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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Marjorie Prime

Marjorie Prime

Marjorie Prime Rating

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2

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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Hansard

Hansard

Hansard Rating

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2

Hansard is a sharp, fast-paced play by English playwright Simon Woods. Lively and bitingly witty, it still delivers a devastating message that feels just as urgent today as when it is set.

The story unfolds in 1988, the year Margaret Thatcher’s controversial Section 28 legislation was passed. It was a week of national upheaval in the UK as the act sought to “prohibit the promotion of homosexuality,” in direct response to a children’s book, Jenny Lives with Eric and Martin, which introduced young readers to different kinds of families. Its introduction ignited fierce protests and unrest across the country.

The play follows Conservative MP Robin Hesketh and his liberal wife Diana, whose ideological sparring is a demonstration on how politics can invade our homes and corrode even the closest bonds. The scene is set on a summer morning. Robin returns from parliament to his Cotswold home of thirty years, where Diana, hungover from a night on the gin, greets him amid the chaos of foxes tearing up his prized lawn and garden. What begins as a razor-sharp, playful exchange quickly darkens, as Diana challenges Robin’s defence of Section 28. In minutes, their banter spirals into something raw and searing, unearthing old wounds and unleashing devastating truths.

 

 

This is a remarkable production. It’s a true marathon for its two leads, Grant Malcolm and Suzannah Churchman. Across nearly two hours without intermission, their performances never falter. Together with director Barry Park, they masterfully balance biting humour with heartbreaking vulnerability, pulling the audience from raucous laughter into hushed, breath-held silence as the play drives towards its shattering conclusion.

The set design is thoughtful, working seamlessly with the flow of the play, and the cast is supported by a great team behind the scenes. Tarek Jabado is the Stage Manager, and Andre Beidatsch is the Assistant Stage Manager. Lighting design is by Mark Nicholson, and the costume design by Merri Ford.

Hansard is currently showing at the Garrick Theatre in Guildford and runs until October 11.

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

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Moments in Motion

Moments in Motion

Moments in Motion Rating

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3

Exploring the themes of love, loss, mental health and jealousy, the Roxy Lane Theatre One Acts presents ‘Moments in Motion’ across three one-act plays, ‘The Birthday’, ‘Mandy’ and ‘Flushed’. With such a broad spectrum of topics, this is one of those productions that resonates, compelling the audience to look within and draw on their own lived experiences.

In a world premiere and directed by Tim Riessen, ‘The Birthday’ kicks off the night and revolves around Mrs Little’s (Pauline Atkinson) 89th birthday. Despite the cake rustled up by a nurse (Nita Teoh), there’s little cause for celebration as Mrs Little is in a coma. As her adult children gather around her, they reminisce about their childhood, along with much speculation about whether their mum can hear them. For anyone who has sat beside a loved one in their final moments, ‘The Birthday’ hits a nerve as this touching scenario brings writer Peter Flanigan’s vision to life as Robyn (Michele Diston), Gail (Julia Webster), Phil (Ian Fraser) and Lesley (Kezia George) each share their truth.

Also written by Peter Flanigan, ‘Mandy’ explores the mental state of Mandy (Melissa Cruickshank) within the family dynamic. As Mandy comes to grips with her depression, her confused state of mind flows in ebbs and tides, throwing the family into despair. The chaos is further exasperated by her overbearing mum (Josphine Wayling) and husband (Paul Cook, who also plays her father) and misguided friend Fran (Joanne Low), with tumultuous flashbacks from Mandy’s sister (Emily Plange Korndorffer) and grandmother (Jenni Glassford). Mandy’s daughter Jodi (Tahlia Verna) seems to be the only empathetic one. Directed by Luke Heath with assistant director Rob Herfkens, ‘Mandy’ tackles the heavy issues and should come with a trigger warning for anyone dealing with mental health issues.

 

 

On a much lighter note, the final play, ‘Flushed’, invites the audience into the trials and tribulations of the dating scene. Set in the toilets during a single’s night, three women explore their jealousies and dating woes as the night dissolves into despair. Written by Ron Nicol, and directed by Sandhya Krishnan, who also plays Tara and is the cause of Meg’s (Catherine Jane) rivalry, with Jan’s (Jackie Oats) wry observations bringing humorous relief to the tension. If you’ve ever been on a girls’ night out, you’ll relate to this one.

The production crew worked tirelessly behind the scenes to bring these stories to life, including Katherine Robertson (sound and lighting design), Rob Herfkens (stage manager) and Cade Smith (assistant stage manager, who also had a cameo in ‘Mandy’).

A special mention must go to set builder Jim Chantry, who managed to create three entirely different stage sets seamlessly, along with Jim Chantry, Kirsten Halford-Bailey (who also handled the set dressing and props) and Chris Harris.

Moments in Motion runs from 18th – 21st September 2025 at the Roxy Lane Theatre, 55 Ninth Ave (cnr Roxy Lane), Maylands

To book tickets to Moments in Motion, please visit https://www.taztix.com.au/event/roxylanetheatre/.

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