Ruby Red Fatales – FRINGE REVIEWS

Advertised as a war set comedy/cabaret, ‘Ruby Red Fatales’ provides relief and enjoyment from the first haunting dance to the last cheeky remark. What began as a typical (but sexy as all hell) 20th-century burlesque dance, quickly changed its tone to one of romance and humour.

While not intentionally serious, the romantic story-arc does gently pull on the heart strings. This provides a great counterbalance for the fusion of slapstick comedy and obvious double entendres that flitter about.

For me, there is two stand out points to this show: Firstly, the highly effective blend of comedy incorporated into song. It’s just a beautiful way to experience laughs that’s both appropriate to the context of the story, and refreshingly different from stand-up.

Secondly, and a point that I often find underrated, is an atmospheric jazzy band playing in the background. With a score seamlessly integrated into dialogue and song, you begin to forget they’re there. Sorry guys – Please take it as a compliment!

I would recommend this specifically for people who love a mixture of comedy and theatre over stand up. Or, any musicians who are after an appreciative evening – look no further.

If you’re a purist and rather isolated genres rather than a fusion, perhaps look towards something else. This show is the whole package, but that comes at a cost. That cost (for some) is a compromise between the different aspects of theatre.

Worth a see? Yeah, go on. Go grab a few drinks and head over for the late start to cap of your night. Is it for everyone? Probably not. Some people hate fun, so decide if that’s you. 



In a rehearsal room downstairs of the State Theatre Centre I was one of the last to enter and crossed the floor to my seat. There was a man sitting on a couch in the middle of the stage but he was already in character, and barely noticeable. It was a low-fi stage setting of a small apartment where all but blended pineapples would occur. Door frame, couch and packing boxes provided the hardware to this Megan Hollier and Gemma Hall project, that pits two opposing characters against each other for a night of introspection and cocktails.

Charles (George Ashworth) has just stopped packing his apartment to have dinner, unaware as to how his night was about to change, when Mia (Megan Hollier) bursts into what she thinks is her front door. The clash of characters is non-more apparent than at first impression although throughout the play this was a pairing that didn’t match. The dissonance created by the two allows for personal revelations and conversations that wouldn’t normally be had.

The ambitious introvert and the happy-go-lucky extrovert is always a favourite pairing of mine and it is no different on this occasion. Odd Socks is well-paced and Megan and George give great performances. It traps you in its awkwardness early and lets the actors open it up toward the end and they deliver a great climatic scene.

4/5 Stars

Odd Socks is on tonight and tomorrow (Sat 4th) at the The Flaming Locomotive Engine Room, State Theatre Centre. 

See the Fringeworld website for tickets and showtimes.

Sammy J & Randyland – FRINGE REVIEWS

The tall and impossibly lanky Sammy J is back in Perth with his purple felt comedic companion Randy to present to you their theme park dream.

The comedic duo have built up quite a following and the Perth Town Hall was completely sold out for a show in which one man and one puppet sing, dance and make us all laugh as they try to run their own carnival. Although, like infamous puppet musical Avenue Q, the word puppet doesn’t necessarily mean kid humour. Quite the opposite in fact.With multiple mentions of “puppet penis”, the humour was definitely more R-rated so no kids allowed!

The basic premise was a show in which the duo showed, through a series of flashbacks, the rise and fall of their (fake) dream carnival as man and puppet battle to take control over the theme park. This is a scripted play of sorts but you get to see everything from people getting eaten by orcas to a puppet inside a fake man costume. Trust me, it’ll make more sense once you’re there.

The show was technically impressive too with the duo pulling out all the stops to make their dream of a  theme park come to life. Think shadow puppetry, a few costume changes and a large juicebox container that housed Randy for part of the show. They say you should never work with children or animals but they never said anything about puppets? The multiple puppeteers bringing Randy to life were pretty seamless with their transitions as Randy appeared to move about the stage, play dead, emote and generally be an R-rated puppet to everyone’s enjoyment.

The best moments would have been the times they went completely off script. Whether that was when they were giggling at their own off-the-cuff jokes or asking the audience to name a local Perth reference they could include, things quickly spiralled away from the main comedy script but the majority of the audience was laughing more than ever.  A highlight would be the non-scripted revelation that they couldn’t use prop bowling balls on stage because last time they accidentally crushed a man’s foot in Melbourne yet still had to show them so they could be “tax deductible” balls.

