Stage Whispers January/February 2018

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In this issue 8

What A Drag! .......................................................................................... 8 With hit Aussie musical Priscilla returning, we look at drag on our stages

14 18 23

American Idiot’s Whatshername ............................................................. 14 Phoebe Panaretos on Green Day’s American Idiot, now touring Our ‘New’ Jersey Boys ............................................................................ 18 Australia’s return Four Seasons prepare for the new national tour Impossible Play Becomes A Hit ............................................................... 24 The Curious Incident Of The Dog In The Night-Time arrives down under Community Theatre Seasons 2018.......................................................... 27 Our Community Theatre Champions and the year of local theatre ahead Awards Season ...................................................................................... 42 Wrap up from the CONDAs, Palmies and Music Theatre Guild of Victoria 2017 Schools Spectacular ...................................................................... 44 How 5,000 state school student performers converged on Sydney

Regular Features Stage Briefs

26 27

60 81 4 Stage Whispers January - February 2018

6

Broadway Buzz

22

London Calling

23

Choosing A Show

46

Stage On Disc

48

Stage To Page

50

On Stage - What’s On

52

Auditions

59

Reviews

60

Musical Spice

84

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THE NEXT ISSUE OF STAGE WHISPERS IS OUR SCHOOL PERFORMING ARTS RESOURCE GUIDE PLACE YOUR AD BY FEBRUARY 3 CONTACT (03) 9758 4522 OR stagews@stagewhispers.com.au

Editorial

Stage Whispers editor Neil Litchfield in Bankstown Theatre Company’s The Secret Garden.

Photo: Ray Parkinson.

Dear theatre-goers and theatre-doers, The January / February Stage Whispers, with its Community Theatre theme, always proves to be the edition closest to my heart.

Another December rolls around, and as I edit and proofread this edition, like so many Stage Whispers readers I’m also in rehearsal for a community theatre production, this time Fiddler on the Roof at Rockdale Musical Society. I’m returning almost full circle to the early 1970s, when, in my late teens, I played a villager. Forty-five or so years on, my community theatre odyssey continues, returning to Anatevka as the Russian Constable, another of the character and cameo roles that I so enjoy.

Our central Community Theatre feature this edition focuses on several popular leading men and leading ladies across Australia. While I secretly coveted certain leading roles, my first principal role, at age 19, was a middle-aged father, basically establishing a pattern.

Still, I count my lucky stars for the ‘supporting roles’ I’ve had the chance to play - roles so often rich in humour and compassion, and frequently with a good song or two.

When I began directing, something I’ve done more that 50 times over the years, I quickly realised how many of the heroes of community theatre don’t get to take that final bow.

Behind the stars, an army of visible and invisible support ensures ‘the show goes on’. Any musical is only as good as its chorus / ensemble, committed to the show with equal passion and enthusiasm to its principals. Hopefully the stage crew are rarely more than fleeting shadows to the audience, yet good stage management is the essence of a slick show. Then there’s the costumes, props, sets, lighting, sound, front-of -house teams, and so many more.

And the common thread - all of these people work day jobs as well.

Many years have passed since I first stepped on stage, a chorus boy with two left feet (character roles frequently save me from having to match my movements with others), yet my passion remains just as strong, whilst my co-ordination is somewhat improved.

I look forward to sharing a community performance with you soon, either on stage or in the audience.

Yours in Theatre,

Neil Litchfield Editor

CONNECT

Cover image: Priscilla Queen of the Desert - The Musical is returning in January for a 10th Anniversary tour. In our cover story on page 8 we talk to Tony Sheldon and look at the history of drag on stage.

Photo: Supplied. www.stagewhispers.com.au Stage Whispers 5

Stage Briefs  Melbourne-based Sondheim repertory company Watch This will bring in 2018 with A Little Night Music, in association with Geelong Performing Arts Centre (Feb 22 - 24), National Theatre Melbourne (Feb 23 - Mar 8) & Whitehorse Centre (Mar 8 - 10).

Pictured: Nelson Gardner, Carina Waye, Nadine Garner and Eddie Muliaumaseali’i.

Photo: Jodie Hutchinson.

 Barber Shop Chronicles by Nigerianborn, UK-based poet, designer and playwright Inua Ellams comes to Australia and New Zealand from London’s National Theatre, playing at the Sydney Festival (Jan 18 - 28), Perth Festival (Feb 9 - 18) and New Zealand Festival (Feb 24 - Mar 4).

Photo: Marc Brenner.

Online extras!

Get a 360° perspective of Barber Shop Chronicles. Scan the QR code or visit https://youtu.be/wNyy9UNTgm0 6 Stage Whispers January - February 2018

Online extras!

Meet Australia’s new Genie, Gareth Jacobs. Scan the QR code or visit https://youtu.be/AKpV8AO91w0

 Gareth Jacobs, previously the standby Genie in Disney’s Aladdin, has taken over the role full-time from Helpmann award-winner Michael James Scott, who originated the role in the Australian production has passed on the magic lamp after almost 18 months as the show-stopping Genie.

Aladdin plays at Melbourne’s Her Majesty’s Theatre until 28 January, before the magic carpet takes flight on 25 February 2018 in Brisbane, and 19 July 2018 in Perth.

AladdinTheMusical.com.au Photo: James Terry Photography.

www.stagewhispers.com.au Stage Whispers 7

Cover Story

What A Drag!

Coral Drouyn explores why drag has become such an integral part of our theatre.

Online extras!

Priscilla - Queen Of The Desert returns to Australia. Scan the QR code or visit http://bit.ly/2k8oabH 8 Stage Whispers January - February 2018

There’s no doubt that theatre needs to keep evolving in order to survive in a world of hi-tech personalised entertainment.

But it’s also true that (as Peter Allen said) “Everything old is new again.”

Tony Sheldon, one of our greatest stars on the world stage, is preparing to don his alter ego of Bernadette for the 10th Anniversary tour of Priscilla - Queen of the Desert. The Helpmann Award winning, Tony and Olivier nominated actor will pass the 2,000 performance mark in this tour, yet it’s not something he foresaw in the early days of work-shopping and development of the musical.

“I was having a ball,” he says, ‘but even though the film had been a smash hit, I did wonder what the theatre going public would make of a show about Drag Queens.

Obviously I shouldn’t have given it a thought. Right from opening night they embraced it totally all over the world.”

Drag Queen - there’s that title. It was out of the closet long before many of its greatest stars. “Drag” was given that name back in the 1870s (though Shakespeare’s plays all had male actors playing female roles hundreds of years earlier). Surprisingly, it was largely the domain of “straight” males. Later it became a staple element of film. We all remember Dustin Hoffman in Tootsie, or Robin Williams in Mrs Doubtfire, but that was film, and men disguising themselves as women was an integral part of the plot. My first film appearance as a child performer was with Cary Grant, who was dressed in drag in the film I Was a Male

War Bride. It was a comedy, of course. And the image is burnt into our retinas of Tony Curtis and Jack Lemon in Some Like It Hot and Joe E Brown’s response to Jack Lemmon’s confession that he’s a man - “Well, nobody’s perfect.”

But the theatre was a different experience entirely.

In English Music Hall there were MORE male impersonators than female impersonators. Names like Vesta Tilley, always in immaculate tailored suits, and Ella Shields, famous for ‘Burlington Bertie’, headlined across the Music Hall circuit and commanded the highest salaries. But it was the novelty factor that provided the appeal. And in some countries, most notably the USA, where homosexuality was against the law, it was permissible to appear in drag ONLY if you were straight.

For anyone gay it was against the law, and an imprisonable offence. The Broadway play The Nance, written for Nathan Lane, tells just that story, though it’s hard to believe in a time when most of the world has now embraced same sex marriage.

But for most of us, our first encounter with “drag” was as children, when our parents took us to pantomimes. It was traditional in pantomime for a female in male drag to play the heroic male roles (known as Principal Boys) and for men in drag to play the Dames - mother of the heroine, Ugly Sisters etc.

Comedian Arthur Askey was a staple of pantomime every year in my youth when he played Dame, and I can remember when Danny La (Continued on page 11)

www.stagewhispers.com.au Stage Whispers 9

Arthur Askey.

Cover Story

Vesta Tilley.

Peter Moselle.

10 Stage Whispers January - February 2018

Edna Everage.

(Continued from page 9)

Rue played Ugly(?) sister to my Dad’s ‘Buttons in Cinderella. I was so used to seeing him in drag backstage that the first time he came to dinner as a bloke, I refused to believe it was him - despite the fact that he was equally beautiful as either gender.

Certainly for Tony Sheldon, born into a show business family, drag was something he was always aware of.

“I think I was about 3 or 4 years old when I saw my first panto, most probably from the wings, and I was fascinated by the Dame. A few years later I saw Reg Livermore play the Wicked Witch in The Wizard of Oz at the Sydney Tivoli. I remember going backstage with my mother and (I think) my Auntie (Toni Lamond and Helen Reddy) and there was Reg with a naked chest but his tights still on, and he had the whole of his eyelids covered with stuck on emerald green sequins which he peeled off one by one as he removed his make-up. It was such a glamorous and yet everyday thing to be doing for a performer, and I remember being awestruck.”

Drag has as many categories as art or music, and it carries with it all kinds of connotations. It’s certainly only recently that it’s become a totally legitimate form of entertainment. For many it meant gay men exaggeratedly mimicking women (whom it is assumed they either hate or envy -

though I’ve never met a drag queen who didn’t love women) in shows that relied on lip syncing to Judy Garland or Barbra Streisand.

We can’t deny that’s a trailblazing part of it, but without drag shows there would never have been La Cage Aux Folles, or Priscilla.

Still, there are always going to be haters; it’s a theatrical form that polarises people.

Stage performer Michael Dalton, an actor/singer who played Oliver in London’s West End as a child, has a huge following for his alterego, the very classy and ladylike Dolly Diamond. He likens the haters of drag to the ‘fear of clowns’ syndrome.

“I think it’s the exaggerated makeup and costuming that makes some people fearful,” he tells me.

“The platform shoes, the over-the-top eyelashes, the painted faces. It’s a mask, like a clown face is a mask. It has nothing to do with reality, and that is just too alien for some people.

Comedy seems to be the way to overcome it. Just as with

clowns, it’s very difficult not to warm to a drag queen who makes you belly laugh. I rely on comedy, and Ms Diamond is a very toneddown version of the drag queen - not scary at all until she opens her mouth. But I adore some of my peers who go for the most outrageous and exaggerated form of

Cary Grant in I Was A Male War Bride.

drag. It’s just that it’s not who Dolly is … she’s your very glamorous and naughty favourite Auntie who shocks everyone.”

The breakaway from lip syncing to stand-up and singing live owes a huge debt to Carlotta, one of the early Les Girls, and the great Johnny and Peter Moselle,

whose drag shows in Surfers Paradise provided an alternative reason to go to the Gold Coast. When drag performers found their voices, everything changed.

Tony Sheldon remembers them well. “I was just that little bit too young to (Continued on page 12)

www.stagewhispers.com.au Stage Whispers 11

(Continued from page 11)

Cover Story Dolly Diamond.

12 Stage Whispers January - February 2018

remember Les Girls, but I loved the Moselles - gaudy, funny and totally at ease behind their on-stage masks.”

Tony makes the point that he actually plays TWO women in Priscilla. One is the over the top drag queen, the other is the quiet and refined Bernadette - a man who chooses to live as a woman.

“I feel an enormous sense of responsibility to the LGBTI community to honour the difference between on stage and off,” he says.

Tony’s Bernadette is based on the amazing Rose Jackson, an extraordinary drag performer who was a superb costumier.

Like Tony, I had the honour of meeting her back in the seventies. She lived as a woman and, more importantly, a “Lady”, offstage. Rose once made a costume for me (more than forty years ago) and chided me gently when I asked for more sequins. “You’re a young lady, not a

tart!” she told me. I’ve never forgotten it.

Drag has changed so much over the years and nowhere is there a greater example of that than with Barry Humphries’ alter ego, Dame Edna Everage. Those who remember the character’s beginnings in the early 1950’s will remember a dowdy housewife with nothing glamorous about her, but as she grew and became bolder she embraced her inner extrovert and became increasingly outrageous.

“It’s one of the greatest joys of drag,” Tony says.

“The mask allows you to push through boundaries that you would never explore as yourself.”

That was true for Michael Ball, the great West End star, in Hairspray, for which he won the Olivier award; and he loved every minute of discovering his inner female. What’s more, he looked great in a frock - far prettier than John Travolta in the film. But that’s a role which COULD be played by a woman.

In the case of Matilda it was specified that, for the right level of intimidation, Ms Trunchbull must be

played by a tall and athletic male actor. James Millar, a stalwart of musical theatre and a writer of musicals in his own right, made the role his own and won, rightly so, the Helpmann Award for his performance. Still, there’s a certain irony in realising that, despite his amazing talent in so many areas, he is most likely to be remembered for his bosomy hunchbacked and tyrannical school marm in a classic case of drag without glamour.

Of course we can’t forget the sub categories of female impersonators - those who actually impersonate female artists; and gender illusionists - those who are such beautiful females that it’s hard to believe they are actually male.

Trevor Ashley is one of the former. He has smash hit shows as both Liza Minnelli and Shirley Bassey. A gifted singer and mimic, he vocally smashes both characters and is equally as entertaining as both. Yet Trevor himself is a gifted director and actor, most recently seen as Thenardier in Les Mis. In the latter category is the astonishing Courtney Act, who is totally convincing as a self confessed female illusionist.

Brisbane born, Courtney had to go to the USA to find stardom on RuPaul’s Drag Race. After failing to qualify for the first series on Australian Idol as a male singer, she donned drag and made it to the finals. A great singer and performer, she now lives in Los Angeles where she is in high demand for her cabaret act. But she

will return to Australia in January to play Teen Angel in the Arena spectacular of Grease, and you can bet she will be the most beautiful actor to play the role made famous by Frankie Avalon.

Courtney was hugely successful in the role of Angel in the musical Rent, one of the best “legitimate” stage roles written to be played in drag, but, as she says, “There just aren’t enough roles to go round.”

And that poses another question - is theatre ready to go gender neutral?

Could someone in drag actually play an iconic female role in a musical? Danny La Rue played Dolly Levi in a West End production of Hello, Dolly!, but it was treated more as a novelty. Lily Savage played Bea Smith on stage in the Prisoner musical, also promoted for its novelty value.

Michael Dalton thinks it could happen - “I’d be putting my hand up for Hello, Dolly! if it happened,” he says.

And surely any singer/ actor would relish the chance to play Rose in Gypsy? It is, after all, arguably the greatest role in Musical Theatre.

Tony Sheldon isn’t enthusiastic about it.

“I hope it never happens, largely because it would be terribly deprecating to all the fabulous female

Priscilla Queen Of The Desert - The Musical begins its 10th Anniversary tour at Melbourne’s Regent Theatre on January 19.

performers that we have,” Tony says. “Strong, commanding female

character roles are in the minority in Musical Theatre.

Too often the female leads are love-sick heroines or princesses waiting to be rescued. Nothing wrong with that, and Disney Princesses have helped revive the musical, but let’s not start tampering with the great roles that are there for women. The men get more than their fair share of great roles.”

I point out that one of the most praised elements of Tony’s own performance in Priscilla Queen of the Desert is female credibility.

Bernadette is so convincing as a female in her ‘offstage’ moments that audiences were waiting for the ‘actress’ who played her to take a curtain call, not realising she was actually a man.

What does that tell Tony, I wonder?

“It tells me that I’m doing my job well, that’s all. I love her, I channel her - my partner is looking forward to having ‘that lovely genteel lady’ around the house again.”

And will she have changed much over the last ten years? Tony thinks for a moment. “We haven’t started rehearsals yet, so she hasn’t told me. I’m waiting to be surprised.”

And that’s why theatre can never be a drag, even when it is!

Tony Sheldon as Bernadette in Priscilla Queen Of The Desert The Musical.

Online extras!

Stream the 2007 cast recording of Priscilla Queen of The Desert on Spotify. http://spoti.fi/2kaM5Ye www.stagewhispers.com.au Stage Whispers 13

On the eve of the national tour of Green Day’s American Idiot, Peter Pinne spoke to Phoebe Panaretos, who’s reprising the role that earned her a Helpmann Award nomination for Best Female Actor in a Supporting Role in a Musical.

Phoebe Panaretos as Whatshername in American Idiot.

Photo: Dylan Evans.

14 Stage Whispers January - February 2018

What is it about the character of Whatshername that attracts you?

“The thing I love most is that she’s not conventional.

She isn’t your typical leading lady; she’s defiant and strong - unafraid to get her hands dirty and tell it like it is. She stands up for herself and brings the women of the show together in an act of defiance in the number Letterbomb, a great moment in the show for the women.”

How does the character fit into the story?

“She meets leading man Johnny on his quest of self discovery. They explore all things - sex, drugs and rock ‘n’ roll - of course things reach breaking point and Whatshername gives Johnny an ultimatum. This is the turning point in the show.”

What was your first exposure to American Idiot?

“I’d listened to it in high school but it wasn’t on my playlist. My sister, who’s a year younger than me, was the cool kid and she used to listen to it all the time. I was the daggy musical theatre geek. I didn’t really fall in love with the music until I did the show. I love it now and I love the song Whatshername, which the cast sing. It’s so beautiful

and heartbreaking. I’m not in the song. The cast sing it at the end of the show. I used to just stand in the wings and listen to it at every performance.”

Why do you think the original recording made such an impact?

“Much like the climate in America at the moment with Trump as President, in 2004 George Bush was leading the country. Young people were angry and confused. This is why the recording was so relevant and important in 2004 and is again now. The voices of the younger generation were being heard and expressed through Green Day’s music.”

How do you think it translates into a musical?

“I think it works well on stage. Of course it has been updated and there are now references to Trump instead of Bush. And on stage there are more voices, which give the piece more colour.”

Your credits have mainly been in traditional musical theatre, so how does a rock piece like American Idiot fit into your DNA? “It’s come at a time when I’m ready for it. It’s how I want to sing. In traditional musical theatre I’ve always been told to rein it in. I don’t have to do that with these songs. I love singing rock ‘n’ roll.”

What were your musical influences as a kid?

“Michael Jackson, Earth Wind & Fire and Barbra Streisand. I couldn’t get enough of her. I just love Papa (Continued on page 17)

www.stagewhispers.com.au Stage Whispers 15

Phoebe Panaretos (centre) and the cast of American Idiot.

Photo: Dylan Evans.

American Idiot the album sold over six million copies in the U.S. when it was released in 2004.

Boulevard of Broken Dreams was the breakout song. The musical version was first presented at the Berkeley Repertory Theatre in 2009 and later moved to the St. James Theatre on Broadway in 2010 where it ran for a year. The score includes all of the songs from the original American Idiot album, as well as additional Green Day songs from the album 21st Century Breakdown and a new song, “When It’s Time,” originally recorded for the musical.

The story was expanded from the album and centres on three disaffected young men, Johnny (Linden Furnell), Will (Alex Jeans) and

Tunny (Connor Crawford). Johnny and Tunny flee a stifling suburban lifestyle and parental restrictions, while Will stays home to work out his relationship with his pregnant girlfriend. In the city Johnny turns to drugs in the form of a rebellious drug-dealing alter-ego called St. Jimmy. The role internationally has been played rotationally by rock personalities including Green Day’s Billie Joe Armstrong, Melissa Etheridge, Chris Cheney (The Living End) and Phil Jamieson (Grinspoon), who shared the part in the original Brisbane season. Jamieson is back on board for the 2018 Australian production.

Jamieson is “Absolutely stoked to the eyeballs to be reprising the role

of St Jimmy for American Idiot in 2018 - so many great tunes, such a great time - I can’t wait to bring it to y’all around the country! It will no doubt be the BEST TIME OF LIFE…” For the Brisbane season St Jimmy will be played by Sarah McLeod (The Superjesus).

McLeod says, “I am so excited to be offered this role. I was secretly envious this year when I heard Chris and Phil were doing it. I’ve always wanted to be involved in musical theatre but so far hadn’t found the right vehicle. And then BAM… a role that is so much up my alley. The music is great too, it’s punk but it’s got this 60s feel to it with some of the melodies and harmonies that I just love.”

The national tour of Green Day’s American Idiot, produced by shake & stir theatre co and QPAC, plays at the Concert Hall, Sydney Opera House from January 11 to 14, followed by Her Majesty’s Theatre, Adelaide from January 19 to 28, Crown Theatre, Perth from February 2 to 11, Comedy Theatre, Melbourne from February 23 to March 11, Playhouse Theatre, QPAC, Brisbane from April 13 to 21, and Darwin from May 5 to 8.

Tickets at americanidiotlive.com.au 16 Stage Whispers January - February 2018

“The production team is the same, but only Alex (Jeans), Chris (Scalzo) and Nick (Kyriacou) will be returning. Everyone Can You Hear Me? It’s my favourite song. Oh, and my dad else is new. It will be exciting. It’ll also be nice working with Craig and Lucas again.” [Director Craig Ilott/Choreographer was a disco-dancer so there was a lot of disco.”

Your last major role was as Connie Francis in Dream Lucas Newland] Lover. It’s a big leap from her type of music to that of Green American Idiot wasn’t your first Helpmann Award Day. Did you have special voice training for the gig? nomination was it?

“Well, I was actually appearing in Dream Lover when I “No, I also got one for Strictly Ballroom” auditioned for American Idiot.

I raced across the city from the theatre to the audition several times.

And I asked David Campbell for help and he very kindly gave me some pointers. Get into character, be more How was that experience? aggressive in your vocals, and rough out the edges a little “It put me on the map. Working with Baz Luhrmann was bit. Not too much as that could ruin your voice, but a little great. It was a really special three years of my life and bit just gives it that raw edge.” solidified my skills.”

Good advice from the son of Australian rock royalty Finally, how excited are you to be returning to the role of Jimmie Barnes. Campbell’s no stranger to rock ‘n’ roll, Whatshername? having played Johnny O’Keefe to critical acclaim in Shout!

“So good to be going back to it. I really think I just The original Australian production of American Idiot had started to get into the piece when it was all over. Three a dream cast. Are you looking forward to working with weeks was not enough.” them again?

(Continued from page 15)

The Australian cast of American Idiot.

Photo: Dylan Evans.

Online extras!

Check out a teaser for American Idiot.

Simply scan the QR code or visit https://youtu.be/HE3feUotcT8 www.stagewhispers.com.au Stage Whispers 17

When international hit musical Jersey Boys returns to Sydney in September, the new all-Australian Frankie Valli and the Four Seasons will feature a combination of familiar faces from our previous production, some of them taking on new roles, with a brand new talent, fresh from the VCA Music Theatre course.

Bernard Angel, who played Joe Pesci in the original Australian production, takes on the role of legendary singer Frankie Valli. I asked him about the challenges and audience expectations that come with portraying an artist and a voice as iconic as Frankie Valli.

“I’m pretty clinical about how I approach the singing,” Bernard told me.

“In terms of emulating Frankie’s voice, to a certain extent the material takes care of that. You have no choice but to sing these high notes, and you’ve got to sing them in falsetto.

“When you’re playing these roles, it’s not like any of us are trying to impersonate our real characters. You bring the essence of them, and a little bit of yourself, and that’s the same with the voice. I’m singing Frankie’s material, so there’s already a similarity there, and I’m playing him, and I know what type of person he was, so that also effects the vocal quality. But then there’s me who’s doing it, so you’ve got Bernie coming through as well.”

Cameron MacDonald, our new Tommy DeVito, added: “You probably get 18 Stage Whispers January - February 2018

Our ‘New’ Jersey Boys

The original production of Jersey Boys toured Australia and New Zealand for four years and was seen by 1.6 million people.

Our new Four Seasons, preparing for the show’s return to Australia in 2018, have been immersed in the music on stage, at college and even at the supermarket. Neil Litchfield speaks to Australia’s new Jersey Boys.

Cameron MacDonald, Bernard Angel, Thomas McGuane and Glaston Toft in Jersey Boys.

Photo: Brian Geach.

a sense that there might be 30 or 40 guys who could sing the notes that are on the paper, but then when Bernie sings them, there’d be something for the casting panel that makes them go, ‘Yeah, that’s a Frankie sound.’ There’s a lot of different ways to achieve certain notes that are written on paper, so I think Bernie would have just had a lot of it naturally.”

Cameron was previously in the ensemble cast of Jersey Boys, covering both Tommy and Bob Gaudio.

“The ensemble in this show are critically important,” Cameron said.

“A lot of people remember the story of the four guys, but what they don’t realise when they first see it is that there’s only about eleven other people on the stage, who are playing everyone that they ever met. The role that I played originally goes by the name of Knuckles, but it’s 12 or 13 different people. That’s the same with Hershey, that Bernie played, and there’s three girls on stage who play 40 different roles.

“Having said that, I have always wanted to play this role, but you can covet it all you want what I really needed to do was just live a bit longer. It’s fine to want to do it, but Tommy’s a man; there’s a presence about him.

He needs to be able to boss Frankie around a little bit until he becomes a man. Even though I covered the role years ago, there’s a

stature to him and I had to grow into it.

“I remember seeing Scott Johnson playing it when I first saw the piece, and thinking ‘This guy’s an animal.’ He’s such a rascal and he’s caught up in some really crazy, criminal stuff. He goes to prison.

It’s just a great role to sink your teeth into.”

Thomas McGuane was still completing his studies at VCA when he was cast as Bob Gaudio, quite a startling beginning to his career.

“It’s both exciting and un-balancing,” Thomas said. “It was pure luck for me that this show came around at this particular time, and that I was appropriate for it. I was immediately straight onto the band wagon, doing all the research and getting all the material for the audition.”

Was the college behind his decision to audition?

“They encourage us as third years to start immersing ourselves in the industry, so a lot of our work is with professional creatives anyway. When Jersey Boys initially came along, the college sent everyone in third year the brief, and it was at our discretion whether we applied or not. I remember the head of Music Theatre telling me, ‘Thomas, you have to audition’.”

At what point could Thomas actually picture himself getting the role?

“I applied for every male role because I could; I had no agent to stop me. I got the call for Bob, so then, being able to go OK, (Continued on page 20)

www.stagewhispers.com.au Stage Whispers 19

says. “I enjoy the discipline of it, but maybe internally it changes a bit. and finding out who this character is, “I often come back to the moment slowly doing my research and going, where I left the show for a couple of you know, I’ve got a little bit of Bob weeks, in the previous run, to have my naturally - his kind, timid nature, the first child. There’s a monologue where fact that he isn’t a party person, and Nick talks about how he didn’t want to being able to see myself in that role, feel like he wasn’t present as a father, was a lot more vivid.” so he arranged that his kids thought he Meanwhile, Glaston Toft returns to was their uncle, because he was on the very familiar territory as Nick Massi. Has road all the time and he didn’t want anything changed over time in the way them to feel deprived of a father. I he interprets the role? remember that just came out of my “One of the things I do try to be is mouth, and, being at that point, just super-consistent on stage,” Glaston having a totally different perspective on that moment of the show.

(Continued from page 19)

“Through the passage of time things resonate with you in a different way, which is why I think people come back and see the show again. You pick up different things, and different moments resonate with you in a different way.”

The success of Jersey Boys stems in no small part from our familiarity with its music. How did our new Jersey Boys first connect with music of Frankie Valli and the Four Seasons?

“My first memory of the Four Seasons is from the Robert Downey Jr film Heart and Soul, where they do ‘Walk Like a Man’ throughout the Original 2012 Australian company of Jersey Boys.

Photo: Jeff Busby.

Online extras!

Frankie Valli and the Four Seasons return to the stage. Scan the QR code or visit https://youtu.be/toGRbYa1wt8

20 Stage Whispers January - February 2018

movie,” says Glaston. “But I think that with a lot of their music, it’s just by osmosis. A lot of their music is really timeless. ‘Can’t Take My Eyes Off You’ is one of the most played songs of all time, and you still hear a lot of their songs on the radio today, or used in TV commercials. I remember another cast member who first knew ‘Can’t Take’ from The Deer Hunter.”

“I remember a Hungry Jack’s commercial with ‘My Eyes Adored You’, which was one of the first times I heard a Four Seasons song,” says Cameron. “My character Tommy says, ‘Our stuff’s all over radio, movies and commercials.’ You can’t miss it, especially once you’ve done the show, or seen the show. How their music is all over the place becomes even more clear when you’re super familiar with it. If you’re walking down

the aisle at Coles and they’re playing ‘Sherry’ or whatever, before it was in your blood you’d probably just keep walking down the aisle, but now that we know and love the show, you stop in the Tuna section and you bop along.”

for their music and what they’ve gone through, like Cameron was saying, I had an experience walking past a shop the other day and they were playing ‘Oh, What a Night’. Ask me three weeks ago, and I wouldn’t have stopped out the front of that shop and

“My first experience of the music was as a really young child,” Thomas said. “My father owned the original recording of the Broadway show and I hadn’t caught onto the idea of who the Four Seasons were, or what the show was. Now with this appreciation

listened to that song, because that kind of music doesn’t click in my ears as a modern 20-year-old, yet I had no choice but to stop and listen because it’s a really great song, and it’s still here today.

Jersey Boys will open at Sydney’s Capitol Theatre in September, 2018. www.jerseyboys.com.au

www.stagewhispers.com.au Stage Whispers 21

B

roadway uzz

Come From Away.

Photo: Matthew Murphy.

By Peter Pinne

Four years after it was first announced, King Kong the musical has finally got an official Broadway opening date. It will begin previews 5 October for an opening 8 November 2018 at the Broadway Theatre, which is currently housing Miss Saigon. With a new creative team at the helm headed by playwright Jack Thorne (Harry Potter and the Cursed Child), who is writing a new book, and London’s wunderkind Drew McOnie (Strictly Ballroom The Musical) as director/choreographer, the show will be produced by Global Creatures (Walking with Dinosaurs/Strictly Ballroom) and Roy Furman, currently represented on Broadway with Hello, Dolly! King Kong’s score is by composer-producer Marius de Vries (La La Land/Moulin Rouge), who worked on the original Australian production, with songs by Eddie Perfect (Shane Warne the Musical/Vivid White). No casting has been set other than the massive, technologically enhanced puppet designed by Sonny Tilders. The musical premiered to mixed notices in Melbourne in 2013, winning a Helpmann Award for Outstanding Theatrical Achievement.

Tony Sheldon and Hayden Tee are amongst a bevy of Broadway luminaries including Kelli O’Hara, Randy Graff, Nancy Opel, Leah Horowitz, Marissa McGowan and Lisa Brescia, plus cabaret stars Klea Blackhurst and Steven Brinberg, featured on the upcoming recording Hamlisch Uncovered. Producers Michael Lavine, Chip M. Fabrizi and frequent Hamlisch collaborator Craig Carnelia have unearthed a treasure trove of songs from scores that were unrecorded when the Tony Award-winning composer of A Chorus Line passed away in 2012. Songs from Smile (lyrics

by Carolyn Leigh), Ballroom (lyrics by Alan & Marilyn Bergman), his final musical The Nutty Professor (lyrics by Rupert Holmes), and several songs from his scores with Carnelia - Imaginary Friends, Bullets Over Broadway and Sweet Smell of Success, comprise a twenty track disc that was released digitally in December and will be in stores 26 January 2018. Sheldon gets to sing “The Only Way To Go”, a song with lyrics by Tim Rice that springs from the 1976 television score of The Entertainer, based on John Osborne’s play, which starred Jack Lemmon.

