Stage Whispers January/February 2019 edition by Stage Whispers Magazine

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In this issue

Aussie Charlie’s Chocolate Factory ............................................................. 6 New musical recipe for Roald Dahl classic Harry Potter And The Cursed Child .......................................................... 10 We preview the magical blockbuster

Leading A Chorus ................................................................................... 15 Jonathon Welch gives a masterclass Having A Senior Moment ........................................................................ 19 A chat with John Wood and Benita Collings Heaven On A Ship ................................................................................... 22 On board the Bravo Cruise Of The Performing Arts Parris in London, New York and Melbourne ............................................ 26 Independent reviewer Simon Parris’s Top 10 international productions Awards Wrap.......................................................................................... 30 Community Theatre awards across three states

Community Theatre Seasons 2019 .......................................................... 33 Plays and Musicals across Australia and New Zealand ‘The Maj’ in 1965 ................................................................................... 54 Extract from the new book on Her Majesty’s Theatre, Melbourne

Regular Features Stage Briefs

London Calling

Stage On Disc

Stage On Page

Broadway Buzz

On Stage - What’s On

Auditions

Reviews

Musical Spice

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THE NEXT ISSUE OF STAGE WHISPERS IS OUR SCHOOL PERFORMING ARTS RESOURCE GUIDE

84 2 Stage Whispers January - February 2019

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Editorial Dear theatre-goers and theatre-doers, Stage Whispers’ January / February edition is, as always, a special opportunity to share my love for Community Theatre, after nearly five decades involvement. It’s long been that special place where I could explore my creativity and passion. Back in 1971 (as a teenager with two left feet) I was welcomed into the chorus of the local musical society for a production of Gilbert and Sullivan’s The Gondoliers. Five years later I played the patter role in the same operetta twice. In the interim I’d moved through small roles to larger character roles, whilst also becoming a Director by chance. Twenty-five years as a high school Drama teacher complemented my passion nicely, with school musicals allowing me to share the joy of performing with several generations of student performers.

Neil Litchfield as The Duke of Plaza-Toro in The Gondoliers (1976).

I’ve had the pleasure of playing many supporting and character roles in Community Theatre over the years, with the most memorable including Gilbert and Sullivan patter parts, along with Pontius Pilate in Jesus Christ Superstar, Marryin’ Sam in Li’l Abner and Moonface Martin in Anything Goes, to name just a few. I’ve also been blessed with the opportunity to direct many of my favourite musicals, as well as a diversity of plays including Shakespeare, Chekhov and Molière, the amateur premiere of an Australian play, thrillers, dramas and comedies. At 64, character roles continue to provide me with great fun and intriguing challenges. In recent times I’ve mastered a Yorkshire accent as an aging gardener, evicted a Jewish community as a Russian constable, delivered the ‘New Deal’ and a reprise of “Tomorrow” as US President Roosevelt and lead the entire company in a rousing, feel-good song as the owner of Macy’s Department Store. What keeps drawing me back? Above all, it’s the camaraderie, creativity and collaboration of rehearsals. In all honesty, I can’t wait for my next show. I hope you enjoy our feature on Community Theatre in 2019, and, like myself, find plenty of plays or musicals to attend - or even perhaps audition for. Yours in Theatre,

Neil Litchfield Editor

Cover image: Paul Slade Smith as Willy Wonka in the musical Charlie and the Chocolate Factory, playing at Sydney’s Capitol Theatre. See David Spicer’s feature story on page 6. Photo: Brian Geach.

CONNECT www.stagewhispers.com.au Stage Whispers 3

Stage Briefs

ď&#x192; Costume designs by award-winning Australian designer Jennifer Irwin for the Handa Opera on Sydney Harbour 2019 production of West Side Story, from March 22 to April 21.

Online extras!

See whatâ&#x20AC;&#x2122;s in store for West Side Story audiences. Scan the QR code or visit https://youtu.be/anLhPDsmqko 4 Stage Whispers January - February 2019

ď&#x192;¨ State Theatre Company South Australia has announced Mitchell Butel as its new Artistic Director. An actor, director and singer for 27 years, over the last 10 years Mr Butel has expanded his practice into directing, putting his spin on everything from chamber musical theatre to textbased works and operas. In 2016, he was awarded a Sydney Theatre Award for his direction of the musical, Violet. The four-time Helpmann Award winner has performed in more than 100 professional theatre productions.

Mitchell Butel. Photo: Mark Heuer.

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Ryan Foust in the original 2017 Broadway cast of Charlie And The Chocolate Factory. Photo: Joan Marcus.

6 Stage Whispers January - February 2019

Cover Story The latest musical adaptation of a Roald Dahl classic is heading down under. David Spicer, fortified with a sweet tooth, dropped into a rehearsal to speak with the actors portraying Willy Wonka, Charlie and Grandpa Joe.

British novelist Roald Dahl was famous for his dark plots and gruesome characters, yet the first song shown to the media on the rehearsal floor was saccharine sweet - ‘The Candy Man’. US actor Paul Slade Smith, who plays Willy Wonka, sauntered through the number, set in a lolly shop, whilst very energetic dancers pirouetted faultlessly around him - after just one week of rehearsal. Sweetness wasn’t Roald Dahl’s forte. “You cannot read much of Dahl without thinking of what his view of humanity was. He did not think much of it. He is very dark,” said Slade Smith. “Yet he always had a hero or heroine who was pure and innocent and true. He also gave us someone to root for. That is the recipe. When he introduces Charlie, he says Charlie Bucket is our hero. He is what we aspire to be. Not selfish, not greedy, he listens, learns and is open to life. “Charlie is the only child. There is nothing boring [about him], because his innocence contrasts with the other [children], who are played by young adults.” The musical had more of a dark edge when it was first staged in the West End. Director Jack O’Brien said the London production was “very big physically, very dark, very Oliver Twist. It was sumptuous and uniquely British.” This is code for ‘not commercially viable on Broadway’. “I asked if we could do it differently, and they said ‘help yourself’.” One of the biggest changes was to introduce the character of Willy Wonka earlier into the story (he doesn’t appear in the novel until chapter 14). Also, O’Brien “felt it needed more of an international profile.” Some Russian characters are added into the mix, while for the Australian production the Bucket family, which is blessed with the discovery of the Golden Ticket, is dinky di. “The Bucket family are totally Australian. They display open heartedness, generosity and enthusiasm,” said O’Brien.

Grandpa Joe is played by Tony Sheldon, who recently notched up his 2000th performance of Bernadette in Priscilla Queen of the Desert. “The golden ticket winners come from all around the world - Russian, German and American - so we thought, why can’t the Buckets be Australian?” Sheldon said. “It has been lovely to localise a couple of the references. “Coming off Priscilla I don’t immediately need to assume an American accent. “Charlie and the Chocolate Factory is new to me. I only just read the book, and never saw the film until six weeks ago. “Typical Roald Dahl, there is a lot of darkness in there. I grew up on his macabre adult short stories. I am delighted that continues into his kids’ books. “It is a cautionary tale about greed, entitlement and a lack of imagination. He encourages kids to make something out of nothing.” The role is a lighter load than his part in Priscilla Queen of the Desert, apart from sliding down from the top of a double bunk and doing a jig or two in the song ‘I’ve Got A Golden Ticket’, which he describes as a “bit of a stretch”. The role of Grandpa Joe was originally played on Broadway by Slade Smith. Now he is relishing the opportunity to step into the lead, which he understudied. “What I realised after performing the role on Broadway is that the journey for Willy Wonka is to meet Charlie Bucket and realise that in speaking to this tenyear-old boy, it is a ten-year-old him. [Both] feel like an outsider in the world and feel apart from the other kids. “Willy feels like he has a creative gift for the world. He is able to say [to Charlie] there is a lovely life ahead of you.” He admits the character is a little odd. “Willy Wonka is not spelled out in the book or the show. He has clearly walled himself off. He lives in the factory and never comes out. It is just him and the (Continued on page 8)

Online extras!

Get a first look at Charlie And The Chocolate Factory during cast rehearsals. https://youtu.be/Y8JDp8kEAsc www.stagewhispers.com.au Stage Whispers 7

Cover Story The original 2017 Broadway cast of Charlie And The Chocolate Factory. Photo: Joan Marcus.

(Continued from page 7)

Oompa Loompas and his chocolate. It makes him a strange person, but if you have Roald Dahl’s understanding of humanity you can understand it.” Slade Smith admits he is daunted about being compared to the portrayal of Willy Wonka in the original movie by Gene Wilder. “Huge shoes to fill does not even cover my acknowledgement of what Gene Wilder did with the role of Willy Wonka. I think he captured the soul of the story, just with the look on his face. It is so deep, without him even tyring. “Gene Wilder, up until that point, had displayed such comic genius playing frenetic quirky characters. But with Willy Wonka he was quiet. He was still. He had the look of curiosity on his face. You want to know what is going on with the guy the whole time. It was spot on.” Is this what he aspires to? “That is part of it. There is a freneticism to Willy Wonka as well. He is always changing skins. He’s very entertaining and full of life and mischief. He has a joy about him, but a dark side as well. I think the stillness, like an inner sadness, is definitely part of the role.” Slade Smith said the iconic movie helps the audience digest its new incarnation as a musical.

8 Stage Whispers January - February 2019

“So many people come to the story through the Gene Wilder movie, which already has some songs. You already associate ‘Candy Man’, ‘Pure Imagination’ and ‘I’ve Got A Golden Ticket’ with this story. It absolutely sings well. “The lovely Marc Shaiman and Scott Wittman [composer/lyricists for Hairspray] had a rich environment for creating songs to introduce very colourful characters. “They wrote a lot of very fun songs for the show when Willy Wonka introduces himself to the golden ticket winners, and there is great first act closing moment.” Slade Smith himself is a published writer, with his niche being farce. “In my 30s I started to write. I realised subconsciously I always had the mind of a playwright. “That is often how I got cast in shows. I would come into the audition reading the script, then understanding - I see what the writer is going for, and what the story is telling. “I view the job of acting through the eyes of a writer, rather than an actor’s perspective of how does my character feel at the moment,” he said. His casting in the role ruffled some feathers in the local acting community. “I can completely understand the passion that local union actors feel about who is being given these jobs.”

He recalls feeling the same way when he was working in Chicago, when actors from New York got roles. “But I also did a show in New York with Anthony Warlow: Finding Neverland. “I also identify with producers and directors, trying to put together a show with a particular vision. “I am just the lucky guy who gets to play Willy Wonka.” Four lucky Australians have been cast as Charlie. The eldest of these is thirteen-year-old Ryan Yeates, a student of the McDonald College. He told me that he loves chocolate and could “never get sick of it”. He describes the characters of the other finalists as bratty but realistic. Ryan said Veruca ‘Daddy I want another pony’ Salt uses tactics that are familiar. Eleven-year-old Oliver Alkhair is already a veteran, having recently starred in Kinky Boots, and has an agent. He told me that fitting schooling around being in a professional musical is a piece of cake. Oliver rattled off all the characteristics of the brats - greed, gluttony and watching too much television. The eleven-year-old, though, loves his role. “I really like how thoughtful Charlie is and that he puts others before him.”

Charlie And The Chocolate Factory plays at the Capitol Theatre, Sydney from January 5.

Tony Sheldon.

Online extras!

Watch Tony Sheldon sing “I’ve Got A Golden Ticket” during cast rehearsals. https://youtu.be/sRO_MN9RmPs

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Online extras!

Check out a trailer for Harry Potter And The Cursed Child. Scan or visit https://youtu.be/pLmB7dPRhCI 10 Stage Whispers January - February 2019

Harry Potter And The Cursed Child, based on an original new story by J.K. Rowling, is the most awarded production in the history of Britain’s Olivier Awards. Stage Whispers’ Bill Stephens previews the blockbuster play that is set to soar into Melbourne in 2019, after having only played in London’s West End and on Broadway to date. When director John Tiffany first approached J.K. Rowling with the idea of a theatrical presentation of her Harry Potter stories, the author was unenthusiastic. “The prospect of creating a stage play about Harry Potter was really daunting,” she recalls. “The stakes were really high and I have always been quite resistant to the idea of putting it on stage. It had to be a very special and unusual idea to make me think, ‘that really could be good’.” Tiffany had previously met Rowling during his days as Assistant Director at the Traverse Theatre in Edinburgh and was already an award -winning director for his work on the musical Once. Having sparked the interest of Rowling, Tiffany then pitched the idea to playwright Jack

Thorne, who had no hesitation in agreeing to be involved. In Rowling’s case, “I didn’t commit and decide until I knew who I’d be working with,” she recalls, “and it was these guys who really made it happen.” It proved a happy collaboration for the trio. Rowling, Thorne and Tiffany came up with the story, the eighth in the Harry Potter series, and the first official Harry Potter story to be presented on stage, as a play written by Thorne. Rowling has stated that she was “confident that

when audiences see the play, they will agree that it is the only proper medium for the story.” Tiffany went on to direct the production in London and New York, winning Olivier and Tony Awards for his direction. He is also directing the Melbourne production. Harry Potter And The Cursed Child begins 19 years after the end of Rowling’s seventh Harry Potter book ‘Harry Potter And The Deathly (Continued on page 12)

Main: The original London cast of Harry Potter And The Cursed Child. Photo: Manuel Harlan. Above right: The Australian cast of Harry Potter And The Cursed Child in rehearsals. Photo Tim Carrafa.

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Following its Broadway opening in 2018, it won six Tony Awards including Hallows’. Harry Potter is now a Best Play, six Outer Critics Circle husband and father of three schoolAwards and five Drama Desk Awards. age children. His youngest son, Albus, No doubt it will add a few more struggles with the weight of a family awards to its crowded trophy cabinet legacy he never wanted. The play picks during the forthcoming Melbourne up where the books left off, at season, which will open at the Princess Platform 9 ¾, where the grown-up Theatre in Melbourne on the 16th January 2019 for an exclusive two-year heroes of the Potterverse, Harry and Ginny, and Hermione and Ron, are residency. waving off their children, Albus Potter Produced by the Michael Cassel Group, it is already promising to repeat and Rose Granger-Weasley, both bound for their first year at the the success of the London and Broadway productions with 200,000 wizardry academy, Hogwarts. Unusually the play is presented in tickets reportedly being sold in four two parts, which are intended to be days, even before the public sale tickets were released. It will be unique in that seen in order on the same day (matinee and evening) or on two the Australian cast will originate their consecutive evenings. roles. Several members of the original London cast headed the Broadway Since it premiered in London in 2016, Harry Potter And The Cursed production. In this production Harry Potter will Child has already won twenty-four be played by Gareth Reeves, a New major theatre awards. It comes to Melbourne with the reputation of Zealander and himself a playwright. being the most-awarded production in Reeves has worked extensively across theatre, film and television both in the history of Britain’s prestigious Olivier Awards. The London production New Zealand and Australia. He’s garnered a record-breaking nine Olivier worked for most of the major theatre companies in Australia, most notably awards including Best New Play and the Melbourne Theatre Company and Best Director. (Continued from page 11)

Bell Shakespeare. He’s thrilled with the prospect of creating Harry Potter in Australia. “This production is covered in magic dust already, and the idea that Melbourne will get a chance to make its own version of it; I’m superexcited to be part of it. And of course it’s a story I’ve read and known and loved, and read it to my children, and like everyone else I feel like I own a little bit of it as well.” NIDA graduate Lucy Goleby, who played opposite Reeves in the 2018 Bell Shakespeare production of Anthony and Cleopatra, plays Harry Potter’s wife, Ginny Potter (nee Weasley). Goleby feels a sense of responsibility in taking on the role. “It’s a great responsibility to do justice to the characters,” she confides. “So many people know them, love them and have grown up with them.” Sean Rees-Wemyss, best known for his role as Oscar in the ABC TV show Nowhere Boys, agrees. Sean plays Albus Potter, the youngest of Harry Potter’s three sons. “It’s been a big part of my life since I was a really little kid. To be part of (this production) is (Continued on page 14)

The Australian cast of Harry Potter And The Cursed Child in rehearsals. Photo: Tim Carrafa.

Online extras!

Meet the Australian cast during rehearsals. Scan the QR code or visit https://youtu.be/KVF4RfdZHps 12 Stage Whispers January - February 2019

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Company. However, in Harry Potter And The Cursed Child she will play monumental,” he enthuses. Hermione Granger who, at 11 years The role of Rose Granger-Weasley old, discovered that she was a witch, will mark Manall Datar’s professional and who became best friends of Harry debut, having just graduated from the Potter and Ron Weasley. “It’s really Victorian College of the Arts. delicious to be a part of that list Perhaps the best-known names in London, New York, Melbourne. That the Australian cast are Gyton Grantley really feels thrilling.” and Paula Arundell. Though boasting So what is it about this particular an impressive list of theatre credits, production that makes it so including playing Luther Billis in Opera unmissable? Well, according to The Australia’s production of South Pacific, Guardian’s critic Sam Clemment, who Grantley’s appearances as Kane in the gave it a five-star review: “Under popular television series House Tiffany’s shoot-for-the-moon direction, Husbands and Carl Williams in they have presented it in a form that is Underbelly have made him a exuberantly, flabbergastingly, Playbillhousehold name. In Harry Potter And shreddng, theatrical. The stage illusions by Jamie Harrison in concert with a The Cursed Child Grantley plays Harry Potter’s affable best friend and brother team of designers are you-won’t-in-law, Ron Weasley. believe-your-eyes stunning. Broadway Harry Potter And The Cursed Child hasn’t seen magic like this since the profoundly embarrassing, mustached will be a change of pace for Paula Arundell, one of the nation’s most days of Merlin. Its return is thrilling.” Marilyn Stasio, writing for Variety, respected indigenous actors. Arundell already has a bulging trophy cabinet, was a little more circumspect: “For all which includes a Helpmann Award for its inventive stagecraft devices, the show has a plot that really works as an her performance in the searing The extension of the Potter saga. The Bleeding Tree for the Sydney Theatre (Continued from page 12)

14 Stage Whispers January - February 2019

central theme interlocks with the goodversus-evil dynamic that underpins all seven (now eight) chapters of Rowling’s pop masterpiece. We love seeing theatre that shows us the true magic of great storytelling.” As Ben Brantley, writing for The New York Times, said in his review: “It’s the kind of play that you want to describe in detail, if only to help you figure out how it achieves what it does. That would be a kind of magic that is purely theatrical yet somehow channels the addictive grip of Ms. Rowling’s prose. This production captures Ms. Rowling’s sensibility even more persuasively than did the specialeffects-driven films. In The Cursed Child everyone onstage has direct, presenttense responsibility for the story being told. And most of them play many parts.” If you’re hooked on the Potterverse you probably already have your tickets, but even if you’re simply Pottercurious, if you want to be able to join in the conversation around the watercooler, you’ll need to have seen Harry Potter And The Cursed Child.

Leading A Chorus

Jonathon Welch.

Australia’s most beloved and talented music educator Richard Gill passed away in October. Ready to pick up the baton is choir conductor Jonathon Welch. David Spicer joined one of the many choirs Jonathon leads. Every good choir conductor has a bag of tricks to inspire his/her choristers. Jonathon Welch has some beauties. His mission was to teach 200 passengers on the Bravo Cruise of the Performing Arts three songs in three rehearsals. First, he asked tenors, then baritones, sopranos and altos to click their fingers. Remarkably each section had a pitch which matched their profile. Why do baritones have a deeper click than tenors? “I don’t know whether it has to do with bone density. Your whole pitch is in your DNA and bones,” said Jonathon, who still can’t quite work it out.

Despite having very limited time to teach the songs, he spent a considerable part of each rehearsal teaching choristers how to use their voice. “It is not a matter of saying to someone to stand tall. I say, imagine there is a 45-degree string from the chest plate that goes towards the ceiling. This enables us to engage with our first rib, which gives us better access to our lungs.” One of Jonathon’s first singing teachers colourfully explained it another way. Sitting in a waiting room before his first lesson, he heard her scream at a singer “breasts like sword fish”. Next, he works on getting singers to relax the jaw and the muscles

around the larynx. “Then you can do some work on the tongue with some tongue twisters. One of the best is ‘bitter butter bitter butter bitter butter bid’.” Another mission is to neutralise the choristers’ Australian accents. He strives for “Singlish”. (Continued on page 16)

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Richard Gill.

Online extras!

Richard Gill discusses the value of music education in a 2011 TED Talk. https://youtu.be/HeRus3NVbwE

to singing and vocal technique. For the last twelve years he has led the Choir of “We go in ooo Australian - how are Hard Knocks in Melbourne, which yoo. It is one of our most difficult brings together disadvantaged people. vowels. His ethos is to “never miss an “I always try to do it in a fun way, opportunity to teach”. through a call and response - ‘Wah “When you have a group of good Wah wee woo’. people, it is a lost opportunity if you “This is about getting them to relax are not enlightening, surprising and their jaw and make the same vowel delighting them. sound. As a choir I need to make sure “Everyone wants to feel valuable they are singing the same vowel shape. and acknowledged. If you have had a If they don’t, you will not get a blend life of disadvantage and have been of sound.” pushed to the periphery on welfare, Jonathon is famous for working then suddenly you are on stage with with people who have not had access people applauding you. That validation (Continued from page 15)

Jonathon Welch leads the chorus on board the Bravo Cruise of the Performing Arts.

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of your contribution is one of the most powerful things I have seen. That then feeds into other part of their lives. (They think) if I can do something and feel good about it, it gives them confidence to learn about other competencies.” In many respects he models his teaching technique on that of the late Richard Gill. The music educator was so beloved, that a scratch orchestra descended on his home from all corners of Sydney when the word got out that he only had a few hours to live.

“One of my favourite Richard sayings is one that I might have on my tombstone, ‘Singing in tune is not a special effect’. “He had a clever way of getting a message across in an entertaining and fun way.” Jonathon lauds Richard as a fearless champion of music education. “I have heard people describe his genius (as an educator) as equal to or greater than Leonard Bernstein. He could break any piece of music down be it Bach, Mozart or Phillip Glass - and impart that knowledge. He was a gifted teacher, charismatic and also very funny. To get all three in one person is what made Richard unique.” Jonathon Welch is someone likely to be called on to fill the void as a future charismatic champion of music education. A priority for him is training the trainer. He rails against the fact that in some states primary school teachers study for three years, but only receive twelve hours of instruction in how to teach music. “How is that possible in this day and age?” Jonathon Welch believes that “you never stop learning.” One the most important lessons he’s applied is, ‘be bold in your career choices’. “I was the most excruciatingly shy and nervous teenager - with a voice. “It took me two years to relax my top lip,” he said, whilst demonstrating

the frenetic quivering which used to afflict him. Luckily, he conquered the shakes and became one of the stars of Opera Australia. Then in his late 30’s he made a leap into the unknown. “I was bored singing what the opera company was offering me. I thought, there has got to be something better than this. “I left on a magical mystery tour. Everyone said I was crazy. How can you get homeless people to sing? Now every time people say I am crazy I know I must be on the right track.” His latest triumph is an awardwinning documentary called Choir Man in Africa. It tracks his journey to the slums of Kampala in Uganda working with the African Children’s Choir. “The choir is the public face of an education process that has saved 50,000 children from poverty and led them to tertiary education.” Jonathon was inspired seeing the “power of music” to transform lives. The adventure saw him meet the Prime Minister of Uganda and have thousands of children sing him happy birthday. At the other end of the wealth spectrum are his annual gigs teaching songs on the Bravo Cruise of the Performing Arts. About ten percent of the passengers take part. The music he chooses is not straightforward. One piece was the Anvil Chorus from the Opera Il Trovatore, ‘Who turns the

Gypsy’s day from gloom to brightest sunshine?’ Perhaps I wasn’t paying attention closely enough, because it was only when we had our dress rehearsal that it dawned on me we were expected to sing this from memory, after just three rehearsals. Thankfully one of his tricks helped. He taught the songs first by ear. “If you start with a printed page, it is very hard to get that away from them. They have not used their mind and brain to memorise it. It is about imprinting (the music) into their DNA.” With such a large number in the chorus, the occasional missed line was not noticed. “As a teacher you have to appeal to them, not just visually, aurally, or kinetically, but also how they feel. One of the most important things I have learnt is that people might not remember what you’ve said to them, but they will remember how you made them feel. “That was the secret of Richard Gill. All that genius and knowledge he would impart. I hope the same will be said about me. “They won’t remember all I have said and all the tricks I have given them for the concert.” Jonathon wants all the choristers that he works with around Australia to remember that it is “not just the destination of the performance” that matters “but the journey of the rehearsal and hours of rehearsal.”