All in all, this was one great show that did leave my face hurting afterwards because I was laughing almost non-stop. That’s how you know a Fringeworld show has left you happy and satisfied!

4.5/5 stars

Sammy J & Randyland is still playing until February the 5th at the Perth Town Hall.

See the Fringeworld website for tickets and showtimes.

The unTrue Detective – FRINGE REVIEWS

Lets start the Fringe season with a classic theatrical comedy. Nothing whets the appetite for what’s to come more than a blend of quiet chuckles and thoughtful intrigue. The show ‘The unTrue Detective” does not disappoint.

Now spurred on to see every show under the sun, it was great to see something at the award winning venue “Noodle Palace” in Northbridge. A few drinks and some noodles pre-show certainly doesn’t hurt.

“The unTrue Detective” had the intimate crowd on the edge of their seats (although that could have been the uncomfortable seating). While not filling the room with screaming laughter, the subtle digs and ‘red herrings’ left the audience with a constant ear-to-ear grin.

Effective lighting and a small venue really added to the shows appeal. Without revealing too much, a sense of direct communication and internal monologue from star character ‘McNab’ was the real highlight.

If you are after layers of complicated story, this show is not for you. But if what you seek is an evening of cheeky comments, laughs and a good time, this is the show for you.


          Enjoy a pre-show feed and drink to add a bit more to your night.

          For $16 tickets, you do get your money’s worth in the 40-minute show.

Tickets available at:

Circle- Theatre Review


Five friends plan together to take a road trip despite it being quite difficult since they have different schedules. Having been friends since High school, they’ve continued to keep in touch even though they no longer hang out like they did back in High school. Several events that happened in the flashbacks were relatable. Hanging out with friends playing video games, watching tv, going to parties, seeing movies or just chilling.

The script was well written and the circumstances of the events had very concise timing.
The dialogue was clever and often humourous. Sean Wcislo’s writing style has developed exponentially since Roommates live which was produced in . There was a fascinating twist to the genre of tragicomedy in Circle, beginning in the end. The play catered towards high school and university styled issues and themes. The events were enriched by the common history between the friends. Their friendship became very realistic through the various flashbacks and believable for the audience.

On stage the set was minimal, a couch and camping gear. The set was used very effectively. Projected on the screen, was a date, 13/05/2016 for the flashbacks it changed several times during the play. The actors and technicians did well with creating smooth transitions between flashbacks. They made them obvious by using the couch on the left (right stage). The sound and lighting were suitably designed and complemented the play’s action brilliantly.

The play was about friends and being challenged by life but still supporting each other. It was very funny, but near the end it was touching and somewhat sombre. It’s worth watching as people might find that it can be quite cathartic. Please be aware of strong language and supposed alcohol consumption.

Highly recommended, Rating 7/10

Circle is still showing tonight and Saturday at 7pm 29th, 30th July, Studio 411 is located on South Street, Murdoch University campus. Carpark 4 is the best place for parking.

Play- Circle
Presented by Modicum Theatre Perth Inc. Written by Sean Wcislo and directed by Leigh Fitzpatrick, Photography by Beck Thorman

Circle- FB event
Modicum Theatre Perth Inc.
Trybooking Tickets

Frankenstein- Theatre Review


Going into the foyer, people cluster in groups, excitedly anticipating the beginning of the play. At around 7pm, the doors open and people begin to enter the theatre in droves. Sitting at the back row,I was ready to see Frankenstein performed on stage. Preparing myself, I eagerly wait for the opening scene, my eyes straining in the dark to take notes.

It was a marvellous show, very in depth on the events surrounding Victor’s life and the creature’s journey since his creation. I was conflicted between whether I should sympathise with Victor or the creature, as both of them were morally divided, carrying guilt and loss. Victor Frankenstein, the main protagonist, uses such stark and eloquent language. Amongst all the gore, humorous scenes are scattered in between the main action. A story weaved on stage before an enraptured audience.

There were two acts, the first was about one and a half hours and then the second act was about an hour. This was still surprising considering most of the main events from the novel were included so timing could’ve been longer. It was quite succinct. With a cast of twenty-one actors, there was always something happening on stage. It was highly engaging and everyone gave splendid performances. Besides Victor Frankenstein and the creature, the landlord, Henry and the captain stood out to me.

