Stage Whispers January/February 2017 by Stage Whispers Magazine

In this issue

A Religious Experience For Theatre Lovers ................................................. 6 Broadway hit The Book Of Mormon opens in Melbourne Independents Day .................................................................................. 10 What makes our leading Independent Theatre companies tick?

Tim Finn’s Musical Adventure................................................................. 16 New Aussie musical Ladies In Black begins its national tour Thirty Years Of Giving ............................................................................ 19 The Seaborn, Broughton & Walford Foundation Australia’s Runaway Circus ..................................................................... 20 Yaron Lifschitz on the international success of Circa Australia Day ......................................................................................... 28 A script excerpt from Jonathan Biggins’ hit comedy Celebrating Youth Theatre ..................................................................... 32 Theatre’s next generation take a moment in the limelight

Theatres In The Middle Of Nowhere ....................................................... 33 Community Theatre in Alice Springs, Kalgoorlie and King Island Awards And Accolades .......................................................................... 36 Winners from the CONDAs, Gold Coast Area Theatre and Bruce Awards

Community Theatre Seasons 2017 ......................................................... 48 Productions across Australia and New Zealand this year

Regular Features Stage Briefs

Stage On Disc

Stage To Page

London Calling

Broadway Buzz

Schools On Stage

On Stage - What’s On

Auditions

Reviews

Musical Spice

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Editorial

Nancye Hayes peruses our 25th anniversary edition on the balcony at the Hayes Theatre Co.

Dear theatre-goers and theatre-doers, Our last edition marked Stage Whispers’ anniversary, a quarter of a century after it began life in newspaper format as a voice for amateur theatre in suburban Melbourne. Now we celebrate those roots with our annual Community Theatre Seasons feature, covering all of Australia and New Zealand. It’s a feature that’s very close to my heart. Back in 1971, as a teenager with two left feet, I joined the chorus of my local light opera company for a production of The Gondoliers, a lifechanging moment, tapping into the passion which has enriched my subsequent 45 years with acting, singing, directing, and teaching Drama, not to mention watching and writing about theatre. In some companies there might still be a place for my two left feet, though these days even amateur musical theatre ensembles boast triple threat performers, as companies stage the latest mega musical. Not having advanced far beyond a box step, luckily my niche has been character roles. Fortuitously in 2016 my two roles camouflaged my choreographic short-comings - in Annie I was confined to a wheelchair, while in The Secret Garden I was pushing a wheelbarrow. I’m hoping for lots more roles with handy props to camouflage my not-so-fancy footwork.

CONNECT

I look forward to joining you on stage, and in the audience, for Community Theatre productions in 2017. Yours in Theatre,

Neil Litchfield Editor

Cover image: Ryan Bondy plays Elder Price in the Australian production of The Book of Mormon, at the Princess Theatre Melbourne from January. Read our feature story on page 6. www.stagewhispers.com.au Stage Whispers 3

Stage Briefs Broadway and West End music theatre star Sierra Boggess will make her debut Australian tour, performing at the State Theatre, Sydney on June 3, QPAC, Brisbane on June 8, and Arts Centre Melbourneâ&#x20AC;&#x2122;s Hamer Hall on June 10. Read more at http://bit.ly/2h2lpsy

Disney Theatrical Productions and Arts Alliance Distribution have announced that the Tony Award-winning musical Newsies will be released in cinemas across Australia and New Zealand for a series of special event screenings on February 19. 4 Stage Whispers January - February 2017

The Kit Kat Club is returning in all its decadence for a new Australian revival of Cabaret at Hayes Theatre Co. from 9 January starring Paul Capsis as The Emcee. Cabaret will then play the Athenaeum Theatre, Melbourne from 27 April. Photo: John McRae. http://bit.ly/2h2cCa8

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A Religious Experience For Theatre Lovers As The Book of Mormon opens its highly anticipated Australian season in January, Coral Drouyn examines the remarkable journey of its creators from South Park to Melbourne via Broadway. You know you are looking at something special when a show has to extend its initial season months before it even opens. That’s precisely what happened with The Book of Mormon. At a time when we seem swamped with major theatrical productions, some of which might wish for better ticket sales, BOM (as it is affectionately known) is defying the naysayers who could not see that there would be a market for the show in Australia, despite its nine Tony Awards, best selling album, and slew of other awards. Not a bad track record for two boys (Trey Parker and Matt Stone) who met at college in Colorado, where they were raised, and connected through a mutual love of Monty Python. Trey recalls that it was the tacky production values of the Python shows that made them think, “Hey, we could do that!” The result of that friendship was South Park, which completely changed adult thinking on animation. It was more like a school craft lesson than a professional animation project, but then both creators have conceded they have always been just kids with big dreams. Their tools were paper, scissors and glue, and a video camera -hardly hi-tech. “We used coloured paper and cut out what we wanted for the figures - mostly circles or ovals,” Trey has explained in the past. “Then we shot it laid flat on a table with the camera overhead.” “It was cheesy, but it didn’t matter, it was the jokes and what we had to say that counted,” Matt Stone added. Because Trey had been interested in music and even musical theatre since his early teens, it was inevitable that a large part of the show would be music. After all, comic songs were Parker’s greatest love, and his secret ambition was to write a musical one day. The pilot for South Park took six months to make, and all those pieces of paper still exist in the show’s archive, including various sizes of the yellow school bus to depict it driving away. By the time the two friends reached season 16, the pair had the schedule down to six days per episode from start to finish. “It helps when you’re the writers, directors and the actors,” they explained. (Continued on page 8)

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Cover Story

Online extras! Catch the opening number of the show as performed at the 2012 Tony Awards https://youtu.be/OKkLV1zE8M0

L-R: Authors Robert Lopez, Matt Stone & Trey Parker with Director Casey Nicholaw.

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Cover Story L-R: Nikki M. James, Andrew Rannells, Josh Gad and ensemble in the Broadway production of The Book Of Mormon. Photo: Joan Marcus.

From the start, the show was highly contentious, in that it showed no quarter to anyone in its satirising and lampooning of American adult institutions from the point of view of kids. It was fresh, managing to be both puerile and profound. But it was never intended to be vicious. In fact, they have been remarkably even-handed, satirising both the Left and the Right with equal candour. For Parker and Stone, nothing is sacred and no-one is safe. One of the most surprising things about their work is that the satire, while biting, is surprisingly goodnatured. Trey Parker has said that they never went into the writers’ room thinking “what can we do to piss people off?” The two never sought to change people’s minds, but rather to just throw what they thought was funny out there to the audience, and let them react. Matt Stone once said, “Everyone’s beliefs are on the chopping block,” and so the show poked fun at Catholics, Jews, Muslims and …yes…Mormons. Somehow things seem less offensive if you set them to music, and when their song 8 Stage Whispers January - February 2017

Online extras! Trey, Matt and Robert discuss the genesis of the show. Scan the QR code or visit https://youtu.be/EHSLoZO8hRw

‘Blame Canada’, from the South Park movie, was nominated for an Academy Award, the idea of a stage show which lampooned organised religion - which both believe is ridiculous - started to obsess them. It wasn’t until they saw Avenue Q, and met writer/composer Robert Lopez after the show, that they knew for certain that Musical Theatre was where they wanted to be, and Lopez was someone they could work with. Lopez had hit the jackpot with his very first show, Avenue Q, written with Jeff Marx. Though a few years younger than Parker and Stone, Lopez was a South Park fan and credited the show with providing inspiration for Avenue Q, which had already won a Best Score Tony Award. It was inevitable that the three would want to work together. It wasn’t a desire to take Broadway by storm, win lots of awards and make huge amounts of money that drove the partnership between the three. It was simply the fun of creating a show - of seeing how far they could push the boundaries - the anticipation of wondering what would happen next.

In one interview Trey explained that the whole process began as an album. “We knew that if we said what we wanted in the actual songs, then that would dictate where the show was going.” The show wasn’t all consuming for them; all of them had other projects they were working on and got together when they could. It was only when the album really took off that they realised that they actually had to seriously work on the project - and it would prove to be seriously funny work. It’s the only time we have found that three creatives have collaborated on music, lyrics, and book together. Parker and Stone found an affinity with Lopez in the area of working with non-human characters - cartoons and puppets. But all of them knew that to fill a stage they needed to make the human element real, so that an audience would give their undivided attention to three-dimensional people. There’s a naiveté to the main characters, the young Elders, that makes the audience care for them. For anyone who doesn’t know much about the Church of Jesus Christ

of Latter Day Saints The Mormons they might imagine that the idea of good-looking young men going out in pairs to spread the Gospel of Prophet John Smith, who based his Book of Mormon on his belief that the original native Americans were actually white Angels come to earth to settle the chosen country (America), was pure fiction or fantasy, it sounds so bizarre. And yet that’s exactly what the Mormons believe. Trey calls it “super cheesy”, but then adds that only an American will knock on the door of total strangers in another country and, with a polite smile, tell them how to live their lives. It’s a perfect set-up for comedy; especially if you take the innocent young men to the worst place on earth - in the show’s case Uganda - and confront locals who are more concerned with AIDS, famine, and a despotic warlord, and really couldn’t care less about your story. Remarkably, what seems like a very American story is set to open in Sweden in a few months, followed by Denmark and Norway. Beneath the religious narrative lies a classic “fish out of water” story which people the world over recognise and identify with.

why the Mormons themselves didn’t think of it first. After all, the church has its traditional basis in music as diverse as The Mormon Tabernacle Choir and The Osmonds. And though the Broadway community held its breath for a moment wondering what the reaction would be, they needn’t have worried. The Church of Latter Day Saints saw the humour in the show and took out full page ads in the Playbill programme - “You’ve seen the show … now read the book!” And sales of the actual book went crazy, though it’s not known if there was any wholesale conversion to Mormonism. Now it’s Australia’s turn, with two of the Broadway stars - in Ryan Bondy and A.J Holmes - reprising their roles of Elder Price and Elder Cunningham respectively. There’s also a great cast of our finest theatre performers, headed by Zahra Newman, Bert LaBonté and Rowan Witt. And you don’t have to know, or believe, anything about any religion to have fun and fall in love with the musical. Despite the satirical bite, the show promises to make you feel good long after you leave the theatre, get home, and finally That’s stop laughing. As Parker says, “No-one the basis for the wants to pay $100 a ticket for show which has been negativity.” dubbed “The Funniest Musical After all, this is “God’s Favourite of All Time” and its perfect Musical”, and, whatever you believe, material. In fact Parker wonders who’s going to argue with that? L-R: Rema Webb, Andrew Rannells and Josh Gad in the Broadway production of The Book Of Mormon. Photo: Joan Marcus.

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With the face of Australian Theatre constantly changing, Coral Drouyn spoke to some of the Independent theatre producers who are putting their own savings on the line to stage award winning plays and musicals, often beating the Main Stage companies at their own game. Ten years ago many of us probably wouldn’t have paid much attention to an independent production. There was a perception that it would be cheap, underrehearsed, and feature second-rate actors/ performers. So what has changed? Have our perceptions mellowed, or are the Independent companies more “Professional” and better than before? Well, it’s a combination of both.

Over the last decade there’s been an enormous swing to smaller venues and boutique shows, especially in Musical Theatre, but also in Drama. Companies like Melbourne’s Mockingbird Theatre gave us stunning plays with exceptional performances and their paradigm has been discussed in tertiary Theatre Studies courses as the future of theatre. Companies like Victoria’s StageArt have found a niche in the market

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by successfully presenting musicals never before seen on a professional stage in Australia; musicals that mainstream producers wouldn’t touch. Life Like Company (once the benchmark in Melbourne Independent theatre, until recently being sold to the giant TEG corporation) tapped the market for family entertainment, securing the rights to such touring shows as Peppa Pig, Scooby Doo, Dora the Explorer and Barney. The guaranteed (and plentiful) income from those ventures allowed their production arm to mount stunning, multi-award winning productions such as City of Angels and The Light in the Piazza. They have certainly provided a model to aspire to. Independent companies aren’t new, but there are more of them now and they do have a higher profile. Yet they don’t receive any government funding, and, apart from the odd foray into a sponsorship deal, they are totally self-funded. But what drives these independent producers to put everything they have on the line time after time. And HOW do they do it, often on smaller budgets than the major Community Theatre companies? I talked to four of the most successful, critically

acclaimed companies on how they operate. Sydney based Sport for Jove (SFJ) specialise in classical theatre. Most of their productions are award winning or nominated. Their spokesman is Business Manager Steven Tait. Blue Saint Productions (BSP) is both Sydney and Melbourne based. Founded by Musical Theatre performers Josh Robson and Damien Bermingham, their breakout production was Violet at The Hayes Theatre (and later at Chapel off Chapel). Directed by Mitchell Butel, the multi award winning production was followed this year by an amazing production of Songs for a New World. Their spokesperson is Damien Bermingham. VIC Theatre Company (VTC) burst onto the scene in 2015 with Loving Repeating, which earned seven Green Room nominations and won two awards. Founder Glenn Ferguson interrupted his openings of both The Last Five Years and The Gathering (a new Australian musical) to join the discussion. Melbourne’s Pursued By Bear (PBB) debuted with a stunning production of Next To Normal, and set the entire city talking with the recent Tick Tick Boom. Natasha Milton Taylor, a founding member, talked to us. All I had to do was ask the questions. CD: Most of you were/are performers - why the switch to producing? (Continued on page 12)

Online extras! Catch a preview of Songs For A New World. Scan the QR code or visit https://youtu.be/gVzRyNLgKs4

John O’Hara and Linden Furnell in Blue Saint Productions’ Songs For A New World. Photo: Ben Fon.

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(Continued from page 10)

BSP: We have worked alongside some phenomenal people both on and off stage who were never getting the chance to show what they were capable of in the back row of the chorus. It was and remains our intention to highlight amazing talent that perhaps might not get seen otherwise, perhaps because they hadn’t been on TV or they didn’t have xthousand Twitter followers. So we set out to produce and create new work as well as established shows to give them that chance. VTC: I switched to producing with the hope of making a change in actors’ wages on independent productions. In a cocky kind of way I did the numbers

and thought I could make it work. SFJ: I still enjoy performing, but recognise that I’m better suited for helping the industry by being behind a desk, rather than on stage.

of you resorted to crowd funding/Pozzible or the like? PBB: $50k. Pursued By Bear started with no funding or financial support and has been run for a number years from our savings accounts and personal cash flows. In

PBB: Alas, none of us have at any point been performers, which - trust me - is a blessing to the Arts community, you do not want to see us on a stage! CD: What is the average budget for one of your productions and how do you raise the money? Have any

our second year we did try crowd-funding through Pozible, which was fun in a way, but ultimately didn’t provide much comparative to the effort required pushing the campaign and mostly ended up targeting those who already support us through ticket sales. As part of PBB we hire out

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equipment to other companies for shows/gigs/ etc and that definitely goes a long way in keeping us afloat financially. BSP: Budgets range from $50K to $200K depending on the production. It is usually our own funds or small investments. Most costs have to be met up front. SFJ: Our budgets tend to fluctuate significantly depending on the production, its intended audience and size of tour. Regardless, we always set a budget that we feel accurately defines our expected revenue from all sources, including funding (though we’ve never used crowd funding) and dividing up the entirety of that expected revenue among our expected expenses.

VTC: Budget for my shows is between $80,000 and $90,000. Most of this is wages. Wages for creatives and crew and lighting and sound hire and of course the actors’ guarantee. I have done a crowd funding campaign once, but I think you really can only ask your friends to fund your projects so many times before you are asking too much. CD. Have you ever had to cut back on something in a production because the money just wasn’t in the budget? Does the lack of money actually make you more creative in how you spend it - a blessing in disguise? BSP: We are constantly trying to minimise costs. We try to be as efficient as possible yet there are some areas where you just can’t compromise. An outstanding creative team as well as quality sound and lighting are crucial. Hiring inventive set and costume designers who can make a silk purse out of a sow’s ear are a must! VTC: Absolutely! The big one is advertising. Because we pay people up front money, there is never Sport For Jove’s The Crucible. Photo: Seiya Taguchi.

Rebecca Hetherington and Jordon Mahar in Pursued By Bear’s First Date. Photo: Ben Fon.

enough cash flow to have a large advertising budget. We rely on word of mouth and reviews to spread the word. Creatively there is always a way around things. I think being as clear and honest as you can be with your creative departments avoids missing out on anything because they know what they are planning for and the budget constraints. PBB: No, not particularly. I mean you’re not going to see us with a triple revolve any time soon, but given our budgets are decided with significant input from each

element of the company, we’re all completely aware of what our fiscal limitations are from the get-go. It’s definitely led to some more creative ways of implementing ideas. Most recently, we partnered with Volvo Bilia South Yarra, Tall Timber, and Allpress Coffee for First Date: The Musical. Through these relationships we were able to have a functional - and incredibly beautiful - coffee machine on stage, with fresh beans and milk and even cups provided without shelling out a cent. And hey, who

needs a revolve when you can drill a hole in the bottom of a piano and make it swivel on stage (here’s looking at you, tick…tick…BOOM!). SFJ: All the time we are compromising artistic ideas to make the budget work; that is the ongoing battle in independent theatre in general. This isn’t limited to just the aspects of the production itself, but even in its administration such as marketing. You could never have enough money for marketing a production. I’d just keep buying more ads. I think we’ve been very creative with budgets in the past which has led to some great results, but it comes at a cost, and that’s usually at the expense of the creatives working on the show. CD: Speaking of lack of advertising - what happens when the bums-on-seats just aren’t there? Does it jeopardise your next production? How do you regroup if it just doesn’t work? VTC: Funny you should mention. Yes it does. My third season, which is playing at the moment, is looking in the best shape (Continued on page 14)

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(Continued from page 13)

financially. We might break even. But if this current season doesn’t succeed we won’t be able to go on. Third time lucky? I don’t know? I do think you owe it to yourself to try and make it work at least 3 times. PBB: That’s the real gamble here, and yes, realistically it does threaten the productions and the whole company going forward. There’s a point where you just run out of money and the hopes that the next show will be more marketable or sell better because of a different timeslot aren’t enough to sustain it. After a big loss, it’s really hard to figure out the next move, but its sink or swim so you make it work. BSP: It’s incredibly frustrating to be getting 5 star reviews and lots of awards and the sales don’t match that acclaim. But you hope over time that audiences will trust your company’s work and come and see whatever you do. It takes time though. SFJ: Definitely, it always plays on your mind, and you question every instinct you had going into the production earlier trying to

Vic Theatre’s The Gathering. Photo: James Terry.

figure out where you went wrong. Debriefing, breaking it down and talking about it with others is very important for mapping out strategies for not repeating it. It also seems to help everyone feel better and move forward. CD: What is wrong/right with funding for The Arts in Australia? SFJ: There are too few companies getting the majority of the money, and not enough being spread around, especially for younger developing talent. The opportunities for the next generation to add to the narrative of Australian

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culture through The Arts is suffering, which makes this existing funding model difficult to sustain in the long term. While very unpopular, I like the recent push towards business funding and sponsorship and getting away from public funding in the arts. VTC: It is too intellectual. Why not have a meeting? Come along and see my work and decide for yourself? Is this worth funding? Am I changing/ supporting the cultural landscape of Melbourne? Less jumping through hoops and more quantifiable hurdles. BSP: It is too heavily geared towards the old establishment with their massive overheads. I think there is real value for money in funding the independent arts sector. It just means more work for everyone if we are producing more work, including actors, designers, choreographers, directors. It’s very clear talking to all these Indie crusaders that they are driven by creative needs. No-one could ever believe that independent producers are in it for the

money. So I asked them one final question. CD: Why does Australia need Independent Theatre? And I’ll let Sport For Jove sum it up for all the companies. SFJ: Similar to the movie industry, there are stories that are just better told by independent minded individuals. But what isn’t helping, and not as prevalent in the movie industry, is this idea that independent theatre is some how less valuable, important, or of lesser quality than its publicly funded colleagues. We need independent theatre to keep telling those stories, but we also need to rebrand the image of independent theatre, not just as the poorer less interesting cousin, but the alternate vehicle that sits proudly side by side. CD: And Tash has the last word PBB: Independents offer this great space where daring bold ideas are celebrated, and artists - not just performers, but designers, SM’s, you name it - are able to foster their talents. And so say all of us.

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www.stagewhispers.com.au Stage Whispers 15

Tim Finn.

New Zealand songwriter Tim Finn has spread his wings from pop music to embrace musical theatre and opera. From January the musical he composed, Ladies In Black, will tour the East Coast. David Spicer spoke to both Finn and a leading lady in black, Trisha Noble. On the forecourt of the Sydney Opera House the Finn family experienced another moment of musical exhilaration. Last November on the 20th anniversary of Crowded House’s ‘farewell concert’ Tim joined the band, led by his younger brother Neil, along with thousands of others in the crowd who sang along. “It was beautifully poignant. Tears were shed in a massive celebration,” he said. What was noticeable was the high standard of the impromptu choir. “There was a good balance of male and female voices. People wanted to sing and there was a natural amplification which was pretty magical.” Crowd singing is not always so good. He ruefully remembers average blokes struggling with the high pitch of ‘I hope I never have to see you again’ at another concert. Fans of Tim Finn are getting new opportunities to hear his songs. Most exotic is an opera commissioned by three companies. Star Navigator will explore the story of Tupaia, a Tahitian star navigator who travelled with Captain Cook from Tahiti in the South Pacific Ocean to Batavia, now Jakarta, on the first voyage of the Endeavour. “I found it refreshing. The opera world is not elitist but (those I’m working with) are keen to interact with people and refresh the form.” Star Navigator is what he describes as a song based opera. It will be staged in a few years. The worlds of music theatre and pop music are closer in form, but Tim says they still have different songwriting requirements. He says that in a musical a “song has to pull a story along or express what a character is feeling at the time.

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“Also pop music is full of imperfect rhyme, whereas in music theatre audiences use rhyme to anticipate the lyrics.” The idea for a musical based on the Madeleine St John’s popular 1993 novel, The Women in Black, came to Tim when he picked up the novel at an airport. He soon rang Director Simon Phillips to suggest it be adapted into musical, and so their collaboration, along with writer Carolyn Burns, began. The novel takes place in an upmarket Department Store in Sydney.

“It is set in 1959, but I never thought I was writing a 1950’s musical. I composed the best songs for each character.” Tim says he immediately felt a connection to the central character of the novel - Lisa - a seventeen-year-old girl who is working in the Department Store over the Christmas holidays, whilst waiting for her Leaving Certificate results. “She makes a daring announcement on her first day at work about what she wants to do with her life. It made me think what would it have been like if I had announced

when I was growing up that I wanted to be a songwriter? I had not even met a songwriter.” Of course not only did Tim Finn become a famous songwriter, but so did his younger brother Neil. “I was six years older; luckily he had his own talent. He was off and running when he was 13.” One of the leading ladies in Ladies in Black, Trisha Noble, has her own connection to the story. “It takes me back to my childhood, going to these beautiful stores - Mark Foy’s, David Jones, Anthony Horderns, Farmers - so many elegant top class stores. “My mum or grandma would take me to the store wearing a hat and gloves. It was a whole day outing; lunch in their restaurant and service by these ladies in black, with beautiful make-up. “These women were so impeccably trained to be of service. They stood apart with their grooming; some could be quite intimidating. “I can remember going to these stores. We would bring back these

Naomi Price, Kate Cole, Lucy Maunder and Christen O’Leary in Ladies In Black.

gorgeous dresses. My mother would buy two or three at a time. “In those days it was magic. Children were mesmerised by the glorious Christmas windows. The 1950’s were so uncomplicated.” Trisha can also relate to the experience of the young lead, Lisa. However her job after she left school was on national television. “When I was 17 I was appearing on Bandstand with Peter Allen. “I too came from a protective family.

“It was a bit of a shock working on TV. We were going into people’s living rooms. They took an ownership of us, and would walk up in the street and say anything - complimentary or quite nasty.” Trisha Noble plays two characters in the musical, who she says are “180 degrees apart.” The first, Miss Jacobs, has been working in the glove department for over 40 years. (Continued on page 18)

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Trisha Noble.

Deidre Rubenstein, Kathryn McIntyre, Kate Cole, Sarah Morrison, Lucy Maunder and Carita Farrer Spencer in Ladies In Black.

The Queensland Theatre production will play for the first time in Sydney (Jan 3 - 22) and Canberra (Mar 27 - Apr 2) with encore seasons in Brisbane (Jan 28 - Feb 19) and Melbourne (Feb 25 - Mar 19). (Continued from page 17)

“She is dignified, but is defined by a tragedy in the past when she lost her fiancé in the First World War. “We up are on top floor, which is for model gowns. It’s run by a mad Hungarian character who is a refugee. She refers to herself as a refo, which is gorgeous. Long before political

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Online extras! Check out a preview of Ladies In Black. Simply scan the QR code or visit https://youtu.be/tqOdxefUVfs

correctness everyone was light hearted.” The other, Mrs Crown, “has three adult daughters, is a bit rough around the edges and doesn’t mind calling a spade a spade.” There are lots of quick changes of character and quick changes of wigs. Trisha’s favourite song in the musical is called ‘Standard Issue Bastard’. ‘He’s a bastard, a bastard, a standard issue bastard, a bastard, coming home half plastered, I don’t know how it’s lasted …’ It comes from a line in novel about the characteristics of Frank, the son-inlaw of Mrs Crown. “Frank is a little bit dismissive. He just wants to have TV dinners and is not very attentive.” Trisha implies that many men of the era could be classified as standard issue bastards. “In the 1950’s men were intimidated about talking about relationships. Today they are more open to communicating.” Tim Finn says the bastard song “has had a huge response.” Enjoying the sound of laughter in the audience from the first season he “wants to write another funny song.”

But not to laugh at the characters. “It is not a parody of people who lived in the 1950s. There was tenderness in (novelist) Madeleine St John’s razor.” Trisha Noble believes that the bastard song could only “be understood by an Australian or New Zealand audience.” Tim Finn has a foot over both sides of the ‘ditch’. He married an Australian and works here often, although he based is Auckland. Ladies in Black is the first original musical he has written and he is still getting used to the culture. During a rehearsal “Simon Phillips complained that the music was too loud” as he wanted to hear the lyrics of every song, whereas Tim thought it was “too soft” as he was used to the volume at rock gigs and wanted the music to wash over him. “I have found it liberating working in musical theatre.” He enjoyed being given a deadline and “rushing back to the hotel to compose a song quickly.” Once he had worked out (with Carolyn Burns) the structure of the book the “songs came thick and fast.” With the success of Ladies in Black it sounds like Tim Finn will keep scouring novels in airport lounges for his next project.

Thirty Years Of Giving The Seaborn, Broughton & Walford Foundation is celebrating its 30th anniversary with a move into new premises. The respected charity, set up in 1986 by philanthropist Dr Rodney Seaborn AO OBE (1912-2008), has donated more than 1.5 million dollars to arts organisations since his death. The Foundation is celebrating three decades of philanthropy by relocating to Neutral Bay on Sydney’s North Shore, close to public transport, shops, cafes and numerous schools. The ample premises at 20 Young Street are also near the Independent Theatre, which was rescued and restored thanks to the generosity of Dr Seaborn and others. The Foundation was established during a mission to save the Stables Theatre, home to the Griffin Theatre Company. Dr Seaborn admired Griffin’s work in promoting and performing contemporary plays by Australian playwrights. When actress Penny Cook made a public plea for an ‘angel’ to save the Stables from possible demolition, Dr Seaborn bought the building. He simultaneously set up a Foundation to encourage other theatre lovers to support the performing arts. Dr Seaborn had a wide philanthropic vision and the Foundation has always provided financial support for groups and individuals across the broad spectrum of the performing arts. Dr Seaborn also established an annual Playwrights Award and set up a Friends group to support and attend theatres. He developed a passion for collecting and, with expert assistance, assembled an historically significant Archive, Library and Performing Arts Collection for research and educational purposes. It includes important manuscripts, puppets from the famous Marionette Theatre of Australia Collection and a selection of set boxes

increasing the number of ‘Friends’, continuing Dr Seaborn’s grants programme, developing an educational programme, catering for research projects, promoting tours of the Foundation and offering rehearsal, office, conference, theatrette and Board Room space to the performing arts community. This the year the Foundation has announced nearly $300,000 in grants to theatre companies and others in the performing arts sector including many who receive little or no Government assistance. “We were particularly excited to be able to help small companies as well as assist the State Opera of South Australia bring to fruition a four-year project to produce the World Premiere of George Palmer’s opera based on the celebrated and prize-winning Australian novel Cloud Street by Tim Winton,” said Mr Lowry. Other recipients this year have included the Griffin Theatre Independent Theatre and the Theatre Company, Sport for Jove, the Hayes Restoration Project. Peter is dedicated Theatre, Monkey Baa, Outhouse Theatre to honouring Dr Seaborn’s legacy and Co, Red Line at the Old Fitzroy, The Seymour Centre, Critical Stages, believes that the new premises will create fresh and exciting opportunities Powerhouse Youth Theatre, National Theatre of Parramatta, Sydney Critics to revitalise the original vision for the Award and Currency House. Foundation. Future plans include representing productions by renowned set designer Allan Lees OAM. The Foundation’s current Chairman Peter Lowry OAM initially served as Chairman of both the Friends of the

www.stagewhispers.com.au Stage Whispers 19

It is 2009. We are in Montreal. At TOHU - the custom-built circus venue on the precinct that includes Cirque du Soleil and the Ecole Nationale de Cirque. In short, we are at the epicentre of new circus. We are about to open when I suddenly get a wave of nausea. I realise it is because of the five artists in the show, three have never performed it, one has been in the show for three days and we haven’t yet done a run. We open and 30 people walk out over the course of those first, Yaron Lifschitz, the CEO of the Brisbane based Circa, explains how a little arts company is conquering the world. At a breakfast organised by agonising 80 minutes. Our lives are Currency House he called for radical re-think of arts funding in Australia. naturally over. But at the end something incredible For 18 years now I have held the seem intent on sucking the joy from happens. The audience rises and roars. stewardship of a circus company from circus.” Then a review appears in the major Brisbane; first called Rock ‘n’ Roll Circus We were the joy suckers. The ones French paper saying that like a UFO and, since 2004, Circa. I moved to who dared to try strange and from southern skies, here is something Brisbane from Sydney, having reached dangerous things. In those early years a we have never seen before. Each show, the limits of my modest talents as a lot people were nude on stage. Music the reaction grows and grows. Next theatre director. So I ran away and I joined the circus. Every day since, I have fought to create the most challenging art I could in a field that has, historically, been largely considered an entertainment. This was a pretty dumb move. We were too circus for the legitimate dance and theatre crowd, too posh for the circus aficionados, too European for Australia, too Australian for Europe. For my first six years we re-wrote the limits of just how bad a review blasted while we ranted into year we will play our 7th season at could be. In fact, we even managed to microphones. We hung on walls. We TOHU - more than any non-Montreal get slammed in someone else’s review, juggled a lot. I’m not saying it was company. which said, “it is refreshing to see that good - loads of it was utterly indulgent For this to happen we needed to they, unlike one local company, do not nonsense. But I was lucky enough to have the right show, an astoundingly have a team who were looking for new brave presenter and an incredible approaches. team. But it still wouldn’t have And from this perilous state in happened unless we had a culture of 2004, we now employ a full time, year embracing risk. round ensemble of 18 artists. We tour That story of who we are - the more internationally than all the major plucky upstart, the ratbags who dared performing arts board companies put to make circus contemporary, that together. We now turn over $7.5 same story, with time, changes. It million a year; where once 75% of our ossifies. At some point, we find turnover was funding, it is now around ourselves as the establishment. People 20%. We have won multiple awards, like us. They expect us to be both provided over 20,000 workshops a revolutionary and exactly as expected. year, seeded numerous successful They want the next show to be smaller companies with our alumni and different and yet precisely the same as graduates, and in 2016 alone we the last. presented eight new creations At Circa we like to stick our necks premiering as far afield as theatres in out. Three years ago we won the Wollongong and cemeteries in London. contract for Artour - the organisation While this took a lot of luck, it that delivers regional touring for wasn’t an accident. Queensland. We’re also the Creative 20 Stage Whispers January - February 2017

Leads of Festival 2018: the Commonwealth Games arts and cultural program. As Creative Director I have the opportunity to bring my international contacts and my local knowledge together with our fantastic team and its brutally efficient ways of working. For daring to take on new roles and businesses we copped a heap of criticism - we were too big, too small, too adventurous, too unfocussed. But in fact, we make a profit, diversify our income streams, employ artists and arts -workers, realise a vision. For the Commonwealth Games we get to create lasting transformative value for the Gold Coast while helping showcase Australia’s culture to the world. At the end of 2010 I was sitting in a bumping in at Trafo - that miraculous black box in Budapest where the best companies from around the world continue to be programmed. The phone rang. It was a colleague asking me if we could bring Wunderkammer, a new and very challenging creation, to Berlin for an eightmonth season at the Chameleon Theatre. They’d never had a visiting company before and we’ve never done a long run and we had no available artists. So I said “sure”. We worked with our board and staff, we cast artists - committing to them for two years, we trained them and brought them to Berlin and we performed seven times a week for eight months. This season led to the creation of seven new full-time positions. In 2018 we will do our fifth eight-month season - that is 40 months of performance in one venue in Berlin. And not one cent of government subsidy is attached to that project. It is funded by the risk of the venue, banking on our skill and creativity selling tickets to the public. We back ourselves. We dared to grow by not cutting our cloth to the available funding. My observation is that as a sector we tend to run around trying to fit things into funding models and

Circa’s Wunderkammer.

