Breanna Redhead

Murder on the Magic School Bus

Murder on the Magic School Bus (Fringe World)

Murder on the Magic School Bus (Fringe World) Rating

★★★★★

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In a fun re-imaging of a nostalgic children’s favourite – Murder on the Magic School Bus is precisely what it makes out to be, promising just under an hour of laughs, twists and schoolyard drama.

In what could best be summarised as ‘The Breakfast Club’ meets a murder mystery, the show follows a class excursion to a crime scene-turned-disaster with the group left to resolve the death of one of their own.

Kate O’Sullivan is at the helm as the iconic Miss Frizzle, confidently leading pupils through a masterclass in criminology with great gusto.

The student pool is rounded out by the distinct archetypes of a typical school environment – a brain, an athlete, a basket case, a princess and a criminal – if you will.

Clare Boon earns a lot of laughs as ‘miss popular’ Lexi, bouncing well off Jasmine Ward’s brooding Ash. The pair share great chemistry with a fun, albeit unexplored, enemies to lovers type side plot.

Dominic Depiazzi shines as brainiac Jamie – commanding the stage with his strong presence. While Genevieve Wilson and Sarah-Beth Aldridge nicely round out the group as the sporty Sam and quiet Charlie respectively.

 

Murder on the Magic School Bus (Fringe World)
Murder on the Magic School Bus (Fringe World)

Callum Fairweather provides a good neutral ground among the smorgasbord of personalities, offering frank narration as victim Xavier.

While good use of the stage was made, with some particularly enjoyable ‘appearing’ props, blocking sometimes felt repetitive and lineal. The pacing could also be improved (though this could have been opening night jitters), with actors often interjecting one another in a bid to keep up with the quick-fire dialogue.

Props, however, must go to the cast for seamlessly adapting to the night’s chosen killer, in what appears to be open-ended every night, offering the right dose of audience interaction whilst still leaving enough to the imagination to bring keen audience members back for more.

Overall, this production is a fun concept, with sturdy foundations that I’d love to see further fleshed out, but nevertheless makes for an enjoyable night out to see some promising local talent take the stage.

To book tickets to Murder on the Magic School Bus (Fringe World), please visit https://fringeworld.com.au/whats_on/murder-on-the-magic-school-bus-fw2025

This year’s Fringeworld Festival Perth runs from 17 January to 16 February. For more information, please visit https://fringeworld.com.au.

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Bleak Expectations: Presented by Limelight Theatre

Bleak Expectations

Bleak Expectations Rating

★★★★★

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Adapted from a series of BBC radio plays, ‘Bleak Expectations’ puts a fun twist on Charles Dickens’s classic tale. It is well-staged and performed by the team at Limelight Theatre.

Narrated by a grown-up Pip Bin, we look back on his coming of age as a young man in a life full of twists, turns, and slapstick English humour.

Gordon Park guides our story as the older Pip, with a commanding stage presence that fills the stage. Jack Riches, who brings a refreshing, happy-go-lucky nature to the central role, portrays his younger counterpart with naivety.

Natalie Wiles and Mary Del Casale round out the trio of Bin children as Pip’s sisters, the strong-willed, ambitious Pippa and spritely Poppy. Del Casale particularly shines as the cheeky youngest sister and later brings humour to the pining Ripley.

Peter Giles and Shayla Brown complete the family as mum and dad, with Brown to be commended for embracing her character’s rather bizarre arc with full force.

Tomas Kinshela is a stand-out as best friend Harry Biscuit, who brings a certain candidness to the character that is a pleasure to watch. Some of his finer moments play out when he is not the focus of a scene, with excellent nuisances and mannerisms if you’re lucky to catch them.

 

Bleak Expectations
Bleak Expectations
Bleak Expectations

Also a highlight is Jason Pearce, who is comedic gold in his smorgasbord of roles—the Act 2 courtroom scene is a particularly memorable moment.

And what is a show without its villain – Mr Benevolent – which Gareth Bishop brings great life to. Across the board, the cast is to be commended for the high energy on-stage from start to finish.

The set for this production is rather impressive. The design team—led by Roger Oakes—created a single multi-level piece that largely serves as the family home and is used well throughout, with simple added dressings to help establish different locations.

Bold and colourful costumes from Julie Clark also help to transport us back to the 1800s.

All in all, this comedy is exactly that—a laugh-a-minute show that serves as a great escape from reality for an evening. Director Barry Lefort has put together a solid production lifted by a cast that looks like they are having an absolute ball on stage.

For Bookings, phone TAZ Tix at 9255 3336 or book online @ https://www.taztix.com.au/limelight/

Venue: Limelight Theatre
Civic Drive, Wanneroo

Performance Dates: September 12, 13, 14, 19, 20, 21, 22*, 26, 27, 28

Times: Evenings at 7.30pm, *Matinees at 2pm

Tickets: $27 Adult, $22 Concession (seniors/students),
$20 Member, Groups 20+ $22 each
processing fees apply

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The Guy Who Didn’t Like Musicals

The Guy Who Didn't Like Musicals

The Guy Who Didn’t Like Musicals Rating

★★★★★

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Picture this: a meteor has crashed and landed in your peaceful town, and a horrible illness is slowly infecting the townsfolk, causing them to face one of life’s greatest horrors – singing and dancing as if they were in a musical.