The play begins on a boat in the middle of the Arctic Sea. The crew and captain have caught a stowaway and demand he be watched. It’s highly suspicious to be out here. Victor Frankenstein, played by Scott McArdle, tells the captain his life story, flashing back 15 years to when he grew up in a Swiss family. His father, mother, brother William, friend Henry and adopted sister Elizabeth. His mother’s death during his childhood wasa turning point. His father avenges her death and the family never fully recovered. To escape the solemn household, Victor decides he was to be a doctor. He travels to Germany in hope of studying to become a physician. In search of lodgings, his misfortune leads him to renting the attic and having to put up with his crazed landlord. In his growing, morbid fascination with life and death, he ignores that he has a responsibility as a doctor. In the present, Victor chases after his own memories, haunted by his decisions and his guilt. In the second act, the creature goes through its life of suffering, starting when Victor abandoned him.

Written by Mary Shelley, the script was adapted for the theatre by Scott McArdle. Frankenstein was originally a novel and considered literature. McArdle managed somehow to write the script, direct and act in the same play. Originally Aaron Jay was going to be Victor Frankenstein, though something happened last minute that prevented him from continuing. Scott was able to take on the role within 6 weeks. Being experienced in adapting to the demand  is a distinguishing ability for an actor to have.

The production was able to find a way to have wolves and a horse on stage, with enough fine detail to provoke the imagination. The smoke machine was frequently used  for storms, fires and foggy streets, allowing for a realistic atmosphere. The costumes were very practical and precise. The sound was effective in application and enhanced the impact of the action on stage. The lighting was elaborate and complemented the sound-scape.

The same set as Dracula and The Mummy was used, adapted specifically for this performance. It suited well in the differing settings but the set was installed with a ‘fold out’ bed and I noticed that it was already stained before the action began. This is most likely from one of the rehearsals or the preview on Wednesday. The bed itself was a great addition to the set, it just slightly disrupted the illusion.

This production of Frankenstein retains the potent horror and mystery of Mary Shelley’s novel. With a creative production team and a skilled cast of 21 people collaborating, the production was remarkable. It was both shocking and delightfully gruesome, yet not overly violent. I highly recommend seeing Frankenstein at Nexus Theatre, rating, 8/1013815001_1131536043573986_1478498729_n

Murdoch Open Day
Check out the Nexus Theatre and learn more about Murdoch Theatre at the Murdoch Open Day on Sunday. There will be a presentation and several performances throughout the day at the South Street Campus. 10am-4pm

Upcoming Plays at Murdoch University

Circle, July 28th-30th, Studio 411 Written by Sean Wcislo and directed by Leigh Fitzpatrick. A group of friends take a roadtrip, going on a journey physically and emotionally. Their friendships are severely tested when they get lost. 6;30pm open, 7pm start

In August
2084- Presented by Murdoch University PHD candidates, starting August 18th. Nexus Theatre. A musical, inspired by the novel of George Orwell- 1984. The original script for the production is the product of Sarah Courtis’ and Ellin Sear’s PhD theses. = More information will come some. Have a look at the description on the FB event. 

Frankenstein- FB Page
Second Chance Theatre
Circle-FB Event
2084-FB Event
Murdoch Open Day

The Mummy Rises- Review


The Mummy Rises successfully takes the mummy, a classic monster, into a play riddled with humorous dialogue and ardent characters, without losing the horror and intrigue of the Gothic genre.

Play: The Mummy Rises
Director/Writer: Tim Brain
Theatre Company: Nexus Theatre and From The Hip Productions
Showings: July 14, July 15th, July 16th @7:30pm, Saturday matinée @2pm
Location: Nexus Theatre (Murdoch University, 90 South street 6150 WA)

The play begins with a spotlight on a book and Indiana Jones-esque music. Then the sound of chiseling before the tomb is entered. One wall is covered in hieroglyphics and on another lays a sarcophagus. Act One is set in Egypt where a team of archaeologists set out on an expedition to find Artek Bay’s tomb.  Those who disturb Artek Bay’s tomb are warned. But will they heed that warning? What would the consequences be if they don’t?

The comedic dialogue in the play contrasted well with the presence of the mummy. Issues such as gender roles and domestic violence were also explored in the script. There was also a bit of British humor which helped elevate some of the potentially awkward moments and silences in the British Museum. Although some of the characters die, most of them tragic, there isn’t much violence or gore in this play. It’s definitely worth watching for the comedy and the production’s effective technical elements. It’s still a gothic play, since the mummy remains menacing as the proceeding events build the suspense.

