Charles Ross is an inspiration to manic, role-playing children in living rooms everywhere. He describes his One Man Star Wars Trilogy as a "mime extravaganza" similar to a "child freaking out, playing in the schoolground". It conjures up quite an image of our lonely hero on stage - frenetically spinning this way and that, bringing to life his imaginary friends (and ours) through voice and gesticulation alone. No props, no costumes - child's play.

But it's more than just some geeky thespian who loves the sound of his own voice...as a Lightsaber. Or at least this is what I try to stress to Ross - that this is a massive deal in terms of the translation of three of the most well-loved films ever - but he's disarming in modest reply: "this has been shits and giggles in a lot of ways". Yes, he feels he's "part of something bigger", "sauce to the goose" (figure that one out). But he admits "it's nothing short of a fluky miracle that it even happened." Adding: "If I'd set out with the intention of doing what has occurred, I'm not sure it would have gone as well as if it organically unfolded".

OK, so I'd gone a bit overboard with the whole 'it's the most important thing since the films were made' angle. I guess I'm just another fanatic. But I take heart that I'm lost in the ranks of the many more pathetic that come before me. Ross has been in close contact with a few of these Lucas Lovers - a scary thought when one has received an electronic fore-telling of doom. Ross recalls it's warning with a flourish: "The fact that I do this for a living, is evidence of the coming of the apocalypse". Nothing short of universal destruction - that's how important this is!! "I didn't think the end of the world would work out so well for me! ... Me and The Four Dork-men of the Apocalypse." Ross isn't afraid, he's got his Wookie impersonation to save him from any would-be aggressors. Or wait, "I'm not gonna get rolled by a bunch of geeks, I don't think. Perhaps I'll get ripped on the internet, but that's about it."

As swift and adept as Ross' wit is, he can't reenact every scene of a six hour epic. Ross says he relies on "the power of other people's imagination to fill in the blanks...There's a huge leap between the audience and myself." Some scenes he'll do, some he won't, and he'll change it up to keep it interesting from night to night (1200 shows and counting). If you're a Star Wars fan, you know you need to see this show. If you're not, and you're hoping to follow the plot somehow...This is not the theatrical interpretation you're looking for.

Ross brings his epic one man show to The Playhouse on Saturday November 14. There's two shows, one at 3pm and 7.30pm. Call 6275 2700 for bookings.

People who say that nothing ever happens in Canberra clearly aren't looking hard enough. When I'm lucky enough to speak with Sam Floyd about his upcoming play, I realise that it's happening everywhere, because people like him make it so.

At 21 years of age, Floyd boasts an impressive resume. Seasoned circus performer and teacher, part time actor, student, company director and full time writer/producer of the latest theatre offering to appear as part of the Street's Made In Canberra season, Not Axel Harrison.

Impersonating hit men, murder, crooked cops and loan sharks: it's the recipe for the perfect tale, really. "The idea came from watching many, many gangster films. I find them the most entertaining of films because the stakes are so high: life, death, integrity, honour and gaol. Everyone is out for themselves, which spawns such interesting characters and conflicts."

But then there's the matter of Floyd's distinct love of situational humour, what could be considered the spine of his work. Floyd acknowledges its presence wholeheartedly. "The defining element is the sense of humour with which it tackles the gangster genre and the way the humour doesn't undermine the tension and drama. The story and characters deliberately drift towards archetypes in some cases, but the characters are few and carefully chosen to weave a clever story and entertaining show".

The third offering from Freshly Ground in less than two years, I'm reminded of a phrase my grandmother uses about there being no rest for the wicked, and begin to form images of man bent over a laptop typing furiously for months on end.

"It's when you hit on a great premise," Floyd explains. "That's when the writing just flows. That's when it becomes easy and fun."

And as for running a theatre company as well? "Rewarding is the word, I think. The worst thing was the uphill battle starting out, gaining credibility from being unknown is a struggle, but it's getting easier. The enjoyable part is reaping the rewards of your efforts." Thankfully, co-directing with lead actor Tom Watson has eased things slightly for Floyd and helped him take on a new role. "I'm not acting in this one, for the first time in my career."

