The show ran on Broadway for 1597 performances over 4 years.

This updated version has had extra dialogue added by Michael Meyer, with the lyrics modified by Andrew Lippa.

The Murdoch Theatre Company actors, in their last show for the year, bring you this two-hour upbeat sparkling, light-hearted spectacular. There are three performances; for the Thursday and Friday night shows, the curtain rises at 7.00 pm, and on Saturday 3^rd December at the earlier time of 5.30 pm.

The scene is Charlie’s schoolyard. The set is symbolic, being a delightful replica of the cartoon strip that we all love. A background of blue skies, clouds, a lone fir tree, a mailbox and a water hydrant; all painted in primary colours. There is a big, red kennel with a flat area on the roof – where Snoopy sleeps.

On each side of the stage is a 4 x 12 metre high flat, showing reproductions of Peanuts cartoons. In the centre of each flat is a curtained doorway. The set design and much of the artistic construction was by Jess Bennett-Hullin, who had helpers working 18 hour days to meet the deadline.

Stage Manager Meagan Dux controlled the large cast flawlessly. The flies’ operator, Sean Wcislo, was also prompt and efficient.

       Everyone seems to like the dim, shy, insecure Charlie Brown (Oliver Kaiser), but is he really a ‘Good Man’? His friends come out to praise him, but all with reservations. Today he is late for the school bus again, and despite Pig Pen (Mike Casas) holding the bus back, Charlie misses it, watching as his friends Violet (Paige Mews), Tapioca Pudding (Claire Tebbutt), Peppermint Patty (Tijana Šimić), Marcie (Rhiannon Moon), Pig Tail Girl (Briana Dunn), Patty (Isla McLeod), Peggy Jean (Grace Pusey) and Sherman (Justin Crossley) disappear into the distance.

     Snoopy (Thomas Dimmick) just turns over and goes back to sleep on top of his kennel, even when his yellow friend, Woodstock (Nashyhithah MD Zaini) arrives for a chat, he remains asleep.

     Charlie is infatuated with the red-haired girl whom he sees each lunchtime, but cannot even look at her without becoming nervous.

     Musical prodigy, Schroeder (Launcelot Ronzan) is fixated with Beethoven, and constantly plays the ‘Moonlight Sonata’ on his piano. Lucy (Paige Morawiec) adores Schroeder and explains to him how someday she will marry him and become Queen. The Intellect of the class, Linus (Will Moriarty), explains to his sister Lucy, that royalty is inherited – but Lucy is not discouraged. Despite his brains, Linus is a child at heart and is devastated when he mislays his security blanket.

       Charlie’s attractive, but dumb sister Sally (Corina Brown) cannot understand why her art class sculpture, made from coat hangers, only got a ‘D’. To cheer Sally up, Snoopy takes her rabbit hunting, but the ballet dancing bunny (Emily Botje) seems to escape every time.

       Snoopy sits on his kennel, and fanaticises of the years he was a fighter pilot in World War I and how he defeated the infamous Red Baron.

Director, Keaton Howe and his assistant director Claire Mosel had to find a cast that could sing well, dance gracefully and have good stage presence, whilst displaying exuberance and energy throughout the show. What a great cast they gathered. The show’s vocal coach (Thomas Dimmick) ensured the whole cast were speaking precisely and with the same drawl.

With numbers like ‘Linus’ blanket’ and the ‘Beethoven tribute’ combined the choreographers (Kelly Buckle, Sara Bluntish, Emily Botje) demanding routines led by the dance captain, Emily Botje, the tongue twisting lyrics flowed smoothly and the smiles never left the chorus’s faces. Snoopy’s solo number about his food and sloth was hilarious.

The play’s copyrighters supplied the quirky, lively music on CD. This ensured a well-balanced musical accompaniment, but CDs are unforgiving if a performer mixes up their lines or stumbles over a phrase. Musical director (Kelly Buckle) gave the cast vocal and singing guidance; with some of the major performers being talented singers, the musical numbers were perfect. In such a musical, maintaining the characterisation is more important than the vocal range or richness of tones, so that Schroeder, Lucy and Sally were most entertaining.

Jess Bennett-Hullin’s costume designs were well tailored and colour co-ordinated in simple primary colours. A great deal of attention has been given to matching any patterns with the cartoon characters e.g. Charlie’s zigzag shirt design.

Lighting designer and operator, Shannen Precious again gave us the primary colours as sky light, with some delightful effects for a star-lit sky and Snoopy’s fighting plane attacks. Shannon has teamed up well with the sound designer and operator, Katie Southwell to ensure a bright and lively event.

