Stage Whispers March/April 2013

2 Stage Whispers March - April 2013

www.stagewhispers.com.au Stage Whispers 3

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In this issue

The Addams Family Hits Town ......................................................... 8 The ‘altogether ooky’ musical.

What’s Driving Miss Angela? ......................................................... 12 Legends Angela Lansbury and James Earl Jones on Aussie stages.

20

Up Close With Rob Mills ................................................................ 15 The star of Legally Blonde and Wicked.

Australia’s Busiest Playwright ......................................................... 18 Two World Premieres in two weeks for Joanna Murray-Smith.

Great Comic Expectations .............................................................. 20 The National Theatre’s international hit One Man, Two Guvnors.

Carmen Sings On Water ................................................................ 24 Spectacular opera on Sydney Harbour.

8

Aussie Youth Theatre Companies Take On The World .................... 28 New Zealand Theatre in 2013 ........................................................ 30 Book Extracts ................................................................................ 44 Tips for Audition Success and Golden Rules of Acting.

Vale: Bille Brown, A.M. .................................................................. 40

15 24 66 74 83 4 Stage Whispers March - April 2013

Sex Ed ........................................................................................... 88 A Monologue from Ned Manning.

Australia’s Mousetrap.................................................................... 90 Aussie play clocks up 5,000 performances.

Regular Features Broadway & West End

34

Stage On Disc & Page

36

History Feature

38

Auditions

45

On Stage - What’s On

57

Reviews

66

Puzzles

85

Choosing A Show

86

Musical Spice

92

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THE NEXT ISSUE OF STAGE WHISPERS IS FOCUSSING ON SOUND & LIGHTING

Editorial

Dear theatre-goers and theatre-doers, Hyperbole, exaggeration and overblown adjectives.

Recently my inbox plumbed new depths when a theatre company media release described the play they were about to produce as a ‘Smash Broadway hit’.

Unaware of this particular Broadway hit, I Googled.

Wikipedia couldn’t enlighten me on its Big Apple success. No individual wiki for the play, just an unlinked mention in the well-known playwright’s wiki entry. All I could find on the net were references to the odd U.S. regional production.

The company also spoke in effusive terms of their (yet-toopen) production, rave review style, and named the cast who were ‘starring’, bracketing several previous (obscure) credits after each performer’s name.

The editor’s red pen (or computer equivalent) came out, as I pared back the piece to a more objective version.

Hyperbole, exaggeration and overblown adjectives do a potential disservice to theatre, either community or professional, if audience members are persuaded to lay out their price of admission and are then disappointed.

‘Hit’ and ‘star’ are such immense three and four letter words. Let’s not depower them, as we’ve tended to with other titles like ‘hero’ and legend’.

In the meantime, read on for another simply scintillating, world-class, blockbuster edition of Stage Whispers.

Yours in Theatre,

Neil Litchfield Editor

Cover image: John Waters and Chloë Dallimore as Gomez and Morticia Addams in the musical adaptation of The Addams Family, opening at Sydney’s Capitol Theatre. Photo: Brian Geach.

See our story on page 8.

CONNECT PLACE YOUR AD BY APRIL 3 CONTACT (03) 9758 4522 OR stagews@stagewhispers.com.au

PERFORMING ARTS MAGAZINE MARCH/APRIL 2013. VOLUME 22, NUMBER 2 ABN 71 129 358 710 ISSN 1321 5965

All correspondence to: The Editor, Stage Whispers, P.O. Box 2274, Rose Bay North 2030, New South Wales.

Telephone/Fax: (03) 9758 4522 Advertising: stagews@stagewhispers.com.au Editorial: neil@stagewhispers.com.au PRINTED BY: Spotpress Pty Ltd, 24-26 Lilian Fowler Place, Marrickville, 2204 PUBLISHED BY: Stage Whispers PRE-PRESS PRODUCTION & DESIGN BY: PJTonline Solutions, email: pjtonline@pjtonline.com DISTRIBUTED BY: Gordon & Gotch, 25-37 Huntingdale Road, Burwood, 3125 DEADLINES For inclusion in the next edition, please submit articles, company notes and advertisements to Stage Whispers by April 3rd, 2013.

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DISCLAIMER All expressions of opinion in Stage Whispers are published on the basis that they reflect the personal opinion of the authors and as such are not to be taken as expressing the official opinion of The Publishers unless expressly so stated. Stage Whispers accepts no responsibility for the accuracy of any opinion or information contained in this magazine.

LIMITED BACK COPIES AVAILABLE ADVERTISERS We accept no responsibility for material submitted that does not comply with the Trade Practices Act. CAST & CREW Editor: Neil Litchfield 0438 938 064 Sub-editor: David Spicer Advertising: Angela Thompson 03 9758 4522 Digital production: Phillip Tyson 0414 781 008 Contributors: Merlene Abbott, Sara Bannister, Cathy Bannister, Stephen Carnell, Karen Coombs, Ken Cotterill, Ray Dickson, Ron Dowd, Coral Drouyn, Whitney Fitzsimmons, Graham Ford, Lucy Graham, Frank Hatherley, John P. Harvey, Peter Kemp, Neil Litchfield, Ken Longworth, Rachel McGrath-Kerr, Jay McKee, Roger McKenzie, Peter Pinne, Martin Portus, Leann Richards, Suzanne Sandow, Kimberley Shaw, David Spicer, Aaron Ware and Carol Wimmer. www.stagewhispers.com.au Stage Whispers 5

Online extras!

Watch a trailer for Slava’s Snow Show by scanning the QR code or visiting http://youtu.be/b2TG2yRGLMg

Slava’s Snowshow returns to Australia in June, playing the Theatre Royal, Sydney from June 12, Lyric Theatre QPAC from June 26, Canberra Theatre Centre from July 3 and Comedy Theatre, Melbourne from July 17.

Hot Shoe Shuffle commences its 25th Anniversary tour at the Lyric Theatre QPAC on May 4.

6 Stage Whispers March - April 2013

Broadway star Idina Menzel (Wicked, Rent) will appear in Adelaide and Sydney in June.

Stage Briefs Julie Andrews tours Australia for the first time in May, visiting Brisbane, Perth, Sydney, Adelaide and Melbourne.

www.stagewhispers.com.au Stage Whispers 7

We can all whistle the TV theme song: “They’re creepy and they’re kooky, Mysterious and spooky, They’re altogether ooky, The Addams Family.”

But one song a musical does not make.

Neil Litchfield gives the macabre family’s musical a once over on the eve of its Australian Premiere.

for the young man and his parents, the Beineke Family.

The Addams Family ran for a year and a half on Broadway from April 2010 and later had a successful US National Tour.

But it has undergone significant changes since its original season, as legendary Broadway director Jerry Zaks explains.

The invention of American “When we started to anticipate the cartoonist Charles Addams (1912 (US) national tour, we - the writers, the 1988), The Addams Family was producers, the choreographer and originally created as a series of 150 myself - agreed that it could be better. single panel cartoons, first published We did as much as we could up until

by The New Yorker in 1938. opening night on Broadway, and then The cartoons inspired a popular black and white TV show in the 1960s, the bell rang and the work was done, but doing the national tour gave us an later a series of movies and in 2010 opportunity to revisit the show.

The Addams Family debuted on “We did a bunch of things to make Broadway as a musical starring Nathan it better. I thought it was important Lane.

The premise for the musical comedy that Morticia and Gomez have a real conflict, a real issue, that is a mixed relationship. Wednesday threatened their marriage, Addams now has a “normal” and on Broadway they boyfriend, Lucas, a shocking development for Gomez and Morticia.

It turns the Addams house upside down when they host a dinner

didn’t really have a conflict. As a result, the two lead characters were observers to what was going on around them.

We came up with the notion that their honesty with each other has been the bedrock of their relationship; they have always told each other the truth. Why is this night different from all others?

Because on this day Gomez breaks that vow, because he loves his daughter and can’t say no to her.”

“That was the springboard into a better show. So we did that in terms of the book, and the composer, at my urging, jettisoned three or four numbers, which just weren’t good enough. He replaced them with songs that were significantly better for the show that opened on the national tour, and that’s the one we’re doing here.”

“I’d like to think that this (Australian) production has the potential to be the best version of the show to date.”

While the Australian version of the show reproduces the touring production, Jerry Zaks makes it clear that the Australian cast members have significant

The Addams Family Hits Town 8 Stage Whispers March - April 2013

space to make the characters their own.

“I have no investment in them recreating anyone else’s version of these roles. They’re all gifted, talented and so unique. There is a rhythm to this show, and I like to think of myself as the conductor of the whole thing the script, the music - everything is orchestrated. So as long as everything any one person is doing doesn’t violate that, then I say go ahead.

“In the case of Morticia and Gomez, I just want to believe that they love and are devoted to each other and that they are parents. Their strangeness is not what I’m interested in. I’m interested in their believability and humanity. I swear, it’s got to be grounded in reality, and it’s got to be life and death.“ “I think acting in musical comedy has got a bad rap, as somehow less than dramatic acting. I think nonsense! I hope that when we’re done, the acting in this musical comedy will be as believable and compelling, because there isn’t anyone in this company who can’t do what they need to do to bring this show to life. And that makes me happy.”

John Waters plays Gomez Addams.

I asked him about the expectations he’ll face playing such an iconic pop culture role.

“I think in creating any role, whether somebody’s done it before, or whether there are many examples of people in that role, you just bring yourself into it in some way that’s going to be different. There are two basic templates for Gomez Addams, and they’re John Astin from the TV series and Raúl Juliá from the movies.

“What Raúl brought to it was the more Hispanic nature, and that’s written into this piece. I’m a Spanish speaker, and I like to play that up, so I tell stories about my great ancestor Capitán General Redondo Ventana Laguna Don José Cuervo. I always think of other examples of Latin men like that, particularly Desi Arnaz, the Cuban bandleader in I Love Lucy. He was always the big, expansive Latin man.

“But the (other) thing about Gomez’s character is that he’s an

This image and inset: US Tour Production. Photo: Jeremy Daniel Opposite left: Australian cast. Photo: Brian Geach

a spy, burglars, a private detective, the newlyweds who move in next door.

That was also the first thing that struck Tony Harvey, who plays a ‘normal’ character Mal Beineke.

“There were always those characters who spent the episode going I’m not exactly sure what’s going on, kind of soldiering on bravely, as does eternal optimist. Mayhem can be Mal in this production. I think the idea raining down upon him, and he’s is that he’s taking it all in until the going to think of a way out. That moment when he says, ‘I can no longer informs the way that I approach the hold my tongue.’ It’s an interesting characterization. You have to exercise to play that. To react, but not remember that as the person who is react to what you’re seeing. It’s great playing Gomez Addams, it’s not my fun. job to think about him as being bizarre “A great note I was given was don’t or funny, or to think of the black is physically react to anything you see. white, white is black weird reversal There’s a lot of weirdness going on. thing that the Addams Family does.

The moment you’ve physically reacted He’s normal and you play it with that to it you’ve given away your strong strong belief in what Gomez Addams façade - just let it sink in - less is more. believes in.

“Very cleverly within the plot, it’s “Gomez invents himself on the our son who has fallen in love with spot, every second of every day. When their daughter, so there’s a very he tells a story about his ancestors, you legitimate reason for the Beinekes to start to think, is that true, or did he be arriving. It’s not like, sorry, we broke just make it up. That question is never down outside, can we use your phone. really answered, because the moment “Mal’s put a very big barrier up; it’s you start to think about it he’s moved his coping mechanism. He used to be a on to something else. far easier, more freewheeling person, “I love that optimism, and the but the pressure of life has turned him constant reinvention. “ into something a bit more rigid, who Fans of the TV series remember processes what he sees but doesn’t regular bemused ‘normal’ visitors to (Continued on page 10) the Addams house - the truant officer, www.stagewhispers.com.au Stage Whispers 9

Zoë Komazec and Samantha Riley

(Continued from page 9)

demonstrate his reaction to it. It’s become his way of coping.

“There’s a happy ending for the Bieneke family, but it’s a lovely journey.

He sort of winds up where he was many years ago. He says, I told jokes and played guitar. I used to sleep until noon. What happened to that person?

That’s where he’s trying to get back to, and where he winds up at.”

Ensemble members Samantha Riley and Zoë Komazec are among the extended Addams Family members who emerge from the family vault in the show’s opening number.

“The ensemble are classed as The Ancestors, so we’re part of the Addams Family, but we’re dead and long gone,” Samantha explained. “We’re all characters from different time periods, so we have a complete back story which we can explore. We do things all together, but we have our own little quirks.

“I play a flight attendant from the 1940s. … I do a lot of actions with my hands, like the way flight attendants point to the exits, and I use that in the dancing. … She’s a very ladylike character, but there’s a little quirk because she’s an Addams Family flight attendant, which means she may not be as nice as she seems. She’s very nice

to your face, but she may be slipping things into your drink.”

“I play an Indian ancestor,” Zoë Komazec explained, “so I have a feather on my head and tassles everywhere over my costume. I have certain characteristics, like my arm movements have to be very strong and angular as I’m dancing, but I found the choreography very challenging - in the way that you need to have a really strong centre … so lots of running on the treadmill and singing at the same time is what I’ve been doing at the gym.

“Because I’m such a family person, being involved in The Addams Family is really close to my characteristics as a person. I really connect well to the fact that we all work together, and we are all a family, and there is nothing that’s going to bring the Addams Family down. What’s interesting in the show is that there is a little twist because there is something that’s breaking the family up, and being an ancestor, we have the ability to bring the family back together.”

Online extras!

The Addams Family has its Australian Premiere at Sydney’s Capitol Theatre on March 23.

(Previews from March 10).

Watch interviews with the team that made the musical adaptation of the Addam’s Family come to life by scanning the QR code or visiting http://youtu.be/o9QBs3pb610 10 Stage Whispers March - April 2013

Barry Humphries In Fine Form she is in everything.

“She of course appeared in my favourite television series, Murder She Wrote. I would have quite liked to live in Cabot Cove if the “I did it hear it was in the pipeline. crime rate was a little They said ‘we want it to be a surprise’. But lower.” the only surprise is that I didn’t get it 40 “I flinch years ago.” sometimes when I am described as “I suppose I must thank quite a few people. My wife Lizzie … many other an icon; nothing more people whose names I can’t remember. I embarrassing than that. I was at a charity lunch in Canberra a few years can’t even remember who they are.”

“Various producers have been great ago and a woman said to me, ‘I can’t friends to me …until I looked at the believe it, there are two icons here.’ books.”

So I looked a little bit self“Producers are very important of deprecating (I consider myself course, and also movie producers, which I quite a good actor). So I said who don’t know much about … but I was are they? She said, ‘there is you… pleased that the producer of Les and Molly Meldrum over there’.”

“I thank you for the award. I Misérables cast at least one person who could sing.” hope there was no argument “I am particularly pleased that I am over it and hope it was appearing tonight with my great idol and unanimous. It does feel a bit friend Miss Angela Lansbury. I have posthumous but congratulations for followed her career with increasing interest since she appeared in her first film getting in just in the Gaslight in 1944. She was great in that as nick of time.”

The Sydney Theatre Critics awarded Barry Humphries a Lifetime Achievement Award in January. He was in fine form. Here’s a taste of his acceptance speech.

Online extras!

See the Stage Whispers TV coverage of the Sydney Theatre Awards. Simply follow the link or scan the QR code http://youtu.be/giZektZhavw

www.stagewhispers.com.au Stage Whispers 11

What’s Driving Miss Angela?

Angela Lansbury is in Australia to star in Driving Miss Daisy along with Broadway’s Boyd Gaines and fellow octogenarian James Earl Jones. At the production’s media launch Frank Hatherley finds she’s the very model of a dedicated, driven professional actor.

Until quite recently it was considered impolite to ask a lady’s age. And, of course, a lady never gave her age away.

But these days, especially if you’re a famous actress with a lengthy Wikipedia entry, it’s impossible to keep such personal information a secret.

We can all know that Angela Lansbury, in Sydney to rehearse a five-month tour of the stage version of Driving Miss Daisy, was born in London in October 1925, and that she got her Hollywood movie break at 17 in Gaslight (released, 1944). So, incontrovertibly, this spry, neat, instantly recognisable woman is 87 years old.

Maybe this statistic shouldn’t be so startling - maybe 87 is the new 75! - but it’s certainly on several media minds, including my own, as we attend a media call at the upmarket Langham Hotel.

Fortunately I have the wit to keep any ageist thoughts to myself. But not so clever is a journalist colleague who, when it’s time for open questions, publicly asks Miss Lansbury “how at your vintage (do) you prepare for a play like this, how (do) you do it?”. An exquisitely pursed pause is followed by a withering response. “It’s called acting,” she says.

She’s also swift to put her producer John Frost right when he introduces Boyd Gaines, least known to us of Daisy’s three visiting leads. “He’s a four-times Tony Award winner,” says Frost, “and there’s not too many actors and actresses in the world who actually have four of these

Online extras!

See Frank Hatherley’s video report and interviews. Scan the QR code or visit http://youtu.be/aZvSbqAt9hk 12 Stage Whispers March - April 2013

statuettes on their mantelpiece”. “I’ve got five,” Angela Lansbury immediately informs him.

And indeed she has - as many as anyone has ever won for Mame (1966), Dear World (1969), Gypsy (1975), Sweeney Todd (1979) and Blithe Spirit (2009). Listing her Golden Globe (for television) and Oscar (for film) nominations would take up the rest of this page. This is a seriously experienced theatre lady.

Of course, unless they travel often to New York, Australians know her only from television and movies.

What’s your favourite Lansbury performance? Mine is the fearsome witch/mother in The Manchurian Candidate (1962). But she has countless cross-generational fans - for her 40s musicals, for her Disney movies, for her twelve seasons (1984-96) as unbeatable sleuth Jessica Fletcher in Murder, She Wrote.

Driving Miss Daisy, the popular 1989 movie with Jessica Tandy and Morgan Freeman directed by Australian Bruce Beresford, began life as an off-Broadway three-hander.

Unexpectedly, a Broadway revival of the play in 2010, starring Vanessa Redgrave as Daisy, Boyd Gaines as her son and James Earl Jones as her put-upon chauffeur was a significant hit. It opened to rave reviews, played an extended season and transferred to London’s West End with the same cast.

Now Gaines and Jones are repeating their roles in a 4city Australian tour with Angela Lansbury in the title role.

“This casting is a dream come true,” says Frost.

“A new Daisy means a new play,” says Jones in his famously rich basso voice, and Gaines agrees. “Well, thanks for saying that,” says Lansbury to her co-stars. “I

hope I will surprise you and shock you a little, and make life interesting.” Now there’s a challenge!

Jones’ list of theatre and movie acting roles is also impressive, culminating in an Honorary Academy Award in 2011 ‘for his legacy of consistent excellence and uncommon versatility’. At 81, he admits he’s no spring chicken either. Talking of Driving Miss Daisy, he says “it’s a very bare, spare play with no extra calories in it.” Then he taps his ample girth and laughs. “I’m the only extra calorie in it.”

As the many cameras present are readied for ‘picture time’, Jones adjusts the well-worn chauffeur’s hat he has brought to the call. “It’s authentic,” he assures us. “When we were rehearsing in New York I asked every cab driver, every chauffeur I could speak to, where’d you get that hat?

How do you make it authentic? And they all said ‘you’ve got to sit on it!’”

The barrage of clicking cameras that now follows is unusual for such a mainstream theatre event. Thousands of shots are taken. It’s a digital frenzy, certainly the craziest I’ve ever seen, and later when I speak to Angela Lansbury she is equally surprised. “I have never, never had so many photographs taken, in my entire career,” she says. Go, the Aussie press!

When I tell her that I’m from Stage Whispers she is delighted. “Oh, lovely, lovely, that’s the real thing,” she says, contrasting us with the madly clicking daily press.

I ask if she saw Vanessa Redgrave play Miss Daisy. “No, I didn’t,” she states. “Strangely enough I’ve never seen the person who did a show before me. That goes for Mame, that goes for Gypsy. Well, the musical Mame was based on [the play] Auntie Mame and that was [originated by]

Angela Lansbury and Boyd Gaines in Driving Miss Daisy.

Opposite left: Angela Lansbury and James Earl Jones.

Photos: Jeff Busby.

(Continued on page 14)

My Movie with Angela Lansbury It’s January 1959. I’m 17 and into amateur plays and musicals.

Somehow my friend Brian and I get a morning’s work as extras on the movie version of Summer of the Seventeenth Doll. It’s odd that this quintessentially Melbourne-based story is being shot in Sydney, but some really big stars have come to play the leads, so it’s bound to be brilliant.

Italian/American Ernest Borgnine is Roo, dapper Englishman John Mills is Barney, Hollywood’s Anne Baxter and Angela Lansbury are Olive and Pearl. They’re so famous they’re bound to get the accents right.

It turns out we are shooting the pre-credits sequence. We’re on the ferry to Circular Quay that is bringing Roo and Barney to catch a train to the Queensland cane fields. How that works nobody can fathom.

Brian and I come in on the ferry three or four times and walk to the turnstiles as, behind us, Roo and Barney come bustling to meet the waiting girls. One take is ruined when a star-struck lady extra picks up Mills and gives him a hug. How very unprofessional. The camera is repositioned to the other side of the turnstiles and here we extras come again, trying hard not to look at the famous actresses in their pretty clothes.

HISTORICAL NOTE. For all its top-drawer casting, the movie was a flop, much ridiculed in Australia for the wrongness of the main actors’ accents. The relocation to Sydney was a mistake, as was the new ‘happy ending’. Alas, it sank in the States, too, despite a racier title, Season of Passion. I never worked with Angela (or Ernest, John or Anne) again.

Film frame: Frank Hatherley (at left) comes through the turnstile, carefully avoiding eye contact with Borgnine (with rucksack on shoulder) and Baxter (holding white hat). www.stagewhispers.com.au Stage Whispers 13

James Earl Jones and Boyd Gaines in Driving Miss Daisy.

Inset: Angela Lansbury.

Photos: Jeff Busby.

(Continued from page 13)

Rosalind Russell, who you will remember.” This last phrase is part-statement, part-question.

“I do, indeed,” I say assuredly.

“Nobody else in this room would remember.” She looks seriously at me with those piercing blue eyes. “I have to actually speak a different language when I talk about films and movies, because I can’t talk about the people that I worked with because nobody’s ever heard of them.”

So there you have it. This brilliant actor has remained a star for so many years that no media person in the room except me! - can ‘speak her language’; can know who she’s talking about prior to the mid-60s. I knew there had to be a bonus to being the oldest reporter in the room!

God, I hope I retain some of Angela Lansbury’s zest, commitment and daring when I’m 87! I decide not to mention age while talking to her, but can’t resist asking the affable Jones why his co-star would want to take on learning such a huge part.

“That’s what we do,” he says. “I don’t think there’s any issue about it. Learning a huge part? Yeah, we all face that.

That’s what we do, that’s what we’ve always done. We’re not chicks, you know. We’ve been at it a while.”

Driving Miss Daisy, which opened in Brisbane in February, continues its Australian tour in Sydney from March 1, Melbourne from April 5, Adelaide from May 17 and Perth from June 8.

14 Stage Whispers March - April 2013

When You’re Hot You’re Hot Up Close with Rob Mills I’d auditioned for a cruise ship not long before then, but Idol made me aware of the possibility of making a bigger career out of this than just singing in a pub.”

While Rob didn’t win Idol in 2003, it seems that simply appearing on Reality TV talent shows can provide a valuable stepping stone.

“I think it gives you the platform, but at the same time after that there’s still a right of passage. You Performing has always been part don’t just go on the show and then of Rob Mills’ life. you’re successful. It took me years “I remember doing the lead role and years of hard work, in my prep concert (at about acting lessons and singing age six) and playing in air lessons, and constantly guitar bands with my critiquing my own work brothers.

Music and to see if it was any performing are something good, to get I’ve always done. It’s not my first love; I always loved AFL footy, it was all I better.” wanted to do as a kid, but How does Rob I’ve always loved performing and reflect on his singing, and I suppose I’m one of the experience on lucky people who gets to do Idol? something they love.”

“To be As a teenager, Rob graduated honest, I’d from air guitar bands to the real probably thing. go “I was singing in bands with some back of the guys I was going to school and with. We sang a lot of Radioheads tell the and Smashing Pumpkins, then I got young into a few bands after that, and Mills to mainly did Top 40 and rock’n’roll.” work a bit Rob had already been working harder on his steadily as a performer long before song selection, appearing on the first series of and keep working Australian Idol. harder at performance.

“I’d been in an acoustic cover I got a little bit band called the Megamen for three years solid, playing from Thursday to complacent and a little bit excited by the Sunday night, so for three years I was television show earning pretty good money as a 21itself. I was year-old. Then Idol came up. I fascinated about just went along to the how the auditions for the experience.

He went from hosting Young Talent Time to performing eight shows a week in Sydney with Legally Blonde, then straight into a hectic schedule with Celebrity Apprentice, before heading back on stage for the musical’s Brisbane opening. Rob Mills found time to reflect on his career with Neil Litchfield.

show was produced, so I was backstage a lot talking to the crew the camera guys, the sound guys, the directors and the producers - not just the fact that it was a singing competition.

“But at the same time I’m really happy with the way it worked out. All the lessons

that I learnt about those other skills have helped me in my career as a TV host as well.”

By 2005 Rob was hosting a short-lived hidden camera show on Network Ten, then other shows on Channel 9, before becoming co-host of late-night quiz show in 2007.

“That up-late game show was an amazing experience. It was live TV from midnight till four in the morning, so it was a great place to (Continued on page 16)

Rob Mills as Fiyero in Wicked. Photo Jeff Busby.

www.stagewhispers.com.au Stage Whispers 15

(Continued from page 15) Rob’s next taste of musical theatre could tell that they just had such faith learn the ropes. Often people pay a lot was Wicked. in me.” of money to do film and TV presenting “Wicked auditioned over about The day Rob received the news courses, but I was getting paid to learn three or four months. They like to drag about being cast in Wicked was a big on the job. The good thing, when it out in theatre, unlike TV, where you one in more ways than one. He’d you’re on at that hour, is you can make might do an audition and get it the bought his first home, picked up the a few mistakes.” next week. keys and his mum was there helping Perhaps Rob’s highest profile break “I’d worked really hard up until the him move in when he got the news. on TV to date was to be selected to audition with my acting coach and What did Rob love about Wicked? host the new version of Young Talent singing coach in Melbourne, just so I “Getting to work with the creative Time in 2011. could be really prepared. The auditions team from New York. It was like doing “It was an honour to be asked by were quite daunting. Just going into a Broadway musical, but doing it here.

Network 10 and Johnny (Young) to the room in one of my final auditions Being in something so special. I just host the show. I’m really proud of the and seeing Lucy Durack dressed to look heard the other day that one in five show and what it did for the 13 weeks exactly like Glinda, from when I saw it people in Australia have seen it. That’s that we were on air. I’m just why it’s coming back. I love Rob Mills and Lucy Durack in Legally Blonde hoping that one day there everything about the show.

Photo: Jeff Busby might be another revival, “Then there’s the journey of though at this stage it doesn’t Fiyero. At the time when you look like it. see Fiyero in the first act he’s a “I had such a great time. bit of a lad, a bit nonchalant, One of the best things for me charming, but with no real was the mentoring of the direction in life. Before I got young kids, which I’ve really Wicked, and before I realised grown to love.” that’s what I wanted to do, I How was the experience of was sort of cruising through stepping into such an iconic life. So the show was quite show? fitting for me at the time. His “It was hugely daunting to arc through the show for three step into Johnny Young’s hours was pretty much what I shoes. He’s the only person in was going through in my own history to be inducted into life. That’s one of the things I both the Logie and ARIA halls liked most about it, and if of fame. He was a great anything, it’s propelled me mentor - he always had great further to work harder. Fiyero ideas in the meetings during the finds out what he really wants Legally Blonde plays at the Lyric Theatre, QPAC, week, and gave me a lot of to do in his life and goes after Brisbane from March 14, and Melbourne’s Princess feedback.” it, and that’s exactly what I’ve Theatre from May 9.

Music Theatre entered the done as well. Sure, he ends up mix for Rob in 2005 when he as a scarecrow with no brains, auditioned for the Arena Spectacular in London. I remember thinking that’s but that’s just a minor drawback.” production of Grease and was cast as the girl; she’s really going to get it.

Now in Legally Blonde, Rob is again Johnny Casino. A production of Hair in “I found out later that apparently working with Wicked co-star Luck Perth came next, after a break to travel. every time (I auditioned) there was a Durack.

“I went overseas after Grease and pile of photos on the table. Lisa, our “What a superstar that Lucy Durack saw a few shows in London including director from New York, would put my is. She works harder than anyone I’ve Avenue Q, We Will Rock You and photo aside straight away, as in ever met. No-one was more prepared knowing that I was going through, and on the first day of Wicked; no-one was Wicked. I really got the bug. When I they would try matching up people got back, I was finding out from my more prepared the first day of Legally manager when Wicked was coming. In with me, which I didn’t know at the Blonde. For someone who has to carry time. Every time I went in, I thought I the meantime she was finding out the show, basically she’s only off stage wasn’t going to get through to the what other productions were coming about three times, for about 20 up. She found out a production of Hair next audition. It gives you confidence. It seconds each time, in Legally Blonde. was nice to know later on that Lisa was happening in Perth. I got to play Everyone admires her and she’s also really picked me out. One thing that I Claude, which was great because he’s one of the nicest people you’ll ever such a fun, hippy role, but I also really loved about the audition process was meet, to boot. Her work ethic filters enjoyed exploring the darker themes of how she got the words out of me, or down into the whole group. She the emotion. Both Lisa and Kellie my character. It was a great learning doesn’t chuck any tanties - she’s really Dickerson wanted me to get it. You curve.” professional. That makes everyone want

16 Stage Whispers March - April 2013

to work harder and be at our best every time we go on that stage.

“She’s really fun, she likes to bake, and she brings in food for us. She’s always present - on stage as an actor, but always present as a human being as well. I really enjoy her company, and we’re becoming really good friends as well, I think.”

I realised at this stage that we’d skipped past how Rob came to be cast as Warner in Legally Blonde.

“That was a bit funny for me. I went in there for Emmett. I got the script for him, which is a little against my typecast I suppose, so I was really excited to go in and show the creative team from the West End. But they told me that I should just come back on Friday for Warner before I’d even opened my mouth. I thought, that’s a bit unfair; you haven’t even heard me sing yet. So they let me read one of the scenes, but then they said no, come back on Friday for Warner. So I had a couple of days to go over the Warner material, which I hadn’t even looked at, and ended up getting the part, which was fun.”

“I think Legally Blonde is the funnest show, and probably the best adaptation of a film to a musical ever written. It takes all the good bits from the movie and makes them even funnier, it chops out the bits that lag, and as a musical should, it has music where it needs it, and dialogue where it needs it.”

And playing Warner, a character who audiences don’t feel particularly sympathetic towards?

“I quite like the fact that he’s not the lovable lad I’ve played in the past.

He’s a self-centred American jock, which is really fun to play. He reminds me of a few private school kids I used to see on the train when I was on my way to school.”

Between the Sydney and Brisbane seasons of Legally Blonde, Rob has had an incredibly busy filming schedule for reality TV show Celebrity Apprentice.

“It’s a fantastic concept, and a fantastic social experiment, watching celebrities working together to make money for charity. I’ve enjoyed working with Peter Berner and one of my heroes as a kid was Dermott Brereton, a legend for the Hawks, my football

team. Getting to know him has been pretty cool … and sporting legends like Dawn Fraser, Stephanie Rice and Jeff Fenech - some really incredible characters and great personalities. I’ve really enjoyed the challenge of it.

They’re called challenges for a reason, because it’s quite challenging trying to deal with everyone’s personalities.

Already we’ve sold fish and chips, we’ve spruiked Tim Tams in Pitt Street Mall, we’ve taken photos and sold them at an art exhibition and we’ve just done a live ad at the Sydney Football Stadium at half-time in a Soccer game, all for charity. Each time it’s been extremely challenging, but extremely rewarding at the same time. I’m learning a lot about myself.”

Is there any one big thing that Rob has learned about himself during Celebrity Apprentice?

“I was project manager, which is basically having to take control of my team. I’m not a conventionally strong leader. I’ll step up if I have to, but it made me realize that I can do that, and how people work for me, and work out what their strengths are, and put them to their task. It was incredibly rewarding.”

Now it’s back to Legally Blonde in Brisbane and Melbourne for Rob Mills.

“I’m excited to be going to Brisbane. I’ve never lived there, just done a few gigs there, and I’m really looking forward to getting to know the city, then going back to my home town, Melbourne, and spending some quality time with friends and family. I’m looking forward to getting back into Legally Blonde and to seeing what the future holds - hopefully more stage work and maybe some more TV hosting and some film and TV acting.”

And what tips does Rob have for young performers who’d like to follow in his footsteps?

“The thing I’ve learnt as a performer and a singer is you’re always telling a story, whether it’s a pop song or a musical theatre piece. There is text in there that is to be conveyed and there’s definitely a message that you want to get across. It’s all about trying to convince that other person, whether it’s the audience or the person you’re singing about, that your message is true.” www.stagewhispers.com.au Stage Whispers 17

Australia’s Busiest Playwright h

Joanna Murray-Smit

Joanna Murray-Smith talks to Coral Drouyn about her amazing year.

“If my family had been different, I might have been a painter, or an actress, or a musician. But I came from a family of intellectual academics, and words were the Holy Grail. So becoming a writer was the inevitable expression of my creativity. As a child I loved theatre, loved sitting in the dark seeing other people’s lives, joys, problems, unfold in front of me - so performance writing was the most exciting life path I could ever imagine.”

These words come from Joanna Murray-Smith, arguably Australia’s second most famous playwright, though this year in particular she is probably our busiest. She has two world premieres opening in Australia within two weeks of each other. The STC will present Fury, opening on April 15th, and the MTC will follow 10 days 18 Stage Whispers March - April 2013

later with True Minds. A day after that her adaptation of Ibsen’s Hedda Gabler opens at The Adelaide Festival Centre.

Three openings in the space of two weeks might well be a record for any playwright, but Joanna thrives on work and the energy that it requires. It’s doubtful that she could survive for long without the adrenaline rush of creativity, and her 18 plays, three novels and various other writings, including film and television and even a libretto, attest to that.

“I’m very hands-on with first productions. I’m there for rehearsals, I rework lines, I crystallise the grey areas on the page once I see the character take shape through the actor. Often I will edit or rewrite before a second production. I know too well that nothing is perfect. Sometimes I think I know what I’ve written, only to realise that there are things in a play that sub-

textually alter the themes, and yet I had no awareness of it.

“True Minds is a classic case. I thought I was writing an out and out comedy, light and entertaining, but now I’m not so sure. People keep telling me ‘You don’t know what you’ve got here,’ and I’m astounded by what they are finding at deeper levels, none of which was intentional.”

Isn’t that what good writing is about, I query? Often as writers there’s a deeper consciousness at work - a truth which exists in its own right and finds its way into the journey? Joanna agrees.

