Grease at QPAC, November 2021 by Queensland Conservatorium Griffith University

QPAC PRESENTS THE MUSICAL THEATRE STUDENTS OF QUEENSLAND CONSERVATORIUM GRIFFITH UNIVERSITY PERFORMING

Book, Music and Lyrics By JIM JACOBS and WARREN CASEY BY ARRANGEMENT WITH ORiGiN™ THEATRICAL www.origintheatrical.com.au Logo Created and Designed by Maggie Taft and Harry Bogosian

Lyric Theatre, QPAC | queenslandconservatorium.com.au

Photo courtesy of Kenn Santos

CREDITS CREATIVES Producer / Head of Performing Arts Professor Paul Sabey (he/him) Director Alister Smith (he/him) Musical Director Heidi Loveland (she/her) Choreographer / Resident Director Dan Venz (he/him) Set Designer Adam Gardnir (he/him) Lighting Designer

FOR THE PRODUCTION Company Stage Manager Amy Hauser (she/her) Assistant Stage Manager Steph Grima (she/her)* Head Mechanist Greg (Poss) Nowlan (he/him) Venue Head Mechanist Gavin Sawford* Flys Harry Byrne*

Keith Clark (he/him)

Head Lighting and Lighting Operator

Sound Designer

Chris Tollefson (he/him)

Steve Thornely (he/him)

Venue Head Lighting

Costume Co-ordinator

James Kenny*

Sophia Morris (she/her)

Follow Spot Operators

Voice / Dialect Coach

Stu Cochrane (he/him)

Dr Melissa Agnew (she/her)

Shane Cassidy*

Intimacy Co-ordinator

Sound Operator

Michelle Miall (she/her)

Owen Arnold (he/him) Sound Technicians Eleanor Steels (she/her) TJ Wells (she/her) Crew Sam Hogg (he/him) Sam Jarousek (he/him) Will Davy Head Wardrobe Shona Webster* Technical Manager Cameron Hipwell (he/him) Technical Officer Len McPherson (he/him) Dance Captains Carla Beard (she/they) Daniel Erbacher (he/him) *QPAC personnel

Correct at time of print

INTRODUCTION

PROFESSOR BERNARD LANSKEY

DIRECTOR, QUEENSLAND CONSERVATORIUM GRIFFITH UNIVERSITY

It is a great honour and pleasure to welcome you to the wonderful theatre here at Queensland Performing Arts Centre! Griffith University is proud to partner with the Queensland Performing Arts Centre to present this exciting new production of Grease. This marks the first time a production from the Queensland Conservatorium has been part of QPAC’s lineup, an historic opportunity for students to perform in Queensland’s largest theatre. To QPAC, we thank you for allowing us to bring this production to life in your beautiful theatre and look forward to future partnerships in the coming years... and beyond! The partnership with QPAC will provide vital industry experience for students. It’s about so much more than just putting on a show. This season of Grease at QPAC provides students with an opportunity to develop and hone techniques over several performances— an opportunity that is essential for their growth as performers. At Griffith University, our world-class performing arts programs are training the next generation of musicians, actors and performers— using the arts to transform lives and create a better future for all.

A full-scale musical is of course an epic undertaking at any time— physically, psychologically, emotionally. It engages an extraordinary range of students from across music and the performing arts, teaching staff, administrators and theatre professionals. Your tenacity as a large ensemble—on stage and beyond—becomes even more laudable, given the uncertainty of the current circumstances. Bravo to Alister, to Heidi Loveland, and to Dan Venz for your investment and belief in the students and for your guidance, and to Paul Sabey for your care in leading the Performing Arts program in general. It also draws on significant commitment from the Conservatorium and the University and becomes possible through a deep sense of belief in its value. Such dedication only finds full realisation when an audience joins in to bring the event to life in the moment. Thank you to our guests for being here, for your ongoing support for us and for the arts in Queensland. Wishing you a memorable and life-enhancing performance!

Our creative arts programs have a focus on industry engagement, and it is vital that our students build their professional networks and gain exposure to the industry while they study. I’m sure the experience is one they will hold close to their hearts throughout the years, as they build their careers after graduation. My first childhood memory of attending a live musical performance was Salad Days, performed in Cairns by Queensland’s College Players in the late ‘60s. Also a student troupe from Brisbane, they were a fully amateur ensemble, where each member brought a performance from beyond their field of specialisation; tonight, we have students, staff and artists now fully committed to a professional future for Queensland theatre. Such commitment matters: it continues to be dreamed and nurtured here at Griffith University, building on several generations of dedication to evolving a rich performing arts industry in Queensland. Long may such passion continue! Like Salad Days, Grease explores students coming of age but here the epiphanies have significantly more of an edge to them. It is exciting to recognise this original edginess in Director Alister Smith’s vision, translated powerfully to today’s world with its current conventions and challenges.