The cobwebs and dust were great on stage when the archaeologists enter the tomb. Using smoke for the dust did wonders for the Egyptian setting. The music and sound effects improved action and helped with foreshadowing. It was good decision to have voice-over during the setting change and near the end of the play. The voice-overs worked well in advancing the narrative and offstage events (Clare Waldren). The scene change between Egypt to the British Museum was snappy. The lighting choices were clever, specifically having the lights flicker at key moments and using flashing side lights to represent the press.

Tay Broadley’s (Charlie Cameron) nonverbals were spot on and used to great comedic effect. Timothy Brain’s (John Waldren) Irish accent was consistent and his  characterization was precise. Besides acting in the play, Tim also wrote the script and directed The Mummy Rises. Andrew David (Alfred Bray) was convincing in both his relationship with Clare and acting through his character’s affliction after what occurred in Egypt. Andrew Dawson (Mummy/Artek Bay) was quite menacing as the mummy, creeping across the stage as he stalked the archaeologists. Kudos for having to stay in the coffin for so long! Lord Howard Preston (Dean Lovatt) was the financial supporter of the expedition and in his quest for profit and gratitude, he steps over other’s feet to achieve. His wife is the one he relieves his frustration on and karma has it way of “boomeranging”. Lovatt did great in playing his character as the semi-villain and aristocrat.


Christie Strauss (Clare Waldren) was one of the many highlights of the play with her striking performance as the female heroine, Clare Waldren. As a career-driven archaeologist, her interactions with Alfred were sweet, yet highly confident. Her character was strong and went against traditional gender roles, most notably in her dialogue. Kate Willoughby (Maisie Dalrymple) was the museum’s  librarian and she played a vital role in the final fight scene. She did well in creating the character and experimenting with the librarian caricature and British humor, in dialogue and non-verbally.

Abbey McCaughan’s (Cora Shakley) chosen accent did wonders for her character. Her decisions in interacting with Maisie and Clare on stage helped convey their friendships. Bella Doyle (Abrar Ali) was surprising whenever she appeared on stage. Doyle’s accent and character’s background were possibly researched to be accurate, as her portrayal was very believable. Her role in the play was vitally interlinked with the progression of events both on stage and offstage. Anna Weir’s (Lady Harriet Preston) character was portrayed as brave, superstitious and strong-willed. Lady Harriet’s relationship with her husband, Lord Preston was tense due to her believing in superstitions and him being violent in their marriage. Weir had a strong stage presence and her interactions with Lord Preston were quite heartbreaking.

Overall, I have greatly enjoyed both of the Gothic plays I have seen so far with the acting, set design and technical elements all impressive. Next up comes Frankenstein! The very last in the trio of Gothic stories that have been brought to the stage.

The Mummy Rises-FB Event
Tickets link for Mummy and Frankenstein


Dracula – Theatre Review



Music begins to play. On stage, furniture is covered in dust speckled sheets. Half the stage hidden by curtains.  In Dr. Seward’s sanitarium, a man is led astray by his insatiable desires, drawn to madness and hunted in the night…

The characters in the play each had their own unique quirks. I personally was interested in how the actors developed their characters non-verbally and when they were bystanders to the action/dialogue. Sometimes the actions of characters and their relationships has a greater impact than dialogue. Van Helsing (Jason Dohle) and Count Dracula (Joel Sammels) went past their stereotypical counterparts. The relationship between Lucy Seward (Toni Vernon) and John Harker (Phillip Hutton) appeared realistically strained on stage, with Lucy’s illness tragically postponing them from being romantically involved or getting married.

The Murdoch Theatre Company has collaborated with the director of Lit by Limelight (a children’s theatre) to develop a set that would be adaptable for the  different productions. For Dracula, the set was designed by Ally Snell with  designs being both sophisticated and durable.  Throughout the play, the stage hands were ‘disguised’ as staff at the Sanitorium which helped with snappy and precise scene changes.

The lighting added to the overall mood of the performance and greatly transformed the stage between settings and scene changes. Lighting was designed by Scott McArdle and manned by Tay Broadley. The sound-scape effectively improved the underlying tension and suspense. The sound was designed by Tim Brain.

The costuming was reminiscent of 19th century fashion and suitably chosen. The costumes for Count Dracula and his brides stood out the most. Costumes were designed by Sophie Braham. The vampires wore coordinated dark red and black outfits. Their undead appearance emphasized with contact lenses, long fingernails, ruby red tattoos and pale complexions. Make up was designed by Leah Toyne. The main special effects in the play included voiceovers, wolf and bat sound effects. The most notable is the use of fog to signal Dracula’s transformation as a bat.