“We look for emotional truth in the characters, but sometimes we miss some universal truths that lie deeper. We like to think, after writing for a lot of years, that we’re getting better and better, and that we find the emotional truth more easily. Like everything in life, you expect to get better with age, but it isn’t always true, and sometimes it’s not easy to see

that when you’re so close to the work.

The audience always tells you. It is the ultimate judge.”

So who is Joanna’s audience? She’s been accused of being too privileged, too middle class, in her creation of characters. Is that a liability or an asset?

“Neither, really. It’s a valid criticism.

But that’s who I am. I did have a privileged up-bringing. It’s what I know; what I understand. I do have writers and other ‘arty types’ as characters. But why should there be any less interest or empathy for the drama those people experience in their lives? The trappings of social status don’t mean that pain, or happiness, or moral dilemmas are excluded from your life. It’s just that they might be explored differently.

“My audience is essentially me women of a certain age, a certain upbringing, financially comfortable (or they couldn’t afford the exorbitant price of main stage theatre) and a certain intelligence. My truth is mine, and no truth is absolute. But it is as valid as anyone else’s. I write for the Main Stage. I want to see cheaper ticket prices so that theatre is accessible to every-one. I’m not averse to alternative experimental work. Theatre needs to continue to grow. But new isn’t always better, and I’m far more committed to pursuing excellence than I am to doing something avant-garde just to see if I can. I don’t apologise for that.”

Nor should she. Her father, Stephen Murray-Smith, was a noted academic and a passionate Labor Party supporter.

One of Australia’s great intellects, some of us remember him and Barry Jones as quiz whizzes. But he was a great essayist and writer (though he also cowrote a book of bawdy ballads under a ribald pseudonym). His wife, Nita Bluthal, was an educator, whose brother, John Bluthal, is a prominent actor much loved in British comedy for a host of films and television work with Spike Milligan. In Australia though, he’s probably best remembered as the Mafia Don in Castrol’s “Oils aint Oils” ads.

“It was probably not your average family,” Joanna concedes, “but it was exhilarating as a little girl to sit somewhere out of sight, when I should have been in bed, in the house at Mt Eliza and listen to my father, so much larger than life, philosophise and argue about politics, academia and Australia.

Friends came and went whenever they

chose. It was always open house. But it wasn’t very long before I started to notice that the wives of these strongly opinionated men always took a back seat, even though they were generally as intelligent as their husbands. It fascinated me, in the late sixties and early seventies when I was very young, that women, particularly the middleaged, seemed to accept that men held all the power.”

That insight stayed with her through her early plays and crystallised when she wrote Honour at the age of 32. Broke, and with a husband and a three month old son in tow, she wrote it as a commission, whilst studying at Columbia in New York.

It was not an especially original premise. A husband, fearing his own mortality as age engulfs him, abandons his loyal and loving wife for a younger woman. What made it different, and special enough to be a hit on Broadway and all over the world, was the exploration of the “what ifs” in the life of Honour, the wife who has given up her individuality and her dreams, and sublimated her own potential to be the best of wives, only to be emotionally sucked dry and then discarded by a man she trusted.

Those early dinner parties she observed, and the quiet wives abandoning their own intelligence to atrophy, form part of a recurring theme for Joanna. Every play asks thematic questions along the lines of “What is love?” “How do we balance a relationship with our own integrity?”

“How do we know if we have chosen the right partner?”

Her newest play, True Minds, continues the theme when a young woman must meet her prospective mother-in-law for the first time, believing that if she doesn’t approve, then the wedding is off.

They’re universal themes, and Murray-Smith is a universal playwright.

She doesn’t support the idea of local identity or the call to “tell our own stories”. In fact, like so many good writers, she deliberately makes her storytelling universal. “Life is universal,” she says, “and so is love and death, and insecurity. The setting may change, but people’s dreams, hopes, fears, don’t. I don’t want my plays to seem parochial or inaccessible in other countries. I want the audience to feel that they know

these people…that they might be living next door.”

Joanna has just returned from California, where The Gift - her play from 2011 - opened at the Pasadena Playhouse. She edited out the few Australian-isms and was gratified when audience members assumed it was set in America. “Once an audience is engaged, they don’t want the connection to be broken by something that is alien to them.”

Like her heroine Margot in The Female of The Species Joanna MurraySmith is a talented, driven, strongly opinionated woman. But, unlike Margot (based on Germaine Greer), she isn’t a rampant feminist. She’s married and raising three children, and that means different things take different priorities at different times. It’s complex but not complicated.

“Between plays, the kids are number one. They understand that I work but they also know that when I’m not working they come first. When I was writing my first novel I would put the baby down for a nap and know that I had two or three hours to work on the book and I had to write around 3,000 words in that time. The limited time meant that I actually completed the novel far quicker than if I’d had all the time in the world.”

Is she ever worried she will run out of things to write about?

“Not really, there is always a new take, a new perception, to explore in any subject. I’m not great with plot. I’m far more interested in people and how they react and why. A one sentence premise can be enough for me to start a play, but a heavily plotted storyline which the characters just move through would probably not interest me much.”

Is that the reason why she’s turned her back on television after some great success in her early career?

“Possibly, but I think it’s more about control. I want my work to be mine, and I’m happy to be judged and stand or fall by the outcome. I have to believe in what I write, and that leaves space for opinion, but not for others imposing their beliefs.”

And if she couldn’t write?

“Don’t even say it,” she chuckles, “that would be like asking me not to breathe.”

www.stagewhispers.com.au Stage Whispers 19

Great Comic With a reputation for being “side-splittingly hilarious”, the National Theatre of Great Britain production of One Man, Two Guvnors, now touring Down Under, has a lot to live up to. Frank Hatherley talks to its Revival Director, who laughs a lot, and a leading lady, who is nursing a hangover from a film premiere.

One Man, Two Guvnors is a funny play. Indeed, according to the April 2011 reviews of the original National Theatre production, it’s “the funniest show to be seen in the land” and “the most sidesplittingly hilarious play ever to be staged in London”. Now that’s a big call.

It’s a modern version, by Richard Bean, of Carlo Goldoni’s 250year-old comic masterpiece The Servant of Two Masters. Set in pre-Beatles-60s seaside Brighton, the production features farce, pratfalls, music hall turns and audience participation.

After a UK tour, it transferred to London’s West End in November 2011 where it continues and looks like nesting at the Haymarket Royal for many a year. An award-winning Broadway production played from April to September last year. Now a new touring team under the NT brand is touring Australia and New Zealand.

But can they keep up the hilarity? My two phone calls to London assure me that this silly, energetic, cheerful show is in good comic hands.

My first call was Adam Penfold who is listed as Revival Director. He laughs at the title. “I started off as Assistant Director to Nicholas Hytner [the NT’s Director for the past Adam Penfold at rehearsals.

Photo: Tristram Kenton

Peter Caulfield (as Alfie) in the National Theatre of Great Britain’s production of One Man, Two Guvnors.

Photo: Tristram Kenton.

20 Stage Whispers March - April 2013

Expectations 10 years]. As it’s become more and more successful I keep getting boosted up the chain a little. I’ve been Resident Director, then Associate Director, now I’m Revival Director.

“I love the show. I’m not bored of it. I must have seen it over 300 times and it still makes me laugh out loud. That’s got to be a good thing.”

I notice he also gets the credit as Choreographer. This time his laugh is a bit doubtful. “Yeees, I call it ‘Actors Movement’. There’s no dancing as such. When we started rehearsals Nick hadn’t quite realised what he was going to be doing with the play. Then he added a four-piece band that plays a pre-show concert, an interval concert and in the scene changes - and Nick wanted to introduce the cast into that, you know, a bit of music hall or variety. So we decided we needed a choreographer, and I’d done some so I sort of stepped up mid-rehearsals.”

It sounds like the show grew organically, I suggest.

“Oh, there was a completed first draft,” says Adam, “and Nick Hytner knows what he wants, he’s very strong.

Richard Bean, the playwright was in the room, redrafting, adding jokes, open to suggestions. And we had a Comedy Director, Cal McCrystal, who specialises in physical comedy.

He’s got a clowning background, he worked with Sacha Baron Cohen on The Dictator and those films.

“He and Nick were an interesting partnership. They pulled against each other, but I think that tension is what has led the show to be as funny as it is.”

As Revival Director, does he have to take actors through their pratfall paces?

More hearty laughs. “I do, yes. In the play there’s an old waiter who has to fall down a lot. For the auditions, we make each actor come in and, once he’s read a bit of the script with us, we ask him to improvise. We set up a simple task, such as ‘please could you move this chair from that side of the audition room to the other’, and they’re allowed

Kellie Shirley (as Pauline), Rosie Wyatt (as Rachel Crabbe), and Amy Booth -Steel (as Dolly) in the National Theatre of Great Britain’s production of One Man, Two Guvnors. Photo: Tristram Kenton

to do whatever they want. Of course they go way over the top, throwing the chair, falling over the chair, falling over themselves, falling over us - trying to make the best comedy impression that they can.”

Adam led the way on Broadway, casting the American half of the company, rehearsing them before Hytner arrived for a massive six-hour technical rehearsal. “That was fun,” he says, in a way that let’s you know it wasn’t fun at all.

How did he prepare the American actors to play in this essentially English style of broad comedy?

“They had a list of DVDs to research in advance, including Faulty Towers, some Carry On films, Brighton Rock. We didn’t have to change much in the script. We changed ‘rozzers’ to ‘coppers’, and dropped some dialogue about The Arsenal Football Club.”

I wonder how Down Under audiences will go for it?

“You and me both,” he says. “It’ll be fascinating. We weren’t sure if the Americans would. The Americans did.”

(Continued on page 22)

www.stagewhispers.com.au Stage Whispers 21

“I know it sounds a bit grand, but I had the premiere of a film I was in My next cheerful call is to cast last night and - erm - I had lots of member Kellie Shirley, though it champagne. So I’ve just literally doesn’t start too well. She groans woken up, but I’m ready and raring when I ring at the appointed hour. to go.”

“I’ve literally, literally just woken up,” Kellie’s new movie turns out to be she murmurs.

- amazingly! - Run For Your Wife, based on a long-running (9 years) (Continued from page 21)

Online extras!

Check out the trailer for One Man, Two Guvnors. Scan the QR code or visit http://youtu.be/oUyj9ZBYi8I Amy Booth-Steel (as Dolly), Leon Williams (as Alan Dangle), Kellie Shirley (as Pauline) in the National Theatre of Great Britain’s production One Man, Two Guvnors. Photo: Tristram Kenton

Kellie Shirley at rehearsals.

Photo: Tristra m Kenton

West End farce from the 1980s.

Though writer/director Ray Cooney is now in his personal 80s, he had gathered the budget plus a long list of British personalities to play walkons.

“It took him 20 years to get the backing. It’s really been a labour of love. I play a dumb blonde,” she adds happily. Her accent is delightfully cockney.

Later I discover that Kellie’s trip down last night’s red carpet featured a wet-weather costume malfunction that has put her on the front cover of several tabloid national newspapers.

The paparazzi love her. She’s been a popular soap star in the UK, having played in over 200 episodes of the perennial EastEnders.

Kellie’s already done the UK tour of One Man, Two Guvnors and is clearly thrilled to be part of the current World Tour.

“I’m in my element,” she says.

“It’s such a funny play. I play a dumb blonde - type casting there - called Pauline, and it’s her engagement Pink swags in Dusty (2005) party, and beforehand was dueKirk.

Set she Design: Roger to get married to this East End gangster but then she falls in love with this actor called Alan and then she gets engaged to him. It’s a convoluted love triangle. It all goes tits up and that’s when the farce really starts happening.”

She confirms the amount of research the new cast had to do.

“It was a big list we had to be up to speed with before we started rehearsals. We watched The Krays, we watched some old Ken Loach films of the 60s, we specially watched Carry On films - because our production is in the style of the Carry Ons. “I love my character, I love the cast, we all get on really well, and I’m coming to Australia. I mean, it’s just amazing - I can’t wait!”

The NT tour of One Man, Two Guvnors plays Adelaide 28 Feb - 9 March Auckland 14 - 23 March Sydney 30 March - 11 May Melbourne 17 May - 29 June

22 Stage Whispers March - April 2013

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www.stagewhispers.com.au Stage Whispers 23

Carmen Sings on Water

international quality opera,” Director Gale Edwards told the gathering.

La traviata last year had a giant chandelier. I asked Gale what this year’s big surprise would be?

“I don’t think we need to have a different surprise every year,” she told me. “Brian Thomson is designing again. He’s the most wonderful designer this country has ever produced and I love working with him.

Together we are great storytellers, and that’s our job - to tell a great story.

That’s more important than delivering a single solo image.”

“You’ve got this massive Carmen sign in the background, that’s thirteen metres high, which is based on the Hollywood sign. I have two cranes that are delivering huge pieces of set, then taking them away again. I don’t think anyone will miss the chandelier.”

Edwards has production meetings called ‘The Ballet of the Cranes’.

What is Edwards’ vision for Carmen?

“I’ve set it in Franco’s Spain in the time of civil war. That makes sense of the garrison that’s stationed in the village.

“I’m interested in Carmen as a person, because I think she’s a woman before her time. She lives her life and behaves like she’s a man, and that makes her scandalous.”

“She’s spirited; she’s intelligent; she’s tough; she fights; she stands up for what she believes in; she declares her right for freedom; her right to Rinat Shaham & Milijana Nikolic.

Photo: Ben Symons make her own decisions, and part of that is the right to sleep with anyone she wants.”

Neil Litchfield had a very tough Terracini said. “It’s such a “None of Carmen’s behaviour assignment. A twilight cruise on quintessentially Sydney experience to would be outrageous if it was done by Sydney Harbour on a fine dining ferry, be sitting over there, watching this a man. sipping red wine while being wonderful opera, with this incredible “Everything that’s shameless and serenaded by one of the world’s great view, and of course there’s fireworks as shocking about Carmen is because Carmens, Rinat Shaham. Someone had well. I know other cities in the world she’s a woman. I find that fascinating, have fireworks, but Sydney’s about to do it to get a glimpse of the 2013 and that’s why I’ve updated it into the crackers.”

Handa Opera on Sydney Harbour.

Last year 41,000 people witnessed 20th century. I’ve made it more La traviata, Destination NSW informed modern, more accessible. I want to Anchored just off the Fleet Steps keep all the sexuality and the heat and us, and 5,000 of them were from and Mrs Macquarie’s Point, Opera the passion, and the great triangular interstate or overseas.

Australia’s Artistic Director Lyndon romantic story in the centre of it, but I “I saw Traviata last year in Sydney Terracini introduced the media and also want to dig a bit deeper into the several international opera stars to the and I thought ‘opera in Sydney has location for this year’s Handa Opera on come of age’. We’re sitting here in the story.”

“In this version it’s going to be a most gorgeous landscape, and we’re Sydney Harbour, Carmen. watching a gorgeous production of an rags to riches story - she starts as a “Welcome to one of the most cigarette girl, making cigarettes in the beautiful views in the world,” Lyndon 24 Stage Whispers March - April 2013

sweat shop. The girls are cutting up tobacco and wrapping it in paper. It’s filthy, sweaty occupation. Your body gets stained with the tar of the tobacco.

“She starts life as somebody who is at the bottom of the heap. In the last act in our production she’s in a Valentino gown, and she arrives as the first lady of the city, with Escamillo, who is the famous number one Matador in town.

“She arrives as a successful wealthy celebrity who has the world at her feet, and who I believe is genuinely in love with Escamillo. She sings the lyric to Escamillo, ‘I love you,’ in French. She never sings ‘I love you’ to Don Jose.”

“I believe this is the story of a girl who goes from poverty, from the bottom of the pile where she can be a cigarette girl or a gypsy whore, and she ends up at the zenith of her power and her celebrity, and she is at that point cut down by fate and killed.”

Rinat Shaham, one of the two international stars who will alternate in the title role, has played Carmen in more than 30 productions around the world, but never tires of this favourite role.

“People ask me if it’s boring,” Rinat explained. “It’s never boring, because every production is different and I like to work with the material at the given moment. It’s all different - production, costumes - I deal with the director, the producer, the conductor, a different Don José, a different cast, so I always get fed with a new palette of colours and ideas, and I love that.

“I’m very excited to be doing this production because it’s on a big stage, and it’s outdoors and we will use microphones, which usually we don’t use, and there will be video cameras, which will emphasise our facial expression.

“Usually when you go to an opera house, you don’t quite see and don’t quite hear the full range of nuance.

Everything needs to be a bit more enlarged for the audience to see. But when we do use microphones in a setting like this, (the audience) can see the close-up on our face. We have more freedom to use a much wider range of nuance and emotion.”

Online extras!

Get a glimpse of the spectacle of Carmen by scanning the QR code or visiting http://youtu.be/gxBEZaGTsFU

(Continued on page 26) www.stagewhispers.com.au Stage Whispers 25

(Continued from page 25)

Rinat has played Carmen outdoors on two previous occasions, once in Sydney for Opera in the Domain, and the other time in Tel Aviv, in front of an audience of more 100,000.

“It’s a whole different genre to do it outdoors, where I can incorporate other subtle colours, which wouldn’t pass in the Opera House.

“Usually when Carmen dances her erotic dance for Don José, you have to do things larger than life, so people in the back seats can still see and hear you. However, Carmen was written for the Opera Comique, which is actually a very intimate space. It’s only a private dance between Carmen and Don José, and she doesn’t actually need to sing loud and dance a big Flamenco number. It’s tiny nuance between her and Don José where it’s the eyes, the way she looks at him when she sings, how she whispers those little lines of song in his ear. It’s actually very, very erotic.”

What’s the essence of the role of Carmen which never changes for Rinat?

26 Stage Whispers March - April 2013

“The temperament is always there, the essence of the character, which I bring from my own self. So that doesn’t change for me - her charisma, her temperament, her chutzpa - but the rest I can play with according to what the director asks me to do.”

In the meantime, Production Manager Cliff Bothwell, sitting next to me over dinner, is a man with a huge job. He told me that he and his team have just three weeks from February 20 to create the 3,000 seat outdoor opera theatre from ‘bare water and bare site.

Everything has to be built’.

First up a total of 16 pylons (9 for the stage) go in, then the whole stage is lifted from land to the pylons.

On March 4 the two cranes, big brother and little brother, with their multiple purposes of building the set and flying objects during the production, are installed. A stage rake of 1 into 10 is then installed, with the majority of the site, all the seating and main structural components, taking shape by March 14, ahead of the opening on March 22.

I asked what the big challenges are.

“Doing it on water, there’s a lot of water and barge movement,” Cliff told me.

“We have to create everything - we don’t have any dressing rooms, we don’t have any power, we don’t have any toilets - we have to bring in everything. We have our own plumbed vacuum toilet system, like the airline toilets.”

And the biggest lesson Cliff learnt from last year’s opera.

“Waterproofing. My one failing last year was I listened to people telling me what to do about waterproofing and it was wrong, so I’ve put in better waterproofing this year. Our biggest concern is the weather. We’re very aware that we need waterproofing for our back of house areas and our areas where our artists get changed. So how to waterproof a building is my greatest learning curve.”

Shortly after Carmen closes on April 12, all that will remain will be 16 holes in the harbour floor, which will again hold the pylons when Handa Opera on Sydney Harbour returns in 2014.

www.stagewhispers.com.au Stage Whispers 27

Slingsby’s Man Covets Bird

Aussie Youth Theatre Companies Take on the World

Online extras!

Check out Slingsby’s Man Covets Bird by scanning the QR code or visiting http://youtu.be/SPPXYYvj4DE Adelaide-based theatre companies Patch Theatre Company, Slingsby and Windmill Theatre are the flavour of the month in the USA. All recently secured international bookings, including a season on Broadway. Robert Dunstan reports.

Adelaide-based youth theatre companies Patch Theatre Company, Slingsby and Windmill Theatre have recently returned from the US where they all highlighted their work at invitation-only IPAY 2013, the annual International Performing Arts for Youth showcase in Philadelphia.

The Windmill Theatre Company It could be something in the water?

But regardless what the secret recipe is marked 10 years of operation in 2012.

Having already successfully toured - Adelaide is producing youth theatre productions of Glug and Plop! to the that the world wants to see.

US it’s now set to stage Pinocchio on Broadway at New York’s New Victory Theatre in 2014.

“There’s a great interest for Australian youth theatre in the US,” Windmill Theatre’s artistic director Rosemary Myers confirms. “I have now been invited to go to Cleveland in May to do a key-note speech at their big TYA conference (major international youth theatre conference). The Americans are very, very interested in what we are doing and where our work is going. They are intrigued with what Australia, and Adelaide in particular, is doing in youth theatre 28 Stage Whispers March - April 2013

and I think that’s because our work is very bold and fresh. We are quite liberal in the way we engage with young people and children.

“And as well as being keen to present our work over there, they are also very keen to engage with us to find out how we go about making our work,” she continues. “They want to know our philosophy and are beginning to realise that if you want to keep up with the young people of today, you have to tailor the work to suit that. So we’ve become flavour of the month in the US and it’s such a big country with a huge audience that we have to now make the most of it.”

So what is the secret?

“First and foremost it’s the fantastic work that the company creates and the fantastic actors we have at our disposal,” Myers suggests.

“Windmill uses some of the most talented people in the country and they are inspired because they are making work for young people. And young people are a very liberating audience because they don’t

necessarily have any pre-conceived ideas about what theatre is. In that regard, we can show them what theatre can be and they are happy to go with that. That allows us to be very playful with the work we put on.”

Formed in 1972, Patch Theatre Company, which took out the coveted Victor Award at IPAY this year for Best Showcase Production for Me And My Shadow, with the work set for a twoweek season in New York in October of this year.

“Me And My Shadow has done incredibly well,” Patch’s artistic director David Brown says. “When you are making theatre year after year and then look back, there are some shows that have something special about them and are quite timeless. And while it’s hard to define what the magic potion is that creates those shows, Me And My Shadow is certainly one that has universally engaged audiences.

“Part of that is it’s an image-based piece with very few words and has a lovely ambience about it,” Brown states. “It’s very visual - it has some wonderful images that are very perplexing but quite beguiling at the same time. So it’s wonderful to sit in an audience of young people and see how they respond to the show. And that’s particularly with kids aged from about seven onwards. Kids younger than that just accept the magic of it all.”

Although only a few years old, Slingsby have already enjoyed much success as their award winning

inaugural production, The Tragical Life of Cheeseboy, which premiered in January of 2008, has since been performed 220 times in 40 venues in 25 cities on five continents.

At the International Performing Arts for Youth (IPAY) conference 2013, the company presented a 10-minute excerpt of its award winning Slingsby’s Man Covets Bird

production Man Covets Bird which premiered in the 2010 Adelaide Festival. It has received critical acclaim and four awards, including the 2010 Ruby Award for Best Work.

Man Covets Bird, which will tour Scotland and England in 2014, is now being considered for a North American tour in 2015.

“It’s a very exciting time for us,” Slingsby’s Artistic Director Andy Packer

says, “because it was another successful trip over to the US. We’ve been invited to IPAY for the last four years and in 2011, after attending the event in 2010, we were able to lock in a two-week season at New Victory Theatre on Broadway for Cheeseboy.

“So in 2013, we showcased Man Covets Bird and it’s been lovely to see the interest in it and that a lot of people fondly remember us for Cheeseboy. And we are also now having conversations with several performing arts centres in the US. For example, there’s now a possibility of me directing something for Tennessee Performing Arts Center further down the track. And we’ve had great conversations with the Lincoln Center Institute, which incorporates the Julliard School, about Slingsby developing a program with them for a young audience.

“The intent would be to change the way they deliver their arts program influenced by the work we do together,” Packer adds. “We are interesting because we come from the other side of the world but also have very interesting approach to what we do in regards to youth theatre.”

Patch Theatre Company www.patchtheatre.org.au Windmill Theatre www.windmill.org.au Slingsby www.slingsby.net.au

Windmill Theatre’s Pinocchio

www.stagewhispers.com.au Stage Whispers 29

Kings of the Gym. Auckland Theatre Company.

New Zealand Theatre 2013 Local Playwrights are again getting a good run in New Zealand in 2013.

Auckland Theatre Company www.atc.co.nz The ATC opened the year with two main bill New Zealand works from senior playwrights. The first was Dave Armstrong’s new comedy Kings of the Gym. It traversed office politics in the PE department of a High School.

The same playwright is enjoying great success with his comedy Motor Camp. Two couples, two caravans and two teenagers made for a good theatrical BBQ. This year it’s playing across NZ’s community theatres after 30 Stage Whispers March - April 2013

the season. Parker says: “It brought the house down.”

Also on the Auckland Theatre Company’s menu are The Glass Menagerie, The Lord of the Flies and the Broadway musical Chicago.

Silo Theatre http://silotheatre.co.nz/hui Auckland contemporary theatre company Silo Theatre has two notable two New Zealand works this year after a run of international work only. The first is Hui - a Māori drama set at the being seen at professional theatres in reunion of four estranged brothers all main centres. brought together by the death of their In April the Auckland Theatre Company stages Midnight in Moscow father.

The second is Protection, from

by Dean Parker, who last year won the controversial playwright Victor Rodger. inaugural $20,000 Playmarket Award for an established playwright. Midnight The play provocatively looks at families and protection of the child. in Moscow is set in a New Zealand Also pressing the boundaries is embassy that becomes embroiled in White Rabbit, Red Rabbit. It has an intrigue when rumours emerge that there is a spy in their midst. Loyalties to eclectic line up of senior actors self, each other and country are tested alternating performances with no director no rehearsals and no set. They as suspicion swirls around a group of open an envelope to find out what is Kiwis a world away from home.

Midnight in Moscow was playing at happening. the Court Theatre in Christchurch when the major earthquake struck, closing

Midnight in Moscow

Court Theatre www.courttheatre.org.nz At home in a new venue while Christchurch is rebuilt, The Court Theatre has had a stunning year of attendances. Over summer the Court completed its summer run of Grease and August: Osage County. The Women (Luce) and Tu Amadeus follow. Rumour has it there is a season of NZ works on the way after June.

NBR New Zealand Opera http://nzopera.com The NBR New Zealand Opera’s 2013 Season heralds a significant new beginning for the company as new productions of three main-stage operas Puccini’s Madame Butterfly, Mozart’s Don Giovanni, and Wagner’s The Flying Dutchman - are presented, in Auckland, Wellington, and for the first time, Christchurch.

The 2013 season opens with Madame Butterfly, directed by Kate Cherry, with Australian soprano Antoinette Halloran and Italian tenor Piero Pretti.

The NBR New Zealand Opera’s first main-stage production for Christchurch will be Don Giovanni, staged

by Christchurch-born director Sara Brodie.

The third production for 2013 celebrates the bi-centenary of the birth of Richard Wagner with his first great opera, The Flying Dutchman, directed

by Australian Matthew Lutton. The Flying Dutchman signifies the first Wagner opera presented by NBR New Zealand Opera, and the first step in a new series of collaborations with Opera Queensland.

Centrepoint Theatre www.centrepoint.co.nz The Palmerston North Theatre has a tradition of staging almost entirely NZ written material. The company opens with the highly acclaimed play Manawa. Two criminals commit two very different crimes and end up sharing one tiny cell. Their lawyer tells the public that “anyone can change” but is this true?

There is also plenty of comedy; one is called Shop Till You Drop, the other is a comedy where cultural differences threaten to derail a relationship, called Two Fish ‘n’ a Scoop. Two world

Madame Butterfly

premieres follow: Rewena - set in a local cooking class and the intriguing Stock Cars: The Musical!

Circa Theatre www.circa.co.nz Wellington Theatre Circa has some heavyweight local comedy to start the year, Armstrong’s Kings of the Gym and Roger Hall’s You Can Always Hand Them Back.

They are joined by the World War 2 NZ drama Tu, Midnight in Moscow, three World Premieres plus a mix of international hits: Tribes, The Price (Miller) and Midsummer.

Fortune Theatre www.fortunetheatre.co.nz The Otago based theatre company has commercial productions on the menu: Tribes, Altar Boyz and Boeing Boeing. They join Roger Hall’s musical play You Can Always Hand Them Back and the highly anticipated premiere of Gifted, about the relationship between two of NZ’s key literary figures: Janet Frame and Frank Sargeson.

www.stagewhispers.com.au Stage Whispers 31

QUIET PLEASE THERE’S A LADY ON STAGE After playing Judy Garland in The Boy From Oz, Christen O’Leary gets ready for the marathon of End of the Rainbow. Peter Pinne talks to her about Garland, the play and her own career.

comeback in concert at The Talk of the Town. The play essentially tells the story of the last few days in the life of Garland as she prepares to try and resuscitate her career helped by her pianist and her latest and youngest husband-to-be, Mickey “The thing that strikes me about Deans.

“I’m trying to approach her as a Judy Garland in any film or TV performance I have seen of her is the real person and not as a star. Tap into the soul of her. I thought Judy hope and love in her eyes. Even in the saddest numbers there’s no trace Davis did that in the TV series (Life with Judy Garland: Me and my of bitterness but always hope.”

Christen O’Leary is talking about Shadows). She captured the essence of what Garland was.” the icon she will play in End of the What books or movies have you Rainbow, Peter Quilter’s play set in London in 1968 where Judy Garland found the most helpful in your research? “A Star is Born for one. is poised to make a triumphant

32 Stage Whispers March - April 2013

She gives such a powerhouse performance and the Judy at Carnegie Hall concert CD is amazing.

But the thing I found most helpful was a series of infamous tapes that were recorded 41 years ago.

Somebody persuaded her that it would be a good idea for her to write her autobiography and so she talked about her life on tape. I’ve listened to them all and they are amazing. When she starts out she talks normally but clearly becomes more drunk or drugged as she goes on. You hear this incredibly talented woman being so open-hearted. It’s raw, and it’s also tragic that she ended up being so bitter. Sad really.

Growing up in the 70s, O’Leary was never a Garland fan. Her idol at the time was Streisand, a passion fueled by an aunt who played nothing but Streisand. She first became aware of Garland when her daughter became obsessed with the movie The Wizard of Oz, and then later did massive research on Garland when she got the role in the Production Company’s 2010 production of The Boy From Oz. “I know it’s only a support role in the show, but it’s a gem of a role because it looks at a particular part of Garland’s life.”

O’Leary gets to sing eleven songs in End of the Rainbow - everything from Garland’s A Star Is Born signature tune, ‘The Man That Got Away’, to her The Wizard of Oz classic ‘Over the Rainbow’. Her husband, Andrew McNaughton, who is musical director of the production, is helping her get “musically on top” of the material and “sounding right”. She’s not going for an impersonation of Garland but an impression and she hopes to give “glimpses of her voice when it was at its height and also show what the voice became in her later years.”

There are advantages of working with your spouse. “Having a four year-old and an eight year-old at home in Melbourne it’s really hard to juggle career and family.

Up until now I’ve managed to be home while Andrew was working and he’s managed to be home when I’ve been away. But this time we’ll both be up in Brisbane together.”

O’Leary gets her love of music and theatre from her mother, who teaches speech, drama and piano.

Her younger sister Helen sings “incredibly well, but decided not to pursue it as a career professionally.”

So far O’Leary’s career has encompassed musical theatre and straight plays. She won a Helpmann Award for The 25th Annual Putnam County Spelling Bee and has been

nominated for seven Green Room Awards, winning twice for her work in A Little Night Music and Company.

But although her awards have been for musicals, she believes her future will be more in plays. “I find the pressure of singing so great it’s nerve-racking.”

When it pays off the rewards in musical theatre are high. She remembers the memorable moment she experienced while playing Amy in Company. “It was my first and only experience of stopping the show. When I finished singing ‘Getting Married Today’ there was nothing but applause and it kept on going and going. I thought what is happening here and then realized this is what they mean by stopping the show. It’s happened to me once, but Judy Garland used to do it every time she went out on stage.

I’ve got very big shoes to fill.”

End of the Rainbow had its World Premiere production in Australia at the Sydney Opera

House in July 2005 with Caroline O’Connor as Judy Garland. It was produced in London (2011) and New York (2012) with Tracie Bennett. The QTC production, directed by David Bell, plays at the Playhouse, QPAC, Brisbane, from March 2 to 24.

Online extras!

Watch highlights from the Broadway production. Scan the QR code or visit http://youtu.be/b4VCBG2zD9Y www.stagewhispers.com.au Stage Whispers 33

B

roadway uzz

Brandon Victor Dixon will star as Berry Gordy in Motown: The Musical.

By Peter Pinne

Tony nominee Brandon Victor Dixon (The Color Purple) and Valisia LeKae (The Book of Mormon) will star as Berry Gordy and Diana Ross in the new musical Motown: The Musical which follows the rise of Motown founder Berry Gordy, from featherweight boxer to high-powered music mogul. The show has a book by Gordy, will be directed by Charles Randolph-Wright, and uses hits from the Motown catalogue as its score. Previews begin March 11, 2013 at the Lunt-Fontanne Theatre, for an opening scheduled April 14th.

The York Theatre Company has announced principal casting for its remaining three musicals in its Winter 2013 Musicals in Mufti Series: Hollywood Pinafore plays March 13 and features Susan Blommaert (Grease) and Claybourne Elder (Bonnie and Clyde), Happy Hunting runs 15-17 March and will star Klea Blackhurst in the role played in the original

by Ethel Merman, and Cole Porter’s Silk Stockings, from March 22-24, will feature Stephen DeRosa (Into the Woods), Erick Devine (Ragtime) and Michael Kostroff (The Producers).

Aaron Sorkin has withdrawn as the librettist from the upcoming Broadway production of Houdini starring Hugh Jackman. Sorkin’s ongoing TV (The Newsroom) and movie projects (Steve Jobs) preclude him from continuing although the producers hope to use his concepts and material in the development of the musical. Jack O’Brien is attached as director with Stephen Schwartz writing music and lyrics.

Schwartz’s mega-hit Wicked has just created a Broadway milestone becoming the first Broadway musical ever to remain the highest grossing production for a recordbreaking nine consecutive years. Since opening in 2003 Wicked has remained at the top of the Broadway grosses.

Disney has announced that Newsies has recouped its investment in just over nine months, the fastest a Disney production has ever turned a profit. 400,000 people have

34 Stage Whispers March - April 2013

attended the show at the Nederlander Theatre where the musical set and then broke the weekly box-office house record six times during its run so far.

And while we’re talking about Disney, when Mary Poppins closes at the New Amsterdam Theatre 3 March 2013, the theatre will undergo refurbishment before it opens with the stage version of their animated movie hit Aladdin. With music by Alan Menken and lyrics by Tim Rice and Howard Ashman, the new book is by Chad Beguelin, who also provided some additional lyrics. The production starts a pre-Broadway engagement in Toronto November 13 - January 12, 2014, before opening later at the New Amsterdam Theatre in 2014. A version of the show had summer productions in Seattle and St Louis in 2012.