Photo courtesy of Kenn Santos

JOHN KOTZAS

QPAC CHIEF EXECUTIVE

It is gratifying to see art evolve and remain relevant. In what at first glance seems a small gesture, the casting of this Queensland Conservatorium Griffith University production speaks volumes for how Grease continues to resonate almost half a century after its debut. One of the reasons the show remains a popular favourite with audiences—from stage to screen and back again—is that many of the issues it tackles have never lost their currency. Created in the 1970s, the show was rebellious for its time and explored issues that had until then been considered taboo for the stage. While the storyline and characters hardly ruffle feathers today, this production still challenges us to consider Grease from a contemporary perspective. We’ve long partnered with the Conservatorium on professional development opportunities for the remarkable students that pass through their musical theatre program. Seeing alumni reappear on our stages in professional productions—as they do frequently—is both rewarding and inspiring. It is vital that future generations of talent can be fostered right here in Queensland, and we are delighted that QPAC can play a part in that development, making the Lyric stage available for our Conservatorium colleagues. This production of Grease and its cast look very much at home on a stage that has hosted some the world’s best artists, as well as major international musicals, and Queensland’s own state companies. We hope this season will be as inspiring and motivating for these aspiring artists as it will be a memorable experience for audiences. To all involved in this production, whether you dream of success on stage or behind the scenes, may this be the start of many brilliant things to come for a career in this amazing industry.

Photo courtesy of Kenn Santos

MICHELLE RAE

ORGANISING DIRECTOR, QUEENSLAND MEDIA, ENTERTAINMENT AND ARTS ALLIANCE (MEAA)

2020 and 2021 have been difficult years for the performing arts industry. In particular, the live theatre sector was hit hard as live productions were the first to shut down, and often the last to open. Tertiary students like this cast of Grease, and professional performers alike, have been affected by the lack of opportunities and reduced audience capacity. As formal study comes to an end and students prepare to embark on their journey as professional performers, the next stage of learning and growth begins. The Queensland Conservatorium Griffith University continues to support and educate our future performers. This production is a unique opportunity for students to perform at the Queensland Performing Arts Centre and gain hands-on industry understanding. Equity will continue to work with Queensland graduands, throughout their development, to support our industry and help create the opportunities they will need to sustain a long and successful career. We hope that this season is an opportunity for students to be inspired and showcase their talents, and MEAA can’t wait to welcome them into the professional community of performers.

Photo courtesy of Kenn Santos

WELCOME

PROFESSOR PAUL SABEY

HEAD OF PERFORMING ARTS, QUEENSLAND CONSERVATORIUM GRIFFITH UNIVERSITY

It gives me tremendous pleasure to welcome you to our production of Grease, featuring third-year musical theatre students supported by second and first-year students. We are thrilled to be performing on the Lyric stage at QPAC—a major milestone for the Conservatorium’s Musical Theatre program. Our company gives special thanks to John Kotzas and his team for providing this wonderful opportunity. We have been delighted to welcome back director Alister Smith to helm this production, musical director Heidi Loveland to musically direct and Dan Venz to choreograph what I’m sure you’ll agree is an amazing showcase for a talented group of students.

Griffith University champions inclusivity and supports the rights of students and staff to express their gender and sexual identity safely. Here we’ve turned this guiding principle into action, casting some roles against their traditional gender type.

This production is the result of an incredible amount of hard work from many people, too many to single out. However, I would like to take this opportunity to thank the performing arts teaching staff who have helped the students prepare, the instrumental teaching staff and Heads of Departments, the technical team and the team at QPAC for making this theatre come alive, and our performing arts administration for their continued dedication to the students.

Earlier this year, the third-year students presented the musical revue It’s Only Life and their final Showcase in our studio theatre in Woolloongabba. Following this season of Grease they will graduate in December. To them we say thank you. For the performer, musical theatre means more than just being able to sing a few songs. It means a commitment to the text, the music and the physicality—these students have worked extremely hard to be the best they can at all three. Thank you for allowing us to provide you with the very best opportunities to help you develop into fine young performers. I’m excited to see this cohort follow the paths of the many graduates from this program and enjoy wonderful careers in performing arts, teaching or the many other related industries.

Following the challenges of the past 18 months, including the cancellation of our 2020 production of Wicked, we were able to present Grease in August with a reduced number of performances in the Conservatorium Theatre. To now remount it at QPAC is something we are all excited about. We hope our students’ passion for Grease will ‘electrify’ audiences and leave us all humming (and in many cases singing) the iconic songs as we leave the theatre. Grease tackles social issues of 1950s youth and through this production we thought it appropriate to address challenges affecting the youth of today.

Photo courtesy of Nick Morrissey

And to our audience, thank you for joining us here. I hope you have as much pleasure watching this wonderful production as we have had putting it on.