This is the basis of StarKid Productions’ ‘The Guy Who Didn’t Like Musicals’ – brought to life for the very first time in Western Australia by Art In Motion Theatre Company.

Joshua Hollander is the titular ‘Guy’ – also known as Paul Matthews – with the remaining cast work to bring to life a sea of characters as he navigates this world-ending disaster. By his side is the equally normal Emma Perkins, portrayed by Escher Roe. The pair work well as the show ‘simpletons’ in contrast to the other more exuberant characters.

Among the other ever-changing roles, Brittany Isaia shines as Paul’s co-worker Charlotte in a hilarious performance. A WA Starkid veteran, she has certainly found her niche. She’s coupled well against Blair Price-Morgan as Ted, a great young talent whom I look forward to seeing more of in the future.

Attempting to cure the mysterious disease is Artorius Emanuel as Professor Hidgens, whose ‘show-stopping number’ was a crowd favorite.

 

The Guy Who Didn't Like Musicals
The Guy Who Didn't Like Musicals

Clayton van Dijk brings nervous energy to Bill Woodward, with Georgia McGivern rounding out the group in a number of smaller roles and bringing great energy to the stage.

A personal highlight was Mathew Leak’s performance as both Mr Davidson and Sam Sweetly. Not only was his vocal performance strong, but Leak’s pure enthusiasm and joy simply radiated from the stage, and I couldn’t help but smile whenever he entered a scene.

On the note of enthusiasm, the amount of passion in the room—both on stage and in the audience—was really special. It’s no secret that StarKid has a cult following, and it was duly noted how captivated audience members were to finally see this show in person for the first time locally.

Also to be commended is the band, who are note perfect under the guidance of Zac Skelton. Extremely well executed they seamlessly fit in with the show so smoothly they almost go unnoticed. The music is partnered with trade-mark theater choreography, from Keri Baker, and performed with an appropriate level of cheesiness.

While diction and pacing in some areas could be improved – this production makes for a fun night out whether you’re a serial fan or a first-time viewer. Director Micheal Carroll has delivered a solid show that was clearly well-received by audiences.

With only 3 shows remaining in the season, you best book your tickets quickly @ https://drpac.sales.ticketsearch.com/sales/salesevent/135674

Remaining Sessions:-

  • 13th Sep – 7:30 pm
  • 14th Sep – 7:30 pm
  • 15th Sep – 2 pm

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Same Time Next Week

Same Time Next Week

Same Time Next Week Rating

★★★★★

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Every time I see a show with puppets, I’m reminded just how much I love puppets, and how there should be more shows with puppets – and Same Time Next Week is no exception.

In its global premiere – this production delights audiences with its immersive and completely encapsulating world.

We follow a group of friends as they cope with their friend Mark’s leukaemia diagnosis – whose final wish is to play Dungeons and Dragons. As someone who knows only vaguely about the world of D and D I was apprehensive going in that I would not be able to fully appreciate the story but boy was I wrong.

At the centre of the show is Mark – portrayed by Nick Pages-Oliver – who navigates his diagnosis with sincerity. He brings grace and leadership to the wise bird Vincenzo the Magnificent.

Amberly Cull is a driving force as dungeon master Drew – who also serves as a few key campaign players in the likes of Freya the bar keep and villain Lady Morinyth. An all-round talent, her vocal performance is a highlight, with a bright tone that makes for easy listening. Her solo ‘What’s So Good About Being Good’ a particular high point.

A personal favourite for this reviewer was Courtney Henri as Liz. Maybe it was her relatability as someone new to the world of D and D, but she quickly embraces her fierce character, Ophelia Backbrace, and is a joy to watch.

 

Same Time Next Week
Same Time Next Week

Tristan McInnes brings the laughs as D and D super fan Digby, whose Detective Smoked Meats is a treat. While Daniel Buckle nicely rounds out the story in a few fun cameo appearances.

Jackson Grigg’s original score really completes this show – with the folky whimsical themes helping transport audiences into a fantasy realm from the second, the lights go down. The catchy tunes are accompanied by fun lyrics from writer/director Scott McArdle with harmonies expertly executed under the guidance of Grace Johnson. A huge shout-out must go to the trio of musicians who also served as backing vocalists – a feat that did not go unnoticed.

The simple yet versatile set from Bryan Woltjen was effective in aiding the jump between fantasy and reality, with the added help of choice lighting cues by Kristie Smith.

And finally, we cannot go without mentioning the stars of the show – the charming puppets (also by Woltjen). Gorgeously crafted and mastered well by the actors (thanks to the direction of Cull and Pages-Oliver), they are the cherry on top of this musical cake that, once again, perfectly bridges the gap between the two worlds in which the show takes place. A pleasant surprise for (on the night of this performance) some unsuspecting patrons.

A short but sweet run – I can’t wait to see more from McArdle, who offers a smorgasbord of all the best bits of live theatre with’ Same Time Next Week’.

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