This world famous and much-loved story is now being presented by the Stirling Players at the Stirling Theatre, Morris Place, Innaloo. The performances are at 8.00 pm on Thursday, Friday and Saturday nights until the 16^th July. There are also Sunday matinées on the 3^rd and 10^th July at 2.00 pm.

The fascinating foyer displays by Fran Gordon, Bree Vreedenberg and Kevin Forward set the mood. The usherettes are dressed in white and gold with pillbox hats.

It is the winter of 1938-39, just months before the start of the Second World War.

At the side of the stage on the apron is the corner of Laura’s swish sitting room. At the other side of the stage is cinema seating and the lounge in Alec’s flat.

The main stage depicts a railway tearoom furnished with black tables and bentwood chairs. There is a coal stove burning against one wall. To the side is a large, cafe counter with various cakes and crockery. The back wall has a photo of a railway station roof projected onto it (operator Jane Sherwood, with film footage from Fuller Media).

Another scene is a plush, candlelit restaurant brought to life by its dapper waiters, tablecloths and vases of flowers. The effect is completed with an impressive, illuminated chandelier.

A riverside scene is simple, but most effective. Despite the number of settings, each one was fully furnished with numerous props of the era. Fran Gordon, Emma den Hartog and Joel Howe’s costumes were stunning and perfectly selected. It was obvious what a huge amount of work had gone into the set design, furnishings and costumes to create the perfect mood.

      As Dr. Alec Harvey (Glenn Scott) enters the Milford railway station tearoom, he notices a smartly dressed lady trying to wash a mite of train smoke from her eye. She is, Laura Jesson (Maree Andersen) a bored and ignored housewife. As the couple share a table, the tearoom manager, Myrtle (Ann Speicher) watches them, intrigued by the warmth of their conversation. She is initially unaware of the advances being made to her by the stationmaster, Albert (Hadrian Fuller).

     Just as the young waitress, Beryl (Simonne Matthews) clears the tables and puts another lump of coal on the fire, the platform service boy, Stanley (Zack Inglis) comes into the café to have his tray replenished, and to smile longingly at Beryl. Two soldiers on leave, Bill (Damien Johnson) and Johnnie (William Errey) stagger into the café and create havoc.

   The married woman and the married doctor agree to meet for a cinema matinée the following Thursday – purely for the company. We see Laura arriving home; she kisses goodnight to her son, Bobbie (Charlie Motbey) and her daughter, Margaret (Lakeesha Motbey) before trying – unsuccessfully – to have a sensible conversation with her disinterested husband, Fred (Craig Edwards).

     Both with loveless marriages, the couple have no qualms at meeting again. As they enjoy a sumptuous meal after the film, they are unaware that two of Laura’s nosey and interfering neighbours, Hermione (Karin Staflund) and Mary (Liz Pemberton) have spotted them and are approaching in search of gossip.

     How will the love affair develop? Will they make love secretly in this morally unacceptable affair?

      Janet Brandwood and Oliver Kaiser played multiple cameos, giving depth to the storyline.

The musical numbers have been beautifully created and orchestrated by Bree Vreedenburgh, from the copyrighter’s score. The music plays very subtly in the background throughout the play, thanks to smooth operator, Melissa Skeffington. Young Zack and Simonne’s singing was delivered with feeling, and Karin and Liz gave a powerful backing chorus to several songs. Ann brought a smile with her vivacious and saucy delivery. The excellent musical interludes were often used to ‘cover’ the set changes (very efficiently carried out by the cast under the supervision of stage manager Janet Brandwood).

Ian Wilson’s lighting design is always good, but for this show it is exceptional; complex in design and filled with atmosphere. Paul Anderson had the nightmare of operating the numerous changes, but he carried out the task smoothly and with accuracy.

The low point of the play was the dreaded headsets. I appreciate that these can be very expensive, but some crackled and others dropped out. The experienced operator was probably as frustrated as the audience was. I suspect that the complete sound desk needs an overhaul, as even the speakers seemed a little unreliable too. Perhaps ditch the aging headsets and let the performers use their theatre skills? The techs were very aware of the problem, and as it was the preview I was attending, then I am sure the problem will be cleared for the opening night.

The stunningly beautiful and sensitive 1945 David Lean film was in black and white, with very few scenes filmed outside of Carnforth Station. The film’s brilliant camera work was by a Perth born cinematographer, Robert Krasker. The 1945 film was made just after WW2, at a time when virtually no one would have intimate relations before marriage. Then in 1974, just after the Free Love era of the 60s, Carlo Ponti brought out a dreadful, brash Technicoloured version that starred Ponti’s wife, Sophia Loren with Richard Burton. It was fussy, heavy handed and totally without atmosphere.

I was apprehensive as to which style the director, Jane Sherwood, would employ, and could the frustrated love translate to the stage? Thankfully, Ms Sherwood’s version was much nearer the original. Jane can be relied upon to check every aspect of her productions, ensuring depth and reality in every scene. Small touches like the train smoke drifting past the café, the dozens of railway sound effects. Her skilled direction ensured powerful and yet romantic performances from the couple, backed by a strong cast.

The play includes several Noel Coward songs, but it is not a musical, but rather a drama with songs. This blend of drama and music is the idea of the play’s adaptor, Emma Rice; and although she won an award for the adaptation, I felt it slowed the play down slightly and was even distracting.

Tackling a story that has lasted more than 70 years in the top 200 movies can be risky, as the audience will certainly have their own expectations, but this ambitious, quality and enjoyable production gave a very pleasant evening’s entertainment.

The demand for tickets has been enormous, so get in quickly for the night of your choice.

