Stage Whispers July/August 2013

2 Stage Whispers July - August 2013

www.stagewhispers.com.au Stage Whispers 3

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Lucy Maunder ................................................................................. 8 Grease, Gertie and a hit cabaret show.

Blue Man Group............................................................................ 10 International entertainment phenomenon for Australia.

King Kong ..................................................................................... 14 Great spectacle but is it Musical Theatre?

Caroline O’Connor......................................................................... 16 Playing the ultimate dance mum.

The Comedy Of Errors ................................................................... 18 Behind Bell Shakespeare’s touring production.

Botanica ........................................................................................ 22 Fragrant costumes bloom at Arts Centre Melbourne.

Behind The Scenes......................................................................... 24 Making a production at MTC HQ. Costume Marketplace .................................................................... 28 Why make your costumes, when you can rent?

Dressing Up For Show ................................................................... 31 More than a century of fabulous costumes.

The Phantom On A Budget ............................................................ 34 Community Theatres and their chandeliers across Australasia.

Raising The Curtain ....................................................................... 36 Australia’s theatre history on DVD. Turning A Theatre Into A Beacon ................................................... 50 Warrnambool’s Lighthouse Theatre.

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22

32

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61 85 82

In this issue

4 Stage Whispers July - August 2013

Regular Features Stage On Disc

38

Stage On Page

40

Broadway & West End

42

On Stage - What’s On

52

Auditions

60

Reviews

61

Director’s Diary

90

Musical Spice

92

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Editorial

Eddie Perfect and Christie Whelan Browne will host the 13th Annual Helpmann Awards® presented live in Sydney at Sydney Opera House on Monday 29th July. The awards will be officially broadcast on Foxtel’s ARENA live from 8.30pm. Tickets for the general public are on sale on 02 9250 7777 or www.sydneyoperahouse.com

Dear theatre-goers and theatre-doers, Costumes are a constant as so much of the illusion of theatre becomes progressively more complex and technical.

We’ve found more than a century of theatrical costuming within a stone’s throw this edition. While one of our writers visits the facilities of the Melbourne Theatre Company, where the wardrobe and wig departments dress the latest production, just blocks away in the Performing Arts Collection at Arts Centre Melbourne, another writer marvels at Dame Nellie Melba’s perfectly preserved ermine trimmed robe.

But progress stops for no-one, and Stage Whispers will be at ENTECH at Sydney Convention and Entertainment Centre, Darling Harbour from July 23 to 25 to take in all the latest in audio, light, staging and multi-media. Visit us at stand C40 for free magazines and back issues, as well as special subscription offers.

I’m pleased to report that thanks to upgrading our server, visiting www.stagewhispers.com.au has just become easier and more reliable. As a result in June visits to our website jumped to a record of more than 84,000.

We hope you enjoy the improved access to the latest theatre news and reviews.

Yours in Theatre,

Neil Litchfield Editor

CONNECT

Cover image: The multi-award winning global phenomenon that is Blue Man Group will tour Australia for the very first time in 2013.

Read our interview with cocreator Phil Stanton on page 10. www.stagewhispers.com.au Stage Whispers 5

Stage Briefs

Cate Blanchett, Geoff Summerhayes (CEO of Suncorp Life) and Andrew Upton (Artistic Director of Sydney Theatre Company) launching Suncorp Twenties, a major new partnership that will make a selection of tickets available for just $20 for every STC performance. The partnership will run for two years and will include a number of tickets for all performances of remaining STC shows in 2013 and beyond. For more information scan the QR code or visit http://bit.ly/1c6AuMC Photo: Grant Sparkes-Carroll.

6 Stage Whispers July - August 2013

Alexia Vougaridou as Tosca in Opera Australia's Tosca from 6 July - 31 August at the Joan Sutherland Theatre, Sydney Opera House. Photo: Keith Saunders.

www.stagewhispers.com.au Stage Whispers 7

The Non-Stop Lucy Maunder Show

Online extras!

Watch Lucy Maunder sing ‘Now’ from Dr. Zhivago with Anthony Warlow. http://youtu.be/ChsSYbUI9YA She’s Rizzo by day, Gertie by night, and she’s doing a rave-reviewed cabaret show that’s aimed at London and New York. Rocketing young star Lucy Maunder tells Frank Hatherley about her non-stop life.

Lucy Maunder’s current schedule is quite shocking, too. “There’s a two week crossover between the shows. I’ll actually be rehearsing Grease during the day and performing Noël and Gertie at night. I’m really excited about it - Rizzo by day, Gertie by night - a Touring Australia as Gertrude totally different voice and accent, an entirely different character.”

Lawrence in the sophisticated And that’s not all. Last year she entertainment Noël and Gertie, Lucy Maunder does what she calls “some launched her own one-woman cabaret show, Irving Berlin: Songs In The Key really cute Fred and Ginger dancing” Of Black, and has just come back from with her co-star James Millar. But as she glides around the various stages a notable one-off performance at the she conceals a far wilder dancer inside. Adelaide Cabaret Festival. “We had For her next role, opening in some glowing reviews,” she says August, is Rizzo, leader of The Pink proudly. Lucy has very big post-Grease Ladies in the new Gordon Frost ambitions for her show.

Organisation multi-million dollar If Lucy was a thoroughbred you production of Grease. would say she has good lineage. Her father is the greatly talented Opera “I nearly had a heart attack at the Director – Stuart Maunder. Her mother Grease dance auditions,” she tells me from Colac, Victoria, today’s Noël and is the equally talent musician AnneMaree McDonald.

Gertie destination. “They said, right, So it comes as no surprise that Lucy you’re all 18 year olds and you have to remember your wild teenage abandon. has hardly stopped working since We did the hand jive and it took me a graduating from WAAPA in 2006. She good half-hour to get my breath back. came to national attention five years later as Lara in the musical version of It was shocking!”

8 Stage Whispers July - August 2013

Lucy Maunder in Noël and Gertie.

Photo: Nicholas Higgins

Doctor Zhivago, playing opposite Anthony Warlow. “It was a total dream come true for me, and such a joy to sing that music.

“The show got stronger and stronger as the months went on. When we were in Sydney it was still so new and crazy. But when we went down to Melbourne it was in a much smaller theatre. I loved performing it in Melbourne.”

The unplanned gap after Doctor Zhivago closed was soon filled with the planning and construction of her onewoman show. Why her interest in Irving Berlin? I asked.

“He’s always been my favourite composer of that era. When I was really young I watched a movie called Blue Skies. It starred Fred Astaire and Bing Crosby, and all the songs were by Irving Berlin. I learned them all.”

During a 2010 Korean tour of The Rocky Horror Show (she played Janet) she developed her cabaret idea with fellow cast member Nicholas Christo, also a WAPPA graduate. By 2012 they were ready to tour their show nationally.

“The show’s not about Irving Berlin himself and it’s not about me,” she says. “It’s more of a guided meditation through Berlin’s time period and the effect that the ragtime era and his type of music had on popular culture at the time.

“It features 18 songs, including the big hits, but nothing from his musical theatre repertoire. It’s all standards like How Deep is the Ocean, Say It Isn’t So and Alexander’s Ragtime Band, and his earlier Tin Pan Alley stuff.”

When Noël and Gertie came up she went happily back to an eight-shows-a -week schedule. “I’m having such a ball playing Gertrude Lawrence,” she says.

“She’s such a brilliant, wicked character, so full of life and so adorable.”

Then along came Grease. How did she get the prized role of Rizzo?

“It was a standard casting call through my agent. I just went through the rounds like everyone else. I knew that John Frost was bringing out the recent West End production, so all the UK creatives would be coming out for the auditions.”

Did she prefer to go for bad girl Rizzo rather that good girl Sandy?

“Funnily enough I started out auditioning for Sandy. I went through several rounds as Sandy and got to the final audition. I had my nice little blouse on and my headband and my straight hair and I sang Hopelessly Devoted to You and did a couple of Sandy scenes. They said to me ‘how would you feel about reading for Rizzo?’ and I said, ‘Oh, I’d love to read for Rizzo’.

“So I came back next morning for the final, final audition in front of all the people from the UK and Australia, and I had my crazy wild curly hair and I had totally changed what I was wearing, and I came in and sang There Are Worse Things I Could Do and did the Rizzo scene and I got the role.

“That song – oh, it’s heaven! - I remember walking away thinking ‘I am absolutely desperate for this song’. The great thing about Rizzo is that she starts off being so tough, the head of the Pink Ladies, sarcastic – and then in the second act it’s revealed that she’s entirely vulnerable and insecure, just

like everyone else. And that song really shows the vulnerable side to her personality. It’s just really juicy.”

The non-stop Lucy Maunder is sorry, but she has to get going. She’s performing one part, rehearsing another, planning further conquests.

“After Grease finishes I hope to go over to London. I want to do my Songs In The Key Of Black over there, and then I want to do it in New York as well.”

I’ve absolutely no doubt that she will.

Anthony Warlow and Lucy Maunder in Dr. Zhivago. Photo: Kurt Sneddon.

www.stagewhispers.com.au Stage Whispers 9

Online extras!

Check out a trailer for the upcoming tour by scanning the QR code or visiting http://youtu.be/p5eyHhim0pg 10 Stage Whispers July - August 2013

Off-Broadway phenomenon Blue Man Group is headed for Australia with their internationally acclaimed, genredefying show. Neil Litchfield speaks to co-creator Phil Stanton.

Over 25 years Blue Man Group has come from humble beginnings in the streets and bars of New York to a theatrical event described in the P.R. as not just a show, but a state of mind, combining music, technology, comedy and multimedia theatrics to produce a totally unique form of entertainment, taking the audience on a journey that is funny, intelligent and visually stunning in a blissful party atmosphere, with an original music score that will have guests jumping to their feet.

Who would’ve imagined that bald blue men roaming the streets and bars of New York in the late 1980s would be the genesis of an innovative performance company that has evolved into an entertainment institution with a huge international rep.

For two years prior to taking to the stage of the Astor Place Theatre, home to the Blue Man Group ever since, Phil Stanton, Chris Wink and Matt Goldman quietly soaked up the responses to their creation.

Speaking to Phil Stanton by phone from New York, I asked about the initial inspiration for Blue Man Group.

“I moved to New York to study acting. I’m the most directly related to what I moved to New York to do. My partner Chris had played music in bands, but our other partner Matt was totally from the business world. He’d been a software developer.

“If I had to say what we were searching for, it was some way to express what we saw was essential to living a fully human life. It was like having a really good social life, and the project satisfied that, as a way to have collaboration and feel like you were part of a community. Another thing that we thought was essentially human was some way to explore our creativity.

The (Blue Man) character embodies both of those things. Three is the smallest number that can be part of a group and the Blue Man just has this innocent creativity and a curiosity about the world and our technology.

Photo: Paul Kolnik

“Chris had the idea of this bald and blue character. We started without any kind of theatrical material at all. We’d go out and walk on the streets, or go and sit in a bar, and see how people would react.

“So we had the look of the characters before we knew what they would do. Then, because we kind of wanted to express something ancient and tribal and visceral, we thought the character would play drums, and so we started to build our own drums.

“I guess over the first two years we started gathering material and getting more bits until we had a whole hour and a half of material. There are some things that remain from those very first days, like the character enjoying seeing the sound of a drum by putting paint on it. That’s such a timeless sort of idea; it’s something that feels ancient.

It’s the core way that the character likes to behave; those gooey, wet, primordial bits are still in the show today.

“What changes, though, is this look at technology in the world around us.

We didn’t have cell-phones and the Internet the way they are now. So the character is always trying to go out and explore our world and trying to see the way we live, then find those elements that are really relevant and have changed our lives.”

Each new technological advance must be like a gift with Blue Man, I suggested.

“We like to have fun with the latest technology, and especially when it comes to things which really affect the way we live. I think the character’s natural curiosity is always asking what is this doing to us; how is it changing our lives?”

You performed for the first three or so years, but now you concentrate more on developing the work. How do regard the shift to developing the work from the outside rather than being inside it?

“I did perform as recently as last Spring when we did a benefit performance. And I’ve been bald and blue since then for video stuff, but I don’t perform live in the shows any more. If it had been an abrupt thing it would have been really hard, because I really do love performing and I miss it very much. But the ability to get outside of it and watch other people bring the character to life is different.

Our work actually took a leap ahead when we were able to step outside of always being in the character.”

Given the constant evolution of technology, do you have a favourite development that has influenced the show?

“Just the way that cell-phones and touch screens and our aps have www.stagewhispers.com.au Stage Whispers 11

developed, and our ability to stay instantly connected with people around the world.

“What I think we’re having the most fun with right now is the GiPads.

They’re not really something that exists right now; they’re exaggerated touchpad screens that are eight foot tall. Of course the abilities it has surpass what can happen with a smart phone, but that’s part of the fun of it; it’s a satirical look at how they can change our lives.”

Blue Man Group started off as something quite small, Off-Broadway.

When did you realize it was going to become something much bigger?

“When we first opened here in the Astor Place Theatre in New York, that’s only 300 seats and it’s an intimate experience, I think I expected us to run about six months and then we would tour college campuses or something like that.

“Somewhere about the 10th month we started seeing full houses, and we started to hear that people had a hard time getting tickets. Then we started to realize that this could really be our life work, because there were a lot of things we could do going forward;

12 Stage Whispers July - August 2013

when we were experimenting on stage a lot, and said, ‘Oh you know I don’t think Blue Man would do that.’

“At that point we realised, Wow, this is something that other people can understand. There’s something about the character that resonates, and someone who’s not even seen it before can come in and say I don’t think the Blue Man would do that.”

Blue Man still plays in that intimate space in New York, but obviously in Australia it will play in larger commercial theatres. What impact does that have?

“They are different experiences. You do have to grow to fill the space, but what we’ve found is that by crafting the spectacle in the right way you can still get people to focus on the smallest gesture. I guess we’ve known that forever from other forms that play the big houses, like opera, so we’ve been there was a lot of music to explore and pleasantly surprised over the years that a lot of emerging technology to some of the more intimate, small explore. moments of interaction between the “There’s sort of an anecdotal thing, characters actually read pretty well in a not based on ticket sales or anything, large house, but you do have to craft that is probably a moment also. A the rest of the stagecraft, and the friend from the performance art world spectacle of it – you have to make that came to see the show, in the early days to play for a larger house. As an experience, what it might lack in intimacy it gains in a certain kind of heroic quality. I think the essential themes always come through.”

What are those essential themes?

“Contrasting the human spirit with technology, creativity, the simple curiosity that lives in the character, and that sense that they’re up there collaborating – three as one – and that they need each other. One of the other things we like to play around with is finding ways that you can see music.

An example of that is when we put paint on our drums, and you can see paint fly when you hit the drum head.”

Do you have any other thoughts on bringing the production to Australia?

“I’m really excited to be there and experience the show with an Australian audience. I’ve had lots of Australian friends here in the city and every Australian I’ve ever met reminds me of the Blue Man in a way because they have this sort of innocent adventurous spirit that’s not going to take things for what they are; they’re going to dig a little deeper.”

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www.stagewhispers.com.au Stage Whispers 13

What’s Wrong With Kong?

Lucy Graham wanted to enjoy King Kong. While she loved the puppetry, like many she was disappointed that it wasn’t a musical in the true sense.

She spoke to those closest to King Kong prior to the opening.

Online extras!

Take a peek behind the scenes of King Kong. Scan the QR code or visit http://youtu.be/15BFtOsYRKE 14 Stage Whispers July - August 2013

Esther Hannaford as Ann in King Kong.

Photo: Jeff Busby

It’s a brave move, mixing musical theatre with puppetry. Responses to King Kong are thick with expectation.

What is music theatre? What is the rationale? Indeed, what is gained by this unlikely marriage? How can the contribution of arena spectaculars be acknowledged, but ultimately set aside in Melbourne’s most iconic of theatres, The Regent?

Puppetry on the stage is not new of course. The first show I saw in this vein was The Lion King, in 2005. Also at The Regent, it demonstrated beautiful synchronicity between performer and puppet, depicting animals on the African savannah.

More recently we have been privy to War Horse, a play where life-sized puppets were manipulated so ingeniously, and with such detailed attention to mannerisms and typical animal behaviours as to enable complete engagement and suspended belief.

Both of these shows contributed something new and worthy to the theatre canon.

When I reviewed How to Train Your Dragon (March 2012) in that much maligned of genres, the arena spectacular, I lamented that the considerable talent and technical mastery were not adequately appreciated by the audience who treated it like a sporting event, nicking out for hot chips, wandering about the stadium, and failing to applaud.

Perhaps a similar frustration led to the genesis of King Kong.

When Daniel Kramer was approached to direct King Kong, he was not interested in an arena spectacular, but in a musical theatre production that moved the genre forward.

Certainly the detailed intention with which Peter Wilson (puppetry director) and Gavin Robins (acrobatic director) have collaborated is far beyond that one would appreciate in an arena venue. Working with thirteen puppeteers, acrobats and voodoo operators, they have brought King Kong to life.

‘We’ve been on the floor for sixteen weeks, refining [Kong’s] character,’ said Wilson. ‘Kong is in fourteen scenes. Gavin and I care over every

finite second. It has to be authentic. It has to be believable.’

Technical complexities mean that revisiting a scene is a major commitment. The Snake scene in Act 1, featuring a projected snake and the gorilla in battle, runs for 90 seconds, but is estimated to have taken 40–50 hours to perfect.

‘If you want to redo anything it’s not simple,’ explains Gavin Robins. ‘For a thirty second moment of detail we’re looking at a half hour reset.’

While audience focus is principally fixed on the gorilla, ten acrobaticpuppeteers, known as ‘The King’s Men’, work the puppet on stage. Their movement has been the focus of Robins’ involvement.

‘What we’ve always been interested in is seeing the double image of the operator,’ Robins explains. ‘At the end of scene two Kong is overwhelmed by the gas and captured. When he collapses, the Kings Men, who’ve been operating him, also collapse. We think there’s potency in that double image.

In order for Kong to bash a plane, some of the King’s men launch off, putting their bodies on the line for Kong. We hope this metaphor is thrilling for the audience.’

The King’s Men, drawn from acrobatics, stunt and dance backgrounds, are dressed in Zorroesque costumes, crafted from materials that block front projection. This means that while Kong is illuminated, they can ‘disappear’ into the darkness.

King Kong creator Sonny Tilders estimates the making of the puppet has engaged about forty people over four to five years in many thousands of hours work.

‘I guess I’m attached to him. People expect puppet makers to get emotionally attached to their creature.

I’m sort of protective of him but this is the moment to let him free and leave him in the hands of the performers so he can have this other life. I don’t have gorilla nightmares, but I dream about all the technical challenges around him.’

But leading lady Esther Hannaford admits to dreaming about Kong ‘all the time’.

‘When you do a show you don’t have much else in your head,’ she says.

The real-life brunette, wearing one of four blonde wigs she has for the show, says interaction with Kong is ‘easy’ because of the ‘amazing job’ the creators and animators have done. I wonder if she has affection for the puppet, and she does not hesitate.

‘Yes. And the voodoo guys, and the Kings men on stage. As much as I’m connecting with the puppet, I’m connecting with all of them as well.’

King Kong is a spectacle. There is little doubt about that. There are moments that thrill, certainly, and the technical achievements are remarkable.

But while King Kong may well be hailed as a significant puppetry milestone, great music theatre it is not.

See Coral Drouyn’s review on page 61

www.stagewhispers.com.au Stage Whispers 15

Once A Gypsy

Caroline O’Connor in Gypsy

Music Theatre and dance diva Caroline O’Connor feels Australian down to her bootlaces. Yet more than any other performer she has been a true gypsy, travelling the world stage to rave reviews, rarely calling anywhere home.

Coral Drouyn caught up with her on the eve of her opening as Mama Rose in Gypsy.

Broadway and was delicious in the recent Tony Awards telecast.

Caroline has always been something of a gypsy. “At one stage, when I said I was Australian, my father was adamant that I was Irish,” she told me when we got a chance to talk recently. Despite her telling her father that she had never even been to Ireland so how could she be Irish, he wouldn’t listen.

“I remember him saying, A cat can When Caroline O’Connor was just have kittens in a chip shop, but that eleven years old in Sydney she would doesn’t make them fish.” It’s such an come home from school while her Irish thing to say, and makes perfect parents were still at work and let sense to anyone with Irish blood. herself in. Like so many latchkey kids When Caroline first started dancing, she put on her favourite record. It was it was Irish dancing. Maybe her dad an original cast recording of Ethel Merman in Gypsy and Caro would sing would claim it was in her genes but along with ‘Rose’s Turn’. She couldn’t she was so good at it she won competitions and her parents moved to have known that she would end up Sydney where she would have access playing Mama Rose in 2010 in to better teachers. Later, when she saw England, or that she will star in The her first ballet, she decided she wanted Production Company’s Gypsy at Arts to switch to classical training and Centre Melbourne in July. harangued her mother until she gave Born in England to Irish parents, in. But after four weeks she wanted to brought up in Australia, and now give up and walked away….only to touring the world, she followed the return a few months later.

English production with a spell on 16 Stage Whispers July - August 2013

The same discipline she railed against initially was what brought her back. She went to England to study and might have become “just” another ballerina until Anthony Warlow told her she had too much personality for classical roles and she should try musicals. “And I did, because at last there was a chance to sing. I had always been shy and was terrified at first singing at auditions. I knew I could get through a dance audition; I felt confident with that. Singing was as much a part of me as dancing, but it was something I did alone. It was from my heart and for my soul.”

You can hear from her tone as she speaks just how much this means to Caroline.

The rest is Musical Theatre history… and Caroline started her life on the road as a gypsy in the truest sense, rarely in one place for more than a few months. It speaks volumes of how much travelling she has done over the past 30 years that she only became an Australian citizen in 2007.

“I always thought of myself as Australian, told everyone I was Australian, got jobs and got reviews as an Australian. Then, coming back to Australia a few years ago they said, ‘Sorry, your Resident’s Visa has expired,’ and denied me entry. It was my own fault. I’d just been too busy, but I was devastated to think I wasn’t seen as a proper Australian. So I applied for citizenship, and took the oath, and got very emotional about becoming officially what I had always been in my heart.”

Life on the road was never less than exciting, and everywhere she went there were rave reviews. There were London and West End shows like Mack and Mabel, West Side Story and Chicago, and Broadway and other major American cities, with Assassins, Follies and Chicago again and, last year, A Christmas Story (Caroline had to go back into training for the heavy tap routines, but she stopped the show just the same).

She even played in Sweeney Todd in Paris, where Stephen Sondheim declared her the best Mrs Lovett he had ever heard (move over Angela).

Plus there were the trips back to Australia for Man of La Mancha and

Funny Girl. Then there were her fantastic one-woman shows, her fabulous tributes to Piaf, Merman and Garland and film appearances like Moulin Rouge and De-Lovely.

There’s even a CD I am blessed to own (one of four she’s released) which she signed for me about 15 years ago.

Caroline the actress was the next of her many talents to surface. We know that the great Music Theatre roles are acting roles too, but both David Williamson (Scarlett O’Hara at the Crimson Parrot) and Joanna MurraySmith (Bombshells) wrote plays especially for her enormous talent.

She is by far our most lauded, most award-winning stage performer of this century. And yet, I asked her, is there some role she hasn’t played in musical theatre. “I think I’m ready for Kiss Of The Spiderwoman,” she tells me. “That would be really interesting. I’m not sure how many bums on seats we would get though.” I assure her that I would buy a ticket and ask if there is a straight acting role she yearns to play.

“You’ll think I’m crazy,” she says with a chuckle. “I’d love to do The Lion in Winter. I love the film and so I read the play. Eleanor of Aquitane is the most wonderful role. But I’m no Eleanor physically, no Katharine Hepburn. I’m too small; no-one would ever give me that part.”

Small maybe, but Caroline O’Connor is a giant amongst performers and I for one am so glad she’s coming home and we get to see her again. www.stagewhispers.com.au Stage Whispers 17

No Room For Errors On Tour Set image by Pip Runciman

Online extras!

Watch the cast and crew discuss the production. Scan the QR code or visit http://youtu.be/T3DnbSErcEU

ht District

Amsterdam’s Red Lig

You’ve got a cast of ten, a set full of doors, complex lights, and it all has to fit into a van as you tour to 32 wildly different venues across Australia. It sounds like a recipe for a comedy of errors. And as Frank Hatherley has discovered, this national tour of Shakespeare’s The Comedy of Errors turns day into night.

It may provide solace for students of the Bard that even the Bell Shakespeare’s 2011 director in residence initially finds Shakespeare hard to The Director understand.

When rising young director Imara “Then I Savage was offered the daunting and read it a exhilarating job of directing a tour of couple more times and tried to The Comedy of Errors she knew she figure out what that world of had big problems to solve.

Ephesus [an ancient Greek port] A co-production between Bell was. Was it a place that I knew?

Shakespeare and the State Theatre Were these characters people I Company of South Australia, the tour had met before? The comedy would open in Adelaide and run for five months, visiting 32 venues - from has to come from somewhere real. That was my real starting Townsville to Albany, from Hobart to point.”

Alice Springs - including seasons in Eventually the penny major Sydney and Melbourne theatres. dropped. “Oh, actually this Of course she said ‘yes!’ and her place is somewhat familiar!” challenges began immediately. For she remembers thinking. “This place instance, Savage tells me, “I found it has a lot of money - not old money, an exceptionally difficult, very new money. How you present yourself confusing play to read. Usually I have an inkling of what a play is about after - your clothes, your material the first reading, not necessarily where possessions - are really important here.

There’s neon lights and a lot of it’s set, but definitely an intuitive transactions going on, monetary and understanding of what it might be.

The Comedy of Errors didn’t work like sexual transactions. It turned out to be round the corner from where I live in that for me.”

Sydney. It was Kings Cross.

18 Stage Whispers July - August 2013

Kings Cross

“But not just Sydney’s Kings Cross.

It feels more ephemeral than that. In any big metropolis there’s a place that never sleeps. In Amsterdam it’s the Red Light District.”

What came next? “Reading. I read a lot. I read about every production that has ever been done of the play, I read about Shakespeare at that time.” Then she collected images on the internet.

Imara Savage

“I’d go to Tumblr sites to collect references, and I’d go to YouTube and find people that I felt might be a little bit similar to the characters.”

Savage had also to confront the considerable budget and touring challenges. “It’s a play written for a cast of 14 - 12 minimum - and we have to do it with 10. In the final scene there are 12 characters on stage speaking. It was already complicated in terms of character exits and entrances.

I remember thinking: quick changes!”

And then there was the challenge of developing an easily dismountable set. “The set has to tour in a van and it has to get in and out of 32 venues with very different-sized stages.”

How did she start the collaboration with her designer?

“I sent her a lot of emailed images – images of places, metropolises around the world, cities at night. And she said ‘oh, you’re not going to set it during the day!’. Then I realised that all the images I had sent her were of night, and I thought, yes, I think it has to happen at night.”

The events of Shakespeare’s play cover a single day from dawn till dusk.

Savage had taken the major decision to set her production from dusk till dawn.

“At night things can happen, magic can happen, the world gets a bit surreal at night. I love the idea that you go out for the night with some friends and it just descends into madness. And at 6 o’clock in the morning the sun comes up and you all look at each other and you think: ‘Oh, god, what was that about? I should have gone home five hours ago’.

“From the beginning I really wanted neon on the set, with a whole lot of signage like you’d see in King’s Cross.

People said it would be (a) too expensive and (b) totally untourable.”

But, predictably, she wasn’t to be put off.

The Set Designer Pip Runciman is an established set and costume designer for Theatre and Outdoor Events. Her brilliant set for the Sydney Theatre Company’s 2010 Our Town was a highlight of my recent theatre going. What was her first contact with director Savage on this project?

“I met with Imara and we discussed the play and we were both on a similar wavelength. I really liked her feel of the play’s world, a very dark world. I thought the references she sent me were great. Beautiful, strong images.”

Imara’s references. And in my research on the play I discovered it had possibly been written [in 1594] for a night of revels by a London law school, and the hall where it was performed actually had five doors around the playing area.

So, yes, we felt we wanted a lot of doors.

“We wanted a set that could be both ‘inside’ or ‘outside’ and could change very quickly from one to the other. We didn’t want clunky scene changes. There’s no fly tower in a lot of the venues so you can’t change things that way. And there’s no wing space in Sydney.”

Surprisingly, of the 32 venues, it’s the Playhouse Theatre at the Sydney Opera House, final venue of the tour for a four-week run in November/ December, that has the most difficult stage of all. “It’s like a shelf with angled walls,” says Runciman. “There’s a door on one side and that’s about it.

“So we started with what would work in Sydney and moved out from there.”

We are talking after the first week of rehearsals. How is the cast coping with all the doors?

“I think they love them,” says Pip. “They’re enjoying the comic options the doors give them. It gives them the chance to do some Commedia dell’arte comedy work. I think the cast is going to have a blast.”

Lighting Designer Adelaide-based lighting man Mark Pennington is the third major creative partner. He works often with the State Theatre Company and the Adelaide Festival. He recently toured in Europe for three months lighting for the Pip Runciman Australian Dance Theatre. “The entire But the limitations dominated her lighting rig was ours. We didn’t use thinking. “If we had wanted to have a anything from the venues at all.” big flight of stairs or a balcony we “Imara’s concept of the play – would be limited to the space in the shifting the action from being from dawn till dusk and making it from dusk van. It’s normal for a set designer to have limitations. As well as being till dawn – well, it’s a lighting creative you need to be practical.” designer’s gift. The day’s never The early concept design I am particularly interesting to light; the shown features a row of eight night always is.”

What was the set like when you doorways, each with its own double swing doors. So who came up with the three first talked together about it? doors idea?

“When I first saw the doors concept I was really surprised by the beautiful “I think we both did,” she says.

“There were a lot of doorways in simplicity of it. They’ve developed a set www.stagewhispers.com.au Stage Whispers 19

that I think is really simple and yet allows itself to span a whole different range of spaces, can be dressed down and dressed up.”

So Pennington got to work on making the simple setting as versatile as possible.

“The set itself is now almost a giant lightbox. Conceptually, the set has become the main lighting source, almost like an installation. The predominant backlighting in the show will be colour-changing LED. The beauty of LED is that there’s no gel changes, they’re very low power usage and we tour our own lighting desk.

“I’ll be adding a couple of LED moving-head wash lights. They reduce the need for a massive front of house rig. Not only can they wash the stage with colour, but you can focus them right down to a spot as well. They rotate through 320 degrees, can tilt through 180 degrees, and they’re completely computer controlled. So, instead of being a massive thing with fans and gobos, the new ones allow you to colour-mix to any one of 1.7 million colours.”

I laugh at this mind-boggling number.

“That’s the claim anyway,” he says.

“We’ll have lots of time in Adelaide to pre-plot six or seven position groups

Mark Pennington

on stage, and when we get on the road Daniel Voss, our young touring Head Electrician, will just need to update those six or seven things to match the venue and then the whole thing will fall into place.

“In some venues the show bumps in during the day and opens that night.

So time’s really short. We issue a lighting plan in advance and they will pre-rig whatever we decide we can use out of their stock of lights. Then it’s Daniel’s job to plug our lighting desk in, add the stuff we tour with, and get

the focus and the replot done before the show opens.”

Pennington is something of an enthusiast for LEDs. “There were teething troubles to begin. But in the last five years the technology has advanced in extraordinary ways. They keep producing fixtures that use less power, that are brighter, and that colour-mix better.

“Part of Imara and Pip’s concept of the show is around saturated colour.

LED works so well with that. And they wanted lots of neon. The beauty of using LEDs is that we can have reds and blues and greens without having to go down the road of purchasing stuff that’s expensive and fragile.

“The doors all have frosted Perspex so from a lighting designer’s point of view they’re a bit of a gift. They’re a beautiful soft lightbox when they’re closed and you can get some lovely long shadows out of them when they’re open.”

With the many problems of the touring set and lighting in hand, Director Savage then turned her mind to the major challenge of the casting: Shakespeare’s play requires two sets of identical twins! When someone from Bell Shakespeare asked her how she planned to manage understudies on tour, her response was immediate. “I can’t think about that because my head will explode,” she replied.

The Comedy of Errors tour opened at the Dunstan Theatre, Adelaide on June 28.

Full tour dates www.bellshakespeare.com.au/whatson/thecomedyoferrors Set image by Pip Runciman

20 Stage Whispers July - August 2013

Confessions Of A Costume Maker

Costume Feature

By Tracey Nuthall from Costumes without Drama.

Costume makers have the privilege of working with some amazingly creative designers. The problem with this is that sometimes they ask for the impossible, or what they have in their mind is very different to what they draw or describe.

