Their old theatre might have gone with the wind, but Repertory still thrives, and, judging by the quality of this production, nothing the world can throw at it will alter that.

We live in strange times, for sure, but Celebration Theatre’s marquee in Hagley Park, complete with portaloos and all, is oddly comforting. It might be the new normal, but once the lights come up and the actors enter the stage, it is the same old, priceless magic.

Same Time, Next Year is a delightful, feel-good romantic comedy. It doesn’t tax your mind but it does warm your heart and tickle your ribs, as you watch Doris and George develop their relationship over a twenty five year period. After their one night adulterous fling in 1950, they meet up for one weekend every year which we see in scenes set five years apart.

To be honest, the play is a little dated and some of its humour seems somewhat quaint now. As they have changed, so have we. But don’t let that worry you, because there is plenty in this play that is timeless and the two actors, Eilish Moran and Ross McKellar, breathe such freshness and life into it that it all seems so enjoyably real.

Indeed, watching their interplay and interactions, where they really listen to each and respond so naturally, you become aware that the good actors don’t demonstrate their own talent, they enable the talent of others to shine. So the appealing depiction of Doris and George’s imperfect pairing is the outcome of two performers’ complete compatibility with each other.

Not bad, for a cold night in a warm tent in the middle of a park. 
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Behind all the fun of course, is the teamwork which allows it all to run smoothly for our enjoyment. Repertory’s Artistic Director, Rozena Hallum, does a fine job tuning the components and highlighting the essential sweetness of the story without allowing descent into sentimental pap.

Brenda Hayes (sound and AV), Amanda Dickie (wardrobe) and Robin Harris (lights), all bring special skill to the challenges of a production in these circumstances.

The actors themselves are a delight and create each scene with freshness and depth that goes way beyond the laughs, fleshing out the sitcom with spontaneous ease.

As Doris, Eilish Moran moves from shy high school dropout to poised and powerful woman of the world, building a character of engaging honesty and practicality. The immediacy of her work is outstanding. 

In his George, Ross McKellar gives us a well rounded portrayal of a good bloke smitten by something beyond his control. His endless capacity for alternate guilt and elation is very endearing.

Perhaps best of all and most satisfying from the audience perspective, is the genuine chemistry and warmth they kindle as a couple, attentive and responsive to each other, making the most of every nuance of the relationship. 

Not as resoundingly deep as Hamlet of course, but as a winter warmer, this production brings a splendid glow to the heart. 
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