The Mark Gordon Company has announced they will produce and finance a screen adaptation of the hit Broadway musical Come From Away. The show’s creators, Irene Sankoff and David Hein, will adapt the musical for the screen with the musical’s director Christopher Ashley, who will also direct the film. Come From Away, which began performances on 18 February 2017 at the Schoenfeld Theatre, is set against the backdrop of the tragic events of September 11, 2001, and what happened when U.S. airspace was closed, forcing 38 planes carrying 6,579 passengers to land in Gander, Newfoundland, doubling the 22 Stage Whispers January - February 2018

Online extras!

Get a taste of Come From Away.

Simply scan the QR code or visit https://youtu.be/RqRKvFGQZtQ population overnight. According to producer Mark Gordon, the show “celebrates the triumph of humankind’s solidarity and compassion in the face of adversity. We are proud to create a feature film adaptation to share with audiences around the world.”

The Tooting Arts Club production of Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street is extending its performance schedule through 27 May 2018, making it the longest-running musical to ever play the Barrow Street Theatre. The musical arrived in Manhattan 1 st March 2017 following its debut in London at Harrington’s Pie and Mash Shop, the oldest continuously operating pie shop in Britain. The pie-shop environment has been recreated at the Barrow Street Theatre. Directed by Bill Buckhurst, the current cast includes Hugh Panaro (Sweeney Todd), Carolee Carmello (Mrs Lovett), Jake Boyd (Anthony), Eryn LeCroy (Johanna), Stacie Bono (Pirelli/Beggar Woman), Michael James Leslie (Judge Turpin), John Rapson (The Beadle) and John-Michael Lyles (Tobias).

The new musical A Letter To Harvey Milk, which was a selection of the New York Musical Theatre Festival’s 2012 Next Link where it won five awards, will premiere OffBroadway at Theatre Row’s Acorn Theatre, 21 February and play until 13 May 2018. Based on the short story by Lesléa Newman, the musical has lyrics by Ellen M. Schwartz, additional lyrics by Cheryl Stern, music by Laura I. Kramer, and a book by Jerry James, Schwartz, Stern and Kramer.

Evan Pappas directs. Set in San Francisco, A Letter To Harvey Milk centres on retired kosher butcher Harry and his young lesbian writing teacher Barbara. When Harry fulfils a writing assignment to compose a letter to someone from his past who is dead, he writes not to his late wife Frannie, but to Harvey Milk, the first openly gay political leader in California.

Barbara is stunned. Harry’s letter evokes life-changing revelations that neither could have foreseen.

Charlie and the Chocolate Factory, the Marc Shaiman and Scott Wittman musical adaptation of Roald Dahl’s classic children’s novel, will end its run at the Lunt-Fontanne Theatre 14 January after playing 27 previews and 305 regular performances. The show is to launch a U.S. national tour in September 2018, and there are also plans for an international tour launching in Australia in 2018 and the UK in 2019. Songs by Anthony Newley and Leslie Bricusse, written for the 1971 Warner Bros movie, are also included in the score.

London Calling

By Peter Pinne The hottest ticket around town at the moment is the National Theatre’s production of Network, starring Bryan Cranston as the insane, profanity-shouting TV news anchor Howard Beale. Making his London debut, the Breaking Bad star has wowed the critics with his performance - “One of the richest and most agonising performances I’ve ever witnessed, a King Lear for the soundbite age” (Evening Standard), “Bryan Cranston is mad, bad, and scintillating to know” (Daily Telegraph), and “Bryan Cranston is mad as hell in blazing staging of Oscar Winner” (Guardian).

According to reviewers, adaptor Lee Hall has kept the best of Paddy Chayefsky’s 1976 screenplay while excising its excesses in the remarkably prescient satire of a fourth place TV network that will air anything for huge ratings including a news anchor who threatens to kill himself on air. Cult auteur director Ivo van Hove has turned the stage into a busy TV studio with a bank of screens showing snippets of old advertisements. On one side of the set sit diners who are served a meal from an on-stage kitchen, while musicians hover in the background and a multitude of cameras capture close-ups of the cast at key moments.

Peter Finch played Howard Beale in the 1976 movie directed by Sidney Lumet and was awarded an Oscar (posthumously) for his work, having died following the film’s completion. Network plays until 24 March 2018.

Food is also on the menu in Torben Betts’ new play Monogamy, which will play London’s Park Theatre, 6 June 7 July after a short tour. Janie Dee, who currently shares the stage with Imelda Staunton in the National Theatre’s Follies, will star as Caroline Mortimer, a former television chef who seems to have everything going for her: loving husband, good kids and a luxurious home in Highgate. But she is forced to face living a private life in the public eye. Shades of Nigella Lawson? The World Premiere season opens in Malvern in May, before playing Guildford and York prior to arriving at the Park Theatre. Alistair Whatley will direct, with design by James Perkins and lighting by Chris Withers. Dee previously worked with Betts when she starred in his adaptation of The Seagull at Regent’s Park Open Air Theatre a few years ago. He claims there are elements of that play present in Monogamy, in that there’s conflict between an unhappy middle-aged celebrity and her angry son, who feels very much at war with the modern world.

The 2015 Tony Award-winning Broadway revival of The King and I will transfer to London for a limited engagement at the London Palladium 21 June - 4 August 2018. Kelli O’Hara and Ken Watanabe will reprise their respective roles of Anna Leonowens and the King of Siam. It will be the West End debut of both performers. Bartlett Sher, who

Network.

Photo: Jan Versweyveld.

Online extras!

Go behind the scenes of Network by scanning the QR code or visiting https://youtu.be/S4AFpQ20zyw directed it for Lincoln Center Theatre, will again helm the production. Australian based production company GWB Entertainment will co-produce the London engagement.

Their most recent Australian productions have been Ghost in 2016 and 2017, and the hugely successful West End production of 1984 in 2017.

GWB Entertainment are also associate producers on the current revival of Andrew Lloyd Webber’s The Woman In White. The 2004 musical by Lloyd Webber and David Zippel, based on the classic novel by Wilkie Collins, has a revised score and lyrics and stars Anna O’Byrne in the leading role of Laura Fairlie. O’Byrne, the recipient of the 2017 Helpmann Award for Best Actress in a Musical for My Fair Lady, played Christine in Lloyd Webber’s The Phantom of the Opera sequel Love Never Dies in Australia, and has also played the role in the London production of Phantom.

The Woman in White is directed by Thom Southerland and the cast also includes Chris Peluso as Sir Percival Glyde, Caroline Maitland as Marian Halcombe, Ashley Stillburn as Walter, Sophie Reeves as Anne Catherick and Greg Castiglioni as Count Fosca, the role formerly played by Michael Crawford. The score produced the hit single “I Believe My Heart” by Duncan James and Keedie.

Baz Luhrmann’s Strictly Ballroom - The Musical opens at London’s Piccadilly Theatre 11 April 2018. Directed and choreographed by Drew McOnie, the production features Jonny Labey as Scott and Zizi Strallen as Fran, with Will Young playing a specially created role of a band leader. This version of the show, which has a revised book, previously played West Yorkshire Playhouse, Leeds at Christmas 2016, and a Toronto, Canada, engagement at the Princess of Wales Theatre 25 April 2017.

It looks likely that London’s Dominion Theatre will be host to Bat Out of Hell in the Spring. The musical previewed at the Manchester Opera House in March before transferring to the Coliseum and opening in June 2017. The musical features Jim Steinman’s songs from Meat Loaf’s Bat Out of Hell album, as well as a book by Steinman. The plot is a dystopian story of Strat and The Lost, a group of teenagers who don’t age beyond 18 years old. Strat falls for Raven, the daughter of the most powerful man in postapocalyptic Obsidian. The songs include “I’d Do Anything For Love”, “Two Out of Three Ain’t Bad”, “Paradise by the Dashboard Light” and the title track “Bat Out of Hell”. www.stagewhispers.com.au Stage Whispers 23

Impossible Play Becomes A Hit The National Theatre’s blockbuster Tony and Olivier Award winning play The Curious Incident Of The Dog In The Night-Time opens in Melbourne in January ahead of an expected national tour in the second half of the year. David Spicer reports on what makes the production so special and how the Arts Centre Melbourne is turning the production into an immersive experience.

Online extras!

Joseph Ayre as Christopher with the cast of The Curious Incident of the Dog in the Night-Time.

Photo: Brinkhoff MĂśgenburg.

24 Stage Whispers January - February 2018

Check out a trailer for The Curious Incident of the Dog in the Night-Time https://youtu.be/GIvkxnamI2Y

“My name is Christopher John Francis Boone. I know all the countries of the world and their capital cities and every prime number up to 7,507.”

Mark Haddon’s international bestseller The Curious Incident of the Dog in the Night-Time is the basis for the award-winning play. It’s told from the perspective of a fifteen-year-old boy with a talent for mathematics but huge challenges coping with everyday life.

Author Mark Haddon was convinced the novel, told entirely in first person narrative and traversing difficult subject matter, could never be translated to the stage.

“Sometimes Father wants to give me a hug, but I do not like hugging people, so we do this instead, and it means that he loves me.”

When a neighbour’s dog is killed in mysterious circumstances, Christopher Boone is determined to discover who is responsible.

Brett Sheehy, Artistic Director of the Melbourne Theatre Company, said he fell in the love with the production when he first saw it four years ago.

“I especially love the purity of Christopher’s innocence and his moral compass. He is on a mission and does not waiver from it despite everything the world is throwing at him,” he said.

“I do not like people shouting at me. It makes me scared that they are going to hit me or touch me and I do not know what is going to happen.”

The teenager has never ventured beyond his street, but to solve the

Joseph Ayre as Christopher with the cast of The Curious Incident of the Dog in the Night-Time.

Photo: Brinkhoff Mögenburg.

mystery of his neighbour’s dog’s death he goes on a long journey which includes navigating the London Tube.

“It is technically incredibly complex and also quite clean, with props appearing and disappearing,” said Sheehy. “Physically and visually the whole section of the journey to find his mum is brilliantly realised using a terrific electronic system of traps and fly towers.

“The entire production sits inside a world of mathematical matrixes and visual references. It is how Christopher’s mind works and explores the world.”

“People believe in God because the world is very complicated and they think it is very unlikely that anything as complicated as a flying squirrel or the

human eye or a brain could happen by chance.”

Arts Centre Melbourne has put together an associated program which takes full advantage of the play’s scope, covering music composition, set design, script writing and mathematics.

Producer Joshua Cowie said just as the 15-year-old “uses his great ability in maths to navigate the London Underground” so too will participants in a number of seminars be challenged to “use analytical skills”.

In one seminar, the composer of the play’s music, Adrian Sutton, will explain its mathematical basis.

“There is a rhythmic pattern in the music people might hear and gloss (Continued on page 26)

www.stagewhispers.com.au Stage Whispers 25

The Curious Incident of the Dog in the Night-Time and the associated program commences on January 13.

(Continued from page 25)

over that is based on prime numbers.

The way it sounds matches the experience of Christopher,” he said.

Special sessions for school students will also explore the maths behind the sound, light and video projections.

The most striking example of this is the scenes on trains.

“There is an amazing recreation of train voyages combining set, video projecting and light,” says Sutton.

In other sessions, playwright Simon Stephens will explain the process of taking a novel to the stage, while students will also create their own different designs which will be put on display in the foyer.

It’s like a giant high school project - almost as good as the epilogue of the play, where Christopher Boone dazzles with his wizardry in maths, as numbers flash all over the set.

“I think prime numbers are like life. They are very logical but you could never work out the rules, even if you spent all your time thinking about them.”

26 Stage Whispers January - February 2018

This image and above: Joseph Ayre as Christopher with the cast of The Curious Incident of the Dog in the Night-Time.

Photo: Brinkhoff Mögenburg.

Community Theatre Seasons 2018

Nadia Gianinotti in PLOS Productions’ Wicked.

Photo: Angela Ginsberg/Mike Fletcher.

www.stagewhispers.com.au Stage Whispers 27

28 Stage Whispers January - February 2018

Community Theatre Champions They are the stars of the little stages, moving from one community theatre to another scoring the plum roles. David Spicer spoke to six of the most popular leading ladies and men in Melbourne, Sydney, Adelaide, Brisbane and Perth.

Nadia Gianinotti hobbled back to work after twisting her ankle in her final performance as Velma Kelly in Fab Nobs’ production of Chicago.

The 33-year-old Melbourne graphic designer is plonking around the office in a moon boot. It is not the first time her hobby has impacted on her day job. During her run as Elphaba in PLOS Productions’ Wicked she had a tinge of green for three weeks.

“It was nice to explain why to clients when they came in,” Nadia said.

Her employer is fully understanding.

Nadia works in an entertainment marketing agency (AKA) designing artwork, often for big musicals. The company gives her time off work when a big show is on because “they seem to have an idea of what being in a musical was about,” she said with a laugh.

After a dozen years in the ensemble, Nadia’s big break came when she was cast in the title role in Mary Poppins for PLOS, the first of a succession of lead roles in the highly competitive Melbourne community theatre scene.

“I got far more confident when I knew I had the goods to lead a show. I focussed my energy on leads after spending many years in ensemble.”

Nadia has no formal training at a musical theatre or drama school but has been dancing she was six. She finds that strong vocalists are hard to come by and a lot of aspiring professionals leave the community theatre scene to go into formal training.

What is more fun, graphic design or playing Mary Poppins?

“I love my job, don’t get me wrong, but if I could be Mary Poppins every day of my life I would be very happy.

“I don’t know how people get through without a side hobby or a passion project. I would like to think I

could do it for ever, but I am not always going to be appropriate for these roles.”

For the time being she is loving riding the musical theatre wave until other aspects of life catch up with her.

“I never thought I would learn anything. I just open my mouth and if it sounds good I do it. I don’t want to sound like a wanker, but it just comes naturally,” he said.

Lachlan said he is very picky about who he works with.

“There are big differences between the societies. But even the top tier community theatres can have hits or misses depending on who is the director or on the committee at the

Lachlan O’Brien in Strathfield Musical Society’s Beauty And The Beast.

Photo: Ray Wing-Lun.

When Stage Whispers spoke to Sydney’s Lachlan O’Brien he was rehearsing the role of Lumiere for Miranda Musical Society’s Beauty and the Beast, was a week away from playing the Wizard in Manly Musical Society’s Wicked, and had just starred as Billy Flynn in Engadine Musical Society’s Chicago.

“I love it. There is always an interesting show coming up that I want to do,” said the science and music tutor.

The 32-year-old has not had any theatre or singing training.

time. You don’t really know it is going to be any good until a week out.”

He said the golden rule is to never drop out, even if a show is struggling.

“It is a very small world in amateur theatre. If you get a black mark, that reputation spreads and it works against you in auditions.”

Lachlan believes loyalty to one community theatre company is unnecessary.

“Back in the 90s everyone stayed in one society, which was not a good thing. You were shackled to one club (Continued on page 30) www.stagewhispers.com.au Stage Whispers 29

Lindy admits she is not one to help out much behind the scenes.

“I have always felt on stage is where I belong. I only ever prompted once but didn’t enjoy it. I am, however, very handy with a quick change.

“I do, however, highly respect those who work backstage and regularly express my gratitude to them.”

One of those who stays behind the scenes is her husband, who has only appeared on stage once.

“Over the years he’s always come on opening and closing nights for the parties. He is very well known as Lindy’s husband.”

When asked about all the time she spends in rehearsal and performance, he replies that “Lindy is happiest when she is doing a play.”

“He is very supportive, and I am having the time of my life,” says Lindy.

Seasons 2018

Brisbane’s Meg and Brian Hinselwood recently performed together on stage as husband and wife in Centenary Theatre Group’s through, which gives me a sense of a production of A Little Murder Never job well done.”

Hurt Anybody.

The retired primary school teacher, “The characters we played had a now in her sixties with two adult very different relationship to our real children, admits she is addicted to the life ones,” noted Meg. “In the play, energy of live theatre.

Brian’s character had vowed as his new “I can feel the audience holding year’s resolution to kill me by the end their breath then a wave comes from of the year, whereas in real life he them; it is invisible and silent.” hasn’t said that for at least a When Stage Whispers spoke to week.” (Boom tish - with lots of laughs Lindy she had just finished Palace of coming down the telephone.)

Varieties with the Adelaide Repertory Brian said it was a lovely play. “It all Theatre, that included the ‘world backfires on him and by the end of the famous balloon dance’, and was play they are madly in love again.” preparing for an outdoor production of Meg, 50, a speech pathology School for Scandal with the Blue Sky educator at the University of Theatre Company.

Queensland met her husband Brian, Lindy said the standard of 75, a former professional actor, on the community theatre in Adelaide is very stage of a community theatre 20 years high and admits to being a theatre ago while both were in the play ‘whore’.

Rumours with Mixed Company.

“I do spread myself around. I go As well as meeting her husband, where the parts take me. I have Meg said she cherishes “the beautiful worked with some brilliant people with relationships you develop in day jobs who are great teachers of the community theatre, many of whom craft.” become lifelong friends.”

Although she does two or three Compared to the world of shows a year, she doesn’t always get academia, Meg said she is “far braver the roles she wants. on stage than I am in real life. I have a “I have had my share of sorry, not (Continued on page 33) this time.”

Lindy LeCornu in Adelaide Repertory Theatre’s Palace Of Varieties.

Photo: Richard Parkhill.

(Continued from page 29)

and you could be blacklisted if you jumped ship. This meant the same people got the leads again and again, which is a recipe for disaster.”

He admits that diehard stalwarts in some clubs look at freelancers like him with suspicion. It hasn’t helped that he is not usually available for Saturday morning working bees as he has work commitments as a tutor.

However, Lachlan says he makes up for it on stage.

“Every show I do I spend a considerable sum of my own money on my own thing. I don’t want to know how much I spent on magic tricks for the season of Chicago.”

The extra effort impressed. A fringe benefit was meeting a new girlfriend.

Is it any wonder that he can’t get enough of community theatre?

Adelaide’s Lindy LeCornu loves making people laugh.

“I am a bit of a character actress; I never get the glamorous roles, but I am told my comic timing is very good,” she said. “When I read a script, I see where the comic parts are. I usually make actors laugh in the first read 30 Stage Whispers January - February 2018

www.stagewhispers.com.au Stage Whispers 31

32 Stage Whispers January - February 2018

you mean to ask…blah blah…” he reflected. If you are working with chance to be someone I am really not. I people you don’t trust it’s a nightmare always love the live audience - a living because you never know what they are breathing thing. The feedback you get going to say next. It can be terrifying from an audience is beyond coming up to a line which an actor comparison.” never remembers.”

Her most recent role was the lead in Did Meg and Brian trust each other Honour with Villanova Players. when they were on stage together?

What Brian loves most is the “Yes, yes,” was the enthusiastic applause. response.

“I have been doing this for 40 plus years. I worked professionally out of Perth science teacher Chris Gerrish Sydney. I still enjoy the challenge of sees a lot in common between his day creating a character and now I am job and being on the stage. getting into directing.”

“I have to stand up in front of a For Brian, the biggest difference load of people, talk to them and between community and professional engage them for an hour at a time. It theatre is the amount of time it takes. is pretty much the same thing when “Community Theatre can drag on you are on stage,” he said. “(In both) endlessly,” says Brian. “You work a you have make a connection; teach couple of evenings a week, and maybe them something new about a Sunday, then ten weeks later you do themselves. Teaching and acting go the play. With professional theatre it is hand in hand. Most actors would make much more intense.” excellent teachers.”

And what about the standard of Does he ever break into song or a community theatre? soliloquy in class?

Brian said there are very good “I would never perform in class. theatres in Brisbane, but he is picky Sometimes students turn up (at my about who he works with. performances). Once when it “People always forget lines. The happened, a girl that I taught looked lovely thing is if you trust the other mortified. She didn’t want to talk to people on stage then if you forget a me.” line somebody will cover for you. Did (Continued from page 30)

Meg and Brian Hinselwood in Centenary Theatre Group’s Gaslight.

Photo: Dan Ryan.

Seasons 2018 The 45-year-old fits two productions a year into his family and work schedule, choosing to work with directors and musical directors he “can trust to do a good job and not make it too stressful.”

“Occasionally” he does not get parts he auditions for and sometimes productions are “not as much fun as they should be.”

Chris’s recent roles include Javert in Les Misérables and the husband in Mrs Robinson, both with the Stray Cats Theatre Company in Mandurah.

For Playlovers he was King Arthur in Spamalot and William Carney in A Man of No Importance.

“What I love most about community theatre is sharing meals with the cast and keeping in contact with each other. When you are doing a show, you might start off as complete strangers but by the end of it become very good friends.

“I have a friend who, every time he does a show, finishes one relationship then starts another.”

Chris says he is not like that.

“I am happily married with two daughters.”

Chris Gerrish in Playlovers’ A Man Of No Importance.

Photo: Verge Studio.

www.stagewhispers.com.au Stage Whispers 33

Seasons 2018

Seasons 2018

Blockbuster musicals, newly available for production, regularly dominate Community Theatre stages, and 2018 is no exception. Queen musical We Will Rock You, Shrek the Musical, based on the popular Dreamworks animated movie and the stage adaption of Baz Luhrmann’s Strictly Ballroom top the new entries into the repertoire.

Other newcomers recently seen here professionally include the musical adaptations of the films Dr Zhivago and Ghost. Chicago, withdrawn for many years until 2017, and Rock of Ages, which also became available last year, remain popular choices.

Beyond those, there’s a broad range of classic and contemporary musicals on offer, from mega-hits like The Phantom of the Opera, Wicked and Les Misérables, through classics of the ilk of Oliver!, Fiddler on the Roof and Rodgers and Hammerstein, to a light smattering of Gilbert & Sullivan and Operetta.

The dramas, comedies, farces and thrillers on offer from repertory companies feature a truly diverse selection of local and overseas plays, contemporary and classic. Productions of Agatha Christie thrillers are as prolific as ever, while the somewhat risqué title of Sarah Ruhl’s The Next Room or the Vibrator Play jumps off the page too.

Congratulations to groups celebrating significant milestones in 2018. Hartwell Players in Victoria celebrate 80 years, it’s Rockdale Opera Company’s 70th anniversary, Eltham Little Theatre in Victoria chalks up 70 years, while it’s Gold for Strathfield Musical Society in 2018, celebrating its 50th anniversary.

The New Zealand theatre scene is abuzz with the announcement of two major Consortium tours to be launched in 2018, which will travel extensively in the coming years.

34 Stage Whispers January - February 2018

Showbiz Christchurch will premiere Wicked in April 2018, while New Plymouth Operatic will premiere a new production of Les Misérables in July 2018.

Wicked and Les Misérables follow on from a number of recent hit musicals staged by the Consortium group, including nine other shows still ‘on the road’ and being produced around New Zealand to great acclaim (Sister Act, Mamma Mia!, The Phantom of the Opera, Hairspray, Evita, Miss Saigon, CATS, Priscilla – Queen of the Desert and Mary Poppins).

Victoria CLOC: Strictly Ballroom (May), Jekyll & Hyde The Musical (Oct).

Babirra Music Theatre: Singin’ in the Rain (Jun), Dusty (Oct).

Gilbert and Sullivan Opera Victoria: The Mikado (Jul), Eileen (Oct).

Fab Nobs Theatre: Goldilocks and the Three Bears (Jan), Violet (Apr), High School Musical (Jul).

Latrobe Theatre Company: Sweet Charity (Jul/Aug).

PLOS Musical Productions: The Little Mermaid (Jan), The Phantom of the Opera (Jul).

PEP Productions: Season of One Act Plays (Feb), Cry Baby The Musical (Aug/ Sep), Holding the Man (Nov).

SPX Waterdale Players: The Hatpin (Jul) Windmill Theatre Company: We Will Rock You (Jul).

Cardinia Performing Arts Co: Annie (Feb).

NOVA Music Theatre: Guys and Dolls (May), Dr Zhivago (Oct/Nov).

Aspect Theatre Inc: Beauty and the Beast (Jul).

MLOC Productions: Spring Awakening (May/Jun), The Boy from Oz (Oct).

SLAMS Music Theatre Company: Shrek The Musical (Mar), Sounds of Swing Variety (May/Jun), Heathers The Musical (Sep).

Phoenix Theatre Company: Ghost (May).

Panorama Theatre Co: Beauty and the Beast (Apr), Rock of Ages (Sep) Altona City Theatre: Rock of Ages (Jan).

Western Arts Theatre: Downstage Centre (Jan), Peter Pan Jr (Mar), On My Way (Jul), Shrek The Musical (Oct)

Heidelberg Theatre Co: Crossing Delancy (Feb/Mar), The House of Bernarda Alba (Apr/May), Private Lives (Jul), Blue Stockings (Sep), Inheritance (Nov/Dec).

The Mount Players: The Offshore Island (Mar), Love Letters (May), Les Misérables (Aug), The Taming of the Shrew (Nov/Dec).

Brighton Theatre Company: In The Next Room, the vibrator play (Feb/ Mar), Forget Me Not (May/Jun), Other Desert Cities (Aug/Sep), Pass The Butler (Nov).

Mordialloc Theatre Company Inc: All The King’s Women (Feb/Mar), All Things Considered (Apr/May), Season’s Greetings (Jun/Jul), Pack of Lies (Aug/ Sep), Things My Mother Taught Me (Nov).

Frankston Theatre Group: The Farndale Avenue… Murder Mystery (Apr), The Taming of the Shrew (Jun/Jul), Exit Laughing (Nov/Dec).

Strathmore Theatrical Arts Group (STAG): Wait Until Dark (Mar), Play It Again, Sam (May/Jun), 27 Wagons Full of Cotton and Something Else (Aug), Bouncers and Shakers (Nov).

Malvern Theatre Company Inc: Last Gas (Feb/Mar), Our Town (Apr/May), Morning Sacrifice (Jun), Dead Man’s Cell Phone (Aug/Sep), Tarantara!

Tarantara! (Oct/Nov).

Williamstown Little Theatre: Mr Bailey’s Minder (Feb), Stones in his Pockets (Apr/May), Under Milkwood (Jun/Jul), Silent Sky (Sep), The Complete Works of William Shakespeare (Abridged) (Nov/Dec).

Peridot Theatre Inc: Rumours (Feb), 84 Charing Cross Road (Jun), The ShoeHorn Sonata (Aug), Sylvia (Nov/Dec).

Encore Theatre Company Inc: James and the Giant Peach (Jan), Away (Apr/ May), The Weekend, Speaking in Tongues.

Lilydale Athenæum Theatre Company Inc: Sylvia (Mar), The Elephant Man (May/Jun), Moonlight & Magnolias (Aug), The History Boys (Nov).

Sherbrooke Theatre Company Inc: It’s A Dad’s Thing (Mar).

The 1812 Theatre: Calendar Girls (Feb/ Mar), Constellations (Apr), Chaim’s (Continued on page 36)

www.stagewhispers.com.au Stage Whispers 35

Sisterhood of the Second Trinity Victory Church (Sep), Private Lives (Nov/Dec).

Love Song (May/Jun), Dial M For Geelong Lyric Theatre Society: Song Murder (Jul/Aug), Gulls (Oct), The Pink Contest: The Almost Eurovision Panther Strikes Again (Nov/Dec).

Experience (May).

Essendon Theatre Company: Old Actors Ballarat Lyric Theatre: Jesus Christ Never Die…They Simply Lose the Plot! Superstar (Mar).

(Mar), Season of One Act Plays (May/ Footlight Productions (Geelong): Jun), An Unseasonable Fall of Snow Beauty and the Beast (Jan/Feb).

(Aug/Sep), The Liar (Nov/Dec).

BLOC Music Theatre (Ballarat): Monty Beaumaris Theatre Inc: Chicago (Mar), Python’s Spamalot (Apr).

The Mystery of Irma Vep (May/Jun), CenterStage Geelong: 42nd Street Echoes (Aug/Sep), Snoopy - The (Mar), We Will Rock You (Jul/Aug), Musical (Nov).

Little Shop of Horrors (Oct/Nov).

Gemco Players: Falling from Grace Wangaratta Players: The Winslow Boy (Mar).

(Apr).

Eltham Little Theatre: The Importance Wonthaggi Theatrical Group: The of Being Earnest (Feb/Mar).

Cocky of Bungaree (Jan), The Boy From The Basin Theatre Group: It’s Never Oz (May/June), The Boys (Sep/Oct).

Too Late (Feb/Mar), ‘Night, Mother Bendigo Theatre Company: Beauty and (May/Jun), Burke’s Company (Aug/Sep), the Beast, The Pantomime (Jan) Bombshells (Nov).

Benalla Theatre Company: Nunsense II (May).

Regional Victoria Shepparton Theatre Arts Group: Geelong Repertory Theatre Company: Dookie - The Musical (Apr), Wicked Jake’s Women (Feb), The Resistable (Sep), The War of the Worlds (Nov), Rise of Arturo Ui (Apr/May), Barefoot in Showstoppers (Nov). the Park (Jun/Jul), The Charitable (Continued from page 34)

Mansfield Musical & Dramatic Society (MMuDS): [title of show] (May), Mary Poppins (Oct).

Echuca Moama Theatre Company: The Phantom of the Opera (May/June).

Leongatha Lyric Theatre: California Suite (Mar), Annie (July).

Horsham Arts Council Inc: Joseph and the Amazing Technicolor Dreamcoat (May) New South Wales Miranda Musical Society: Beauty and the Beast (Mar), Snoopy (Jun).

Willoughby Theatre Company: Strictly Ballroom (May), Mame In Concert (Jul), Shrek (Oct).

Packemin Productions: Shrek (Feb), Legally Blonde (Jul/Aug).

Strathfield Musical Society: Cabaret “GOLD” (May). Celebrating Strathfield Musical Society’s 50th anniversary.

Engadine Musical Society: We Will Rock You (May), Big Fish (Oct).

Bankstown Theatre Company: Dogfight (Mar), The Sound of Music (Jul), Our House (Nov).

Ipswich Music Theatre’s Les Misérables.

36 Stage Whispers January - February 2018

(Continued from page 36)

EUCMS (Eastwood): The Yeomen of the Guard (May/June), Little Shop of Horrors (Oct/Nov).

Manly Musical Society: Be More Chill (Mar), Jekyll & Hyde (May), Nine (Dec).

North Shore Theatre Company (Chatswood Musical Society): Little Women (Apr), Bring It On (Jul).

NUCMS: The Mikado.

Rockdale Opera Company: Rendezvous at Orlofsky’s Cabaret (Apr), The Tales of Hoffman (Aug), 70th Anniversary Gala Concert (Nov).

The Regals Musical Society: Disney’s Aladdin Jr (May), Rock of Ages (Oct) Hornsby Musical Society: We Will Rock You (Apr), Anything Goes (Oct).