Online extras!

See the choir in action at the hands of Jonathon Welch. Scan or visit https://youtu.be/GV52w8_AGVI www.stagewhispers.com.au Stage Whispers 17

A Chorus Of Approval We asked members of various community theatre ensembles why they enjoy it so much. Gillian Peterson Queensland Music Theatre Retired Ballet Dancer “I just love the whole excitement of being on stage. I can’t imagine life without it. “I (especially) like having a little bit of dance as part of the chorus. Any amount I can get I am grateful for, as I have tremendous competition. “Over the last ten years I have done twenty shows. Sometimes I get lucky and have a few lines. Whatever they give me I am happy for. “I also do a lot of the costumes. For Miss Saigon I asked if there was any part for me. They said I could walk across the stage in the second act as a tourist but it wasn’t enough, so I just did the sewing and still got to mix with the cast.” Di O’Ferrall Coffs Harbour Musical Comedy Company Office Manager “I can never understand people who won’t take a role in the ensemble if they don’t get the role they’re going for. They miss out on a valuable learning experience, and a great opportunity to make life-long friends. I’ve enjoyed 10 shows in the ensemble, learning valuable lessons in stage craft, acting and vocal performance. “I have had couple of major roles (Baroness Bomburst in Chitty Chitty Bang Bang and Frau Blucher in Young Frankenstein). I have had a number of supporting roles and cameos - any character role with a funny accent is usually irresistible.” Christine Heard Manly Musical Society Journalist “I’ve been performing in musicals since I was 17 years old and I’ve always been in the chorus. I’ve played many ensemble parts - a nun, a townsperson, an angry mob, a cancan dancer, a teacher - and now in Les Mis, I get to play a beggar woman, a tavern wench, a factory worker, a revolutionary and a streetwise whore. “One of the challenges to being in the chorus is the number of times you have to change character. You don’t want the audience to recognise you from a couple of scenes before because now you’re there to tell the story of that scene, and make them believe in that moment in time. And of course the quick costume changes required to pull off that magic trick certainly get the adrenaline pumping. “I believe a good chorus is one that supports the principals by being so intricately and naturally woven into the scene that the audience almost forgets they’re there - until, of course, the time comes to really set the scene or belt out that big number, which is when the ensemble gets to shine. I adore being surrounded by a wall of harmonies and acting dynamites, knowing that I’m part of the energy that’s blowing the roof off the theatre.” Tim Foley Holroyd Musical and Dramatic Society HMDS secretary Susan Brown says, “Tim has been in the chorus of almost every musical at Holroyd since 1995, when he was a munchkin in The Wizard of Oz. He has also done some lead roles in pantomimes. He always comes to rehearsal early and does everything asked of him. He is always happy and smiling at rehearsal. He helps with bump in and paint day. When he is not in the cast for a show, he will help with front of house. This makes Tim a valuable member of the Holroyd family.”

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Having A Senior Moment Coral Drouyn chats with two of our great to see that writers Angus most senior stars before a national FitzSimons and Kevin Brumpton have been able to tap into the gentler tour of Senior Moments.

on the rather exotic and free-spirited Benita Collings. “I thought she was the sexiest comedy of how we oldies deal with life woman I had ever seen,” John Wood and the younger generation. And, reminisced with all the wonder of There’s an old saying that ‘Old notwithstanding a cast of the calibre of adolescence. It’s true that Benita, in actors never die, their parts just get the iconic Max Gillies, John Wood, her twenties, had a wild beauty about smaller’. Or maybe it’s not an old Benita Collings, with indefatigable her, with her head of unruly curls and saying, maybe it’s just me having a octogenarian Geoff Harvey on piano a certain attitude we now call sass. senior moment and imagining it? (along with a great supporting cast), John would go on to star in two iconic ‘Senior moments’ is an affectionate the show dispels all the old warnings TV series - Blue Heelers and Rafferty’s term we use when people older than that it’s impossible to have a lifetime Rules - winning awards for both, and us start losing the plot, but no-one career as an actor. Benita, despite films and theatre, was could accuse the cast of the musical If we time travel to more than 50 most recognised for her role as the revue Senior Moments of having lost years ago, I was having similar hostess of Playschool for over 30 years. the plot. The show, in its third season, conversations with John Wood and But how much different, I wondered, is about to start a national tour, taking Benita Collings at Sydney’s Neutral Bay was performing every night in your in most of the cities in four states. That Music Hall a full sized theatre seventies compared to your twenties. needs a lot of stamina, when you featuring full length melodramas with And how had they managed to sustain consider that the collective age of the music and a large cast. It was THE their careers in a climate where more cast tops three centuries, with around place to go in the mid-1960s and than 60% of performers are 200 years of that spent performing. where a young actor at drama school, unemployed at any given time? The art of comedy revue has died who was earning some extra money out over the last few years, but, in a directing the follow-spot, first laid eyes world where credibility is being (Continued on page 21) stretched to its comic boundaries, it’s The cast of Senior Moments: Max Gillies, Benita Collings, Geoff Harvey and John Wood.

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The cast of Senior Moments: Max Gillies, Benita Collings, Geoff Harvey and John Wood.

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The cast of Senior Moments are old enough to know better! Scan or visit https://youtu.be/9DnGHcZ59Kk

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“In our last production Benita was in pain a lot of the time but the I wanted them to tell me what was audience had no idea,” John adds. the best, and worst, thing about being And that reminds me of another old and still performing. cliché, ‘The show must go on’. Benita, still full of energy and “I wasn’t so much worried about passion, jumps in first. “I really don’t how I would physically recover, as I get the whole concept of just putting a was about the mental repercussions,” number on a person and that Benita says. “I’d heard that sometimes determines how old you’re supposed after an anaesthetic short-term to feel. Some days I feel incredibly memory is affected, and I wondered young, ready to conquer the world. how I’d go learning and remembering Other times I have aches and pains and a script. Fortunately, it made no feel my age - whatever that is. But the difference at all.” moment I step on the stage the pain “And because this isn’t a narrative goes, or at least I’m not aware of it.” show, it’s comedy, it wouldn’t matter “That’s true - until you step off too much if we did ‘dry’,” John adds. again,” John Wood agrees. “It’s lousy Again I’m reminded of yet another that your body won’t do what you old adage, ‘If it gets a laugh, leave it want it to. There’s no ‘best’ thing in’. about being old.” John laughs. “Exactly. There you go, “The best one more good thing about being old. thing is that we’re still employed, we’re still being offered shows, we still get to perform with old friends and new talent. You have to admit that’s the best way to stay young,” Benita Max Gilles is an absolute master of says, brimming with enthusiasm. that. It’s not so much that he ever “Alright,” John concedes, “it’s dries, but he has such a fertile brain marvellous that we’re still considered that he’ll paraphrase sometimes, and it for good roles when so many people comes out as an even funnier line.” have retired, but it’s a shame when I wondered if they had ever, when your body doesn’t want you to enjoy it. they started out, thought about what Recently I did a group audition for a they might be doing fifty years down major production and we all had to fall the road? on the floor, and then spring up again. “I can honestly say I never thought “Well guess who couldn’t move about it,” Benita says. “Of course, it and had to have two people to get him was very different in those days. There to his feet? And guess who isn’t going were no Performing Arts schools in the to get that part?” 50s, and NIDA had only just opened. John now grapples with Everyone had a day job and trained, Rheumatoid Arthritis and finds it did classes, auditioned, even rehearsed, annoying as well as painful. “But outside of business hours. No-one Benita is right,” he says. “The minute I imagined they could actually have a full step on stage I’m no longer aware of -time paying job acting. I trained with it, and fortunately we are meant to be Hayes Gordon at the Ensemble and our age in this show, so a few aches somehow managed to do a secretarial and pains simply add to the job, acting classes and productions all credibility.” at the same time without ever feeling Benita has faced her own problems. stretched. It wasn’t until I returned “Early this year (2018) I had to have a from England in the mid-sixties that I hip replacement,” she says. gave up doing a day job. And I don’t (Continued from page 19)

remember it being a conscious decision. It just evolved.” She seems surprised by the memory. “I don’t remember exactly how it happened for me,” John muses. “By the time I left school I wanted to be an actor, but that was the same as saying I wanted to go to Mars. It just didn’t happen. I did various lousy jobs, including an awful time in an abattoir. I ended up going to Sydney with 40 dollars - no, it was pounds - in my wallet, with a clapped-out old car, and I was accepted into NIDA. After that, doing anything else just wasn’t in the running.” John’s first play at NIDA was in 1967 and was actually directed by his Senior Moments co-star Max Gillies. “And I’ve admired him ever since. There’s not a chance in hell Max and I imagined we’d be here now - nobody

thought that far ahead or made fiveyear plans about their careers. We just wanted to act. They will literally have to carry me away to stop me.” It’s not an addiction to the audience response, laughter and applause, that drives them, but it’s something close. “We’re incredibly blessed to be doing this tour with people we admire, and an audience that just seems to love every moment,” Benita explains. “It beats sitting at home as so many retirees do. I have never lived in the past and I’m still wondering what the next show will be.” John is just as passionate about the future. “When you get to share the stage not just with your peers, people you’ve performed with over the years who have become friends, but with an audience that gets every line, every gag, every song, and goes along with you, well, those are the moments that you treasure, whatever your age.” www.stagewhispers.com.au Stage Whispers 21

This year a record 28 million people will have their holiday on a cruise ship. Two Australian entrepreneurs are doing their bit to fuel the boom by leasing vessels and cramming them with top entertainment. David Spicer reports from the Bravo Cruise of the Performing Arts.

on the balconies of the different floors listening to the music, which rises, like floating bubbles, to the top. The co-owner of the Choose Your Cruise franchise is booking agent Marius Els. “People pay a premium to come on Boarding the Royal Caribbean night, other top-quality musicians board because the entertainment is Radiance of the Seas in Sydney - bound would shine. Jazz musicians, opera world class,” says Marius. for New Caledonia and Vanuatu - I singers, pianists and classical musicians “It is a bit of fantasy land. When knew I would be offered plenty of high were on the roster. No expense people walk up a gang plank with 200 cholesterol food at the buffet, but I appeared to have been spared. musicians and artists and they are wasn’t quite prepared for the volume A young Australian baritone, Sam locked away with them for seven days, of high cholesterol entertainment. Roberts-Smith, was flown in especially they all get to meet and engage with Every night there was an A-list for the cruise from Germany. The Celtic them.” performer such as Todd McKenney or Tenors came over from Ireland. Mixing with the stars is part of the Teddy Tahu Rhodes in the main At the centre of the ship is an open charm. Todd McKenney joked that he theatre. performing area, adjacent to glass lifts, felt more breasts during the trip than During the day, and late at the which rises eight levels. Passengers sit any time in his life.

Online extras!

Join Stage Whispers on board the 2018 Bravo Cruise of the Performing Arts. https://youtu.be/n_bOFTqPTyI 22 Stage Whispers January - February 2019

That is breasts pushed into his back from fans cuddling him from behind, in the lifts. There are also plenty of Zimmer frames in action. On board if you saw someone with grey hair, they were most likely a passenger. Those middle aged or younger (not part of the crew) were usually artists. During Todd’s act, centred on the music of Peter Allen, he joked about members of the audience dying or having heart attacks during his past shows. He urged one elderly woman to keep her fluids up. On our cruise everyone was in good spirits and disembarked in a vertical position. Performing on the high seas, though, has its special challenges. “We normally have lots of things on the pool deck. So, if it is rough and windy up there we have to move or cancel it,” said Marius Els. “It is very challenging for the headline acts on the main stage. When you have an orchestra sitting down and the ship is moving fifteen degrees

Todd McKenney on board.

it is totally different to performing on dry land,” he said. Tom Burlinson did not make it to the grand finale performance. He was confined to his cabin with the dreaded lurgy. The crooner must not have paid attention to the regular advertisements on the in-house TV to wash your hands.

Turning up night after night was the incredible 30-piece Metropolitan Orchestra under the baton of Guy Noble - the true stars of the voyage. They had to prepare for eight different one-hour concerts with demanding opera, music theatre and jazz-swing repertoire. The number of (Continued on page 24)

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Silvie Paladino, David Hobson and The Metropolitan Orchestra.

“Sometimes hiring a ship can be This year they chartered a ship from way less risky than putting on a show England for a European Bravo cruise. different pieces of music needed for at the Opera House,” said Marius. Eight Australian acts got to take orchestra members topped several “You just have to run the numbers. part. One of them was the singer Mark thousand (a number similar to desserts It is the same whether you build a Vincent. prepared each day on the vessel). house or book an international tour.” “Originally we had him in a venue The Choose Your Cruise business The swashbuckling entrepreneurs of one hundred and fifty,” said Marius. has now chartered 32 ships over seven have set their sights on the high seas “By the end of the cruise we had to years. away from the South Pacific. put him in the main theatre at eleven The ‘Rock the Boat’ cruise in 2019 o’clock at night. We had over thirteen featuring Suzie Quatro - has already sold out. Bravo owners Mick Manov and Marius Els. Another popular regular is their country music voyage. This year’s Cruisin Groove featured six international Elvis Presley impersonators. (It was all a bit too much for the Captain of the Radiance of the Seas. He told us that seeing Elvis in speedos was a bridge too far.) The original idea for a music festival at sea came from Mick Manov. He was running an audio company in Adelaide, best known for techno dance parties and chartering small ships from Glenelg. “My wife and I love cruising. There is no ship in the world that I don’t know. We were on a cruise from New York to the Caribbean when someone suggested I charter one. “But chartering a ship is not like hiring a car. It is a nightmare.” His first Blue Suede Cruise in 2010 had a 50s / 60s rock n roll theme. Within three months he said it was 90 Online extras! percent booked. Ready to set sail on a Bravo cruise in Then he teamed up with Marius. He 2019? To see more, scan or visit takes the multi-million-dollar risk in his https://youtu.be/qCBwgTy7dWQ stride. (Continued from page 23)

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The company prides itself on making the artists very comfortable. “Our model is to get as many original recording artists as possible and give them a balcony cabin. We also allow them to bring their children and family.” Marius said on other cruises artists are put on deck two, with no balcony and four bunks to a room. The star acts score large suites. I interviewed a very jolly Todd McKenney in his room, which felt three times as large as a regular berth. It had a double bed, dining room, kitchen and couch. “Bravo is amazing. It is a variety show on water. I enjoy seeing all my friends perform and the beautiful hundred people and five hundred scenery. (However) I am also eating too waiting to get in. That was an much. I am turning into a loaf of unknown guy from Australia.” bread. Now Mark Vincent has scored some “So, I do an hour at the gym at six impressive gigs in the UK - on dry land. o’clock. I call it playing it forward. I go “Our goal is to expand into other from the gym to the buffet,” territories.” The ship feels like a good fit for the Outside of the United States they music festival at sea. The Radiance of believe they are the only themed the Seas fits up to 2000 passengers, entertainment cruise company. which is about half the capacity of the

liner’s monster sister ship The Symphony of the Seas. Getting a good seat at the main shows each night still requires early bird planning. The next Bravo Performing Arts Cruise is from November 12, 2019. The headline act is Welsh Bassbaritone Sir Bryn Terfel. He has both a booming voice, a jolly personality and has enjoyed performing in Australia before. Music Theatre star Lucy Durack will be on board - surely with her gorgeous daughter. Other performers include James Morrison, Mark Vincent (with A Tribute to Mario Lanza), Jonathon Welch, Melinda Schneider (with her Doris Day show) and The Kermond Variety Show. Destinations are New Caledonia and the Isle of Pines. It will be another seven days of music heaven on a ship. David Spicer travelled as a guest of Bravo Cruise of the Performing Arts. Read more in Musical Spice on page 92 of this edition.

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Parris In London, New York And Melbourne Independent reviewer Simon Parris complements his Australian theatrical calendar with visits to New York and London each year. Focussing on musicals and plays, Simon shares his Top Ten for 2018.

The Ferryman (January 2018, Gielgud Theatre, London) Jez Butterworth’s epic new play The Ferryman featured a multigenerational cast of 23 performers, including a live baby, as well as a live goose, rabbits and even rats. Set in the 1980s during Harvest Festival at an Irish farm, the play offset charming family dynamics with an undercurrent of tension over the conflict in Northern Ireland. Towards the end of its mighty 195 minute running time, the play jolted the audience with a shocking act of violence. Now playing on Broadway, it would be very surprising if The Ferryman does not make it to Australian in the near future.

lucky enough to see the play as part of the NT Live cinema season. The sprawling two-part play retained its political and emotional potency, bolstered by Marianne Elliott’s ingenious direction. Adding to the entertainment value were star turns by Nathan Lane as vicious, closeted lawyer Roy Cohn and Andrew Garfield, who played against type as histrionically inclined gay man Prior Walter. The Broadway revival scored the most Tony Award nominations for a play in history, winning three awards.

An Ideal Husband (July 2018, Playhouse, Arts Centre Melbourne) Melbourne Theatre Company matched the sparkle of Oscar Wilde’s wit with a gleaming production of An Ideal Husband, bejewelled with Angels in America (April 2018, dazzling performances. Neil Simon Theatre, New York) Director Dean Bryant delivered a Originating at London’s National beautifully realised, endlessly Theatre, the acclaimed revival of Tony entertaining production. The splendid Kushner’s Angels in America went cast exceeded expectations, home to New York in 2018. Audiences successfully unearthing the humanity of Wilde’s characters. around the world had already been

The Production Company’s Oklahoma! Photo: Jeff Busby

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Simon Gleeson created a grey area of morality, keeping the audience on side despite the dishonest background of Sir Robert Chiltern. Christie Whelan Browne made a striking move into darker territory, playing a beautiful yet vulnerable woman prone to blackmail and theft. As mutton-chopped dandy Lord Goring, Brent Hill engaged audience affection for a character who could have been seen as a spoiled layabout. Gina Riley was luxury casting as plummy society matron Lady Markby.

Oklahoma! (May 2018, State Theatre, Arts Centre Melbourne) Melbourne institution The Production Company began their landmark twentieth season with a knockout concert staging of Rodgers and Hammerstein’s Oklahoma!, in which each artistic element was expertly realised. In his directorial debut, Chris Parker respected the original material, delivered fresh appeal to the humour and brought authentic impact to the moments of danger and pathos. Performing beneath soaring calico arches, an all star cast and large chorus remained fully engaged in the energetic action at all times. Superb singers Simon Gleeson and Anna O’Byrne enjoyed strong chemistry as Curly and Laurie. Robyn Nevin proved a good sport as crotchety Aunt Eller. Elise McCann, Bobby Fox, Ben Mingay, Grant Piro and Richard Piper all shone

in their roles, contributing to a vivid, memorable production.

Everybody’s Talking About Jamie (January 2018, Apollo Theatre, London) My Fair Lady (April 2018, Vivian A joyful celebration of the power of Beaumont Theatre, New York) embracing what makes a person The jewel in the crown of special, Everybody’s Talking About Broadway’s golden age, My Fair Lady Jamie was one of the most exciting was masterfully revived by director new British musicals in a long time. Bartlett Sher and his dream team of Based on a documentary, the musical collaborators. Sher created much originated in Sheffield, where prolific discussion by tweaking the ending, producer and West End theatre owner retaining the text but adding a new Nica Burns caught the final matinee, final action for reformed flower girl and subsequently brought the show to Eliza Doolittle. London’s West End. The incredible design for Professor A diverse cast, natural humour, Higgins’ home was the centrepiece for accessible music, energetic the staging. Constructed on a large choreography and loads of heart scale, the spectacle increased when the combined to create a musical that elaborate set rotated to show two drew crowds of young people to the other areas of the home. theatre. Having an Eliza and Higgins of In what is a very pleasing current roughly the same age added to the trend, local audiences were treated to spark of romance. Harry Hadden-Paton the chance to see Everybody’s Talking (The Crown) charmed as Higgins, while About Jamie thanks to cinema Lauren Ambrose (Six Feet Under) screenings in November. surprised the audience with a legitimate soprano singing voice. Tina Arena and the cast of Evita. Grande dame Diana Rigg was perfectly Photo: Jeff Busby. cast as Mrs Higgins, with Broadway favourite Norbert Leo Butz as Alfred P. Doolittle.

School of Rock (November 2018, Her Majesty’s Theatre, Melbourne) Finally breaking the drought for prolific composer Andrew Lloyd Webber, School of Rock was a Broadway and West End hit before its Melbourne premiere. The lavishly produced and impeccably cast Australian tour of School of Rock is a welcome reward for local audiences who have seen an abundance of musical revivals of late. Based on the popular film, the musical had a joyous, independent life of its own, the live music from the extraordinary cast of children providing additional excitement that is only to be found in the theatre. Infinitely likeable actor Brent Hill gave a star turn that is all the more engaging for his complete immersion in the character and his utter trust of the material. Amy Lehpamer played somewhat against type as prim headmistress Rosalie Mullins, who let fly in act two with electric results.

anchored the musical as fascinatingly flawed café owner Dina. The Band’s Visit won an extraordinary nine Tony Awards, which will hopefully encourage a brave producer to bring the decidedly non-commercial musical to Australia.

Follies (January 2018, Olivier Theatre, National Theatre London) On a scale not possible in commercial musical theatre, a cast of 37 and an orchestra of 21 brought cherished Stephen Sondheim musical Follies roaring back to life at London’s National Theatre. Produced on a large scale, the revival was both a warm bath of nostalgia and a dazzling piece of entertainment in its own right. Acclaimed actress Imelda Staunton was heartbreaking as Sally, engaging the audience’s protective instincts as layers of Sally’s self-delusion and romantic desperation were revealed. Philip Quast brought his luxurious singing voice to the role of Ben. Exceptional dancer Janie Dee gave Phyllis’ weary cynicism a sharp, acidtongued edge. Follies was shown in cinemas as part of the NT Live series. Follies returns to National Theatre, London in 2019.

Evita (December 2018, State Theatre, Arts Centre Melbourne) First seen at Sydney Opera House in September, this long overdue revival subsequently arrived in Melbourne in much sharper condition. A recreation of the original production of Evita, in honour of its The Band’s Visit (April 2018, 40th anniversary, the staging looked Barrymore Theatre, New York) magnificent in Melbourne’s mighty Gently understated and leisurely State Theatre. Hal Prince’s avant garde paced, The Band’s Visit is the antithesis direction was filled with marvellous of the current Broadway musical, and moments, and Andrew Lloyd Webber’s is all the richer for it. richly melodious score was heard at its Transporting the audience to best. another time and place, the musical Seasoned, multi-platform was an adaptation of a 2007 arthouse entertainer Tina Arena gave the movie. Heading to Petah Tivkah, the performance of her career as Eva Alexandria Police Orchestra mistakenly Perón, singing the role with thrilling boards a bus to Bet Hatikvah, spending intensity and precision, and portraying 24 hours with the restless inhabitants Eva’s journey from simple girl to of the small town. dazzling icon to tragic patient in a David Yazbek’s score highlighted compelling and affecting manner. Kurt his flair for fascinating rhythm and Kansley provided the necessary sparks intelligent lyrics. Actress Katrina Lenk of danger as revolutionary figure Che.

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Three World Premieres Noli Me Tangere (Touch Me Not) A new musical about the Philippines explores the effects of colonization on an indigenous culture. McFadden Music will present Noli Me Tangere (Touch Me Not) at the Parramatta Riverside Theatre in late March/ early April. Noli Me Tangere is the national novel of the Philippines. It was written by the national Filipino hero Dr. Jose P. Rizal about the long history of Filipino struggle for independence. It’s about Crisostomo Ibarra, who returns from Europe to the Philippines in the late 1880s and wishes to educate his people out of the slavery of ignorance, under Spanish rule. Ibarra finds himself in bitter conflict with the priest who denied his father a Christian burial and who is doing everything in his power to stop the romance between Ibarra and his beloved, the angelic Maria Clara de Los Santos. “The music I’ve composed seeks to capture the beauty and the violence of the Filipino landscape which has everything from volcanoes to the most gorgeous coastal resorts,” the composer and lyricist Alan McFadden said. Noli Me Tangere is part romance and part political protest against colonization but also becomes an escape story when Ibarra must go on the run with a revolutionary. “It could be about Aboriginal Australians, or even about the history of my own country Estonia,” said director Aarne Neeme. “It’s a universal story, only set in a particular time in Filipino history.” “It’s a beautiful love story overtaken by violence, and the show is full of the most romantic and thrilling music,” book and lyric writer Peter Fleming said. Riverside Theatres Parramatta, Mar 30 - Apr 6.

