PROGRAM 2010

Major Production 2010

Tears (part 3 of Blood Sweat & Tears trilogy)

presented by The Western Australian Youth Theatre Company

Directed by Patrick Downes

Yirra Yaakin Theatre 65 Murray Street Perth

Season 1-11 December 2010

Group devised play created by young people

Tickets $15 standard $10 for all concession

Call 9226 2144 to reserve a seat.

Intensive Writing Workshops 2010

In 2010 WAYTCo is creating a new group devised work TEARS, the final instalment in the BLOOD, SWEAT AND TEARS trilogy.Workshops are FREE for members, just book in your placement to attend all or any of these workshops. No expereince required.m

Sunday Acting Workshops 2010

We take bookings all year round for our popular workshop program for 12-22 year olds on Sundays at the King Street Arts Centre.We will be presenting two sessions, from 3-5pm and from 5-7pm.Workshop series runs for ten weeks Costs $200 for members Annual membership fee is $20

Term 1 Commences Febraury 7

Term 2 Commences May 2

Term 3 Commences July 25

Term 4 Commences October 17

click here for workshop registration form

DNAKelly's D

ACT BELONG COMMIT and The Western Australian Youth Theatre Company proudly present Dennis Kelly's DNA.

Deoxyribonucleic Acid (DNA) is a poignant and witty tale with a VERY dark heart. Full of suspenseful moments as a group of friends struggle together to keep a fatal accident under wraps. Perth's finest young actors team together with Director, Renato Fabretti to present this gripping psychological horror story. A little bit of knowledge can be a dangerous thing. Suitable for ages from 13-15 with adult guidance and General Audiences 16 plus. Some mid level course language. Approximate Duration 65 minutes

Subiaco Arts Centre 180 Hammersley Road Subiaco80

Wednesday 12 - Saturday 22 May 2010

ALI TAULBUT, (The West Australian May 26, 2010)

Accelerated adolescence is tipped into overdrive in this dystopian thriller. British playwright Dennis Kelly is on message for the zeitgeist as he explores the emotional fallout of a teenage bullying incident that gets fatally out of hand in his 90-minute play DNA.

In a semi-rural wasteland on the edge of urban decay, piles of abandoned shopping trolleys play host to glowering and bickering youths. This is unpatronising, hard-hitting contemporary drama. Kelly pulls no punches as his characters recall quickly, in brutal, elliptical dialogue, details of the taunts and violence that have led to the accidental death of their schoolmate, Anna.

Through the businesslike king-of-spin John Tate (super cool Cameron Clark) we learn that this charmless group of 'friends' have established and now maintain their positions of high status in school through mafia-style intimidation and coercion. In the strict pecking order it becomes clear that frequent power struggles flare up within the ranks.

Up to this point Phil (a superb and mesmerising Liam Graham) has been silent but he is called upon as "the clever one" to find a solution to the group's dilemma. With chilling precision, he concocts a cover story that is audacious in its amorality and forensically mindful of DNA evidence.

Director Renato Fabretti has brought a stylised aesthetic to the action that sits well with the naturalistic dialogue. The commonly seen end-on configuration of the studio space has been opened out to great effect with audience on three sides and the huge windows on the other becoming the rear wall of the stage. It creates a mirrored perspective of the performers that is effective without being distracting. Fabulous ambient music and luscious lighting from Trent Suidgeest set the mood.

Reactions to the cover-up vary within the group from Brian's descent into madness, John Tate's finding of religion and Kane's ever-smiling relish - Tom Vowles is memorable as the celebrity-seeking youth. We hear most through Leah, Phil's "companion". Sophie Kesteven is delightful as the rapacious chatterer. Through her endless stream of consciousness commentary, she observes cleverly that grief has united the school and brought happiness.

The play ends with an inspired twist; just when you thought these cruel harpies were showing some humanity they draw gasps of disbelief at their brutality.

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