Shire Music Theatre: Camp Rock (Mar).

Blue Mountains Musical Society: Urinetown (May/June), We Will Rock You (Oct/Nov).

Holroyd Musical and Dramatic Society: Annie (Apr), A Midsummer Night’s Dream (Jun/Jul), Avenue Q (Sep).

Rockdale Musical Society: Fiddler on the Roof (Mar), Little Shop of Horrors (Jun), The Little Mermaid (Sep).

Hills Musical Theatre Company: 13 The Musical (May/Jun), The Addams Family (Nov).

Berowra Musical Society: Chicago (May/Jun), Grease (Oct).

Gilbert & Sullivan Opera Sydney: The Ghosts of Ruddigore (Sep/Oct).

Dural Musical Society Inc: ROBIN HOOD & The Babes in the Wood (May), Chicago (Oct).

Sydney Youth Musical Theatre: Rock of Ages (July).

Campbelltown Theatre Group: Rock of Ages (Apr), Shrek The Musical (Sep), Of Mice and Men (Oct/Nov).

Castle Hill Players: Four Flat Whites in Italy (Jan / Feb), Harvey (Apr), The Winslow Boy (Jun), Neighbourhood Watch (Jul/Aug), Communicating Doors (Sep/Oct), Private Lives (Nov/ Dec).

Liverpool Performing Arts Ensemble: Hamlet (Mar).

WOFTAM Productions: We Will Rock You (Feb).

Blackout Theatre Co: The Last Five Years (Apr), Wolf Lullaby (Jul), Singin’ in the Rain (Oct).

The Theatre On Chester (Epping): Mr Bailey’s Minder (Apr), Influence (Jul/ Aug), Alfred Deakin is Afraid of the Dark (Nov).

Pymble Players: The Blonde, The Brunette & the Vengeful Redhead (Feb/ Mar), Benefactors (May), Dial M For Murder (Jul/Aug), Quartet (Oct).

Guild Theatre, Rockdale: A Bad Year for Tomatoes (Feb/Mar), A Midsummer Night’s Dream (May/Jun), I’ll Be Back Before Midnight (Aug/Sep), Silent Night, Lonely Night (Oct/Nov) Hunters Hill Theatre (Now performing at Hunters Hill Town Hall): Jeeves and Wooster in Perfect Nonsense (Mar), Seasons Greetings (June), Death Knell (Aug/Sep), Calendar Girls (Nov).

Genesian Theatre: Travelling North (Feb/Mar).

Arts Theatre Cronulla: The Clean House (May/Jun), Mr Bailey’s Minder (Aug/ Sep), Four Flat Whites in Italy (OctDec).

Sutherland Theatre Company: Quartet (Mar), A Bad Year for Tomatoes (Jul/ Aug), False Pretences (Nov).

Penrith Musical Comedy Company: Seussical (Apr).

Elanora Players: Glorious (Jan), Private Lives (Apr).

Lane Cove Theatre Company: Vicki (Feb), She Stoops to Conquer (May), Seussical Jr (Nov/Dec).

Henry Lawson Theatre (Werrington): Happiness (Mar).

Picton Theatre Group: The Removalists (Apr) The Acting Factory (Penrith): Shakespeare on the River (Apr), Dirty Dusting (May/Jun).

Glenbrook Players: An Inspector Calls (May), Peter and Alice (Nov).

Cumberland Gang Show (Scouts and Guides): Feel the Beat (Jul).

Newcastle and Hunter Region Bearfoot Theatre: Take Me to Neverland (Jan).

GNaW Theatre: Ugly Mugs (Apr).

Hunter Drama: Aladdin Jr (Apr), Shakespeare Festival (Jun), Charlie and the Chocolate Factory (Oct), Chicago: The Musical (Dec), WOW Fest (Dec).

Knock and Run: Year of the Rooster (Jan/Feb), Ajax in Iraq (Sep).

Maitland Musical Society: Honk! Jr (Jan).

Seasons 2018 Maitland Repertory Theatre: Out of Order (Feb), Kiss Me Like You Mean It (Mar), Agatha Christie’s The Hollow (Apr), Junior play (Jul), Reamus Youth Theatre’s All’s Well That Ends Well (Aug), Lost in Yonkers (Sep).

Metropolitan Players: We Will Rock You (Aug/Sep).

Newcastle Theatre Company: I Ought to be in Pictures (Jan/Feb), Agatha Christie’s A Murder is Announced (Mar), Summer of the Seventeenth Doll (Apr/May), Playhouse Creatures (Jun), Peepshow (Jul), Play in a Day (Aug), The Complete Works of William Shakespeare (Abridged) (Aug/Sep), The Third Act (Oct), Harvey (Nov), Quartet (Jan/Feb 2019).

Opera Hunter: The Sound of Music (Jun/Jul).

Rat Pack Productions: Here, Now (Feb).

Stooged Theatre: Dead Centre and Sea Wall (Jan), Neighbourhood Watch (Jun/ Port Macquarie season).

Tantrum Youth Arts: The One (Apr), Sleep, Perchance to Dream (Aug/Sep), Hissyfest 2018: 2300 (Nov).

Theatre on Brunker: Perfect Wedding (Apr), Novocastrian Players musical (Jun), The Best of the Best (Aug/Sep), 9 to 5: The Musical (Nov).

The Very Popular Theatre Company: A Mystery Musical -title revealed on opening night (May), Endgame (Jul/ Newcastle, Cessnock, Port Macquarie, Taree).

Young People’s Theatre: Little Women - The Musical (Feb/ in association with Lindsay Street Players), Disney’s Alice in Wonderland Jr (Apr/May), Hinterland (May/Jun), Pinocchio (Jul/Aug), Elf The Musical Jr (Oct/Nov), Disney’s Sleeping Beauty KIDS (Nov/Dec).

NSW Central Coast Wyong Musical Theatre: Rock of Ages (May/Jun).

Gosford Musical Society: Honk (Jan), The 25th Annual Putnam County Spelling Bee (Feb), We Will Rock You (Mar), The Wiz (Jul), My Fair Lady (Jul/ Aug), Shrek (Nov/Dec).

(Continued on page 38) www.stagewhispers.com.au Stage Whispers 37

Orange Theatre Company: Legally Blonde (May).

Seasons 2018 Tamworth Musical Society: Funny Girl (May).

(Continued from page 37) Tamworth Dramatic Society: Nell Woy Woy Little Theatre: Australia Day Gwynn (Mar), Jesus Christ Superstar (Jan/Feb), Sylvia (Apr/May), Baskerville, (Oct/Nov).

A Sherlock Holmes Mystery (Jul/Aug), Armidale Drama and Musical Society: Seasons Greetings (Oct/Nov).

Favourite Shorts (Mar), Heathers - The Wyong Drama Group: The Odd Couple Musical (July), A Bunch of Amateurs (Female Version) (Mar), The (Oct), Resonance (Nov).

Sentimental Bloke (Jul), Brassed Off Albury Wodonga Theatre Company: (Nov).

Chicago (May).

Carillon Theatrical Society (Bathurst): NSW North Coast Wicked (May) Ballina Players: The Little Mermaid Singleton Theatrical Society: Mary (Jan), A Few Good Men (Apr), HMS Poppins.

Pinafore (Jun/Jul), Wonderettes Dream On (Sep), The Boy From Oz (Nov/Dec).

South Australia Coffs Harbour Musical Comedy Adelaide Repertory Theatre: Company: Seussical (May), Les Frankenstein (Apr), Perfect Wedding Misérables (Nov).

(Jun), Rules for Living (Aug/Sep), And Criterion Theatre Grafton Inc: Cruise Then There Were None (Nov).

Control (May), Festive Spirit (Jul/Aug), Adelaide Youth Theatre: Dreamworks The Wedding Singer (Nov/Dec).

Shrek the Musical (Jan), Madagascar Jr Players Theatre, Port Macquarie: Five A Musical Adventure (April).

Women Wearing the Same Dress (Feb), Blue Sky Theatre: The School for Bye Bye Birdie (Apr), The Birthday Party Scandal (Jan).

(Jun/Jul), Menopause The Musical Davine Interventionz: It’s Only Life (Aug/Sep), Anne Frank and Me (Oct/ (Feb).

Nov).

Galleon Theatre Company: CHATS Productions Inc (Coffs Harbour): Incorruptible (May), How the Other Calendar Girls (Mar/Apr), Toad of Toad Half Loves (Oct).

Hall (Jul), Terry Pratchett’s Lords and Ipskip Productions: Steel Magnolias Ladies (Oct).

(Jan), Charlotte’s Web (Jul).

The Hills Musical Company: Side Show NSW South Coast and Southern (Apr/May), Avenue Q (Nov).

Highlands Independent Theatre: Born Yesterday Nowra Players: Spamalot (Jan), We Will (Apr/May), Judging Oscar reading Rock You (Mar), The 39 Steps, The (Jun), Old Wicked Songs (Jul/Aug), Perfect Murder, The Vicar of Dibley Look Homeward, Angel (Nov).

The Second Coming.

Northern Light Theatre Company: So Popera (Wollongong): The Little Chitty Chitty Bang Bang (Apr).

Mermaid (Jan).

Pelican Productions: Music Theatre Roo Theatre Co (Shellharbour): Camp (Jan), Bring it On the Musical Hercules - The Panto (Jan), The Witches (Sep). of Eastwick (Feb/Mar).

Promise Adelaide. The 60 Four (Feb/ Arcadians Theatre Group (Corrimal, Mar), Two’s Company (Feb/Mar), The Wollongong): Jekyll & Hyde (Mar), Honey-Bees (Feb/Mar), The Diva Series Downtown (Jun), My Fair Lady (Aug), (Feb/Mar), Musical Moments (Feb/Mar), Catch Me If You Can (Nov).

Private Peaceful return season (Apr).

Highlands Theatre Group, Mittagong: Red Phoenix Theatre: Caligula (May), Belfast Girls.

The Man from Earth (Aug), The Flint Street Nativity (Nov).

Regional NSW St Jude’s Players: Taking Steps (Apr), Parkes Musical & Dramatic Society: The Memory of Water (Aug), Man of Motherhood The Musical (May).

La Mancha (Nov).

Tea Tree Players: My Friend Miss Flint (Feb), Communicating Doors (Mar), Continental Quilt (May), Patsy (Jul), Out of Sight, Out of Murder (Aug/Sep), Tom, Dick and Harry (Oct), Puss in Boots - Pantomime (Nov).

The Metropolitan Musical Theatre Company: High Society (May), Can Can (Oct).

Therry Dramatic Society: Glorious!

(Feb), Holiday Inn (Jun), The One Day of the Year (Aug), Six Dance Lessons in Six Weeks (Nov).

The Stirling Players: Rosencrantz & Guildenstern are Dead (Feb/Mar), Our Man in Havana (Sep/Oct).

Under the Microscope: Louise & Sally on Tin Pan Alley (Feb), Scarred For Life (Feb/Mar), Mental As Everything (Mar).

University of Adelaide Theatre Guild: The Way of the World playreading (Mar), Myth, Propaganda & Disaster in Nazi Germany and Contemporary America (May), The Goat or Who is Sylvia? (Aug), Picnic at Hanging Rock (Oct), As You Like It (Nov).

South Australian Light Opera Society: Waltzes From Vienna (Apr).

Marie Clark Musical Theatre: Spamalot (May/Jun) Hills Youth Theatre: Snow White and the Many Dwarfs (Jan).

Venture Theatre Co: A Fete Worse Than Death (Mar/Apr).

South Coast Choral and Arts Society: Les Misérables (May).

Gilbert & Sullivan Society of SA: A Little Night Music (Apr/May).

A.C.T. Free-Rain Theatre Company: 42nd Street (April).

Queanbeyan Players: The Wedding Singer (June), Godspell (Oct).

Canberra Rep: Oh, What a Lovely War! (Feb/Mar), Dr Frankenstein (Apr), Arms and the Man (May/Jun), Radio on Repertory Lane (Jun), Happy Birthday, Wanda June (Jul/Aug), One Man, Two Guvnors (Nov/Dec), A Doll’s House (Feb/Mar, 2019).

SUPA Productions: Fame The Musical (May).

Child Players: Snow White (Jan).

(Continued on page 40)

38 Stage Whispers January - February 2018

www.stagewhispers.com.au Stage Whispers 39

Villanova Players: Steel Magnolias (Feb/ Mar), Brisbane (May), The Madwoman Canberra Philharmonic Society (Philo): of Chaillot (Aug), High Society (Nov).

Jesus Christ Superstar (Mar), Barnum Mousetrap Theatre Company: Little (Aug/Sep).

Red Riding Hood - The Pantomime (Jan), Don’t Dress For Dinner (Feb/Mar), One Flew Over The Cuckoo’s Nest (Apr/ Queensland May), One Act Plays (May), Shall We Savoyards: Les Misérables (Jun/ Jul), Dance - Jazz & Swing (Jun), Barnum Chicago (Sep/Oct).

(Jul/Aug), Out of Sight Out of Mind PRIMA: Carrie (Mar/Apr), 2000s (Sep/Oct), Seussical Jr (Nov).

Theatre Restaurant (July), Shrek - The Nash Theatre: Sorry Wrong Number/ Musical (Oct).

Sunset Boulevard (Feb/Mar), As You Queensland Musical Theatre: South Pacific (Jun), Legally Blonde (Oct/Nov). Like It (May/Jun), The Unexpected Guest by Agatha Christie (Jul/Aug), Sunnybank Theatre Group: The Wedding Singer (Feb), God of Carnage Ruthless! The Musical Comedy (Sep/ (Apr), The Foreigner (Jun), Kindly Leave Oct), Managing Carmen by David Williamson (Nov/Dec). the Stage (Sep), Ladies Day (Nov).

Phoenix Ensemble: Xanadu (Feb), Big Brisbane Arts Theatre: Main Stage Clockwork Orange (Jan/Feb), Shrek The Fish (Apr/May), Silver Anniversary Musical (Feb/ Mar), The Crucible (Apr/ Spectacular (Jul/Aug), Rock of Ages (Oct), Elf Jnr (Nov/Dec).

May), We Will Rock You (May/Aug), Tweed Theatre Company: Come Back Emma (Aug/Sep), Men at Arms (Oct to the Five and Dime, Jimmy Dean, Nov), Avenue Q (Nov - Dec). Parody Jimmy Dean (Mar), Fred (Jun/Jul), Season - That 80’s Movie Time Travel Spamalot (Sep).

(Feb/Mar), X Files (Apr/Jun), The Real Beenleigh Theatre Group: Lord of the Housewives of Brisbane (Jun - Aug), Flies (Jan/Feb), Curtains (Mar), Summer You’ve Got Hate Mail (Oct - Dec). of the 17th Doll (Apr), A Little Princess Children’s Theatre - The Twelve (Jun/Jul), Oklahoma! (Nov/Dec).

Dancing Princesses (Jan - Mar), The Gold Coast Little Theatre: Barmaids Witches (Mar - May), Mulan Jr (May Jul), Little Red Riding Hood (Jul), Alice (Feb/Mar), Man of La Mancha (Apr/ In Wonderland (Sep - Nov), The Cat in May), Godspell (Jun/Jul), The House of Blue Leaves (Sep), Hello, Dolly! (Nov/ the Hat (Nov - Jan 2019).

Centenary Theatre Group: True Minds Dec), Cinderella (Dec).

(Mar), The Shifting Heart (Jun), War of Tugun Theatre Company: Old Actors Never Die They Simply Lose the Plot the Worlds: the panic broadcast (Jul/ (Feb).

Aug), Outside Mullingar (Sep/Oct), Agatha Christie’s Towards Zero (Nov/ Ipswich Little Theatre: Wait Until Dark Dec).

(Mar), Dirty Dusting (May), The Lion In (Continued from page 38)

40 Stage Whispers January - February 2018

Winter (Jul), Sleuth (Sep/Oct), A Piece of Cake (Nov/Dec).

Javeenbah Theatre, Nerang: When the Rain Stops Falling (Jan), The 25th Annual Putnam County Spelling Bee (Mar), The Dog Logs (May), Pack of Lies (Jul), Six Dance Lesson in Six Weeks (Sep), A Kick in the Baubles (Nov).

Spotlight Theatrical Company, Benowa: Snow White (Jan), Oliver! (Feb/Mar), Baskerville (Apr/May), Heathers (May/ Jun), Jack and the Beanstalk (Jul), Strictly Ballroom (Jul/Aug), The Marvellous Wonderettes (Sep/Oct), We Will Rock You (Oct/17 Nov).

Burdekin Singers and Theatre Company: Chicago (Feb) Cairns Little Theatre / Rondo Theatre: Boeing Boeing (Feb - Mar), Secret Bridesmaids Business (Apr - May), Move Over, Mrs Markham (Jul), The Next Room or the Vibrator Play (Sep), Santa, the Adventure Begins (Dec).

Coolum Theatre Players: Chain Reaction (Mar), The Best Little Whorehouse in Texas (Jul).

Noosa Arts Theatre: Pirates of the Panto (Jan), Funny Girl (Apr/May) Mackay Musical Comedy Players: Aladdin - A Pantomime (Feb), Rock of Ages (May).

Empire Theatre Toowoomba: Essgee Pirates of Penzance (Mar) Toowoomba Repertory Theatre: The Ladies Foursome (Feb/Mar).

Shoebox Theatre, Toowoomba: First Date (Feb).

Toowoomba Choral Society: Fiddler on the Roof (Jun), Hello, Dolly! (Sep)

Toowoomba Philharmonic Society: Shrek The Musical (Oct).

North Queensland Opera & Music Theatre (Townsville): Nunsense (Mar).

Tasmania Gilbert and Sullivan Society of Tasmania: Trial by Jukebox (Jan).

Hobart Repertory Theatre Society: The Lion, The Witch and The Wardrobe (Apr), Agatha Christie’s Appointment Western Australia with Death (May/Jun), Avenue Q (Jul), Roleystone Theatre: Robin Hood: The Calendar Girls (Oct/Nov).

Truth Behind the Green Tights (Mar), Launceston Musical Society: The 25th Annie (May), Garrick Theatre: The Way of the World Annual Putnam County Spelling Bee (Mar/Apr), 100 Lunches by Leo W Sears (Jun).

Devonport Choral Society Inc: Young (May/Jun), Beyond A Joke (Jul/Aug), Frankenstein (May).

Natural Causes (Sep/Oct), Red Riding Hood (Nov/Dec).

Burnie Musical Society: The Boy From Oz. KADS: Kalamunda Here I Come (Feb/ Mar), The Return (Apr/May), Six Dance Launceston Players: Stepping Out Lessons in Six Weeks (Jul/Aug), One (May).

Act Season (Aug/Sep).

Encore Theatre Company: Les Stirling Players: Charlotte’s Web - The Misérables (Mar).

Musical (Feb), Allo, Allo (Apr/May), It’s A Wonderful Life (Jul), Theatre Allsorts New Zealand (Sep), Little Miss Sunshine (Nov).

North Shore Music Theatre: Heathers Darlington Theatre Players: Marble The Musical (Apr), AIDA (Nov).

(Feb/Mar), The Anniversary (Apr/May), Abbey Musical Theatre: Wicked (Aug) The Lion in Winter (Jun/Jul), One Act Showbiz Christchurch: Wicked (Apr), Season (Aug/Sep), Hills Festival of Broadway Hitmen (Jul), Les Misérables Theatre (Sep), Pack Up Your Troubles (Sep).

(Nov/Dec).

Manukau Performing Arts: Fiddler on Limelight Theatre: A Princess Dream the Roof (Apr/May).

(Jan), Death of a Salesman (Mar), The Rotorua Musical Theatre: Mary Poppins Ladykillers (May), A Fairytale of Sorts (Mar).

(Jul), Shrek (Aug, Romeo and Juliet Centrestage Theatre Company, Orewa: (Sep/Oct), Songs For the Shows (Nov/ Jesus Christ Superstar (Mar), The Dec).

Wizard of Oz (Nov).

Primadonna Productions: Once Upon a New Plymouth Operatic Society: Les Mattress (Jan).

Misérables (Jul), Priscilla Queen of the Harbour Theatre: Don’t Dress For Desert (Jul 2019).

Dinner (Feb/Mar).

Variety Theatre Ashburton: Mamma APAN: Shrek Jnr (Aug/Sep).

Mia! (May).

Melville Theatre Company: Venus in Fur East Otago Musical Theatre: (Feb/Mar), Mr Bailey’s Minder (Apr/ Celebration (May).

May), Urinetown (Jul), Cash on Delivery North Canterbury Musical Society: (Sep), Wonderful World (Nov/Dec).

Jekyll & Hyde (May).

Koorliny Arts Centre: Rock of Ages Musical Theatre Dunedin: Priscilla (Mar), Murder on the Nile (May), End Queen of the Desert (May). of the Rainbow (Nov).

Tauranga Musical Theatre Inc: The Phoenix Theatre/Dark Psychic Wizard of Oz (Jan), Catch Me If You Productions: Disney’s Mulan Jnr (Mar), Can (April), Heathers The Musical Be More Chill (May), The Gamen (Aug). (Aug).

Black Box Creations: Bring It On (Feb). West Otago Theatrical Society: Les Midnite Youth Theatre: The Lab Rat Misérables (Jun).

(Feb), Masquerade (May), The Big Fish Cambridge Repertory: 12 Angry Men (Aug), Ali Baba and the Bongo Bandits (Mar).

(Sep), Peter Pan (Oct/Nov), Into the Musikmakers, Hamilton: Disney’s Woods (Nov/Dec).

Aladdin Jr (Jan), High School Musical Bunbury Repertory Club: When Dad (May).

Married Fury (Apr).

Napier Operatic: Oliver! (Apr).

Seasons 2018 Musical Theatre Oamaru: Mamma Mia! (Jul) Blenheim Musical Theatre: Mary Poppins (Apr/May) Butterfly Creek Theatre Troupe: Bard in the Yard (Feb/Mar).

Detour Theatre, Tauranga: The Jailhouse Frocks (Mar).

Waipawa Musical & Dramatic Club: The Phantom of the Opera (Jun).

Wellington G & S Light Opera: Die Fledermaus.

Dolphin Theatre: Hot Water (Mar), Death of a Dream (Apr/May), An Inspector Calls (Jun/Jul), Baskerville (Aug), Goodnight Mr Tom (Sep/Oct), Nell Gwynn (Nov/Dec).

Ellerslie Theatrical Society: The Witches (Mar), The House of Angels (Jun), Beautiful Thing (Aug/Sep).

Elmwood Players: Goldisnowerellahood (Jan), Always A Bridesmaid (Apr), Abigail’s Party (Jun), A Season of One Act Plays (Aug), Leaves of Glass (Oct).

Hawera Repertory Society: Romeo and Juliet (Apr) Howick Little Theatre: Cruise Control (Feb/Mar), The House by the Lake (May), Good People (Jul), Matthew, Mark, Luke and Joanne (Sep), I’ll Leave it to You (Nov).

Papakura Theatre Company: Kiss Me, Kate (May) Stagecraft Theatre (Wellington): The Importance of Being Ernest (Feb/Mar), Brontë (May/Jun), King Lear (Jun/Jul), Yes, Prime Minister (Aug/Sep), Wolf Hall and Bring Up the Bodies (Nov).

Company Theatre (Auckland): Popcorn (May), The Importance of Being Earnest (Aug).

Mairangi Players: Perfect Wedding (Mar).

Titirangi Theatre: The Savage Dilemma (Apr/May), Shoreside Theatre (Auckland): Romeo and Juliet & The Comedy of Errors (Jan/ Feb).

Coasters Musical Theatre: One Night Only - Youth (Mar), Tops of the Pops Cabaret (May/Jun), Xanadu (Aug/Sep), Menopause The Musical (Nov/Dec).

www.stagewhispers.com.au Stage Whispers 41

Thoroughly Modern Millie.

Photo: Gavin D Andrew.

Music Theatre Guild Of Victoria Awards Year, while CLOC Musical Theatre’s awards were spread Melbourne companies dominated the 2017 Music Theatre Guild of Victoria awards, which took place at across their productions of Les Misérables and A Chorus Line. the Ulumburra Theatre Bendigo in December.

Joint winners of the award for Junior Production of the Year were Mary MacKillop College, South Gippsland Big winners on the evening were Babirra Music Theatre for Blood Brothers and St Helena Secondary College and CLOC Musical Theatre, taking home a total of seven for Rent. awards each.

See a full list of winners on our website at Babirra took out seven awards for their production http://bit.ly/2iRognW of Thoroughly Modern Millie, including Production of the

Gold Coast Awards Royal intrigue, the French Revolution and a Disney classic were the subjects that propelled companies and a school to take out the top prizes in the 2017 Gold Coast Area Theatre Awards.

nominated production across all categories, amongst its impressive tally of ten awards.

GCLT took home five awards for Crown Matrimonial, while Ipswich Musical Theatre received four.

The Platinum Palm Award recognised Javeenbah Theatre’s theatre makers for their commitment to the The Outstanding Community Theatre Production making and staging of new and original works of theatre, award was shared between the Gold Coast Little Theatre’s and encouragement of local writers. production of Crown Matrimonial (based on Edward and The Emcee for the event was entertainer Rob Mills, Mrs Simpson) and Ipswich Musical Theatre Company’s sharing in the glamour amongst the well-dressed crowd in production of Les Misérables.

December at the Arts Centre Gold Coast.

Best Production of a School / Youth Musical went For a full list of winners, check our website at to Helensvale State High School for Beauty and the Beast. http://bit.ly/2iR6MrT It also took out the coveted Gold Palm Award for the most 42 Stage Whispers January - February 2018

2017 CONDAs

The ever-increasing strength of theatre in Newcastle and the Lower Hunter was evident at the City of Newcastle Drama Awards (CONDAs) 2017 presentation night on December 2, with 15 productions staged by 13 companies and schools winning trophies in 22 categories.

The biggest winner was the Newcastle St Philip’s Christian College staging of the musical Mary Poppins, which collected five awards, among them Best Musical Production, Director (Musical) - Robert Stuart, and Best Ensemble Acting. The show, staged in the big Civic Theatre, was praised by the judges as “boundlessly colourful and exceptionally realised”, with “spirited performances” and “impressive production details”.

Six other musicals won awards: Metropolitan Players’ Les Misérables, Opera Hunter’s Don Giovanni, Pantseat Performing Arts’ Rent, Hunter Drama’s Seussical KIDS, Young People’s Theatre’s Cats Abridged, and Hunter School of the Performing Arts’ Catch Me If You Can. The other winners included three Newcastle Theatre Company productions, Picnic (Best Drama or Comedy), Festive Spirit (Best Play or Musical Written for a Newcastle Company) and Inherit the Wind, Maitland Repertory Theatre’s The Diary of Anne Frank, Knock and Run Theatre’s Grace, Lindsay Street Players’ The Crucible, Micro Theatre Pty Ltd’s Micro Theatre Festival 2017, and Tantrum Youth Arts’ Home.

Greg Paterson, a musical director whose work on Les Misérables won him the Musical Director or Vocal Director award, was also the recipient of this year’s CONDA for Outstanding Contribution and Achievement in Newcastle Theatre, with the judges noting that he had been a supportive mentor and teacher to thousands of emerging artists through his role from 1998 to 2007 as musical director of the annual public schools event Star Struck and that he had worked with virtually all Newcastle musical companies in a voluntary basis over several decades. Paterson announced after the final performance of Les Miserables that he was retiring from theatre.

Go to http://bit.ly/2kXFl3C for the full list of winners.

L-R: Greg Paterson, winner of the Outstanding Achievement Award, with presenter Marty Adnum, CEO of Out of the Square Media, the principal sponsor of the CONDA Awards.

Studying Drama In London Sarah Stallwood-Hall moved from the Gold Coast to study and audition in London. She’s currently in third year at The Royal Central School of Speech and Drama completing a BA (Hons) Drama, Applied Theatre and Education course.

How have you found the transition to London?

I moved over to London to audition for drama schools. I fell in love with London when I first visited with my family years ago, and ever since then knew it was somewhere I wanted to live. After school, the idea of moving across the world was such an exciting risk. The opportunities within theatre and university seemed much more abundant in London and I have found the transition mainly smooth running.

What attracted you to the BA (Hons) Drama, Applied Theatre and Education?

When I was applying, I wasn’t entirely sure what I wanted to do within theatre, and so what drew me to Central’s applied theatre course was its range of opportunities. The degree also allowed me to critically analyse theatre and its themes, which is something I enjoyed at school in Australia. Additionally, the audition process was such an enjoyable experience, meeting such a diverse mix of people, and participating in workshops.

Any highlights / favourite modules of the course so far?

I feel so lucky to be someone who can say that they genuinely love their degree. The entire degree has been filled with such interesting and challenging work, and in particular, I loved the playwriting unit I took at the start of second year. It was a chance to discover and develop a skill that I really enjoy, and continue to use. Not to mention that our unit tutor, an associate from the Royal Court, was fantastic with such amazing insights into the world of playwriting and theatre.

Do you feel as though the course is prepping you for the industry once you graduate?

This course has been a fantastic preparation for life after graduation. It teaches you a range of different professional skills, giving you a wider scope to work with once you graduate and the connections you make are second to none. I am currently on a placement at the Almeida Theatre and through this I have had the chance to work with seasoned directors, producers at the top of their field and many other movers and shakers. I feel confident that I have the necessary skills and contacts to not only find work after graduation, but go into an entry level job that I love and will set me up for my future career.

For details of Sydney interviews and auditions on January 13, see the ad on page 7. www.stagewhispers.com.au Stage Whispers 43

Retired Arts Teacher Carol Wimmer enjoyed the awe-inspiring extravaganza of music and movement, light and colour, of the 2017 Schools Spectacular, showcasing the talent and diversity of the teachers and students from NSW Public Schools.

From Armidale to Westmead, Bellevue Hills to Yass, Lake Cargellico to Mosman, and Wagga Wagga to Winmalee, over 5000 students and their teachers from over 300 schools converged on Sydney’s Olympic Park in November to be part of the 34th Schools Spectacular. Some travelled over seven hours to take part in the four days of rehearsal and performance.

Backed by 2,700 voices in the combined choir, 100 musicians in the orchestra and stage band, a backstage crew of 59 VET Entertainment Industry students and over three thousand dancers, 44 talented featured artists asked the thousands of people in the audiences to “Own the Moment” - just as they had in their commitment to this 2017 spectacular event.

Who would have predicted that a “Schools Concert” organised in 1983 to test the acoustics of the newly built Entertainment Centre would lead to 44 Stage Whispers January - February 2018

the iconic cultural event that the Schools Spectacular has become - or, without doubt, the biggest and best advertisement for the public education system.

The Schools Spectacular provided the beginning for many Australian ‘stars’ - Human Nature, Felicity Urquhart, Darren Duggan, Nathan Foley and musical maestro John Foreman, who returns each year to host the event.

What about this year’s crop?