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Noli Me Tangere cast members Pam Picart and Marcus Rivera.

Blake Appelqvist in Dorian Gray Naked. Photo: Clare Hawley.

Dorian Gray Naked A cheeky new musical based on the myth of Dorian Gray is being staged at new Sydney venue Limelight on Oxford in early February. Writer Melvyn Morrow and composer Dion Condack say that while “everyone knows the myth of Dorian Gray remaining exquisitely young while his portrait ages in the attic”, in this two handed musical the character is given a fictional after-life to turns the tables on his creator, Oscar Wilde. Wilde is himself metaphorically stripped bare as Dorian uncovers his intriguing secrets. Limelight on Oxford, Jan 30 - Feb 14.

Viagara Falls - Sweeten Up! A new farce targeting the older generation, set at the Serenity Gardens Retirement Village, in Cemetery Road Ipswich, will premiere in February. Triple divorcee Fran borrows a small container of (what she thinks are) artificial sweeteners from her nervous husband-to-be Eric. Only one person in Serenity Gardens knows the real reason behind all this chaos. Shy bridegroom Eric has lost the Viagra pills he obtained from his charismatic Indian GP, Dr Sahdu, that he subsequently hid in the container, Sweeten Up. So...will the men in the village ever ‘subside’ enough to attend and officiate at the fast approaching wedding ceremony? Will the women in the village ever return to the predictable routine of marital relations on Christmas and birthdays only? The co-authors Janet Findlay and Alan Youngson say, “This colourful cast of characters collaborate and connive in this hilarious tale of mishap and mayhem of misplaced Viagara pills.” Studio 188, Ipswich, Feb 23 - March 2. www.stagewhispers.com.au Stage Whispers 29

Awards Wrap December 2018 proved a hectic month for Community Theatre awards, with presentations in Victoria (Victorian Drama League and Music Theatre Guild of Victoria), on the Gold Coast and in Newcastle. Music Theatre Guild of Victoria’s 2019 Best Male and Female Performers: Jonathon Gardner and Morgan Heynes who played Galileo and Scaramouche in CenterStage Geelong’s production of We Will Rock You.

Recipients of 2019 Bruce Awards from MLOC for Spring Awakening.

Online extras!

Watch our round-up of the Music Theatre Guild of Victoria Awards. https://youtu.be/bCFPPzR-ESM 30 Stage Whispers January - February 2019

Music Theatre Guild Of Victoria Awards MLOC Productions was awarded the “Bruce Award” for outstanding musical of 2018 by the Music Theatre Guild of Victoria, with the company’s season of Spring Awakening picking up five awards including Best Director and Ensemble. The annual awards ceremony was held at Bunjil Place, a newly built theatre that is home to the Windmill Theatre Company. Centerstage Geelong also performed strongly, taking out four awards for its seasons of We Will Rock You and 42nd Street. PLOS Musical Productions’ season of The Phantom of the Opera picked up three awards, while CLOC received two awards for Strictly Ballroom and Jekyll and Hyde. The entertainment during the awards ceremony was outstanding, with the standout being a sidesplittingly funny performance by school students Henry Jaksetic and Will McGrath from the Caufield Grammar production of Dirty Rotten Scoundrels. Hats off to the Guild judges for attending more than 110 performances. Victorian Drama League Awards The Geelong Repertory Theatre Company and Brighton Theatre Company were the big winners at the 22nd annual Victorian Drama League Awards. Geelong picked up five awards including Best Play for its production of The Resistible Rise of Arturo Ui. Brighton scored four awards including Best Comedy for its production of In the Next Room, or The Vibrator Play. The Treasurer of the Brighton Theatre Company, Deborah Fabbro, said the Director (Natasha Boyd) demonstrated “an amazing attention to detail”. “It is a very interesting play based on the historical fact that women were considered to be hysterical,” she said. The use of the vibrator was to help “calm them down. With 2018 eyes we can see the comedy and pathos.”

CONDA Awards (Newcastle) Twelve very different shows shared the trophies in the 23 categories in this year’s CONDA Awards, with the musical The Drowsy Chaperone topping the wins with six awards. Judges say the way the production teams handled the very demanding formats and kept audiences engrossed underlined the impressive growth of theatre in and around Newcastle in the 40 years since the awards began. The Drowsy Chaperone was the first major production of a new company, High Street Productions. The judges noted in their citation for The Drowsy Chaperone’s Best Musical Production Award that “all elements of this musical production were in delightful harmony, perfectly balanced and timed, supporting and enhancing the charmingly wry atmosphere of this show within a show parody”. Two productions each collected three trophies: The Lowbrow Outfit’s The Lieutenant of Inishmore and the Catholic Schools Office performing arts training group Aspire’s Dark Matter. Gold Palm Theatre Awards (Gold Coast) On the Gold Coast, the Ballina Players’ season of A Few Good Men and the Beenleigh Theatre Group’s season of Oklahoma! shared the outstanding community theatre production of the year. The Gold Palm Award went to Prima Productions’ season of Shrek. The Platinum Palm went to Sue and Paul Belsham, who have been heavily involved in community theatre in New Zealand, Canberra, and now Ballina, where they have been responsible for set design, direction, production, costume co-ordination, publicity and a host of other activities. The Inaugural Judges’ Discretionary Award went to BANG! Academy of Performing Arts for Two Wolves. The prize was awarded to encourage a contemporary and innovative new Australian work with the potential to be developed into a bigger play. The guest presenters included Noni Hazlehurst and Ian Stenlake.

Brighton Theatre Company with their impressive haul from the Victorian Drama League Awards.

Noni Hazlehurst with Kate Peters, founder of the Gold Palm Theatre Awards.

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Online extras!

Watch rare clips from The Good Oil thanks to W.A. T.V. History. Scan or visit http://bit.ly/2BsOs0V The good thing about searching the internet is you often come across clips from past musicals that you never knew existed. Frequently archival material surfaces from Broadway shows but it’s rare to find anything from an early Australian musical. Imagine my surprise when I came across Jill Perryman and Kevan Johnston in clips from TVW7 Perth’s production of The Good Oil (1965). Written by Coralie Condon and originally staged at the Perth Playhouse in 1958, the story was based around the 1950s oil boom in Perth. By the 1960s Condon was a major behind-the

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-scenes player in television which resulted in her producing her musical for that medium. Pardon Miss Westcott by Peter Stannard and Peter Benjamin was the first musical written for television in 1959. It was followed by a TV version of the same authors’ stage musical Lola Montez, produced by the ABC in 1962, but who knew TVW7 had telecast a TV version of The Good Oil. It’s not listed in any Australian television history book. Eight of the score’s musical numbers can be found on the W.A. T.V. History web site along with one

compilation track of the dance routines with the Channel 7 dancers. All in B&W they feature Jill Perryman and Kevan Johnston in the principal roles. The other featured players were Joan Bruce, Neville Teede, Philip Porter and Gerry Atkinson, who had appeared in the original stage production. It’s a slice of what Australian television used to deliver before colour and it is interesting to see one of our great musical theatre stars, Jill Perryman, as she was in her prime, one year before she starred as Fanny Brice in Funny Girl. Indeed archival gold! Peter Pinne

Community Theatre Seasons 2019

Packemin Productionsâ&#x20AC;&#x2122; Shrek. Photo: Grant Leslie.

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Seasons 2019

Jo Nash as Velma Kelly in Savoyards’ Chicago. Photo: Christopher Thomas.

In 2019, community musical theatres will be getting into drag, frocking up for a 1950’s department store and manning the barricades. Kinky Boots is the most popular new musical release for the year, allowing performers to explore their inner drag queens. The Australian musical Ladies in Black is, however, giving the imported blockbuster a run for its money. Les Misérables is the most popular ‘golden oldie’, whilst the latest ‘cult’ release, Green Day’s American Idiot, is making its first appearances on the circuit.

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On ‘rep’ theatre stages, the range of dramas, comedies, farces and thrillers, old and new, is incredibly diverse. Picnic at the Hanging Rock is receiving productions across Australia, and Neil Simon’s plays are proving popular following his death at the age of 91, while the queen of the murder mystery, Agatha Christie, again heads the field in the whodunnits. Congratulations to theatre companies celebrating special milestones in 2019. In Sydney, Rockdale Musical Society celebrates its 80th Anniversary year, while the Scouts and Girl Guides of Sydney hit the stage at Riverside Theatre Parramatta in the 50th Cumberland Gang Show. St Jude’s Players in South Australia notch up their 70th Anniversary, while Wonthaggi Theatrical Group in Victoria marks its 50th Anniversary. Across the ditch in New Zealand, Showbiz Christchurch present the NZ Premiere of We Will Rock You in April 2019, the first of at least 10 seasons of Queen’s mega-hit musical to be staged in New Zealand from 2019 through to 2021. The NZ Musical Theatre Consortium, a group of major societies from around New Zealand, purchased the full set, props and costumes from the recently concluded 2016 Australian professional tour production of We Will Rock You, to be utilised for all NZ seasons. The current consortium tours of Wicked, Les Misérables, Sister Act and Priscilla - Queen of the Desert also continue to travel through New Zealand in 2019, while the extensive Mamma Mia! New Zealand tour concluded late in 2018, after 5 years and 20 seasons traversing every major town and city in NZ.

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36 Stage Whispers January - February 2019

Seasons 2019 Holroyd Musical and Dramatic Society’s A Midsummer Night’s Dream.

A.C.T. Free-Rain Theatre Company: Kinky Boots (Jul). Queanbeyan Players: Hello, Dolly! (May / Jun). Canberra Rep: A Doll’s House (Feb/ Mar), To Kill a Mockingbird (Mar/Apr), The World Goes ‘Round (May), Six Short Plays from the series Coarse Acting (Jul/Aug), The Woman in the Window (Sep), Waiting in the Wings (Nov/Dec). SUPA Productions: The Full Monty (Mar). Child Players: Pied Piper The Musical (Jan). Canberra Philharmonic Society (Philo): Disney’s Beauty and the Beast (Mar). Tempo Theatre: Towards Zero (May). New South Wales Miranda Musical Society: Jesus Christ Superstar (Mar), Blood Brothers (Jun), Les Misérables (Sep). Willoughby Theatre Company: Sweet Charity (May), Cabaret season (Jul), Fiddler on the Roof (Oct). Packemin Productions: Jesus Christ Superstar (Feb)

Strathfield Musical Society: Ladies in Black (May) Engadine Musical Society: Rodgers and Hammerstein’s Cinderella (May), Bankstown Theatre Company: You’re A Good Man Charlie Brown (Mar), My Fair Lady (Jul/Aug), 13 The Musical (Nov). EUCMS (Eastwood): Oklahoma! (May), Me and My Girl (Nov). Manly Musical Society: Les Misérables (Apr). North Shore Theatre Company (Chatswood Musical Society): Avenue Q (Apr/May) NUCMS: The Pirates of Penzance (Jun), They’re Playing Our Song (Oct). Rockdale Opera Company: Cabaret: Reflections of Opera in Cinema (Apr), The Mikado (Jun), The Gypsy Baron (Nov). The Regals Musical Society: Cats Abridged version (May), Disney’s Lion King Jr (Sep/Oct). Hornsby Musical Society: Rodgers and Hammerstein’s Cinderella (Apr), Kiss Me, Kate (Oct). Shire Music Theatre: Disney High School Musical (Mar).

Blue Mountains Musical Society: The Wedding Singer (May), Gypsy (Oct). Holroyd Musical and Dramatic Society: Fiddler on the Roof (May), Lost Socks, Love and Lollipops in the Court of King Caractacus (Jul), Guys and Dolls (Sep). Rockdale Musical Society: The Wizard of Oz (Mar), Kinky Boots (Sep). Hills Musical Theatre Company: Disney’s The Little Mermaid (May), 42nd Street (Nov). Canterbury Theatre Guild: Tarzan (Jul). Berowra Musical Society: Catch Me If You Can (May). Ashfield Musical Society: Legally Blonde The Musical (May). Gilbert & Sullivan Opera Sydney: The Mikado (Oct). Dural Musical Society Inc: ‘Allo ‘Allo (May), The Sound of Music (Oct). Sydney Youth Musical Theatre: The Producers (Jul). Campbelltown Theatre Group: Whistle Down The Wind (May), The Crucible (Jun/Jul), Disney’s Beauty and the Beast (Oct), Next to Normal (Nov). Castle Hill Players: Bloody Murder (Feb/ Mar), Dark Voyager (Apr), Leading Ladies (May/Jun), Biloxi Blues (Jul/Aug), www.stagewhispers.com.au Stage Whispers 37

The Acting Factory (Penrith): Dirty Dusting (Feb/Mar), Cymbeline (Mar/ Seasons 2019 Apr), Kids’ Show (Apr), Dimboola (Jul), The Diary of Anne Frank (Sep/Oct), Nell Halloween Show (Oct). Gwynne (Nov/Dec). Richmond Players: One Man, Two Liverpool Performing Arts Ensemble: Guvnors (May), Jeeves & Wooster in Twelfth Night (May), Parramatta Girls Perfect Nonsense (Aug), A Funny Thing (Sep). Happened On The Way To The Forum (Nov). Blackout Theatre Co: Joseph and the Amazing Technicolor Dreamcoat (May), Cumberland Gang Show (Scouts and The 25th Annual Putnam County Guides): 50th Cumberland Gang Show Spelling Bee (Jul), A Chorus Line (Oct). (Jul). The Theatre On Chester (Epping): Caravan (Mar/Apr), The Real Inspector Newcastle and Hunter Region Hound (Jul/Aug), Doubt A Parable Bearfoot Theatre: Hermit Crabs and (Nov). Meteors (Mar/Apr), I Hope it’s Not Pymble Players: Embers (Feb/Mar), The Raining in London (Jun/Jul, Newcastle, Peach Season (May), Natural Causes Sydney, Melbourne), Playing Face (Oct), (Jul/Aug), The Odd Couple (Female The Momentum Project - A version) (Oct). collaboration with Knock And Run Guild Theatre, Rockdale: Daylight Theatre (late 2019/early 2020). Saving (Feb/Mar), Managing Carmen Hunter Drama: Roald Dahl’s Fantastic (May/Jun), Where Angels Fear to Tread Mr Fox (Apr), Madagascar Jr. (Aug), Sufficient Carbohydrate (Nov). (Singleton, Apr; Cessnock, Jul; Oct, Hunters Hill Theatre (Now performing Maitland), Seuss-Fest (Jun/Jul), Rock of at Hunters Hill Town Hall): Murder on Ages (Jul), Disney’s Aladdin Jr (Taree, the Nile (Mar), Play On! (Jun), Goodbye Jul; Armidale, Oct), Peter Pan Jr (Oct), Mrs Blore (Aug), Our Town (Nov). Into the Woods Jr (Oct), Once Upon a Genesian Theatre: A Room With a View Wowfest (Dec). Maitland Repertory Theatre: Strictly (Feb/Mar), Enright on the Night (Mar/ Apr), Sherlock Holmes and the Ripper Murder (Feb), God of Carnage (Mar), Murders (Apr-Jun), Persuasion (JunSpeaking in Tongues (May), Snow Aug), Towards Zero (Aug-Oct), Ladies White (Jul), Reamus Youth Theatre’s The Taming of the Shrew (Aug), in Black (Oct-Dec). Arsenic and Old Lace (Oct), Lily, the Arts Theatre Cronulla: A Bunch of Felon’s Daughter (Nov/Dec). Amateurs (Feb/Mar), God of Carnage (May / Jun), The Female of the Species Metropolitan Players: Disney’s Beauty (Aug/Sep), Death of a Salesman (Oct/ and the Beast (Aug). Nov). Newcastle Theatre Company: Quartet (Jan/Feb), Dog Fight: The Musical Sutherland Theatre Company: Mom’s Gift (May), We’ll Always Have Paris (Jul/ (Mar), Kid Stakes (Apr/May), Postcards Aug), Exit Laughing (Oct/Nov). from Kafka (May/Jun), Stepping Out Penrith Musical Comedy Company: Be (Jul), Play in a Day (Aug), A View from the Bridge (Aug/Sep), Blithe Spirit More Chill (May). (Oct), Miss Bennet: Christmas at Elanora Players: The Bold, the Young Pemberly (Nov). and the Murdered (Jan). Opera Hunter: The Pirates of Penzance Lane Cove Theatre Company: The (Jul/Aug). Female of the Species (Feb), Bare St Philip’s Christian College: Strictly (May), Managing Carmen (Aug), The Ballroom: the Musical (Jun). Wonderous Wizard of Oz (Nov). Stray Dogs: Love Magic/Behind the Henry Lawson Theatre (Werrington): Wire (Aug). Dinkum Assorted (Feb/Mar), A Bright and Crimson Flower (Apr/May), So Theatre on Brunker: The Vicar of Dibley Much to Tell You (Jun/Jul), Cosi (Aug/ (Mar), Jesus Christ Superstar (Jun), Sep), The Female of the Species (Oct / Legally Blonde (Aug/Sep). Nov). Young People’s Theatre: Hot Mikado Fishy Productions: Russian Transport (Feb), Madagascar Jr (Apr/May), (Mar). Suddenly Last Summer (May/Jun), 101 Dalmations (Jul/Aug), Thoroughly 38 Stage Whispers January - February 2019

Modern Millie Jr (Sep-Nov), Nick Tickle, Fairy Tale Detective (Nov/Dec). NSW Central Coast Wyong Musical Theatre: A Funny Thing Happened on the Way to the Forum (Apr), Disenchanted (May/Jun), Disney Aladdin Jr (Jul), Grease (Sep). Gosford Musical Society: Madagascar The Musical Jr (Jan), South Pacific (Feb/ Mar), Aida (Jul), Strictly Ballroom (Jul), Woy Woy Little Theatre: Private Lives (Feb/Mar), An Inspector Calls (May / Jun), Venetian Twins (Oct/Nov). Wyong Drama Group: The Tempest (May). NSW North Coast Ballina Players: Beauty and the Beast (Jan), It Could Be Any One of Us (Mar), The Pirates of Penzance - Essgee Version (Jun/Jul), One Flew Over The Cuckoo’s Nest (Aug/Sep), Dr Doolittle Jr (Nov/Dec). Coffs Harbour Musical Comedy Company: Shrek The Musical (May), South Pacific (Nov). Criterion Theatre Grafton Inc: Oliver! (Mar/Apr) Murwillumbah Theatre Company: The Female of the Species (Mar/Apr), Cinderella (Oct). Players Theatre, Port Macquarie: Dinner (Mar), The Addams Family (May). CHATS Productions Inc (Coffs Harbour): Heathers The Musical (Apr), Jaq and the Green Pork (Jul/Aug), The Mousetrap (Oct). NSW South Coast and Southern Highlands Nowra Players: So Much To Tell You (Mar), Sense and Sensibility (Jun), Xanadu (Aug/Sep), Dad’s Army (Nov/ Dec). So Popera (Wollongong): Singin’ in the Rain (Jan). Roo Theatre Co (Shellharbour): Footloose (Feb/Mar), The Lion, The Witch and the Wardrobe (Apr), The Sound of Music (May), ‘Allo ‘Allo (Jul), Arcadians Theatre Group (Corrimal, Wollongong): Bonnie and Clyde (Jan), I Love You, You’re Perfect, Now Change (Mar), The King and I (Jun), Blood Brothers (Aug), Dirty Rotten Scoundrels (Nov). Spectrum Theatre Group (Merimbula): Ladies in Black (Jun).

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40 Stage Whispers January - February 2019

Centenary Theatre Group’s Outside Mullingar. Photo: Dan Ryan.

Pigs Fly Productions (Mittagong): Company (May). Highlands Theatre Group, Mittagong: Ladies in Black (Jun), Anne of Green Gables (Oct/Nov). Wollongong Workshop Theatre: Lieutenant of Inishmore (Feb/Mar), Blackadder (Apr/May), Anvil (Jul), A Few Good Men (Aug), Picasso at the Lapin Agile (Nov). Albatross Musical Theatre, Nowra: Wicked (Jul).

Seasons 2019

Armidale Drama and Musical Society: Favourite Shorts (Apr), Singin’ in the Rain (Jul), Inheritance (Oct). High Country Theatre (Armidale): Jack and the Beanstalk with Modern Themes (Mar). Albury Wodonga Theatre Company: Kinky Boots (May). Muswellbrook Amateur Theatrical Society: Disney’s The Little Mermaid (Jul/Aug). Carillon Theatrical Society (Bathurst): The Addams Family (May). Singleton Theatrical Society: Les Misérables. Wellington Amateur Theatrical Society: Ma Baker’s Tonic (with a Modern Twist) (Jun). Wagga Wagga School of Arts Community Theatre (SOACT): Lovebites (Feb), Witness for the Prosecution (Apr), Ten X 10 PlayFest 2019 (Jun), Absolutely Fabulous (Aug), Venus in Fur (Oct).

Regional NSW Parkes Musical & Dramatic Society: Anne of Green Gables The Musical (Apr), Shrek Jr (Jun), Les Misérables (Oct). Orange Theatre Company: Rent (May), Jesus Christ Superstar (Oct). Lieder Theatre, Goulburn: The Three Musketeers (Mar). Tamworth Musical Society: Disney Beauty and the Beast (May), The Boy from Attunga! (Aug). Queensland Tamworth Dramatic Society: The Three Musketeers (Mar), Rosencrantz and Savoyards: Oklahoma! (Jun/Jul), The Guildenstern are Dead (Aug) Boy From Oz (Sep/Oct).

Queensland Musical Theatre: Annie (Jun), Cats (Oct/Nov). Ipswich Musical Theatre: Ladies in Black (Apr/May). Sunnybank Theatre Group: Marjorie Prime (Feb/Mar), Done to Death (Apr/ May), Chapter Two (Jun), Tally Hall Radio Plays (Aug), Shirley Valentine (Nov). Brisbane Arts Theatre: Main Stage: Picnic at Hanging Rock (Jan/Feb), Next To Normal (Feb/Mar), The Complete History of Comedy (Abridged) (MarMay), The Caucasian Chalk Circle (May), The Pillowman (May/Jun), Oliver! (Jun-Aug), Ladies in Black (Aug/ Sep), Maskerade (Sep/Oct), The Glass Menagerie (Oct/Nov), Monty Python’s Spamalot (Nov-Jan 2019). Early Week: Love Letters (Feb), Orphans (Apr/May), The Further Adventures of Hedda Gabler (May/Jul), Reasons To Be Pretty (Aug/Sep), The Beast (Oct-Dec). Children’s Theatre: Dr Seuss’s The Cat in the Hat (Jan), The Day My Bum Went Psycho (Jan-Mar), The BFG (Mar Jun), Madagascar (Jun/Jul), James and the Giant Peach (Jul - Oct), The Snow Queen (Oct-Dec), Jungle Book - The Musical (Dec). www.stagewhispers.com.au Stage Whispers 41

Seasons 2019

Castle Hill Players’ The Winslow Boy. Photo: Chris Lundle.