DIRECTOR’S NOTE

ALISTER SMITH

DIRECTOR

“We take the pressure and we throw away conventionality belongs to yesterday. There is a chance that we can make it so far, we start believin’ now that we can be who we are… Grease is the word.” These are not just the lyrics of a poppy Bee Gees hit. For me, these are the words of a social protest song, and these are the words that fuel our production. This song has informed every decision we have made in conceptualising our version of Grease.

Without changing a thing in the script, we have made the piece fresh and relevant by merely changing the gender of the actor playing the roles. What appears to be a simple act becomes a bold statement, one that the entire creative team is extremely excited about.

Grease is beloved by all. It is an everlasting hit that has transcended generations, a legacy that could be attributed to its incredible songs and iconic movie adaptation. But I think it’s due to something deeper, something beating at the very heart of the script—its anarchic and rebellious attitude. Grease is a satirical musical comedy that challenges social rules and the generation gap by interrogating sexuality and gender equality through the eyes of the 1950s teenager. Taking inspiration from attitude imbued in Grease is the Word, we have made creative decisions to reinvigorate the production on multiple levels.

“Grease is the word is the word that you heard. It’s got groove, it’s got meanin’! Grease is the time is the place is the motion. Grease is the way we are feelin’!”

In bringing this work to the stage, we have leaned into the work’s satirical style. We are hoping the show’s social comments land on modern ears with the same cheeky side-eye they were intended to have. With the movement and choreography, we have attempted to create a landscape that was urgent and athletic, not one stuck in the past. It’s a show wanting to jump off the stage and into the streets, and choreographer Dan Venz has worked tirelessly to create this utterly unique dance world. With the score, we amped up the thump and drive. We needed the throb of Grease to penetrate the audience so they can experience the music in a new way. Heidi, our musical director, has been meticulous with how the actors use each and every note and lyric. We are not listening to your parents’ old records anymore; the sound is fresh and vital.

“This is a life of illusion, wrapped up in troubles laced in confusion, what are we doin’ here?” Casting has been a huge part of our reimagining of this revival. By cross-casting the gender of several characters we are able to refocus the lens of the story, amplifying the initial intentions of the work and giving our modern audience a way to re-experience this rebellious show. We have chosen several characters to gender-bend and we are thrilled with the courageous actors cast in these roles. It’s important to note that the gender swaps have not just been a means to an end, nor a functional act to provide more performance opportunities (although that has been a wonderful side effect). 6

There have been many different stage versions of Grease and each has told the story differently, but one thing ubiquitous across all incarnations is the relationship of Sandy and Danny, and their famed transformation at the end of the piece. As the work ages, so does the audience’s view of this act. A woman changing for a man doesn’t really fly in 2021 (to be honest, it didn’t really fly back then, I guess we are just more woke now!). The musical uses the story as allegory. We are seeing a young girl growing into a young woman. The Sandy we see at the start of the musical is one that represents old America, a conservative America of outdated values. The Sandy we meet at the end has not changed for the attention of a man, she has changed for herself on her terms. She stands proudly in her power and throws off the conservative values of yesterday. She represents the America of the future. Her transformation is a radical feminist act, standing in solidarity. Often forgotten is the transformation of Danny. He is also a victim of his time, trapped by toxic masculinity, image and enforced gender roles. We see both characters challenge the status quo and claim their own truth. This is a story we need more than ever, and these two icons are the inspiration we all need. By looking at the work through fresh eyes, ‘Grease’ will forever be the word!

PRINCIPAL CAST

Elizabeth Ball Johnny Casino

Carla Beard Sonny

Amelia Burton Frenchy

Nina Carcione Jan

Abigail Dixon Rizzo

Daniel Erbacher Kenickie

Annelise Hall Sandy

Maddison Hutchins Jan / Teen Angel

Hanlon Innocent Doody

Sean Johnston Danny

Genevieve Langford Cha-Cha

Lauren McMeiken Patty

Jaime Mollineaux Rizzo

Hannah Paul Marty

Harry Pitts Roger

Nava Revalk Teen Angel

Claire Rigg Marty

Nate Stevenson Vince Fontaine

Georgie Taylor Frenchy

Rohan Treanor Eugene

Beau Wharton Miss Lynch

Kiara Whittle Patty

Lucinda Wilson Sandy / Teen Angel

CAST LIST RAMA LAMA CAST

DOO WOP CAST

Wednesday 10 November 7.30 pm

Wednesday 10 November 1.30 pm

Friday 12 November 7.30 pm

Thursday 11 November 7.30 pm

Saturday 13 November 1.30 pm

Saturday 13 November 7.30 pm

Sandy

Lucinda Wilson

Annelise Hall

Danny

Sean Johnston

Rizzo

Jaime Mollineaux

Abigail Dixon

Kenickie

Daniel Erbacher

Frenchy

Amelia Burton

Georgie Taylor

Marty

Hannah Paul

Claire Rigg

Jan

Nina Carcione

Maddison Hutchins

Doody

Hanlon Innocent

Roger

Harry Pitts

Sonny

Carla Beard

Patty

Kiara Whittle

Lauren McMeiken

Eugene

Rohan Treanor

Miss Lynch

Beau Wharton

Cha-Cha

Genevieve Langford

Vince Fontaine

Nate Stevenson

Johnny Casino

Elizabeth Ball

Teen Angel

Nava Revalk Maddison Hutchins (12–13 November)