Take one job I was given several years ago to design the most magnificent drawing of a pair of flowing robes, with an explicit and exquisite floral design. Finding a fabric to match this started out as a mission impossible. Then when all was lost, at the very bottom of a huge rack of fabric, the EXACT colour and design fabric appeared. I literally danced out of the fabric shop. All the colours the designer had used were in the fabric, all the swirls and patterns drawn in the picture were replicated on the fabric.

I lovingly made the robes, which looked, to my eye, to be exactly like the picture. On the day the designer came to see my progress I proudly showed her my dresses, to watch her face fall with disappointment. She exclaimed that it was nothing like what she was expecting… and pulled some shiny lycra from her bag… lycra with a very shiny square pattern… black lycra with shiny squares, which in no way looked anything like the swirling floral design with blue, grey and white.

When asked why she drew those colours and the swirling design if she wanted shiny squares, she said that this was her artistic way of drawing.

Anyone who has created a costume from a picture lovingly drawn by a designer will feel this pain…

I also had the privilege of working for a school which used their senior students to design the sets, props and costumes for their concert. This is always an exciting environment in which to work. Young people have wonderful ideas, and when faced with opportunities like this, I just want to do justice to the exquisite drawings.

Fortunately the student in charge of the costumes is a very talented young lady, and was so excited to see all her pictures come to life. I may not have slept for the previous month, and you could smell my brain frying as I tried to work out how to actually turn the pictures into costumes, but no one went on stage without a costume… www.costumeswithoutdrama.com.au

www.stagewhispers.com.au Stage Whispers 21

Photo: Max Pucciariello

Botanica

Fragrant Costumes That Bloom For more than 30 years the New England based physical theatre company Momix has used costumes and visual images to inspire their performance.

Artistic Director Moses Pendleton describes the extraordinary costumes in his breathtakingly beautiful production of Botanica, which is at Arts Centre Melbourne from August 7 to 11.

22 Stage Whispers July - August 2013

We are a physical visual theatre.

We create the imagery first then a sense of choreography follows.

The focus is on visual spectacle and the four seasons, using costumes and props to imagine the human form into plants, animals and minerals.

Special lighting makes parts disappear and reassemble. Through the use of black light and green costumes parts float in space. People

appear to defy gravity.

I believe much of what you see is attributable to light. I have seen naked dancers who make you think they are wearing a Valentino dress.

Costume is so integral to what we present, like a sculpture of the four seasons in New England (USA).

For frozen Arctic tundra we use white fabric, projected blue light and fans to blow the fabric. You see the melting of snow and ice.

Costume Feature

I am passionate about gardening and flowers. Hawthorns, Daffodils and Tulips – all have moments in the seasons and deserve celebrating.

I live in the country. I have just planted (orange) Marigolds. How do I make dancers into Marigolds? I make them a series of petticoats. I begin on the head and you only see a puff of flowers. It grows to reveal a human stem. I use Indian sacred music to give it an exotic flavour. As

it moves to the hips it takes on a feeling of Samba. Then they become a magic carpet and ladies spin out to draw in the bees.

Glass beaded skirts are worn to show rainfall glistening in the morning sun. Dancers become Whirling Dervishes - crystals in motion.

I like creating optical confusion, like in nature. One performer dances with a large oversized fan that

creates the feeling of an atomic bomb that mushrooms. As a membrane rolls back it becomes a Morning Glory flower.

I like costumes that move beyond the body. One has extended fibreglass poles with fabric that resembles Peacock wings.

There is also excitement in the gold of the Sunflowers. You see babies in their heads. They move like coloured fans.

www.stagewhispers.com.au Stage Whispers 23

Costume Feature

Behind The What makes Australia’s oldest professional theatre company tick? The Melbourne Theatre Company turns 60 this year. Its success has been built on the back of those behind the scenes, who have spent decades stitching, painting and building plays from scratch. Lucy Graham reports.

Currently his crew of three is constructing walls, over two-storeys high, for The Crucible set. It is a ‘big, difficult build’.

‘We should be turning shows around every four weeks’, says Dunn.

‘This has taken the carpenters double that [time], so that’s going to impact the shows around it.’

The holdup was caused by ‘a gabled Four pianos are backed up against roof and a wall, which sounds simple the astonishing red walls in the but it’s diabolically difficult because corridor. The atmosphere is close and slightly confronting. Turning a corner, there’s only one wall holding the whole we pass rehearsal rooms. Rehearsals for thing up.’

Invariably there are technical Solomon and Marion are underway. challenges to resolve for every show.

The corridor opens into a huge warehouse space. Alcoves on two levels Initially the Director and Designer initiate concept ideas. The designer will accommodate props, a wet area, workspaces and offices. The air is cool, develop them and create a model and and it feels a little urgent. On the floor, plans. Next wardrobe, carpentry, props, lighting and sound sit around that huge boards lie flat, waiting to be of model with the director and set service. Over yonder tall blue designer. scaffolding and a roller-door lead to the loading dock.

This is MTC-HQ. Each year the Melbourne Theatre Company produces twelve major productions, an education program and season of new or independent works. For each, sets are designed and constructed, props found, renovated and crafted, costumes sourced and sewn, and sometimes hats, wigs, and art finishing are required.

Having moved from the ‘old digs’ in Farrar Street, South Melbourne in 2009, MTC’s beating heart is now in Sturt Street, just a stone’s throw from the Southbank Theatres and Arts Centre Melbourne.

Shane Dunn, Scenic Art Supervisor, has been with MTC since 1991.

24 Stage Whispers July - August 2013

Scenes At MTC

‘And we look at it, and shrug our shoulders, and arch our eyebrows, and go, really?’ laughs Dunn. ‘We nut out how we are going to do it. If there are some really big issues the conversations go back and forth for a number of weeks. Once we’ve nutted out those problems, and financially it looks alright, we press a button and off we go.

‘Solomon and Marion was relatively straightforward,’ says Dunn, ‘except for the eight cubic metres of sand that has to be landscaped all over the stage. The contours of the stage are covered with carpet, which is simply there to capture the sand so it doesn’t slide off.

‘There are technical problems with every show. In Solomon and Marion it’s turning out to be the painting done by the actor every night as part of the script. How much paint do you need?

Between the matinee and evening performance the paint is going to be

wet. What are we going to do about that? Well we have to build two, for matinee days, which means you have to get it all down, and off stage, and then bring it back on.’

For the current concern, The Crucible, it’s not sand on stage, but imitation mud made from a combination of rubber, sand, food dye and a wetting agent made of acrylic beads. It’s slippery and damp to touch, but won’t leave the actors wet.

‘Its all inert and safe and non toxic,’ explains Dunn. ‘It has to be stable and remain the same for a month. Who knows if we’ll use it – we need a cubic metre-and-a-half. They want it on stage the whole time, and they want people to run through it.

‘Collaboration is fun. You get to work with lot of creative people and solve problems, and that’s rewarding,’ says Dunn.

(Continued on page 26)

www.stagewhispers.com.au Stage Whispers 25

(Continued from page 25)

Props Supervisor Geoff McGregor, a trained architect, has been with MTC for 31 years. His workspace resembles a Collectables Shop. McGregor shows me a photo album of props from years past, describing how items are renovated for particular shows, or made from scratch. He indicates one chair that has been recovered six times.

‘I might have made one hundred beds in my life but they’ve all been different. That’s the good thing about this job. There’s a lot of pressure because there’s only the two of us.

Quite often we’re working on four different shows at once.

‘I couldn’t see myself doing any other job but this one,’ says McGregor.

Upstairs, wardrobe manager Judy Bunn, a former cutter, says one of the keys to her job is thinking ahead.

‘We generally have five weeks before rehearsals start,’ reveals Bunn.

26 Stage Whispers July - August 2013

‘The costumes have to work with what the actor will be doing. Hopefully we don’t have to completely discard costumes we have made, but sometimes that does happen. We just have to get over that.

‘For The Crucible I was looking at this two months ago and thinking I’m going to need an art finisher, and this number of people to make the costumes. So you’ve got to have projections, and look at everything, maybe talk to the designer to get some idea where they’re heading. Then the buyer and the designer start shopping, and that’s quite intense for a number of weeks.

‘Our buyer, Lucy Moran, goes all over Melbourne,’ says Bunn. ‘She’s been here 25 years and really knows what she’s doing. We need suppliers who’ll operate on a return basis because we get maybe five garments for a fitting because we need the variety, but we’ll only need one.’

The Crucible is set in the 1690s, so latchet shoes (that have no left or right foot) have been sourced from America.

Shoemakers Brendan Dwyer in Melbourne, Jess Wootton in Prahran, and Rocco in Malvern are also making shoes for the cast of sixteen, who all require particular footwear.

In the laundry area, complete with dying vats, washing machines, and a drying room, an art finisher has been engaged to distress the fabrics to achieve a raw look.

‘She’ll use dust, polish, schmutzstik - an aging crayon,’ says Bunn. ‘Art

finishing is an art. You can get some really fantastic effects.’

MTC’s extensive wardrobe collection is impressive. ‘The Good Room’ is a collection of particularly prized items not available for general hire. Some items have come as donations from the public, including an exquisite coat featuring detailed hand embroidery, used in Hamlet.

‘Donations are valuable,’ says Bunn, ‘but they have to be quite what we want.’

Beyond ‘The Good Room’ a large space is hung with rows and rows of garments. Shoes, sorted into colours and sizes, occupy large box-shelves along the wall. This collection is available for hire, and vintage, period shoes and suits are in particular demand.

Costume Feature

‘One of our cutters, John Molloy, has been here forty years,’ says Bunn.

‘He would probably know all the suits and the menswear in this room, because he probably made it. It’s an incredible commitment to the MTC.’ Period shows mean millinery comes into its own, and the services of Phillip Rhodes are a valuable asset. I am shown a crown made for Queen Lear using water-jet cut leather.

‘We were really amazed when we saw this,’ murmurs Bunn, ‘because it opened up possibilities for us. Leather is easy to cut and easy to mould. It’s quite light.’

In an adjacent room Jurga Celikiene makes wigs, knotting individual hairs according to the specs. It is eyecrossing work, even as she works with two lights. When we enter she is working to add hair to an existing wig.

‘This wig has already been in two shows,’ Celikiene explains. ‘First I made it for Richard III - it was short, and this other one is longer, so now I need to add hair. Luckily it doesn’t need to be very full or it would take too long. Now I will cut it and it will be alright.

‘It’s all real hair. We barely use synthetics. Often I buy cheap wigs for hair stock. Grey is the hardest because it’s not natural. If you buy hair it is about $120 for 100 grams maybe. If it’s natural grey, oh my god, its thousands! European hair is really expensive - it is much finer. Asian hair is thicker.’

And if someone wanted to donate hair to you?

‘Oh I would be most appreciative.

For men’s wigs its crucial to have European hair; it always looks much better. For women’s wigs Asian hair is not so bad because it is usually fuller and longer.’

Beyond clothing and accessories there are maintenance issues to be resolved. Judy Bunn shows me a pair of shoes used in Richard III. ‘Because Ewen [Leslie] was meant to have a limp, he dragged his shoe,’ she recalls. ‘That happened every night so in wardrobe maintenance we’d have to build the shoe up again so he could wear it down again.’

And then there are the costume effects that call for the use of alternate materials, and innovative problem solving.

‘In Return to Earth, we had a character that was meant to grow barnacles. He had a pair of overalls on

and he had barnacles across one shoulder. So that’s cast in a silicone.

They had to be removable – the girl in the show picked them out. But they got infected in the show so we had to make another one really gross and infected. You can imagine school groups really love this.’

‘In Return to Earth [a character] had to get pregnant in seconds. So what they came up with downstairs was a beach-ball inside a little bather with a tube that came round the back to a little pump the electrics men sourced from Canada. It’s actually a blood pressure pump. It was activated remotely off stage. ’ As I leave MTC-HQ I have a sense that I want to make a contribution to this iconic company. Suddenly donating my own hair doesn’t seem such a crazy notion.

www.stagewhispers.com.au Stage Whispers 27

Costume Marketplace

Many theatre companies which have costumes to hire for Fancy Dress are facing stiff competition from internet cheapies. Instead they are turning to renting out entire sets to other companies. A cross section is now listed on www.stagewhispers.com.au/costumes where entire sets can be promoted for $11 a year.

GMS Costumes (NSW Central Coast) www.gmscostumes.com.au GMS Costumes Manager Leslie Normet says rental of entire sets of costumes helps companies which don’t have the resources or storage space.

“We had the Ballina Players fly down to see our Sound of Music and said we’ll take the lot,” she said.

GMS Costumes’ Jekyll And Hyde

28 Stage Whispers July - August 2013

GMS Costumes’ Grease

“We have five whole shows out at the moment including The Producers, The Wizard of Oz and Bugsy Malone.”

A rental of a large set of costumes typically costs in the vicinity of $3000 plus laundry.

Almost no cast is too large. “We had 50 nuns in The Sound of Music. It was a sell-out.”

Currently being made are Hairspray and A Christmas Carol.

The GMS Costumes website features up to 100 pictures from the last 30 musicals performed by GMS. Contact: (02) 4324 1305 or gosfordmusical@bigpond.com.

Spotlight. Theatre (Gold Coast) www.spotlight-costume-hire.com Just as prolific is the Spotlight Theatre Company.

“We produce a minimum of ten shows a year including two for kids,” says Spotlight Theatre’s Tony Alcock.

“We just sold off our Spamalot set, after a couple of hires. We’ve always got shows being built. A four metre Hairspray canister and a Drowsy Chaperone bi-plane which comfortably seats eight are currently up for grabs.”

He says Spotlight beats on-line sellers because of the variety of stock they have.

“On the internet costumes are very similar, whereas we have a large retro wardrobe. Recently we did a steam punk wedding and our wigs were very popular for a big comic convention.”

Contact: (07) 55394700 or mailbox@spotlighttheatre.com.au

Costume Feature

Spotlight Theatre’s Drowsy Plane

adding to its extensive stock of costumes that cover every style and period from Sullivan to Sondheim.

Complete production sets include Singin' in the Rain, Crazy for You, Funny Girl, A Chorus Line, Company, Into the Woods, Chess, West Side Story, Chicago, The Boy from Oz, Hot Shoe Shuffle and the complete professional productions of The Wizard of Oz and Man of La Mancha.

Contact: 1300 826 788

Miserables. An old popular release is Joseph, a new popular release is their set from Hairspray. Ballarat Lyric is also the custodian of the professional costume set from Eureka.

The shop is open 4-6 Tuesday and Thursday night.

Contact: (03) 53324817

A Stitch in Time Saves Bankstown’s Wardrobe Department (NSW) www.bankstowntheatrecompany.com CLOC Costumes and Properties (Vic) While extensive renovations were Ballarat Lyric Theatre Costumes www.cloc.org.au/hire/hire_default.htm being completed by their local council, www.ballaratlyrictheatre.com.au/costume-hire Bankstown Theatre Company in Anyone who has attended one of The company has over 3000 CLOC Musical Theatre's productions western Sydney was forced to find costumes that include their awardknows the fantastic range of quality (Continued on page 30) winning productions of Cats and Les costumes on offer. CLOC is always

www.stagewhispers.com.au Stage Whispers 29

Costume Feature

Bankstown’s Guys and Dolls

(Continued from page 29)

other premises for their rehearsals and performances. This caused a myriad of problems for their famous wardrobe department.

“Fortunately, we are back” said Wardrobe Master, Tony Attard. “We have returned to our home at the Bankstown Arts Centre and the

enthusiasm to get back to business is amazing. For decades, our dedicated volunteer staff has been working together to supply costumes to theatre companies throughout Sydney and beyond.”

One wardrobe stalwart, Betty Cairncross, spoke up proudly. “The time out in the cold proved to be one Bankstown’s Jerry’s Girls

30 Stage Whispers July - August 2013

of the best things that could have happened to our wardrobe department,” she said. “It has caused us to look at every single costume we owned, and to freshen them up or to replace them with sparkling new outfits.”

Contact: 0449 882 533.

Dressing Up For Show

Coral Drouyn spent a magical morning in the costume archives of Arts Centre Melbourne looking at past and future exhibitions and wonderful collections dating back over a hundred years. She came away full of excited memories of how she fell in love with theatre.

You’re a child, sitting in the dark, and your parents have brought you to your first live show. Most probably it’s a musical, or a ballet, or maybe a pantomime. You weren’t allowed to go to “grown-up” plays. The curtain rises, the lights go up …and you fall in love instantly and completely; a love that will last a lifetime. You’ve just seen your first fantastically fabulous costume! If “clothes maketh the man” then surely “costumes maketh the show”. I remember seeing my Dad as Buttons in Cinderella. He had a royal blue bellboy suit with gold buttons and a pillbox hat. Cinderella wore a white, hooped crinoline ball gown with crystals and pearls and satin bows. It looked like chiffon but closer inspection showed it was actually white curtain Terylene. It didn’t matter…I was already hooked. I (Continued on page 32)

Costume worn by Kylie Minogue in her Showgirl tour, 2005. Designed by John Galliano. Gift of Kylie Minogue, 2006. Arts Centre Melbourne, Performing Arts Collection

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Costume worn by Dame Joan Sutherland as Anna Glawari in The Merry Widow, The Australian Opera, 1978.

Designed by Kristian Fredrikson.

Gift of Opera Australia, 2013 Performing Arts Collection, Arts Centre Melbourne

Costume worn by Dame Edna Everage in An Evening’s Intercourse with Barry Humphries, 1981. Designed by Bill Goodwin. Gift of Barry Humphries, 1985

was perhaps 3 years old, but the images remain in my memory like colour photos snapped by my eyes and stored for life in my brain. I don’t look at them often, but I know they’re always there when I need them.

I was practically born amongst costumes. (My mother came off stage in labour, after a heavy dance routine, went to the hospital and I was born an hour later.) My mother was a tiny

32 Stage Whispers July - August 2013

principal boy, and a famous Aladdin in British pantomimes. I remember her “transformation” costume, after the Genie grants Aladdin’s wish; a black thigh length tunic, completely sequinned but with emerald green beaded dragons on it with large “ruby” eyes. She wore emerald green silk (not the usual fishnet) tights with it. This was 1949 and I still remember the audience gasping at that costume when she appeared.

I am certain every single person reading this has a costume in their memory which affects them the same way, and many of you are part of theatre (whether it be Main Stage or Community, Independent or High School) because you had a dream of standing on a stage in a beautiful costume, and that dream came true.

Costumes can make or break a show. Imagine if the ‘Ascot’ scene in My Fair Lady had NOT been black and white; or Dolly Gallagher had worn a black dress instead of a red one as the black-tailed waiters sang Hello, Dolly! in the iconic musical of the same name; or Dorothy had not worn red shoes in The Wizard of Oz. Imagine Kylie

strutting her stuff in leggings and a tee shirt instead of those Gold Hot Pants (which I actually SAW in person this week. So, so tiny, and PAINTED….not gold lame like I thought. Amazing!) or Wicked without the costumes?

Costumes create magic; they weave spells. No witchery of the “eye of newt, leg of frog” variety, but spells made of baubles, beads, silks and satins, velvets and velour, feathers and fur. Those Costume from The Boy From Oz, 1998 Designed by Roger Kirk Gift of Gannon / Fox, 2001

were the things that seduced us…and colour…lots of colour.

And it wasn’t just dresses and suits.

There were hats, and shoes, and jewellery, feather boas, wild ties. Each ingredient simply added to our fascination.

And who could forget Dame Edna’s glasses, and even her wigs? They were as much a part of the costumes as the outrageous dresses. Few of us remember that Dame Edna started in an ugly tweed coat from an op shop and a cloche hat; she was decidedly downmarket!

One thing we never gave much thought to was, “What happens to those costumes when the show is over…or the company closes down?”

Just thinking about that made me sad and anxious….where do old costumes go to die? Do they feel abandoned and neglected like so many of our performers from yesteryear, once basking in the adulation of the audience, now lonely and forgotten?

Sadly that is the fate of a few, but not all. Some are put in storage for the next production, some are given to cast members, some are auctioned off, but a great majority of them are gifted to museums or arts centres. They live on in retirement, and most of us will never see them again.

Arts Centre Melbourne’s Performing Arts Collection has the largest collection of theatre memorabilia in Australia over 500,000 costumes, accessories, programmes, contracts, playbills. The collection is so big it is spread over several locations around the city. But a huge part of it lies in the archives under the grassy mound that separates the Arts Centre theatres from Hamer Hall.

There is no glamour here, though Hamer Hall has just been lavishly renovated. Those of us who remember very basic dressing rooms and backstage facilities in theatres all over the country will not be surprised to know that behind the sumptuous padded walls of Hamer Hall, the archives are housed in cold spaces with chipping paint and not much comfort for those that work there. Why spend money on what cannot be seen. But the illusions, the dreams we all

Costume Feature

diamante stars and moonstones….it is carefully wrapped in tissue papers and kept in a silver box and you can’t help but gasp upon seeing it. It’s wildly glamorous, but is it more important than the astonishing perfectly preserved Dame Nellie Melba purple velvet robe with its real ermine trim? Or Robert Helpmann’s lyrebird costume from the amazing ballet The Display, along with Prima Ballerina Kathy Gorham’s point shoes (there’s an autographed pair of Margot Fonteyn’s point shoes in the archives too).

Best of all is that a few times a year Arts Centre Melbourne provides free exhibitions of some magnificent costumes we might never have seen before, or see again. Currently there’s an exhibition coming to an end in the Smorgon Plaza of the newly gifted Opera Australia costumes. Following it, on July 6th, is an exhibition of Geoffrey How to Succeed in Business Without Really Trying.

Nancye Hayes (far left), Patty Roberts (second from Rush’s costumes, including his gown left front) and Judith Roberts (centre back). for Lady Bracknell, his Captain Barbossa From the private collection of Kim Stone Wesble. costume from Pirates of the Caribbean remember, are handled with white … and even his Oscar, Tony, and Emmy gloves and talked of with real affection. awards will be on display. I personally They’re kept on racks in metal want to see the incredible cloak from conservators, away from any possible Exit The King. Imagine being close pollution. They are safe, and that’s enough to touch (but please don’t) so what counts. much of what shapes our love of The Performing Arts Collection theatre. Buy a coffee, take a sandwich, houses all of the JC Williamson spend your lunch hour looking at that collection, including Camelot, My Fair Tony and composing your acceptance Lady, No No Nanette plus the Reg speech. Let the magic touch you and Livermore shows, The Australian Ballet, make you smile.

And spare a moment to say a silent The Gordon Frost costumes from Hello, Dolly! with the great Jill Perryman, and thank you to the costume designers Crazy For You; Kylie’s sensational hot and the artists who wore their creations. After all, without costumes, pants, shoes and the amazing blue John Galliano leotard with its crystals, theatre would be…well….radio!

Stage Whispers Costumes Just $11 a listing Have any costumes and props for sale or hire? Get noticed now! www.stagewhispers.com.au/costumes

www.stagewhispers.com.au Stage Whispers 33

The Phantom On A Budget

Online extras!

Go behind the scenes of CLOC’s Phantom by scanning the QR code or visiting http://youtu.be/1oGb19sqKKE CLOC Music Theatre. www.cloc.org.au

Since The Phantom of the Opera was first staged in Australia in 1990 the show has been synonymous with lavish production values and jaw-dropping technical show-pieces. When the rights were released to amateur theatres the question raised was – can they do it justice? Marcus Pugh and David Spicer report.

May at the heritage listed National Theatre, St Kilda.

CLOC President Grant Alley commented, “It nearly killed the lot of us.”

Another production by Savoyards closed in June with sell out shows in Brisbane.

Janet Raymond, from Savoyards, says with any large production the bigger the challenge the bigger the The World Non-Professional Premiere of The Phantom of the Opera reward.

“What an amazing and gratifying was staged by CLOC Musical Theatre in experience,” she said.

In New Zealand, Wellington Musical Theatre sold out many of its 24 performances in its 1400 seat theatre.

The Windmill Theatre open in Melbourne as we go to print. The Metropolitan Players of Newcastle will have the New South Wales premiere on the 28th of August. Craig Wellington is staging a lavish production in Hobart, also in August, and Matt Byrne is kicking off in South Australia on the 4th of July. Many others are in the pipeline.

We have spoken with directors, technical managers and lighting designers involved with these productions to gauge a response from the back-of-house perspective.

34 Stage Whispers July - August 2013

Grant Alley of CLOC Musical Theatre said, “It is a monster show for anyone to do.”

Grant and his team came up with innovative solutions to some of the more difficult technical elements of the show like the chandelier drop. In previous productions this effect has involved swinging a gigantic set piece out over the audience’s heads. As a compromise, but no less spectacular, CLOC opted to drop the chandelier straight down onto the forestage area.

It did, however, still involve a custom designed automated motor system, two separate pyro cues and battery-powered LEDs. “The Conductor had to duck a bit…where it dropped down,” Grant added.

This production also featured a radio-controlled gondola, which appeared to float effortlessly through dense dry ice fog, accentuated by a decal effect from the overhead moving lights.

“Hiring in a few moving lights on this type show can do the job of dozens of conventional fixtures,” Grant commented.

In Wellington they had more restrictions on the chandelier.

The director Grant Meese said, “Our Chandelier went up, and not down. It did not crash. This would have required too many restrictions to the venue.

However sheer ingenuity involving pyrotechnics was just as spectacular.”

“We used good old winches to float our boat. A bit of manpower in the wings made it glide effortlessly around the lake.”

The Metropolitan Players in Newcastle plan on utilising the existing architecture of the Newcastle Civic Theatre to invoke the Palais Garnier (Paris Opera House), whereas other companies in more modern venues have had to go to the extent of building a façade around the existing proscenium arch in the style of the 1800s.

Jacob Howard from the Metropolitan Players has decided to concentrate more of the tech budget on sound rather than some of the automated effects throughout the show. He will be close mic’ing the 27 piece orchestra through a Digico SD9 digital sound console and Yamaha

DM1000 to help process and push out the sound through what he suspects will be at least nine different speaker positions. “This will give us the ability to have the Phantom’s voice appear like it is coming from any location within the theatre… it should be pretty spooky”.

“The Theatre Royal in Hobart is probably the best venue in Australia for it,” boasts Craig Wellington.

“It is the oldest theatre in Australia and a perfect miniature of the Paris Opera House.

“The Theatre Royal is also notorious for having a ghost, so it is a case of the ghost meets Phantom,” he said.

“Everything is being built locally.

The chandeliers will rise magnificently and plummet into pieces from our second proscenium.”

Phantom has been a strenuous production for the companies that have staged it thus far.

Janet Raymond of Savoyards in Brisbane said, “We are currently in recovery mode. We survived Phantom!”

Windmill Theatre Company.

Photo: Dave Banen. www.movinglight.com.au

Longer versions of many reviews can now be found at www.stagewhispers.com.au

What exhausts the companies is the number of different challenges and pace of the show.

“The quickest costume change is just 25 seconds. Sometimes you only have just over a minute to get to the next scene change,” says Grant Meese.

“While there are components that are difficult, it is the speed of the show, with so many scenic pieces and backdrops, that makes it quite a challenge to pull together.”

But a constant amongst all the theatres is the standard of the casts.

People have come out of the woodwork to be in the productions including the odd Opera singers, returning from overseas in some cases to participate.

And the choruses have been exceptionally well disciplined too.

“It is not a huge ensemble show.

There is a lot of sitting around during rehearsals, but never once have they lost focus to make the best production they could,” says Grant Mees That sounds like a community theatre dream!

CLOC Music Theatre. www.cloc.org.au

Stage Whispers 35

Raising The Curtain

A Celebration of Australian Theatre (Madman/SBS DVD $29.95) Raising the Curtain would undoubtedly be the best documentary to be made about the Australian Theatre.

Produced by Essential Media and Entertainment in association with Studio, the Arts and Entertainment channel, it’s a three part series which looks at the history of Australian theatre from convict days, with the first production of George Farquhar’s The Recruiting Officer in 1789, until the present day.

The first episode, Movers and Shakers, although concentrating on the entrepreneurs, is basically a total overview of the whole history.

English comic actor George Coppin, who arrived in 1843, is recognised as being the first important and influential person in the development of Australian theatre.

The episode also covers J.C. Williamson’s arrival in 1874 with his play Struck Oil and his founding of the J.C. Williamson theatre empire, Harry Rickards with the Tivoli chain of vaudeville and variety theatres, followed by tent shows in the thirties, little theatres (Sydney’s Independent) in the forties, and Phillip Street satirical revues in the fifties.

A milestone is the establishment of the first professional non-profit theatre company, the Union Rep (later MTC) by John Sumner in 1953, and the Elizabethan Theatre Trust in 1954. Later Harry Miller comes into the picture with a series of rock musicals in the 70s, before John Frost, who inherited the J.C. Williamson mantle of popular entertainment and still produces it today, appears in the eighties.

Along the way there were visits from Lola Montez in 1855, Sarah Bernhardt in 1891, 36 Stage Whispers July - August 2013

Toni Lamond

Houdini in 1910, and Laurence Olivier and Vivien Leigh in 1948. This insight is told with archival video and film footage and interviews with a host of present-day theatremakers; Geoffrey Rush, John Bell, Barry Humphries, Toni Lamond, Kate Fitzpatrick, Robyn Nevin, Reg Livermore, David Williamson, Cate Blanchett, Gale Edwards, and theatre historians, John McCallum and Frank Van Straten.

Episode two, Not the Queen’s English, tells the story of Australian playwrights beginning with Bland Holt’s local adaptations of fruity melodramas at the turn of the century (The Breaking of the Drought), and follows with Louis Essen’s work with the Pioneer Players in the 20s, Betty Roland’s tenure at the left-wing New Theatre in the 30s, Sumner Locke Elliott’s World War 2 digger comedy Rusty Bugles (1948), to Ray Lawler’s iconic The Summer of the Seventeenth Doll (1955).

Later comes the emergence of the black voice with Jack Davis at the Pram Factory, David Williamson at La Mama with The Removalist (1971), and Alex Buzo at NIDA’s Jane Street Theatre with Rooted (1969). Novelist Patrick White (A Cheery Soul) and poet Dorothy Hewitt (The Chapel Perilous) are lauded, as are John Romeril (The Floating World), Bland Holt

Reg Livermore - Betty Blokk Buster

Stage Heritage Michael Gow (Away) and Wesley Enoch (The Seven Stages of Grieving).

The third episode, The Shock of the New, discusses the place of the director and the director’s influence in shaping contemporary theatre. John Bell giving Shakespeare an Australian sense, Jim Sharman drawing on the country’s vaudeville and variety roots, Neil Armfield’s experiment with group-creative work with Lighthouse Company, Adelaide, and the importance of Barry Humphries and his Dame Edna creation and of Reg Livermore’s Betty Blokk Buster who both have their roots in vaudeville and panto.

Music theatre aficionados may feel a bit short-changed with the meagre clips of Gilbert and Sullivan, The Pajama Game, The Boy from Oz, Priscilla Queen of the Desert – The Musical, and the TV version of The Sentimental Bloke, but that’s a minor quibble in what is a landmark and groundbreaking examination of the history of Australian theatre. Executive Producers Chris Hilton and Julia Peters are to be congratulated on this epic slice of television journalism. It deserves its own Helpmann Award!

Peter Pinne A Bland Holt melodrama

Dame Edna

The Summer of the Seventeenth Doll (1955)

www.stagewhispers.com.au Stage Whispers 37

Simon Tedeschi – Gershwin and Me (ABC 481 0032).

Simon Tedeschi’s Gershwin and Me has been sitting near the top of the Classical Music charts since its release and it’s easy to see why.