Finally, a quality, comedic delivery was essential. This cast had good chemistry and perfectly captured the essence of the Peanuts cartoons. From Charlie’s deadpan ‘loser’ expression; to his temperamental sister, Sally, who was too thick to realise her failures. With the fine work of the directors the characters really came to life.

This would be the perfect show to bring your kids along to – as an excuse to see it yourself! This very professional musical is for everyone! It is not often these days to have a theatre show that ALL of the family can enjoy – from age 5 to 95.

An absolute delight.

This lively dramatic production can be seen for three nights only at the Nexus Theatre, at Murdoch University, 90 South Street, Murdoch on Thursday, Friday and Saturday night at 7.00, until 20^th August.

The scene is the exercise yard of a compound owned by ‘One World Corporation’. Limestone walls, topped with barbed wire (Designer Allison Bell almost single handed constructed and painted this very realistic set. She had some assistance from John Bailey) surround the area. Overlooking the area is the promotions manager’s office. On a higher level (almost in the lighting grid) stands George Orwell.

At each side of the stage was a TV monitor showing Supervisor Felicity and the sufferings of Julia (Filming by Taylor Gilbert, AV by Blearnard Suarez).

Visible through chinks in the rear limestone wall are the musicians. On Keyboard – Kenn Ellis and Nick Ireland, Cello – Caitlyn Harrison, Drums – Liam Richer, Bass – Chris Heindl, Guitar – Mike Gorman and Trombone – Ned Holland.

A slick show, thanks to Production Manager Thomas Dimmick with his fast and efficient team, under Stage Manager Brianna Lea, who was assisted by Tijana Simich.

       The curtains rise to show us a smartly dressed woman, Roberta (Cat Perez), with a bejewelled pendant of an ever-watching eye around her neck. The ‘eye’ is the symbol of the ‘One World Corporation’ that is having a Memory Day Celebration. Roberta has a small computer attached to her scalp, which, like her armband glows with a blue light (Props, Dean Lovatt). It appears she is in great discomfort from the flickering head unit.

     The celebrations begin with a line of tap-dancing girls, dressed in black leotards and sporting lime green top hats. On the back of their costumes, once again, is the big brother eye. As they finish their routine, the smiles disappear as the hoodies with black masks, under the command of security chief, Will (Will Moriarty) move in and capture the performers. Next time we see the dancers they are wearing armbands and are now ‘committed’ members of the Corporation. The Corporation believes in ‘one voice’ for the benefit of all.

     When Ian Winston’s (Launcelot Ronzan) armband flashes, it means that the power is low and the brainwashing propaganda is not reaching his mind. As a result, Ian, who is Head of Propaganda, seems to be having doubt as to the ethics of his job in this fragile world, as the inmates are like zombies or automatons, void of expression.

     For some unknown reason, one of the Corporation’s members, Julia (Deirdre Khoo), seems to get preferential treatment – this forces Felicity (Rebecca Dilley) the supreme supervisor who looks after the women’s ‘welfare’, to pick on her.

     On high, dressed in a full-length black leather coat, is the omnipotent Orwell, the creator of the Corporation. When Orwell notices that some of the team are rebelling, she sends in her Assistant (Michael Casas).

       With the activated armbands fading rapidly on many of the inmates, and with the brain-washing power fading, could this be their chance for a revolution?

The versatile Ensemble comprised – Tay Broadley, Justin Crossley, Bella Doyle, Andrew Haning, Andrea Kendrick, Abbey McCaughan, Claire Mosel, Ellin Sears, Gema Seenarain, Ashleigh Spring, Clare Talbot, Sean Wcislo, Nashy MZ. This ensemble is includes drama / acting students, but in support of their PhD student friends, they were happy to take themselves out of their comfort zones by singing and dancing with gusto. The dancers may not have been quite top rate, and some singers lacking a little in vocal range, but the performers gave the play everything that they could. Many congratulations.

Sarah Courtis in writing the script and lyrics has produced a most interesting storyline, with great dialogue and engrossing lyrics; but what I found most ingenious was her ability to carry through Orwell’s original style of writing. Along with Sarah’s imaginative directing, the lyrics clearly encompassed the bullying by the supervisors, such as Will’s intimidation and the wonderfully powerful, gritty tones of Roberta (Cat Perez). In a variety of musical styles, a couple of scenes later there were a couple of soft, heartrending songs by Julia (Deidre Khoo).

Choreographer Ellin Sears skilfully gave us the ‘big show opening’ with the bright, bouncy tap chorus. Soon the joyful atmosphere turned to one of drama, as the cast became antagonistic inmates, stomping through a song. There was a delightful ballet scene, rapidly followed by a revolutionary march that could match ‘Les Miserables’ in its threatening power. There followed a tricky Busby Berkeley-style concentric circle dance routine which worked very well.