Richard Greenberg’s play Breakfast At Tiffany’s, adapted from the Truman Capote novel of the same name, opens 20 March, 2013, for an open-ended run at Broadway’s Cort Theatre. It stars Emilia Clarke as Holly Golightly, the role played in the 1961 movie by Audrey Hepburn. Greenburg’s adaptation sticks much closer to the original novella than the film. It’s not the first time the story has been seen on Broadway. Bob Merrill wrote a musical version of it in 1966 which starred Mary Tyler Moore and closed during previews.

Bob Merrill’s back catalogue of pop hits (“Doggie in the Window”/”Mambo Italiano”/ Pittsburgh, Pennsylvania”) forms the basis of a new book musical Love Makes the World Go ‘Round. The show, which also uses songs from his Broadway musicals Funny Girl, Carnival, Take Me Along and New Girl In Town, tried-out at the Phoenix Theatre, Arizona, in February.

The title role in Encores! revival of Charles Strouse and Lee Adams’ 1966 musical It’s a Bird…It’s a Plane…It’s Superman will be played by Edward Watts, who has just finished playing the dual roles of Robert Semple and David Hutton in Scandalous and has previously appeared on Broadway in Finian’s Rainbow and The Most Happy Fella, and Off-Broadway in The Fantasticks.

The Collegiate Chorale will present a concert staging of Wright and Forrest’s Song of Norway at Carnegie Hall, 30 April, 2013. Song of Norway has not been seen or heard with its full cast and orchestrations in the metropolitan area since the New York City Opera presented it in September 1981. The Collegiate Chorale previously presented Kurt Weill’s Knickerbocker Holiday in 2011, which spawned the first complete recording of the score.

London Calling

Beale in King Lear. The Lyttelton Theatre starts its season with Maxim Gorky’s Children of the Sun, in an adaptation

by Andrew Upton, followed by Eugene O’Neill’s Strange Interlude, Tori Amos’ musical The Light Princess and Georg Kaiser’s From Morning to Midnight.

According to Simon Cowell his X Factor: The Musical will offend current and former stars of the TV show, but he

By Peter Pinne is confident it will be a huge hit. The musical, written by comedian Harry Hill, tells the story of Shenise (thought to Cameron Mackintosh recently announced that if the be based on 2008 winner Alexandra Burke) and her movie version of Les Misérables took more than $400 ‘journey’ on the ITV1 talent show. million at the box office he would produce a movie of Miss Lionel Bart’s Quasimodo, based on Victor Hugo’s Notre Saigon with Hugh Jackman in the lead. So far Les Miz has Dame de Paris, is to premiere at London’s King’s Head, 50 taken $360 million worldwide so it looks as though a film years after it was written. Beginning on 20th March it plays of Miss Saigon will be a distinct possibility. Miss Saigon, by until 13th April. Steven Webb stars in the title role. Bart the same writers as Les Miz, ran 4,264 performances in went back to the original novel for his musical version London and 4,096 on Broadway. It is the 11th longest where the hunchback is only 18 and Esmeralda is a 16 yearrunning musical in Broadway history. old street kid. Zoe George, last seen in the Welsh National There is to be an invitation-only reading of Andrew Theatre production of Spring Awakening, plays Esmeralda.

Lloyd Webber’s newest musical in March, based on events The UK tour of Priscilla Queen of the Desert - The surrounding the 1963 British Musical opened 9 February at Tony Sheldon in Camelot political scandal the Profumo the Manchester Opera House. It Affair. The project has reunited stars Jason Donovan (Tick/Mitzi), lyricist Don Black and playwright who played the same role in the Christopher Hampton (Sunset original London production, Boulevard). Later there will be a with Richard Grieve (Bernadette) tryout before an invited and Graham Weaver (Adam/ audience at Lloyd Webber’s Felicia). The tour winds up annual summer Sydmonton November 23rd in Aylsbury. The Festival. musical is also currently playing Carnaby Street, another 60s a U.S. tour which began at the musical, will play 6 -14 April at Orpheum Theatre, Minneapolis, Hackney Empire Theatre, East 8 January, and ends in Denver London, before embarking on a on 15 September. Wade National UK tour. It’s a jukebox McCollum plays Tick / Mitzi, musical which will use the music with Scott Willis as Bernadette of The Beatles, The Rolling and Bryan West as Adam/Felicia.

Stones, Manfred Mann, The Tony Sheldon, who hung up his Animals, The Searchers and The Bernadette frock following the Kinks. Set in London’s West End Broadway run, has been busy amongst its iconic clubs of the playing Pellinore in a Houston period, the plot follows guitarproduction of Camelot, and playing Jude, a working-class doing New York workshops for boy from Liverpool and his Peg O’ My Heart, the 1920’s search for fame and fortune. play with added period songs Only three years after its last (“If You’re Irish Come into the West End outing, Noel Coward’s Private Lives opens at the Parlor”), and for Cameron Mackintosh’s 1992 West End Gielgud Theatre 22 June. Transferring from the Chichester flop Moby Dick. The same show is tipped to open in a Festival, the production stars Toby Stephens as Elyot and London pub theatre later this year. Mackintosh is also Anna Chancellor as Amanda, with Anthony Calf (Victor) working on reviving Martin Guerre, the Claude-Michel and Anna-Louise Plowman (Sibyl).

Schönberg and Alain Boublil musical collaboration which The National Theatre has just announced its new had a brief 1996 West End run. season. Othello with Adrian Lester (Othello) and Roy Dirty Dancing starts a brand new tour 10 June at the Kinnear (Iago), plays the Olivier Theatre from 16 April. The Mayflower Theatre, Southhampton, where the first tour Amen Corner follows in June, with Marianne Jean-Baptiste opened in 2011. The show played for five years in London and Sharon D. Clarke, Christopher Marlowe’s Edward 2nd at the Aldwych Theatre and broke box-office records. The with John Heffernan, and in November a new production of original stage version was created in Australia where it the classic children’s adventure Emil and the Detectives. opened at Sydney’s Theatre Royal, November 18, 2004.

January 2014 finds Sam Mendes directing Simon Russell www.stagewhispers.com.au Stage Whispers 35

sound good (“At the End of the Day”/”One Day More”), Samantha Barks repeats her 25th Anniversary Concert performance of “On My Own” and Eddie Redmayne sings a heartfelt “Empty Chairs at Empty Tables”. Being a

By Peter Pinne “highlights” album there are plenty of omissions, the most glaring being “Do You Hear the People Sing”, sung in the Company (Stephen Sondheim) movie to accompany the funeral of General Lamarque, but (Image Entertainment only included here in the Finale. The disc does however ID8283EK8D). Sondheim’s groundbreaking 1970 musical has feature the new song, “Suddenly”, added to the movie to never been more satisfying than in make it eligible for a “Best Original Song” Oscar nomination.

It’s possibly the only reason to buy this album.  this 2011 partly-staged concert version. A one-night only event, which featured Neil Patrick Harris, Top Hat (Irving Berlin) (First Night CAST CD115) After touring the Patti LuPone, Stephen Colbert, provinces for two years, Top Hat Martha Plimpton, Katie Finneran finally found a West End home at and the New York Philharmonic Orchestra, the show was the Aldwych Theatre where it’s filmed at the Avery Fisher Hall, New York, and screened in movie theatres around the globe. Now available on Blue-ray, been running since May 2012. It’s the performance is a gem and almost, if not as good as the based on the 1935 RKO mistakenidentity-plot movie which starred legendary original Broadway cast. Finneran is a brilliantly unhinged Amy, delivering the showstopping “Getting Fred Astaire and Ginger Rogers.

Married Today” with brio, Colbert and Plimpton are brittle The stage version includes Irving Berlin’s five song movie score (“Top Hat, White Tie and and funny, especially on “The Little Things You Do Together”, and LuPone was born to play the drink-addled Tails”/”Cheek to Cheek”) augmented with songs from his Joanne and sing “The Ladies Who Lunch”. But it is Harris, as other films, Follow the Fleet (“Let’s Face the Music and Dance”), Easter Parade (“Better Luck Next Time”), Holiday Robert, who consistently excels throughout and holds the whole thing together. His “Being Alive” is a tear-inducing Inn (You’re Easy to Dance With”) and the stage musical and moving finale.  Louisiana Purchase (“Wild About You”/”Outside Of That I Love You”). It’s a winning combination. Astaire was not the Les Misérables - Soundtrack world’s greatest singer and neither is Tom Chambers who Highlights (Claude- Michel plays the Astaire role here. His vocals don’t excite, but coSchönberg /Alain Boublil/Herbert star Summer Strallen does, especially on “Better Luck Next Time”. Saxophones and trumpets dominate the Kretzmer) (Polydor 3724585). orchestrations, giving it a distinctive 1930s sound which is Divorced from the image, the old-fashioned but enjoyable.  soundtrack of the movie Les Misérables is a hard listen. The Nice Work If You Can Get It folly of recording the vocals live (George Gershwin/Ira Gershwin) has resulted in one of the worst (Shout 826663-13740). This new/ versions of the score on disc. Hugh Jackman’s vocals as Jean Valjean are histrionic, Anne old Gershwin musical is based on their 1926 hit Oh, Kay!, although Hathaway is not the definitive Fantine we’d been led to believe, and Russell Crowe as Javert makes you long for the there’s precious little of the original days when Hollywood dubbed actors who sang in musical score left in this re-imagining, which features a swag of familiar films. Best voices on the disc are Colm Wilkinson (Bishop) and Aaron Tveit (Enjolras). The truncated chorus numbers and not so familiar songs in a whacky plot with a star-studded cast of expert farceurs.

Mathew Broderick and Kelli O’Hara invest great charm in the title tune and “Let’s Call the Whole Thing Off”, whilst Tony Award winners Judy Kaye and Michael McGrath bring the house down with their outrageous turn in “Looking For a Boy”. The brilliant orchestrations feature a twin-piano sound popular in the era, with incidental music that features snatches of other Gershwin melodies: “Cuban Overture”, “Rialto Ripples” and Rhapsody in Blue”. In the words of Gershwin, it’s not only “delishious,” but toetappingly infectious. 

Stage On Disc

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Carrie (Michael Gore/Dean Pitchford) (Ghostlight 8-6660).

One of the most infamous flops of the 80s has risen again

from the ashes with this premiere recording of the score, taken from the 2012 Off-Broadway production. Since its 5 performance Broadway outing in 1988 little has been recorded from the score except the ballads, “Unsuspecting Hearts” and “When There’s No One”, and they’re the only songs that register here.

Marin Mazzie plays the religious nut mother with fervor, while Molly Ranson as the bullied student Carrie vocally gives her all.

The authors chose to reset the musical in the present time, but there’s no disguising the show’s 1980 roots. In the last twenty years there’s been a plethora of musicals on stage, film and TV about high school teenagers and one more at this time appears to be overkill. Carrie is an interesting curiosity whose time has unfortunately now passed. 

Stage on Page

By Peter Pinne

Book Review: Luna Park Since 1912

Happy 100th Summer Mr Moon! On December 13, 2012, Melbourne’s iconic Luna Park celebrated its 100th Anniversary. To help celebrate 100 years of fun, Luna Park has published a special commemorative book Anthony Newley - The Last Song (Anthony Newley) (Stage Luna Park Since 1912.

Door Stage 9031). Anthony Newley’s unreleased final This 114-page studio album, recorded in London hard cover coffee table book in 1996/97, is one strictly for the chronicles the rich and colourful past of Australia’s oldest fans. Newley’s over-emotive style fun park. More than just a fun park, filled with rides and and distinctive vibrato were carnival attractions and sideshows, this venue has also certainly showing their age in this played to host many entertainment events. collection of old and original What a glorious publication this is. It is virtually a time Newley compositions. He’s joined capsule of one of Australia’s iconic landmarks, featuring

by Petula Clarke for a disco version dozens of fascinating historical images sourced from the of “The People Tree” (The Good Luna Park archives and the State Library of Victoria.

Old Bad Old Days) and Julia The large smiling face and mad mouth of Mr Moon McKenzie for “Are We Having Fun Yet?”, a song from his ill may have changed many times since it first welcomed the -fated 1983 musical Chaplin which closed before Broadway.

22,319 patrons who entered through it on the very first Bonus tracks include two Christmas songs and live versions day it opened on 13 December 1912, but the sense of of “What Kind of Fool Am I?” and a disco version of “Who fun has remained through the years - including two Can I Turn To?”.  World Wars, the Depression - right up to the present day.

Although the park had its ups-and-downs over the Lucy Durack (ABC/Universal 3713517). Australia’s newest years, every visitor always had their favourite attraction or young musical theatre star Lucy Durack leaves her ride, whether it theatre work behind in her debut was the River album, which features some Caves, the Ghost Mississippi Delta blues, doo-wop, Train, the Big and 60s/70s drenched pop.

Dipper or the Starting with an upbeat “Bye Bye famous Carousel.

Blackbird” and following with This book is “You Don’t Know Me” and “Stop not just a Searching For Love”, Durack souvenir for acquits herself well with some soaring and refreshing vocals. Two Melburnians, it is a keepsake for all originals co-written by her, “Two Feet” and “Circus Song”, are excellent, as is the Harry Warren standard “At Last.” Rob Australians who share an interest Mills duets on “Dancing In the Street”, whilst a hidden in our rich bonus track contains “Zip-a-dee-doo-dah” from Disney’s history. Here’s to Song of the South.  another 100 Rating years of fun!  Only for the enthusiast  Borderline  Worth buying  Must have  Kill for it Paul Dellit www.stagewhispers.com.au Stage Whispers 37

Australia’s Love From Dame Edna, to Carlotta, to Priscilla, Australians have had a long fascination with female impersonators. 19th Century audiences shared this trait with their love of pantomime dames and music hall drag acts. One of the most popular was an Irish American man named John F Sheridan. Leann Richards reports.

John F. Sheridan was born around 1843 in Providence Rhode Island and he told friends that his parents were Irish American immigrants.

However rumours abounded after his death that his real name was Levy, which indicated a Jewish heritage that may have been a problem in 19th Century America.

During the Civil War Johnny and a friend, Jimmy, worked at a gun factory but they hungered for a more adventurous life. The pair formed a clog dancing duo and took to the streets of Providence.

A chance meeting with a theatrical manager led to provincial appearances and to a successful career as black face performers in minstrel shows and music halls (It may be significant that a famous Civil War general was also named Sheridan).

Thirteen years later the pair split to pursue solo careers. Johnny worked for various managers in mostly supporting roles, until he finally found a niche as a female impersonator. His most famous role was as the Widow O Brien in Fun on the Bristol, a character that he played for two decades around the world.

The part was specially written for him after he performed a smaller but similar role in a farcical vaudeville afterpiece. In 1879 at a Brooklyn

J C Williamson

38 Stage Whispers March - April 2013

Affair with Drag playhouse Johnny performed a short sketch based on the Pinafore craze. The sketch starred Johnny as Mrs Muldoon, whose daughter was crazy about Pinafore. Mother Muldoon was taking her daughter to the insane asylum in Boston by ship and a series of farcical situations ensued.

The sketch was so successful that Sheridan created a whole show, Fun on the Bristol, based on the character of Mrs Muldoon, who was renamed the Widow O’Brien.

Fun on the Bristol was performed successfully in the United States and it was from there that Arthur Garner of ‘The Firm’ (Williamson, Musgrove and Garner) engaged Sheridan to perform in Australia.

Sheridan arrived in 1884 and a six month engagement became a two year marathon. Fun on the Bristol was the main attraction. It had a slight plot which centred on the Widow O Brien, her daughters and their amorous adventures aboard a ship called ‘The Bristol’. The fun came from Sheridan’s performance of the widow and various music hall acts. These turns included a ventriloquist, minstrel acts, comic songs and quick change artists.

However the primary attraction was Johnny, now John F. Sheridan, as the ‘Widdy’.

John was a man of small stature and smooth features and his makeup work avoided the ‘repulsive’ and ‘objectionable’ traits of other drag acts. Although the widow was described as ‘vulgar, illiterate, amorous and overbearing’, she never overstepped the bounds of good taste. Her Irish brogue added to the fun and perhaps the self-mocking attributes of the role appealed to anti-Irish prejudice of the time.

Sheridan played the character with gusto, but he yearned for straight male roles. In 1886 he attempted to perform such a role in Sydney, but the attempt, in a play called Nap, caused a violent negative reaction amongst theatregoers. Realising that he had to please the punters, Sheridan closed Nap after one performance and returned to Fun on the Bristol, to the delight of Sydney patrons.

After wildly successful performances in all the Australian colonies, Sheridan took his show to other lands. In China, the Widow was not welcome, so he played straight roles.

He also visited India and England. In London in 1887 the critics panned Fun on the Bristol, saying that the Widow was tasteless and aggressive and the piece slight and unamusing.

So it was back to Australia for John F Sheridan, where he was once again warmly embraced. He returned in 1889 for a long and prosperous tour.

Sheridan was a small, plump man with wide brown eyes and had the ideal figure for female impersonation. He regularly expressed his dislike for dressing as a woman, but realised that he had to meet audience expectations. It took many years for him to be accepted as any character but the Widow; in South Australia, for example, he first played a male role in 1892.

Stage Heritage

That same year he was charged with assault on a theatrical manager. The manager accused him of ‘unfair dealings’ and made a suggestion of unmanly behaviour.

After a short altercation, which gave Johnny a black eye, the two parted. However, later that day Sheridan accosted the man on the street and hit him with a stick. It was an unusual action for the tea-totalling comedian, and showed a side hidden from audiences. A quick temper and vengeful temperament were not profitable characteristics for a man who made a living impersonating a harmless woman. The matter was quickly resolved and Johnny paid a fine of 100 pounds.

By 1904 he was a well organised expert in the art of drag. He had dresses made to order in Paris and a plastic model, which was used for fittings. For the role of Mrs Block in Little Christopher Columbus he wore a rose silk jacket, lingerie, stockings, black feathers and hand-stitched decorations.

Sheridan was faithful to the core and wore petticoats and bodices to maintain authenticity. Often his dresses provided inspiration for fashion in Sydney and Mrs Block’s jacket was copied by many ladies.

(Continued on page 40) www.stagewhispers.com.au Stage Whispers 39

Vale: Bille Brown, AM

Actor / Director / Playwright (b. Biloela, Britain, where he joined the Royal Queensland, 11 January 1952 - d. 13 Shakespeare Company (RSC), and was January 2013, Brisbane, Queensland) the first Australian commissioned to write and perform in their own play Often referred to as ‘The Boy From The Swan Down Gloves. The show Biloela,’ acclaimed Australian actor and opened the Barbican Theatre and had a playwright Bille Brown passed away Royal Command Performance. As a peacefully on Sunday 13 January 2013 member of the RSC Brown toured with after a short illness, aged 61. He had their productions throughout Europe. been ill for some time but refused to He also appeared in the RSC’s premiere let on just how serious his condition production of The Wizard of Oz in the was. gender-bending roles of The Wicked On Friday the 11th January, he Witch of the West and Miss Gulch. quietly celebrated his 61st birthday While performing onstage at surrounded by family and a few close Stratford he was spotted by John colleagues including Geoffrey Rush and Cleese, who cast him in Fierce Bryan Nason.

Creatures, the sequel to A Fish Called William “Bille” Brown was born in Wanda.

Biloela, Queensland in 1952. He Brown made his Broadway debut as studied drama at the University of an actor in 1986 in Michael Frayn’s Queensland, beginning his career in Wild Honey. the early 1970s at Queensland Theatre Bille Brown returned to Australia to Company, working alongside actors live permanently in 1996. He had an Geoffrey Rush and Carol Burns, under outstanding career on stage and Artistic Director, Alan Edwards. performed for many leading Australian Bille’s career took him abroad to theatre companies. He also appeared

Photo: Justine Walpole

regularly in various guises with Bryan Nason’s Grin & Tonic Theatre Troupe.

During his years with the Queensland Theatre Company he appeared in 27 productions.

During an open-air performance in the Albert Park Amphitheatre of a preWorld War 2 version of the Shakespearean play Much Ado About

(Continued from page 39)

John also employed a young male dresser who helped him step into the heavy clothes and buttoned the backs of his dresses. He completed his look with diamonds and feminine coiffeur.

Although he may have fooled an audience, there was one person he could never deceive. His young son Bertie happily acknowledged his dad regardless of costume. John also developed an appreciation for women and their restrictive clothing, saying ‘I pity the ladies…suffering the torments of the fashion.’

By 1908 he had played the Widow O Brien for over two decades and for an estimated 6000 performances. In June that year he appeared in New Zealand as the Baroness in Cinderella. Now in his 60s, John was preparing to retire; he had a young son and was thinking of the future. He also had health problems which were beginning to affect his stamina. Unfortunately the retirement plans were scuppered when he lost all his money investing in a Sydney lending agency. Later that year he was reluctantly planning another tour.

It was not to be. In December John F. Sheridan died suddenly in Newcastle, presumably from a heart attack. His body was returned to Sydney and buried at Waverley Cemetery. Johnny had left instructions for an inscription on his headstone. It was a quotation from the Widow O’Brien: ‘It’s sorry I’m here I am.”

Additional research and images courtesy of Neil Litchfield.

40 Stage Whispers March - April 2013

Nothing, Bille, in role of Benedick, commented to the audience (when an airliner flew over during his monologue), “Don’t worry, it’s one of ours, Alitalia!”.

In 1996 he directed the Australian stage production of Hugh Lunn’s popular novel Over the Top with Jim, for QPAC and the Brisbane Festival. He had huge success with his role as Count Almaviva in Beaumarchais’ The Marriage of Figaro, with Geoffrey Rush and Robyn Nevin, which opened the new Playhouse at the Queensland Performing Arts Centre (QPAC) in Brisbane in September 1998. In 1999 he also had major success in Sydney and subsequently throughout Australia as Oscar Wilde in the Belvoir St production of David Hare’s The Judas Kiss.

The same year he accepted an offer to be Adjunct Professor in the School of English, Media Studies and Art History at the University of Queensland, and has given workshops and master classes for drama students.

In 2009 Brown wrote and performed in Queensland Theatre Company’s The School of Arts, which followed the story of the ‘College Players’ who toured Shakespeare through Queensland in the late 1960s.

Bille’s other writing credits include the plays Bill and Mary, Springle, tuff… and Aladdin for The Old Vic. In April 2012, Bille Brown commanded the stage in Melbourne while inhabiting Bruscon, a clappedout theatre maker and bully, in the Malthouse Theatre production of The Histrionic, which had sell-out seasons in both Melbourne and Sydney.

He was the recipient of a 2009 Helpmann Award as Best Male Actor in A Musical for his role as King Arthur in the musical Monty Python’s Spamalot.

Bille Brown also appeared in movies including Fierce Creatures (1997), The Dish (2000), Oscar and Lucinda (1997), The Chronicles of Narnia: The Voyage of the Dawn Treader (2010), whilst some of his more memorable television credits were Miss Fisher’s Murder Mysteries, Rake and White Collar Blue.

In 2001 Bille Brown was granted the Centenary Medal “for distinguished service to the arts” and in the Australia Day Honours List 2011 he was named

Malthouse Theatre’s Histrionic.

Photo: Jeff Busby

Online extras!

Read our full memorial to Bille Brown on the Stage Whispers website simply by scanning the QR code or visiting http://bit.ly/11tVSdQ as a Member of the Order of Australia (AM) “for service to the performing arts as an actor and playwright, and to education”.

In 2011, he also received an Honorary Doctorate of Letters from the University of Queensland.

When the Queensland Theatre Company’s home venue opened at South Brisbane in 2002, they named their intimate 300-seat theatre space the Bille Brown Studio.

For the past few years Bille was the Industry Ambassador for the Actors’ &

Entertainers’ Benevolent Fund of Queensland, a role he cherished.

Bille Brown’s legacy to the arts was enormous, and he will be remembered not only for his talent and the variety of roles and mediums he conquered, but also for his generosity in nurturing and mentoring younger performers all around Australia.

Courtesy of Paul Dellit, President, Actors’ & Entertainers’ Benevolent Fund (Qld) Inc. www.stagewhispers.com.au Stage Whispers 41

The Humble Weight Bag Tired of being kicked around, crushed and trodden on, The Production Resource Group (PRG) believes Weight Bags deserve a little more respect!

Weight Bags are used in Theatre and Film/TV sets all over the world.

The Australian style of weight bag has evolved from the traditional shoebox sized canvas Sandbag into a compact multipurpose bag generally known as a Shotbag.

The Shotbag, especially in the 10kg weight, has become widely accepted throughout various industries. You will find these bags anchoring lighting stands or flats, tensioning cycloramas or backcloths, counterweighting Film/TV equipment, securing barriers and umbrellas in cafes or even holding doors open.

The main criteria of a good Shotbag is toughness. These bags usually receive a hiding during their lifespans. They can expect to be stood on, driven on, crushed, thrown, dropped and generally abused. The PRG range of weight bags are manufactured in durable 1000 denier nylon or hardwearing PVC and are routinely tested under working conditions by PRG staff.

Weight Bags are available in a range of styles and weights: Shotbags are flatter and more flexible than traditional Sandbags. They are filled with small metal punchings which creates their flexible properties. PRG 10kg Shotbags are finished with internal stitching and have a non-reflective finish. They also

They are fitted with a strong webbing handle to one end and an eyelet in the other end, which allows them to be firmly attached to set pieces. Weighing 2.5kg each in a small package, they have a million uses around the Theatre or Studio. have seatbelt webbing handles to the top. Available in 10kg, 15kg, and 5kg.

Sausage Bags are long flexible bags, especially useful for tensioning a cyclorama or curtain, where the weight needs to be spread over a wider distance. Available in 5kg and 10kg.

Saddle Bags, are designed to straddle over frames, stands or anything that requires ballast. There is a strong woven handle on the top, which provided excellent balance when carrying these bags.

Marker Bags are small, brightly coloured bags used in various ways including as a position marker for the “Talent” (actors) or the camera dolly In Film/TV.

For more information on the range of weight bags available from PRG, or to request a quote, please email showdrapes@prg.com 42 Stage Whispers March - April 2013

Pulley Bags have 6mm eyelets top and bottom, with a pulley cord guide attached to one end. They can be used for a variety of purposes including as cord weights for Theatre Tracking.

An attractive addition to weight bags is customized labelling, which can also reduce the likelihood of someone ‘borrowing’ your bags.

Tips For Audition Success Being in a Professional musical is the dream of thousands of talented performers. But competition is intense and reaching the spotlight can often require a leap into the dark. To help, Stage Whispers Books is releasing for sale So You Want To Be In Musicals? A comprehensive guide to building - and sustaining - a successful career in musical theatre. This extract is about preparing for an audition.

Choosing audition material You can’t possibly choose the right song or monologue to perform unless you’ve done enough research to know what style of piece will be appropriate.

Your choice is crucial because it not only informs the panel about your understanding of the role, but gives them clear messages about what you feel are your particular strengths. They can only assume you’ve chosen material that shows off what you do best, so it’s important that you do precisely that.

Choose stuff that fits you like a glove and highlights your strongest attributes as a performer.

It’s a good idea to have at least halfa-dozen songs of differing styles ready to perform. If you have some idea of the show you’re auditioning for, it obviously makes sense to sing something in a similar vein. But don’t make the mistake of learning a new song because you think it might impress for that specific audition. You are far more likely to make your mark with a number your voice has really wrapped itself around than to attempt

Photo: Thomas Busler

44 Stage Whispers March - April 2013

something completely fresh at short notice. There’s a strong likelihood that you will not sing a new song as well as the ones you have been practising day in and day out. Equally, it is worth remembering that directors are listening not only for a voice that suits the role, but for a performer who cares enough to come well prepared.

It helps if your songs reflect your knowledge and understanding of the industry as a whole. By that, we mean that they are current and challenging, not out of date or completely inappropriate. You should avoid songs that have become overused or are singularly associated with one particular artist. The song that I sang as Fantine in Les Misérables (and with which Susan Boyle later became closely identified after stunning Britain’s Got Talent audiences) - ‘I Dreamed a Dream’- is a perfect example of a song that became overused for auditions and ultimately became a bit of a turn-off.

Frank Sinatra’s ‘My Way’ is so closely tied to the star that it is probably best avoided - unless of course it’s been specifically asked for. Amazingly, I heard from one drama-school auditioner that some young people think singing ‘Macavity’ from Andrew Lloyd Webber’s Cats is a clever choice. Maybe twenty-five years ago, but definitely not now!

Choose novelty or comic numbers with care. They sometimes won’t show off your voice to your best abilities. Then again, some auditioners find them

a refreshing change to the ballads they frequently hear all day long. Think about what is appropriate for the role and the musical.

Avoid material composed by yourself or a friend. No matter how good you may feel it is, it’s ultimately subjective and unlikely to impress.

Audition panels must make comparisons and choices between various artists and it makes their job simpler if you stick to good, mainstream work.

Preparing audition material When an audition panel asks for something specific to be prepared, make sure you receive it directly from them. You don’t want to practise a song in the wrong key or with the wrong number of bars. Ask if they are expecting the song or scene to be memorised - but even if they say they are flexible, try to learn it anyway.

Panels are inevitably more receptive to actors who have already made a serious investment in the job by knowing the words. It shows professional commitment. It will also encourage directors to ask more of you when there is not the distracting barrier of a

script or sheet music between you and them. There are obviously going to be times when, at short notice, you need to read from the page but, if you have time to learn it, you should.

If you have been asked to sing a specific song, endeavour to work as much as possible with an accompanist prior to the audition. The more time you spend with a pianist, the less apprehensive you’ll be on the day and the more flexible you’ll be in responding to any change of direction that’s asked of you.

Interpretation When practising any song, monologue or scene, it is of absolute importance that you know the exact context of the piece you’re preparing within the framework of the musical.

How can you possibly deliver an intelligent or truthful version if you

have no understanding of how it fits into the larger picture? At face value, any song or scene could be interpreted in an infinite number of ways unless you understand the significance of what precedes and follows it. Without that clarity, your preparation may be completely wasted. The more you know about how everything fits, the better your chance of offering up a good personal interpretation. If you can, read the entire play that a monologue comes from, or listen to the whole score of the musical from which you are singing a song.

Knowledge of past productions and performances can be valuable in studying for a role. Obviously, if it’s a new musical, no previous performance exists and therefore you must use your own ideas in creating that character.

But if you’re auditioning for Les Mis or The Phantom of the Opera, both of

Auditions Victoria Laughter on the 23rd Floor by Neil Simon. Lilydale Athenaeum Theatre Co.Inc. Mar 11 & 12. 7 males & 2 females. 0417517210.

Heroes by Gerald Sibleyras, translated by Tom Stoppard.

Geelong Repertory Theatre Co. April 10 & 11. 3 Males aged 55 to 75. 0422 373 502.

At First Sight by Barney Norris. Warrandyte Theatre Company. April 18 - 21. 0439311428.

which have been running in the West End for over twenty-five years, it would be reckless not to recognise certain performances and not know the whole show. Then again, if you’re auditioning for the lead in Cabaret, you will want to be finding absolutely your own performance of Sally Bowles, not trying to recreate Liza Minnelli’s. Replicating someone else’s performance demonstrates a lack of imagination.

Audition panels want to hear what you can bring to the part that is unique and special. They’ll take pleasure in discovering what your knowledge and imagination can bring to bear.

Discovering new talent is always incredibly exciting and compelling, so don’t muddle your best instincts by obsessing with the past performances of others in that role. Find your own voice - that’s what will get you noticed and win you the job.

Western Australia Unwanted Wishes (Pantomime) by Linda Roads.

Roleystone Theatre. Mar 24. 9398 2835.

A Conversation by David Williamson. Old Mill Theatre.

April 27. 4 males & 4 females. 0430 171055.

For more auditions, visit www.stagewhispers.com.au/auditions

www.stagewhispers.com.au Stage Whispers 45

New Release From Stage Whispers Books

The Golden Rules of Acting that nobody ever tells you.

This book won’t tell you how to act - but it will tell you how to be an actor.

It contains everything you need to know to stay sane and succeed in the acting profession.

Online extras!

Author Andy Nyman discusses his book.

Watch now, scan the QR code or visit http://youtu.be/NmVIxEEb25E

Stage Whispers Books Visit our on-line book shop for back issues and stage craft books www.stagewhispers.com.au/books 46 Stage Whispers March - April 2013

Adelaide Fringe

Robert Dunstan reports on all the colour of the opening festivities.

The 2013 Adelaide Fringe Festival, which runs unabated until Sunday March 17, got off to a fine start on Friday February 15 with an Opening Night Parade along King William St. With the parade set to commence at 8.30pm, just as it was getting dark, street performers including Princess Justine kept the crowd entertained from 7pm while a thumping soundtrack, put together by Adelaide’s DJ Tr!p, filled the air.

This year’s theme was Inside Out with the participants, mostly artists and venues taking part in the festival along with assorted community groups, being encouraged to light up their float.

Port Adelaide Artists Forum members and friends won equal first prize for Best Float as they danced their way along King William St in the centre of the city to promote their Fringe visual arts exhibition New Found Love. PAAF’s exhibition, which features guest artist Evelyn Roth, was all about recycling, so parade costumes were made from recycled materials including old helium balloons.

This year boasts a record number of Adelaide Fringe events including over 100 cabaret shows, 32 circus and physical theatre shows, 107 theatre productions, seven film events, 197 concerts of a musical nature and over two dozen dance performances, along with 105 visual art exhibitions. To add to this, there will also be 254 comedy events.

The Governor Hindmarsh Hotel, an award winning live music venue, is also hosting a variety of Adelaide Fringe events that will include Bulmers Best Of The Edinburgh Fest Late Show.

Online extras!

Check out Robert’s video report of the opening night. Scan the QR code or visit http://youtu.be/y6v7ieFD0Vs Holden Street Theatres in Hindmarsh also boasts an impressive Adelaide Fringe program which has 17 shows that encompass theatre, dance, comedy and children’s events such as Shakespeare For Kids. Their extensive program also sees the return of award winning British play Angry Young Man, which took out two Fringe Awards in 2006, while award winning Edinburgh Fringe play Glory Dazed will be making its Australian debut.

Penned by UK playwright Cat Jones, who will soon start as Playwright In Residence at Manchester’s Royal Exchange Theatre in the UK, Glory Dazed is a gritty fourhander that tells the tale of former soldier Ray who has just returned from Afghanistan to find that his wife has taken up with his best friend. It runs at Holden Street Theatres for the duration of Adelaide Fringe and is a must-see theatre production.

Adelaide Fringe also sees the return of the ever-popular Garden Of Unearthly Delights in Rundle Park, which now boasts almost a dozen separate venues ranging from the intimate Cupola through to The Big Top. Located in Rymill Park, Gluttony returns with yet another program of some 80 acts as part of Adelaide Fringe that will incorporate everything from comedy through to theatre and children’s entertainment.

A new Adelaide Fringe venture is The Depot, situated between Grote St and Franklin Sts, which will have Adelaide Fringe’s first closing night concert on Saturday March 16.

That’s just some of Adelaide Fringe’s many highlights for 2013. Check out the rest at www.adelaidefringe.com.au www.stagewhispers.com.au Stage Whispers 47

Monster On The Loose There have been over 100 stage adaptations of Mary Shelley’s Frankenstein, but the latest from the National Theatre in London is different in that it gives the monster a voice.