By Peter Pinne Recognised as Australia’s foremost interpreter of Marina Prior - Encore (Fanfare 093). Show music is in Marina Prior’s DNA, it’s what her fans love hearing her sing, Gershwin’s music, the and what she sings well. album, a selection of Gershwin songs, preludes Her new disc Encore, released to coincide with and “Rhapsody in Blue” is not only a brilliant a national tour, is her reminder, if we needed any, first show music album for 18 years, and proves of Gershwin’s compositional legacy, but why she’s Australia’s also Tedeschi’s pianistic favourite musical ability. Two songs, “Love theatre diva. Singing Walked In” and “The Man I Love” have arrangements by songs from musicals she has appeared in Percy Grainger, with one each by jazz exponents Dave Gruisin (“Nice Work If You Can Get It”) and Keith Jarrett (Les Misérables and (“Someone To Watch Over Me”). Tedeschi also improvises The Phantom of the Opera), withBeale a few Andrew and Kelvinhimself Harman on two songs from Porgy and Bess, “Summertime” and “I Loves You, Porgy”. The final track on the CD is tracks from those she hasn’t (Mamma Mia and Annie), it’s a dazzling CD that bears repeated listening. The “Rhapsody in Blue”, accompanied by the Queensland Symphony Orchestra conducted by Benjamin Northey. It’s a disc opens with a virtuoso reading of “Meadowlark”, Stephen Schwartz’s story-song from The Baker’s Wife, and dynamic performance, recorded live at the Concert Hall, then follows with a low-key, but effective “I’ll Never Fall In Queensland Performing Arts Centre, in 2007, and uses the original 1924 orchestration by Ferde Grofe.  Love Again” from Promises Promises, in which she duets with herself. A Rodgers and Hammerstein “Dream Medley” A Time for Singing (John Morris/Gerald Freeman) includes “Climb Ev’ry Mountain”, “Out of my Dreams”, and (Kritzerland KR20025-1). Kritzerland’s latest reissue from “I Have Dreamed”, whilst “Before I Gaze at you the Broadway vault is this 1966 musical based on Richard Again” (Camelot) and “Memory” (Cats) are simply lovely Llewellyn’s novel How tracks. There’s also a nice version of Randy Newman’s Green Was My Valley, and “When He Loved Me” from Toy Story 2, the only movie the subsequent Oscarsong on the disc. Although Prior has previously recorded winning 1941 film some of these songs, her voice these days is much more directed by John Ford. It mature and richer. Long-time musical collaborator David was set in a Welsh mining Cameron arranged the material and provides a distinctive but unobtrusive accompaniment on piano, guitar and bass. town and centred on the  conflict within the Morgan family and the formation of a miners’ union. The composer John Morris had previously written dance music for Baker Street and All American amongst others. The score at times has the emotionalism of opera. It wasn’t sung-through but it was on its way to that form which evolved 20 years later with Les Misérables. In some respects because of its setting and treatment it has the same qualities as Howard Goodall’s 1984 The Hired Man. The choral writing is superb, with the male chorus work particularly strong especially on the highly melodic “How Green Was My Valley”. Top starred was Ivor Emmanuel, who had played leads in London’s Damn Yankees and 110 in the Shade, and Shani Wallis, who had been the ingénue in Call Me Madam and was later to play Nancy in the film version of Oliver! She gets a nice ballad, “When He Looks At Me”, and with Emmanuel sings the medley of “Let Me Love You” and “I’ve Nothing To Give”.

Stage On Disc

38 Stage Whispers July - August 2013

There’s also a spirited performance from British music-hall veteran Tessie O’Shea on “What a Good Day Is Saturday”. 

Gay’s the Word (Ivor Novello/Alan Melville) (CD JAY 1925). JAY’s 2012 complete London Cast recording of Ivor Novello’s last musical Gay’s the Word is the first time the show has been revived since it opened in 1951. The original 1951 cast, which included Cicely Courtneidge and Lizbeth Webb, only recorded 11 songs from the score when it premiered, with some numbers truncated and this new recording allows us to hear what we’ve been missing for the past 60 years. There are no gems in the previously unrecorded numbers but “Everything Reminds Me Of You” is a tuneful romantic ballad for the show-within-ashow and “An Englishman in Love” indulges in tonguetwisting word-play. Big-voiced Sophie-Louise Dann makes a meal of the original Cicely Courtneidge songs, “Vitality” and “Bees Are Buzzin’”, while Helena Blackman’s brings a sweet soprano to “Finder Please Return” and “On Such a Night As This”. Elizabeth Seal (Irma La Douce) made her West End debut in the chorus of the original show and in a nice touch plays Madame Nicolini in the revival. Novello’s

melodies are sumptious, especially “If Only He Looked my Way”, and Alan Melville’s lyrics abound with wit, poking fun at the theatrical conventions of the day, with “Ruritania” a standout. James Church accompanies on piano. It’s a dated but charming curiosity.  Les Misérables (Alain Boublil/Claude-Michel Schonberg) (Universal DVD 49109412). Despite being nominated for eight Academy Awards, including Best Picture, and winning three, I don’t believe the producers of Les Misérables solved the problem of how to make a sung-through musical work on film. But there are millions who disagree with me and they’re the ones who will buy this DVD. It’s not in the same league as the movie versions of Chicago or even Dreamgirls, but at grosses of over $400 million worldwide it’s making Cameron Mackintosh very happy.  Rating

 Only for the enthusiast  Borderline  Worth buying  Must have  Kill for it

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www.stagewhispers.com.au Stage Whispers 39

Stage on Page

Menopause – The Musical’s recordbreaking run of 20 weeks in 2007.

Written in the same format as Van Straten’s previous work on the Tivoli, fifty per-cent of the book is photographs. And what marvellous photographs they are. They not only capture the stars and styles of the eras, but also a changing Adelaide as well.

Her Majesty’s Pleasure is much more than a pleasure, it’s a banquet of riches. Handsomely produced by Wakefield, it comes with an extensive index.

By Peter Pinne

Her Majesty’s Pleasure by Frank Van Straten (Wakefield Press $39.95).

Australia’s pre-eminent theatre historian Frank Van Straten has been at it again, this time documenting the 100 year history of Adelaide’s Her Majesty’s Theatre, affectionately known as the Grand Old Lady of Grote Street.

Originally built in 1913 and called the Tivoli, it’s not only the oldest theatre on the mainland, but also the only Tivoli Theatre still standing.

Starting as a vaudeville and variety house that saw the likes of W.C. Fields, Sir Harry Lauder and Stiffy and Mo treading its boards, the venue has presented a kaleidoscope of entertainment throughout its history - from classic musicals like My Fair Lady, Camelot and The Rocky Horror Show, and innumerable ballet and opera companies, to operetta, jazz and rock ‘n’ roll with lots of comics, grand pageants, movies, university revues, amateur Rep., and boxing and wrestling in between.

John Gielgud, Marcel Marceau, Reg Livermore, Spike Milligan, Danny La Rue, Julian Clary, Whoopi Goldberg and Barry Humphries are just some of the stars who have performed there in solo shows.

Humphries claims it’s his favourite Australian theatre. He first appeared there in 1953 playing a Welsh peasant in Emlyn Williams’ Wind of Heaven during a University Drama Festival.

Apart from Humphries, other major talents to emerge from the theatre have included Keith Michell, Robert Helpmann, Bobby Limb, Robyn Archer,

Correction: In the review of Wotan’s Daughter in the May-June edition of Stage Whispers the founder of Melbourne’s National Theatre Opera Company, Gertrude Johnson, was incorrectly named as Gertrude Lawrence.

40 Stage Whispers July - August 2013

Glynn Nicholas, Paul Kelly and Glenn Shorrock.

Milestones have included the premiere of Australian musical F.F.F. in 1920, the premiere of Robert Helpmann’s ballet Electra before the Queen Mother in 1966, and

The Rest of the Story by Arthur Laurents (Applause Books U.S.$24.99).

Arthur Laurents wrote his first autobiography Original Story By in 2000 - a tome that told of his experiences writing the iconic musicals West Side Story, Gypsy and La Cage Aux Folles - peppering it with wit and salacious gossip.

This latest book covers the past ten years of his life right up until his death a week after he finished writing it in 2011.

Only two shows come under discussion here; the 2003 Bernadette Peters revival of Gypsy, and the 2008 part-Spanish revival of West Side Story, which was instigated by Laurents’ long -time partner Tom Hatcher after seeing

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

Hello Gorgeous – Becoming Barbra Streisand by William J. Mann (Houghton, Mifflin Harcourt U.S.$30.00).

With so many books already written about her life and career you would think there would be little left to discover about Barbra Streisand, but biographer William J. Mann has come up with a new take on her success.

Hello Gorgeous concentrates on the first five years of her career, from her early appearances at Greenwich Village’s Bon Soir nightclub to her astonishing success on Broadway in Funny Girl. The notoriously private Streisand is well-known for her anti biographer stance so this book is made up of quotes from friends or friends of friends and a production acquaintances. It follows her of the show in Bogota, Colombia. determination to be a dramatic Laurents claims the book is about actress and along the way using change, and certainly it’s a much more her voice to help her achieve her mellow Laurents on display, but it aim. From her arrival on the almost feels like it’s an apology to scene as a ‘kook,’ guest stints Hatcher for taking him for granted on TV shows, playing Hortense during their lifelong 52-year in The Boy Friend, her first single relationship which ended when release, to her Broadway debut Hatcher died in 2006. It’s also an as Miss Marmelstein in I Can apology to all the people he offended Get It For You Wholesale, and in his first book, which is nowhere near then the starring role as Fanny as entertaining as the salacious gossip. Brice in Funny Girl, it’s all minutely documented. But the

interesting thing is how much of her success was clearly manufactured by her managers and press agents. Of course it wouldn’t have happened if she hadn’t had the talent to follow through, but it was by no means overnight. It’s a good read and accurately brings to life New York in the early sixties, the era in which it all happened.

www.stagewhispers.com.au Stage Whispers 41

B

musical is set to be remounted for the holiday season with an East Coast tour beginning in November which will play Hartford and Boston before returning to Madison Square Garden in New York for a three-week run, December 1129.

Still on the Tony telecast, Anthony Warlow made a brief appearance in his Daddy Warbucks role with the current

By Peter Pinne Annie to introduce a segment. Still at the Palace where it opened in November of last year, the musical has been This year’s Tony Awards drew a TV audience of 7.24 given added box-office clout by Jane Lynch (Glee) taking million viewers, up 20% from 2012 giving the show the over the Miss Hannigan role. A national tour of the Troika best ratings since 2009. Neil Patrick Harris, who hosted it Entertainment production is set to launch for his fourth time and third in a during the 2014-15 season. Casting for ds Ceremony.

13 Tony Awar row, is no the tour is still to be announced.

20 e th at l Musica Matilda The doubt one Two plays which won Tony Awards of the big have announced extensions of their reasons, plus present seasons. Vanya and Sonia and of course the Masha and Spike, a Chekovian send-up usual stellar

by Christopher Durang which won for line-up of Best Play will now run until August 25 stars. with a cast change. Tony winner Julie Although it White (The Little Dog Laughed) will bombed in the take over from Sigourney Weaver as ratings, NBC’s Masha. Others in the high-profile cast Smash, and include David Hyde Pierce. Richard Fox’s hit series Greenberg’s The Assembled Parties, Glee must which won a Best Actress award for account in Judith Light, has extended Cyndi Lauper pe some way for until 28 July. rforming at the 2013 Tony Award s ceremony.

Broadway’s The play, set Photos: www.to nyawards.com higher profile on on Christmas television. Featuring Eves in 1980 Broadway musical and 2000, is theatre performers about an Upper who do what they do West Side best, both series have Jewish family been an opportunity and a dinner for middle-America where a house to experience some guest insinuates of the best song and himself into the dance talent in the dynamic and country. The ends up opening number for becoming a this year’s show bigger part of was appropriately called their lives than “We Might Do it Bigger” which was over-the-top anyone expected. spectacular. Written by Lin-Manuel Miranda and Tom Kitt, It was Light’s second consecutive Tony win. it did what the Oscars invariably fail to do, entertain. Also Finally in this round-up of post Tony news, Best Musical good was a parody sung to Stephen Sondheim songs called winner Kinky Boots will launch a 2014 national tour in Las “I Like to Star in a TV Show”, which featured Megan Hilty Vegas. With music and lyrics by Cyndi Lauper, a book by from the axed Smash and Andrew Rannells from the also Harvey Fierstein and direction by Jerry Mitchell, the musical, axed The New Normal as part of a quartet in a clever take based on the acclaimed 2005 British film, opened April 4 to on Broadway performers landing a TV series only to have it high praise from the critics. Based on a true story of a cancelled. young man, who inherits his father’s failing Northampton And while we’re on the Tonys, Caroline O’Connor shoe factory and is inspired by a drag-queen to make fetish tapped her little heart out on the number from A Christmas -footwear for the cross-dressing trade, Lauper’s feel-good Story, The Musical, a show that had already closed but one score, her first for Broadway, has the infectious stamp of hit which received three nominations. Written by the all over it which the Tony voters acknowledged. Casting for composer/lyricist team of Benj Pasek and Justin Paul, the the tour is yet to be announced.

roadway uzz

42 Stage Whispers July - August 2013

London Calling

World in Eighty Days closes the series Oct 20, Nov 3, 9 and 10. The latter show will be seen in New York in December 2013 as a charity fund-rasing event.

Disney have already held open auditions for male dancers for a London production of their hit Broadway show Newsies. They hope to open the show in 2014 and are currently searching for a theatre. Top of the list at the

By Peter Pinne moment are the Piccadilly and Savoy. Viva Forever! closes at the Piccadilly end of June and will be replaced by a limited Eugene O’Neill’s mammoth nine-act play Strange run of Dirty Dancing, which plays until February 2014. The Interlude opened on Broadway in 1928 and won its Savoy currently houses the Beatles concert anthology Let It playwright his third Pulitzer Prize. This epic play runs several Be. hours uncut, but the version on view at the National’s Darren Day’s new musical The Golden Voice has delayed Lyttelton Theatre comes in at just over three. Astutely cut by its opening until 26 July. The reality TV-inspired show is director Simon Godwin, the play presents a psychological written by singer/songwriter Nick Fogerty, and features Day portrait of a woman as she goes Jason Watki as a fame hungry singer who enters a TV ns and Anne-Mari e Duff in Strange Photo: www.ind through the ‘seven ages of talent show. Day has the Int erlude. ependent.co.uk womanhood’: daughter, fiancé, street cred for the role, wife, adultress, mother, widow having been a TV presenter and child, over a period from the and appearing on I’m a aftermath of World War 1 until Celebrity…Get Me Out of the late 1940s. In the central Here. His previous West role of Nina, Anne-Marie Duff’s End credits include We Will performance has been called Rock You, Joseph and his “stand-out”, with Charles Technicolor Dreamcoat, Spencer in the Daily Telegraph Grease and Summer saying, “Despite its account of Holiday. The musical, love, lust, betrayal and directed by Guy Retallack, madness, the play is often plays at the Arts Theatre. startlingly funny as well as With so many musicals touching.” The season has mining the 60s pop been extended and now closes catalogue like Jersey Boys, it 1 September. was inevitable that plays from U.K. singer/songwriter and ex Take That band member that era would surface in revivals. Alan Ayckbourn’s Gary Barlow, playwright James Graham and Diane Paulus, Relatively Speaking, which was the first of his West End who won a recent Tony for her direction of the Pippin successes, originally opened under the title of Meet My revival on Broadway, have joined the creative team of the Father in Scarborough in 1965. Now a period-piece, the new musical Finding Neverland. Based on the 2004 movie play has been revived with a cast that includes Felicity of the same name, a version of the musical tried-out at the Kendal. Kendal, known for her role of Barbara in the BBC TV Curve Theatre, Leicester, in 2012. That version had a book series The Good Life, is captivating audiences with her

by Allan Knee, based on his play The Man Who Was Peter portrait of the suburban housewife, Sheila. Critics have Pan with a score by the Grey Gardens duo Scott Frankel and given it a four out of five star rating. The cast also includes Michael Korie. Barlow has written five new songs to be Jonathan Coy, Kara Tointon and Max Bennett. added to the score, and Graham has reportedly re-written most of the book. Academy Award-winning producer Harvey Weinstein is steering the musical which it is hoped will open in the West End in 2014.

Ian Marshall Fisher, producer and creator of the West End Lost Musicals series, has announced the line-up of forgotten shows to be presented for its 24th season this year at Sadler’s Wells’ Lilian Baylis Theatre. Noël Coward’s Words and Music which opened at the Adelphi, London, in 1932 and was retitled Set To Music for Broadway when it premiered in 1939 at the Music Box, plays July 14, 21, 28 and Aug 4 with a cast including Vivienne Martin. Bob Merrill’s musical version of Breakfast at Tiffany’s which closed in Broadway previews, follows Sept 8, 15, 22 and 29, whilst Cole Porter’s 1946 Around the World with a book by Orson Welles based on Jules Verne’s Around the www.stagewhispers.com.au Stage Whispers 43

Director’s Diary

Les Misérables

When Hal Leonard announced last year that Les Misérables was being made available again to non-professionals there was great excitement in the ranks.

did not want to just reproduce what has been the normal staging of this show since it first appeared in 1987.

How could we make it fresh and stimulating for the audience (many of whom were also Les Mis tragics) and the cast?

The Willoughby Theatre Company was one of the first half dozen to be Solution? Megadeck! And a desire given the rights way back in 1992, so it to bring Les Mis back to the streets of was a huge nostalgia trip for us to apply for this show again exactly 20 years since we last presented it in the cramped Bailey Hall at Chatswood.

Now blessed with a stunning performance space in The Concourse at Chatswood, WTC was keen to expand this time-honoured piece of musical history onto a stage that would reflect the grandeur of the piece.

By October 2012 we were given the ‘nod’ that the show was ours, just a few months before the movie featuring Hugh Jackman in the lead role was released. As it happens Hugh Jackman was once a member the Willoughby Musical Society, as our company was called at the time. How’s that for a coincidence?

As Director and former 1992-93 principal (Monsieur Thenardier) I was passionate about the show but definitely 44 Stage Whispers July - August 2013

1832 Paris with people living in the shoddy narrow houses of the period and bringing the story to a scale that the audience could accept. How did those students build that amazing monster of a barricade with its hydraulic overload and skyscraper dimensions?

The concept was to have a moveable megadeck stacks on casters that could move about the stage and form any configuration of street, building or tavern possible.

These ‘pods’ as we called them (seven in total, different heights and designs) were choreographed to be moved on musical cues by the cast to provide a seamless transition from one scene to another.

Only in two scenes, the death of Fantine and the suicide of Javert, were stage crew involved and then they were unseen by the audience.

Audition time dawned in December with 296 people booked in, and a waiting list of another 20 people. Who said Les Mis wasn’t popular? After five nights and one complete weekend of hearing ‘On My Own’, we settled on a cast of 55 amazing people including 5 children. That meant that 240 missed out!

We were blessed with a strong principal cast.

From a production point of view, my concept of a 17 by 10 metre back projection screen proved to be out of the question and thankfully Simon Greer (assistant scenic designer) came up with the idea of making a suitably old, torn and faded giant French flag. It proved to be a stunning focal point for the whole show, representing the downfall of the French nation at the time.

In addition, the costume design, under Joy Sweeney’s creative juices, made an additional statement as costumes did not conform to, and in some cases (Eponine and Javert) made a complete break from, tradition. The audiences loved the sharp nonconventional approach (even the prostitutes looked different), saying it added to the overall ‘modern’ approach to the show.

Once the set design had changed to include the French flag we then decided to integrate the costumes into this concept.

All the costumes were in shades of blue, red or dirty white (grey). To these we added different shades of grey, black and maroon, but kept away from the sepia/brown colours which are traditionally used in Les Mis. This then flowed on to the lighting, which also departed from the traditional to fit with the costume colours.

The Thenardiers were kept in red, white and blue. In the early scenes, for example, broken down red, white and blue striped corset and dirty blue/grey skirts were used for Madame Thenardier with a dirty French flag in the hair. At the wedding in Act II they were still in red, white and blue but lavish gold trim was added.

Eponine was dressed “period/punk” with a black lace torn dress lined with purple, black hair and heavy eye make-

up. This gave a modern/period crossover look. Javert was taken out of the traditional costume and put into a long leather coat, which echoed shades of German “SS”, boots and top hat.

Cosette’s costumes were changed and the traditional black dress was eliminated. “A Heart Full of Love” was done “a la” Romeo and Juliet high on a balcony with Cosette in a nightie.

Now believe me, we did not change one note or lyric of the show but focused on the characters and the period with emphasis on making the audience wait to see what the next scene would look like.

How did we go? A 96% occupancy made us happy and the standing ovations at nearly every performance convinced us that we had made the right choices in production, scenery, costumes, choreography and staging.

Vocally the chorus were exceptional, while the orchestra under Mark Pigot was lush and full. The whole experience was absolutely rewarding and the principals - perfect.

I can only stand back and say thankyou to our production team (Janina Hamerlok (musical staging), Neil Shotter (design), Tim Swinn (Stage Manager) Sean Clarke (Lighting) and the technical team from Century Venues (The Concourse) for a job very well done.

Bravo to the cast: Stig Bell as Jean Valjean, Nick Gilbert as Javert, Kimberly Jensen as Fantine, Elizabeth Garrett as Cosette, Julian Congalves as Marius, Peter Meredith as Enjolras and Caz Reed as Eponine.

The comedy duo of Philip Youngman and Emily Talbot as the Thenardiers was awesome.

Tom Sweeney, Director Willoughby Theatre Company (NSW) The Concourse – Chatswood April 10 – April 21, 2013

www.stagewhispers.com.au Stage Whispers 45

Australia’s Most Successful Unknown Playwright Alex Broun has had more than 1000 productions of his plays in recent years, but barely made a cracker out of it.

The most performed of all contemporary Australian playwrights, he’s now is hoping to (at last!) make some money from his writing. Frank Hatherley spoke with Alex and introduces an extract of his biggest little play.

His book How to Write a Ten-Minute Play was published in April.

Ruefully self-described as “Australia’s Most Successful Unknown Playwright”, he points to the 97 short plays (along with 31 full-length plays) on his website.

His plays have had over 1000 separate productions. His website had 435,000 hits this February, with 5500 ‘unique users’ resulting in an average of 100 play downloads per day.

The Short+Sweet festivals, born His work is particularly popular in and nurtured in Sydney in 2002, are The States where he’s a regularly on now a worldwide phenomenon. And the college circuit. “I’ve now been no-one is more associated with its performed in 42 states,” he says spread than Alex Broun. A former Artistic Co-ordinator of S+S, and still a proudly.

The trouble is, just like the prolific contributor of lively 10-minute mainstream news media, he’s not been plays, Broun is branching out and making any money out of free reads. thinking big.

A star of the short play circuit, 48- His scripts are not only free to download, they’re also free to perform. year-old, Sydney-born Broun So the biggest planned change is to (pronounced “Broon”) travels update his website and introduce a $5 throughout the world, lecturing on writing and presenting modern drama fee for reading any 10-minute script ($10 per full-length play). All the plays for the stage. will remain free to produce.

His energy is prodigious, and his He’s hoping the rearranged website website (www.alexbroun.com) is will offer him sufficient income to packed with downloadable plays, concentrate on writing new work. mainly written in the past few years.

46 Stage Whispers July - August 2013

He compares 21st century playwrights with songwriters who have to upload their work for free to iTunes and create their own buzz to make any money. “Established Theatre today tries to pretend the internet was never invented,” he says.

To mark Alex Broun’s new book and expanded website, Stage Whispers is proud to print an extract of his most performed 10-minute play, 10,000 Cigarettes.

Written in 2006 to oppose the glamour of smoking for young people, it has now had over 150 productions in 18 countries. He acknowledges that one key reason for its international success has been the required casting of four young female actors.

Script Excerpt

A ten-minute play by Alex Broun Cast: GLORIA 1, GLORIA 2, GLORIA 3, GLORIA 4 Author’s Note: Under NO circumstances are performers performing this play expected to smoke.

Spotlight on GLORIA 1.

GLORIA 1: 49, 50, 51 – Spotlight comes up on GLORIA 2.

GLORIA 1 & 2: (joining in) 52, 53, 54 – Spotlight comes up on GLORIA 3.

GLORIA 1, 2 & 3: (joining in) 55, 56, 57 – Spotlight comes up on GLORIA 4.

GLORIA 1, 2, 3 & 4: (joining in) 58, 59, 60!

GLORIA 2: Ta dah!

They all mime lighting cigarettes, take a long drag.

Sigh.

1: So this guy at the funeral – 4: Guy is too kind – 2: This jerk – 1: This jerk reckons that I can’t go one minute 4: Without lighting a cigarette.

3: One minute!

2: Ha. Showed him.

1: So time to celebrate …

10,000 Cigarettes They all mime taking another drag of their cigarettes.

Exhale. Sigh.

2: That is one of the great things about – 4: the magic white cylinder.

3: It’s perfect for any occasion.

1: Talking with friends – 2: the chat cigarette.

3: Out with colleagues – 4: the social cigarette.

2: Having a few drinks – 1: the boozy cigarette.

2: Having a few more drinks – 3: the boozier cigarette.

1: Taking a quick break from work – 4: the sidewalk cigarette.

2: Not ‘smoko’ or ‘fag break’

3: – sidewalk cigarette.

1: Much more style – 4: which is what cigarettes are all about – 1: S 2: t – 3: y – 1: l – 4: e.

ALL: Style.

1: ‘What a great meal. I’m stuffed’ – 4: the après dinner cigarette.

3: Cigarettes always taste better after an excellent dinner – 2: That is if it’s possible for cigarettes to taste better than they already do.

3: Nothing happening 1: – the bored cigarette.

2: Impressing the new man – 4: the looking cool cigarette.

3: Breaking up with the new man – 1: the broken-hearted cigarette.

4: Out for a country drive 3: – the cruise cigarette.

2: ‘Pack of Holiday Slims thanks.’

1: The cheap cigarette.

3: ‘I love you, you’re my best friend’ 4: – the shared cigarette.

1: ‘I’m broke and this is my last one’ – 2: the definitely not shared cigarette.

4: Relaxing in the pergola – 1: the outdoor cigarette.

3: Isn’t it interesting how many times smoking is linked with relaxing here?

2: ‘My parents don’t know I smoke’ 1: – the illicit cigarette.

4: On a yacht – 3: the wind and waves cigarette.

4: On a plane – 1: the dangerous cigarette.

4: In a petrol station – 2: the very dangerous cigarette.

4: I don’t like the term 2: fag, 3: ciggie, 1: smoke. I prefer to call them by their full name – ALL: cigarette.

3: Derived from the fact that it is a smaller version of its antecedent – 2: Anti – who?

3: Cedent.

4: Ancestor.

2: Which was?

1: The cigar.

4: But whereas cigars are 1: big,

www.stagewhispers.com.au Stage Whispers 47

2: heavy 3: awkward.

4: The cigarette is – 1: dainty, 2: elegant, 3: convenient 4: and fits perfectly between my 1: dainty, 2: elegant, 3: conveniently-well-shapedfor-holding-a-cigarette 4: fingers.

1: I remember my first cigarette. That moment of – 3: Realisation 4: Inhalation 2: Excitation.

1: An awakening of 4: Spirit 3: Awareness.

2: Lungs 1: An Epiphany. I used to hide around the corner and watch him 2: Standing on the verandah, 3: Leaning in the doorway, 4: Hair slicked back – 1: Dark blue singlet 2: And gripped in his 3: Strong tanned fingers 4: The constant flickering glow.

1: I pinched one of his 2: Kents 3: From the crush top pack

4: 1: 2: 4: 3: 1: 3: 2: 4: 3:

on the kitchen table Lit it on the stove And after just one puff – I knew Between coughs I had discovered a secret friend conspirator lover God. Beat.

1: You can also just call them by their brand.

4: That is also acceptable, 2: As in?

1: ‘Hand me a Lucky Strike.’

3: ‘Care for a Dunhill.’

2: ‘Got any Camels?’

4: ‘Would you care to share a Gitane?’

1: Which brings us to another of the great attractions of cigarettes.

3: Their international – 2: flavour.

1: Cigarettes from all over the world – 2: many of which I have tried 4: one time or another.

4: English brands – 2: Dunhill, 1: Benson & Hedges, 3: Subtle 2: Smooth 4: Rich 1: And Classic.

48 Stage Whispers July - August 2013

3: Parliament – 2: Very classy.

4: Barclay, 3: Bond Street; 1: American Brands – 2: Salem, 3: Winston, 4: L & M, 2: LA Lights, 1: West Coast 3: Mustang Filters 1: East Coast 4: Kool, 2: Kent, 3: The family blend 1: Newport, 4: Winchester.

2: The heavyweights – 3: Philip Morris, 4: Rothmans; 1: Asian Brands – 4: Eve 120's, 2: Djarum Filter.

3: Kim Slims – 2: I love Kim Slims!

1: Mild Seven – 3: Asian cigarettes have the coolest names!

2: Not to mention Rollies.

1: Drum.

3: Champion Ruby.

4: Doctor – Pat. (Beat.)

European Brands – Capri, Cartier, Merit, Monte Carlo, Pall Mall – let me know if I forget any here. More –

3: I can’t think of any more.

4: More – as in the brand.

3: Oops.

1: Multifilter – 4: Dull name 2: but not bad, 3: Surprisingly.

4: Vogue Slims, Virginia Slims and one of my personal favourites – Yves Saint Laurent. Picture me in a small corner shop in Paris.

3: At the counter, 1: dressed in white, 2: hat, 3: scarf, 1: sunglasses, 4: Dior from head to toe.

3: To die for.

4: ‘One packet of Yves Saint Laurent. Merci.’

1: Which brings me to another of my favourite things – the cigarette fantasy.

2: I’ve got a cigarette fantasy! I smoke ten thousand cigarettes – all at once.

4: Simultaneously?

1: In my fantasy I am in the most luxurious palace.

4: Silver and gold 3: Heavy oak furniture, 1: polished marble floors, 2: high ceilings, 4: tall windows, 3: framed portraits.

1: History, 2: majesty, 4: class.

1: This house is not my house – 4: it is the fabled Shrangri-la of cigarette lovers 3: across the globe.

2: The Palace of Cigarettes.

4: Le Palais de Cigarette.

3: Cigarette heaven.

© Alex Broun 2008 All Rights Reserved For the complete text and all enquiries in regard to performing this play please go to www.alexbroun.com

A King Kong Sized ENTECH

Kong face development.

Photo: Global Creatutres.

The makers of King Kong will be among the star speakers at ENTECH 2013.

THE pro audio, visual, lighting, live technology and installation show is held every two years in Sydney and this year will take place at Darling Harbour from July 23 – 25.

The show is significantly larger than its last outing in 2011. Filling two halls, it is once again co-located with (SMPTE) The Society of Motion Picture and Television Engineers.

As well as being able to see the latest products available, ENTECH offers a range of excellent seminars for beginners and experienced theatre hands.

Topics this year include Harnessing the Power of Wireless Lighting Controls, Projection & Video – is it lighting or scenery? Audio Excellence Are we there yet? Earth, Wind, Water and FIRE! and Lighting 101.

A special presentation on the Seminar Program this year is An Automation Case Study – King Kong.

Stage Technologies, automation specialists contracted by Production Resource Group (PRG), have been working closely with animatronic experts at Global Creature Technology to breathe life into the six metre tall silverback for the production.

Sonny Tilders, Creative Director at Global Creature Technology commented, “With Walking with Dinosaurs we learnt how to walk, with How to Train Your Dragon we discovered how to fly and now we have combined them both in this very sophisticated puppet. Kong represents the culmination of a raft of technologies and techniques we have developed in our 7 years.”

Sonny will be co-presenting with Pete Quinlan from Stage Technologies on the behind-the-scenes process and technology involved in this most ambitious theatrical event of the decade.

“One of the most pleasing results of the project however has been working with Stage Technologies to develop a way of interfacing our two control

systems. By doing this we have been able to utilise the strengths of each system, allowing puppeteers live control of not only the puppet itself but also the hoists and moving apparatus built by Stage Technologies.

The result is a great combination of safe and reliable repeatability with the flexibility of live control. We had no idea how useful it was going to be until we started into rehearsals. It proved to be a real game changer and critical to so much of the puppet's performance,” stated Sonny.

ENTECH 2013 Event Manager Stephen Dallimore said, “We are delighted to announce this exclusive session on the program at ENTECH this year. We are always looking for ways to showcase how amazing our Australian industry is! What the team behind King Kong have accomplished is simply outstanding. I personally look forward to hearing more about how they bring to life one of the most technologically advanced puppets in the world – a one-tonne, six-metre tall silverback gorilla.”

The session is on during ENTECH 2013, 23 – 25 July in Sydney.

Admission to ENTECH is free.

Tickets to the King Kong seminar are $39 and available now at www.entechshow.com.au

Online extras!

To find out all the info you need on ENTECH 2013 and to register, use your smartphone or tablet to scan the QR code or visit www.entechshow.com.au www.stagewhispers.com.au Stage Whispers 49

Turning A Theatre Into A Beacon

Greg Diamantis says in recent times the shortcomings were very apparent.

“We had a 580 seat theatre suitable for larger productions, but no smaller space for intimate theatre or drama.

The venue opened in the pre-computer lighting control age and all the facilities were aging,” Warrnambool is at the end of the A healthy nine million dollars was Great Ocean Road, just over three raised from Local, Federal and State hours from Melbourne. It has a population of just under 35,000 and in Governments as well as a substantial May more than 5500 tickets were sold contribution from philanthropic organisations to upgrade the theatre. to 18 different productions at the They were pleased that it was delivered venue. If you do the sums that’s like on time and on budget. one venue in Melbourne selling The most significant improvement 600,000 tickets! was to add a second theatre space, a The original Warrnambool Town black box space for 140 people, which Hall was opened in 1891. It was relaunched in 1983 as the Warrnambool is being used for drama, intimate music and cabaret.

