Why Is The Bear Shouting?
Nicholas Johnston’s script is indeed quirky and initally intriguing, although it’s a slow start to the evening. Susannah Russell directs a competent cast including a therapist, a woman who ‘sees’ a shouting bear, and of course, the bear. There is barely a plot, a few meagre jokes, and unfortunately the whole piece comes across as a poor excuse for a comedy about mental disorder.

Multiple Schema
A fascinating work from Paolo Mezzatesta which charts the thought patterns of Audrey, a girl suffering from a form of mutliple personality disorder. It is at times enthralling, confusing, ridiculous and frustrating – which perfectly mirrors the effect of the disorder. Directors Meg Garret-Jones and Amy Wilson have produced a thoroughly refreshing and alive piece of work, and elicit a strong performance from Brooke Loutitt in the central role.

Personal Jungle
Written by Steven McGrath, this play follows Tarzan, Jane and Boy (who seems to have stepped off Oxford Street into the Amazonian jungle) and their quest to find what each are searching for. Tarzan wants an heir, Jane longs for a child and Boy just wants to party. There are some fine performances and some very amusing moments but the work in its entirety seemed a bit aimless to me. Nonetheless, Personal Jungle was one of the stronger comedies of the program.

Embalming The Dead Entertainer
The tagline to this work is that it is “guaranteed to offend everyone.” Michael Conrick’s script spends ten minutes attempting to do just that with seemingly endless jokes about orgasms, comments about midgets and cricketing rapists. It runs like an uncomfortable stand-up act in which only two people in the audience are laughing ridiculously - the rest can’t figure out what the point is. Tug Dumbly puts in a stellar effort but this piece is just dreadful – I wasn’t offended, I was just supremely befuddled.

Terror On The North Side
Finally a script that entertained me madly – Terror on the North Shore is bold, hilarious, perfectly played and topical. When Annabel brings her Muslim boyfriend, Mike, home to meet her parents, her initial fear of the event is well-jusitified. The banana-bread-eating, Compass-watching future in-laws are so ready for a suicide bomber to walk through the door that Annabel’s mother dons a tea-towel on her head. It’s horrifyingly brilliant. Venetia Taylor performs in her own script with ease amongst the best ensemble work of the night. Boris Ivanoff’s direction allows for audience laughter and revulsion in spades.

Protocol
A disturbing piece about a simple dispute over a parking space gone very wrong. Mark Andrew’s script begins innocently enough with two men refusing to budge on the matter of a parked in car, and quickly escalates into a violent tirade. Beng Oh directs Simon Kearney and Matthew Maloney in this tight two-hander. There is very little reprieve from the verbal and physical violence, and as such, the work is more than a little unbelievable given its simple set up. Nevertheless, it pulls some pretty swift punches to the gut.

Jeremy’s Cybele Makeover
A highly original, rare gem of a play. Kellie Mackreth directs Georgina Luck’s piece about a comissioned piece of public art that doesn’t quite fit the bill. The artist, played with natural efficacy by Georgina Sutton, has either unwittingly or purposefully, created a striking resemblance to the Mayor in a comprimising position. Once different views on the work have been discussed, including the resident caretaker’s, the Mayor must decide whether to let the creation be unveiled. A wonderful little play with a gratifying ending, although Luck could have delved and unearthed many more layers.

Morning Tea At The Carousel Cabaret
Stephen Carnell’s play attempts to explore the mysterious circumstances surrounding the disappearance and alleged murder of Kings Cross journalist Juanita Neilson in the 1970’s. Victor Kline directs this dark piece, with a host of bizarre characters with obvious layers to be stripped away. It’s an interesting premise, although as a play it does not much more than play out the already probable facts as discussed in the actual trials. Anyone unaware of the real story would feel that this is an underwritten, unsatisfying work. Everyone else will understand that ten minutes is barely enough to scratch the surface of this woman’s story.

Canal Pseudo-Skewered Pig
A wickedly tangled relationship told through a series of dinner party fragments. Jane E Thompson’s work is a clever little, mulit-layered, ultra-enticing treat, although at times it is obvious it is trying to be clever. Alex Wallace and Jay James-Moody direct the couple in a slick, sexy, outrageous production with a very strong cast. Only the ending really disappointed – for a piece that packed so much energy, it lacked the final punch.

Headlock
The final offering from writer Deirdre Oliver is an amusing take on the bumblings of the Victorian Police force. When a man reports a stolen car, he must at first get pass the front desk (which proves a mean feat) and then succomb to the bizarre world of the interrogation room. Peter East’s direction allows the piece to amble along and uncover some lovely comic moments, yet to his credit, the piece never drags. It is a genuinely entertaining piece which doesn’t take itself seriously, however it suffers because it really is only two scenes which taper off to a complete anti-climax. It’s never a great end to an evening when the audience is unsure when to clap.