David Spicer previews the adaptation about to take to the stage in Sydney before touring to 26 venues across Australia.

It was written more than 200 years ago, but Mary Shelley’s classic tale still resonates.

A man born as an adult has to survive on his wits, learning fast.

When the creature is cast out into society by his creator, the young Dr Frankenstein, he is shunned for his grotesque appearance. But when a blind man takes him under his wing, the creature begins to question his existence and yearn for a future without loneliness.

The writer, Nick Dear, has written the play from the perspective of the monster.

“I had seen the famous films, but what struck me when I read the novel was this great central narrative in the story about the monster. In most of movies he only gets to grunt a bit,” he told Platform Television.

48 Stage Whispers March - April 2013

relevant today, such as the role of science and its capacity for good and evil.

“The central question is how can you bring a dead man back to life? It’s a fairytale for adults.”

Director Mark Kilmurry says the physicality of the piece will excite audiences “Being a horror film buff from way back, it’s going to be something very scary indeed.”

The creature comes to life in a burst of light and steam; the images of anatomy flash on back walls; heartbeats pound in the darkness, there is another flash of light, the creature tries to speak! And the play begins.

But it has been toned down a tad from the National Theatre production.

That featured full nudity.

“Full nudity can be a distraction, as the audience thinks what is the actor feeling like being naked?”

“We are travelling to 26 venues across Australia so we want as wide an audience as possible.”

Partial nudity for a quick scene will be in the play, which won’t give audiences the biggest fright of the night.

He said it’s similar in other great horror stories, where the ‘creature’ rarely gets a voice. Mr Hyde, or Dracula, are usually talked about.

“Mary Shelley gives it to us on a plate. Her central 40 pages or so is the creature telling us his story.”

It’s what excited the Ensemble Theatre’s Director Mark Kilmurry.

“This is a creature that talks, that can be articulate about the way he feels – and the way he feels is very angry,” he said.

But the writer insists it’s not just about monsters. Frankenstein, he says, is about what it means to be human.

It took 20 years for the play to get to Frankenstein will premiere at the the stage, postponed for a decade Sydney Opera House from March 27, when a major movie was released. then play at the Ensemble Theatre “It is a coincidence we had young from April 17 through to May 4, children when we started and older before touring nationally for three when it was finished. But we saw all this subtext as to ‘what does it mean to months starting in Canberra on May 7, then touring to various venues through be a good parent?’”

Victoria, Tasmania, Qld and NSW, He adds that Mary Shelley’s story is a finishing in Wollongong on August 10. novel of ideas which debates issues still

Insomniac Attack. Photo: ‘pling

CAT Awards Magic Moment of Theatre The CAT Awards (Canberra Area Theatre) has a gorgeous prize for what the judges classify as a Magic Moment of Theatre.

The Canberra Youth Theatre won this year for a sketch called Insomniac Attack.

The child was on the bed and it opened up and engulfed the hapless victim. It looked as though the doona swallowed the child The Cone of Silence from a sketch called Control or Kaos by The Molong Players won the award in 2010. Get Smart and Austin Powers featured in this spoof on spies.

Wendy Glover from Moonglow Productions, winner of Stage Whispers’ award for Best Director of a Musical. Crazy For You was also Best Musical. Pictured above with David Spicer.

Control or Kaos

The Magic Moment of Theatre award in 2011 went to Karla Attanasio from Canberra Girls Grammar for her performance of a sketch called The Principal’s Coat.

Tragically Karla died a few months later.

Her wonderful performance can be seen in a special episode of The Theatre Show (link in box below).

The Principal’s Coat

Coralie Wood with Gold CAT winner Romko Hordynsky.

Online extras!

Watch Karla Attanasio’s performance of The Principal’s Coat. Scan or visit http://youtu.be/LSFsu_aGEX0 www.stagewhispers.com.au Stage Whispers 49

Stage Briefs

Osman Kabbara as Fagin in Oliver! - the first production from newly-founded St George Theatre Company (incorporating Rockdale Musical Society), to be staged at Hurstville Entertainment Centre from March 1 - 10. The new name and home are part of the ongoing saga surrounding asbestos issues at the company’s traditional home, Rockdale Town Hall.

First

International Finalist for Playwriting Competition The three finalists have been announced in the 2013 Noosa Arts Theatre National One-Act Playwriting Competition, with the first ever International finalist among the top three, selected from 99 entries received from all over Australia, plus UK, NZ, Singapore and the USA. The three finalist plays are Distinguished Guest {Light Drama}by Richard Harris (NZ), Daring Greatly {Black Comedy}by Rainee Skinner (QLD) and Direct Pressure {Drama}by Nicola Bradbury (WA).

They will be staged for the first time, at Noosa Arts Theatre in June, as part of the NoosaLongweekend Festival.

The winner will receive $3000, courtesy of major sponsor Macquarie Private Wealth. The winner of Audience Choice Award receives a publishing contract with publishers Maverick Musicals & Plays, plus a cash prize. Second and third place getters win $2000 and $1000 respectively.

This competition has given playwrights a unique opportunity for 30+ years. www.noosaartstheatre.org.au

50 Stage Whispers March - April 2013

Melbourne’s CLOC Musical Theatre is excitedly preparing for its 98th production, perhaps its most daunting challenge - the World Amateur Premiere of The Phantom of the Opera. Playing the title role of the Phantom is well known Melbourne theatre performer Toby Truscott, in a role he has long coveted. Although it is hard to recognise him, here is Toby having an early makeup practice under the skilled artistry of makeup consultant Louise Jenkins. As usual for CLOC, all aspects of this extraordinarily complicated production are totally organised and well in hand - from set/costume design and construction, to the 53 wigs which will be worn by the cast of 33, to the special effects and pyrotechnics.

The Phantom of the Opera plays at the National Theatre St. Kilda from May 10-25, 2013, for 12 performances. www.cloc.org.au / CLOC Ticket Line 1300 362 547.

Beenleigh Theatre Group (Qld.) is set to stage the World Premiere full-production of Billy Buckett - A Rock ‘n’ Roll Love Story from April 26 to May 11. Billy Buckett is set in 1959 England at the dawn of rock ‘n’ roll, amongst the colourful era of Teddy-Boys and Judies. Written by Waterford-based singer-songwriter Jay Turner, the musical has been a 25year labour of love. A local youth theatre in Hereford, England, staged the show in its raw form, without a live band or chorus, to enthusiastic audience response.

However sending it off to publishers brought little joy.

Fast-forward to 2010 and Turner, now living in S.E. Queensland, had another crack at sending the script and soundtrack off to publishers. Bingo - a UK publisher was keen to sign up Billy Buckett. With the assistance of Jay’s drama-trained partner Cath Mundy and script-editor Katrina Graham, the script was given a total overhaul.

“I gave most of the songs a make-over and even Billy Buckett Band with Creator Jay wrote new songs to fit the upgraded script,” Turner says. Turner. Photo: Vincent Swift www.beenleightheatregroup.com Luke Loseby as Johnny O’Keefe in Miranda Musical Society’s production of Shout! The Legend of the Wild One at Sutherland Entertainment Centre from March 20 - 24. Photo: Andre Moon Creative.

Online extras!

Stay up to date with our Community Theatre portal. Scan the QR code or visit http://bit.ly/pxpdER

www.stagewhispers.com.au Stage Whispers 51

Building Theatres From The Ground Up Building a theatre or an arts centre is a very expensive business. In recent years local councils in Australia have spent between five and forty million dollars to build new venues from scratch. But spending money in the right places is a different story. Theatre Consultant Richard Stuart is offering his services to venue builders to help them get it right.

He believes the key is planning for the needs of all users of the theatre and making it as efficient as possible to move productions in and out.

Retractable seating units are stored on the rear wall to leave the whole auditorium, orchestra pit and stage areas useable as a very large flat floor for exams, dinners, cabaret and exhibitions.

Retractable seating is in two banks, the main seating bank and an additional seating bank which is used on the lowered orchestra pit lift when it is not required for drama. The tiered seating affords excellent sightlines to the stage.

A large orchestra lift that can be raised to 400mm above the auditorium level is used as a raised platform stage in A case study was Richard’s role in front of the main curtain. This allows the construction of the Matthew Flinders Anglican College - Performance the Performance Centre to be used for more intimate productions, concerts, Centre in Buderim Queensland. recitals, seminars and film screenings The brief to Dimond Architects and without disrupting a production set up Theatre Consultant Richard Stuart was on the stage. for a very flexible space to suit The proscenium opening is competing demands within the College. adjustable with a manually operated Richard adopted a flexible flat floor dual slider panel system giving a model for the theatre design. The proscenium opening variable from 12m auditorium and stage are at the one up to 20m depending on production level with an orchestra lift that can be also used at auditorium level.

styles, so small and large productions are catered for.

The deep stage has very generous wing space and resilience for dance.

Overhead there is a system of lighting catwalks across the stage linked to wide side catwalks which link to perimeter catwalks in the auditorium, which has two lighting catwalks the full width of the auditorium. The rear auditorium catwalk has a wider section at its centre for use of followspots.

Richard recommended the adoption of the fully accessible catwalk system over the entire auditorium and stage to provide the greatest flexibility for fast access to lighting, sound and projection equipment and stage rigging. There is a very strong focus on OH&S and Safe Working at heights, especially in an educational environment, where it is considered highly desirable to train students in theatre-crafts in a hands-on way.

As there is no fly tower with regular counterweight system, provision of additional height over the stage, between the catwalks, was critical to allow scenic items to be rigged and flown whilst traditional backcloths are hung on a series of curtain tracks under the catwalks, along with the main curtain, black legs, tabs and cyclorama, all of which can be drawn off to the side walls of the stage to free up the entire stage area for exams and dinners.

The Performance Centre has proved to be a very flexible space in its first year of operation.

Richard Stuart has worked from hands-on technical to senior management roles in commercial theatres and performing arts centres including the Sydney Opera House, Queensland Performing Arts Centre, Victorian Arts Centre and His Majesty’s Theatre Perth.

He has put in place and managed capital equipment replacement and asset management programs in arts centres. He is mindful of the pitfalls of cost cutting in venue construction and applies a methodology of ensuring infrastructure systems are fully planned and documented as a priority whereas loose portable equipment can be sourced at a later stage.

52 Stage Whispers March - April 2013

On Stage ACT

Munyebvu and Arne Pohlmeier. Two Gents Les Misérables by ClaudeProductions. Mar 19 - 23.

Michel Schônberg, Alain Boublil and Herbert Kretzmer. The Street Theatre. (02) 6247 Canberra Philharmonic. Until 1223.

Mar 16. Erindale Theatre, Thursday by Bryony Lavery.

Wanniassa. 6257 1950.

Brink Productions. Mar 20 23. The Playhouse, Canberra Henry 4 by William Theatre Centre. (02) 6275 Shakespeare. Bell Shakespeare. Until Mar 9. The 2700.

Playhouse, Canberra Theatre Centre. (02) 6275 2700.

Animal Farm by George Orwell, adapted by Nick Skubij. Shake & Stir. Mar 5 7. The Q, Queanbeyan. 6285 6290.

It’s My Party (and I’ll Die if I Want To) by Elizabeth Coleman. Mar 19 - 27. The Q, Queanbeyan. 6285 6290.

Kupenga Kwa Hamlet by William Shakespeare, adapted and created by Denton Chikura, Tonderai Munyebvu and Arne Pohlmeier. Two Gents Productions. Mar 20. The Street Theatre. (02) 6247 1223.

Wunderkammer. Circa.

Canberra Theatre Centre and Centenary of Canberra Two Gentlemen of Verona by present Collected Works William Shakespeare, Australia. Mar 26 - 28. adapted and created by Canberra Theatre. (02) 6275 Denton Chikura, Tonderai 2700.

A.C.T. & New South Wales Euröbeat Almöst Eurövisiön

by Andrew Patterson and Craig Christie. Supa Productions. Apr 5 to 20.

ANU Arts Centre. 6257 1950 Room on the Broom. Musical adaptation of the book by Julia Donaldson & Alex Scheffler. Ap 8 - 12. The Q, Queanbeyan. 6285 6290.

Under Milk Wood by Dylan Thomas. Canberra Rep. Ap 12 - 27. Theatre 3. (02) 6257 1950.

New South Wales La bohème by Giacomo Puccini. Until Mar 23. Joan Sutherland Theatre, Sydney Opera House. 9250 7777.

Short + Sweet. Until March 23. King Street Theatre, Sidetrack Theatre and Seymour Centre.

The Sensuous Senator by Michael Parker. DAPA Theatre. Until Mar 9. DAPA Theatre, Hamilton (Newcastle). (02) 4962 3270.

Pea!. Serious Theatre. Ap 20 - Great Falls by Lee Blessing.

27. The Street Theatre. (02) Australian Premiere.

6247 1223.

Ensemble Theatre. Until Mar I Love You, You’re Perfect, 9. (02) 9929 0644 Now Change by Joe DiPietro A View from the Bridge by and Jimmy Roberts.

Arthur Miller. Arts Theatre Queanbeyan City Council. Ap Cronulla. Until Mar 23. (02) 24 - May 5. The Q, 9523 2779 Box Office open Queanbeyan. 6285 6290.

9am-12pm Saturdays 18

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January and 2 & 9 February or any performance night.

Stage Whispers 53

On Stage Liberty, Equality, Fraternity by Geoffrey Atherden. Ensemble Theatre. World Premiere.

Until Mar 9. (02) 9929 0644

New South Wales

Influence by David Williamson. Pymble Players.

Until Mar 16. Corner of Bromley Ave and Mona Vale Rd, Pymble. 1300 306 776.

Dreams in White by Duncan Graham. Griffin. Until Mar Breaking Legs by Tom Dulak.

23. SBW Stables Theatre. (02) Woy Woy Little Theatre. Until 9361 3817.

Mar 10. The Peninsula Theatre, Woy Woy. 4323 Mrs Warren’s Profession by 3233.

George Bernard Shaw. STC.

performing version by Jonathan Biggins and Phil Scott. Opera Australia. Until Mar 7. Joan Sutherland Theatre, Sydney Opera House. 9250 7777.

Water Child by Emma Wood.

Water Child Collective and Newcastle Theatre Company.

Feb 23 - Mar 3, Gallipoli Legion Club, Hamilton Until Ap 6, Wharf 1, (02) The Sensuous Senator by (Newcastle), (02) 4961 2430 9250 1777; Ap 10 - 13, IMB Michael Parker. DAPA & Mar 9, Cessnock Theatre, Wollongong, (02) Theatre. Until Mar 9. DAPA Performing Arts Centre, (02) 4224 5999; Ap 17 - 20, Theatre, Hamilton 4990 7134.

(Newcastle).

(02) 4962 3270.

Riverside Theatre, Parramatta.

Secret Bridesmaids’ Business Falstaff by Giuseppe Verdi.

Shout! The Legend of the

by Elizabeth Coleman.

Opera Australia. Until Mar Wild One. Book by JohnTheatre on Brunker. Mar 1 16. Joan Sutherland Theatre, Michael Howson, David Mitchell and Melvyn Morrow. 23. Theatre on Brunker, Sydney Opera House. 9250 Adamstown (Newcastle). (02) 7777.

Roo Theatre Co, 4956 1263.

Shellharbour. Until Mar 9.

Cat on a Hot Tin Roof by (02) 4297 2891.

Animal Farm by George Tennessee Williams. Belvoir.

Orwell, adapted and created Until Ap 7. Upstairs Theatre. Orpheus in the Underworld

by Shake & Stir Theatre Co. (02) 9699 3444.

by Jacques Offenbach.

Mar 1, Cessnock Performing Libretto by Hector Crémieux and Ludovic Halévy in a new Arts Centre, (02) 4990 7134

54 Stage Whispers

& Mar 9 - 11, Civic Theatre, Newcastle, (02) 4929 1977.

Driving Miss Daisy by Alfred Uhry. Mar 1 - 31. Theatre Royal, Sydney. 1300 723 038.

Hairspray. Music by Marc Shaiman, lyrics by Scott Wittman and Shaiman and a book by Mark O’Donnell and Thomas Meehan.

Campbelltown Theatre Group Inc. Mar 1 - 17. Town Hall Theatre, Campbelltown.

4628 5287.

A Chorus Line by Marvin Hamlisch and Edward Kleban.

SUPA North. Mar 1 - 9.

Ballina RSL. (02) 6686 2544.

Oliver! by Lionel Bart. St George Theatre Company.

Mar 1 - 10. Hurstville Entertainment Centre.

Picasso at the Lapin Agile by Steve Martin. Mar 1 - 16.

Just $40 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage Hunters Hill Theatre, 13 Margaret Street, Woolwich.

9879 7765.

Enchanted April by Matthew Barber. Sutherland Theatre Co. Mar 3 - 16. Sutherland School of Arts. (02) 9588 1517.

New South Wales

Denton Chikura, Tonderai Munyebvu and Arne Pohlmeier. Two Gents Productions. Mar 5 - 9, IMB Theatre, Wollongong, (02) 4224 5999; Mar 13 - 16, Lennox Theatre, Riverside Theatres, Parramatta, 8839 3399.

Little Mercies by Sisters Grimm. Created by Ash Flanders and Declan Greene.

STC. Mar 7 - 17. Wharf 2.

(02) 9250 1777

Two Gentlemen of Verona by William Shakespeare, adapted and created by Denton Chikura, Tonderai Munyebvu and Arne Pohlmeier. Two Gents Productions. Mar 6 - 9, IMB Theatre, Wollongong, (02) 4224 5999; Mar 12 - 16, Lennox Theatre, Riverside Theatres, Parramatta, 8839 3399.

Shear. Theatre 19 / Garnet Productions. 
March 8 - 31.

Darlinghurst Theatre. (02) 8356 9987 (from 6pm).

The Shoe-horn Sonata by John Misto. Murwillumbah Theatre Company. Mar 8 17. Book at Murwillumbah Music Shop (02) 66725404.

The Hallelujah Girls by J. Jones, N. Hope & J. Wooten.

Nowra Players. March 8 - 23.

Players Theatre, Meroo St, Bomaderry. 1300662808.

Crimes of the Heart by Beth Henley. Henry Lawson Theatre. Mar 8 - 24. Henry Lawson Theatre, Werrington.

4729 1555.

Romeo and Juliet by William Shakespeare. Tantrum Theatre. Mar 7 - 9.

Gloucester Shakespeare Sundowner by Kate & David Love Song by John Festival: Gloucester Soldier’s Denborough, Composer Kelly Kolvenbach.

Stooged Theatre.

Club Auditorium. (02) 6558 Ryall with additional music by Mar 6 9.

Civic Playhouse, 1408.

Paul Kelly and Megan Newcastle.

(02) 4929 1977.

Washington. A Kage Dirty Blonde by Claudia Production. Mar 5 - 7, Riverside Theatre, Parramatta; Mar 9 - 16, Glen St Theatre, 9975 1455; Mar 20 - 23, IMB Theatre, (02) 4224 5999; Mar 26 - 27, Cessnock Performing Arts Centre, (02) 4990 7134 & Apr 9, Civic Theatre, Newcastle, (02) 4929 1977.

Kupenga Kwa Hamlet by William Shakespeare, adapted and created by

Street, Sydney. 1300 237 217 (Mon - Fri 10am - 5pm).

Summer Of The 17th Doll by Ray Lawler. Ballina Players Mar 8-23. Ballina Players Theatre. 6686 2440 (bh).

The Sound of Music by Richard Rogders and Oscar Hammerstein II. Gosford Musical Society. Mar 8 - 23.

Laycock Street Community Theatre. (02) 4323 3233.

Richard III by William Educating Rita by Willy Shakespeare. Genesian Russell. Phoenix Theatre. Mar Theatre Company. Mar 8 - Ap 20. Genesian Theatre, Kent

Advertise your show on the front page of www.stagewhispers.com.au

Stage Whispers 55

On Stage KAGE’s Sundowner.

Photo: Jeff Busby.

New South Wales

Online extras!

Watch a clip from Sundowner simply by scanning the QR code or visiting http://youtu.be/-vWkAMMZ898

56 Stage Whispers

Just $40 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage 8 - 23. Phoenix Theatre, Coniston. 0407 067 343 Carousel by Rodgers & Hammerstein. Arcadians Theatre Group, Corrimal (Wollongong). Mar 8 - 24.

The Arcadians’ Miners Lamp Theatre. 4284 8348.

The Importance of Being Earnest by Oscar Wilde.

Newcastle Theatre Company.

Mar 9 - 23. NTC Theatre, Lambton (Newcastle). (02) 4952 4958 (3-6pm Monday Friday).

Miles Franklin - A Brilliant Career by Jennifer Lamb.

Lieder Theatre, Goulburn.

Mar 13 - 23. Lieder Theatre.

(02) 4821 5066.

Belvoir. Mar 21 - Ap 14.

Downstairs Theatre. (02) 9699 3444.

The Government Inspector by Nikolai Gogol. Regional Institute of Performing Arts.

Mar 21 - 24. Civic Playhouse, Newcastle. (02) 4929 1977.

The Addams Family. Book by Marshall Brickman and Rick Elice, and music and lyrics by Andrew Lippa. Rodney Rigby, Stuart Oken, Roy Furman, Michael Leavitt and Five Cent Productions by special arrangement with Elephant Eye Theatrical. Opening Night: March 23. Capitol Theatre Sydney. 1300 723 038.

They’re Playing Our Song by Neil Simon, Marvin Hamlisch and Carol Bayer Sager. HIT Productions. Mar 26, Albury Entertainment Centre, (02) Kiss of the Spider Woman by 02 6043 5610; Ap 3, John Kander, Fred Ebb and Hurstville Entertainment Terrence McNally (Musical).

Centre, (02) 9330 6081; Ap 5 Bankstown Theatre Company. & 6, Dubbo Regional Theatre Mar 15 - 24. Bankstown Arts and Convention Centre, (02) Centre. 96761191.

6801 4378; Ap 9 - 12, Zenith War Horse by Nick Stafford Theatre, Chatswood, (02) from the novel by Michael 9777 7547; May 3 & 4, Morpurgo. National Theatre Theatre Royal, Sydney, 136 of Great Britain, Handspring 100.

Puppet Company and Global Frankenstein by Nick Dear.

Creatures. Mar 16 - June 30. Australian Premiere.

Lyric Theatre, Sydney. 1300 Ensemble Theatre. Sydney 795 267.

Opera House from Mar 27 Bombshells by Joanna Murray -Smith. Ensemble Theatre.

From Mar 13. (02) 9929 0644.

Educating Rita by Willy Russell. Riverside Lyric Ensemble. Mar 19 - 23.

Riverside Theatres, Parramatta. 8839 3399.

and Ensemble Theatre from April 17. (02) 9929 0644.

New South Wales 30 - May 11. Sydney Theatre. Company. Ap 10 - 21. The (02) 9250 1777 Concourse, Chatswood.

It’s My Party (And I’ll Die if I Want To) by Elizabeth Coleman. Ap 2 - 6, Lennox Theatre, Riverside Theatres, Parramatta, 8839 3399; Ap 10 - 20, Glen Street Theatre, 9975 1455; Ap 24, Casula Powerhouse; Ap 27, Dubbo Regional Theatre, 6801 4378. [title of show] music and lyrics by Jeff Bowen, book by Hunter Bell. Pantseat Productions. Ap 4 - 6. Civic Playhouse, Newcastle. (02) 4929 1977.

Eurobeat by Andrew Patterson and Craig Christie.

Supa Productions. Ap 5 to 20. ANU Arts Centre. 6257 1950.

Infinite Space. Choreography

by Simon Hoy and Robert Kelly. Melbourne Ballet Company. Ap 5 - 6. Civic Theatre, Newcastle. (02) 4929 1977.

Curtain Up on Murder by Bettine Manktelow. Cameo Theatre Company. Ap 5 - 7, Sutherland Memorial School of Arts, Sutherland & Ap 13 20, Kingsgrove Uniting Church Hall. (02) 9579 4591.

The Past is a Foreign Country.

Developed by The Paper Cut Collective. Staged with Tantrum Theatre. Ap 10 - 13.

Civic Playhouse, Newcastle.

(02) 4929 1977.

Poetry in Motion. Regional Institute of Performing Arts.

Ap 10 - 12. The Kirk, Newcastle. (02) 4923 7595.

Glengarry Glen Ross by David Mamet. Theatre 19 / Seriousboys Theatre. Ap 11 - May 5. Darlinghurst Theatre. (02) 8356 9987 (from 6pm).

The Memory of Water by Shelagh Stephenson. Wyong Drama Group Directed by Ron Baker. Ap 11 - 20.

Wyong Memorial Hall. (02) 4353 4353.

Cats by Andrew Lloyd Webber, text By Trevor Nunn after T.S. Eliot. Phoenix Theatre. Ap 12 - 27. Phoenix Theatre, Coniston. 0407 067 343 The Golden Ass by Craig Howe. Valley Artists, at Laguna Hall, Laguna. Ap 12 20. (02) 4998 3419.

It Just Stopped by Stephen Sewell. The Theatre on Chester. Ap 12 - May 4.

Corner of Chester and Oxford Streets, Epping.

Luminous Flux. TasDance. Ap www.theatreonchester.com.au 5 & 6. Riverside Theatre, Young Frankenstein by Mel Parramatta. 8839 3399.

Brooks. Coffs Harbour Dance Better at Parties by Gideon Obarzanek. STC. Ap 5 - 27. Wharf 2. (02) 9250 1777.

Girl in Tan Boots by Tahli Corin. Griffin Independent.

Mar 27 - Ap 20. SBW Stables An Ideal Husband by Oscar Shout: The Legend of the Wilde. Maitland Repertory Theatre. (02) 9361 3817.

Wild One by John-Michael Theatre Inc. Ap 10 - 27.

The Importance of Being Howson, David Mitchell & Earnest by Oscar Wilde. Roo Maitland Repertory Theatre, Melvyn Morrow. Miranda High Street, Maitland. 02 Theatre Co, Shellharbour.

Musical Society. Mar 20 - 24. Mar 29 - Ap 13.

4931 2800 (9 to 5, 7 days a Sutherland Entertainment week).

One Man, Two Guvnors by Centre. 8814 5827.

Les Misérables by ClaudeRichard Bean. Based on The Stories I Want to Tell You in Michel Schönberg, Alain Servant of Two Masters by Person. Written and Carlo Goldoni. STC / National Boublil and Herbert Kretzmer. performed by Lally Katz.

Theatre of Great Britain. Mar Willoughby Theatre Advertise your show on the front page of www.stagewhispers.com.au

Musical Comedy Company.

Ap 12 - May 5. Jetty Memorial Theatre, Coffs Harbour. (02) 6652 8088.

Operamania. Moscow Novaya Opera. Ap 14. Civic Theatre, Newcastle. (02) 4929 1977.

Steaming by Nell Dunn.

Castle Hill Players. Ap 15 27. The Pavilion Theatre, Stage Whispers 57

On Stage

New South Wales & Queensland

Castle Hill Showground. 9634 Wollongong. (02) 4224 2929.

5999.

Ensemble, Beenleigh. Until Mar 23. 3103 1546.

The Wizard of Oz adapted by William Ford from L. Frank Baum’s novel. Young People’s Theatre. Ap 15 June 8. Young People’s Theatre, Hamilton (Newcastle). (02) 4961 4895.

A Clockwork Orange by Anthony Burgess. Action to the World. Ap 23 - May 5.

Seymour Centre. (02) 9351 7940.

Euröbeat: Almost Eurövisiön

by Craig Christie/Andrew Patterson. Beenleigh Theatre Group. March 1-16. Crete Street Theatre. 3807 3922

The Bull, the Moon and the Coronet of Stars by Van Badham. Merrigong Theatre.

Ap 17 - 27. Gordon Theatre, Wollongong. (02) 4224 5999.

All My Sons by Arthur Miller.

Newcastle Theatre Company.

Ap 27 - May 11. NTC Theatre, Lambton (Newcastle). (02) 4952 4958 (3-6pm Monday - Friday).

Comin’ Home Soon by Alana Valentine. Lieder Theatre, Fury by Joanna Murray-Smith. Goulburn. Ap 26 - May 11.

STC. Ap 15 - June 8. Wharf Lieder Theatre. (02) 4821 1. (02) 9250 1777 5066.

Momo adapted by Vija Docherty from Michael Ende’s novel. Prospero Players. Ap 17 - 27. Hunter Theatre, Broadmeadow. (02) 4952 3355.

Quartet by Ronald Harwood.

Centenary Theatre Group, Chelmer. Mar 2-23.

0435591720

Gentlemen Prefer Blondes by Jule Styne / Leo Robin. North Queensland Opera & Music At Last - The Etta James Story Theatre. Mar 13 - 16.

by John Livings. Ap 30 - May Townsville Civic Theatre.

5. Playhouse, Sydney Opera Legally Blonde by Laurence House. (02) 9250 7777.

O’Keefe & Nell Benjamin.

Queensland

The Pitch and the China Incident by Peter Houghton.

QTC. Until Mar 9. Cremorne Theatre, QPAC. 1800 355 528

13 - The Musical by Dan Elish, Robert Horn and Jason Robert Brown. The National Theatre Company. Ap 18 20, Singleton Civic Centre & May 22 - 25, Civic Playhouse, Holding the Man by Tommy Murphy. La Boite. Until Mar Newcastle, (02) 4929 1977.

9. Roundhouse Theatre, The Mikado by Gilbert & Kelvin Grove, Brisbane. 3007 Sullivan. Players Theatre Inc, 8600 Port Macquarie. Ap 19 - May Picnic at Hanging Rock by 12. (02) 6581 8888.

Laura Annawyn Shamus.

Todd McKenney: Songs and Brisbane Arts Theatre. Until Stories of Peter Allen. April Mar 16. 3369 2344 19. Civic Theatre, Newcastle.

You’re a Good Man Charlie (02) 4929 1977.

Brown by Clark Gesner.

Forget Me Not by Tom Spotight Theatre, Benowa.

Holloway. Belvoir. Ap 20 Until Mar 16. 5539 4255.

May 19. Upstairs Theatre.

War of the Worlds by H.G. (02) 9699 3444.

Wells. Nash Theatre. Until Ninth Annual Sydney Comedy Mar 16. Merthyr Road Festival. Ap 22 - May 11.

Uniting Church, New Farm, www.sydneycomedyfest.com.au Brisbane. 3379 4775 Cautionary Tales for Children. Aladdin and his Wonderful Adapted by Claudia Magical Lamp by Tim Kelly & O’Doherty based on the verse Pam Hughes Arts Theatre,

by Hilaire Belloc, Composer Brisbane. Until Mar 23.

Mark Jones. Aren Theatre. Ap 33692344.

23 & 24. IMB Theatre, Songs for a New World by Jason Robert Brown. Phoenix 58 Stage Whispers

End of the Rainbow by Peter Quilter. QTC. Mar 2 - 24.

Playhouse, QPAC. 1800 356 528

John Frost Production. From Mar 14. Lyric Theatre, QPAC. 136-246.

Crown Matrimonial by Royce Ryton. BATS Theatre Co (Buderim). Mar 15 - 23.

Tell Me on a Sunday by Andrew Lloyd Webber/Don Black. Harvest Rain. Mina Parade Warehouse. Mar 20 23. 3103-7438 Bach St Matthew Passion.

Opera Queensland. Concert Hall, QPAC. Mar 21 - 23. 136 246.

The Anniversary by Bill MacIlwraith, Javeenbah Theatre Company, Nerang.

Mar 22 - Ap 6. 5596 0300 Tricia by Stephen Vagg. Arts Theatre, Brisbane. Mar 23 Ap 20. 3369 2344.

Rumplestiltskin is my Name!

by Vera Morris, Arne Christiansen & Ole Kittleson.

Arts Theatre, Brisbane. Mar 30 - June 15. 3369 2344.

Just $40 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage Cinderella by Prokofiev.

They’re Playing Our Song by Queensland Ballet. Ap 5 - 20. Neil Simon, Marvin Hamlisch QPAC. 136 246. and Carol Bayer Sager. HIT Productions. Ap 19 & 20, The Boy from Oz by Nick Enright, with songs by Peter Logan Entertainment Centre, Allen. Ignatians. Ap 5 - May (07) 3412 5626 & Ap 24 3. Schonell Theatre, Brisbane. 27, Gold Coast Entertainment Centre, (07) 5588 4000.

Secret Bridesmaids Business

by Elizabeth Coleman. Tweed Macbeth by William Shakespeare. Gold Coast Theatre Company, Tweed Heads. Apr 5 - 21. 1800 674 Little Theatre, Southport. Ap 20 - May 11. 5532 2096.

414.

Caught in the Net by Ray Sundowner by David Cooney. Cairns Little Theatre.

Denborough. Kage Ap 26 - May 4. Rondo Production. Ap 16 - 17.

Theatre, Cairns. 1300 855 Gardens Theatre, Brisbane.

835.

3138 4455.

Oklahoma! by Rodgers & Hammerstein. Harvest Rain.

From Ap 18. Concert Hall, QPAC. 136 246.

Hairspray by Marc Shaiman/ Scott Wittman. Empire Theatre, Toowoomba. Ap 18 - 21. 1300 655 299.

Queensland & Victoria Red by John Logan. QTC. Ap 27 - May 19. Cremorne Theatre, QPAC. 1800 356 528.

Victoria Jersey Boys - The Story of Frankie Valli & The Four Seasons. Until Mar 24.

Princess Theatre, Melbourne.

1300 111 011.

Theatre Company Inc. Until Mar 9. 1300 131 552.

Blue / Orange by Joe Penhall.

Mockingbird Theatre. Until Mar 9. Broken Mirror Studios, Brunswick.

Hairspray. Music by Marc Shaiman, lyrics by Scott Wittman and Shaiman and a book by Mark O’Donnell and Thomas Meehan. Cardinia Chitty Chitty Bang Bang.

Music and lyrics by Richard M Performing Arts Company.

Until Mar 8. Cardinia Cultural Sherman and Robert B Centre, Pakenham.

Sherman, adapted for the stage by Jeremy Sams and The Farndale Avenue Housing Ray Broderick. Tim Lawson.

Estate Townswomen’s Guild Continuing. Her Majesty’s Dramatic Society Murder FNQ One Act Play Festival.

Theatre, Melbourne. 1300 Mystery by David McGillivray Malanda Theatre Company 795 012. and Walter Zerlin Jr. The (Atherton Tableland, FN Qld). Constellations by Nick Payne. 1812 Theatre. Until Mar 23.

Ap 26 - 28.

(03) 9758 3964.

MTC. Until Mar 23. Arts Billy Buckett: New Original British Rock’n’Roll Musical.

Beenleigh Theatre Group. Ap 26 - May 11. Crete Street Theatre. 3807 3922.

Centre Melbourne, Fairfax Studio. (03) 8688 0800.

Hate by Stephen Sewell.

Malthouse Theatre. Until Mar 8. Malthouse Merlyn Theatre.

(03) 9685 5111.

Romeo and Juliet by William Shakespeare. The Australian Shakespeare Company. Until Cut Snake by Paige Rattray, Mar 9. Royal Botanic Gardens Dan Giovannoni and Amelia Melbourne. (03) 8676 7511. Evans. Arthur Productions in association with Theatre 4000 Miles by Amy Herzog.