Entertainment Centre. The Manager The tired and faithful Warrnambool Entertainment Centre has been transformed into the elegant Lighthouse Theatre. Now open for a year, the community is attending in record numbers. David Spicer reports.

The venue also got completely new seating, massive upgrades to stage lighting, a new sound system, an improved fly tower, upgraded dressing rooms and a lift for the less mobile patrons.

Other changes to its exterior helped make it more attractive.

“We changed the name to the Lighthouse Theatre to reflect that it is a cultural beacon. We used to have a lot of brick walls; now it has a glass façade, to allow the light in and out. It appears active.”

A key to the success of the project has been attention to detail, to make it suitable as a performing space for patrons and performers.

The Audio Visual project manager was Gavin Hulme from MultiTek Solutions.

“I am especially proud of what we did in the foyer. There is digital signage so latecomers can see what is happening and the volume of the paging system is automatically adjusted depending on how noisy it is.”

“Back stage we installed a Cue Lighting system to call actors on and off the stage. It has portable outstations that can be hung on a wall or the back of a set. It goes green for standby and red to go on stage.”

He says venue builders need to be very careful to engage people who have theatrical experience.

Recently his company had to rebuild much of the work completed on a regional venue where problems Warrnambool College’s Fame.

Photo: Aaron Toulmin.

50 Stage Whispers July - August 2013

included microphone interference because the cables were wrongly installed.

Gavin Hulme says a year after the Lighthouse Theatre has been built there have been very few call backs to rectify problems.

The new technology has though forced community groups to improve their skills.

Greg Diamantis says he saw a local High School perform Fame in the upgraded venue and compared it to their work the year previous in a school hall.

“Because it was in our professional venue they really lifted their performance and it was supported by the significantly improved technology.”

But he says the Council run venue has been careful not to raise hire prices.

“Our community hire rate remains low. We have a three-fold purpose: supporting community work, presenting great touring productions (opera, ballet and theatre companies) and commercial hire for comedians and musicians.

“We have been lucky enough to attract a lot more commercial activity and are getting good audiences for a lot of it.

“In May 1500 kids saw Possum Magic and 300 attended Sundowner, starring Helen Morse, a serious play about dementia. Our community need to see those things. But we are also putting on smaller cutting edge professional plays in our studio venue as it is important that they be seen. It’s not only about the size of the audience but matching the production with the anticipated audience. We had a sell out chamber concert featuring Slava Grigorian where the furthest an audience member was away from the performer was 10 metres. Our smaller venue is also ideal for serious work.”

“Overall the technology has made the venue safer and more efficient.

Working with MultiTek has improved the sound and communications system throughout the entire building.”

Architect: William Ross Architects Theatrical Infrastructure System design: Marshall Day Entertech Theatrical Infrastructure System installed: MultiTek Solutions www.stagewhispers.com.au Stage Whispers 51

On Stage

A.C.T. & New South Wales

People. Until July 13. Marian Street Theatre, Killara. 1300 306 776.

The Maids by Jean Genet. A new translation by Andrew Upton and Benedict Andrews.

STC. Until July 20. Sydney Theatre. (02) 9250 1777.

Enemy of the People by Henrik Ibsen with a world premiere adaption by Jeremy Johnson.

Castle Hill Players. Until July 6.

The Pavilion Theatre, Castle Hill Showground. 9634 2929.

This is Where We Live by Vivienne Walshe. Griffin Independent. Until July 13. SBW Stables Theatre. (02) 9361 3817.

Private Lives by Noel Coward.

Newcastle Theatre Company.

Until July 13. Newcastle Theatre Company, Lambton. (02) 4952 4958 (3-6pm Monday – Friday) Charlotte’s Web by Joseph Robinette from the E.B. White novel. Young People’s Theatre.

July 1 - Aug 17. Young People’s Theatre, Hamilton (Newcastle).

(02) 4961 4895.

Puss and Boots by Crocker and Gilder. Gosford Musical Society.

July 2 - 6. Laycock Street Community Theatre. (02) 4323 3233.

A.C.T. The Phantom of the Opera by Say Hello First by Danielle Maas Jazz Garters: 4. Canberra Rep. Andrew Lloyd Webber, Charles and Joe Kernahan. Cupboard Until July 6. Theatre 3. (02) Hart and Richard Stilgoe. Free- Love and Sydney Independent 6257 1950.

Rain Theatre. Aug 9 – 18.

Theatre Company. July 2 – 27.

Noel and Gertie. July 2 – 7. The Canberra Theatre. (02) 6275 Old Fitzroy Theatre, 129 Q, Queanbeyan Performing Arts 2700.

Dowling St, Wooloomooloo.

Centre.

‘Allo ‘Allo! By David Croft and 1300 307 264.

Slava’s Snowshow. Lunchbox & Jeremy Lloyd. Tempo Theatre Bugsy Malone. Book by Alan David Atkins. July 3 – 7.

(ACT). Aug 29 – Sep 7.

Parker, lyrics and music by Paul Canberra Theatre.

Belconnen Theatre, Swanson Williams. Hunter Region Drama The Marvelous Land of Oz by L Street, Belconnen. (02) 6275 School. July 4 - 6. Civic 2700.

Frank Baume, adapted by B J Playhouse, Newcastle. (02) 4929 Anyos. Child Players (ACT). July New South Wales 1977.

11 – 20. Belconnen Theatre, Happiness by David Williamson. Hot Shoe Shuffle. Book: Larry World Premiere. Ensemble Swanson Court.

Buttrose & Kathryn Riding based Theatre. Until July 6. (02) 9929 on an idea by David Atkins and Jack Charles V The Crown.

Performing Lines. July 17 – 19.

0644 Max Lambert. Music by various The Playhouse, Canberra Boy’s Own Macbeth by composers. David Atkins Theatre Centre. (02) 6275 2700. Grahame Bond and Jim Burnett. Enterprises. From July 5. Sydney A Midsummer Night’s Dream by Kore Productions. Sidetrack Lyric (at the Star). Ticketmaster.

William Shakespeare. July 24 – Theatre Marrickville. July 17-20. Dangerous Corner by J.B Call (02) 9550 3666 Aug 3.

Priestley. Genesian Theatre Danny in the Toybox. Adapted Don Parties On by David Company. July 6 - Aug 10. 1300 Williamson. Canberra Rep. Aug by Richard Tulloch, music and 237 217. songs by Catherine Martin.

2 - 17. Theatre 3. (02) 6257 Mr Clegg’s Festival. 12 new Marian Street Theatre for Young plays written and staged by final 1950.

Rohan Browne as matinee idol Don Lockwood, Alinta Chidzey as aspiring actress Kathy Selden, and Matt Lee as Cosmo Brown in Singin’ in the Rain, to be staged by The Production Company from August 21 to 25 at the State Theatre, Arts Centre Melbourne. The cast also features Christie Whelan-Browne as Lina Lamont.

52 Stage Whispers

year acting students at the Regional Institute of Performing Arts. July 9 – 21. Civic Playhouse, Newcastle. (02) 4929 1977.

The Lion, Witch & the Wardrobe

by C.S. Lewis. Roo Theatre Co, Shellharbour. July 10 – 13.

The Table of Knowledge.

Version 1.0 and Merrigong Theatre Company. July 10 – 13.

Lennox Theatre, Riverside Theatres, Parramatta. 8839 3399.

The Marvelous Land of Oz by L Frank Baume, adapted by B J Anyos. Child Players. July 11 – 20. Belconnen Theatre, Swanson Court.

The Glass Menagerie by Tennessee Williams. Ensemble Theatre. From July 11. (02) 9929 0644.

Death By Chocolate by Paul Freed. Wollongong Workshop Theatre. July 12 – 27.

Wollongong Workshop Theatre.

(02) 4225 9407.

Happy as Larry. Choreography

by Shaun Parker. Shaun Parker and Company. July 13. Civic Theatre, Newcastle. (02) 4929 1977.

The Magic of the Musicals. A Gala Concert. Willoughby Theatre Company. July 14. The Concourse Concert Hall, Chatswood. 1300 795 012.

ALIEИATION by Lachlan Philpott. Perth Theatre Company and the Q Theatre Company.

July 18 – 27. Q Theatre, Penrith.

47237600.

Dial M For Murder by Frederick Knott. Woy Woy Little Theatre.

July 19 – Aug 4. The Peninsula Theatre, Woy Woy. 43 233 233.

Delectable Shelter by Benedict Hardie. Critical Stages and The Hayloft Project. July 19 – 20.

Civic Theatre, Newcastle. (02) 4929 1977.

Beached by Melissa Bubniic.

Griffin. July 19 – Aug 31. SBW Stables Theatre. (02) 9361 3817.

The Hansard Monologues, A Matter of Public Importance by Katie Pollock and Paul Daley.

Merrigong Theatre Co. July 19 &

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

On Stage 20. IMB Theatre, Wollongong.

(02) 4224 5999.

Windy Gully by Wendy Richardson. Phoenix Theatre.

July 19 – Aug 3. Phoenix Theatre, Coniston. 0407 067 343 Guys and Dolls. Music and lyrics

by Frank Loesser and book by Jo Swerling and Abe Burrows.

Mosman Musical Society. July 19-27. Zenith Theatre, Chatswood.

Fame Jr. Bankstown Theatre Company Young Performers.

July 20 – 28. Bookings 9676 1191.

Ruff 2 New Works in Progress.

Merrigong Theatre Co. July 20.

Gordon Theatre. (02) 4224 5999.

The Best Christmas Pageant Ever

by Barbara Robinson.

Sutherland Theatre Co. July 21 – Aug 3. Sutherland School of Arts. (02) 9588 1517.

Away by Michael Gow. Pymble Players. July 24 – Aug 17.

Corner of Bromley Ave and

Mona Vale Rd, Pymble. 1300 306 776.

House on Fire by Debra Oswald.

Tantrum Theatre. July 24 - Aug 3, Civic Playhouse, Newcastle.

Aug 8 – 9, Lake Macquarie Performing Arts Centre, Warners Bay. (02) 4929 1977.

The Rise and Fall of Little Voice

by Jim Cartwright. Arts Theatre Cronulla. July 24 – Sep 7. (02) 9523 2779 (9am-12pm Saturdays 14, 21 & 28 July or any performance night).

Persona. Conceived by Adena Jacobs, Dayna Morrissey & Danny Pettingill. Based on the film by Ingmar Bergman.

Belvoir. Jul 24 – Aug 18.

Upstairs Theatre. (02) 9699 3444.

The Complete Works of William Shakespeare (Abridged). By Adam Long, Daniel Singer and Jess Winfield, Composer - Stuart Day. State Theatre Co. South Australia. July 24 – 27. IMB Theatre. (02) 4224 5999

New South Wales Much Ado About Nothing by William Shakespeare. Reamus Youth Theatre. July 26 – Aug 10. Maitland Repertory Theatre.

(02) 4931 2800.

Hairspray The Musical. Music by Marc Shaiman, lyrics by Scott Wittman and Shaiman and a book by Mark O'Donnell and Thomas Meehan. Gosford Musical Society. July 26 – Aug 10. Laycock Street Community Theatre. (02) 4323 3233.

Brownhood - The Musical.

MAYA – Youth in Performing Arts. July 26 & 27. The Concourse Theatre, Chatswood.

Bookings: 0413 036 962.

Hairspray by Marc Shaiman, Scott Wittman, Mark O'Donnell & Thomas Meehan. Packemin Productions. July 26 - Aug 10.

Riverside Theatre, Parramatta.

02 8839 3399.

Kindertransport by Dianne Samuels. The Theatre on Chester. July 26 – Aug 17.

Corner of Chester and Oxford Streets, Epping.

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

Showstoppers – A Broadway Revue. Maitland Gilbert and Sullivan and Musical Society.

July 27 – 28, Maitland City Bowling Club; Aug 3 – 4, East Cessnock Bowling Club & Aug 10 – 11, Hawks Nest Community Centre.

Frankenstein by Nick Dear, Original Music - Elena KatsChernin. Ensemble Theatre. Aug 1– 2, Civic Theatre, Newcastle (02) 4929 1977 & Aug 6 – 10, IMB Theatre, (02) 4224 5999 Over the river and through the woods by Joe DiPietro. Guild Theatre. Aug 2 – 31. Guild Theatre, Walz St, Rockdale. (02) 95216358 (9-5, Mon-Sat) The Full Monty. Book by Terrence McNally and score by David Yazbek. Campbelltown Theatre Group Inc. Aug 2 – 17.

Town Hall Theatre, Campbelltown. 4628 5287.

Moonlight and Magnolias by Ron Hutchinson. Castle Hill Players. Aug 2 – 24. The Pavilion

Stage Whispers 53

On Stage Theatre, Castle Hill Showground. 9634 2929.

Go Back For Murder by Agatha Christie. DAPA. Aug 2 – 17.

DAPA Theatre, Hamilton (Newcastle). (02) 4962 3270.

Nine. Book by Arthur Kopit.

Music and lyrics by Maury Yeston. The Richmond Players.

Aug 3 – 24. Richmond School of Arts.

Rosencrantz and Guildenstern are Dead by Tom Stoppard. STC. Aug 6 – Sep 7. Sydney Theatre.

(02) 9250 1777.

Chet Baker: Like Someone in Love. Cabaret based on the life and music of the title character.

Goldthorpe Creative. Aug 8 11. Civic Playhouse, Newcastle.

(02) 4929 1977.

Dr Jekyll and Mr Hyde by Jeffrey Hatchter. Aug 9 - 24. Hunters Hill Theatre, 13 Margaret Street, Woolwich. Bookings open July 15 on 9879 7765.

The Yeomen of the Guard. Book and lyrics by W.S. Gilbert, music

by Arthur Sullivan. Opera

54 Stage Whispers

New South Wales

Hunter. Aug 9 – 11, Lake Macquarie Performing Arts Centre, Warners Bay, (02) 4943 1672; Aug 17, St Philip’s Christian College Theatre, Waratah (Newcastle), (02) 4960 6600 & Sept 14, Cessnock Performing Arts Centre; (02) 4990 7134.

Storm Boy by Colin Thiele, adapted for the stage by Tom Holloway. STC. Aug 9 – Sep 8.

Wharf 1. (02) 9250 1777.

Don’s Party by David Williamson. Roo Theatre Co, Shellharbour. Aug 9 – 24.

Speaking in Tongues by Andrew Bovell. Phoenix Theatre. Aug 13 to 31. Phoenix Theatre, Coniston. 0407 067 343.

Possum Magic – The Final Farewell Tour. Garry Ginivan’s musical version of Mem Fox’s book. Garry Ginivan Attractions.

Aug 13 - 14. Civic Theatre, Newcastle. (02) 4929 1977.

Ruben Guthrie by Brendan Cowell. Stooged Theatre. Aug

14 – 24. Civic Playhouse, Newcastle. (02) 4929 1977.

Seminar by Theresa Rebeck.

Australian Premiere. Ensemble Theatre. From Aug 15. (02) 9929 0644 The Baulkham Hills African Ladies Troupe by Ros Horin.

Belvoir. Aug 15 – Sep 8.

Downstairs Theatre. (02) 9699 3444.

Sydney Comedy Festival Showcase. Aug 15, Civic Theatre, Newcastle (02) 4929 1977. & Aug 16, Cessnock Performing Arts Centre, (02) 4990 7134.

Smokey Joe’s Café by Jerry Leiber and Mike Stoller (Musical). SUPA North. Aug 16 24. Ballina RSL. (02) 6686 2544 / ballinarsl.com Dusty The Original Pop Diva.

Songs Recorded by Dusty Springfield, book by JohnMichael Howson. Shire Music Theatre. Aug 16 – 25.

Sutherland Memorial School of Arts. 0458 642 553.

When the Rain Stops Falling by Andrew Bovell. Newcastle Theatre Company. Aug 17 - 31.

Newcastle Theatre Company, Lambton. (02) 4952 4958 (36pm Monday – Friday).

RU4ME by Annie Byron. True West Theatre. Aug 22 – 31.

Lennox Theatre, Riverside Theatres Parramatta.

A Midsummer Nights Dream by William Shakespeare. Nowra Players. Aug 23 to Sept 7.

Players Theatre, Meroo St, Bomaderry. 1300662808 (Shoalhaven Visitors Information Centre).

Caravan by Donald MacDonald.

Theatre on Brunker. Aug 23 – Sept 14. Theatre on Brunker, Adamstown (Newcastle). (02) 4956 1263.

Murder on the Nile by Agatha Christie. Genesian Theatre Company. Aug 24 - Oct 5. 1300 237 217.

Miss Julie by Simon Stone after August Strindberg. Belvoir. Aug

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

On Stage 26 – Oct 6. Upstairs Theatre.

(02) 9699 3444.

The Phantom of the Opera.

Music by Andrew Lloyd Webber, book by Lloyd Webber and Richard Stilgoe, lyrics by Charles Hart and Stilgoe. Metropolitan Players. Aug 28 – Sept 7. Civic Theatre, Newcastle. (02) 4929 1977.

The Beggar’s Opera by John Gay. The Regional Institute of Performing Arts and Company Clegg. Aug 29 – Sept 1, Civic Playhouse, Newcastle, (02) 4929 1977 & Sept 25 – 28, Seymour Centre, Chippendale, (02) 9351 7940.

Iolanthe by Gilbert and Sullivan.

The Savoy Arts Company.

Soldiers’ Memorial Hall, Bundanoon. Aug 30. Zenith Theatre, Chatswood. Sept 6 – 14. (02) 9777 7547.

Queensland Venus in Fur by David Ives. QTC. Until July 27. Cremorne Theatre, QPAC. 1 800 355 528.

What’s New Pussycat? By Judith Prior. Arts Theatre, Brisbane.

Until Aug 24. 3369 2344.

Giselle. Queensland Ballet. Until July 6. Playhouse, QPAC. 136 246.

Oliver! by Lionel Bart. Beenleigh Theatre. Until Jul 6. 3807 3922.

Snow White by Kate Peters.

Spotlight Theatre, Gold Coast.

Until July 10. 5539 4255

New South Wales, Queensland & Victoria

Little Shop of Horrors by Howard Ashman & Alan Menken. Arts Theatre, Brisbane.

Until Jul 20. 3369 2344 Cinderella by Gaetano Donizetti.

Opera Queensland. July 6-26.

Conservatorium Theatre, South Bank. 136 246 Bell, Book and Candle by John van Druten, Nash Theatre. Jul 627. Merthyr Road Uniting Church, New Farm. 3379 4775 War Horse. Adapted by Nick Stafford. National Theatre of Great Britain & Global Creatures. From July 6. Lyric Theatre, QPAC. 136 246 Joy Fear and Poetry by Natasha Budd. La Boite Indie & Natasha Budd. Roundhouse Theatre. July 10-20. 3007 8600 Show Me Yours, I'll Show You Mine by Tim Spencer. La Boite Indie & Tamarama Rock Surfers.

July 10-27. Roundhouse. 3007 8600 Project Rameau by JeanPhillippe Rameau. Sydney Dance Co. / Australian Chamber Orchestra. July 11-13.

Playhouse, QPAC. 136 246.

Kitchen Witches by Caroline Smith. Centenary Theatre, Chelmer. July 13 – Aug 3. 0435 591 720.

Don’ts for Dancers 2.0. July 16 – 20. Performance Space, Judith Wright Centre of Contemporary Arts

One Act Plays 2013. Gold Coast Little Theatre. July 25-27. 5532 2096.

Rent by Jonathon Larsen.

Javeenbah Theatre, Nerang. July 26 – Aug 10. 5596 0300 Frankenstein by Nick Dear.

Ensemble Theatre Prod. July 2627. Gardens Theatre. 3138 4455 Twelve Angry Men by Regional Rose. Phoenix Ensemble, Beenleigh. July 26 – Aug 17.

3103 1546 A New Way to Pay Old Debts by Philip Massinger. Arts Theatre.

Jul 26 - Aug 24. 3369 2344.

Blood Brothers by Willy Russell.

Harvest Rain. Cremorne Theatre, QPAC. Aug 1-11. 136 246.

Festival of One Act Plays.

Beenleigh Theatre, Beenleigh.

Aug 2-4. 3807 3922.

Hair by Galt McDermott, Jerome Ragni, James Rado. Spotlight Theatre, Gold Coast. Aug 2-24.

5539 4255 Other Desert Cities by Jon Robin Baitz. QTC. Aug 10 – Sep 1.

Playhouse, QPAC. 1 800 355 528 Elegance by Li Cunxin.

Queensland Ballet. Aug 2-4.

Playhouse, QPAC.136 246 Bedroom Farce by Alan Ayckbourn. Mousetrap Theatre, Redcliffe Showgrounds. Aug 218. 3888 3493 The Glass Menagerie by Tennessee Williams. La Boite.

Aug 3-31. Roundhouse Theatre.

3007 8600 Whistle Down the Wind by Andrew Lloyd Webber and Jim Steinman. Neptune Prod & Voice Weavers Choir. Aug 1625. Tweed Civic & Cult Centre, Tweed Heads. 5536 2446 Tequila Mockingbird. Based on Harper Lee’s To Kill a Mocking Bird. Shake & Stir Theatre Co. Aug 21 – Sep 7. Cremorne Theatre, QPAC. 136 246 Chet Baker – Like Someone in Love by David Goldthorpe.

Goldthorpe Creative Prod. Aug 22 - 23. Gardens Theatre. 3138 4455 Grease by Jim Jacobs and Warren Casey. John Frost. From

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

Aug 27. Lyric Theatre, QPAC. 136 246.

The Good Doctor by Neil Simon.

Villanova Players. Aug 30 – Sep 14. The Theatre, Seven Hills TAFE. 3395 5168 Romeo and Juliet by William Shakespeare. Nash Theatre. Aug 31 – Sep 21. Merthyr Uniting Church, New Farm. 3379 4775 Victoria Legally Blonde The Musical by Laurence O'Keefe, Nell Benjamin and Heather Hach. Until July 14.

Princess Theatre, Melbourne.

1300 111 011.

KING KONG. Writer: Craig Lucas. Music overseen by Marius de Vries. Lyricist: Michael Mitnick. Global Creatures.

Regent Theatre, Melbourne.

1300 111 011.

Solomon and Marion by Lara Foot. MTC. Until July 20. Arts Centre Melbourne, Fairfax Studio. (03) 8688 0800.

Circus Oz 2013: Cranked Up. Until July 14. Circus Oz Big Top, Birrarung Marr. 136 100.

Burning by Verity Laughton.

Geelong Production Company and Mad As Us. Until July 6.

Courthouse ARTS, Geelong. (03) 52251200.

Lord of the Flies by William Golding, adapted for the stage

by Nigel Williams. US‐A‐UM / Malthouse Helium season. All female cast. Until July 14.

Malthouse Theatre – The Tower.

(03) 9685 5111.

What the Butler Saw by Joe Orton. Malvern Theatre Company Inc. Until July 6. 1300 131 552.

The Phantom of the Opera by Andrew Lloyd Webber, Charles Hart and Richard Stilgoe.

Windmill Theatre Company.

Until July 12. Drum Theatre, Dandenong. (03) 9771 6666.

The Crucible by Arthur Miller.

MTC. Until Aug 3. Southbank Theatre, The Sumner. (03) 8688 0800.

Melbourne Cabaret Festival.

Until July 7. www.melbournecabaret.com The Beauty Queen of Leenane

by Martin McDonagh.

Stage Whispers 55

On Stage

Victoria Ronnie Burkett Theatre of Marionettes at Arts Centre Melbourne (8 – 18 August) with part-gothic thriller, part-apocalyptic drawing room comedy, puppet show Penny Plain, showing the horribly funny consequences of Mother Earth reclaiming her ground.

Williamstown Little Theatre.

Until July 13. (03) 9885 9678.

My Life in the Nude by Maude Davey. July 3- 21. La Mama Theatre. (03) 9347 6142.

Company by George Furth and Stephen Sondheim. Geelong Lyric Theatre Society / Geelong Repertory Theatre. July 4 - 20.

Woodbin Theatre, Geelong.

5225 1200.

56 Stage Whispers

Disney on Ice Princesses & Heroes. Feld Entertainment. July 4 – 8. Hisense Arena, Melbourne. 132 849.

The Wizard of Oz by L. Frank Baum, Harold Arlen & E.Y. Harburg. Leongatha Lyric Theatre. July 5 – 20. Mesley Hall, Leongatha. 5662 3940.

Singin’ in the Rain. Book by Betty Comden and Adolph

Green, lyrics by Arthur Freed, and music by Nacio Herb Brown. ARC Theatre. July 5 – 13. Banyule Theatre. 0435 062 087.

Hairspray. Music by Marc Shaiman, lyrics by Scott Wittman and Shaiman and a book by Mark O'Donnell and Thomas Meehan. Bendigo Theatre Company. July 5 – 14.

My Leonard Cohen. Performed

by Stewart D’Arrietta’s Nine Piece Band. July 6 – 14. Chapel off Chapel. (03) 8290 7000.

Gypsy. Music by Jule Styne.

Lyrics by Stephen Sondheim.

Book by Arthur Laurents. The Production Company. July 6 – 14. Arts Centre Melbourne State Theatre. 1300 182 183.

That Awkward Moment by Hannah Bird. The Fabulous Nobodys. July 9 – 12. Vermont Secondary College. 0400 039 215.

Finucane & Smith’s Glory Box: Paradise. July 10 – Aug 11.

Fortyfivedownstairs. (03) 9662 9966.

Wake in Fright. Adapted by Bob Pavlich from the novel by Kenneth Cook. July 10 – 28. La Mama Courthouse. (03) 9347 6142.

Blithe Spirit by Noël Coward.

Heidelberg Theatre Company.

July 11 – 27. (03) 9457 4117.

Hairspray The Musical. Music by Marc Shaiman, lyrics by Scott Wittman and Shaiman and a book by Mark O'Donnell and Thomas Meehan. Aspect Theatre Company. July 12 - 20.

Shirley Burke Theatre, Parkdale.

The Club by David Williamson.

Encore Theatre Inc. July 12 - 27.

Clayton Community Centre.

1300 739 099.

Aladdin Jr by Alan Menken, Howard Ashman and Tim Rice.

Book Adapted and additional lyrics by Jim Luigs. Music adapted and arranged by Brian Louiselle. Based on the Screenplay by Ron Clements and John Musker, Ted Elliott and Terry Rossio. Eltham Little Theatre. July 12 - 21. (03) 9437 1574.

Slava’s Snowshow. Lunchbox Productions. July 17 – 28.

Comedy Theatre, Melbourne.

1300 111 011.

The Geisha. Music by Sidney Jones. Lyrics by Harry Greenbank. Libretto by Owen Hall. Gilbert and Sullivan Opera Victoria. July 18 – 27, Knox Community Arts Centre, (03) 9729 7287; Aug 18, Paramoor Winery; Sep 17 – 21, Malvern

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

On Stage Theatre, (03) 9905 1111.

Little Shop of Horrors by Alan Menken and Howard Ashman.

PLOS. July 19 - 27. Frankston Arts Centre. 9784 1060.

Foxfinder by Dawn King. Red Stitch Actors Theatre. July 19 – Aug 17. (03) 9533 8083.

Songs for a New World by Jason Robert Brown. Mornington CEF Players. July 19 - 28. St Peter’s Bellamy Hall, Mornington. 0467 185 176.

The Wedding Singer by Matthew Sklar, Chad Beguelin and Tim Herlihy. CenterStage Geelong. July 21 – Aug 3.

Eric’s Homecoming by Roy Thompson. Frankston Theatre Group. July 26 – Aug 5. The Mt Eliza Community Centre. 1300 665 377.

Agatha Crispie by Cenarth Fox. Sherbrooke Theatre Company Inc. July 26 – Aug 10. Doncaster Playhouse. 1300 650 209.

Equus by Peter Shaffer.

Mockingbird Theatre. Aug 3 – 17. Brunswick Mechanics Institute Performing Arts Centre.

Sleuth by Anthony Shaffer. The 1812 Theatre. Aug 8 - 31. bakery@1812. 9758 3964 or 0406 752 067.

The Wisdom of Eve by Mary Orr. Peridot Theatre Inc. Aug 9 – 24.

Unicorn Theatre, Mount Waverley Secondary College.

1300 138 645 (Toll Free for landlines) or (03) 9898 9090 (if using a mobile).

Hot Shoe Shuffle. David Atkins Enterprises. From Aug 10. Her Majesty’s Theatre, Melbourne.

The Cherry Orchard by Anton Chekhov, reworked by Simon Stone. MTC. Aug 10 – Sep 25.

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

Two Executioners. Aug 14 – 25.

La Mama.

Echoes by N. Richard Nash.

Brighton Theatre Company. Aug 15 – 31. Brighton Theatre Company. 1300-752-126.

Laying the Ghost by Simon Williams. Strathmore Theatrical Arts Group. Aug 15 – 25.

Community Centre, Strathmore.

9382 6284.

Victoria, South Australia & Tasmania

Proximity. Australian Dance Theatre/ Arts Centre Melbourne.

Aug 15 – 18. Arts Centre Melbourne’s Playhouse.

Kid Stakes by Ray Lawler. The Basin Theatre Group. Aug 16 – Sep 8. 1300 784 668.

Savages by Patricia Cornelius.

Aug 16 – Sep 8.

Fortyfivedownstairs. (03) 9662 9966.

Oliver! by Lionel Bart. Cardinia Performing Arts Company. Aug 17 – 31. Cardinia Cultural Centre. 0407090354.

STOMP. Aug 20 – 25. Comedy Theatre, Melbourne. 1300 111 011.

The Light in the Piazza – a musical by Craig Lucas, based on a novella by Elizabeth Spencer. Lilydale Athaneaum Theatre. Aug 21 – Sep 7. (03) 9735 1777. bare by Jon Hartmere, Jr. and Damon Intrabartolo. PEP Productions. Aug 22 - 31.

Doncaster Playhouse. 0418 549 187 Rupert by David Williamson.

MTC. Aug 24 – Sep 28. Arts Centre Melbourne, Playhouse.

(03) 8688 0800.

Arms and the Man by George Bernard Shaw. Eltham Little Theatre. Aug 30 – Sep 14. (03) 9437 1574.

South Australia The Comedy of Errors by William Shakespeare. State Theatre Company of SA. Until July 14. Dunstan Playhouse.

BASS. 131 246.

The Phantom of the Opera by Andrew Lloyd Webber, Charles Hart & Richard Stilgoe. Matt Byrne Media. July 4 – 27 (Arts Theatre, July 4 – 13 and Shedley Theatre, July 18 – 27). 8262 4906.

2061 – A Space Idiocy by John Mawson & Rob Smith. Tea Tree Players. July 11 - 13. Tea Tree Players Theatre. 82895266.

Halpern and Johnson by Lionel Goldstein. Barossa Players. July 11 – 13. Barossa Arts and Convention Centre’s Eckermann Theatre. (08) 85614299.

Oliver! by Lionel Bart. The Gilbert and Sullivan Society of

SA. July 19 - 27. Arts Theatre, Adelaide. (08) 8447 7239.

The Complete Works of William Shakespeare (Abridged) by Adam Long, Daniel Singer and Jess Winfield. State Theatre Company of SA. Aug 1 - 3.

Dunstan Playhouse. BASS. Pocahontas by Vera Morris. Hills Youth Theatre. Aug 10 – 18.

Stirling Community Theatre.

8339 3931.

Babyteeth by Rita Kalnejais.

State Theatre Company of SA. Aug 16 – Sep 7. Space Theatre.

BASS. Private Lives by Noël Coward.

Therry Dramatic Society. Aug 21 - 31. The Arts Theatre. BASS, Venuetix.

The Gypsy Baron by Phil Park, music by Johann Strauss.

SALOS. Aug 22 – 25. Tower Arts Centre. 8294-6582 Tasmania The Table of Knowledge.

Version 1.0 / Merrigong Theatre Company. July 3 – 6. Theatre Royal, Hobart. (03) 6233 2299.

Pip & Pooch by Drew Fairley.

Terrapin Puppet Theatre. July 10 & 11. Theatre Royal, Hobart.

(03) 6233 2299.

Delectable Shelter by Benedict Hardie. The Hayloft Project with Critical Stages. July 12 & 13.

Theatre Royal, Hobart. (03) 6233 2299.

It’s My Party and I’ll Die if I Want To by Elizabeth Coleman.

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

July 13. Devonport Entertainment and Convention Centre, 13 61 00.

The Club by David Williamson.

HIT Productions. July 17 – 19.

Theatre Royal, Hobart. (03) 6233 2299.

Fawlty Towers 2 by John Cleese and Connie Booth. Encore Theatre Company. July 17 – 28.

