The Local

The Local

The Local Rating

★★★★★

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6

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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A Bond Beyond Blood

Sita and Urmila: Unheard Conversations

Sita and Urmila: Unheard Conversations Rating

★★★★★

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7

Sita and Urmila: Unheard Conversations is a production from The Great Indian Theatre Company playing at the Nexus Theatre. It is an hour and fifty minutes without an interval. It is the story of two sisters who share a loving bond.

When Prince Ram of Ayodhya wins Sita’s hand in marriage, he reveals he has a vow that he and his brothers must marry from the same family. A solution is made and his brother, Laxman, marries Urmila. When Prince Ram is exiled to the forest for fourteen years, Sita immediately agrees to come with while Urmila must stay behind. Laxman is visited by The Goddess of Sleep and asks to stay awake for fourteen years to protect Ram and Sita. When The Goddess of Sleep says that someone must take his place to sleep, Laxman tells her that Urmila will, who reluctantly agrees. 

The story is written and directed by Sreekanth Gopalakrishnan. I particularly loved the sisters’ bond. Sita is adopted and although they don’t share the same biological family, they say the words “beyond blood”, meaning their love for each other goes beyond their DNA. Karthika Nair gives a stellar and powerful performance as Urmila and she captured my attention in every emotional scene. Prakriti Rayamajhi shows Sita’s character growth beautifully and portrays her journey from a dutiful woman to one who is strong and independent.

Deepti Shukla gives a delightfully cheeky performance as The Goddess of Sleep and children will love Akshay Sheela Nair as Hanuman, a monkey, whose physicality was engaging and entertaining. Ashish Malik and Wilfred Doray play perfectly evil characters and comedy is speckled through the script, giving audiences a chuckle when needed.

The costumes, designed by Param Kaur and Sreekanth Gopalakrishnan, was the first thing that caught my eye. They are beautiful and elegant with intricate designs. Indian music plays throughout the show and throughout scenes but still gives the actors the stage to capture the scene. When Sita and Urmila are separated, the set is cleverly split into two without feeling disjointed.

Dance is also incorporated into the storytelling and Sindhu Nair, winner of the Western Australia’s Multicultural Artist of the Year, brought a unique cultural interpretation of dance to be shared with the audience. The lighting works well with the storytelling, including spotlights to build dramatic tension during intense conversations with the sisters as well as sinister red lighting to highlight the emotions of the scene.

This is a production which would be enjoyed by anyone who has a sister or familial bond who they would do anything for.

To book tickets to Sita and Urmila: Unheard Conversations, please visit https://thegreatindiantheatrecomp.com/.

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Marjorie Prime

Marjorie Prime

Marjorie Prime Rating

★★★★★

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Marjorie Prime speaks to our deeply human longing for connection and prompts us to reflect on how much of our past we would choose to preserve, and what memories we might leave.

It’s the fragile humanity at the centre of this play that gives power to the storytelling. In an imagined future, we can turn our lost loved ones into ‘Primes’. These realistic holographic recreations provide emotional support as we navigate our grief and move forward with our lives. It’s an intriguing concept that leaves us questioning how far we would go when gripped by uncertainty and grief.

The story introduces Marjorie, an elderly woman living with dementia. Her daughter Tess and son-in-law Jon give her a ‘Prime’ of her late husband Walter to provide comfort. This holographic Walter appears eternally youthful and endlessly patient, sitting perfectly upright, attentive and still as he listens to stories about Marjorie’s life. Each day he absorbs new anecdotes, ready to repeat them later, gradually constructing a version of the man he once was through the memories of others.

The effect is both touching and unsettling. Walter’s kindness is constant, and he pays utmost attention to Marjorie. As she interacts with him, her daughter Tess watches with unease. She struggles with complicated feelings, sometimes resentful of the gentleness her mother shows the Prime, the same warmth she herself longed for growing up. At the same time, Tess is determined to shield certain painful memories from the Prime, hoping to spare Marjorie distress. Her husband Jon, however, sees value in honesty, even if the memories are difficult.