Nava Revalk Lucinda Wilson (13 November)

PERFORMANCES

COVERS CAST

Danny

Etuate Lutui

Kenickie

Nicolas Van Litsenborgh

Doody

Jonathon Gardner

Roger

Hudson Glynn

Sonny

Jack Ingram

Eugene

Corey Smark

Miss Lynch

Audrey Rose

Cha-Cha

Chelsea Burton

Vince Fontaine

Aidan O Cleirigh

Johnny Casino

Nicolas Van Litsenborgh/Bianca Love

Teen Angel

Maddison Hutchins/Lucinda Wilson

STUDENT ENSEMBLE LIST THIRD-YEAR

SECOND-YEAR

FIRST-YEAR

Elizabeth Ball (she/they)

Chelsea Burton (she/her)

Olivia Ayoub (she/her)

Carla Beard (she/they)

Genevieve Dawkins (she/her)

Mackinley Brown (he/him)

Amelia Burton (she/her)

Jacqui Dwyer (she/her)

Taylor Brown (she/her)

Nina Carcione (she/her)

Jonathon Gardner (he/him)

Matthew Casamento (he/him)

Abigail Dixon (she/her)

Hudson Glynn (he/him)

Oliver Clisdell (he/him)

Daniel Erbacher (he/him)

Lucy Goodrick (she/her)

Gemma Dandie (she/her)

Annelise Hall (she/her)

Jack Ingram (he/him)

Natasha Dyson (she/her)

Maddison Hutchins (she/her)

Jai Jackson (he/him)

Isabella Gaskin (she/her)

Hanlon Innocent (he/him)

Isabel Lanigan (she/her)

Sophie Gulloch (she/her)

Sean Johnston (he/him)

Bianca Love (she/her)

Eliza Vine (she/her)

Genevieve Langford (she/her)

Katherine Loxston (she/her)

Benjamin Hamilton (he/him)

Lauren McMeiken (she/her)

Etuate Lutui (he/him)

Meg Hargraves (she/her)

Jaime Mollineaux (she/her)

Aidan O Cleirigh (he/him)

Michael Jarrett (he/him)

Hannah Paul (she/her)

Tiffany Payne (she/her)

Aimee Jones (she/her)

Harry Pitts (he/him)

Oliver Pinkett (he/him)

William Kasper (he/him)

Nava Revalk (she/her)

Audrey Rose (she/they)

Izzi Kratz (she/they)

Claire Rigg (she/her)

Lara Salamacha (she/her)

Juliette Milne (she/her)

Nate Stevenson (he/him)

Corey Smark (he/him)

Sophie Montague (she/her)

Georgie Taylor (she/her)

Brooke Szych (she/her)

Bradley Oakman (he/she/they)

Beau Wharton (he/they)

Gabriel Tiller (he/him)

Charlotte Page (she/her)

Kiara Whittle (she/her)

Rohan Treanor (he/him)

Alexander Tye (he/him)

Lucinda Wilson (she/her)

Nicolas Van Litsenborgh (he/him)

Emma Wilby (she/her)

Andrea Zappacosta (she/her)

GREASE BAND Keys 1

Heidi Loveland (she/her)

Keys 2

Cam McConville (he/him)

Guitar

Toby Loveland (he/him)

Bass

Regan Hickey (he/him)

Drums

Kaleah Scanlon (she/her)

Trumpet and Flugel Horn

Matthew Eisenmenger (he/she/they)

Tenor Sax, Alto Sax and Flute

Olivia Marlton (she/her)

GREASE SYNOPSIS ACT ONE With the sound of rock ‘n’ roll music flowing into our ears, the most colourful members of the class of ‘59 enter (Grease Grease is the Word). Word The ‘greasers,’ comprised of the T-Birds and the Pink Ladies, sing about the ‘groove and meaning’ of Grease Grease. It’s the first day of senior year and Miss Lynch appears and welcomes the students (Rydell Rydell Alma Mater). Mater The Pink Ladies sit on one side of the lunchroom, and the T-Birds sit on the other. There’s a new girl in town, Sandy Dumbrowski, who shares with the Pink Ladies—Jan, Marty, Frenchy, and Rizzo—the details of her summer romance. At the same time, Danny Zuko, leader of the T-Birds (Roger, Doody, Sonny, and Kenickie), brags about his love conquest (Summer Summer Nights). Sandy and Danny bump into each other, and while Sandy Nights is happy to find her summer love again, Danny blows her off under the guise of being too cool. When lunch hour ends, rock star wannabe Doody gives an impromptu concert (Those Those Magic Changes), Changes making it clear that grades and SAT scores aren’t nearly as important as learning to play the guitar. Boys rank even more highly than songs on the Pink Ladies’ charts, which is evident at Marty’s pyjama party, where the girls experiment with pierced ears, and Marty talks about her long-distance courtship with a Marine (Freddy, Freddy, My Love). Love Rizzo makes fun of the plain and strait-laced Sandy (Look Look at Me, I’m Sandra Dee). Dee

