Poppy Rogers🥉 - Whats The Show

Primal

28/01/2026 Poppy Rogers🥉

Primal Rating

★★★★★

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It’s the most wonderful time of the year! No, not Christmas, Fringe World Festival! It’s a time where Northbridge is abuzz with chatter of people who have just been to see a show and may not be quite sure what they just witnessed but loved it anyway, and the excitement of those on the way to their very first Fringe experience. It’s a time that brings people of all ages into the city and there truly is something for everyone…you just have to know what to choose. And there comes the hardest part of Fringe; there are SO many shows to choose from, with many a talented artist or group having toiled away for months or years to bring it to life with all their blood, sweat and I’m sure a lot of tears, only to experience small audiences. Quality over quantity definitely counts in some cases, with an engaged crowd providing the energy the artists thrive off to deliver their very best work.

One show that is definitely not light on energy from either the artists or the crowd is Primal, described as a circus for grown-ups inspired by the raw energy of the animal kingdom and the complexities of human relationships. From the opening musical number we were hooked; this 65-minute thrill ride in the Heath Ledger Theatre at the State Theatre Centre of WA, had me unsure of whether to be amazed or terrified with the strength and flexibility of this suite of performers. Clearly I’m getting old when I’m thinking ‘wow that is incredible, but how is she not hurting her neck?!’

From burlesque numbers, to amazing aerial acrobatics and sheer displays of female strength with the subversion of traditional gender roles, with some comic relief thrown in, Primal is exactly the sort of show that Fringe is all about. With a blank stage as their canvas, you weren’t distracted by fancy set pieces and became fully engaged, if not mesmerised by each act. The amount of trust the performers had in each other was clear as the tension in the theatre built of where they would take the show next. We had been instructed by the show’s fabulous emcee to hoot and holler as much as we wanted and the audience grasped that challenge with all their might. One stand out act in particular, early in the show had me waiting for the fire sprinklers in the theatre to go off, partly due to the heat between the performers.

I almost don’t know how to describe this show further without spoiling it, so you’re just going to have to trust me when I say this is one of the must-see shows of this year’s festival.

Primal runs daily from Wednesday 28th Jan to Sunday 1st Feb. While there is a matinee on the Saturday and Sunday for those who prefer to be ‘home by 9’; don’t let that fool you, this is an 18+ show.

With one week down and three more to go, there is plenty of time to experience the buzz of Fringe. Get out there and see as much as you can, big or small. Sure, ask your friends for recommendations but above all pick some random shows, because you never know what you may find…and that is the best part of Fringe.

To book tickets to Primal, please visit https://fringeworld.com.au/whats-on/primal-fw2026.

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The Vicar of Dibley

25/11/202525/11/2025 Poppy Rogers🥉

The Vicar of Dibley Rating

★★★★★

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Bringing to life any stage adaptation featuring not only well known, but well-loved characters is no mean feat, but The Limelight Theatre in Wanneroo has taken on the challenge with full force in their November season of The Vicar of Dibley.

Crowds were lined up all the way outside the venue when we arrived, eagerly awaiting this matinee performance on a sunny Sunday. If the front of house volunteers were at all overwhelmed by the rush of people, they didn’t show it, as they scanned tickets and shuffled us all to our seats for the performance to begin.

The hit 90’s show, which this play follows, is set in the small village of Dibley, where, following the death of their long-time vicar, the parish eagerly awaits the arrival of his successor, only to be confronted with a female vicar, ready to challenge the way things are done. Based on the Dawn French led series created by Richard Curtis, the stage play has been adapted by Ian Gower and Paul Carpenter.

The production was impeccably cast, with many whispers amongst the packed audience each time a new character appeared. Leisha Fox was unwaveringly spot on in her portrayal of the iconic Geraldine Granger, from the voice to her mannerisms; you could get so caught up in her performance you may forget you weren’t looking at Dawn French. Em Carver’s silly and sweet Alice Tinker was a joy to watch and the chemistry between her and the vicar, as well as with love-struck Hugo (Limelight regular Jason Pearce) made for very convincing performances.

Gordon Park was suitably snobbish as Parish Council Chairman David Horton and there was almost an audible cringe from the crowd each time Chris Juckes’ Owen Newitt spoke, oblivious to his tendency to overshare. Roger Oakes, as fan favourite Jim Trott and Ajay Karia as Frank Pickles made great additions to this strong cast in their supporting roles, and Gwen Browning was subtly wonderful to watch as experimental cook Mrs Cropley.