Overall, a great performance was put on by all with all the suspense and terror you could need and my excitement for the next two Gothic plays, The Mummy Rises and Frankenstein,  only increased!

Playwright & Origins of Script

The 1924 stage play was written by Hamilton Deane and was a three act play. Hamilton Deane (1880-1958) was an irish actor, playwright and director. John Balderston was hired by Horace Liveright to revise the play in 1927 for Broadway productions with American audiences. John L. Balderston (1889-1954) was an American playwright and screenwriter. The play was originally presented at the Fulton Theatre in New York City.

The play, Dracula originates from the 1897 Bram Stoker novel, which was first published in the United Kingdom. Bram Stoker was an irish author who started writing in 1872. His interest and writing mainly focused on irish folktales, occult and the supernatural. His focus on these developed while he was bedridden until the age of seven from an unidentified illness. Supernatural folktales have lived on for centuries, from vampires and alongside Stoker’s illness, the story of Dracula was developed. The character of Count Dracula was inspired by the Romanian ruler Vlad Dracula (Vlad the Impaler) who ruled Walachia several times between 1456 and 1462. Since then, several spinoffs and revisions have occurred and it has inspired other books and films around the subject of vampires and the supernatural.

Play: Dracula (Three shows, @ 7:30pm, July 7th, 8th & 9th)
Location: Nexus Theatre (90 South Street, Murdoch University, Carpark 3/near library)
Synopsis: A classic gothic story reimagined on stage, with characters such as the famous Van Helsing and Dracula. Van Helsing is hired to investigate the mystery of Lucy Seward’s illness and its possible link to Renfield’s madness. The play switches settings between Dr Seward sanitorium and their neighbour’s bachelor pad at Carfax.
Genre: Psychological Thriller, Horror Rating: MA15+
Director: John King, presented by Murdoch Theatre Company
Writer: Hamilton Deane, Revised by: John L. Balderston

Dracula-FB Event
Murdoch Theatre Company-FB Page
John King (director) Interview
Dracula- Original Script (1927)
Dracula- 1897 novel
Bram Stoker- Biography information
Vlad Dracula- Britannica Encyclopedia

Murdoch Theatre in July


Next month, a trilogy of horror plays will be performed at the Nexus Theatre. The Gothics Project has been a great undertaking for Nexus Theatre, Murdoch Theatre Company, From The Hip Productions and Second Chance Theatre. The directors, John King, Tim Brain and Scott McArdle, have been developing the project from the initial vision they had. Each have dedicated time, effort and money towards making the Gothics project a reality. The lighting, set design, costuming and special effects are top notch and will give the plays a ‘gothic feel’. One set is being shared by the three companies in their technically driven productions. This dynamic two-level set  will take the audience from Castle Dracula, London, Egypt and to the Arctic sea, through the use of stylistic changes to adapt each setting.

The first production, Dracula has begun setting up in the theatre with assembling started on the 27th of June.

Check out the FB event links below for more details on this month’s theatre productions.

Play #1: Dracula
Showings: Thursday July 7th to Saturday July 9th @ 7:30pm
Director: John King
Theatre Company: Murdoch Theatre Company
Script:  This stage play adaptation of Bram Stoker’s novel was written by Hamilton Deane and revised by John L. Balderstone in 1927 at Broadway for an American audience. (Samuel French)
Genre: Psychological Thriller, Horror
Cast/Crew: 11 actor cast

Play #2: The Mummy Rises
The Mummy Rises was written by Tim Brain and is derived from the original 1999 film starring Brendan Fraser. The humour of Abbott and Costello tackles the haunting of an Egyptian mummy after it arrives at the British museum in London 1890. The play blends  comedy and horror in a brilliant balance made for the stage. The Victorian era language is made more accessible through Tim Brain’s writing. The script takes on a feminist angle with Clare Waldren as a female heroine who rescues the men. Christie Struass performs as Clare Waldren and Andrew David takes the role of Alfie Bray.
Showings: July 14-16th 7:30pm, plus a matinee @2pm on Saturday July 16th
Director: Tim Brain
Theatre Company: From The Hip Productions
Script: Original script written by Tim Brain, specifically commissioned for this project.
Genre: Comedy Thriller
Cast/Crew: 10 actor cast

Play #3: Frankenstein
Showings: Thursday July 21st until Saturday 23rd @ 7:30pm (doors open 7pm)
Director: Scott McArdle
Theatre Company: Second Chance Theatre
Script: This adaptation written by Scott McArdle revitalises Mark Shelley’s classic novel
Genre: Horror, Romance
Cast/Crew: 20 actor cast

Reviews will be coming for all three plays so check out the links below if you are interested in getting tickets.

