Perth Theatre

The Canterbury Tales

The Canterbury Tales

The Canterbury Tales Rating

★★★★★

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10

When Geoffrey Chaucer published The Canterbury Tales in the 14th century, it’s unlikely he envisioned that a wig would take on a character of its own. Considering he is the father of English literature, he probably didn’t imagine a dream dance sequence featuring the Macarena either. But that’s part of the charm when a classic is reimagined into a modern comedy.

The sheer joy of community theatre not only encourages poetic licence, but it thrives on unhinged creativity, especially when it’s a production put on by the Garrick Theatre Club, Perth’s longest-running community theatre. Directed by Gail Lusted, she carefully selected a large cast that included a mix of seasoned and up-and-coming actors. Not only does the introduction of young actors from Teens at Garrick (TAG) breathe fresh life into this centuries-old classic, but it also exposes them to the techniques of the veterans, as evident from those who have evolved into seasoned performers in this production.

This adaptation by Lindsay Price of Chaucer’s anthology roughly follows the original storyline, where a group of pilgrims travelling from London to Canterbury hold a storytelling contest to pass the time while on the road. Put aside any preconceived ideas if you made it to the end while studying this voluminous classic at school. The rules have been blissfully bent for this interpretation, and regardless of whether you’re a thespian or an audience member, it’s impossible not to delight in the unexpected during this high-energy romp.

Exploring the themes of love, greed, jealousy, patience, betrayal and death through their storytelling, the mishmash of pilgrims form a dysfunctional family as they make their arduous journey.

All seven pilgrims deliver outstanding performances and include The Prioress (Carol Young), The Miller (Jason Robert Lester), The Reeve (Kristine Lockwood), Wife of Bath/Bertha (Ali Louise), The Franklin/Allison (Paris Jenner), The Cook (Juliette Patricia Botha) and The Pardoner (Peter Neaves).

If you’re a fan of the Garrick, you might recognise some of the cast from other productions, including Poe, Dreams of Madness. As each pilgrim acts out a story, the cast’s versatility is impressive as they play multiple roles and genders, while seamlessly transforming on stage or backstage in the blink of an eye, thanks to their clever costuming, props and characterisation.

 

The Canterbury Tales
The Canterbury Tales
The Canterbury Tales

 

Much like a drummer in a band, Hostess Erin Shay Horrigan (almost) keeps the raucous cast in line through her cheeky narration.

The equally talented acting troupe features Angus Le Cornu-Brown (Maude/Mary), Catherine Smith (Fox/Joanne), Ender Holt (King shared with Benny/Harold], Zane Holt (Absalon/Simekin/Jacob), Will Afanasiew (Astrologer), Piper Gibson (Dame Pertelote/Allain/Aurelius), Benny Peter Jordan (King shared with Ender), Olivia Keary (Dorigen/Agnes), Kaiden Breen (Chaunticleer), James Scully (Nicholas/Knight), Freda McColgan (Queen/Eveline), Riley Thomas (Auiragus/Waitress) and Eden Flynn–Radcliffe (Hilda/Eve/Aueline).

There wouldn’t be a production without a dedicated crew working tirelessly behind the scenes, that includes Eden Flynn-Radcliffe (Assistant Director/Choreographer and Props Manager), Chelsea Knight (Mentor Stage Manager), Isabella Melbin (Trainee Stage Manager), Virginia Moore-Price (Lighting Design/Bio Box Operator), Connor Barclay (Apprentice Lighting and Sound Operator), Ricky Penrose and Ian Lusted (Stage Crew) and Evelyn Holt (Costume/Wardrobe).

Keep a special eye out for the innovative set design, which features subtle changes between scenes, thanks to Paris Jenner and her set design and construction crew, which includes Ali Louise, Jack Pinder, Breanna Cooke, Ian Lusted, Piper Gibson, Eden Flynn-Radcliffe and other TAG members.

Established in 1932, The Garrick Theatre Club continues to entertain with its year-round performances, accompanied by complimentary tipples, snacks and old-world charm.