There’s a place waiting on the concert stage or in the recording studio for those who sing as beautifully as Elyse Sene-Lefao or as sensitively as Gus Noakes and Tana Laga’aia. There’s definitely a place waiting in musical theatre for someone who can sing, dance and act as well as Cooper Dallimore. Many of the dancers will go on to greater things in dance companies here or overseas.

Whatever their futures, they will remember the thrill and excitement of the ‘Schools Spec’. They’ll remember the buzz and fun of rehearsals, the crushed ‘togetherness’ of the dressing rooms, the enormity of the big stage, the wonder of the lighting effects, and the ‘high’ of rushing on to be part of the enormous, glitzy finale. That’s what, as an ex-Arts teacher, whose students loved being part of this special ‘gig’, I also remember.

The Schools Spec is an amazing opportunity for teachers and students to move out of their schools into a bigger and brighter arena. For some, their school has no real performance space, no band, no specialist music teacher, no choir, no dance or drama ensemble. Schools Spec encourages them to ‘have a go’ - and gives them the support and scaffold to do so.

There are many examples of this.

For remote and regional schools the magic of technology allows them to meet choreographers ‘on screen’ and learn routines much more easily. For some of those students it was the first time they travelled to Sydney, let alone became part of such a huge ‘family’ of creative young people.

The 2017 Aboriginal Dance Company brought together talented indigenous performers from twentynine different schools across the state in a celebration of dance, song and language. The very special D’Arts Ensemble gave thirty-eight kids with disabilities the chance to shine. This year they performed, supported by brother and sister duo Ezra and Olina Loau singing the evocative words of “If the World Only Knew”.

For two days each year thousands of kids from public schools across the state get the chance to showcase their talent and skills, whether it be singing, dancing, swinging from a trapeze, bringing to life one of John Deakin’s famous life-sized puppets, playing in the orchestra or performing with military precision as a member of the Millennium Marching Band.

For those same two days each year, hundreds of enthusiastic and talented teachers from across the state watch proudly from the wings while their gifted, hard working students excel and have fun.

And at the performances over those two days - having filled in multiple permission notes, paid for t-shirts and costumes, got their children to and from buses and trains at ungodly hours, shouldered the expense of transport, tickets, and sometimes accommodation as well - thousands upon thousands of parents have watched with pride and amazement the great ‘Spectacle’ of organisation and talent that Schools Spec really is!

Online extras!

Watch highlights of the 2017 Schools Spectacular. Scan the QR code or visit https://youtu.be/le8MQ9Wz0-U

All photos: Anna Warr.

JOIN THE CONVERSATION! Follow us on Twitter: www.twitter.com/stage_whispers Like us on Facebook: www.facebook.com/stagewhispers www.stagewhispers.com.au Stage Whispers 45

Music and New Musicals News APRA AMCOS www.apraamcos.com.au The Australasian Performing Rights Association has announced new rules for using music in school and theatre productions.

From 2018, the definition of a dramatic context performance has been widened to simply comprise the performance of musical works in conjunction with a live stage production that has a storyline, one or more narrators or characters or as a ballet.

Previously dramatic context fees were only charged if there was music on stage and theatrical effects such as costumes and dialogue.

APRA says the changes are good news for schools and community theatres with modest budgets as under the changes they will be able to quickly licence works without having to refer back to the copyright owners of the music.

For producers of tribute shows who did not previously need dramatic context permission the news is not so good as they face more hurdles in getting permission.

However, APRA says these producers now have more latitude to change production elements during their rehearsal periods without having to refer back to copyright owners.

For more information visit the website and search for ‘dramatic context’.

46 Stage Whispers January - February 2018

Music Theatre International www.mtishows.com.au

Doctor Zhivago Available for licensing for musical societies.

First staged in Australia, based on the Nobel Prize-winning novel by Boris Pasternak, Doctor Zhivago is a heartbreaking epic romance, following the search for love during the Russian Revolution. Written by Academy Award nominee Michael Weller, Doctor Zhivago features music by two-time Grammy Award winner and Tony Award nominee Lucy Simon, and lyrics by Tony Award nominee Michael Korie and Emmy Award nominee Amy Powers.

For more information visit: http://bit.ly/2ktzini Madagascar: A Musical Adventure Jr Now available for licensing.

Based on the smash DreamWorks animated motion picture, Madagascar: A Musical Adventure JR follows all of your favourite crack-alackin’ friends as they escape from their home in New York’s Central Park Zoo and find themselves on an

unexpected journey to the madcap world of King Julien’s Madagascar.

For more information visit: http://bit.ly/2jntoRq

Practically Perfect! Mary Poppins Jr Now available for school licensing (restrictions may apply).

Your favourite practically perfect nanny takes centre stage in this Supercalifragilisticexpialidocious adventure based on the awardwinning Broadway musical and classic Walt Disney film.

For more information visit: http://bit.ly/2ktEEyY ORiGiN Theatrical New Releases www.origintheatrical.com.au ATOMIC The New Rock Musical ORiGiN Theatrical has announced representation of ATOMIC The New

Rock Musical. Book and lyrics by Danny Ginges; music and lyrics by Philip Foxman; created by Danny Ginges.

Synopsis: Most people know about the atom bombs that ended WWII. However, the story of the scientists that created those bombs is a gripping tale of hope and fear that still remains largely untold. Staged in Sydney, New York and regional US. “Compulsively watchable... blows the roof off the theatre” Theatremania (New York 2014)

the story of 18 year old Alex, a welder by day and ‘flashdancer’ by night, who dreams of going to the prestigious Shipley Dance Academy and becoming a professional dancer.

When a romance complicates her ambitions, she harnesses it to drive her dream.

Based on the Paramount Pictures film.

Email “Flashdance” for a free perusal download enquiries@originmusic.com.au

Choosing A Show

David Spicer Productions www.davidspicer.com

Flashdance The Musical Music and lyrics by Robbie Roth; book by Tom Hedley; book and lyrics

by Robert Cary.

Dance like you’ve never danced before! Flashdance the Musical tells

Adam Lyon (King Kong) has written a hauntingly beautiful score that NED The Musical captures the sounds of the bush and Music and lyrics by Adam Lyon; Irish ballads, while the libretto has all book by Marc Mcintyre; book by Anna the raucous humour, warmth and Lyon. tragedy audiences expect from this NED explores the extraordinary iconic story. NED is a truly Australian highs and devastating lows of Ned theatrical experience.

Kelly’s journey from local hero to felon “Quite simply the best entirely to legend. Audiences will see Australian musical ever.” Stage themselves in the struggle of a poor Whispers family trying to make it through in a See video, listen to music and read system that was stacked against them. the script at www.davidspicer.com.au/shows/ned

www.stagewhispers.com.au Stage Whispers 47

Stage On Disc

By Peter Pinne

Galavant - The Complete Collection (Alan Menken/ Glenn Slater) (Hollywood Studios). The two seasons of the medieval musicalcomedy TV series Galavant proved the idea is just waiting to be put on stage.

Alan Menken (music) and Glenn Slater (lyrics) re-

Online extras!

Julie’s Greenroom (Ryan Shore) (Varese Sarabande).

Good lyrics are also a feature of the soundtrack from Julie’s Greenroom, a Netflix series that stars Julie Andrews and Guillian Yao Gioiello, and the Greenies, a group of puppets built by the Jim Hensen

Online extras!

Listen to Julie Andrews and the Greenies.

Scan the QR code or visit http://apple.co/2iRztow

Company. The pre-school series was created by Andrews, her daughter Emma Walton Hamilton and Judy Rothman Rofe. Ryan Shore’s songs have a Sesame Street style and sound and all relate to the theatre. Andrews speak-sings with guest artists Alec Baldwin (“When You Act”), David teamed after their Tangled success and came up with the Hyde Pierce (“Take a Leap”) but her turn with her former TV most satirical, most inventive and campest musical the small partner from the sixties Carol Burnett is probably the best (“Anything Can Happen in the Theatre”). There are a lot of -box has delivered in years. Full of songs that brilliantly short instrumental tracks plus a “Mash-Up: The Musical”. parody classic musicals, the score is a tongue-in-cheek joy.

The series’ first season spawned a 14 track soundtrack. This It’s pleasant listening and brings an occasional smile.  complete 2 disc set features extra material from the first series plus the entire song-stack and incidental music from Freaky Friday (Tom Kitt/Brian Yorkey) (Disney). Heidi the second. The standout tune in the first series is still Blickenstaff (Something “Comedy Gold” with “Hey, Hey, We’re the Monks”, featuring ‘Weird Al’ Yankovic, running a close second, but Rotten) and Emma Hunton the second series throws up some absolute gems. Kylie (Next to Normal) reprise Minogue’s “Off with the Shirt” is a spot-on send-up of her their Signature Theatre, dance-tracks, Sheridan Smith scores with the QueenArlington, performances of sounding “A Different Kind of Princess”, whilst Reece mother and daughter Shearsmith’s “Time is of the Essence” is a hearty nod to Katherine and Ellie Blake on Gilbert and Sullivan patter songs. Best of all, however, is this studio cast recording of “Dwarves Vs Giants”, a clever take-off of West Side Story’s the musical version of Mary “Cool”. Luke Youngblood leads the company in a staunch “Today We Rise”, which mirrors “One More Day” from Les Online extras!

Miz, Eddie Marsden’s infectious “Goodbye” is a close cousin Pick up the soundtrack of Freaky Friday: to “One” from A Chorus Line, while “Finally” is a Grease A New Musical. Scan the QR code or visit send-up that parodies “Summer Nights”. The cook (Darren http://apple.co/2iQoDPD Evans) and maid (Sophie McShera) are priceless on “As Good As It Gets”, Timothy Omundson’s King Richard is delicously droll on “If I Were a Jolly Blacksmith”, screen Rodgers’ popular 1972 novel Freaky Friday. The updated-toheavy Vinnie Jones (Gareth) eats up the song and dance today story, about an overworked mother and her teenage “Let’s Agree To Disagree” with Mallory Jansen (Magdalena), daughter who magically swap places for a day, has been whilst the leads Joshua Sasse (Galavant) and Karen David furnished with a tuneful pop-rock score by Next to Normal (Princess Isabella) get the funny lovers’ duet “World’s Best writers Tom Kitt and Brian Yorkey. Naturally Blickenstaff and Kiss”. Slater’s lyrics are insanely clever (just listen to “A New Hunton have the bulk of the songs. “Just One Day” is a Season”, the opening of the second series), and Menken’s good opener (if a little close in melody to Wicked’s “One tunes are witty rips-offs of the originals. Both series have Short Day”), “Bring my Baby (Brother) Home” pushes the also been released on DVD. Highly recommended  country button, while “I Got This” is an all-stops-out Latin production number. Jason Gotay as Adam and Jake Heston Miller as Fletcher have great fun with the doo-wop “Women Rating and Sandwiches”, which compares chicks to food (‘some  Only for the enthusiast  Borderline  Worth buying  Must have  Kill for it are cold, some are hot’), “Busted” (‘busted, busted, I’m a Get yourself a copy of Galavant on iTunes. Simply scan the QR code or visit http://apple.co/2iQf5nu

48 Stage Whispers January - February 2018

little bit disgusted’) is a mother and daughter song in which they discover secret things about each other like a tattoo on the butt or smoking pot, and Blikenstaff gets a nice tender solo moment with “Parents Lie” (‘sad but true, mine lied to me, I lied to you’) which hits the mark. Disney has developed the show for regional and community theatres and this album is sure to whet the appetite of potential producers. 

nicely builds to a full-on chorus. Later, in a gesture to modern gender politics, he has a cross-dressing song where he proclaims ‘I’m taking pride in my feminine side’ in “To Be a Woman”. Mather also scores with the melancholic “A Place to Come Back To” but “We’re Taking Over the Hall”, sung by Neil McDermott leading the Wild Wooders, just sounds like dated 70s rock. 

On Your Feet! The Story of Emilio and Gloria Estefan LIVE (Emilio & Gloria Estefan/Miami Sound Machine) (Crescent Moon Records). Everything the world loves about Latin music is on display in this jukebox musical that traverses the lives of Latin superstars Emilio and Gloria Estefan. To say it throbs with rhythm is an understatement. It’s an immigrant experience story with parents who came to Miami following the Cuban Revolution, followed by Latin recording success and eventual cross-over success, to selling in excess of 100 million units. Few recording artists can claim to have achieved a truly global level of fame but the Estefans did.

Their story is seeded, courtesy of book writer Alexander Dinelaris (The Bodyguard), in between slabs of brass and percussion hits - everything from “Conga” and “Rhythm Is Online extras!

Gonna Get You” to “Don’t Want to Lose You”.

Pick up your copy of The Wind In The Ana Villafane channels Willows on iTunes. Scan or visit Gloria and almost makes http://apple.co/2iQGHcu you believe you’re listening to the real thing, although adaptation by Julian Fellows (Downton Abbey), and George her voice doesn’t have Stiles and Anthony Drewe (additional songs for Mary Estefan’s rich lower register Poppins/Half a Sixpence) would be a winner. What they’ve (who does), whilst Josh come up with is perfectly proficient, but unfortunately Segarra’s vocals as Emilio tediously twee. Yes, it has whimsy, eccentricity and it’s well- are mostly fine but become made, there’s just nothing in it to make you want to play it a bit rough at the edges again, let alone often. The score, which is heavily influenced towards the end of the

by Britain’s musical heritage, nods to Gilbert and Sullivan, Flanders and Swan, chorale, folk and Brit pop. Craig Mather Online extras! as Mole opens the show with a company ode to “Spring,” Get up On Your Feet! with this dancehe, Simon Lipkin (Rat) and the cast follow with the jaunty along album. Scan or visit “Messing About in a Boat”, while Rufus Hound as Toad has http://apple.co/2iPm00v the one true hummable number in “The Open Road”, which The Wind in the Willows (George Stiles/Anthny Drewe) (Masterworks Broadway). Kenneth Grahame’s quintessential 1908 English tale of the bucolic river-life of Ratty, Badger, Mole and Toad has been loved by generations, so it’s not unreasonable to expect a family musical

show. Their best moment comes with the lovely duet “Here We Are”, whilst the newly penned “I Never Got To Tell You” brings some nice emotion late in the second act. Recorded live, with an on-stage band that includes some unlisted members of the original Miami Sound Machine, the sound has marvellous presence and, with the mix of salsa and other Latin beats, continually evokes a feeling of fiesta.

On Your Feet! ends with a mega-mix of hits which include “Turn the Beat Around” and “Everlasting Love”, but it’s so infectious I expect you’ll be up and dancing long before it finishes.  www.stagewhispers.com.au Stage Whispers 49

Stage on Page

By Peter Pinne

THE SLEEPING BEAUTY - David McAllister & Gabriela Tylesova (Little Hare $29.99) The Australian Ballet’s much-loved and appreciated version of Tchaikovsky’s The Sleeping Beauty has been transferred to a picture book with a text by the Australian Ballet’s artistic director David McAllister and illustrations by Gabriela Tylesova, who created the ballet’s design. The result is an exquisite and handsome gold-foil covered picture book of handdrawings of the ballet’s story, with a clear and concise text. All of the favourite characters are there from the Sleeping Princess and the Prince, to the Lilac Fairy and the evil Carabosse, stunningly drawn in beautiful pastel coloured line illustrations. It also includes photos from the stage production and is an ideal gift for balletomanes, the young, and the young at heart.

successful productions, Evita and The Phantom of the Opera.

Prince began his career as a producer, working out of his mentor George Abbott’s office. It was a sidebar to what he really wanted to do, which was direct. His first three SENSE OF OCCASION - Harold successes (with producing partners Prince (Applause $29.99) Frederick Brisson and Robert E. The one thing that can be Griffiths) were the Richard Adler and guaranteed about a Harold Prince Jerry Ross hits The Pajama Game and production is its attention to detail; Damn Yankees, and Bob Merrill’s New the design, costumes, choreography, Girl in Town, all directed by Abbott. orchestrations, sound and lighting are He notes the capital investment of the always immaculate, therefore it’s hard first two was just over $160,000 to understand why Sense of Occasion dollars, a figure he wryly says these lacks so much of it. Acclaimed and days would barely pay for shoes and honoured for his artistically wigs on a Broadway production. challenging productions of West Side Next came the ground-breaking Story, Fiddler on the Roof, Cabaret, West Side Story, a show that received Company, Follies, Sweeney Todd, Evita favourable but lukewarm reviews and and The Phantom of the Opera, this only won one major award, a Tony for memoir looks back on Prince’s sixJerome Robbins’ choreography, but as decade career in the American Theatre of 2015 has returned 1521 per-cent but there’s not enough detail, on its original investment. Fiorello, especially of the later shows. Also, the Tenderloin, A Funny Thing Happened book is a bit of a cheat as it reprints on the Way to the Forum and She the entire 200-page text of his 1974 Loves Me followed before he hit the book Contradictions: Notes on Twenty jackpot big again with another -Six Years in the Theatre (long out of Robbins choreographed vehicle, Fiddler print), admittedly with up-to-date on the Roof, which played a record footnotes in which he corrects (for the time) 3,242 performances. mistakes and changes his mind on Prince got his first chance to direct some things he had written, leaving on his own production of John Kander only 100-pages to discuss the rest of and Fred Ebb’s Cabaret. It was the his career, including two of his most beginning of his series of ‘concept’ 50 Stage Whispers January - February 2018

musicals, which continued with Stephen Sondheim’s Company, Follies, A Little Night Music, Pacific Overtures, Sweeney Todd and Merrily We Roll Along, not all of them hits, but all of them game-changing. He had his share of also-rans which included A Family Affair, Baker Street, Flora, the Red Menace, and “It’s a Bird…It’s a Plane…It’s Superman”.

Three quick flops in the eighties, A Doll’s Life, Diamonds and Grind, are cobbled together in one chapter before we get to the legendary The Phantom of the Opera, which has racked up 25 years in the West End and similar on Broadway. Other notable productions of this period were Kiss of the Spider Woman, a 1994 revival of Show Boat, Jason Robert Brown’s Parade and LoveMusik, a concept based on Kurt Weill’s marriage to Lotte Lenya, starring Lenya and featuring his songs.

Prince claims he has always been hooked on German expressionism, Kabuki, Meyerhold, Piscator and Brecht. Other influences, especially in the late fifties and early sixties, were Joan Littlewood’s The Hostage, Lionel Bart’s Fings Ain’t Wot They Used T’Be and the Taganka Theatre, Russia.

Prince has never chosen a subject to please an audience, in fact he says that frequently he goes out of his way not to consider them, but he does look

for something that’s innovative and defies convention. He abhors feelgood or mindless musicals. The only ones he likes are Bye Bye Birdie and Guys and Dolls. He also acknowledges his penchant to find a metaphor for his projects has sometimes killed their chance of success.

Although he has produced and directed plays (Take Her She’s Mine was his biggest hit), his forte is musical theatre.

There’s little of Prince’s private life and he’s not into gossip. The closest he comes is telling the oft repeated Madeline Kahn quip after the first night of On The Twentieth Century.

On the road and in previews he had been trying to get her to maintain a performance from one night to the next to no avail, but on the opening night she performed brilliantly. He rushed backstage to tell her and she said, “I hope you don’t think I can do that every night,” and she didn’t. She was replaced nine weeks later by Judy Kaye. Prince believes had Kaye opened the show it would have run twice as long. It’s a similar situation when he talks of not waiting until Julie Andrews was available to star in She Loves Me; good though Barbara Cook was, Andrews was a name and would have sold the show.

The text does throw up some interesting facts - Peter Gennaro choreographed all of Chita Rivera’s dances, including “America”, in West Side Story, original lyricist Lillian Hellman thought Prince’s 1974 Candide was “a piece of trash”, A Little Night Music’s cast recording was the first non-rock musical to recoup its budget, Pacific Overtures lost its entire capitalization, and he believes musicals about prostitutes don’t work but that Tenderloin would have been a hit if it had been produced by David Merrick and directed by Gower Champion.

Prince comes across as arrogant, opinionated, perverse, but a man with one of the most brilliant minds to have ever worked in the theatre. A giant amongst his contemporaries, there’s no doubt he helped change the direction of the Broadway musical.

This may not be the definitive book of his achievements, but it’s a pretty good start. It comes with B&W photos,

an appendix of all his productions, and a comprehensive index.

FOREVER HORATIO - An Actor’s Life - Edmund Pegge (Wakefield Press $39.95) The word that comes to mind after reading Edmund Pegge’s amiable biography Forever Horatio is that he was a survivor in a profession where actors are lucky if they get five minutes of fame. Pegge never got his, but in a fifty-year career, never seeing his name up in lights, he worked constantly as a second-stringer in film, television and theatre in the UK and Australia. Yes, he did have his down time, which was spent mostly landscape gardening and playing cricket, but he worked with some famous names and got to travel to exotic places courtesy of well-paid commercials.

Pegge was born in England in 1939 but spent his later school years in Adelaide before embarking on an acting career. He went to NIDA in the fifties, toured with the Young Elizabethan Players 1958-1964, and travelled to London in 1965, immediately finding work at Nottingham Playhouse. His fellow thespians in the company included Edward Woodward, Michael Craig and Judi Dench, who wrote the forward to this book.

Pegge later made brief appearances in Dr Who, The Bill and the movie Follow that Camel. He did tours of the US and Canada in plays by Shaw and Coward and played Travels with my

Aunt to British ex-pats in Hong Kong, Bangkok and Singapore. His Australian TV credits include Father Murphy in ABC’s Home Sweet Home. Onstage he has played everything from Shakespeare to farce and in the nineties successfully took poetry readings, exploring Australian identity, to schools. He never married but had multiple girlfriends along the way.

It’s a pleasant read, full of choice anecdotes of a jobbing actor (like landladies in regional Britain providing suppers of sandwiches and cocoa after a show), and comes with B&W photos of family, school, fellow actors and inperformance stills.

Stage Whispers Books Visit our on-line book shop for back issues and stage craft books www.stagewhispers.com.au/books www.stagewhispers.com.au Stage Whispers 51

On Stage

A.C.T. & New South Wales

Sydney Festival. Jan 5 - 21.

Ballina. Just Funkin’ Music - (02) Belvoir Street Theatre.

1300 856 6686 2440.

The 78-Storey Treehouse by 876.

Richard Tulloch, adapted from Glorious by Peter Quilter. the book by Andy Griffiths and Honk! Jr. Based on Hans Elanora Players Inc. Jan 12 - 20.

Terry Denton. CDP Kids. Jan 24.

Christian Andersen’s The Ugly Elanora Community Centre, Canberra Theatre Centre. (02) Muriel’s Wedding - The Musical. Duckling. Book and lyrics by Elanora Heights. (02) 9979 6275 2700.

Book by PJ Hogan music and Anthony Drewe, music by 9694. lyrics by Kate Miller-Heidke and George Stiles. Maitland Musical Measure for Measure by William The Gruffalo. Based on the Society. Jan 5 - 14, Pro picture book by Julia Donaldson Keir Nuttall with songs by Shakespeare. Sport for Jove. Jan Benny Andersson, Bjorn Ulvaeus Cathedral, Maitland. Jan 20 and Axel Scheffler. Jan 27 & 28.

13 - 28. Everglades Garden, and Stig Anderson originally 21, James Theatre, Dungog.

Canberra Theatre Centre. (02) Leura. written for ABBA. Sydney trybooking.com/328322 6275 2700. www.sportforjove.com.au Theatre Company / Global Briefs: Close Encounters.

Sydney Shen Yun. Canberra Theatre The Servant of Two Masters by Creatures. Until Jan 27. Roslyn Festival. Magic Mirrors Centre. Jan 31 - Feb 1. (02) Carlo Goldoni. Sport for Jove.

Packer Theatre. (02) 9250 1777. Spiegeltent, Hyde Park North.

6275 2700.

Jan 13 - 28. Everglades Garden, The Wizard of Oz by Harold Jan 6 - 28. 1300 856 876.

Leura.

We’re Going on a Bear Hunt.

Arlen, E.Y. Harburg, Andrew Lady Rizo: Red, White and www.sportforjove.com.au Based on the book written by Lloyd Webber and Tim Rice.

Indigo.

Sydney Festival.

Magic Michael Rosen & Illustrated by Dead Centre by Tom Holloway John Frost and Suzanne Jones Mirrors Spiegeltent, Hyde Park Helen Oxenbury. Andrew Kay, and Sea Wall by Simon production. Capitol Theatre, North. Jan 7 - 13. 1300 856 Garry Ginivan and Kenny Wax Stephens. Stooged Theatre. Jan Sydney. From Dec 30. 1300 795 876.

Family Entertainment Ltd. Feb 9 267.

13 - 21. Catapult Dance - 12. The Queanbeyan The Town Hall Affair. Based on Studios, Newcastle.

The Merry Widow by Franz Performing Arts Centre. (02) the film Town Bloody Hall by trybooking.com/331991 Lehar. Opera Australia. From 6285 6290.

Chris Hegedus & D.A. The Daisy Theatre. Ronnie Dec 31. Joan Sutherland Pennebaker. The Wooster Masterclass by Terrence Burkett Theatre of Marionettes.

Theatre, Sydney Opera House.

Group / Sydney Festival. Sydney Sydney Festival. Jan 13 - 26.

McNally. Andrew Kay and The (02) 9318 8200.

Opera House Drama Theatre.

Kings Head. Feb 22 - 24. The Reginald Theatre, Seymour Model Citizens.

Circus Oz / Jan 7 - 13. 1300 856 876.

Playhouse, Canberra Theatre Centre. (02) 9351 7940.

Sydney Festival. Jan 2 - 28.

Centre. (02) 6275 2700.

There Will Be A Climax by Backbone. Gravity and Other Prince Alfred Square, Circus Oz Oh, What A Lovely War by Joan Big Top, cnr Church and Market Alexander Berlage and Myths / Sydney Festival. Jan 16 Company. Jan 9 - Feb 3. Old Littlewood and Theatre 21. Riverside Theatres, cnr.

Sts, Parramatta. 8839 3399.

Fitz Theatre, Woolloomooloo.

Workshop. Canberra Repertory Church and Market Sts, Darlinghurst Nights by Katherine www.redlineproductions.com.au Parramatta. (02) 8839 3399.

Society. Feb 22 - Mar 10.

Thomson and Max Lambert, Theatre 3. 6257 1950 (10-4 FAG/STAG by Jeffrey Jay Fowler Honk by George Styles and inspired by poet Kenneth Monday to Friday). and Chris Isaacs. Griffin Anthony Drewe. Gosford Slessor. Hayes Theatre Co, Potts Independent / The Last Great New South Wales Musical Society Juniors. Jan 16 Point. From Jan 4. (02) 8065 Hunt. Jan 10 - 27. SBW Stables 20. Laycock Street Community 7337 Beautiful: The Carole King Theatre. (02) 9361 3817.

Theatre. (02) 4323 3233.

Musical. Book by Douglas My Name is Jimi. Based on a Take Me To Neverland (a dark McGrath. Words and music by The Wider Earth by David story by Dimple Bani, Jimi Bani twist on the classic tale of Peter Morton, with music by Loir and Gerry Goffin and Carole King, & co-created with Jason Pan, contains some mature Barry Mann and Cynthia Weil.

Tony Buchen. Queensland Klarwein. Queensland Theatre / themes) by Riley McLean.

Michael Cassel in association Theatre / Dead Puppet Society / Bearfoot Theatre. Jan 11 - 13.

Sydney Festival. Sydney Opera Newcastle Playhouse, Hunter House Drama Theatre. Jan 17 Street Newcastle. Ticketek.

27. 1300 856 876.

Three in the Bed. Book, music Barber Shop Chronicles by Inua and lyrics by Jonathon Holmes. Ellams. National Theatre Produced by Jonathon Holmes London / Sydney Festival. Jan 18 and Birdie Productions, in - 28. York Theatre, Seymour association with New Theatre.

Centre. (02) 9351 7940.

Jan 11 - 26. New Theatre, Sorting Out Rachel by David Newtown. newtheatre.org.au Williamson. Ensemble Theatre.

The Little Mermaid by Doug From Jan 19. (02) 9929 0644 Wright, Alan Menken, Howard I Ought to be in Pictures by Neil Ashman and Glenn Slater.

Simon. Newcastle Theatre Ballina Players. Jan 12 - 21.

Players Theatre, 24 Swift Street, Company - 90 De Vitre Street, A.C.T.

with Paul Blake & Sony/ATV Music Publishing & Mike Bosner.

Until Feb 4. Sydney Lyric Theatre. www.beautifulmusical.com.au

Stage Whispers Directory Premium listing: $20 Get noticed on the Stage Whispers website with a premium listing

www.stagewhispers.com.au/directory-central

52 Stage Whispers

Just $50 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage Lambton. Jan 19 - Feb 3. (02) 4952 4958 (3-6pm Mon-Fri) My Urrwai by Ghenoa Gela.

Performing Lines / Sydney Festival. Jan 19 - Feb 4. Belvoir Street Theatre. (02) 9699 3444.

Grease The Arena Experience.

Harvest Rain. Jan 19 & 20.

Qudos Bank Arena, Sydney Olympic Park. Ticketek.

Fucking Men by Joe DiPietro.

New Theatre / Sydney Gay and Lesbian Mardi Gras. Feb 6 - Mar 10. New Theatre, Newtown. newtheatre.org.au Jack Data by Ruth Bell. Feb 6 11. Old 505 Theatre, Eliza Street, Newtown. old505theatre.com

Intersection 2018: Chrysalis.

ATYP. Jan 31 - Feb 17. SBW Stables Theatre. (02) 9361 3817.

Year of the Rooster by Olivia Dufault. Knock and Run Theatre.

Jan 31 - Feb 3. Royal Exchange, Newcastle. www.stickytickets.com.au/60897 Four Flat Whites in Italy by Roger Hall. Castle Hill Players.

Feb 2 - 24. Pavilion Theatre, Castle Hill. (02) 9634 2929.

Little Women. Book by Allan Knee, lyrics by Mindi Dickstein, and music by Jason Howland.

Based on Louisa May Alcott’s novel. Young People’s Theatre Newcastle Inc, cnr Lindsay & Lawson Streets, Hamilton. Feb 2 - 24. (02) 4961 4895 (9am 1pm Sat)

Mamma Mia! By Benny Andersson, Bjorn Ulvaeus and Catherine Johnson. Michael Coppel, Louise Withers and Linda Berwick. From Feb 11.

Capitol Theatre, Sydney. www.mammamiathemusical.com.au

Top Girls by Caryl Churchill.

Sydney Theatre Company. Feb 12 - Mar 24. Drama Theatre, Out of Order by Ray Cooney.

Maitland Repertory Theatre. Feb Sydney Opera House. (02) 9250 1777.

7 - 25. (02) 4931 2800.

Mother by Daniel Keene. If Theatre. Jan 24 - Feb 11. Belvoir Street Theatre. (02) 9699 3444. Metamorphoses by Mary Zimmerman. Sydney Gay & Australia Day by Jonathan Biggins. Woy Woy Little Theatre. Lesbian Mardi Gras. Feb 8 - Mar 10. Old Fitz Theatre, Jan 26 - Feb 11. Peninsula Woolloomooloo.