Online extras! Check out the trailer for Wunderkammer by scanning the QR code or visiting https://vimeo.com/66876991 keeping our overlords happy rather than being bold, vigorous businesses. Funding should be investment in our risk, not our certainty. We have to forgive our bureaucrats their risk aversion, that’s their system. But we must never internalise it in a Stockholm Syndrome of making art to meet the funding. They fund us to take risks, to make impossible things happen. We are expected to steal fire and bring it to humanity. Rules will need to be broken. On that tour to TOHU in Canada we worked out that it was costing the government $10,000 to freight mats we could buy for $6,000. We suggested we buy the mats and return the money for another project. The answer was no. We pushed back boards met, letters were written. Finally we were allowed to do the sane thing.

Making circus has taught me that you can cram a lot of clowns into a small car and a lot of projects can be funded from a single budget line. There is creativity in treating every dollar of government grant as if it is a dollar of venture capital and asking how can we create the maximum value with the funds we have. At Circa we believe that we should treat our art like it is a business and our business like it is an art. We need to be rigorous with our bodies, disciplined and hard working. Thomas Edison is (it turns out incorrectly) attributed as saying “opportunity is often missed because it comes dressed in overalls and looks like hard work.” I agree and I’m proud to lead what I imagine is as hard a working team as can be found anywhere. www.stagewhispers.com.au Stage Whispers 21

(Gloucester), Adrian Dunbar (Richard of York), Ben Daniels (Buckingham) and Judi Dench (Cecily, Dutchess of York) were all excellent, as was Ben Miles with his scene-stealing performance as the machiavellian Earl of Somerset. By Peter Pinne If the cutting between scenes of intimacy and gore was Disaster! (Various) reminiscent of Game of Thrones, it made for thrilling and (Broadway Records BRexciting storytelling. Cooke’s memorable images included CD04616) the faces of Plantagenet’s three sons reflected in the gleaming blade of a sword and the venerable English crown From the sublime to the ridiculous! This short-lived sinking in a blood-stained stream. Purists may quibble with adaptor Ben Power’s melding of a few characters and the Broadway entry was a send-up of 70s disaster order of events differing from the plays, but ultimately the movies, The Poseidon test is in the finished product, which is brilliant.  Adventure and its ilk, American Psycho (Duncan with a jukebox score of Sheik) (Concord Records the period’s hits. A starry CRE-39374-02) cast - Adam Pascal, Roger Bart, Rachel York, Kerry Butler and Faith Prince - deliver the This is another show that goods in a story set on a cruise ship moored at a pier which failed to find an audience experiences an earthquake, tidal wave, explosions, sharks, on Broadway but sold-out in its initial London run. piranhas and rats. There’s a casino on board and one of the Based on the satiric and characters is a guitar-playing nun who is addicted to provocative 1991 novel by gambling. There are snippets of some songs and full versions of others which include “Hot Stuff”, “Feelings”, Bret Easton Ellis and the “Ben”, “I Will Survive”, “I Am Woman”, “Theme from 2000 movie with Christian Mahogany” and “Don’t Cry Out Loud”. It’s hokey but it’s Bale, about Patrick Bateman, an unscrupulous rock-star Wall Street investment fun.  banker by day and a serial killer by night, the score is by Duncan Sheik (Spring Awakening). Critics complained that The Hollow Crown (William Shakespeare) (Viavision DVD the story about 80s excess had been softened in the VVE985) musical version and this London cast recording would seem to bear that out. Sheik’s songs are steeped in the electronic Has there ever been a more beat of 80s pop and the score even hijacks some of the commercial or stunning genuine article, Phil Collins’ “In the Air Tonight,” Huey adaptation of Shakespeare than Lewis’ “Hip to be Square”, Human League’s “Don’t You this second series of The Hollow Want Me”, New Order’s “True Faith” and Tears for Fears’ Crown - The War of the Roses? With a who’s who of British stage “Everybody Wants to Rule the World”. Of the original numbers, “You Are What You Wear”, sung by the girls, is and screen stars - Judi Dench, an ode to power-dressing, whilst “Killing Time” nails Hugh Bonneville, Tom Sturridge, Bateman’s favourite after-hours pastime.  Sophie Okonedo, Ben Daniels and Ben Miles, a dazzling central performance by Benedict Cumberbatch as the hunchback Richard III, and superb Waitress (Sara Bareilles) direction by cinema virgin Dominic Cooke, this 3-part mini(DMI Soundtracks 2series of Henry VI (Parts 1 & 2) and Richard III is 555320) Waitress is also based on breathtakingly real in its savagery and eloquent in its a movie, released in 2007, dramatic images. about Jenna, a woman Cumberbatch is evil personified as the revenge-hungry throne contender who dispatches beheadings at the drop who works at a Southern of a hat, whilst rhythmically tapping his index finger on a diner and escapes her chessboard. He breaks the fourth wall and like Frank dreary life by inventing new and elaborate pies to Underwood (Kevin Spacey) in House of Cards, speaks his cook. There’s no escape soliloquies direct to camera, in a performance that is from her pig of a husband, riveting and powerful, proving why he is the finest actor of his generation. who has just got her pregnant, but she does find solace Tom Sturridge as the teenaged Henry VI was a minefield with her new obstetrician. The score, in the style of Jason Robert Brown, is by Sara Bareilles and has a totally of indecision, compassionate and ultimately poignant, appropriate down-south country flavour. The songs are roaming the moors naked except for a loin-cloth. Sophie Okonedo was a stalking presence uniting all three episodes seamlessly integrated into the scenario with no stand-alone as malevolent Queen Margaret. Hugh Bonneville songs, and are performed by a great cast headed by Jessie

Stage On Disc

22 Stage Whispers January - February 2017

Mueller (Beautiful). “Club Knocked Up” is a fun number when she finds out she’s pregnant, “You Matter to Me” a tender duet for Jenna and the doctor, and “Everything Changes” a celebration of her joy at becoming a mother.  Maddie (Stephen Keeling/ Shaun McKenna) (Stage Door STAGE 9047) Maddie is another film-tostage work which played the West End in 1997. It is set in the 1980’s and 1920’s and is based on the novel Marion’s Wall by Jack Finney, about a flamboyant flapper who inhabits the body of an 80’s woman and seduces her husband. The movie version, called Maxie, starred Glenn Close and Mandy Patinkin. The musical was developed during the Stephen Sondheim musical theatre course at Oxford in 1990. Caroline O’Connor performed extracts of the show in its first public showing. It was later performed at Salisbury Playhouse in 1996, and on the strength of Charles Spencer’s Telegraph review - “This is the show we’ve been waiting for” - moved to the West End the following year. Spencer’s review helped secure finance but did not help the production, which closed quickly. This 2CD recording features the original London cast, Summer Rognlie, Graham Bickley and Kevin Colson, plus cut songs, studio demos and alternate versions sung by John Barrowman, Jacqui Scott, Helen Hobson, Mary Millar, Lorna Dallas and Angela Richards. The music by Stephen Keeling is inventive and Shaun McKenna’s lyrics are literate, but the orchestrations on the cast recording lack colour. They sound more like arrangements for a 60’s West End revue (think On the Brighter Side) than a musical set in the 80’s.

The cut songs and alternate versions have more energy and vitality than the London cast recording, whilst Jacqui Scott is a much better lead. Listening to the cut material is a very good example of what was lost in its commercial production. “In Hollywood” (cut) sung by Helen Hobson and chorus was a good opening number, Meredith Braun’s newly recorded “There We Were” is a nice balled, but it’s Jacqui Scott whose vocals are outstanding on “I’ve Always Known” and “Star”.  Anthony Warlow - This Is The Moment (Various) (Fanfare Records FANFARE 259) This new album by Anthony Warlow is culled from his four Polydor CDs - Centre Stage (1990), On the Boards (1992), Back in the Swing (1993) and Midnight Dreaming (1994). It features a collection of power ballads and jazz standards. Australia’s favourite lyric-baritone has never sounded better on disc than on these albums, which were recorded early in his career with accompaniment by the Victorian Philharmonic and Melbourne Symphony Orchestras conducted by the late Brian Stacey. Every track is a highlight, from the opening “This is the Moment” (Jekyll and Hyde), through “Who Can I Turn To?” (The Roar of the Greasepaint, the Smell of the Crowd), “Anthem” (Chess), “If Ever I Would Leave You” (Camelot), to “ I Won’t Send Roses” (Mack and Mabel). Warlow is comfortable with swing arrangements on Cole Porter’s “Night and Day” and the Gershwins’ I’ve Got a Crush On You”, but it’s Sondheim’s “Being Alive” (Company) that throbs with feeling.  Rating  Only for the enthusiast  Borderline  Worth buying  Must have  Kill for it

www.stagewhispers.com.au Stage Whispers 23

Stage on Page By Peter Pinne

Barbara Cook- Then and Now, with Tom Santopietro (Harper Collins US$28.99) According to the Oxford Companion to the Broadway Musical, Barbara Cook had “one of the finest voices to grace the Broadway stage”. Although she only had one major success, The Music Man, for which she won a Tony, she added lustre to half a dozen other musicals of the “Golden Era” - Plain and Fancy, Candide, She Loves Me, The Gay Life, Flahooley and The Grass Harp. She stopped the show when she sang the definitive version of “Glitter and Be Gay” in Candide, and likewise with “Ice Cream” from She Loves Me, which became her signature song. She even has the infamous original London production of Carrie amongst her credits, plus two original TV musicals, Hansel and Gretel (1958) and O’Halloran’s Luck (1961). Concert performances in recent years have not only kept her name alive, but ensured her legendary status. But all was not rosy in her garden as this autobiography details. She is remarkably candid about her long

stretch of alcoholism in the 70’s and 80’s and her path to sobriety, which almost made her unemployable. Cook was born in Atlanta to poor parents who were both Georgian. She obviously got her musical genes from her father, who loved music, but he wasn’t around long enough to see Cook’s talent bear fruit, having left the family when she was six. Her childhood musical idols were Nelson Eddy and Jeanette MacDonald, whilst she listened with religious fervour to NBC’s weekly Metropolitan Opera radio broadcasts. Cook was 15 when she landed her first job, tapping and singing in a Tiller Girls line in 1943. She fell in love with Herb Shriner, a comic actor and raconteur in the vein of Will Rogers, and followed him to New York in 1948 where he had been cast in Inside USA. Her first New York credits were singing with the Rockefeller Choristers. A series of musical composer catalogue shows followed at the Danbury Room, Boston, and she later performed at camp shows at the

Tamiment summer resort in Pocono Mountains, Pennsylvania, alongside Jack Cassidy. It was there she was introduced to composer Jerry Bock, choreographer Herb Ross, and book writer Joe Stein, who would become important men in her career in the sixties. It was at Tamiment she met her husband David Le Grant. The marriage didn’t last but it did produce one son, Adam. During the sixties she appeared at City Center as Ado Annie in Oklahoma!, Carrie Pipperage in Carousel, Anna in The King and I, and Magnolia in Show Boat. She played summer stock in The Unsinkable Molly Brown, did Funny Girl in 1967, and made TV appearances in The Yeoman of the Guard, Babes in Toyland, The Bloomer Girl and the TV soap Golden Windows. Cook is probably the only artist who got Leonard Bernstein to change a note he had written when she suggested she should sing a portamento from a high “C” down to a lower note in “Glitter and Be Gay.” In the 70s Cook met her long-time accompanist Wally Harper, a musician with a classical background and also a man with an alcohol problem, and it was he who was instrumental in bringing her career back from the brink with a series of high-profile concerts, in particular a star-studded version of Follies with Mandy Patinkin, Carol Burnett, George Hearn, Liliane Montevecchi and Elaine Stritch. It was one of several times she worked with

Stage Whispers Books Visit our on-line book shop for back issues and stage craft books www.stagewhispers.com.au/books 24 Stage Whispers January - February 2017

Stritch, who she called “a major, major piece of work” due to Stritch’s penchant for wanting to take-over and hog the limelight. Cook also stretched her acting muscles when she was cast as replacement for Sandy Dennis in Any Wednesday, and two Off-Broadway entries, Little Murders and Enemies. Although she only married once, she did have a major relationship with actor Arthur Hill, who co-starred with her in the musical Something More! Her most recent Broadway outing was in 2010’s Sondheim on Sondheim, alongside Vanessa Williams and Tom Wopat. Cook spent a lifetime in therapy, had a fractured relationship with her mother, suffered weight issues throughout her life, and although sobriety was welcome, it came with debilitating panic attacks. Barbara Cook- Then and Now is a revelatory look inside the life of a Broadway legend and comes with glossy B&W photos but frustratingly no index. Kristin Chenoweth - A Little Bit of Wicked (Simon & Schuster US$15.99) Although it was first published in 2009, this reprint of Kristin Chenoweth’s A Little Bit of Wicked comes with a new bonus chapter. One of Broadway’s current reigning divas, the memoir is sub-titled Life, Love and Faith in Stages, and is a preppy and poppy account of her career.

Chenoweth was adopted and grew up with a loving church-going family in Broken Arrow, a suburb of Tulsa, Oklahoma. She attended Oklahoma City University, where she earned a Batchelor’s degree in musical theatre and a master’s degree in opera performance, studying under voice instructor and mentor Florence Gillan Birdwell. Beauty Pageants featured in her extra curricular activities, where she won the title of “Miss OCU” and was runner-up in the Miss Oklahoma pageant of 1991. During university she appeared in summer stock as Tuptim in The King and I, a Kit Kat girl in Cabaret, and in a highkicking review-type show at Opryland, which she loved. Chenoweth’s first Broadway role was in 1997, as Precious McGuire in Kander and Ebb’s musical Steel Pier. In 1999 she won a Tony for her performance of Sally in the Broadway revival of You’re a Good Man, Charlie Brown, and in 2003 scored the role of a lifetime when she played Glinda in Wicked, which kickstarted her career as a star. She later headlined on Broadway in revival productions of The Apple Tree, Promises Promises, On the Twentieth Century, and the New York

Philharmonic revival of Candide. She has also appeared in On a Clear Day You Can See Forever, Strike Up the Band, and Music In the Air for “Encores!” Chenoweth’s prolific television career includes The West Wing, Pushing Daisies, The Good Wife, Glee, and the very short-lived ratings disaster, Kristin, which she uses as a running gag throughout the book. She won Emmy awards for both Pushing Daisies and Glee. She also appeared as Marian in the TV movie of The Music Man with Matthew Broderick, and as Velma Von Tussle in the recent Hairspray - Live! Chenoweth has never married, but she was engaged to actor Marc Kudisch from 19982001, and had a serious on-again offagain relationship with TV writer and producer Aaron Sorkin (The West Wing). She is one-quarter Cherokee, and suffers from Menier’s Disease, an inner ear disturbance that causes vertigo, which at times has forced her to cancel appearances. A Little Bit of Wicked is an easy read, and although sounding like a fanzine at times, her bubbly personality delightfully infuses the text. It comes with B&W photos and a performing credit timeline.

www.stagewhispers.com.au Stage Whispers 25

London Calling

the satirical newspaper that was created in the mud and mayhem of the Somme during the First World War, interspersed with comic sketches and spoofs from the vivid imagination of those on the front line. In a bombed out building in the Belgian town of Ypres (mispronounced Wipers by the British soldiers), two officers discover a printing press and create a newspaper for the troops. Directed by Caroline By Peter Pinne Leslie, the production stars Kevin Brewer (Henderson), James Dutton (Roberts), George Kemp (Pearson), Jake Morgan English National Opera have announced that lyric mezzo- (Barnes) and Dan Tetsell (General Mitford). soprano Katherine Jenkins will make her musical theatre The character of Bobby in Stephen Sondheim and George debut as Julie Jordan in Rodgers and Hammerstein’s classic Furth’s Company is to have a gender switch to Bobbie in an musical Carousel opposite Alfie Boe as Billy Bigelow in a new upcoming production of the musical by the recently formed semi-staged production at the London Coliseum. The theatre company Elliott Harper Productions. Rosalie Craig will production will play for 41 performances from 7 April to 31 play the role in the switch, authorised by Sondheim. She May. Both Boe and Jenkins have performed songs from the recently appeared as Polly Peachum in the National Theatre’s score on their tours but this will be the first time they will acclaimed production of The Threepenny Opera. The gender have taken on the roles in a production. Jenkins is a Welsh switch will bring a whole new dynamic to the musical, classical cross-over singer. Six of her seven studio albums have making it more relevant to today. As a 35-year old unmarried reached No. 1 in the UK. Boe, no stranger to musical theatre, female with no children, Bobbie’s situation mirrors half the last appeared as J.M. Barrie in Gary Barlow’s musical version adult female population in America. Elliott Harper of Finding Neverland on Broadway. Prior to that he played Productions has been established by Marianne Elliott (War Jean Valjean in Les Misérables in the West End in 2011, and Horse/The Curious Incident of the Dog in the Night Time) and then succeeded Ramin Karimloo in the Broadway production producer Chris Harper. Their first season begins in August in 2015. He has also appeared for ENO in productions of La 2017. Bohème, The Mikado and Kismet. Carousel will feature a full Laura Wade’s dark comedy Posh is also to get a gender cast, choir and an orchestra of 40. switch with an all-female production to play at the Pleasance Tommy Murphy’s play Strangers in Between, about Theatre, Islington, 29 March to 22 April. Directed by Cressida growing up gay in modern Australia, is to have a revival Carre, the new production aims to offer a topical voice by production at the King’s Head Pub Theatre, Islington, from allowing women to take centre stage in roles written for 10 January to 4 February. It stars Roly Botha (Shane), Dan men. The play originally opened at the Royal Court Theatre in Hunter (Will and Ben) and Stephen Connery-Brown (Peter) 2010, transferred to the West End in 2012, and was adapted into a movie which was renamed The Riot Club. The play is with direction by Adam Spreadbury-Maher. The play, a coming-of-age-story, follows cute but nervy sixteen-year old set amongst the Riot Club, a fictional all-male, exclusive Shane who has fled his rural hometown for the glitz, glamour dining club at Oxford University. Claims that it was based on and glory of Sydney’s King’s Cross. Adrift among the lonely the real-life Bullingdon Club or High Trees Society are false hearts and new temptations, he attempts to navigate the according to the author. troubled waters of his past towards a happier future. The Kristin Chenoweth could soon return to London to star in King’s Head follow this production with a new musical farce, the musical version of Soapdish, a farcical comedy about a Adam and Eve…and Steve, which will play from 21 March soap-opera queen who’s losing her grip on the show and her until 29 April. Book and lyrics are by Chandler Warren, music life. The 1991 movie starred Sally Field, Robert Downey Jr and by Wayne Moore, with direction and choreography by Whoopi Goldberg. With music and lyrics by George Stiles and Francesca Goodridge. Set in a newly created paradise, the Anthony Drewe, the work was first workshopped in London Garden of Eden, the plot focuses on a man meeting a in 2010 with Gavin Creel (Book of Mormon) and Sally Ann woman; they argue, they resolve their differences, they fall in Triplett (Finding Neverland). A rehearsed reading in New York love, but fun, mischief and followed in 2012 with The Wipers Times. mayhem ensue when the Chenoweth and Jane Photo: Philip Tull. hunky Steve is thrown into Krakowski. Stiles and Drewe the mix and they both vie for have had considerable his affection. success in recent times Following a UK tour, Ian writing additional songs for Hislop and Nick Newman’s Mary Poppins and Half a satirical play The Wipers Sixpence. It’s likely the Times will play a brief London musical will open at The season, 21 March to 13 May, Other Palace (formerly St at the Arts Theatre. Based on James Theatre), newly Online extras! the award-winning BBC film, rebranded following its Ian Hislop and Nick Newman discuss The the stage adaptation tells the purchase by Andrew Lloyd Wipers Times. Scan the QR code or visit true but extraordinary story of Webber. https://youtu.be/g0hiMDk1Pyk 26 Stage Whispers January - February 2017

roadway uzz

By Peter Pinne

When it opens in Toronto, the new Broadway-aimed musical Sousatzka (formerly Madame Sousatzka) will star Tony winner Victoria Clark (The Light in the Piazza), Judy Kaye (Nice Work if you Can Get It) and Montego Glover (Memphis). Clark, who recently made her New York Musical Festival directorial debut with Newton’s Cradle, will play the title role of the stern Polish piano player and teacher created on film by Shirley MacLaine, who won a Golden Globe for her performance. The part of her young student will be played by Jordan Barrow. The musical opens at the Elgin Theatre 25 February, and closes 9 April, with a projected Broadway premiere October 2017 at a theatre to be announced. Sousatzka marks the Broadway return of Garth Drabinsky, who served 18 months in a Canadian jail for fraud connected with the collapse of his production company, Livent. The show was workshopped in Toronto 7 June - 17 July 2016 and featured a number of Broadway performers including Clark. Sousatzka has a score by Richard Maltby Jr and David Shire, whose Broadway credits include Baby and Big. Based on the novel by Bernice Rubens, it is set in London in 1982. The plot follows a young musical prodigy torn between two powerful women from vastly different worlds his mother, a political refugee, and his piano teacher, a brilliant eccentric with a shattered past. The book is by Craig Lucas, with direction by Adrian Noble, and choreography by Graciela Daniele. A new musical based on Disney’s blockbuster Frozen arrives at the St James Theatre on Broadway in Spring 2018, following its tryout engagement at the Buell Theatre in the Denver Center for the Performing Arts, 17 August - 1 October 2017. The musical has a score by Kristen Anderson-Lopez (In Transit) and Robert Lopez (Avenue Q/The Book of Mormon), and a book by Jennifer Lee (Wreck it Ralph), who wrote the film’s screenplay. The score is most famous for the hit song “Let It Go”, sung by Idina Menzel, which won an Oscar for Best Song in 2014. Frozen will be directed by Michael Grandage, a three-time Olivier Award-winning director (Merrily We Roll Along/Grand Hotel/Guys and Dolls), and choreographed by Christopher Gattelli (Newsies/South Pacific/ The King and I). Lynn Nottage’s Sweat, which has just concluded an acclaimed season at the Public Theater, is transferring to Broadway’s Studio 54 for a run commencing 4 March 2017. Sweat tells the story of a group of friends who have spent their lives sharing drinks, secrets, and laughs while working together on a factory floor, but when layoffs and picket lines begin to chip away at their trust, the group find themselves pitted against one another in the hard fight to stay afloat. The play was the result of extensive interviews conducted by the authors, who spent two years visiting and interviewing residents of Reading, Pennsylvania, which was named

America’s poorest city in 2011. Casting has not been completed but it is expected the whole of the Public Theater ensemble, headed by Carlo Alban, James Colby and Khris Davis, will appear. Kate Whoriskey directs. Sonia Freeman and Colin Callender, producers of the smash West End hit play Harry Potter and the Cursed Child, are in discussions with the Ambassador Theatre Group about bringing the production to Broadway to re-open the Lyric Theatre in Spring 2018. Plans are already underway for the venue, owned by the Ambassador Group, to remodel and reconfigure the 1,900 seat theatre, scaling it back to a more intimate 1,500 seats. The remodelled house will include a smaller auditorium specifically designed to suit Harry Potter, as well as a new proscenium arch to fit Christie Jones’ set for the production. Author J.K. Rowling said she was “very excited by the proposed plans.” The Lyric Theatre was previously known at the Foxwoods Theatre, the Hilton Theatre and the Ford Center for the Performing Arts. It has a seating capacity of 1,930, making it the second largest house on Broadway behind the Gershwin. It previously housed productions of Ragtime, Spiderman: Turn off the Dark, Chitty Chitty Bang Bang, 42nd Street and Paramour. Karen Ziemba will head the cast of John Kander and Greg Pierce’s Kid Victory, which will play the Vineyard Theatre from 1 February 2017. The show, to be directed by Liesl Tommy, also features Jeffry Denman, Joel Blum, Ann Arvia, Laura Darrell, Brandon Flynn and Daniel Jenkins. Kid Victory’s story, by Kander and Pierce, concerns a 17-year-old boy who returns to his Christian family in a small Kansas town after disappearing for a year. The musical slowly uncovers the painful truth that he was kidnapped and chained and beaten by a sexual predator. Strong material, but then strong material has always been par for the course for the octogenarian composer whose previous musical theatre subjects have included Nazism in Cabaret, lynching in The Scottsboro Boys, and murder in Chicago. A tryout production of the musical took place at the Signature Theater, Arlington in February 2015. Jennifer Hudson and Ariane Grande were the highlights, according to Variety, of NBC’s recent Hairspray Live! Although they praised it as the best of NBC’s four live-to-air musicals, it had the lowest ratings off all of them with figures of 8.9 million, down from last year’s The Wiz Live! which pulled 11 million and even lower than Peter Pan Live in 2014, which came in at 9 million. Carrie Underwood’s The Sound of Music in 2013 is still the giant at 18 million. Hudson played Motormouth Maybelle, with pop-princess Grande as Penny Pingleton. Working alongside the two divas were a spectacular A-list cast headed by Harvey Fierstein (Edna), Martin Short (Wilbur), Kristin Chenoweth (Velma), Sean Hayes (Mr Pinky), and multiple winner of Dancing With the Stars, Derek Hough as Corny Collins. Guest artists included Andrea Martin (Prudy Pingleton) and Rosie O’Donnell (Gym Teacher), plus cameos by two former Tracey Turnblad’s as Mr Pinky’s assistants, Ricki Lake from the 1988 movie, and Marissa Jaret Winokur, who was the original Tracey on Broadway. NBC have already announced next year’s ‘live’ musical will be Jennifer Lopez in Bye, Bye Birdie, which will air in December 2017. www.stagewhispers.com.au Stage Whispers 27

Australia Day Jonathan Biggins’ hit comedy will be staged in a dozen community theatres across Australia in 2017. To get you in the mood here is a taste of what audiences are in store for. Act One Scene One The play opens at the Cariole Scout Hall, where Robert is setting up chairs and tables for a committee meeting, distributing papers. Brian and Wally then enter, complaining bitterly about the cold. Next comes the first female committee member. Maree arrives MAREE: Sorry I’m late. The traffic! That new roundabout they’re building at Preston’s Creek, absolute standstill. WALLY: Probably waiting for the frog to hop home. MAREE: I mean, really. Where have all these cars come from? I was in town last Thursday, I had to go round the block twice to get a park. In winter! BRIAN: People don’t just come here for the beach, Maree.

The cast of Lieder Theatre Company’s 2016 production of Australia Day.

28 Stage Whispers January - February 2017

ROBERT: Growing town, growing problem, I’m afraid. WALLY: Don’t give Brian any ideas, he’ll put in bloody parking meters. ROBERT: They’ve already got them in Duxborough Head. Two dollars an hour. MAREE: Two dollars an hour! WALLY: Shit! I’ve had hookers cheaper than that. MAREE: Wally! WALLY: Only joking, Maree. I’ve never paid for it in my life.

Published by David Spi

cer Productions

MAREE: Well there’s not much sense in paying yourself, is there? WALLY: Ooh! Right below the belt.Where I like it. BRIAN: God, it’s like watching re-runs of “Are You Being Served”. ROBERT: Maybe we should make a start. We’ve got a quorum. BRIAN: No, I’d rather wait for Helen.

MAREE: Helen? ROBERT: Councillor McInnes. MAREE: Oh yes, I met her at the library during Seniors Week. New to the district, isn’t she? BRIAN: She’s been here for nearly two years. MAREE: So new. ROBERT: Moved up from Melbourne. WALLY: That’d be right. BRIAN: She’s replacing Clem on the committee. ROBERT: Did you ever find out why he pulled out? BRIAN: It’s a bit delicate... MAREE: Bladder’s like a rusted bucket. ROBERT: I’m assuming that’s not the medical term. MAREE: She’s not going to want to change everything, is she? BRIAN: A bit of new blood wouldn’t hurt. Chester enters, uncertain. ROBERT: Can we help you? CHESTER: Hope so. I’m looking for the meeting about Australia Day? ROBERT: You’ve found it. CHESTER: Right. I’m the school liason... person. BRIAN: What’s happened to Andrew? CHESTER: He’s got an in-service course. In Armidale. So I drew the short straw. WALLY: Short straw? CHESTER: You know - volunteering is compulsory. BRIAN: Sorry, I didn’t get your name? CHESTER: Chester. WALLY: Chester? CHESTER: As in drawers. Chester drawers. That’s not my real name. Well, Chester’s real. But my surname’s Lee. MAREE: You any relation to Darrell? CHESTER: No. BRIAN: Well, come and join us. I’m Brian Harrigan, chair of the committee... CHESTER: Good to meet you Brian. BRIAN: This is Robert Wilson, he’s my deputy, both here and on council. CHESTER: G’day Bob.

ROBERT: Robert. CHESTER: Bobert. Sorry - Robert. BRIAN: Maree Bucknell, President of the local CWA. CHESTER: CWA? Is that a supermarket? MAREE: Country Women’s Association. CHESTER: Right. Oh - I saw you guys on Masterchef! Outdoor challenge. They were making lamingtons and shit. WALLY: And you could only tell which was which from the coconut. BRIAN: And this is Wally Stewart. CHESTER: How you going? WALLY: Chester - funny name for one of you lot. Never met an Asian called Chester. CHESTER: I’ve never met anyone called Chester. I’ve met one or two Wallies though. ROBERT: Are you new to the district, Chester? CHESTER: Yeah. Only been here a couple of months. Got a transfer from Newcastle. Year six teacher. WALLY: Bit young, aren’t you? CHESTER: We’re like policemen. Get younger every year.

MAREE: I think you teach my greatniece Sherridan. CHESTER: Would that be the Sherridan with two ‘r’s? MAREE: Yes, dreadful name for a child but her sister’s worse off. She’s Bethakny with a silent ‘k’. Sherridan was up at our place, for a “sleepover” her mother’s got relationship problems, not that it’s my place to say anything on that particular score but blood will out - and she mentioned she had a new teacher. Said he was a Ch... Awkward pause CHESTER: Nice bloke, I trust. MAREE: I’m terribly sorry but... we don’t have many Chinese in Coriole there’s the retaurant at the RSL, of course, and the Thai place that’s just opened, not that they’re... CHESTER: Relax Maree, I’m not Chinese - I’m an ABV. MAREE: A what? CHESTER: Australian Born Vietnamese. Son of a boat person. BRIAN: Done a lot for this country. Hard workers.

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Script Excerpt Valerie Bader, Alison Whyte and Kaeng Chan in the 2012 co-production by Sydney Theatre Company and Melbourne Theatre Company of Australia Day. Photo: Jeff Busby.

Online extras! Did you miss Australia Day? Get a taste by scanning the QR code or visiting https://youtu.be/qORyuVMcKlc (Continued from page 29)

CHESTER: Aren’t they? My Dad was a doctor back home. Got here and worked in the casualty department at Canterbury hospital. As a cleaner. No, it’s a joke. He worked as a doctor Canterbury Hospital will take anyone. ROBERT: Brian, I think we should get started. BRIAN: Give her a few more minutes. Helen arrives HELEN: Sorry, sorry everyone. ROBERT: Speak of the devil. BRIAN: Ah, Helen. Glad you could join us. HELEN: Couldn’t start the car. WALLY: Shoulda bought a car with an engine in it. HELEN: It’s a hybrid, Wally. It has two. But for some reason it still needs a battery to start the batt -look, I don’t know, it’s sorted out now and I’m sorry I’m late. 30 Stage Whispers January - February 2017

CHESTER: G’day - I’m Chester. MAREE: School liason. HELEN: Good to meet you, Chester. BRIAN: I take it you know Wally? HELEN: We’ve crossed paths at the planning sub-committee meetings, yes. WALLY: Oh yeah, Helen and I are great mates. BRIAN: And this is Maree. MAREE: We met at the library during Seniors Week. You opened the access ramp. HELEN: Gosh - you’ve got a good memory. MAREE: Well it’s not every day you go to the opening of an access ramp. How are you settling in? HELEN: I’m starting to almost feel like a local. MAREE: Give it another thirty years. HELEN: So they tell me. Finally bought a place.

