One-Acts By Locals: Presented by JETS

One-Acts By Locals

One-Acts By Locals Rating

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In recent years the Joondalup Encore Theatre (JETS) have relocated their performances from their home at Padbury Hall to the St Stephens High School Theatre in Duncraig. It’s an impressive space with comfortable seats and all the mod-cons you see in high school theatres these days; not like in my day where we would resort to hiring a stage for the drama room that seemed like something from Ikea, arriving in about 20 pieces, with the kids expected to construct it.

The premise of JETS’ April season is three one-act plays written by locals. I love that Community Theatre provides a platform for local talent, with years of experience or not, giving them a chance to share the stories that may have spent years in a notebook as an idea, or even a fully fleshed out script.

The first half of the evening featured two plays by Johnny Grim, ‘A Little Love and Understanding’ and ‘Jilted Lovers Helpline’. As we entered the theatre, the stage was already set with three men happily chatting at a table, drinks in hand; as the lights dimmed, the conversation grew louder, making a natural start to ‘A Little Love and Understanding’. Mike’s wife is ready to leave him, and he is completely clueless as to why, so he seeks guidance from his two friends (who aren’t exactly living love’s young dream themselves) and his two grown up daughters. Cue conversations about the changes in relationships from the early days of flowers, date nights and romantic gestures to the mundane tasks of everyday life and responsibilities of family that tend to get in the way as the years go by.

‘A Little Love and Understanding’ features a talented cast who drew the audience into the situation, much of the conversation being relatable to the audience in one way or another. The set was simple but effective, good use of props and movement around the space, while subtle perfectly suited the situation.

Gone are the days of the slow open and close of curtains between every scene, audiences nowadays will quite happily sit and watch the quick shuffle of sets between scenes, it feels preferable to be waiting awkwardly for what can feel like an eternity for the curtains to open once again. JETS made clever use of the space with most of what was needed for the first two plays on stage from the start, featuring as background pieces, and then switched out to front and centre when required.

In ‘Jilted Lovers Helpline’ we are introduced to receptionists Mary and Jasmine who are on the frontline of calls from women scorned and men on the verge of a mental breakdown all due to a little thing called love. The two actresses kept us engaged in both their conversations with the aforementioned jilted lovers on the phone, and their own workplace interactions including a conversation around whether you would actually split lotto winnings having bought a ticket for a friend that won (something I’m sure we’ve all considered). Again, the simple set – a couple of desks, computers and accessories worked well for the script which included a few real laugh out loud moments.

Following a short interval we returned for ‘Playing for Sheep Stations’ written by Audrey Poor, where we were taken into a nursing home where the Bingo stakes are high and we see that high school style drama and office politics don’t end, even once you’re elderly. The largest cast of the night featured in a story that both made you laugh and tugged at your heartstrings around the harsh reality of aging. The largest cast of the night bounced off each other well in this enjoyable piece.

With four shows only across one weekend it takes an ambitious group, so well done to JETS. Although I’m sure the cast and crew’s exhaustion will be outweighed by the buzz of performing.

To book tickets to One-Acts By Locals, please visit https://www.taztix.com.au/jets/.

Performance Dates:
April 12 @ 7.30pm
April 12 & 13 @ 2.00pm
Tickets:
$25 Adult, $20 Concession
Groups of 5+ @ $18 each

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Dear Elena Sergeevna at The Old Fitz

Dear Elena Sergeevna

Dear Elena Sergeevna Rating

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Written in 1980 by Lyudmila Razumovskaya and later adapted into film, Dear Elena Sergeevna remains relevant as an exploration of morality, humanity, and the darker side of ambition. Elena is a schoolteacher who is about to celebrate her birthday alone while her mother is in hospital.

Her quiet, humble evening is interrupted by a group of her students who visit to celebrate, or so they say, bringing gifts and alcohol. Their true intention is masked by their polite manners and youthful joviality, trying to bring Elena onside so she willingly helps them with a secret plan. But she refuses to be their accomplice, so the students hold Elena captive as the evening descends into a tense battle between different generations and ideologies.

The current production at The Old Fitz Theatre, directed by Clara Voda, doesn’t quite manage to capture the sense of danger and tension so evident in the script. The cast try their best with string performances. Teodora Matović is well cast as Elena, convincingly embodying the bookish, conservative and idealistic teacher. Toby Carey, Harry Gilchrist, Faisal Hamza and Madeline Li brought the students to life with energy and exuberance, even if they sometimes stumbled on their lines. Each was perfectly cast for their respective character.

The only thing missing was tension. At no point did I feel concern for Elena’s safety or fear what students may be capable of. Much of the subtleness in the script was missing. There were many lost opportunities where menace and terror could brood underneath the ideological conflict, but the emotions were big, loud, and shallow.

Elena’s outburst fell flat despite Teodora’s excellent physical performance, embracing the emotions completely. It was just the wrong directorial choice. I could barely hear anything being screamed and failed to have any emotional reaction to what should have been an incredibly powerful moment. Most of the important emotional moments were the same: big and loud rather than powerful.