Photo courtesy of Kenn Santos

Meanwhile, the T-Birds are busy daydreaming about girls and cool cars (Greased Greased Lightnin’). Lightnin’ Sandy is still hurt by Danny’s brush off, but when they get a minute alone together Danny tries to explain. Head cheerleader Patty interrupts to prompt Sandy to join the squad and to tease Danny about his latest indiscretions (Rydell Rydell Fight Song). Song The kids are listening to the Vince Fontaine show on their newfangled portable radios and plan how they’ll pair off at the upcoming school dance, while Roger shares his love for Jan and his favourite hobby (Mooning Mooning). Sandy passes through with school nerd Eugene; she seems to have given up on Danny. Rizzo teases Danny for falling for a girl who resembles the excessively proper teenage ingenue, Sandra Dee. Then Danny suggests that Marty go out with Eugene, and she chases after him. Act I ends with a spirited pledge of friendship (We We Go Together). Together

ACT TWO When Act II begins, everyone is Shakin’ at the High School Hop— everyone, that is, except Sandy. She’s home listening to the radio (It’s It’s Raining on Prom Night) Night and asking the stars up above why she must be a teenager in love and otherwise feeling sorry for herself. Meanwhile, all the kids are getting their kicks at the hop. The favourite radio DJ of the T-Birds and the Pink Ladies, Vince Fontaine, is the MC at the dance, which takes place in the gym. He’s warming the kids up for a dance contest. Kenickie, who got a blind date after the fight that ended Act I, now dumps her and pairs off with his usual thrill, Rizzo. Danny enters the contest with Kenickie’s cast-off, Cha-Cha DeGregorio, and they win (Born Born to Hand Jive). Jive As Danny and Cha-Cha leave the dance with the trophy, they see Sandy, who wonders why she is so head-over-heels in love with Danny (Hopelessly Hopelessly Devoted). Devoted

A few days later at the Burger Palace after school, a couple of the guys run into Frenchy who flunked out of Rydell and has now dropped out of beauty school (Beauty Beauty School Dropout). Dropout Danny, who has taken up track in order to win back Sandy’s affections, doesn’t know that the guys have been challenged to a rumble by Cha-Cha’s friends. He’s more concerned about patching things up with Sandy at the Twilight Drive In, but he moves too fast for her and she leaves (Sandy Sandy). The ‘greasers’ are having a party and listening to Vince Fontaine on the radio sing Rock and Roll Party Queen. Queen Rizzo is worried that she’s pregnant, but she’s so mad at Kenickie that she tells him he’s not the father. The other kids are sympathetic, but Rizzo rejects their offers of help, especially Sandy’s (There There Are Worse Things I Could Do). Do Sandy wonders what she needs to do to fit in at Rydell (Look Look at Me, I’m Sandra Dee Reprise). Reprise The next time Sandy meets up with the T-Birds and the Pink Ladies, a transformation has taken place. Sandy is now a greaser’s dream date, leaving Danny with chills (You’re You’re the One that I Want). Want Rizzo is relieved to learn that she isn’t pregnant, and she and Kenickie reunite. It’s happily-ever-after time for all (We We Go Together Reprise). Reprise

MUSICAL NUMBERS ACT ONE WAXX Ident

Radio WAXX Singers

Overture Opening

Danny and Sandy

Grease is the Word

Full Company

Rydell Alma Mater

Miss Lynch, First Year Ensemble and Ensemble

Summer Nights

Danny, Sandy and Ensemble

Those Magic Changes

Doody and Ensemble

WAXX Ident

Radio WAXX Singers

Freddy My Love

Marty and Ensemble

Look At Me, I’m Sandra Dee

Rizzo

Sandra Dee Reprise

Sandy

Greased Lightnin’