MAREE: Yes, I heard. No offence but you paid too much for it. And you get the full afternoon sun on that side, I can’t take that sort of heat. ROBERT: Good for your solar hot water. WALLY: Which we’re all subsidising. HELEN: I don’t have solar, Wally. I have gas. CHESTER: You can get pills for that. MAREE: Still, it’s not a bad spot if you don’t mind trees. HELEN: I like trees. MAREE: Can’t stand the leaves and the mess myself. BRIAN: Can we get started? Or is there some other aspect of Councillor McInnes’ private life you’d like to explore? MAREE: I was only asking. HELEN: It’s okay Brian. In Richmond I hardly knew my neighbours but I’m getting used to the attention.

ROBERT: It’s community. HELEN: Exactly. BRIAN: Alright. I declare this meeting open at 7.42. CHESTER: Could I just ask a question before we start - Andrew didn’t really say much about what I’m supposed to do. BRIAN: Well, we’re the committee that organises the Coriole Shire celebrations for Australia Day. CHESTER: And that’s January 25th, isn’t it? ROBERT: 26th. 25th is Anzac Day. CHESTER: 25th of January? WALLY: Jesus, what do they teach in schools these days? CHESTER: Wally, I’m kidding. I know Anzac Day’s in October. MAREE: It’s in March, isn’t it? WALLY: It’s in fuckin’ April! CHESTER: Joke, Wally. HELEN: Do we have a brief or some kind of mission statement? BRIAN: Not as such, it’s more of a, well, a traditional arrangement. MAREE: Pretty much the same every year. WALLY: Can’t see any reason to change it. ROBERT: We have it out on the sports oval. Citizenship ceremony, sausage sizzle, the SES volunteers. BRIAN: Fire authority brings a truck down. ROBERT: The scouts and guides do a march past. MAREE: We had a man in a Tiger Moth one year. What happened to him? BRIAN: Insurance won’t cover it. WALLY: What - they worried he’s gonna fly into the marquee? ROBERT: I think he lost a wheel doing a loop the loop down in Ballinderry. Could’ve hit someone. MAREE: What was he doing down there? ROBERT: Oh, the Premier was opening a wetlands interactive experience or something. HELEN: Pity it didn’t hit him. BRIAN: Anyway, we have entertainment throughout the

afternoon - police band, local dance academy, combined schools choir which is where you’ll come in of course, Chester... ROBERT: And then we finish at about four o’clock with a pop concert for the young people. CHESTER: Bet that goes off. How do you get the choir to show up during school holidays? MAREE: It’s not a very big choir. BRIAN: We pay them. ROBERT: No cash - it’s McDonalds vouchers. HELEN: I know I’m the new kid on the block here but is that sending the right message? WALLY: Nothing wrong with giving kids a bit of pride in their country.

HELEN: Sure - but bribing them with junk food... WALLY: What - you think they’re going to turn up for carrot sticks and sultanas? HELEN: Why not something like a book voucher? BRIAN: We have a sponsor’s agreement. ROBERT: And they do have a healthy options menu. WALLY: Kids? As if. MAREE: I don’t like their buns. The seeds get stuck in my plate. HELEN: I think we need to look at the whole question of who we take money from. WALLY: Jesus, we haven’t even started the meeting yet.

David James and Geoff Kelso in the Christine Harris & Hit Productions 2015 tour of Australia Day.

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Schools On Stage

Celebrating Youth Theatre

Singin’ In The Rain Jr.

Shrek Jr.

The Junior Theatre The first Australian Junior Theatre Celebration, Australia 2016 celebration was held in the heart of hosted 200 young people and Newcastle in late October.

over 30 practicing performing arts teachers from all over the Sponsored by Music Theatre International, Australia, this Broadway country. Groups from Queensland, Victoria and New Junior™ event hosted national and international musical theatre celebrities South Wales performed on and provided opportunities for young stage at the Newcastle Civic Theatre. This event was inspired by the people aged 8 to 18 years to celebrate renowned American Junior Theatre their love of musical theatre. Festival (JTF) produced annually by iTheatrics, a leading international authority on musical theatre for young people, headquartered in New York City, USA. iTheatrics’ flagship Junior Theater Festival event is held in Atlanta, GA USA in January each year with over 5,000 participants in attendance. In 2017, iTheatrics will launch a Junior Theater Festival West in Sacramento, CA, USA. The company has partnered with dozens of prestigious performing arts centres across the U.S. to present mini festivals in local markets. In the spirit of collaboration, all participating groups at the Newcastle Celebration Day each presented for adjudication a 10-minute showcase from a musical in Music Theatre 32 Stage Whispers January - February 2017

International’s Broadway Junior™ library of titles. They received feedback on their connection to the material, story-telling, movement, music, acting and ensemble work. Everyone enjoyed a closing ceremony that was jam-packed with the presentation of group awards, showcases of new works: Broadway’s Peter Pan Jr & Singin’ in the Rain Jr, a special number from the teachers, an All-Star performance from students selected during adjudication, a performance by the Metropolitan Players cast of Wicked and a special appearance by the Lord Mayor of Newcastle, Nuatali Nelmes. The next Celebration Day is scheduled for 28th October 2017. For more information and to learn how you can be involved, visit: www.oztheatrics.com

Thespians are flying the flag in the most remote parts of Australia. To celebrate the resilience of community theatre David Spicer spoke to companies in Alice Springs, Kalgoorlie and King Island.

Sitting next to the theatre is another tin shed holding the company’s store of costumes and props. There is a green room out of the back, which is a four metre shed. Both buildings are owned by the local council but Ben admits that the company is only getting around to They breed them tough in Alice signing a lease. Springs. In the dead centre Australia, in With a population of 30,000, and the middle of the desert, a theatre 1500 kilometres from a major city, the company has been ticking over for Alice Springs Theatre Group has its eighty years. market cornered. The Alice Springs Theatre Group “We don’t have any (competition) even has its own venue, called the apart from various touring shows, such Totem Theatre. as Bell Shakespeare, which book our “It is pretty basic. A shed with the entertainment centre at Araluen.” seating on stepped concrete with racks As such, the Totem Theatre’s 100 of plastic chairs,” said the Alice Springs seater is in demand. It’s booked out for Theatre Company’s Treasurer Ben youth drama, poetry readings and McIntyre. “The theatre is not even variety nights. insulated and gets quite hot and cold. The Alice Springs Theatre Company Dust blows in as well.” itself stages one or two musicals a The Totem Theatre stands proud at year. It goes for shows that are on the the bottom of Anzac Hill. The venue is quirky side. Recent productions have comprised of two tin sheds, originally included Urinetown, Young built during World War 2 when the Frankenstein and, late last year, the military planned to abandon northern world community theatre premiere of Australia in the event of a full-blown Song Contest: The Almost Eurovision Japanese invasion. Experience.

In Song Contest, where the audience votes for its favourite act, the team from Sweden proved most popular with locals. “We generally have sold out runs. It is easy to get the message out by putting posters up around town, using local community radio and the town’s only newspaper.” The members of the company come from diverse backgrounds. “I am a database developer, our president is a social worker, our secretary works in a coffee shop and we also have professional actors who have worked on various productions around the Northern Territory.” But Ben laments that “a lot of people don’t stay around” Alice Springs for long. Many workers are on one to two year contracts. He considers himself a local, having lived there for ten years. The company’s next big project is helping Council get a grant to insulate the theatre from the heat, cold and dust. Working out of a heritage building means they have some hurdles to jump over. In the meantime patrons (Continued on page 34) www.stagewhispers.com.au Stage Whispers 33

The Goldfields Repertory Club was founded in 1931 using the town’s beautiful ornate Edwardian town hall for its first productions. In the 1940’s the club converted Kalgoorlie’s only synagogue into a theatre. The biggest drama took place during the 1950’s when it burnt down. The rebuild included a wardrobe which club President Norma Latchford proudly describes as “the biggest in the state”. You need plenty of storage for a busy theatre company when the nearest major town (Esperance) is 400 kilometres away. However Norma notes that “a lot of people have nostalgic feelings (Continued from page 33) for Kalgoorlie and go to Perth to will have to continue to dust source things for us.” themselves off when they need to. Unlike other mining towns in The gold mining town of Kalgoorlie, Western Australia, it has not been in the middle of no-where, in the affected by the iron ore boom and bottom half of Western Australia has a bust. An active gold mine has kept the rich theatrical history that it is proud to population steady at around 30,000. show off. Alice Spring Theatre Group’s Totem Theatre .

34 Stage Whispers January - February 2017

“Any time there is a problem in the world, people panic and hoard gold,” notes Norma. The theatre company has struck a rich vein in recent times with lighter comedies and musicals. “They are not going for serious dramas. Audiences want something uplifting rather than deep and meaningful. That is a trend all round Australia.” “We did eight performances of Oliver! and it sold out. That was followed by The Strange Case of Dr Jekyll and Mr Hyde and it was half full. Our Christmas family pantomime is almost fully booked.” The Goldfields Repertory Theatre Company does not have a monopoly on local entertainment. Another company, the Stage Left Theatre Troupe, puts on five shows a year and there is the regular touring circuit through the town. A few years back the Repertory Club upstaged everyone. When a regional arts summit was held in town the company took over the town hall to stage the play The Duchess of

rdered To Death. King Island Players’ Mu

Coolgardie, which was written in 1898 and set in a gold field. The immersive production reflected the theatre-going experience of Kalgoorlie in the same period. “We did the whole thing as if it was the 1890s. In that time people didn’t just sit down nicely and watch. They would get up and have a drink, eat and talk to their friends. “We had the choirs going in, brass brands that were popular in mining towns, and also indigenous dancers.” Kalgoorlie was thirsty for entertainment in the 19th century. “We had travelling troupes who came and made a lot of money because the miners would throw nuggets onto the stage. “We did the same, asking the prospectors to donate some nuggets.” These days the stages are no longer being flooded with gold but a rich theatre tradition is flourishing. Anchored in the middle of Bass Strait, between Victoria and Tasmania’s north-west coast, King Island is not the

Shirley directed over 16 productions. Theatre restaurant comedies by Judith Prior were most popular, particularly when timed to coincide with major racing and show events that bolster the small island’s population from time to time. Shirley would get cast from “off King Island Players’ Bad jelly The Witch. the street” and often have to use the same people in different productions place you’d expect to find a theatre company In 2013 Shirley pulled up stumps. “I worked that hard I got with a history stretching back almost a pneumonia. I was absolutely century. With a population that has exhausted.” swung between one and three With such a small population, the thousand its endured periods of club President found herself doing hibernation. The King Island Players was formed absolutely everything. She is however optimistic that the in 1923 with the play Facing the Music, King Island Players will grace their then folded in 1950, but roared back town hall again. into life in the 1960’s when a school “The money is locked down. Just teacher staged a string of musicals waiting for someone to come along to including South Pacific. do it.” The teacher could cast it because the island’s population had swelled to three thousand. Shirley Stebbings, the company’s President, recalls that disaster struck the players. “They introduced TV to King Island so they faded out,” she said. A new golden era commenced from the mid90’s, even as population of the island, mainly used for b’s Nunsense. Goldfields Repertory Clu Dairy, dwindled to just over a thousand.

www.stagewhispers.com.au Stage Whispers 35

2016 CONDA Awards JULIE Black, the director of a production of the musical Wicked that set a box-office record for Newcastle’s Civic Theatre, has won the 2016 CONDA Inc Award for Outstanding Contribution and Achievement in Newcastle Theatre. Many audience members so enjoyed the show, staged by Metropolitan Players, that they returned a second time, with most performances in the 1500-seat venue selling out. Wicked collected five CONDAs Julie Black, the winner of the CONDA Outstanding Achievement Award, City of Newcastle Drama Awards - at flanked by the two presenters, major sponsor Marty Adnum, from Out of the November 26 awards night, the Square Media, and Julio Santos, the maker of the CONDA trophies. including Best Musical Production and Director of a Musical, with Tayla Choice, who played Glinda, named as Best Female Actor in a Musical. Since 1983, Julie Black has directed all but one of Metropolitan Players’ productions, with the last eight musicals staged in the Civic Theatre. She has also directed shows for other Newcastle companies, with her premiere production of Emma Wood’s Jane Austen-related Mr Bennet’s Bride picked up for staging at Canberra’s Jane Austen Festival. The CONDA for Best Dramatic Production went to Suicide Incorporated, the Australian premiere by new company Knock and Run Theatre of an American play looking at people trying to cope with potential suicides. Writer Theo Rule’s Saviour’s Day, a musical for the Grainery Theatre Company that showed the impact on people’s lives of Cyclone Tracy, which hit Darwin on Christmas Day, 1974, collected the prize for Best New Play or Musical. Thirteen productions, staged by eight companies and a school group, collected trophies in the 22 categories. For the full list of winners visit http://bit.ly/2gvu2Lp Jenni Peters, Ian Stenlake and Kate Peters on the red carpet at the 2016 Gold Coast Area Theatre Awards.

Gold Coast Area Theatre Awards A high school has won the highest number of awards in the 2016 Gold Coast Area Theatre Awards. A production of Into the Woods by Saint Stephen’s College picked up The Golden Palm for winning seven individual categories. Judges were impressed by the set, costumes, acting and musical direction. Director Mr Bradley Chapman said “the lead actors demonstrated a level of commitment, passion and dedication to this performance, the like of which I have never before encountered in a school production.” The award for Outstanding Community Theatre Production of the year was shared between The Beenleigh Theatre Group’s Rent and The Gold Coast Little Theatre’s season of Who’s Afraid of Virginia Woolf? The National Academy of Performing Arts won five awards for its production of The Crucible in the company’s first season at their new premises in Burleigh. The Platinum Palm Award for Outstanding Service and philanthropy to the Gold Coast Theatre community went to Julanne Shearer. Amongst her many achievements was leading the fundraising and applying for the grant which helped secure the Gold Coast Little Theatre its own venue in 1980. Julanne also directing their first play in the theatre. For a full list of winners visit: http://bit.ly/2gvkgsO

36 Stage Whispers January - February 2017

2016 Bruce Awards

CLOC Musical Theatre’s 2016 production of Jesus Christ Superstar, winner of 9 Bruce Awards including Production of the Year. Photo: Ben Fon.

Awards

CLOC Musical Theatre was the big winner at the Music Theatre Guild of Victoria’s 2016 Bruce Awards, presented at Frankston Arts Centre in December. CLOC’s production of Jesus Christ Superstar took out nine awards including Production of the Year The production, directed by Shaun Kingma, was set against a postindustrial landscape of fractured metal and frightened people. Blogger Simon Parris wrote that the production was so good that “the raw intensity from the actors (was), at times, almost painful to watch.” This was helped by a “darkly dangerous looking set” and lighting that “created walls of light, dappled texture and also inky blackness from which lepers, traders and solemn priests appear.” OCPAC’s Catch Me If You Can received five awards, Windmill’s The Little Mermaid took out three awards, while Footlight Productions’ Mary Poppins scored 2 awards. The Edith Harhhy Award went to Paul Denham, the Musicians Award was received jointly by Brian Davis and Sharon Leppard, while Life Membership was awarded to Dorothy Parker. There were 63 Open Section Productions in 2016. The 2017 Music Theatre Guild awards ceremony will take place in Bendigo. For a full list of winners visit http://bit.ly/2gqSqzy

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Seasons 2017

Emily McKenzie as Glinda in CLOC Musical Theatre’s Wicked. Photo: Ben Fon.

Community Theatre 2017 If Elphaba and Galinda didn’t defy gravity at your local musical theatre company in 2016, they’re more than likely to land in your part of Oz in 2017, with Wicked set to be the most performed musical on the Community Theatre circuit. Demand for the lavish sets, which have already been created for the mega-musical, exceeds their availability. Community Theatre companies, large and small, will perform 38 Stage Whispers January - February 2017

hundreds of plays and musicals across Australasia in 2017, in venues ranging from large modern commercial venues to school halls, club auditoriums, and theatres recycled from any number of former uses. If it’s not the witches visiting your local stage, chances are it will be another pair of leading ladies, merry murderesses Roxie and Velma, with the rights for Chicago once again available.

Barricades are being erected across Australia, with the return to the community theatre circuit of Les Misérables, following its recent professional revival. Of the latest musicals available for performance, 9 to 5 The Musical is set to be seen in most states after having its Australian Premiere late in 2016, while Heathers The Musical is proving popular with companies looking for a smaller scale show, following its success at the Hayes Theatre Co. Across the Tasman, the consortium production of Mary Poppins, which began in 2016, continues across the country through 2017 and into 2018. The first community theatre production of Priscilla Queen of the Desert is also getting under way. Beyond these hits, audiences can look forward to a broad repertoire including classic and contemporary musicals. On the drama front, local comedy Australia Day by Jonathan Biggins has emerged as front-runner for the most produced show in 2017. Beyond that, the repertoire of plays being presented is as diverse as the companies and their audiences. Australian plays feature prominently, with various David Williamson plays leading the way, but there’s quite a range of interesting and challenging new Australian works. Many companies know what guarantees maximum bums-onseats. For many it’s thrillers, murder mysteries or whodunnits, while other companies cater to their audiences’ predilection for farce and British comedy. Hearty congratulations to those groups who use these productions to support more adventurous and financially risky projects. We hope that this feature helps you to map out an exciting year of theatergoing, and perhaps set your sights on a production you would like to audition for. (Continued on page 41)

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40 Stage Whispers January - February 2017

(Continued from page 38)

Victoria CLOC: Les Misérables (May), A Chorus Line (Oct). Babirra Music Theatre: Chitty Chitty Bang Bang (Jun), Thoroughly Modern Millie (Oct).

Seasons 2017 Peridot Theatre Inc: The 39 Steps (Feb), The Female of the Species (Jun), Life After George (Aug), Bloody Murder (Nov/ Dec).

Encore Theatre Company Inc: Rumplestiltskin (Jan), Gilbert and Sullivan Opera Victoria: The Novello Years (Feb), Shakespeare in Saigon (Mar/Apr), The Housekeeper (Jul), Iolanthe (May), A Song to Sing O! (July), The Pirates of Cactus Flower (Oct). Penzance (Oct). Lilydale Athenæum Theatre Company Inc: Absent Friends Fab Nobs Theatre: 3 Little Pigs The Musical (Jan), 9 to 5 The (Mar), One Flew Over the Cuckoo’s Nest (May/Jun), High Musical (April), Shrek The Musical Jr (July), Chicago (Nov). Society (Aug/Sep), Six Dance Lessons in Six Weeks (Nov). Latrobe Theatre Company: Oliver! (Jul/Aug). Sherbrooke Theatre Company Inc: Steel Magnolias (Mar/ PLOS Musical Productions: Wicked (Jan), 9 to 5 (July). Apr). Catchment Players of Darebin: High School Musical Jr (Apr). The 1812 Theatre: Steptoe and Son (Feb/Mar), Strands (Apr/ May), Beyond Reasonable Doubt (May/Jun), Last of the PEP Productions: Is There Life After High School (Apr), Summer Wine (Aug), Never the Sinner (Oct), Nunsense Caravan (Aug), Reefer Madness (Oct/Nov). (Nov/Dec). SPX Waterdale Players: A Midsummer Night’s Dream (Feb/ Essendon Theatre Company: Madagascar (Mar/Apr), a Mar). pantomime (Jul), Baby with the Bathwater (Sep), Windmill Theatre Company: Once Upon A Time … (Jan), Unnecessary Farce (Nov/Dec). Chicago (June). Beaumaris Theatre Inc: A Chorus Line (Mar). Cardinia Performing Arts Co: The Wizard of Oz (Feb/Mar). Gemco Players: Macbeth (Mar). NOVA Music Theatre: Godspell (May), Les Misérables (Oct). Eltham Little Theatre: A Midsummer Night’s Dream (Feb/ Aspect Theatre Inc: Into The Woods. Mar), The Freedom of the City (May), Disney Beauty and the MLOC Productions: Footloose (May), Shout! (Oct). Beast Jr (Jul), It’s A Wonderful Life (Sep), Murder’s in the Heir (Nov/Dec). SLAMS Music Theatre Company: Curtains (Mar). Panorama Theatre Co: Seussical (Apr) Altona City Theatre: Heathers (Jan). Heidelberg Theatre Co: Australia Day (Mar/Apr), Pride and Prejudice (Apr/May), All My Sons (Jul), The Club (Sep), Blood Brothers (Nov/Dec).

The Basin Theatre Group: Outside Edge (Feb/Mar), Forget Me Knot (May/Jun), A Happy and Holy Occasion (Aug/Sep), Australia Day (Nov/Dec). Regional Victoria

Geelong Repertory Theatre Company: Quartet (Feb), The The Mount Players: Little Gem (Feb/Mar), True West (May/ Jun), The Full Monty (Aug/Sep), Present Laughter (Nov/Dec). Savages of Wirramai (Apr/May), Pygmalion (Jul), Exit Laughing (Sep), The Butler Did It (Nov/Dec). Brighton Theatre Company: Face to Face (Feb/Mar), Hats Off (May/Jun), The Garden of Granddaughters (Aug/Sep), The Return (Nov), BTC Inaugural Youth Production (Dec). Mordialloc Theatre Company Inc: Outside Mullingar (Feb/ Mar), The One Day of the Year (Apr/May), Australia Day (Jun/Jul), Equally Divided (Sep), Leading Ladies (Nov).

Footlight Productions (Geelong): Wicked (Jan).

Off The Leash Productions: Checklist for an Armed Robber (Apr/May), Tick, Tick, Boom! (Jul), The Laramie Project (Nov). BLOC Music Theatre (Ballarat): Wicked (May).

Frankston Theatre Group: The Importance of Being Ernest (Mar/Apr).

CenterStage Geelong: Chitty Chitty Bang Bang (Mar), Oliver! (Jul).

Strathmore Theatrical Arts Group (STAG): Who’s Afraid of Virginia Woolf? (Mar), The Dixie Swim Club (May/Jun), The Female of the Species (Aug), Face to Face (Nov).

Wangaratta Players: Company (Sep).

Malvern Theatre Company Inc: Counting Sparrows (Feb/ Mar), High Society (Apr/May), The Memory of Water (Jun/ Jul), Brief Encounter / We Were Dancing (Aug/Sep), Twentieth Century (Oct/Nov). Williamstown Little Theatre: Bad Jews (Feb), When I Was Five (Apr/May), Vincent in Brixton (Jun/Jul), The 39 Steps (Nov/Dec).

Wonthaggi Theatrical Group: Miss Saigon (May / Jun), Chicago (Aug / Sep). Bendigo Theatre Company: Aladdin (Jan). Benalla Theatre Company: Anything Goes (Jul/Aug). Shepparton Arts Theatre Group: Australia Day (Jan / Feb), Ordinary Days (Mar), Calendar Girls (Sep). Mansfield Musical & Dramatic Society (MMuDS): Jekyll & Hyde - the musical (Nov/Dec). (Continued on page 42) www.stagewhispers.com.au Stage Whispers 41

Seasons 2017

The Guild Theatre presents The Little Foxes by Lillian Hellman at their theatre in Walz Street, Rockdale, from February 17 to March 18.

Hornsby Musical Society: How to Succeed In Business Without Really Trying (May). Blue Mountains Musical Society: Jesus Christ Superstar (May), The Little Mermaid (Oct/Nov). Hills Musical Theatre Company: Bugsy Malone (May), Godspell (Nov). Holroyd Musical and Dramatic Society: The Drowsy Chaperone (Mar/Apr). Rockdale Musical Society: The King and I (Mar), Rent (Jun), Dreamgirls (Sep). Canterbury Theatre Guild: 9 to 5 The Musical (July). Berowra Musical Society: H.M.S. Pinafore (May/Jun). Ashfield Musical Society: Chicago (May). Gilbert & Sullivan Opera Sydney: The Pirates of Penzance (Sep). Dural Musical Society Inc: Oliver! (May), The Addams Family (Oct). Sydney Youth Musical Theatre: Spamalot (Jul). Campbelltown Theatre Group: 12 Angry Men (Mar), The Wedding Singer (July), Lend Me A Tenor (Oct). Castle Hill Players: Calendar Girls (Feb), The Book of Everything (Mar/Apr), Perfect Wedding (May/Jun), The Women at Lockerbie (Jul/Aug), Ladies in Lavender (Sep/ Oct), Wanted- One Body (Nov/Dec).

(Continued from page 41)

New South Wales Miranda Musical Society: Wicked (Mar 2017), Heathers The Musical (Jun), Jaques Brel is Alive and Well and Living in Paris (Aug at Parramatta and Mittagong), Hello, Dolly! (Sep). Willoughby Theatre Company: Wicked (May/Jun), The Magic of the Musicals - 60th Anniversary Concert (July), Chicago (Oct). Packemin Productions: Cats - Youth Prod (Jan). Engadine Musical Society: Grease (May), Shrek The Musical Jr (Aug), Chicago (Oct).

Liverpool Performing Arts Ensemble: Simpson J. 202 (May) Daylight Savings (Oct). The Blackout Theatre: Dogfight (Feb). The Theatre On Chester (Epping): Daylight Saving (Apr/ May), The 39 Steps (Aug), Rumors (Nov/Dec). Pymble Players: Visiting Mr Green (Feb/Mar), Australia Day (May), An Inspector Calls (Jul/Aug), Calendar Girls (Oct), The Magic Finger (Nov/Dec). Guild Theatre, Rockdale: Little Foxes (Feb/Mar), I Hate Hamlet (May/Jun), The Rose Tattoo (Aug/Sep), Boeing Boeing (Oct/Nov). Hunters Hill Theatre (Now performing at Hunters Hill Town Hall): Travels With My Aunt (Mar/Apr), The Murder Room (Jun/Jul), A Letter From The General (Sep), Moon Over Buffalo (Dec).

Bankstown Theatre Company: The Bold, The Young and The Murdered (Mar), Oliver! (Jul), Monty Python’s Spamalot Genesian Theatre: Much Ado About Nothing (Jan/Feb), (Nov) Under Milk Wood (Mar/Apr), A Murder is Announced (May/ Jun), Emma (Jul/Aug), Figaro (Sep/Oct), Bloody Murder (Oct/ EUCMS (Eastwood): Annie Get Your Gun (May). Dec), Travelling North (Feb/Mar 2018). Manly Musical Society: Sweeney Todd (May), Wicked (Dec). Arts Theatre Cronulla: Butterflies are Free (Feb/Mar), Other Chatswood Musical Society: It Shoulda Been You Desert Cities (May/Jun), Shady Business (Aug/Sep), Wait Australian Premiere (Mar/Apr) Until Dark (Oct-Dec). NUCMS: Sullivan & Gilbert - including The Zoo by Sullivan Sutherland Theatre Company: Bloom (Mar), The Woman in and Rowe (May/Jun), A New Brain (Oct/Nov). Black (May), A Good Man (Jul/Aug), The Worst Wedding Rockdale Opera Company: Gala Fundraising Concert with Ever (Nov). José Carbó and Emma Matthews (Apr), The Gondoliers Penrith Musical Comedy Company: Chicago (May). (Jun/Jul), Il Campanello and Suor Angelica (Nov). The Regals Musical Society: 42nd Street (May), Catch Me If You Can (Oct). 42 Stage Whispers January - February 2017

(Continued on page 45)

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44 Stage Whispers January - February 2017

Gosford Musical Society’s The Addams Family.

Seasons 2017

(Continued from page 42)

Elanora Players: The Memory of Water (Ap).

NSW North Coast

Lane Cove Theatre Company: Away (May), Holding The Man (Jul/Aug), Beauty and the Beast - children’s musical (Nov/Dec).

Ballina Players: Shrek Jr (Jan), Blythe Spirit (Mar/Ap), Joseph and the Amazing Technicolour Dreamcoat (Jun/Jul), The Marvellous Wonderettes (Sep), Mary Poppins (Nov/Dec), The Little Mermaid (Jan 2018).

Henry Lawson Theatre (Werrington): Calendar Girls (Feb), Dad’s Army (May).

Coffs Harbour Musical Comedy Company: Wicked (May), The Sound of Music (Nov).

Picton Theatre Group: Ali Baba & the 40 Thieves (Jan).

Murwillumbah Theatre Company: The Real Inspector Hound (Mar/Apr), Travelling North (May/Jun), Pantomime (Oct).

Glenbrook Players: One Flew Over The Cuckoo’s Nest. Richmond Players: Gaslight (May), Disney’s Beauty and the Beast (Aug), The Fury of Mungo Fogg (Nov / Dec). Cumberland Gang Show (Scouts and Guides): Live Laugh Smile (Jul). NSW Central Coast

Players Theatre, Port Macquarie: Puss in Boots (Jan), Jack The Ripper (Mar), Into the Woods (May/Jun), One Act Play Festival (Jun), The Vicar of Dibley 2 (Jul), Five Women Wearing the Same Dress (Nov). CHATS Productions Inc (Coffs Harbour): Terry Pratchett’s Wyrd Sisters (Apr), Legally Blonde Jr (May), Curtain Up (Oct/ Nov).

Wyong Musical Theatre: Disney’s Camp Rock The Musical (Apr), Sweet Charity (May).

NSW South Coast and Southern Highlands

Gosford Musical Society: Peter Pan (Jan), Evita (Mar), Bring it On (Jul), Young Frankenstein (Jul/Aug), Chicago (Oct/ Nov).

Nowra Players: Uncle Vanya (Mar), Calendar Girls (May/Jun), Song Contest - The Almost Eurovision Experience (Aug / Sep), Vicar of Dibley (Nov/Dec).

Woy Woy Little Theatre: The Laramie Project (Feb), When Dad Married Fury (Mar), Rumors (May), A Murder is Announced (Aug), The Anniversary (Oct/Nov).

Roo Theatre Co (Shellharbour): Shrek The Musical Jr (Jan), Chess: in Concert (Feb), Farndale Murder Mystery (Mar/ Apr), Our Country’s Good (May), Chitty Chitty Bang Bang (Jul/Aug), One Flew Over The Cuckoo’s Nest (Sep).

Coast Theatre Company (Wyong Drama Group): The Vicar of Dibley (Mar).

(Continued on page 46) www.stagewhispers.com.au Stage Whispers 45

Seasons 2017 (Continued from page 45)

(Jul), Love’s Labour’s Lost (Aug), The Diary of Anne Frank (Sep/Oct). Metropolitan Players: Les Misérables (Aug).

Arcadians Theatre Group (Corrimal, Wollongong): The Drowsy Chaperone (Mar), The Wizard of Oz (May), First Date (Jun), Wicked (Aug), Disney’s High School Musical Jr (Sep), Dogfight (Nov).

Newcastle Theatre Company: Laughter on the 23rd Floor (Jan/Feb), Picnic (Mar), Blood Brothers (Apr/May), A Little Murder Never Hurt Anyone (Jun), The Sea (Jul), Inherit the Wind (Aug/Sep), Love’s Labour’s Lost (Oct), Relative Values (Nov/Dec).

Albatross Musical Theatre Company (Nowra): The Great Australian Rock Musical (Jul), Disney’s The Little Mermaid (Nov).

Opera Hunter: Don Giovanni (Jun). Pantseat Productions: Disney’s High School Musical 2 Jr (Jan), Rent (Jul).

Pigs Fly Productions (Mittagong): The Vagina Monologues (Sep).

Pencil Case Productions: Bed (Feb).

Spectrum Theatre Group (Merimbula): Sordid Lives (May/ June)

Tantrum Youth Arts: Mapping the Lake (Apr), Home (Oct), Hissyfest 2017 (Nov).

Cooma Little Theatre: All Shook Up (Mar/Apr), Knickers! (Oct/Nov).

Theatre on Brunker: Queen of Mars (Mar/Apr), Chicago, with Novocastrian Players (Jun), Roman and Jules (Sep/Oct).

Newcastle and Hunter Region Hunter Drama: Lord of the Flies (March), Seussical KIDS (April), LOL Fest (May), Singin’ in the Rain Jr (July), Secret Project (July), Rent (Oct/Nov). Knock and Run: Grace (Jun/Jul), The Fix (Oct). Maitland Musical Society: Dr Dolittle (Apr), Carousel (Sep). Maitland Repertory Theatre: Strangers on a Train (Feb/ Mar), Don’t Dress for Dinner (Apr/May), Peter Pan Arts Theatre Cronulla’s 2016 production of My Wonderful Day by Alan Ayckbourn.

46 Stage Whispers January - February 2017

Stooged Theatre: Neighbourhood Watch (Mar).

Two Tall Theatre: Dropped (Mar), The Age of Consent (Jul), Death of a Salesman (Sep). Young People’s Theatre: The Crucible (Feb), Snugglepot & Cuddlepie (Apr/May), You’re a Good Man, Charlie Brown (Jun), Cats (Abridged) (Jul/Aug), G2K Rodgers and Hammerstein’s Cinderella (Sep/Oct), Disney’s The Jungle Book KIDS (Nov).