Earl Arts Centre, Launceston, (03) 6323 3666.

Ebenezer Scrooge - The Musical.

A Musical Adaptation by Liz Connor. Huon Valley Theatre Inc. July 20 – 26. Huonville Town Hall. 6264 1838 The Photo by Stephen Sewell.

CentreStage. July 24 - 27. The Annexe Theatre, Inveresk. (03) 6323 3666.

The Taming of the Shrew by William Shakespeare. Hobart Repertory Theatre Society. Jul 26 – Aug 10. The Playhouse Theatre. (03) 6234 5998.

Emerald City by David Williamson. Launceston Players.

Aug 9- 17. Earl Arts Centre, Launceston, (03) 6323 3666.

A Man with Five Children by Nick Enright. CentreStage. Aug 14 - 17. The Annexe Theatre, Inveresk. (03) 6323 3666.

OneFest. Festival of one-act plays. Old Nick and Hobart Repertory Theatre Society. Aug 23, 24 & 25.

Stage Whispers 57

On Stage

Western Australia

Percussive Broadway, West End and international hit STOMP returns to Australia. Perth (Regal Theatre – Aug 13 – 16), Melbourne (Comedy Theatre - Aug 20 – 25), Adelaide (Her Majesty’s Theatre – Aug 27 – Sept 1), Canberra Theatre (Sept 3 – 8) and Sydney (Theatre Royal from Sept 10).

Western Australia Project Macbeth by Simon Sharkey. Garrick Theatre Club.

Until Jul 13. Macbeth, hero or villain. Garrick Theatre, Guildford. 9378 1990.

Twelfth Night by William Shakespeare. Melville Theatre Company. Until Jul 6. Roy Edinger Theatre, Melville. 9330 4565.

Another Twin by Lally Katz. WA Youth Theatre Company (WAYTCo). Until Jul 6. Is the internet taking over your life?

The Dolphin Theatre, University of Western Australia. 6488 2440.

Romeo and Juliet.

Choreographed by Youri Vamos.

West Australian Ballet. Set in the 1930s. July 2 & 3, Mandurah Performing Arts Centre, (08) 9550 3900; July 56, Bunbury Regional Entertainment Centre, 1300 661 272; The Producers by Mel Brooks and Thomas Meehan.

Playlovers. Until Jul 20. Hackett Hall, Floreat. 0415 777 173.

Pirates of Penzance by Gilbert and Sullivan. Phoenix Theatre.

Until Jul 20. Memorial Hall, Hamilton Hill. 9255 3336.

58 Stage Whispers

Alienaton by Lachlan Philpott.

Perth Theatre Company and Q Theatre Company. Until Jul 13.

Studio Underground, State Theatre Centre of WA. Ticketek.

Stripey Live on Stage. Based on books by Wendy Binks. Gary Ginivan. Jul 2-7. Family musical.

Regal Theatre, Subiaco.

Ticketek. g by Garry Stewart. Perth Theatre Trust, State Theatre Centre and Australian Dance Theatre. July 4 – 7. Classical ballet and explosive choreography. State Theatre Centre of WA, Northbridge.

Ticketek.

The Shifting Heart by Richard Benyon. Darlington Theatre Players. Jul 5-27. Marloo Theatre, Greenmount. 9255 1783.

Unwanted Wishes by Linda Roads. Roleystone Theatre. Jul 5 -20. Original pantomime.

Roleystone Theatre, Roleystone.

9397 5730.

The Bugalugs Bum Thief by Tim Winton. Spare Parts Puppet Theatre. Jul 6 -20. Skeeta wakes to find his bum is gone. Spare Parts Puppet Theatre, Fremantle.

9335 5044.

Keen for a Crownie. Black Sheep Theatre Company. July 10-13.

North Perth Football Club’s G Grade warriors return. Subiaco Arts Centre. Ticketek.

The Last Five Years by Jason Robert Brown. Paul Peacock’s Underground Cabaret. Jul 1114. King’s Perth Hotel – Chancery Bar. 0439 935 536.

Cats by Andrew Lloyd Webber, based on the poems by T S Eliot. Jul 11-20. Regal Theatre, Subiaco. Ticketek.

Two Weeks with the Queen by Mary Morris, adapted from the Morris Gleitzman novel. Stirling Players. Jul 12 – 27. Stirling Theatre, Innaloo. 9440 1040.

Don Giovanni by Wolfgang Amadeus Mozart. West Australian Opera. Jul 16 – 27.

Starring Teddy Tahu Rhodes. His Majesty’s Theatre, Perth.

Ticketek.

Evermore Shall Be So by Norman Robbins. KADS. Jul 19 – Aug 10. Murder mystery with humour. Town Square Theatre, Kalamunda. 9257 2669 The Season at Sarsaparilla by Patrick White. Harbour Theatre. Jul 19 – Aug 3.

Harbour Theatre, Port Cineaste Building, Fremantle. 9255 3336.

The Merry Go Round In The Sea

by Dickon Oxenburgh and

Andrew Ross, based on the novel by Randolph Stow. GRADS. Jul 19 – Aug 3.

The Dolphin Theatre, University of Western Australia. Ticketek.

Driving Into Walls by Suzie Miller. Barking Gecko Theatre Company. Jul 19 – 21. Studio Underground, State Theatre Centre of WA, Northbridge.

Ticketek.

Sesame Street Presents Elmo’s World Tour. Family entertainment. July 19-20.

Crown Theatre, Perth. Ticketek.

Other Desert Cities by Jon Robin Baitz. Black Swan State Theatre Company. Jul 20 – Aug 4. In the best families secrets are buried deepest. Heath Ledger Theatre, State Theatre Centre of WA, Northbridge. Ticketek.

Ballet Revolucion. Ballet Revolucion Company and ACA Allstars. Jul 30 – Aug 3. Direct from Cuba. Crown Theatre, Perth. Ticketek.

Slava’s Snowshow. Jul 31 – Aug 4. Regal Theatre, Subiaco.

Ticketek.

51 Shades of Maggie Muff by Lisa Harker. July 31 – Aug 10.

Starring Nikki Britton. Subiaco Arts Centre. Ticketek.

Calendar Girls by Tim Firth. Wanneroo Repertory. Aug

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

On Stage 1 – 17. Based on a true story.

Limelight Theatre, Wanneroo.

9571 8591.

A Conversation by David Williamson. Old Mill Theatre.

Aug 2 – 17. Old Mill Theatre, South Perth. 9367 8719.

Carnival of Life – The Sensational 60s. Murray Music and Drama. Aug 2 – 10. Musical variety concert. Pinjarra Town Hall. 0458 046 414.

Room on the Broom, based on the book by Julia Donaldson and Axel Schleffer. CDP and Tall Stories. Aug 8-11. Laughs and scary fun for children. State Theatre Centre of WA, Northbridge. Ticketek.

Joseph and the Amazing Technicolor Dreamcoat by Tim Rice and Andrew Lloyd Webber.

Koorliny Arts Centre. Aug 9 – 24. Koorliny Arts Centre. 9467 7118.

Stomp. Lunchbox Theatrical Productions. Aug 13-18. Regal Theatre, Subiaco. Ticketek.

Neurotic Ladyland by Christa Hughes. Cabaret Soiree and Perth Theatre Trust. Aug 15 – 17. Musical melodrama.

Downstairs at the Maj, His Majesty’s Theatre, Perth.

Ticketek.

Forbidden Broadway by Gerald Alessandrini. Cabaret Soiree and Perth Theatre Trust. Aug 22-24.

WA Premiere, Downstairs at the Maj, His Majesty’s Theatre, Perth. Ticketek.

Easy Virtue by Noël Coward.

WAAPA 3rd Year Acting Students. Aug 23-29. Geoff Gibbs Theatre, WAAPA, Edith Cowan University, Mt Lawley.

Ticketek.

God of Carnage by Jasmina Reza. Garrick Theatre Club. Aug 23 – Sep 14. Sharp edged contemporary comedy. Garrick Theatre, Guildford. 9378 1990.

Assassins by Stephen Sondheim.

WAAPA 3rd Year Music Theatre Students. Aug 24-31.

Roundhouse Theatre, WAAPA,

Western Australia & New Zealand Edith Cowan University, Mt Lawley. Ticketek.

Death by Chocolate by Paul Freed. Ellenbrook Theatre Company. Aug 24-31. Murder comedy. Ellenbrook Performing Arts Centre. 9467 7118 or 6398 0732.

Fresh. WAAPA 3rd Year Dance Students. Aug 27-31. Graduate showcase. The Dolphin Theatre, University of Western Australia, Nedlands. Ticketek.

In Vogue by Dean Bryant.

Cabaret Soiree and Perth Theatre Trust. Aug 29-31. Jersey Boys star Michael Griffiths is Madonna. Downstairs at the Maj, His Majesty’s Theatre, Perth. Ticketek.

School For Wives by Moliere.

Phoenix Theatre. Aug 29 – Sep 7. French comedy. Memorial Hall, Hamilton Hill. 9255 3336.

Trilogy. By various writers.

Darlington Theatre Players. Aug 29-Sep 14. Three one act plays.

Marloo Theatre, Greenmount.

9255 1783.

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

One Act Season. By various authors. KADS. Aug 30 – Sep 7.

Short plays. Town Square Theatre, Kalamunda. 9257 2669.

Colder Than Here by Laura Wade. Melville Theatre Company. Aug 30 – Sep 14.

Delicate black humour. Roy Edinger Theatre, Melville. 9330 4565.

Shrine by Tim Winton. Black Swan State Theatre Company.

Aug 31 – Sep 15. Heartbreak in a landscape inhabited by ghosts. Heath Ledger Theatre, State Theatre Centre of WA, Northbridge. Ticketek.

New Zealand Two Fish ‘N’ a Scoop by Carl Nixon. Centrepoint Theatre, Palmerston North. Until July 6.

06 354 5740.

Anne Boleyn by Howard Brenton. Auckland Theatre Company. Until July 7. Q, 305 Queen Street, Auckland.

Stage Whispers 59

On Stage Tribes by Nine Raine. Fortune Theatre, Dunedin. Until July 13.

(03) 477 8323.

Sydney Bridge Upside Down.

Adapted from David Ballantyne’s comic novel. Taki Rua. Downstage Theatre, Wellington. Until July 6. (04) 801 6946.

The Vicar of Dibley by Richard Curtis and Paul Mayhew Archer.

Detour Theatre, Tauranga. Until July 13. 5777188 The Mousetrap by Agatha Christie. Hutt Repertory Theatre.

Until July 6. Theatre 108. 04 939 7529.

Pride and Prejudice. Adapted from Jane Austen by Joy Hellyer and Amy Whiterod. Stagecraft (Wellington). Until July 13. iTicket.

The Wizard of Oz. Hawera Repertory Society. Until July 6.

Memorial Theatre, Hawera. 06 278 8599.

White Rabbit, Red Rabbit by Nassim Soleimanpour. SILO Theatre in association with Aurora Nova Productions. July 1

– 13. Q Theatre Loft, Auckland.

09 309 9771.

Are You Being Served? By David Croft and Jeremy Lloyd. Aubyn Live Theatre. July 1 – 30.

Romeo and Juliet by William Shakespeare. Papakura Theatre Company. Jul 13 – 27. Off Broadway Theatre. (090 361 1000.

Chicago by John Kander, lyrics

by Fred Ebb and a book by Ebb and Bob Fosse. Playhouse Glen Eden. July 13 – 27. 361 1000.

The Cat’s Meow by Steven Peros. Howick Little Theatre. July 13 – Aug 3. 534 1406 The Heretic by Richard Bean.

Auckland Theatre Company. July 18 – Aug 10. Maidment Theatre.

Bugsy Malone by Alan Parker and Paul Williams. Napier Operatic. July 18 – 21. Tabard Theatre.

Death and Taxes by April Phillips. Fine Thyme Theatre Company (Cromwell). July 19 – 27.

TU by Hone Kouka. Tawata Productions. July 19 – 27. Q

Auditions

60 Stage Whispers

New Zealand Theatre, Auckland. 09 309 9771.

Grease by Jim Jacobs and Warren Casey. Invercargill Musical Theatre. July 19 – 27.

Why are My Parents so Boring

by Dan Main. July 20 – 28.

Fortune Theatre, Dunedin. (03) 477 8323.

The Gypsy Baron by Johann Strauss II. Wellington G & S Light Opera. July 20 – 28.

Palmerston North, Wanganui, Wellington and Kapiti Coast.

Death and Taxes by April Phillips. Theatre Hawkes Bay. July 25 – Aug 3. Playhouse Theatre, Hastings.

Calendar Girls by Tim Firth.

Tauranga Repertory Society. July 31 – Aug 17. 16th Avenue Theatre. (07) 577 7188.

Altar Boyz. Book by Kevin Del Aguila. Music and Lyrics by Gary Adler & Michael Patrick Walker.

Fortune Theatre, Dunedin. Aug 3 – 31. (03) 477 8323.

Sydney Bridge Upside Down.

Taki Rua. Aug 7 – 11. Q Theatre, Auckland. 09 309 9771.

Shorts – a season of short plays.

Elmwood Players. Aug 8 - 17.

Elmwood Theatre. 355 8874.

Hairspray. Music by Marc Shaiman, lyrics by Scott Wittman and Shaiman and a book by Mark O'Donnell and Thomas Meehan. Abbey Musical Theatre. Aug 8 – 24. Regent on Broadway. TicketDirect.

Protection by Victor Rodger. Silo Theatre. Aug 15 – Sept 14.

Herald Theatre. 0 9 3 5 7 3355.

Dancin’ in the Streets. Rotorua Musical Theatre. Aug 15 – 31.

Casa Blanca Theatre.

Four Flat Whites in Italy by Roger Hall. Theatre Whakatane.

Aug 16 – 24.

The Producers by Mel Brooks and Thomas Meehan.

Musikmakers Hamilton. Aug 17 – 31. Riverlea Theatre. iTicket.

The Boyfriend by Sandy Wilson.

Whangarei Theatre Company.

Aug 30 – Sep 14. 09 438 8135.

A Man for all Seasons by Robert Bolt. Cambridge Repertory. Aug 31 – Sept 14. Gaslight Theatre.

Ticketek.

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King Kong Photo: Jeff Busby

Reviews: Premieres King Kong Written by Craig Lucas. Music and lyrics by – Various.

Global Creatures. Director: Daniel Kramer. Regent Theatre Melbourne. Opening Night: June 15.

FIRST the positives:- King Kong is a marvellous spectacle with fabulous costumes (Roger Kirk). It is a triumph of engineering and technology with an astonishing set (Peter England) and a brilliant lighting plot. Sonny Tilders and his team at Global Creatures deserve a million accolades for the creation of Kong whose appearance out of the mists of Skull Island brings gasps and deserved applause from the audience. The cast does the best with what they are given.

Esther Hannaford is a fine choice as Ann Darrow, though we are only able to understand perhaps one in every ten words. The King’s Men, puppeteers and acrobats, are extraordinary, and deserve a standing ovation.

And that’s about it.

There are people who will love this show for all the glitz and excessive glamour at the expense of genuine character development, truthful dialogue and emotional connection.

Those people will probably not be Musical Theatre fans/ tragics. We know what Musical Theatre is, and we’re open to seeing it evolve in new ways, whether deconstructed and minimised, or pushed to new levels of sensory overload. But the reality is you can try to re-invent the wheel…but it only runs smoothly if it’s round, not a dodecahedron.

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Esther Hannaford sings ’Full Moon Lullaby’ alongside Kong. Scan or visit http://youtu.be/zyakw0wwYhA Songs need to come as a natural progression of the narrative and evolve seamlessly from character development. They need to be integral to the storytelling, not stand alone superimposed numbers. This is why the greatest musicals have integrated scores by composers with a singular vision of story and character. This score is a mishmash of styles tied together with Marius de Vries’ overblown underscore. The 11 O’Clock would-be “showstopper” song is ‘Rise’, and it’s a pretty good song. It is sung by the fabulous Queenie Van De Zandt as Cassandra, a minor character who is never explained nor developed, and dressed as though she has escaped from Wicked. It pulls focus from Kong’s dilemma and totally stops us feeling any emotions for what’s to come. It kills the ending of the show and would in fact work better at the beginning of the shambolic second act which needs a strong number.

Relevance factor for where it currently sits, in musical theatre terms = 0.

The one genuinely touching moment is on the roof, with Ann face to face with Kong; you could feel a true connection and see love in Kong’s eyes even from the back of the stalls. Thank you Sonny Tilders, but Daniel Kramer, where are the tears you promised we would all cry?

The book itself is the main culprit here. Credited to Craig Lucas, there’s clunky dialogue in which one line of exposition is meant to replace real development and depth.

There are awful jokes which elicit embarrassed chuckles.

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Stage Whispers 61

The Baulkham Hills African Ladies Troupe. Photo: Lisa Tomasetti.

development of this production, which has been three years in the making.

It’s not heavy handed or didactic. It’s story-telling of the most beguiling kind.

The four women were not performers until they began on this journey.

Their very personal testimony, simply and sometimes heartbreakingly expressed, is interspersed with a variety of theatrical devices that temper the burden of personal hurt and tragedy.

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They are joined by See the trailer for the production simply professional actors, by scanning the QR code or visiting dancers, singers and http://youtu.be/hc_Dtg4vfRk musicians.

There is a cohesion of There are anomalies that are never explained….like an support that is not often seen in professional theatre; a give exception being made for Ann to board the ship as no -and-take based on the mutual experience of shame and women are allowed….and then a dozen chorus girls on the loss that is tempered by a mutual love of movement and ship giving her a makeover in a great number which looks song and poetry. Together they take the audience to their like a Lady Ga Ga video clip. As for structure…well, Chitty Africa, to its beauty and music and movement – as well as Chitty Bang Bang knew that the “money shot” was the car its horrors. flying. And that’s when they brought down the first act There are hard hitting moments in this production. It does not attempt to soften the violence these women have curtain. The “money shot” in Kong is his first appearance and him taking Ann. If the first act had ended there it experienced; that it continues daily across the world. That would have left us gasping in awe and talking about “what message is vivid and clear. How it is presented, and the strength, love and hope that emerges, is what makes this happens to Ann?” during the interval. It’s a NATURAL cliffhanger. production important in a world that continues to turn a If the first act was a Ga Ga video – the second act was blind eye to such suffering and violence. my worst Baz Luhrman nightmare. Yes, the technology is Carol Wimmer great, but where is the heart? Ultimately the excesses are overkill, and what we end up with is a production “full of About Tommy sound and fury, signifying nothing”.

By Thor Bjorn Krebs, translated by David Duchin. Directed Coral Drouyn

by Kat Henry. Red Stitch Actors Theatre, St Kilda. April 26 May 25.

The Baulkham Hills African Ladies Troupe ABOUT Tommy is a challenging piece of theatre to Conceived and led by Ros Horin. Racing Pulse Productions, stage. Translated into English from Thor Bjorn Krebs' Riverside and Belvoir in association with STARTTS. Lennox original Danish, it presents us with windows into the Theatre, Riverside - May 9 - 18 & Downstairs Theatre, experiences of a young soldier sent to 1990s Yugoslavia as Belvoir – Aug 15 – Sept 15. part of the UN peacekeeping force.

THIS important piece of verbatim theatre needs to be The subject matter is unrelentingly grim and often seen and lauded for many reasons: the courage of the four harrowing, despite the occasional glints of black comedy women who share their stories; the intricate way Ros Horin which the soldiers and nurses find in their situation. Their has woven those stories into an extraordinary piece of stories are presented documentary-style, with characters theatre; the vitality and enthusiasm of the performers. But recounting them anecdotally to the audience. mostly the way this production tells, in a way that is so The reliance on spoken testimony, as opposed to open and compelling, of how violence against women – dramatised events, weighs down the play's presentation, rape, sexual torture, forcible impregnation– is used as a and in the hands of a lesser director and actors could weapon of war. render it very tedious. Thankfully, Red Stitch's Kat Henry and Horin has brought her vast theatrical experience and actors Matthew Whitty, Paul Henri and Kate Cole are up to sensitive understanding of the plight of others into the the difficult task of bringing the piece to life. All three actors did a exemplary job but special mention must be 62 Stage Whispers

Longer versions of many reviews can now be found at www.stagewhispers.com.au

made of Whitty who did not falter once throughout a truly tough performance wherein he's required to embody Tommy's journey from everyman soldier to tortured veteran, climaxing in a breakdown scene which he delivered with absolute conviction - and made all the more challenging by his having no one else to play against.

This is a play well worth seeing, with some very perceptive observations to make about how young men cope in war, about camaraderie, about how men bond and what ties them together. And it is a showcase for some top -notch acting, delivered with admirable dedication and absolute professionalism.

Alex Paige

from David Bridie, this wonderfully subtle and beautifully realised production should be on everyone’s must-see list.

Coral Drouyn

Forget Me Not

By Tom Holloway. Belvoir Street Theatre (NSW). April 20 – May 19.

FORGET Me Not is a co-commissioned work between Liverpool Everyman theatre company and Belvoir, which is a clever ignition point for the play given the subject of child migration spans both countries.

The story revolves around Gerry, an adult survivor of the hideous campaign to give children "a better life" between the end of WWll and 1970. He wears all the hallmarks of a Solomon and Marion person who suffered a terrible childhood at the hands of an

By Lara Foot. Director: Pamela Rabe. MTC. Australian uncaring and sanctimonious system.

Premiere. Arts Centre Melbourne, Fairfax Studio. June 7 Despite their troubled relationship, Gerry's daughter July 20.

Sally pushes her father to search out his history through the WE are no strangers in Australia to the difficulties, Child Migrants Trust - which attempts to stitch back sometimes traumatic, of reconciliation between indigenous together broken families. It is through this process that and settlers. However, we cannot even begin to Gerry tragically realises he never was an orphan. His crime understand, even in these last days of Mandela, what the was that he just happened to be the child of a single African continent has gone through in its attempts to mother, who had been alive throughout his childhood, redistribute power. Lara Foot is a fine playwright, but albeit on the other side of the world. violence is merely back-story in this exquisite and delicate This is a beautifully written script by Tom Holloway and play about grief, healing, surrogate love and reconciliation well conceived by Director Anthea Williams. Colin Moody's between an aging white South African woman and a young portrayal of Gerry is a fine balance between a polite, lost native boy. child trying to melt into the back ground for fear of being Marion is trapped in her home by the tragedy of her noticed and brutalised and an angry adult who doesn't dead son and her lost husband, isolated by her grief and understand his size or strength. Mandy McElhinney, as the tyranny of distance from her remaining child. Sinking Gerry's daughter Sally, is a solid picture of woman who into the sands of despair – a desert of neglect which will wavers between playing the role of parent to her ultimately claim her (thanks to Richard Roberts brilliantly irresponsible father and an adult who lashes out with hurt realised set) - she cares about nothing and is waiting for fury. But it is British actress Eileen O'Brien who really steals death. All around her, in the post Apartheid world, violence the show with her performance of Gerry's mother Mary. is erupting (it’s 2010 and protests and riots preceding the O'Brien's presence is electric and confident in an World Cup are the norm) and she no longer leaves her understated way that comes from years of practicing her house. There is no food, no comfort, no love in her world. craft. She is the glue that holds this production together.

Into her life comes Solomon, the grandson of Marion’s Forget Me Not will not easily be forgot. former servant and friend. Is he genuine when he says he Whitney Fitzsimmons wants to take care of her, or does he mean to kill her as she suspects but has no desire to deter?

Happiness Gillian Jones, that consummate actress, brings a gut

By David Williamson. Ensemble Theatre (NSW). May 9 – July wrenching sense of resignation and sadness to Marion, 6. hidden behind white Anglo-Saxon stoicism. She goes SANDRA Bates has directed this latest of David through the motions of seeming alive, but not living. It’s a Williamson’s vignettes on middle class Australia with her beautiful performance. Pacharo Mzembe is stunning as usual sensitivity to the style and tempo that is so essential Solomon, the black youth walking the line between to Williamson’s take on social satire. subservience and pride, and carrying guilt that he must In this play, Williamson uses the current trendiness of admit in order for both him and Marion to find some way self-help courses to make a fairly gentle but telling forward. Ultimately it’s a journey to love and comment on the frailty of relationships based on understanding. superficiality and deceit.

Pamela Rabe, long one of our finest actresses, directs Roland is running a ‘Wellbeing’ course that aims to help the performances and text with true understanding of their people find ‘happiness’. He pushes the usual hype of poignant but fragile beauty. She doesn’t push the writing letters to assuage guilt. And the recipient of this emotions, she simply lets them breathe, and the growth advice – providing the basis of the plot – is his journalist and intimacy of the two characters is palpable. Aided by daughter, Zelda.

Rachel Burke’s wonderful lighting and a great sound-scape Roland is a kind man, but he isn’t really happy himself, and the main reason for this is his straight-talking, hardLonger versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 63

Nikki Shiels (Daisy Grayson), Matt McFarlane (Benedict Perring), Louise Siversen (Vivienne Fairfax) and Genevieve Morris (Tracey Grayson) in MTC’s True Minds. Photo: Jeff Busby.

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Playwright Joanna Murray-Smith discusses True Minds. Scan or visit http://youtu.be/_9w2vSlAgBA

simple. Daisy Grayson (Nikki Sheil) is the successful author of a book which contends no man will marry a woman his mother disapproves of.

She is due to meet her future mother-in-law, an ultra conservative matriarch, and is afraid she won’t pass muster. On a stormy night her long divorced hippy mother (Genevieve Morris) and Marxist father (Alex Menglet) and her ex-lover Mitch (Adam Murphy), fresh from a rehab centre, all turn up before the dreaded Vivienne Reynolds (Louise Siversen) minus her son Benedict (Matthew McFarlane), who has been

hitting wife, Hanna, whose charity work has led her to reconnect with a wealthy ex-lover.

This play needs a cast that can make the almost instantaneous scene and mood changes flawlessly and sustain the pace that is needed to make the characters believable.

Mark Lee (Roland) is an accomplished and engaging performer who works well in the intimacy of the Ensemble stage. Anne Tenney plays his feisty wife, Hanna, and Erica Lovell their daughter, Zelda.

Hanna’s is perhaps the strongest character in this play.

She pulls no punches, and Tenney makes the most her nononsense, self-confident approach to confrontation and relationships.

Erica Lovell gives a strong and layered performance as Zelda, especially as she listens to Glen Hazeldine rave as Evan, her supercilious, no-ones-going-to-catch-me-beingsexist boss.

Peter Howitz plays Sam, a very funny but really unlikable wealthy sleaze and Adriano Cappeletta plays Ronnie and Richard, the other men that Zelda must confront in her search for happiness.

Williamson and Bates together continue to create good, fast moving theatre that entertains and makes you think – even if only momentarily!

Carol Wimmer

delayed at the airport.

Murray-Smith’s writing in this case is wide, but not deep. She touches on politics, marital relationships, Oedipal complexes, materialism, gay marriage, obsession, fear of being unloved, fear of loving, insecurity, Shakespeare’s sonnets, the need for approval and stereotypes (rather than archetypes). She doesn’t explore anything in depth, partly because of the range of subjects and the lack of time, but the script works on the surface and is full of some fabulous witty lines like the facetious, “Let’s not go to a jazz club and discuss existentialism; let’s stay home and gift wrap the kindling!” Every character has a couple of zingers. The problem is they are all the playwright’s voice and have nothing to do with the truth or individuality of the characters.

Theatre lovers would expect it to be the director’s job to go mining for emotional truth, to delve into the subtext of what these people are all about, to define their character arcs empathetically. They’d be wrong. Peter Houghton interprets wide as Broad (with a capital B) and so he turns screwball into farce….Ray Cooney for Intellectuals. Though, to be fair, every Cooney farce I’ve ever seen has some semblance of reality, something we can believe in. The paradox is that it’s hard to cringe at the fakery of it all when you’re laughing so hard.

Coral Drouyn

True Minds Written by Joanna Murray-Smith. Director: Peter Houghton.

Melbourne Theatre Company. Southbank Theatre, The Sumner. April 25 - June 8.

JOANNA Murray-Smith knows her audience, and understands how to meet their expectations. If she promises a screwball comedy, that’s what they get. There are more laughs in this play than in the entire recent Melbourne International Comedy Festival. The premise is

How To Be (or not to be) Lower Written by Max Cullen. Director Caroline Stacey. The Street Theatre, Canberra. May 25 – June 1.

HOW To Be (Or Not To Be) Lower is a solo tribute show looking at the crazy, funny and turbulent life and times of the writer Lennie Lower, known as “Australia’s Greatest Humorist”. Max Cullen has reworked this from an original piece from 10 years ago. He has borrowed from Lower’s writing, and has shaped it into an amusing yet thoughtful

64 Stage Whispers

Longer versions of many reviews can now be found at www.stagewhispers.com.au

piece. Here we learn about How To Be (or not to be) Lower.

Photo: Nick Merrylees the man who was employed by Frank Packer to create daily humorous columns for the Daily Telegraph, then, following a disastrous introduction to Noël Coward, on to write for Smith’s Weekly.

Max Cullen has tapped into the figure of the sad clown, complete with white-face and eyes on the verge of tears with black kohl smudges. Lower’s background was a mystery and Cullen fills in the blanks – with truth? A good tale? Truth bent to suit a funny line? Does it matter if the story finishes on a punchline? He delivered eight articles for the princely sum of 100 pounds a week during the Depression with the instruction “Make ‘em laugh!” and he did.

The set is a delight, designed by Margarita Georgiadis, with a nod to the cartooning conventions of the 1930s, and later the work of Emile Mercier (complete with painted springs below the raised platform). The soundscape and lighting (designed by Nick Merrylees and Seth Edwards-Ellis) work together with Cullen’s entrances and exits to create at times an energetic comic strip mixed with old films. All the while, Caroline Stacey’s direction reminds us of the man beneath the clown’s makeup, moving colour and tempo.

The collaboration is to be commended.

Rachel McGrath-Kerr MILF The Musical!

Written and composed by Sally Perricone. Director: Daryl Kirkness. Avoca Beach Picture Theatre. May 24-26. Sydney Première 26 & 27 at Bexley RSL. THE catchy feminine title seems to cash in on the phenomenal Menopause the Musical – but rather than a string of repetitive song parodies this show has an actual story, interwoven with a completely original retro R&B score.

The plot revolves around late-30-something Kate (Melinda Middleton) whose world is shattered when she discovers, via “Facepage”, that her husband (Michael Sheather-Reid) is having an affair. Under the influence of jaded best friend Roxy (Alana Lee Glover) and ditzy drag queen Frankie (Graham Rodger) she escapes for an exotic overseas misadventure. The cast is rounded out with an eight-person chorus appearing in multiple roles.

What sets the silliness apart is the predominant theme regarding modern society's addiction to social media. The script crackles with hilariously insightful one-liners referencing 'text-speak', 'statuses', 'friend-lists' etc and live

action is interspersed with projected vignettes of videochats. Technically speaking – the music lacked punch due to the replacement of a live band with pre-recorded backing.

The more titillating aspects of the show were more tentative than the name suggests but the audience hungrily lapped it up.

As a trial season this huge gamble paid off. Four performances virtually sold out and audiences left the theatre with much to talk about. With some judicious tweaking – Perricone's brainchild has the potential for commercial success.

Rose Cooper Nevermore Directed by Jenny Ferguson. Hackett Hall, Floreat WA. May 3-18.

BILLED as "a mysterious musical, based on the life and passions of Edgar Allan Poe", Playlovers' production of Nevermore was a fascinating, visually brilliant production with Steampunk costuming and elements of surrealism.

The costuming, by Terry McAuley and David Young, was particularly striking - with one of the most exciting wardrobes seen on stage in some time. (Although Jezelle Bennett's equally unusual makeup design may have interfered with facial expression, despite its initial impact.)

Surrealism continued into the casting, with director Jenny M. Ferguson dividing the role of Edgar into three parts: Young Edgar, Edgar and Dark Edgar. While the transitions were beautifully executed, the significance was not always obvious and any empathy we may have felt for a single character was lost. All three Edgars (Caleb RobinsonCook, Paul Spencer and Tate Bennett) delivered fine performances.

The women in Edgar's life form the crux of the story.

Edgar's mother, who died when he was a child, remains a haunting presence throughout his life - an exquisite

Longer versions of many reviews can now be found at www.stagewhispers.com.au

J C Williamson

Stage Whispers 65

Nevermore

melodramatics of the soap opera and the real-life issues that are accentuated by the murders.

Oliver Pink’s dashing soap opera hero, Jake Strong, continually caught up in extraordinary plot twists, was far removed from the persona of the actor, Morris Nyborg, playing the character. As Nyborg, Pink was the voice of reason, trying to persuade his job-conscious fellow actors that identifying the murderer is more important than completing the episode before morning. He’s also concerned that he has dropped out of daytime TV’s 10 sexiest hunks list.