The first play, ‘The Kraken’, is PG rated and starts at 7.30 pm, with a matinée showing on Saturday 18th at 2.00 pm.

The second show, ‘The Darkness’, rated M+ – because of the subject matter – begins immediately after the first production.

‘The Kraken’ is a semi-autobiographical play, adapted by Cody Fullbrook from his favourite children’s book. Internationally acclaimed, Brisbane author, Gary Crew, wrote the book. Crew was generous and brave enough to allow Fullbrook to unreservedly make the adaptation.

Gary Crew, who started life as a draughtsman, did not publish his first book until he was 39 years old. Then, as an English teacher, he specialised in picture books for primary school-age readers, his awards include the prestigious ‘Children’s Book Council Book of the Year’ – four times. His illustrator is Marc McBride, who has a wonderful series of books on ‘How to draw Deltora’s monsters’. Crew also has awards for his adult detective fiction.

The Kraken

The word ‘Kraken’ is derived from the Scandinavian ‘Krake’ meaning ‘crooked’ and the German (plural) word meaning ‘octopus’.

 The scene is a coastal village in the south of WA. A jetty reaches out into the sea; waves are lapping (artwork Tekima Wiland, Jordy Roelofs). A freezing haar is drifting in. On shore is the back door of a house, with a table and chairs on the patio. On the main stage is the interior of a kitchen. The side of the kitchen bench has Christopher’s artwork displayed on it. Set by Wayne and Sheryl Gale and stage management by Shaun Griffin. The inspired foyer display is enhanced by Dean Goodwin’s photography.

Powerful and low cello and double bass music gives an eerie setting to the cruel sea setting. Slowly and softly, the musician / composer, Miro Kepinski introduces a piano accompaniment.

      It is late in the day when 16 year old Antonia (Simonne Matthews) takes her young brother, Christopher (James Matthews) to his favourite place, the end of the pier. Antonia is holding her kid brother’s hand because he is blind. Christopher has always shown a special interest in the sounds of the ocean. The sister is worried about the creepy darkness, but being blind, this is of no concern to Christopher.

      As they sit on the jetty, Antonia receives a disturbing phone call from her friend (Zack Inglis). At home, their Mum (Rachel Bartlett) answers the knock on the door, to find a saturated fisherman (Adrian Alajberg) selling fish – but strange things happen. The Mum calls her husband (Matthew Sullivan) who is on his way home, and standing on the station platform talking to a homeless man (Ron Arthurs). The father spots a strangely dressed old woman (Samm Coad-Ward) getting dangerously close to the edge of the platform.

      At home, Christopher chats to a young boy (Ethan Dixon) who is new to the area, unaware of the boy’s strange skin colour.

The three children were amazing actors, good strong assured diction and enunciation. The story was filled with intrigue and the suspense held until the very end. Most of the parts were short cameos, but the players managed to convincingly portray the full depth of the characters. Samm demonstrated that if you get the walk right, the character falls into place.

The tale is about various forms of fear – real and imagined.

Cody Fullbrook has brilliantly captured the feel of this story, and young adults will leave the theatre wanting to read the book.

The Darkness

‘The Darkness’ is a documentary style, contemporary play penned by Brisbane born, WA actor, Bethsaida Tapsall. Originally presented at the 2014 Perth Fringe Festival, this is a revamped and expanded version. This poetic drama is presented by Phoenix Theatre Inc., as part of their new ‘Local Writers’ Showcase’ season.

Starting at 8.30, this one-hour show immediately follows ‘The Kraken’ in the Memorial Hall Round Room in the Phoenix Theatre complex. The choice of this room is perfect, adding intimacy to the delicate subject being enacted. The slight echo of the room also adds an extra dimension to the storyline.

The room is set up as a church for a memorial service, with nightlight candles along the aisle. In the centre of performing area is a memorial with wreaths and tributes scattered around. On one side of the stage is a park bench, to the other, a nurse’s flat.

There is a mix of live acting and film. The video being projected onto each side of the ‘stage’. The video sound was a little variable due to inclement weather whilst filming, and not using a foam windsock on the microphone.

      Seated on a park bench is a middle-aged woman, Patricia (Melanie Hannah). She has three heavy bags of shopping, and so is waiting for her daughter Roxanne (Kate Lloyd) to meet her. However, there is a tragedy and Roxanne dies. In disbelief, the traumatised mother tries to explain her loss.

      Standing on her memorial stone is the ghost of a young girl in a fine shroud, it is the deceased Roxanne. The girl describes her last few moments before her death. Then the hospital nurse, Emilee (Karen Hansord) who is at home after a horrendous 12-hour shift, shares the shocks of her day.

       Roxanne’s sister and best friend, Cherish (Bethsaida Tapsall) is heartbroken at the loss of her soulmate, especially as she was about to introduce her boyfriend, William (Matt Sullivan) to the family.

       Gradually, we learn the full truth behind the relationships.

The writer / director combination rarely works, as often assumptions are made as to how well the story’s message is being conveyed to the audience. When the director is also an actor, the problem can be exacerbated. However, thanks to Bethsaida Tapsall’s finely honed talent, she has conquered all three tasks, presenting a subtle, powerful and moving play.

Miro Kepinski has composed the accompanying sensitive, subtle and moving musical background.

The talented cast guide us through the first, roller-coaster stages of mourning, showing the loss of love, feeling abandoned and then anger at being deserted by the deceased. The cast each had their own very different confronting outlook on the impact of death and managed to drive their message powerfully through to the audience.

Most adults will have experienced this ‘darkness’ that has been captured perfectly by a strong cast and the beautifully structured, heartrending script.