Kenickie, Danny and Full Company

Greased Lightnin’ Reprise

Kenickie, Danny and Full Company

Rydell Fight Song

Full Company

Mooning

Roger and Jan

We Go Together

Full Company

ACT TWO Shakin’ at the High School Hop

Full Company

It’s Raining on Prom Night

Jan and Sandy

Born to Hand Jive

Johnny Casino and Full Company

Hopelessly Devoted to You

Sandy

Beauty School Dropout

Teen Angel and Ensemble

Beauty School Dropout Reprise

Teen Angel and Ensemble

Sandy

Danny

Rock ‘N’ Roll Party Queen

Doody, Roger, Sonny, Frenchy, Vince Fontaine and Ensemble

There Are Worse Things I Could Do

Rizzo

Sandra Dee Reprise

Sandy

You’re the One That I Want

Danny, Sandy and Full Company

Finale

Full Company

Radio WAXX Singers

Annelise Hall, Georgie Taylor, Liam Head and Hanlon Innocent

Run time: 2 hours 20 minutes (including a 20 minute interval) 12

Photo courtesy of Kenn Santos

CREATIVES

JIM JACOBS

WARREN CASEY

ALISTER SMITH

Book, Music and Lyrics, On-Air Judge

Book, Music and Lyrics

Director

Is the co-creator of the hit Broadway musical Grease and was one of three judges on NBC’s talent-competition series ‘Grease: You’re the One That I Want’. Jacobs, who created Grease (in 1970) with Warren Casey, was born and raised on the mean, tough streets of Chicago’s far north-west side. During the golden era of rock ‘n’ roll (1956–1960) he was a guitar-playing ‘greaser’ student at Taft High School. In 1963, Jacobs met Warren Casey when they were both cast in a local theatre production of A Shot in the Dark. Seven years later, the pair sat down and wrote what was to become one of the greatest musicals of all time. Grease opened in 1971 in a drafty old former trolley barn called the Kingston Mines Theatre in Chicago and was an instant success. A year later, Grease made it to Broadway and ‘greasemania’ took off, eventually resulting in one of the longest-running shows in Broadway history and the 1978 movie, which became the highest-grossing movie musical in film history (a record that still stands today). Originally an actor, Jacobs has been seen on television, in motion pictures, regional theatre, national tours and on Broadway. He is the co-author of several other plays and musicals including Island of Lost Coeds, a musical spoof of the low budget sci-fi/horror/jungle movies of the 1950s which he wrote with his Grease collaborator, the late Warren Casey.

Was born in Yonkers, New York, and attended Syracuse University. During the late ‘50s, he learned all about ‘greasers’ while working as an art teacher in upstate New York. He moved to Chicago in 1972, where he hoped to pursue an acting career, and appeared in dozens of productions, including creating the role of Bernie Litko in David Mamet’s Sexual Perversity in Chicago. He supported himself with jobs in retail, including working as an assistant manager of a chain of apparel stores and as a record salesman. In the meantime, he taught himself how to play the guitar and began writing songs. Mr. Casey acted with the Chicago Stage Guild (where he met Jim Jacobs), the Old Town Players and the Kinston Mines Theatre. The latter company staged the original production of Grease, which he wrote with Jim Jacobs. After the incredible success of both the musical and the movie, the two collaborated on Island of Lost Coeds, a musical satire of the B movies of the 1950s. Mr Casey died in 1988.

Alister is a Melbourne-proud Theatre Director, Dramaturge and Dreamer. He is a graduate of the Victorian College of the Arts (Theatre Directing) and The Arts Academy Ballarat (Company 2004—Music Theatre Performance). Alister is the founder and Artistic Director of The Smith Company and The Actor Workshop. He works extensively with performing arts students within the University sector working with the Victorian College of the Arts, Federation University (formally The Arts Academy) the National Theatre Drama School and Queensland Conservatorium Griffith University. Most recently Alister was the director of the international tour of the hit musical The Wedding Singer (DVE Enterprise) which is currently playing around the country. His creative highlights include Romeo and Juliet (Essential Theatre); Bring It On: The Musical (Australian Premiere—DVE); Heathers! (Federation University); Macbeth (Essential Theatre); London Road (Queensland Conservatorium Griffith University); The Drowsy Chaperone (VCA Music Theatre); The Boys (VCA Theatre); Much Ado About Nothing (VCA Theatre); Chicago (Federation University); Les Misérables (Queensland Conservatorium Griffith University); The Mystery Of Edwin Drood (Federation University); Wicked (Footlight Productions); Project: Hysteria— A Tennessee Williams Exploration (TBC Theatre Company); Femme Fatale (Melbourne Fringe 2015); URINETOWN! The Musical (VCA Music Theatre); Slavs! (The National Theatre Drama School); Pacific Overtures (Watch This Theatre Company and Manila Street Productions); Penelope (Red Stitch Actors Theatre); Himmelweg (The Smith Co); Behind Closed Doors (Red Stitch Actors Theatre); Tribes (The Melbourne Theatre Company); Hose (MKA Theatre of New Writing); John Patrick Shanley’s Doubt (VCA) and The Threepenny Opera (The Smith Co). 13

HEIDI LOVELAND

DAN VENZ

ADAM GARDNIR

Musical Director

Choreographer / Resident Director

Set Designer

Heidi holds degrees in music, performance, and education.