Works. Until Mar 9. Theatre Red Stitch Actors Theatre.

Works, St Kilda. (03) 9534 Until Mar 9. Rear, 2 Chapel 3388.

Street, St Kilda.

A Picnic with Cole Porter. The Australian Shakespeare Company. Until Mar 7.

Rippon Lea House & Gardens.

(03) 8675 7511.

The Female of the Species by Joanna Murray-Smith.

Brighton Theatre Company.

Until Mar 9. 1300 752 126.

The Dresser by Ronald Harwood. Heidelberg Theatre Company. Until Mar 9. (03) 9457 4117.

Murdered to Death by Peter Gordon. The Basin Theatre Group. Until Mar 9. 1300 784 668.

Stones in his Pocket by Richard Keown. The Mount Players. Mar 1 - 23. The Mountview Theatre. 0404 003 737.

The Witches of Eastwick by John Dempsey and Dana P Rowe. SPX Waterdale Players Inc. Mar 1 - 9. Rivergum Theatre at Parade College.

0400 212 566.

Souvenir by Stephen Temperley. A fantasia on the Other Desert Cities by Jon Life of Florence Foster Jenkins. Until Mar 10. Chapel Robin Baitz. MTC. Mar 2 - Ap off Chapel. (03) 8290 7000. 17. Southbank Theatre, The Sumner. (03) 8688 0800.

Death and the Maiden by Steel Magnolias by Robert Ariel Dorfman. Malvern Harling. Lilydale Athaneaum Advertise your show on the front page of www.stagewhispers.com.au

Stage Whispers 59

On Stage

Victoria

Theatre. Mar 6 - 23. (03) 9735 1777.

It’s My Party (and I’ll Die if I Want to) by Elizabeth Flame Trees by Wayne Tunks. Coleman, Mar 8 & 9, Clocktower Centre, Moonee Tunks Productions. Mar 6 Ponds. (03) 9243 9191; Mar 16. Theatre Works, St Kilda.

13, Wangaratta Prforming (03) 9534 3388.

Arts Centre, 03 5722 8105.

The Shape of Things by Neil Euröbeat - Almöst Eurövision LaBute. RoundSquare Productions. Mar 7 - 24. No by Craig Christie and Andrew Patterson. Fab Nobs. Mar 8 Vacancy Gallery, Melbourne 23. The Fab Factory, CBD. 0427 832 299 Bayswater. 0401 018 846.

Flesh and Bone. KAGE. Mar 7 - 24. fortyfivedownstairs. (03) Summer of the Seventeenth Doll by Ray Lawler. Encore 9662 9966.

Theatre Inc. Mar 8 - 23.

The Joy of Text by Robert Clayton Community Centre Reid. Mar 7 - 24. La Mama Theatrette. 1300 739 099 Courthouse. (03) 9347 6142. (9.00am - 9.00 pm).

The Odd Couple by Neil Dance Massive 2013.

Simon. Beaumaris Theatre Australian Contemporary Inc. Mar 8 - 23. 9583 6896. Dance. Mar 12 - 24. Various Jack and the Beanstalk.

Altona City Theatre. Mar 8 23. Altona Civic Centre. 0425 705 550.

60 Stage Whispers

Venues. dancemassive.com.au The Life I’d Like to Have by Gaylene Carbis. Mar 13 - 31.

La Mama Theatre. (03) 9347 6142.

Southbank Theatre, The Lawler. (03) 8688 0800.

Anthony Breslin’s TRYBE - An Opera in Paint. Fly-on-theWall Theatre / Breslin Gallery.

Mar 14 - 24. Chapel off Chapel. (03) 8290 7000.

Steel Magnolias by Robert Harling. Mornington CEF Players. Mar 15 - 24. St Peter’s Bellamy Hall, Mornington. 5975 6868.

Skeleton. Choreographed

by Larissa McGowan.

Malthouse Theatre. Mar 14 23. Malthouse Beckett Theatre. (03) 9685 5111.

Five Guys Named Moe. Music and lyrics by Louis Jordan.

SLAMS. Mar 15 - 23. Knox Community Arts Centre, Bayswater. (03) 9720 3205.

247 Days. Choreographed

by Anouk van Dijk. Malthouse Theatre / Chunky Move. Mar 15 - 23. Malthouse Merlyn Theatre. (03) 9685 5111.

Penelope by Enda Walsh. Red Stitch Actors Theatre / Theatre Works. Mar 20 - Ap 13. Theatre Works, St Kilda.

(03) 9534 3388.

The Tricky Part by Martin Moran. Kew Court House Arts Association. Mar 15 24. Richmond Library Theatrette.

Glory Box - Tim Miller. Mar 22. Alexander Theatre, Monash University.

And All Things Return To Nature Today. Phillip Adams Balletlab. Mar 15 - 23.

They’re Playing Our Song by Neil Simon, Marvin Hamlisch and Carol Bayer Sager. HIT Productions. Mar 23.

Just $40 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage

Victoria & South Australia

Athenaeum Theatre, Melbourne. 132 849.

Mama Theatre. (03) 9347 6142.

Ap 10 - 20. Arts Centre Melbourne, Playhouse.

Secondary College. (03) 9885 9678

Melbourne International Comedy Festival. Mar 27 - Ap 21. www.comedyfestival.com.au

Perfectly Mowed Lawn by Benn Bennett. Ap 4 - 14. La Mama Theatre. (03) 9347 6142.

13 The Musical by Jason Robert Brown, Dan Elish and Robert Horn. People’s Playhouse. Ap 12 - 20.

The Gondoliers by Gilbert and Sullivan. Kyneton Theatre Company. Ap 18 - 27.

Kyneton Mechanics Institute.

The Ringtone Cycle. DC3 / Melbourne International Comedy Festival. Mar 27 - Ap 7. fortyfivedownstairs. (03) 9662 9966.

13 The Musical by Jason Robert Brown, Dan Elish and Robert Horn. Catchment Players of Darebin. Ap 5 - 7.

Banyule Theatre, Heidelberg.

0437 228 246.

Female of the Species by Joanna Murray-Smith.

Sherbrooke Theatre Company Inc. Ap 12 - 27. Doncaster Playhouse. 1300 650 209.

True Minds by Joanna Murray -Smith. Melbourne Theatre Company. Ap 25 - June 2.

Southbank Theatre, The Sumner. (03) 8688 0800.

Suitcases, Baggage & Other Synonyms. Time Productions / Melbourne International comedy Festival. Ap 17 - 20.

Theatre Works, St Kilda. (03) 9534 3388.

Swan Dive by Julia Sutherland. What’s On? Production Company. Ap 25 May 3. Theatre Works, St Kilda. (03) 9534 3388.

You’re Tearing Me Apartment: The Roomsical.

The Right Wing / Melbourne International Comedy Festival. Mar 27 - Ap 7. fortyfivedownstairs. (03) 9662 9966.

Miss Bosnia by Louis Nowra.

Geelong Repertory Theatre Company. Ap 5 - 14.

Woodbin Theatre, West Geelong. 5225 1200.

The Pirates of Penzance by Gilbert and Sullivan. Gilbert and Sullivan Opera. Ap 27 May 4. Alexander Theatre, Monash University. 9905 1111.

A Clockwork Orange by Little Dances. Written and Anthony Burgess. Action to the World. Ap 6 - 21. performed by Nicky Marr.

Mar 27 - Ap 14. La Mama Malthouse Theatre. (03) Courthouse. (03) 9347 6142. 9685 5111.

Robot VS Art by Travis Cotton. Ap 17 - May 5. La Mama Courthouse. (03) 9347 6142.

Hope is the Saddest by Jeffrey School Dance by Matthew Jay Fowler. Ap 3 - 14. La Whittet. Windmill Theatre.

The Club by David Williamson. HIT Productons.

Ap 26, Drum theatre, Dandenong, (03) 9771 6666; Dance of Death by Friedrich Ap 27, Burrinja Cultural Dürrenmatt, English text

by Tom Holloway. Malthouse Centre, (03) 9754 8723; Ap 30, Latrobe Performing Arts Theatre. Ap 18 - May 12.

Centre, (03) 5176 3559; May Malthouse Beckett Theatre.

1, West Gippsland Arts (03) 9685 5111.

Centre, (03) 5624 2456; May Lost in Yonkers by Neil 2 - 4, Knox Community Arts Simon. Mordialloc Theatre Centre, (03) 9729 7287; May Company Inc. Ap 19 - May 4. 6, Wonthaggi Arts Centre, (03) 9587 5141.

(03) 5672 1083; May 7 & 8, The Diary of Anne Frank by Shirley Burke Theatre, (03) Frances Goodrich and Albert 9556 4440.

Hackett. Malvern Theatre South Australia Company Inc. Ap 19 - May 4.

Adelaide Fringe Festival. Until 1300 131 552 Mar 17.

Dad’s Army by Jim Perry and www.adelaidefringe.com.au David Croft. Frankston Adelaide Festival. Mar 1 - 17.

Theatre Group. Ap 19 - 27.

The George Jenkins Theatre, adelaidefestival.com.au Monash University, Frankton Raton Laveur by Amos Campus. 1300 665 377.

Crawley, David Patrick 9905 1111.

Fleming and Caitlin Stewart.

Fairly Lucid Productions & 33 Variations by Moises Kaufman. Williamstown Little Veronica Bolzon. Until Mar Theatre. Australian Premiere. 16. The Bakehouse Theatre, Adelaide. 1300 621 255 Ap 18 - May 4. Unicorn

Past Perfect by Trudy Hellier.

The 1812 Theatre. Ap 18 May 11. 9758 3964 or 0406 752 067.

Theatre, Mount Waverley

Advertise your show on the front page of www.stagewhispers.com.au

God of Carnage by Yasmina Reza. The Stirling Players.

Stage Whispers 61

On Stage

South Australia

Until Mar 9. The Arts Theatre. 10. Art Base, Higher Ground.

8447 7239.

1300 621 255.

Another Point of View.

AfterDark Theatre. Until Mar 9. The Birdcage. 1300 621 255.

Fawlty Towers The Dining Experience. Interactive Theatre Australia. Until Mar 17. Quality Hotel Old Adelaide. 1300 308 193.

Angry Young Men. Holden Street Theatre Co Inc. & Mahwaff Theatre Co. Until Mar 17. Holden Street Theatres - The Studio. 1300 621 255.

Like a Fishbone by Anthony Weigh. Early Worx in theatre and art / Adelaide Fringe.

Until Mar 14. Higher Ground East. 1300 621 255.

Loaded Heart by Philip Stokes. McArts / Adelaide Fringe. Until Mar 16. Harry’s Bar. 1300 621 255.

Homage to Uncertainty by Emma Beech. Until Mar 12.

The Tuxedo Cat. 1300 621 255.

17. State Theatre Company Scenic Workshop, Adelaide Festival Centre. 131 246.

Gary Adler and Michael Patrick Walsh. Mar 5 - 8. Star Theatre 1. Fringe Tix.

Jack The Ripper A Sherlock Holmes Mystery Musical by Deirdre Quinn, Susan Oldknow and Tony Strutton.

Upstage Theatre / Adelaide Fringe. Until Mar 9. Guthries - Eliza Hall. 1300 621 255.

Lockup by Damien Richardson. Adelaide Fringe.

Mar 5 - 17. The Producers Bar. 1300 621 255.

Thursday by Bryony Lavery.

Brink Productions. Mar 1 16. Norwood Concert Hall.

131 246.

Itsoseng by Omphile Molusi.

Richard Jordan Productions Sound & Fury’s ‘Hamlet & Ltd in association with the Juliet’. Sound & Fury / Baxter Theatre (University of Adelaide Fringe. Until Mar Blink by Phil Porter. Early 15. Gluttony - Pig Tales. 1300 Cape Town) and Pleasance.

Worx in theatre and art / Mar 1 - 4. Space Theatre, Adelaide Fringe. Until Mar 621 255.

Adelaide Festival Centre. 131 17. Higher Ground East.

Breaker. Sodid Svid Theatre 246.

1300 621 255.

Company / Adelaide Fringe.

One Man, Two Guvnors by Until Mar 17. Holden Street Samantha’s Hotline by Richard Bean, based on The Theatre The Arches.

1300 Sophie Gatacre. Adelaide Servant of Two Masters by Fringe. Until Mar 16. Duke of 621 255.

Carlo Goldoni, with songs by York. 1300 621 255.

Leo. Arts Projects Australia.

Grant Olding. National Until Mar 16. The Garden of Theatre of Great Britain / Glory Dazed. Holden Street Unearthly Delights - The Theatre Co Inc. & Second Adelaide Festival. Mar 1 - 9.

Shot Productions. Until Mar Vagabond. 1300 621 255.

Her Majesty’s Theatre. 131 17. Holden Street Theatres - The Kreutzer Sonata by Leo 246.

The Studio. 1300 621 255.

Tolstoy, adapted by Sue The Strange Undoing of Smith. State Theatre Smashed by Lally Katz.

Prudencia Hart. Devised and ThreeApplesHigh. Until Mar Company of South Australia / created by (writer) David Adelaide Festival. Until Mar Greig and (director) Wils Wilson, with (designer) Georgia McGuinness and (composer) Alasdair Macrae.

The National Theatre of Scotland/ Adelaide Festival.

Mar 1 - 9. The German Club.

131 246.

Bombay to Beijing by Bicycle

by Russell McGilton. Squeaky Board Theatre. Mar 3 - 16.

The Bakehouse Theatre. 1300 621 255.

Desperately Seeking the Exit

by Peter Michael Marino.

Adelaide Fringe. Mar 3 - 17.

Austral Hotel - Red Room.

1300 621 255.

Angela Carter’s The Tiger’s Bride. Mar 5 - 17. The Tuxedo Cat - Green Room. 1300 621 255.

I’m not pale, I’m dead by Lydia Nicholson. The Roof The House / Adelaide Fringe.

Mar 5 - 14. Gluttony - The Runt. 1300 621 255.

My One and Only by Dawn King, adapted for the stage

by Dominic Allen. Acorn Productions / Adelaide Fringe.

Mar 5 - 16. Bakehouse Theatre. 1300 621 255.

The Sound of Music by Rodgers and Hammerstein.

Henley Drama Group. Mar 6 17. Latvian Hall, Wayville.

1300 621 255.

Accomodations by Nic Hall.

Galleon Theatre Group. Mar 7 - 16. Domain Theatre, Marion Cultural Centre. 0437 609 577.

Sidekicks by Stephen Vagg.

Bunker Productions International Pty Ltd / Adelaide Fringe. Mar 8 - 17.

Stag Hotel. 1300 621 255.

A Mid-Summer Dreaming.

Ink Pot Arts / Adelaide Fringe.

Mar 9 - 17. Gibberagunyah Amphitheatre. 1300 621 255.

Of Dysentery and Madness: A Trapper’s Tale by Wil Greenway. Tiprat Theatre / Adelaide Fringe. Mar 9 - 17.

The Tuxedo Cat - Green Room. 1300 621 255.

Confessions of a Grindr Addict by Gavin Roach.

Adelaide Fringe. Mar 11 - 16.

Altar Boyz. Book by Kevin Del Bakehouse Theatre.

Aguila, Music & Lyrics by 62 Stage Whispers

Just $40 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage Beowulf - A Thousand Years of Baggage by Jason Craig.

BBB / Adelaide Festival. Mar 11 - 16. The German Club.

131 246.

KAMP. Creators: Herman Helle, Arlène Hoornweg and Pauline Kalker. Hotel Moderne / Adelaide Festival.

Mar 12 - 17. Space Theatre, Adelaide Festival Centre. 131 246.

The Conference of the Birds.

Based on the poem by Farid Uddi Attar. Stage version by Jean-Claude Carriere and Peter Brook. Victorian Youth Theatre / Adelaide Fringe.

Mar 12 - 16. Odeon Theatre.

1300 621 255.

South Australia, Tasmania & Western Australia

Adelaide Festival Centre. 131 246.

Tasmania

Fiddler on the Roof by Joseph In the Dark. Riverland Youth Stein, Sheldon Harnick and Theatre / Adelaide Fringe.

Jerry Bock. Hobart Repertory Mar 14 - 16. The Tuxedo Cat. Theatre Society. Until Mar 9.

1300 621 255.

The Playhouse Theatre. (03) 6234 5998.

You’re a Good Man Charlie Brown by Clark Gesner.

The Woman Before by Roland Adelaide Youth Theatre. Mar Schimmelpfennig.

15 - 17. Star Theatre. 1300 CentreStage. Mar 6 - 9. The 621 255.

Annexe Theatre, Inveresk.

(03) 6323 3666.

Breath of Spring by Peter

Coke. Therry Dramatic As We Forgive, 3 Morality Society. Mar 20 - Ap 6. The Tales for an Amoral Age by Arts Theatre. BASS, Venuetix. Tom Holloway. Tasmania Performs / Ten Days on the Perfect Wedding by Robin Hawdon. Tea Tree Players. Ap Island. Mar 9 - 16, Theatre Royal Backspace, Hobart, (03) 3 - 13. Tea Tree Players 6233 2299; Mar 20 - 22, Earl Theatre. 82895266.

Arts Centre, Launceston, (03) Little Shop of Horrors by Alan 6323 3666.

Alice in the Madhouse.

Menken and Howard Madhouse Circus / Adelaide The Select [The Sun Also Ashman. Northern Light Fringe. Mar 12 - 17. The Theatre Company. Ap 5 - 20. Rises] based on the novel by Birdcage. 1300 621 255.

Ernest Hemmingway. Elevator Shedley Theatre, Elizabeth.

Hereafter by Werner Fritsch. 131 246.

Repair Service / Ten Days on the Island. Mar 15 - 20.

Free Theatre Christchurch / Adelaide Fringe. Mar 12 - 17. Mr McGee and the Biting Flea Theatre Royal, Hobart. (03)

by Pamela Allen. Patch Higher Ground East - Art 6233 2299.

Theatre Company/ Adelaide Base. 1300 621 255.

Festival Centre Trust. Ap 16 - Grease by Jim Jacobs and Warren Casey. Encore Theatre Influence by David 20. Space Theatre.

Williamson. Heartspace Company. Mar 15 - 23.

Theatre Company / Adelaide Hedda Gabler by Henrik Princess Theatre, Launceston.

Ibsen, in a new adaptation by (03) 6323 3666.

Fringe. Mar 12 - 16.

Joanna Murray-Smith. State Tandanya - Theatre. 1300 Dame Kiri Te Kanawa in Theatre Company of SA. Ap 621 255.

Recital. Ten Days on the 26 - May 18. Dunstan A Simple Space. Gravity & Island. Mar 17, Princess Playhouse. BASS. Other Myths / Adelaide Theatre, Launceston, (03) Dinner by Moira Buffini.

Fringe. Mar 13 - 16. The 6323 3666; Mar 21, Theatre Adelaide Repertory Theatre.

Birdcage. 1300 621 255.

Royal, Hobart, (03) 6233 Ap 18 - 27.

2299.

Water Child by Emma Wood.

The Producers by Mel Brooks Water Child Collective and Finding Centre by Trisha Newcastle Theatre Company. and Thomas Meehan. Hills Dunn. Theatre North. Mar 20 Mar 14 - 17. Adelaide Fringe Musical Company. Ap 26 - 23. Earl Arts Centre, Festival: Nexus Cabaret, Lion May 11.

Launceston, (03) 6323 3666.

Chitty Chitty Bang Bang.

Arts Centre, Adelaide. 1300 Ockham’s Razor: Triple Bill.

Music and lyrics by Richard M Ten Days on the Island. Mar 621 255.

Sherman and Robert B Nosferatu. Inspired by Bram 22 & 23. Theatre Royal, Stoker’s Dracula. Adaptation Sherman, adapted for the Hobart. (03) 6233 2299. stage by Jeremy Sams and

by Grzegorz Jarzyna. TR Luminous Flux.

Warszawa / Teatr Narodowy / Ray Broderick. Tim Lawson.

From Ap 30. Festival Theatre. Choreographers: Tanja Adelaide Festival. Mar 14 Liedtke and Byron Perry.

131 246.

17. Dunstan Playhouse, Tasdance. Mar 15 & 16, Earl Arts Centre, Launceston, (03) Advertise your show on the front page of www.stagewhispers.com.au

6323 3666; Mar 26 & 27, Theatre Royal, Hobart, (03) 6233 2299.

Les Misérables by ClaudeMichel, Alain Boublil and Jean-Marc Natel. English lyrics by Herbert Kretzmer.

Burnie Musical Society. Mar 8 - 23. Burnie Arts and Function Centre. (03) 6430 5850 Something Childish but Very Natural by Gary Abrahams.

CentrStage. Ap 10 - 13. The Annexe Theatre, Inveresk.

(03) 6323 3666.

L’isola Disabitata by Hadyn.

Hobart Baroque / Royal Opera House. Ap 12 - 20. Theatre Royal, Hobart. (03) 6233 2299.

Peter Pan. Hobart Repertory Theatre Society. Ap 19 - May 4. The Playhouse Theatre.

(03) 6234 5998.

R & J. Choreography by Natalie Weir. Composer John Babbage. Expressions Dance Company / QPAC. Ap 26 & 27. Theatre Royal, Hobart. (03) 6233 2299.

Chicago by John Kander and Fred Ebb. Launceston Musical Society. Ap 19 - 25. Country Club Tasmania.

Freefall (Circus Theatre).

Gravity and Other Myths. Ap 30 - May 2. Theatre Royal, Hobart. (03) 6233 2299.

Western Australia The 39 Steps. Adapted by Patrick Barlow from the novel

by John Buchan. KADS. Until Mar 16. Town Square Theatre, Kalamunda. (08) 9257 2669.

The Secret Garden by Nell Duffield, based on the book

by Frances Hodgson Burnett.

Stirling Players. Until Mar 9.

Stirling Theatre, Innaloo (08) 9440 1040.

Stage Whispers 63

On Stage

Western Australia & New Zealand

WAAPA and Barking Gecko Theatre Company co-produce Hamlet at the Subiaco Arts Centre from March 16 - 22.

Euröbeat: Almöst Eurövisiön

by Craig Christie and Andrew Patterson. Koorliny Arts Centre and Kwinana Industries Council. Mar 1 16. Koorliny Arts Centre. (08) 9467 7118.

Wish Me Luck As You Wave Me Goodbye. Morning Melodies. Mar 13. His Majesty’s Theatre, Perth.

Ticketek.

Female Transport by Steve Gooch. Bunbury Musical A Night in Provence by Robin Comedy Group. Mar 15 - 24.

Hawdon. Harbour Theatre, 1300 661 272.

Fremantle. Mar 8 - 23. Port American Buffalo by David Cineaste Building. (08) 9255 Mamet. Playlovers. Mar 15 3336.

23. Hackett Hall. 0415 777 Busting Out. Theatre Tours Australia. Mar 8 - 9. His Majesty’s Theatre, Hay St, Perth. Ticketek

173.

Hamlet by William Shakespeare. Barking Gecko Theatre Company. Mar 16 The Importance of Being 22. Subiaco Arts Centre.

Earnest by Oscar Wilde. Black 1300 795 012.

Swan State Theatre Project Pinocchio. Into the Company. Mar 9 - 28. Heath Mask and Phoenix Theatre.

Ledger Theatre. Ticketek.

64 Stage Whispers

Ap 3 - 7. Phoenix Theatre, The Wizard of Oz by Noel Memorial Hall, Hamilton Hill. Langley, Florence Ryerson (08) 9255 3336. and Edgar Allan Woolf. Lyrics Abigail’s Party by Mike Leigh. by E.Y. Harburg, music by Harold Arlen. Koorliny Arts Wanneroo Repertory Club.

Ap 4 - 20. Limelight Theatre, Centre and Kwinana Wanneroo. (08) 9571 8591. Industries Council. Ap 19 May 4. Koorliny Arts Centre.

A Month of Sundays by Bob (08) 9467 7118.

Larby. Roleystone Theatre.

Sex Toys by C. Aspden Ap 5 - 13. (08) 9397 5730.

Pomfret. Darlington Theatre Henry 4 by William Players. Ap 19 - May 11. Full Shakespeare. Perth Theatre length version of popular one Trust and Bell act play. Marloo Theatre.

Shakespeare. Ap 5 - 13. State (08) 9255 1783.

Theatre Centre of WA, Splat by Sally Northbridge. 1300795012 Richardson. Spare Parts No Bed of Roses by Noel Puppet Theatre. Ap 20-May O’Neill. Old Mill Theatre, 4. Spare Parts Puppet South Perth. Ap 5 - 20.

Theatre, Fremantle. 9335 Locally written comedy. (08) 5044.

9367 8719.

Don’t Shoot Me I’m Still Only La Traviata by Guiseppe The Piano Player. Morning Verdi. West Australian Melodies. Apr 24. His Opera. Ap 9 - 20. His Majesty’s Theatre, Perth.

Majesty’s Theatre, Perth.

Ticketek.

Ticketek.

Oleanna by David Mamet.

A Number by Caryl Churchill. KADS. Ap 26 - May 18. Town Perth Theatre Company. Ap Square Theatre, Kalamunda.

11 - 27. State Theatre Centre (08) 9257 2669. of WA, Northbridge.

New Zealand Ticketek.

Rabbit Hole by David Lindsay- Just Above the Clouds by Ben Anderson. The People Who Abaire. Melville Theatre Play with Theatre. Feb 28 Company. Apr 12-27.

Mar 9. Q Auckland. (09) 309 Pullitzer Prize Winning Drama. Roy Edinger Theatre, 9771.

Melville. 9330 4565.

Cranford by Marguerite Merington & Elizabeth Cleghorn, based on the novel

by Elizabeth Gaskell. Garrick Theatre, Guildford. Ap 12 May 4. (08) 9378 1990.

You Can Always Hand Them Back by Roger Hall, music and lyrics by Peter Skellern.

Circa Theatre. Until Mar 30.

Circa One. (04) 801 7992.

Talking of Katherine Mansfield by Katherine OVO. Cirque du Soleil. Ap 14 Mansfield. Circa Theatre.

- June 16. Big Top at Langley Until Mar 16. Circa Two. (04) 801 7992.

Park.

Jersey Boys - The Story of Frankie Valli & The Four Seasons. Ap 16 - May 26.

The Crown Theatre Perth (formerly Burswood Theatre).

Ticketek.

[title of show] by Jeff Bowen and Hunter Bell. Whitireia Theatre, Wellington. Until Mar 9.

Stand Up for Charlie by Will Agnew. Slave Labour Productions. Until Mar 9.

Just $40 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage Drama Studio House, Wellington.

Campground Chaos. Fuse Circus. Until Mar 8. St Johns Bar, Wellington.

King Lear by William Shakespeare. Auckland Summer Shakespeare. Mar 1 - 30. University of Auckland.

09 308 2383 The Tempest by William Shakespeare. Manawatu Summer Shakespeare. Mar 1 - 9. The Square, Palmerston North. Admoission Free.

Manawa by Jamie McCaskill.

Mar 6 - 14. Centrepoint Theatre, Palmerton North. 06 354 5740.

Hummingbird by Chris Neels.

Elephant Nation. Mar 7 - 10.

The Basement, Auckland.

Present Laughter by Noel A Shortcut to Happiness by Coward. Ellerslie Theatrical Roger Hall. Howick Little Theatre. Mar 2 - 23. (09) 534 Society. Mar 14 - 23. Stabes Theatre, Auckland. 09 525 -1406.

3336.

Love, Loss and What I Wore Hui by Mitch Tawhi Thomas.

by Nora Ephron and Delia Silo (Auckland). Mar 15 - 23.

Ephron. Fortune Theatre, Q Theatre. 0800 289 842.

Dunedin. Mar 2 - 23. (03) 477 8323.

One Man, Two Guvnors by Richard Bean. National Harrisment - three one-act Theatre of Great Britain / plays by Richard Harris.

Auckland Arts Festival. Mar Hawera Repertory Society.

Mar 2 - 9. Repertory House, 15 - 23. Aotea Centre, Auckland. 0800 289 842.

Collins Street, Hawera.

The Cat’s Meow by Steven Peros. Tauranga Repertory Society. Mar 6 - 23. 16th Avenue Theatre. (07) 577 7188.

Centre, Invercargill, 03 216 6077;

Coronation Street On Stage

by Jonathan Harvey. Mar 26 Ap 6, Civic Theatre, The Edge, Auckland, 0800 buytickets; Ap 9 - 13, St I ♥ Alice ♥ I. HotForTheatre / James Theatre, Wellington, Auckland Arts Festival. Mar 7 0800 842 538; Ap 17, The - 11. The Q, Auckland. 0800 Trafalgar Centre, Nelson, 03289 842.

548-3083; Ap 20 - 23, CBS Rhinoceros in Love. National Canterbury Arena, Theatre of China / Auckland Christchurch, 0800 TICKETEK; Arts Festivala. Mar 8 - 12.

My In-laws are Outlaws.

Maidment Theatre. 0800 289 Detour Theatre, Tauranga.

842.

Apr 3 - 20. 5777188.

Duality by Keith Paterson.

Sweeney Todd by Austin Artworks Community Theatre, Auckland. Mar 1 - 9. Rosser. Titirangi Theatre. Mar 12 - 23. 817-7658.

(09) 372 2941.

The Strange Undoing of Bouncers by John Godber.

Mar 1 - 16. Levin Performing Prudencia Hart. Auckland Arts Festival / The National Arts Centre. 06 368 7520 Theatre of Scotland. Mar 13 Chicago by John Kander, 24. The Bluestone Room.

Fred Ebb and Bob Fosse.

0800 289 842.

Centrestage Theatre Cosi by Louis Nowra.

Company (Orewa). Mar 2 16. Centrestage Theatre. (09) Stagecraft (Wellington). Mar 13 - 23. iTicket.

426 7282.

Light Sleepers’ Wake. Bright Barefoot in the Park by Neil Simon. Hutt Repertory Orange Walls. Mar 2 - 8.

Theatre. Mar 13 - 23. Theatre BATS Theatre, Wellington.

108. 04 939 7529.

(04) 802 4176.

062788599

New Zealand

Fawlty Towers - The Dining Experience by John Cleese and Connie Booth. Mar 20 24, The Church, Dunedin, 03 474 5247; Mar 26 & 27, White Heron Function

Tribes by Nina Raine. Circa Theatre. Ap 6 - May 4. Circa One. (04) 801 7992.

Calendar Girls by Tim Firth.

Wellington Repertory Theatre. Ap 9 - 21. Gryphon Theatre. 479 3393.

Midnight in Moscow by Dean Parker. Auckland Theatre Company. Ap 11 May 4. Maidment Theatre.

Run For Your Wife by Ray Cooney. Rotorua Little Theatre. Ap 12 - 27.

Shambles Theatre.

Shop Til You Drop.

Centrepoint Theatre, Palmerston North. Ap 13 May 25. 06 354 5740 Fame by Jose Fernandez, Steve Margoshes and Jacques Levy. Manakau Performing Arts. Ap 13 - 27.

Spotlight Theatre.

The Dragon of an Ordinary Family by Margaret Mahy.

Tim Bray Productions. Ap 15 - May 4. The PumpHouse Theatre, Auckland. 09 489 8360 Madame Butterfly by Giacomo Puccini. NBR NZ Opera. Apr 18 - 28, Auckland - ASB Theatre, Aotea Centre & May 11 - 18, Wellington - St James

Advertise your show on the front page of www.stagewhispers.com.au

Theatre. 0800 NZOPERA/696 737.

Chicago by John Kander, Fred Ebb and Bob Fosse.

Rotorua Musical Theatre. Ap 19 - May 1. Casa Blanca Theatre. 0800 111 999.

Mum’s Choir by Alison Quigan. Whangarei Theatre Company. Ap 20 - May 4.

Calendar Girls by Tim Firth.

Harlequin Musical Theatre.

Ap 21 - May 5.

Taking Off by Roger Hall.

Starring Alison Quigan. Ap 23, Baycourt Community and Arts Centre, Tauranga; Ap 24, Hawkes Bay Opera House; Ap 25, Expressions Arts and Entertainment Centre, Upper Hutt; Ap 26, Royal Wanganui Opera House; Ap 27, Theatre Royal, New Plymouth; Ap 28, Southward Theatre, Paraparaumu; Ap 29, Regent on Broadway, Palmerston North; May 1, Malborough Covic Centre, Blenheim; May 2, Regent Theatre, Greymouth; May 5, Ashburton Trust Event Centre & May 8, Theatre Royal, Nelson.

Hairspray. Music by Marc Shaiman, lyrics by Scott Wittman and Shaiman and a book by Mark O’Donnell and Thomas Meehan. Napier Operatic. Ap 25 - May 5.

Municipal Theatre, Napier.

Ticketek.

Frost / Nixon. Point Blank Productions. Ap 25 - May 4.

TheatreWorks, Auckland.

You Can Always Hand Them Back by Roger Hall, music and lyrics by Peter Skellern.

Fortune Theatre, Dunedin.

Ap 27 - May 25. (03) 477 8323.

Stage Whispers 65

War Horse

Online extras!

Check out a special preview of War Horse by scanning the QR code or visiting http://youtu.be/KFIN7AxXyK8

Reviews: Premieres War Horse

By Nick Stafford from the novel by Michael Morpurgo.

National Theatre of Great Britain, Handspring Puppet Company and Global Creatures. Directed by Drew Barr (Australia) from original direction by Marianne Elliott and Tom Morris. State Theatre, Arts Centre Melbourne. Dec 31, 2012 - Mar 3, 2013, then Sydney and Brisbane.

Live theatre has the power to suspend disbelief and nurture evocative imagination. It can create magic. Last night a huge chestnut hunter called Joey was caught in barbed wire and his legs were being cut to pieces. I was crying into my partner’s handkerchief, unaware and uncaring that this was theatre and I was crying for a puppet. That, in itself, is magic.

So much has been written already about War Horse that it seems redundant to say it is a theatrical event the likes of which we seldom ever see. It is brilliantly staged and mounted (no pun intended) with an astonishing lighting design by Paule Constable, wonderful drawings and set design by Rae Smith (who also designed the costumes) and a great soundscape by Christopher Shutt. It has astonishing puppets by Handspring Puppet Theatre, operated by amazing puppeteers who manage to make themselves invisible and convince us that Joey and his mate are flesh and blood animals with personalities and emotions. It is a 66 Stage Whispers

heart-stopping, achingly beautiful theatrical experience and a technical triumph.

What it isn’t is a good, totally satisfying and well directed play. When the flesh and blood human characters fail to engage you on an emotional level, something is always missing in the script. However, some things transcend evaluation and War Horse is one. Performances are strong for the most part. Ian Bliss is excellent as Ted Narracott, Albert’s father, a man branded a coward who has become a bully. Nicholas Bell, one of the most experienced actors in Australia or Britain, brings truth and credibility to Arthur Narracott, Ted’s embittered brother and especially to the role of Sergeant Thunder. Newcomer Cody Fern (Albert) is a promising new talent with the right degree of physicality and innocence but, oh dear, his accent started out Devon, quickly became Irish, then added some Geordie and a splash of Yorkshire. Special mention to John Thompson and Dave Evans as the songmen, whose music transported us to the time and place, and to the wonderful puppeteer who gave such an incredible life-like personality to the Goose.