Relevant Links-

Tickets for the Gothics
Dracula – Event Page
The Mummy Rises –  Event Page
Frankenstein – Event Page

Murdoch Theatre Company
From The Hip Productions
Second Chance Theatre
Modicum Theatre Perth Inc.

Review – Six Characters in Search of an Author


In the play, Six Characters in Search of An Author,  it’s impossible to discern where illusion began and reality ended on stage. Only a few questions were answered and many still remain…Were they actors or characters? Does reality truly exist? Are we only acting ourselves? Why does no one like writers? (Everything will make more sense once you’ve seen the play!)

Tickets are still available for Friday and Saturday night. Consider inviting your friends or family to see it with you. Though it’s recommended that they are 15+.due to one of the themes not being very appropriate for children. Tickets can be purchased here from as low as $10. Asking someone helping at the door  for a program  before the show  is always helpful too.

Top and Tail Theatre company invited the audience last night to see what an average rehearsal looks like. In the middle of rehearsing a scene from Sean Wcislo’s play Roommates Live from Apartment 19, six characters suddenly appear and demand for their story to be staged. Beginning as a comedy, the play quickly became a melodrama. Even though the company eventually lost control of the stage, I thought the lighting, sound and set were brilliantly eerie. This had the intended effect on the audience and certainly added to the ‘dramatic action’ of the play. The characters were very realistic, while the actors were consistently in character even if the characters wished to deny it! You’ll be left wondering where lost characters end up, and will also receive a quick education of theatre.

The adapted script remarticle2.jpgains true to Pirandello’s ideas on dramatic creative writing, stagecraft, the rehearsal process, characters and the various perspectives that create a story. It also critiques playwrights on the many characters they create but never use, who might be condemned to living through their life story, eternally suffering. Part of the dialogue was rejuvenated and modernized from Moulds’ adaptation to suit the Top and Tail Theatre Company. (This script change was encouraged by the ‘Hypocrites’ for future performances)  While I did take a look at the original adapted script, I was really surprised and intrigued by the unique choices Top and Tail Theatre made in creating their production of Six Characters. 


Play: Six Characters in Search of An Author
Venue: Studio 411 (Murdoch University, South Street Campus, Carpark 4, near the gym)
Showings: Thursday night, June 16th, Friday night, June 17th & Saturday night, June 18th
Genre: Absurdist meta-theatrical, around 80 minutes
Director: Nick Morant
Theatre Company: Top and Tail Theatre
Script Written by: Luigi Pirandello, Adapted by: Steve Moulds (Playscripts Inc.)
Starring: Tay Broadley, Mike Casas, Claire Tebbut, Jonathan Maddocks, Leigh Fitzpatrick, Abbey McCaughan, Sean Wcislo, Clare Talbot, Brianna Lea and Jordan Baynes.

Extra Info

Luigi Pirandello (1867-1936) was a dramatist and novel writer from Sicily, Italy. He studied Languages and dialectology in Sicily and Bonn before moving to Rome. He wrote poetry, short stories, and novels. The main highlight of Pirandello’s writing career was the 44 plays he published. Pirandello wrote ‘Six Characters in Search of an Author’ in Rome 1921. The play has been performed and adapted several times since then. This particular adaption was produced in Chicago, Illinois by ‘The Hypocrites’ and first performed between February 1st-March 11th 2012.

The Hypocrites are a company that was founded in 1997 by the artistic director, Sean Graney. The company’s main aim is to stage deeply engaging plays which the audience can connect to and have a role in the performance. While they are known for staging adaptations, they also sometimes work on new plays. Steve Moulds wrote the adaptation for The Hypocrites. The script and cast was altered to suit the Hypocrites’ company mission in their 2012 productions. Steve Moulds studied at the University of Texas at Austin and has an MFA in playwriting from the Michener Center for Writers. He has worked for theatre companies in Louisville, Minneapolis, Saint Paul and Denver.


Relevant Links:

Six Characters FB Event
Top and Tail Theatre
Luigi Pirandello
Steve Moulds
The Hypocrites
Playscript Inc.: Six Characters in Search of An Author