Dan’s love for the stage began in preschool, directing and starring in his own sandpit scenes. After a small 12-year hiatus, he began his professional career with Raw Dance Company, touring as a dancer in Urban Wonderland. Other onstage credits include Spring Awakening (Hanschen), The Wizard Of Oz (Tinman), The Neverending Story (Atreyu), CATS (Skimbleshanks), Spamalot, Hairspray National Arena Tour (Link Larkin), Grease Arena National Tour (Eugene and DC), Sweet Charity, Six Inches and the AVNC and Boy&Girl cabaret series’ as well as multiple corporate and festival engagements.

Grease marks Adam’s debut at Queensland Conservatorium Griffith University. Other musical set designs include Mamma Mia! at The Star on the Gold Coast, HAIR for Sydney Opera House and HOTA, Moonshadow for Cat Stevens Productions, Into The Woods for Victorian Opera and Anything Goes, The Producers and Gypsy for The Production Company. Recent set and costume designs in Queensland include Taming of The Shrew for Queensland Theatre, The Neighbourhood for La Boite and Rolling Thunder Vietnam for Queensland Performing Arts Centre. Nationally, Adam has designed for The Australian Ballet, Opera Australia, Sydney Theatre Company, Melbourne Theatre Company, Belvoir, Malthouse, Black Swan, The Really Useful Group, Global Creatures, the TV Week Logie Awards and the Melbourne Commonwealth Games Festival. Born in Brisbane, Adam studied Production Design at the Victorian College of the Arts and is a winner of the Melbourne Green Room Award for Best Design.

In recent years, she has provided musical direction for Opera Queensland, Rachael Beck, Martin Crewes and Queenie van der Zandt. She has musically directed numerous productions for Queensland Conservatorium Griffith University’s Bachelor of Musical Theatre including It’s Only Life, Legally Blonde The Musical, London Road, Elegies, The Drowsy Chaperone, Les Misérables, Dogfight, Company, West Side Story, The Secret Garden, the touring productions of Personals, Godspell, I Love You, You’re Perfect, Now Change, Elegies for Angels, Punks and Raging Queens and Working, as well as the graduating Musical Theatre Showcase tours. Heidi has performed in the Brisbane seasons of Chess the Musical, Muriel’s Wedding, Strictly Ballroom, The Sound of Music and backed the Brisbane leg of Natalie Weiss’ Australian tour. She is a regular audition accompanist and was rehearsal pianist for Matilda the Musical and The Sound of Music. Other recent engagements include the Queensland Symphony Orchestra Harry Potter In Concert Series, QSO Wave Festival and QSO Musical Theatre Gala.

Offstage, Dan is also a commercial, cabaret and musical theatre choreographer, creative and director, curating performances for events such as Brisbane Festival and Creative Generation. His passion for excellence and storytelling has made him a sought-after name in the industry. Striving to make work that is fresh and unique, he also has developed several new Australian musical theatre and other theatrical works. Choreographing and performing both internationally and locally, Dan’s work can be seen in children’s shows including Alice In Wonderland, The Jungle Book, The Little Mermaid and Paw Patrol for Nickelodeon and Nick Jr. as well as The Pirates Of Penzance, Grease, Footloose, The Drowsy Chaperone, Legally Blonde the Musical, Carrie the Musical, Margaret Fulton the Musical, and Xanadu. Dan is also a Creative/Choreographer for Oscar ProCo’s Boy&Girl series and Director/ Choreographer of the A Very Naughty Christmas series, as well as choreographer of Sweet Charity and Yank!—A WWII Love Story for Woodward Productions.

KEITH CLARK

STEVE THORNELY

SOPHIA MORRIS

Lighting Designer

Sound Designer

Costume Co-ordinator

Keith Clark’s lighting design work includes Single Asian Female (La Boite Theatre Company), Boy Girl Wall and Packed (The Escapists), Handle with Care (Joymas Creative), De-Generator, Opposite of Prompt, Angel-Monster, and The Machine that Carries the Soul (Phluxus Dance Collective), Moon Spirit Feasting (Elision Music Ensemble), Juice (The Crash Collective), Kazka and Legend (Lehenda Dance Company), The Laramie Project (Forward Movement), The Wind in the Willows (La Boite Theatre Company) and Tarnished (La La Parlour).

Steve graduated from his Music Technology studies as the Queensland Conservatorium Medalist in 2012, and went on to achieve 1st class honours in Music Technology the following year. Since then, Steve has entered into a portfolio of musical projects. He has performed the role of sound designer for theatrical shows including West Side Story, Company, Little Women, Dry River Run, The Woman in Black, and Les Misérables.