The impact of being a long-time soap cast member was shown in Suellen Hall’s delicious performance as actress Cybil Dane, who has been playing her character, Mona Jeffries, since the soap began and whose memories confuse her real and screen lives.

The other actors enjoyably moved between reality and engagingly overacting as their soap characters.

Ken Longworth

performance by an ethereal Gemma Sharpe, who moved and sang beautifully.

Childhood love Elmira was nicely played by Tyla De Brett, both as a girl and adult. Doll-like child bride Virginia was well portrayed by Monica Brierley-Hay. Vivienne Glance delivered an excellent portrayal of mother-in-law-aunt Muddie, while Donna-Maree Gavin was excellent as 'the whore'.

The music, while not of the variety that has your toes tapping or that you are singing on the way home, had lovely harmonies and was nicely performed. Musical balance, always a challenge in this venue, was good.

A captivating production that I really enjoyed, despite not liking the script or score. Kudos to all involved.

Kimberley Shaw

Viva La Restoration Dolphin Theatre, University of Western Australia, Nedlands (WA). April 29 - May 4.

VIVA La Restoration was an original music comedy produced by the University Dramatic Society, a company that in the past decade or so has nurtured quite a few original musicals from a succession of new young writers and composers.

This musical, with book and lyrics by Thomas Owen and Cal Silberstein and music by Jackson Griggs, explores a future where colour has been eradicated (because of its subversive influences) and its rediscovery by artists.

A large production team steered this show, with Producer/President Ben McAllister, Co-Writer/Director Thomas Owen, Co-Writer/Assistant Director/Assistant Producer Cal Silbestein, Composer/Musical Director Jackson Griggs, Co-Choreographers Julia Minassian and Josephine McDonald and Producer Ciara Duffy leading the team. It was a case of many chefs and occasionally a lack of exact vision showed.

The ensemble was large, over thirty members, and not all were experienced singers or dancers, but this was well managed by thoughtful choreography and music direction.

The chorus was busy and well drilled. The seventeen-piece band was placed at centre stage, where splashes of colour from the instruments belied the imposed convention that we were living in a grey-scale world, an ultimately forgivable distraction.

No weak links in the cast, with standouts including Grace Cooper and Ben Thomas as competing artists Gwen Arthur and Elias Kane, and Antonia Heymanson as strident mayor Vera Donaghue.

Sally Webster and Iz Moore's monochrome costuming with colour additions as the show progressed, was another strength.

This promising production from this young company deserved its warm reception.

Kimberley Shaw

The Bold, the Young and the Murdered

By Don Zolidis. Newcastle Gilbert and Sullivan Players.

Wesley Hall, Hamilton (NSW). May 10 – 18.

THIS amusing look at the actors in a long-running daytime television soap opera getting caught up in real murders shows that playwright Don Zolidis spent a lot of time looking at the works he is sending up.

The soap, The Young and the Bold, has been running for 50 years but, with its viewer numbers falling, faces closure.

The producer tells the cast and crew that the company can no longer afford a shooting time of several days for each episode and locks them in the studio overnight, with the ultimatum that the show will end if they don’t complete a riveting instalment by the next morning.

Only minutes after the lock-up begins, a member of the crew is murdered. Soon there is another dead body. The actors, drawing on their experiences in the soap, try to work out who the killer is as the corpses mount.

This Australian premiere production’s director, Libby Jeisman, and actors astutely handled the challenges posed by the script in constantly moving between the 66 Stage Whispers

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Reviews: Circus

Slava’s Snowshow

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Experience Slava’s Snowshow yourself by scanning the QR code or visiting http://youtu.be/PmGPJ0kbll0 Slava’s Snowshow Created and staged by Slava Polunin. Theatre Royal Sydney – June 11 – 23, 2013, then touring to Lyric Theatre, QPAC – June 26 – 30, Canberra Theatre Centre – July 3 – 7, Comedy Theatre Melbourne - July 17 – 28 and Regal Theatre, Perth – July 31 – Aug 4.

ONE of the worst jobs in theatre might just be having to clean up at the end of the season of Slava’s Snowshow. Imagine vacuuming up millions of pieces of plastic fake snow glued to every nook and cranny of a carpeted auditorium. I was told they don’t bother until it’s ankle deep at the end of the season. A bit like cleaning up after a thousand children have had a free for all with feathered pillows.

This unbridled slapstick fun is enjoyed by the audience night after night. It includes an endless cobweb and giant out of control balls that miraculously can do no damage to the fragile lighting hardware of a theatre. Most striking is the image of an exploding blizzard that stays with you for years, after the memory of other nights in the theatre have faded in black.

Slava’s Snowshow is back in Australia for the fourth time, now with an established fan base.

Although it’s described as a work in progress and constantly changing, it doesn’t appear to developed a great deal since 2009. That doesn’t matter as the combination of physical theatre, classic clowning and poignancy is magical.

It starts, however, on a bleak note. The cold has made ‘Slava’ very depressed. Lest the night end rather early, an antidote is found in the form of a sight gag.

Now 63, Slava Polunin would get depressed having to do the same show on tour, around the world for twenty years.

The clown himself does not appear in this production – leaving the performance to his talented prodigies. So in a sense it is a ‘Slavaless’ Snowshow.

But lets be kind as he is extremely busy working on no less than four new productions. We await with relish his new creations.

David Spicer Gasworks Circus Showdown Gasworks Theatre, Albert Park. Heats 15th and 16th and Grand Final 18th May 2013 WHO needs a big top?

In the Gasworks Circus Showdown eight teams with spectacularly honed circus skills competed through two heats and a grand final for a substantial development grant.

The judges, Anni Davey and Matt Wilson, who both have impeccable credentials in circus and physical theatre were generous with praise and hints for better performance.

The MC had the right touch of humour and audience tickling. Michele Domonkos on lighting and sound operator, Masato Higgs, unobtrusively supported the competitors.

In the final, Big Foot Little Foot did clever things in Velcro suits and a robust risley act. Madhouse Circus added a slapstick version of the Alice in Wonderland tea party. A4 Circus Ensemble presented their satisfying blend of dialogue, high ring, risley act and foot juggling. Trent Baumann mimed and the nine-person ensemble, Long Answers to Simple Questions presented their exquisitely crafted, narrative piece.

All of the performers demonstrated skills only acquired by hard work, commitment and the spirit of circus that is all daring do, courage and joy. The audience indicated their preferences. The judges concurred and presented first prize to Long Answers and second prize of a gig at the Adelaide Festival to A4 Circus Ensemble.

Ruth Richter

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Stage Whispers 67

Angels in America

true as the estranged Mormon couple. Mitchell Butel conjures all the Jewish doubt, guilt and verbosity of Louis while Luke Mullins is riveting as Prior, ethereal thin but with a deadly line in camp drollery. Robyn Nevin plays a virtuosic range of vital smaller roles, including the laconic ghost of Ethel Rosenberg who returns to haunt the dying Cohn.

Part Two of Angels, Perestroika, introduces even more hallucinatory elements and further ensemble challenges to maintain pace, rhythm and urgency. Less cohesive than Part One, Millennium Approaches, the production could also bring more invention to the hallucinations. Michael Hankin's beige tiled set is wonderfully flexible as some sort of waiting room antechamber to the world. This is at end an impressive and emotional revival of one of the most powerful plays of the late 20th Century. See it – and both parts!

Martin Portus

The Maids

By Jean Genet. Translated and adapted by Benedict Andrews and Andrew Upton. Sydney Theatre Company.

Director: Benedict Andrews. Designer: Alice Babidge.

Sydney Theatre. June 4 to July 20.

THERE was just as much eye candy inside the Sydney Theatre as outside, where the harbour was ablaze with the lights of Vivid.

First the extraordinary set, inside a luxury home. The wardrobe seemed to stretch for an eternity upon which hung the finest furs and frocks.

The walls were transparent, behind which cameras broadcast all the action when the cast faced away from the audience onto a large screen.

We saw make-up applied close-up in an hysterical frenzy Angels in America and even a head being dunked in a toilet.

By Tony Kushner. Belvoir (NSW). May 28 to July 28.

Much beautiful flesh was on display in crisp French TONY Kushner’s seven-hour, two-part epic about knickers. personal guilt and public despair in Reagan’s America In this classic, the naughty maids Claire (Cate Blanchett) shows no dust in this Belvoir restaging. Besides its religious and Solande (Isabelle Huppert) plot to do in their Mistress and historical apparitions, Angels in America interweaves (Elizabeth Debicki). three stories set in 1985. Already marked with AIDS, Prior The Australianisms from the pens of Benedict and begs his anxious Jewish lover Louis not to desert him.

Andrew were cute.

Meanwhile a young Republican Mormon battles to Our Cate again chose a role with a degree of difficulty suppress his homosexuality as his young wife drowns 9.9 and like a world champion diver twisted and turned herself in Valium. The third story shows Senator McCarthy’s with sublime precision. So spent was she, that during the once infamous lawyer Roy Cohn now ravaged by AIDS but curtain call she was catching her breath. It was a two-hour clinging to his corrupt power and the pretence of tour de force. heterosexuality necessary to maintain it.

Her fellow naughty maid Isabelle Huppert had almost as With American theatre traditionally focusing on the many challenges on stage. A highlight of the play was her personal and domestic – and early gay theatre even more subtle reactions when the Mistress made comments like, so – Kushner’s genius was to intersect these stories about ‘there are so many flowers here it looks like a mausoleum’. gay power and experience and project them across a Alongside two legends Elizabeth Debicki may have felt a worldly canvas of other sweeping themes. AIDS, little out of her weight division and was perhaps a little too Mormonism, Judaism, tolerance, environmental intense, but like everything else on the stage, looked destruction, corruption and political estrangement all extraordinary. feature in this searing and yet comic hallucination on the The play moves quickly and sometimes left the audience end of the millennium. And in Eamon Flack’s fine ensemble a little lost. But as a theatrical spectacle it’s not to be production, these themes fit well in the new century. missed.

Marcus Graham is demonically convincing as Roy Cohn.

David Spicer Ashley Zukerman and Amber McMahon are agonisingly

Reviews: Plays

68 Stage Whispers

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Phèdre

By Jean Racine. Translated by Ted Hughes. Bell Shakespeare.

Directed by Peter Evans. Malthouse Theatre, Melbourne May 17 to June 2, 2013. Sydney Opera House, Playhouse – June 6 to 19.

BELL Shakespeare continues to raise the bar in presenting us “The Classics.” This time it’s Racine’s play of the Euripedes’ Greek tragedy Phèdre. When heroic King Theseus is lost, presumed dead, Phèdre, his wife, confesses that the mystery illness killing her is her secret lust for her stepson. Such is the nature of Tragedy – these days we would tell her to get over it. It ends with most of the principals dead and Phèdre succumbing to her own poisoning.

Catherine McClements gives a fine compelling performance of gaunt, glossless glamour, of hunger beyond starvation, of guilt beyond redemption. Julie Forsyth is a worthy foil as the maid Oenone. Newcomer Edmund Lembke-Hogan’s intensity and emotional truth make Hippolytus far more than a naïve sex symbol. Marco Chiappi as Theseus has the freedom of the stage and his strutting and bellowing are totally convincing of the hero king, whilst his hearbreaking remorse is deeply touching late in the play. Bert Labonte doesn’t have a chance to shine until his speech in the second act. Then, his stillness and compassion show what fine sensitivities he has as an actor.

Peter Evans UN-blocks the first 15 minutes of Act One. His characters are still, like statues telling their stories.

When they do move it is little and seldom; such is the scope of the tragedy that it needs no physicality to embellish it.

Anna Cordingley’s set is a stroke of genius – a portent of the French Revolution to come, all decadence and decay with a caved in roof and the furniture rotting. It works brilliantly as a bridge between ancient and modern. A thoroughly rewarding night of theatre.

Coral Drouyn Mother Courage and Her Children

By Bertolt Brecht, adapted by Wesley Enoch & Paula Nazarski from Anthony Meech’s literal translation. QPAC and QTC. Playhouse, Brisbane. 25 May – 16 June.

THIS was the most anticipated production in QTC’s 2013 season, giving the original epic play an Australian focus, with an all-indigenous cast.

A strong cast of twelve led by Ursula Yovich (as Anna Courage – a bravura performance), and David Page (the chaplain with a delightfully cavalier attitude to the scriptures), Michael Tuahine (the cook - described by Anna as ‘a farmer who planted his seeds all along the warfront’), Roxanne McDonald (Yvette, a prostitute), George Bostock (especially memorable as Bossman and the Admiral) and David Dow (the ’heavy’ part in several scenes) carried the action. Praise to Wesley Enoch for his shrewd choice of cast and astute direction and to John Rodgers for his compositions and musical direction.

At the core of the action is Mother Courage’s cart, cleverly created from an early model Ford ute, and a wideopen set with lots of rusty corrugated iron (Designer,

Christina Smith). In keeping with Brecht’s structure there are brief announcements encapsulating each scene, and twelve songs interpolated into the action to ‘alienate’ us so we remain detached from the characters but alert to the action.

What let the play down, however, was definition of the sides and their aims in this ‘war’. It was never made clear what the indigenous people were fighting for. The issue became even more clouded in Act 2 with references to the 17th year of the Thirty Years War. At that stage the adaptation seemed to have lost its way, avoiding the best opportunity to punctuate the disaster their imaginary dystopia could become. An admirable opportunity lost.

Jay McKee The Club

By David Williamson. Directed by Denis Moore for Hit Productions. Athenaeum Theatre Melbourne. May 16 -18 and then on tour.

THOUGH Williamson’s play was written more than 35 years ago, it seems strangely relevant and current given the nature of AFL in 2013. And although the play has achieved iconic status, particularly in Melbourne where Footy is an addiction, we shouldn’t forget that, at its heart, it’s a broad comedy with a stinging underbelly. The plot is negligible….the philosophical questions unanswerable. At what stage does football stop being a sport and become a business?

Directed by Denis Moore the laughs come thick and fast.

John Wood, one of our finest stage actors, pulls out all the stops as the opinionated and thuggish ex-coach and president Jock Riley – a product of devolution, who hits his wife and anyone else that crosses him. What could have been a two dimensional caricature becomes a masterful exploration, in Wood’s hands, of an aging Alpha male frantically trying to hang on to his power base. His comedy timing and business in the famous “stoned” scene is perfection, often naïve and childlike, and helps build a complete human we can dislike, but at least understand beyond the boorish exterior.

Geoff Kelso, a fine comic and an under-rated actor, steals the first act as the power seeking, money grubbing Club President Ted, only to show us in the second act he is the most sympathetic of the men, with a genuine loyalty to the club and the game. Shaun Gurton’s set is perfect, as is Jason Bovaird’s terrific lighting and Adrienne Chisholm’s perfect costumes (plus the great music soundscape), taking us back to the seventies – when things were more Black and White (pun intended). But it’s Wood’s performance that will stay with you long after the last vestiges of Skyhooks have died away.

Coral Drouyn 4,000 Miles

By Amy Herzog. atyp Under The Wharf, MopHead and Catnip Productions. atyp Studio 1, The Wharf, Walsh Bay. May 1 – 18.

VERA is a 91-year-old ex-hippie Marxist. Leo is her grandson, who cycled across America. He arrives at Vera’s

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Stage Whispers 69

Manhattan apartment at 3am, unexpected, exhausted, smelly. It doesn’t seem like the beginning of a play that would win awards and be playing across the world within a year, but the relationship created between these two beautifully drawn characters, and the depth of the ground they cover, proves Amy Herzog to be a playwright of immense talent and perception.

Combine this with a sensitive director such as Anthony Skuse, who guides his cast to find the subtlety and strength in Herzog’s characters, and you have a production that is at once heart-warming and funny – and completely memorable.

Vera and Leo, played by Diana Mclean and Stephen Multari, establish an electricity that sparks and connects throughout the play.

Eloise Snape plays Leo’s girlfriend, Bec. It is a small role, but she finds the despair and estrangement Bec is feeling.

Aileen Huynh plays Amanda, a young Chinese New Yorker Leo meets and brings home after a night out. She plays the tipsy, over-the-top character with amazing dexterity.

There are some very deep scenes, some very funny scenes, some very clever directorial decisions, some very memorable performances. But they need to be seen to appreciate them properly.

Carol Wimmer

but at no time does she allow facts and figures to overpower the theatricality of her writing. She writes fast, exposes characters and situations quickly and tempers her scenes with movement, humour and biting satire.

Louise Fischer’s very talented and energetic cast matches the speed and detail of Prebble’s writing. Fast, carefully choreographed scene changes add to the cut and thrust of the dialogue, creating the pace of the stock market, the rush of the city.

Carrying the story are four main characters at the helm of ENRON. Matt Young plays Jeffery Skilling, CEO, an ideas man on the make, a little charismatic but selfishly ruthless.

Peter Flett plays company director Kenneth Lay, who is the complete antithesis to Skilling but allows himself to be caught up in the whirlwind of Skilling’s ideas.

Cassandra-Lee Heschl plays Claudia Roe, Skilling’s business rival. A strong, ambitious woman, she is, nevertheless, more pragmatic, more reasonable – and therefore loses out to Skilling’s ruthlessness.

Andy Fastow is played very beguilingly by Nick Curnow.

Fastow idolizes Skilling and Skilling uses him abominably – until he realises his value – as it is Fastow who conceives and initiates the fraud that will become the ruination of ENRON and trigger the GFC. Carol Wimmer

The Death of Peter Pan

By Barry Lowe. Director: Robert Chuter. Fly-on-the-Wall Theatre Co. Chapel off Chapel (Vic). May 22 to June 2.

THIS multilayered, elegantly written and often challenging play tells the sad true story of 1920s Oxford University student Michael Llewelyn Davies - one of the adoptive sons of Peter Pan author JM Barrie - and his tragic love affair with attractively brash and outspoken Rupert Buxton.

Some of the best scenes were those that explored the burgeoning feelings between Michael and Rupert delicately played by the appealing Kieran McShane and Jordan Armstrong. Playwright Barry Lowe has expertly encapsulated how it feels for an adolescent male to fall deeply in love with another, only to realise with a devastating mixture of bewilderment and anger that society will never permit the expression of one's feelings.

McShane and Armstrong were complemented by a strong supporting cast - a special mention must also go to Ian Rooney, whose memorable characterisation of JM Barrie was richly nuanced. Director Robert Chuter did a great job, ably backed up by expert costume and set design, while Andrew Bishop’s music was ethereally evocative. The Death of Peter Pan is a moving and thought-provoking piece of theatre and this production is thoroughly recommended.

Alex Paige

All My Sons

By Arthur Miller. Newcastle Theatre Company, Lambton (NSW). Apr 27 - May 11.

ARTHUR Miller’s gripping play, set in a mid-western United States town in August, 1946, a year after the end of World War II, shows how that conflict continues to affect people’s lives and dent the American dream of love, happiness and fortune.

Joe Keller (Howard Rawlinson) is a manufacturer whose business partner was jailed for okaying the supply of faulty aircraft parts that resulted in the deaths of 21 air force flyers.

Wife Kate (Tracey Owens) has her own wartime hangover. One of her sons, a pilot, was listed as missing in action and, three years later, she still holds onto the belief that he will come home.

In the weekend of the play’s action, other son, Chris (Alexander Jacobs), who also served in the war, has invited his brother’s fiancée, Ann Deever (Amy Wilde), for a visit.

Chris and Ann have been corresponding, have fallen in love and want to marry. The fact that Ann is the daughter of Joe’s jailed partner adds to the difficulty of their situation.

Director Janet Nelson and the actors kept audience members on the edge of their seats as seemingly innocuous and often joking comments were subsequently shown to have serious import. And with designer Graham Wilson’s set creating a backyard that looked lived-in the people could be anyone’s neighbours.

Rawlinson’s Joe Keller, lacking education except for one year of night-school, was understandably proud of his achievements. Rawlinson deftly balanced Joe’s increasing illease and his attempts to smooth the romantic path for

ENRON

By Lucy Prebble. New Theatre (Newtown, NSW). June 4 to 29.

PLAYWRIGHT Lucy Prebble pulls no punches as she presents the bitter truth behind the ENRON fraud. All the greed, arrogance, deceit and double-dealing are laid bare – 70 Stage Whispers

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Chris and Ann against the opposition of Owens’s obsessed Kate.

Most of the other actors played neighbours who would be familiar to everyone, with Matthew Collins giving brightness and an element of menace in some other characters’ eyes to young boy, Bert, who likes playing cops.

Ken Longworth

Don Juan

How I Learned To Drive

By Paula Vogel. Director: Chris Baldock. MockingBird Theatre Company. Brunswick Mechanics Institute Performing Arts Centre.

May 3 to 18.

VOGEL’s play about child abuse by a family member and the subsequent impact on a growing girl is a harrowing, humorous and spiritually uplifting experience which moved many of the opening night audience to tears.

It’s difficult to see how this fledgling (this is only its third production) company can keep raising the bar of quality that it resets for itself with every offering.

The company runs on passion – and very little else. It doesn’t matter. Director Chris Baldock doesn’t need flashy sets. His trappings are truth and passion and honesty; his tools are the truly gifted young actors he casts so perfectly.

Sarah Reuben brings L’il Bit to life is an astonishing way….moving backwards and forwards in the chronology of the piece. The subtle shadings of aging and of attitude are a wonder to behold. It’s a stunning performance from this amazing young actress. Jason Cavanagh is nothing less than heart-breaking perfection as Uncle Peck. We want to hate this paedophile – and yet there’s a humanity, a vulnerability, and a melancholy about this performance that makes us feel true sympathy for the man. He is, quite simply, what all young actors should aspire to.

But it is Chris Baldock’s direction that takes us to another place, gives us that ache in the gut, and the lump in the throat, the pricking behind the eyelids. We’re so lucky that he shares his gift with us, the audience.

Coral Drouyn Don Juan

By Moliere, Tasmanianised by Robert Jarman. Blue Cow Theatre. Theatre Royal Backspace, Hobart. Director: Robert Jarman. May 29 to June 8.

THE Don Juan legend has inspired many writers, including Moliere. The comedy gets a modern and local flavour when it is made contemporary and “Tasmanianised” by director Robert Jarman. The result is an extremely funny,

naughty romp, about a man who can’t get no satisfaction.

This abridged version of Moliere’s five-act play has been condensed to four acts, leaving out the “stone guest” aspect.

Instead of the statue that comes to life and drags Don Juan down into hell, this version has a different but unpleasant end planned for the seductive and treacherous Don Juan. Ivano Del Pio is BJ (Big John), a suave but jaded roué, the man who is, apparently, irresistible to women. I think he would have been more convincingly seductive if he used a deeper, more male tone in his voice, and less of the arch, comedic lisp. His pursuit of any woman (or anything else with a pulse) is the cause of his downfall. He is aided and abetted in his dirty deeds by Gary, John Xintavelonis, whose comic timing and experience never falter. Actors Scott Farrow, Anna Kidd and Karissa Lane work well together and play a total of ten other roles, making for a fast-paced, breathless production. Scott Farrow, as always, drags every ounce of feeling or laughter out of an audience.

Direction, lighting and sound were slick. A full-on, fallabout-laughing evening of entertainment!

Merlene Abbott The Woman In Black

By Stephen Malatratt. Directed by Justin Stephens. The Basin Theatre (Vic). May 17 – June 8.

IT takes a fine director and some excellent actors to make a community theatre production of this somewhat

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Stage Whispers 71

Ruben Guthrie

of the Drama Lab heighten the emotional effect drawn by the actors.

Lewis Meegan deserves special plaudits for his portrayal of Ruben Guthrie, showing the large range required for Guthrie, from being irritatingly self-absorbed to the trip to a dark, painful history, and its echoes in a much later scene.

With Ruben, we travel through the Twelve Steps of Alcoholics Anonymous, meeting his mentor Virginia (played

by Alexandra Davis), his mother (played amusingly by Jessica Symonds) and his alcoholic-in-denial father (played

by Dean Batten with verve and humour). Gabrielle Dutton is Zoya, the dramatic Czech supermodel. Michael Bones plays Ray from the ad agency. Alex Battye is full of energy as Ruben’s long-time friend Damian.

Ruben Guthrie is a challenging, confronting play. While there are moments where members of the audience squirm in their seats in discomfort, there are also side-splittingly dated classic ghost story work in theatrical terms. hilarious moments. Congratulations to NUTS. Fortunately The Basin Theatre Group has both in this terrific Rachel McGrath-Kerr show. Put simply, solicitor Kipps wants to perform, for his friends and family, his story of an encounter with a ghost, Caught in the Net the terrifying spectre of the title.

By Ray Cooney. Cairns Little Theatre. Director: Frank Joel.

Justin Stephens has made the play fresh and exciting in April 26 - May 4. every area. He co-designed the excellent set with Gerald FARCE has always been Ray Cooney’s expertise and Overton and could well give lessons to some of the wellCaught in the Net, the sequel to his earlier comedy Run for known set designers in mainstage theatre. Ostensibly the Your Wife, is no exception. It centres around the romantic basement of an old theatre, it’s bursting with atmosphere, exploits of London taxi driver John Smith, who has two full of creaky old machinery, theatre skips, dark nooks and wives, and has been carrying on the deception for years. crannies and various working areas. Stephens also designed However, when his children from his respective spouses the impressive audio-visual content and has incorporated hook up on the internet and decide to meet, chaos ensues.

Steampunk effects through the old machinery. Couple all Director Frank Joel has assembled an experienced cast to this with a stunning soundscape that includes some chilling perform in this high-energy, door-opening farce. The entire sound effects, and a wonderful lighting plot by Peter action takes place on one set, with different coloured doors Dalwood, and you begin to understand just how impressive (six of them) representing the two homes. Robert de Rooy this production is. And that’s before we even get to the (Smith) brilliantly plays a desperate man attempting to avert actors. disaster. The two wives, essentially the straight roles, are Chris McLean and Kieran Tracey both give flawless superbly acted by Jacki Porter (Mary) and Meg Fielding performances. Totally convincing in all respects, both these (Barbara). Equally up for it were the children, Mani Norris gifted actors would be quite at home in any professional (Gavin) and the lively Britt Gatto (Vicki). But the show production. Stephens’ blocking, with appropriate sound hinges on the performance of veteran Wayne Rees as John’s effects, gives a great sense of movement and space in the lodger Stanley. Rees’s timing, energy and facial expressions limited stage area. And then there’s the woman herself – make the show the riot that it is. Roger Sandford, as uncredited but an eerie presence throughout. There are Stanley’s father, also contributed to the madness. some genuinely tense and scary moments with the ghost, Ken Cotterill but overall it’s the quality of the entire production that makes this a must see for any theatre lover.

Arafat In Therapy Coral Drouyn

By Jeremie Bracka. Director: Pip Mushin. Chapel off Chapel June 4 – 9. Parade Theatre Sydney - July 10 - 14.

Ruben Guthrie JEREMIE Bracka is quite simply one of the best comic

By Brendan Cowell. Directed by Shaun Wykes. National actors we have, and one of the most intelligent and astute University Theatre Society. ANU Arts Centre Drama Lab. writers. That combination allows him to overcome poor May 22 - 25. and pedestrian direction, fluctuating sound levels, blackouts RUBEN Guthrie is an advertising creative with the world and stage waits for no apparent reason and truly bad music at his feet. With NUTS’ production and ACT premiere of (intentional or otherwise?) that is probably meant to be Ruben Guthrie by the Australian playwright Brendan funny but isn’t.

Cowell, the audience joins Ruben and those who know him Ultimately though, Bracka’s charm, self effacement, and in a journey through sobriety, pain, history and a hazy terrific characterisations overcome all shortcomings as he future. The intimacy of the small stage and limited seating narrates his childhood and insular upbringing in Caulfield, “I thought Jews in Doncaster were settlers”… gives 72 Stage Whispers

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fascinating cameos of his Egyptian father and Polish mother, “I inherited my father’s back hair and my mother’s testicles” and his brave venture into the world as part of the diplomatic service, “When two wrongs don’t make a right….try THREE!” It’s inconceivable that he still works as a lawyer by day, when he should be playing to full houses everywhere.

Bracka speaks deep truths buried in hilarious comedy.

This is 70 minutes of sheer comedy delight from an excellent performer. Let’s send Jeremie Bracka on a peacebroking mission for the United Nations. We might finally get somewhere.

Coral Drouyn The Patriot Game

By Tom Murphy. Director: Ivan Motherway. The Irish Club, Subiaco (WA). April 2 to19.

DESPITE having a history degree and a broad interest in world history, Ireland's Easter Rising of 1916 was an event of which I knew little. This play, originally commissioned by the BBC, gives a balanced view of this still raw incident, presented in a clever way.

An ensemble piece, director Ivan Motherway and the Irish Theatre Players recreated the style of the original production by The Peacock Theatre in Dublin, in 1991, with actors playing multiple roles and some women playing men. A young narrator oversees the action. Ostensibly living in 1991, the narrator passes comments on the action, historic events of the time and opinions of the Irish people throughout the years.

The narrator, a sort of young everywoman, was played with a gorgeous Irish lilt by seventeen-year-old Zoe Griffin (who is Australian - a minority in this company) and whose active involvement kept the show's energy high.

The seventeen strong ensemble, while not uniformly experienced, were totally invested in the action and delivered credible performances.

Interestingly set on a lengthy end stage, the audience were very close to the action and found themselves drawn into the story despite the presentational style. Lighting and sound design (John Spurling and Ivan Motherway) were well managed and costumes were simple but evocative.

An excellent Irish history lesson with a dash of excitement.

Kimberley Shaw Anne of Green Gables Adapted from L.M. Montgomery’s novel by Joseph Robinette. Villanova Players. The Theatre, Seven Hills TAFE, Brisbane. May 31 – June 21.

HOW would you feel if you ordered something from the mainland and what was delivered to your island home was something quite different? The ageing Cuthberts ordered a boy from the orphanage to help on their farm but Anne was sent to them.

This was nostalgia and great entertainment: nostalgia because so many in the audience recognised favourite actors from back in the 60s, 70s and 80s; and entertainment because the story has heart and hope. Anne

(with an e) overcomes her poor start in life to become a local success. This is great family theatre.

Top marks to the director, Jill Cross, for her shrewd casting and careful direction. Olivia Woods (Anne) heads this cast like a modern Boadicea, intelligent, confident, frank and feisty. Her development from adolescence to young womanhood is beautiful to watch. In close supporting roles were Villanova stalwarts Michael Byrnes (Matthew Cuthbert, who becomes Anne’s ‘Dutch uncle’), Maria Plumb (Marilla, Matthew’s sister whose formidable exterior Anne melts within her first week at their farm), Glynne Liddy (Marilla’s best friend, Rachel Linde), and Pat Wockner (Aunt Josephine and Mrs Allen). All four must have been excellent role models for the kids in the cast, who reflected professional standards in their performances.

Everyone in this cast deserves their kudos – together they build an entire community. Praise also to the numerous crew. Villanova Players aced it!

Jay McKee A Streetcar Named Desire

By Tennessee Williams. New Farm Nash Theatre (Qld). Nash Theatre, Brisbane. May 11 to June 1.

THIS community theatre had a gypsy history since its 1994 inception at Nash Street School of Arts in Rosalie, whence they were moved to Balfour Street, New Farm (1996), then a live theatre stint on one stage of the Valley Twin Cinemas, followed by a roving year in 2004 until they settled in the Merthyr Road Uniting Church Hall which they now call ‘home’. The stage has limitations but they are used to adjusting to performance spaces.

Stage size was the most challenging obstacle director, Brenda White, had to address, but in spite of it or because of it, this Streetcar focuses on the central events of the piece – what transpires in the little two-room apartment of Blanche Dubois’ sister and brother-in-law when the destitute Blanche imposes herself on their hospitality.

Christine Urquhart’s claustrophobic set captures the heat, humidity and lifestyle of the poor people living in the New Orleans’ misnamed ‘Elysian Fields’.

Melanie Myers (Blanche), Lia Davies (Stella Kowalski), Tristan Ozinga (as Stanley, her husband) and Ralph Porter (Mitch) were shrewdly cast and rose to their dramatic challenges. They played their own parts brilliantly while carefully attuned to one another like a fine quartet. The other six players supported them splendidly to achieve one of the clearest interpretations of this play I have seen.

Jay McKee Private Lives

By Noël Coward. Hobart Repertory Theatre Society. Director: Patricia Kempa. Playhouse Theatre, Hobart. May 31 – June 15.

PRIVATE Lives, written by Noël Coward and first performed by him in 1930, is a popular play for community theatre groups. Presented anew by Hobart Repertory Theatre Society, and directed with precision by Patricia Kempa, this old play can still draw a crowd.