But the stars are the horses, and the most affecting relationship is that between Joey and Topthorn. There are images that will stay with me for the rest of my life: The screen/set - a scrap of paper torn from a sketchbook, moving from black and white to the millions of poppies in

Longer versions of many reviews can now be found at www.stagewhispers.com.au

Flanders field; the agony of Joey trying to pull a huge cannon; the carnage on the battlefield and the aweinspiring moment when Topthorn and Joey….blinding lights and explosions behind them, leap the barbed wire fence. War Horse is a once in a lifetime experience. See it if you possibly can.

Coral Drouyn Driving Miss Daisy

By Alfrew Uhry. Director: David Esbjornson. John Frost, Jed Bernstein & Adam Zotovich production. Playhouse, QPAC. From 9 Feb. Other capital cities follow.

IN the hands of Broadway royalty, Driving Miss Daisy becomes not only a good play but a great one. Angela Lansbury, James Earl Jones and Boyd Gaines invest this basically affectionate anecdote with star power rarely seen on an Australian stage.

Most people will know Alfred Uhry’s Pulitzer Prize winning play from the film version, which starred Jessica Tandy and Morgan Freeman. The plot revolves around Daisy Werthan, a 72 year-old Southern-Jewish matron, who has had a crash in her car which has resulted in her son, Boolie, insisting that she needs a chauffeur. He hires an aging black man Hoke Coleburn for the job. The interaction and gradual growing friendship between the cranky Miss Daisy, a former school teacher, and the uneducated Hoke forms the basis of the play.

Set in Georgia between 1948 and 1973, the 25-year period of the play encompasses some of the most momentous Civil Rights changes in America. Although Uhry hints at some of them, such as a lynching and the 1958

bombing of Atlanta’s oldest synagogue, his is not a heavyhanded approach.

This production comes via acclaimed Broadway and London seasons with James Earl Jones and Boyd Gaines repeating their roles. Jones is perfect as Hoke, creating a character of strength and dignity and in the final scenes empathy. Gaines likewise is also perfect as Boolie, a successful Jewish businessman caught up in the changes sweeping America and ever mindful of his place in them.

When he puts out his hand for Hoke to shake, and there’s a slight hesitation before Hoke accepts it; we feel this could be the first time Boolie has ever shaken the hand of a black man. It was a compelling moment.

Completing this trilogy of perfection is Angela Lansbury, whose luminosity glows from the moment she steps on the stage. Capturing the querulousness of the imperious Miss Daisy, from her outward non-acceptance of Hoke to her eventual friendship and respect of the man, was acting of the highest order. In the dying minutes of the play when she acknowledges Hoke as her best friend by lightly touching him on the arm, the emotion was palpable.

David Esbjornson’s direction was understated and avoided the play tipping into sentimentality, which it could easily have done. John Lee Beatty’s uncluttered set design aptly evoked the locations, helped by some back projection, while Peter Kaczorowski’s lighting and Mark Bennett’s music completed the overall perfect picture.

These three actors have won a total of 11 Tony Awards.

To have one of them on our stages would have been a blessing. To have all three is a surfeit of riches.

Peter Pinne

Driving Miss Daisy

Online extras!

See Frank Hatherley’s video report and interviews. Scan the QR code or visit http://youtu.be/aZvSbqAt9hk Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 67

Daniel Henshall, Bruce Spence, Callum McManis (sitting) Nathaniel Dean, Matthew Sunderland (standing), Anita Hegh, Rory Potter (sitting), Jeremy Sims and Judith McGrath in Sydney Theatre Company’s The Secret River.

Photo: Heidrun Löhr.

The Secret River

By Kate Grenville. An adaptation for the stage by Andrew Bovell. Sydney Theatre Company, Sydney Festival, Allens.

Director: Neil Armfield. Sydney Theatre. Jan 8 -Feb 9.

OUTSIDE the first night of The Secret River is a poster that declares you’re about to see THE LANDMARK THEATRE EVENT OF 2013. That’s confidence: after all, it’s only January 12. But the combination of Kate Grenville’s great novel (short-listed for the Booker Prize in 2006), Andrew Bovell’s outstanding play-making skills (Speaking in Tongues, When the Rain Stops Falling) and Neil Armfield’s directorial brilliance might just make the cheeky prediction come true.

Grenville’s novel tells how in 1813 ex-convict William Thornhill takes his family to the 100 acres he’s been granted along the Hawkesbury River, north of Sydney.

Bovell’s play expands the focus to more equally include the aboriginal family whose way of life is immediately threatened. Director Armfield brings great theatrical fluidity and some bitterly moving images on Stephen Curtis’s soaring cliffside setting.

Nathaniel Dean is fine as the confused and compromised Thornhill who knows nothing about farming.

“The only thing you know about a turnip is how to eat it,” says Sal, his loyal, put-upon wife. Anita Hegh’s London accent perfectly underlines how much she misses her faraway homeland, even as her husband prepares to seize the homeland of the local aboriginals.

The gang of lawless and generally obnoxious white settlers who squat along the river are robustly, frighteningly played by Daniel Henshall, Jeremy Sims, Bruce Spence, Matthew Sunderland and Colin Moody.

The unprepared blackfellas, dignified and ultimately doomed, are finely portrayed, too, with Ursula Yovich delivering Grenville/Bovell’s narrative: she rarely leaves the stage.

68 Stage Whispers

When a determined Thornhill attempts to explain to the uncomprehending blacks that the 100 acres of bushland now officially belongs to him and that they should “bugger off somewhere else” the ghastly absurdity of the rolling takeover becomes frighteningly clear. The final scene of total victory is bleak indeed.

Frank Hatherley

Constellations

By Nick Payne. Directed by Leticia Caceres/ MTC Fairfax Studio, Arts Centre Melbourne. Feb 8 to Mar 23.

Some people live their lives within the safe confines of limited probability. Others embrace a universe of infinite possibilities and it’s these people that playwright Nick Payne is talking to in Constellations. The words “what if?” are life-blood to any writer, providing multiple scenarios from a single premise.

What if “destiny” exists in quantum physics like string theory….and everything that ever/never was or ever/never will be co-exists in parallel universes with millions of variations of ourselves?

Roland is a beekeeper, a somewhat hapless nerd, who meets the eclectic and garrulous Marianne, a quantum physicist with a huge appetite for life, at a barbecue…or does he? The chance meeting (though nothing in any universe is by chance) is repeated, like everything else in their lives, because each forms a part of the other’s string theory.

What could have seemed like a drama student masterclass (“okay guys, the same dialogue but with a different emotional P.O.V this time”) becomes an intimate portrait of existence in the hands of two superb actors and a gifted director.

Leticia Caceres is totally in tune with the text and the emotional subtext. She gives her actors a clean base to work from and moves them sometimes only 10 degrees in any direction, if the “string” creates a scenario close to the original. At other times she hurls them across the space, just as she metaphorically hurls the audience to a new possibility which had not even been on the radar before.

It’s masterful blocking, but it’s also wonderful storytelling.

Leon Ford gives us a Roland of infinite possibilities - shy, angry, confused, lustful, guarded - every emotion a human being can experience in multiple lives is part of his Roland.

It’s a wonderful, confronting as well as confronted, performance. The amazing Alison Bell as Marianne reminds us why she has a stash of acting awards. Hers is a monumental journey, and the hardest to accept as tone

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turns from comedy to tragedy. Rachel Burke’s lighting was beautiful. See Constellations if you can. It is very special.

Coral Drouyn

only “prop” is an old suitcase and its contents. That’s it, and I’d be the first to concede that it doesn’t sound very exciting. But from this humble premise true theatrical magic is created. The producers promote Leo as being a show Out Damn Snot about defying gravity, and that’s true…but only on the La Boite and Shake and Stir (Qld). Roundhouse Theatre. Feb simplest of levels. Perhaps they just find it too hard to 8 - 19. expand on the explanation. Or perhaps, like me, they don’t INTEREST in this show began building from November want to spoil the sense of wonderment for those that see last year. I can’t recall a premiere that attracted such it. But Leo is anything but simple at its heart. Apart from anticipation, or such an overflow audience! the extraordinary acrobatic and dance abilities of Wegner Not unlike Lewis Carroll’s Alice in Wonderland, himself, and the complex marriage of reality and Mackenzie, Kimmy and Heath are transported into a technology (at one stage there is a “live” Leo and three or fantastic place where they meet amazing characters before four projected Leos on a time delayed loop, so that they all they return to reality. move individually) the show has deep thematic messages, Amy Ingram, Nelle Lee and Nick Skubij play the three beautifully packaged in light entertainment - just the way children splendidly, but Leon Cain’s four over-the-top messages always should be. characters were audience favourites. Writers Ross For Leo is all about perceptions; confronting us with Balbuziente, Nelle Lee and Nick Skubij aimed for a target what we think is real…and showing us it isn’t; with what audience of 8-12 year-olds. In practice it’s more like 8-80. we think is simple, and showing us its complexity; with a The show depends heavily on special effects. Director world that seems mundane - even nondescript, and Ross Balbuziente employed the ‘Triple Threat Team of astonishing us with its magic. It’s an uplifting eye-opener of Creatives’: Josh McIntosh (set/costume design), Jason our private universes and how we inhabit them. Superbly Glenwright (lighting) and Guy Webster (sound effects and presented in all facets, this is very special, rich and original composer). Special credit to the stage crew who braved theatre, and fabulous entertainment. Take the kids with preparation of and clean-up after bucketfuls of snot. you…at least they’ll be quiet for 70 minutes. Better still, let My co-reviewer, Bridget (12), offers her opinions: “I your inner child out and lose yourself in the wonder. If only loved Out Damn Snot - it was fun-filled, gross, ridiculously we could ALL be Leo, at least for some of the time. funny, slimy... and green! The actors connected really well Coral Drouyn with the audience and allowed people of all ages to have a Leo. Photo: Heiko Kalmbach. good giggle. The show is really funny because heaps of people get slimed! Leon Cain as the Booger Bum Fairy - and all the other characters he played - was a highlight. His Lady of the Nose Flake, on rollerblades, was particularly cool.

This is an experience not to be missed - I recommend it to all.”

Jay McKee Leo Circle of Eleven. Created by Tobias Wegner. Directed by Daniel Briere. Fairfax Studio, Arts Centre Melbourne, Jan 15 - 27; Adelaide Fringe, Feb 15 - Mar 16 and Auckland Festival, Mar 19 - 24.

SSSSH! What can you hear? The audience is aged between 5 and 75 yet… apart from the delighted laughter which peppers the show, you can hear ….NOTHING! No rustling, fidgeting, coughing, shuffling or kids asking “What’s he doing Mummy?” Our silence was testimony to the fact that we were all, no matter what our ages, mesmerised by the gravity defying antics of Leo, spellbound by the sheer innovation and brilliance of this one man show. Belgian Tobias Wegner is Leo, and he’s also the creator the show. With Canadian Director Daniel Briere and a brilliant crew of creatives, he takes us to another world and challenges our perceptions, and all with exquisite style and endearing charm.

I don’t want to spoil this by over-explaining it, but the basic premise is a live performer in a box - working horizontally, which is then simultaneously projected vertically, moving through 90 degrees, onto a screen. The Longer versions of many reviews can now be found at www.stagewhispers.com.au

Online extras!

Check out the mind-bending, gravitydefying Leo. Scan the QR code or visit http://youtu.be/WmKYSmMNRbg Stage Whispers 69

4000 Miles. Photo: Jodie Hutchinson.

4000 Miles

By Amy Herzog. Directed by Mark Pritchard. Red Stitch Theatre (Vic). Feb 8 - Mar 9.

ANY opportunity to see the sublime Julia Blake share her craft should not be missed by true theatre lovers. In Amy Herzog’s play about the generation gap and the breakdown of family values, she plays Grandma Vera, an octogenarian who has no time for sugar-coating the truth or playing games (despite her unwillingness to be seen without her false teeth). When grandson Leo, a lost hippy soul in need of spiritual comfort, comes for an extended visit, the two find - in skipping a generation, they are more closely linked than parents and children. It’s a touching and funny play, and beautifully measured entertainment.

Ms Blake has quietly asserted herself, particularly in her later years, as one of our finest stage actresses. The scene where she gets high and talks about how men never satisfied her in bed is both poignant and hilarious. Tim Ross is outstanding as Grandson Leo, a hippy lacking direction and an innocent who cannot face the loss of his best friend and his love. This is a young actor of great depth and emotional truth; it’s a masterful performance, full of uncertainty and vulnerability, and he is a talent to follow carefully over the next few years.

Ngaire Dawn Fair is beautifully cast as Bec, the girl who has grown up and left Leo behind. She plays the role with maturity but allows us glimpses of the girl Leo believed she would always be. Haiha Le is a pocket dynamo; a diminutive girl in absurdly high heels, which she teeters on, she dominates the stage (and Leo) as Amanda in her one long Act 2 scene.

Mark Pritchard has taken these four talents and created a beautifully balanced production. Some of his choices are brave, for example backlighting the most moving scene in the play and letting Leo and Vera play out their awkwardness and pain in silhouette. It works brilliantly.

He’s young, and not afraid of character and emotional 70 Stage Whispers

diversity. We can expect great work from him in the next decade.

With a totally believable and workable set by Sophie Woodward and lighting by Clare Springett, Red Stitch has delivered the perfect offering in 4000 Miles. But isn’t that what we expect from them?

Coral Drouyn

Dreams in White

By Duncan Graham. Griffin Theatre Company. SBW Stables Theatre, Sydney.

Director: Tanya Goldberg.

Feb 8 - Mar 23.

THIS is a difficult evening to write about without spoiling the experience for a potential audience member (i.e. you, the reader). There’s mystery and confusion about the characters and their motives, the sequence of events, the likely outcome, even the author’s overall purpose. This critic had a very good time trying to fit all the pieces together as they spilled onto the stage. He would hate to spoil things for you.

So - carefully, then - Duncan Graham’s splendid 80minute Australian drama is a scattered puzzle waiting to be assembled as the performance unfolds. Dreams in White is about assumptions and reality, dreams and nightmares, horror and double-dealing.

The play, according to the Griffin’s splendid program that includes the complete text published by Currency Press, is “inspired by true events”, the disappearance in Melbourne of a wealthy property developer.

An excellent cast of five shares the 10 main characters with no costume or makeup changes, so it takes some sorting to get who is who. The action is scrambled, with scenes occurring deliberately out of sequence. Characters can switch in an instant. “How do you know what’s going on in somebody’s head?” a baffled wife asks her psychiatrist.

Under expert direction by Tanya Goldberg, there are powerful, committed performances from all concerned.

Mandy McElhinney and Steve Rodgers mainly play a raucous working class couple; Lucy Bell and Andrew McFarlane mainly play a middle class pairing, at odds with themselves and each other. Sara West is touching as a young girl lost in a sea of adult deception.

There are creepy sounds and music from composer Kelly Ryall. Multiple mobile phones ring live and often, exactly on cue.

Frank Hatherley

Longer versions of many reviews can now be found at www.stagewhispers.com.au

Peter Pan. Photo: Brett Boardman.

Peter Pan

By J.M. Barrie. Adapted by Tommy Murphy. Director: Ralph Myers. Set Design by Robert Cousins. Belvoir (NSW) Jan 9 - Feb 10.

THE first thing that crossed my mind was how are they going to fly and where will the Pirate ship come from? Belvoir Street Theatre was once a tomato sauce factory and has never been converted into a regular theatre with curtains and proscenium.

The bedroom of Online extras!

Wendy, Michael and John Watch Belvoir’s creative team discuss was the one and only set Peter Pan by scanning the code or visiting for this production. http://youtu.be/Kmjw3b4aB5M On the shelves were board games with no electronic gadgetry in sight (the way bedrooms looked it unfolds in twists and turns, by degrees - in a seemingly when I was a lad). But how could this be turned into the effortless manner due to Nadia Tass’s directorial precision. backdrop for the adventures of Peter Pan? The Other Place is presented on a neutral, uncluttered Without giving too much away about the clever set by Shaun Gurton and lit to create various and varied stagecraft, I can report that the flying was cute and safe to atmospheres by Nigel Levings. try at home, a double bunk makes a splendid Pirate Ship McClements is a real tour de force. Although an actor and diving onto a mattress is not quite as frightening as easily recognized for her extensive television work, she leaping into the jaws of a crocodile. displays wonderful strength and ability on the large The elegant simplicity of the script adaptation by Tommy Playhouse stage where she is able to ‘turn on a pin’ Murphy, that avoided the at times painful updates we’ve emotionally and psychologically. Her relationship to the seen of late, lasting just one hour and twenty minutes, audience is challenging as a presenter and narrator (albeit makes this production an excellent way to open the unreliable) and participant in two other narratives, one imagination of young theatregoers. legitimate and one a fictionalized construct.

The casting of an indigenous actor, Meyne Wyatt, as Sound (Russell Goldsmith with composition by Paul Peter Pan worked nicely. It gave us the flavour of the Grabowsky) is used unconventionally to enrich the dreamtime in the performance but Tommy Murphy avoided atmosphere and at times, ambiguously, echoes the shifts in making any direct reference to it.

Juliana’s destabilizing mind.

Geraldine Hakewill, as Wendy, elegantly fed the There are several laments in this work. The loss of a child emerging subtle sexual tension between her character and is a haunting theme but not the crux of the work. At the Peter Pan, while Charlie Garber as Mr Darling and Captain heart of the writing is the curvy flow of the changing Hook was so charming we winced at the prospect of him realities, understandings and perceptions of Juliana’s brain walking the plank. that makes it such a rich and rewarding piece.

The tradition of pantomime has long faded in Australia, David Roberts as Ian, Juliana’s longsuffering husband, let’s hope Belvoir can help resuscitate it. initially portrayed through the eyes of his wife as a self David Spicer centered adulterer, towards the end of the play sits on stage - a man reduced by the burden of loving a woman The Other Place who is no longer the one he married.

By Sharr White. Director: Nadia Tass. Set Design: Shaun Clever, poignant and moving, The Other Place is solid Gurton. Costume Design: Edie Kurzer. Lighting Design: satisfying theatre!

Nigel Levings. Composer: Paul Grabowsky. Melbourne Suzanne Sandow Theatre Company. The Playhouse, Arts Centre Melbourne.

Jan 26 - Mar 2.

Liberty Equality Fraternity CATHERINE McClements’s work as Juliana, a

By Geoffrey Atherdon. Ensemble Theatre (NSW). Director: convincingly dynamic and successful woman in her early Shannon Murphy. February 13 - March 9, 2013. fifties, is remarkably strong and rich in this beautifully IMAGINE that anything you put on Facebook, any email, complex work by American writer Sharr White. It reveals as any text you send, could be hacked and used against you, and you have the basis for Geoffrey Atherden’s latest play.

Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 71

again encircling us, she now takes us to a Meet the creative team behind Liberty, “tinderbox” country town Equality, Fraternity. Scan or visit under siege from fire. http://youtu.be/yhR8NvI2r6g A documentary rigour underpins her story of a young arsonist, Ben, his astonishingly patient father - who’s a local firefighter!

- and a naïve, mentally disturbed girl, Viv, who is drawn to the errant Ben. Their slowly evolving story is peppered with both factual and poetic comments on our national history of fires, their hideous impact on humans and especially animals, and Andrew Ryan and Caroline Brazier in Liberty the psychology of teenage Equality Fraternity. Photo: Heidrun Lohr. male arsonists. It’s a big canvas for just 70 minutes.

On the whole, director Zoe It’s fast, it’s believable … and fortunately it’s funny, Carides artfully manages what is an innovative if because without the humour, it would be uncomfortably challenging blend of exposition, poetics and real drama. scary.

The genius of this production is the creative team - Ally A woman waits alone, in a locked room. She is obviously Mansell’s nest of smoking brittle sticks which cradles the confused, anxious, angry. She paces, tears up paper, cleans action, looking instantly combustible under lighting by her nails. Why is she there? What will happen next?

Benjamin Brockman, and backed by a haunting music A young man enters. He’s cocky, but seems a bit soundscape from John Encarnacao. immature. Nevertheless, he logs on to a computer, and In this tinderbox, Alan Lovell makes a convincingly begins an interrogation. And if she won’t answer the authoritative firefighter; Benjamin Ross is stronger as Ben questions, that’s OK, because he has the answers anyway! than in the more neutral posture delivering exposition; and This is a scare campaign - but she doesn’t know why?

Nastassja Djalog excels as the wide-eyed observer, Viv. She hasn’t done anything wrong, but things she has In word and sight, Tinderbox is studded with compelling written, places she has been, comments she has made are and richly poetic images about this devastating force of being used to infer she is something she isn’t. nature and our always belated, near futile attempts to live And the frightening thing is that it could happen! with it.

This is a very clever drama. The dialogue is short, Martin Portus staccato almost at times. The characters emerge quickly and Shannon Murphy and her cast - Caroline Brazier and My First Time Andrew Ryan - have found the pace and timing and

By Ken Davenport and ‘Real People Just Like You’. Andrew intonation that bring out the fullness of the characters and Kay and Liza McLean with the Sydney Opera House. the implications of their messages. They are both incredibly Director: Jo Turner. Sydney Opera House. Jan 4 - 13. strong and believable in these roles.

HAILED as being ‘Direct from New York’ and with a And if one is hoping for a resolution - remember this is poster depicting the four actors nude but for strategically Geoffrey Atherden and he is writing about ‘Now’ and all placed iPads - My First Time - which was derived from a the implications that social media and hacking and phone blog comprising a vast collection of true life stories tapping imply... dedicated to the topic of losing one’s virginity - promises to Carol Wimmer be a titillating, cutting edge production - and for the most part it does deliver. The ensemble cast demonstrates a Tinderbox relaxed, easy rapport and an impressive grasp on the

By Alana Valentine. Tredwood Productions by special multitude of characterisations set before them. arrangement with RGM Artist Group. Theatre 19 Season, Alternately hilarious and harrowing monologues are Darlinghurst Theatre. Jan 4 - 27. presented in rapid-fire succession - interspersed with quick PROLIFIC playwright Alana Valentine has a knack for information ‘bites’ and continuous facts and figures being delivering topical, often verbatim theatre based on projected onto the back wall. Using their iPads as both researching real conflicts and people. With summer fires lighting props and prompts - format and content-wise the piece is rather like a high-tech version of The Vagina

Online extras!

72 Stage Whispers

Longer versions of many reviews can now be found at www.stagewhispers.com.au

Monologues on speed. For the most part the monologues are performed solo, but a few times the performers interact, but only in the most loosely-implied of ways.

As slick as the performances are, given that the subject matter and writing are so explicit in content I would have liked the stakes to have been raised even higher theatrically speaking. The actors do justice to the material which was at times, downright squirm-inducing - but there weren’t enough vivid depictions thrown in to really smack the audience in the head. The promised ‘edginess’ comes off feeling a bit ‘safe’. Let’s face it, if we really wanted to use our imaginations we could just read the blog. Having said that it’s a fun night of theatre and the cast is superb.

Sharon Millerchip’s performance of the “At The Beach” monologue is a drink-spitting highlight.

Rose Cooper Vieux Carre

By Tennessee Williams. Itch Productions. Director/Coproducer/Costume Design: Alice Bishop. 45 Downstairs (Vic). Jan 17 - Feb 3.

THEY say the best thing a director can do for her actors is to create the appropriate atmosphere for a play’s characters to come to life in. For invoking a magic little part of New Orleans in the 1930’s, at 45 Downstairs, full marks must go to Alice Bishop, as director of this rich and satisfying production of Vieux Carre.

To set the scene and enhance atmosphere fabulous blues guitar is beautifully rendered by Bob McGowan and cleverly and crisply piped into the auditorium. Impressive sound design throughout is by Nat Grant.

On an evocative set of a shabby rooming house by Alexandra Hiller we gradually become privy to aspects of the lives of controlling landlady Mrs. Wire (Kelly Nash), maid Nursie (Francesca Waters) and a number of disparate tenants and visitors. All is seen through the eyes of a young poet - denoting the emerging voice of playwright Tennessee Williams (Thomas Blackburne).

Blackburne delivers a neutral, seemingly un-shockable narrator, an empathetic young man, around whom people unashamedly and expressively expose their needy and volatile lives.

All actors portray their complex, all too human characters with skill and clarity. Stephen Whittaker works with the significant challenge of the character Nightingale, a predator and victim. Maureen Hartley and Brenda Palmer as Miss Maude and Miss Carrie bring light-relief with their delightful and charming, kooky but compromised, spinsters.

The first half is palpably about loneliness highlighted by a poignant monologue, rendered skillfully by Nash as Mrs. Wire.

The second half dwells on the youngish, erstwhile fashion designer Jane Sparks (Samantha Murray), fallen on hard times, confronting her worst fears and ousting seedy lover Tye McCool. Murray shines as Sparks and Fleming’s McCool is a strong consistent, convincing presence.

Suzanne Sandow

Renato Musolino and Sam Smith in Rust And Bone.

Photo: Bob Seary.

Online extras!

Discover Rust And Bone’s intertwined stories. Follow the link or scan the code http://youtu.be/FrP4Se4-K10 Rust and Bone

By Caleb Lewis. Griffin Independent and Stories Like These.

SBW Stables Theatre (NSW). Jan 12 - Feb 2.

ADAPTED by Caleb Lewis from sombre stories by Craig Davidson, this play demands challenging performances from Wade Briggs, Renato Musolino and Sam Smith. The very large opening night audience was ready to be supportive - and the writing, direction, acting and effects didn’t disappoint.

Michael Hankin’s set is compelling in its simplicity. A stark, white, sunken square becomes a pool, a boxing ring, a dog-fight arena, and Teegan Lee’s eeriie white light makes it appear almost opalescent.

Lewis manages to temper Davidson’s “dark, brooding and often violent exploration of men at their best and worst” with some humour, which Corey McMahon emphasises in his tight direction of pace and tempo.

The characters are flawed, scarred by events that send them staggering into their futures. Each of the actors projects their deep wounds, without taking the audience too far into despair. Much of this is due to Lewis’s clever writing and quick switches from one story to another, never losing the thread, but not dwelling on the pain for too long.

Pace, timing and focus are essential in drama such as this to avoid losing the audience in the desperation of the characters. McMahon’s carefully considered vision, research and compassionate direction have established a strong, professional bond across the production.

This play is hard work for the actors and the audience, but it is compelling in the dark beauty of its writing and the depths of emotion to which its actors take their characters.

Carol Wimmer

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Stage Whispers 73

Sam Kitchen as Berger with cast of Hair.

Photo: Belinda Strodder.

Reviews: Musicals

So often supporting leads are the wilder ones with social faults. So it was with Rizzo and Kenicke, played expertly by Courtney Underhill and Thomas Armstrong-Robley respectively. We took them to our hearts. Underhill’s stage persona sparkles three times larger than her physique. She broke my heart with There are Worse Things I Could Do. Armstrong-Robley led the ‘cool dudes’ [Danny and Kenicke, along with Michael Owen (Doody), Jimmy Morris (Roger) and Dean Taylor (Sonny)] in Greased Lightning.

The pink ladies deserve kudos, as does William Motunuu for his Teen Angel moment of glory; and also the singing, dancing ensembles, both junior and senior.

Jay McKee

West Side Story

By Arthur Laurents, Leonard Bernstein and Stephen Sondheim. Free Rain. The Q Theatre, Queanbeyan. Feb 8 - 24.

Hair FREE Rain’s production of West Side Story, the legendary

By Gerome Ragni, James Rado and Galt McDermott. updating of Romeo and Juliet set amidst New York’s teen StageArt. Chapel off Chapel. Feb 1 - 17. street gangs of the 1950s, is a treat.

WHEN live theatre really works it is the most joyous and In the main this young cast (many of whom are uplifting experience in the world…and this latest production teenagers themselves) sails through the challenges of Hair really works. It should feel dated, but instead it feels presented by the complexities of the music and dance. There raw, and passionate, and NOW. were the usual glitches which can be forgiven in amateur Direction by Robbie Carmelotti and choreography by Paul theatre, but these do not detract. The leads, Lachlan Whan Malek are exemplary throughout. The band, under the and Nicola Hall are engaging and attractive as the young direction of Cameron Thomas on keys, is terrific. lovers, and both gangs convey a tense mix of anger, fear As Claude, the gentle hippy who just wants to “be”, but and bravado. does his duty anyway, Ashley Rousetty is marvellous. He has The musical direction and reinterpretation of the score a gentle vulnerability which doubles the impact of his was beautifully handled. Highlights are the favourite tragedy. Sam Kitchen is a charismatic Berger. A fine singer, America, Gee Officer Krupke, and a spine-tingling he brings all his vocal chops and swaggering presence to the Somewhere, which has been rescored to benefit from the role. vocal talents of Max Gambale and Sarah Darnley-Stuart. The Renee Pope-Munro as Sheila brings 20 years of training retro-styled choreography is energetic, conveying threat and to the role and it shows. She has two of the best songs, stylised violence, Spanish and jive-inspired dance sequences.

‘Easy to be Hard’ and ‘Good Morning Starshine’, and excels Cathy Bannister in both. Dianne Algate is a Dionne totally in touch with her inner hippy. Ed Deganos, Sam Dariol, Veronica Wnuk and The Wedding Singer the delightful Jessica Barlow are all perfectly cast. Special

By Matthew Sklar, Chad Beguelin and Tim Herlihy. Smash mention to beautiful Gina Mets for her almost ethereal Theatrical. (Qld). Feb 14 - 23. rendition of ‘Aquarius’ and Josh Stent, who is hilarious as BRISBANE community theatre just got a massive shot in Margaret Meade. the arm with the Brisbane premiere of The Wedding Singer.

Go op-shopping and find hippy beads, flowers for your Produced by Smash Theatrical, the ‘new-kids-on-the-block’ hair and psychedelic body shirts. Be a part of the Tribe and in community theatre, the level of performance was like a give the love as well as feeling it. high-powered adrenalin rush - full credit to Joanna Coral Drouyn Pearson’s direction.

The ‘wedding singer’ Robbie Hart was played by Callan Grease Warner, who invested the role with charm and likeability.

By Jim Jacobs and Warren Casey. Redcliffe Musical Theatre. He’s a young performer who can sing, dance and act, and Redcliffe Cultural Centre. Dec 12 - 16, 2012. one who has buckets of charisma. He carried the show.

FROM the pit band’s first flash of Greased Lightning to The two girls who played the women in his life, Laura the stunning finale, this show was electric. The talented six- Caitlin Jensen (Julia) and Hayley Maybury (Holly), also stood piece combo established the mood and rock’n’roll style. out. Both were strong actors with voices that could belt to What a cornucopia of talent Director Madeleine Johns the rafters. attracted and drilled into excellence, with support from Old-stager Jo Toia delivered an audience-pleasing Chorus Master, David O’Keeffe; Band Master, Lachy Stewart Grandma, Rosie, while the chorus worked hard dancing and Choreographer, Meredith Johns. their butts off to some impressive moves by Caron Koch.

Maureen Bowra (Sandy) and Brendon Beltrame (Danny) Best performance of the night however was Shane led a vast cast of triple-threats.

Tooley’s band. Mathew Sklar and Chad Beguelin’s score 74 Stage Whispers

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sounded as good to me as it did when I first heard it on Broadway.

Peter Pinne

Falling To the Top

By Robert Woods and Tyler Jones. Director: Tyler Jones. Half Moon Tent, Perth Cultural Centre (WA). Feb 8-16.

FALLING to the Top, in its second incarnation, lives up to Zanna, Don’t! its subtitle ‘the musical trashtacular’, in a trashier, brasher

By Tim Acito. Additional music and lyrics by Alexander version for Fringeworld.

Dinelaris. Shire Music Theatre (NSW). Feb 8 - 17.

The authors have tightened the show and pared it down for the smaller venue and tight stage space, but it remains SOUNDS a bit like a Xanadu spoof, doesn’t it? Zanna, Don’t! Actually, it’s more like a gay Grease / High School an extremely funny send-up of Reality TV, the quest for fame at all costs, pop success and the music business.

Musical / Cinderella hybrid send-up. And it’s a hoot!

The original cast all returned. The Divalettes, played by Shire Music Theatre’s reputation as a boutique community music theatre company is enhanced by another Breeahn Jones, Kimberley Harris, Maria Velletri and Claire Taylor, were again brilliant, while the supporting cast also engaging ensemble production. shone.

Set at Heartsville High School, your (almost) typical American High School, but in a parallel universe where New songs, some venue specific jokes and some spicier everyone is gay, suddenly forbidden love (heterosexual) rears lines helped to keep the show fresh and added elements of its head. There’s a fun final twist, lots of sly little references surprise for returning fans.

It was well worth battling overwhelming heat in the Half and a touching message of acceptance.

Moon Tent for this little beauty.

Director / Set Designer Chae Rogan’s smartly paced, Kimberley Shaw energetic production moves fluidly using minimal sets and props. Craig Nhobbs’ choreography is bright and tongue-inInto the Woods cheek, while Andrew Howie’s band provides a lively rock accompaniment.

By Stephen Sondheim and James Lapine. Gold Coast Little In an excellent, well-balanced cast of twelve, the singing Theatre (Qld). Feb 2 - Mar 2.

THIS inspired interpretation was very well received, both and dancing are strong, but it is the acting that really impresses. The situations and characters are utterly and

by Sondheim devotees and those unfamiliar with the piece.

Director Joshua McCann-Thomson’s talented ensemble consistently silly, but the cast maintains the characterisations cast, well versed in performing Sondheim’s unique style, and belief so vital for this sort of piece to work.

Zanna, Don’t! What a zany little romp. carried it off perfectly. Under the musical direction of Ethan Jones, the lyrics were never sacrificed despite the hectic pace Neil Litchfield of the show.

The imaginative set had forest and interior scenes The Wizard of Oz

By L Frank Baum. Music and Lyrics by Harold Arlen and E. Y. entwined, enabling fluidity from scene to scene, enhanced

by Choreographer Tess Burke’s clever movement, while the Harburg. Packemin Productions. Riverside Theatre crew overcame the many challenges that the set posed to Parramatta. Feb 8 - 23.

HASN’T every child (and inner child) skipped down their deliver the technical support demanded. own yellow-brick road, arm-in-arm with Scarecrow, Tinman, Everyone in the experienced cast gave 110% and each had their opportunity to feature.

Cowardly Lion and Dorothy?

Roger McKenzie Four professional performers bring joyous life, rapport and chemistry to the quartet, leading Packemin Productions’ The Drowsy Chaperone large, capable pro-am cast in The Wizard of Oz. Book by Bob Martin and Don McKellar, music and lyrics by Laura Murphy is vulnerable and feisty by turns as Lisa Lambert and Greg Morrison. Company Clegg, Civic Dorothy, in a warm, engaging performance. Jimmy Rees Playhouse, Newcastle. Dec 20 to 23, 2012. physicalises the gangly Scarecrow delightfully. The tightly THIS delightful musical was a fitting finale for the constrained physicality of Luke Joslin’s Tinman is spot on. graduating acting students at Hunter TAFE’s Regional The real crowd-pleaser, though, is Adam Scicluna’s teddyInstitute of Performing Arts, with their skills giving vivid life bearish Lion, a sympathetic, broadly comic take. to a demanding work.