Canterbury Tales runs August 1st, 2nd, *3rd, 8th, 9th, *10th, 14th, 15th and 16th , evening shows at 7.30pm and *matinees at 2.00pm

Tickets: under 18s $15, Members $22, Concession $23, Adult $28

Book: https://garricktheatre.com.au/shows/

To book tickets to The Canterbury Tales, please visit https://www.taztix.com.au/event/garricktheatre/.

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Plied and Prejudice

Plied and Prejudice

Plied and Prejudice Rating

★★★★★

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The court was certainly aflutter during Plied and Prejudice, a racy adaptation of Jane Austen’s novel Pride and Prejudice.

Featuring five unhinged actors playing 20 characters, this action-packed romp enthrals from start to finish. The night unravels from the moment the characters strut out onto the catwalk stage, running between the audience, perfect for posturing with outrageous innuendo.

Bridget Jones’s Diary fans will relish the parallels to Pride and Prejudice (minus the knickers, huge or otherwise), and Bridgerton, Little Britain, and Rick Astley aficionados will be in for a debauched treat. It’s probably just as well Jane Austen is no longer around to witness this tequila-soaked production.

Written by Matthew Semple with original direction by Dash Kruck, the swoons are aplenty thanks to director Ian Good and producer Alex Woodward from Woodward Productions. The lusty performance is hardly surprising given Mr Darcy’s soaked white shirt and the amount skulled by Elizabeth Bennett whenever there was a mention of tea, or the bell rang.

Certain cast members will be indisposed each night to keep it fresh, as if it could get any livelier. The production stars Ayesha Gibson (Elizabeth Bennet and others), Patrick Gandin (Darcy and others), Rp van der Westhuizen (Collins, Bingley, Wickham and others), Jess Lally (Catherine de Bourgh and others), Lucy Goodrick (Jane Bennet and others) Hanna Harvey (Swing) and Oliver Clare (Swing).

Set and costume designer Penny Challen portrayed Regency-ridiculousness with tongue-in-cheek aplomb. The actors’ performance, with all the grace of a frenetic ballet dancer, can be attributed to the movement direction of Dan Venz. A word of warning, this is not for the conservative or under-18-year-olds, you will be outraged while secretly longing to be invited to the after-party. Pray to Great Britain that you aren’t chosen to become part of the performance.

After sell-out shows in Brisbane and London, the Perth season has already been extended to 28th September 2025. No doubt, the extra tickets will sell quickly to the uninitiated, intrigued by the scandalous reports, and repeat theatre-goers craving more unruly decorum.

So, dust off your fascinators and get dressed (or undressed) for the booziest ball of the century at Pemberley. Mr Darcy’s shirt isn’t the only thing that will be drenched by the end.

Plied and Prejudice runs from 18th July to 28th September at Downstairs at The Maj. If you’re lucky to be invited as Lady Catherine De Bourgh’s honoured guest, tickets are $100 for a plush throne and prosecco. Front-row aristocrat tickets are $70, middle-class cabaret-style seating is $60 and the paupers on high stools will be flogged $30.

To book tickets to Plied and Prejudice, please visit http://artsculturetrust.wa.gov.au/venues/his-majestys-theatre/whats-on/plied-and-prejudice/.

Photographer: Caitlin Irving

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Alice In Wonderland

Alice In Wonderland

Alice In Wonderland Rating

★★★★★

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2

Stepping into the whimsical world of Alice in Wonderland has never felt more real than at New City Theatre’s latest production. With tea and cupcakes served upon arrival, the audience was immediately immersed in the delightful atmosphere of the Mad Hatter’s tea party, setting the tone for an evening of charm, creativity, and community spirit.

What made this production truly special was its original music. With beautiful, meaningful lyrics written by the young and talented Hannah, the songs added a fresh and emotional depth to the classic tale. A remarkable feat for such a young composer, the music elevated the production and should be an inspiration for young and old theatre makers alike.

Hannah-Jade Keppler’s performance of one of these original songs was a standout—her voice, clear and emotive and captured the emotional core of the story. Equally impressive was the choreography by Tamara Wolf, whose staging brought a dynamic energy to the production and I love how the fourth wall was crossed with the cast venturing into the audience so we could get up close and personal with them!

