The Woman Behind the Canvas

Red Ticket

Red Ticket Rating

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6

Disclaimer: This production has strobe lights and covers topics of mental health issues.

Ask any Western Australian resident about the Fremantle Art Centre and they’ll all ask you the same thing. “Isn’t that the place that’s haunted?”

That’s where our story takes place. Red Ticket, written and directed by Josie Walsh, is about a woman named Lily, played by Krysia Wiechecki, who is struggling with postpartum depression as she learns about the history of the Fremantle Art Centre. The second you walk into the theatre, you are immersed into Lily’s life. A flickering light hangs above an easel and music plays while you wait for the show to begin. The set is very simple with only a giant canvas as a backdrop as well as the easel as a prop. As the show progresses, Lily’s art transforms the stage, bringing you into Lily’s world even more. Words and pictures are drawn on the floor and Lily’s art is hung up around the theater.

The show opens with a distressing monologue from Lily. Sound effects, red light, and a smoke machine are used as she describes a recurring nightmare. The play begins after the monologue, with Janice, played by Hannah-Mary Anderson, who offers humor as a contrast to the dark monologue that we’ve just heard and takes place in the Fremantle Art Centre. Lily becomes obsessed with learning about the lunatic asylum that the Art Centre used to be and learns about a woman named Poppy, played by Kate Naunton Morgan, who was admitted to the asylum in the early 1900s several times while suffering from postpartum depression.

 

 

Both of the leading actresses do a remarkable job in capturing your attention during their monologues. I felt truly pulled in by their emotions and my heart strings tugged as Lily fell deeper into her depression and Poppy cried, unable to receive the same help that Lily is able to get at the end of the play. The ending is hopeful, letting others know that not only are they not alone but that help is available.

When Lily takes the stage alone, the theatre is dark, just like her thoughts. When she is joined by Janice, the lights are bright until finally darkness surrounds her at all times.The lighting designer, Topaz Knodel, has outdone herself in creating Poppy’s silhouette on the canvas as we learn about her and has a meticulous understanding on how to cleverly use light to tell a story. I also enjoyed the sound design and music, created by Zoe Garciano, who did an excellent job creating the perfect touch to complete the story and fully immerse the audience.

Red Ticket is playing at the Blue Room Theatre until 18 April. I highly recommend this play to anyone, but especially those who have struggled with mental health issues as they will find the story relatable.

To book tickets to Red Ticket, please visit https://blueroom.org.au/events/red-ticket/.

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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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7

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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