Rules of Summer

Rules of Summer

Rules of Summer Rating

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Spare Parts Puppet Theatre’s Rules of Summer, adapted from Shaun Tan’s celebrated picture book, is less a conventional narrative and more an imaginative journey of childhood friendship. Following two boys through summer, the story centres around a mysterious set of rules such as ‘Never step on a snail’, ‘Never leave a red sock on the clothesline’, and ‘Never be late for a parade’. It is not known who and why these rules are created but they are displayed to the audience through shadow play.

The rules themselves are never fully explained, which gives the production a surreal quality consistent with Tan’s original work. Each scene feels like a living illustration, brought to life through puppetry, sound, movement and design. The show encourages viewers to interpret meaning for themselves, much like reading a picture book where the images carry as much weight as the words.

Rather than relying on a clear storyline, the show embraces atmosphere, visual and sensory detail. The result is an immersive and interactive puppetry experience. The puppeteers are much more involved than expected. They step in as the characters themselves in instances when the puppets are not being used. Communicating only through a duck whistle instead of speech. They communicate not only with each other but also directly with the audience inviting kids to take part and be part of the narrative. This included blowing bubbles and being in the puppet parade.

 

 

The puppetry is inventive and cleverly designed. Founded in 1981 in Fremantle, Spare Parts Puppet Theatre is Western Australia’s longest-running theatre company. In addition to holiday performances, the company runs community workshops and educational programs. They also sell merchandise such as Do-it-Yourself Puppet Packs, books, Shadow Puppets and Finger Puppets which were all available to purchase prior and after the show. They also have a range of puppets that people can have a go at puppetry.

A particularly enjoyable feature of the performance came at the end of the show, when the audience was invited to ask questions of the puppeteers. This added a charming element to the experience, especially as many of the questions from the younger audience members were wonderfully unexpected and amusing. The puppeteers’ responses were equally entertaining, offering insight into how the production was created. This post-show exchange gave the audience a deeper appreciation of the craft behind the puppetry.

Currently showing at Centenary Pavillion at the Claremont Showground, Rules of Summer is a visually rich production that honours Shaun Tan’s style. While it does not offer a conventional storyline, it succeeds as a multi-sensory theatrical experience.

To book tickets to Rules of Summer, please visit https://aupuppet.sales.ticketsearch.com/sales/salesevent/160770.

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The Jazz Room: Sinatra and Armstrong Tribute

The Jazz Room: Sinatra and Armstrong Tribute

The Jazz Room: Sinatra and Armstrong Tribute Rating

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2

The music of two of the most influential musicians of all time, Frank Sinatra and Louis Armstrong were celebrated in a soulful and energetic performance by Jake Dennis and his talented live band in The Jazz Room: A Frank Sinatra and Louis Armstrong Tribute.

I was delighted when I found that the show would be held at Freo Social, an entertainment venue that I have always wanted to visit. Although performed in a large space, the ambience created was intimate and chic, complete with candlelights scattered all over the room and on the stage.

Jake did a fantastic job performing some of the most iconic songs by Sinatra and Armstrong. What a Wonderful World, Fly me to the Moon, When You’re Smiling, there’s a reason why these songs have stood the test of time and performers like Jake continue to sing them to this day. His interpretation of the songs paid respect to the enduring legacies of Armstrong and Sinatra while also allowing his own charisma and personality to shine through. Audience members were also encouraged to join Jake in singing these songs.

 

 

One particularly effective feature of the show was the inclusion of trivia and personal background between songs. These interludes gave the audience more than a sequence of musical numbers. Anecdotes concerning the lives of Sinatra and Armstrong reminded the audience that these were not merely iconic voices, but complex public figures with fascinating personal histories.

Among the more memorable details was the fact that both Sinatra and Armstrong had each been married four times. Another fascinating fun fact is that the iconic song New York New York was actually first performed by another legend, Liza Minnelli who once lived on the same street as Sinatra. The song My Way, popularised by Sinatra is an adaptation of a French song Comme d’habitude released in 1967. Then two years later Sinatra released the English version of the song.

Overall, The Jazz Room: A Frank Sinatra and Louis Armstrong Tribute was an enjoyable and nostalgic production. Jazz music is that genre of music that can be enjoyed by people of all backgrounds and all ages. Jake Dennis delivered a soulful and energetic performance that honoured two giants of American music, while the inclusion of biographical trivia enriched the experience.

Don’t miss this celebration of two icons whose influence shaped the world of jazz and popular music in this heartfelt live tribute performance.

To book tickets to The Jazz Room: Sinatra and Armstrong Tribute, please visit https://feverup.com/m/588808.