Among a 16-strong, cohesive cast, it was evident that age was no barrier and I loved how inclusive this theatre company is.

Danielle Ritchie shone in her debut lead role as Alice, delivering her lines with poise and singing her solo with confidence—a significant achievement for any first-time lead. Kayla Short’s portrayal of the Mad Hatter was another highlight, brimming with charisma and comic flair. Her performance of the Mad Hatter’s song was particularly memorable and confidently delivered.

The Queen of Hearts, played with razor-sharp comedic timing by Eloise Keppler was outstanding and when improvisation was required by a mishap on stage – she handled it like a pro, with grace and compassion. Another special mention goes to Summer who played Dinah the cat with incredibly believable physicality and vocality – the level of commitment to character was impressive.

Alice In Wonderland
Alice In Wonderland
Alice In Wonderland

Adding a heartwarming element to the production were the youngest cast members—Yusra, Bisma, and Rayne—whose presence on stage melted the hearts of everyone in the room.

New City Theatre, which has been active since 2013, continues to nurture young talent and foster community. The fact that three founding members are still performing is a testament to the lasting impact this group has had. I’d also like to acknowledge the invaluable work of the many helpers who served food and drinks and supported behind the scenes—a true community effort in every sense.

Perhaps the most remarkable takeaway from Alice in Wonderland was what it says about the capabilities of young people. Given the space, trust, and encouragement, they created something wholly their own—original, ambitious, and utterly delightful. This show wasn’t just a performance; it was a statement: young people are more creative, intelligent, and capable than we often give them credit for.

A resounding success and a beautiful reminder of the power of youth, imagination, and community.

To book tickets to Alice In Wonderland, please visit https://www.taztix.com.au/event/nct/.

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Heart Lines

Heart Lines

Heart Lines Rating

★★★★★

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3

Written and directed by West Australian award-winning playwright, Kerry Bowden, Heart Lines delivers a heartfelt and thought-provoking play between heart donor and heart recipient.

The play directs the audience to view the heart as being more than just a vital organ of the body.

Having never met the family of his heart donor, 23-year-old heart recipient, Noah, played by Nick Stevenson, records several video blogs to the family, expressing his gratitude and how his life has changed for the better since his heart transplant operation. This clever embodiment of these monologues in the form of video blogs in the play allows the character to speak from the heart directly to the audience.

Noah ponders on the type of person his heart recipient was and how he wished he knew more about the recipient.

Through a series flashbacks, the audience are taken back into of the lives of three young housemates living in Fremantle, Western Australia. Like many other young Australians in their early twenties, Anna, James and Tim are juggling university studies with part-time jobs whilst also squeezing a bit of time to socialize. At first, it is unclear as to which one of these housemates becomes the heart donor but as the play progresses, the new traits and hobbies Noah has developed since his operation are so strikingly similar to one of them that there’s a poignancy knowing this character is going to die.

Heart Lines
Heart Lines
Heart Lines

 

Noah makes a point about the bittersweetness of heart transplants. The obtaining of a healthy heart has meant the death of another person. In this instance, that other person is only twenty years old.

The play is cleverly written as full-circle story. Noah, who is from the Gold Coast, is drawn to the other side of the country Perth, the hometown of his recipient and even more so to Margaret River where his recipient loved to surf. Although unaware, Noah also crosses paths with people who knew the recipient.

To effectively switch between scenes of Noah’s video blogs and the flashbacks, a warm spotlight is used on Noah, bringing an intimate feel to his messages whereas bright fluorescent lighting is used to capture the upbeat and carefree lives of the housemates in the flashbacks.

At only 70 minutes long, Heart Lines is a short and sweet play presented by the Melville Theatre Company who will contribute $1 for every ticket sold to the non-for-profit organization, The West Australian Heart and Lung Transplant Foundation. A worthy play for a worthy cause.

To book tickets to Heart Lines, please visit https://melvilletheatrecompany.au/current-production#cca6dbda-c607-4472-9f7c-054b47d62a0f.

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