Tracks After Twilight – Tales in the Shadows

Tracks After Twilight - Tales in the Shadows

Tracks After Twilight – Tales in the Shadows Rating

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“It’s too late to leave, the door is already locked.”

These chilling words set the tone for one of the most innovative and immersive theatre experiences you’ll ever experience this century, or the last century for that matter.

As rail mysteries of the yesteryear are revealed at The Railway Museum, there couldn’t be a better setting for “Tracks after Twilight – Tales in the Shadows.” As you’re guided among the historic carriages and locomotives, you’ll start to picture the harsh conditions railway workers once endured. You’ll also gain a sense of what rail travel was once like, especially when piled into a crammed carriage where the air is thick with the ghosts and eerie tales.

Any romantic notions of railway travel may be dispelled, or heightened, depending on your leanings. As you’re taken back to a time way before public transport was taken behind the safety of mobile phones and noise-cancelling headphones, you’re confronted with the quirks of your fellow passengers for a train ride unlike any other.

Held alongside the Midland train line at The Railway Museum, and run by Rail Heritage WA, the modern trains whizzing by further add to the atmosphere and juxtaposition of the past and present.

Without giving too much away, the allure lies in the creepy surprises. So be prepared for nocturnal moans, audience participation and partial nudity as you’re regaled with stories inspired by real events, with plenty of artistic licence thrown in for dramatic effect.

Speaking of, Elite Audio Visual Productions cleverly designed the chilling effects, shrouding the actors in mystery right up until the door is unlocked and you’re released from the shadows of the past and back into present-day reality.

Reviewed during the preview, there were a few technical issues still to be ironed out, and at times, the stories felt a bit disjointed as the narrative moved between the carriages. Nonetheless, the performance was entertaining, and anyone with a love of trains, history and drama will appreciate the immersive storytelling set among WA’s historic trains.

Keep the rail theme going by popping into a train carriage for a burger at Alfred’s Kitchen, two train stops away in Guildford.

This first showing of Tracks After Twilight is completely sold out, but pay attention to the Railway Heritage Museum for future show runs of this innovative theatre style. In the meantime, checkout their website for more information @ https://www.railheritagewa.org.au/.

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Perth Comedy Festival: Andrew Barnett

Andrew Barnett - Simple

Andrew Barnett – Simple Rating

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Keeping it simple, stupid is never as simple as it sounds. Especially if you’re Andrew Barnett (aka Barney), where life is anything but simple as the father of two teenage boys who don’t yet appreciate that the ultimate sign of coolness is being able to drive yourself to the shops to buy stuff with your own money.

Ah, yes, the woes of being middle-aged while surrounded by teenagers and TikTok is the comedic stuff that dreams are made of, and Barney nails it with his wry outlook that anyone over 30 will relate to. Warning: If you have the audacity to show up below the age of 30, it’s probably best that you don’t sit in the two front rows.

His ease of delivery makes it feel like you’re just chatting at the pub, where he’s doing most of the talking. Barney’s effortless style is down to an extensive career since 2010 as a stand-up comedian, writer and media personality, including TV, radio and podcast appearances.

He currently co-hosts the Not Another F#ing Rugby League Podcast and is a familiar voice on SEN radio, aired in New South Wales and Queensland, when he’s not performing at high-profile sporting, comedy, music and fringe festivals around the country.

Reigning from Sydney to join the Perth Comedy Festival on 2nd and 3rd May, and performing upstairs of the Regal Theatre in the Regal Chorus Room is the perfect setting for Barney’s laid-back banter.

He returns to Sydney for the Sydney Comedy Festival on 8 & 9th May. Keep an eye out at various Perth venues, including The Rechabite and Comedy Lounge, for his quick-witted, relatable and endearing observational humour.

Performances: 2nd – 3rd May 2025, 7pm
Regal Theatre, Regal Chorus Room, 474 Hay Street, Subiaco
Tickets: $41.58

The Perth Comedy Festival runs from 21 Apr to 18 May. To book tickets to a show, please visit https://www.perthcomedyfestival.com/.

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Opening Night Review: After Dinner

After Dinner

After Dinner Rating

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3

It’s Friday night at the pub. The stage is set as five lost souls, and a distracted waiter, embark on a quest. On the surface, they appear to have different agendas, but underneath the bravado, they all share a desperate need to feel a little less lonely in After Dinner.

Set in the late 1980s, where the fashion and daggy pub restaurant are practically characters in their own right, big points go to the production team for nailing the brief. Under the direction of Tim Riessen, the cast does a magnificent job delivering the dialogue and mannerisms that are intentionally stilted to demonstrate the awkwardness of their relationships and scenario.

Dympie (Kezia George of Summer of the Seventeenth Doll and Hansel & Gretel), Paula (Lisa Divall of Short ‘n Sweet) and Monika (Amanda Alderson of Squid Games and Frankenbolt’s First Christmas) work in the same office, and had they not worked together, it is unlikely they would have socialised outside of work. The handsome Gordon (Altus Vernooy, making his stage debut from behind the scenes) and Stephen (Ian Fraser of Cracked and Done to Death) meet up at the pub through a mutual friend who never shows up. The waiter played by Tarek Jabado (Frankenbolt’s First Christmas and Under the Table) is a man of few words, but his looming presence (and often absence) is a steady shadow among the chaos.