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The Local

The Local

The Local Rating

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St Patrick’s Day may be over but the Irish charm and fun continues with a play written and directed by WA’s Siobhan Wright called The Local.

Set in a Dublin pub, where unemployed plumber Paddy Branigan, visits every night for his favourite beverage Guinness, it’s the same routine until one night that all changes. Paddy is presented as someone resistant to change, comfortable in the familiar patterns of daily life, until one evening where he either must change his ways or continue down his destructive path and live with the consequences. There is a point in the story where Paddy genuinely tries to turn his life around much to the amusement of the audience.

At the pub there is the regular elderly patron Joe who loves to retell the same stories and the accommodating bar tender Jack who both endure Paddy’s brashness and boastful nature. One evening a stranger walks in but he is not as much of a stranger as they all think. Having grown-up in Dublin but now residing in the south coast of Western Australia, the stranger has returned to wrap up some unfinished business. This unfinished business is linked to Paddy and triggers Paddy’s desire to change.
There are some productions where the venue does more than merely host the performance, it becomes part of the story itself. The Local, now playing at the Irish pub Mons O’Shea in Fremantle, is one such work. What makes the production especially effective is the natural fit between the play and its venue. Mons O’Shea provides a cosy backdrop that feels entirely authentic to the story being told. Rather than watching a pub recreated on stage, the audience is immersed in one. That immediacy lends the production a particular charm and credibility.

 

 

The atmosphere before the performance also deserves mention. Audience members were treated to Irish singing prior to the show, with everyone encouraged to join in. By the time the play began, the audience had already been drawn into the spirit of the setting, creating a sense of shared participation.

Overall, The Local offers an engaging theatrical experience grounded in character and atmosphere. It’s a story of a man shaken from complacency by an unexpected encounter. With its lively pre-show entertainment, welcoming environment and intimate staging, this production delivers a night that feels both theatrical and social. Less like attending a conventional play and more like stepping directly into Paddy Branagan’s world.

All the actors delivered superb performances. Dublin native, Carl Flynn as Paddy Branigan, Declan Byrne as bartender Jack, Joe Purcell as regular patron Joe, Roxanne O’Connor as Sky the influencer, Peter O’Connor as the stranger and a special appearance from the director Siobhan Wright as Dot.

To book tickets to The Local, please visit https://www.taztix.com.au/event/thelocal/.

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Joe White: Emotional Blackmale

Joe White: Emotional Blackmale

Joe White: Emotional Blackmale Rating

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Back in his hometown for the 2026 Perth Fringe Festival, award-winning comedian Joe White delivered a semi-biographical performance that combines sharp observational comedy with an unflinching account of displacement, migration, and belonging.

The show is a departure from the regular routine of his other shows. Joe White: Emotional Blackmale is very personable as he reflects on his life from a refugee in Sudan to a stand-up comedian in Australia and becoming a first-time father.

A central theme of the performance is identity. White is Ethiopian, born in Sudan, and raised in Australia from when he was 10. He uses this pursuit for identity and wanting to belong into comedy. White’s delivery makes clear that the “identity crisis” is not an abstract concept but a lived reality and one driven by language barriers, racial perception, and the constant need to change oneself for other people’s comfort, including his name. Born Tilahun Hailu, teachers and children often had difficulty pronouncing his name and so the nickname Joe has stayed with him ever since. The choice of “White” as a surname then becomes the punchline. White explains that he selected it because most of his audience members were all white.

 

 

White does not skirt around the seriousness of his refugee background especially in this present time where immigration is such a hot topic. He touches on his family’s time as refugees in Sudan and the gruelling process of seeking humanitarian visas to come to Australia. These moments in the show shift the tone without derailing the performance.

White, one of six children to a single mother, retells his mother’s determination and strength in providing a better life for her six children. White’s treatment of the visa process is particularly effective because it highlights the procedural exhaustion that is the waiting, uncertainty, and bureaucratic hurdles, and the corruption which was behind his family’s applications constantly being rejected. An account which I found quite insightful.

It is evident from his show how much he truly appreciates his life in Australia, so much so that he proudly displayed his Southern Cross tattoo to the audience.

White is a proud Ethiopian Australian. Now a first-time father of an 8-month girl, he wants his daughter to be proud of her heritage too, Ethiopian-Malteser as he describes her as his partner is Maltese Australian.

Emotional Blackmale is a personable show with plenty of laughs and plenty of audience interaction.

To book tickets to Joe White: Emotional Blackmale, please visit https://fringeworld.com.au/whats-on/joe-white-emotional-blackmale-fw2026.

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