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Stage Whispers 73

The young cast is suited to the ages that Coward had intended the principals to be. The idea of two lovers, now divorced, being at the same honeymoon venue, with new spouses, was a fanciful notion, and quite shocking for the time. Amanda and Elyot are divorced, a couple who can’t live with each, but can’t live without each other. Kath Uziallo captured the fragility hidden under the brittle exterior of Amanda, while Trevor Gallagher played the urbane, sophisticated Elyot convincingly. Ellen Roe as Sybil and Christian Street as pompous but shy Victor Prynne complemented each other and their spouses, the still lovestruck Elyot and Amanda. Bonnie Fletcher as Louise the maid convincingly conveyed disapproval of the couples’ shenanigans.

Patricia Kempa instils her love of language into the cast, who respond with good performances and excellent diction. The magic of language is the secret of this stylized comedy of manners with its fast-paced, arch, acerbic dialogue.

Timing was spot-on, and the choreographed argumentalmost-verging-on-violence was well executed. Costumes were lovely and sets designed by Peter Kempa were an essential part of setting the theme. Jolly good show, what!

Merlene Abbott Pack of Lies

By Hugh Whitemore. Centenary Theatre Group (Qld). May 4 to 25.

THE strengths of this Cold War spy docudrama are splendidly conceived dialogue played expertly by a shrewdly chosen cast. It was slick, entertaining and engaging.

Congratulations, director, Dale Murison.

It is based on reality. In the paranoia period, 1961,when both Britain and the USA were obsessed with Russian spies, an American couple (masquerading as Canadians) in suburban London were suspected by MI5 of spying.

Whitemore’s concern here is how MI5 attempted to implicate innocent neighbours in convenient homes from which observations were possible. We are engaged by the thought: How would I feel if MI5 (or ASIO) sought permission to use my house for a couple of days, then weeks, to observe my closest friends across the street, without telling me what is going on or why?

Cheryl Bartlett (Barbara) expertly portrays the intrusion and confusion of her home as the investigators subtly take over. Andrew Clulow, the attractive and personable Stewart (of MI5 though he never reveals that) becomes increasingly manipulative and demanding as the investigation develops – another splendid performance. Andrew Wallace (Barbara’s do-the-right-thing husband) and Sarah Fowkes (Julie, their daughter who should be preparing for examinations), Linda Novicky (Helen) and Kurt Lerps (her husband) who portray the wonderful neighbours, all shine.

Meg Hazelwood and Katie Freeman (as Thelma and Sally, the MI5 observers) portray inoffensive and friendly interlopers in Barbara’s home.

This is community theatre at its best.

Jay McKee 74 Stage Whispers

Our Man In Havana Adapted by Clive Francis from the Graham Greene novel and 1952 movie. Javeenbah Theatre Co., Gold Coast.

Director: Eric James. May 25 to June 8.

SET in Cuba during the time where spies, double agents and espionage were the order of the day, this four hander requires three of the performers to cover over 30 roles while the title role is played by the fourth.

The plot of this challenging piece is a series of many short scenes and as many scene changes.

The four performers; Tony Hall in the title role, and Michael Denny, Kate Learmonth and Andrew Trump, worked hard to conquer the complexities required of them but on opening night didn’t quite pull it off.

Multiple roles means many costume changes, wigs and in particular, different accents which now and again seemed to get mislaid along the way and, also, when delivering dialogue at a fast pace, one has to be conscious of diction and enunciation.

The crew outnumbered the cast (necessary with such a complex plot) and worked efficiently and quietly to accomplish their contribution to the overall experience.

Eric James set out on an epic journey and hopefully the play will hit its mark before too long.

Roger McKenzie The Removalists

By David Williamson. Rock Surfers Theatre Company.

Director: Leland Kean. Bondi Pavilion Theatre (NSW). May 14 to June 15.

LAST week Graham ‘Chook’ Fowler, the infamous disgraced cop who was caught on video swearing and counting his ill-gotten loot, was laid to rest and there on stage at the Bondi Pavilion appeared his spirit.

From the first moment Laurence Coy appeared as Sergeant Dan Simmonds he made your skin crawl. Here was a Police officer whose every orifice oozed that he was entirely motivated by self-interest. The New South Wales Police kept producing them for decades after this play was written in 1971.

Sam O’Sullivan as Constable Neville Ross skilfully portrayed the journey of the young Police officer on his first day on duty. He starts out by trying to do the right thing and graduates within a few hours to exceed the deeds of his master.

Williamson’s portrayal of the crooked cop is every bit as sharp as when the play premiered.

You could tell that the cast was thrilled to be in this play and rose to the occasion.

Playing the anal retentive removalist to a T was the very amusing Sam Atwell.

Sophie Hensser, as the abused wife, and Caroline Brazier, as her sister Kate, were excellent foils for the rogues they mixed with.

And who could forget the alpha male extraordinaire, Justin Cotta as Kenny Carter. You started off hating his guts and ended up admiring him for his courage.

David Spicer

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Ngaire Dawn Fair & Paul Ashcroft in Herding Cats.

Photo: Jodie Hutchinson

57th Far North Queensland One-Act Play Festival Malanda, Queensland. April 26-28. Adjudicator Alex Broun A VERY well organised festival produced some excellent theatre. Theatre groups from all over the far north of Queensland staged fourteen one-act plays over three nights.

Bad Auditions by Bad Actors, directed by Ian McWethy and produced by the Mount Isa Theatrical Society, was one of the outstanding productions in the early part of the festival. Robert Granville won the best supporting male actor for his role of Robert in this play. The junior production of Nobody Famous by the Malanda State High School was full of laughs as well as good acting, with Sasha Nightingale winning the best junior actor (female) for her role as the mystic Zelda. Danielle Riding won the best director award (junior) for directing Nobody Famous.

Great Expectations by local writer Avril Duck was another polished production. Geena Schwartz and Heidi Davies worked well together in a funny take on the sexual relationship between Louis XVI and Maria Antoinette.

Bloody Sunday, produced by A Community Theatre and written by another local writer, Gregg Jacobsen, was also highly commended.

The big winner of the festival was Michael Frayn’s farce Chinamen, that won Graham Harrington the best actor award and Gill Harrington the best female actor award.

Produced by the Malanda Theatre Company and directed

by Grace Chapman, the play was a riot from start to finish.

Chinamen was also the “people’s choice” as the best play.

Chapman won the best director award.

Alex Broun did an excellent job with his various workshops and proved a very popular choice as adjudicator.

Ken Cotterill Herding Cats

By Lucinda Coxon. Director: Suzanne Chaundy. Red Stitch Actors Theatre. June 5 to July 7.

THIS is a disturbing play about three people failing to connect, at least in a healthy way.

The story begins with hip professional woman, Justine (Ngaire Dawn Fair), who comes home from work, full of frustration over the behaviour of a male work colleague.

She makes valid points to flatmate Michael (Paul Ashcroft) about this man but there is something wrong with her interactions with Michael.

An even stranger partnership is introduced, as we learn about Michael's day job. He runs a phone sex service with male clients, including Saddo, played with chilling precision

by Dion Mills. The fantasy that unfolds through Michael and Saddo is excruciating to listen to. Despite the unpleasant subject matter, it's interesting to watch the shifts in power between them.

There are some odd moments, particularly with the music. A creepy phone conversation with Saddo is followed by the Divinyls 'I Touch Myself'. This seems to make light of the scene, as if we're meant to find it funny. The actors do a great job at creating atmosphere. The choice of music is not serving them well.

Despite strong acting and a sharp script, this will be an uncomfortable night in the theatre for a lot of people.

Sara Bannister

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Stage Whispers 75

Death of A Salesman

By Arthur Miller. Director: Adam Mitchell. Heath Ledger Theatre, State Theatre Centre of WA, Perth (WA). May 4 to 25.

THIS beautifully designed production was a strong point in Black Swan State Theatre Company's season, with outstanding performances bringing this well-known play to life.

In the central role, John Stanton delivered an excellent portrayal of Willy Loman, a flawed but sympathetic man.

Unfortunately his very convincing American accent combined with a growly delivery made it difficult at times to hear him.

Great casting and solid portrayals made a convincing Loman family, with Josh McConville as Biff, Ben O'Toole as Happy and Caroline McKenzie working seamlessly to convey a shared history.

Performances were strong throughout, with Luke Hewitt's Uncle Ben and Eden Falk's Bernard being particularly memorable.

Alicia Clements' industrial inspired set was stunning, while the use of genuine period props added interest. Lynn Ferguson's costumes were a nicely chosen collection of fifties fashion.

This was a valuable reminder of the importance of this play in the history of World Drama. A wonderful choice of production, superbly executed.

Kimberley Shaw The Vicar of Dibley

By Richard Curtis and Paul Mayhew Archer. 1812 Theatre.

Director: Christine Grant. May 28 to June 22.

IN the village of Dibley the Parish Council awaits the new vicar.

Director Christine Grant is to be highly congratulated on her casting of The Vicar of Dibley and on the production.

Each actor met audience expectations from the TV series.

The vicar Geraldine (Helen Ellis) looked like Dawn French down to the outfits and hairstyle. She was the Vicar of Dibley, accent and all.

As old-fashioned dogmatic Parish Council Chairman David, Frank Schrever had the right degree of arrogance, combined with a lack of sympathy for his son’s fiance Alice.

Trudi Sheppard was Alice, the verger, in a performance so good that on occasion the audience felt like giving her a swift kick where it would do the most good.

Fred Barker impressed as long-winded minute secretary Frank. James McCrae was an absolute delight and really looked the part as the stuttering Jim. Steve Saul was excellent in the role of David’s innocent but lovable son Hugo, sharing a good rapport with Sheppard.

Mary Kappner gave a stirling performance, displaying great comic sense, as council member and experimental cook Letitia. The reaction of the other members to her famous sandwiches was an absolute picture.

Rowan Francis was hilarious as rough farmer Owen, complete with appropriate accent.

A wonderful, laughter-filled night of theatre.

Peter Kemp 76 Stage Whispers

The Lover

By Marguerite Duras, adapted by Colin Duckworth. New Ballroom at Trades Hall. Director: Greg Carroll. May 30 to June 16.

TRANSLATED and adapted from the Marguerite Duras novel by Colin Duckworth, The Lover is a monologue for Kate Kendall who masterfully draws us in to the world of 1930’s Saigon, where a poor 14-year-old French girl falls in love with a wealthy 27-year-old Chinese man, and we witness the intimacies and the repercussions of their doomed affair.

The play is beautifully written and directed, enticing the audience into the world of the young girl, where you share the sights and smells of exotic tropical locations and at times venture into intensely intimate bedroom scenes.

Throughout the performance Kate Kendall displays an extraordinary ability to move from character to character with just a subtle change of stance or intonation. This performance should be required viewing for all would-be thespians and is a masterclass on how to perform a monologue.

The staging was simple but clever - literally a tiny velvetlined box set with a small thrust stage, an upstage door, a central couch and a few props. Lighting was atmospheric and sympathetic to the performance as was the music, which punctuated the action and allowed the audience and performer a small breath every now and then.

But the strength of this show is the performance of Kate Kendall – she is truly extraordinary in The Lover.

Shirley Jensen Oleanna

By David Mamet. Director: Cicely Binford. Town Square Theatre, Kalamunda (WA). April 26 to May 18.

FORESHADOWED by one of the most interesting theatrical posters this year, captivating photo art that continued into the program, KADS' Oleanna promised to be a strong, controversial interpretation and for the most part this promise was fulfilled.

The actors in two-hander, Eliot McCann as John and Amy Russotti as Carol, worked brilliantly together and delivered meaningful multi-layered performances.

Simply set and costumed with thoughtful lighting by Ben Davis, this was a beautifully measured production, wellpaced and intense.

If I have a criticism, it would be that Amy as Carol could have been directed to smile occasionally in the early scenes, as her constant scowl left her with less light and shade and possibly tipped the balance of the audience towards favouring John in the decision of "Whose side are you on?" as encouraged by the program. I can't help thinking that if Carol had the benefit of Amy's attractive smile, she may have been more likeable and we may have had a more difficult choice. Perhaps this was a deliberate decision.

The strong performances visibly unsettled some audience members.

Kimberley Shaw

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everything parents expect: familiar stories, characters for their kids to love, and love to hate (princesses for girls, heroes for boys) and a chance to express their feelings. Particular favourite here was Jester (Peter Harvey, whose physical comedy antics had the audience in stitches). Darcy Love (Rumpelstiltskin) reveled in his role, attracting audience support initially, then boos and hisses as the kids discovered his ambiguity. The girls loved that working class Laura could become a Queen and learnt to beware of mother-in-law (Margot Kelly – impressive in her part).

Director Michael Webber and Musical Director Jennifer Webber must be proud of their cast in this production Beached that engages the whole family.

By Melissa Bubnic. Melbourne Theatre Company. Director – Special credit to the wardrobe personnel who created Petra Kalive, Set Designer – Andrew Bailey, Costume great costumes.

Designer – Kat Chan, Sound Designer – Robert Jordan, May BAT Youth Theatre continue to provide wholesome Animator – Rebecca Hayes. Lawler Theatre. April 22 – May family entertainment for the 6 to 80 year olds.

10.

Jay McKee BEACHED is refreshing and engaging and will certainly delight secondary school audiences with some of the Splat outrageous shocks embedded in the writing, particularly in Director: Phillip Mitchell. Spare Parts Puppet Theatre, regard to the use of ‘language’. It is a fun romp written by Fremantle (WA). April 20 - May 4. a young writer that will be becoming even funnier as it AS school holidays approach, I find myself looking tightens up through consecutive runs. forward to the next offering by Spare Parts Puppet Theatre.

Arty (Damien Sunners) is over fed and pampered by his These seasons are extremely well patronised because of suffocating mother JoJo (Suzie Dee). He sits in a sedentary consistent high standards and outstanding production position on a couch, part human part foam rubber, and values, combined with a variety of styles. eats almost more than is humanly possible. The reality Splat was advertised as suitable for all ages, but television program Shocking Fat Stories lays claim to Arty’s particularly suitable for ages 4-12. While adults would love story and in doing so attempts to doctor the story for it on many levels, junior primary students would have maximum effect and revulsion factor. enjoyed the use of bright primary colours, geometric shapes But that is not all, there is more to the story as the work and a simple celebration of friendship told in broad-stroke touches on a number of social issues with startling and performance. Their older brothers and sisters would pick up liberating political ‘incorrectness’ at times. subtle messages about inclusion and collaboration. The Suzie Dee’s mother character JoJo, initially seemingly wordless nature would make it especially attractive to grounded in clown, is a strongly realized, complex and students of any age who were yet to embrace English, and convincingly dogged woman. Anthony Ahern serves the the use of non-verbal communication so successfully would production well as the producer and delightfully in a be a valuable lesson for high school drama students. number of small video roles.

Performers Michael Barlow, Bec Bradley and Michael Although over-written and just a bit too long and Smith formed an excellent ensemble, all gifted with sometimes calling out for changes in the physical rhythms beautifully expressive faces and demonstrating sensitive of the staging, the direction is deftly and comfortably puppetry skills. handled by Petra Kalive.

Sally Richardson has constructed a multi-layered script Beached is a real gift to teachers as it touches on many that captivates throughout, beautifully brought to life by complex issues. the designs of Cecile Williams - whose use of colour and Suzanne Sandow geometry in both set and costume was lovely. Lee Buddle’s composition and Andrew Lake’s lighting added to this Rumplestiltskin is My Name pleasant bombardment to the senses.

Book: Vera Morris; Music: Arne Christiansen; Lyrics: Ole The puppets, less traditional in this show, were Kittleson. Brisbane Arts Theatre. April 2 – June 15 constructed by Jiri Zmitko.

BAT Youth Theatre has a long tradition of predictably A school holiday (and term time) delight. enjoyable entertainment for loyal fans. It embraces Kimberley Shaw

Reviews: Youth

Fanny Hanusin (Louise) and Damien Sunners (Arty) in Beached. Photo: Jeff Busby.

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Stage Whispers 77

Reviews: Dance

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Relive the magic of the Bolshoi Ballet by scanning the QR code or visiting http://youtu.be/mXbH9DjCyqo

Le Corsaire

Le Corsaire Bolshoi Ballet. Original Choreography: Marius Petipa.

Revival and New Choreography: Alexei Ratmansky, Yuri Burlaka. Queensland Symphony Orchestra, Conductor: Pavel Sorokin. Lyric Theatre, QPAC, Brisbane. May 30 – 5 June 5.

THE Bolshoi Ballet’s return to Australia with the monumentally spectacular Le Corsaire was a giddy, glorious delight. Based on a poem by Lord Byron, and set in Turkey, this romantic swashbuckling story of pirates and slave girls had all the fun of a Pirates of the Caribbean movie with exotic characters, settings and costumes. It was old-school traditional ballet, expertly executed by a company with its tongue firmly planted in its cheek.

In the role of Medora, Maria Alexandrova followed a long line of legendary ballerinas who have danced the part and on last night’s performance her name should be added to the list of greats. She was the danseur supreme. Time and time again she astonished with her technique, eliciting bravos throughout the performance. Partnering her as Conrad, leader of the pirates, was Vladislav Lantratov who was every bit her equal. Their Act 1, Second Scene pas de deux in the Pirates Den was a tour-de-force. Nina Kaptsova as Gulnare, and Vitaly Biktimirov as the kidnapper Bribanto, shone with their versatility, while Egor Simachev mined the role of bazaar owner Isaac Lenquedem for maximum comic effect.

Designed by Boris Kaminsky, and based on the 1899 originals, the attention to detail and depth achieved in the cloths was magnificent, not to mention the Act 3 shipwreck which was thrilling. Likewise the costume designs by Yelena 78 Stage Whispers

Zaytseva, also based on the originals, with their fabrics of gold, turquoise, red and orange, were a feast for the eye.

The 65 piece Queensland Symphony Orchestra under the baton of maestro Pavel Sorokin, played the grab-bag score to perfection.

Le Corsaire is not the world’s greatest ballet, but with its convoluted plot offers copious opportunities for showy dance which the Bolshoi delivered in their big, bravura style.

Peter Pinne BLAK Bangarra. Choreography by Stephen Page and Daniel Riley.

McKinley and Music by David Page and Paul Mac. Drama Theatre, Sydney Opera House, June 7 – 22, 2013; Canberra Theatre Centre, July 11 – 13 & QPAC, Brisbane, July 18 – 27.

A THEMATIC and new generational shift is apparent in Bangarra’s hard-edged new work, Blak.

The first half, Scar, is choreographed around the men of the company by dancer Daniel Riley McKinley with guest artist, Stephen Page’s young son, Hunter Page-Lochard. It’s a moody and angular work about hoddie-clad Indigenous youth spinning out of control. Lit by street lamp and against Jacob Nash’s set of plastics and urban discards, McKinley’s gang listen for and finally follow the call of tradition, the rite of passage into manhood, all against Paul Mac’s thunderous synthesizing of traditional sounds and voice.

In the second half, Yearning, Stephen Page works with the company’s women on fragments of stories – birth, loss through suicide, cultural dislocation and domestic violence.

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The familiar literal representations of Indigenous life are here far more gritty and challenging than usual. And with David Page’s lyrical laments, the technical proficiency of the women brings purpose and conceptual richness to all moments, including those close to pantomime.

Bangarra is also distinguished by a frequent division in themes and dancing between the men and women. The final act of Blak brings them together into a company work by both choreographers and composers. The sparks of sexual tension fly as the ensemble reaches a spine-tingling climax in celebration of traditional culture and knowledge.

This is a thoughtful virtuosic new work, exploring highly contemporary themes, by one of our best dance companies.

Martin Portus

comfortable love. They tease each other in a series of playful routines that express the infinite depth of their trust and contentment. Here a battered brief case is used most symbolically.

Natalie Weir has created three beautifully evocative interludes, which these very talented – and physically dexterous – dancers execute with sensitive precision and seductive poise.

Carol Wimmer

G

By Garry Stewart. Australian Dance Theatre. Sydney Theatre, May 16 – 18, 2013, then touring.

THE Australian Dance Theatre's latest offering, G, is to ballet what MTV was to music back in the 80s. It's revolutionary, fresh and completely revitalises Giselle, a R and J classic piece which is considered to be the Hamlet of the Expression Dance Company. Parramatta Riverside Theatre. dance world.

May 16 – 18 and touring.

There are no stuffy ruffled costumes here or ballerinas TAKE Shakespeare’s eternal themes and Natalie Weir’s with hair pulled back tightly into shiny buns. Rather green is imaginative choreography, and you have a piece of the colour or choice, reflecting envy I imagine - the men in contemporary dance theatre that both thrills and surprises. track suits and the women in form fitting dance gear, To the evocative music of composer John Babbage, six teamed with a simple tutu in a nod to tradition. This allows dancers capture the essence of young love, forbidden love, for the audience to focus primarily on the movement, line lasting love and lost love. and charcterisation of the dancers.

Act One, Passion, dancers Jack Ziesing and Elise May The stage is bare except for a massive screen on the consummate their attraction in evocative choreography that back wall with thousands of small LED lights that broadcast is sensual and erotic. Confronted by ex-lover Thomas words and phrases throughout the show. Composer Luke Gundry Greenfield, they begin a symbolic tug-of-war that is Smiles' music is an array of techno dance music that so carefully contrived, and so demanding, that at times it beautifully and violently punctuates the action. And Garry leaves one gasping.

Stewart's choreography and direction is precise, inventive Act Two, Romance, opens with crossing spots and at times cripplingly uncomfortable.

The cast of 11 (who obiviously have solid training in highlighting “Two households, both alike in dignity”. Here the young lovers approach each other through a series of ballet) are a powerhouse combination of modern dance, tentative connections that express initial inexperience and gymnastics and classical moves. What's missing is the wonder. Then the choreography transports them into more overwrought acting so often seen in traditional ballet, evocative movement – until, Fate, depicted once more by which is a good thing. These dancers are able to Thomas Gundry Greenfield, strikes again. communicate with authenticity.

G will blow your socks off.

In the final Act, Devotion, dancers Riannon McLean and Jack Ziesing express the familiarity of blissfully relaxed and Whitney Fitzsimmons

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Stage Whispers 79

Ali McGregor

Jerome Kern (“All the Things You Are”), Dolly Parton (“I Will Always Love You”), and Glee (“Maybe This Time”), she continually had the audience eating out of her hand.

A generous and warm performer, Chenoweth was not afraid to share the spotlight with her back-up singing and dancing trio, Will Taylor, Jennifer Diamond, and Constantine Germanacos. Both guys were in cowboy mode for the Kathleen Marshall staged “Goin’ to the Dance with You”, Germananacos did a stunning vocal assist on the Bacharach mash-up “One Less Bell to Answer” and “A House Is Not a Home”, as did Diamond in the Streisand/ Donna Summer disco duet “Enough Is Enough”. Kander and Ebb’s “My Coloring Book” was simple and tender, “Bring Him Home” heartfelt, and Phantom’s “Wishing You Were Somehow Here Again” has rarely been sung better.

Mary-Mitchell Campbell on piano was a skilled musical director of the 12-piece group and amusingly assisted on the scripted ad-libs.

Peter Pinne

Adelaide Cabaret Festival 2013.

Kate Peters reveals her highlights.

Variety Gala Performance.

FOR 13 years Adelaide has been presenting the newest, oldest and best of Australian cabaret talent, and in this 40th year celebration of the Adelaide Festival Centre itself, Artistic Director Kate Cebrano outdid herself. The opening bash of the annual event has proven so popular there were two shows this year, both sell-outs. A red carpet entrance, fabulous frocks and sequins and feathers were once again part of the fun in the foyer.

The show (2 hours without an interval) was slick, professional, full of variety with a touch of cutting edge, naughtiness and excitement which has typified cabaret as an art form for over 100 years.

Love. War. Death. Brel.

THIS was a production commissioned by the Festival, and was a totally enjoyable collection of songs by Jacques Brel. It contained many of Brel’s observational compositions on the subjects of Love, War and Death.

Kristin Chenoweth – In Concert Humour featured strongly in the selection, superbly GWB Entertainment Production @ Concert Hall, QPAC, 14 performed mostly by John O’May, one of the country’s June 2013. favourite leading men. His voice is as wonderful as ever, Musical Director: Mary-Mitchell Campbell. and his sheer stage presence was a joy to behold. The UNDOUBTEDLY Kristin Chenoweth is ‘popular’ and last performers quoted from many writers of the period, and night’s sold-out concert showed just how ‘popular’ she is. movement on stage was minimal and appropriate.

Playing Brisbane on the third date of her Australian tour, Music theatre darling Lucy Maunder showed once again the original Glinda in Wicked brought her own brand of her complete ease on stage, shining with a song about old quirky to a show that mixed Broadway, pop, audience age, and another on the subject of wartime whores. participation and video clips.

Ali McGregor – Alchemy It was a love fest from start to finish, and when she sang WITH a voice equally suited to jazz, rock and pop, this her signature tune “Popular” in English and several foreign experienced cabaret performer was very well received by a languages, the response was thunderous. With salutes to packed house. Backed by piano, bass and drums,

Reviews: Cabaret & Concerts

80 Stage Whispers

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Darren Percival

McGregor’s program ranged from favourite songs of the late 80s and mid 90s, to items from opera.

I particularly enjoyed the Latin American songs (La Isla Bonita – I Fell in Love with Pedro), and the very well sung OOPS!... I did it again. Her confidence and ability made for a very different and excellent program, as befits someone who wowed ‘em at the 2012 Edinburgh Fringe Festival.

Darren Percival – A Tribute to Ray Charles.

THIS performer has a generous, totally likeable personality which envelops his audience the moment he walks on stage.

A program dedicated to the songs of Ray Charles could have been difficult for a TV reality series winner to pull off – not so, and the audience loved it. I personally would liked to have heard a little more about Ray Charles the man; his beginnings, his career highs and lows etc., but the musical journey filled many of the gaps.

The audience jumped to their feet when invited to, and stayed on them for a good ten minutes at the end of the show, joining in the wild rendition of Shake Your Tail Feather.

Genesis to Broadway Director/Writer: Frank Howson. Musical Director/Arranger: Warren Wills.

Choreographer: Stephen Agisilaou.

Chapel off Chapel (Vic). June 12 – 20.

THE world of cabaret is very competitive and for a show to have a return season speaks volumes. And this show was good!

A two-hander for Fem Belling and Tod Strike, with a jazz trio led by Warren Wills, everything about the production had class. Fem and Tod were both superb.

Their voices were capable of a huge range of styles, they danced well and their timing was exemplary. I was amazed that Tod was new to the production.

What particularly impressed me was the harmony. They rarely sang unison, these were all new arrangements and there wasn’t a note out of tune. “Somewhere” from West Side Story was a highlight as was their singing of “Bring Him Home” and “I Dreamed a Dream” in juxtaposition.

Warren was a revelation on the piano, particularly in an extended medley.

Lachlann Davidson also had an impressive solo innings on the clarinet.

As it was opening night there were technical hitches which the performers dealt with professionally. There were problems with the lights in the first half and in the second half when Tod’s battery pack fell out – again – Fem said, “Let me help you put it in”. She then turned to the audience and said, “You can tell I’ve said that before”. Very funny.

This is a show not to be missed. It is so good in so many ways. The narration shared between Fem, Tod and Warren flowed; the minor costume changes were slick and appropriate and the performance left the audience wanting more.

Graham Ford

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Stage Whispers 81

Hot Shoe Shuffle

Reviews: Musicals Hot Shoe Shuffle Book by Larry Buttrose & Kathryn Riding based on an idea

by David Atkins and Max Lambert. David Atkins Enterprises Production. Director: David Atkins. Choreography: David Atkins & Dein Perry. Musical Director: David Stratton. Lyric Theatre, QPAC, Brisbane. May 4-25, then Sydney and Melbourne.

THUNDEROUS applause, whoops, whistles, cheers and a standing ovation greeted the revival of David Atkins’ Hot Shoe Shuffle when it opened in Brisbane on the first leg of its new national tour.

If you love dynamic, muscular dancing then this is the show for you. A cast of new faces brought enormous energy and continued virtuosity to the art of tap dancing that can only be described as brilliant.

The thin story (it could be written on the back of a postage stamp) about seven tap-dancing brothers and their left-footed sister, was a simple excuse to hang some showy routines onto some big-band music.

Heading the Tap Brothers was ex Jersey Boy and Riverdance alumni Bobby Fox, whose spectacular dance displays frequently stopped the show. As April, the leftfooted sister, Jaz Flowers proved she could more than hold her own in the dancing department whilst also belting a song to the rafters. Holding the whole show together was David Atkins who not only brought his years of experience to various roles, but also some much needed charisma and style.

The 11-piece big-band under David Stratton was at the top of their game, whilst lighting and sound never missed a cue. Eamon D’Arcy’s set design, especially for The Act, was gaudy and glitzy with, appropriately, a giant mirror ball dominating the stage.

On its 21st anniversary, Hot Shoe Shuffle still has muscular legs and seems destined to emulate the success of the original.

Peter Pinne

82 Stage Whispers

flowerchildren

By Peter Fitzpatrick. Magnormos (Vic). Comedy Theatre, Melbourne. Director/Musical Arranger: Aaron Joyner. Music Director Sophie Thomas. Set/Costume Design: Christina Logan-Bell. May 23 – June 23. flowerchildren is a triumph with glorious singing, wonderful writing and eye-catching visuals. Peter Fitzpatrick’s musical about 1960’s musical sensation The Mamas and The Papas is an original delight. flowerchildren’s narrative follows the success and selfdestruction of The Mamas and The Papas between 1965– 68 when they released five albums and had eleven Top 40 hit singles including California Dreamin’, Monday Monday and Go Where You Wanna Go. The Mamas and The Papas brand centred around songs written by band member John Phillips, and on rich four part harmonies, and flowerchildren’s success depends on the ability of the central characters to reproduce the quartet’s sonorous strains. And they are superb. Laura Fitzpatrick, Matt Hetherington, Dan Humphris and Casey Donovan are completely at home in their roles, and collaborate with ease.

Donovan shines brightly as Mama Cass. Each takes their turn telling the narrative story, culminating in a ‘where are they now’ reveal at the close.

Having reviewed the world premiere of this production at Theatreworks in St Kilda in 2011, it was a complete delight to see how the show has blossomed. Apart from some initial confusion about which was Denny and which John (perhaps a costuming revision would assist), the development of set and costumes, and modifications to the script, including replacing a reprise of California Dreaming with Safe in my Garden, acknowledges the journey we have taken together.

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Let your hair down, pull out the crocheted vest, and be sure to wear some flowers in your hair to look the part.

Magnormos, and director Aaron Joyner in particular, are to be congratulated on producing such a well-balanced and impressive show. Bravo!

Lucy Graham Jesus Christ Superstar Music by Andrew Lloyd Webber. Lyrics by Tim Rice. Arena Spectacular. Sydney Entertainment Centre. June 7 - 9.

LIKE a shooting star this production has blazed across the arenas of Australia.

Re-invented in the UK to be set in Rome in 2011, the tumult is not revolution against the Roman Empire in the Holy Land, but the occupy movement protesting against capitalism.

Protestors in hoodies scale steep steps, adroitly dancing while waiving their placards, fighting with Police and setting fire to street furniture.

It gave the musical a contemporary feel, aided by the pulsing hard rock musical accompaniment.

Tim Rice penned the musical as the Gospel according to Judas.

Tim Minchin scaled the musical heights of this role with aplomb. His soaring tenor rock arias were faultless, as his veins almost popped out of his head.

The benchmark was set very high for others to reach.

One artist after another reached the same heights.

Ben Forster as Jesus, John Stevens as Pontius Pilate and Melanie C as Mary Magdalene all shone.

Then came the great comic cameo of King Herod played

by Andrew O’Keefe. As you might imagine, the influence of game shows dominated his song, and although he can’t sing like his famous uncle, he showed panache in performing to the stage camera.

This was a production which pleased seasoned Jesus Christ Superstar watchers and newcomers alike.

David Spicer

the England and America of another time. Though it touches on the history of the period, it is Noël and Gertie’s relationship and their work together that is the heart of this production.

It includes diverse extracts from Tonight at 8.30, including delicious snippets from Red Peppers and some subtly underperformed segments from Still Life, better known to most as Brief Encounters. Blithe Spirit is not forgotten, and Maunder’s portrayal of Elvira is flirty and touching.

It is nice to hear on stage again the quirky recognisability of Coward’s musical phrasing and clever lyrics in a beautiful production that recreates a period of musical and theatre history that should not be lost.

Carol Wimmer

Next to Normal Music by Tom Kitt, book and lyrics by Brian Yorkey. Oscar Theatre Company. Cremorne Theatre, QPAC. April 18 – May 4.