Sophia is excited to be a part of the creative team for Grease as Costume Co-ordinator. Having previously collaborated with many of the same production creatives for Les Misérables in 2019, she knew that she’d be surrounded by an extraordinary team. Her costuming credits include multiple theatre productions, including Guys and Dolls, Footloose, Mary Poppins and Les Misérables. She has also assisted with costuming for the Conservatorium’s recent Opera productions including Béatrice et Bénédict in 2020 and the 2021 Val Machin Scenes (The Marriage of Figaro, Carmen and The Magic Flute). As an emerging costume designer, Sophia desires to create a world in which costume design can help create magic, assisting the performers on stage to reach their full potential. Sophia is deeply grateful for the opportunity to contribute to such an incredible production and hopes that during tonight’s performance, you are just as ‘hopelessly devoted’ to live theatre as she is.

His designs for various productions have toured nationally and internationally to Europe and America. Keith Clark is also a member of the award-winning independent theatre group The Escapists.

Photo courtesy of Kenn Santos

When the shows stopped in 2020, he worked as a Quality Control supervisor on Netflix and Amazon TV shows. As a music producer based in Folklore Studios, West End, his portfolio has amassed over 10 million listens on Spotify. He has also worked on projects for Disney, Moose Toys, and Sesame Street.

CREDITS QUEENSLAND CONSERVATORIUM GRIFFITH UNIVERSITY 140 Grey Street, South Bank Qld 4101 | Concert enquiries: +61 (7) 3735 6241 Connect with us

Director | Professor Bernard Lanskey Deputy Director (Engagement) | Associate Professor Peter Morris

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Deputy Director (Research) | Dr Alexis Kallio

@qldCon_Griffith

Deputy Director (Learning and Teaching) | Associate Professor Donna Weston

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Head of Performance | Associate Professor Peter Luff

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Conservatorium Manager | Stuart Jones

griffith.edu.au/music griffith.edu.au/ queenslandconservatorium queenslandconservatorium.com.au

Griffith University acknowledges the people who are the traditional custodians of the land, pays respect to the Elders, past and present, and extends that respect to other Aboriginal and Torres Strait Islander peoples.

QUEENSLAND PERFORMING ARTS CENTRE PO Box 3567, South Bank, Queensland 4101 | T: (07) 3840 7444 | W: qpac.com.au Chair Professor Peter Coaldrake AO Deputy Chair Leigh Tabrett PSM

Trust members

Executive staff

Dr Sally Pitkin AO

Chief Executive: John Kotzas AM

Dare Power

Executive Director—Stakeholder Engagement Strategy: Jackie Branch

Georgina Richters

Interim Executive Director—Curatorial: Ross Cunningham AM

Susan Rix AM

Executive Director—Visitation: Roxanne Hopkins

Leanne de Souza

Executive Director—Venue Infrastructure and Production Services: Bill Jessop Executive Director—Business Performance: Kieron Roost

Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

ACKNOWLEDGMENT The Queensland Performing Arts Trust is a statutory body of the State of Queensland and is partially funded by the Queensland Government. The Honourable Leeanne Enoch MP: Minister for Communities and Housing, Minister for Digital Economy and Minister for the Arts Director—General, Department of Communities and Housing and Digital Economy: Ms Clare O’Connor QPAC respectfully acknowledges the Traditional Owners of the Lands across Queensland and pays respect to their ancestors who came before them and to Elders past, present and emerging. QPAC warmly thanks our key donors who help us engage broadly across the state and continue enriching lives through performing arts. Tim Fairfax AC and Gina Fairfax, Dr Lee and Professor Peter Coaldrake AO, Leigh Tabrett PSM, Susan Rix AM, Dr Sally Pitkin AO, Dare Power, Dr Cathryn Mittelheuser AM, Queensland Community Foundation, de Groots Charitable Fund, Barbara Snelling, Jill Hutchins, Leigh Wheeler, Frank and Karen Alpert, Jenny Morton, John Ryan, and several donors who wish to remain anonymous. 16

ACKNOWLEDGEMENTS SPECIAL THANKS All Saints Anglican School • Opera Queensland • Steve Gaffney—Brisbane Scaffold Hire • Tony Noble—A Noble Event • Toowoomba Choral Society • Karen Griffin • Carli Griffin—wigs for Sandy and Miss Lynch

DONOR ACKNOWLEDGEMENTS Special thanks to Queensland Conservatorium supporters and donors. Philanthropy plays a vital role at Queensland Conservatorium. Only through your support can our students experience valuable learning opportunities through productions such as this one. To make an investment in the future of music and performance in Queensland, contact us on +61 7 5552 7218 or email giving@griffith.edu.au.

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Study at Queensland Conservatorium Live theatre can transform, transport and inspire. Through our relationships with key arts organisations, and our award-winning teachers, we’re producing graduates ready to take the stage and shape the future of performing arts in Queensland, Australia, and beyond. We look forward to welcoming the next generation of musical theatre stars to the Conservatorium in the coming months and years.

CRICOS No. 00233E

griffith.edu.au/music

Don’t just make it

CRICOS No. 00233E

MAKE IT MATT ER