(Continued on page 49)

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48 Stage Whispers January - February 2017

(Continued from page 46)

Regional NSW Orange Theatre Company: Wicked. Tamworth Dramatic Society: Geoffrey (Mar). Lithgow Musical Society: The Pirates of Penzance (May), Mary Poppins (Nov/Dec).

Seasons 2017 University of Adelaide Theatre Guild: The Jew of Malta playreading (Mar), Medea (Apr), Henry V (May), Three Tall Women (Aug), Lettice & Lovage (Oct). Marie Clark Musical Theatre: Jekyll & Hyde (May/Jun).

Lithgow Theatre Group: Australia Day (Mar), Lucy in the Sky Northern Light Theatre Company: The Pajama Game (Mar/ Apr). and Siblings (May). Armidale Drama and Musical Society: Edge of the World - a South Coast Choral and Arts Society: Sweeney Todd (May). new original work (Mar/Apr), Spamalot (Jun/Jul), Proof (Oct).

Gilbert & Sullivan Society of SA: Mame (Apr/May), Les Misérables (Sep/Oct).

High Country Theatre (Armidale): The Red Balloon (May). Albury Wodonga Theatre Company: Wicked. Muswellbrook Amateur Theatrical Society: Whatever Gets You Through The Night - Premiere of new Ausralian comedy (Mar/Apr), Song Contest: The Almost Eurovision Experience (Oct). Carillon Theatrical Society (Bathurst): Xanadu (May). GRAPA (Griffith): Galah (Feb). Singleton Theatrical Society: Oliver! (Jun). South Australia Adelaide Repertory Theatre: The Diary of Anne Frank (Apr), The Psychic (Jun/Jul), Our Boys (Aug/Sep), Palace of Varieties (Nov). Adelaide Youth Theatre: 13 The Musical (Mar), Disney’s Peter Pan Jr (Apr), How to Succeed in Business Without Really Trying (Sep), Elf Jr The Musical (Dec). Barossa Players: Playing Sinatra (Apr), Brilliant Lies (Jul). Blue Sky Theatre: Sense & Sensibility in the Garden (Jan). Davine Interventionz: Violet: A Musical (Mar). Galleon Theatre Company: Let The Sunshine (May), Season’s Greetings (Nov). Hills Youth Theatre: Oliver! (Jan). The Hills Musical Company: Aida (May). Independent Theatre: Before the Party (Apr), Amadeus (Jun), Cry God for Harry (Aug), Brideshead Revisited (Nov).

A.C.T. Free-Rain Theatre Company: Les Misérables (Apr). Queanbeyan Players: South Pacific (Jun), Guys and Dolls (Nov). Canberra Rep: Wait Until Dark (Feb/Mar), Trelawney of the ‘WELLS’ (Mar/Apr), A View From The Bridge (May), The 39 Steps (Jun/Jul), Neighbourhood Watch (Aug), Australia Day (Nov/Dec), Oh, What a Lovely War! (Feb/Mar 2018). SUPA Productions: Avenue Q (Apr/May). Child Players: The Wizard of Oz (Jan), Charlie and the Chocolate Factory (Jul). Canberra Philharmonic Society: Chicago (Mar). Queensland Savoyards: Spotlight on Broadway (Apr), The King and I (Jun/Jul), The Producers (Sep/Oct). PRIMA: 25th Annual Putnam County Spelling Bee (Apr), 90’s Theatre Restaurant (Jun/Jul), Monty Python’s Spamalot (Oct). Queensland Musical Theatre: Miss Saigon (Jun), Cinderella (Nov). Ipswich Musical Theatre: Les Misérables (Sep). Sunnybank Theatre Group: Secret Bridesmaids Business (Feb), Third Week in August (Mar/Apr), Twelve Angry Men (May/Jun), Keeping up Appearances (Jul), The 39 Steps (Sep), Avenue Q (Nov).

Red Phoenix Theatre: Two Brothers (May), The White House Brisbane Arts Theatre: Of Mice and Men (Jan/Feb), The 39 Murder Case (Aug), The Conspirators (Nov). Steps (Feb/Apr), Minefields and Miniskirts (Apr), Avenue Q St Jude’s Players: M. Butterfly (May), Rose’s Dilemma (Aug), (May), The Woman In Black (Jun/Jul), Sweeney Todd (Jul/ The Importance of Being Earnest (Nov). Sep), Lords and Ladies (Sep/Oct), A Funny Thing Happened On The Way To The Forum (Nov/Dec). Children’s Theatre Tea Tree Players: Twist (Feb), Laying the Ghost (Mar), It Runs in the Family (May), The Cemetery Club (Aug), No Sex Charlotte’s Web (Jan), Snuglepot and Cuddlepie (Jan/Mar), Charlie and the Chocolate Factory (Apr/Jun), One Hundred Please, We’re British (Oct). and One Dalmations (Jun/Sep), The Little Mermaid (Sep/ The Metropolitan Musical Theatre Company: 9 to 5 (May) Oct), Robin Hood (Oct-Dec), Beauty and the Beast (Dec). Therry Dramatic Society: My Friend Miss Flint (Feb), Fiddler Villanova Players: Calendar Girls (Feb/Mar), Kenneth on the Roof (Jun), Jane Eyre (Aug), It Could Be Any One of Graeme’s The Wind in the Willows (Jun), Honour (Aug/Sep), Us (Nov). Much Ado About Nothing (Nov/Dec). The Stirling Players: Forget Me Not (Feb/Mar), The Clean (Continued on page 50) House (Sep/Oct). www.stagewhispers.com.au Stage Whispers 49

Seasons 2017 Bankstown Theatre Company’s Annie. Photo: Ray Parkinson.

(Continued from page 49)

Mousetrap Theatre Company: Siren (Feb/Mar), Arsenic and Old Lace (Apr/May), A Midsummer Night’s Dream (Jun), Murrumba Drama Festival (Jun), Joseph and his Technicolor Dreamcoat (Jul/Aug), The 39 Steps (Sep/Oct), Shall We Dance (Cabaret) (Nov).

Ipswich Little Theatre: An Inspector Calls (Mar), Last of the Red Hot Lovers (May), The Sum of Us (Jul), Stage Directions (Sep/Oct), 5 Lesbians Eating a Quiche (Nov/Dec). Javeenbah Theatre, Nerang: Night Mother (Jan/Feb), Sweet Road (Mar/Apr), The Kingfisher (May/June), Billy Liar (Jul/ Aug), I Remember You (Sep), Obsession (Nov/Dec).

Nash Theatre: The Philadelphia Story (Feb/Mar), The Taming Top Hat Productions: Sunbeam. of the Shrew (May), Lady Windemere’s Fan (Jul), La Cage Spotlight Theatrical Company, Benowa: Rapunzel - a hairy Aux Folles (Sep/Oct), Calendar Girls. (Nov/Dec) fairy story (Jan), Saturday Night Fever The Musical (Feb/ Centenary Theatre Group: Murderers (Mar), Run for your Mar), Cabaret Season 1 (Mar), Boyband The Musical (Mar/ Wife (May), The Spring Heeled Terror of Stepney Green (Jul/ Apr) Jekyll and Hyde The Musical (May), Cabaret Season 2 Aug), Good Grief (Sep), There Goes The Bride (Nov). (June), Planet of the Nebulons (Jun/Jul), 9 to 5 The Musical Phoenix Ensemble: Dirty Rotten Scoundrels (Feb), Annie (Jul/Aug), Cabaret Season 3 (Aug), Take A Chance On Me (Apr/May), La Cage Aux Folles (July/Aug), Heathers The (Oct/Nov), Les Misérables (Oct/Nov) Cabaret Season 4 (Nov). Musical (Oct/Nov). Double Mask Youth Theatre: Sunbeam Island Automotive Tweed Theatre Company: Broadway Blockbusters In Concert (Sep), Frankenstein (Dec). (Apr), Australia Day (July). Burdekin Singers: The Phantom of the Opera (Feb). Beenleigh Theatre Group: Blood Brothers (Feb), Cosi (Apr/ Coolum Theatre Players: Sylvia (Mar), Beauty and the Beast May), City of Angels (Jun/Jul), Festival of One Act Plays panto (Jun/Jul), Spamalot (Nov). (Aug), Anything Goes (Nov). Noosa Arts Theatre: Cinderella (Jan), A Steady Rain/God of Gold Coast Little Theatre: Back to the 80’s (Feb/Mar), Short Carnage (Feb), Oliver! (Apr), Shorts on Stage (May), Oneand Dangerous - One Act Play season (Mar), Crown Act Play Festival (Jul), Jack of Hearts (Sep), DooWop Drags Matrimonial (May), 70 Girls 70 (July), Lady Windermere’s (Sep/Oct), Shakespeare Festival (Oct), Lipstick Dreams (Nov). Fan (Sep), Little Shop of Horrors (Nov/Dec). Rondo Theatre/Cairns Little Theatre: Don’t Dress for Dinner Tugun Theatre Company: Wait Until Dark (Feb), Sylvia (Feb/Mar), One for the Road (Apr), This Way Up (Jun), Toy (May), The Uninvited (Aug), The Naked Truth (Nov). (Continued on page 53)

50 Stage Whispers January - February 2017

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52 Stage Whispers January - February 2017

Seasons 2017

Gilbert & Sullivan Society of SA’s 2016 production of Thoroughly Modern Millie. Photo: David Haddy.

Western Australia

(Continued from page 50)

Symphony (Aug), Last Cab to Darwin (Oct), Beauty and the Beast (Dec).

Roleystone Theatre: Calvin Berger (Mar), Oklahoma! (May), Disney’s High School Musical (Jul), Macbeth (Sep), Mackay Musical Comedy Players: Wicked, Eurobeat - Almost Storytime in the Hills (Oct), Terry Pratchett’s Mort (Nov). Eurovision. Garrick Theatre: Cinderella (Mar/Apr), Life After George Gateway Theatre Productions: The Wizard of Oz (Apr). Empire Theatre Toowoomba: Wicked (Mar/Apr). Toowoomba Repertory Theatre: Australia Day (Feb/Mar), The One Day of the Year (Apr/May), Visitors (July), Carnival Hour Plays (Sep), Don’t Dress for Dinner (Nov).

(May/Jun), Relatively Speaking (Jul/Aug), The Wee Small Hours (Sep/Oct), Cocky’s Crossing (Nov/Dec). KADS: Snakes and Ladders (Feb/Mar), Delius (Apr/May), Ghostly Plays (Jul/Aug), Memory of Water (Nov/Dec).

Stirling Players: Midsummer Mix (Jan), That Face (Mar/Apr), Shoebox Theatre, Toowoomba: 25 Annual Putnum County Disney’s Mulan (May/Jun), What Belongs to You (Jul/Aug), Playing the Fool (Sep), Love & Mistletoe (Nov/Dec). Spelling Bee. th

Toowoomba Chorale: Sweeney Todd (late 2017). Toowoomba Philharmonic Society: Golden Moments of Opera (Apr), Alexander’s Feast (Jul), Magical Moments of Disney (Aug), In the Spotlight - Musical Greats in Concert (Sep). North Queensland Opera & Music Theatre (Townsville): Joseph and the Amazing Technicolor Dreamcoat (Mar/Apr). Tropical Arts (Cairns): Tropical Arts 10th Anniversary Showcase (Jul), Shakespeare at the Tanks (Oct).

Murray Music and Drama (Pinjarra): Annie Get Your Gun (May).

Darlington Theatre Players: Gentleman Incorporated (Feb/ Mar), Who’s Afraid of Virginia Woolf (Apr/May), Out of Order (Jun/Jul), One Act Season (Sep), Hills Festival of Theatre (Sep), The Pirates of Penzance (Nov/Dec). Limelight Theatre: Moonlight & Magnolias (Feb/Mar), It Runs In the Family (Apr), Grease - with Mater Dei College (Jun), Let the Sunshine (Aug), BFG - The Big Friendly Giant (Oct), Pygmalion (Nov/Dec). Primadonna Productions: Shrek Jnr (Feb). Irish Theatre Players: The Real McCoy (Mar), Someone Who’ll Watch Over Me (Jun), One Act Season (Aug), Factory Girls (Nov). (Continued on page 54) www.stagewhispers.com.au Stage Whispers 53

(Continued from page 53) Centrestage Theatre Company, Orewa: The Witches of APAN: How to Co-Host a Murder (Feb), Musicals in Concert Eastwick, Blood Brothers. (May), Disney’s Beauty and the Beast (Aug/Sep). New Plymouth Operatic Society: Mary Poppins (Jul). Old Mill Theatre: Fat Pig (Feb), Design for Living (Apr), Variety Theatre Ashburton: The Addams Family (May). Cloudstreet (Jun/Jul), Marry My Son (Aug), The East Otago Musical Theatre: Anything Goes (Apr) Nightwatchman (Oct), Camelot (Dec). North Canterbury Musical Society: The Sound of Music Melville Theatre Company: Anybody for Murder (Feb), The (Apr/May) Mozart Factor (Apr), The Secret Garden (Jul), Stop Kiss

(Sep), Jumpy (Nov/Dec).

Whangarei Theatre Company: The Wizard of Oz (Apr/May), Koorliny Arts Centre: Chicago (Feb), The Witches (May), City The Opposite Sex (Sep/Oct), The Addams Family (Nov). of Angels (Aug/Sep), Stepping Out (Nov). Tauranga Musical Theatre Inc: Shrek Jr The Musical (Jan), Rock of Ages (Apr). Phoenix Theatre/Dark Psychic Productions: Grease (Jan), Class of 77 (May), Confession (Jun), Honk (Jul), Carrie: The Musical (Oct), Alice @ Wonderland (Dec).

West Otago Theatrical Society: The Vicar of Dibley (Jun).

Black Box Creations: Camp Rock (Feb).

Rotorua Musical Theatre: Sweeney Todd (Apr).

Stage Left Theatre (Kalgoorlie): Short Stuff (Feb), A Man From Earth (Mar), Fried Green Tomatoes (Jun/Jul), Kingswood Country (Aug), Aladdin (Nov). Tasmania Gilbert and Sullivan Society of Tasmania: Trial by Jury (Jan). Hobart Repertory Theatre Society: The Hound of the Baskervilles (Feb/Mar), After Dinner (May), God of Carnage (Jul), Educating Rita (Sep), Playing the Palace (Nov). Launceston Musical Society: 9 to 5 The Musical (June). Devonport Choral Society Inc: Whistle Down The Wind (May). Burnie Musical Society: 9 to 5 The Musical. Launceston Players: One Flew Over The Cuckoo’s Nest (May). Norfolk Island The 20th Norfolk Island Theatre Festival. Norfolk Amateur Theatrical Society, Inc. (NATS). Oct 3 - 7. The Festival is open to all groups of amateur players who must perform a play of any genre between 25 - 45 minutes duration. The Best Production will take home the Trans-Tasman Trophy and a cheque for $1,000.00. Please email theatre@norfolk.nf for details. New Zealand North Shore Music Theatre: Jekyll & Hyde (Nov).

Cambridge Repertory: The Time of My Life (Mar). Musikmakers, Hamilton: Seussical Jr (Jan), Legally Blonde (May). Napier Operatic: Mary Poppins (Mar). Blenheim Musical Theatre: Annie (May), Mary Poppins (2018). Butterfly Creek Theatre Troupe: The Merchant of Venice (Feb/Mar). Detour Theatre, Tauranga: The Wedding of the Century (Mar/Apr), Murder on the Nile (Jun/Jul), The Comedy of Errors (Sep), Exit Laughing (Nov/Dec). Wellington G & S Light Opera: Iolanthe (Jun/Jul). Dolphin Theatre: Spirit Level (Mar). Ellerslie Theatrical Society: Boys at the Beach (Mar), Festen (Jun), The 39 Steps (Nov). Elmwood Players: All This Intimacy (Apr), The Thrill of Love (Jun). Hawera Repertory Society: Disney’s Beauty and the Beast (May), Bombshells (Nov). Howick Little Theatre: The Pink Hammer (Feb/Mar), Our Man in Havana (May), The Great Gatsby (Jul), Dial M For Murder (Sep), Book Ends (Nov). Stagecraft Theatre (Wellington): The Merry Wives of Windsor (Mar), Daughters of Heaven (May), Lord of the Flies (Jun/Jul), Wonderland (Aug/Sep), Mr Foote’s Other Leg (Nov). Company Theatre (Auckland): Weed (Mar/Apr).

Abbey Musical Theatre: Blood Brothers (Mar).

Mairangi Players: The Jungle Book (Apr), Lady Windermere’s Fan (Jun/Jul), Dracula (Sep), James and the Giant Peach (Nov).

Thames Music and Drama: An Evening of Gilbert and Sullivan (Mar), Beauty and the Beast (Jun).

Wellington Repertory Theatre: Play On (Apr), Pennsula (Aug), Nell Gwynn (Sep).

Taieri Musical Society (Dunedin): Mary Poppins (May).

Showbiz Christchurch: Priscillla Queen of the Desert (Mar), Titirangi Theatre: The Vicar of Dibley (Mar/Apr). A Season of Rodgers and Hammerstein Classics (May), Sister Shoreside Theatre (Auckland): Love’s Labour’s Lost and A Midsummer Night’s Dream (Jan /Feb - Auckland Act: The Musical (Sep). Shakespeare in the Park). Manukau Performing Arts: In The Heights (July).

54 Stage Whispers January - February 2017

On Stage A.C.T. The Wizard of Oz. Child Players. Jan 18 - 21. Theatre 3, Acton. (02) 6257 1950. The Listies 6D. Jan 12 - 14. The Q - Queanbeyan Performing Arts Centre. (02) 6285 6290.

A.C.T. & New South Wales

Online extras! What is A Night At The Musicals? To find out, simply scan the QR code or visit https://youtu.be/wQJyVp4IO6Q

Storytime Ballet - The Nutcracker. The Australian Ballet. Jan 21 - 24. The Playhouse, Canberra Theatre Centre. (02) 6275 2700. Pip Utton: Churchill. Imagination Workshop. Feb 7 9. The Street. (02) 6247 1223. Pip Utton: Maggie. Imagination Workshop. Feb 10 - 12. The Street. (02) 6247 1223. Always… Patsy Cline. Created and originally directed by Ted Swindley - based on a true story. Feb 15 - 18. The Q Queanbeyan Performing Arts Centre. (02) 6285 6290. Lennon: Through A Glass Onion by John Waters and Stewart D’Arrietta. Feb 17. The Playhouse, Canberra Theatre Centre. (02) 6275 2700. Anh Do: The Happiest Refugee. Feb 18. Canberra Theatre. (02) 6275 2700. Wait Until Dark by Frederick Knott. Canberra Repertory Society. Feb 23 - Mar 11. Theatre 3. 6257 1950 (10-4 Monday to Friday). New South Wales Aladdin. Music by Alan Menken and lyrics by Howard Ashman, Tim Rice and Chad Beguelin. Book by Chad Beguelin. Disney Theatrical Productions. Continuing. Capitol Theatre, Sydney. 1300 558 878. Club Swizzle. Until Jan 29. Studio, Sydney Opera House. (02) 9250 7777. Julius Caesar and Antony and Cleopatra by William Shakespeare. Sport For Jove Sumer Season. Until Jan 29.

A Night At The Musicals starring Le Gateau Chocolat and Jonny Woo plays at Fairfax Studio, Jan 17 - 22; Jan 23 & 24 at Slide, Sydney; Jan 25 - 29 at Brisbane Powerhouse; Fringeworld, Perth Jan 31 - Feb 6. Bella Vista Farm Park, Baulkham Hills and Everglades Garden, Leura. www.sportforjove.com.au Ladies in Black. Music and Lyrics by Tim Finn. Book by Carolyn Burns (based on the

book by Madeleine St John). Queensland Theatre / Sydney Festival. Jan 3 -22. Sydney Lyrics at The Star. 1300 795 267. La Bohème by Puccini. Opera Australia. Jan 4 - Mar 24. Joan

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

Sutherland Theatre, Sydney Opera House. (02) 9250 7777. Emily Brown and the Thing. Adaptation the book written by Cressida Cowell and Illustrated by Neal Layton. Sydney Opera House / Stage Whispers 55

On Stage

New South Wales Anthropologies Imaginaires (Canada). Sydney Festival. Jan 9 - 15. The Reginald, Seymour Centre. 1300 856 876. The Season by Nathan Maynard. Tasmania Performs/ Sydney Festival. Jan 10 - 15. Drama Theatre, Sydney Opera House. (02) 9250 7777. Which Way Home by Katie Beckett. An ILBIJERRI Theatre Company production in association with Belvoir &  Sydney Festival. Jan 11 - 29. Belvoir Downstairs Theatre. (02) 8355 9341. Hakawati. Devised and directed by Wayne Harrison. National Theatre of Parramatta / Sydney Festival. Jan 11 - 21. ElPhoenician - 328 Church St, Parramatta. 1300 856 876. Home Country. Urban Theatre Projects / Sydney Festival. Jan 11 - 22. Blacktown Colo Lane Car Park

The Australian Shakespeare Company returns to Melbourne’s Royal Botanic Gardens this summer with a new production of Shakespeare’s Twelfth Night. Pictured: (clockwise from top) Kevin Hopkins as Sir Toby Belch, Claire Nicholls as Maria, Elizabeth Brennan as Voila and Hugh Sexton as Malvolio. Photo: Australian Shakespeare Company. Tall Stories. Jan 4 - 15. Playhouse, Sydney Opera House. (02) 9250 7777.

Measure for Measure by William Shakespeare. Cheek by Jowl (UK) /Pushkin Theatre Company (Russia) / Sydney Festival. Jan 7 - 11 Roslyn Packer Theatre. 1300 856 876.

Meriton Festival Village. 1300 856 876.

Deadly 60 Pole to Pole, by Steve Backshall. Andrew Kay & Assoc. Jan 6. Civic Theatre, Newcastle. (02) 4929 1977.

Speakeasy. Written and staged by Maureen O’Brien. Jan 8 & 11. The Dungeon, Adamstown (Newcastle). Shrek The Musical Jr. Book and bookings@maureen.com.au. lyrics by David Lindsay-Abaire. Cabaret. Book by Joe Music by Jeanine Tesori. Roo Masteroff, based on the play Theatre Company. Jan 7 - 14. by John Van Druten and stories Roo Theatre, 12 Addison by Christopher Isherwood. Street, Shellharbour. (02) 4297 Music by John Kander. Lyrics by 2891. Fred Ebb. David M Hawkinns in

Prize Fighter by Future D. Fidel. Belvoir. A La Boite Theatre Company & Brisbane Festival production presented in association with Sydney Festival. Jan 6 - 22. Belvoir Upstairs Theatre. (02) 8355 9341.

Imagined Touch. Jodee Mundy Collaborations / Sydney Festival. Jan 9 - 14. Carriageworks Track 8. 1300 856 876.

Babes In The Woods Australian Purity Defil’d. Written and directed by Phil Rouse, based on the Good Works of Tom Wright. Jan 6 21. www.oldfitztheatre.com

56 Stage Whispers

The Funatorium: Mad Hatter’s Tea Party. Jan 7 - 22. Studio, Sydney Opera House. (02) 9250 7777. The Fiery Maze, Tim Finn. Sydney Festival. Jan 7 - 12. Magic Mirrors Spiegeltent,

association with Hayes Theatre Co. From Jan 9. Hayes Theatre Co. (02) 8065 7337.

Cavalleria Rusticana by Mascagni and Pagliacci by Leoncavallo. Opera Australia. Opera Australia. Jan 12 - Feb 4. Joan Sutherland Theatre, Sydney Opera House. (02) 9250 7777. Tom Ballard - Boundless Plains to Share. Belvoir. Jan 13 - 15. Latenight Upstairs. (02) 8355 9341. Shrek Jr. Book and lyrics by David Lindsay-Abaire. Music by Jeanine Tesori. Ballina Players Youth Musical. Jan 13 - 22. Players Theatre, Ballina. www.ballinaplayers.com.au Circus Avalon. Jan 13. Lizotte’s, Lambton (Newcastle). (02) 4956 2066. Puss in Boots (Pantomime). The Players Theatre, Port Macquarie. Jan 13 - 22. (02) 6584 6663. Cats by Andrew Lloyd Webber. From TS Elliot’s “Old Possum’s Book of Practical Cats”. Additional lyrics Trevor Nunn and Robert Stilgoe. Packemin

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

On Stage Youth Productions. Jan 13 28. The Concourse Theatre, Chatswood. (02) 8075 8111

Disney’s High School Musical 2 Jr. Pantseat Productions. Jan 19 - 21. Civic Playhouse, Varietyville: Circus and Comedy Newcastle. (02) 4929 1977. Ich Nibber Dibber. post / Variety Show. Jan 13. The Royal Exchange, Newcastle. Sydney Festival. Jan 20 - 28. (02) 4929 4969. Campbelltown Arts Centre. 1300 856 876. Ali Baba & the 40 Thieves (Pantomime). Picton Theatre Group. Jan 14 - 28. Picton Bowling Club. 0416 212 247. You and Me and the Space Between, Terrapin Puppet Theatre / Sydney Festival. Jan 17 - 21. Everest Theatre, Seymour Centre. 1300 856 876. Relatively Speaking by Alan Ayckbourn. Jan 17 - 22. Glen Street Theatre, Belrose. (02) 9975 1455.

Mister Maker. Zodiak Kids & Live Nation. Jan 20. Civic Theatre, Newcastle. (02) 4929 1977. Lennon: Through A Glass Onion. John Waters and Stewart D’Arrietta. Jan 20. Cessnock Performing Arts Centre. (02) 4990 7134.

Disney’s Beauty and the Beast. So Popera Productions. Jan 20 - 28. Illawarra Performing Arts Centre, IMB Theatre. (02) 4224 5999.

New South Wales Theatre, 420 Kent St. Sydney. Jan 27 - Feb 25. 1300 237 217. Go Your Own Way: The Story of Christine McVie. Joan Sutherland Performing Arts Centre. Jan 20. (02) 4723 7600. La Traviata by Verdi. Opera Australia. Opera Australia. Feb 3 - Apr 1. Joan Sutherland Theatre, Sydney Opera House. (02) 9250 7777. Calendar Girls by Tim Firth. Castle Hill Players. Feb 3 - 25. Pavilion Theatre, Doran Drive, Castle Hill. (02) 9634 2929 / www.paviliontheatre.org.au The Crucible by Arthur Miller. Young People’s Theatre. Feb 4 - 18. Young People’s Theatre, Hamilton (Newcastle). (02) 4961 4895.

SHIT by Patricia Cornelius and Susie Dee. Sydney Festival. Jan Blood on the Dancefloor, 17 - 21. The Reginald, Seymour Ilbijerri Theatre Company. Jan The Little Dog Laughed by Centre. 1300 856 876. 21-25. Carriageworks Track 20. Douglas Carter-Beane. New 1300 856 876. Theatre association with the Champions. FORM Dance Sydney Gay & Lesbian Mardi rd Projects and Sydney Festival. Laughter on the 23 Floor by Jan 17 - 22. Carriageworks Neil Simon. Newcastle Theatre Gras Festival. Feb 7 - Mar 4. Bay 17, 245 Wilson St, Company. Jan 21 - Feb 4. NTC newtheatre.org.au Eveleigh. 1300 856 876.

George’s Marvellous Medicine by Roald Dahl, adapted for the stage by shake & stir theatre co. Jan 17 - 25. Playhouse, Sydney Opera House. (02) 9250 7777. Peter Pan. Music by George Stiles, Lyrics by Anthony Drewe & Book by Willis Hall based on J.M Barrie’s Original Play. Gosford Musical Society Juniors. Jan 17 - 21. Laycock Street Community Theatre, North Gosford. (02) 4323 3233. The Encounter, Sydney Festival / Complicite/Simon McBurney (UK). Jan 18 - 28. Drama Theatre, Sydney Opera House. 1300 856 876. Odd Man Out by David Williamson. Ensemble Theatre. From Jan 19. World Premiere. (02) 9929 0644.

Theatre, Lambton. (02) 4952 4958.

A Night At The Musicals starring Le Gateau Chocolat & Jonny Woo. SLIDE. Jan 23 & 24. Slide, 41 Oxford St. Darlinghurst. (02) 8915 1899. Fat Pizza vs Housos: Live. Jan 23. Lizotte’s, Lambton (Newcastle). (02) 4956 2066. I Hate You My Mother by Jeanette Cronin. Old Fitz Theatre. Jan 24 - Feb 11. www.oldfitztheatre.com Huff. Sydney Festival / Native Earth Performing Arts (Canada). Jan 24 - 28. The Reginald, Seymour Centre. 1300 856 876. Jasper Jones. Based on the novel by Craig Silvey, adapted by Kate Mulvany. Belvoir. Jan 25 - Feb 19. Belvoir Upstairs Theatre. (02) 8355 9341. Much Ado About Nothing by William Shakespeare. Genesian

Angel by Henry Naylor. Gilded Balloon Productions and Redbeard Theatre. Feb 8 - 11. Illawarra Performing Arts Centre, Bruce Gordon Theatre. (02) 4224 5999. The Judas Kiss by David Hare. Old Fitz Theatre. Feb 15 - Mar 11. www.oldfitztheatre.com Strangers on a Train by Craig Warner, from Patricia Highsmith’s novel. Maitland Repertory Theatre. Feb 15 Mar 4. Maitland Repertory Theatre. (02) 4931 2800. Visiting Mr Green by Jeff Baron. Pymble Players (comedy / drama). Feb 15 Mar 11. Pymble Players Theatre, Cnr Mona Vale Road & Bromley Ave., Pymble. (02) 9144 1523. Strangers on a Train by Craig Warner, based on the novel by Patricia Highsmith. Maitland Repertory Theatre, 244 High Street, Maitland. Feb 15 - Mar 4. (02) 4931 2800.

Chess: In Concert. Lyrics by Tim Barbu. Sydney Opera House by Rice. Music by Benny arrangement with Arts Projects Andersson and Bjorn Ulvaeus. Roo Theatre Company. Feb 17 Australia. Feb 8 - Mar 4. - 25. Roo Theatre, Studio, Sydney Opera House. Shellharbour. (02) 4297 2891. (02) 9250 7777. Dogfight. Music & Lyrics by Benj Pasck & Justin Paul, Book by Peter Duchan. Blackout Theatre Company. Feb 8 - 12. The Lendlease Darling Quarter Theatre, Sydney. www.blackouttheatre.com.au Senior Moments. Return Fire Productions. Jan 9 - 11. Riverside Theatre, Parramatta. (02) 8839 3399. Tapestry by Carol King. Vika Bull and Debra Byrne. Feb 10. Enmore Theatre. (02) 9550 3666. The Laramie Project by Moises Kaufman and the Tectonic Theatre Company. Woy Woy Little Theatre. Feb 10 - 12. Peninsula Theatre, Woy Woy. (03) 4344 4737.

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The Little Foxes by Lillian Hellman. The Guild Theatre. Feb 17 - Mar 18. The Guild Theatre, 87 Railway Street, Rockdale. (02) 9521 6358.

Butterflies are Free by Leonard Gershe. Arts Theatre Cronulla. Feb 17 - Mar 25. Arts Theatre, 6 Surf Road, Cronulla. (02) 6523 2779. Tosca by Puccini. Opera Australia. Feb 17 - Mar 31. Joan Sutherland Theatre, Sydney Opera House. Away by Michael Gow. A Sydney Theatre Company and Malthouse Theatre production. Feb 18 - Mar 25. Drama Theatre, Sydney Opera House. (02) 9250 1777.