Villanova Players: Emma (Mar), Shadowlands (May/Jun), Picnic at Hanging Rock (Aug/Sep), Ladies In Black (Nov). Mousetrap Theatre Company: Rapunzel (Jan), Lend Me a Tenor (Feb/Mar), The Cat’s Meow (Apr/May), Guys and Dolls (Jul/Aug), Farndale Avenue Housing Estate Townswomen’s Guild Dramatic Society Murder Mystery (Sep/Oct). Nash Theatre: A Double Bill of Radio Plays (Feb/Mar), Happy Days (May/Jun), Henry IV Pt I (Jul/Aug), Straight (Sep/ Oct), The Foreigner (Nov/Dec). Centenary Theatre Group: Heroes (Mar), Silver Linings (May/Jun), Don’t Get Your Vicars in a Twist (Jul/Aug), Mr Bailey’s Minder (Sep/Oct), Pulp (Nov). Phoenix Ensemble: Young Frankenstein (Feb), Disney’s Beauty and the Beast (May), The Witches of Eastwick (Jul/ Aug), Jekyll & Hyde (Oct/Nov). Growl Theatre: Summer Wonderland (Feb), Cosi (Jun), Mary Rose (Aug/Sep), Bazzar & Rummage (Oct/Nov). Tweed Theatre Company: Alice in Wonderland (Apr), Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean (Jun/Jul), A Brown Slouch Hat 42 Stage Whispers January - February 2019

(Sep), The Youth Variety Showcase (Oct). Beenleigh Theatre Group: The Crucible (Feb), Victor Victoria (Apr/May), High Fidelity (Jun/Jul), Bonnie & Clyde (Nov). Gold Coast Little Theatre: Secret Bridesmaids’ Business (Feb), The Sound of Musicals (Mar/Apr), One Act Play Season (Apr), Away (Jun), The Addams Family (Aug/Sep), The King and I (Nov/ Dec). Tugun Theatre Company: The Odd Couple (Feb), Don’t Dress for Dinner (May), Agatha Crispie (Aug), Ipswich Little Theatre: Quartet (Feb/ Mar), Challenges - A One Act Play Season (May), The Cemetery Club (Jul), A Bunch of Amateurs (Sep/Oct), Boeing Boeing (Nov). Javeenbah Theatre, Nerang: Festival JBAH (Feb), Blood Brothers (Mar/Apr), The Penelopiad (May/Jun), Murderer (Jul/Aug), The Actress (Sep), The Complete Works of William Shakespeare (Abridged) (Nov). Spotlight Theatrical Company, Benowa: Spark and the Crystal Crusade (Jan), The Little Mermaid (Feb/Mar), A Slice of Saturday Night (Mar/Apr), Catch Me

If You Can (May/Jun), Ladies in Black (Aug), Kinky Boots (Nov). Burdekin Singers and Theatre Company: Wicked (Feb). Cairns Little Theatre / Rondo Theatre: Din Dong (Feb-Mar), The Chatroom (Apr-May), The Effects of Gamma Rays on Man-in-the-Moon Marigolds (Jul), Money and Friends (Sep), Aladdin (Nov -Dec). Coolum Theatre Players: Murder’s in the Heir (Mar). Noosa Arts Theatre: Alice in Wonderland (Jan). BATS Theatre (Buderim): The Princess and the Goblin (Jan). Mackay Musical Comedy Players: The Wizard of Oz. Empire Theatre Toowoomba: Kinky Boots (Mar). Toowoomba Repertory Theatre: Life and Beth (Feb/Mar), Crossing Delancey (May), The Mousetrap (Jul/Aug), Carnival Week Variety (Sep), Ding Dong (Nov). Shoebox Theatre, Toowoomba: Avenue Q (Feb). Toowoomba Choral Society: My Fair Lady (Sep).

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44 Stage Whispers January - February 2019

North Queensland Opera & Music Theatre: Kinky Boots (Mar/Apr). Malanda Theatre Company: Cosi (Mar), The 39 Steps (Jul/Aug). Victoria CLOC: Kinky Boots (May). Babirra Music Theatre: The Sound of Music (May/Jun), The Producers (Oct). Gilbert and Sullivan Opera Victoria: Engaged (Feb/Mar), Die Fledermaus (Jul), Cox and Box and HMS Pinafore (Oct). Williamstown Musical Theatre Company: Rock of Ages (May), Disney Aladdin Jr (Aug), A Chorus Line (Nov). Fab Nobs Theatre: Little Red Riding Hood (Jan), Little Miss Sunshine (Apr), Aladdin Jr (Jul), Heathers The Musical (Oct / Nov). Latrobe Theatre Company: Grease (Jul). PLOS Musical Productions: Shrek The Musical (Jan). Diamond Valley Singers: Annie Get Your Gun (Jul). PEP Productions: Altar Boyz (Feb/Mar). Waterdale: Walk Through Waterdale (Apr), Sondheim on Sondheim (Jul), The Wizard of Oz (Sep). Windmill Theatre Company: Beauty and the Beast (Jun). Cardinia Performing Arts Co: Strictly Ballroom The Musical (Feb/Mar). NOVA Music Theatre: Beauty and the Beast (May). Aspect Theatre Inc: Oliver! (Jul). MLOC Productions: How to Succeed in Business Without Really Trying (May/ Jun), Rock of Ages (Oct). SLAMS Music Theatre Company: All Shook Up (Mar). MDMS: Showstoppers (Feb), Annie (Jul). Phoenix Theatre Company: Green Day’s American Idiot (May). Panorama Theatre Co: The Producers (Apr). Heidelberg Theatre Co: Lost in Yonkers (Feb/Mar), A View From the Bridge (May), It’s A Wonderful Life (Jul), The Drawer Boy (Sep), Tartuffe (Nov). The Mount Players: Twelve Angry Men (May). Brighton Theatre Company: After Miss Julie (Feb/Mar), I Hate Hamlet (May / June), Stargazers (Aug), Dinner With Friends (Nov), Youth Production (Dec). Mordialloc Theatre Company Inc: Good People (Feb / Mar), Buying The Moose

(Apr/May - Aust Premiere), Mr Bailey’s Minder (Jul/Aug), Things I Know To Be True (Sep), Out of Order (Nov). Frankston Theatre Group: Caravan (Apr), Yes Prime Minister, Season’s Greetings. Strathmore Theatrical Arts Group (STAG): Outside Edge (Feb/Mar), The Tin Woman (May), Children of the Wolf (Aug), Death by Eating (Nov). Malvern Theatre Company Inc: Mr Bennet’s Bride (Feb/Mar), Strangers on a Train (Apr/May), The Mystery of Irma Vep (Jul), Ladies in Black (Aug/Sep), Twelfth Night (Nov). Williamstown Little Theatre: Body Awareness (Feb), The Exorcism (Apr/ May), A Man of No Importance (Jun/ Jul), Strawberry (Sep), Black Comedy / The Real Inspector Hound (Nov). Peridot Theatre Inc: Brilliant Lies (Feb), Crimes if the Heart (Jun), The Diary of Anne Frank (Aug), Stage Kiss (Nov). Encore Theatre Company Inc: Fantastic Mr Fox (Jan), The Shadow Box (Mar/ Apr), Well Hung (Jul), Almost, Maine (Oct). Lilydale Athenæum Theatre Company Inc: Quartet (Mar), The Wisdom of Eve (May/Jun), Picnic at Hanging Rock (Aug), Ladies in Black (Nov). Sherbrooke Theatre Company Inc: Neighbourhood Watch (Mar), After Dinner (Jun), we have spoken of this before (Oct). The 1812 Theatre: Breaking the Code (Feb/Mar), Sideways (Apr/May) The Mousetrap (May/Jun), Baskerville - A Sherlock Holmes Mystery (Aug), Ghosts (Oct), Leading Ladies (Nov/Dec). Essendon Theatre Company: Suite Surrender (Mar/Apr). Beaumaris Theatre Inc: Seminar (Mar), Company (May/Jun), Pillow Talk (Aug), Buddy (Nov). Gemco Players: Extinction (Mar), Going Postal (Oct). Eltham Little Theatre: Hotel Sorrento (Feb/Mar), Seussical (Mar/Apr), Look Back in Anger (Jul), One Flew Over The Cuckoo’s Nest (Sep/Oct), A Knight to Remember (Nov). Hartwell Players: Love/Sick (Apr), A Season of One Act Plays (Jul), Coriolanus (Sep/oct). The Basin Theatre Group: Murder by Natural Causes (Feb/Mar), A Man for all Seasons (May/Jun), Boeing Boeing (Aug), Blithe Spirit (Nov).

Seasons 2019 Wyndham Theatre Co: Stepping Out (May), Endgame. Regional Victoria Geelong Repertory Theatre Company: Angels in America Part 1 (Feb), Mr Bailey’s Minder (May), The Book of Everything (Jul), And Then There Were None (Sep), One Man Two Guvnors (Nov). Ballarat Lyric Theatre: Jekyll & Hyde (Feb/Mar). Footlight Productions (Geelong): Les Misérables (Jan). Off The Leash Productions: Gillian’s Dodgy Potato (Apr). BLOC Music Theatre (Ballarat): Disney’s Beauty and the Beast (Jun/Jul). CenterStage Geelong: Rodgers and Hammerstein’s Cinderella (Mar), The Sound of Music (Jul/Aug). Wangaratta Players: Shoehorn Sonata (Apr/May) Wonthaggi Theatrical Group: Song of the Seals (Jan), Les Misérables (May/ Jun) Bendigo Theatre Company: Sleeping Beauty (Jan), Ten x10 2019 (Mar), Blood Brothers (Apr), Wicked (Oct/ Nov). Benalla Theatre Company: Robin The Hood (May/Jun). Shepparton Theatre Arts Group: A Midsummer Night’s Mashup (Feb), Jesus Christ Superstar (May). Mansfield Musical & Dramatic Society (MMuDS): Blackadder Goes Fourth (May), Seussical The Musical (Nov). Echuca Moama Theatre Company: The Addams Family (May/Jun) Leongatha Lyric Theatre: Young Frankenstein (Jul). Horsham Arts Council Inc: Rock Of Ages (May). GSODA: Hercules - The Panto (Jun), Kinky Boots (Oct). Ararat Musical Comedy Society: Les Misérables (Jun). Tasmania Gilbert and Sullivan Society of Tasmania: Trial by Jury (Jan). Hobart Repertory Theatre Society: The Importance of Being Ernest (Mar), Dad’s Army (May), Treasure Island (Jun/ Jul), Speaking in Tongues (Oct/Nov). www.stagewhispers.com.au Stage Whispers 45

Galleon Theatre Company: Moving Mountains (May), The Prisoner of Seasons 2019 Second Avenue (Oct/Nov). Devonport Choral Society Inc: The Gemini Collective: A Thousand Downtown! The Mod Musical (May/ Cranes (Mar). Jun). Gilbert & Sullivan Society of SA: HMS Burnie Musical Society: Annie (Apr). Pinafore (May), Kinky Boots (Sept/Oct). Launceston Players: 1984 (May), Picnic Ipskip Productions: A Doll’s House at Hanging Rock (Sep). (Jan). Encore Theatre Company: Strictly The Hills Musical Company: Assassins Ballroom The Musical (Mar), We Will (Nov). Rock You (Aug). Marie Clark Musical Theatre: Anything Goes (May/Jun). South Australia Matt Byrne Media: Married at First Adelaide Repertory Theatre: The Fight (Feb/Mar), Lest We Forget XI Miracle Worker (Apr), Well Shut My (Apr), Strictly Ballroom (Jul), Nunsense Mouth (June), Look Back in Anger A-Men (Nov). (Aug/Sep), A Christmas Carol (Nov). The Metropolitan Musical Theatre Adelaide Youth Theatre: Disney’s High Company: Miss Saigon (May), Nice School Musical JR, plus Cinderella Kids Work if You Can Get It (Oct). (Apr). Northern Light Theatre Company: Blackwood Players: Boys Own McBeth Dusty, The Original Pop Diva (Mar/Apr). (Feb), The Odd Couple- Female Version Pelican Productions: Music Theatre (Jun). Camp and Spotlight (Jan), The Little Blue Sky Theatre: Cyrano de Bergerac Mermaid (Mar), In the Heights (Sept). in the Garden (Jan/Feb). Red Phoenix Theatre: A Bunch of Davine Interventionz: Judge Jackie Amateurs (May), Dividing the Estate Disorder in Court! (Feb/Mar). (Aug), Cash Chronicles (Nov).

Arts Theatre Cronulla’s Four Flat Whites In Italy. Photo: Port Hacking Camera Club.

46 Stage Whispers January - February 2019

Riverland Musical Society: Seussical Jr (Apr), Legally Blonde the Musical (Jul). South Australian Light Opera Society: The Gypsy Princess (Apr), Princess Ida (Aug), Christmas Variety Show (Nov/ Dec). St Jude’s Players: I’ll Be Back Before Midnight (Apr), Things I Know to Be True (Aug), Beyond Reasonable Doubt (Nov). Tea Tree Players: Life and Beth (Feb), Groping for Words (Apr), Moon Over Buffalo (May), Bats (July), Rookery Nook (Aug), Vintage Hitchcock - Live Radio play (Oct), Aladdin-Pantomime (Nov). Therry Dramatic Society: Go Back for Murder (Feb), Pirates of Penzance (Jun), An Inspector Calls (Aug), One for the Pot (Nov). The Stirling Players: Nell Gwynn (Feb/ Mar), Celebration (Sep/Oct). Under the Microscope: 30,000 Notes (Feb/Mar), Who Gives a Crap? (Feb/ Mar). University of Adelaide Theatre Guild: Don Juan In Soho (May), Jerusalem (Aug), Seventeen (Oct). Hills Youth Theatre: Peter Pan Jr (Jan).

www.stagewhispers.com.au Stage Whispers 47

Midnite Youth: Silas Marner (Mar), Stalking Matilda (May), Resistible Rise of Arturo Ui (Aug), What a Knight (Sep) Charlie and the Chocolate Factory (Nov). Gilbert and Sullivan Society: The Mikado (May), Yeoman of the Guard (Oct). Koorliny Arts Centre: The Boy From Oz (Apr), Driving Miss Daisy (Jun), Tick Tick….Boom (Aug), The Lion, the Witch and the Wardrobe (Nov). Phoenix Theatre: Be More Chill (Jan/ Feb). Bunbury Repertory Club: Dead Man’s Hand (Mar/Apr). Bunbury Musical Comedy Group: Stiff (Jan).

Cambridge Repertory: Closure (Mar/ Apr), Glide Time (Jun), Les Liasons Seasons 2019 Dangereuses (Sep), Bonking James South Coast Choral and Arts Society: Bond and Snip (Nov/Dec). The Addams Family (May). Musikmakers Hamilton: Annie Jr (Jan), Zest Theatre Group: We Will Rock You 13: The Musical. (Feb). Napier Operatic: Les Misérables (May/ Jun). Western Australia Musical Theatre Oamaru: Bad Jelly The Roleystone Theatre: 25th Annual Witch (Apr). Putnam County Spelling Bee (May), Blenheim Musical Theatre: The Lords and Ladies (Jun), Secret Phantom of the Opera (May) Bridesmaids’ Business (Oct), Storytime Butterfly Creek Theatre Troupe: As You in the Hills (Oct), Dick Whittington Like It (Mar), And Then There Were (Nov/Dec). None (Aug). Garrick Theatre: Salonika (Feb/Mar), Detour Theatre, Tauranga: Murder on Star Quality (May), Popcorn (Jul), the Menu (Mar/Apr), My Husband’s Agatha Rex (Aug), The Club (Sep/Oct), Nuts (Jun). On Our Selection (Nov/Dec). Waipawa Musical & Dramatic Club: KADS: Keeping Up Appearances (Mar), New Zealand Mamma Mia! Delius (May), Trivial Pursuits (Jul/Aug), North Shore Music Theatre: The Last 5 Dolphin Theatre (Auckland): Arsenic Thrills and Chills One Act Season (Aug/ Years (Mar). and Old Lace (Mar), Time Stands Still Sep), Red Riding Hood - The Panto Taieri Musical Society (Dunedin): Blood (Apr/May), First Date (Jun), Moonlight (Nov). and Magnolias (Aug), Go Back for Brothers (Oct). Marloo Theatre: Picnic at Hanging Rock Abbey Musical Theatre: Avenue Q Murder (Sep/Oct), The Flint St Nativity (Mar), Arsenic and Old Lace (May), A (Nov). (Mar/Apr), Les Misérables (Aug). Chorus of Disapproval (Aug), One Act Showbiz Christchurch: We Will Rock Ellerslie Theatrical Society: The Bach Season and the Festival of Theatre You (Mar), The Music of Andrew Lloyd (Mar), Things I Know to be True (Jun), (Aug/Sep), Les Misérables (Nov/Dec). The Ellerslie Festival of One Act Plays Webber in Concert (Jun), Miss Saigon Stirling Players: Grace and Willpower - (Sep). (Aug), Enchanted April (Nov). Short Plays (Feb), Ten Quid (Apr/May), Manukau Performing Arts: How to Elmwood Players: Rapunzel (Jan), Are You Being Served? (Jul/Aug), The Calendar Girls (Apr), Array - Short Plays Succeed in Business Without Really Mystery of Edwin Drood (Sep/Oct), The Trying (Apr/May). (Jun), Is the Real You Really You? Farndale Avenue Housing Estate Rotorua Musical Theatre: Madagascar (Aug), The Father (Oct). Townswomen’s Guild Dramatic Society Jr (Jan), Dusty (Mar), Grease (Sep). Hawera Repertory Society: Annie (Jun). Presents A Christmas Carol (Nov/Dec). Centrestage Theatre Company, Orewa: Howick Little Theatre: California Suite Murray Music and Drama (Pinjarra): (Feb/Mar), The Spirit of Annie Ross 12 Angry Men (Feb), 42nd St (Mar). Calamity Jane (May). (May), The Book of Everything (Jul), New Plymouth Operatic Society: Limelight Theatre: The Real Housewives Priscilla Queen of the Desert (Jun). Neighbourhood Watch (Sep), The of Perth (Mar), Natural Causes (May), Game’s Afoot (Nov). Variety Theatre Ashburton: Sister Act An Evening With Sherlock Holmes (Jul), (May/ Jun). Papakura Theatre Company: Into the Kinky Boots (Sep), Rock of Ages (Nov). East Otago Musical Theatre: The Woods Jr (Apr), Legally Blonde The Playlovers: Ladies in Black (Mar). Musical (Jul), Dad’s Army (Nov). Addams Family (May). Old Mill Theatre (and companies Stagecraft Theatre (Wellington): North Canterbury Musicals: Dirty presenting at Old Mill): Radio Plays Melancholy Play (Feb/Mar), Next to Rotten Scoundrels. presented by Capital Radio, Agelink Normal (May), See How They Run (Jun/ Nelson Music Theatre: Nevermore Theatre and The Old Mill Theatre (Jan), (Apr). Jul), Bare: A Pop Opera (Aug/Sep), After You’ve Gone (Feb/Mar), Losing Frost/Nixon (Oct/Nov). Musical Theatre Dunedin: Wicked Sinatra presented by Maverick Company Theatre (Auckland): Stones in (May). Productions (May), Lawyers & Other Whangarei Theatre Company: Two One his Pocket (Mar/Apr). Communicable Diseases presented by Mairangi Players: Accomodations (Apr), Act Plays (Mar/Apr), The Phantom of Showroom Theatre (Jun), Present Noddy (Jul), Twelve Angry Men (Sep), the Opera (Jun), Rent (Aug/Sep). Laughter (Sep/Oct), The Man who was Harlequin Musical Theatre: The Sound The Secret Garden (Nov/Dec). Peter Pan (Oct/Nov), Old Mill Christmas of Music (Mar/Apr). Titirangi Theatre: A Bunch of Amateurs Show (Dec). (Mar). Tauranga Musical Theatre Inc: Little Melville Theatre Company: Shrine (Feb/ Mermaid Jr (Jan), Spring Awakening Shoreside Theatre (Auckland): Henry V Mar), Sense and Sensibility (May). and Twelfth Night (Jan/Feb). (Apr/May).

48 Stage Whispers January - February 2019

London Calling

career. Hove, who is currently having great success on Broadway with his production of Network, will direct. Supporting cast includes Monica Dolan as Karen, Margo’s close friend, Sheila Reid as Birdie, Margo’s maid, and Rhashan Stone as Lloyd. Music is to be provided by PJ Harvey, a multi-instrumentalist singer-songwriter with a prolific music career including an Ivor Novello Award and By Peter Pinne two Mercury Prizes. Anderson was most recently seen in a 2014 revival of Tennessee Williams’ A Streetcar Named It’s unusual, but two independent reviewers (Variety/ Desire, whilst James played the title role in Disney’s Telegraph) have both described Emily Blunt’s performance Cinderella and young Donna in Mamma Mia! Here We Go in the new Mary Poppins Returns as “practically perfect in Again. All About Eve plays a limited engagement at the every way”, which actually quotes one of the songs in the Noël Coward Theatre from February 2019. stage version by George Stiles and Anthony Drewe, whose When it opened in 1968 Hair promoted the counterwork is nowhere to be seen in the movie. However, Peter culture to mainstream Broadway, with its anti-war aesthetic Bradshaw in The Guardian called it a “spoonful of state-of- and hippy philosophy, and became a cause celebre. The the-art genetically modified sweetener”, saying it “starts musical is being celebrated with a 50th Anniversary tour terrifically and ends cloyingly - just like the original.” opening at the New Wimbledon Theatre in 2019. Jake Released prior to Christmas, it takes place 20 years later in Quickenden (Peter Pan - A Musical Adventure) plays Berger, 1930s London, the time period of the original P.L. Travers Daisy Wood-Davis (Dreamboats and Petticoats) is Sheila, novels. The story follows Michael (Ben Whishaw) and Jane whilst Marcus Collins (Kinky Boots) is Hud. The plot, or Banks (Emily Mortimer), who are now grown up. Michael is what little there is of it, follows a young generation living with his three children and housekeeper Ellen (Julie politically active tribe living in the East Village, New York, Walters) in the house on Cherry Tree Lane. After Michael who try to change the world, burn the flag, rallying suffers a personal loss, Mary Poppins (Emily Blunt) comes together to fight military participation in the Vietnam War. back into their lives. She is joined by a street lamplighter The score features the pop classics “Good Morning Jack (Lin-Manuel Miranda) and an eccentric cousin Topsy Starshine”, “Aquarius” and “Let the Sunshine In”. (Meryl Streep). New songs are by the Hairspray team of Hair is not the only musical celebrating its 50th Marc Shaiman and Scott Whitman, but there are musical Anniversary. LW Theatres have announced Andrew Lloyd references throughout the film to the Sherman Brothers’ Webber and Tim Rice’s Joseph and the Amazing original songs. Two songs from the original soundtrack Technicolor Dreamcoat is to get a brand new production have been released as singles, “The Place Where Lost Thing for its 50th anniversary, when it returns to the London Go” and “Trip a Little Light Fantastic”. Palladium from 27 June to 7 September 2019. Initially a 20And while we’re talking about musical movies, let’s talk minute pop-cantata, through the years the content has about last year’s Christmas release, the Hugh Jackman been revised and expanded. The score features the Webber starrer The Greatest Showman. Despite its ‘soft’ opening and Rice standard “Close Every Door”. No casting has been and mixed reviews, it has become one of the biggest hits of set as yet. all time. Made for a budget of $84 million, it has now grossed a phenomenal $435 million. It has sold over one million copies via BluRay, DVD and VOD, and the soundtrack was the most streamed album in the UK in 2018. It achieved 11 consecutive weeks at number one in the UK alone and it’s the first musical in history to have four tracks in the UK’s annual Top Forty singles chart. The score by Tony-winners Benj Pasek and Justin Paul, composers and lyricists of Broadway’s Dear Evan Hansen, and Oscarwinners for their lyrics to La La Land - has just been reimagined in a new release which features Panic! At the Disco, Pink, Kelly Clarkson, Sara Bareilles, Pentatonix and Kesha. The film, which also features Zac Efron, Michelle Williams and Zendaya, is now being developed for Broadway. Gillian Anderson is to play Margo Channing in a stage The 50th anniversary cast of Hair. adaptation by Ivo van Hove of the iconic 1950 film All About Eve. The role of Eve Harrington will be taken by Lily Online extras! James. The film, which starred Bette Davis and Anne Baxter, Watch the cast of Hair perform at West was originally based on Mary Orr’s The Wisdom of Eve, a End Live. Scan the QR code or visit short story published in Cosmopolitan that told of Elizabeth https://youtu.be/75gphLqc_T0 Bergner hiring an assistant who then tried to steal her www.stagewhispers.com.au Stage Whispers 49

Stage On Disc By Peter Pinne

Desperate Measures - A Musical Comedy Gone Wild (David Friedman/Peter Kellogg) (Masterworks Broadway 19075873942). After its season was extended three times at the York Theatre, Desperate Measures finally moved closer to Broadway where it’s playing New World Stages. The score to this Off-Broadway hit, which was audaciously called “Better than Shakespeare” by critic Peter Filichia, is a country-bluegrass romp that pays off big in wit, melody and enjoyment. Very loosely based on Shakespeare’s Measure for Measure, it sets the story in the Wild, Wild West of Arizona, with a host of colourful characters who include a goofy dumb hero in jail for murder, his sister, a nun who has to lose her virginity to free him and a lascivious Governor who’s anxious to do the deed. Mix in a whore, a sheriff and priest, and you have one helluva musical-comedy posse. Friedman’s music plunders every country standard to great effect, Kellogg’s lyrics delight in bad puns (he rhymes “Nietzsche” with “preachy”), and the orchestrations by David Hancock Turner feature fiddle, mandolin and harmonica, embellished by a horse whinny and a coyote howl. “It’s Good to be Alive” and “In the Dark” both hit their mark, but it’s the comedy duet “Just For You” that steals the show. 

