On a blustery and wet winter's night, my partner and I headed to the Windsor in Nedlands to watch The Rose Maker.
Being a sucker for French movies, I couldn’t resist the lure to watch this one.
Catherine Frot plays Eve – the central character who runs a rose cultivation farm that is on the verge of bankruptcy. It is dear to her heart having inherited it from from her father who has since passed and she will do anything to save it from ruin.
Her secretary Vera comes up with the clever idea to hire 3 farm hands from a back to work program – the only problem is that they have no clue about working on a rose farm!
Growing up in a tight-knit Jewish family community comes with its own expectations, rules and family life. Add to that the challenges of growing up bisexual – and you’ve got the makings of an interesting story.
Danielle sets off with her parents to attend a shiva (a wake) after a family friend’s funeral. She is a busy University student trying to juggle all the different parts of her life – studies, part time work, dealing with the pressures of parental approval, and comparison with her peers etc.
When she turns up at the wake with her parents, she discovers that her sugar daddy is also there – along with one of her ex-girlfriends – the relationship who her Mum describes as that sort of weird thing that happened with your friend.
As I write this review, Boorloo/Perth is pretty much free of COVID restrictions. But as I walked through the rain, past Yagan Square and into the State Theatre Centre to catch a performance of York (which had itself been delayed due to COVID) three other states were in lockdown, and I couldn’t help thinking, not only about how lucky I was to be out and about, but also how privileged I have been in so many ways throughout my life. And how not everyone gets to enjoy the things I take for granted.
York, written by Ian Michael and Chris Isaacs, is certainly ambitious – spanning two centuries of Western Australian history in two hour-long acts. We begin the play in the current day, with tree changing couple Emma and Rosy moving into the Old York Hospital, now a private residence. Emma, a lawyer, is soon called back to the city to defend one of her juvenile clients, leaving Rosy to unpack their boxes with the help of their new neighbour – who is clearly terrified of the house.
Borderline personality disorder (or BPD for short) ?
I had heard the termed mentioned once by a friend of a friend who had been diagnosed with BPD and said that it had been a relief to have finally received a diagnosis on what their condition was after considerable time and suffering.
But apart from that, I do not know much about BPD.
On waiting outside to enter The Blue Room Theatre, before the performance of Borderline by stumble began, we were offered a soft space to chill out (the soft toys eagerly awaited !) and a mental health counsellor on standby at any time through the performance, if we thought we needed a time out.
Whoa...that sounded heavy duty I thought.
The opening night performance of Borderline could be described as heavy duty but in a good way. It could also be described in many other positive ways.
My partner and I were looking forward to our evening out at Windsor Luna in order to watch the French drama Perfumes.
Perfumes follows the story of Anne Walberg (Emmanuelle Devos) – a talented genius who specialises in using her nose to concoct amazing scents and who once had a famous career developing award winning perfumes till her sense of smell temporarily deserted her.
Now freelancing, her marketing agent sends Anne off on different assignments to continue to use the talents of her nose – though in somewhat more diverse projects which send her off the beaten track.
On one of her work projects, her path collides with Guillame Favre (Greg Montel), who is assigned to be her regular chauffeur – after she sacked her last 3 drivers.
After taking in a couple of shows at the Inaugural Perth International Cabaret Festival (Carlotta's The Party's Over and Dean Misdale's Life's a Drag, both terrific), my partner and I were looking forward to sampling a smattering of the performers on offer at the Closing Night Gala.
Hastily thrown together by Artistic Director Michael Griffiths when Covid-19 struck yet again and prevented Meow Meow and Lior from coming over to Perth, the Closing Night Gala featured an extraordinary lineup of local and interstate talent, and proved to be a fitting finale to a successful first foray for the festival.
Michael Griffiths and band kicked off proceedings and got things jumping, and he was quickly joined onstage by co-host Amelia Ryan, who was later to wow (and terrify) the crowd by coming down and selecting a male audience member to assist on-stage.
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