Others also shine, notably Zoe Tidemann’s villainous The Drowsy Chaperone shows an elderly man talking Wicked Witch / Miss Gultch, complete with chilling cackles about his love for musicals, especially that of the fictional and Simon Ward’s credible doubling as The Wizard and Professor Marvel.

1928 title work.

The show and its characters come alive as he shares his A well-drilled little army of 150 children from local schools, in vivid eye-catching costumes, displays exuberance memories, treating the audience to an affectionate, tongueand enthusiasm as the Munchkins. in-cheek recreation of 1920s musicals.

The writing team has cleverly put musical theatre cliché The adult ensemble is strong, committed and focused. after cliché into the work, and made it great fun - fun that Peter Hayward leads an outstanding pit orchestra, director David Brown, the 16 actors and the production creating a lavish sound. team brought out.

Neil Litchfield

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Stage Whispers 75

Kane Gavin was an engaging host as the musical lover, with his comments gradually revealing why the show meant so much to him.

Georgina Hardy, as bride-to-be Janet, had a lively scene which began with her telling reporters why she’s giving up show business and developed into a big production number that raised questions about whether she’ll be able to keep to her intent.

She subsequently had a warmly amusing duet, Accident Waiting to Happen, with Matt Graham’s blindfolded and roller-skate-wearing elegant groom, Robert, in which she pretended to be a French woman, Mimi, to test his fidelity.

Ken Longworth

became unable to perform as the play progressed, but it was seamlessly handled and would have passed unnoticed unless you counted Joseph’s brothers.

An excellent production from a young cast who really stuck by the motto, the show must go on.

Kimberley Shaw

Happy Days - A New Musical Book by Garry Marshall. Music & Lyrics by Paul Williams.

Directors: D’Arcy Mullamphy & Andrew Higgins. Townsville Civic Theatre. Feb 7 - 16.

THE “new” musical Happy Days was the choice of the Townsville Choral Society to open their 2013 season. When I heard the title I thought, “oh well, another jukebox musical” You’re A Good Man Charlie Brown but at least I looked ahead to some great 50s numbers. But Music and Lyrics by Clark Gesner. Ballina Players Youth it is a “new” musical and as such the only number anyone Theatre. Players Theatre, Ballina. Jan 11 - 20. knew was the theme to the popular television series.

BASED on the comic strip Peanuts, this show was written So, why did the audience leave the theatre with big with adults in mind but this young cast gave a very polished smiles and happy dispositions? It was purely because of the performance. enormous talent on stage. The cast mainly consisted of Charlie Brown was played by Brad Somerville with Peter great young actors of varying experience who saved the night. Their singing and dancing was enthusiastic and Gray as Schroeder and Jaume Pirle as Linus. The girls were strongly portrayed by Sophie Davis as Snoopy, Danika Saul infectious with help from tight direction, excellent as Sally and Lali Gill was the dominating Lucy. choreography and a fantastic orchestra.

The eldest of these performers was only 17 but the Adam Ruxton as “The Fonz” matched well with Michelle standard was way above that level.

Higgins as Pinky. Brady Cronin, Cameron Hooper, Brett Northeast and Malcolm Hume made an entertaining, tight The technical side of the production was in the capable hands of youthful operators, while the Bass Guitar player quartet as Richie, Chachi, Ralph and Postsie. Grace Royal was also under the age of 20. was a wonderful Joanie and Dale Hosking and Nancy Nicholson stood out as Mr & Mrs Cunningham.

With the Players policy of developing and encouraging their junior members, theatregoers of the far north coast of Ray Dickson NSW can be guaranteed a bright and entertaining future.

Chicago Roger McKenzie

By Bob Fosse, John Kander and Fred Ebb. SNAP Productions.

Joseph and the Amazing Technicolor Dreamcoat Hunter Theatre, Broadmeadow (Newcastle). Feb 13 to 23.

RETAINING the vaudeville settings of the story’s era, this

By Andrew Lloyd Webber and Tim Rice. Director: Carle Dhu. Pinjarra Civic Centre (WA). Feb 8-9. production of the musical about two murderesses in 1920s Chicago vying for media and public attention was given a THIS youth production was a wonderful feel-good experience with devoted and energetic performances from first-class staging. all of the cast, ranging in age from 6 to 18.

Louise Thornton, as Velma Kelly, opened the show with a I loved the atmosphere, where even the youngest foot-tapping All That Jazz and gave an amusing picture of performers were given equal status, and worked as a her proposed courtroom tactics in When Velma Takes the seamless ensemble.

Stand. Katie Wright, as Roxie Hart, gave Roxie, the With the exception of 14-year-old Cassie Power, who character’s account of herself, a vibrant self-assurance, and played Joseph in a bravura performance, all actors played an ironic beauty to My Baby and Me, Roxie’s false multiple roles and had extensive costume changes, not at all declaration of pregnancy to gushing assembled reporters. easy in sweltering conditions.

Nick Stabler put razzamatazz into the tactics of Billy There were some gorgeous moments. I loved the use of Flynn in All I Care About, and the exuberant Razzle Dazzle. umbrellas to highlight the many colours in the coat and Drew Holmes, as Roxie’s ignored husband, was humorous Mrs. Potiphar’s (Alice Warren) use of a broad Australian and moving in Mr Cellophane, and Megan Williams gave accent. glamour to Mama Morton in her first appearance in a Costuming, something of a group effort, was quirky and glittering purple and silver gown singing When You’re Good delightful, from Diana Oliver’s gorgeous sheep and goats to to Mama.

Joseph’s amazing coat, made by the lead actress herself.

Director Paul King, choreographers Silvia Martinez and Maddison and Bianca Thomas not only played the Butler Nicole Maslowski, musical director Kieran Norman and his and Baker beautifully, but were two of many in the cast to on-stage band, vocal director Michael Nolan, the lighting, pick up and perform whole songs at a moment’s notice set, costume and sound design team, and the large when a performer was suddenly incapacitated. ensemble made this a Chicago to see and remember.

With illness raging backstage, several cast members Ken Longworth 76 Stage Whispers

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Reviews: Plays

the vapours - yet the background becomes crystal clear and Vivie’s choices are seen to be both devastating and lifeenhancing. Schebsta is excellent: we ride along with her as she faces each new challenge.

Thompson makes a big impression on arrival as the glamorously attired Mrs Warren, but the tough-nut cockney battler inside doesn’t, as yet, completely convince. Jacobs is particularly good as the sonorous dodgy businessman making a lazy play for the spikey girl.

Frank Hatherley

Great Falls

By Lee Blessing. Ensemble Theatre, Kirribilli (NSW). Director: Anna Crawford. Feb 6 - Mar 3.

DIVORCED step-father “Monkey Man” is taking his estranged - and unwilling - step-daughter, “Bitch”, on a trip across America to places he visited in his childhood. He wants re-connect. She doesn’t. She is surly, aggressive.

It doesn’t sound gripping, but playwright Lee Blessing uses this strange journey as a sort of family cleansing.

The play is beautifully crafted. There is no unnecessary, rambling reasoning or accusation, yet their ‘baggage’ is vividly clear. Both characters are writers, so words are their weapons. Short poignant sentences reveal two strong, yet flawed individuals unravelling past resentments … and facing more immediate problems.

Christopher Stollery is compelling as “Monkey Man”.

Helen Thomson and Lizzie Schebesta in Sydney Theatre Company’s Mrs Warren’s Vocally and physically he creates a character who is tense, Profession. Photo: Brett Boardman. wary. He can’t push too hard, or pry too deeply - but he is anxious to keep reaching out. He backs away, suppresses Mrs Warren’s Profession reactions, starts again.

By George Bernard Shaw. Sydney Theatre Company. Wharf Erica Lovell is a distressingly believable “Bitch”. Carrying 1. Director: Sarah Giles. Feb 19 - Ap 6, then touring before a the hurt of the character in coiled, tight control, she too is return season, July 4 - 20. wary, hiding behind an almost impenetrable emotional wall.

BECAUSE of the times in which it was written (1893) this Sharp, bitter outbursts, stubborn silences, icy glares - Lovell’s terrific early Shaw drama - here given a welcome rare revival reactions are natural and her timing exact. by the Sydney Theatre Company - is powerfully constrained Though harrowing at times, there is a little humour and and guarded. moments of connection and compassion. It is beautifully Ironically, Shaw’s extreme care with his coded dialogue written, perceptively directed and sensitively performed. makes Mrs Warren’s Profession more to 21st century tastes.

Carol Wimmer He doesn’t, as in many of his didactic masterworks, overpower with argument: it’s all left for the audience to Closer sort out. Sarah Giles, on her debut STC directing

By Patrick Marber. Director: Scott Major. Chapel off Chapel assignment, keeps a properly tight rein on her cast, (Vic). Feb 14 -March 2. gradually revealing the true extent of Shaw’s social anger “HOW do we determine what is love and what is need, and pioneering feminism. and how far will we go to get what we want?” Patrick On a stage that thrusts deep into the audience, superMarber asks in his award winning play. bright graduate Vivie Warren (Lizzie Schebsta) prepares to Alice, a beautiful young stripper, adopts a false persona meet her much-absent mother Kitty (Helen Thomson). “You to attract a man who will love her; Dan is a mediocre user in modern young ladies are splendid,” says family friend Praedy need of validation who dumps his partner to pursue Alice (Simon Burke) who angles for Vivie’s attention as much as only to betray her; Anna, a successful photographer, is an lanky, toothy Frank (Eamon Farren), laid-back son of the observer of life, who doesn’t fully understand the nervous vicar (Drew Forsythe) next door. When Mrs Warren repercussions of participating; and Larry is a doctor who arrives, accompanied by her rich and aggressive business can’t shake his primitive urges, including the lust for partner, Sir George Crofts (Martin Jacobs), Vivie begins to revenge. uncover the secrets and lies that have sustained her Under the deft hand of director Scott Major, a stellar cast privileged life and education. more than does justice to Marber’s biting cynicism and black Words like ‘prostitute’ or ‘brothel’ are never mentioned - comedy. even the act of writing them down gives these characters Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 77

Leslie Simpson (Larry) has an impeccable sense of comic timing and his facetious yell of “Well, Lucky Me!” made the audience wince even as it laughed, but he also understood the dark underbelly of revenge driving the character.

Impossibly talented Alinta Chidzey infuses Alice with sexuality and heart-wrenching fragility. Claudia Greenstone brings her wealth of experience to Anna, a beautifully balanced performance. And director Scott Major makes the weak and despicable Dan charming and persuasive. His line “You’re not brave enough to let him hate you” is quietly chilling.

The minimalist set design by Sarah Ranken is perfect and Tony Johannsen’s original music is the crowning touch.

Coral Drouyn The Small Poppies

By David Holman. New Theatre (NSW). Jan 17 - 26.

THE Small Poppies may be about little Aussie kids and written thirty years ago but this production shows it never grows old. David Holman’s play expresses our 1980s confidence in multiculturalism and, crucially, the power of good teachers to guide young kids to embrace difference.

That, sadly, may sound dated but, with these kids at their first day of big school, Holman’s message is never heavyhanded.

It’s the story of a growing friendship between Clint, an Aussie boy grumpy about the man now sleeping with his single Mum, a Greek boy called Theo and an orphan refugee, Lep, who arrives from Vietnam with just three words of English. The busy action is played out against Andrea Espinoza’s cartoon set, reminiscent of Playschool but complete with doors and windows for jokesters popping in and out with naughty gags.

As we leap through effective and warm-spirited vignettes, for director Felicity Nicol, the challenge is energy management. She mostly achieves consistency of toddleracting from her boisterous and loud young adult cast, but theatrically the production needs some sharper punctuation, especially in driving to its moving climax.

Rosie Lourde is tender and real as the orphan Lep; Nick Atkins waves excessively like a windmill but captures the excitable Leo; and Sarah Hansen is worthy of worship as the teacher.

This is a charming show about young natures, so totally egocentric and randomly brutal, but still blooming into humanity. Informed by adult actors, Small Poppies is for all ages.

Martin Portus The Motherf**ker With A Hat

By Stephen Adly Guirgis. Director: Adam Mitchell. Studio Underground, State Theatre of WA. Jan 17 - Feb 3.

WHILE I don’t consider myself a prude, I wasn’t particularly excited about seeing The Motherf**ker With A Hat. The promises of extremely frequent course language, explicit sexual descriptions, drug use, adult themes and possible nudity didn’t seem likely to be hiding great theatre, but I would urge people with similar misapprehensions to go.

78 Stage Whispers

Stephen Adly Guirgis produces dialogue that, while profanity strewn, at times has the clever humorousness of Coward or Wilde.

His characters are deeply flawed, hugely misguided or just plain strange, but are all densely constructed and interesting, and the plot, while relatively simple, is captivating.

Austin Castiglione played central character Jackie, recently released from prison and precariously on the wagon, with passion. Rhoda Lopez played his fast talking Puerto Rican girlfriend Veronica beautifully, with both toughness and vulnerability.

Kenneth Ransome played Jackie’s AA sponsor with apparent effortless charm, while Alison Van Reeken was excellent as his wife Victoria.

Fayssal Bazzi stole many scenes as Jackie’s camp but ‘sort of’ happily married cousin, bringing renewed energy to every scene.

Brian Woljen’s revolving set allowed quick transitions but also showed almost perfect attention to detail.

The Mother**ker With A Hat seemed a surprising choice for a state theatre company, but in spite of its profanity and subject matter (or perhaps because of it), was an excellent piece of theatre.

Kimberley Shaw Shakespeare in Hollywood

By Ken Ludwig. Castle Hill Players at the Pavilion Theatre. Feb 1 - 23.

REMEMBER the 1935 movie of A Midsummer Night’s Dream? Mickey Rooney, James Cagney, Joe E Brown? Now imagine that Oberon and Puck have transmogrified and been cast to play themselves.

Ken Ludwig has done just that in this farce of impersonations, comic interpretations and cleverly contrived complications involving lust, love, jealousy and fairy mischief.

Director Paul Sztelma finds the essence of the play’s comedy and satire. His production is clean and fast and very funny, and clever lighting (Andrew Kinch) and sound design provide the magical effects.

Rickard Roach’s lithe and ethereal Oberon stands out. His very careful diction and musical delivery provide a sharp contrast to the American accents of the “Hollywood” cast.

Brooke Davidson plays Lydia Lansing, the airhead New York actress who plays Hermia. Her strident Bronx accent grates, but adds real humour to her delivery of The Bard.

Lauren Vincent is sweet as Olivia Darnell (Helena), the antithesis of Lansing. She has talent, is young, elegant and attractive - and Oberon falls for all of these charms.

Stephen Snars underplays Will Hays, of the Hays Code of Censorship, until transformed by Oberon’s magic and Phil Lye is hilarious as Joe E Brown playing Francis Flute playing Thisbe.

Sztelma builds the comedy quickly but smoothly to a hectic frenzy as Puck’s wanton flower works its magic in Act Two. Carol Wimmer

Longer versions of many reviews can now be found at www.stagewhispers.com.au

Calendar Girls particularly when they combine great skill and passion for

By Tim Firth. Canberra Rep. Theatre 3 Acton. Feb 15 - Mar 2. the subject matter.

CALENDAR Girls is a comedy with heart. How can it not Torch Song Trilogy is one of those. The play ranges from be, with moments of grief, clear-sightedness, determination, comedy, to bed-hopping farce, to gripping drama. and truthfulness, mixed with women with hearts of gold?

It opens with the stage stripped back to the theatre The cast assembled by director Catherine Hill managed to walls. Three drag queens apply their make-up in front of express all this and more. stage mirrors, to prepare for a performance.

Naoné Carrel is marvelous as feisty florist Chris, who Simon Corfield shines as the wise-cracking Arnold. His takes Annie’s calendar idea and runs with it. Annie, played foil is Ed, played by Christian Willis. He looks and feels like

by Elaine Noon with compassion, dares to push boundaries his character, walking the tightrope of a gay and straight with the Women’s Institute. Megs Skillicorn’s Ruth was relationship. vulnerable and desperate to please, and believable as she Much of the pre AIDS Gay lifestyle of New York is laid grew a spine and stood up for herself. Judi Crane’s Marie bare. was marvelous as the head of the local WI, with her desire Torch Song Trilogy takes you right into the anonymous for status and her own weaknesses. sex in the backroom of a New York bar.

Direction and humour made the calendar photography Lashings of humour get you past a few moments where shoot the highlight of the play. The actors were swift and perhaps there is ‘too much information’. cheeky, and it went very smoothly. The “reveal” of each Even more confronting is the emotional battleground, month was most amusing. especially when Arnold’s mother - played beautifully by The lighting design was strong. Kudos to stage Amanda Muggleton - confronts her feelings about her son management and properties for the huge amount of props and disappointment that he “chose” to be gay.

Andrew Beale and Kelvin Harman and coming and going that was involved. The outside The play still resonates 30 years after it was written. scenes were somewhat less successful than the well-planned David Spicer interior, understandably a bit difficult given that this is a film adaptation.

Daylight Saving Rachel McGrath-Kerr

By Nick Enright. Newcastle Theatre Company. Jan 19 to Feb 2.

NICK Enright’s comedy is set mainly on a Saturday night The History Boys that daylight saving ends.

By Alan Bennett. Peach Theatre Company. Playhouse, Clocks are turned back as the people reflect on their lives Sydney Opera House. Feb 13 - Mar 12. over a 20-year period.

THERE’S no question that Alan Bennett’s play The History The unexpected entrances of people who gush on about Boys is a beautifully written piece of theatre. But does the the problems in their lives and get confused about the current production tease out every nuance and take identities of others could have been the stuff of farce, but advantage of all the underlying subtleties?

Enright, while providing lots of laughs, kept them Overall this is an earnest attempt at realising what is a recognisably human. very sophisticated story and for the most part the audience Director Noel Grivas and his actors deliver well-paced appeared to enjoy it. But in his direction Jesse Peach does comedy in an elegant northern Sydney beaches house living go for obvious choices, rather than digging deep under the area. surface and uncovering the vast richness of the story. It is at Tom Finn (David Gubbay) is the manager of a 21-yeartimes predictable and a bit clichéd. old tennis player, Jason Strutt (Duncan Gordon), whose onThe story is underpinned by the strong cast of and off-the-court behaviour gives him critical headlines. experienced actors with standout performances from Matt Tom’s wife, Felicity (Tracy Ebbetts), owns a popular Sydney Hardie as Timms, Matthew Backer as Posner and Lindsay restaurant and is invariably there serving the up-market Farris as Dakin. But there is also a sense of it being undercustomers. rehearsed, evidenced in the slight uncertainty in some of the On the final daylight-saving Saturday Tom is overseas. actors’ choices. And at times the pacing is sluggish and Felicity is smarting from a television interview aired the night laboured. before in which her sex life was raised.

The technical aspects and set design are simple and serve But American Josh Makepeace (Phil McKewin), with the story well enough. whom Felicity had a romance 20 years earlier, sees the This production will not necessarily go down in the interview. He’s in Australia on business and contacts her, annals of history as a stellar standout, but it does make for a leading Felicity to invite him to her home for a candlelight decent night out at the theatre. dinner.

Whitney Fitzsimmons Nothing, of course, goes to plan, with constant visits to the house by Felicity’s mother, Bunty (Lisa Chamberlain), Torch Song Trilogy stressed neighbour Stephanie (Amanda Woolford), and the

By Harvey Fierstein. Gaiety Theatre / Mardi Gras. Director: arrivals of Tom and Jason.

Stephen Colyer. Darlinghurst Theatre. Feb 6 - Mar 3.

Ken Longworth SOME independent theatre productions can be so good they outshine many from main stage theatre companies, Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 79

Murdered to Death

By Peter Gordon. The Basin Theatre Group (Vic). Feb 15 Mar 9.

IT’S always a pleasure to drive out to The Basin Theatre Group because they make patrons feel so welcome. The script of Murdered to Death has a very slow set-up, however, by the second scene the laughs were coming thick and fast and the audience clearly enjoyed the evening and the spoonerisms of Inspector Pratt.

Director Don Harrod has clearly worked hard with his cast, but the tableaux at the beginning of each scene slow the momentum and some laughs are lost because of it.

There was a wide range of enjoyable performances but special mention must go to Chris Shaw, whose bumbling idiot Inspector was a nice change from the usual Clouseau interpretation. He was endearing and genuinely funny.

James Macrae as Bunting was as terrific as I expected and Rowan Thompson made a veritable feast of Constable Thomkins. I loved George McGibbon’s reveal as a Scottish Pierre, and Susan Carty made Margaret Craddock a formidable wife to Neil McColl’s delicious Colonel Craddock.

The set and the costumes are outstanding and all praise to Bob Dingley and Judy Dingley respectively. They have excelled themselves in these areas….and it seems Bob was also responsible for the terrific background music tracks.

Coral Drouyn Our Town

By Thornton Wilder. Maitland Repertory Theatre. Feb 6 to 23.

THORNTON Wilder’s play is one of the most cherished of the 20th century.

The action takes place in a United States town, Grover’s Corners, in the period 1898 to 1913, but the rituals and events shown - are still very much the same in many countries 100 years on.

Wilder set the action on a virtually bare stage, with a stage manager who serves as narrator talking about the town and its people as he moves a few props, mainly chairs and ladders, around to provide settings.

Brian Randell did a good job as the stage manager, setting the scene for conversations and occasionally stepping into the roles of minor characters.

Directors Luke Yager and Alexander Spinks extended the bare stage concept to the production’s colour scheme, with the actors in black and white clothes and performing against a dark back wall.

The concept worked well in the opening of the final act, with seated white-clad people bearing lighted candles on their laps vividly suggesting a cemetery’s tombstones while letting the audience recognise the characters who have passed away.

Elsewhere, though, it was contrary to the nature of the play. Our Town looks at the colours in people’s lives, as they work in their gardens, walk home in groups from community functions and propose marriage. The production needed more of the colour, emotionally and physically, that was seen momentarily when brightly hued confetti was dropped on happy newlyweds as they left a church.

Ken Longworth 80 Stage Whispers

Key For Two

By John Chapman and Dave Freeman. Marloo Theatre.

(WA). Feb 1-23.

I’M not usually a huge fan of English farces, but tightly directed and well acted they can be a pleasure to watch.

Darlington Theatre Players’ Key For Two was delightful.

A kept woman tries to hide her two married lovers from each other, which leads to a series of pretences, mistaken identities and misunderstandings.

Well paced and energetically played, the cast worked well as a team. Siobhan Vincent was solid and likeable in the central role of Harriet, while her very different married lovers were well inhabited by Joe Isaia and Keith Scrivens.

Exuberant Krysia Wiecheki played Harriet’s madcap friend delightfully, working well with uptight onstage husband Rodney Van Gronigen.

Michele Acott and Kerry Goode played the wronged wives with robust comedy, swiftly establishing strong characters.

George Boyd’s set design was excellent, with dressing by Gail Palmer and Genevieve Hartney adding ring of truth detail.

Director Andrew Warwick steered a tight but thoroughly entertaining ship.

Kimberley Shaw Charley’s Aunt

By Brandon Thomas. Genesian Theatre Company. Jan 12 Feb 23.

YOUNG sweethearts courting without a chaperone?

Unthinkable!

Two Oxford students set up a rendezvous with the girls of their dreams in this 1892 British farce. All threatens to go off the rails when the aunt of the title fails to materialize, until fellow student Lord Fancourt Babberley is persuaded to fill in.

It’s this farcical comic drag performance, impishly realised by Nicholas Pond, an agile, natural clown, which still drives the fun.

Events are spirited and entertaining; firstly mistaken identity, then the arrival of the real aunt, played with knowing poise and a sparkle in the eye by Lynn Turnbull Rose.

Carlin Hurdis (Jack) and Thomas Greader (Charley) establish the ardent young men’s contrasting dispositions, while Justine Kacir (Kitty) and Kate Parker-Frost (Amy) knowingly and flirtatiously twist them around their little fingers.

As man-servant Brasset, Stephen Holland breaks the ‘fourth wall’ in wry fashion. David Stewart Hunter plays Sir Francis with appropriate military bearing, while Timothy Bennett’s Spettigue is suitably boorish.

Lilianna Komljenovic plays Ela Delahay convincingly as far less frivolous than the other two young women.

Occasionally stagecraft needs attention but on the whole Shane Bates has directed a likable, energetic, tongue-incheek production of this old favourite.

Neil Litchfield

Longer versions of many reviews can now be found at www.stagewhispers.com.au

Blood Moon

By Nicholas Kazan. Unpathed Theatre Company. Director: Christopher Stollery. Tap Gallery, Darlinghurst. Feb 5 - 16.

BLOOD Moon reads well, but requires considerable energy, pace and subtly to deliver successfully on stage.

Nicholas Kazan’s mid-eighties play is based on a true story and emerged during the early post-feminist period. It’s full of rage, rage which is fully justified.

The play is in two acts. The first deals with a terrible crime committed against protagonist, Manya. Her uncle betrays her and a man she’s powerfully attracted to violates her trust. After the snappiest ‘tween acts change I’ve seen for years, Manya re-emerges a year later and executes a shocking act of vengeance.

The excellent set by Tom Bannerman is entirely functional and serves the action well. Unfortunately, the actors do not.

All three are somewhat uncomfortable in their characters.

Beck lacks the physical presence and vocal power for her role, and whilst Ted Cosby looks the part of Alan, he doesn’t deliver the manipulative and powerful essence of an arch psychopath.

The sound is way too loud during the first act, drowning the weak voice of the lead actress. The lighting is patchy and dim. During the dinner scene a lamp obscures the face of an actor during crucial revelations. In fact, the actors’ facial responses were often obscured because they had their backs to the audience.

Stephen Carnell Act a Lady

By Jordan Harrison. By The Scruff Theatre Company. Director: Andrew McMillan. La Mama Courthouse. Jan 16 - 27.

ACT a Lady, a fast paced, gender-bending play-within-aplay, begins with Miles (Mason Gasowski), True (Spencer Scholz) and Caspar (Kashmir Sinnamon), from a Midwestern town in 1927, as they embark on putting on a play in ‘fancy type, women type clothes’. Miles’ storekeeper wife Dorothy (Angela Lumicisi) agrees reluctantly, because the couple is putting their livelihood on the line.

Miles, True and Casper are all looking for something the conservative town cannot provide and when Director Zina (Julie Anna-Evans) enters, her Marlene Dietrich style is reminiscent of more progressive parts of the world.

One of the more challenging yet moving scenes has Casper gently place his head on True’s shoulder. True seems to acknowledge the sentiment behind the sign of affection, however doesn’t respond in a homophobic way. True shares a saucy picture with Casper; a ‘coping strategy’ as living a closeted life in the town of Wattelburg is the only real option.

The 18th Century melodrama initially provides this escape for the townsfolk but curiously leads them back to face their fears and then challenge their ideas of reality. The female cast members discover the power in pants and Cass Bainbridge’s Lorna -make-up artist to the stars - is wonderful.

Act a Lady is a fast-paced journey exploring the fears behind rigid views on gender.

P. Talty

Kiss Me Like You Mean It

By Chris Chibnall. MARC Up Productions. The Owl and The Pussycat, Richmond, Vic. Feb 13-23.

KISS Me Like You Mean It is a strong character-driven piece, populated by just four characters, all of whom are engaging, interesting and believable.

Tony and Ruth, two young people, meet awkwardly in a back garden while taking refuge from the noisy party. Tony is immediately attracted to Ruth, but his efforts to come on to her are far from impressive. Despite this, she gradually warms to him - despite interruptions from a raunchy elderly couple having noisy sex next door.

We move into Don and Edie’s flat to discover what’s behind this outpouring of passion. Tony and Ruth arrive back on the scene just as the story takes a sudden turn from romantic comedy into starkly serious subject matter.

Sustaining a piece of theatre in such a tight performance space as this relies heavily on the skill of the performers.

Thankfully, the whole cast was up to the job, delivering solid performances with absolute commitment. Rob Gaetano as Tony is engaging while self-deprecating. Chloe Reid as Ruth gives us a cool exterior with a nice spark of genuine warmth beneath, which gradually emerges as the play progresses. Kirk Alexander as Don is full of bluster, passion and infectious energy. Carrie Moczynski’s genuine, touching and multi-layered Edie was a standout.

Kudos to the director, Kate Shearman, the production team and the cast for bringing this engaging piece to life.

Alex Paige Psycho Beach Party

By Charles Busch. Theatre Works / Midsumma Festival. Jan 11 - 19.

PSYCHO Beach Party is campy fun with a hip young cast channeling all sorts of B-grade movie characters with unfailing energy.

Ash Flanders is both sweet and wickedly funny in the key gender-bending role of Chicklet, a bouncy teen girl who wants to surf the big waves just like her surfer boy idol Kanaka (Peter Paltos). She’s held back by her youth and innocence, her scary mum (a vampish Amanda McGregor) and to some extent her philosophical friend Berdine, played with a delicious 60s B-grade weirdness by Genevieve Giuffre.

Flanders looks nothing like a teenage girl but he brings a beguiling cuteness to the character, in contrast with the buff beach boys and hot babes.

The combination of tight, focused direction by Stephen Nicolazzo and a talented cast, means this party continues to delight and surprise the audience. The leopard print set is matched by leopard print details on the costumes, binding everything together like a B-52s film clip.

The actors relish the opportunity to play around with old Hollywood characters. There are shades of Marilyn Monroe in Caitlin Adams’ portrayal of curvy actress Bettina Barnes, while Amanda McGregor is a scream as Chicklet’s mum, with her arched eyebrows and vampiric smile.

Sara Bannister

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Stage Whispers 81

Moving into the modern era did not detract from Hugh Halliday’s production and he made good use of the fly tower to fly the office out to reveal the prison yard. The lighting was also effective. I don’t recall the full stage being used before so it wasn’t as cramped as in past productions.

This was good as there was a large male chorus.

Donna-Maree Dunlop was everything one could want as Leonore in a small theatre. With her short hair she looked masculine in the disguise as Fidelio, and her voice had the requisite bite to cut through the orchestra.

Unfortunately Jason Wasley did not have the same vocal equipment. He has a good tenor voice, but not the steel required for the role, though I know of noone else in the MO roster that does. Fortunately he did not over sing to try and compensate, but was often lost in duets with his La bohème partner. They were a convincing couple.

By Giacomo Puccini. Libretto by Giuseppe Giacosa and Luigi Steven Gallop was a sonorous Rocco and Roger Howell a Illica. Opera Australia. Joan Sutherland Theatre, Sydney strong Pizzaro, though his tendency to swallow his words Opera House. Dec 31, 2012 to Mar 21, 2013. was frustrating. Fiona Jopson and Brenton Spiteri were THE bittersweet bohemian lifestyle of 1830s Paris, excellent as the young couple. background for Puccini’s great opera, is relocated to 1920s At the end the applause was loud and long.

Berlin in Gale Edwards’ production, now returning with new Graham Ford principals. The move between centuries and European capitals brings significant benefit. Puccini’s six ‘arty brats’ A Masked Ball seem under even more pressure to join an even nastier

By Giuseppe Verdi. Libretto by Antonio Somma. Opera mainstream society. Edwards’ intelligent production on Brian Australia. Joan Sutherland Theatre, Sydney Opera House. Jan Thomson’s flexible setting gives clear access to the social 16 - Feb 12. conditions that rule the gang’s chances while giving full THE opera opened with striking 3D images of young and value to the headlong rush of Puccini’s lush, fabulous beautiful bodies, onto which pictures were projected of melodies. dramatic moments. A high and deep cement structure then Of course, this being opera, the principal singers don’t descended. Pieces rose up and down, sometimes creating really convince as young, starving outsiders. But this is balconies. definitely not a problem for the revved-up audience who Onto the stage came the enormous chorus, all in suits, thunders its approval for the hero’s “Tiny hand is only differentiated by the numbers printed on them. They frozen” (grandly delivered by Gianluca Terranova), for the were wearing white padded helmets. An unkind member of tragic heroine’s “My name is Mimi” (Nicole Car sweetly the audience said they resembled bandages. introducing herself), and for the brilliant waltz “When I go Another scene in the King’s ‘office’ had a backdrop of along”, here delivered as a late-night cabaret spot for Lorina giant video screens allowing the dictator to spy on his Gore as the free-loving Musetta in a dazzling sequinned people. outfit.

The Director Alex Olle explained his vision as having an This downtown nightclub sequence is particularly good. “aesthetic underpinning in an Orwellian view of the future, Gale Edwards brings all her top-flight-musicals directing but it also sets this version’s discourse in the distrust that the talent to a scene that floods the stage with high and low concept of power creates in each anonymous individual.” life, including a dozen high-energy street kids, an all-girl preOne can understand that although the opera was written Nazi marching band (really playing!), a pack of bored in 1859, given that it is set against a backdrop of political socialites and a moody chorus-line of showgirls in various intrigue and assassination, that some sort of modern degrees of undress. interpretation could work well.

Frank Hatherley However for my liking the look of the set was so extraordinary that it left me at times thinking, what on earth Fidelio is all this about?

By Beethoven. Melbourne Opera. Athenaeum Theatre. Feb 2 At times it was a distraction from the singing.

- 10.

This was a shame because the performances were in THERE was a lot to like about Melbourne Opera’s many respects faultless. production of Fidelio. After a few shaky entries in the Thunderous ovations for the ensemble and leading cast overture, the orchestra under David Kram hit its stride. The members were well deserved.

Leonore Overture at the start of Act 2 Scene 2 was a For those new to A Masked Ball, be warned it has highlight with well-deserved, prolonged applause. David’s moments of extended repetition in the first act, without the influence could also be seen in the ensembles, which, with a smash hit arias of Verdi classics. couple of exceptions, were well balanced.

David Spicer Gianluca Terranova as Rodolfo and Nicole Car as Mimì in La Boheme.

Photo: Branco Gaica.

Reviews: Opera

82 Stage Whispers

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Reviews: Dance

Online extras!

Find out why Blaze is taking the world by storm. Scan the QR code or visit http://youtu.be/mVWLSqM2oTg Wild Eagles Fly Alone Redback Dance Company. Chapel off Chapel. Feb 6 to 16.

TRENT Harlow and Jayden Hicks have created a beautiful narrative driven contemporary ballet. Five twentysomething girlfriends go out for an evening of partying and drinking. In the dynamic opening there is a sense of foreboding when we meet a doomed girl (Kaela Brushett), already drunk. Tragically she is run over and her friends have no chance to say goodbye. We follow them home, hearing the news, then the funeral and the grieving, and finally re-cementing the friendship with one gone forever.

It’s a moving story, with all the trappings of youth - mobile phones, a Macbook, ridiculously high heels. The props only serve to point out the initial hollowness of youth, but are discarded as the deep emotional truth takes over. The sorrow is palpable as each girl explores her own reaction through dance.