THE best shows are sometimes found just off the theatre glitter strips in London and New York. Next to Normal is a case in point. Oscar Theatre Company (OTC) shares an ethos and philosophy with these ‘off-centre’ companies, so they usually select shows that established their early reputations there.

Cremorne’s intimacy is ideal for this show about how one person’s mental illness can affect the whole family.

Astute director Emily Gilhome chose her actors carefully for vocal and acting quality, all but one of whom have notched up enviable reputations with several theatre companies.

Alice Barbery (Diana, a mother with a not-uncommon mental fixation) anchors the plot and plays the full range of emotions, except when Diana is emotionally neutered by suppressants and various other medical treatments. Chris Kellet shines as Diana’s devoted and empathetic husband, Dan. Siobhan Kranz steals our sympathies as the brilliant and talented (but almost overlooked) daughter, Natalie, who is ably supported by Tom Oliver as her persistent suitor, Henry.

Noël and Gertie James Gauci excels in his double role as Diana’s two

By Sheridan Morley, with words and music by Noël Coward. doctors, while newcomer to the stage, Matt Crowley CDP Production. Director: Nancye Hayes. Glen Street (Gabriel) creates the sort of boy any mother hopes her baby Theatre. May 21 to June 1, then touring. son would grow into.

DEVISED by Sheridan Morley, this nostalgic trip through This contemporary musical allegory is splendidly sung, the words and music of one of Britain’s most prolific played and acted. It will engage you, if you let it. maestros, Noël Coward, recreates all the glamour and Jay McKee elegance of the theatre in the early decades of last century It is easy to see the practised and particular hand of Thoroughly Modern Millie director Nancye Hayes in the detail of this production. On Book by Richard Morris and Dick Scanlan. Lyrics: Dick an evocative art deco set, complete with the obligatory Scanlan. Music: Jeanine Tesori. WAAPA. Director: Crispin grand piano, Hayes has directed her performers with Taylor. Music Director: David King. The Regal Theatre, minute attention to detail.

Subiaco (WA). June 15 - 22.

James Millar is a very elegant Noël. He is smooth, IN the last few years it has become a tradition for the without being slick, and he sings beautifully as well! As, of Western Australian Academy of Performing Arts to present course, does Lucy Maunder as an equally elegant Gertie. a major musical mid year at Subiaco's Regal Theatre. I As they move together from the clipped, eloquent believe that Thoroughly Modern Millie is the best so far. phrasing of Private Lives into a gentle rendition of Showcasing the talents of WAAPA students both on and Moonlight Becomes You, the audience is transported into Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 83

Thoroughly Modern Millie.

Photo: Jon Green

Online extras!

Practice your Charleston along with WAAPA by scanning the code or visiting http://youtu.be/JpvSbxdrvAc

off stage, in design and in the pit, the show augers well for the future of music theatre Australia wide.

Emily Hart shone in the title role. Confident and sassy, she has a beautiful voice, is lovely to watch and owned the role. As Jimmy Smith, the leading man, Clay Roberts, was charming and lovable, an exquisite dancer with another gorgeous voice.

Particularly impressive were the young actors playing the more mature roles. Bobbie-Jean Henning demonstrated a wonderful comic flair as villainous Mrs Meers, while Jessica van Wyk was a beautifully mature Muzzy Von Hossmere.

Libby Asciak was very different in her three roles - the illfated, awkward Ethel Peas, jaded spinster Miss Flannery and acid tongued Dorothy Parker.

Jack O'Riley made Trevor Graydon appropriately desirable, while innocent-young-thing Miss Dorothy Brown was brought sweetly to life by Laura Johnston. Bun Foo was well played by Sean Miley Moore and romantic Ching Ho was earnestly portrayed by David Ouch. Strong minor characters and ensemble kept the action moving quickly and musical execution was superb.

The set evoked 1920s New York, with industrial overtones and interesting use of genuine props. Wonderful costumes, designed by Sally Phipps were fun, with beautiful use of colour. The huge crew had obviously worked with beautiful synchronisation as lighting and technical was near faultless, with only questionable sound balance in the opening number (which was quickly rectified) and delayed surtitles suggesting that this was the first performance in a foreign venue.

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The capacity crowd was delighted with this excellent production that was well worth seeing.

Kimberley Shaw The World Goes ‘Round Music: John Kander. Lyrics: Fred Ebb. 3rd Year Students’ Workshop, Musical Theatre @ Queensland Conservatorium.

Director: Cienda McNamara. Musical Director: Luke Volker.

Choreographer: John Clarke. Burke Street Studios, Brisbane.

April 26-28.

KANDER and Ebb’s The World Goes ‘Round was a perfect vehicle to showcase the singing, dancing and acting skills of a refreshing group of new faces. The original 1991 Off-Broadway production had a cast of five. This one had 23. In coming up with an idea of how to use them all, director Cienda McNamara chose to set it around a ‘dance marathon’. The concept worked well for the big ensemble numbers with “Yes”, “All That Jazz” and “Money, Money”, generating excitement, but pulled-focus in some of the more introspective numbers like “Mr Cellophane”. Luke Hodgson mined “Sara Lee” for maximum laughs, and dueted with Jason Bentley for a tender “I Don’t Remember You”/’Sometimes a Day Goes By” medley. Stephanie Dean nicely captured the bitter-sweet feelings of lost love in “My Colouring Book”, while Vanessa Krummenacher was achingly beautiful on “A Quiet Thing”. Luke Volker on grand piano was brilliant, never playing a wrong note all night, and the encore of “New York, New York” in multiple languages was an obvious audience-pleaser.

Peter Pinne

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big – The Musical Book by John Weidman. Music by David Shire. Lyrics by Richard Maltby jr. MLOC. Directed by Trish Carr. Phoenix Theatre Elwood (Vic). June 14 – 22..

IF you think the title seems familiar, you probably saw Tom Hanks in the 1988 film, playing the 12-year-old Josh Baskin who makes a wish at a fairground booth and suddenly finds himself in an adult body, deciding he likes it.

The script has lovely things to say about childhood, acceptance and the things we wish for, and the songs are always melodic, with stand-out production numbers in “Cross The Line” and “Coffee, Black” … and a lovely duet in “Stars”.

Christian Cavallo is so perfect in the role he is inseparable from the character, and totally in touch with his inner child. It’s tailor-made for this talented performer and he has never sung better, nor been more goofily appealing.

Carly Hobbs is a suitably lovely and complementary Susan.

Despite some pitch problems (most notable in the quartet “The Real Thing”) director Trish Carr has assembled a terrific and appealing cast. Of special note are Roisin O’Neill, delightful as the tapping Mrs Watson, Mitchell Hurrey as Billy Kopecki, Josh’s best friend, Paul Boyd as the childlike George McMillan, owner of the toy company and the terrific Noel Ledgerwood, who brings professional strength to the role of Paul. Geoff Earle handles the mostly excellent band with aplomb. Keir Jasper’s choreography is perfect and the kids in particular perform well.

This is a delightful piece of community theatre which made me feel like Christmas was around the corner.

Coral Drouyn The Gondoliers Book by W S Gilbert. Music by Arthur Sullivan. Kyneton Theatre Company. Director Francis Kelly. Musical Director Tim Francis. Choreographer Melanie Burlak. Designer Donald White. April 19 – 27.

IF you wanted proof of the value to a community of a vibrant local theatre company, then look no further than the Kyneton Theatre Company – who staged a sparkling production of The Gondoliers in April.

As Gondoliers Guiseppe (Kyal Tripodi) and Marco (Jarrod Catt) marry Gianetta (Elizabeth Barrow) and Tessa (Kate Jackson), the Duke of Plaza-Toro (Don White), the Duchess (Elaine Murphy), their daughter Casilda (Rianne Graham) and an attendant Luiz (Matthew Francis) arrive – through the audience in a gondola! ‘Grand Inquisitor’ (Peter Kelly) informs us that one of the gondoliers is actually the King of Barataria. The gondoliers sail to Barataria to rule their kingdom before the identity of the real King is revealed.

In his first production as musical director, 21-year-old Mr Francis led the company and his excellent orchestra with an extraordinary level of skill that belies his age.

KTC is a resourceful company who make the best of what they have to work with. Mr White’s gorgeous set and costumes suited the production’s demands – with a gondola gliding across the stage bringing gasps of delight from the audience.

big-The Musical

Ms Kelly created beautifully balanced stage pictures, and it was fantastic to see such a large, enthusiastic cast having the time of their lives.

So did we.

Geoffrey Williams Next to Normal Book and lyrics: Brian Yorkey. Music: Tom Kitt. Newcastle Theatre Company, Lambton (NSW). May 15 – 25.

IT was easy to see while watching this moving and heart -warming musical why Next to Normal, with its tale of a family trying to cope with a woman’s depressive illness, won a Pulitzer Prize.

The story is told through rock-based songs that reveal the complex emotions of the characters with beauty and dignity.

The opening scenes show the family of suburban mother Diana Goodman realising from her behaviour that the bipolar disorder she has long suffered has worsened.

Diana is treated by two doctors, one focusing on medications, the other on electro-convulsive therapy, while husband Dan and daughter Natalie reflect on the impact her illness has on their lives.

Diana’s songs have an especially broad emotional range and Wendy Ratcliffe delivered them beautifully, including a

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Stage Whispers 85

Fiddler On The Roof

wistful country-flavoured number, I Miss the Mountains, as she watches Natalie and her new boyfriend, Henry, together, and her soulful recognition in The Break of the real nature of her illness.

Michael King movingly brought out Dan’s desperation in I’ve Been, there was a searching sweetness to a duet, Perfect for You, between Matt Graham’s Henry and Alana Silcock’s Natalie, as Henry tries to express his feelings for Natalie, and Callan Purcell’s assertive I’m Alive, as Diana’s out-of-this-world son, Gabe, showed him to be very much of another time and place. David Fenwick, who played both the tale’s doctors, had lively interaction with Ratcliffe in Make Up Your Mind as Dr Madden used hypnosis to try to discover the source of Diana’s trauma, while she saw him, in the inter-woven Catch Me, I’m Falling, as a rock star.

Though the show has just six actors, it is written to be staged with a multi-level set that represents many locations, and generally has the band on stage.

In this production, presented in an intimate theatre, director Carl Young used a simple set, with white furnishings, that established the many locations. A table, for example, served as a kitchen piece, a concert-hall piano and a hospital bed. And musical director David Fitzgerald’s rock band was backstage.

The simplification of the staging reinforced the fact that Next to Normal is about very ordinary people who could be anyone’s neighbours.

Ken Longworth 86 Stage Whispers

Fiddler On The Roof Book by Jospeh Stein. Music by Jerry Bock. Lyrics by Sheldon Harnick. Directed by Paul Watson. Mountain Districts Musical Society (Vic). Karralyka Theatre, Ringwood. June 14 - 23.

WONDER of Wonder, Miracle of Miracles is a line from one of the songs in the iconic musical Fiddler On The Roof.

It could also be the logline for this stunning production by MDSM. It takes a brave and wildly talented director to strip back a show like this, from multiple sets to a stage dressed with dying birch trees and a sky – with just a few abstract rooflines when needed. Paul Watson is such a director, and his vision for the show is brilliant.

Adrian Carr is superb as the simple, God-loving, henpecked father of five daughters, struggling to keep a grasp on the traditions which are slowly slipping away from him. He digs deep and gives us a moving and truthful portrait of a man doing the best he can. Victoria Zainal is a worthy Golde. She is warm and “zoftig” and rules Tevye gently.

There’s wonderful support from a cast including Adrienne George (Tzeitel) Matt Skinner (Motel), Bethany Louise (Hodel) Matt Jakowenko (Fyedka) and two old stalwarts in Peter Noble (Lazar Wolf) and Will Deumer (Morcha), and the enchanting presence of Nadia Gianinotti as The Fiddler. Ryan Jacobs does a great job with the orchestra and the incomparable Jason Bovaird, with Michael Brasser, gives a lighting plot to die for. Kaela Brushett reproduces Jerome Robbins’ original choreography beautifully. I defy anyone not to fall in love with this production.

Coral Drouyn I Love You, You’re Perfect, Now Change

By Joe DiPietro, music by Jimmy Roberts. Director: Stephen Pike. The Q, Queanbeyan Performing Arts Centre. April 24 – May 5.

THIS is a slick, smart, sexy, very New York flavoured musical, played as a series of set piece vignettes showing couples at various stages of relationships from dating through old age. The first act is amusing and fast-paced, tending to draw fun from stereotyping along the ‘Men are from Mars, Women are from Venus’ vein. The lyrics are snappy and well-honed and the material covered unashamedly lightweight.

The second half of the play moves into deeper territory, covering established relationships, marriage, divorce, the art of finding time for sex while parenting young children, and negotiating new love after widowhood.

Stephen Pike has pulled together a cast with some of Canberra’s best musical comedy talent. Dave Evans, a red haired Ryan Gosling look-alike, has marvelous rapport with the delightful Jenna Roberts, who is especially moving as a middle-aged divorcee making her first dating video.

Christine Forbes shines as a wry serial bridesmaid commenting on her disastrous gowns and the equally disastrous marriages of her friends. The whole cast is musically strong, backed very ably by a boutique ensemble

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of piano, violin and bass. If you are after a lighthearted romp with great music, you'll love this show.

Cathy Bannister Mother, Wife, and the Complicated Life Book and Lyrics - Amity Dry. Music - Amity Dry & Mark Simeon Ferguson.

Popjam Productions. Everest Theatre, Seymour Centre (NSW). May 23 - June 1 AMITY Dry has tapped into some home truths about the lives of wives and mothers in this musical. We follow 4 friends, each at a different stage of the marriage and motherhood experience, over the next year of their lives as they share their fears, expectations, joys and disappointments.

And in the tradition of good musicals the songs progress the story or deepen our understanding of the characters. The vocal work was outstanding; the 4 voices were impressive individually and outstanding when combined.

The cast were word perfect, confident and scenes flowed well. There were moments of high comedy and deep pathos and the 4 actors, Rosanne Hoskings, Nikki Aitken, Rachel McCall and Amity Dry, worked beautifully together allowing each to shine in their own way.

The set design is clever and beautifully built and lighting generally supported the action onstage. Voices and band were fully amplified which worked well as there was virtually no spoken dialogue, and the balance between vocals and band generally was excellent.

Next stop is New York Music Theatre Festival where it will be performed for US audiences by Broadway performers.

Shirley Jensen

In “Nine People’s Favourite Thing”…a classic show number…these five people and their director convince me that the best musicals we can see these days come from Community Theatre productions. I can’t wait for the next one.

Coral Drouyn

The Phantom of the Opera

By Andrew Lloyd Webber, Charles Hart and Richard Stilgoe.

Savoyards. Director: Jason Ward Kennedy. Musical Director: Matthew Nutley. Choreographer: Natalie Lennox. Inona Performing Arts Centre, Wynnum, Qld. May 25 – June 15.

AFTER thrilling audiences around the world for the last 27 years and in turn becoming the longest running musical in the West End and on Broadway, Andrew Lloyd Webber’s Phantom of the Opera has been released for production to amateur theatres. In that time the musical has become legendary for its crashing chandelier, opulent costumes and sets, and its highly romantic Puccini-like score.

Savoyards were first-cab-off-the-rank in the Sunshine State with their Queensland Amateur Premiere of The Phantom of the Opera being only the second in the world.

Director Jason Ward Kennedy in casting his principals has wisely gone for the option of casting performers with opera experience. Lionel Theunissen was strong and commanding in the title role bringing pathos and dignity to the Phantom’s deformed character, particularly in the final scenes. Partnering him as Christine, Monique Latemore projected sweetness and purity and handled her vocals professionally. Raoul has always been a wimpy character, and still remained a wimpy character in Pelle Zetterstrom’s hands. It did not help that his light-tenor was often drowned out by the big-voiced Latemore, especially in the show’s big hit duet “All I Ask Of You.” Best performance of the night came from Dominique [title of show] Fegan as the diva Carlotta. With a voice that shattered glass, Music and lyrics by Jeff Bowen. Book by Hunter Bell. she squeezed every ounce of humour out of the part with Director: Ang Cuy. Musical Direction: Simon D’Aquino. Fab her thoroughly camp and outrageous performance. It was a Nobs Bayswater, June 7-15 & Williamstown Mechanics delight. Also good were Paul Fegan and Warryn James as Institute, June 20 – 23. the opera managers, Fermin and Andre. “Prima Donna” BASICALLY this is a show written by two guys about two with all three was a highlight. guys writing a show. In lesser hands it might have been Peter Pinne easily dismissed, but it is, as always, superbly handled by Fab Nobs. Director Ang Cuy is blessed with a superb cast (is The Drowsy Chaperone there any such thing as a bad cast at Fab Nobs?)

Music and Lyrics by Lisa Lambert and Greg Morrison, Book I am an unashamed Nick Kong fan. As Hunter he pulls

by Bob Martin and Don McKellar. Spotlight Theatrical out all the stops vocally along with some outrageous Company, Gold Coast. Director: Clem Halpin. May 17 - June campery. Always commanding, there’s a danger that he 7. could swamp performers of lesser charisma. Fortunately DESPITE its title, The Drowsy Chaperone is a fast paced, Karl McNamara’s Jeff is the more subtle performance but vibrant piece of theatre, full of laughs and toe-tapping he knows perfectly when to back off, when to support, tunes presented in a vaudevillian fashion. when to equal. Emily McKenzie, as Heidi, is clearly Director Clem Halpin had a cast to die for – from the accomplished and her second act number “A Way Back To Man in the Chair, sharing his favourite Broadway Musical of Then” is charming and poignant. Britt Lewis still needs to yesteryear to the variety of characters from the show. do some work on diction, but she really delivers in “Die, Hardly off stage, Peter Maden made the Man in the Vampire, Die” and I’m looking forward to seeing her again. Chair his own, steering the story from the comfort of his Simon D’Aquino, the musical director, is on-stage lounge chair and stealing the show. The many and varied throughout as the character Larry. He’s a delight, totally show folk appearing out of the fridge, fold-down bed and convincing, and it would be a far lesser show without him. just about every other nook and cranny, flooded the stage Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 87

with colour, comedy and chaos.

Musical Director David McNiven also played the role of Underling while Choreographer Shani McKay ensured that the cast maintained the pace throughout the dance numbers.

The costumes were in the capable hands of Shelly Halpin and Kate Tardy – Kate won the Gold Coast Area Theatre Award for best costumes for 2012.

But the highlight of the show was the “on stage” biplane used in the finale.

Roger McKenzie 13: The Musical Music and lyrics: Jason Robert Brown. Book: Dan Elish and Robert Horn. The National Theatre Company. Singleton Civic Centre, Apr 19 – 20. Civic Playhouse, Newcastle, May 22 – 25.

EVAN Goldman, the central character in this lively rock musical with a teenage cast, certainly isn’t having an easy time as he enters adolescence.

His just-divorced mother takes him from the bright lights of New York to a small town in Indiana. For Evan, that sounds like the end of the world.

He is a Jewish boy on the verge of his 13th birthday when he’ll have his Bar Mitzvah, a celebration that a rabbi explains in the show’s first scene marks a boy’s entry into adulthood. So Evan goes to his new home determined to make friends with the coolest people in school and have them come to his Bar Mitzvah party. But life, as he discovers, isn’t that straightforward.

This was the first production from the new Hunter Valley -based National Theatre Company and it brought together young performers from throughout the Hunter and the Central Coast, with the 50 cast members doing a fine job in making the characters come vividly to life.

Director Sarah-Jane Daniel brought to the staging the experience of having worked as assistant director to composer Brown when he came to the summer drama camp she was attending near New York in 2009 to rework the musical after its Broadway season.

Cameron Allan was an engaging Evan as he lurched and stumbled in his dealings with practical school neighbour Patrice (Kacie Bourke and Chloe McLean alternating in the role), who is seen by most classmates as a nerd. Evan also got repeatedly sensible advice from Archie, a boy with a degenerative illness (Nicholas Thoroughgood), with Thoroughgood making his efforts to be as normal as those around him charming.

Ken Longworth

In a charm piece like They’re Playing Our Song, you can sacrifice the sets, but never the performances.

Almost more an intimate Neil Simon comedy with songs as needed, than a musical in the usual sense, the Simon script is delivered with terrific timing by real-life husband and wife team Scott Irwin and Danielle Barnes, as composer Vernon Gersch and lyricist Sonia Walsk, two engaging characters each with their share of quirks and baggage, who meet to collaborate but quickly fall for each other.

A return visit to the Original Australian Cast recording leaves no doubt that Irwin and Barnes do far greater justice to the score as a whole vocally.

If you’re remembering that 1980 production, the two altar-ego ‘Greek Chorus’ backing trios are also gone, sometimes replaced by a backing track, while in the place of the period pop sound there’s piano accompaniment, sometimes supplemented by recorded tracks. I won’t deny that the lush orchestral sound is the significant loss from the original.

Minus the bells and whistles of a major commercial city production, this They’re Playing Our Song still hits ample sweet notes, and is a joyous gift for regional audiences.

Neil Litchfield

The Wedding Singer

By Matthew Sklar, Chad Beguelin and Tim Herlihy. The Hills Musical Society Inc. June 13 – 16.

POPULAR Hollywood rom-com The Wedding Singer transitions happily into a cheerful musical comedy, mostly following the film, with odd nips and tucks to plot and characters.

The Hills Musical Society’s new home presents the exciting challenge of creating theatre in a showroom style auditorium primarily designed for rock bands.

David Russell makes smart directorial choices, placing Jeff Fisher’s small band central to the action. The retractable stage extension, typical to this sort of room, provides a real acting and dancing sweet spot.

The emphasis is thrown back onto the vital (mostly) young cast, through their storytelling, singing, characterizations, dancing and costumes.

Alex Giles’ wittily depressive wedding singer Robbie Hart connects engagingly with Laura Sheldon’s sweet, vulnerable Julia Sullivan. Jackie Bramwell makes feisty fun of Julia’s friend Holly, sharing the honours for best rock vocals of the night with Cara Laing’s sexy Linda (the fiancé who jilts Robbie). Andrew Drummond absolutely mines the camp fun of band-member George, while Dave Bleiber’s Sammy is an appropriately un-selfconscious yobbo. Veteran Betty Tougher has some deliciously raunchy fun as Grandma They’re Playing Our Song Rosie. Jon Emmett’s Glen Guglia is a stereotypical corporate

By Neil Simon, Marvin Hamlisch and Carole Bayer-Sager. HIT sleaze.

Productions. Director / choreographer: Terence O’Connell.

Lively, enthusiastic ensemble members support well as a Musical Director: Robyn Womersley. Theatre Royal, Sydney, group, in a variety of featured roles, and dancing their May 3 & 4, and touring. hearts out.

TOURING productions, pared back to the basics, in this Colourful costumes generally evoke the 80s attractively. case, two talented music theatre performers, supported on The production values are at their best when the literal is keyboards by their accomplished musical director, have avoided. their own joys.

88 Stage Whispers

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The Wedding Singer is a new musical for me, but I’ll look forward to seeing this little charm show again.

Neil Litchfield Joseph and the Amazing Technicolour Dreamcoat

By Andrew Lloyd Webber and Tim Rice. Chatswood Musical Society. Director: Matt Cater. Musical Director: Hayden Barltrop. Choreographer: Laura-Beth Wood. Zenith Theatre, Chatswood (NSW). May 10 – 18.

FROM the moment Narrator Kathy Xenos enters with a small group of kids there’s an intimate sense of storytelling which feels so right for this gentle, naïve musical, projected with clarity and good vocals.

I’ve never seen the tiny Zenith stage better or more practically dressed than Neil Shotter’s striking single set – four monumental columns with hieroglyphic carvings, framing a central entry flanked by cut-out palms, against a well-lit cyc.

Nathan Stark, a genuine rising talent – great looks, voice, charisma and stagecraft - is perfectly matched to the title role.

Joseph’s brothers work joyously as a group, while those who step out for individual moments all nail them. Tom Stevenson (splendidly supported by Lauren Paul), William Sunderland and Edwin Estanislao all excelled in their genre pastiche songs.

Briana Scutts’ burlesque background ensured a seductive Mrs Potiphar (she’s reigning Miss Burlesque Australia), well supported by the female ensemble.

The Elvis impersonating Pharoah always gets the short second act off to a flyer, and Brian M Logan is no exception, in a witty, well-timed cameo, surrounded by Laura-Beth Wood’s clever ensemble choreography at its best.

A small, naive musical at heart, the intimacy of the venue was ideal, with the design, a perfect solution; a wellbalanced cast; some great groupings; snappy choreography; strong vocals; a good sound mix and lively pace. And did I really neglect to mention Hayden Barltrop’s orchestra? They were impressive throughout.

Matt Cater has developed rapidly as a director, staging a production that far more experienced hands would be proud of.

Neil Litchfield Joseph And The Amazing Technicolor Dreamcoat.

Photo: Chris Lundie

PERFORMING ARTS MAGAZINE JULY/AUGUST 2013. VOLUME 22, NUMBER 4 ABN 71 129 358 710 ISSN 1321 5965

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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, Cathy Bannister, Sara Bannister, Stephen Carnell, Ken Cotterill, Rose Cooper, Coral Drouyn, Whitney Fitzsimmons, Graham Ford, Lucy Graham, Frank Hatherley, John P. Harvey, Shirley Jensen, Peter Kemp, Neil Litchfield, Ken Longworth, Rachel McGrath-Kerr, Jay McKee, Roger McKenzie, Alex Paige, Kate Peters, Peter Pinne, Martin Portus, Marcus Pugh, Ruth Richter, Suzanne Sandow, Kimberley Shaw, David Spicer, Tom Sweeney, Aaron Ware, Ian Wesley, Geoffrey Williams and Carol Wimmer.

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Stage Whispers 89

Director’s Diary

A Midsummer Night’s Dream: The Rock Musical Director Ian Wesley took up the challenge of staging a new musical. It was a gamble but it paid off.

A Little Background NUCMS (Normanhurst Uniting Church Musical Society) was born in 1975. Like many musical theatre groups, it had humble beginnings and humble aims - to entertain the local community, and raise money for local charities and the local church. After performing in many different venues,

90 Stage Whispers July - August 2013

as The Sound of Music to modern shows like Into the Woods and Urinetown. A show has to fit into our space, we have to be able to cast it, and it has to appeal to an audience.

Then there are the budget considerations and technical requirements. Last but not least, we Why this show might need to consider whether the Over the years NUCMS has show is suitable for performing in a performed a wide range of shows – church (our recent production of Blood everything from Gilbert & Sullivan Brothers required some delicate operas through Broadway classics such negotiation). we moved into our permanent home – a hall in Sydney’s north-west - in 1997.

We are fortunate to be able to rehearse and perform in the same venue. It is a small, low tech and heavily used space but the challenges are part of the joy of community theatre.

Music and Lyrics by George Griggs Directors – Ian Wesley and Mel Hogan Musical Director – Isaac Reefman Choreographer – Mel Hogan Set Design – Cath Hale Costume Design – Diana Moehead

Online extras!

Check out the Stage Whispers review by scanning the QR code or visiting http://bit.ly/168MZpK I was looking for a musical version of Dream, and considered a number of versions including one by Charles Hart and Howard Goodall. I found this version and after listening to the music and talking to the composer, I submitted a proposal to NUCMS. I felt that the show had potential and was something unusual that would be a change from the usual repertoire of music theatre. I also hoped we would entice new performers and a new audience.

an idea that I wanted to recreate the show logo on stage (Puck in silhouette against a giant moon). I also wanted the moon to rise at the appropriate point in the music. A number of versions of the mechanism failed, but eventually the construction team worked their magic and solved the problem with a piece of cardboard and several lengths of rope.

The Show & Rehearsals The show itself is a bit of a Curate’s The Concept and Design Egg. Originally conceived as a sungThe original script sets the show in through musical, it was eventually first New York, specifically the garden of performed with dialogue replacing the Mayor’s Mansion and Central Park. some of the musical numbers. Every Very early on the production team subsequent production has resulted in decided that we wanted to give the more changes, and we had permission from the writer to make further show a Sydney setting. We thought that Luna Park offered lots of alterations. In fact George Griggs opportunities for the central setting of positively encouraged us to make the show, and we picked Kirribilli whatever changes we wanted.

House as the nearest Sydney equivalent Rather unusually, there is no formal for the Mayor’s House. Cath Hale musical scoring. The music supplied is turned my sketchy ideas into a stage just a lead sheet (vocal line with guitar design featuring a carousel, a chords), so Music Director Isaac tintamareski and lots of flashing lights. Reefman, the cast and the band had It is interesting how the seemingly plenty of opportunity to put their own simplest of ideas can take the longest interpretation on the music. to put into practice, particularly when Choreographer and co-director Mel the technical facilities are basic. I had Hogan worked her magic on the

dances, coping admirably with talent ranging from experienced dancers through to those of the “two left feet” school of dance.

We had the usual problems of sickness and unavoidable absence, which meant that we did not have a full cast for the Dress Rehearsals, but the commitment of the cast meant that we overcame these problems.

Performances The audiences were smaller than we hoped, but still big enough to cover the costs of the show. Our audiences enjoyed the performances, and half of the cast were new to us.

In Summary Taking on a new show is always exciting. When the show is still in a creative flux, it is not something for the faint hearted. This production has been a wonderfully creative experience. It is not every team that gets to work with the creator of a musical, and whilst this show has its structural problems, it does have potential, and is great fun to perform. www.stagewhispers.com.au Stage Whispers 91

Musical Spice

Front Row Seats

The Sydney Theatre Company was kind enough to give me dead centre row 3 tickets for the opening night of her appearance in The Maids.

It meant we were right at eye level with the performers.

That morning I woke up at 3.30 am and could not get back to sleep.

By the time of the performance I had done a full shift at work and had to walk five kilometres to the theatre as Sydney was in gridlock.

Then came the news that there was no interval.

Once the thrill of the spectacle of this production wore off, there were great swathes of dialogue to sit through.

STC’s The Maids I must confess that our Cate and Slava’s Snowshow There’s nothing quite like her co-star Isabelle Huppert sitting in or near the front row. appeared to be looking straight at Being close enough to me when I drifted out of an ever so eyeball an actor. To see him or brief catnap. her sweat is a wonderful Goodness, I thought, here they are experience but there are pitfalls. flinging themselves across the On my one and only trip to stage in a tour de force Broadway I won a lottery to sit in performance and I can’t even stay row one for a production of awake.

Wicked.

My embarrassment was intense. I The prize included an can’t recall how many, ever so unavoidable view up the dress of brief catnaps I had, but to one of the wicked witches that compensate every time my eyes would make the Wizard of Oz met one of the actresses I made blush. sure I looked very impressed.

However seeing the masterful Then I felt a vibration in my puppetry of War Horse in London pocket. My mobile phone was from row two was one of the going off. Up the front there would most extraordinary experiences I’ve had At least Dame Edna won’t make be no-where to hide. It would be fun of you for being a plummeting in a theatre. impossible to retrieve it from my pauper high up in the dress circle. pocket, type in the password and turn In Melbourne for A Funny Thing Happened on the Way to the Forum For those going to see Slava’s it off without being spotted.

Phew it is on silent already. my son knocked knees with Geoffrey Snowshow you could be walked on by one of the clowns or piddled upon.

But the caller keeps ringing me back Rush while he was dry humping a woman in front of us.

Goodness knows what those horses – maybe he’s doing it to stop me going will flick up with their hooves during a into another catnap.

American rapper Danny Brown recently had a female admirer reach up performance of Cavalia.

Enough of this front row stress. The and pull down his pants during a As well being able to eyeball the next night I took my daughter to Jesus concert. performer, they can eyeball you.

Christ Superstar. Right in the back row The groupie commenced the type Todd McKenney told me of his of the Sydney Entertainment Centre of sex act sometimes reserved for the annoyance that someone in the front was much more relaxed. row fell asleep during the entire second I grant you looking at matchbox dressing room. He withdrew his appendage and is said not to have act of the World Premiere of The Boy figures projected onto a video is not missed a note.

From Oz. quite as dramatic...but being up in the Speaking of bodily fluids, sitting in clouds meant we could spread out and I met the perpetrator and he the first few rows at a performance by relayed his embarrassment, but move around to a better position. And Sir Les Patterson puts you at risk of indicated he was ‘ill’ at the time. any catnap would be blissfully being sprayed with spittle. Best to Recently I had my own near front anonymous. bring a raincoat or an umbrella along row incident in front of none other when he is fine form. than Cate Blanchett.

David Spicer 92 Stage Whispers July - August 2013

ORDER YOUR MUSICAL AND DRAMA CATALOGUE 2013

MANY PERUSALS ARE FREE

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

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