Stage Whispers 57

On Stage Love Unspoken: Amelia Farrugia & David Hobson. Joan Sutherland Performing Arts Centre. Feb 18. (02) 4723 7600. Once Were Leaders by Max Gillies and Andrew Barker. Feb 21 - 26. Glen Street Theatre, Belrose. (02) 9975 1455. Jasper Jones. Based on the novel by Craig Silvey, adapted by Kate Mulvany. Belvoir. Feb 22 - 25. Illawarra Performing Arts Centre, IMB Theatre. (02) 4224 5999. Bed by Brendan Cowell. Pencil Case Productions. Feb 22 - 26. The Royal Exchange, Newcastle. (02) 4929 4969. Ultra Swing Lounge. Hunter Lifestyle Magazine. Feb 24 25. Civic Theatre, Newcastle. (02) 4929 1977. Richard 3 by William Shakespeare. Bell Shakespeare. Feb 25 - Apr 1. Sydney Opera House. Mark Colvin’s Kidney by Tommy Murphy. Belvoir. Feb 25 - Apr 2. Belvoir Upstairs Theatre. (02) 8355 9341. Galah by JJ Bolger. GRAPA. Feb 25 - 27. Griffith High School Hall. (02) 6963 5478. Chimerica by Lucy Kirkwood. Sydney Theatre Company. Feb 28 - Apr 1. Roslyn Packer Theatre. (02) 9250 1777. Queensland Matilda - The Musical. Adapted from Roald Dahl’s novel by Dennis Kelly, with music and lyrics by Tim Minchin. Royal Shakespeare Co. Until Jan 22. Lyric Theatre, QPAC. 136 246. Fawlty Towers by John Cleese. Michael Coppel, Philip McIntyre and Louise Withers. Until Jan 22. Playhouse, QPAC. 136 246. Bluebeard The Pantomime by Ralph Ashby. Mousetrap Theatre, Redcliffe. Jan 6 - 15. (07) 3888 3493. 58 Stage Whispers

New South Wales, Queensland & Victoria

Cinderella The Pantomime. Theatre, Southport. Feb 4 Noosa Arts Theatre. Jan 7 - 22. Mar 4. (07) 5532 2096. (07) 5449 9343. The Flick by Annie Baker. Swing On This. Concert Hall, Queensland Theatre. Feb 10 QPAC. Jan 7. 136 246. Mar 5. Cremorne Theatre, Secret Bridesmaids Business by QPAC. 1800 355 528.

The Wind in the Willows. Until Jan 28. Royal Botanic Gardens Melbourne, enter via Gate F on Birdwood Avenue. www.shakespeareaustralia.com.au / (03) 8676 7511.

Elizabeth Coleman. Sunnybank Blood Brothers by Willy Russell. Tinkerbell and the Dream Theatre Group. Feb 3 - 18. (07) Beenleigh Theatre Group. Feb Fairies. Australian Shakespeare Company. Until Jan 28. Oak 3345 3964 10 - 25. (07) 3807 3922. Lawn, Royal Botanic Gardens Rapunzel by Terri Woodfine. Saturday Night Fever. Music & Melbourne. (03) 8676 7511. Spotlight Theatrical Co., Lyrics: The Bee Gees. Book: Circus 1903. The Works Benowa. Jan 4 - 14. (07) 5539 Robert Stigwood assisted by Entertainment, Tim Lawson 4255. Bill Oaks. New Version and Simon Painter. Jan 3 - 12. Liza’s Back Is Broken by Trevor arranged and edited by Ryan Regent Theatre, Melbourne. McBride. Spotlight Theatrical Ashley. Cremorne Theatre, 1300 111 011. Co., Benowa. Feb 10 Mar 4. QPAC. Jan 17 - 22. 136 246. (07) 5539 4255. Room on the Broom. Based on Mister Maker. Concert Hall the picture book by Julia Single Asian Female by QPAC. Jan 13 - 15. 136 246. Michelle Law. La Boite. Feb 11 Donaldson and Axel Scheffler. Of Mice and Men by John - Mar 4. Roundhouse Theatre, Arts Centre Melbourne / CDP Steinbeck. Brisbane Arts Kelvin Grove. (07) 3007 8600. with Tall Stories. Jan 4 - 15. Playhouse, Arts Centre Theatre. Jan 14 - Feb 18. (07) American Idiot by Bill Joe Melbourne. 1300 182 183. 3369 2344. Armstrong. Playhouse, QPAC. Burn The Floor. Based on the Cinderella. Ballet Theatre of From Feb 23. 136 246. picture book by Julia Qld. Jan 19 - 21. Concert Hall, The Philadelphia Story by Philip Donaldson and Axel Scheffler. QPAC. 136 246. Barry. New Farm Nash Theatre. Arts Centre Melbourne / Dance The 39 Steps by Patrick Barlow. Feb 24 - Mar 18. Merthyr Rd Partners Productions. Jan 6 Brisbane Arts Theatre. Feb 25 - Uniting Church. (07) 3379 15. State Theatre, Arts Centre Apr 1. (07) 3369 2344. 4775. Melbourne. 1300 182 183. Charlotte’s Web by E.B. White/ Siren by David Williamson. Distinguished Gentlemen (but Joseph Robinette. Brisbane Arts Mousetrap Theatre, Redcliffe. really just a couple of ***ts). Theatre. Jan 3 - 14. (07) 3369 Feb 24 - Mar 11. (07) 3888 Jan 10 - 15. The Butterfly Club. 2344. 3493. thebutterflyclub.com Snugglepot and Cuddlepie by The Sleeping Beauty. Australian White Cloud: Tim Finn. By Tim Peter Combe. Brisbane Arts Ballet. Feb 24 - Mar 4. Lyric Finn and Ken Duncum. Arts Theatre. Jan 21 - Mar 25. (07) Theatre, QPAC. 136 246. Centre Melbourne. Jan 11 - 15. 3369 2344. Don’t Dress For Dinner by Marc Fairfax Studio, Arts Centre Night Mother by Marsha Melbourne. 1300 182 183. Camoletti. Rondo Theatre, Norman. Javeenbah Theatre, Cairns. Feb 24 - Mar 4. 1300 In A Deep Dark Forest. The Nerang. Jan 27 - Feb 11. (07) 855 835. Inhabitors / Arts Centre 5596 0300. Melbourne. Jan 11-15. State Victoria Ladies in Black. Music and Theatre Rehearsal Room. 1300 Kinky Boots. Music and lyrics Lyrics by Tim Finn. Book by 182 183. by Cyndi Lauper. Book by Carolyn Burns (based on the Harvey Fierstein. Ongoing. Her Women on the Verge. Based book by Madeleine St John). Majesty’s Theatre, Melbourne. on Dario Fo and Franca Rame’s Queensland Theatre. Jan 28 www.kinkybootsthemusical.com.au Monologues. Jan 11 - 15. The Feb 19. Playhouse, QPAC. Butterfly Club. 1800 355 528. Twelfth Night by William thebutterflyclub.com Dirty Rotten Scoundrels. Book Shakespeare. Australian Born Yesterday by Garson Shakespeare Company (ASC). by Jeffrey Lane. Music and Kanin. Melbourne Theatre Until Mar 4. Royal Botanic Lyrics by David Yazbeck. Company. Jan 14 - Feb 25. Gardens Melbourne enter Phoenix Ensemble, Beenleigh. Southbank Theatre, The through Observatory Gate on Feb 3 - 25. (07) 3907 3922. Sumner. (03) 8688 0800. Birdwood Avenue. Back to the 80’s by Neil www.shakespeareaustralia.com.au Gooding. Gold Coast Little / (03) 8676 7511. Just $40 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage

Victoria

La Boite’s acclaimed production of Prize Fighter by Future D. Fidel plays at Belvoir from January 6 to 22 as part of the Sydney Festival. Photo: Dylan Evans.

Online extras! The trailer for La Boite’s Prize Fighter will give you chills. Scan the QR code or visit https://youtu.be/dR7voGzIcLo A Night at the Musicals starring Le Gateau Chocolat and Jonny Woo. Arts Centre Melbourne / Strut & Fret Production House. Jan 17 - 22. Fairfax Studio, Arts Centre Melbourne. 1300 182 183. I Am My Own Wife by Doug Wright. Oriel Entertainment Group. Jan 17 - Feb 5. fortyfivedownstairs. (03) 9662 9966. The Book of Mormon. Book, Music and Lyrics by Trey Parker, Robert Lopez and Matt Stone. From Jan 18. Princess Theatre, Melbourne. BookOfMormonMusical.com.au

The Butterfly Club. thebutterflyclub.com

Macdeth. Devised by Fiona Roake, Christian Bagin, John Three Little Pigs The Musical by Forman, Vanessa Chapple and Aurora Kurth. Arts Centre Jennifer Pacey and Sally Melbourne / Company 13. Jan McKenzie. Fab Nobs Theatre 19 - 21. Fairfax Studio, Arts Inc. Jan 18 - 21. The Fab Centre Melbourne. 1300 182 Factory, Bayswater. 183. www.fabnobstheatre.com.au Airplay. Conceived and Created Operation Ouch! Live. Andrew Kay and Associates. Jan 20 by Seth Bloom and Christina 22. Playhouse, Arts Centre Gelsone. Arts Centre Melbourne. 1300 182 183. Melbourne / Acrobuffos. Jan 18 - 22. State Theatre, Arts Centre Melbourne. 1300 182 183.

Journey of a Thousand Smiles. Jessica Hackett and 5pound theatre. Jan 18 - 22. The Honk Jr by Anthony Drewe and Butterfly Club. George Stiles. Victorian Youth thebutterflyclub.com Theatre. Jan 18 - 28. Babe The Sheep-Pig by David Southbank Theatre. (03) 8688 Wood, based on the novel by 0800. Dick King-Smith. Victorian Journey of A Thousand Smiles. Jessica Hackett. Jan 18 - 22.

Youth Theatre. Jan 19 - 28. Southbank Theatre. (03) 8688 0800.

Les Moutons. Arts Centre Melbourne / CORPUS. Jan 19 22. Arts Centre Melbourne Lawn. Free Event. artscentremelbourne.com.au

KOOZA. Cirque Du Soleil. From Jan 20. Flemington Racecourse. www.cirquedusoleil.com/kooza Chicken Licken. Victorian Youth Theatre. Jan 24 - 28. Southbank Theatre. (03) 8688 0800.

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Suburban Gothic by Karlis Zaid, Mark Jones & Karin Muiznieks. Jan 24 - 29. The Butterfly Club. thebutterflyclub.com Finucane & Smith’s Glory Box: Lucky 13. Arts Centre Melbourne / Midsumma. Jan 24 - 29. Fairfax Studio, Arts Centre Melbourne. 1300 182 183. Take a Seat by Kieran GouldDowen. The Butterfly Club. Jan 25 - 29. thebutterflyclub.com The Process by Ian Robinson. Jan 25 - 29. The Butterfly Club. thebutterflyclub.com Ash Flanders: Playing To Win. Arts Centre Melbourne / Midsumma. Jan 27 - 29. Fairfax Studio, Arts Centre Melbourne. 1300 182 183. Wicked. Music & Lyrics by Stephen Schwartz, Book by Winnie Holzman (Musical). Footlight Productions. Jan 27 Feb 11. Playhouse Theatre, Stage Whispers 59

On Stage

Victoria

Dylan Coles in Blank Tiles, one of 143 theatre performances which will be part of the 2017 Adelaide Fringe, running from Feb 17 to Mar 19. www.adelaidefringe.com.au

8. Hamer Hall, Arts Centre Melbourne. 1300 182 183. Little Emperors by Lachlan Philpott. Malthouse Theatre / Asia TOPA. Feb 9 - 26. Beckett Theatre. (03) 9685 5111. Time’s Journey Through a Room by Toshiki Okada. Chelfitsch (Japan) / Arts House. Feb 9 - 12. North Melbourne Town Hall. same same but different. Feb 8 - 12. The Butterfly Club. thebutterflyclub.com John by Annie Baker. Melbourne Theatre Company. Feb 10 - Mar 25. Fairfax Studio, Arts Centre Melbourne. (03) 8688 0800. Avant-Guarded - Oh, Charlotte. Feb 14 - 19. The Butterfly Club. thebutterflyclub.com The Red Detachment of Women. A National Ballet of China production presented by Arts Centre Melbourne in association with The Australian Ballet and Orchestra Victoria. Feb 15 - 18. Arts Centre Melbourne. 1300 182 183.

Geelong Performing Arts Centre, Geelong. (03) 5225 1200. Ursula Martinez: Free Admission. Arts Centre Melbourne / Midsumma. Jan 31 - Feb 5. Fairfax Studio, Arts Centre Melbourne. 1300 182 183.

The Adventures of Yoni 1 & Yoni 2 by Zoe Brinnand. Jan 31 - Feb 5. The Butterfly Club. thebutterflyclub.com The Nursery Web. Feb 1 - 5. The Butterfly Club. thebutterflyclub.com

The Encounter. Inspired by the book Amazon Beaming by Panti: High Heels in Low Petru Popescu. Complicite / Places. Arts Centre Melbourne / Malthouse. Feb 2 - 10. Merlyn THISISPOPBABY / Midsumma. Theatre. (03) 9685 5111. Feb 2 - 4. Fairfax Studio, Arts Bunny by Luke George and Centre Melbourne. 1300 182 Daniel Kok. Arts House. Feb 2 183. 5. Meat Market, North The Way Things Work by Aidan Fenessy. Red Stitch Actors Theatre. Jan 31 - Mar 5. Rear, 2 Chapel Street, St Kilda East. (03) 9533 8083. 60 Stage Whispers

Melbourne.

Quartet by Ronald Harwood. Geelong Repertory Theatre Co. Feb 3 - 18. Woodbin Theatre, Geelong West. (03) 5225 1200.

The 39 Steps. Adapted by Patrick Barlow from the novel by John Buchan and the movie by Alfred Hitchcock. Peridot Theatre Inc. Feb 3 - 18. Unicorn Theatre, Mt Waverley Secondary College, Mt Waverley. (03) 9808 0770 10am to 2pm Mon to Fri. ‘Tis Pity. An operatic fantasia by Richard Mills. Victorian Opera. Feb 4 - 8. Elizabeth Murdoch Hall, Melbourne Recital Centre. (03) 9699 3333. L’amante anglaise by Marguerite Duras. Feb 7 - 19. fortyfivedownstairs. (03) 9662 9966. Lea Salonga In Concert. Michael Cassel Group. Feb 7 &

Kagerou - Study of Translating Performance. Hamanaka Company / Arts House. Feb 15 - 18. North Melbourne Town Hall. Face to Face by David Williamson. Brighton Theatre Company. Feb 16 - Mar 4. BTC Theatre, Cnr Wilson & Carpenter Streets, Brighton. 1300 752 126. One Beautiful Thing. Circa / AsiaTopa. Feb 16 - 19. Playhouse, Arts Centre Melbourne. 1300 182 183. Outside Mullingar by John Patrick Shanley. Mordialloc Theatre Co. Inc. Feb 17 - Mar 4. Shirley Burke Theatre, Parkdale. (03) 9587 5141. Counting Sparrows by Alison Campbell Rate. Malvern Theatre Company Inc. Feb 17 Mar 4. 1300 131 552.

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

On Stage

Victoria, Tasmania, South Australia and W.A.

Australia Day by Jonathan Theatre, Hobart. (03) 6234 Biggins. Heidelberg Theatre Co. 5998. Feb 17 - Mar 4. (03) 9457South Australia 4117. Oklahoma! On a Farm. By The Homosexuals, Or Faggots. Rogers & Hammerstein. Jan 6 Declan Greene. Sisters Grimm / 8. Emma Knights Productions. Griffin / Malthouse Theatre. Four Oaks Farm Littlehampton. Feb 17 - Mar 12. Merlyn www.dramatix.com.au/events/1522 Theatre. (03) 9685 5111. Educating Rita by Willy Russell. Losing You (twice). Feb 14 Jan 10 - 14. IpSkip 19. The Butterfly Club. Productions . Bakehouse thebutterflyclub.com Theatre. Little Gem by Elaine Murphy. www.bakehousetheatre.com The Mount Players. Feb 24 Oliver! By Lionel Bart. Jan 10 Mar 11. Mountview Theatre, 15. Hills Youth Theatre. Stirling Macedon. (03) 5426 1892. Community Theatre. The Novello Years by Ivor Novello. Gilbert & Sullivan Opera Victoria. 3pm on Feb 25 & 26 and Mar 4 & 5. “The Knowe”, 4 Clarkmont Road, Sassafras. 0490 465 009. Tasmania Alice in Wonderland. Big Monkey. Jan 4 - 29. Royal Tasmanian Botanical Gardens. (03) 6234 5998. Trial by Jury by Gilbert and Sullivan. The Gilbert & Sullivan Society of Tasmania. Jan 6 28. The Hobart Supreme Court, 5 Salamanca Place, Hobart. (03) 6234 5998.

www.hillsyouththeatre.com

Sense & Sensibility in the Garden. Blue Sky Theatre. Jan 14 - 15 Victor Harbor; Jan 21 22 Stangate House Aldgate; Jan 26 - 28 Beaumont House, Beaumont. www.trybooking.com My Friend Miss Flint by David Churchill and Peter Yeldham. Feb 8 - 18. Therry Dramatic Society. The Arts Theatre. www.trybooking.com Forget Me Not by Tom Holloway. Feb 17 - Mar 4. The Stirling Players. Stirling Community Theatre. www.stirlingplayers.sct.org.au or 0414 075 413.

Australian Spiegeltent. www.fringeworld.com.au

State Theatre Centre of WA. www.fringeworld.com.au

Bus Boy. The Blue Room for Fringe World. Jan 20 - 28. A boy who believes he’s a bus. The Blue Room Perth. www.fringeworld.com.au

Takuto - Ballet at the Quarry. WA Ballet. Feb 3 - 25. Evening of ballet under the stars. Quarry Amphitheatre, City Beach. (08) 6488 5555 or perthfestival.com.au

The Average Joe. iOTA. Fringeworld. Jan 20 - 28. Performance artist. Studio Underground, State Theatre Centre of WA. www.fringeworld.com.au Dr Felicity Rickshaw’s Celebrity Sex Party. Holland Street Productions,. Fringe World. Jan 20 - Feb 1. The Flaming Locomotive at the State Theatre Centre of WA. www.fringeworld.com.au The Last Waltz by Johny Grim. A Lad Insane Productions / Fringe World. Jan 26 - Feb 12. A young man seeks revenge. The Hellenic Club of WA. www.fringeworld.com.au Room on the Broom by Julia Donaldson and Axel Scheffler CDP Productions. Jan 27 - 31. For children. Heath Hedger Theatre, State Theatre Centre of WA. Ticketek 132 849 / www.ticketek.com.au

Labels. The Blue Room for Fringe World. Jan 28 - Feb 4. Worklight Theatre production. Adelaide Fringe 2017. Feb 17 - The Blue Room Mar 19. Wide range of events. Perth. www.fringeworld.com.au Various venues, Adelaide. Limbo. Fringeworld, Jan 30 www.adelaidefringe.com.au Mar 6. Circus with live music. Western Australia West Australian Spiegeltent. www.fringeworld.com.au Midsummer Mix. The Bright Side, Being Juliet, Lives That Briefs. Fringeworld, Jan 31 Little Shop of Horrors by Are Parallel. Various authors. Feb 6. Boylesque - late night Howard Ashman and Alan Stirling Players. Jan 9 - 28. Menken. The Gilbert & Sullivan Stirling Theatre, Innaloo. 9440 mayhem. Salon Perdu Spiegeltent. Society of Tasmania. Feb 3 1040. www.fringeworld.com.au 11. Playhouse Theatre, Hobart. Grease by Jim Jacobs and (03) 6234 5998. A Night at the Musicals. Warren Casey. Phoenix Theatre. Fringeworld. Jan 31 - Feb 6. Le Terrain. Bangarra Dance Jan 13 - 27. Phoenix Theatre, Gateau Chocolat and Jonny Theatre. Feb 23 - 25. Theatre Memorial Hall, Hamilton Hill. Royal, Hobart. (03) 6233 2299. www.trybooking.com/222561 Woo. De Parel Spiegeltent. www.fringeworld.com.au The Hound of the Baskervilles. Velvet. Fringeworld. Jan 20 Odd Socks. The Cutting Room Adapted by Steven Canny & Feb 19. Acrobatics and disco Floor. Jan 31 - Feb 4. The John Nicholson. Hobart Rep. starring Marcia Hines. West Flaming Locomotive at the Feb 24 - Mar 11. Playhouse Wicked: The Untold Story of the Witches of Oz. Music and Lyrics by Stephen Schwartz. Book by Winnie Holzman. Based on the novel by Gregory Maguire. The Show Company, Allan Jeffrey and Leiz Moore. Jan 27 - Feb 11. Theatre Royal, Hobart. (03) 6233 2299.

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Chicago the Musical by Kander and Ebb. Koorliny Arts Centre & Kwinana Industries Council. Feb 10 - 25, Koorliny Arts Centre. www.koorliny.com.au or (08) 9457 7118. Fat Pig by Neil La Bute. Old Mill Theatre. Feb 10 - 25. Comedy/ drama. Old Mill Theatre, South Perth. (08) 9367 8719. Exit/Exist by Gregory Maqoma. Vuyani Dance Theatre for PIAF. Feb 10 - 12. Australian premiere - dance & music in ritual embrace. Heath Ledger Theatre, State Theatre Centre of WA. (08) 6488 5555 or perthfestival.com.au Disney’s Camp Rock by Fay Greenberg & Robert L .Freedman. Black Box Creations. Feb 17 - 26. Musical based on Disney films. Kalamunda Performing Arts Centre. www.trybooking.com/NRPM Flit by Martin Green. Lepus Production for PIAF. Feb 17 18. Song cycle on migration Australian Premiere. Perth Concert Hall. (08) 6488 5555 or perthfestival.com.au Betroffenheit by Crystal Pite & Jonathan Young. Kidd Pivot & Electrical Company for PIAF. Feb 23 - 26. Australian premiere - raw, riveting dancedrama. Heath Ledger Theatre, State Theatre Centre of WA. (08) 6488 5555 or perthfestival.com.au Anybody For Murder by Brian Clemens and Dennis Spooner. Melville Theatre. Feb 10-25. Thriller set on a Greek Island. Melville Theatre, Stock Rd, Palmyra. (08) 9330 4565 / www.meltheco.org.au Stage Whispers 61

On Stage

Western Australia & New Zealand

Opera in the Park. WA Opera. The Gabriels by Richard Nelson. Feb 4. 50th Gala Concert. A Public Theatre Production for Langley Park, Perth. Free Event. PIAF. Feb 11 - 18. Three plays presented as a marathon event 600 Seconds. The Blue Room - Australian premiere. Subiaco for Fringe World. Feb 7 - 18. 600 seconds of anything goes. Arts Centre. (08) 6488 5555 / perthfestival.com.au The Blue Room, Perth. www.fringeworld.com.au

How to Co-Host A Murder by Nicole Stinton. APAN for The Merchant of Venice by William Shakespeare. All Saints Fringeworld. Feb 13 -19. A hilarious romp with death. The College. Feb 9. Stars Olivier Ellington Jazz Club. Award winning Guy www.fringeworld.com.au Masterton. All Saints College. www.trybooking/233998 The Year I Was Born by Lola Arias. PIAF. Feb 15 - 18. The Dark Mirror - Zender’s Winterreise by Ian Betteridge & Australian premiere documentary theatre from Netia Jones with music by Chile. Heath Ledger Theatre, Schubert. Barbican London State Theatre Centre of WA. with WASO. Feb 10 - 17. Music-theatre experience. Perth (08) 6488 5555 / Concert Hall. (08) 6488 5555 / perthfestival.com.au perthfestival.com.au

A O Lang Po by Nouveau Cirque du Vietnam. A Lune

Auditions Place your audition notice in our next edition. Email stagews@stagewhispers.com.au or call (03) 9758 4522

Entertainment Production for PIAF. Feb 16 - 25. Australian premiere celebrating Vietnamese Cultural tradition. Regal Theatre. (08) 6488 5555 / perthfestival.com.au The Encounter. Inspired by Petru Popescu. Complicite for PIAF. Feb 16 - 25. Uses 3D Technology. His Majesty’s Theatre. (08) 6488 5555 / perthfestival.com.au Opus No 7 by Dmitry Krymov. Dmitry Krymov Laboratory for PIAF. Feb 21 - 26. Depicts oppression of Soviet Jews Australian premiere. ABC Perth Studios. (08) 6488 5555 / perthfestival.com.au Moonlight and Magnolias by Ron Hutchinson. Wanneroo Repertory. Feb 23 - Mar 4. Set in Hollywood in 1939. Limelight Theatre, Wanneroo. www.limelighttheatre.com.au / 0499 954 016.

Check out all the auditions that didn’t make it to print. Scan the QR code or visit www.stagewhispers.com.au/auditions 62 Stage Whispers

Seussical Jr by Stephen Flaherty and Lynn Ahrens. Musikmakers, Hamilton. Jan 17 - 21. iTicket. The Undertow by Helen PearseOtene. Te Rakau Theatre. Jan 17 - 29. Soundings Theatre. Te Papa, Wellington. 0800 Ticketek. Jack and the Beanstalk. Adapted by Brendon Bennetts. Jan 18 - 28. The Court Theatre, Christchurch. (03) 963 0870. Shrek Jr The Musical. Book and lyrics by David Lindsay-Abaire, music by Jeanine Tesori. Tauranga Musical Theatre Inc. Jan 20 - 28. Last Legs by Roger Hall. Circa Theatre, Wellington. Jan 27 Feb 18. (04) 801 7992.

Gentlemen Incorporated by Deborah Mulhull. Darlington Theatre Players. Feb 24 - Mar 11. Marloo Theatre, Greenmount. (08) 9255 1783.

Much Ado About Nothing by William Shakespeare. Summer Shakespeare Tauranga. Jan 19 - 29. The Historic Village, 17th Avenue West, Tauranga. 0800 289 849.

Shrek Jnr by Janine Tesori and David Lindsay-Abaire. Primadonna Production. Feb 24 - 25. Pinjarra Civic Centre. 0401 588 962.

Ropable. By Ross Gumbley & Allison Horsley, based on Rope by Patrick Hamilton. Feb 11 Mar 4. The Court Theatre, Christchurch. (03) 963 0870.

Snakes and Ladders by Tony Moore, KADS. Feb 26 - Mar 19. Australian play. KADS Town Square Theatre, Kalamunda. Lucky Charm Newsagency, Kalamunda Shopping Centre. (08) 9257 2668.

My Dad’s Boy by Finnius Teppett. Fortune Theatre Co., Dunedin. Feb 11 - Mar 4. 03 477 8323.

New Zealand

Online extras!

Jan 14 - Feb 11. The PumpHouse Theatre. (09) 489 8360.

Legally Blonde The Musical. Music & lyrics by Laurence O’Keefe & Nell Benjamin, book by Heather Hach. Until Jan 21. The Court Theatre, Christchurch. (03) 963 0870. Auckland Shakespeare in the Park - Love’s Labour’s Lost and A Midsummer Night’s Dream. Shoreside Theatre (Auckland)

As You Like It by William Shakespeare. Summer Shakespeare. Feb 14 - Mar 11. Old Arts Plaza, Auckland. 0508 484 253. The Merchant of Venice by William Shakespeare. Butterfly Creek Theatre Troupe. Feb 28 Mar 4. The Pink Hammer by Michele Amas. Howick Little Theatre. Feb 25 - Mar 18. (09) 361 1000.

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Olivia Monticciolo and Matt Hickey In Attic Erratic’s Blessed. Photo: Sarah Walker.

Reviews: Premieres

Online extras! Catch the trailer for Blessed by scanning the QR code or visiting https://youtu.be/RNUYE80s4cE Blessed By Fleur Kilpatrick. Attic Erratic Company for the Poppy Seed Theatre Festival. Malthouse Theatre, Tower. Nov 8 20. MAGGIE (Olivia Monticciolo) and Grey (Matt Hickey) are thwarted, defeated and hope-less; they can no longer identify or blame the causes. Prosperity has left them behind. Both turn on themselves, excoriating, demeaning, tearing at what is left. Gradually - skilfully revealed by playwright Fleur Kirkpatrick - their story comes out: an uncertain love that was - until it failed. And so we slip into the past... Now Maggie and Grey are teens. She is crippled by a self-doubt that verges on self -hatred, pushing him away, pouring scorn on his belief that she is ‘special’. Olivia Monticciolo is terrific as Maggie: a roiling pit of anger and resentment - but Ms Monticciolo also reveals a vulnerability that points up the terrible waste of this human being. Matt Hickey plays Grey as sullen, beaten down, glowering from under lowered brows - but revealing in the teenage flashbacks a poetic sweetness that is as sad as Maggie’s self-destruction. Director Danny Delahunty elicits fine but no frills performances. Rob Sowinski’s lighting is crucial: from the dingy, dusty light through a high, dirty window to glorious bursts of sunlight - and something more. Tom Pitts’ sound mix ranges from harsh industrial clanging to rolling thunder. There is some very fine writing here. There’s a sharply contrasting mix of the lyrical with the profane, the poetic

with the obscene. The play suddenly ascends to something surprising (and amusing) - a desperate assertion of hope, something that is on another plane. Michael Brindley Manning the Fort Written and directed by Amy Hardingham. Tantrum Youth Arts and Catapult Dance, at Fort Scratchley, Newcastle East. Oct 20 - 29. THIS production engagingly showed the part played by more than 250 women who served in various military roles at Newcastle’s coastal Fort Scratchley from 1942 to 1945, after the shelling of Newcastle by a Japanese submarine saw the fort’s protective role increase. Some 50 young performers, mainly female, were supported by a technical crew that was just as large, with the costumes, make-up and lighting helping to recreate that era. As the watchers made their way at sunset to the parade ground on top of the fort’s hill they saw and heard people who showed what life was like in the war era, including two sisters arguing about clothing ration books and a nightclub chanteuse singing songs from that time. At the parade ground, the woman commanding officer split the audience into three groups which, in turn, saw the various roles of members of her sex. The operations of the searchlight station they managed on a grassy slope were shown largely through dance, with the movements and lighting reinforcing the need for agility and careful observation. Six women at tables inside the barracks

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operated the signal station for 24 hours a day, receiving and sending messages as teleprinter, switchboard and morse code operators, with their interactions raising smiles among those watching. And a team crewed the hilltop observation tower facing the harbour entrance at night (men did the daytime observations). At show’s end, the groups returned to the parade ground, where the voices of women who served at Fort Scratchley, and who were interviewed re their experiences, were heard via recordings by actresses telling how members of the Australian Women’s Army Service were expected to return to a subservient role in society after war’s end. Their comments accompanied the screening of the names of the women who manned the fort, and it’s not surprising that their words showed how this treatment helped to foster the rise of feminism. The staging had its share of lighter moments, with an American soldier who was based in Newcastle for much of the war wooing women with offers of pairs of rationed nylon stockings in return for a night out. Ken Longworth Spiegel’esque - A Theatrical Cabaret Sensation. Presented by Vass Entertainment and Kermond Creative. Italian Forum Piazza, Leichhardt. Nov 25 - Jan 13. THIS production might just be the theatrical incarnation of the proverb that good things come in small packages. Squeezing into the gorgeous antique Spiegel Zelt, that we were told narrowly missed being pulverised by a bomb during World War Two, the expectation was for a small cast performing a cosy night of cabaret. But a cast of nine talented tap dancers, singers and aerialists go full throttle on the small stage and narrow spaces between the seats for over two hours. Their exuberance, skill and svelte bodies made sure there was always something to look at. The master of ceremonies was Wayne Scott Kermond, loaded with a light German accent. Wayne (or Vayne) shows a naughtier side to his show business personality. He spars and flirts with members of the audience, ad libbing with razor sharpness. The production is pitched as an unashamed return to variety. True to the word the acts tapped into a wide range of musical genres, from classic show music to 1980’s pop classics and even an energetic spoof on Riverdance. There is another big surprise in this production which makes your jaw drop, but we are sworn to secrecy. David Spicer

by the brilliance of the composer, Paul Smith, and the thoughts and feelings the power of music and sound can provoke. Digital artist Ryan McGoldrick cleverly continued to build the story using modern technology including video cameras and projections. Layered with this was a series of monologues performed by Michelle Robin Anderson, retelling the “meatier” parts of Shelley’s book. Michelle captivated the audience, giving an insight into the thoughts and emotions of the characters and evoking a certain empathy for both Dr Frankenstein and The Creature. The themes of Mary Shelley’s book are still relevant today with this performance delving into questions around the bounds of life and death, control and whether we are creating our own generation of mini Frankensteins. The other thing I appreciated about this production was the creative process behind it. Starting with the book and movie adaptations, the actors and director tested the effects of beginning the show with different mediums music, speech/text and digital - until they found an order that worked. Overall, Frankenstein was a thought provoking and sensory experience, intelligently devised and directed. Shannon O’Connell

Festive Spirit By Sally Davies. Newcastle Theatre Company. NTC Theatre, Lambton. Nov 19 - Dec 3. NEWCASTLE playwright Sally Davies has certainly captured the title sentiments in her comedy Festive Spirit, which had the audience constantly laughing. Festive Spirit opens with husband and wife Jenny and Bob (Jan Hunt and Patrick O’Brien) talking on Christmas Eve about the family members they will host for dinner the next day. Jenny is frantic from the outset, because she believes she has ruined the turkey she is cooking, and Bob is overly relaxed. Many people will be able to relate to what happens at this Christmas celebration. Jenny’s brother, Tom (Carl Gregory), for example, spends a lot of time looking at problems with people’s cars, and it is evident early on that he’s trying to get away from his unrestrainable wife, Debborah (Amanda Woolford), who has an opinion on everything and loudly voices it for all to hear. Jenny and Tom’s mother, Joyce (Kathleen Warren), has wax in her ears and is hard of hearing, which adds to her problems with comprehending what others ask her to do in times of need. A telephone call to what she believes to be an emergency service, for example, leads to the arrival of Frankenstein someone (Paul Predny) who looks the part, at least initially. The Q. Directed by Nick Atkins. The Joan Sutherland Jenny and Bob’s two daughters, Melissa (Elise Bialek) Performing Arts Centre, Penrith. Nov 3 - 5. and Belinda (Emily Daly), are very different in nature. DESCRIBED as a cross-disciplinary performance, using a Melissa, 31, has just had a break-up with her latest live musical score, text from Mary Shelley’s original novel boyfriend, and it is soon apparent that this is a regular and the classic film to retell a tale of doom and destruction, situation. Younger sister Belinda is accompanied by the I didn’t know what to expect from The Q’s Frankenstein. good-looking mechanic, Jeremy (Benjamin Martin), who As the show began, the audience sat in silent darkness, has been her partner for more than a year, and he presents before eerie sounds began to play, gradually changing into her with an unusual gift that he believes will strengthen a beautiful, delicately played live piano piece. I was amazed 64 Stage Whispers

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

LadyCake. Photo: Sarah Walker.