"Scriptwriting is a natural progression from performing. I prefer scriptwriting over novel writing because it's an extra level of control over what the audience sees. I don't have to worry about the reader's imagination ruining my work. Not everyone has comic timing; they might not be delivering the lines right".

Not Axel Harrison will be showing from 26 November to 5 December at the Street Theatre, tickets $17, concession $12. For bookings call 6247 1223.

Vital LMTD, part of the Street Theatre's Made in Canberra season, is a challenging piece - not the least because cross-arts can't be viewed in the same way as a piece of theatre. Or a piece of art. Or a music performance.   Vital LMTD was made up of all these things and more, and although Last Man To Die's intention was clearly expressed ("This is not a play") the audience still tried to understand it as a piece of theatre. Perhaps this is simply due to a lack of awareness about the cross-arts form. Or because it was performed in a theatre.   Vital LMTD explored ideas of life, death, science and creation using percussion, looped music, projected images, and of course, performers/ creators Hanna Cormick, Benjamin Forster and Charles Martin. Cormick leads the show as actor/science experiment, and while the men seem slightly less confident as 'actors' they revel in their disciplines of visual art and music.   Without narrative in a traditional sense, Vital LMTD surges toward climaxes and slows to lulls, but it's a challenging form. There is at times a gap between what the audience takes away and what the artists intended. That said, the technology is astounding, the show leaves you with plenty to think about, and the hybrid form is exciting, if not completely accessible.   I'm looking forward to what Last Man to Die will come up with next.

Australia's "three wise kings of musical satire" have only gotten geekier. Melbourne comedy act Tripod, have taken their musical parody shows and added a touch of magic, Dungeons and Dragons-style.  One leg of the 'pod, Steven 'Gatesy' Gates paces around his bedroom whilst he entertains this writer.

Tripod have been working hard on Dungeons & Dragons: The Opera, which they will eventually take overseas. "We actually couldn't call it Dungeons and Dragons because believe it or not, Oprah owns the name. We emailed them, but they haven't replied." When that show about dragons heads to the states, a law suit will not be invited.

 D&D is of course a "serious" game - so a lot of research time has been necessary to write the story and create characters for the show. "Yes, of course. We had 'research' sessions. We played it one night and got a little too in to it. Just picture Yon on the floor being attacked by a dragon," Gatesy says.

The three have always been noted as geeks at heart but with D&D, Scott Edgar (Scod) is the biggest geek of all. "The show pretty much follows and explores Scod's life, from grade 5... and up," says Gatesy - who hasn't always been too confident with his D&D skills. "I tried to play it when I was in school, but all the statistics just freaked me out." The show's biggest challenge will be "staying true to the role play, as well as keeping it entertaining."

Sadly, they will not be taking D&D out of  Melbourne.  There will be no mythical beasts to slay here, no potions...  Instead Canberra are invited to join Yon, Scod and Gatesy on a Tripod adventure as a part of their Bottom Right-Hand Corner of Australia Tour.  "Get ready to expect 100% pure un-watered down Tripod. 3 guys and a microphone. It won't be the normal type of audience but one where the audience can be passive."

The show should make you laugh, cry and maybe wet yourself a little. "It will also be a place to find out whether you and your partner are meant to be," if, at the Tripod show, "you are laughing your guts out, and they just don't get it," says Gatesy. "Dump them. It's not going to work. If you both hate it, then there you go. You know you're meant to be but you're still stupid."

Canberra has only so far met Tripod through the television and radio. "I don't think we've ever played [live] in Canberra before," says Gatesy softly, before yelling down the line: "So don't let us down Canberra or else!" 

Having just re-checked his tour date, his voice goes gooey.

"Love you Cairns. Oops. I meant Canberra."

Tripod will play two shows on November 12 and 13, at the Playhouse Theatre, CTC. Bookings phone 6275 2700.