A Virgin with A Lad In Sane

May I firstly state the obvious and that is just how good it is and how grateful we should all be for this site. I have some knowledge of the time involved in maintaining websites and my hat is off to Grant Malcolm and all others involved, it is a gem and in its own way, as important as WAAPA.

I know that some tire of young girls posting “How do I become a star?” blogs, but hey, you don’t have to read them if you don’t wish and from my perspective, (as a post-menopausal, mid-life crisis bloke), help them dream, who knows, it just may come true. I’m gently nurturing my four and half year old granddaughter into an appreciation (and hopefully, future passion) for theatre (with her parents permission!) and I hope this site is around in ten years time, if she wants to reach for the stars, which segues nicely into Johnny Grim following his dream.

The other month I was perusing the audition section of this site, when I spotted something from A Lad In Sane, I’d heard the name, but knew nothing of them, however a part as a bikie appealed – well, I do ride a cruiser motorbike! I then had the good fortune to meet one of the nicest blokes I’ve run into for a long while, John Grimshaw, better known as Johnny Grim.

We all have healthy egos – survival in theatre would be impossible without them, but John genuinely doesn’t let his surface. He writes the plays and directs them … more or less. The experience is more of a collective actors workshop, with ideas, words and lines changed (as and where John finds acceptable), one can really explore the character.

His is a difficult road, in that he self-funds and has no theatre base, indeed his experience of some theatres in Perth has been snotty-nosed disdain, which is where the board of The Old Mill Theatre deserve genuine praise, for having the confidence in their own good name and John’s ability, to let him utilise the theatre. I think it enriches The Old Mill’s reputation and is probably (and here. I am assuming) very much in keeping with the ethos of those who original fought hard to establish the theatre.

John has told me he feels his productions are attracting people to theatre, who would not normally attend and that has been proven to me over this last week. I was asked on Thursday, if John (and the actors involved), would consider staging “Stairway to Heaven” at a major motorcycle festival in late November this year, as the organisers feel the one act play would be loved by the 5,000 or so motorcycle enthusiasts, the answer of course, was a resounding, “Yes.”

Then last night, (Saturday 23rd) one of my daughters attended with her partner and brought along two friends (in their late twenties), who had never been to a live theatre production. They loved it so much, they’re now going to book for ”Gaslight,” (Old Mills next production).

Gordon the Optom did hit the nail on the head, with his critique of “The Giant.” In mitigation, it was a lesson for John, in that the original script was written for a dwarf and he simply could not find anybody suitable. The one small person he did find, was not used to delivering lines and was too nervous to take on the role, in desperation, two and bit weeks before the season went up, John re-wrote the script and co-opted (forced???) David Titmuss to play the role. It put Tim Prosser under enormous pressure. Natalie, you beautiful young woman, I have left you out of this, as your role was to adorn, rather than take-over.

A friend of mine, an editor, made some suggestions about “The Giant,” after seeing Friday night’s performance, which I passed on to John. The mark of the man was in how he gracefully and eagerly accepted the advice, saying he’d realised his mistake in rushing. There was no defensive attack, just genuine acceptance of the criticism. I thought, “Yep, this is a bloody good bloke, who deserves to succeed.”

I had worked with Ray Condy before, but not Will Gawned and yes, one can’t go wrong with material like “No Strings Attached,” but the pathos they generated in this funny / sad cracked little tale was an absolute joy to watch – I couldn’t resist standing back-stage every night and taking it all in. And here, once again, the willingness of the Old Mill people to assist was fantastic, with Hywell taking care of business in the Bio Box – what do ya mean I can’t sing??? Robbie usually got applause for his Robert Plant bit, so take that ya bastard!

Tim Prosser is a pleasure to work with as always, yes, he’s the perennial worrier and should stop smoking, but he produces such great stuff and if you ever get the chance to see his aviation paintings, he is bloody brilliant. However the find of the season has to be Jim Barton.

He’d never appeared on stage before and originally told John he’d help out backstage, then found himself covered in make-up, down amongst the dead men. And he loved it and he’s good! Boy has the bug hit him. So John’s brought another bloke to the scene.

We had the usual post-final night drinks, where John presented all the participants with presents and cards. I opened mine and there was a Myer voucher inside. This bloke cares about people, his partner and friends all chip in to run Front-of-House and he genuinely loves writing, but won’t take the spotlight. Onya Johnny, I’d advise anybody to audition for future A Lad In Sane productions and I hope the informal arrangement with The Old Mill continues, the experience has been good for the soul.

All Good Things Greg