Online extras! Check out the trailer for LadyCake by scanning the QR code or visiting https://youtu.be/QBauUzTm9h8 their relationship. Melissa is unhappy that Belinda’s relationship is a lot more jovial than hers have been. Next door neighbours Frank (John Franks) and Maud (Arlene Richards) have their hearts in the right place, but the advice they give is certainly out of place. Ken Longworth

set, complete with inflatable topiary (the last constructed by Eleanor Hutchison) includes a highly imaginative way to depict the Terror of the Revolution. Jason Crick’s lighting dims as disaster rumbles in from the outside world. Meanwhile, Liam Bellman-Sharpe’s music and sound design veers from tinny regal to nasty ominous with eerie effect. Marie Antoinette is a means to analyse and speculate on LadyCake the roles of women, in power and without it, famous or Written, performed & directed by Candace Miles, Madelaine unknown - and subversively to dramatise how women Nunn & Anna Rodway. Three Birds Theatre. Poppy Seed themselves fantasise (see any week’s New Idea or NW or Theatre Festival. Trades Hall, New Ballroom. Nov 15 - 27. Who) about the ‘rich and famous’. THE characters are three devoted handmaidens to Michael Brindley Princess-then-Queen Marie Antoinette - she who famously said (or did she?) “Let them eat cake.” Each believes that The World Without Birds Marie is her best friend, but all share with her every Written by Christine Croyden, with original songs by Ella triumph, every disappointment… until reality bites. Filar. La Mama Courthouse. Oct 26 - Nov 6. The ill-fated queen is entirely the projection of her three THE Queen of the Birds (Margot Knight) once really was handmaidens (fans) - and sometimes the hate figure in the ‘the queen of the birds’, beautiful and believing the world malicious gossip of the sans culottes outside Versailles. But was hers to do with, and in, as she liked. Nest building? she’s a pretext; this is a comedy that comes to an abrupt That could wait. But men proved unreliable, the career was halt - sharp, witty and beautifully directed by the often thwarted, the children ungrateful and the nest that performers themselves. did resignedly get built unrewarding… Madelaine Nunn - petite, big eyed, anxious under Christine Croyden began with a monologue, then added relentless optimism - is a natural comedienne. Anna the young queen, Sybil (Charlotte Fox, a trained singer with Rodway has a distant smile, an occasional hauteur, but a lovely voice and a strong presence). Old queen and young succumbs to the same confected excitements. Candace queen are often on stage together, either in conflict or Miles is tougher, more ebullient and builds, slowly but frustrated agreement. Five male characters in the life, surely, to be the first sceptic of the three. variously played with honeyed promises or strutting Wit is evident too in Lucy Wilkins’ hoop skirts, bodices assurance - by Rhys James and Nathaniel Schneider - flesh and elaborate white wigs. Anastassia Poppenberg’s simple things out. Longer versions of many reviews can now be found at www.stagewhispers.com.au

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Anti-Hamlet. Photo: Sarah Walker.

A brilliant stroke, however, was Ms Croyden’s decision to invite cabaret composer and lyricist Ella Filar to contribute. Her songs slot right in as comment or counterpoint to the story and they are world class with that smoky, jagged, disturbing Weimar feel. Ms Filar is spooky on keyboard. Martin Zakharov alternates sax and clarinet; Sophie Kinston plays sharp violin. Elizabeth Walley’s direction wisely avoids unnecessary busy-ness and is always to the point. Design by Dagmara Gleysztor is detailed, each item carefully chosen and expressive - from the Queen’s nest to her rather floaty, period chiffon to Sybil’s hot pants to duplicitous Romeo’s jacket, layered in black like a crow. Here is a show in which the sophistication and the theatrical and lived experience of the creators (and Ms Knight) are evident. A polished show of mature and witty reflection on life. Michael Brindley

pretty two-dimensional but an excellent troupe of actors serve the whole marvelously. Natasha Flowers plays an Ophelia, who gets off very lightly as a sort of bland clever young woman - a Rhodes Scholar. Brian Lipson makes a great Freud, indestructible and omnipresent. Marco Chiappi is energetic - a brazen, nonthreatening Claudius. Edward Bernays is a very sleazy politician, played as a total controlling slime by recent VCA graduate Charles Purcell. Natasha Herbert is glorious as a glamorous Gertrude and sublimely over the top. It is wonderful watching a usually serious actor throw herself successfully and courageously at such an outrageous piece. Wilson’s Hamlet is not riddled with maudlin self-doubt and indecision and there is not a ghost, grave or a skull in sight. Suzanne Sandow

Anti-Hamlet Writer/Director: Mark Wilson. The New Working Group & Theatre Works. Theatre Works. Nov 3 - 13. ANTI-HAMLET is a clever slick journey, opening with Mark Wilson as Hamlet engaging the audience with sparkling heightened energy. We are taken on a fast, wild and lengthy ride through a sort of Australian ‘boy’s own’ contemporary Australian Hamlet, which, mainly through their absence, highlights aspects of Shakespeare’s text. There is never a dull moment in this wacky romp and Wilson has made some great choices. The characters are

White Day Dream Weave Movement Theatre & Yumi Umiumare. 45 Downstairs, Melbourne. Oct 27 - Nov 6. INTRINSIC to White Day Dream is a whimsical set by Jennifer Tran made almost entirely of white plastic shopping bags. They are a marvelous canvas and make great props. Throughout there is a pervading atmosphere of magic realism that owes much to Richard Vabre’s masterful lighting. Sound design by Dan West adroitly assists one to move with the shifting themes, and Media Art by Bambang N Karim enhances with special magic and vivid colour.

66 Stage Whispers

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

Performers are totally focused, and work as a supportive team. Wonderful combinations of shapes and sizes and abilities mix seamlessly to make moving comments about connection and acceptance. Trevor Dunn mellifluously voices an intriguing poem by Anthony Riddell, which shares the play’s title. The three guest artists Willow J Conway, Tim Crafti and Emma J Hawkins are stunning, bringing unique artistry. Yumi Umiumare, with her own special brand of Butoh as Director/Chorographer, is very even-handed and liberating for her cast. White Day Dream is deeply affecting, moving, often funny and jubilant. Suzanne Sandow

Young Xan was hauntingly played by Daisy Coyle, looking convincingly 12 and bringing a huge amount of naivety and vulnerability to the role. An organically tight ensemble included Siobhan DowHall, Marko Javonovic and Nick MacLaine. Designer Lawrie Cullen-Tait combined a late 1970s roller rink with a courtroom - an interesting and provoking juxtaposition. Chris Donnelly created a sensitive lighting design, while Ash Gibson Greig’s composition and sound design blended so well that it felt subliminal. It would be wonderful if this could be played in schools. It is also just darn interesting theatre. Kimberley Shaw

Blaque Showgirls By Nakkiah Lui. Directed by Sarah Giles. Merlyn Theatre Malthouse. Nov 11 - Dec 4. BLAQUE Showgirls is a unique, timely, riveting work that is not for the faint hearted. It is raucous, lewd, crude and ridiculously funny, politically very dodgy and out there. Depending on one’s sensibility, it is perhaps a little destabilising and disconcerting. Nakkiah Lui writes a satire that is based in the fluid social milieu in which we live. It plays with notions of performativity and constructs in relation to sex, gender and race. It talks about exploitation and appropriation The whole is like a big narrative skit with loads of smaller skits. All actors are impressive. As Ginny Jones, a girl on a quest to be come a Show Girl like she believed her mother once was, Bessie Holland presents a delightful mix of girlish determination, ruthlessness and vulnerability. Guy Simon impresses as Kyle MacLachlan and True Love Interest, bringing clean focus and a lovely fresh energy. Direction seems to be totally appropriate to the material. However it needs to be said, looking at the names of the extremely accomplished production crew, it is a pity that more aboriginal creatives are not part of this team. If you have been engaged, fascinated by or enjoying Black Comedy on the ABC, this is a main stage theatre performance for you. Suzanne Sandow

Daddy-O, Don’t You Dare Written and directed by David Baker. Shoestring Productions. Royal Exchange, Newcastle. Nov 11 - 12. Return season Mar 24 - 25, 2017. PEGGY Lee was an iconic American female singer and song-writer whose success in the 1940s paved the way for other women to come to the fore in following decades. This cabaret-style show, put together by jazz musician David Baker and featuring jazz singer Renee Berger, engagingly showed the interactions between her personal life and career. In the first half, a woman having a second audition for the role of Peggy Lee talked briefly with the band members (Marcus Holdsworth, Crackers Carruthers and David Baker) between the numbers, and the audience realised how significant some of her numbers were. It’s a Good Day, for example, tied in with Lee’s first marriage, and the later Cry Me a River revealed her concern about failed relationships. At the opening of the second half, the band members were in 1950s suits, and the auditionee had clearly become Peggy Lee when she appeared in an elegant shining green gown of that era. This act was staged in the style of one of Lee’s cabaret performances, with the performer engaging with audience members and the background lighting changing in line with the mood of the songs (an appropriate measure given that one number was I’m Beginning to See the Light). And, at the end, when Renee Berger performed I Love Being Here with You as an encore after 20 other numbers, the swinging audience clearly had the same feeling. Ken Longworth

Project Xan Directed by Hellie Turner. Jedda Productions PICA (Perth Institute of Contemporary Arts), WA. Nov 8 - 19. PROJECT Xan was highly moving, insightful documentary theatre, examining rape culture. Sensitively presented by a tight-knit ensemble, it was wonderful inspiration for discussion. Built around the experiences of Xan Fraser (also in the cast), at the centre of the production are testimony and evidence presented at a rape trial in 1981, after Xan was raped, at just 12 years old. The show also deals with contemporary discussions, attitudes and experiences with rape and rape culture. Xan Fraser is an excellent story-teller, whose experiences, moulded by author/director Hellie Turner and dramaturg Dr. David Williams, make compelling viewing.

Animal Created by Susie Dee, Kate Sherman and Nicci Wilks. Theatre Works - St Kilda. Nov 17 - 27. SUSIE Dee, Kate Sherman and Nicci Wilks, with the assistance of Angus Cerini, have had the courage to delve into the murky depths, and usually hidden experience of the insidious damage of abuse. Marvelously they have extracted a poignant poetic essence. Designer Marg Howell has created what looks like a found space and made Theatre Works feel cavernous. It is fitted out like a huge shed, with metal encased water tanks. There is a sense of being in the country - feathers are littered and float about and a kind of angel bell is ringing.

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Stage Whispers 67

Composed sound (Kelly Ryall) is often effectively loud, and at some points, appropriately, disturbingly overwhelming. Animal interprets the tragic effects of the internalised response to being violated. We witness this through the exceptional work of performers/co-creators Kate Sherman and Nicci Wilks. A huge energetic expression of trauma is exhibited through their strong vigorous physical performances. The perpetrator is absent, but his presence is palpable. He is portrayed as an absent shadowy figure - a larger than life spectre that will always haunt. All roads seem to lead to a bottomless pit of psychological pain. This devastation is expressed with amazing clarity in a kind of helpless, hapless stillness. This is such a gutsy challenging work. Suzanne Sandow Caliban (Where do the spirits go when the water rises?) By Georgia Symons, Achai Deng, Abraham Herasan, Piper Huynh, Natalie Lucic, Rexson Pelman, Oti Willoughby, and Dave Kelman. Western Edge Youth Arts. The Becket Malthouse. Nov 24 - 26. USING the framework of Shakespeare’s The Tempest, Western Edge Youth Theatre are able to utilise established characters and remodel them to serve the purpose of developing a story that correlates to our global warming crisis in Caliban. This work is underscored by the original musical composition of Callum Watson, who plays the piano as the audience settles and through the show. Direction by Tariro Mavondo and Dave Kelman has engendered a glorious sense of balance, respect and inclusion. Rexson Pelman energetically engages his audience with a splendid bold performance. Piper Huynh plays an android with a marvelous, acutely realised, fluid machine-like physicality. Natalie Lucic creates an excellent strong and self -serving Prospera with the clearest annunciation and lovely swift movement. Achai Deng, who fits the bill as Prospera’s protected daughter, is a fine actor to watch. Paradoxically, through Abraham Herasan’s presentation of billionaire character Ferdinand, we are encouraged to better relate to what it feels like to live as a Muslim in Australian suburbs. It is Oti Willoughby’s stunningly keen natural comic timing that elicits the most laughs. He is just great fun to watch when he is portraying ‘the last swordfish’. The mix of cultures represented in the work is heartening and satisfying. Suzanne Sandow Ned Kelly My Love - The Untold Story of Ettie Hart By Xavier Brouwer. Metanoia Theatre. Mechanics Institute, Brunswick Nov 9 - 13. NED Kelly My Love is based on the previously untold love story between Ned Kelly and Ettie Hart, the sister of one of the Kelly gang, Steve Hart. In 2010 Ettie’s greatgreat-grandson Paul O’Keefe found her scrapbook at the 68 Stage Whispers

family home in Sydney, unveiling some strong evidence that Ned Kelly may have been betrothed to Ettie Hart. Ned Kelly My Love is about Australia’s favorite story with a new twist. There has always been the divide between those that consider Kelly an Australian icon; the bushranger that robbed from the rich to give to the poor, that fought bravely against corrupt police and died a hero and those that believe he was a common lawbreaker, murderer and rogue. Whatever side you are on, this play is charming. Through strong narrative and song, the lyrics of which were written from the notes transcribed from Ettie Hart’s scrapbook, a special story is told - a true operatic piece, full of drama, passion, love, bloodshed and ultimately death. The cast of three are all extraordinary actors and absorb the audience totally. The singing is very melodious, and there is a perfect balance of narrative and song; everything just comes together perfectly. Ettie Hart died in 1926. Now we get the chance to learn of this strong and brave woman, and of her first secret love to Australia’s most notorious legend is revealed. Whether you believe it to be true or not, I think Ned Kelly My Love is worthy of as wide an audience as possible. Lisa Romeo Deceptive Threads Devisor/Performer - David Joseph. Devisor/Director - Karen Berger. Bowerbird Theatre. 45 Downstairs (Vic). Nov 9 - 20. DECEPTIVE Threads depicts aspects of the comprehensively researched family and lived personal history of David Joseph. It is an exquisitely crafted piece of theatre made by a number of exceptionally skilled practitioners, seamlessly linked with insightful direction by Karen Berger. As a sincere, genuine, moving work, full of heart and integrity, it brings with it strong and timely messages about attitudes to migrants and refugees. David Joseph, a delightfully personable performer, executes short vignettes of several characters from his heritage, most particularly his grandfathers. It is not so much a narrative as a collaged collection of memories, facts and emotional responses. As Joseph slips from one character or scenario to another, the telling is continued through beautifully orchestrated multi-media (Zoe Scoglio and Hisham Tawfiqi) and sound design by Joseph and Berger. This show is expressive, even-handed, well-tuned, tightly timed, oozes humanity and incorporates a light humorous touch. The whole culminates in some masterful drumming by David Joseph. As a self devised work it is engaging, satisfying, and would be particularly useful and interesting for Drama Students and as inspiration for those who create their own work. Suzanne Sandow

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Contessa Treffone, Michael Whalley and Lucy Suze Taylor in Tiny Remarkable Bramble. Photo: Clare Hawley.

The Smell of Money By Peter Maden. Javeenbah Theatre Co, Gold Coast. Director: Helen Maden. Nov 19 - Dec 3. MEET the dysfunctional Committee of the local Australian Football Club. Beautifully crafted by Peter and Helen Maden, The Smell of Money is full of identifiable characters and situations reminiscent of many a committee all over Australia. The cast features Peter Maden as Lance the club chairman; Patrick Monteath as Dennis Delaney, the young chap sent to carry out some court ordered Community Service; Bob Allen as the Club Treasurer who is trying to see through ‘found’ glasses of the wrong prescription; Libby Bancroft as the hard working, long suffering Club Secretary; Lilias Davie as the Committee Member with the ‘hots’ for the younger Dennis; Brett Neale as Norm, the Coach who hasn’t had a win all season; Sean Curran as Richard Withers, mistakenly taken as a Sports Consultant, and Linda Furse, the Judge who imposed the Community Service order on Dennis Delaney. Mayhem is the order of the day. Dennis and Patrick are seen as the Club’s saviours but things go from bad to worse. With things hitting rock bottom, a fluke of luck sees the club victorious and as they celebrate the fact that they are not going to adding to their collection of Wooden Spoons, all is forgiven and it’s back to the business of running the Footy club. Roger McKenzie

Tiny Remarkable Bramble By Jessica Tuckwell. Invisible Circus / The Impending Room. Kings Cross Theatre. Nov 6 - 25. JESSICA Tuckwell’s play is as strange as its title suggests. It’s absurdist, farcical and even a little moralistic. Director Cathy Hunt and her cast have made it intriguingly watchable, albeit a little perplexing. The often-fast action occurs in a Satre-esque space where a strange collection of characters bounce dialogue in a confusing roundabout of questions, accusations and instructions. Thomas Campbell plays the Brigadier, a drill-sergeant band-leader who revs up the group whenever it seems to be losing steam, with his off-sider Sonny (Catherine Terracini), the most self-contained of this motley group. Contessa Treffone is a bubble wrapped character called Pipkin, who has never seen the outside world and dreams of the ocean and sky, while Doug (Michael Whalley), the scientist of the group, is apparently working on a jelly-like potion that will somehow safeguard Pipkin. Vino is the least likeable of the group - but actor Lucy Suze Taylor finds both the insecurities as well as the brashness of this character. Hiding from the group and their strange pursuits is Alice, played by Geraldine Viswanathan, who finds the initial frailty of this character - and her eventual strength. Hunt has directed this play using all the creative strategies of theatre of the absurd - fast action, strong, clear characterisation, humour, a little clowning and clear directorial control. Carol Wimmer

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Reviews: Opera

Online extras! Behold The Eighth Wonder on the steps of the Opera House. Scan or visit https://youtu.be/pDpJLBA2IT0

The Eighth Wonder.

The Eighth Wonder By Dennis Watkins and Alan John. Opera Australia. Forecourt Sydney Opera House. Oct 28 - Nov 5. WHAT a pleasure to see an Australian written opera performed not only for the third time, but on a scale of excellence at every level that will ensure its revival for decades to come. The unique experience begins when you put on headphones from which the music is broadcast into your ears with crystal clarity - allowing the detection of the most subtle nuances on stage, including flies buzzing around a BBQ and the ruffling of paper. It may be the world’s first ‘silent opera’ but it won’t be the last. I was lucky enough to see the first production in 1995 inside the Opera House. This production on the famous steps

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in front of the Opera House is shorter, with dialogue, more comedy and stunning visual projections. The projections gave the experience a documentary feel, as you watched the demolition of the fort and construction of the Opera House over more than a decade. It worked most brilliantly at the end of the first act when the architect finally solves the problem about how to construct the giant shell rooves of the Opera House. The combination of a soaring beautiful aria and visuals displaying spheres being sliced and diced to create the skin of the building was sublime. Just as clever was the simplicity of the design of the opera. Bits of the stage were elegantly wheeled on and off as the scenes roamed locations from an Aztec temple, to the architect’s home in Denmark to many locations around Sydney. The libretto has generous helpings of Aussie slang. When the winning design was unveiled one sceptic said it, “reminds me of copulating turtles! Overdressed Aunt Myrtes.” Others likened it to “French nuns in force!” and “Mushrooms trodden by a horse!” Certainly the opera highlight of the year. The story of the building of the Opera House is operatic in its scope. There is the handsome flawed hero architect, the old Premier who dies before his vision his realised, conflict between factions pulling the Opera House in different artistic directions and a villain in the guise of a ruthless new Premier. The Eighth Wonder realises this scope of this epic with crystal clarity. David Spicer

Reviews: Plays

Seminar By Theresa Rebeck. Artefact Theatre Co. Directed by Martin Cox. Chapel off Chapel (Vic). Nov 9 - 26. THERESA Rebeck, famous for her television writing but also a Pulitzer Prize nominee, has written a play full of snappy one-liners for the audience. But it also delves deeply into the psyche of the writer and the constant struggle between art and craft. Rebeck sets her play in a swanky Manhattan apartment where rich girl Kate (the delightful Cazz Bainbridge) hosts literary seminars run by the once famous, now derided, Leonard (the ever charismatic Dion Mills). Leonard has been brought down from the lofty heights of being “gifted” and is the living proof that failed idealists make the best cynics. Mark Yeates is simply brilliant as Martin, the young writer who refuses to allow anyone to see his work, not because he’s afraid it isn’t good, but he’s afraid that noone else will understand his gift. His scenes with Mills are not just entertaining, they’re illuminating. It’s superb acting from both men - Mills, whose work is always impeccable, and Yeates, who is rapidly establishing himself as one of our finest young stage actors. Cazz Bainbridge is totally convincing as Kate, willing to play any game just to be noticed. She undergoes startling growth through the two acts and never fails to be convincing. Darcy Kent is a real find and an exciting talent. He dons the mask of Douglas - long on craft and pretension, short on talent and humility - sans socks and with trousers fashionably too short, to show his ankles. Ra Chapman, beautiful and with a constant undercurrent of

Seminar.

sexuality, gives gravitas to Izzy, the most underdrawn of the characters. Izzy has no talent, but she’ll make it anyway through sex and craft skills. Rebeck has given us archetypes rather than stereotypes. Writers are too complex to be stereotypes; vain and vulnerable, part egotist, part introvert, sophisticated and naïve, spiritual and soul-less, they embody the thousands of characters they will create. These five actors and their director Mathew Cox totally understand the cut and thrust and the wounds sustained in the battle. The result is terrific theatre. Coral Drouyn Little Voice By Jim Cartwright KADS. Directed by Terry Hackett. KADS Theatre, Kalamunda, WA. Nov 11 - Dec 3. OPENING Night of KADS’ Little Voice was a full-house, who adored this play with music. Madeleine Shaw as Little Voice imitated singers from Lulu to Piaf, with what the audience says was amazing accuracy, winning hearts. The audience loved to hate Sandra Sando as slatternly, over-loud and trashy mother, Mari, in a gloriously open performance, with wonderful extremes. Keith Scrivens did great work as Ray Say, a performance with notable depth. Good support from Derek Russell, Stephen Marr and Jack Williams, who charmed as shy and awkward Billy. Special mention must go to Rose Weighell as Sadie, in her best performance to date.

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Costumes, not always flattering, were a particular delight. Alastair Woodcock’s multi-level set belied the size of the stage. There was creative use of the whole auditorium and scenes set in the nightclub were played within touching distance of the audience. A very solid production, nicely constructed by director Terry Hackett. Kimberley Shaw Boy Overboard By Patricia Cornelius, adapted from Morris Gleitzman’s novel. Upstage Youth Theatre, at Upstage Studio, Maitland. Nov 4 - 12. BOY Overboard showed what writers, actors and a good staging team can do with a controversial subject, as it followed the journey of a 13-year-old boy and his younger sister from a threatened existence in Afghanistan to the less -than-welcoming shores of Australia. Novelist Morris Gleitzman’s concern about the treatment given to refugees by individuals and governments was well adapted for theatre by Patricia Cornelius, with the humour in the siblings’ passion for soccer underlining the fact that people in their situations are generally homely and in need of support. The story initially shows the boy, Jamal (Damon Cousins), and sister Bibi (Grace Sutherland) jovially talking about English soccer teams with school friends. But it was clear everything was not as peaceful as it could be, with Jamal’s best mate, Yusef (alternately played by Aiden St Clair and Olivia Greentree), on crutches because he lost a leg stepping on a landmine. And the siblings’ mother, Fatima (Jessica Rose), faces penalties because she secretly operates a forbidden school for girls. The family, including father Mohammed (Jack Gow), decide to flee the country, but nothing goes right. The children are separated from their parents and the voyage to Australia is a troubled one, with a transparent green screen and good lighting showing Jamal struggling in the sea on two occasions. Director Ann Croger made it clear the journey was no pleasure cruise, with gripping moments when food ran out on the boat and pirates came aboard. Ken Longworth

alternates between Gould’s office, cluttered in renovation, and his featureless, glass walled LA living room. Upton steers the limited action fluidly through both settings, the three performances are true, even endearing, and the text of course is funny and builds to a suspenseful conclusion. What’s missing is Mamet’s explosive anger and pace, the bugger-the-subtext approach of his countrymen with every line an attack. Lachy Hulme captures this thrust of Mamet best as the robust but near thwarted Charlie Fox. Damon Herriman is just too fresh-faced to play the jaded cynicism required of Bobby. Perhaps even more miscast is the endearing Rose Byrne as Karen, naïve and enthusiastic but with no hint of that steely ambition to beat the boys. If Upton had turned up the intensity threefold, then the back half of the Ros Packer Theatre would also not be all leaning forward to catch the words. They were certainly worth catching. Martin Portus

A Life in the Theatre By David Mamet. Darlinghurst Theatre Company. Eternity Playhouse. Nov 4 - Dec 4. DAVID Mamet’s A Life in the Theatre should work as a riotous if sentimental comedy about acting disasters, about lost lines and cues and props, and dreadful fellow actors. It’s a mad theatrical homage to backstage life like Michael Frayn’s Noises Off. Fading veteran actor Robert (John Gaden), manipulative and needy, is full of pompous advice for promising young actor John (Akos Armont). Their backstage relationship develops from camaraderie and professional flattery, with John respectful at first but outright rebellious by end. Their relations are punctuated by quick snippets from the dreadful plays they perform in this tired repertory company - skipping between wartime trenches, to surgery dramas, English drawing room farces, marooned sailors and some carry on at the French barricades. These are artfully staged on Hugh O’Connor’s detailed backstage set with our earnest actors performing back to an upstage auditorium but screened on side monitors. Between these are constant costume changes back Speed-the-Plow down to underwear - Mamet showing our players stripped By David Mamet. Sydney Theatre Company. Roslyn Packer down to the tedious repetition and illusion of their Theatre. Nov 8 - Dec 17. profession. IN 1988 David Mamet really let rip with this savage But with each costume fumble in Helen Dallimore’s satire on the greedy gatekeepers of Hollywood and all their production, the drive of the play grinds to a stop, which is banal, money-making formulas. not helped in between by the two duelling characters A newly promoted head of studio production Bobby failing to pick up the attack and pace required of these Gould is visited by a former partner/rival Charlie Fox with an American characters. unbeatable film deal. They agree on credits and dream of For a production therefore more whimsical than sequels of wealth ahead. But overnight Gould becomes hilarious, Gaden’s performance is tender and detailed, but seduced by his temporary secretary and an alternative Armont’s physicality - and growing young arrogance - is promise of making instead a shattering film about the end more engaging. of the world. I liked Mamet’s theatre gags of course but here wasn’t Andrew Upton returns to the STC to direct this moved to laugh at them. contained three-hander in David Fleischer’s box set, which Martin Portus 72 Stage Whispers

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Leon Ford in Sydney Theatre Company’s A Flea In Her Ear. Photo: Brett Boardman.

Online extras! Get in on some famously French fun with STCs A Flea In Her Ear. Scan or visit https://youtu.be/lJMAdXzvbL0 A Flea in Her Ear By Georges Feydeau. Adapted by Andrew Upton. Directed by Simon Phillips. Set and costumes by Gabriella Tylesova. Sydney Theatre Company. Sydney Opera House. Nov 4 Dec 13. THE combination of the script, direction, design and performance made it a night of sublime silliness. The farce revolved around the lady of the house, Raymonde Chandebise (Harriet Dyer), suspecting that her husband Victor Emmanuel (David Woods) is having an affair, because he is no longer interested in love making. Worthy of applause was the transformation of the set. Act 1 takes place in the drawing room of Chandebise House, whilst Act 2 is in the Snatch Time Hotel. When the revolve within a revolve spun in front of us, it looked like giant moving petals of a flower were in a time lapse metamorphosis. The inner revolve spun to reveal different bedrooms in the Snatch Time Hotel, where mild (and not so mild) doses of naughtiness were taking place. Odd couples are the inspiration for Georges Feydeau. He enjoys finding characters who “absolutely should not meet”, then finding ways of bringing them together “as quickly as possible.” Moments of high frivolity included frenetic choreographed leaping, dangerous liaisons with a poorly secured glass of urine and complaints from one of the actors about the side effects of watching a play. Feydeau often makes fun of physical ailments, which we still laugh at, despite it being politically incorrect. Stealing

the show (almost) was Harry Greenwood as Camille Chandebise. He suffered from a severe speech impediment. It won’t be easy to forget his plea for mercy. Won’t wock we (don’t mock me) he implores. David Spicer Leading Ladies By Ken Ludwig. Therry Dramatic Society. Arts Theatre Adelaide. Nov 3 - 12. WITH Ken Ludwig’s Leading Ladies in the experienced hands of Adelaide’s Therry Dramatic Society and the play’s Director Jude Hines, it’s a hoot from go to whoa. Jack Gable and Leo Clark are hapless British thespians touring the USA with their Shakespearean show. When they read that a dying and exceedingly wealthy widow is looking for two long-lost British nephews to inherit part of her fortune, they seize the opportunity to impersonate them to gain funds and boost their future options. Even before the uniformly excellent cast hits their straps, Stanley Tuck’s sumptuous and beautifully finessed set is enough to indicate this will be a quality production. The comedy’s first scene also has fine impact, with very good use of the auditorium and the apron of the stage to create a ‘travelling thespian’ atmosphere that introduces Leo and Jack. Jock Dunbar is wonderful as Jack Gable and as the young thespian’s alter ego Stephanie. Patrick Clements is maniacally marvelous as both Leo Clark and the ravenwigged Maxine.

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Gabrielle Scawthorn in e-baby. Photo: Clare Hawley.