Online extras!

Get your hands on Desperate Measures from Amazon by scanning or visiting https://amzn.to/2EqbecX Girl from the North Country (Bob Dylan) (Sony/ Masterworks Broadway 88985482162). The Original London Cast recording of the Old Vic’s production of Conor McPherson’s Girl from the North Country is vibrantly alive and at times hauntingly beautiful. Built around the songs of Bob Dylan, the musical tells an Our Town-like group portrait of tenants in a Depression-era boarding house in Duluth, Minnesota, Dylan’s birthplace. In the 1970’s the songwriter was asked to write some songs for an Off-Broadway play but they were never used and later became the spine of his album New Morning. McPherson uses two of them, “Sign on the Window” and “Went to see the Gypsy”, as a jumping off point to this show. The style of storytelling adds new meaning to the familiar “Like a Rolling Stone” and “Forever Young”, while the obscure material colours the total theatrical fabric. In an ensemble cast, Shirley Henderson as Elizabeth Laine brings an outstanding raw edge to “Tight Connection to my 50 Stage Whispers January - February 2019

Heart”. The original accompaniment by Scarecrow Hat only uses instruments that were around in 1934, which include a harmonium, violin, mandolin, upright bass, and acoustic and nylon string guitar. 

Online extras!

Download the cast recording of Girl From The North Country from iTunes now. https://apple.co/2Eq51xS Blake Bowden: Straight From The Hart (Richard Rodgers/ Lorenz Hart) (EP No Label/No Number) This new EP from The Book of Mormon’s current Elder Price, Blake Bowden, springs from a theatrical gig he premiered at Noosa Live! earlier this year. The six-song EP re -imagines the songs of Lorenz Hart for a new generation with a big orchestral sound and arrangements that wouldn’t be out of place on a Streisand, Il Divo or Michael Bublé album. It’s not unlike the Red, Hot and Blue pop album of Cole Porter songs that was released in the early nineties. It’s a fabulous collection of Hart standards, “Where or When”, “Manhattan”, “Blue Moon” and “My Funny Valentine”, with smooth and sensitive vocals that do justice to Hart’s bittersweet lyrics. “With a Song in my Heart”, accompanied by a choral group, is a knockout. The bonus track is a quiet reading of “This Funny World”, a gorgeous song from 1924’s Betsy, with brilliant piano charts from musical director Daniel Edmonds. 

Online extras!

Buy Straight From The Hart from iTunes now. Simply scan the QR code or visit https://apple.co/2Erim8P On The Town (Leonard Bernstein) (ABC Classics 4817378). Last year every symphony orchestra in the country programmed a Leonard Bernstein tribute to celebrate his 100th anniversary, but the West Australian Symphony Orchestra was the only group to put their concert on record. Recorded live in the Perth Concert Hall, the recording is notable for its live dynamic, especially on the Symphonic Dances from West Side Story. Benjamin Northey Rating  Only for the enthusiast  Borderline  Worth buying  Must have  Kill for it

conducts, in a program that also includes a sparking Overture to Candide, three dance episodes from his first Broadway hit On The Town, and the groundbreaking Symphonic Suite from the 1954 movie On the Waterfront. 

Online extras!

Listen to On The Town: The Best Of Bernstein on Spotify now. Scan or visit https://spoti.fi/2Ep6aWb

conviction. My favourite track however is “Take Care of This House”, a beautiful and neglected Bernstein and Lerner gem from their 1976 flop 1600 Pennsylvania Avenue. It’s a classic Streisand vocal and worth the price of the album alone. 

Online extras!

Get your copy of Barbara Streisand’s Walls from JB Hi-Fi. Scan or visit http://bit.ly/2EmMAtQ

Rise - Season 1 The Album (Duncan Sheik/Steven Sater) (Atlantic/NBC 567658-2). This NBC TV series about a high-school drama group only ran one season. A second-cousin to Glee, it had more reality than that Fox series as it followed the group through their rehearsals for their school musical Spring Awakening. Most of the score ended up in the series, sung by an impressive clutch of young talent. The ensemble do a great job of “The Bitch of Living”, but Auli’i Cravalho is searing on “Mama Who Bore Me”, the show’s most memorable ballad. 

Lost West End Revues - 1940-1962 (Various) (Stage Door STAGE 9058). Stage Door continue their series Lost West End Vintage by rescuing the forgotten art of revue in a two disc set devoted to the genre, covering a little over two decades. During the forties and fifties London was awash with topical revues. Many famous actors got their start in revue, which literally featured a who’s who of the period. Most of them are present on these discs. Hermione Gingold’s acid wit couldn’t be drier on Charles Zwar’s classic “Which Witch” from 1942’s Sky High, Beatrice Lillie’s “The Yodelling Goldfish” from the same year’s Big Top finds her delightfully fey and funny, whilst Alan Melville’s pithy “Old Girls”, from 1948’s A La Carte, became a standard of the genre and was pilfered in revues around the world. Songs by Noël Coward, Lionel Bart, Sandy Wilson and Leslie Bricusse dot the landscape with performances from Millicent Martin, Bud Flanagan, Kenneth Williams and Online extras! Anthony Newley, amongst others. Maggie Smith even gets The album is yours to own on CD from in on the act with “One Train He’ll Come”, a track from Amazon. Scan the QR code or visit 1957’s Share My Lettuce which was her first London https://amzn.to/2EqegxL appearance; likewise Petula Clark, who turns up with a cover version of “St. Tropez (On the Beach)” from 1955’s Barbra Streisand - Walls (Various) (Sony 19075895482). long-running La Plume De Ma Tante, and Matt Monro, who Barbra Streisand is in protest mode on this new release, croons “Is There Anything I Can Do?” from 1962’s Not To Walls, her first album of mainly original material since Worry, which unfortunately could only 2005. Switching between despair and rage, it’s her reaction manage a performance run of to the Trump administration and the era of fake news, lies just twelve shows. and greed. The self-penned “Don’t Lie To Me”, the album’s Featuring a broad range of lead single, epitomises her stance and it’s a terrific song musical styles, the songs neatly filled with fervour. “What’s on my Mind” is more subdued, and accurately satirise the with its soft guitar and sweeping strings, and the album’s topical issues of the day. Sure, title track, with its illusion of a world without walls, both it might be a bit nostalgic, but literally and metaphorically, has a fantastic lyric by her long- it most certainly is fun! time collaborators Alan and Marilyn Bergman. The mash-up  of John Lennon’s “Imagine” and “What a Wonderful World” brings new meaning to these standards, whilst Burt Online extras! Bacharach and Hal David’s “What the World Needs Now” is Purchase the 2-CD set of Lost West End given an unexpected R&B riff. She closes with a new, Revues on Amazon now. Scan or visit revised and totally appropriate version of her 60s signature https://amzn.to/2EqoUos tune, the depression-era anthem “Happy Days Are Here Again”, hitting the soaring end notes with power and www.stagewhispers.com.au Stage Whispers 51

Stage on Page By Peter Pinne

Her Majesty’s Theatre - Melbourne The Shows, The Stars, The Stories. By Frank Van Straten (Australian Scholarly Publishing $65.00) Growing up during the fifties in Melbourne, Her Majesty’s Theatre was my Mecca. The jewel in the crown of the J.C. Williamson organisation, it was the home of musical theatre - not as opulent as the Edwardian Princess Theatre in Spring Street, but an artdeco palace that was grand, exciting and always enticing. It was there as a teenager that I saw Hayes Gordon in Kiss Me, Kate, fell in love with Rodgers and Hammerstein’s South Pacific, and thought Alton Harvey singing “Those Were The Good Old Days” in Damn Yankees was the funniest performance I had ever seen. Add in Jill Perryman as a Mormon wife in Paint Your Wagon, Toni Lamond swapping the principal boy tights she wore at the Tivoli for pyjamas in The Pajama Game, and being captivated by the show-everyone -had-to-see, My Fair Lady, and it was a heady introduction into musical theatre. Frank Van Straten’s well-researched and highly readable book has helped me relive some of those magical performances. The theatre began life in 1880 as the Hippodrome, a building that “looked a little like a mock castle”, and

one which presented prize fights, the circus, and a campaign for a reprieve of Ned Kelly from the hangman’s noose. Six years later a new theatre called the Alexandra was erected on the site, complete with a velvet curtain and electric lights. It opened with the play Bad Lads, and followed with a ‘moral temperance drama’, Tempted! or On the Back Blocks of the Darling, and a season of opera by the pioneering German-born impresario Martin Simonsen, which Online extras! included Il Trovatore and Hear what the stars had to say about The Lucia di Maj on Studio 10. Scan or visit Lammermoor. http://bit.ly/2EuabZo In 1900 the theatre was repainted, relit and in the title role, Scottish actor Julius renamed Her Majesty’s by its new Knight in The Scarlet Pimpernel and lessee, James Cassius Williamson. Gertie Miller in Our Miss Gibbs. The Williamson owned the Australasian twenties saw musicals by the rights to the Gilbert and Sullivan Gershwins (Tell Me More) and Rodgers operas, so the newly named theatre and Hart (The Girl Friend), mixed with a opened with HMS Pinafore, followed lot of operetta (The Student Prince/The by The Pirates of Penzance. The success Desert Song/Rose Marie), and the show of Gilbert and Sullivan in the that made Gladys Moncrieff a star and antipodes, and their constant revivals, kept being revived for years, The Maid kept J.C. Williamson’s afloat in many a of the Mountains. difficult time. Disaster struck on 25 October 1929. The early years saw the production Fire destroyed the theatre, which of The Merry Widow with Carrie Moore wasn’t reconstructed until 1934. In the interim it housed Francis W. Thring’s Efftee Film Studios, producing films including Diggers and Diggers in Blighty with Pat Hanna, and George Wallace in His Royal Highness. The newly reconstructed theatre opened with Strella Wilson playing Josepha in the London hit White Horse Inn, a musical that filled Williamson’s coffers for many years. It was followed by Charles Zwar’s Blue Mountain Visit our on-line book Melody, with the dancing darlings Cyril Ritchard and Madge Elliott. A local shop for back issues musical, it was one of only two that and stage craft books Williamson’s mounted during their existence. The other was Albert Arlen’s The Sentimental Bloke, which played the Comedy Theatre in 1961.

Stage Whispers Books

www.stagewhispers.com.au/books 52 Stage Whispers January - February 2019

During the late thirties “The Firm”, as J.C. Williamson’s was commonly known, was run by the Tait Brothers (E.J., John, Nevin and Frank), who in 1938 lost control of the company to the flamboyant showman Ernest C. Rolls. Dubbed by the tabloid Truth as ‘Flash Ernie’, Rolls squandered money on a slew of new musicals from Broadway but under his umbrella only one, Rodgers and Hart’s I Married an Angel, was staged and proved to be a costly failure. Following a revival of the Strauss operetta A Waltz Dream, which had interpolated songs by Aussie Jack O’Hagan, Rolls resigned, leaving a mountain of debt. The theatre was kept alight in the early forties by further revivals of beloved operettas - The Vagabond King, Rio Rita, Sally and White Horse Inn, and more Gilbert and Sullivan, until the arrival post-war of the new smash hits from America - Annie Get Your Gun and Oklahoma! In between, the theatre found time to accommodate Cicely Courtneidge in Under the Counter, but it was the last British musical offering until 1961, when they cast Johnny Lockwood (Fagan) and Sheila Bradley (Nancy) in their first production of Lionel Bart’s Oliver! 1957 was a ground-breaking year for Williamson’s, when they cast The Pajama Game locally with Toni Lamond, Bill Newman and Tikki Taylor. It began an era of Australian performers starring in Broadway musicals which continued with Jill Perryman in Funny Girl and Nancye Hayes in Sweet Charity. In 1964 Williamson’s commissioned Melbourne’s Little Theatre designer John Truscott to design sets and costumes for their production of Lerner and Loewe’s Camelot. A huge success, Truscott’s designs were subsequently used in the London production and also in the 1967 film version, which won him two Oscars. Fiddler on the Roof, Hello, Dolly! and Mame reigned in the late sixties, while the 70s saw Johnny Farnham join Anna Neagle and Derek Nimmo in Charlie Girl, and Harold Prince recreate his Tony winning production of Evita. But the seventies were the beginning of the end for the

Williamson management, after 102 years of operation. They sold their Australian and New Zealand theatres, retaining only Her Majesty’s in Sydney and the Comedy and Her Majesty’s in Melbourne. Producer Kenn Brodziak kept the Williamson name alive by creating J. C. Williamson Productions, and together with Michael Edgley kept the lights on with frequent tours of the Bolshoi Ballet and other Russian dance companies. The seventies also saw A Chorus Line, with an all-Australian cast, Annie with Hayes Gordon making a welcome return to the boards, Andrew Lloyd Webber’s Cats, and solo shows by Marlene Dietrich, Peter Allen and Barry Humphries. In fact Humphries visited four times in At Least You Can Say That You’ve Seen It, Isn’t It Pathetic At His Age, An Evening’s Intercourse with the Widely Liked Barry Humphries and Eat Pray Laugh! Sadly during the nineties the theatre was frequently dark, with sometimes only two or three productions keeping the doors open, until Mike Walsh rescued it from the developers in 2000. He reportedly spent $12 million restoring it to bring it back to its former glory. Since then it has hosted a succession of major musicals - Eureka!, Monty Python’s Spamalot, Miss Saigon, Billy Elliott the Musical, Strictly Ballroom, Georgy Girl and Disney’s Aladdin. Some of the world’s most famous stars trod the boards at Her Majesty’s everyone from Laurence Olivier, Vivian

Leigh and Anthony Quayle to Maggie Smith, Judi Dench and Derek Jacobi. It was Melba’s favourite theatre and she sang there many times. So did Joan Sutherland and Luciano Pavarotti, whilst ballet lovers have been richly rewarded with performances by Anna Pavolva, Margot Fonteyn and Robert Helpmann. The book has several breakout sections which detail important events in the theatre’s history - the pantos which were produced annually in the early days, the Gilbert and Sullivan operas, the Melba and Sutherland opera seasons, and the enormous influence the three visits in the thirties by Colonel Wassily de Basil’s Ballet Russes companies had on Ballet in Australia. Twenty-seven-year-old Czechoslovakian dancer Edouard Borovansky was a member of the company. He stayed in Australia and created the Borovansky Ballet, which later morphed into The Australian Ballet. Towards the end of the book there is also a series of colour plates showing how the theatre looks today. The book is produced with the assistance of Mike Walsh, the theatre’s current owner, and it’s a loving tribute to what is probably Australia’s grandest theatre. Frank Van Straten is to be congratulated on a monumental piece of research. The book is coffee-table size, beautifully produced, with copious B&W and colour photographs. It comes with a bibliography and index. Highly recommended!

www.stagewhispers.com.au Stage Whispers 53

Book Extract

The theatre opened as the Alexandra in 1886

‘The Maj’ In 1965 In his new book, Frank Van Straten details the rich history of Melbourne’s Her Majesty’s Theatre. Originally the Alexandra, it was built in 1886 to replace the Hippodrome, a rough-and-ready unroofed arena. The beloved ‘Maj’ has survived two world wars, the Great Depression, a disastrous fire, talkies, TV, and an almost certain future as a car park thanks to the efforts of Mr Mike Walsh AM OBE, who in 2000 purchased the ailing venue and restored it to its Art Deco splendour. Over its long life ‘The Maj’ has staged hundreds of shows. In this extract from his book, Frank takes us back to 1965, when the theatre demonstrated its extraordinary versatility by hosting opera, ballet, a revue, two big musicals, a one-man-show, plus something especially for the youngsters. The Christmas holiday season was particularly busy: A Funny Thing Happened on the Way to the Forum, in its final few weeks, shared the theatre with Noddy Goes to the Moon, which played mornings and afternoons. Noddy was a real groundbreaker, as Neil Armstrong’s moon landing was still five years away. Three youngsters - Wayne Harrison, Frank Howson and Peter McArthur - shared the title role. Ernie Bourne, Blaise Antony and Malcolm Phillips were among the ‘grown ups’, and Judith Roberts - alias Panacea in Forum arranged the choreography. Director Terry Vaughan reminisced: ‘The two biggest screams of twice-daily delight were Noddy’s entrance going parp54 Stage Whispers January - February 2019

parp in his little red car, and when, having sprouted wings, he flew!’ The first new show for 1965 was one of Harry Wren’s imported blockbusters, Tokyo Nights, an elaborate revue created by ToHo Studios for the Nichigeki Theatre in Tokyo. This ran for a month from 29 March. By the strangest of coincidences, the five-week Australian Ballet season that followed opened with the Melbourne premiere of Yugen, an ethereal piece that Robert Helpmann had based on a Japanese Noh play. The repertoire also included Helpmann’s The Display and August Bournonville’s Le Conservatoire, Giselle, and several other old favourites. The principal dancers were

Kathleen Gorham, Garth Welch, Marilyn Jones, Elaine Fifield, Bryan Lawrence and Karl Welander, with Barry Kitcher as the unsettling Lyrebird, the central figure in The Display. In June The Maj hosted France’s ‘silent genius with many faces’, mime artist Marcel Marceau. The tour of was one of Williamson’s first major collaborations with Kenn Brodziak’s Aztec Services. One night during his season Marceau greeted the star of The Maj’s next attraction, his old friend, Joan Sutherland. ‘It was a good omen that Marcel’s tour was preceding ours and having such huge success,’ said Joan. The Sutherland-Williamson International Grand Opera Company was the realisation of Sir Frank Tait’s most ambitious dream - a modern equivalent to the great MelbaWilliamson seasons of earlier times. It provided Joan Sutherland with her first opportunity to sing in her homeland since her triumphs overseas, and supported her with a company of toprank singers. Most came from Britain, the United States and Australia, but there was also one Italian: Luciano Pavarotti. Then aged 30, he had made a sensational Covent Garden debut in 1963. Sutherland’s husband Richard Bonynge was principal conductor. There were seven operas in the repertoire, and Sutherland sang in five of them: Lucia di Lammermoor, La

less than the cost of My Fair Lady and Camelot, but a considerable sum for the time. As Australia’s Dolly Levi, director Fred Hebert chose Julie Wilson, a sultry-voiced American brunette who had achieved some success in Kiss Me, Kate, but an unforeseen pregnancy forced her lastminute withdrawal. A suggestion that maybe a Dolly could be found locally brought an acerbic ‘Australian actresses should lose no sleep’ comment in The Australian. Miss Wilson was hastily and happily replaced by Carole Cook, a green-eyed Texan redhead who had been a protégé of Lucille Ball. She had recently played Dolly in a production of The Matchmaker in Dallas. ‘I know Dolly almost as well as I know myself,’ she The magnificently restored Art Deco auditorium. Joan Sutherland in Lucia di Lammermoor. told reporters. ‘We’re old friends. And I’m thrilled to be the second musical Dolly.’ She was right. The Firm’s Traviata, Semiramide, La Sonnambula Sutherland sang in 15 performances, and Faust. The others were L’Elisir every one packed to the rafters. Sadly, production predated London and all the US touring companies. And as d’Amore and Eugene Onegin. Norman even though the standard never Ayrton directed all the operas except wavered, non-Sutherland nights were Carol Channing had not missed a single performance on Broadway, far less well attended. La Sonnambula and L’Elisir d’Amore, Carole Cook was indeed the world’s The departure of the opera which were directed by Martin second Dolly. Scheepers. Every set and every costume company on 14 August left The Maj The other imported principals were was designed by 24-year-old American dark for a rare few nights, while the Jack Goode (Vandergelder) and Bill next attraction, Hello, Dolly!, was in Tonina Dorati. Her father, Antal, had Mullikin (Cornelius Hackl). The locals conducted for Pavlova and the Ballet rehearsal. Even rarer, the Comedy, across the street, happened to be dark included Jill Perryman (Irene Molloy, Russe on their Australian tours. The opera season began on 10 July at the same time. Eerily, it was during and understudy for the role of Dolly), with Sutherland’s signature piece, this unusual interval that Sir Frank Tait, Marion Edward (Ernestina), Barbra Young (Ermengarde), Brian Hannan the last of the Tait brothers, died Lucia di Lammermoor. ‘The opening night was a triumph,’ reminisced Joan, suddenly at his Portsea holiday home. (Barnaby), Tikki Taylor (Minnie Fay), ‘but the closing night in Melbourne He was 81. His death ended the Taits’ Nancye Hayes (Mrs Rose) and Bruce was one neither Richard nor I will ever 45-year involvement with The Firm (as Barry (Rudolph), along with Mary Murphy, Laurel Veitch, Gail Esler and the J.C. Williamson organisation was forget - nor, I think, will anyone who was there. After applause lasting for a known in the industry). John McCallum Danny Davey. Betty Pounder flew to New York to study Gower Champion’s became sole managing director, full forty minutes, with the whole choreography. She sat on the steps of heading a board consisting of Claude company on stage in formal dress, as the St James Theatre’s Dress Circle for Kingston, Harald Bowden, Harry well as those who had taken part in 22 consecutive performances, Strachan and London-based Charles the final performance of La Dorning, who had played Edvard Grieg memorising every detail. Melbourne Sonnambula, the audience began said ‘Hello’ to Dolly for seven housein Song of Norway back in 1950. chanting “Home, Sweet Home” full months. Sir Frank Tait would have Hello, Dolly! Jerry Herman’s repeatedly. A terrible old upright been pleased. rehearsal piano was wheeled on from musicalisation of The Matchmaker, was budgeted at £60,000 ($120,000), somewhere in the wings and Richard accompanied me in the old song, such a favourite of Melba. The theatre was Her Majesty’ Theatre, Melbourne: The Shows, The Stars, full of great joy and love, and all of us The Stories is published by Australian Scholarly were thrilled by the public response.’ Publishing. ‘The effect was magical,’ wrote The Herald’s reporter, ‘and I doubt It is available through all good bookstores, or may be whether anything like it has ever been ordered directly from the theatre: seen in Australia before.’ During the www.hmt.com.au/product/the-shows-the-stars-the-stories company’s four-week stay at The Maj, www.stagewhispers.com.au Stage Whispers 55

roadway uzz

By Peter Pinne

Never underestimate people-power and a brand-name title. Despite reviews that said it was a “cardboard cut-out of the movie”, Pretty Woman The Musical has found a fan base on Broadway and has remained in the “Millionaires Club”, grossing more than $1 million each week since beginning previews in July. It’s also broken the house record at the Nederlander Theatre three times. That’s impressive. Producer Paula Wagner has been struck by the diversity of its audiences, saying, “We have people coming in speaking French and German and Italian, and people from Illinois and Texas and Florida. There are 17- and 18year-olds and people in their nineties.” According to Wagner, the reason for the show’s success is that the movie is “beloved all over the world. It has at its heart a classic love story that everyone responds to, and just puts a smile on everyone’s face.” Based on the film that starred Julia Roberts and Richard Gere, about a hooker who falls in love with her wealthy client, the musical version features Samantha Barks (Eponine in Les Misérables movie) and Andy Karl (Groundhog Day), has a score by Bryan Adams and Jim Vallance, and is directed by Jerry Mitchell. Word-of-mouth is obviously benefiting another recent Broadway entry, King Kong, which found the critics praising Sonny Tilder’s giant Ape puppet and the leading lady Christiani Pitts, while dismissing Jack Thorne’s book as “stupefyingly banal” and Marius de Vries and Eddie Perfect’s songs as “loud and vapid”. Nevertheless, it too has been a member of Broadway’s “Millionaires Club” since it opened, grossing more than a million each week. Alice to Heart, a new musical by the creators of Spring Awakening Duncan Sheik and Steven Sater, is to begin performances 30 January 2019 as the first show to play the Newman Mills Theater at the Robert W. Wilson MCC Theater Space. Inspired by Lewis Carroll’s Alice’s Adventures in Wonderland, the musical has a score by Sheik, lyrics by Sater and a book by Sater and the director Jessie Nelson. The plot is described as follows: “In the rubble of the London blitz of World War II, Alice Spencer’s budding teen life is turned upside down, and she and her dear friend Alfred are forced to take shelter in an underground tube station. When the ailing Alfred is quarantined, Alice encourages him to escape with her into their cherished book and journey down the rabbit hole to Wonderland.” Molly Gordon (Life of the Party) heads the cast as Alice, with Noah Galvin (Dear Evan Hansen) as Alfred. Choreography is by Rick and Jeff Kuperman, with music direction and vocal arrangements by Jason Hart. Daniel Fish’s acclaimed small-scale production of Oklahoma! at St. Ann’s Warehouse is moving to Broadway, where it will open at the Circle in the Square Theatre, 19 56 Stage Whispers January - February 2019

Samantha Barks and Andy Karl in Pretty Woman: The Musical. Photo: Matthew Murphy.