Theatre, cnr. McMasters & www.redlineproductions.com.au Ocean Beach Rds, Woy Woy. (02) 4344 4737 www.woywoylt.com.au

New South Wales

The View Upstairs by Max Vernon. Invisible Wall Productions & Sugary Rum Productions in association with Hayes Theatre Co. From Feb 9.

Hayes Theatre Co. (02) 8065 7337

Companion Planting. The Coast Comedy Players. Feb 9, Nambucca Community and Arts Centre; Feb 10 & 25, Woolgoolga Diggrs Club; Feb 11 & 24, Bellingen Memorial Hall; Feb 16 & 17, Jetty Memorial Theatre, Coffs Harbour; Feb 18, Nambucca Bowls Club.

Love Me by Joseph Brown. Feb 13 - 17. Old 505 Theatre, Eliza Street, Newtown. old505theatre.com

The Blonde, The Brunette & the Vengeful Redhead by Robert Hewett. Pymble Players. Feb 14 - Mar 10. Pymble Players Theatre, Cnr Mona Vale Rd and Bromley Ave, Pymble. 02 9144 1523 (11am-7pm Mon-Fri).

Single Asian Female by Michelle Law. La Boite production. Feb 16 - Mar 25. Belvoir Street Theatre. (02) 9699 3444.

Lethal Indifference by Anna Barnes. Sydney Theatre Company. World Premiere. Feb 17 - Mar 10. Wharf 1 Theatre.

(02) 9250 1777.

Beast. Belly. Beast. By Kim Hardwick. Feb 20 - 24. Old 505 Theatre, Eliza Street, Newtown. old505theatre.com The Nose by Shostakovich.

Opera Australia. Feb 21 - Mar 3.

Joan Sutherland Theatre, Sydney Opera House. (02) 9318 8200.

Here, Now. Rat Pack Productions. Feb 21 - 24. Royal Exchange, Newcastle.

Vicki. Music and lyrics by Rodney Nan Stewart (Musical Play). Lane Cove Theatre Company. Feb 23 - 25. St Aidans, Longueville. www.lanecovetheatrecompany.com Kill Climate Deniers by David Finnigan. Griffin Theatre Company. Feb 23 - Apr 7. SBW Stables Theatre. (02) 9361 3817.

25th Annual Putnam County Spelling Bee. Music and Lyrics

by William Finn and Book by Rachel Sheinkin. Conceived by Rebecca Feldman. Gosford Musical Society. Feb 9 - 17. Don Craig Room, Laycock Street Theatre. www.gosfordmusicalsociety.com.au

An Act of God by David Javerbaum. Darlinghurst Theatre A Bad Year for Tomatoes by Company. Feb 2 - 25. Eternity John Patrick. Guild Theatre, Playhouse. (02) 8356 9987.

Walz Street Rockdale. Feb 9 We Will Rock You by Queen and Mar 10. (02) 9521 6358.

Ben Elton. WOFTAM Travelling North by David Productions. Feb 2 - 17. Town Williamson. Genesian Theatre, Hall Theatre, Campbelltown.

420 Kent St. Sydney. Feb 10 http://bit.ly/2kQpfcp Mar 24. 1300 237 217.

Shrek. Book and lyrics: David Carmen by Georges Bizet. Opera Lindsay-Adaire. Music: Jeanine Australia. Feb 10 - Mar 23. Joan Tesori. Packemin Productions.

Sutherland Theatre, Sydney Feb 2 - 17. Riverside Theatres, Opera House. (02) 9318 8200. cnr Church and Market Sts, Parramatta. (02) 8839 3399.

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

Stage Whispers 53

On Stage Cage by Jordan Shea. Feb 27 Mar 3. Old 505 Theatre, Eliza Street, Newtown. old505theatre.com Black is the New White by Nakkiah Lui. Sydney Theatre Company. Feb 28 - Mar 10.

Roslyn Packer Theatre. (02) 9250 1999.

The Book of Mormon. Book, Music and Lyrics by Trey Parker, Robert Lopez and Matt Stone.

From Feb 28. Lyric Theatre, Sydney.

BookOfMormonMusical.com.au Queensland Mamma Mia! By Benny Andersson, Bjorn Ulvaeus and Catherine Johnson. Michael Coppel, Louise Withers and Linda Berwick. Until Feb 4. Lyric Theatre, QPAC. 136 246.

Snow White by Terry Woodfire.

Spotlight Theatre Co, Benowra, Gold Coast. Jan 3 - 13. (07) 5539 4255.

A Clockwork Orange by Anthony Burgess. Arts Theatre, Brisbane. Jan 6 - Feb 17. (07) 3358 2344

Queensland & Victoria

Miracle City by Max Lambert and Nick Enright. Theatre Division. Jan 24 - Feb 4.

Brisbane Powerhouse. (07) 3358 8622.

Black is the New White by Nakkiah Lui. Queensland Theatre. Playhouse, QPAC. Feb 1 - 17. 136 246.

Powerhouse. Feb 23 - 24. (07) 3358 8600.

Sidney Myer Music Bowl. 1300 136 166

Brisbane Comedy Festival.

Brisbane Powerhouse. Feb 23 Mar 25. (07) 3358 8600.

Emily Brown and The Thing.

Based on the book by Cressida Cowell and Neal Layton. Tall Stories. Jan 3 - 14. Fairfax Studio, Arts Centre Melbourne.

1300 182 183.

Hamlet - An Adaptation by William Shakespeare and Jane Elliott. Growl Theatre. Feb 23 Mar 10.

Xanadu The Musical by Douglas boxoffice@growltheatre.org.au Carter Beane. Music and lyrics Shrek The Musical. Book and

by John Farrar and Jeff Lynne.

Lyrics by David Lindsay-Abaire.

Phoenix Ensemble, Beenleigh.

Music by Jeanine Tesori. Arts Feb 2 - 24. (07) 3103 1546.

Theatre, Brisbane. Feb 24 - Mar Fleabag by Phoebe WallerBridge. Brisbane Powerhouse.

Feb 8 - 10. (07) 3358 8600.

Oliver! By Lionel Bart. Spotlight Theatre Co Benowra, Gold Coast. Feb 9 - Mar 13. (07) 5539 4255.

Courtney Act - Under the Covers. Working Management.

Feb 9 - 10. Brisbane Powerhouse. (07) 3358 8622.

The Dead Devils of Cockle Creek

by Kathryn Marquet. La Boite & Playlab. Feb 10 - Mar 3.

Roundhouse, Kelvin Grove. (07) 3007 8600.

31. (07) 3358 2344.

The 39 Steps by Patrick Barlow.

Queensland Theatre. Feb 24 Mar 24. Cremorne Theatre, QPAC. 136 246.

Steel Magnolias by Robert Harling. Villanova Players. Feb 24 - Mar 11. F.T. Barrell Auditorium, Yeronga. (07) 3395 5168.

Aladdin by Alan Menken, Howard Ashman, Tim Rice and Chad Beguelin. Disney. From Feb 25. Lyric Theatre, QPAC. 136 246.

The Unbelievables. The Works Entertainment. Jan 3 - 13.

Hamer Hall. 1300 182 183.

A Simple Space. Gravity & Other Myths. Jan 3 - 14. Fairfax Studio, Arts Centre Melbourne.

1300 182 183.

Genuinely Impossible. Lawson Reeves. Jan 9 - 14. The Butterfly Club. thebutterflyclub.com Alice in Wonderland. Rapid Fire International and M2 Productions. Jan 9 & 10.

Athenaeum Theatre, Melbourne. (03) 9650 1500.

James and the Giant Peach.

Adapted by Richard George from the book by Roald Dahl.

Encore Theatre Inc., Clayton. Jan 11 - 20. 1300 739 099.

The Curious Incident of the Dog in the Night-Time by Simon Brainiac - Live. Concert Hall, That 80s Time Travel Movie by Aladdin. Music by Alan Menken. Stephens. Based on the novel by QPAC. Jan 9 - 13. 136 246 Christopher W. Barnes and Ryan Book by Chad Beguelin. Lyrics Mark Haddon. Melbourne Theatre Company - National When the Rain Stops Falling by Mercy. Brisbane Arts. Feb 11 by Howard Ashman, Tim Rice Mar 27.

(07) 3369 2344.

Theatre Production. Jan 11 - Feb Andrew Bovell. Javeenbah and Chad Beguelin. Disney 11. Arts Centre Melbourne, Theatre Co, Gold Coast. Jan 12 - backbone. Gravity & Other Theatrical Productions. Her Playhouse. 1300 182 183.

27. (07) 5596 0300.

Myths. Feb 16 - 17. Brisbane Majesty’s Theatre, Melbourne.

Powerhouse. (07) 3358 8600.

The Date. Dean Robinson. Jan Until Jan 28. 132 849.

The Sleeping Beauty. Music by Tchaikovsky. Australian Ballet (Mis)Conceive. Blakdance. Feb Dream Lover: The Bobby Darrin 11 - 13. The Butterfly Club. thebutterflyclub.com Storytime Ballet. Jan 16 - 20.

18. Brisbane Powerhouse. (07) Story. John Frost and Gilbert Brisbane Powerhouse. (07) 3358 3358 8600.

Theatrical. From Dec 27. Arts La Vie Dans Une Marionette.

8600.

Centre Melbourne, State White Face Crew. Jan 16 - 20.

Boeing Boeing by Marc Fairfax Studio, Arts Centre Theatre.

1300 182 183.

The Little Mermaid.

Camolletti, Beverly Cross and Melbourne. 1300 182 183.

Choreographer: Timothy Brown. Francis Evans. Cairns Little Much Ado About Nothing by Ballet Theatre of Queensland.

Theatre. Feb 23 - Mar 10.

William Shakespeare. Until Jan John Barrowman In Concert. Jan Jan 17 - 20. Playhouse, QPAC. Rondo Theatre, Cairns. 1300 12. Pop-up Globe, Sidney Myer 16. Hamer Hall. 1300 182 183.

136 246.

855 835.

Music Bowl. 1300 136 166 Cell, Block Tango: Showtunes The Rocky Horror Show by Richard O’Brien. Howard Panter, John Frost and GWB Entertainment. Jan 18 - Feb 4.

Concert Hall, QPAC. 136 246.

Permission to Speak. Chamber Made Opera. Feb 23 - 24.

Brisbane Powerhouse. (07) 3358 8600.

Sorry Wrong Number/Sunset The Twelve Dancing Princesses Boulevard - Radio Plays Nash

by Natalie Trengrove and Jim Theatre, New Farm. Feb 23 Fury. Arts Theatre, Brisbane. Jan Mar 17. (07) 3379 4775.

20 - Mar 17. (07) 3358 2344.

The Irresistible. Side Pony/Last Great Hunt. Brisbane 54 Stage Whispers

Victoria

Henry V by William Shakespeare. Until Jan 12. Popup Globe, Sidney Myer Music Bowl. 1300 136 166 As You Like It by William Shakespeare. Until Jan 12. Popup Globe, Sidney Myer Music Bowl. 1300 136 166

on Modern Dating. Jan 16 - 21.

The Butterfly Club. thebutterflyclub.com

Kabaret Dietrich. Nikki Nouveau.

Jan 17 - 21. The Butterfly Club. thebutterflyclub.com

Wicked. Music & Lyrics by Stephen Schwartz. Book by Othello by William Shakespeare. Winnie Holzman. Based upon Until Jan 12. Pop-up Globe, the novel by Gregory Maguire.

Just $50 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage

Victoria

Online extras!

Watch John perform “What About Us?” by scanning the QR code or visiting https://youtu.be/zF6KHFlzdqo

24 - Feb 11. fortyfivedownstairs.

(03) 9662 9966.

A Silly Little Symphony. Jan 25 28. The Butterfly Club. thebutterflyclub.com IDenTITTY. Kitty Van Horne. Jan 25 - 28. The Butterfly Club. thebutterflyclub.com Love Bird. Jan 30 - Feb 4. The Butterfly Club. thebutterflyclub.com Riot. Pantybliss. THISISPOPBABY. Jan 31 - Feb 9. Fairfax Studio, Arts Centre Melbourne. 1300 182 183.

Hold Me, I Beg You. Jan 31 Feb 4. The Butterfly Club. thebutterflyclub.com Falsettos by William Finn.

StageArt. Feb 1 - 11. Chapel off Chapel. (03) 8290 7000 Rumors by Neil Simon. Peridot Theatre Inc. Feb 2 - 17. Unicorn Theatre, Mount Waverley Secondary College. (03) 9808 0770.

The Children by Lucy Kirkwood.

Melbourne Theatre Company.

Feb 3 - Mar 10. Southbank Theatre, The Sumner. (03) 8688 0800.

Picnic at Hanging Rock by Tom Wright, adapted from Joan Lindsay’s novel. Malthouse Theatre. Feb 6 - 14. (03) 9685 5111.

Cleave. Feb 6 - 11. The Butterfly Club. thebutterflyclub.com

West End leading man John Barrowman will make his Australian debut at Hamer Hall, Arts Centre Melbourne, on Tuesday January 16. Accompanied by a live band, he will perform a repertoire that ranges from Sting to Sondheim, Cole Porter to Barry Manilow and Big Band to Motown, with a few surprises in between. John will also share stories and anecdotes from his life and career.

Bookings via artscentremelbourne.com.au or 1300 182 183.

Young Australian Broadway Chorus. Jan 19 - 27. National Theatre, St Kilda. www.wickedmusical.com.au Lucky: Songs by Kylie. Michael Griffiths. Jan 17 - 21. fortyfivedownstairs. (03) 9662 9966.

Priscilla Queen of the Desert by Stephan Elliott and Allan Scott.

Michael Cassel Group and Nullarbor Productions in association with MGM on Stage. From Jan 21. Regent Theatre, Melbourne. priscillathemusical.com.au We Were There. Tilted Projects / Midsumma Festival. Jan 23 Feb 4. Chapel off Chapel. (03) 8290 7000.

Out of Character. Jan 23 - 28.

The Butterfly Club. thebutterflyclub.com When I Awoke by James Christensen. Jan 23 - 28. The Butterfly Club. thebutterflyclub.com

Burlesque by Force. Feb 7 - 11.

The Butterfly Club. thebutterflyclub.com Good Muslim Boy by Osamah Sami. Malthouse Theatre. Feb 9 - Mar 4. (03) 9685 5111.

Miracle City by Nick Enright and Max Lambert. Starring Missy Higgins. The Theatre Division.

Feb 9 - 17. Atheneaum Theatre.

132 849 / (03) 9650 1500.

Amazing Grace. Manilla Street Productions. Feb 9 - 11.

National Theatre, St Kilda. (03) Strangers in Between by Tommy 9525 4611.

Murphy. Cameron Lukey and Mikelangelo and Anushka: Don’t be Down Productions. Jan Siblings. Feb 13 - 18. The

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

Stage Whispers 55

On Stage Butterfly Club. thebutterflyclub.com The Fabulous Singlettes. Feb 13 - 17. MEMO Music Hall, St Kilda. (03) 9534 3556.

Victoria, Tasmania & South Australia

Feb 16 - Mar 3. (03) 9457 4117.

Beautiful: The Carole King Musical. Book by Douglas McGrath. Words and music by Gerry Goffin and Carole King, This is Eden by Emily Goddard.

Feb 14 - 25. fortyfivedownstairs. Barry Mann and Cynthia Weil.

Michael Cassel in association (03) 9662 9966. with Paul Blake & Sony/ATV In the Next Room or the vibrator Music Publishing & Mike Bosner. play by Sarah Ruhl. Brighton From Feb 16. Her Majesty’s Theatre Co. Feb 15 - Mar 3.

Theatre, Melbourne.

1300 752 126. www.beautifulmusical.com.au The Show Goes On by Last Gas by John Cariani.

Bernadette Robinson and Malvern Theatre Company Inc. Richard Carroll. Duet. Feb 15 Feb 16 - Mar 3. 1300 131 552.

25. Fairfax Studio, Arts Centre All The King’s Women by Luigi Melbourne. 1300 182 183.

Jannazzi. Mordialloc Theatre Co. Gilligan’s Island: The Musical.

Inc. Feb 16 - Mar 3. Shirley Book by Sherwood Schwartz Burke Theatre, Parkdale. (03) and Lloyd J Schwartz, and 9587 5141. original music by Hope Juber Nightsongs by Natasha and Laurence Juber. Feb 15 Moszenin. Feb 16 & 17. The Mar 4. Chapel off Chapel. (03) Butterfly Club.

8290 7000. thebutterflyclub.com Crossing Delancey by Susan Sandler. Heidelberg Theatre Co.

How I Met My Dead Husband.

Kings Head. Feb 18 - Mar 2.

Feb 17 & 18. The Butterfly Club. Theatre Royal, Hobart. (03) thebutterflyclub.com 6233 2299 / 1800 650 277.

Delilah. Feb 20 - 25. The Butterfly Club. thebutterflyclub.com

South Australia

Music Theatre Camp 2018.

Pelican Productions. Jan 7 - 21.

Someone Like You. Feb 21 - 25. Westminster School Theatre. For registration form visit The Butterfly Club. http://bit.ly/2BpmUfq thebutterflyclub.com Hand to God by Robert Askins.

Aleksander Vass and Vass Productions. Feb 22 - Mar 18.

Alex Theatre, St Kilda. 132 849.

A Little Night Music by Stephen Sondheim and Hugh Wheeler.

Watch This. Geelong Performing Arts Centre, Feb 22 - 24, gpac.org.au, National Theatre, St Kilda, Feb 28 - Mar 3, www.nationaltheatre.org.au and Whitehorse Centre, Mar 8 10, whitehorsecentre.com.au Hir by Taylor Mac. Jan 30 - Mar 4. Red Stitch Actors Theatre, St Kilda East. redstitch.net Tasmania Aladdin - adapted by Les Winspear. Big Monkey Theatre.

Jan 3 - 28. Royal Tasmanian Botanical Gardens. (03) 6234 5998.

Snow White and the Many Dwarfs - A Pantomime by Peter and Jean Collins. Jan 9 - 14.

Hills Youth Theatre. Stirling Community Theatre. https://hillsyouththeatre.com The Taming of The Shrew by William Shakespeare. Butterfly Theatre. Jan 9 - 17. Wheatsheaf Hotel. trybooking.com/337004 Steel Magnolias by Robert Harling. Jan 10 - 13. Ipskip Productions. Bakehouse Theatre. www.bakehousetheatre.com The School for Scandal in the Garden by Richard Sheridan.

Blue Sky Theatre. Jan 12 - 14, Crozier Hill; Jan 20 - 21, Rosebank; Jan 26 - 28, Carrick Hill; Feb 2 - 3, Stangate House. www.blueskytheatre.com.au

Toyer by Gardner McKay. Leading Line Productions in Trial by Jukebox. The Gilbert & Sullivan Society of Tasmania. Jan association with Tony Knight Productions. Jan 17 - 27.

5 - 27. Hobart Supreme Court.

Bakehouse Theatre.

(03) 6234 5998. www.bakehousetheatre.com Mary Poppins. Music and Lyrics Dreamworks Shrek Jr The

by Richard M. Sherman and Musical. Adelaide Youth Robert B Sherman. Book by Theatre. Jan 19 - 27. Arts Julian Fellows. New Songs by Theatre.

George Stiles and Anthony trybooking.com/337312 Drewe. The Show Company Tasmania. Jan 26 - Feb 10.

My Friend Miss Flint by Donald Theatre Royal, Hobart. (03) Churchill and Peter Yeldham.

6233 2299 / 1800 650 277.

Tea Tree Players. Feb 7 - 17. Tea Tree Players Theatre.

Romeo & Juliet by William Shakespeare. Directions Theatre www.teatreeplayers.com Pty. Ltd. Feb 9 - Mar 3. Royal Tasmanian Botanical Gardens.

(03) 6234 5998.

Senior Moments by Angus FitzSimons and Kevin Brumpton.

Return Fire Productions. Feb 22 - 25. Theatre Royal, Hobart. (03) 6233 2299 / 1800 650 277).

Masterclass by Terrence McNally. Andrew Kay and The 56 Stage Whispers

Glorious! By Peter Quilter.

Therry Dramatic Society. Feb 8 17. The Arts Theatre. (08) 8294 7907.

Rosencrantz & Guildenstern are Dead by Tom Stoppard. The Stirling Players. Feb 23 - Mar 10.

Stirling Community Theatre. www.stirlingplayers.sct.org.au

Just $50 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage

South Australia & Western Australia

American play Hand to God, about a demonic sock puppet that wreaks havoc on relationships and faith in a small Texas town, will have its Australian premiere at The Alex Theatre, St Kilda from 22 February to 18 March.

Directed by Gary Abrahams, the production will star Alison Whyte, Grant Piro, Gyton Grantley, Jake Speer and Morgana O’Rielly. Get your tickets at ticketek.com.au or on 132 849.

Online extras!

See why Hand To God was nominated for 5 Tony Awards. Scan the QR code or visit https://youtu.be/4glYMi7M7hI

In the Club by Patricia Cornelius.

Feb 23 - Mar 18. State Theatre Company SA. www.statetheatrecompany.com.au Adelaide Fringe 2018. Feb 16 Mar 18. Wide range of events.

Various venues, Adelaide. www.adelaidefringe.com.au Western Australia Once Upon a Mattress by Mary Rogers, Marshall Barer, Jay Thompson and Dean Fuller.

Primadonna Productions. Jan 11 - 14. Musical of The Princess and the Pea. Mandurah Performing Arts Centre. www.manpac.com.au or (08) 9550 3900 A Princess Dream. Glass Slipper Productions and Wanneroo Repertory. Jan 19 - 21. Fairy tale. Limelight Theatre, Wanneroo. 0499 954 016 www.limelighttheatre.com.au Shen Yun. Falun Dafa Assoc. of Australia. Jan 24 - 28. Journey

Through 5000 years of Chinese culture. Regal Theatre. Ticketek.

Impromptunes - The Completely Improvised Musical. Jan 27 Cull by Honor Wolf and Patrick Feb 4. Improvised from audience suggestions. The Gold Durman Silva. Blue Room Digger, Fringe Central, Perth.

Summer Nights and The Very Good Looking Initiative. Jan 25 - www.fringeworld.com.au Feb 3. Honor and Patrick delete Impromptunes - The Bachela-latheir Facebook friends. The Blue la. Jan 27 - Feb 3. Improvised Room Theatre, Northbridge musical based on The Bachelor. www.fringeworld.com.au Teatro - The Pleasure Garden, Northbridge.

ForniKATEress by Kate www.fringeworld.com.au Smurthwaite. Jan 26 - Feb 7.

Comedy on open relationships.

Henry Summer, Northbridge. www.fringeworld.com.au Human Services by William James Smith. Gilbert & Sullivan Society of WA. Jan 27 - 28.

Comic Opera. Perth Town Hall. www.fringeworld.com.au

The Big Dark by Rhiannon Peterson. Blue Room Summer Nights. Jan 27 - Feb 1. Tiny surreal cupboard dystopia. The Blue Room Theatre, Northbridge. www.fringeworld.com.au

Minus One Sister by Anna Sugar by Heather Jerrems. Paper Barnes. Blue Room Summer Haus. Jan 27 - Feb 5. All female Nights and SALT. Jan 27 - Feb 3. circus, beats and theatre. Black Jealousy. Murder. Brady Bunch.

Flamingo, The Pleasure Garden, Studio Underground, State Theatre Centre of WA. Northbridge. www.fringeworld.com.au www.fringeworld.com.au

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

Forget About Pierre by Jen de Ness. Jan 27 - 28. Musical tips from Mother of Reinvention.

Ellington Jazz Club, Northbridge. www.fringeworld.com.au Find the Lady by Matt Penny.

Blue Room Summer Nights. Jan 27 - Feb 3. Mysterious and magical storytelling adventure.

The Blue Room Theatre, Northbridge. www.fringeworld.com.au Josh Glanc: 99 Schnitzels (Veal Ain’t One). Jan 27 - Feb 4.

Winner Fringeworld Best Comedy 2017. The Shambles, Fringe Central. www.fringeworld.com.au We’re Going On A Bear Hunt by Michael Rosen and Helen Oxenbury. Andrew Kay and Associates. Jan 29 - Feb 3.

Theatre for children. Subiaco Arts Centre, Ticketek.

Songwriter by Trevor Gibson.

ACPC. Jan 30 - Feb 4. A Stage Whispers 57

On Stage frustrated musician leaves Perth for London. The King’s Lair, His Majesty’s Theatre, Perth. www.fringeworld.com.au Soup by Ana Neaves. Deadly Entertainment. Jan 30 - Feb 4.

Only men have the right to talk about women’s bodies. Lucky Cat, Perth Town Hall. www.fringeworld.com.au First Date The Musical by Austin Winsberg, Alan Zachary & Michael Weiner. Grey Lantern Productions. Jan 31 - Feb 3.

Musical about the minefield of dating. www.fringeworld.com.au Decisions and Consequences by Clare Talbot. Hand in Hand Theatre Company. Jan 31 - Feb 3. How choices impact our lives & those of others. Studio 411, Murdoch University. www.fringeworld.com.au Transported by Judy Bierwith.

Black Martini Theatre. Jan 31 Feb 3. Men wait for a bus.

Mezzanine Bar at the Cheeky Sparrow, 317 Murray St, Perth. www.fringeworld.com.au

Western Australia

The Palace Society, IBIS Palace, Moon Cafe, Northbridge.

Perth. www.fringeworld.com.au www.fringeworld.com.au Attractor. Lucy Guerin Inc, Gideon Obarzanek, Dancenorth and Senyawa. Feb 8 - 10. Cross cultural shared ritual. Heath Ledger Theatre, State Theatre Centre of WA. (08) 6488 5555 or www.perthfestival.com.au What Did You Expect? by Kiara Macri & Ben Clarke. Feb 8 - 11.

Songs everyone loves with a twist. Ellington Jazz Club, Northbridge. www.fringeworld.com.au Barber Shop Chronicles by Inua Ellams. Fuel, National Theatre and West Yorkshire Playhouse.

Feb 9 - 18. African men gather in barbershops. Octagon Theatre, UWA. (08) 6488 5555 or www.perthfestival.com.au Charlotte’s Web the Musical by Joseph Robinette and Charles Strouse. Stirling Players. Feb 9 24. Based on the novel by E.B. White. Stirling Theatre, Innaloo.

(08) 9446 9120.

GOTO Hell by Cody Fullbrook.

Feb 9 - 17. Internet celebrity’s laptop transports him to hell.

Hellenic Community Centre, Northbridge. www.fringeworld.com.au

To A Simple, Rock ‘N’ Roll …

Song. Michael Clark Company.

Between a Bok and a Hard Place Feb 14 - 17. Olivier Award nominated dance triple bill. His

by Lauren Bok. Feb 13 - 15.

Comedian squeezes into cracks Majesty’s Theatre, Perth. (08) of comedy. The Lucky Cat, Perth 6488 5555 or www.perthfestival.com.au Town Hall. www.fringeworld.com.au

Nassim by Nassim Soleimanpour. Bush Theatre.

What Doesn’t Kill You [Blah Feb 20 - 25. No rehearsals. No blah] Stronger by Tyler Jacob Jones, Erin Hutchinson & Robert preparation. A sealed envelope Woods. Holland St Productions. and an actor. Studio Underground, State Theatre Feb 13 - 17. A love letter to Centre of WA. (08) 6488 5555 misfortune. Ace’s Cabaret, or www.perthfestival.com.au Downstairs at The Maj, Perth. www.fringeworld.com.au Miss Westralia. Balloon Head Theatre. Feb 20 - 24. Musical What the Fandango by Robert about the first Miss Australia.

Hofmann and Cathie Travers.

The King’s Lair, His Majesty’s Feb 13 - 17. Multi-gendered Theatre, Perth. romp through South America. www.fringeworld.com.au De Parel Spiegeltent, The Pleasure Garden, Northbridge. www.fringeworld.com.au

Yeung Fai Hand Stories. Feb 14 - 17. Chinese puppetry. Dolphin Theatre, UWA. (08) 6488 5555 or www.perthfestival.com.au The Love Love Klub by Gretel Killeen. Epodcentral. Feb 15 17. Celebration of love and agony. Hellenic Community Centre, Northbridge. www.fringeworld.com.au

Super-Fanny-Tastic by Rosie Oldham & Clare Thompson Milk Box Theatre Co. Feb 20 - 25.

Trials and tribulations of life with a vagina. Black Flamingo, The Pleasure Garden, Northbridge. www.fringeworld.com.au

Mavis (And Other Broken Objects) by Megan Hunter.

The Night Sweats by Timothy Conor Neylon & Jackson Peele.

Green. Blue Room Summer Feb 21 - 25. Tragic comic Nights and Static Drive cabaret about loving yourself.

Company. Feb 2 - 10. The Blue Kalamunda Here I Come by Noel Ace’s Cabaret, Downstairs at Room Theatre, Northbridge.

Milky Way. Ballet at the Quarry. O’Neill. KADS. Feb 16 - Mar 3.

The Maj, Perth. www.fringeworld.com.au West Australian Ballet. Feb 9 Darkish comedy set in Dublin. www.fringeworld.com.au The First Five Years by Cynthia Mar 3. 4 new works. Quarry KADS Town Square Theatre, 5 Lesbians Eating a Quiche by Pickering. Pickering Productions. Amphitheatre, City Beach. (08) Kalamunda. (08) 9257 2668.

Evan Linder & Andrew Feb 4 - 18. Parenting - it’s not 6488 5555 or Venus in Fur by David Ives.

Hopgood. Grey Lantern about the kids. Hellenic www.perthfestival.com.au Melville Theatre. Feb 16 - Mar 3. Productions. Feb 21 - 24.

Community Centre, Beyond Time. U Theatre. Feb 9 - Sexy provocative hilarious Contemporary musical. Henry Northbridge.

11. Drumming and dance from drama. www.meltheco.org.au Summer, Northbridge. www.fringeworld.com.au Taiwan. His Majesty’s Theatre, www.fringeworld.com.au Farewell to Paper by Evgeny Less Light. Blue Room Summer Perth. (08) 6488 5555 or Grishkovets. Feb 16 - 18.

The Far Side of the Moon by Nights and Lazy Yarns. Feb 6 www.perthfestival.com.au Passionate monologue Robert La Page. Ex Machina. Feb 10. Contemporary verbatim Not All A Dream by Grace lamenting the digital age. Heath 22 - 24. One Man show project. The Round, State Chapple. Brushstroke Ledger Theatre, State Theatre performed by Yves Jacques.

Theatre Centre of WA. Productions. Feb 10 - 18. Story Centre of WA. (08) 6488 5555 Heath Ledger Theatre, State www.fringeworld.com.au behind Mary Shelley’s or www.perthfestival.com.au Theatre Centre of WA. (08) The During the Day Show.

Frankenstein. Lake Nenia, 6488 5555 or The Three Deaths of Ebony Hibbity Hooblah Productions.

Mundaring.

Black by Amberly Cull. Feb 16 - www.perthfestival.com.au Feb 6 - 11. Comedy theatre. The www.fringeworld.com.au 21. The life and death of a SNACKS - A Musical Tasting Globe Palace, Perth.

