The Chairs

The Chairs

The Chairs Rating

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3

The Chairs is a creative vaudeville, circus style play about an elderly couple, simply known as the Old Man and the Old Woman presented by The Melville Theatre Company and directed by Virginia Moore Price.

Written by Eugene Ionesco in the 1950s, it is quite an absurd tale in which the elderly couple reflect on their life over the 70 years they’ve been married. This indicated that they would be in their 90s. At the beginning I struggled to understand what was happening and their conversations seemed nonsensical. A sign of the deterioration of their memories and their minds.

The couple prepare to receive guests for a lecture of some sort which never eventuates and their guest of honour, the Orator. They frantically gather chairs for the guests and dump them onto the rotating floor in a comedic fashion. The guests, however, are invisible to the audience. Whether the old couple are imagining them or whether they are actually real to the couple, left me unsure.

The couple’s fragmented recollections and contradictory chronologies evoke signs of dementia. This is particularly evident when the Old Woman recalls having a son who died when he was a child and reflecting on the grief of losing a child but the Old Man recalls the couple not being able to have any children and instead reflecting on the grief of his mother’s death.

 

 

Although it is clear they both deeply care for each other, there are moments of regret and a sense now that their lives are very soon coming to an end. Throughout the play the Old Woman continuously reminds the Old Man how he could’ve been a head general or a head comedian much to both of their despair. The Orator Raven who whilst is visible to the audience throughout the entire play as he sits on the rotating floor, is only visible to the couple towards the end perhaps signifying death.

Ionesco gives plays into the delusional state of mind of the elderly couple by having them set in a circus ring with both dressed as clowns and the Old Man performing as a mime artist.

Zane Alexander and Solanje Burns deliver a phenomenal performance as the Old Man and Old Woman holding the attention of audience for the entire play without an interval. There were moments of interaction with the audience when they both tumble off the stage and weave themselves into the audience while they continue their nonsensical dialogue.

At the heart of The Chairs is two people longing to be seen and heard, trying to make sense of the lives they have lived.

To book tickets to The Chairs, please visit https://melvilletheatrecompany.au/current-production.

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The Vicar of Dibley

The Vicar of Dibley

The Vicar of Dibley Rating

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3

Bringing to life any stage adaptation featuring not only well known, but well-loved characters is no mean feat, but The Limelight Theatre in Wanneroo has taken on the challenge with full force in their November season of The Vicar of Dibley.

Crowds were lined up all the way outside the venue when we arrived, eagerly awaiting this matinee performance on a sunny Sunday. If the front of house volunteers were at all overwhelmed by the rush of people, they didn’t show it, as they scanned tickets and shuffled us all to our seats for the performance to begin.

The hit 90’s show, which this play follows, is set in the small village of Dibley, where, following the death of their long-time vicar, the parish eagerly awaits the arrival of his successor, only to be confronted with a female vicar, ready to challenge the way things are done. Based on the Dawn French led series created by Richard Curtis, the stage play has been adapted by Ian Gower and Paul Carpenter.

The production was impeccably cast, with many whispers amongst the packed audience each time a new character appeared. Leisha Fox was unwaveringly spot on in her portrayal of the iconic Geraldine Granger, from the voice to her mannerisms; you could get so caught up in her performance you may forget you weren’t looking at Dawn French. Em Carver’s silly and sweet Alice Tinker was a joy to watch and the chemistry between her and the vicar, as well as with love-struck Hugo (Limelight regular Jason Pearce) made for very convincing performances.

Gordon Park was suitably snobbish as Parish Council Chairman David Horton and there was almost an audible cringe from the crowd each time Chris Juckes’ Owen Newitt spoke, oblivious to his tendency to overshare. Roger Oakes, as fan favourite Jim Trott and Ajay Karia as Frank Pickles made great additions to this strong cast in their supporting roles, and Gwen Browning was subtly wonderful to watch as experimental cook Mrs Cropley.

Director Shelley McGinn also happens to be the group’s Wardrobe Manager, and you can tell, with clear care taken on the details for each character’s costumes, for some of which there were many. The group made clever use of the stage, a split between the parish hall and the vicarage straight down the middle and a small section front of stage for the traditional end-of-episode chats between Alice and Geraldine.

Unlike some stage adaptations of TV shows that are a standalone story, The Vicar of Dibley play is a compilation of episodes of the show bringing familiar moments and jokes to the stage. So well-remembered is this show, I could often hear people around me finishing the lines before the cast had a chance; it was hard to find it anything but charming when I was doing the same in my head.

For those wanting to join in the fun, I am delighted for the group that there are only very limited tickets remaining, so you’ll want to be quick. It’s great to see so many people back out supporting community theatre with shows achieving more than one sell out performance in their run.

To book tickets to The Vicar of Dibley, please visit https://www.taztix.com.au/event/limelight/.

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A Night of Laughter, Tea, and Truths

Shush

Shush Rating

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14

I went to sleep with my face aching from all the smiling and laughter. As someone who laughs a lot, it takes a great night out for me to feel it in my cheeks!

The Irish Theatre Players were clearly proud to present Elaine Murphy’s Shush, directed by Denise Byrne, at the gorgeous Old Mill Theatre.