 

With the ladies at one table and the men at the other, it doesn’t take long for them to notice each other, much to the dismay of the controlling Dympie, who just wanted a quiet Friday night with Paula.

Except this is no typical Friday night as Paula invites the grieving Monika, whose revelations into her marriage reveal a tirade of confronting and intimate truths. The exploration of adult themes and graphic nature of After Dinner suggests you might want to pick your theatre date carefully as some audience members may find the content uncomfortable.

Just as you need to break an egg to make omelette, the messy characters dissolve and then evolve, albeit subtly, as life often does before epiphanies set in.

Performed at the Roxy Lane Theatre just behind the Volare bar on Whately Crescent, this retro theatre is the perfect backdrop to the 1980s. Written in 1984 by Kalgoorlie-born playwright Andrew Bovell, who wrote Strictly Ballroom and Lantana, the fact that it’s still being performed decades later demonstrates the timeless theme of loneliness and the human condition. Poignant, funny and relatable, if the audience’s response to opening night is anything to go by, After Dinner will continue to leave a lasting impression for many more decades to come.

Performance dates: 7, 8, 9*, 14, 15, 16*, 20, 21, 22 & 23* March
Recommended MA 15+
Times: Evenings at 7.30pm, *Matinees at 2pm
Tickets: $23 adult, $19 concession, groups of 10+ $18 each

To book tickets to After Dinner, please visit TAZ Tix.

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Comedy Carousel

Comedy Carousel

Comedy Carousel Rating

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5

Three one-act plays, one charming theatre and oodles of talent. The Garrick Theatre’s latest stage production, the Comedy Carousel delivers ridiculous hilarity and maybe a murder or two.

Have you ever wondered what goes on behind the scenes of a stage production? ‘All I Really Need to Know I Learned by Being in a Bad Murder Mystery’ offers plenty of insight into the pandemonium when dealing with a bunch of actors rehearsing for a murder mystery play. Throw in a script written by Agatha Christie knock-off Magetha Misty, a loopy director and an indecipherable accent coach, and you (and the cast) are left wondering whodunit and what was done to whom.

The actual director, Ali Louise, did a fantastic job of herding the high-energy cast by encouraging them to be as wacky as the show within the show. Among the tantrums, over-the-top death scenes and butchering of Shakespearian references, this tight-knit troupe delivers cohesive chaos with many laugh-out-loud moments. Narrated by Erin Shay Horrigan with Julia Webster playing the director role and Cambren Price playing the frustrated stage manager, the actors include Rebekah Hannah, Samantha Cashford, Paris Romano Jenner, Aaron Wilkes, Kirsty Plews, Quentin Mitchell, Jason Robert Lester and Steve Moloney, who perform as only thespians can in theatre blacks adorned with madcap props.

The second one-act play, Therapy Go Round, centres around a traumatic break-up that sends Brooke spiralling and into therapy. When she arrives at Dr Marita Welsh’s clinic and is greeted by assistant Janine, Brooke soon wonders who is shrinking who. If only her eccentric therapist had paid attention to the details and Janine wasn’t so absent-minded?

 

Written by playwright Sean Guy and directed by Carly Ranger, Therapy Go Round is performed by an all-female cast of Lis Hoffmann (Dr Marita Welsh), Kylie Calwell (Janine) and Casey Smith as Brooke. The simple set of ‘All I Really Need to Know I Learned by Being in a Bad Murder Mystery’ was miraculously transformed in moments into a clinic with soft pink lighting, a desk and two chairs – had there been a couch, no doubt Brooke would have needed a good lie-down and cry after her session.

Soon enough, a couch appears on stage for the final one-act play titled The Heist, brilliantly performed in New York accents by Colleen Johnson (Muriel), Karin Staflund (Camila), Marsha Holt (Ingrid) and Julie Holmshaw (Delia). Set in an apartment in NYC’s gritty Bronx, as the four ladies settle into their game of Bridge, there’s a sudden knock on the door. Gangster Lenny (played by Andreas Petalas) barges in full of misguided attitude but soon loses control of the situation as the ladies mess with his head as only a bunch of New Yorker broads can.

Directed by Lynne Devenish and written by actor and playwright Shirley Toohey (with script assistant Christine Offringa), strong characterisation creates an evocative sense of place and poignant storytelling to the background soundtrack of the borough’s sirens as Guildford’s trains and planes thunder by.

The ticket price of $15 is incredible value for three one-act plays and the calibre of talent from the cast and crew, including stage managers Sarah Durack and Jason Blaine, Don Allen (Lighting Designer) and sound designer Geoff Holt. Established in 1932 and situated in the heart of historic Guildford, the Garrick Theatre is one of the longest-running community theatres in Perth and always welcomes new members for ongoing discounts, events, news and auditions.

Performance dates: February 6th, 7th , 8th , 9th*, 13th, 14th & 15th February

All evening shows begin at 7.30pm, * denotes the matinee show at 2pm

To book tickets to Comedy Carousel, please visit TAZ Tix.

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