Online extras!

Get a glimpse of Pretty Woman: The Musical. Scan the QR code or visit https://youtu.be/hrB0o2Edbao March 2019. The intimate production, which made the audience feel as though it was written for today’s America, has no chorus, a seven-piece band, a theatre repurposed as a community social hall, and serves chili at intermission which is shared by the audience and actors. No cast has been announced for the Broadway gig, but the creative team includes new orchestrations, arrangements and music supervision by Daniel Kluger, new choreography by John Heginbotham, and music direction by Nathan Koci. It’s a limited engagement and plays until 1 September 2019. Britain’s National Theatre production of Lee Hall’s adaptation of Paddy Chayefsky’s Network, starring Bryan Cranston (Breaking Bad) in his Olivier Award-winning performance, has announced an extension of its limited engagement to Sunday 28 April. The play was originally scheduled to run until 17 March. Reviews of Cranston’s performance have mirrored those across-the-pond, with Deadline calling it “blistering” and “mesmerising”, and the New York Times saying, “As a portrait of a man unravelling, Mr Cranston’s wrenching performance stands on its own.” It’s the hottest ticket on Broadway at the moment. The other hot ticket play at the moment is Jeff Daniels in To Kill a Mockingbird, adapted by Aaron Sorkin (The Newsroom) from Harper Lee’s 1960s literary classic about a small-town white lawyer defending a black man charged with rape in 1930s Maycomb, Alabama. The Guardian said it is a “superbly entertaining and handsomely acted event” whilst Variety claimed “The ever-likable Daniels, whose casting was genius, gives a strong and searching performance as Atticus Finch, the small-town Southern lawyer.” They also said Sorkin and director Bartlett Sher have crafted a “stage-worthy adaptation” of Lee’s Pulitzer Prize winning novel which is only second to the Bible as America’s most read book.

On Stage

A.C.T. & New South Wales

Online extras!

Feel the salsa-fuelled heat of In The Heights! Simply scan the QR code or visit https://youtu.be/smqrUDRlLmM A.C.T. (02) 6275 2700. Sasha Velour Live and in Colour. canberratheatrecentre.com.au Jan 9. Canberra Theatre Centre. Since Ali Died by Omar Musa. www.itdevents.com Griffin Theatre Company. Jan 30 - Feb 2. Courtyard Studio, Once Upon A Mattress. Based Canberra Theatre Centre. (02) on Hans Christian Andersen’s The Princess and the Pea. Music 6275 2700. canberratheatrecentre.com.au by Mary Rodgers and lyrics by Marshall Barer. Book by Jay Thompson, Marshall Barer & Dean Fuller. Ickle Pickle Productions. Jan 11 - 24. Belconnen Theatre, Belconnen Community Theatre. (02) 6275 2700.

The 91-Storey Treehouse by Richard Tulloch, adapted from the book by Andy Griffiths and Terry Denton. Feb 1 & 2. Canberra Theatre Centre. (02) 6275 2700. canberratheatrecentre.com.au

Pied Piper The Musical. Child Players ACT. Jan 16 - 19. Theatre 3, Acton. (02) 6257 1950 (Mon-Fri 10am-4pm) or www.canberrarep.org.au

Peter Pan Goes Wrong by Henry Lewis, Jonathan Sayer and Henry Shields. Mischief Theatre. Feb 6 - 10. Canberra Theatre Centre. 6275 2700. canberratheatrecentre.com.au

Coppélia. Storytime Ballet. Jan 17 - 19. The Playhouse, Canberra Theatre Centre.

A Doll’s House by Henrik Ibsen, Simon Stephens translation.

In The Heights by Lin-Manuel Miranda (Hamilton), completely sold out at the Hayes Theatre Co before opening night in 2018, returns to Sydney from January 16 - 20 at the Sydney Opera House Concert Hall. For more information visit http://bit.ly/2T3z7LA

Canberra Rep. Feb 14 - Mar 2. Theatre 3. (02) 6257 1950. The Umbillical Brothers: Green. Feb 19 - Mar 3. Courtyard Studio, Canberra Theatre Centre. (02) 6275 2700. canberratheatrecentre.com.au New South Wales The Book of Mormon. Book, Music and Lyrics by Trey Parker, Robert Lopez and Matt Stone. Until Feb 8. Lyric Theatre, Sydney. BookOfMormonMusical.com.au The Norman Conquests by Alan Ayckbourn. Ensemble Theatre. Until Jan 12. (02) 9929 0644. La Bohème by Puccini. Opera Australia. Jan 2 - Mar 28. Sydney Opera House. (02) 9318 8200. www.sydneyoperahouse.com

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

The 91-Storey Treehouse by Richard Tulloch, adapted from the book by Andy Griffiths and Terry Denton. Jan 3- 20. Sydney Opera House. www.sydneyoperahouse.com Blanc de Blanc Encore. Strut & Fret. Jan 4 - Mar 9. Studio, Sydney Opera House. www.sydneyoperahouse.com Charlie and the Chocolate Factory. Music by Marc Shaiman, lyrics by Scott Wittman and Marc Shaiman, book by David Greig, with additional songs by Leslie Bricusse and Anthony Newley from the 1971 Warner Bros motion picture. Capitol Theatre, Campbell Street, Haymarket. From Jan 5. 1300 795 267. charliethemusical.com.au Since Ali Died by Omar Musa. Griffin Theatre Company / Stage Whispers 57

On Stage

New South Wales

Sydney Festival. Jan 7 - 19, SBW Stables Theatre, griffintheatre.com.au & Jan 22 25, Riverside Theatres, Parramatta, www.sydneyfestival.org.au

A Ghost in my Suitcase. By Vanessa Bates, based on Gabriel Wang’s novel. Barking Gecko Theatre / Sydney Festival. Jan 9 19. Sydney Opera House. www.sydneyfestival.org.au

Black and a book by Ivan Menchell. The Arcadians Next Gen. Jan 11 - 13. The Arcadians’ Miner’s Lamp Theatre, Corrimal. arcadians.org.au

Music Theatre Inc in association with KXT and Bakehouse Theatre Company. Jan 18 - Feb 2. Kings Cross Theatre, Level 2, Kings Cross Hotel. www.squabbalogic.com

Nosferatu: A Fractured Symphony. Montague Basement. Jan 8 - 19. Old 505 Theatre, Newtown. old505theatre.com

Daughter by Adam Lazarus. Quiptake, Pandemic Theatre and The Theatre Centre / Sydney Festival. Jan 10 - 13. Carriageworks. www.sydneyfestival.org.au

Disney’s Beauty & The Beast. Music by Alan Menken. Lyrics by Howard Ashman & Tim Rice. Book by Linda Woolverton. Ballina Players. Jan 11 - 20. Ballina Players Theatre. ballinaplayers.com.au

Quartet by Ronald Harwood. Newcastle Theatre Company. Jan 18 - Feb 2. Newcastle Theatre, Lambton. (02) 4952 4958 (Mon-Fri 3pm-6pm). newcastletheatrecompany.com.au

Pigalle. Peter Rix Management / Sydney Festival. Jan 8 - 27. Magic Mirrors Spiegeltent. www.sydneyfestival.org.au Sydney Festival. Jan 9 - 27. www.sydneyfestival.org.au Alice by Lewis Carroll, adapted by the Roo production team. Roo Theatre Company. Jan 9 19. The Harbour Theatre, Shellharbour. (02) 4297 2891/ www.roo-theatre.com.au Home by Geoff Sobelle. Sydney Festival. Jan 9 - 18. Roslyn Packer Theatre. www.sydneyfestival.org.au

Rock Bang. Circus Oz. Sydney Festival. Jan 10 - 13. Riverside Theatres, Parramatta. www.sydneyfestival.org.au Deadly 60 Down Under. Steve Blackshall. Jan 11 & 12. Sydney Opera House. www.sydneyoperahouse.com

The Bold, The Young and The Murdered by Ben Zelidis. Elanora Players. Jan 11 - 19. Elanora Theatre, Elanora Heights. (02) 9979 9694.

Sasha Velour Live and in Colour. The Big Time by David Jan 12. The Enmore Theatre. Williamson. Ensemble Theatre. www.itdevents.com Jan 18 - Mar 16. World Counting & Cracking by S. premiere. (02) 9929 0644. Shakthidharan. Belvoir / CoTurandot by Puccini. Opera www.ensemble.com.au Curious / Sydney Festival. Jan 11 Australia. Jan 15 - Mar 20. - Feb 2. Sydney Town Hall. (02) Sydney Opera House. (02) 9318 The Life and Death of King John 8200. and The Comedy of Errors. Bard 9699 3444. www.sydneyoperahouse.com on the Beach. Jan 18 - Mar 17. Bonnie and Clyde. Music by Various venues. Wolfgang’s Magical Musical Frank Wildhorn, lyrics by Don www.bardonthebeach.net Circus. Created by Yaron Lifschitz with Benjamin Knapton and the Circa Ensemble. Jan 15 - 25. Sydney Opera House. www.sydneyoperahouse.com

Love and Anger by Betty Grumble. Jan 21 - 26. SBW Stables Theatre. griffintheatre.com.au

Madagascar The Musical Jr by Kevin Del Aguila, George Noriega and Joel Someillan. Gosford Musical Society Juniors. Jan 15 - 19. Laycock Street Community Theatre, North Gosford. gosfordmusicalsociety.com.au

FreshWorks. Jan 22 - Mar 16. Old 505 Theatre, Newtown. old505theatre.com

In The Heights by Lin-Manuel Miranda. Blue Saint Productions / Sydney Festival. Jan 16 - 20. Concert Hall, Sydney Opera House. www.sydneyoperahouse.com

Man With The Iron Neck by Ursula Yovich. Legs on the Wall / Sydney Festival. Jan 23 26. Sydney Opera House. www.sydneyfestival.org.au

Deer Woman by Tara Beagan. Sydney Festival. Jan 16 - 20. Carriageworks. www.sydneyfestival.org.au The Chat by J. R. Brennan and David Woods. Sydney Festival. Jan 16 - 20. Carriageworks. www.sydneyfestival.org.au Herringbone by Tom Cone, Skip Kennon and Ellen Fitzhugh. Squabbalogic Independent 58 Stage Whispers

Brett & Wendy … A Love Story Bound by Art. Kim Carpenter’s Theatre of Image in association with Riverside Theatre Parramatta. Jan 18 - 27. Riverside Theatres, Parramatta.

Beware of Pity by Stefan Zweig. Schaubühne Berlin / Complicité. Sydney Festival. Jan 23 - 27. Roslyn Packer Theatre. www.sydneyfestival.org.au

Le Gateau Chocolat. Sydney Festival. Jan 23 - 27. Magic Mirrors Spiegeltent. www.sydneyfestival.org.au Lawrence Mooney - An Evening with Malcolm. Jan 25 - Feb 3. Sydney Opera House. www.sydneyoperahouse.com Wozzeck by Alban Berg. Opera Australia. Jan 25 - Feb 15. Sydney Opera House.

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

On Stage

New South Wales

Online extras!

To watch the trailer for The 91-Storey Treehouse, scan the QR code or visit http://bit.ly/2T9rG5w

Teale Howie in The 91-Storey Treehouse, playing at the Sydney Opera House from Jan 3 - 20, QPAC from Jan 23 - 27, and Canberra Theatre Centre on Feb 1 & 2. For more information visit http://bit.ly/2Tc37oF Photo: Heidrun Lohr.

(02) 9318 8200. www.sydneyoperahouse.com Brown Skin Girl. Created by Black Birds. Jan 29 - Feb 9. Old Fitz Theatre. redlineproductions.com.au Dorian Gray Naked. Libretto by Melvyn Morrow, music by Dion Condack. Starring Blake Appelqvist as Dorian. Popinjay Productions. Jan 30 - Feb 16. Limelight on Oxford 231 Oxford St Darlinghurst. limelightonoxford.com.au Intersection 2019: Arrival. ATYP@Griffin. Jan 30 - Feb 16. SBW Stables Theatre. griffintheatre.com.au OCD Love. Jan 31 - Feb 3. Sydney Opera House. www.sydneyoperahouse.com Love Chapter 2. Jan 31 - Feb 3. Sydney Opera House. www.sydneyoperahouse.com

The Rise and Fall of Little Voice by Jim Cartwright. Darlinghurst Theatre Company. Feb 1 - 24. Eternity Playhouse, Darlinghurst. www.darlinghursttheatre.com Judith Lucy vs Men. Sydney Opera House. Feb 1 - 10. www.sydneyoperahouse.com A Room With a View by E. M. Forster, adapted by Roger Parsley and Andy Graham. Genesian Theatre Company. Feb 2 - Mar 9. Genesian Theatre, Sydney. 1300 237 217. www.genesiantheatre.com.au The Wolves by Sarah DeLappe. Belvoir. Feb 2 - Mar 3. Upstairs Theatre. (02) 9699 3444. Senior Moments by Angus FitzSimons and Kevin Brumpton. Return Fire Productions. The Art House, Wyong, Feb 2, (02) 4335 1485 and Concourse

Theatre, Chatswood, Feb 20 24, (02) 8075 8111.

Recital Hall, Sydney. Feb 8. sydneyphilharmonia.com.au

Mary Stuart. A new adaptation by Kate Mulvany, after Friedrich Schiller. Sydney Theatre Company. Feb 5 - Mar 2. Roslyn Packer Theatre. (02) 9250 1777. www.sydneytheatre.com.au

The Female of the Species by Joanna Murray-Smith. Lane Cove Theatre Company. Feb 8 23. The Performance Space at St Aidan’s, Longueville. lanecovetheatrecompany.com

Strictly Murder by Brian Clemens. Maitland Repertory Theatre. Feb 6 - 24. www.maitlandreptheatre.org or (02) 4931 2800.

Bloody Murder by Ed Scala. Castle Hill Players. Feb 8 - Mar 2. Pavilion Theatre, Doran Drive, Castle Hill. (02) 9634 2929. www.paviliontheatre.org.au

Jesus Christ Superstar by Tim Rice and Andrew Lloyd Webber. Packemin Productions. Feb 8 23. Riverside Theatres, Parramatta. riversideparra.com.au

Hot Mikado. Based on Gilbert and Sullivan’s The Mikado, adapted by David H. Bell and Rob Bowman. Young People’s Theatre Newcastle Inc, Hamilton. Feb 8 - 23. (02) 4961 4895 (9am-1pm Sat).

An Intimate Evening with Brahms. Sydney Philharmonia Choirs, guest conductor Simon Halsey, soloists Emma Pearson and Sam Roberts Smith. City

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

If We Got Some More Cocaine I Could Show You How I Love You by John O’Donovan. Green Door Theatre Company. Feb 8 Stage Whispers 59

On Stage

New South Wales & Queensland

Leonardo Bruno is The Alchemist in The Illusionists, playing at QPAC from Jan 9 - 19 and at Regent Theatre Melbourne from Jan 22 - 27. Tour information available at theillusionistslive.com

Online extras!

Witness the magic of the The Illusionists. Simply scan the QR code or visit https://youtu.be/VsM3FPC-F88 23. Kings Cross Theatre, Level 2, Theatre Company. Feb 15 - Mar Kings Cross Hotel. 16. Old Fitz Theatre. www.kingsxtheatre.com redlineproductions.com.au How to Rule the World by Nakkiah Lui. Sydney Theatre Company. World Premiere. Feb 11 - Mar 30. Drama Theatre, Sydney Opera House. (02) 9250 1777.

Daylight Saving by Nick Enright. The Guild Theatre, Rockdale. Feb 15 - Mar 9. (02) 9521 6358. www.guildtheatre.com.au

South Pacific by Rodgers and Hammerstein. Gosford Musical Society. Feb 19 - Mar 16. Laycock Street Community Theatre, North Gosford. gosfordmusicalsociety.com.au

- Mar 9. The Harbour Theatre, Shellharbour. (02) 4297 2891. www.roo-theatre.com.au Private Lives by Noël Coward. Woy Woy Little Theatre. Feb 22 - Mar 10. www.woywoylt.com

Dirty Dusting by Ed Waugh & Queensland Trevor Wood. Acting Factory The Gruffalo’s Child. Based on Inc. Feb 22 - Mar 3. Penrith RSL. Wyngarde! A Celebration + the picture book by Julia Peter Pan Goes Wrong by Henry Queen Bette. G.bod Theatre. Werther by Massenet. Opera Donaldson and Axel Scheffler. Lewis, Jonathan Sayer and Australia. Feb 22 - Mar 11. Feb 19 - Mar 2. Old 505 CDP Kids / Tall Stories. Gardens Henry Shields. Mischief Theatre. Theatre, Newtown. Sydney Opera House. (02) 9318 Theatre. Jan 3 - 13. (07) 3138 From Feb 13. Lyric Theatre, old505theatre.com 8200. 7750. Sydney. KING. World premiere. Shaun Dead Cat Bounce by Mary Rapunzel by Bradford and www.sydneylyric.com.au Parker & Company, international Rachel Brown. Griffin Theatre Webster (Panto). Mousetrap Embers by Campion Decent. collaboration with Ivo Dimchev. Company. Feb 22 - Apr 6. SBW Theatre. Jan 4 - 13. (07) 3888 Pymble Players, cnr Mona Vale Everest Theatre, Seymour Stables Theatre. 3493. Rd and Bromley Ave, Pymble. Centre, Sydney. Feb 20 - 24. griffintheatre.com.au Spark and the Crystal Crusade Feb 13 - Mar 9. (02) 9144 (02) 9351 7940. Dinkum Assorted by Linda by Aiden Ossovani and Millie 1523 / taz@taztix.com.au Lieutenant of Inishmore by Aronson. Henry Lawson Theatre. Talbot. Spotlight Theatre A Bunch of Amateurs by Ian Martin McDonagh. Wollongong Feb 22 - Mar 9. Henry Sports Company. Jan 9 - 19. (07) 5539 Hislop & Nick Newman. Arts Workshop Theatre. Feb 22 Club, Werrington. 4255. Theatre Cronulla. Feb 15 - Mar Mar 9. WWT Theatre - 190 www.hltheatre.com.au The Illusionists. Concert Hall, 23. 6 Surf Road, Cronulla. Gipps Rd, Gwynneville. 0431 Footloose. Book by Dean QPAC. Jan 9 - 19. 136 246. artstheatrecronulla.com.au 875 721. Pitchford. Music by Kenny www.eventbrite.com.au Picnic at Hanging Rock by Laura Angels in America Parts 1 & 2 Loggins, Jim Steinman, Tom Snow & Dean Pitchford. Feb 22 Annawyn Shamus, based on the by Tony Kushner. Apocalypse 60 Stage Whispers

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

On Stage novel by Joan Lindsay. Brisbane Arts Theatre. Jan 12 - Feb 16. (07) 3369 2344.

Feb 8 - 23. boxoffice@growltheatre.org.au

Summer Wonderland by Matthew Ryan. Growl Theatre.

Brisbane Comedy Festival. Brisbane Powerhouse. Feb 22 Mar 24. (07) 3358 8613.

Queensland & Victoria Ding Dong by Marc Camoletti. Cairns Little Theatre. Feb 22 Mar 2. 1300 855 835.

Victoria

School of Rock by Andrew Lloyd Swing That Music - Tom Webber, Julian Fellowes and Dr Seuss’s Cat in the Hat. Burlinson. Concert Hall, QPAC. The Hollies. Concert Hall, QPAC. Glenn Slater. GWB Adapted by Katie Mitchell. Feb 8. 136 246. Entertainment. Continuing. Her Feb 22. 136 246. Brisbane Arts Theatre. Jan 12 Majesty’s Theatre, Melbourne. The Little Mermaid by Alan The Beatles 50 Years On. 25. (07) 3369 2344. schoolofrockmusical.com.au Menken, Howard Ashman and Concert Hall, QPAC. Feb 23. The Sleeping Beauty. Glenn Slater. Spotlight Theatre Evita by Tim Rice and Andrew 136 246. Tchaikovsky. Ballet Theatre of Company. Feb 8 - Mar 2. (07) Next To Normal by Tom Kitt and Lloyd Webber. John Frost, Queensland. Playhouse, QPAC. 5539 4255. Brian Yorkey. Brisbane Arts. Feb Opera Australia and David Ian. Jan 16 - 19. 136 246 Until Feb 23. State Theatre, Arts Harry Potter and the Goblet of 23 - Mar 23. (07) 3369 2344. Centre Melbourne. 1300 182 A Salon of Larrikins. OzFrank. Fire. QSO. Brisbane Convention Radio Plays by Agatha Christie 183. evitathemusical.com.au Centre. Feb 9. (07) 3833 5044. and Arthur Conan Doyle. Nash Cremorne Theatre, QPAC. Jan 18 - 19. 136 246. Peter Pan Goes Wrong by Henry Death of a Salesman by Arthur Theatre. Feb 23 - Mar 16. (07) Lewis, Jonathan Sayer and The Day My Bum Went Psycho Miller. Queensland Theatre. 3379 4775. Henry Shields. Songs by Richard by Andy Griffiths, adapted by Playhouse, QPAC. Feb 9 - Mar 2. Alice’s Adventures in Baker and Rob Falconer. David Lowe. Brisbane Arts 1800 355 528. Wonderland by Lewis Carroll. Mischief Theatre. Until Jan 27. Theatre. Jan 19 - Mar 9. (07) An Evening with Nigella Australian Ballet. Lyric Theatre, Playhouse, Arts Centre 3369 2344. Lawson. Concert Hall, QPAC. QPAC. Feb 25 - Mar 2. 136 246. Melbourne. 1300 182 183. Nigel Kennedy in Recital. Feb 19. 136 246. peterpangoeswrong.com.au Crystal Moonlight. Cremorne Concert Hall, QPAC. Jan 23. 136 The Duke by Shôn Dale-Jones. Theatre, QPAC. Feb 26. 136 Shrek The Musical. Music by 246. Brisbane Powerhouse. Feb 14 - 146. Jeanine Tesori, with book and The 91-Storey Treehouse by 15. (07) 3358 8613. Shen Yun. Concert Hall, QPAC. lyrics by David Lindsay-Abaire. Richard Tulloch, adapted from Tom Gleeson. Concert Hall, PLOS Musical Productions. Until Feb 26 - 27. 136 246. the book by Andy Griffiths and QPAC. Feb 14 - 15. 136 246. Jan 9. Frankston Arts Centre. Terry Denton. Playhouse, QPAC. artscentre.frankston.vic.gov.au From Johnnie To Jack by Luke Jan 23 - 27. 136 246. Kennedy. Brisbane Powerhouse. Sweet Charity by Cy Coleman, Feb 15. (07) 3358 8613. Dorothy Fields and Neil Simon. Marjorie Prime by Jordan Brisbane Powerhouse. Jan 24 Harrison. Sunnybank Theatre. Feb 10. (07) 3358 8613. Feb 15 - Mar 2. (07) 3345 Elaine Paige. Concert Hall, 3964. QPAC. Jan 29. 136 246. Me and Robin Hood by Shon Quartet by Ronald Harwood. Dale-Jones. Brisbane Ipswich Little Theatre. Feb 1 Powerhouse. Feb 15 - 16. (07) 28. (07) 3812 2389. 3358 8613. Anh Do - The Happiest Refugee Heavenly. QSO. QPAC Concert Live!! Concert Hall, QPAC. Feb 1 Hall. Feb 16. (07) 3833 5044. - 3. 136 246. Single Asian Female by Michelle Platform Festival - Local Talent Law. La Boite, Roundhouse Showcase. Javeenbah Theatre Theatre, Kelvin Grove. Feb 16 Company. Feb 1 - 16. (07) 5596 Mar 9. 136 246. 0300. Lunar New Year. Southern Cross Secret Bridesmaids’ Business by Soloists. Concert Hall, QPAC. Elizabeth Coleman. Gold Coast Feb 17. 136 246. Little Theatre. Feb 2 - 23. (07) Nashville Live. Concert Hall, 5532 3224. QPAC. Feb 19. 136 246. Love Letters by A.R. Gurney. Bianca Del Rio. Concert Hall, Brisbane Arts. Feb 3 - 4. (07) QPAC. Feb 20. 136 246. 3369 2344. Sara Macliver In Concert with RuPaul’s Drag Race: WerQ the World. Concert Hall, QPAC. Feb Camerata. Concert Hall, QPAC. Feb 21. 136 246. 6. 136 246.