Jamie Mykaela’s Napoleon sweet, old lady. The Shambles, Plate. Ludicrous Displays. Feb 22 www.fringeworld.com.au Complex by Jamie Munslow Fringe Central, Perth Cultural - 24. Three short form musicals.

A Showgirl Deconstructed by Davies. Feb 11 - 15. Supposed Centre.

The Studio, Subiaco Arts Centre.

Carletta the Great. Feb 6 - 18. fame, failing and leotards. The www.fringeworld.com.au www.fringeworld.com.au Scrumptuously weird burlesque.

58 Stage Whispers

Just $50 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage

Western Australia & New Zealand

Condensed Literature: The Iliad

by Homer. Black Martini Theatre. Feb 22 - 24. Shortened version of epic poem. YMCA Headquarters, Leederville. www.fringeworld.com.au

Disney’s Aladdin Jr. Music by Alan Menken. Lyrics by Howard Ashman and Tim Rice.

Musikmakers. Jan 16 - 20.

Riverlea Theatre, Hamilton.

0508 iTICKET (484-253).

for children 2-7. State Theatre Centre of WA. (08) 6488 5555 or www.perthfestival.com.au New Zealand

Chicago. Book by Fred Ebb and Bob Fosse. Music by John Don’t Dress For Dinner by Marc Kander. Lyrics by Fred Ebb. Until Joan by Tom Scott. Circa Camoletti. Harbour Theatre. Feb Jan 20. Court Theatre, Theatre, Wellington. Jan 17 23 - Mar 4. Camelot Theatre, Feb 17. (04) 801 7992.

Christchurch. (03) 963 0870.

Mosman Park. (08) 9255 3336.

A Midsummer Night’s Dream by Macbeth by William Marble by Marina Carr.

William Shakespeare. Until Feb Shakespeare. Feb 5 - Mar 2. Pop Darlington Theatre Players. Feb 27. Pop-up Globe Theatre, The -up Globe Theatre, The 23 - Mar 10. While you were Shakespeare Gardens, Ellerslie Shakespeare Gardens, Ellerslie dreaming of him, he was Racecourse, Auckland. 0800 Racecourse, Auckland. 0800 dreaming of you. Marloo BUY TIX (289 849).

BUY TIX (289 849).

Theatre, Greenmount.

The Comedy of Errors by Julius Caesar by William www.marlootheatre.com.au Shakespeare. Jan 8 - 26. Pop-up William Shakespeare. Feb 19 Cerita Anak (Child’s Story).

Globe Theatre, The Shakespeare Mar 3. Pop-up Globe Theatre, Polyglot Theatre and The Shakespeare Gardens, Gardens, Ellerslie Racecourse, Papermoon Puppet Theatre. Feb Auckland. 0800 BUY TIX (289 Ellerslie Racecourse, Auckland.

23 - 25. Indonesian puppetry 0800 BUY TIX (289 849).

849).

The Tempest by Willian Shakespeare. Shakespeare in the Park. Feb 22 - 24. Bason Botanic Gardens, Whanganui. (06) 349 0511.

New Zealand Festival. Feb 23 Mar 18. www.festival.co.nz The Select (The Sun Also Rises).

Based on the novel The Sun Also Rises by Ernest Hemingway. Created and performed by Elevator Repair Service. Feb 24 - Mar 1. The Opera House, Wellington. 0800 120 071.

Barber Shop Chronicles. New Zealand Festival. Feb 24 - Mar 4.

TSB Arena, Wellington. 0800 120 071.

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

Online extras!

Check out all the auditions that didn’t make it to print. Scan the QR code or visit www.stagewhispers.com.au/auditions Advertise your show on the home page of www.stagewhispers.com.au

Stage Whispers 59

Sheridan Harbridge, Helen Dallimore and Maggie McKenna in Muriel’s Wedding the Musical.

Photo: Lisa Tomasetti.

Reviews: Premieres

Online extras!

Check out the cast performance of “Sunshine State Of Mind”. Scan or visit https://youtu.be/eCNkykCEhq8

Muriel’s Wedding The Musical Book by PJ Hogan. Music and Lyrics by Kate Miller-Heidke and Keir Nuttall. Based on the movie, with additional songs

by ABBA. Global Creatures / Sydney Theatre Company.

Director: Simon Phillips. Set and costumes: Gabriella Tylesova. Roslyn Packer Theatre, Walsh Bay. Opening Night: Nov 18.

WHAT an Abbasolutely fabulous night in the theatre, that is as refreshing as a popsicle on a hot summer’s day, with as much heart and warmth as your mother’s baked dinner. The biggest surprise is that four Swedish band members make frequent return visits as Fairy-Godmother like characters.

Alongside “Dancing Queen”, “Money Money Money”, “Waterloo”, “Super Trouper” and “SOS”, the songs of Kate Miller-Heidke and Keir Nuttall appear as natural bedfellows.

The musical opens with “Sunshine State of Mind”. Decked out in swimming costumes, the young Queenslanders sing: ‘The girls are trim. We have no pubic hair. Their boobs are round and pushed up.’

The big brash colourful tale of Muriel’s Wedding is brought into visual realisation by the palette of designer Gabriella Tylesova; it includes bright Queensland tropics, sumptuous wedding dresses, a gaudy Chinese restaurant, and Sydney’s two most famous icons with clockwork simplicity.

At the heart of Muriel’s Wedding is a cracking good story that was very close to the bone for writer PJ Hogan.

Muriel is based on his sister. His father was a shonky local 60 Stage Whispers

mayor who had an affair, belittled his family in public and contributed to his long-suffering wife’s low self-esteem.

PJ has dived into the challenge of bringing Muriel into 2017 by making her a social media superstar, when the ugly duckling becomes a swan by marrying an adonis like Olympic swimmer, Alexander Shkuratov (Stephen Madsen).

New jokes are sprinkled into the mix - guess which Aussie male swimmer attracts the eye of Shkuratov?

All of the ingredients are deliciously mixed together with a new song “Shared, Viral, Linked, Liked” and the proscenium of the stage festooned with mobile phone images of Muriel’s Facebook and Instagram accounts, as she shows the world her new trophy husband.

With such a wonderful platform, great characters and new material to showcase, the talented cast could do nothing else but shine. Maggie McKenna was a delightful Muriel - goofy and cheeky with plenty of heart, with a sweet if not a commanding singing voice.

Helen Dallimore never failed to impress as Deidre Chambers, whilst Gary Sweet appeared made for the role of Bill Heslop, just as Christie Whelan-Browne was cast to perfection as Tania Degano.

The more complex characters of Muriel’s friend Ronda Epinstall (Madeleine Jones) and her mother Betty Heslop (Justine Clarke) were also sensitively portrayed.

Muriel’s Wedding the Musical is a rolled gold hit.

David Spicer

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

Nineteen Written & Directed by Shane Pike. Wax Lyrical Production.

Brisbane Powerhouse. Nov 9 - 12.

SHANE Pike’s Nineteen is the second in a trilogy of plays exploring masculinity in young Australian men. This world premiere performance was brutally honest and frequently confronting.

Constructed from real-life stories gathered over several years, the play specifically focuses on four young men living together in a share house. Their friendship is fractured when George, lonely and at a low-point in his life, intimately declares his love for Josh and hugs him. There’s nothing sexual about it, he just voices a feeling that has always been unspoken. The repercussions that follow have George kicked out of the house, and although he tries, the bond of friendship is never recovered.

All four performers created believable, if unlikeable, characters. Leonard Donahue’s anguished portrayal of George, a boy on the cusp of manhood, achieved the most empathy. Frustrated with himself for committing the most unforgivable sin of declaring his love for another man, his pain was palpable. Jackson McGovern imbued Josh with all the standard pretty-boy traits; selfishness, disregard for others, and a macho-male attitude to women. Even stripped naked he never lost his bravado. It was another strong performance.

Silvan Rus and Daniel Hurst gave layers of depth to Noah and Adam, the products of an emotionally absent father. Rus hinted at possibly breaking the parental cycle until he knocked up his girlfriend, while Hurst sank deeper into depression and began to self-harm with tragic results.

Peter Pinne

Director Bridget Balodis’ insightful direction and her cast, who clearly ‘get the point’, bring out Morgan Rose’s irony and absurdity and deliver both with precision. Writing and performance are sympathetic, non-judgemental, but never maudlin or sentimental. By the end, we realise this family is ‘normal’. As families go, this one is happy enough.

Or as good as it gets. They’re together; and in their way, they love and support each other - ‘a haven in a heartless world’.

Michael Brindley Time Stands Still

By Donald Margulies. ECLIPSE Productions. TAP Gallery, Surry Hills. Nov 1 - 25.

SARAH is a photographic journalist committed to bringing the atrocities of war and disasters to the attention of the world. James, her partner, writes about them. He is recovering from a breakdown following one of those disasters. She is recovering from injuries after a bomb attack. With Sarah safely home, James is beginning to reassess the instability of their situation By setting the play in the narrow Tap Gallery, with the audience incredibly close to the action, director Claudia Barrie makes the characters, and their issues, even more confronting. Every movement, every reaction is carefully considered in relation to the restrictions of the space.

Eva Seymour in desert, 6.29pm.

Photo: Teresa Noble.

desert, 6.29pm

By Morgan Rose. Dramaturg Tom Healy. Developed through Red Stitch’s INK new playwriting program. Red Stitch, Actors’ Theatre (Vic). Nov 14 - Dec 14.

RICO belts out a song into the ‘microphone’ of his garden hose. Tired Crystal lapses into a sexual fantasy… until her prickly, depressed daughter Xan walks in. When son Jamie arrives, he’ll turn out to live in his own world too.

In Morgan Rose’s sharply observed play, characters talk past each other. The banal verges on the absurd - and it’s funny but sad. Xan (Eva Seymour in a pitch perfect performance) has finished school, has a boring job, is depressed, irritable, judgemental - but nursing a secret hurt she dare not share. Her parents Crystal (Sarah Sutherland) and Rico (Joe Petruzzi) live in a believable blinkered numbness borne of habit.

Son Jamie (Darcy Kent) makes a ham-fisted attempt to define an identity distinct from this family where no one is all that interested in any one else. He’s assertive (i.e. tactless) and in a relationship with a matter-of-fact older woman, single mother Abby (Ella Caldwell, repressing her usual warmth) - sexual and not much else.

Via Romanie Harper’s clever design, we observe this ‘normal’ family through the frames of a 1960s picture window that separates us from their living-dining area.

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

Stage Whispers 61

Marta Dusseldorp in Scenes From A Marriage.

Photo: Rob Maccol.

Emily J Stewart epitomises the mental strength and resilience of Sarah. Her leg braced, one arm manipulating a crutch, the other in a sling, her face a mass of stitches, Stewart establishes Sarah’s independence in taut reactions and tight pauses.

James, played by Matt Minto, has been shattered - and sobered - by their latest experiences. Minto creates a James who is strong, intelligent and understanding but still vulnerable.

The tension is relaxed in the scenes with their long-time friend and editor, Richard, played by Terry Serio, and his new, much younger girlfriend, Mandy, played with charming naivety by Laura Djanegara.

Locked in by such a small and unconventional space, these four actors bring Donald Margulies’ complex characters and their moral conflicts into close, stark reality.

Carol Wimmer

Divorce lawyer Marianne (Marta Dusseldorp) and neurologist Johan (Ben Winspear) are first seen being interviewed by a women’s magazine journalist about their happy and enduring marriage. Johan’s facetious and patronising put-downs clearly irritate Marianne, who tries to put a positive spin on their coupling for the article. What follows is a series of “scenes” that show all is not well in the Garden of Eden, until his out-of-the-blue outburst late in Act 1 that he has fallen in love with a 23-year old and is leaving for Paris in the morning.

Johan’s callousness towards their marriage and their children is suck-in-your-breath-with-horror blunt. It’s brutally realistic and Winspear is brilliant in portraying the narcissistic Johan. He plays smug conceit with such an attractive allure you almost forgive him for his raw brutality.

Opposite him as Marianne, real-life wife Dusseldorp was a perfect match; a woman frustrated and ambivalent about marriage, especially when pregnancy rears its head again, whose disintegration is palpable when she discovers her Scenes From A Marriage

By Joanna Murray-Smith. Queensland Theatre. Director: marriage is crumbling. A powerhouse on-stage, their Paige Rattray. Playhouse, QPAC. Nov 11 - Dec 3. coupling as Marianne and Johan brought the most honest INGMAR Bergman’s television mini-series Scenes from a and intimate performances of the year.

Marriage was said to have been the cause of almost Christen O’Leary and Hugh Parker were excellent as best doubling the Scandanavian divorce rates after it was shown friends Katrina and Peter, whose toxic relationship killed the dinner party vibe, whilst Loani Arman attacked her in 1973. Over 40-years later his vivid dissection of an emotionally barren and corrosive marriage still packs a journalistic mission with zeal. Paige Rattray’s sharply powerful punch. This stage adaptation by Joanna Murrayobserved direction did Murray-Smith proud. Scenes from a Smith, the first in Australia, springs from a 2011 Belgrade, Marriage never lets us off the hook. It’s confronting, Coventry production directed by Trevor Nunn. emotionally challenging and a must see.

Peter Pinne 62 Stage Whispers

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

Bogga

By Rob Pensalfini. Queensland Shakespeare Ensemble.

Directed by Rebecca Murphy. Geoffrey Rush Drama Studio, University of Queensland. Nov 8 - 18.

BOGGA, a new piece of theatre from Rob Pensalfini and historian Chris Dawson, is both drama and documentary.

It works because it doesn’t judge. It takes a series of indepth oral histories from prisoners and officers and with a cast of five turns their recollections into the story of Boggo Road Gaol.

The play opens with chaos and confusion and archival 4ZZZ radio bulletins of the infamous 1983 riot. From the riot, Pensalfini delves behind the headlines of the 70s and 80s and into the private lives of those who lived or worked at Bogga.

The ensemble cast: James Elliott, Ellen Hardisty, Paige Poulier, Johancee Theron and Chris Vaag are consumed by these real people as they tell their stories. There is grace in some, the stench of death in others, genius and madness combined, ingenuity, a fear of darkness, the distress caused by a whistling kettle.

For an ensemble well versed in the iambic pentameter of Shakespeare, it has found its own rhythm in the language of Bogga (there’s even a Bogga slang section in the program so you can brush up on your gaol talk too).

However the Queensland Shakespeare Ensemble has a long history of working with inmates through Shakespeare to bring about positive change, so it was never going to have a problem with language.

Debra Bela She Rode Horses Like The Stock Exchange

By Amelia Roper. Kings Cross Theatre. Oct 20 - Nov 11.

SET in Connecticut in the lead-up to the GFC, social and political implications hover, like predatory gouls, above four characters, who, fueled by the affluence of the first few years of the new century, have achieved ‘big things’ but are now beginning to face the crumbling values of the ‘American Dream’.

For Amy (Matilda Ridgway) and Henry (Tom Anson Mesker) this is their “Sunday, fun day” in the park, away from Amy’s bank and Henry’s work as a nurse. Amy is bright, ambitious, hitting hard against the financial glass ceiling. Henry is more gentle and sensitive. Amy has just bought a ‘very big house’ … in Henry’s name.

How they and director Nell Ranney ‘articulate’ this situation creates the humour. In short sentences, sustained pauses and raised eyebrows, Britton and Anson Mesker sustain moments of tension that are realistic and, at times, incredibly funny.

Acquaintances Sara (Nikki Britton) and Max (Dorje Swallow) arrive. She, laden with shopping bags, wears a formal dress and a fur jacket. He wears a suit and tie. Max has just lost his job and ruined the bank he headed. They have had to sell their ‘very big house’.

Britton is awkwardly believable as Sara, as she struggles to maintain some semblance of dignity. Swallow’s Max is exasperatingly pompous, making his gradual loss of pride and self-respect more convincing. Henry tries desperately to

sustain some normality in the encounter – especially once the telegraphed, but sadly amusing, anticlimax of the situation occurs.

Carol Wimmer Jeremy And Lucas Buy A F**king House

By Natesha Somasundaram. Directed by Natesha Somasundaram & Sarah Branton. La Mama Explorations. La Mama Courthouse, VIC. Nov 14 - 16.

THIS cracking forty-five-minute black comedy twohander tackles some contemporary ‘issues’: masculinity, uncertain, exploitative and unstable employment, shattered dreams and the way Millennials and Gen Y are locked out of the housing market. The ‘house’ Jeremy and Lucas buy is represented by a rectangle of Astroturf and a pot for a loo.

A key prop is a larger-than-life cut-out of John Wayne, whom Lucas (Edan Goodall) insists was his father - which, in a threadbare zeitgeist kind of way is true.

So much the worse for Lucas - and for Jeremy (played by Ms Somasundaram herself). There is no way Lucas can live up to ‘John Wayne’. Was there ever? Jeremy doesn’t even try: he’s a sort of sexually ambiguous, Harpo Marx, idunleashed figure in ‘sports gear’.

That said, it’s a show held together more by energy and exuberance - both performers show great presence and attack - than any coherent form. There are black-outs

She Rode Horses Like The Stock Exchange.

Photo: Clare Hawley.

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

Stage Whispers 63

between bits and the way director/stage manager Sarah Branton, deadpan, hands the performers props and takes them back again is inspired and funny, but emphasises the fragmentary nature of proceedings. That said, the satire is sharp and Ms Somasunderam’s writing is extreme, frenetic and surprising.

The opening night audience, mostly made up of those Millennials and Gen Y, got it. The laughter was grim but it was certainly there.

Michael Brindley We Love Arabs Written & performed by Hillel Kogan with Adi Boutrous.

Batsheva Dance Company of Israel. Melbourne Festival. The Coopers Malthouse Beckett Theatre. Oct 18 - 22.

WE Love Arabs is a dance-comedy-drama show, rich in allegory and irony, about those awkward neighbours, the Israelis and the Palestinians. ‘We’ is the Israelis - liberal Israelis who love Arabs and yet know little about them. In Israeli Hillel Kogan’s version of the state of things, ‘Arabs’ are ‘the Other’.

Dancer and choreographer Kogan explains that he wants to create an art work, on or about this topic of Israeli and Arab, but in dance, in movement, ‘without text’. He’s philosophical, solemn, qualifying, contradicting - and with

Online extras!

Check out a clip from We Love Arabs by scanning the QR code or visiting https://youtu.be/zy_mYpHah1I

We Love Arabs.

Photo: Maria Grazia.

64 Stage Whispers

a plethora of very precise (but meaningless) hand gestures.

To realise his concept, he has engaged an Arab dancer, Adi Boutrous. They will dance together. Throughout the show, Mr Boutrous - or his character, ‘the Arab’ - remains expressionless and answers only in monosyllables. He can, nevertheless, dance extremely well - perhaps too well, too inventively for the choreographer. Mr Boutrous listens, then performs as instructed, but goes too far - and has to be stopped.

The piece develops in stops and starts, and the movements and configurations of the two dancers’ bodies suggest the history and the politics of Palestine and Israel.

The implications of the final dance moves are blackly comic and - when you stop laughing - could be quite depressing.

We Love Arabs depicts a sadly fixed, immutable position; it is sharp and pointed satire, not just on the politics, but on the way reality can be disguised and evaded by being rendered into ‘Art’.

Michael Brindley Flaws And All Music & Lyrics: Lucas D. Lynch. Book & Lyrics: Angela Monteagle. Angela Monteagle Production. Director/ Choreographer: Maureen Bowra. Orchestrations & Musical Director: Lucas D. Lynch. Princess Theatre, Brisbane. Nov 11.

FLAWS and All - the Musical is a dichotomy - a new Australian musical played with American accents, yet there’s nothing intrinsically American about the concept the unrealistic dating expectations of modern women.

Written as a fairytale, there’s a Prince, a Fairy Godmother, a temptress, and a bevy of six girls who represent every facet of a woman. It’s a fun idea with an off-Broadway sounding score and the cast give committed performances.

Despite a few uncertain notes, Jesse Ainsworth was a handsome pony-tailed Prince, the guy any mother would want for a son-in-law. Asabi Goodman’s rich soul vocal sounds were a plus for the Fairy Godmother, who delivered the show’s audience pleaser “Bulls**t”, a song that built laughter by repeating the title ad-infinitum.

Bitchy put-downs were the order of the day for Lauren O’Neill’s Temptress, which she delivered with razor-sharp precision. Demi Phillips impressed as the clever girl, a corporate ball-buster who had learnt how to parry with the boys, while Elen Tuffley’s simple girl was the one you would want to take home to meet mum.

Composer Lucas D. Lynch’s orchestrations were the best thing about the production. Scored for 6 instruments including harp, and with Lynch on keyboard 1, the sound had texture, was big and totally musically satisfying.

Flaws and All is flawed, but it does hide some good ideas. Maybe the next production will see them bloom.

Peter Pinne Lonely People Are Always Up In The Middle of the Night Written and directed by Hila Ben Gera. La Mama Explorations. La Mama Courthouse, VIC. Nov 18 - 20.

SIX young actors give us six lonely people in a series of linked two-hander scenes. Some are funny in a ‘that’s so true’ sort of way, some sad and awkward, a couple outstay

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

Night Slows Down.

Photo: Ross Waldron.

their welcome. Mobile phones are central: as somebody said, we have the easiest, fastest means of communication ever… but not much to communicate. This is demonstrated when a couple (Niamh Hassett and Mark Silvestro) meet on Tindr and text each other… until he uses his phone to speak. Her reaction is panic.

What we see is an unwillingness to communicate - as if any connection were too scary, too risky or simply too demanding. After great sex, two guys (David Geddes and Alex Roe) can’t get away from each other quick enough. A prostitute (Kate Bayley), desperate for clients - or is it connection? - drops into a cinema and outrageously tries to pick up a man for whom she is no competition for the movie.

Writer/director Hila Ben Gara’s direction of her cast and her use of the virtually bare stage is smooth and assured.

She does inventive things with nothing but chairs, some clever lighting from Shane Grant and a convincing soundscape from Joshua Trappett. Kate Bayley is a true clown, segueing from loony excess to pathos. David Geddes has a relaxed naturalism that’s completely convincing. Alex Roe can be over-the-top or a needy gay guy, or a waiter who finds a cheeky way help his work mate (Ms Hassett).

Mark Silvestro can be a goofy guy in a beanie, but also the spurned lover who tries to make amends, while Ms Hassett is perky but vulnerable.

Laughter from the packed house was sporadic with as many winces of recognition as there were guffaws at the snappy one-liners.

Michael Brindley

Night Slows Down

By Phillip James Rouse. Produced by Don’t Look Away Theatre Co and bAKEHOUSE Theatre Co. Director: Phillip James Rouse. Kings Cross Theatre, Sydney. Nov 17 - Dec 9.

HERE’S a play about the drowning of a capital city via Global Warming hurricanes, the mass shooting of workers and the end of civilisation as we know it. It runs for 75 minutes and has but three characters, one of which is in custody (‘arrested and detained pending further investigation’) for most of the action. This is a first play from excellent director Phillip James Rouse so let’s forgive him his Orwellian excesses. It’s pretty good.

Sharon (Danielle King) is in love with Martin (Johnny Nasser) but her rascally brother Seth (Andre de Vanny) is violently opposed because Martin is from Lebanon. This would be too bad except that Seth, in a T-shirt that proclaims ‘FOR THE FUTURE’, is highly ranked in the movement about to take over the city. In a wink he is suited up and getting Sharon, who knows a thing or two about drains under cities, a government job as Head of Civil Infrastructure.

This is easier to accept as a play than in encapsulated form and the three actors go at their roles with a will. It’s well directed, Sharon and Seth have a tremendous fight towards the end, and the world ends (Beware Trumpian Leadership). Particularly impressive is Danielle King as the unfortunately named Sharon.

Phillip James Rouse runs a tight ship and does the Sound Design as well - in this case a quite brilliant array of noises that blend seamlessly with the action.

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

Stage Whispers 65

Dog Show.

Photo: Sarah Walker.

The two-sided design, a feature of the Kings Cross Theatre, is by Anna Gardiner and Martelle Hunt. It’s not their fault that I got a well-lit view of the couple in the opposing front row fondling while Rome (or wherever) burnt.

Frank Hatherley Dog Show Created & directed by Cassandra Fumi. Co-created & performed by Simone French, Tom Halls and Alex Roe. Cocreated & dramaturgy by Alice Fitzgerald. La Mama Explorations. La Mama Courthouse, Vic. Nov 26 - 28.

IT’s difficult to say much about this show without spoiling its surprises. There is a drum-kit drummer (Alex Roper) and she is very, very good at creating excitement, punctuating the action and at times improvising along with it. The show begins with a trumpet fanfare of sorts, played

by Simone French. Tom Halls and Alex Roe provide the incrowd chit-chat commentary you might hear from the PA at a dog show (or any show involving livestock, possibly including humans).

After a cheesy dance number, the ‘dog show’ begins.

There’s Chi-Chi, the Chihuahua (Ms French), in pink, with a cute bow, her owner (Ms French) wheedling, bowing and scraping to scale. Alfonse, the Poodle (Mr Halls), with his clouds of hair, neat little moustache, and prancing conceit is sort of Gallic, his owner (Mr Halls) a fellow who’s in terror of losing control of his wilful beast. And Darby (Mr Roe), the Whippet, all sleek and sexy, but bendy-spined and big66 Stage Whispers

eyed timid and apologetic, his owner (Mr Roe) in a state of sentimental disappointment. And then it’s on to the Big One, the Be-All-and-End-All: Best in Show. There can only be one winner.

Cassandra Fumi and her wonderful team seem to say that, in essence, we are all dogs - dependent, on show, eager to please; we know some will win, others - most will lose, and that Life itself is a (Dog) Show.

A second dance number, in which each performer is even more desperate to impress and be loved rounds out this highly original, gentle but pointed satire that holds the audience transfixed and laughing all the way. The trumpet plays them off.

Michael Brindley Asylum

By Ruth Fingret. Brave New Word Theatre. Comber Street Studios Paddington. Nov 15 - 25.

TUCKED inside a narrow gallery, the audience is pinned to the stark white wall as the drama unfolds so close you can reach and touch it.

When one of the characters stomped on a can it rebounded into a spectator’s leg.

The narrow confines was a brilliant setting for intersecting interrogations. You felt on edge waiting for some heads to be cracked.

Craig (David Woodland) is an immigration officer questioning Hajir (Eli Saad) about his application for asylum in Australia.

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At the same time Police Constable Catherine (Hannah Raven) is interrogating Jason (Joshua McElroy) about an armed robbery.

Craig has a double dose of stress as he is the father of Jason and also has a troubled wife Vicky (Katherine Shearer) to handle.

Both interviewees struggle to tell the complete truth and the tension rises to boiling point.

The drama reaches a crescendo when Hajir turns the table on the immigration officer, sensing his own turmoil at home.

Director Richard Hilliar deftly plays the intersecting characters off each other as writer Ruth Fingret draws parallels between the two scenarios.

The stand out performer was Jason McElroy as the troubled, snarling son. His portrayal was electric.

Asylum is a powerful and emotional night of theatre.

David Spicer Breadcrumbs Devised & performed by Ruby Johnston & Benjamin Nichol.

Poppy Seed Theatre Festival. Meat Market Stables, North Melbourne. Nov 21 - Dec 2.

RUBY Johnston and Benjamin Nichol shift the familiar Hansel and Gretel fairy tale into different territory and a different time. Are they lost? Or fleeing something - or someone? It’s ambiguous - although Gretel is laying a trail of bread crumbs…

She’s strong, rational and resentfully responsible for her brother. He eats the breadcrumbs. He’s feckless, whiney, happily dependent on his sister - and unaware of what they might be fleeing. At the gingerbread house, Hansel is seduced, but Gretel is waiting for a Handsome Prince - that myth undercuts her strength and independence. Beware of what you dream of. Handsome Prince is also a man.

Happily ever after? Not at all what the play has to say.

Ruby Johnston looks exactly like a fairy tale heroine, but also strong, grumpy, troubled and temporarily romantic.

Benjamin Nichol, meanwhile, is that irritating, unlikeable Hansel, but also the suave and over-confident Prince.

The playing space is elegantly and suggestively designed

by Joseph Noonan: the gingerbread house is a miniature, inside a clear Perspex box - which later is Snow White’s glass coffin. Internally lit frames, embedded in the stage, lift to become ladders, columns, shelter or a grave. Rachel Lee’s lighting meets the challenge of the stage being open on both sides. Sidney Miller’s sound design is both subtle and witty.

Breadcrumbs knows what it is about and it says it with clarity.

Michael Brindley

Based on the novel by John Ajvide Lindqvist and adapted for the stage by Jack Thorne, it tells of school-boy Oskar, lonely and bullied, who meets Eli, a mysterious, scruffy teenage girl. The two form a friendship as local police attempt to solve a series of murders.

Bruce McKinven’s set was a cold, three-story apartment block, lacking warmth and history. Richard Vabre’s lighting was dark and brutal and Rachael Dease’s sound design was, at times, isolating and disturbing.

Ian Michael embodied the awkward protagonist in a loveable, moving performance. Sophia Forrest was fascinating as complex, highly nuanced Eli, who moves at quicksilver speed. The two worked well together and worked hard - rarely offstage in this episodic play.

Great support from the ensemble cast, playing multiple, diverse roles. Stuart Halusz was excellent as a sympathetic Phys Ed teacher and determined police officer, Rory O’Keefe was vastly different as bully Johnny and Oskar’s father’s ‘friend’ Janne, Clarence Ryan was a menacing Micke, Steve Turner was convincing as Hakan, Alison Van Reeken made a beautifully flawed mother and Maitland Schnaars was chameleon-like in six different roles.

A better blood-lust story than Twilight, this show appealed to a different demographic than Black Swan’s usual audiences.

Kimberley Shaw Sophia Forrest in Let The Right One In. Photo: Daniel J Grant.

Let The Right One In

By John Ajvide Lindqvist, adapted by Jack Thorne. Black Swan State Theatre Company. Directed by Clare Watson.

Heath Ledger Theatre, State Theatre Centre of WA. Nov 11 - Dec 3 BLACK Swan has created a dark incarnation of Let the Right One In. Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 67

The Yellow Wallpaper Text by Charlotte Gilman Perkins. Adapted & devised by Laurence Strangio with Annie Thorold. Directed by Laurence Strangio. La Mama Explorations. La Mama Courthouse, Carlton VIC. Nov 6 - 8.

A MARRIED woman with post-natal depression is confined to an upstairs room with yellow wallpaper. Her emotions are belittled, condescended to, and presented back to her as ‘comforting’ and benign clichés. She must be separated from her baby as he seems only to distress her…

In other words, her reality is denied.

So, she slips into her own reality. She sees another woman, trapped in the pattern in the wallpaper, struggling to break out. Only our woman can see her, can free her…

Director Laurence Strangio and performer Annie Thorold bring this to life in inventive ways. Ms Thorold, in late 19th century costume, is alone on stage. The bulk of the text is pre-recorded: we hear a voice that is cool, calm and matter of fact. But as the woman is more and more in the grip of her delusion, the effect is both eerie and terribly sad.