I have so many good things to say about this show. The actors were sharp, funny, and oh-so relatable. The set design and costumes were simple yet effective. The theatre itself is lovely, and thank you to everyone involved for making the whole audience feel so welcomed. I’ve never been to a show where tea and biscuits are served at intermission (that is absolutely my kind of show!) or where there is a raffle. We were made to feel like family.

I’m not sure whether to describe it as a show full of life lessons—the suggestions of “gutting him from here to here,” the various proposals of ending him through other ill-fated means, burying problems under copious amounts of alcohol, or simply letting the expletives fly—this show truly has something for everyone….ok, maybe not everyone, but everyone I know.

The relatability was constant. It felt like a night in with my aunties (which may say more about my family than it should). The premise is simple: an unplanned girls’ night in to celebrate the birthday of Breda, who is going through a tough time. The five friends share laughter, tears, and those small but meaningful moments that only happen when women come together. The familiar beats kept coming—from the dread when the doorbell rings and your house is a mess (apparently Breda has been known to spray Mr Sheen in the air and call it done; I’ve been known to keep a mop bucket by the door, spritz some lavender, and say, “Oh, you just caught me—I was about to mop…”) to the friend who prides herself on brutal honesty. “If I can’t tell it like it is, who will?” No one. A true friend keeps their mouth shut and politely pretends not to notice the weight gain or the dust bunnies. Don’t get me started on the friend who always says the wrong thing—never on purpose, but hilarious nonetheless – I’m still trying to work out what Irene was taking the medication for, I’m almost certain it wasn’t actually for her prostate!

 

 

For all the humour and chaos, there are moments that are raw and heart-breaking. Despite the number of gaffs with incorrect words, when Irene shared her experiences after losing her husband, the emotion was palpable.

I overheard a comment at intermission where an audience member said, “I’m really enjoying it, but I’m not sure where it’s going,” and the reply was, “It might not be going anywhere.” Honestly, that audience member was probably onto something. It doesn’t exactly go anywhere—and that’s the beauty of it.

Shush isn’t a play driven by plot twists or grand revelations. Instead, it unfolds gently, allowing the small, truthful moments of women’s lives to take centre stage. The absence of high drama feels intentional; it’s in the quiet sharing of stories that the play finds its depth. These conversations—funny, raw, and deeply familiar—invite the audience to reflect on their own experiences without ever feeling lectured or directed.

And it’s worth noting how wonderful it is to see a female playwright, a female director, and an all-female cast bring this tapestry of interwoven, cross-generational stories to life. The production feels genuinely grounded in women’s voices—authentic, unforced, and beautifully real.

I absolutely loved it. Thank you for bringing us this show!

Shush is showing at Old Mill Theatre:
November 13. 14, 15, 20 and 21 at 7.30pm
November 15, 16, and 22 at 1.30pm

To book tickets to Shush, please visit https://www.taztix.com.au/irishtheatreplayers/.

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Cats

Cats The Musical

Cats The Musical Rating

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1

The opening night of Andrew Lloyd Webber’s Cats at the Crown Theatre, Perth, delivered a polished, high-energy revival that showcased the production’s enduring strengths of choreography and crystalline vocals.

The long-running musical has been entertaining audiences since 1981 but for prospective patrons unfamiliar with Cats, don’t attend the show expecting a plot or even any dialogue. You will have a much better appreciation for it if you go for the exquisite dancing, singing and overall visual extravaganza. Cats is more a sequence of character portraits of the feline characters stitched together by a very thin storyline about a Jellicle Ball for all the Jellicle cats.

The show made more sense when I discovered that it was based on a series of poems from TS Eliot’s “Old Possum’s Book of Practical Cats” dating back to the 1930s. It is these poems that inspired the legendary Mr Webber to convert them into a musical.

I cannot fault any of the dancing or singing. The cast performed with remarkable precision and athleticism, sustaining demanding choreography. The unison work in the larger ensemble numbers was exceptionally tight. It is evident that the dancers are professional ballet and classical jazz dancers. The production’s success lies in the cumulative power of its choreography and vocal pieces rather than narrative complexity.

Bringing the cats to life are the dazzling costumes and richly detailed makeup which I was fortunate enough to see up close. Throughout the show, the performers would integrate themselves within the audience, purring, stretching and leaping up and down the aisles of the theatre.

 

 

The production’s scenic design embraces the junkyard setting, transforming the stage into an immersive, feline-sized world. An old oven, a rumpled shirt, car tires, these are rendered at magnified proportions so that the performers read unmistakably as cats in an oversized human environment.

The integration of car engine and police sirens sound effects and a sweeping “torch” effect as the cat ensemble scatter in hidden spots, transforms the junkyard into a living, reactive environment without relying on dialogue.

Gabriyel Thomas delivered a standout solo performance as the weary Grizabella The Glamour Cat, belting out the iconic Memory song.

Tim Haskayne was outstanding in his jazz ballet routine as the Magical Mr Mistoffelees who delivered a mesmerizing performance with impeccable control and grace.

I found it especially amusing and admire the dedication of one of the performers who remained on stage in character for the duration of the interval.

This staging of Andrew Lloyd Webber’s Cats operates with a first-class polish that flows with effortless precision. It is more a mixture of a ballet performance and a musical rather than a conventional musical and in its entirety a form of art to enjoy.

To book tickets to Cats The Musical, please visit https://catsthemusical.com.au/tickets/perth/.

Photographer: Daniel Boud

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