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

Stage Whispers 61

On Stage

Victoria

Stomping Ground La Boca. Arts Centre Melbourne Forecourt. Until Feb 24. artscentremelbourne.com.au

19. The Butterfly Club. thebutterflyclub.com

Calamity Jane. Adapted by Ronald Hamner and Phil Park. From the Stage Play by Charles K Freeman after the Warner Bros Film. Lyrics by Paul Francis Webster. Music by Sammy Fain. One Eyed Man Productions, Neglected Musicals and Hayes Theatre Co. Jan 1 - Feb 3. Comedy Theatre Melbourne. www.ticketmaster.com.au

Livvy and Pete: The Songs of Olivia Newton-John and Peter Allen. Michael Griffiths and The Legend of Queen Kong Episode II: Queen Kong in Outer Amelia Ryan. fortyfivedownstairs. Jan 23 - 27. Space. Fairfax Studio, Arts www.fortyfivedownstairs.com Centre Melbourne. Jan 16-20. artscentremelbourne.com.au I Sing Songs. Steven Kreamer. fortyfivedownstairs. Jan 23 - 27. Little Red Riding Hood by Caroline Leavey. Music by David www.fortyfivedownstairs.com

Wolfgang’s Magical Musical Circus. Fairfax Studio, Arts Centre Melbourne. Jan 2 - 12. artscentremelbourne.com.au Song of the Seals by Dorothy Hewett. Wonthaggi Theatrical Group. Jan 4 - 11. Wonthaggi Theatrical Group at the State Coal Mine. www.wtg.org.au Invisible Orchestra. State Theatre Rehearsal Room, Arts Centre Melbourne. Jan 5 -13. artscentremelbourne.com.au Mixology with Mini Marilyn. Jan 7 - 12. The Butterfly Club. thebutterflyclub.com Alice in Wonderland. Directed & adapted by Penny Farrow. Boyd Productions. Jan 9, Wendouree Centre For The Performing Arts, Ballarat, (03) 5338 0980; Jan 10 - 12, Athenaeum Theatre, Melbourne, 132 849 or (03) 9650 1500; Jan 13, Frankston Arts Centre, Frankston, (03) 97841060 and Jan 15, Capital Theatre, Bendigo, (03) 5434 6100. Fantastic Mr Fox. By Roald Dahl. Encore Theatre Company Inc. Jan 10 - 19. Clayton Community Centre. 1300 739 099. Sasha Velour Live and in Colour. Jan 11. The Plenary, MCEC. www.itdevents.com Sleeping Beauty The Pantomime. Bendigo Theatre Company. Jan 14 - 27. Girton Black Box Theatre. (03) 5434 6100. Newk! (The John Newcombe Story) by Kieran Carroll. Jan 14 62 Stage Whispers

A Call To Dance. State Theatre Rehearsal Room, Arts Centre Melbourne. Jan 15 - 20. artscentremelbourne.com.au

Youings. Fab Nobs Theatre Inc, 33 Industry Place, Bayswater. Jan 17 - 26. www.fabnobstheatre.com.au

The Miss Behave Gameshow. Fairfax Studio, Arts Centre Melbourne. Jan 22 - 27. artscentremelbourne.com.au

Father Figure - a tribute to George Michael. Jan 23 - 25. Chapel off Chapel. chapeloffchapel.com.au

Cake Daddy by Ross AndersonDoherty and Lachlan Philpott. Theatre Works and Wreckedallprods. Feb 3 - 10. Theatre Works, St Kilda. www.theatreworks.org.au The Most Amazing Planet in the Universe - An Astronomer’s Ode to Earth. Feb 4 - 9. The Butterfly Club. thebutterflyclub.com Body Awareness by Annie Baker. Williamstown Little Theatre. Feb 6 - 23. 0447 340 665. www.wlt.org.au

Merciless Gods by Don Giovannoni, based on the book by Christos Tsiolkas. Fairfax Harry Potter and the Cursed Gender Euphoria. Fairfax Studio, Studio, Arts Centre Melbourne. Child. Based on an original new Arts Centre Melbourne. Jan 24. Feb 6 -10. artscentremelbourne.com.au story by J.K. Rowling, Jack artscentremelbourne.com.au Thorne and John Tiffany. From Rachael Beck and Michael Midsumma Extravaganza. Jan 18. Princess Theatre, Cormick. Hamer Hall, Arts Hamer Hall, Arts Centre Melbourne. Centre Melbourne. Feb 11. Melbourne. Jan 29. artscentremelbourne.com.au Les Misérables. Music by Claude artscentremelbourne.com.au -Michel Schönberg. Lyrics by The Butch Monologues by Laura The Cake Bride. Nikki Viveca. Herbert Kretzmer. Original Feb 11 - 16. The Butterfly Club. Bridgeman. Jan 27 - Feb 3. French text by Alain Boublil and Theatre Works, St Kilda. thebutterflyclub.com Jean-Marc Natel. Additional www.theatreworks.org.au Electric Loneliness. Feb 11 - 16. Material by James Fenton. The Butterfly Club. Footlight Productions Geelong. Sweet Phoebe by Michael Gow. thebutterflyclub.com Red Stitch Actors’ Theatre, St Jan 18 - Feb 3. Geelong Kilda East. Jan 29 - Mar 3. (03) Lost in Yonkers by Neil Simon. Performing Arts Centre. 9533 8083. Heidelberg Theatre Company. footlightproductionsvic.com Feb 15 - Mar 2. (03) 9457The Voice Behind the Stars: The Old Stock: A Refugee Love 4117. www.htc.org.au Story. Fairfax Studio, Arts Centre Marni Nixon Story. Jan 18 & 19. Melbourne. Jan 29 - Feb 2. Mr Burns, a post-electric play by Chapel off Chapel. artscentremelbourne.com.au Anne Washburn, score by chapeloffchapel.com.au Michael Friedman. Lightning Jar Cock by Mike Bartlett. 15 Velma Celli’s A Brief History of Theatre. Feb 15 - Mar 10. Minutes from Anywhere. Jan 30 Drag. Jan 18 & 19. Chapel off fortyfivedownstairs. Chapel. chapeloffchapel.com.au - Feb 10. fortyfivedownstairs. www.fortyfivedownstairs.com www.fortyfivedownstairs.com Truly Madly Britney by Alberto Murder by Natural Causes. Angels in America Part 1 by Di Troia. Theatre Works and Adapted by Tim Kelly from the Tony Kushner. Geelong Stage Moms. Jan 19 - Feb 9. TV play by Richard Levinson and Repertory Theatre Company. Theatre Works, St Kilda. William Link. The Basin Theatre Feb 1 16. GPAC (03) 5225 www.theatreworks.org.au Group. Feb 15 - Mar 9. The 1200. Silent All These Years - The Basin Theatre. 1300 784 668. Brilliant Lies by David Songs of Tori Amos. Kate Good People by David LindsayWilliamson. Peridot Theatre Finkelstein. Jan 21 - 26. The Abaire. Mordialloc Theatre Company. Feb 1 16. The Butterfly Club. Company. Feb 15 - Mar 2. Unicorn Theatre, Mt Waverley. thebutterflyclub.com Shirley Burke Theatre. Parkdale. (03) 9808 0770 (10am-2pm The Illusionists. Tim Lawson / (03) 9587 5141. Mon-Fri). The Works Entertainment. www.peridot.com.au/bookings mordialloctheatre.com Regent Theatre Melbourne. Jan Mr Bennet’s Bride by Emma The Lady In The Van by Alan 22 - 27. Ticketmaster. Wood. Malvern Theatre Co. Feb Bennett. Melbourne Theatre Soft-Butch Show Queen. Jan 22 Company. Feb 2 - Mar 6. Arts 15 - Mar 3. 1300 131 552. - 26. The Butterfly Club. Centre Melbourne, Playhouse. Hotel Sorrento by Hannie thebutterflyclub.com 1300 182 183. Rayson. Eltham Little Theatre. Just $50 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage

Victoria, Tasmania & South Australia

Wolfgang’s Magical Musical Circus, touring Australia and New Zealand throughout 2019. For tour dates and more info visit circa.org.au/show/wolfgang Photo: Dylan Evans.

Online extras!

Enter the wonderful world of Wolfgang. Simply scan the QR code or visit https://vimeo.com/282961414 Feb 15 - Mar 2. www.elthamlittletheatre.org.au

Showstoppers. MDMS. Feb 22. Karralyka Centre. mdms.org.au

Strathmore Community Hall. (03) 9382 6284.

After Miss Julie by Patrick Marber. Brighton Theatre Company. Feb 17 - Mar 2. Brighton Arts & Cultural Centre. 1300 752 126. www.brightontheatre.com.au

Engaged by W.S. Gilbert. Gilbert & Sullivan Opera Victoria. Feb 23 & 24 and Mar 2 & 3 at 2pm. Performed in the Garden & Living Room of The Knowe, Sassafras. www.gsov.org.au

Seminar by Theresa Rebeck. Beaumaris Theatre. Mar 1 - 15. www.beaumaristheatre.com.au

Creatures of the Deep. Feb 18 23. The Butterfly Club. thebutterflyclub.com

Strictly Ballroom The Musical. Book by Baz Luhrmann and Craig Pearce, adapted by Terry Johnson. Cardinia Performing Arts Co. Feb 23 - Mar 8. cardiniaperformingarts.com

Breaking the Code by Hugh Whitemore. The 1812 Theatre. Feb 21 - Mar 16. www.1812theatre.com.au Arbus & West by Stephen Sewell. Melbourne Theatre Company. Feb 22 - Mar 30. Arts Centre Melbourne, Fairfax Studio. 1300 182 183. artscentremelbourne.com.au Altar Boyz by Gary Adler and Michael Patrick Walker. PEP Productions. Feb 22 - Mar 2. Doncaster Playhouse. pepproductions.org.au

No Smoke No Mirrors. Feb 25 Mar 2. The Butterfly Club. thebutterflyclub.com Jekyll & Hyde The Musical by Leslie Bricusse and Frank Wildhorn. Feb 28 - Mar 10. Wendouree Centre for Performing Arts. (03) 5338 0980. Outside Edge by Richard Harris. Strathmore Theatrical Arts Group. Feb 28 - Mar 9.

Tasmania The Wind in the Willows. Adapted by Les Winspear. Big Monkey Theatre. Jan 1 - 20. Royal Tasmanian Botanical Gardens. www.theatreroyal.com.au Trial by Jury by Gilbert and Sullivan. The Gilbert and Sullivan Society of Tasmania. Jan 4 - 19. Hobart Supreme Court. www.centertainment.com.au A Midsummer Night’s Dream by William Shakespeare. Shakespeare in the Gardens. Directions Theatre Pty Ltd. Feb 1 - Mar 1. Royal Tasmanian Botanical Gardens. www.centertainment.com.au Carrie The Musical. Music: Michael Gore. Lyrics: Dean

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

Pitchford. Book: Lawrence D. Cohen based on the novel by Stephen King. Bijou Creative. Feb 7 - 16. Peacock Theatre, Hobart. www.centertainment.com.au The Importance of Being Ernest by Oscar Wilde. Hobart Repertory Theatre Society. Mar 1 - 16. The Playhouse Theatre, Hobart. playhouse.org.au South Australia Peter Pan Jr. Based on play by J.M. Barrie. Hills Youth Theatre. Jan 15 - 20. Stirling Community Theatre. trybooking.com/444202 A Doll’s House by Henrik Ibsen. IpSkip Productions. Jan 16 - 19. Bakehouse Theatre. www.bakehouse.com The Sound of Music by Rodgers & Hammerstein. Emma Knights Productions. Jan 24 - 28. The Monastery, Urrbrae. www.eventbrite.com.au Stage Whispers 63

On Stage

South Australia & Western Australia

Boyd Productions’ Alice in Wonderland - in Ballarat, Melbourne, Frankston, Bendigo and Perth during January. For details and booking info visit www.aliceinwonderlandlive.com.au

Online extras!

Watch as this timeless story comes to life on stage. Simply scan the QR code or visit https://vimeo.com/284276862 Boys Own McBeth by Graeme Bond and Jim Burnett. Blackwood Players. Feb 1-16. Blackwood Memorial Hall. www.blackwoodplayers.com Married At First Fight. Matt Byrne Media. Feb 12 - Mar 16. Maxim’s Wine Bar. adelaidefringe.com.au

Productions. Feb 20 - Mar 2. The Parks Theatre. www.adelaidefringe.com.au Nell Gwynn by Jessica Swale. The Stirling Players. Feb 22 Mar 9. Stirling Community Theatre. (08) 7481 6152 or www.stirlingplayers.sct.org.au

Jane Austen: Private Eye by Jess Messenger. Sense and Spontaneity. Jan 17 - 19. Dry, comical and eerie. Lady Beaufort, Beaufort Street Community Centre, Mt Lawley. www.fringeworld.com.au

Fringe World Festival 2019. Jan Baba Yaga by Christine Johnson, 18 - Feb 17. Various venues. fringeworld.com.au Adelaide Fringe Festival. Feb 15 Rosemary Myers and Shona The Faerie Queen by Luke - Mar 17. Multiple events. Reppe. Windmill Theatre. Feb Heath. Zahara Dance Company. Various venues. 26 - Mar 3. Queen’s Theatre. Fantasy Story. Jan 19 & 20. adelaidefringe.com.au www.bass.net.au Stevenson Theatre, 8 Stafford Life and Beth by Alan Western Australia St, Midland. Ayckbourn. Tea Tree Players. Feb 44th Annual Finley Awards. www.fringeworld.com.au 3 - 13. Tea Tree Players Theatre. Independent Theatre Alice in Wonderland by Lewis (08) 8289 5266 or Association and the Robert Carrol. Boyd Productions. Family www.teatreeplayers.com Finley Trust. Jan 19. Community entertainment. Jan 21-23. Go Back for Murder by Agatha theatre awards evening. Subiaco Heath Ledger Theatre, State Christie. Therry Dramatic Arts Centre. (08) 6212 9292. Theatre Centre WA. Society. Feb 7 - 16. The Arts www.ptt.wa.gov.au www.ticketek.com.au Theatre. (08) 8271 8487, (08) The Snow Queen by Ruth Melba by Dawn Farnham. 8410 5515. Cantrall. Art in Motion Theatre Tempest Theatre. Jan 25 - Feb trybooking.com/453481 Company. Jan 16 - 19. Family 10. One of Melba’s final Judge Jackie: Disorder in the Entertainment. Don Russell farewells. Queen Room at Lady Court by Michael Kooman and Performing Arts Centre. Beaufort, Beaufort Street Christopher Dimond. Davine trybooking.com/444037 64 Stage Whispers

Community Centre, Mt Lawley. www.fringeworld.com.au Golden Age Girls by Amy Fortnum and Jess Clancy. Aces at the Maj and FringeWorld Festival. Jan 31 - Feb 2. Cabaret featuring 2018 WAAPA Graduates. King’s Lair, His Majesty’s Theatre, Perth. www.ptt.wa.gov.au La Traviata by Verdi. West Australian Opera. Feb 2. City of Perth Opera in the Park. Supreme Court Gardens, Perth. Free Event. Perth Festival 2019. Feb 8 - Mar 3. Various venues. www.perthfestival.com.au Grace and Willpower by William Zappa and Bob Charteris. Stirling Players. Feb 8 - 23. The Greening of Grace and Willpower - short plays. Stirling Theatre, Morris Pl, Innaloo. (08) 9446 9120. trybooking.com/YUAE

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

On Stage Our Town by Thornton Wilder. Black Swan State Theatre Company. Feb 8 - 23. American classic. Courtyard, State Theatre Centre WA. www.ptt.wa.gov.au After You’ve Gone by Sue Ingleton. Feb 13 - Mar 2. Old Mill Theatre. A horrible comedy. Old Mill Theatre, Mends St, South Perth. oldmilltheatre.com.au Shrine by Tim Winton. Melville Theatre Company. Feb 15 - Mar 3. West Australian Drama. Melville Theatre. www.meltheco.org.au The Magic Flute by Mozart, West Australian Opera. Feb 20 23. Perth Festival Event. His Majesty’s Theatre, Perth. www.ptt.wa.gov.au

Madagascar Jr. Book by Kevin Del Aguila. Original music and lyrics by George Noriega and Joel Someillan. Rotorua Musical Theatre / Rotorua Lakes Council. Jan 10 - 20. Energy Events Centre, Rotorua. (07) 351 8673. Club Cabaret. The Blue Baths, Rotorua. Jan 10 - Feb 9. (07) 350 2119. Henry V and Twelfth Night by William Shakespeare. Shoreside Theatre, Auckland. Jan 12 - Feb 9. The PumpHouse Theatre, Auckland. (09) 489 8360. Annie Jr by Thomas Meehan, Charles Strouse and Martin Charnin. Musikmakers Hamilton. Jan 15 - 19. Riverlea Theatre. iTicket.

Western Australia & New Zealand 19 - 27. Elmwood Auditorium. (03) 355 8874.

Hamlet by William Shakespeare. Pop-up Globe Nottingham’s Little Mermaid Jr. Music by Alan Company. Feb 10 - Mar 31. Pop -up Globe Theatre, The Menken. Lyrics by Howard Ashman and Glenn Slater. Book Shakespeare Gardens, Ellerslie Racecourse, Auckland. 0800 by Doug Wright. Tauranga Musical Theatre Inc. Jan 19 - 26. BUY TIX (289 849). 12 Angry Men by Reginald Westside Theatre. taurangamusicaltheatre.co.nz Rose. Centrestage Theatre Sasha Velour Live and in Colour. Company, Orewa. Feb 11 - 16. (09) 426 7282. Jan 21 Auckland Town Hall. www.itdevents.com

Mrs Milligan’s Marvelous Marmalade and Other Spreads. Havelock Theatre Company. Jan 23 - Feb 2. Havelock Town Hall. Door sales only.

Madiba the Musical - a celebration of Nelson Mandela’s life by Alicia Sebrien and JeanThumbelina by Emma Cusdin. Pierre Hadida. Jan 24 - Feb 3, Salonika by Louise Page. Garrick Court Theatre, Christchurch. Jan Bruce Mason Centre, Auckland, Theatre. Feb 28 - Mar 16. 16 - 26. (03) 963 0870. 0800 111 999; Feb 7 - 10, The Drama directed by Ray Omedei. The Merchant of Venice by Opera House, Wellington, 0800 Garrick Theatre, Guildford. (08) William Shakespeare. Summer 111 999; Feb 14 - 17, Isaac 9378 1990. Shakespeare Tauranga. Jan 17 - Theatre Royal, Christchurch, bookings@garricktheatre.asn.au 22. The Historic Village 0800 TICKETEK. New Zealand Night of the Queer. Luck & Tauranga. 0800 BUY TIX (289 849). Schooney / Auckland Pride Disney’s Aladdin - The Musical. Music by Alan Menken. Book by Our Town by Thornton Wilder. 2019. Feb 7 - 15. TAPAC, Auckland. (09) 845 0295. Chad Beguelin. Lyrics by Lyttleton Arts Factory, Howard Ashman, Tim Rice and Christchurch. Jan 17 - 26. (02) I Am Not Margaret Mahy. Based Chad Beguelin. Jan 3 - Feb 10. 1240 1112. on Mahy’s essay Notes of a Bag The Civic, Auckland. 0800 111 Lady. Adapted by Jane Waddell. Rants in the Dark - The Play. 999 Circa Theatre, Wellington. Feb 8 Based on the book by Emily A Shakespeare Sampler. The Writes, adapted for the stage by - Mar 2. (04) 0801 7992. PumpHouse Theatre, Auckland. Jan 9 - 11. (09) 489 8360. Project T. 6 short plays by Kiwi playwrights. Simple Truth Theatre. Jan 10 - 12. The Open Stage Christchurch. Door sales only.

Mel Dodge, Lyndee-Jane Rutherford & Bevin Linkhorn. Good Times Company. Jan 18 Feb 16. Circa Theatre, Wellington. (04) 0801 7992. Rapunzel. Adapted by Garry Thomas. Elmwood Players. Jan

Measure for Measure by William Shakespeare. Pop-up Globe Nottingham’s Company. Feb 9 Mar 31. Pop-up Globe Theatre, The Shakespeare Gardens, Ellerslie Racecourse, Auckland. 0800 BUY TIX (289 849).

Hamlet by William Shakespeare. Summer Shakespeare. Feb 15 Mar 2. The Dell, Wellington Botanical Gardens. 0800 BUY TIX (289 849) Side By Side By Sondheim. Music and Lyrics by Stephen Sondheim and music by Leonard Bernstein, Mary Rodgers, Richard Rodgers, Jule Styne. Feb 22 - Mar 22. Circa Theatre, Wellington. (04) 0801 7992. California Suite by Neil Simon. Howick Little Theatre. Feb 23 Mar 16. (09) 361 1000. Elling. Adapted for the stage by Simon Bent, based on the novel by Ingvar Ambjørnsen. Court Theatre, Christchurch. Feb 23 Mar 16. (03) 963 0870. Melancholy Play by Sarah Ruhl. Stagecraft Theatre (Wellington). Feb 27 - Mar 9. www.stagecraft.co.nz Arsenic and Old Lace by Joseph Kesselring. Dolphin Theatre (Auckland). Mar 1 - 16. dolphintheatre.org.nz

Auditions Place your audition notice in the next edition of Stage Whispers magazine. Email stagews@stagewhispers.com.au or call (03) 9758 4522 Advertise your show on the front page of www.stagewhispers.com.au

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

Stage Whispers 65

Reviews: Premieres

Online extras!

The opening night audience also shared our love for School Of Rock. Scan or visit https://youtu.be/RVYuzKi5RZk

School Of Rock. Photo: Matthew Murphy.

School Of Rock By Andrew Lloyd Webber, Julian Fellowes and Glenn Slater. Her Majesty’s Theatre, Melbourne. Opening Night: Nov 9. BASED on the 2003 film of the same name, School of Rock has been revamped into a highly-enjoyable romp that appeals to all ages. Brent Hill is fearless and tireless as the schlubby eternal dreamer and loser Dewey Finn, who wants nothing more than rock glory as the winner of the Battle of the Bands. Ejected from his current band, Dewey is also facing homelessness, as the girlfriend of his best friend, Ned (Nadia Komazec and John O’Hara) wants him to pay his share of the rent or leave. His money problems persist until the Horace Green Prep Academy calls to offer Ned a relief teaching job. Dewey takes the phone call, accepts the job, and turns up at the unsuspecting school, run by the tightlywound Rosalie (Amy Lehpamer). Dewey has no idea what he’s doing (and the kids know it), until he hears the students playing classical music, and immediately forms them into his own rock band “project”. Brent Hill does a wonderful job here in connecting with the children, and opening up an entirely new subculture to them. The kids embrace the band more and more enthusiastically. The way they embrace rulebreaking is an absolute delight. The second half is preparation for the upcoming Battle of the Bands. The mostly-silent Tomika finds her voice. And Dewey invites Principal Rosalie on a date, 66 Stage Whispers

firstly to schmooze her into giving permission to take the kids on a “field trip to a concert” but also to help her reconnect to her Stevie-Nicks-loving younger self. It’s all going swimmingly until Ned discovers Dewey’s pay cheque from the Academy, and Dewey ends up fleeing. But the kids persuade him to compete with them in the Battle of the Bands. Ned also finds his inner rock god again, and it melts the otherwise hardened heart of girlfriend Patty. The show centres around Dewey’s journey, but the children’s ensemble matches him in appeal and extraordinary talent. An announcement at the start of the show confirms yes, all the kids play their own instruments in the band. And they are spectacularly good. Their ensemble and vocal delivery is likewise excellent. The music they are asked to sing and the dancing and stage direction are firmly kid-centric, capitalising on their boundless energy and enthusiasm and developing voices. Kudos to director Laurence Connor and choreographer Joann M. Hunter for stitching together a diverse group into a near-perfect ensemble. The set and costumes were simple but endlessly adaptable. School of Rock is a hugely enjoyable show: the allages audience clapped and cheered their way through the show as the cast delivered seamless, energised song after song. For the climactic scenes at the Battle of the Bands, the audience quite naturally transformed into a rock concert audience, cheering on

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

Courtney Stewart and Lisa Hanley in Neon Tiger. Photo: Dylan Evans.

