother went out bush and has not returned.

       At the other end of the bar stands city slicker, Jeremy (Tristan McInnes), an adventurous lover of nature, with no real idea how dangerous and oppressive the outback can be. He has come to central Australia to follow in the footsteps of the American poet, Jean-Louis ‘Jack’ Lebris de Kerouac – one of Bob Dylan’s idols and his major source of inspiration.

Director Warwick Doddrell has gathered a wonderful team that has created a tangible desert atmosphere. The audience could really feel the harsh desert sun, the arid atmosphere was palpable. The direction kept the pace moving along rapidly, as the story took us from one location and story thread to another. Each actor created a rich persona that the audience wanted to more about and really cared for. There were plenty of laughs and brief times of terror.

Symbolism was used most effectively on occasions such as in the bar, tending the desert creatures and climbing the local monolith.

A clever production that really captured the atmosphere of central Australia.