Online extras! The cast and creatives behind e-baby discuss the show. Scan or visit https://youtu.be/EVXJ_4a_4XY Laura Antoniazzi plays Meg Snyder with a wide-eyed vulnerability that reminds me of a young Audrey Hepburn. Mollie Mooney is a delight in the zany role of Audrey. Steve Marvanek performs the difficult role of stuffy, controlling Duncan Wooley very well. The remaining cast provide some hilariously comic moments and ham it up to the hilt. Therry is on a winner with Leading Ladies and audiences are guaranteed a raucous and rib-tickling comedy experience. Lesley Reed e-baby By Jane Cafarella. Ensemble Theatre. Oct 13 - Nov 13. THE ancient and universal tragedy of infertility is given a modern spin in this tale of two women, and the strange, forced bond they form over their joint quest to make a baby. Catherine (Danielle Carter) is an uptight London lawyer, taut with desperation after 11 years and 18 unsuccessful rounds of IVF. Nellie (Gabrielle Scawthorne) is the young, naïve American chosen to be her “gestational surrogate” her last chance at motherhood. It starts with jokes, hugs and excited optimism. But as the journey through IVF and surrogacy enters troubled territory, each woman finds herself increasingly isolated. Ostracised by family, exhausted by medical procedures and hurt by the casual cruel comments of strangers, they start to turn against each other. 74 Stage Whispers

Danielle Carter plays control freak Catherine to brittle perfection. Gabrielle Scawthorne’s Nellie is equally impressive. Her mobile facial expressions lend her an endearing goofiness. One unusual feature of this play is that much of it takes place on large screens above the stage, as the characters communicate via the Internet. The big screens add to the experience. Director Nadia Tass has done a masterful job bringing a big human drama to a tiny stage, coaxing the audience into dark territory with humour and lightness, before cranking up the emotional intensity. Juanita Phillips Up For Grabs By David Williamson. Hobart Repertory Theatre Society. Directed by Nick Lahey. Playhouse Theatre, Hobart. Oct 28 Nov 12. OUCH! The David Williamson play Up For Grabs is an observation of people who are greedy, affected, pretentious and acquisitive, and we saw some on stage in Hobart. Set around the contemporary art world of the 1990s and written in 2000, Up For Grabs is a fast-paced comedy of (bad) manners. The actors handled the slick, slightly arch dialogue well in this fast-paced comedy about money, greed, unhappy couples and expensive art. Lillie McNamara, as art dealer Simone Allen, used the “fourth wall” ploy effectively. Director Nick Lahey extracted good performances out of the characters - tight timing and pace was a feature. Tara Carroll (Mindy) and CJ Bowers (Kel)

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worked well together as the trendy posers. Jon Lenthal (Gerry) as the art dealer’s partner added his strength of voice and the conscience to the questionable morality of art dealing. Leigh Faulkner (Manny) handled the role of the rather awful, grubby, would-be purchaser with ease. Sarah Phillips as his wife Felicity was screechy and superbly neurotic. The beautiful deep tones of Astrid Tiefholz (Dawn) rounded out the cast. Quick scene changes, a suitable geometric-style art gallery set and clever lighting added to the pace. The slightly dated dialogue is possibly somewhat unacceptable to current politically correct standards, but the audience loved the chance to laugh at the nasty people portrayed. Does morality win over profit? Go and see! Merlene Abbott

mother Vi’s funeral. All three bicker, argue, and laugh, as they try on their mother’s clothes, drink too much, and smoke pot. Debra Bela gave an assured, many-layered performance as Mary, whose demons were not only her fractured relationship with her mother but also a long held secret from her past. An embittered woman, we understood her, but didn’t like her. Carrie O’Rourke’s Teresa was mindnumbingly real. Fussy to the point of desperation, she handled the transition from chief cook and bottle-washer of the family to belligerent and occasional foul-mouthed drunk with experienced skill. Anna Ibbotson gave the best performance of the night as the wilful Catherine. A statuesque beauty, she pouted and primped with arrogance, and managed to evoke a smidgen of sympathy for her lot as the youngest sibling. Cheaters Renaud Jadin also evoked sympathy in the well-written By Michael Jacobs. Galleon Theatre Group. Domain Theatre, role of Mike, the adulterer who already has kids and doesn’t want any more even if it would satisfy Mary’s Marion (SA). Oct 26 - Nov 5. GALLEON Theatre Group is currently presenting yet ticking body time-clock. another of its twice-yearly comedy treats, Michael Jacobs’ Peter Pinne entirely predictable but hilarious Cheaters. Michelle wants to be married, but live-in boyfriend Allen Secret Bridesmaid’s Business is unsure and won’t commit. Their mothers and fathers are By Elizabeth Coleman. Liverpool Performing Arts Ensemble. not much support, because, unknown to Michelle and Directed by Johnathon Brown. Casula Powerhouse. Oct 19 Allen, all four parents have their own problems - they are 22. cheating outside their marriages. IT says something about how good a show is when you Lindsay Dunn is very funny as hapless Howard, a man don’t feel like you’re watching actors on stage but instead who has let an extra-marital affair run perhaps a little too watching real life. Such was the high calibre of this show. long. Andrew Clark is also very good as Sam, a man pining A bride, her mum, and her bridesmaids are in a hotel for his first love. room the night before the big day. Not everything goes to Anita Canala is excellent as novice cheater Grace. Sharyn plan. What happens over the course of the night is at turns De Zolt is hilarious as long-time mistress Monica, however funny, sad, and heartfelt - but mostly funny. Even the her American accent is a little hit and miss. groom pops in. Brittany Daw cleverly presents Michelle as an I can’t think of any other Australian “female friendly” understated, sensible foil to the out-of-control parents. play that summarises so well what it means to be male in Simon Lancione does a good job of the conflicted boyfriend Australian society. Allen, but overdoes his expressions of mortified confusion. The dialogue, acting, and movement felt natural. The Director Brian Godfrey uses the stage to its full potential actors are perfectly cast: Allison Brown’s fretting mum, and ensures the cracking pace needed for this type of play Katharine Babatzanis’s caring Matron of Honour, Christine is present at all times. Graf’s bridesmaid-with-a-secret, Michael Lundberg’s The set is well-designed. Lighting, sound, costumes, hair groom, and Samantha Sullivan’s late-arriving friend don’t and makeup are all achieved with Galleon’s usual effortless put a foot wrong. Melissa Rose, as the bride, stole the show professionalism. with her comic timing and natural reactions. The cheating couples on stage during the second act are Small faults were due to it being Opening Night; at the intended to suffer a dinner of unappetising hot dogs, but start one cast member rushed and scrambled the dialogue, the overall meal of comedy fare served up to the audience projection was down in some small spots, and some of the by Galleon is the cherry on the cake; Cheaters is very lighting cues were fumbled. We’ve all been there. satisfying and very, very funny. Credit to director Johnathon Brown and co-director wife Lesley Reed Sue for giving us such a polished show. It’s a sign of excellent direction when you don’t notice the direction. The Memory of Water Peter Novakovich By Shelagh Stephenson. New Farm Nash Theatre Inc. Director: Sharon White. Merthyr Road Uniting Church. Oct One Man, Two Guvnors 8 - 29. By Richard Bean. Directed by Chris Baldock. Heidelberg SIBLING rivalry, familial guilt and black humour Theatre Company. Nov 18 - Dec 3. permeate the script of Shelagh Stephenson’s 1996 The ONE Man, Two Guvnors is Richard Bean’s adaptation of Goldoni’s Commedia dell’arte comedy. Set in Brighton in Memory of Water as three sisters, who share little in the early sixties, it tells the story of Francis Henshall, a common, reunite in the family home on the eve of their Longer versions of many reviews can now be found at www.stagewhispers.com.au

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slightly buffoonish opportunist who finds himself working for two shady characters at once. The West End production made James Corden a star. Just as well producers didn’t see the astonishing Benjamin Watts in the role. Watts is not small and chubby and cuddly. He’s tall, well built - quite bear-like, and far more knowing than the other Henshalls I have seen - but he is one of the funniest, cleverest performers ever to grace a stage here in Melbourne, with a wildly unpredictable range of comic timing and gestures. He is, quite simply, gobsmackingly good. Cat Jardine gives her usual polished and professional performance as the busty Dolly, and captures the 1960s ethos beautifully. Diane Algate is a tiny package of dynamite and gives a nicely rounded performance as Rachel Crabbe, mostly disguised as her “identical” dead twin brother. Brilliant comic performances come from James Antonas as Rachel’s Paramour Stanley Stubbers and Liam Gillespie as Alan Dangle, the “ActOr” who wants to marry Pauline, and Katey Lewis taps a new level of dumb daffiness. Nick Cheadle is great as Harry Dangle, and Ken McLeish is highly impressive as Charlie Clench. As Lloyd, Wem Etuknwa is a commanding presence, and you have to love his Calypso number. While Sam Howard is really too young to play Alfie, his physicality lends itself to some of the funniest stage business I have ever seen. The show is punctuated by a skiffle group, brilliantly led by James Chappell, and the musical numbers joyfully add to the overall pleasure of the production. But it’s Director Chris Baldock’s show, right down to his innovative set design. Melbourne theatre will be all the poorer for losing him. Coral Drouyn Don’t Dress for Dinner By Marc Camoletti. Adelaide Repertory Theatre. The Arts Theatre. Nov 17 - 26. THOSE who enjoyed Boeing-Boeing in Adelaide earlier this year should feel right at home with the Rep’s production of Don’t Dress for Dinner. There may be others who find playwright Camoletti’s style to be a bit on the mouldy side these days, but some terrific performers - and a director who clearly knows the territory - do their utmost to dust it off and juice it up. Norm Caddick directs the proceedings with solid craftsmanship and a swift pace, though there are times when the basic material seemingly can’t help but feel a tad tired and creaky. On the definite plus side, Caddick has cast two exceptionally fine actors as the cheating couple; Peter Davies and Georgia Stockham both do a sterling job, bright and sharp and engaging. Tim Taylor reprises his Boeing role of Robert, and the character’s return is a most welcome one. Rose Vallen presents a delightfully charming characterisation of caterer Suzette, while Caryn Rogers has physical presence in the role of Suzanne, but the unexplained inconsistency of her accent proves unhelpfully distracting. 76 Stage Whispers

In a year that has seen a number of strong comedic productions around the Adelaide amateur scene, Don’t Dress for Dinner may not be the most impressive that this reviewer has experienced, but it is predominantly a delight, and one worth catching. Anthony Vawser The Accused By Jeffrey Archer. Castle Hill Players. The Pavilion Theatre, Castle Hill Showground. Nov 18 - Dec 10. DIRECTOR Bernard Teuben brings all the theatricality of the courtroom to the stage in this absorbing drama by Jeffery Archer. With the Scales of Justice towering above the stage on a huge and colourful backdrop, cardiologist Patrick Sherwood (Jason Spindlow) faces the charge of murdering his wife by administering the poison potassium chloride. Appearing in his defence is Sir James Barrington QC (Matt Tredinnick), while Anotonia Kersley QC (Sandy Velini) presents the case for the prosecution. They work hard to convince the jury - in this case, the audience - of his guilt or innocence. Their decision, made by placing tokens in either side of a ballot box towards the end of the second act, decides which of Archer’s two endings will conclude the play. Velini and Tredinnick give impressive performances. Resplendent in faultless court finery (thanks to legal advisor Barrister Rob Taylor and his colleagues), they strut the stage with suitable self-importance: she is the straight, compliant prosecutor; he the hardened criminal lawyer, not averse to underhand tricks in his cross-examination. Both actors carry the play, giving it the punch and pace that make it compelling theatre rather than dry, predictable courtroom drama. Bringing the lawyers and witnesses into the court via the theatre allows Teuben to involve the audience more intimately in the performance, making them an integral part of the play. Carol Wimmer The Shadow Box By Michael Cristofer. Dino Dimitriadis / Red Line Productions. Old Fitz Theatre. Nov 15 - Dec 10. THERE’S heaps of acting prowess and experience in this cast of eight squeezed onto this tiny pub theatre stage. Michael Cristofer’s play, which won him the Pulitzer in 1977, is about three people and their carers living in hospice cottages and learning how to face death. Designer Isabel Hudson creates a nicely tree-lined and carpeted Californian place to ponder death. An off-stage psychiatrist evenly interviews each of the patients and soon, as loved ones arrive, their stories are played out around a few chairs. The action and reach of each scene may be cramped but director Kim Hardwick is blessed with actors who can focus on playing fine detail in small spaces. Mark Lee is the upbeat blue-collared farmer, whose visiting wife (Jeanette Cronin) won’t even go inside his

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Calendar Girls.

cottage and has told nothing to their son (Simon Thomson). Tim McGarry is a garrulous gay academic, thrilled to see his saucy ex-wife (Kate Raison), much to the resentment of his serious carer and boyfriend (Anthony Gooley). The third patient is a half demented battler (Fiona Press) barely sustained by the visits of her grim spinster daughter (Ella Prince). With such uniformly excellent actors, all are engaging characters even if their folksy thoughts on death are often earnestly sentimental, even banal. We’ve been spoilt since by other more hard-hitting, socially incisive dramas around death. The Shadow Box ends powerfully when the cast unites in a chorus of abstraction about … living in the moment. Yes, sounds obvious but its very moving. Martin Portus Calendar Girls By Tim Firth. St Judes Players (SA). Nov 17 - 26. DIRECTOR Brian Knott has assembled a stellar cast to bring the heart-warming story of Calendar Girls to life. Based on a true story, it follows the attempts of six mature lasses from the Women’s Institute in the North of England in their fundraising efforts. Wonderful characterisations were delivered by all actors. Chris (Shelley Hampton), propelled the idea for the calendar and made it a reality; her playful portrayal was a delight. Annie (Joanne St Clair) did a wonderful job in her layered performance, as did Lesley Reed in her turn as acrimonious

Jessie. Maxine Grubel as Celia was deliciously naughty and repressed. Ruth is played by Heather Riley, who brings a sweetness to her role. Act one ends with the side-splitting shooting of the calendar. It is without a doubt the highlight of the play. Look out for the sublime reaction from Lindy LeCornu at the end of act one; her comic timing as uptight Marie is glorious. It would be remiss of me to omit the male actors in this production, for they all did a fine job. Andrew Horwood plays Annie’s ailing husband John and tugs at the heartstrings; despite his illness, his wry sense of humour is welcomed. Lindsay Dunn brings an energy to the stage as Chris’s husband Rod and Patrick Gibson does well to play two roles. I am in awe of anyone who gets their kit off in the name of art, but when it is for such a worthwhile cause who can argue. Kerry Cooper Noises Off By Michael Frayn. Canberra Repertory. Directed by Cate Clelland. Theatre 3, Acton, Canberra ACT. Nov 17 - Dec 3. NOISES Off is an amusing farce in the best British tradition. Doors open, get jammed shut, or hide suspicious persons. Plates of sardines come and go, and come back again. And this farce revolves around a hoary old farce ‘Nothing On’, presented by a tired British repertory company. No number of exclamations of “Sweet!” “Dear” and “Darling” can make up for the errors that come about

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from repertory members falling in love, battling alcohol, and dealing with a broken heart. Cate Clelland has created a sparkling, witty production with liberal dollops of physical comedy and mime. The second act, set backstage during a matinee performance of ‘Nothing On’ is frantic and chaotic (while being totally under control), showing major plot points through hand-waving, propmoving, and many exits and entrances. Truly, the entire cast must be very fit to go up and down the stairs so many times and so quickly. Andrew Kay plays the delightfully dotty (though inebriated) veteran actor Selsdon Mowbray, whose non-sequiturs and timing are most amusing. Lainie Hart plays Dotty Otley with impeccable timing. Lewis Meegan plays Garry Lejeune and Alex McPherson plays Brooke Ashton. Mention must be made of the set, designed by Quention Mitchell. It is a doublesided set that revolves around for the second act. Indeed, it practically deserves a listing as a cast member, given its prominence and how essential it is to the narrative. Costumes were designed by Kitty McGarry. A most entertaining finish to a season of consistently high standard at Canberra Repertory. Rachel McGrath-Kerr

Noises Off. Photo: Helen Drum.

Tartuffe By Moliere. Adapted by Phillip Kavanagh. State Theatre Company & Brink Productions. Dunstan Playhouse. Nov 4 - 20. PHILIP Kavanagh has served up an adaptation of Moliere’s biting religious hypocrisy satire of the 1600’s that incorporates oblique modern references as

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well as some vividly surreal verbal comic imagery. Solid humour is generated from the technique of melodramatically inflating a particular situation, then puncturing it for comedic effect. Director Chris Drummond has paced the proceedings well, and Michael Hankin’s smartly simple set/costume designs - in conjunction with Nigel Levings’ lighting - let the characterisation and dialogue take focus. Alan John’s live organ underscore is intelligently used and subtly supportive. Though the actors are mostly well-served by Kavanagh’s text, some are less convincing than others. Especially problematic is the title character, presented here by Nathan O’Keefe as an arch, spineless, visually blatant travesty of the traditional Christ figure. Despite the energy and flamboyance that O’Keefe delivers in the role, it’s rather more fun to watch the surrounding characters talking about the ‘magic’ of Tartuffe than it is to actually witness the man himself in the act of casting his ever-more-dubious ‘spells’ over them all. Despite the misgivings of this reviewer, Tartuffe, as presented here, still has just enough of what it takes to provide a solidly funny, cheeky, inventive, intelligent evening at the theatre. If many of its ambitions remain unrealised, those very ambitions are sometimes gratifying enough, in and of themselves, to make this recommendable. Anthony Vawser A Little Murder Never Hurt Anybody By Ron Bernas. Centenary Theatre Co. Director: Debra Chalmers. Chelmer Community Centre, Brisbane. Nov 12 Dec 3. ON New Year’s Eve, Matthew Perry makes a resolution that he will kill his wife Julia by year’s end so that he can have some fun, like holidaying in Aruba, having an affair, and playing golf. Throw in a bimbo daughter Bunny; a butler, Buttram, who holds a secret; and an incompetent detective, Plotnik, who couldn’t find a clue if he fell over it, and you have a group of standard stock farce characters. Comedy is inherent in the premise and there are plenty of laughs, just not enough of them. Playing an on-stage married couple for the first time, real life husband and wife Brian and Meg Hinselwood are a perfect fit for the Perrys, bringing genuine marital baggage to the warring couple. Brian offers a suave, elegant portrayal of old money, whilst Meg counters with cunning and sophistication. Melanie Pennisi’s Bunny triggered laughs with her malapropisms and general ditzy behaviour, traits that enamour her to her upstanding fiancé Donald, played staunchly by Nathaniel Young. John Sayles had fun as Buttram, the put-upon family butler whose long-held secret, when it is revealed, brings about a happy ending for all. Speaking dialogue straight out of a B grade Hollywood gangster movie of the 30s, Detective Plotnik was a gift of a role for Brad Oliver, who punched the whacky lines home time and time again. Peter Pinne

One Flew Over the Cuckoo’s Nest By Dale Wasserman. Cairns Little Theatre, Rondo Theatre, Cairns. Oct 21 - 29. SET in the Oregon State Mental Hospital, the play version of One Flew Over the Cuckoo’s Nest mirrors the 1975 film, which starred Jack Nicholson. The cast, welldirected by Kevin West, gave it everything. Star of the show was Kane Sarota as inmate Randle McMurphy who leads the battle against the system. Sarota was a ball of energy and the centre of all the action as he led the inmates in rebellion. His quality acting was well supported by Warren Clements as Chief Bromden, James Mousa as Harding, Bruce Whitehead as Martini, Mark Chivers as Cheswick, Adam Libke as Frank and Patrick Mays as Billy. Mays was particularly good with his stutter and tight body language. However, Cath Willacy as Nurse Ratched perhaps underplayed the role and possibly could have been a bit more forceful and authoritarian. There did not seem much point in McMurphy attempting to strangle her as she seemed kind, helpful and benign. That said, the play was a good mix of drama, comedy and moving moments. Credit also to the set designers, the costume makers and the special-effects team for the shattered window scene. Ken Cotterill Roberto Zucco By Bernard-Marie Koltès. Translated by Martin Crimp and directed by Alice Bishop. Presented by La Mama and Alliance Française. Oct 26 - Nov 13. TRANSLATING this play by the legendary Koltès is a creative enterprise that is certainly worthwhile but not without its challenges. The spine-chilling story of the murderous rampage of a psychopath creates a space to philosophically examine themes such as hypocrisy, possessiveness, gendered power dynamics, and the emphasis on the material nature of existence. These concepts are all forcefully explored in this play. Crimp’s translation effectively conveys Koltès’s unusual poetic rhythms, his harsh psychological assessments and the brutality of his hard-hitting dialogue. The difficulty is in determining the appropriate register for his groundbreaking, avant-garde style of theatre. This is courageously and magnificently addressed in this very admirable performance. The text is inherent with a precarious fine line between black humour and grim realism, and finding the right balance between humour and drama is not always achieved in this production. However, the very strong performances and the striking staging of this play bring the intriguing and alluring elements of this story to the forefront. The large ensemble cast play a variety of parts with an impressive level of energy and gusto. The facial expressions of Zucco (Ben Shuman) exude pure evil, and the flamboyance of all the various characterisations are beautifully mirrored in gesture and costuming. Interesting and innovative use of the performance space also adds to the fine quality of this production. Patricia Di Risio

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Rust And Bone. Photo: Daisy Noyes.

Rust and Bone By Caleb Lewis based on three stories by Craig Davidson. La Mama Courthouse, Carlton. Nov 16 - 27. THE rust is the taste of your own blood. The bones are what get broken. This is a play about male aggression and violence. Caleb Lewis takes stories by Craig Davidson of a boxer, a fighting dog breeder/trainer, and an Orca trainer at Sea World - and weaves them together into a sort of contrapuntal aural montage. His three characters never meet. When an interaction is part of one man’s story, another of the cast transforms instantly to another character - in posture, voice and attitude. Glen Maynard is ‘Eddie’ the boxer: rangy, powerful, the most violent of the three and therefore the saddest. His story resolves in loss… because he lets down his guard. Luke Mulquiney is James, a man with fertility problems. If he can’t fight, his dog will fight for him. Mr Mulquiney suggests so very clearly a man who lives vicariously; investing his whole being in a stubborn hope of victory that we know is a delusion. Adam Ibrahim is Ben - strutting, cocky, sexist, oozing testosterone, until Nature - so to speak - strikes back, taking revenge, effecting a symbolic castration. Director Daniel Clarke gives us something challenging but coherent and highly disciplined. Ingrid Voorendt choreographs the actors’ movements - precise and beautifully coordinated. Chris Wenn’s sound is unobtrusive, undistracting and genuinely supports the drama. Likewise Richard Vabre’s lighting. This is relentless, visceral theatre without much breathing 80 Stage Whispers

space. If at the end you feel a little wrung out, it’s because you’ve been held and moved and had secrets revealed. Michael Brindley When the Rain Stops Falling By Andrew Bovell. Brisbane Arts Theatre, Brisbane. Nov 19 Dec 10. IF it weren’t for Norman Doyle, Brisbane Arts’ When the Rain Stops Falling would be just another community theatre production. As it was, his sensitive performance as Gabriel York/Henry Law elevated the production of this complex play to a higher level. Although the narrative threads kept overlapping, director John Boyce always made the author’s intent clear, helped in this endeavour by the committed work of Doyle, who commanded attention whenever he was on stage. Jonathon Devitt as Gabriel Law (and Andrew Price) was also a strong and believable young Brit in his search for answers as to why his father walked out on the family when he was six. John Benetto’s Joe managed to find sympathy for a man who gives everything to his partner but still comes off second-best. Jessica Wake brought some much needed fire to the young Elizabeth Law in the second act; Sarah Britton was an unsympathetic older Gabrielle York; Claire Argente suffered from poor projection as the younger Gabrielle York; whilst Georgia Kaytos’s older Elizabeth Law continually let the side down with her stagey ‘acting.’ But it was Doyle’s play. He set the standard and it was his performance that stood out. Peter Pinne

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Reviews: Circus

Online extras! Be captivated by the magic of Circus 1903. Simply scan the QR code or visit https://youtu.be/lnmrRVZ2IYE Circus 1903. Photo: John P. Harvey.

Circus 1903 Works Entertainment Group. Canberra Theatre. Dec 1 - 11 and touring to Sydney and Melbourne. MODERN circus productions, increasingly resting on an overarching narrative, have been an interesting innovation in indoor theatre, where the seats and atmosphere are usually more comfortable than a tent can provide. But there’s something to be said for the feel of old-circus, with its simple performances by a circus art’s most spectacular exponents; its unpredictability; the obvious hazards in performance height and the presence of carnivorous animals. And it was with the vision of re-creating this sense of old-time circus and its wonders that producer Simon Painter, producer of The Illusionists 1903, devised Circus 1903. The production’s appeal is very broad. On opening night, the ringmaster, Willy Whipsnade, a comedian with perfect timing, evoked much laughter throughout; he even had the audience cackling before the show began. The production features two awesome “puppets” - made, it seems, of hessian, pistons, and electronics - which Significant Object (makers of the puppets for War Horse) has fashioned into loveable, larger-than-life elephants. The music, the variety of which composer Evan Jolly suited to the various acts, was catchy, even stirring. The costumes had an old-fashioned circus feel, no performer making the mistake of displaying obviously modern adornments. And the beautifully controlled spotlighting, which replicated the experience of the big ring, did its part in varying the emotional temperature.

But of course the principal attraction of the circus lies in its extremities of skill and daring, without which the rest are mere trappings. And its acts were very well done. Several were simply spectacular. You have may seen many stunt cyclists, many jugglers, many acrobats perform before now, but the chances are good that you have never seen performers with such style and frank daring as The Cycling Cyclone, on the bicycle; The Great Gaston, on the juggling pins; the brothers Rossi, juggling each other; Les Incredibles, on “aerial ballet”; and The Flying Fins (including an Australian who joined the production, due to performer injury, a week before its first performance), on teeter board. I don’t recall ever seeing such heart-stopping acrobatics; I know that I’ve never seen juggling so smooth or so mindbogglingly rapid. The show has a great deal to recommend it. Some audience members teared up at the beauty of Lucky Moon’s hoop performance; others couldn’t get over the evident risk to two aerial cyclists and a passenger. And every piece of superb magic produced sighs of appreciation. Even the circus contortionist employed rare artistry in virtually dancing through impossible routines. Every act was classy; none disappointed; the surprises were legion. And, as circus should, it dazzled the children as much as it did the adults. If you’ve forgotten what it was that made circus the romantic spectacle it once was, let Circus 1903 remind you. John P. Harvey

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The ensemble of Mack And Mabel. Photo: Lightbox Photography.

Reviews: Musicals

Online extras! Check out a live performance of “Look What Happened To Mabel.” https://yhoo.it/2hkJfhe Mack and Mabel Book by Michael Stewart. Music and lyrics by Jerry Herman. Working Management. Hayes Theatre Co. Nov 18 - Dec 18. MUSICAL Theatre tragics (myself included) have been in love with the Broadway Cast recording of Mack and Mabel for more than 40 years. Its score by Jerry Herman is arguably the best ever written for a Broadway Musical flop. The plot revolves around the relationship between early film director Mack Sennett and his star Mabel Normand, and movie making in Hollywood’s silent era. Now the creative team of Trevor Ashley (Director), Cameron Mitchell (Choreographer) and Bev Kennedy (Musical Director), Lauren Peters (Set Design) and Angela White (Costume Design) have given us a splendid staging of the ‘cult classic’. The intimacy of the Hayes is a perfect fit for the show, cut back to a tight ensemble cast of 13, in a fluid production using mostly props that would be the found objects around a Hollywood sound stage. Charismatic Scott Irwin totally inhabits the stoic, inarticulate film-maker Mack. His rich baritone does full justice to Mack’s share of the classic Herman songs. Petite dynamo Angelique Cassimatis is totally winning as Mabel, balancing impish comedy with endearing pathos, and a Broadway belt voice to die for. She’s a marvelous triple threat. They head a high-energy ensemble cast, most notably Deone Zanotto as Lotte, vivaciously leading the hoofing highlights, and Adam Di Martino’s sensitive performance as the fledgling writer, loosely based on cinema legend Frank Capra. 82 Stage Whispers

While the script has never matched the score, in its current pared back form at least now it’s the songs that do most of the talking, strongly supported by choreography that’s in tune with the narrative. Bev Kennedy’s excellent five-piece band often sounds closer to a full Broadway pit. Neil Litchfield The Merry Widow from Bluegum Creek Music by Franz Lehár. New book and lyrics by Frank Hatherley. Queanbeyan Players. The Q. Nov 4 - 19. SITTING next to me was my Austrian born mother, very impressed at the large orchestra under the baton of Jennifer Groom, faithfully playing the sumptuous Viennese music that made the operetta such a hit in 1905. None of the music is altered in this edition. Instead of being set in the Paris embassy of the newly formed Balkan nation of Pontevedrinia, The Merry Widow from Bluegum Creek is set in the Australian Embassy in Paris. The ambassador Zack (Robert Grice) tells his French guests that “our new born nation, only federated this year, is holding a grand competition to design a new flag.” The hapless French have to decipher the Aussie lingo. Matt Greenwood as Michelin explains that he does not know what is a ‘chook’ or how to ‘take a Captain Cook’. The local audience enjoyed the twist to the story. The leading man Charles Hudson - as Danny Macquarie - fits very comfortably into his role as an embassy attaché, who starts off enjoying being a playboy in Paris, but rekindles the flame for his first love.

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Louise Keast - the Merry Widow of a wool baron, Mrs Anna Gladstone - had a knock-about charm and a lovely voice. There was a nice chemistry (and a sweet waltz) between the two of them, which summed up the mood of this production. David Spicer* *David Spicer Productions is the agent for The Merry Widow from Bluegum Creek.