Nick Choo conducted his musicians through his clever compositions, with carefully selected instruments to match the mood. One scene had staccato strings; next there was the pounding, full power of the band that almost achieved orchestral richness with the limited instruments. Clever arrangement.

The lighting was well considered by Lighting Designer, Katie Southwell and smoothly operated by Shannon Precious. The Sound Design was the work of Christian Mulchinock and operated by Corina Brown. Achieving a balance for a band packed into a small enclosed space, coupled with controlling the dreaded headsets for the lead singers was no mean task. Both worked perfectly, well done.

The final touch to this fast moving drama was the costumes, audaciously designed by Jenia Gladziejewski, Ellin Sears and Sarah Courtis. It would have been easy to just have the dancers in standard black leotards, but the extra ‘eye adornment’ made them relevant to the story. Inventive little touches, like Ian’s leather gauntlet and the ghostly white mask dance gave the show a big budget look – whist being produced on a shoestring.

I learnt afterwards that the show had minimal rehearsal time, and yet the product that was delivered was most professional. A clever show that hit all of the senses.

She is also a member of Ensemble Studio Theater’s Youngblood, a group of emerging playwrights under the age of 30.

This 80-minute (no interval), Black Martini Theatre’s production can be seen for a sensible ticket price, in Murdoch University’s Studio 411, opposite car park 4 in Murdoch University, South Street, Murdoch. The curtain rises at 7.00 pm each evening, until Saturday 11^th June.

Thomas Dimmick’s lounge room set design was representational of the New England 18^th century wood panelled rooms. There was a patio window with a rod curtain. In the corner was a toy box. Central stage was an Axminster runner carpet with several beautiful antique chairs.

Stage manager Rebecca Dilley, assisted by Sean Wcislo had one of the best stage teams I have seen in months. Even with major pieces of furniture, each member was totally focused and moved onto the stage, placed or removed the props and left, with no scene change taking more than 3 or 4 seconds. Superb work.

       Mrs March, Marmee (Maddy Jolly Fuentes) has gathered her four daughters in the sitting room. She tells them how their father had been wounded in the Civil War, and that she must go to his side. The girls’ faces showed their devastation at the news, however, when their mother left the room the mood changed.

      Happy but sickly Beth (Virginia Cole) coughs into her handkerchief and sets off to see elderly Mr Lawrence (Michael Casas) in an attempt to borrow money to pay for her mother’s trip.  Uncaring and self-centred, thirteen year old Amy (Claire Tebbutt) immediately complains about the economies that will be required to pay for the mother’s ticket. Meg (Cat Perez) starts to fantasise about meeting a man, because in their remote home she has never even met one.

      Meg decides that they should put on a play to cheer themselves up. Bolshie and politically inclined Jo (Shannen Precious), being the most verbose and snide, is insistent on playing the male part. Then like a gift from God, handsome, alluring Laurie (Hock Edwards) appears, Meg is excited, could this be her big chance? Unfortunately, Laurie sets off to travel the world. The family receive a visit from John, sorry, ‘call me Mr Brooke’ (Matthew Abercromby) – Meg is happy again.

     When the dashing German Professor Bhaer (Will Moriarty) arrives, Jo shuns his attentions. Will she never marry?

 

As you may gather, this play is NOT a version of Louisa May’s Civil War novel, ‘Little Women’, it is more of an anti-play. It mocks the mellifluous overtones of the original, being full of dry, sarcastic and disrespectful humour, in a superbly written, acerbic script.

Director, Jessica Serio, has presented a first-class comedy, by selecting a magnificent cast who fully understand the subtleties of the author’s writing. Jess has staged the play as though it were a BBC tv series, complete with fine costumes (costume design – Anna Weir) and clever lighting (design – Kiah Van Vlijmen). The choice of background music and sound effects by designer Tijana Šimić are perfect.

The cast enunciate and deliver their lines as would be expected for the original, but the brazen attitude of the daughters, and their outlook on life, is very much contemporary. The sisters can be real bitches to each other. The understated, almost throw away delivery coupled with a perfect pace, added greatly to the zany situation.

This is one of the funniest plays in months that works particularly well because of the skilled team presenting it.

‘Punk Rock’ premiered at the London’s ‘Royal Exchange Theatre’ in 2009. Although it has crude and inappropriate language throughout, it is still frequently chosen as a final year text for UK schools.

The Murdoch Theatre Company (MTC), in Studio 411 Theatre (off Car Park 4) at Murdoch University, South Street, Murdoch, is producing this drama, with music.

The one and a half hour performances (no interval) can be seen nightly at 7.30 until Saturday 30^th April.