At times Ms Thorold speaks briefly in sync with the recorded narrator. Occasionally, she speaks directly to the audience. She moves fluidly about a stage completely bare except for a table. Her lithe body, expressive face and large eyes make her character’s predicament the more disturbing.

We imagine her husband John - a solicitous, always smiling fellow - and we come to hate him.

The changes in time and mood are more than ably represented by Georgia Rann’s excellent lighting: fluid, subtle, never abrupt and redolent with meaning.

The basis for this intriguing adaptation and interpretation is an autobiographical text by Charlotte Gilman Perkins written in 1890. Mr Strangio says it is still in development, but a test run with an audience is the rationale of La Mama’s Explorations season.

Michael Brindley

Kane Kaiser and Dominic Lacey doing a brisk tap dance to accompany their Singin’ in the Rain, and Juliette Coates and Georgia Taylor as her mother talking about their relationship in Slipping Through My Fingers.

The other performers - Peter Bird, Maddison Clarke, Brent Hanson, Georgia Hicks-Jones, Brooke Littlewood, Madison Mitchell, Rory Pollock, Jonathon Rae, John Thomas, William Swadling - moved adeptly to the musical direction of Kieran Norman and choreography of Kiani Sansom across Chris Bird’s set that included features such as a pub and a railway station, with Littlewood amusingly playing characters including a waitress, bouncer and station assistant who put in place signs and posters that helped to show changes in time and place. And given the function that footy games played in the story, it wasn’t surprising that one of the lively songs shared by the guys and gals was Short Shorts.

Ken Longworth

The Fix

By Dez Robertson. Knock and Run. Royal Exchange, Newcastle. Oct 25 - 28.

DEZ Robertson’s dark comedy The Fix showed just how engaging a work that has just two people talking for an hour on a tall building’s rooftop can be. Audience members laughed, smiled and were sometimes open-mouthed as revelations were made about the men’s backgrounds, lifestyles and needs.

The story began with two men arriving at virtually the same time on the rooftop. The suit-wearing lawyer (played

by Tony Gluck) clearly was experiencing problems as he prepared to jump from the roof, while the joke-delivering man in uniform-style garb (Timothy Blundell) made no secret of the fact that, as a security guard, he had to sneak away from his job to smoke a cigarette or two. And when the guard was isolated on the roof by a door automatically locking after a certain time, the pair began conversing, with Roman & Jules the guard trying to dissuade the troubled man from

By Meri Bird. Theatre on Brunker, Adamstown (Newcastle). suiciding.

Nov 3 - 25.

Robertson, who also directed, made the men’s WRITER and director Meri Bird’s reworking of the classic situations very believable. Their difficulties had grown over Romeo and Juliet story as a contemporary musical was an the years, as they tried to handle the sleight-of-hand of engaging entertainment, with the nature of the characters relatives, friends and workmates. But they weren’t beyond and developments in their relationships told largely through laughing, with the guard cracking jokes about his passion the delivery of 26 songs that are linked by just a few words for tobacco, referring to it as “nicolcraven”, and trying to of dialogue. dissuade the lawyer from experiencing “gravity”. Gluck and The songs, all well-known numbers, include a charming Blundell were very real people, and those watching could When You Tell Me That You Love Me, which had Liam sympathise with their feelings, as they waited to see Bird’s Roman and Juliette Coates’ Jules revealing their whether the two could fix the problems they revealed in affection for each other after Wollongong-based Roman is their initially reluctant discussion. attracted to Jules when seeing her while he and other Gong The projected colourful urban landscape helped to youths are partying in Newcastle following a footy game establish the height of the building. And, given the strength there. His feelings lead to the Gongers making repeated of the performances and direction, it wasn’t surprising to weekend trips to Newy, with other pairs also being learn that most of the rehearsals took place on top of a attracted. The results of those attractions and the reactions multi-storey CBD building. of other members of the two groups to them offered a mix Ken Longworth of charm, smiles and sadness. The 15 cast members, aged 17 to 32, were accomplished performers, with Liam Bird, 68 Stage Whispers

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Online extras!

Watch the trailer for Eddie Perfect’s Vivid White by scanning the QR code or visiting https://youtu.be/1ZRccmFBwA4

Vivid White.

Photo: Jeff Busby.

Vivid White

By Eddie Perfect. Melbourne Theatre Company. Southbank Theatre, The Sumner. Nov 18 - Dec 23.

EDDIE Perfect’s musical is a muted satire on the obsession with ‘owning your own home’. Evan (Ben Mingay) and Cynthia (Christina O’Neil), and old mates Ben (Brent Hill) and Liz (Verity Hunt-Ballard) want to get into the property market. Liz because a voice in her head called Güüs (Virginia Gay) makes her ashamed to be a renter. Both couples find and want the same house. Evan and Cynthia, determined to win, employ ruthless buyer’s advocate Brenda (Virginia Gay again) to bid for them and…

Keegan Joyce is hugely entertaining as the auctioneer, all too close to the real thing, and there are brilliant turns from Gillian Cosgriff as Evan’s airhead secretary, as a ‘colour consultant’ for Evan and Cynthia’s renovation (‘vivid white’ is a whiter-than-white-white) and Evan and Cynthia’s onearmed maid/hostage.

Director Dean Bryant relies on colour and movement, keeping up a hectic pace and pushing his cast into broad performances in an increasingly dystopian future. The songs are upbeat but cynical - although you won’t be humming any tunes on the way home - and the cast take part as both singers and musicians. Ross Graham’s lighting and Owen Phillips’ design are impressively inventive, creating reveal after reveal.

Indeed, Vivid White gets an extravaganza production, but the deus ex machina nature of the climax undercuts the ‘satire’. If we are already controlled by Güüs, the show

doesn’t come close to answering why we have this real estate obsession - it’s all about the fact that we do.

Nevertheless, the opening night audience gave it a standing ovation, evidently undisturbed.

Michael Brindley Obsession Written and Directed by Kellie Silver. Javeenbah Theatre, Nerang, Gold Coast. Nov 17 - Dec 2.

OBSESSION is the creation of local playwright Kellie Silver - an interesting story, full of twists and intrigue and an old violin.

A young married couple move into a house that has been in the family for a very long time. The previous occupant was the wife’s grandfather and it’s very much a “fixer upper”.

As the young couple, Lily (Francesca Spear) and Tom (Adam Hellier), set about restoring the property to its former glory, they are constantly interrupted by both their mothers Helen (Virginia Lever) and Fiona (Linda Furse), who don’t really get along, and Tom’s dad Brian (Bob Allen).

With a wonderfully dilapidated set, complete with faulty plumbing and wiring and temporary furniture, the couple endeavour to renovate amid the chaos of all the abovementioned problems.

Kellie’s play is full of mirth and surprises and works well on the Javeenbah stage. The technical support is effective.

Roger McKenzie

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Stage Whispers 69

Reviews: Plays

Merciless Gods.

Photo: Sarah Walker.

Merciless Gods Short stories by Christos Tsiolkas, adapted to the stage by Dan Giovannoni. Little Ones Theatre / Griffin Independent.

SBW Stables Theatre. Nov 1 - 25.

MELBOURNE queer company Little Ones Theatre produces this adaptation of eight stories from a collection

by Christos Tsiolkas published in 2014. It’s a highly visceral and wrenching voyage though prisons, deathbeds, saunas and alleyways to cheap rent boys, drugs and porn.

Writer Dan Giovannoni doesn’t always translate the exposition of literature into living theatrical experience but, even then, Tsiolkas’ words still shock and grab us by the throats.

Merciless Gods begins with a compelling reunion of old university friends playing a drug-fuelled game of sharing their best revenge stories.

Merciless Gods leaps through many short stories but has most impact from its male voices. Standouts are a diminutive rent boy telling the tender story of his lover and fellow drug abuser. And as still as a Greek god, a prison inmate unloads the details of blood and shit in a revenge murder. As the petals fall, Tsiolkas’ world of dispossession and brutal homosexual love and pain is pure Genet.

The language is foul poetry and the sexual detail explicit.

Director Stephen Nicolazzo has assembled a diverse cast of fine actors, unmannered and unsentimental. Paul Blenheim, Peter Paltos, Charles Purcell, Sapidah Kian, Brigid Gallacher and especially Jennifer Vuletic bring an emotional immediacy, even to those odd stories left sagging under exposition.

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There’s lots of smoky atmosphere on Eugyenne Teh’s naked space, against a velvet red show curtain, lit colourfully by Katie Sfetkidis with background sound by Daniel Nixon.

Martin Portus Brideshead Revisited

By Evelyn Waugh. Adapted to the stage by Roger Parsley.

Directed by Rob Croser. Independent Theatre. Goodwood Theatre, Adelaide. Nov 17 - 25.

BRIDESHEAD is revisited upon us in the form of a stage version that seems certain to satisfy fans of the source material, though it may strike newcomers and/or agnostics as a period piece that does not quite break out of its time or place to become as relevant for modern viewers as it would like to be.

With a running time of approximately two-and-threequarter hours (minus interval), this production stands as a gallant try at covering as many of the novel’s people and places as possible in the time (and with the means) available. It never gets bogged down; indeed, it fairly zips by - but you may find yourself wishing there was the opportunity to get to know these characters and their lives (both social and interior) in greater depth than what is offered here.

Those (including this reviewer) who have not been either raised in or converted to the Catholic Church might find difficulty in getting fully on board with certain aspects of Evelyn Waugh’s story and the feelings that his characters express or struggle with. That being said, the generally very-

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high standard of ensemble acting makes it mostly a pleasure to try.

The high-grade production values, combined with accomplished acting, mean that - regardless of one’s personal connection to the text of Brideshead Revisited there is enough quality here, to look at and listen to, for almost anyone to appreciate.

Anthony Vawser In-Laws, Outlaws And Other People (That Should Be Shot) Written by Steve Franco. Directed by Erik Strauts.

Blackwood Players Inc. Blackwood Memorial Hall. Nov 3 18.

WHEN the pair of performers to open a show (the consistently excellent Jarrod Chave and Annie Gladdis) have timing, energy, chemistry - plus impressive enunciation - it’s a good sign you’re in for a winner. As more and more of this large cast file in and fill the stage, the fun increases, and the experience evolves into a warm, gentle, amusing look at the way that families - American or otherwise often behave at Christmas time.

The actors, by and large, happily manage to locate the ideal balance between sympathy and caricature, which gets us on side with them and caring about the outcome of the play.

Credit is definitely due to the direction of Erik Strauts, who orchestrates the action with expertise, and manages to keep our interest even as the script’s momentum starts to stall on a couple of occasions.

By the second act - despite a noticeable number of wobbly or missing U.S. accents - the people on stage actually start to feel not only like a believable family, but one that you really wouldn’t mind taking you in for the festive season.

Anthony Vawser Present Laughter

By Noël Coward. The Mount Players. Directed by Andrew Meldrum. Nov 17 - Dec 3.

THIS production is spiced with moments of real theatre magic.

Famous charismatic actor Garry Essendine is gearing up to do an African tour. The complications are intrinsic to his relationships, lifestyle and the business of Theatre production. It is a comedy of manners teetering on farce.

The set is handsomely realized (Marg Muehlheim/ Andrew Meldrum) as an art deco apartment with depth and style. Costumes (Julie Baldwyn) very often work in lovely sync with the colours of the set.

All actors take to their parts aplomb and serve the production skillfully. Serah Nathan brings us a lovely, lively Daphne Stillington. Tim Allan as Roland Maule conveys energetic wackiness and is most entertaining. Alan Stone as Fred, Essendine’s manservant, conveys appropriate ironic awareness and even dances a lick. Margaret Muehlheim’s Miss Erikson is fascinating, particularly in her exit scene.

Cherry Servis as Monica is marvellously straight laced.

But it is Michael Treloar and Justine Press who really wow the audience.

Mr. Treloar plays the acerbic, cynical, sarcastic, over wrought Garry Essendine - a parody of Coward himself. This is a fabulous role for him and he excels in it.

Justine Press as Joanna Lyppiatt is a joy to watch. She embraces the style and time of the piece, with perfect diction and exemplary timing.

Andrew Meldrum as director oversees a well paced and beautifully flowing production. He is to be complemented on this and his excellent casting.

Very classy!

Suzanne Sandow Stepping Out

By Richard Harris. Directed by Geoffrey Leeder. Koorliny Arts Centre, Kwinana, WA. Nov 10 - 25.

IN this fabulous, joyful production, a wonderful collection of characters come to life, in a well-directed show with outstanding production values.

Koorliny’s incarnation of this show works particularly well because the characters are so expertly created. Teacher Mavis is played by Hannah Harn - a wonderful choice for the role. Lone male Geoffrey is gloriously awkward in the hands (and feet) of David Gardette. Rachel Monamy is excellent as Maxine, while Jenny Lawrence is lovely as gentle Dorothy.

Anita Telkamp brings spunk to beautiful, boganish Sylvia, Casey Edwards wins sympathy as Andy, and Stacey Hollings is sweet as Lynne. Lucy Eyre is funny as unlikeable pianist Mrs Fraser.

The experienced Claire Matthews makes her Australian debut as Vera - a very welcome transplant. Nontuthuzelo Mqwati made an impressive theatrical debut as Rose.

Choreographer Allen Blachford led the cast through both clever collisions and some solid tapping.

Director Geoffrey Leeder designed an open and functional set, well lit by Alex Coutts-Smith. Most of the music was (reluctantly) provided in character by Lucy Eyre.

One of my favourite shows of 2017.

Kimberley Shaw The Factory Girls

By Frank McGuinness. Irish Theatre Players. Directed by Ryan Taafe. The Irish Club, Subiaco, WA. Nov 11 - 25.

THE Irish Theatre Players presented this ensemble play in the lovely community atmosphere of the Irish Club, with some of the warmest front of house anywhere.

Set in County Donegal, the play tells of women at a shirt factory whose jobs are under threat. The distinctive Donegal accents were well implemented by both Irish and Australian cast members - although tuning into the dialogue was a little difficult over noisy air conditioning and noise from the bar.

The ladies formed a formidable team. Susan Lynch was impressive as team-leader Ellen, an ‘aged up’ Hilary Readings was lovely as Una, Shannon Murphy made a very likeable Rebecca and Caroline McDonnell was very convincing as working mother Vera. Rounding out the quintet was Delia Ward as sweet but sassy messenger girl Rosemary.

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Stage Whispers 71

Good support came from Ben Small as Union Rep Bonner and Jesse Watts as Manager Rohan, who made very brief appearances.

Claire Wynne created a realistic, shabby factory floor set, which converted well into the factory office during interval (apparently courtesy of the supporting actors - doing a lot more work than their characters). John Spurling handled both lighting and sound nicely, while Liz Quigley assembled simple but effective costumes.

The Factory Girls is a likeable ensemble piece with some really lovely roles for women. The production has been playing to large receptive audiences.

Kimberley Shaw Calendar Girls

By Tim Firth. Directed by Brenda White. New Farm Nash Theatre, Brisbane. Nov 17 - Dec 9.

THIS is an ideal time of the year for this play as we are being inundated with thousands of calendars from which to choose. Tim Firth’s Calendar Girls is based on the popular film where a Yorkshire women’s group pose nude for a calendar to help raise money to buy a settee for the local hospital.

Brenda White has directed a fluent, hilarious production that maintained a clarity and interaction to make this a very enjoyable evening at the theatre. After an initial nervous start the pace and clarity was spot on. Marion Jones, Carrie O’Rourke (playing the driving force behind the idea), Lindi Melbourne, Joanne Oliver, Caroline Mayfair and Fran Smith were convincing as the ladies being photographed. They were a team, displaying the changing moods, the doubts and the happiness of success. Brenda Keith-Walker gave one of her best performances as the doubting, reserved leader of the Institute. Bianca Reynolds brought the house down as the make-up artist. The smaller men’s roles were handled quite well by Chris Carroll, Gary Kliger, Mervyn Marriott and Tim Oxley. Debbie McKay played Lady Cravenshire.

Congratulations to Nash for giving the audience such a happy, enjoyable night at the theatre. Oh, I have one regret - I could not buy the calendar.

Bill Davies Much Ado About Nothing

By William Shakespeare. Villanova Players. Directed by Roslyn Johnson. Yeronga State High School, Annerley. Nov 3 - 19.

WHEN you go out for Italian but the fusion of a spicy Tex-Mex grabs your senses and pulls you in for a scandalous night of frivolity and belly laughs, you know you’ve just seen Much Ado About Nothing by the Villanova Players.

Roslyn Johnson has set the play on a ranch near the border of Texas and Mexico with overtones of spaghetti westerns, Zorro and F Troop evident throughout.

The mix of American and Mexican accents is carried comfortably by the cast. Vocal projection is more of a mixed bag, with some actors losing their lines while others are heard crystal clear.

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There are stand-out performances in this production and characters that demand nothing less. Most notable are Jason Nash and Louella Baldwin, who make a perfect match as the feisty lovers in denial. Matthew Hobbs takes his Shakespearean debut to hilarious heights as Dogberry, an overexposed Scottish Sheriff with a fetish for proper dictation.

Hannah Martin and Travis Jones play their lovestruck characters with sensitivity, as does Tom Coyle as Don Pedro, while matriarch, Leonata, is moulded into a Mexican Mama with a formidable performance by Liz Morris, who sees through the antics of Michael McNish’s devilish Don John.

It was Kristina Nosova in support roles, however, whose stage presence grew more prominent as the production went on.

She was good at slapstick but never overacted and had a world of character in every gesture.

Debra Bela The Lonesome West

By Martin McDonagh. Directed by Keiran Brice. Troop Productions. Judith Wright Centre of Contemporary Arts, Nov 8 - 18.

THE Lonesome West was one of the best plays I’ve seen all year. The tale centres around two bickering brothers living in bleak conditions in the west of Ireland. One is obsessed with his possessions and money. The other, with slowly destroying himself and his family. Their relationship with the local Catholic priest and a young lady who sells her da’s bootleg booze to them changes their lives.

It’s such a pleasure when you can give a glowing review to a cast and crew. Christopher Story as Coleman was fierce and captivating with excellent emotional range. Cameron Hurry as Velene took wonderful risks and used his vocal range to great comic effect. Derek Draper as Father Welsh had a beautiful fragility and sensitivity. Eva McGillivray as Girleen had a lovely energy and superb comic timing.

Direction by Keiran Brice was flawless. Georgia Greenhill’s design was amazingly detailed and well thought out. Dialect Coach Melissa Agnew had clearly put a lot of work into the cast’s accents, as they were on point. Fight scenes were well choreographed and the special effects with gunshots were nicely executed.

I’d urge anyone in the position to throw funding its way to get this show touring the country does so, so that more people can experience it in all its perfection.

Kiesten McCauley Three Sisters

By Anton Chekhov, adapted by Andrew Upton. Sydney Theatre Company. Director: Kip Williams The Drama Theatre, Sydney Theatre Company. Nov 6 - Dec 16.

THERE is much that is familiar about Andrew Upton’s reworking of Three Sisters at The Drama Theatre. Here are the sisters alright - Olga Prozorov (Alison Bell), at 28 the eldest, a provincial school teacher; Masha (Eryn Jean Norvill), short tempered, disappointed in marriage; Irina (Miranda Daughtry), youngest and desperate to return to Moscow and taste true freedom. But the time is Now, or

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

Three Sisters.

Photo: Brett Boardman.

thereabouts, not the 19th century. Duels can no longer be fought. The town’s garrison doesn’t march out of town to a jaunty band. They leave to the deafening rumble of jet planes, which is definitely more telling.

Upton’s version, directed to the hilt by Kip Williams, perfectly captures the Prozorov sisters’ yearning for escape and Chekhov’s portrait of the need for endurance in the face of dashed hopes.

Also on hand is Brandon McClelland as Andrei, their tubby brother, and his ring-in wife Natasha, played by Nikki Shiels, whose shiny jeans and two new babies deliver big trouble to the sisters.

The setting by Alice Babidge is controversial. 13 panels start as a mirrored wall before they are lit as part of the house, or to spectacularly show snow falling in the garden outside. For the last scene they, and everything else, rise into the flies, leaving a bleak, open Godot-like landscape.

The soundscape is also bleak. Constant noises (composed by The Sweats) accompany the action, and can be heard even during the interval, a new thing.

Frank Hatherley

frustration and boredom, the need for sex, for cigarettes, or just for something sweet.

Margorie or ‘Ma’ (Anna Della Rossa), serial offender, protects mentally disabled, dependent Lou (Ebony McGuire). Sandy (Andrea Solonge), in for drugs, and Kath (Sarah Clarke), a hooker and drug dealer, have nothing better to do than bicker and pick on hapless Lou. Ginny (Belinda Campbell), thin as a whip and just as vicious, joins in. A new inmate Helen (Kerry du Plessis) is about to join them.

Things get a real kick-along with the arrival of Diane aka ‘Boss’ (Jennifer Piper), a lifer and the alpha-female. But brains and the ability to manipulate win out and even a big fish in this foetid pond can be left with no allies and therefore with nothing.

Director Faran Martin makes the most of the tiny playing space, but her cast is uneven. Ebony McGuire is totally convincing if one note as the simple Lou, while Belinda Campbell’s Ginny is genuinely scary. Kerry du Plessis as Helen, the newbie, however, could add some variation to her characterisation: if she’s not fearful on her entrance, the character has nowhere to go.

Outside In Outside In is, like the television series Orange Is the New

By Hilary Beaton. Directed by Faran Martin. W i t (Women Black, a responsible, serious (but not as varied or funny) in Theatre). Bluestone Church Art Space, Footscray. Oct 20 - piece that strives to be real but which falls into melodrama Nov 4. and repetition. That’s the nature of the punishing life in HILARY Beaton’s characters are women in gaol and so prison: grim and grindingly a struggle to survive. her themes are perhaps unavoidably familiar: power Michael Brindley relations, alliances, injustice, dominance and dependence, Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 73

Leading Ladies.

Photo: David Ellis.

Leading Ladies

By Ken Ludwig. Mordialloc Theatre Company Inc. Shirley Burke Theatre, Parkdale. Nov 10 - 25.

TAKING place over a month in the Spring of 1952, Ken Ludwig’s American farce Leading Ladies revolves around two down on their luck British actors in York, Pennsylvania.

After reading about a dying heiress searching for long-lost English relatives, they decide to impersonate the men, only to discover that the missing nephews… are actually nieces.

The two men, who find themselves in deeper than they could have possibly imagined, are played by Bruce Hardie as Leo Clark (and Maxine) and Gaetano Santo as Jack Gable (and Stephanie). They worked well together, with terrific comic timing. Hardie’s fast-paced dual characterisation was exceptional.

The always-brilliant Juliet Hayday is hilarious as dying heiress Aunt Florence, taking every physical and vocal liberty the script allows.

Matthew Allen as Duncan Wolley is entirely suited to this style of comedy, excelling with his mannerisms and facial expressions as the Minister character, creating a character full of life, delivering sarcastic lines insulting ‘actors’ with utter sincerity.

Britni Leslie was perfectly cast as Meg Snider, Duncan’s fiancée. Her rendition of Viola during the rehearsals of her beloved play ‘Taming of the Shrew’ alongside Maxine/Leo, was beautifully recited and her intonation was impeccable.

Alexandria Avery was a delight as the ditzy Audrey, with a fantastic American accent.

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Act 1’s pace needed to quicken a bit, as it lacked the pick-up that Act 2 absolutely revelled in, moving along at a frantic, hysterical pace.

The completely unexpected tango, well executed, added to the over-the-top farcicality of Act 2.

Penelope Thomas Taking Steps

By Alan Ayckbourn. Ensemble Theatre, Sydney. Director: Mark Kilmurry. Nov 23 2017 - Jan 13 2018.

IF the prolific Alan Ayckbourn has indeed written 81 plays (see Wikipedia), Taking Steps is Play No. 24, crafted way back in 1979. What you have is a big, draughty house where the plumbing groans on three floors, and which Roland (Peter Kowitz), big in Buckets, wishes to purchase for dubious dancer/girlfriend Elizabeth (Christa Nicola).

At first glance, the set is just a pile of furniture jumbled inside a sort of racetrack, but gradually order is confirmed, with the front row of the audience pulling in their legs throughout to let the cast rush by. For ‘The Pines’ has its three floors - ground, bedrooms and attic - all staged as one, with the stairs between them mimed by the cast in prancing fashion.

Roland has invited his lawyer to supervise the sale but the lawyer, no doubt warned, has deputised Tristram (Drew Livingston) - a stammering, jittery soul - to do the deed.

Leslie (Andrew Tighe), his Yamaha motorbike in the front garden and his huge helmet in place, owns the house and now needs to desperately sell. The cast is completed by Mark (Simon London), the brother of Elizabeth, who sends

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everyone to sleep with woeful tales of his life; and Kitty (Emma Harvie), who camps in the attic and spends much of the play locked in a cupboard.

Mark Kilmurry’s production is uncertain how much it stays on the Ayckbourn path of Sad Comedy and how much it veers towards Farce. The actors who go for the comedy come out better, especially the jammering Tristram who ends up the big winner of this night of surprises.

Frank Hatherley Australia Day

By Jonathan Biggins. Canberra Repertory Society. Directed

by Cate Clelland. Theatre Three, Acton. Nov 16 - Dec 2.

CULTURE clashes, racism, political correctness, internal hypocrisy, political intrigue, farce and a truly horrific school band combine to make Canberra Rep’s Australia Day a hilarious experience. This Jonathan Biggins hit is set in the small country town of Coriole, where a committee is meeting to organise the 2013 Australia Day celebrations.

The first section takes place inside a community hall with the characters for the most part seated around one large table, until some dramatic tension is introduced right before the break. Combined with slightly off comic timing (first night nerves?) this made the first half drag a bit.

Luckily the pace picks up after interval, when events rapidly descend into a delicious farce where everything that can go wrong does, all accompanied by the aforementioned gloriously dreadful school band.

The characterisation is brilliant, particularly that of unabashed racist and cantankerous old bastard Wally (Neil McLeod, relishing the part), and new Greens counsellor Helen (Sarah Hull). Helen is naïve, self-righteous, sanctimonious, and yet not above playing dirty politics if she can see an advantage. As the play moves forward, all the characters move beyond their stereotypes to develop depth, allowing the audience to empathise with each, no matter how flawed or hypocritical.

Anyone who appreciates their humour sharp, dry and full of authentic Aussie bluster will love this show.

Cathy Bannister There Goes The Bride

By Ray Cooney & John Chapman. Centenary Theatre.

Director: Janine Francis. Nov 4 - 25.

THE premise of There Goes the Bride is a switch on the time-travel aspect of Mark Twain’s A Connecticut Yankee in King Arthur’s Court, coupled with Mary Chase’s hallucinatory Harvey, whereby an ad-executive gets a bonk on the head and wakes up with a 1920’s flapper by his side which only he can see.

It’s the morning of his daughter’s wedding, which creates chaos for everyone involved; the non-virgin bride, his pompous mother and forgetful father, his no-nonsense business partner, the groom’s millionaire Aussie father, and his harassed wife. With so many balls in the air, director Janine Francis does a sterling job keeping them all in play.

Michael Lawrence as Timothy, the advertising honcho whose latest campaign for a brassiere company materialises at his side, is marvellously farcical in the situation and

indulges in a mean spot of the Charleston with his newly acquired paramour. Melanie Pennisi is a ton of fun as the bimbo flapper Polly, who appeared to be Maisie straight out of The Boy Friend complete with fetching cloche-hat.

Rod Feisch (Gerald) made a meal of being sock-less, Lauren Thompson was perfect as the prone-to-tears bride Judy, whilst Brad Oliver’s delivery of Babcock with a broad ocker accent was a brilliant conceit.

Despite being written in 1974 the piece still stands up.

It’s a funny farce and this company do it justice.

Peter Pinne Birdcage Thursdays

By Sandra Fiona Long. Directed by Caitlin Dullard. fortyfivedownstairs, Melbourne. Nov 2 - 12.

THIS play addresses a confronting social issue with freshness and humour. The concept is endearing, with a very noble agenda. Helene (Genevieve Picot) is an elderly woman whose tendency for hoarding is placing her independent living at risk. Sophia Constantine plays both her pet cockatoo and her frustrated daughter, struggling to convince her mother that her hoarding is becoming unstainable. The author, Sandra Fiona Long, also acts as a playful narrator who highlights the often bizarre nature of the scenarios that are depicted.

The performances are striking and the delivery is often vibrant and energetic. However, the production requires more thinking about the detail of the debilitating nature of the condition under examination. Helene’s world appears too pristine to warrant the various negative assessments of her living conditions. Her pathology requires more delineation in order to justify the levels of exasperation her daughter expresses and the continuous threats to intervene.

The set design alludes to the weight and seriousness of the issue but the text demands more depth and scope. The poetry of the narration is rarely juxtaposed with the predominant structure of realism, and this results in making the tone and register of the performance unclear. There is a great deal of promise in this play but this production tends to rely on the charm and allure of the talented performers.

Patricia Di Risio The Jungle Book Adapted by Monica Flory, based on the stories of Rudyard Kipling. Playlovers (WA). Director: Sarah Christiner. Camelot Theatre, Mosman Park, WA. Oct 20 - Nov 4.

PLAYLOVERS presented this ensemble production, with a young cast, in the ‘borrowed’ Camelot Theatre.

A darkish interpretation of Rudyard Kipling’s classic story, the set included a multi-level tree to house a family of Kites, a convincing and practical wolf den, and top-notch projected backdrops. One section included some original animation by the director and Blake Jenkins.

Jamie Buttery played his first lead role, a picture-perfect Mowgli, showing integrity and a lovely centredness.

Younger Mowgli was portrayed by seven-year-old William Thomas - a good match to his older counterpart.

Admirable teamwork from older cast-members Josh Harris and David Heder as Mowgli’s mentors Baloo and

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Stage Whispers 75

Bagheera, while Caelan Steedman seemed to relish his role as villain Shere Khan, the tiger. Connor Carlyle brought edgy energy to Tabaqui.

A stand-out was puppeteer/actor Charlie Young, who was mesmerising as snake Kaa. I also really enjoyed Madigan Gordon as Messua, Mowgli’s mother, performing entirely in Hindi.

The wolves were a united team led by Wyatt Gordon, Sam Biston and Caitlyn Hughes. Jacob Clayton as ‘brother’ Feraro added a bright spot.

A lively group of monkeys completed the cast.

A lovely show-case of developing talent.

Kimberley Shaw James And The Giant Peach

By Richard Geirge, from the book by Roald Dahl. Directed

by Christine Ellis. KADS Theatre, Kalamunda, WA. Nov 17 Dec 3.

JAMES and the Giant Peach was a nicely realised little fantasy, performed by a troupe of enthusiastic youngsters.

It was narrated by the gentle, smiling Imogen Bates and the beautifully spoken, highly animated Jana Haering, who also provided ukulele accompaniment.

Leo Rimmer, in the title role, was a likeable and engaging hero.