 

 

Moments of humour slip gently into the narrative too. At one point Marjorie persuades Walter to embellish the story of their engagement by inserting a movie-theatre outing to Casablanca, improving the memory just a little. It’s a small moment, but one that neatly illustrates how fluid and fragile memory can be.

Between scenes, blackouts punctuate the action, echoing the gaps forming in Marjorie’s mind. As the story unfolds, time begins to stretch and shift. After Marjorie’s death, she herself returns as a Prime. Yet instead of offering comfort to a grieving Tess, she seems to deepen the pain. Years pass in quiet leaps, and while people age and die, the Primes remain with their distorted, incomplete memories of the past.

When the play debuted in 2014, its exploration of artificial intelligence and memory felt speculative. Watching it now in 2026, with AI firmly embedded in everyday life, the questions it raises create discomfort. Is recreating the dead a source of solace, or does it blur the boundaries of grief in ways we may not yet understand?

This production at Roxy Lane Theatre brings the story beautifully to life. Janet Dickinson is compelling as Marjorie, capturing both vulnerability and warmth, while Finn Happ’s youthful Walter embodies the eerie calm of the Prime. Liza Black, who also directs the production, gives Tess a moving emotional depth and is supported by Chris Harris as the steady and kind-hearted Jon.

Short-listed for the Pulitzer Prize for Drama in 2015, Marjorie Prime remains as thoughtful and moving as ever. It’s a tender reflection on memory, technology and the enduring complexity of love.

Congratulations to the cast and crew on a heartfelt and thought-provoking performance. Marjorie Prime is currently showing at the Roxy Theatre from Friday to Sunday at 7.30pm, with Sunday matinee performances at 2.30, until 22 March.

To book tickets to Marjorie Prime, please visit https://www.taztix.com.au/event/roxylanetheatre/.

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Casey Filips: Virtuoso

Casey Filips: Virtuoso

Casey Filips: Virtuoso Rating

★★★★★

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My favourite part of Fringe each year, is walking into a show blind. Purely based off reviews from friends, a cool poster, the fringe feed, anything – I love not at all knowing what to expect, and being totally surprised. Casey Filips: Virtuoso is the perfect example of this.

A one man play of sorts, we follow the eccentric Tobias Frazier-Finlay through the audition of a life-time. Now, I want you to picture every exuberant, quirky, dramatic character you know combined into one, and that’s the kind of guy we’ve got. Mr. G, Sharpay Evans, even a little Miranda Sings it’s all in there.

The black-box rehearsal room at the State Theatre centre sets the scene perfectly, with Tobias strutting in from the back of the room as if really entering an audition. As with any standard casting call, he opens with a bit about himself, and of course his headshots, giving us a quick taste of his skillset (of which there are many!).

 

 

We then jump into a scene read, where he of course displays his natural ability to take notes from the panel (or in this case audience!). Naturally, hysteria ensues. I was amazed by Filips’ ability to not only perfectly mimic audience members but seamlessly taking on their daring requests.

For his final display of talent, we are treated to a – rather interesting – self-devised piece inspired by the majestic life of a manatee that left audiences doubled over with laughter. A big shout out must of course go to the gentlemen called upon to form part of the demonstration, the true star of the show (much to Tobias’ dismay).

Audiences also enjoy brief glimpse into Tobias’ future and where his career lands, a perfect crescendo for a man whose clearly given his life to the arts, but I’ll keep the exact details a secret for audiences to enjoy.

If you ever remember being told by your drama teacher “you have to fully commit to the bit, doing it 50% makes you look more ridiculous” this performance is a fine example. Offering a barrel of laughs and complete and utter tom-foolery in the best way possible from begin to end, this is a fringe favourite certainly not to be missed. Perfectly titled, Filips’ in fact, a Virtuoso.

To book tickets to Casey Filips: Virtuoso, please visit https://fringeworld.com.au/whats-on/casey-filips-virtuoso-fw2026.

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