Director Shelley McGinn also happens to be the group’s Wardrobe Manager, and you can tell, with clear care taken on the details for each character’s costumes, for some of which there were many. The group made clever use of the stage, a split between the parish hall and the vicarage straight down the middle and a small section front of stage for the traditional end-of-episode chats between Alice and Geraldine.

Unlike some stage adaptations of TV shows that are a standalone story, The Vicar of Dibley play is a compilation of episodes of the show bringing familiar moments and jokes to the stage. So well-remembered is this show, I could often hear people around me finishing the lines before the cast had a chance; it was hard to find it anything but charming when I was doing the same in my head.

For those wanting to join in the fun, I am delighted for the group that there are only very limited tickets remaining, so you’ll want to be quick. It’s great to see so many people back out supporting community theatre with shows achieving more than one sell out performance in their run.

To book tickets to The Vicar of Dibley, please visit https://www.taztix.com.au/event/limelight/.

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One-Acts By Locals: Presented by JETS

12/04/2025 Poppy Rogers🥉

One-Acts By Locals Rating

★★★★★

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In recent years the Joondalup Encore Theatre (JETS) have relocated their performances from their home at Padbury Hall to the St Stephens High School Theatre in Duncraig. It’s an impressive space with comfortable seats and all the mod-cons you see in high school theatres these days; not like in my day where we would resort to hiring a stage for the drama room that seemed like something from Ikea, arriving in about 20 pieces, with the kids expected to construct it.

The premise of JETS’ April season is three one-act plays written by locals. I love that Community Theatre provides a platform for local talent, with years of experience or not, giving them a chance to share the stories that may have spent years in a notebook as an idea, or even a fully fleshed out script.

The first half of the evening featured two plays by Johnny Grim, ‘A Little Love and Understanding’ and ‘Jilted Lovers Helpline’. As we entered the theatre, the stage was already set with three men happily chatting at a table, drinks in hand; as the lights dimmed, the conversation grew louder, making a natural start to ‘A Little Love and Understanding’. Mike’s wife is ready to leave him, and he is completely clueless as to why, so he seeks guidance from his two friends (who aren’t exactly living love’s young dream themselves) and his two grown up daughters. Cue conversations about the changes in relationships from the early days of flowers, date nights and romantic gestures to the mundane tasks of everyday life and responsibilities of family that tend to get in the way as the years go by.

‘A Little Love and Understanding’ features a talented cast who drew the audience into the situation, much of the conversation being relatable to the audience in one way or another. The set was simple but effective, good use of props and movement around the space, while subtle perfectly suited the situation.

Gone are the days of the slow open and close of curtains between every scene, audiences nowadays will quite happily sit and watch the quick shuffle of sets between scenes, it feels preferable to be waiting awkwardly for what can feel like an eternity for the curtains to open once again. JETS made clever use of the space with most of what was needed for the first two plays on stage from the start, featuring as background pieces, and then switched out to front and centre when required.

In ‘Jilted Lovers Helpline’ we are introduced to receptionists Mary and Jasmine who are on the frontline of calls from women scorned and men on the verge of a mental breakdown all due to a little thing called love. The two actresses kept us engaged in both their conversations with the aforementioned jilted lovers on the phone, and their own workplace interactions including a conversation around whether you would actually split lotto winnings having bought a ticket for a friend that won (something I’m sure we’ve all considered). Again, the simple set – a couple of desks, computers and accessories worked well for the script which included a few real laugh out loud moments.

Following a short interval we returned for ‘Playing for Sheep Stations’ written by Audrey Poor, where we were taken into a nursing home where the Bingo stakes are high and we see that high school style drama and office politics don’t end, even once you’re elderly. The largest cast of the night featured in a story that both made you laugh and tugged at your heartstrings around the harsh reality of aging. The largest cast of the night bounced off each other well in this enjoyable piece.

With four shows only across one weekend it takes an ambitious group, so well done to JETS. Although I’m sure the cast and crew’s exhaustion will be outweighed by the buzz of performing.

To book tickets to One-Acts By Locals, please visit https://www.taztix.com.au/jets/.