Kiss Me, Kate Music & Lyrics: Cole Porter. Book: Sam & Bella Spewack. Critical Edition: David Charles Abell & Seann Alderking. Opera Q. Concert Hall, QPAC. Nov 12. COLE Porter set the gold standard when he wrote “Another Op’nin’, Another Show”, one of the best, if not the best Broadway opening number, and it sounded spectacular in Opera Q’s concert version of Kiss Me Kate. So too was Christopher Horsey’s “Too Darn Hot” tap routine, impossibly danced on a ribbon of stage that opened the second act, Naomi Price’s delicious vamp on “Tom, Dick or Harry”, and Bryan Proberts and Shaun Brown shamelessly mugging as the gangsters in “Brush Up Your Shakespeare”. Cheryl Barker’s Lilli Vanessi was fiery on “I Hate Men” and captured the desire of “So in Love” with a melancholic longing. Peter Coleman-Wright may be a fixture on opera stages of the world but on this performance as Fred Graham proved musical comedy was not his forte. His portentous delivery of his songs did not help although “Were Thine That Special Face” was languidly insinuating. Jason Barry-Smith (Bill), Bradley McCaw (Hortensio) and Kurt Phelan (Gremio) added to the fun. Kris Stewart’s direction had the actors performing in and around the onstage orchestra players, which sometimes worked and sometimes didn’t. But Queensland Symphony Orchestra under Guy Noble’s baton was the icing on the cake. Sounding grander and richer than a pit orchestra, they gave Porter’s timeless score the sparkle it needed. Peter Pinne

husband’s attention in “Just One Step”; Boyle movingly delivered “I’m Not Afraid of Anything”; O’Byrne shone in “The World Was Dancing”, whilst Chamberlain’s commitment in “King of the World” was searing. The two most well-known songs from the score, “Stars and the Moon” and the Brecht/Weill parody “Surabaya Santa”, were expertly performed by Ridoutt. The only minus in the production was the sound balance, which at times had the orchestra overpowering the vocals. Peter Pinne

Grease By Jim Jacobs and Warren Casey. Manly Musical Society. The Star of the Sea Theatre, Manly. Nov 18 - 26. A ROCKIN’ band led by musical director Anthony Cutrupi support a cast of excellent singers, ensuring that this Grease is a crowd pleaser. Eye-catching costumes (Elle Cantor), and some lively, frequently imaginative choreography (Kim Dresner), set against the smart black and white check set evoking a classic 50s diner, further boost the iconic musical numbers. Vocal highlights are shared around a capable cast. Carolyn Reed (Sandy) tugs at the heartstrings with “Hopelessly Devoted”, Laura Dawson (Rizzo) displays both comic and dramatic flair with “Sandra Dee” and “There Are Worse Things I Could Do”, while Katya Triantis (Marty) nails “Freddy My Love”. Jay Cullen (Danny), Jake Buratti (Kenickie), Christopher O’Shea (Doody), Martin Everett (Johnny Casino) and Sam Ducker (Teen Angel) do justice to “Sandy”, “Greased Lightning”, “Those Magic Changes”, “Born to Handjive” and “Beauty School Dropout” respectively. Eamon Moses (Roger) and Kaleigh Wilkie-Smith (Jan also the director) share a touchingly comedic “Mooning”. Stephanie Edmonds is an engagingly ditzy Frenchy; Callum McKean is a cheeky Sonny; Boronia Clark has the requisite perkiness as Patty; Callum Dolmeny is an aptly nerdish Eugene; Kristin Kok is utterly school-marmish as Miss Lynch; Harriet Bridges-Webb’s Cha Cha is suitably obnoxious and Michael Smith oozes sleaze as Vince. Cast members establish their characters with heaps of Songs for a New World attitude and physicalised teen angst, but sometimes lines Music & Lyrics: Jason Robert Brown. New World Theatre. are rushed. Act 1 Theatre, Strathpine, Qld. Nov 17 - 20. Still, audience members bopping happily along to the SOMETIMES a production comes along that sparkles like iconic songs is the spontaneous critique to Manly’s Grease. a true gem. New World Theatre’s Songs for a New World is Neil Litchfield just that. Four experienced performers, Lara Boyle, Simon Chamberlain, Liam J. O’Byrne and Natalie Ridoutt, all with How to Succeed in Business Without Really Trying great voices and acting chops, brought Jason Robert Music and Lyrics: Frank Loesser: Book: Abe Burrows, Jack Brown’s popular song cycle thrillingly to life. There was no Weinstock and Willie Gilbert. Gold Coast Little Theatre, denying their passion for the material, or the brilliance of Southport. Director: Shane Cadday. Nov 12 - Dec 10. the four-piece orchestra under musical director Andrew GCLT have a hit on their hands with their final Wadley on keyboard. production for 2016. This light-hearted look at big business The show, a series of unconnected vignettes of has a striking resemblance to recent events in the US: an ‘moments in life’, certainly connected big-time with the outsider seeing a greater prize does everything in his power young audience who were treated to a night of perfect to achieve his goal. musical theatre thanks to astute direction by Melanie Evans. In this case, the man in question is J. Pierrepont Finch Each performer had their moment in the sun - Ridoutt was (Ethan Liboiron), an ambitious young window-washer who manically funny as a neglected wife trying to get her decides to trade ‘looking in’ on the company to heading it. Longer versions of many reviews can now be found at www.stagewhispers.com.au

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Once inside the organisation he charms the ladies and makes enemies of the other executives including the Boss’s nephew Bud Frump (Brody Seignior). Finch’s love interest is Rosemary (Cassidy Mackie) a secretary whom he doesn’t seem to notice. Other personnel in the company hierarchy include the Boss, JB Biggley (Russell White), Executives Mr Bratt (Josh Lovell), Twimble/ Womper (Grant Ebeling), secretaries Smitty (Ruby Hunter),Miss Jones (Donna Masters) and the Boss’s latest girlfriend Miss Hedy La Rue (Wendy Rosenbaum). Brady Watkins’ musical direction was a highpoint of the show along with the spectacular and effective routines of choreographers Tiahni Wilton and Erin Brummage. My only disappointment was that the costumes didn’t capture the essence of the show. Roger McKenzie

company falling into the category of actors who carry a tune. Barry Haworth was an irascible Scrooge, a mean old man who finally found some Christmas spirit and compassion. It was a nice performance. Scott West also did well as Fred, as did Daniel Medda (Bob Cratchit) and John Tiplady (Narrator). “You Can’t Take It with You When You Go”, sung by Maddie Wilson, Emily McCormack and Colleen Crisp, was the liveliest of the original songs. Peter Pinne

The Little Mermaid By Doug Wright, Alan Menken, Howard Ashman and Glenn Slater. Canterbury Theatre Guild. Lendlease Darling Quarter Theatre, Sydney. Nov 3 - 6. CLEVER staging/blocking from Director/Choreographer Cameron Lewis and his team and amazing detailed Gutenberg the Musical costumes by Jessica Lewis really brought Disney’s The Little By Scott Brown & Anthony King. Holland St Productions. Mermaid to life artistically. Directed by Erin Hutchinson. Hellenic Club, Perth, WA. Oct The wonderful score was played by a very full sounding 27 - Nov 5. orchestra led by Musical Director Andrew Howie. HOLLAND St Productions is known for producing quirky, Recognisable numbers from the movie including “Under the original work, so Gutenberg the Musical, which had a solid Sea” and “Kiss the Girl” (both sung by Sebastian the Crab Off-Broadway run, is a departure from their usual fare in and ensemble), were fun to watch. The newer additions for many ways. Stylistically though, this show could have been the musical including Prince Eric’s number “Her Voice” and written by Tyler Jones and Robert Woods, Holland St’s usual “She’s in Love”, sung by the Mersisters and Flounder, were musical collaborators - a wild and unusual, small cast surprising highlights. musical, irreverent and clever, with an off-beat charm. Standing out in the leading cast was the raw chemistry Doug and Bud (Andrew Baker and Tyler Jones) have between Arial (Isabella McIntosh) and her Prince (Jack brought their brand new musical to a backer’s audition, Dawson). McIntosh lit up the stage with every entrance and hoping to win the support of a Broadway producer. With had the necessary sweetness for us to feel for her enthusiasm, passion and some over-sharing, they create the character’s problems of being different to all the other sea entire huge cast musical between the two of them, on a folk. close to bare stage, playing multiple characters and Dawson played the Disney Prince to perfection, oozing switching hats (literally - it is very funny), with frenetic charm through every line. His vocals were strong and he energy as they create a plethora of unlikely characters in a performed his solo “Her Voice” to great applause. more wildly impossible script. Stefan Jamel as the energetic crab Sebastian held his Great teamwork, with outstanding performances from Jamaican accent brilliantly throughout the show. His both actors, in this surprise packed production, plus solid physicality on stage was very entertaining and he has a accompaniment from musical director Joshua James Webb powerful voice, hitting the high notes with seeming ease in (playing accompanist Charles) on piano. “Under the Sea”. Kimberley Shaw Canterbury Theatre Guild have done terrifically well in bringing this Disney classic to the stage, with immense The Fall and Rise of Mr Scrooge energy from all involved. Book, Music & Lyrics: Sue Sewell. Based on A Christmas James Russell Carol by Charles Dickens. New Farm Nash Theatre. Direction: Brenda Whit & Jonathan Collins. Merthyr Road Mary Poppins Uniting Church, Qld. Nov 19 - Dec 10. Based on the book by P.L. Travers and the Walt Disney Film. EBENEZER Scrooge is one of the most famous characters Music and Lyrics by Richard M. Sherman and Robert B in English literature. Created by Charles Dickens in 1843 for Sherman. Book by Julian Fellows. New Songs by George A Christmas Carol, the story of the old miser who declares Stiles and Anthony Drewe. Willoughby Theatre Company. Christmas ‘humbug’ has been a popular favourite on stage, The Concourse Theatre, Chatswood. Oct 15 - 30. screen and television. This musical version mixes Christmas WILLOUGHBY Theatre Company’s Mary Poppins is a carols with some simple original songs. joyous celebration of musical comedy on the community With solo piano accompaniment by Stuart Crisp, Nash theatre stage. Theatre’s production had the feeling of an end-of-year An exuberant ensemble, a top notch leading lady, a village church concert. Only two of the cast of 19 could strong principal cast and a pair of terrific kids combine really sing, Stuart Fisher as the Spirit of Christmas Present impressively. Snappy choreography, great costuming and Maddie Wilson as Mrs Cratchit, with the rest of the ranging from vivid to aptly atmospheric, and sets (from 84 Stage Whispers

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Jesus Christ Superstar. Photo: Kenn Wylchi.

CLOC in Melbourne) which combine an old-fashioned storybook style fold-out house with projection technology complete the stage picture impressively. Andrew Bartle’s orchestra is top notch. Michaela Leisk utterly embodies Mary Poppins, finding the delightful nuances of the role in an accomplished acting and singing performance. Opposite her, Matt Hourigan brings boyish charm to Bert, the chimneysweep. Brad Clarke’s George Banks conveys an underlying sense of damaged goods and insecurity that allows us to empathise with him. Nina Marsh is a warm, sympathetic, sometimes slightly eccentric Winifred Banks. Talented kids Freya Carmody (Jane Banks) and Nicholas Cradock (Michael Banks) play out very affecting character arcs. As the household staff, Donna Fitzgerald is a suitably bustling Mrs Brill and Kris Fennessy an aptly bumbling Robertson Ay. Among a strong support cast, standouts include Karen Oliver’s suitably villainous, gothic nasty nanny Miss Andrew, and Trisha R. Kelemen’s boisterous, lively Mrs Corry. Willoughby’s production is Supercalifragisticexpialidocious community theatre. Neil Litchfield

proving as a performer he has a lot to offer musical theatre. It was a rock star performance of a rock star role, raw, gusty, and searing with emotion. Matching Childs in vocal intensity was Lakoudis, another stage virgin, as Judas. From his blistering take of “Heaven on Their Minds” to his death, he conveyed the arc of the character with powerful colour. Emma Beau, another cross-over from the pop world, was a magnetic Mary Magdelene, bringing just the right amount of sweetness and pop inflection to “I Don’t Know How to Love Him”. Lionel Theunissen’s Pontius Pilate had authority stamped all over him and sang magnificently, likewise Simon Russell-Baker’s Caiphas. King Herod’s song was done as a robotic dance videoclip with Dale Pengelly in a wheelchair, dressed in a white doctor’s coat, assisted by three white mini-skirted nurses. It was the highlight of Maureen Bowra’s choreography. The concept was original, the execution spot-on, and it was totally in keeping with the whole pop sensibility of director Thomas Armstrong-Robley’s production. Peter Pinne

Carousel By Richard Rodgers and Oscar Hammerstein ll. Queensland Musical Theatre. Director: Ruth Gabriel. Musical Director: Julie Whiting. Choreography: Julianne Burke. Schonell Jesus Christ Superstar Theatre, Brisbane. Nov 2 - 6. Music: Andrew Lloyd Webber. Libretto: Tim Rice. Gateway RODGERS and Hammerstein’s score registered time and Theatre Productions. The Events Centre, Caloundra, Qld. time again in Ruth Gabriel’s production which wisely cast Oct 27 - Nov 5. voices who could do justice to the songs. Shane Webb followed his attention grabbing turn as Harold Hill in QMT’s X FACTOR Season 2 winner Altiyan Childs, and The Voice Grand Finalist Frank Lakoudis, added mega-watt star- The Music Man with another solid performance as power to Gateway Theatre’s inaugural Sunshine Coast fairground barker Billy Bigelow. His “Soliloquy”, the Mount production, Jesus Christ Superstar. Everest of male musical theatre solos, was impassioned, Making his stage debut as Jesus, Childs’ charismatic likewise “The Highest Judge of All”. Opposite him as Julie vocals lifted the production whenever he was on stage, Jordan, Georgina Purdie gloriously sang “If I Loved You” Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 85

Reefer Madness. Photo: John Marshall.

Online extras! Watch the preview for Reefer Madness by scanning the QR code or visiting https://youtu.be/JK2im_hV07k and gave a tender reading of one of the score’s forgotten gems, “What’s the Use of Wonderin’?” Kate Morris was the perfect Nettie Fowler, warm, motherly and with a stunning mezzo-soprano that sang the heart out of the anthemic “You’ll Never Walk Alone”. As Carrie Pipperidge, Stacie Hobbs lovingly documented what her life would be like after marriage with “Mister Snow” and was amusingly parental in “When the Children Are Asleep”, whilst Pauwai Herewini’s Enoch Snow had selfrighteous written all over him and sang like a dream. The chorus gave lusty life to the ensemble numbers “June is Bustin’ out all Over” and “A Real Nice Clambake”, against some excellent full-stage back video projection by Gerard Livsey which cleverly set the New England locations throughout. Peter Pinne

The amazing Rosa McCarty is in her element as the abused girlfriend of ‘drug Pusher’ Jared Bryan, who manages to excel in every role he plays. McCarty’s belting voice makes the big ballads sound better than they are, and her slightly OTT expressions and gestures are priceless pure burlesque. Young leads Ben Adams (Jimmy Harper) and Grace O’Connell Clancy (Mary Lane - whose name is easily confused with Mary Jane) are delightful as the two wideeyed innocents who fall from grace into depravity because of the dreaded weed, and Phoebe Coupe is hilarious as the junkie mum who hasn’t even named her baby. Ed Deganos is equally mind-boggling as Jesus in a white suit. You’ll need to see it twice because the first time you’ll be laughing too hard to take everything in. Coral Drouyn

Reefer Madness By Dan Studney and Kevin Murphy. RL Productions. Director: Stephen Wheat. Chapel off Chapel. Nov 25 - Dec 4. REEFER Madness may not be the best musical ever written, but it is quite possibly the funniest. Inspired by the deathly serious, church-backed 1936 film on the perils of Marijuana, it’s a marvellous satirical melange - or perhaps a blancmange - guaranteed to send you right round the twist into lunacy! Thanks to the wittily innovative and wildly camp direction of Stephen Wheat; a sensational lead performance by James Cutler; a great supporting cast and fabulous choreography by Yvette Lee, this is the most fun you can have without actually being stoned.

Blitz! By Lionel Bart and Joan Maitland. Limelight Theatre, Wanneroo, WA. Nov 24 - Dec 10. RARELY performed, Blitz! is set during the London blitz of World War II. Susan Vincent plays Jewish East-End matriarch Mrs Blitztein with larger-than-life presence, well matched with Alan Markham as neighbour and nemesis Alfred. Their children are nicely played by Catherine Dunn (Carol) and Oliver Bourne (Georgie). Tania Morrow stands out as saucy Elsie. Adrian Price performs well as wayward son Harry, well supported by Tim Riessen (Ernie).

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A plethora of minor characters are played with enthusiasm and there is a lively children’s chorus. Lyn Brown leads a solid orchestra. Costuming was a highlight, although I would have loved to have seen seamed stockings and a second costume for the children. Director Alan Brock’s set design was well constructed and well used, with ring-of-truth detail. Scenic artist Ursula Kotara has created credible time and place. Choreography (Jen Edwards and Alan Brock) was well executed and I particularly enjoyed the solo by Grace Elford. Lovely to see an unfamiliar musical. Kimberley Shaw Chess: The Musical Music by Benny Andersson & Bjorn Ulvaeus. Lyrics: Tim Rice. GSODA Inc. Director: Debbie Fraser. Musical Director: Damien Montalto. Choreographer: Jules Hart. Geelong Performing Arts Centre. Oct 7 - 15. AS a classic musical, everyone knows at least one or two songs from Chess (“One Night in Bangkok”, “I Know Him So Well”) - even if you’ve never seen it. Inspired by the life of Russian chess player Garry Kasparov, the story looks at how global politics play out in something as innocuous as a chess competition. In every scene, an unexpected level of detail and professionalism pervades GSODA’s version of Chess. For example, during the last chess battle, choreographer and set designer Jules Hart uses the real moves from one of Kasparov’s games. No one in the audience is likely to pick up on this, but it’s these authentic touches that infuse the production with quality. Amongst the singers, Kate Hebbard stands out as Florence. Her vocals find every note, and she infuses emotion into each lyric, making the audience feel for her character. As Freddie, Jules Hart has the looks of Kiefer Sutherland in the film, Stand By Me - and has the attitude! But while Sutherland’s character never transforms, Hart makes a convincing transition from arrogance to humility. In “One Night in Bangkok”, Hart let out all the stops in his choreography and performance; it’s a high-energy ensemble number, featuring cross-dressing, dancing, and lots of colour. In 23 years of reviewing theatre, I’ve seen more than 1,500 shows. GSODA’s Chess is one of the few productions I’ve wanted to watch again. Daniel G. Taylor The Best Little Whorehouse in Texas Book by Larry L King and Peter Masterson and Music by Carol Hall. Ballina Players. Nov 18 - Dec 11.. BALLINA Players have decided to re visit the ‘Chicken Ranch’ for their final offering of the year. Over 30 performers brought the ‘goings on’ to the people of Ballina with all the Yee Haw they could muster. Paul Belsham doubled as Director and Musical Director, assisted by his wife Sue and Choreographer Jaime Sheehan to bring this unusual storyline to life with a cast headed by Jacquie McCalman as Miss Mona with Roy Ramsay, Sheriff

Ed Earl; Lee Millward, Jewel; Sienna Pamphilon, Angel and Dylan Wheeler as Melvin P. Thorpe. Whorehouse not one of my favourite musicals and I found the show lacked pace, but that will probably improve as the season progresses. The cast were dedicated in their commitment to the show and their enthusiasm was infectious. Roger McKenzie Little Shop of Horrors By Howard Ashman and Alan Menken. Roleystone Theatre, WA. Directed by Lys Tickner. Nov 18 - Dec 3. DAYS before opening night, it was realised that Little Shop of Horrors’ leading man was ill to perform, and the decision was made for an ensemble actor to take on the role of Seymour. Charlie Darlington did an excellent job, acting the role with conviction. The star of the show, though, was the plant, Audrey II. A mammoth design and construction effort by Gary Wetherilt, Jamie Thomas and John Barnes - it was highly professional and worked brilliantly. Audrey II was expertly puppeteered and was powerfully voiced by Paul Treasure. Urchins Sarah Callahan, Kimberley Harris and Niamh Nicholls were a highlight. They harmonised with expertise, mastered quick change (in costumes nicely designed by Linda Bickley) and delivered most of the innovative choreography (Emily Botje). Harry Oliffe (Mr Mushnik) made his acting debut and Alicia Walker (Audrey) performed her first major role. Luke Daly relished the role of Orin. Musically strong, singing, under vocal director Tyler Eldridge, impressed, while Liam Gobbert expertly conducted a tight band. Kimberley Shaw Oliver! By Lionel Bart. Engadine Musical Society. Oct 21 - 30. DIRECTOR Meg Day brought her own unique touch to Oliver! - a darker version than I have seen previously. Ewan Herdman played Oliver Twist with a great sense of naivety. A talented dancer, he stood out amongst the children and teen ensemble. Vocally he was very strong, displaying the right amount of passion to do justice to his solo “Where is Love?” Bridget Keating McIntosh played Nancy with raw emotion, conveying light and shade in the tough character, and singing “As Long As He Needs Me” with great feeling. Chae Rogan (barely recognisable) played the wickedly manipulative Fagin, capturing every nuance the character required. This Fagin was darker, and less just an old man, than I have previously seen. Rogan’s interpretation of “Reviewing the Situation” was my highlight of the show. Playing the abusive villain, Bill Sykes, was Phil McIntosh. From the moment he entered the stage, the mood of the show changed completely; he brought a genuinely menacing side to the role. Ensemble scenes were fun to watch and the choreography of the larger numbers by Sam Larielle-Rogan

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touchingly capturing the inner turmoil of Barry’s married oldest daughter Peg. Musical Director Tim Cunniffe’s tight, impressive band accompany from behind the scenes, allowing that all too rare musical theatre pleasure of unplugged singing. Neil Litchfield

Engadine Musical Society’s Oliver! Photo: Grant Leslie.

looked fantastic. Special mention in the ensemble to Paul Oscuro, who played three different roles, most noticeably Noah Claypole, the Sowerberrys’ assistant. Engadine’s cast and production team should be commended for giving the audience something different but very entertaining. James Russell Summer Rain Book and lyrics by Nick Enright, music by Terence Clarke. New Theatre, Newtown, NSW. Nov 15 - Dec 17. GENTLE little Aussie musical Summer Rain never ceases to delight and engage me, and an excellent ensemble cast, capably directed by Trent Kidd, has ensured another marvelous theatrical journey to Turnaround Creek. World War II has just ended, and on Boxing Day, 1945, a touring theatrical company, down on their luck, returns to the small outback town of Turnaround Creek. A sevenyear drought breaks, making the troupe welcome guests to some, though for publican Barry Doyle ghosts of the past emerge. Summer Rain has a wonderful mix of humanity and high theatrics. The show folk joyously resuscitate touring Vaudeville. Andrew Sharp’s Harold Slocum is every inch the egotistical showman; Jacqui Rae Moloney plays Harold’s wife Ruby with pizzazz and pathos; Catty Hamilton sparkles wittily as their daughter Joy, a deliciously archetypal soubrette, and while Tom Handley hoofs it capably as Harold’s son Johnny, his performance is layered with the restlessness of a returned soldier. As Joy’s beau Clarrie, Nat Jobe pairs up with Hamilton to contribute some very handy song and dance moves. The local people are splendidly characterised as slowspeaking and laconic, especially Laurence Coy’s gruff publican, Barry Doyle. Complementing Mason Browne’s set and costumes, and Juz McGuire’s lighting, the whole cast effectively establish the hot, dry outback lethargy. Other highlights amongst the townsfolk include Michele Lansdown’s salt-of-the earth Renie; Rebecca Burchett’s Cathy Doyle, Barry’s youngest daughter, overflowing with youthful enthusiasm; and especially Anna Freedland, 88 Stage Whispers

A Little Princess By Andrew Lippa and Brian Crawley. Playlovers. Directed by Lisa Johnston. Stirling Theatre, Innaloo, WA. Oct 27 - Nov 12. PLAYLOVERS’ production blended colours of Africa with the decorum and manners of Victorian London highlighted by beautifully co-ordinated costumes (Lyn Hutcheon), a versatile set (Lisa Johnston and Amber Southall) and creative lighting (Katrina Johnston). The orchestra, under Paul Olsen, was tight, with sound nicely managed by Daniel Toomath. Stephanie Shaw played Sara with depth and strong singing (alternating with Jasmine Dos Santos). Servant Becky was beautifully played by Sophia Matthews, with Paul Spencer wonderful as Sara’s father. Richard Manganga delighted as Pasco, and Shikuku Cuthbertson made a lovely Aljana. Celeste Underhill delightfully dripped evil as Miss Minchin, with Erin Craddock expertly contrasting as dotty Amelia. All of the schoolgirls charmed. Choreography was well-executed, with choreographer Amber Southall impressive as Queen Victoria. A strong ensemble was enthusiastic throughout. A Little Princess shows Playlovers’ amazing strength in adversity - creating a beautiful show despite losing their home of 50 years. Kimberley Shaw 9 to 5 The Musical Music and lyrics by Dolly Parton. Book by Patricia Resnick, based on the screenplay by Resnick and Colin Higgins. Penrith Musical Comedy Company. Joan Sutherland Performing Arts Centre. Nov 11 - 19. PMCC’s Australian Premiere production of 9 to 5 was a thoroughly entertaining evening, with an exceptional trio of leading women. Three women are working office jobs at the fictional ‘Consolidated Industries’ in the 1970s. At the head of the company is the domineering and lecherous president Franklin Hart Junior (Mike Newcombe). We meet Judy Bernly (Racheal Gilfeather) on her first day. Inexperienced and needing a job after her divorce, she is taken under the wing of ambitious company stalwart Violet Newstead (Leanne Smith). The last of the trio is Doralee Rhodes (Fiona Brennan), Hart’s smitten secretary. The score of 9 to 5 allowed Laurie Tancred to really show off the talented dancers she had in the cast. Numbers like “Around Here” by Violet and the ensemble looked fantastic. “Backwoods Barbie” was hilariously sung by Fiona Brennan. “Get Out and Stay Out” brought the house down, performed by Gilfeather with such power that Dick (Dave

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The Addams Family.

Tucker), who she was singing it to, looked emotionally bowled over. Gilfeather, Smith and Brennan had great chemistry. Samantha O’Hare, as Roz, had tremendous comedy timing and her song “Heart to Hart” left the audience in fits of giggles. Vocally the ensemble were all very strong, and while some were not so in step in choreography, they didn’t let this show on their faces. Grant Jones’ direction and had many lovely moments. Credit also to Kieran Norman and the orchestra, which sounded amazing. James Russell The Addams Family Music and Lyrics by Andrew Lippa. Book by Marshall Brickman and Rick Elice. Director: Ryan S. McNally. Musical Director Krispin Maesalu. Phoenix Theatre, WA. Nov 24 Dec 10. THE Addams Family is an immersive experience. Phoenix Theatre accommodated its large cast by extending the playing space around an orchestra pit. Music was precise and the band sound levels well controlled, although it was difficult to hear individual lines within big numbers. Paul Reed’s Gomez Addams forms a solid anchor. Holly Denton looks great as Morticia; although younger and lighter voiced than you’d expect, she delivers an admirable performance. Charlie Martin is strong, sweet Pugsley, Callum Siegman-Bant a funny Fester. Devetta Ridgwell doesn’t disappoint as Grandma, with Declan Roden an imposing Lurch.

Catalyst character Wednesday Addams, nicely played by Olivia McGavock, is well matched with Matthew Arnold as Lucas. Claudia Van Zeller (Alice) is a delightful scene-stealer, well supported by Lee Wilson. The ensemble is exceptionally tight and strong. Gorgeously costumed, they are integral to the success of the production. Choreography, by Sarah-Rose Kelly, is notable and nicely executed by all cast members. The set is simple, with atmosphere left to Alex CouttsSmith and Krispin Maesalu’s strong lighting design. Lots of surprises in this fun production, my favourite by Phoenix to date. Kimberley Shaw The Secret Garden Music: Lucy Simon. Book & Lyrics: Marsha Norman. Based on the novel by Frances Hodgson Burnett. Bankstown Theatre Company. Bankstown Arts Centre. Oct 21 - 30, THE production team for Bankstown Theatre Company’s excellent production of The Secret Garden, Director Diane Wilson, Musical Director Greg Crease and Choreographer Edward Rooke, have all worked in the professional theatre arena. Gone is a large orchestra, replaced by a more than able trio of keyboards, which provides an admirable musical accompaniment. Gone are massive sets, replaced with a simple selection of projections, with artwork from the legendary Vince Cairncross. Add to this some classy props and a beautifully dressed cast and you have a perfect staring point.

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Bankstown Theatre Company’s The Secret Garden.

Diane Wilson directs the show with sensitivity. She has taken the script for what it is, a guide to the actors, and coupled with a fine cast, has kept the slightly complicated story in a very clear and simple light. That is further enhanced by the good diction of the actors, made somewhat difficult for them by the need for certain local dialects. Wilson, aided with simple choreography, moves the cast and a hardworking onstage crew seamlessly throughout the production. The Secret Garden has two talented children who more than hold their own with the adult performers. There are two casts of children and I saw Annie Henderson as Mary Lennox and Ryan Yeates as Colin. These kids are forces to be reckoned with, particularly Miss Henderson, who is on stage for most of the performance, giving an intelligent portrayal of the pivotal character. Add three excellent principal adult performers with Rebecca Carter as Lily, Daniel Kenyon as Archy and Luke Lamond as Neville and you are well on the way to success. The second line of principals has been carefully selected for excellence, and includes Jessica Green, Mitchell Jacka, Neil Litchfield, Amanda Griffiths and Joy Peacock. Each of these performers contributes to a fine balance. Of course the ensemble enhances the production with fine choral work, singing and moving with grace and style. The whole show is a musical delight, and for me the highlight is the Act 2 duet between Lily and Archy, “How could I ever know”. Bob Peet 90 Stage Whispers

The Gathering By Will Halligan and Belinda Jenkin.. VIc Theatre Company. fortyfivedownstairs. Nov 26 - Dec 11. FORTYFIVEDOWNSTAIRS is the perfect setting for a (second outing) try out production of this musical, set at a house warming party at a home that is haunted. The posts holding up the roof looked almost made to measure, even if you had to look around them at times. The Gathering begins promisingly enough. Tom (Joel Granger) has invited his friends to a house warming party at his new dive. He tries to woo them to share his new surrounds but they are unenthusiastic. The place is a dump and there are strange noises coming from attic. The initial structure of introducing the friends one by one, as they arrive at the party, was engaging, helped by some fresh songs and characters that were typical twentysomethings. Joe (Daniel Cosgrove) used to play in a rock band with Tom but now has given that up as he has a steady job. He has just broken up with one of the girls invited to the party. In prances the flamboyant friend Luke (Daniel Assetta) who is a catalyst for much of the conflict. At the party the characters have to reveal a secret about themselves, which sets some off against each other. After a promising start the musical loses its way. Too many of the songs feel as though they are dropped into the drama, rather than seamlessly emerging from the dialogue.

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Musical theatre is at its best when a song appears as a natural progression rather than an interruption. The production regains focus towards the end when the songs are used to express an emotion, rather than plot exposition. To sum up … Is The Gathering entertaining? Yes. Are the performances strong? Yes. Is it worth seeing? Yes. Is it ready to conquer the world? No, it needs more work. David Spicer Cannibal the Musical By Trey Parker. Briggs & Heaysman Theatre Company. Star Theatres. Dec 1 - 4. AS the title suggests Cannibal the Musical is full of gory adventures set to a soundtrack of overly happy songs. The contrast makes for a bizarre, yet strangely entertaining piece of theatre. Written by Trey Parker, before finding fame with South Park and The Book of Mormon, it follows mountain misfit Alfred Packer as he leads a group into Colorado territory to find gold. Director Matthew Briggs handles his large cast with mixed results. There was hardly time to catch your breath as actors and props flew across the stage at a frenetic pace. It is fair to say that the humour is of a juvenile variety; absurdist situations are somehow forgiven though as the text pushes boundaries. Kelsey McCormack (Polly Pry), a journalist who interviews Packer when he is in jail gives a fine performance; her solo “This Side of Me” was pitch perfect, her booming voice bouncing of the walls. Jacob CookeTilley (Israel Swan) reminded me of a young Donald O’Connor as he fumbled his way through his song and dance number “Let’s Build a Snowman”. It was highly entertaining even though choreography looked improvised. This show has something to amuse everyone, from Packer singing love-ballads to his horse to an axe-wielding man of God. There is plenty of colourful language scattered through the text, but a thin plot means you are never truly invested in the outcome. Kerry Cooper Cannibal The Musical.

PERFORMING ARTS MAGAZINE JANUARY/FEBRUARY 2017. VOLUME 26, NUMBER 1 ABN 71 129 358 710 ISSN 1321 5965

All correspondence to: The Editor, Stage Whispers, P.O. Box 2274, Rose Bay North 2030, New South Wales. Telephone/Fax: (03) 9758 4522 Advertising: stagews@stagewhispers.com.au Editorial: neil@stagewhispers.com.au PRINTED BY: Spotpress Pty Ltd, 24-26 Lilian Fowler Place, Marrickville, 2204 PUBLISHED BY: Stage Whispers PRE-PRESS PRODUCTION & DESIGN BY: PJTonline Solutions, email: pjtonline@pjtonline.com DISTRIBUTED BY: Gordon & Gotch, 25-37 Huntingdale Road, Burwood, 3125 DEADLINES For inclusion in the next edition, please submit articles, company notes and advertisements to Stage Whispers by February 8th, 2017. SUBSCRIPTION Prices are $39.50 for 6 editions in Australia and $60AUD elsewhere. Overseas Surface Mail (Airmail by special arrangement). Overseas subscribers please send bank draft in Australian currency. Maximum suggested retail is $6.95 including GST. Address of all subscription correspondence to above address. When moving, advise us immediately of your old and new address in order to avoid lost or delayed copies. FREELANCE CONTRIBUTORS Are welcomed by this magazine and all articles should be addressed to Stage Whispers at the above address. The Publisher accepts no responsibility for unsolicited material. Black and white or colour photographs are suitable for production. DISCLAIMER All expressions of opinion in Stage Whispers are published on the basis that they reflect the personal opinion of the authors and as such are not to be taken as expressing the official opinion of The Publishers unless expressly so stated. Stage Whispers accepts no responsibility for the accuracy of any opinion or information contained in this magazine. LIMITED BACK COPIES AVAILABLE ADVERTISERS We accept no responsibility for material submitted that does not comply with the Trade Practices Act. CAST & CREW Editor: Neil Litchfield 0438 938 064 Sub-editor: David Spicer Advertising: Angela Thompson 03 9758 4522 Digital production: Phillip Tyson 0414 781 008 Contributors: Merlene Abbott, Brian Adamson, Cathy Bannister, Mel Bobbermien, Michael Brindley, Rose Cooper, Kerry Cooper, Ken Cotterill, Coral Drouyn, Graham Ford, Peter Gotting, Lucy Graham, Shelley Hampton, John P. Harvey, Tony Knight, Neil Litchfield, Ken Longworth, Rachel McGrath-Kerr, Roger McKenzie, Peter Novakovich, Peter Pinne, Martin Portus, Lesley Reed, Lisa Romeo, Suzanne Sandow, Kimberley Shaw, David Spicer, Anthony Vawser and Carol Wimmer.

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Stage Whispers 91

Musical Spice

My Highlight Of 2016 Opera Australia displayed technical wizardry for the outdoor production of The Eighth Wonder. All members of the audience were assigned headphones to listen to every note of the opera - about the creation of the Sydney Opera House. The quality was crystal clear. Not just every note of music was audible but all the effects, such as the buzzing of blowflies and turning sausages on a BBQ. With the quality of on-demand television and internet entertainment continuing to rise, these sorts of live entertainment experiences will be the way of the future.

In my feature ‘Theatre in the Middle of Nowhere’, I touched on the colourful history of the Alice Springs Theatre Group. The company staged the world community theatre premiere of Song Contest: The Almost Eurovision Experience in 2016 - just months after the professional premiere in Melbourne. In the musical, various countries perform song and dance extravaganzas competing for the audience’s votes, which are texted in during interval. By all reports it was a huge success, however it created a little confusion in Alice Springs. Some members of the local community thought that they would have to take part in the Song Contest. It’s not surprising that people in Alice Springs might be nervous that they could be dragged on stage, when you read more about what has happened in the past. According to the company’s official history there have been many times when the group has wanted to drag people off the street and onto the stage. “Christmas plays with huge casts, attracting audiences of between a quarter and half of the town’s population were followed by catastrophes in which people bumbled lines or whole plays had to be cancelled or postponed because of illness. “This pattern of fear and triumph is one of the central motifs in the group’s long history” In 1954 the local newspaper reported that the company desperately needed new members. “Almost the entire executive which was responsible for last year’s highly successful season have left, or will shortly leave, town.” Soon someone showed up to stage a French farce, which sold 500 tickets (which was a quarter of the Alice Springs Theatre Group’s 2016 production of Song Contest: The Almost Eurovision Experience. town’s population). Cold weather was enough to postpone seasons in some years and the introduction of television also threatened the company’s survival. However the company celebrated half a century’s occupancy of the “cutest little theatre in the country” in 2014. Its official history described this “as a magnificent testament to a love of live performance which persists in one of the most transient towns in the country.” David Spicer

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