I liked how the characters were always engaged in some activity, even when they were not the focus of the story. There was always something else going on, and that level of detail is commendable. The actors were almost always on stage, so keeping busy and interesting when you don’t have any important plot action to deliver can be challenging, and they did this skillfully. I also really enjoyed how the dialogue was dynamic, with characters constantly talking over each other like we do in real life. Unfortunately, that wasn’t enough to immerse me in the performance, and by the end of the play, all I could think about was what could have been. It’s still a great, timeless story. Maybe next time.

Dear Elena Sergeevna is now playing at the Old Fitz Theatre in Woolloomooloo until the 11th of April.

To book tickets to Dear Elena Sergeevna, please visit https://www.oldfitztheatre.com.au/dear-elena-sergeevna.

Photographer: Noah David Perry

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Chaotic Nonsense Of The Best Kind

Farndale

Farndale Rating

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Thrive Theatre’s latest production is an absolute hoot. Directed by Susan O’Toole Cridland, The Farndale Avenue Housing Estate Townswomen’s Guild Dramatic Society Murder Mystery is a delightful play within a play that invites audiences into the chaotic opening night of Murder at Checkmate Manor, where anything that can go wrong, hilariously does.

Led by the determined Mrs Reece (Sandy Adsett), The Farndale Dramatic Society valiantly attempts to stage their murder mystery, despite countless mishaps. Her long-suffering cast includes the incorrigible Thelma (Izabela Wasilewska), the flustered Felicity (Lindi Milbourne], earnest Audrey (Claire Marchesi), the charismatic Gordon (Isaiah Harrison), together with their perpetually bewildered lighting and sound technician, the show quickly becomes a comedy of errors, plagued by collapsing sets, missing props, and forgotten lines. Yet, it’s precisely this relentless madness that results in the very best kind of chaotic nonsense.

From beginning to end, this production is laugh-out-loud funny. The cast and crew convincingly portrayed a carefully orchestrated disaster. The actors handle the dual realities with impressive comedic timing and genuine flair. Special mention must go to Isaiah Harrison, whose Inspector O’Reilly feels like the love child of Patrick Swayze and John Cleese. He would steal the show, except he couldn’t wrestle it away from the other actors.

It took balls for O’Toole Cridland to step out of her comfort zone and direct a farce, and there are certainly plenty of balls in this production. Thrive Theatre has boldly embraced farce, absurdism, musical theatre, and tennis in this production, with exceptional results.

The KSP theatre venue is delightfully nostalgic, with a relaxed atmosphere and convenient parking. One cannot fail to mention the generous cheese platters, which can be ordered upon booking.

With everything going on in the world, this joyful, light-hearted production feels exactly right—comforting, uplifting, and genuinely entertaining. It’s like chicken soup (and a cheese platter) for the soul.

To book tickets to Farndale, please visit Farndale Tickets.

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Tea Tree Players Presents Doctor In The House

Doctor In The House

Doctor In The House Rating

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It became clear walking into the Tea Tree Players Theatre that this is a well-supported community theatre company. This quaint little theatre came to fruition when a dedicated group, led by Diane and the late Robert Lamerton, ventured to establish the first live theatre within the City of Tea Tree Gully.

In 1977, this resulted in the construction of a stage, curtain, and wood-panelled wall, marking the official beginning of Tea Tree Players’ theatrical journey. Over the years, the stage has been enlarged, a new front curtain installed, the audio and lighting box repositioned, new seating fitted, and a foyer area constructed, amongst other continuous improvements, making viewing a production at this sweet little theatre a real treat.

Doctor in the House, written by Richard Gordon and Ted Willis is a classic British zany comedy based on Richard Gordon’s novel that sees the fictitious St Swithin’s medical students Tony, Simon and John balance the demands of medical school with the antics of their manic social life consisting of much frivolity, drinking and partying hard!

Kyle McCarthy plays the lovable John Evans, a somewhat dedicated student who clearly enjoys the lifestyle that college life offers. McCarthy is believable in the role bringing a warmth and likeability to his portrayal of this character. Clinton Nitschke, a seasoned performer, brought a wonderful sense of innocence and naivety to his characterisation of Simon Sparrow, a dedicated student who walked a comically slippery slope between studious dedication and drunken debauchery – a fun, credible and convincing interpretation.

Rebecca Mason’s embodiment of the sassy and seductive Vera complimented the predominantly male cast, while Charlie Klose made the audience belly laugh with her hilarious performance within the performance of a play written by Tony, one of the med students. Mike Phillips as Bromley, Barry Hill OAM as Sir Lancelot Spratt, Emily Sharland as Janet and Kate Readon as the matronly Matron completed a well-rehearsed cast expertly directed by Brian Godfrey. The set and costuming were fabulous, with only subtle changes made throughout the play to depict time jumps, which was all that was needed.

Standout performance credit must go to Ben Proeve, who confidently, convincingly, and professionally portrayed Tony Grimsdyke, a medical student who clearly influences the foolishness and creates hilarious moments, breaking the fourth wall without breaking character. Proeve was perfectly cast as this cheeky character and carried much of this production, acting in part as both the storytelling narrator and fun-loving med student.

Congratulations to the director, cast and crew of Doctor in the House – a good, fun production performed by a polished cast.

To book tickets to Doctor In The House, please visit https://teatreeplayers.com/production/doctor-in-the-house/.

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