A Night of Deceit

‘A Night of Deceit’ is an exciting new collection of six one-act plays by local playwrights, set in the 1940s. The compilation is presented by Ellandar Productions at the Subiaco Arts Centre, Studio, Subiaco until 18^th December. Starting time for this two and a quarter hour show is 7.30 pm. 

We are welcomed to the theatre by the Master of Ceremonies, or should I say ‘Mistress’ as Asha Cluer purrs her way sexily through the introduction, swigging occasionally from the large whisky glass on her piano. Then a quick tinkle on the ivories as Tim How and Iskandar do a soft shoe shuffle. Para Isidro, assisted by Renae O’Neill, created the interesting range of choreography.

 

Asha introduces the first story in an American drawl. 
 
‘William Albridge’ - Written by Elliott Cook

      In a London police station interrogation room, William Albridge (Elliott Cook) is being grilled for identity theft by Detective Fleming (Iskandar Sharazuddin). When a second detective (Shiloh Blondel) enters the cross-examination things take a turn for the worse. Will the true identity be revealed?

What brilliantly written script, it is complex and yet hilarious as the characters battle with the tongue-tying dialogue. An amazing performance from Elliott. 

There follows a musical interval with a duo performing ‘Big Spender’. Well sung and danced, Charleston style, but this needed a little bit more kick and drive. Possibly first night apprehension? 
 
Thieves & Foxes - Written by Georgina Gayler

       Pony (Jake Jensen), a Robert de Niro style New York robber, is thinking of leaving his moll Kat and doing a big robbery without cutting her in. What will happen when she finds out?

Good and novel idea, well acted but the story needs a touch more work on the storyline.

Asha Cluer then gives a superbly sensitive rendition of the old Peggy Lee number ‘Is that all there is?’ (A song that was killed by Bette Midler). 

The Gravy Train - Written by Georgina Gayler

      It is early morning on a station platform. A businessman (Timothy How) is waiting for the train to arrive when a Mr Bean (Elliott) like character approaches him and starts asking questions. With the train due, the businessman cannot escape, not even the help of an Ocker (Jake) workman can save the situation.

A very funny premise, which many of us may have found ourselves in, carried out beautifully by three natural comedians.

 Conscience - Written by Iskandar R. Sharazuddin

      In the East End of London, Sam (Iskandar) dances the night away with a beautiful, skimpily dressed nightclub ‘hostess’, Victoria (Ruby Hall). Dressed in a flimsy basque, she gives him a night to remember. Later Sam finds himself in a prison cell accused of her murder. Why has Sam no conscience?

The interrogation by the police officer (Tim) leaves Sam confused. In a flashback, a drugged and drunken Victoria tells us the pathetic story of why she has ended up this way.

Strong performances from Ruby and Tim. The dialogue for the policeman is cleverly written in a Shakespearean style, in particular reminiscent of Lady Macbeth.

Erectile Dysfunction - Written by Iskandar Sharazuddin

       Seeking advice – and relief - a distraught lady (Jo Causer) arrives at the psychologist and sex therapist (Iskandar) rooms. The heavy breathing, Marty Feldman-like doctor starts to advise her on how to tackle her sexual frustrations, the consequence of her husband’s erectile dysfunction. Perhaps the doctor’s associate (Jake) will bring new light to the situation.

A very funny and zany piece, again skilfully delivered with professional comedic style.

The Card Game - Music & Lyrics by Asha Cluer & Shiloh Blondel

       Musical director, Asha Cluer and Shiloh Blondel take us to a seedy American gambling den, where a Senator (Jake), his ‘lady friend’ (Jo Causer) and his private secretary (Tim) have arrived for a game with some dodgy regulars (Iskandar and Elliott). Money starts disappearing – stolen. The hostess (Ruby Hall) arrives to help quell the situation. The revelations then flow thick and fast.

This last act is a catchy jazz musical and drama, blended to give the audience a memorable send-off, and it succeeds.

The Studio has been very successfully used lengthways, with the audience on three raked sides. By having a cyc behind the seating several exit and entrance points for the actors were created.

The scene changes, under the eye of Amanda Ash, were swift and silent. Ben Ash’s lighting was complex and precisely operated, well above average. The 1940s costumes – yes, I was there and remember them! – Were wonderful. The white and tan shoes, the Charleston dresses, genuine police uniforms all well thought out and sourced. The make-up ranged from haggard to Ruby’s sexy dripping lips, well done Cara Templeman. Superb teamwork.

The first five pieces are dialogue based and of an extremely high standard. The scripts, by relatively unknown playwrights, are finely honed and punchy so will become sought after and legendary.

The direction is by Iskandar Sharazuddin, with skilled professional mentoring from Fern Nicholson. The overall production is inventive and cleverly executed.

A group, of which previously little was known, now have a great future ahead of them, but look out especially for Elliott and Iskandar, fantastic duo.

An excellent night at the theatre. Be warned that already some nights – like last night - are booked out. Booking essential, but try and see this spanking new compilation. 

Gordon the Optom