Performance Dates:
April 12 @ 7.30pm
April 12 & 13 @ 2.00pm
Tickets:
$25 Adult, $20 Concession
Groups of 5+ @ $18 each

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Midnight Murder at Hamlington Hall

04/04/202530/03/2025 Poppy Rogers🥉

Midnight Murder at Hamlington Hall Rating

★★★★★

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This was my first time at The Garrick Theatre in Guildford, where patrons are warmly welcomed by the smiling front of house team.

Those of us in amateur theatre truly know it takes the assistance of many people to bring a show to life, not just those on stage; whether it’s long-standing members of the group, or the spouses and family who have been dragged along to help out. The experience of live theatre begins from the moment you enter the venue and friendly faces and enthusiastic raffle ticket sellers ensure the evening starts on the right note.

It is that hard work and determination that makes up the premise for Midnight Murder at Hamlington Hall, and the age old saying ‘the show must go on’ no matter how dire things become.

It’s opening night of a new murder mystery. Seven of the cast are down with the dreaded lurgy and local councillors will be in attendance to decide the fate of the club’s funding and future. So, the Middling Cove Players’ director, two of the remaining actors, a stage manager who is only there to serve her community service hours and her 13-year old niece band together to ensure Midnight Murder at Hamlington Hall takes to the stage as planned. Juggling nerves, props, and absurd miscasting, will they manage to pull it off? Or will everything go horribly and terribly wrong?

Bringing nearly 60 years of theatre experience between them, Kirstie Francis and Sarah House have banded together to direct this Australian farce, written by Mark Kilmurray and Jamie Oxenbould.

Act one takes us behind the scenes as the Middling Cove Players’ arrive ahead of the evening’s performance. Stage manager Karen (Jay Shaw) is hard at work trying to fix the sound system, the group’s leading lady Phillipa (Meredith Hunter) is in the middle of her lengthy warm up routine, Director Shane (Jim Brown) who is not-so-secretly in love with Phillipa, is struggling to contain his nerves, and Barney (Jarrod Buttery), who can only be described as the person in any group you try to avoid, is ready to provide unwarranted advice.

When the cast receive the news that the rest of the players won’t be making it to the show, the obvious thing to do is cancel; but with the fate of the group’s future hanging in the balance, Director Shane decides there’s only one thing to do – the remaining actors will just have to play multiple roles.

The opening night crowd at The Garrick Theatre was clearly a mix of theatre lovers, and theatre folk; with many a relatable moment of life in the world of community theatre gaining a chuckle or slight cringe from those who know the feeling all too well.

After the interval, the stage is set, and The Middling Cove Players’ production begins, following a suitably awkward front-of-stage welcome by Director Shane, where various members of the audience audition unsuccessfully to fill some remaining roles until latecomer Richard (Jack Riches) is thrown backstage and cast into the spotlight. The production starts off well enough, but soon descends into chaos with the realisation that several of the characters being played by one person are on stage at the same time. To complicate matters further the group find themselves running out of time to finish the show with Jenny’s 21st Birthday party, complete with a DJ, due to start in the hall next door any minute.

Any farce strongly relies on the comic timing of its actors and can be a challenge to get right, but this talented cast of recognisable local actors are spot on; you can feel the tension and determination of their characters to ensure that the show does go on. Juggling multiple costumes, accents, and props can be tricky at the best of times, but the degree of difficulty to make the production look like a shambles (think The Play That Goes Wrong) requires a great cast and strong direction, which The Garrick Theatre Club delivered in spades.

Most groups often joke that you could write a play about the behind-the-scenes drama of amateur theatre because nobody would believe half of what goes on. So it’s a joy to watch when someone actually does, even if it does, at times, feel a bit too close to home.

To book tickets to Midnight Murder at Hamlington Hall, please visit https://www.taztix.com.au/garricktheatre/.

Performance Dates:
March 29 at 7.30pm
April 3, 4, 5, 10, 11, 12 at 7.30pm
March 30 at 2pm
April 5 and 6 at 2pm
Tickets: Adult $28, Concession $23, Members $22.
Processing fees apply.
Bookings: Phone TAZ Tix 9255 3336 or BOOK ONLINE

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Poppy Rogers🥉

Spread the word on your favourite platform!

Spread the word on your favourite platform!

Spread the word on your favourite platform!

Spread the word on your favourite platform!

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