Hayley Burdon’s bodylines in her “heels” solo are exquisitely sensual. Kiara Keiser, with the extension of a prima ballerina, performs a wonderfully lithe and artistic

Stage Whispers Costumes Just $11 a listing Have any costumes and props for sale or hire? Get noticed now! www.stagewhispers.com.au/costumes

floor routine. Pru Wilson works with a couch in an astonishingly athletic, almost tomboyish way.

Last, but by no means least, is the astonishing Eley May. Dressed in black, long blonde hair cascading around her shoulders, her funeral solo is full of strong lines coupled with pain and vulnerability. She is as much actress as dancer in her outpouring of grief.

This is a classy production and a wonderful debut and Hicks and Harlow should be justifiably proud of their first production.

Coral Drouyn

Blaze PANdADDY Production. Hamer Hall, Melbourne. Director: Anthony van Laast. Jan 23- 27.

PUMPING out any number of impressive moves, head spinning, and one-armed hand stands comes Blaze, a celebration of street dancing.

MC Tony Mills urges those gathered to ‘make some noise’ as sixteen dancers and breakers take the stage. After a rather languid opening we are thrust into a high energy and mega volume affair that maintains pace by launching into new songs before the previous one ends.

Don’t be fooled by its casual image. Like Jazz, this genre requires serious physical investment and discipline, and players stand about to encourage and congratulate the contributions of each to the whole.

The music of Justin Timberlake, Lady Gaga, Kayne West, Michael Jackson, David Guetta, Jay-Z, Beyonce, Rihanna and Calvin Harris plays second fiddle to a Gen Y smorgasbord of street dance styles.

Dancing aside, if for some reason you grow weary of the physical machinations on display, you could always watch the set and lighting design do their thing. The collaboration is impressively innovative, imaginatively manipulated and a lesson in precision and timing.

Highlights included the audience participation in ‘Atomic Food’ and the young dancer wrenched from the audience and onto the stage for the final fling. On the downside, the MC audio giving instruction to the eager crowd was sometimes difficult to understand amidst the booming soundtrack.

Young dance-types dominated the audience, and lapped up the atmosphere. Fans of street dancing will love it.

Lucy Graham

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Stage Whispers 83

Reviews: Youth

The Wind in the Willows

By Kenneth Grahame. Glenn Elston / Australian Shakespeare Company. The Royal Botanic Garden, Sydney. Jan 4 - 27.

THIS clever adaptation includes all the main events of Grahame’s story, so can’t disappoint kids - or adults - who know the characters and their little idiosyncrasies so well.

Mole (played by Madeleine Jones) is shy and hesitant, excitable and impressionable. Jono Freeman is a lovable Ratty, full of joie de vie. Be-whiskered Badger (Warwick Allsopp) is suitably wise and blustering.

Nicholas Brown’s Toad is boastful, egocentric and totally the Mr Toad that kids have loved for his errant ways and irrepressibility. Douglas Hansell is a wonderful Otter, dressed in wet suit and swimming cap, as is cheeky little offspring Portly.

However it is Owen Little and John Anthony who deserve special bouquets. As the Head Chief Rabbit and Weasel, it is they who, with song, dance, puns and corny jokes, provide the continuity essential to sustain the interest of a young audience in an outdoor space.

Director Marian Bragge has achieved the fine mix of making the production fast and funny, without losing any of the beauty of the dialogue. Voice work is clear and precise, so that none of the funny lyrics of the songs are missed.

This summer’s production of The Wind in the Willows is upbeat and funky while still capturing the charm and whimsicality of Grahame’s much loved characters.

Carol Wimmer

Gargantua Midnite Youth Theatre. Pink Flamingo Theatre, Northbridge (WA). Directed by Drew Stocker. Feb 13-17 Oh Suivant!

GARGANTUA at the Perth Fringe Festival was Oh Suivant! challenging for both performers and audience. Battling Direction: Dirk Van Boxelaere, Flen Ban Herwegen, Leandre noise pollution from a neighboring venue, the actors were Ribera. Music: Alain Reubens. Art Centre Melbourne, Fairfax working very hard to be heard. Sightlines were also tricky, Studio. Jan 15 - 27. with much of the action happening on the floor in a flat OH Suivant! is a delightfully enlivening intimate circus venue. It was also extremely hot. experience from Belgium.

Nevertheless, the young cast from Midnite Youth There is never a dull moment and not one word is Theatre battled valiantly to present an energetic spoken. Audience participation is superbly set up, as one interpretation of this strange short play about a giant baby. would expect, by consummate street performers Fein Van Quick, simple costume changes and frenetic doubling kept Herwegen (pianist and assistant) and Dirk Van Boxelaere the action flowing quickly. Quirky use of audio-visuals (D’Irque) juggler and acrobat. added to the performance.

Kids and adults alike are kept engaged anticipating and While the whole cast worked well, I particularly enjoyed wondering what is going to come next as D’Irque, to Van the strangely sensitive performance of Brayden Schofield as Herwegen’s sensitively synchronized musical the mother of the overgrown infant and the brave accompaniment, sets things up bit-by-bit with lovely performance of Patrick Wilson in the title role. sleights of hand and considerable audience assistance, to Rebecca Fowler as news reporter Sally Butters and Tegan mini-climaxes of acrobatic feats and unusual juggling Gregory as mayonnaise magnate Regina Buxley also knacks. And the final of numerous climaxes is ‘so fun’ as it delivered excellent performances. most satisfyingly accomplishes an elusive feat alluded to This production has recently returned from a US tour throughout the show. and the cast were comfortable but never complacent in This not too long, not too short, charming, well their performances. With so much conspiring against the rounded little show is highly recommended for any family young performers on the night I saw Gargantua, their with kids of any age - from about four years up. perseverance and energy was particularly admirable.

Suzanne Sandow Kimberley Shaw 84 Stage Whispers

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Duck, Death and the Tulip Director: John Sheedy. Subiaco Arts Centre, WA. Feb 8-16 DEATH and dying is not a common theme for children’s theatre, but this unusual subject made for a gentle and moving piece of theatre that captivated even the tiniest audience members.

In this almost wordless adaptation of a picture book by Wolf Erlbruch, Death (an enigmatic George Shevtsov) strikes up a friendship with Duck (a balletic and extremely cute Ella Hetherington).

While Death speaks, albeit sparingly, Duck’s contribution to the dialogue is a variety of quacks from a duck whistle around the actress’s neck. Further voice was brought to the story with the use of a five-piece orchestra. Wonderfully scored, the music, under the direction of Tristen Parr, added an extra layer of beauty.

As well as sounding beautiful, this was a lovely looking production. Set on a cloud and in and around a bathtub / pond, Alicia Clements’ costumes, props and set were highly textured, with video overlay by Chris More adding even more layers.

This sensitively acted and presented show gave great food for thought and I assume sparked many conversations in the homes of the young audience members, as it did in my home.

Kimberley Shaw Snow White: The Untold Story

By Karl B. Peterson. Heidelberg Theatre Company’s HTC Youth. Director: Christian Dell’Olio. Dec 19 - 22.

TO an entranced captive audience, nine youthful, engaging and lively actors with lashings of potential ‘strut their stuff’ in a mildly spoofed up version of old favorite fairy tale Snow White.

The production is opened strongly with the Queen, played boldly by Elizabeth Dingle, in conference with the Magic Mirror, a fabulously costumed and glitzy character well interpreted by Ian Robertson.

Natassja Lindrea, as a strikingly attractive and particularly vain Snow White, is well paired with Zac Smith’s handsome Prince Charming, an equally self-satisfied individual.

The four dwarves are unexpected in number as well as in names and natures. As Dummy, Taylah-Jayd Sofele fulfills her role with appropriate vagueness, but is a little to hidden below a largish hat. Bossy, played by Silvi Van-Wall, is alive, alert and always ready to move the action forward. Trekky, played by Ella DiMarco, is a clear and sustained ‘out there’ character. And Jess Cook’s Smelly is so convincing one can almost smell her.

It is great to have a Christmas treat, in the tradition of the Pantos of yesteryear, to take the kids to.

Suzanne Sandow Red Riding Hood and the Great Cosmic Caper.

Written and directed by Kate Tardy. Spotlight Theatre, Benowa (Qld). Jan 11 to 19.

KATE Tandy’s annual pantomime is an eagerly awaited event and this year’s offering was up there with the best of them.

Red Riding Hood travelling through space to visit Grandma was a novel yet inspired basis for the show.

The cast was full of youthful enthusiasm, which was maintained throughout the fast-moving performance.

Kate and her costume crew let their creative juices flow and the result was a collection of space oddities that would make any Sci-Fi junkies “green with envy.”

The futuristic space ship and special effects were “out of this world!”

Interaction with the young audience can be risky but the multi-charactered Nathan Skaines made it look like “child’s play” (with the worst jokes possible - the kids just loved him!) or........... maybe it was the Mars Bars...........?

The well-rehearsed cast of 17 was supported by an equally rehearsed technical crew and the end result was a fun filled show which the audience greatly appreciated.

Roger McKenzie

Puzzles

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Stage Whispers 85

Choosing A Show

New Releases Hal Leonard Australia Bonnie and Clyde A New Musical. Music by Frank Wildhorn, lyrics by Don Black and book by Ivan Menchell.

Two Acts, Book Musical, Rated R. Bonnie and Clyde is a new musical with a nontraditional score, combining blues, gospel and rockabilly music, featuring large ensemble casts, with an opportunity to showcase strong contemporary singers and actors.

At the height of the Great Depression, Bonnie Parker and Clyde Barrow went from two small-town nobodies in West Texas to America’s most renowned folk heroes and the Texas law enforcement’s worst nightmares. Fearless, shameless and alluring, their electrifying story of love, adventure and crime captured the excited attention of an entire country. Now, the most notorious couple of the twentieth century takes on a whole new adventure: the stage.

Disney’s My Son Pinocchio Jr. Music and lyrics by Stephen Schwartz and book by David Stern. One Act, Book Musical, Rated G. Broadway Junior Version Pinocchio must prove himself brave, truthful and unselfish, but what about the toymaker? Raising a perfect child might not be as easy as it looks. The Blue Fairy and her Fairies in

Training lead Gepetto on a journey through this fractured fairytale in order to discover what it means to be “A real father”.

Oscar and GRAMMY Award winner Stephen Schwartz adds a brand new score to the classic Disney hits “When You Wish Upon a Star” and “I’ve Got No Strings”.

Finian’s Rainbow Jr. Music by Burton Lane, lyrics by Yip Harburg, book by Fred Saidy and Yip Harburg. Adaptation

by Deena R. Harburg. One Act, Book Musical, Rated G. Broadway Junior Version.

A combination of whimsy, romance and political satire, Finian’s Rainbow Jr. is a new take on the classic Broadway musical featuring “How Are Things in Glocca Mora?”, “Old Devil Moon”, and “Look to the Rainbow” in a celebration of the humanity within all of us, regardless of appearances.

Dominie Drama A Christmas Carol. Book and lyrics by Chris Blackwood. Music by Piers Chater Robinson.

From the creator of Peter Pan the Musical, this new musical has been adapted from the classic novel by Charles Dickens.

With a cavalcade of colourful characters and a ghostly quartet of guardians, A Christmas Carol is filled with joy, laughter and heartbreaking moments.

Halcyon Days by Deirdre Kinahan A drama for older performers. Cast: 1f, 1m (72, 67).

Set: nursing home (plus conservatory and garden) A tender and humorous new play from Deirdre Kinahan, expanded from her short play Salad Day. Sean sits alone, abandoned to his memories. In storms fellow inmate Patricia, a feisty woman with a zest for life and for handsome men in wheelchairs.

55 Days by Howard Brenton Historical Drama. Cast: 2f, 17m, doubling.

Set: various interior and exterior settings, but can be simply staged Following on from his Anne Boleyn comes Howard Brenton’s new play charting the downfall of Charles I at the hands of Oliver Cromwell.

86 Stage Whispers

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December 1648. The Army has occupied London.

Parliament votes not to put the imprisoned king on trial, so the Army moves against Westminster in the first and only military coup in English history.

What follows over the next fifty-five days, as Cromwell seeks to compromise with a king who will do no such thing, is nothing less than the forging of a new nation.

The Machine Gunners by Robert Westall, adapted by Ali Taylor.

Cast: 1f, 5m doubling (2f , 11m possible) An adaptation of this much-loved children’s classic by Robert Westall, voted one of the ten most important children’s novels of the past 70 years.

ORiGiN Theatrical Changing Minds - A New High School Musical. Music by Bret Simmons, book & lyrics by David Howard.

Cast: 8f, 8m + Chorus Additional students, teachers, featured dancers and singers.

At Playa Sola High School it’s business as usual - the jocks, geeks, popular kids, etc., all try to navigate a world of insecurities, grades,

Online extras!

Germantown High School, Tennessee premiere of Changing Minds. Scan or visit http://youtu.be/lwGC9iTTQTA

fashions and text messages. Then, during a school trip to a historic mission, the minds of two high school seniors are inexplicably switched. Suddenly Kyle Fairbanks, a charismatic slacker/surfer, is helping everyone with their calculus, and scholastic superstar Natalie Watson has become an expert on heavy metal lyrics and is calling everybody “dude.” In this screwball-comedy-for-a-newgeneration, Kyle and Natalie have to find out how to get their brains back.

Driven by a contemporary pop score that reflects influences from rock, techno, R&B, ska and rap.

David Spicer Productions Prisoner Cell Block H - The Musical by Peter Pinne and Don Battye.

Cast: 8f, 2 m.

It toured the UK for two years after a launch in the West End in the late 1990s.

Now the hilarious musical romp based on the long running TV series Prisoner is available for performance.

Described as “pure exultant bubblegum fun” with musical influences ranging from pop to R & B to gospel.

This is for theatres companies with loads of female talent who like a laugh.

All your favourite characters are there. The Wild Women of Wentworth include the Drag Queen - Vera Vicious: inside for stealing a fondue set and murder; the warden from hell known as The Freak; The Top Dog - a bikie Lesbian; the child-like Doreen who always carries a teddy bear and The Governor - a softy who believes in rehabilitation.

Maverick Musicals and Plays Bollywood Crazy by Mary McMahon and Donald Woodward At last - all the mystery, music, moves and magic that shout - Bollywood!

The latest high school musical from Maverick Musicals, where East meets West in a fusion of contemporary and Bollywood-styled music, offers wonderful performance opportunities for music and theatre, dance and costume teams.

Indian doctor, Bandhu Tanwar takes his Australian-born wife and two teenagers to visit India for a ‘trip of a life-time’. The family is in for many surprises as they experience a traditional culture and family that challenges the life to which they are now accustomed... Rohana’s new sari becomes a symbol of her acceptance of who she is - a teenage girl balancing two different worlds, two different families.

A storyline complete with ritualistic gaming scene and a trip to the Bollywood studios, good lead, secondary and multiple chorus groupings, make this ideal for senior school casts. The score’s package, including Flying Away, Riding the Rail, That’s Cricket! India, Magic India - includes bandparts, performance backing and rehearsal vocal CD’s.

Free perusal script, score and MP3 samples at www.mavmuse.com

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Stage Whispers 87

Choosing A Show

Sex Ed

By Ned Manning

Stage Whispers is pleased to present this monologue from the collection entitled No Nudity, Weapons Or Naked Flames by 7-On. This book contains 21 self-contained performance texts, conceived with senior school students and young actors in mind.

Each monologue is accompanied by notes to help young performers understand, research, and communicate their chosen piece.

A TEACHER struggles into a classroom laden with a box of teaching aids and equipment for a PowerPoint presentation. If the PowerPoint isn’t possible TEACHER talks through points raised.

This is enemy territory. A soundscape suggests a mini riot is in progress.

Quiet, please. Quiet! Will you sit down?

Sit down. Tom, put Steph down. Your hair’s great, Amy, you can put your brush away. Thanks Izzy, you know the rules about headphones!

Come on, guys. Very good, Tom. I know Hercules has got nothing on you. I don’t know why you sit with him, Steph.

Yes, Tom. Sit. Thank you, everybody.

Justin, sit up please. This isn’t the lizard lounge.

All right. We can either do this in my time or your time. It’s your choice. What’s it going to be? I’ve got all day.

Waiting, waiting.

This has no effect so TEACHER sets up the PowerPoint presentation as the noise continues.

I know, Justin. Their behaviour sucks, but best keep your comments to yourself.

TEACHER enters a word onto the laptop. On the screen, accompanied by loud apocalyptic music, is the word‘SEX’.

Silence.

TEACHER is pleased and begins.

I thought that might get your attention.

Tom! That’s not appropriate.

Today we are going to talk about sex!

Yes, Amy, sex. Because, Izzy, it is part of the curriculum. No. I’m not interested in what happened at the weekend. Or in Year Eight.

Now …

TEACHER picks up a pointer and spells out: SEX

88 Stage Whispers March - April 2013

We are going to talk about sex or, more specifically, the inherent dangers of having sex.

The class groan. TEACHER switches off the computer.

Oh well, if you’re not interested …

Get out your books. We can look at something else.

TEACHER picks up notes and reads.

‘The interaction of cognitive, physical, social, emotional and spiritual components ...’ Sounds … oh. You are interested? Are you sure? Everybody?

Good. Shall we continue then?

TEACHER fires up the computer.

Throughout the presentation TEACHER constantly refers to notes.

Now. Let’s start with statistics. In the 1940s 15 per cent of males of your age had experienced some form of sexual activity. That’s right Tom. Only 15 per cent. However, by the 1980s that figure had … grown to … 30 per cent. That would have been a third of you boys. That was the 1980s. Yes, Tom, 30 per cent. Yes, that’s a third.

Does it include masturbation? I don’t know, Justin. Sexual activity with someone else.

Picks up notes and waves them at class.

Okay. Let’s look at females. Tom, Amy. There’s no need for that. In the 1940s only five per cent of females of your age had engaged in sexual activity. Yes, Amy. Five per cent. By the 1980s this had exploded to 25 per cent. That is a quarter of the girls in the class. I don’t know why, Amy. Yes, Izzy, the pill would have had something to do with it.

I don’t care if you think it’s boring, Justin.

If you stop asking questions and making comments we might be able to get to the latest figures!

So, what are the figures today? That is a rhetorical question, Tom. That’s a question you answer yourself. You can put your hand down.

TEACHER reads.

Today. The latest statistics reveal that 80 per cent of your age group have engaged in deep kissing. No, Amy, not necessarily tongue kissing. Deep kissing.

Yes, Izzy, ‘full on kissing’. Amy, whether Nicole kissed 70 guys in one night or not, has no relevance whatsoever. Someone

wake Steph up, please.

Thank you, Izzy. Steph, please pay attention.

TEACHER gathers strength.

Okay. 67 per cent have carried out some kind of genital touching.

Genital touching? Do I have to spell it out?

Don’t even think about it, Tom. So. 46.5 per cent of you have performed oral sex.

Yes. Oral sex. With someone else. Oral. By mouth.

Please. Act your age.

Now. By your age, by Year 10. 25 per cent of you have been engaged in vaginal sex. Yes, Amy, that is sexual intercourse.

No. Other forms of sexual activity are not the same. If 25 per cent of you have engaged in vaginal sex that would mean 75 per cent of you haven’t … Tom leave Steph alone. What is important about that statistic is that by Year 12 that figure will have doubled. Yes, Tom. 50 per cent. Yes, Justin half of you. Of course that doesn’t count anal sex. Anal sex isn’t vaginal sex.

There is nothing here about anal sex, Justin.

I don’t know. I don’t write the bloody curriculum.

Yes, Izzy, I swore. I’m sorry but you guys …

Thank you, Amy. I’m glad you’re interested.

Tom. Justin is right. You don’t have to be gay to have anal sex. Or oral sex. Yes, Steph, we do have to talk about it.

What? No, Amy, that’s not right. Oral sex is not necessarily safer.

You can still get STIs … sorry Izzy?

Can you get pregnant from oral sex?

No. You can’t get pregnant from oral sex.

It’s not a silly question, Justin.

That’s why we are here to disabuse you of myths … it means … oh, don’t worry about it.

STIs. TEACHER seeks refuge at the PowerPoint. A graphic appears: ‘Sexually Transmitted Infection’ or TEACHER spells it out and waves notes.

STIs used be called STDs but people got confused with STDs. STD phone calls. Long distance phone calls. Before mobiles …

STDs, Sexually Transmitted Diseases, are now referred to as STIs. Sexually Transmitted Infections.

And, you can get some very nasty infections from STIs . Very nasty indeed.

The graphic changes. Horrific images.

STIs are transmitted through sexual activity. The sexual activity might be oral or vaginal or, Justin, anal. No, Steph. I’m not implying anything. Justin asked about anal sex so I thought …

TEACHER mumbles appropriate swear word under breath.

Nothing. I didn’t say … I’m glad you can lip read, Izzy.

The point is-STIs are passed on through bodily fluids. Semen. Saliva … yes, Amy. In the mouth. Saliva. I’m not trying to put anyone off anything, Tom. Looking at these statistics, the last thing your generation is going to do is to avoid sexual contact.

You’ve been going at it like rabbits.

Good question, Justin. AIDS cannot be transferred through oral sex. We refer to it as oral sex, Tom, not ‘sucking someone off’.

Other STIs can be transferred through oral sex. Hepatitis B for instance.

TEACHER brings up a list of STIs on the screen.

We’ve got gonorrhea, pubic lice … no, Tom, not ‘crabs’ ... no, Izzy, they’re not like the head lice you get at primary school.

They are found … in the pubic area. Yes, ‘down below’.

If possible, TEACHER supports discussion with images.

That’s right, Amy, STIs are not transmitted by actual penetration. The lice live in the pubic hair. The nits … or eggs … can also be found in beards, armpits, on chest hair and eyelashes.

Your uncle’s got a beard? Great, Justin.

Thanks for that.

Then there is syphilis.

Graphic We refer to it as syphilis. Not ‘the pox’, Tom. It is transmitted by vaginal, oral and anal sex.

If possible TEACHER clicks on laptop.

Chlamydia Trachomatis can lead to Pelvic Inflammatory Disease. PID. Which can also be transmitted by oral and anal sex.

Tom, spare us your opinions please.

Yes, Amy? No, taking the pill after oral sex will not make a lot of difference. To anything. And no, Izzy, you cannot get pregnant from oral sex but you can get some very nasty STIs. I’m not trying to scare you. I’m just telling you how it is.

We’re not here to talk about ‘fun’. It’s got nothing to do with fun. It’s about preventing potentially debilitating diseases from spreading.

TEACHER turns off computer and goes to box of tricks.

Protection.

TEACHER digs into the box and pulls out a condom.

The condom.

TEACHER hands out condoms to the class.

Your new best friend.

Good question, Izzy, but it’s not one I am qualified to answer.

Checks notes.

It doesn’t say anything here about who is meant to bring the condom, or about who is meant to put it on.

TEACHER holds up a condom.

Rule number one. Check the expiry date. Yes, Izzy, like milk.

Carefully open the packet. No, Tom. Not with your teeth. Otherwise …

TEACHER pokes finger through condom.

Potential disaster. No, Amy your nails are no better.

Opens another.

Rule number two. Make sure you choose a brand that fits you comfortably.

Once you’ve chosen the appropriate size, open it carefully. Taking great care not to damage the condom.

TEACHER takes a plastic fluorescent banana from the box.

Anyone who even thinks of doing anything inappropriate with this is going to be in big trouble.

TEACHER demonstrates.

Now, we are going to put the condom on the banana. Take the condom in one hand. And the banana in the other. Firstly, squeeze the tip. Of the condom, Amy. Not the banana. After you’ve squeezed the tip unroll it on to the erect penis … er … banana. Like so.

Of course I can do it. I’m a teacher. It’s part of my training.

Now. Your turn.

TEACHER takes out stopwatch.

Ready, set...go!

Three seconds? Well done, Justin.

No, Tom, the ‘babe’ won’t do it for you. It is harder than it looks, Justin.

Now, if the penis is uncircumcised you’ll need to pull back the foreskin. Oh, for God’s sake … look it up, Amy! When you unroll the condom ensure that you unroll it fully to the base of the penis. Like this.

See, Amy? Justin, I’d prefer you to do it on your own. I don’t want Steph holding your banana. Steph, please. You need to learn how to do it too. Hold your own bananas, boys.

Always use a water-based lubricant. A lubricant? It lubricates. No, no. Do not use oil or Vaseline, Amy. We are not dealing with masturbation today, Justin. That’s next week.

Always ensure the condom is in place during sex. Ensure that it doesn’t slip off.

When you’ve finished try to withdraw while the penis is still erect.

Hold on to the base of the condom to make sure when it comes out the contents don’t spill.

Contents? The contents of the condom … after the … you’ve … the sperm!

‘Cum early’? Please, Tom! What else …

Searches notes.

Never use a condom twice.

Bell Thank God. That’s it for today.

Amy. Collect the bananas please.

Next?

One for you, Tom. Erectile dysfunction.

Thank you.

END Published by The Federation Press © Ned Manning 2011

www.stagewhispers.com.au Stage Whispers 89

Aussie Play Clocks up 5000 Performances

It’s not just the West End or Broadway that can boast long running plays. Just as The Mousetrap has run forever, so too Australia has its own play that is still going decades after it opened. On Saturday 15th December 2012 there was a landmark event in Strahan, on Tasmania’s west coast: the 5000th performance of Australia’s longest running play, The Ship That Never Was. Written and directed by Tasmanian playwright Richard Davey, the play tells the story of ten convict shipwrights from the Sarah Island Penal Settlement, who stole the last ship built at the settlement and made their escape to Chile. After living in Chile for a year, four convicts were handed back to the British, to be transported once again to Van Diemens Land. Put on trial in Hobart for ‘Mutiny and Piracy’, the four convicts are due to be hanged...

BUT manage to wriggle out of it!

During the course of the play, two performers build a fully rigged ship and interact with the audience to re-enact the capture of the Frederick and sail the ship to Chile.

For the 5000th performance, two performers became eight, with a number of performers from the early years joining the current cast.

The Ship That Never Was was first performed in Hobart in January 1984 at the Peacock Theatre. For the next ten years, the play, adapted for outdoor performances, was performed at various festivals around Tasmania, including the Wooden Boat Festival, and there was a season in Melbourne.

In December 1993, Richard Davey was invited to bring the play to Strahan, close to the site of the original 90 Stage Whispers March - April 2013

escape. Adapted once again for performance at the Strahan Amphitheatre, The Ship That Never Was has been performed in Strahan by members of The Round Earth Company ever since and now runs seven nights a week from September to May. Until you can make it to Strahan here is how the play opens.

Script excerpt THE SHIP THAT NEVER WAS is the story of the last Great Escape from Sarah Island by ten convicts who stole the Frederick and sailed her to Chile.

CHARACTERS JAMES PORTER also plays CAPTAIN TAW SARGEANT GARCIA JUDGE PEDDER WILLIAM SHIRES also plays DAVID HOY FERNANDO MARTEL Other characters are played by members of the audience, as indicated in the script.

PART ONE: Building the Frederick SHIRES Porter, I told you I would gather an intelligent, civilized and sensitive bunch of people.

PORTER Where are they? [TO AUDIENCE] And a disclaimer from me.

This is his idea, if it all goes pear-shape, blame him.

SHIRES Story of your life Porter, all credit, no blame! [TO AUDIENCE] You might have noticed, if you was particularly observant, there are ten of us involved in this little escapade, the capture of the good ship “Frederick”, and there’s only two of us here.

PORTER Four.

SHIRES Two. PORTER What? Oh no!

SHIRES This is James Porter, call him Jimmy!

PORTER And this here is William Shires. Bill. Where are . . . ?

SHIRES These three, the three sailor boys, John Dady, John Fair, John Jones, sailed the ship beautiful, apart from that they didn’t know what was going on!

PORTER Still don’t! And these two, William Cheshire and Charlie Lyon, they’re supposed to be here Shires, where are they?!

SHIRES They’re down the pub!

PORTER Been there since Christmas!

SHIRES 1838.

PORTER We can’t write them out of the tale altogether. You find someone to rig in for ‘em!

Shires picks two people in the audience and places hats on their heads.

SHIRES You two will do fine - you do nothing, clear?

PORTER However, whenever we mention their names, Cheshire and Lyon, the rest of you boo loudly! These three, Johnny Barker, James Lesley, Benjamin Russen, Johnny Barker, a real file, gunsmith, fly to every push on the board!

Porter picks a person in the audience Barker! I won’t say it’s nice to see you - because it’s not! Left your hat behind last time we saw you vanishing into the vasty distance! And I have a bone to pick with you about that little occasion, later, Mr. Barker!

Places a hat on Barker’s head And James Leslie...

SHIRES He’s a nice lad!

PORTER A bragger, a boaster, always claimed he were a shipwright, didn’t you, James?

Porter picks a person in the audience You was a trennel mooter, Leslie, somebody had to make the round bits round - best in the business! And my mate, Benjamin Russen!

SHIRES Out and out villain...

PORTER He’s a good man to have behind you in a fight . .

SHIRES Long as he’s on your side!

PORTER Yeah! Never turn your back on Benjamin Russen!

Porter picks a person in the audience Whose side you on today, Ben? There! All present and correct.

SHIRES Now, I’d like to welcome your worships to this appeal and quasilegal enquiry . . .

PORTER A what!?

SHIRES A quasi-legal enquiry on behalf of meself and me fellow mutineers and pirates . . .

PORTER Argh! Shiver me timbers, “Pieces of ten, pieces of ten”!!

SHIRES Porter, what are you doing?

PORTER Me parrot’s gone decimal!

SHIRES Porter, this is serious!

PORTER You said it was going to be a pantomime!

SHIRES No, I said those pants are mine! Lose the parrot.

PORTER No! Never know when you need a parrot! You, you’re the parrot!

Squarks in the action sequences!

Script Excerpt

Swears something horrible! Swark beeep!

SHIRES Your worships, Porter and me and Cheshire and Lyon…

ALL BOO! SHIRES … are four of the ten who knabbed the “Frederick”, last ship built on Sarah Island. January 1834 we knabbed her, and we don’t deny we knabbed her!

PORTER We’re rather proud of that, eh, Russen!

SHIRES But here’s the catch: four years later, 1838, four of us, us two . .

PORTER . . and Cheshire and Lyon!

ALL BOO! SHIRES . . . are back here in Van Diemens Land, back to face the music!

PORTER Which don’t sound too good! We have been found guilty of Piracy and Mutiny and we’re up for a scragging . . a scragging . . .

Demonstrates on Shires SHIRES . . . unless we can succeed with one final appeal to the Chief Justice, Mr. Pedder and His Excellency the new Governor, Sir John PORTER Fatso!

SHIRES Franklin!

PORTER He couldn’t fit through the North West Passage!

SHIRES And that’s where you come in your worships, because we think we have found…

PORTER No! Shires, you think! I don’t think at all!

SHIRES Yes. I think we have found an angle! A legal loophole through which we can wriggle . . And we would like to try it out on your worships...

PORTER Before we spring it on the judge.

SHIRES It’s a good idea!

PORTER It’s a dumb idea!

SHIRES It’s a good Idea!

PORTER It’s a dumb idea! I’m off!

SHIRES You said you’d give it a go!

PORTER All right, it’s up to their Worships. We tell you the story, you give it the thumbs up, sure, we’ll take it to the Judge. Thumbs down - a scragging - Shires I have a sneaking suspicion that’s what this lot have turned up for! www.stagewhispers.com.au Stage Whispers 91

Musical Spice

The Shows Must Go On

In January Stage Whispers had a big scoop.

A contact tipped us off that Christine Harris, who runs Australia’s largest privately run theatre touring company, had placed her company Follow Your Dreams (Aust) Pty Ltd into liquidation.

We then obtained the liquidator’s report. It listed debts totaling $1.7 million dollars. The biggest debtor was Christine Harris for $900,000, next the Australian Taxation Office with a debt of $692,000, followed by many other companies ranging from several hundred dollars to $17,000.

We had the story before it had been published anywhere else but were cautious about breaking the story.

The company is known as Hit Productions. It provides the backbone of entertainment for many of Australia’s regional and suburban theatres Hit Productions has seven major tours planned for 2013, playing more than 50 venues across Australia, including tours of The Club, They’re Playing our Song and The 39 Steps, with stars including John Wood, Henri Szeps and Amanda Muggleton.

Some venues have booked up to four Hit Production shows in 2013 and their season would have had the mother of all holes to fill if the production company closed shop.

So we would not want to get the story wrong.

Also as it happened I had a conflict of interest - because for several months last year I was in negotiations with Christine about her touring a musical that I represent.

Talk about biting the hand that might feed you if Stage Whispers got the story wrong.

The thought occurred to me that maybe we should let others break the story.

However my journalistic instincts were stronger than my business instincts. We decided to run the story but we were determined to get a comment from Christine before the story was published.

She confirmed to us that all shows would proceed in 2013.

“Having supplied quality theatre touring productions since 1999, many venues across Australia relied on Follow Your Dreams Australia Pty Ltd (FYD) for their professional product and to remove this opportunity would have devastating consequences for those venues and their communities. Therefore HIT Productions Pty Ltd will honour the commitment by FYD to stage these productions in 2013 and beyond.”

Stage Whispers asked Christine Harris if she will have trouble running her business with all these companies owed money?

92 Stage Whispers March - April 2013

She replied: “Unfortunately we are unable to comment with respect to the debts of FYD.” Stage Whispers also asked her how viable regional touring is if you make such big losses?

“The losses incurred by FYD were not the result of regional touring activity and therefore going forward HIT Productions Pty Ltd does not believe that its regional tours are at risk.”

The story was a blockbuster on our website clocking up 3000 reads in early January.

Initial reaction to Christine Harris was unkind. One of the creditors - the writer of Motherhood the Musical emailed Stage Whispers to complain how she needs the money to feed her children.

Most of the creditors were however medium sized or large companies - rather than small businesses and all actors, creatives and crew appeared to have been paid.

The Age published the story the day after Stage Whispers. It noted that whilst Christine Harris’ company owes the Tax Office $692,000, HIT Productions has been a frequent recipient of grants from the State and Federal Governments to tour its shows.

The Age reported that in just one year - 2011 - Hit Productions received almost $600,000.

Since then Christine Harris has bounced back without blushing, into the grants application process.

Just a month after the story broke Christine Harris was pitching her shows for 2015 at the funding forum known as Long Paddock.

And she had some supporters rally behind her. An email was circulated amongst regional theatres asking venues to give her a go.

Some have told Stage Whispers they admire Christine Harris because she is one of the few producers offering shows which have broad audience appeal.

So the shows will go on, even beyond 2013.

Now Christine I think it is time to call me back about that musical!

David Spicer.

ORDER YOUR MUSICAL AND DRAMA CATALOGUE 2013

FREE PERUSALS

Rockin’ Robin Visit www.davidspicer.com.au to read scripts, listen to music and see show videos.

Order catalogue email david@davidspicer.com Phone/Fax 02 9371 8458.

Write to PO Box 2280 Rose Bay North NSW 2030

www.stagewhispers.com.au Stage Whispers 1