Sienna Freeman was a standout as a punkish, cockney Centipede delighting in the fact that she is “a pest”. Marik Gabathuler’s blind, pessimistic Earthworm was excellent.

Bella Freeman’s sophisticated, sweet and lady-like Ladybug was lovely. Evie Madeleine looked gorgeous and charmed as Glow Worm. Annabel Wostenholme made a great Spider and Amalia Lewitt-Willoughby was a strong Grasshopper.

Villains, the nasty Aunt Spiker and Aunt Sponge were played with comic team-work by Lilliana Lewitt-Willoughby and Caitlyn Rutley.

Particularly memorable was the ‘Who’s on First’ style routine from Larnaka Wilkinson, Elliot Rimmer and Alex Campbell. Isla Howard opened the play with a bang as the ‘Tour Guide’ and Tiffany Ramsell put the button on the show with her convincing Little Girl.

Joy Mills’ lighting design included some surprising special effects. The key set piece, the Giant Peach, worked nicely.

A feel-good theatre piece with some great young actors.

Kimberley Shaw

Each pair of characters in the play was well matched.

Miss Prism was played well by Lesley Reed, complemented

by David Lockwood’s Reverend Chasuble.

The two men about town, Matthew Chapman as Jack Worthing and Robert Bell as Algernon Moncrieff, were both strong performers, conveying that sense of alliance and competition that good friends share.

The scene where Gwendolen (Vanessa Redmond) and Cecily Cardew (Brittany Dew) meet for the first time was very funny. Andy Winwood, playing both butlers, produced two believably different characters; Lane was a straightfaced misery, while Merriman was true to his name.

The scene changes, in the spirit of the play, received a round of applause from the audience. However, the set itself was disappointing, particularly a stylistic clash in the garden scene.

The direction concentrated on the diction and delivery of the lines rather than the physicality of the characters, however the pace was a good.

All in all, an enjoyable evening at the theatre with lots to recommend it.

Sally Putnam Note: Lesley Reed is a reviewer for Stage Whispers

Smash The Patriarchy: A Double Bill Regional Institute of Performing Arts. Civic Playhouse, Newcastle. Nov 30 - Dec 2.

THIS pair of plays that showed women more than matching the abilities of dictatorial men was an engaging event that confirmed the talents of graduating Newcastle TAFE theatre and screen students. The plays were directed by acting teacher David Brown, who also adapted the opening work, Women in Parliament, from a play written in 390BC by Greek dramatist Aristophanes.

The story began with four women dressed in their husbands’ suits and wearing beards rushing to a parliamentary sitting where they plan to introduce legislation giving equal power to women. Three husbands were subsequently seen in their wives’ night attire, wondering what had happened to the women. And things really got lively when they all came together. It was a briskly funny 30-minute piece, with the treatment by the three most demanding women of their fourth member, a servant whose words show that she is more practical than them, raising doubts about their concept of equality.

The second half featured Alice in Slasherland, a recent The Importance Of Being Earnest American dark comedy by Quy Nguyen, that had teens at a

By Oscar Wilde. St Jude’s Players Inc. Directed by Rosie Halloween party being attacked by real demons. The title Aust, assisted by Don Oakley. Nov 16 - 25. character, a girl who is seen in an opening film sequence OSCAR Wilde is the master of the comic line and the being hacked by a vicious male, comes back to life at the memorable phrase, with many of these delights party and helps those there to fight monsters that throughout The Importance of Being Earnest. increasingly appear. Alice, a nervous nerd called Lewis, the Many of the best-known lines are delivered by the boisterous cheerleader Margaret that Lewis is attracted to, formidable Lady Bracknell, beautifully played by Andrew and a foul-mouthed toy teddy bear, Edgar, that comes to Clark, the standout performance in this well-balanced cast. life, lead the battle against the colourful monsters. The The decision to cast a male in this role was an excellent one show certainly gave the actors many different things to do, and Fran Hardie’s beautiful costumes assisted Clark in and had an amusing scene when Lewis is saved from delivering a believable, but also an alarming and impressive, slaughter by the resuscitated Alice and the two exchange Lady Bracknell. names, with him noting that there is a novel called Alice in 76 Stage Whispers

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Master Class.

Wonderland by writer Lewis Carroll, and that their situation Master Class resembles what happens in the book, before backtracking

By Terrence McNally. Directed by Adam Spreadbury-Maher.

Subiaco Theatre Centre, WA. Nov 18 - Dec 2. and saying “that was a pretty useless observation”.

Ken Longworth IN Master Class, the audience have to opportunity to attend a master class with opera superstar Maria Callas. Do The Naked Truth not be concerned about the fact that Miss Callas passed

By Dave Simpson. Tugun Theatre Co. Gold Coast. Director: away in 1977; the amazing Amanda Muggleton has Nathan Schulz. Nov 9 - 25. embodied her with passion and intensity.

TUGUN Theatre Company is a small but adventurous The audience becomes the class and Maria teaches with group on the southern end of the Gold Coast and their a fury and self-belief that can only come from a true Diva. latest offering is quite confronting.

Amanda Muggleton’s performance is outstanding, and The Naked Truth explores the trials and tribulations in deserved the Opening Night standing ovation. the lives of five prospective pole dancers. The girls: Rebecca Strong support comes from accompanist Dobbs Franks, as pianist Manny Weinstock, and the excellent Kenny-Sumiga, Samantha McClurg, Rianna Hartley-Smith, Cecile Campbell and Kate Armon are very raw recruits but performances from the ‘student opera singers’, Jessica Boyd under the tutelage of Peta Simeon they blossom into quite as soprano Sharon Graham, Kala Gare as soprano Sophie an entertaining ensemble.

De Palma and Rocco Speranza as tenor Anthony Candolino.

Along the way we are privy to the pressures of their lives This is, however, a star vehicle and Ms Muggleton does not away from the poles. disappoint.

Simply staged by Nathan Shulz, the story is “up front The set is simple, with well chosen projections on the and in-your-face” with the language and situations not rear walls. Adrienne Chisolm’s costuming is lovely, with a usually associated with this company. wonderful understanding of character.

A simple scene, three poles secured to an empty stage, Master Class is a wonderfully immersive theatrical complements the exposing of the girls’ individual experience, in many ways a love letter to a highly flawed, immensely talented woman. Highly recommended for circumstances.

The production is well acted and suitably supported singers, opera lovers and fans of good theatre. with raunchy music and appropriate lighting.

Kimberley Shaw Though not everybody’s style of show, it is full of one liners and visuals to make you laugh.

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

Stage Whispers 77

Reviews: Musicals

Online extras!

Get all the opening night buzz from The Wizard Of Oz. Scan the QR code or visit https://youtu.be/BsaV5Ey7vbw

L-R: Lucy Durack, Samantha Dodemaide, Alex Rathgeber, John Xintavelonis and Eli Cooper in The Wizard Of Oz. Photo: Jeff Busby.

The Wizard Of Oz Music: Harold Arlen. Lyrics: E.Y. Harburg. Additional Music: Andrew Lloyd Webber. Additional Lyrics: Tim Rice.

Adaptation: Andrew Lloyd Webber & Jeremy Sams. John Frost / Suzanne Jones Production. Director: Jeremy Sams.

Choreographer: Arlene Philips. Musical Supervisor: Guy Simpson. Lyric Theatre, QPAC. Opening Night: Nov 9.

IF you love The Wizard of Oz movie then you’re going to love this stage adaptation which is quite the best I’ve ever seen. Book adaptors Andrew Lloyd Webber and Jeremy Sams have gone back to basics, pulled the screenplay apart, and plugged the holes to make the story work as a stage musical. And Lloyd Webber, working with Tim Rice for the first time since Evita, has written some effective new songs to fill those gaps.

Throw in Jon Driscoll’s superb digital effects (the tornado is a jaw-dropper), Robert Jones’ wondrous and witty designs, especially the Art Deco Emerald City with its stylishly dressed citizens, and Arlene Philips’ high-energy choreography, and you have a blockbuster that could equal the success of its second-cousin Wicked.

Newcomer Samantha Dodemaide manages to bring warmth to Dorothy, helped by the antics of her Aussie Terrier pooch Trouble, who’s just a lovable Toto. Her vocals are strong and she makes the most of the score’s iconic “Over the Rainbow”, a little soft in the lower register but her hard-sell finish is a guaranteed audience-applause button.

Outstanding performance of the show is Jemma Rix as the mean cackling Wicked Witch of the West, a magnificent 78 Stage Whispers

malevolent force in the “Red Shoes Blues”, a Kurt Weill/ Prokofiev type waltz, one of Lloyd Webber’s better additions to the score. The other is the finale “Home is a Place in your Heart”, tenderly sung by Lucy Durack as Glinda the Good. It’s one of the few lump-in-your-throat moments in a show which could do with a few more.

Anthony Warlow has never been more delightfully droll than in his dual roles of Professor Marvel and the Wizard.

As the three friends of Dorothy (and there’s a joke made about that), Eli Cooper was an athletic Scarecrow, Alex Rathgeber effortlessly nailed the tap-routine and vocal of the Tin Man’s “If I Only Had a Heart”, but John Xintavelonis’ cowardly Lion was simply marvellous, with perfect comic timing.

Peter Pinne Chicago Music by John Kander. Lyrics by Fred Ebb. Book by Fred Ebb and Bob Fosse. Fab Nobs Theatre Inc. Bayswater (Vic). Oct 27 - Nov 18.

WELCOME to Fab Nobs 1920’s era of booze, jazz, murder, greed, corruption…

Director Owen James created an ensemble of performers for Chicago that was perfectly suited to each and every role.

There was not one single weak link, all working in total harmony on stage. James created a visually spectacular staging (the lighting design by Jason Boviard was exceptional).

The female and male ensemble, scantily clad in black, worked the entire stage with ease. Musical Director Sally

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McKenzie and Choreographer Robert Mulholland worked the cast skillfully, creating complete visual and vocal harmony.

The modern, yet Fosse-esque style choreography was exceedingly demanding on the cast, yet worked brilliantly on the small Fab Nobs stage.

I don’t think I have ever seen a person more suited to a specific role than Peter Garratt as Amos Hart. His rendition of ‘Mr Cellophane’ bought a collective sigh from the audience as he lowered his head and walked off the stage.

The ‘merry murderess’ duo that is Velma and Roxy was magnificently played by Nadia Gianinotti and Elise Cavallo respectively. The two ladies bounced off each other with comfort and aplomb.

Gianinotti was perfectly pitched to the role, with the pizazz and gumption to bring the bold and brash character to life. Her performance seemed effortless - and those high kicks - WOW! Cavallo created a multifaceted Roxy with ease, graceful in her acting, and dynamic in singing. Her expressive face, especially in the song “We Both Reached for the Gun” allowed the character to be seen as both one dimensional and multi-dimensional at the same time.

Stuart Bruce certainly stole the limelight as ‘Mary Sunshine’ (and others). Bruce is one of the best character actors I have seen in a long time.

Make sure you keep track of Fab Nobs Theatre, they never disappoint.

Penelope Thomas Chicago Music by John Kander. Lyrics: Fred Ebb. Book: Fred Ebb and Bob Fosse. Engadine Musical Society. Director: Sue Bunt.

Musical Director: Joshua Ransom. Choreographer: Craig Nhobbs. Engadine Community Centre. Oct 20 - 29.

ENGADINE’S Chicago is full of Class and Razzle Dazzle.

Sue Bunt’s inspired direction and set design, Josh Ransom’s tight musical direction, Craig Nhobbs’s amazing choreography, the supremely talented cast and the Tech teams pulled out all stops to ensure a professional-standard show that entertains with pizzazz and elegance.

This version goes for a PG-rating and good taste. Bits of bump-and-grind pop up but nothing overt, so this is a Chicago to which you can take the kids.

I also mention the professional and courteous behaviour from the Front of House staff.

There are many highlights: Velma Kelly singing while pole dancing, Roxie Hart singing while being somersaulted by her dancers, the Cell-Block Tango, and the RazzleDazzle/Trial Scene with its costuming, dance, magic tricks, and acting is a coup de theatre.

Paul Oscuro’s Amos Hart was endearing to watch.

Lynley Fuller’s Mary Sunshine is gorgeous and provides a lovely twist. Tanya Boyle as Mama Morton deserves an award for giving a 100% performance while suffering illness. Lachlan O’Brien as Billy Flynn gave his character his usual exuberance.

The night belonged to Lizzy Cross as Roxie Hart and Kate Xouris as Velma Kelly. Velma and Roxie aren’t cunning little

vixens here so much as kittens with claws, making them all the more dangerous, yet earning our empathy.

Peter Novakovich Little Shop Of Horrors Book and Lyrics Howard Ashman. Music: Alan Menkin.

Gold Coast Little Theatre, Southport. Director: Brady Watkins. Nov 11 - Dec 9.

AUDREY II, the blood thirsty, flesh eating plant, stars in this staging of cult musical Little Shop of Horrors. The plant’s continual growth throughout the show has pizzazz, making the cast work hard to keep up with its outrageous antics (Audrey II was created by the North Queensland Opera and Music Theatre and took Chris Ahern and Damien Jackson a year to conceive and construct).

The human contributors are: Seymour - Ethan Liboiron, Audrey - Harmony Breen, Mr Mushnik - Johnathon Fife, The Dentist (and voice of Audrey ll) - Clay English, Ronette Lucy Koschell, Chiffon - Ruby Hunter, Crystal - Kristine Dennis and as Audrey ll’s inner self, puppet master - Chris Dennis.

Director Brady Watkins, Musical Director Ben Murray and Choreographer Laura Carrett have created a production that is both visually and musically enjoyable. This delightful romp is set in and around New York’s Skid Row, a derelict district of the Big Apple.

Meeting Audrey ll is NOT for the faint hearted!

Roger McKenzie In The Heights Music & Lyrics: Lin-Manuel Miranda. Book: Quiara Alegría Hudes. Blackout Theatre Company. Director, Cierwen Newell; Musical Director, James McLanders; Choreographer, Daniel Lavercombe. The Joan Sutherland Performing Arts Centre. Oct 25 - 28.

BLACKOUT brings out In the Heights, entertaining us with a joyous display of a slice of life from a barrio in New York. The show is like a Latino version of Rent, but with hard working (heterosexual) immigrants, racism, and salsa.

Director Cierwen Newell does a great job pulling the show together and helping us keep track of who’s who.

Musical Director James McLanders (assisted by Kieran Norman) also do a great job with the music, realising the Latino grooves and bringing out great harmonies from the cast.

The highlight for me is Daniel Lavercombe’s choreography, sensational and worthy of a Tony Award; it’s worth seeing the show just for the dancing. Daniel is also on stage playing “Graffiti Pete”, a role in which he shines.

The set is also amazing.

The cast is uniformly good, keeping their accents and characters realistic. For me the standouts were Anthony Chester, Irene Toro, John Hanna, Katie Griffiths, Emma Joseph, Stephen Helies, Douglas Bryant and dancer Sarah Kalule.

There is an earnestness and joy in the cast’s performance, with the show really lighting up when the Latin grooves kick in and the dancing starts.

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Stage Whispers 79

This cast and crew bring great life and love to the Banks; Sylvie Peart, Jane Banks; Tom Rutledge, Michael material, and that in itself makes for an entertaining night. Banks; Melanie Doriean, Mrs Brill and Sam Green, Robertson Ay. Peter Novakovich As is the usual practice, there are 2 casts of children, Guys And Dolls with Summer Robertson alternating as Jane and Lennox Music and lyrics by Frank Loesser. Book by Jo Swerling & Broadley as Micheal.

Abe Burrows. Queanbeyan Players Inc. Director: Jude Kim Sharpe’s costumes light up the stage and add to Colquhoun. Musical Director: Jenna Hinton. Vocal Director: the wonderful spectacle of the production, while the special Emma White. The Queanbeyan Performing Arts Centre. Nov effects take the experience to the next level.

3 - 12.

Roger McKenzie THIS is a snappy, fun show with direction that has led to wholehearted participation from everyone involved. From Cinderella the principal roles to each member of the chorus, each Music: Richard Rodgers. Book & Lyrics: Oscar Hammerstein performer has their own part to act and sing and is II. Queensland Musical Theatre. Director: Deian Ping. dedicated to it.

Musical Director: Gerry Crooks. Choreography: Julianne The gamblers start the show with Nicely-Nicely Johnson Burke. Schonell Theatre, St Lucia. Nov 1 - 5.

(Ben Wilson), Benny Southstreet (Tristan Foon) and Rusty WHOEVER plays Cinderella needs to look and act like a Charlie (Joe Moores) setting the scene on Broadway with princess and fortunately Queensland Musical Theatre have fine harmonies and good characterisation. In contrast both found the perfect girl for the role. Sarah Copley is princess in music and costume, Miss Sarah Brown, played by Kitty material personified; singing in a mature soprano, looking McGarry, and her band of missionaries, bring in the battle magical in a white ball-gown, and tripping daintily up the to save souls. Kitty McGarry’s voice is a delight to hear in “If steps of the palace, she is the best thing about this very old I Were a Bell” and in her duet with Steve Galenic in “I’ve -fashioned production. The character of Cinderella has the Never Been in Love Before”. bulk of the songs and Copley shines in all, in particular the Steve Galenic sings the role of Sky Masterson, best lovely “In My Own Little Corner”. shown in “Luck Be a Lady” with its attendant dramatic clash Thomas Chapman, playing opposite her as Prince with Big Jule, played by Chris Bennie with a quiet but scary Charming, lacked stature for the hero role but sang with villainy. passion despite his upper register being weak. Together Tina Robinson plays Miss Adelaide and sings “Adelaide’s they charmed with Hammerstein’s favourite conundrumLament” most amusingly. Her song and dance with the Hot type lyric “Do I love you because you’re beautiful? (Or are Box Dancers is a good start to the second act, with you beautiful because I love you?). choreography by Belinda Hassall and again the costumes Aleasha Liddy’s (Fairy Godmother) “Impossible” pleased, being of the period. Consistent care and attention has been Ros Booth had fun as a harridan of a stepmother, while her paid to costume design by Jennie Norberry. two step-daughters, Eliza King (Portia) and Eloise Newman Musical direction of a band onstage is a way to use the (Joy), found the humour in the amusing but brief stage available at the Queanbeyan Performing Arts Centre. “Stepsisters’ Lament”. The white-mice dancers were Sound and lighting design were done well except for shade audience favourites as were the young pumpkin dancers. on performers at the front of the stage, and set design uses The Cinderella story always pleases and despite being the stage space nicely to move from a streetscape to the second-tier Rodgers and Hammerstein I expect there will be Hot Box or the Save a Soul Mission. many who will be pleased with this version.

Rachel McGrath-Kerr Peter Pinne Mary Poppins Book by Julian Fellowes, Music and Lyrics by Richard and Robert Sherman. New Songs by George Stiles and Anthony Drewe. Ballina Players Theatre, Ballina. Director: Sue Belsham. Nov 17 - Dec 10.

THIS popular musical, full of colour and great performances, is Ballina’s final offering for the year.

Sue Belsham has managed to capture the magic, and with Leanne Broadley’s musical direction and Jaime Sheehan’s choreography, has delivered a bright and memorable show.

Leading the cast are two Gold Coast Area Palm awarded performers, Veronica Lovejoy in the title role, ably complemented by Brian Pamphilon as Bert.

The supporting principals are equal to the task with Mike Sheehan, George Banks; Mechelle Anderson, Mrs 80 Stage Whispers

Oliver!

By Lionel Bart. Huon Valley Theatre (Inc) Tasmania.

Huonville Town Hall. Directed by Rod Gray, Musical Direction by Sue Videroni. 17 Nov - 2 Dec. HUON Valley Theatre embodies everything meritorious about community theatre. This production of Oliver! featured a vibrant and well drilled chorus (“Who will buy?”) and strong, well-cast principals. Nathan Read’s Fagin was assured, adept in physical comedy although lacking any sense of menace. His “Reviewing the Situation” was the highlight of the show. Also notable were Tony Robbie (Mr Bumble) and Amber Jury (Widow Corney). Jury was in fine voice and the two provided a fine comic turn. Barry Purkiss (Mr Sowerberry) and William Skinner (Bill Sykes) were two of a number deserving of mention, however many otherwise solid performances could have improved through

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

Phillip Lowe, Ian Stenlake and Josef Ber in Mamma Mia! Photo: James Morgan.

Online extras!

The stars of Mamma Mia! talk about what it’s like being cast (or re-cast!) https://youtu.be/NQp-EwB8E4I vocal coaching to facilitate consistency of accent across the cast. Amman Williams was a sweetly naive Oliver, his voice airy and pure. The band supported the ensemble with a high degree of competence. Every word, sung or spoken, was audible in the small venue.

The production values of this show were high. The costumes revealed great attention to detail. Sets were clever and versatile with the effect augmented by back projections. The opening video was unnecessary but London Bridge in the fog was highly effective and made the murder of Nancy more poignant.

Gang autobiographies, written by the juvenile ensemble, attest to the strength of Gray’s direction. Audience enjoyment of this production was very evident.

Anne Blythe-Cooper

old bride-to-be Sophie Sheridan, has a clear, light voice, for the want of a better comparison, very like Abba’s Agnetha.

Her excitement, both at the prospect of marriage and of finally meeting her father(s), is contagious. Natalie O’Donnell as Sarah’s mother Donna Sheridan is a tiny vivacious figure with a big, rich, warm Frida-like voice. As soon as she started singing “Money Money Money”, with full ensemble singing and dancing, I was just swept away.

The three father figures Sam (Ian Stenlake), Harry (Phillip Lowe) and Bill (Josef Ber) all perform wonderfully. Then there are Donna’s friends Rosie and Tanya. Tanya (Jayde Westaby) is all posh class, and her duet “Does Your Mother Know” with best man Pepper (Sam Hooper) is brilliant, not least for Mr Hooper’s acrobatic tumbling routine.

The character of Rosie (Alicia Gardiner) suffers a little bit from the Rebel Wilson issue - namely, an overweight Mamma Mia! character played to be crude and oversexualised for laughs.

Music and Lyrics by Benny Andersson and Bjorn Ulvaeus.

It may be a stereotype but Ms Gardiner plays it to perfection.

Book by Catherine Johnston. Originally conceived by Judy Craymer. Presented by Michael Coppel, Louise Withers & More than anything else though, this production is Linda Bewick. Canberra Theatre. Nov 30 - Dec 17 and about the music and the dance. The stage is almost touring. constantly full of movement and colour. And the music?

THIS wonderful production of Mamma Mia! is nothing Just wonderful. Crowd favourites “Super Trooper” and short of a distillation of sheer joy. The colours, the set, the “Gimme Gimme Gimme”, while the big finale “Waterloo” costumes, the lighting, the sound design, the had the crowd on their feet and dancing. choreography, the acrobatics, and, of course, the music - so The Canberra crowd were cheering and whooping at the much care has been put into making the show truly end. If you like Abba and love musicals, you’ll love this spectacular. It probably helps to love Abba, of course. show. Leave your cynicism at the door and enjoy!

The casting is brilliant. Sarah Morrison, playing 20-yearCathy Bannister Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 81

Spring Awakening.

Spring Awakening Music by Duncan Sheik. Book & Lyrics by Steven Sater.

Based upon the play by Frank Wedekind. Directed by Hayley Horton. Stirling Community Theatre, Stirling. Nov 10 - 25.

THIS revival presents Spring Awakening in a manner that is accessible and bracingly relevant to a contemporary audience. Based upon a 19th century German play, the musical focuses on a group of teenagers struggling to cope with the onset of puberty, the sometimes viciously competitive social norms of high school, as well as the increased academic demands and social responsibilities placed upon them by adults. Despite the source material’s antiquity, Spring Awakening never once feels like a period piece. The emotional arc of these characters, the dramatic obstacles placed in their path, remain relevant to many teenagers today. This is reinforced by director Hayley Horton’s decision to incorporate video montages compiled

by Sam Davy, which edit together contemporary news footage and excerpts from an “abstinence is the best policy” sex-ed film. The songs are given a punchy workout by musical director Mark Delaine, that is well matched with the frantic urgency of Thomas Phillips’ choreography.

The youth ensemble bring finely honed technical finesse to their singing and dancing, alongside impeccable comic timing, and nuanced dramatic acting. Principle cast members Mitchell Smith, Millicent Sarre, Connor OlssonJones, Jemma Allen, Sahra Cresshull, Zac Moore and Harry Nguyen all succeed in bringing a measure of complexity to their depiction of flawed characters, that could easily have come across as caricatures in the hands of lesser 82 Stage Whispers

performers. The two adult cast members, Josh Barkley & Kate Anolak, have the difficult task of playing 14 different characters between them, and it’s a credit to their amazing range that each one has a distinctive personality.

The only flaws in this version of Spring Awakening relate to the material itself, rather than anything specific to this production. Many of the adult characters are written as flat stereotypes, and there are times when the dialogue is too heavy-handed in spelling out the pertinent themes. But Horton’s balanced approach to direction (ensuring the light and dark elements are both given their due prominence) softens these flaws somewhat.

Benjamin Orchard SHOUT: The Legend Of The Wild One

By John-Michael Howson, David Mitchell and Melvyn Morrow. MLOC. Shirley Burke Theatre, Parkdale. Oct 13 21.

MLOC’s production of Shout! is a classic example of Community Theatre being alive and well in Melbourne’s suburbs.

Director Rhylee Nowell has produced a show that has the audience singing along.

Matt Jakowenko took on the herculean task of portraying The Wild One, Johnny O’Keefe. Working his way through over 20 classics such as “She Wears my Ring” and “Move, Baby Move” kept Matt onstage through the show, working up to a rousing finale of “Shout!” His classical training was particularly noticable with his clear diction.

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His long-suffering wife Marianne was played by Claire de Freitas, who has a beautiful singing voice and maintained her German accent throughout. Her performance of “Crazy” was particularly touching and she moved well.

Lee Gordon, the larger than life American manager, was played by Graeme Bullus who brought a commanding physical presence to the role.

One of the highlights of the night was “Get a Job”, sung by the Delltones, played by Zac Rose, Sam Neve, Tim Semmens and Rad Valance. While their physical coordination was less than perfect their vocals were a delight.

The acting honours go to Tim Byron and Karen Shnider as O’Keefe’s parents. They played off each other beautifully and their timing was great.

Costume Coordinator Tim Ryan pulled together a pleasing visual snapshot of both the 50’s and 60’s fashions.

Wearing his other hat of Musical Direction, he produced a well-rehearsed band and solid vocals.

Sound was generally good and not over-amplified, but there were times when the backing vocals and band overshadowed the lead vocals.

The lighting was a concern with the majority of the show well under lit and an excessive use of gobo breakups.

MLOC should be applauded for producing an Australian show and giving the opportunity for the community to become involved either as cast, crew or audience.

Shirley Jensen Menopause The Musical - Women On Fire

By Jeanie Linders. Directed by Alli Pope-Bailey. Crown Theatre, Perth, WA. Dec 5 - 10, and touring.

STAGE Whispers joined over 1000 women ‘of a certain age’, and a handful of slightly befuddled gentlemen, for the first night of Menopause the Musical.

Despite the name, Menopause the Musical is closer to an overgrown (albeit very good) cabaret, than a musical.

There isn’t a definitive plot, but there are some great relatable characters and some toe tapping tunes and song parodies from the 60s, 70s and 80s. The nods of assent and frequent laughter of recognition showed that it was hitting its mark with the audience. Local references (as is tradition with this show) brought the show close to home.

Victoria Nicholls is loveable and very funny as the Dubbo Housewife, Meg Kiddle captures the Earth Mother beautifully and has wonderful facial expression, Melanie Evans brings authority and a power-house voice to the Professional Woman and Lilias Davie has glamour and vulnerability as the Soap Star.

Vocally this show is very impressive, with gorgeous harmonies and a quartet of strong singers. Some microphone issues made me wonder whether the cast are singing ‘live’, but either way, it is a very entertaining sound track.

The quintessential Girls Night Out. If you are pre, post or presently menopausal, I suggest grabbing a girlfriend and checking out this celebration of the change.

Kimberley Shaw

PERFORMING ARTS MAGAZINE JANUARY/FEBRUARY 2018. VOLUME 27, NUMBER 1 ABN 71 129 358 710 ISSN 1321 5965

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Stage Whispers 83

issues and had to cancel the rest of the performance.

Musical Spice The producer had to refund to all 1600 ticket holders.

What went wrong? Ben McDonald said the theatre’s power generator was the likely cause of the catastrophic sound issues.

“One or two microphones dropping out is a rare event which we plan for, but the wipe-out of 20 entire radio frequency bands is unheard-of,” he said. “This can only be caused by some electrical interference in or around the venue and we believe the generator power has to be the prime suspect.“ According to a report in the New Zealand Herald, the theatre has been operated by a power generator since the beginning of August whilst work takes place on a new mains supply.

The company which runs the Aotea Theatre could not say exactly what caused the problem but did not believe it related to the power generator.

I am happy to report that the tour continued, giving more than 30 other performances around New Zealand and there was no repeat of the sound troubles in any other venue.

Maybe it was me? Did I cause interference with the radio The old adage that the show must the music which was being played over microphones? Should I be banned go on can’t always be kept. In the loudspeakers. from attending performances in November I flew into the centre of A Mexican wave began to travel Auckland.

Auckland for the second performance around the theatre. People were Stopping a show, although rare, is of Saturday Night Fever the Musical at dancing, cheering and laughing. not unheard of. When I was at a the Aotea Centre.

One of the sound operators performance of Fiddler on the Roof It was all smiles before the show looking very stressed - was running up starring Topol, he stopped the show in when I was photographed with the the aisle carrying cords onto the stage. Sydney’s Capitol Theatre because of a producer Ben McDonald, who runs He had trouble squeezing past screeching noise that came from the New Zealand’s biggest professional members of the audience who were audience. It took them 20 minutes to musical theatre touring company. milling about in the aisle. fix it.

In the first act there were a few Then our extended interval was Geoffrey Rush stopped a minor sound drop outs but no hint of brought to an end when the cast performance of The Drowsy Chaperone the troubles that lay ahead. returned. Alas none of the when things started falling over. A few During interval I wolfed down microphones were working and there years back an entire performance of dinner across the road then ran back was screeching feedback.

Mary Poppins was cancelled mid show into the theatre. I need not have The dispirited cast left the stage half because of a technical problem. At one rushed, as the interval was dragging on way through the first song. An recent professional production a announcement came from backstage. member of the audience died. It took a bit.

With every additional restless “Ladies and Gentlemen we are having an uncomfortably long time for word minute a feeling was creeping around difficulties please go to the bar while to reach back stage and the the auditorium that something had we fix it.” performance was called off. gone wrong.

Another ten minutes passed. The It’s always worth keeping things in The audience took the delay in cast and crew came returned to the perspective when you think you have good spirits. Some of those who had stage looking shattered. We were told had a bad day at the ‘office’. dressed up in classic 1970’s Saturday they could not solve the technical Night Fever regalia began to dance to David Spicer

When The Show Can’t Go On

84 Stage Whispers January - February 2018

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