 The scene is the second floor library of a fee-paying grammar school in working class Stockport, a southern suburb of Manchester. The set shows a large bay window with small leaded panes, and a box seat the length of the window. There are oak student lockers, tables and chairs, but the whole schoolroom has the appearance of decay and lack of funding. The designer of this quality set was Jessica Bennett-Hullin assisted by Ellie Hopwood. The set construction was by Michael Bennett-Hullin, Jessica Bennett-Hullin, William Burgess and Mathew Neale.

The school costumes were all handmade including skirts and trousers. There were specially designed school badges for the blouses and jackets, a huge amount of work, by Ellie Hopwood, Jessica Bennett-Hullin and Anna Weir.

The production manager, Claire Mosel, and her stage manager Grace Pusey have manged to pull this major production together beautifully.

        Seated in the library, studying for his mock exams is teenager, William (Mike Casas), an intelligent pupil who tends to fantasise. When the new girl, Lilly (Paige Mews), who has just moved to the area from Cambridge enters the room, William is only too willing to help her settle in. The next to enter is the heartthrob of the class, Nicholas (Will Moriarty) who is more interested in the older women than students.

       The pleasant conversation is soon broken by the arrival of the class bully, Bennett (Thomas Dimmick), who is crass with the girls as well as degrading with the boys. He creates conflict wherever he goes. Even his girlfriend Cissy (Bella Doyle) only tolerates him because of his perceived power. When Bennett abuses her friend Tanya (Shannen Precious), Cissy is too scared to support her despite Tanya’s obvious inner turmoil.

       Almost unseen, the school genius, Chadwick Meade (Sean Wcislo) enters the library. As soon as he spots Bennett, he begins to tremble and stammer. Bennett loves to see him suffer by pointing out his sexual inadequacies.

       It is not long before there is a tragedy at the school; will they ever be the same again?

I don’t normally quote paragraphs of dialogue from plays, but this drama has what is considered one of the best monologues in modern writing, when near the end, Chadwick Meade says:-

‘Human beings are pathetic. Everything human beings do, finishes up bad in the end. Everything good human beings ever make is built on something monstrous. Nothing lasts. We certainly won’t.

We could have made something really extraordinary and we won’t. We’ve been around one hundred thousand years. We’ll have died out before the next two hundred. You know what we’ve got to look forward to?

You know what will define the next two hundred years?

Religions will become brutalized; crime rates will become hysterical; everybody will become addicted to internet sex; suicide will become fashionable; there’ll be famine; there’ll be floods; there’ll be fires in the major cities of the Western world. Our education systems will become battered. Our health services unsustainable; our police forces unmanageable; our governments corrupt. There’ll be open brutality in the streets; there’ll be nuclear war; massive depletion of resources on every level; insanely increasing third-world population. It’s happening already. It’s happening now.

Thousands die every summer from floods in the Indian monsoon season.

Africans from Senegal wash up on the beaches of the Mediterranean and get looked after by guilty liberal holiday-makers.

Somalians wait in hostels in Malta or prison islands north of Australia.

Hundreds die of heat or fire every year in Paris. Or California. Or Athens.

The oceans will rise. The cities will flood. The power stations will flood. Airports will flood. Species will vanish forever. Including ours.

So if you think I’m worried by you calling me names, Bennet, you little, little boy, you are fucking kidding yourself’.

 On arrival at the theatre, a clue as to the play content is given by the front of house, St Trinians schoolgirls Kiah Van Vlijmen, Claire Mosel and Rhiannon Moon. In the theatre a feature punk duet, Michael Bennett-Hullin and William Burgess, belted out the preshow music. They also filled in briefly between the scenes.

Bella Doyle and Shannen Precious’s clever lighting design changed subtly with the mood of the classroom conversation (carefully operated by Tijana Simic). Combined Corina Brown’s sound design (operated by Jordan Baynes) the atmosphere was electric.

The magnificent director was Tay Broadley, who along with his co-director Justin Crossley and assistant Katie Southwell, have given us a drama to remember. The choice of cast was perfect. Each actor completely understood and captured the depth of their character’s strengths and weaknesses. The team had impeccable chemistry and timing. Tay has cleverly decided on the slow, underplayed delivery for most of the play, only turning up the drama at specific harrowing points. This took the audience’s breath away several times.

When the play finished there was silence before a half-hearted applause began. I just want the actors to know that this did not reflect the audience’s full appreciation, only that they were stunned and drained – such was the power of the acting. When the cast left the stage, again the audience sat numb. It was clear that a few tears had been cast.

This is one of the most powerful and challenging plays that I have seen in years. Everyone concerned should be extremely proud of their success.