Online extras!

Watch the trailer for Neon Tiger by scanning the QR code or visiting https://youtu.be/F6yrHC3nnKI the band with a well-deserved standing ovation. It was a delight to watch and pure, high-energy fun. Alex Armstrong

only number that isn’t confidently delivered is the hip hop piece at the top of the show. Lisa Hanley sings with absolute confidence and excellence in all other songs. Kat Henry’s direction is excellent, as is the acting from Neon Tiger both performers. Clearly this creative team has a lot of trust Written by Julia-Rose Lewis. Music Composed by Gillian in one another. There’s a palpable warmth and humanity to Cosgriff. Co-Created by Julia-Rose Lewis, Gillian Cosgriff and Neon Tiger. The characters and story really draw you in to Kat Henry. Directed by Kat Henry. La Boite Theatre / their world and take you on a marvellous journey of Brisbane Powerhouse. Theatre. Oct 27 - Nov 17. discovery. THIS relatable romantic comedy is packed with great Kiesten McCauley songs, witty dialogue and thought-provoking messages. The story is about Andy (Lisa Hanley), an Australian Lamb escaping her problems, and Arisa (Courtney Stewart), a Thai By Jane Bodie. Music & lyrics by Mark Seymour. Red Stitch American girl trying to discover her heritage. The two Actors’ Theatre. Nov 13 - Dec 16. women meet and explore Bangkok together and quickly fall JANE Bodie’s insightful, moving play, a rural family in love. drama, goes deeply into her characters’ sadness, anger and Scriptwriting by Julia-Rose Lewis is intelligent, believable love. Mark Seymour’s songs are as if credibly written by the and funny. Themes include belonging, love, loneliness, characters and in keeping with the play’s themes. Set on a motivation, poverty, altruism and charity. It’s packed with sheep station and in the district’s one pub (design by Greg Buddhist ideals, especially regarding attachment, suffering Clarke), Lamb tells a story with a complex past. and seeking happiness outside yourself instead of finding it Annie (Bridget Gallacher) is the daughter who escaped within. The script also delves into racism, culture and and built a career for herself as a country & western singer Australian tourists’ behaviour abroad. in the city. Her sister Kathleen (Emily Goddard) has a mental Impressive set design by Sarah Winter transforms the disability. So, the burden fell on Patrick (Simon Maiden): Roundhouse stage into the streets and tourist traps of still there with a thwarted career as a singer-songwriter Bangkok. Lighting by Andrew Meadows is beautiful. The himself, a short fuse temper and a heavy chip on his huge scrim backdrop is backlit to create golden sunsets, shoulder. But now Annie - city brittle, uncertain - has come bright mornings and shimmering temples. back for Mum’s funeral and she and Patrick have to The music, composed by Gillian Cosgriff, is a major star communicate across a chasm. Their sister Kathleen, the of the show. Many of the lyrics are absolutely hilarious. The ‘truth-teller’, is growing in ways her siblings don’t expect Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 67

Simon Maiden in Lamb. Photo: Jodie Hutchinson.

and Ms Goddard plays her with a warm feel for comedy and timing. The story plays out with a circular structure - beginning with Annie leaving (again) after their Mum’s funeral. We go back to see the parents, Mary and Frank, played also by Ms Gallacher and Mr Maiden. The irony is clear, and these scenes give Ms Gallacher the opportunity to play a contrasting character to her Annie - a confident, optimistic, left-leaning young woman - and for Mr Maiden to be a clumsily charming if overbearing young fellow. All three performances are pitch perfect. Lamb is a family drama imbued with real emotion experienced by believable and comprehensible characters. They are all, in their way, trapped by their limitations, an escape from which comes with the realisation that things are not immutable, and that change is possible. Michael Brindley Exclusion Written and directed by David Atfield. World Premiere. The Street Theatre (ACT). Nov 9 - 17. “I PREFER to call it marriage equality. We don’t get ‘gay married’, we just want to get married like everyone else,” to paraphrase Craig Morrow, the young out gay man at the centre of David Atfield’s Exclusion. In many ways that is an essential truth about this play: it’s not gay theatre, it’s theatre which happens to have a few gay characters. Of course, being same-sex attracted has affected the lives of some of these characters profoundly, and in different ways depending on when they came of age. The play illustrates 68 Stage Whispers

different experiences of queer men in three generations Millennials, Generation X and Baby Boomers - and teases out the effects on their psyches and the choices they’ve made. Overlying that dynamic is the vicious backstabbing environment and competing egos of Parliament, and the moral quandaries and choices involved both with ambition and making legislation. The scandals surrounding Barnaby Joyce, Peter Slipper and an attempt to frame Justice Michael Kirby have clearly informed David Atfield’s script. Like Atfield’s previous play A Scandalous Boy, there is stark full-frontal nudity, but it is in the context of relationships as it would naturally occur, so is not at all gratuitous. There’s a great honesty to the production which comes from the matter-of-fact treatment of the characters’ intimacy, of which the nakedness and depictions of sex are a natural and important part. The nuanced handling of relationships makes this play quite beautiful. Cathy Bannister Circus Oz: Rock Bang Merlyn Theatre, Malthouse. Nov 15 - 25. ROCK Bang is the raucous new show by Circus Oz. Capping off their forty year celebrations, together with punk duo Otto and Astrid Rot, they deliver a wild and riotous Rock Opera. If you’re not familiar with the pair, Otto (Daniel Tobias) and Astrid (Clare Bartholomew) have managed to muster up cult-like status with their band Die Roten Punkte (The Red Dots).

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

Orphaned from a young age, abandoned by their fosters and stranded in their teens in Amsterdam, eventually Otto and Astrid find themselves in the heart of the underground rock scene in Berlin, during the falling of the wall. They give chase to their dreams and success follows. Otto is the introverted man-child and Astrid is the extroverted sex vamp who lives the sex, drugs and rock n’ roll lifestyle that leads her straight into rehab. Six versatile acrobats leap into the fairy tale world of Astrid and Otto and become part of the journey between rope, trapeze and juggling - the show belongs equally to them as it does to the fame craving punk stars, while the live rock set just keeps playing loud and proud. Director Rob Tannion has created a feisty and vibrant meshing of experimental theatre, circus and rock. The superb theatrical set design (Michel Baxter) co-habits perfectly with the circus rigging in the Merlyn Theatre. The lightning design (Ricard Vabre) is colourful, illuminating and sparkly. Credit to the shadow puppetry design (Lynne Kent), that is minimal and evocative in the first half of the show. Flora Georgiou Astroman By Albert Belz. Melbourne Theatre Company. Arts Centre Melbourne, Fairfax Studio. Oct 27 - Dec 8. A SHOW in primary colours, an exuberant comedy set in 1980s Geelong. Director Sarah Goodes keeps the show racing along with spirited performances and sight gags. Associate Director Tony Briggs keeps the show grounded in the experience of an indigenous family. Jiembra ‘Jimmy’ Djalu (pocket rocket Kamil Ellis), maths genius and video games champion, is bored in school and always in trouble. Mum Michelle (Elaine Crombie) moved the family down from Townsville when Jimmy got in trouble with the police. Dad is far away in WA and Jimmy misses him badly. He hangs at the ‘Astrocade’ video games arcade, where he holds the record on all the machines although proprietor Mr Pavlis (Tony Nikolakopoulos) is pretty slack with maintenance - despite being harassed by local bad boy, Mick Jones (Nicholas Denton). Elaine Crombie has only to grimace to get a laugh. Brother Sonny (Calen Tassone) gets laughs by not being tough: when he has to take over some narration he’s almost too shy to do it. Natural comedienne Tahlee Fereday is the sister on roller skates, desperate to be noticed, who tames the bad boy in the end - plus doubling as Jimmy’s schoolteacher. Mr Nikolakopoulos plays it straight as the widower curmudgeon who goes out on a limb to stage the World Video Games Championship. Nicholas Denton, too slight to be a real menace, makes up for that with his racist, sneering provocations of our hero. Jonathan Oxlade’s all-purpose set and Niklas Pajanti’s lighting solve the problem of the many scene transitions and locations. Perhaps the characters are ‘types’ and the story is somewhat predictable, but even if we guess how the story turns out, there’s a lot of fun in seeing how it turns out. Michael Brindley

Depthless Written by Kate Harman and Ben Ely. The Farm, supported by the Queensland Government through Arts Queensland. Judith Wright Centre of Contemporary Arts Performance Space. Nov 29 - Dec 1. BRISBANE musician Ben Eli and choreographer Kate Harman have created a work of art with a capital A in Depthless. The work feels deeply personal; delving into the dramas of a passionate and volatile relationship through music and contemporary dance. You’d expect with such subject matter it might be emotionally draining to watch, however the strong Brechtian directorial choices keep the audience’s emotional empathy at arms-length. The performers - Guy Webster and Kate Harman - are both very skilled and clearly dedicated. Their focus is unquestionable, while the chemistry between them does fall a little short of realistic. Guy has one small stumble on guitar in the opening number, but is otherwise musically flawless in his

Astroman. Photo: Jeff Busby.

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Laila Bano Rind in Xenides. Photo: Dana Weeks.

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Check out a trailer for Xenides by scanning the QR code or visiting https://vimeo.com/298123575

performance. He seems humble and works professionally, with a controlled energy that’s sustained through the show. Kate is physically impressive, flexible, strong, throwing her entire being into it, including her long auburn hair which she uses like a fifth limb. The original music ranges between electric guitar driven cacophony akin to Sonic Youth’s latter works, touching acoustic ballads, and head bopping hooky punk rock toetappers. The lighting is noticeably excellent. Depthless has you thinking about your own relationships; how women are often put on a pedestal; how a muse can inspire music to spring from the ether, such that a musician feels he’s not even responsible for the chords and melodies he’s creating; how a love that burns so very brightly often fades fastest and hurts deepest when it’s over. Kiesten McCauley

the various ways that they relate to this icon of Australian television. The Studio Underground was transformed into ‘The Wheel of Fortune’ set, with the famous letter board, with Zoe Atkinson’s design even sparklier than we remember. Four actresses were gorgeously costumed as Adriana in stunningly appropriate designs by Sarah Duyvestyn. A thoughtful and dynamic lighting design was created by Richard Vabre. The performers sharing the title role transformed frequently into other characters as well as sharing aspects of their own lives. Excellent teamwork from Adriane Daff, Laila Bano Rind, Harriet Marshall and Katherine Tonkin; each brought special qualities to the show and their camaraderie was delightful. The music, most of which was composed for the show by Xani Kolac, was well performed and accompanied by a three-piece ensemble. Well executed choreography was Xenides provided by Laura Boynes. By Clare Watson and collaborators. Black Swan. Directed by Xenides was not what we were expecting, but was an engaging, fun piece of theatre with a story to tell, and a Clare Watson. Musical Direction by Xani Kolac. Studio Underground, State Theatre Centre of WA. Oct 25 - Nov 11. unique charm. THE World Premiere of Xenides was a homage to ‘Wheel Kimberley Shaw of Fortune’ Hostess Adriana Xenides, a former model who co-hosted Australia’s ‘Wheel of Fortune’ for eighteen years. Moral Panic It looks at her immigrant childhood, her tumultuous love By Rachel Perks. Dramaturg Emma Valente. Directed by life and her health issues, as well as examining the way she Bridget Balodis. Darebin Arts Speakeasy. Nov 14 - 24. has been remembered. This devised musical also looks at MORAL Panic is a kind of dreamscape - a risky enterprise the lives of the four women selected to play Adriana and that teeters on the incoherent, in which connections can 70 Stage Whispers

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feel arbitrary, and some passages almost wilfully opaque, but if you let it work on you, work on you it does. Bickering buddies Evelyn (Eva Seymour) and Andy (Kai Bradley) arrive laden with ingredients to assemble a deadly curse - the feel is of a comic television show about teen witches. To Evie’s dismay, they are joined by her cynical cousin, Sue Anne (Chanelle Macri) and Evie’s aunt, Callista (Jennifer Vuletic), who may be a witch herself. The very idea of witches, their powers, what they represent and why their powers have meant their continual persecution - are the central, fundamental crux of Moral Panic. The characters descend into the underworld’ where ‘they must learn to speak the mother tongue… to listen to the crone and the crow…’ The cast - inevitably dominated by Ms Vuletic - never wavers. There is no signalling to the audience that this is ‘funny’ (although it often is) and the ‘characters’ transform to become, if not witches then warriors for witches. Ms Seymour plays a prickly, whiney teen who metamorphoses into something quite different. Kai Bradley does the sweet, goofy kid brought undone by proceedings very well and Ms Macri supplies contrast in her ironic cynicism and then by the power of her presence. Director Bridget Balodis says she wants ‘deeply intuitive’ storytelling’ - ‘prioritising emotion over action’. This may explain the play’s surface incoherence and perhaps why the play ends with a lengthy rant. It’s highly literate, highfalutin agit-prop superbly delivered by Ms Vuletic, but it’s a preachy anti-climax at the end of a highly original play. Michael Brindley Little Miss Sunshine Book by James Lapine. Stirling Players. Music and Lyrics by William Finn. Directed by Tyler Eldridge, Musical Direction by Tara Oorjitham. Stirling Theatre, Innaloo, WA. Nov 16 Dec 1. THE Australian Premiere of Little Miss Sunshine was a bright, funny production, dealing with serious themes, but uplifting and fun to watch. Faithfully adapted from the film, this is a book focused musical, and quite filmic. Challenging for a director, Tyler Eldridge handled difficulties with great creativity, with scenes in and around the infamous yellow kombi van handled with aplomb, and conscious theatricality working well. A show without big production numbers and minimal choreography, Celeste Underhill does a great job with limited dance opportunities. Tara Orrjitham’s musical direction debut was successful, leading a tight band. Set designer Timothy Tyrie created a clean, minimalist set that rearranged effectively to create multiple locales. Well chosen projections helped set scenes. Lynda Stubbs’ costumes and wigs were a triumph, both as a reflection of character and creating the glamour of the Pageant beautifully. Catalyst character Olive was played with depth and understanding by 10-year-old Tahli Redgwell, anchoring the show with professionalism. She was nicely supported by David Cosgrove as her wayward, loving Grandpa.

Richard and Sheryl were played by Mitchell Lawrence and Steph Hickey, who handled the high comedy and deep drama of their roles well. Charlie Martin found great nuance and depth as son Dwayne. Timothy Tyrie was excellent as complex Uncle Frank. Lovely contrast work from the supporting cast. Katt Nelson was entertaining as Linda and Miss California, Zachary Cave gave lovely broad-stroke performances as Joshua Rose and Buddy Dean, while Jordan Jackson chameleoned his way through four roles. There were gorgeous child performers playing mean girls and pageant contestants. Wonderful work from Keely Crugnale, Emmy Bekink, Skye Colcott, Shelly Miller and Chloe Redgwell. Great to see a fresh new musical, thoughtfully directed and well performed. Kimberley Shaw 1916, A Love Story By John Beaton. Darlington Theatre Players. Directed by Neroli Sweetman. Marloo Theatre, Greenmount, WA. Nov 11 - Dec 8. DARLINGTON Theatre Players opened this locally written world premiere on Remembrance Day, a fitting choice for this show set around the Conscription Referendum of 1916. Set locally and featuring the area’s biggest place of employment at the time - The Midland Railway Workshops - the story centres on two families. It explores the passion of the conscription debate, the pressures of the home front, local events and family friction. Alan Gill was strong as Irishman Joseph O’Connor, a passionate supporter of the “No” vote. His new, young wife was sweetly played by Sophie Byrnes and their relationship was believable. Joseph’s son Paddy was played nicely by Jack Martin, with matinee idol looks, working very nicely opposite Matilda Jenkins’ beautifully sung Rose. Rose’s father Charlie was played by Daniel Minutillo, with a lovely singing voice. Michelle Ezzy gave a heartfelt performance as Julia James, Guy Jackson brought credence to his brief appearance as Robert, Kody Fellows was believable as younger brother Harry, and an aged-up Jenny Trestrail was excellent as grandmother Dorothy Nye. Brendan Tobin’s Reverend William Meade brought another perspective to the debate and a large chorus added colour and atmosphere, as well as fine choral skills. While the script could do with further development, it is a fascinating concept and a story worth telling. Well done to the company for a brave, interesting choice. Kimberley Shaw Two Man Tarantino Written by Christopher Wayne and Maureen Bowra. Directed by Maureen Bowra. Presented by Christopher Wayne. Visy Theatre, Brisbane Powerhouse, Wonderland Festival. Nov 29 - Dec 2. TWO Man Tarantino is an energetic, pacey and superficially entertaining comedic work. The narrative involves a video store owner and his customer. Both are facing life-altering endings in their lives; for him, it’s the

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closing day of the video store; for the customer, it’s the end of a bad relationship. They bond over a shared love of Tarantino movies, get drunk together and act out their favourite scenes. The script by Christopher Wayne and Maureen Bowra relies heavily on the audience’s eagerness to laugh at their own ability to recognise verbatim segments of Tarantino films. They roar with laughter at every funny accent and makeshift prop. Maureen Bowra’s playful direction is exciting and well executed. Use of the set, stage and props is very imaginative. Sound and lighting are effective and the lowbudget special effects work well. Stage fighting is superbly choreographed and realised. The two stars of the show put great effort into their work. Stephen Hirst as the video store owner is down-toearth and believable in his emotional work. Emily Kristopher as the customer shows good risk-taking and commitment. Both are likeable and comfortable in the space. Their parodies of actors range from brilliantly accurate to somewhat sketchy. Either way it’s fun to watch them try their hands at the accents and mannerisms. Two Man Tarantino is a light-hearted bit of escapism, guaranteed to appeal to fans of the auteur. It’s easy to comprehend and digest theatre, performed skilfully by passionate artists who are keen to impress. Kiesten McCauley

Say No More Tutti Arts / OzAsia Festival. The Meeting Hall, Adelaide Town Hall. Nov 7 - 10. OVER sixty women of all ages from Malaysia, Indonesia and Australia came together to talk about what is happening for them now as women. Guided by Tutti Arts from Adelaide, ACS Stepping Stone in Penang and Perspektif Kommunitas in Yogyakarta, to create Say No More they developed art, film and live performance within the setting of a wedding reception. The Gadhan Arcadian Ensemble played soft music on the stage, and we were encouraged to look at the arts installations around the edges of the hall. The live performance began with a grand entrance of brides. The women told their own raw and challenging stories: family, marriage, culture and religion-stories of abuse, love, and their unheard views. The wonderful performers were diverse: some autistic, others had Down’s Syndrome, some were in wheelchairs, and a deaf Muslim woman signed her stories. Catherine Fitzgerald’s sensitive direction took us on a journey that found light in this darkness. Pat Rix’s production and music direction framed the stories, shared from in front of us, behind us or beside us. Susan GreyGardner’s lighting helped the audience find who was speaking and Nigel Sweeting’s sound design ensured we heard every word. We were told of the challenges of societies, those made by men, not women; how and why disability and difference Bottomless By Dan Lee. Fortyfivedownstairs. Nov 28 - Dec 14. are so often feared or perceived as ‘less than’. Yet the BOTTOMLESS is an intriguing piece that explores aspects courage of these women remained long after the show; despite (and perhaps, because of) their stories, they were of the underbelly of Broome. At the very least it is an observation of how some eccentrics get by in this tourist strong - and proud. mecca. Mark Wickett The emphasis of director Ian Sinclair’s production is of literalism and realism. Yet the script more than hints at a A Christmas Carol much more enigmatic ‘liminal reality’ of a psychic space of By Charles Dickens. Adapted and created by Shake and Stir. disconnect - a ‘bottoming out’. Director: Michael Futcher. Shake & Stir Theatre Co and Sadly the potential of lighting design (Andy Turner) is QPAC. Playhouse, QPAC. Dec 7 - 20. DICKENSIAN London is brought vibrantly to life in Shake barely tapped into. Being thinly applied, lighting does not adequately support the simple yet clever set design and Stir’s clever and inventive production of A Christmas (Romanie Harper) or help create a sense of place. In Carol. Josh McIntosh’s design, with its grey alleyways and contrast, sound (Russell Goldsmith) underscores, infuses streets shrouded in fog, is marvellously evocative of the atmosphere and creates environment. period, and with state-of-the-art video projections by Craig This production is fecund with unique unrealized Wilkinson, music by on-stage musician Salliana Campbell, potential. Lee is a poet but his text is not being done justice and a top-flight ensemble cast, the story of Ebenezer and the secrets of the work, much like the secrets of Scrooge finding redemption has hit written all over it. Broome on a fleeting visit, are inadequately explored and Eugene Gilfedder couldn’t have been a better Scrooge realized. irascible and curmudgeonly, he defined the character with a A marvellous cast all bring vitality, energy and focus to swipe of his pen and the ding of his adding machine. He their roles. They are a delight to watch. However it seems also made the transition from mean to joyous totally more often than not, rehearsal periods are too short to believable, helped by Nelle Lee’s adroit adaptation of adequately serve our playwrights or actors and really meld a Dickens’ original. But although Gilfedder had the prime work together. role, it was Bryan Probets who stole the show as Marley’s Importantly, fortyfivedownstairs must be congratulated ghost of Christmas past, present and future. His drag role and supported for having the insight to champion this of an Edwardian lady all dressed in white was especially play’s development and nurture Dan Lee - an astute funny, resulting in an even more hilarious encore emerging talent. holographic appearance after the bows. Suzanne Sandow 72 Stage Whispers

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A Christmas Carol. Photo: Stephen Henry.

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Fast moving direction by Michael Futcher found the hard-working ensemble wearing many hats (and scenechanging) as they played street carollers, toffs, and the poor but thankful Cratchit family. Ingeniously Scrooge’s adding machine became a Tiny Tim puppet, one of the delights of this superb production which was dominated by Wilkinson’s audio-visual images. Along with Jason Glenwright’s moody and dynamic lighting, they elevated it to another level. There’s no bah or humbug about it, Shake and Stir have given us a theatrical bon-bon that’s a Christmas treat. Peter Pinne

never in an overwhelming or unpleasant fashion: Japanese lyrics, English surtitles, textual backgrounds, illustrated graphics that expand or contract, patterned overlays that create fascinating visual dimensions… The three tales are told in a manner that is more oblique and poetic than straightforward, but there is certainly enough inventiveness and innovation on display here to make a most worthwhile experience, though the overall effect is a little static at times, due mainly to the relative lack of onstage movement. The video designs of Sine Kristiansen deserve special mention for their outstanding, at -times-mesmerising qualities. The Latvian Radio Choir display a level of flair and facility War Sum Up here that, considering the intricacy and idiosyncrasy of the OzAsia Festival. Hotel Pro Forma. Featuring the Latvian vocal arrangements and score (credited to UK art-pop Radio Choir. Direction: Kirsten Dehlholm. Conductor: ensemble The Irrepressibles and French electronic artist Sigvards Klava. Dunstan Playhouse, Adelaide Festival Centre Gilbert Nouno), earns them the heartiest of praise. Those who seek accomplished avant-garde adventures Nov 5 - 6. THIS production has a commendably adventurous spirit. in the theatre would be well advised to keep a close eye on A contemporary opera presented in three parts (The Soldier, any future exploits from Hotel Pro Forma. Anthony Vawser The Warrior, and the Spy), it gives off quite a wealth of information for the senses to process and absorb, though Longer versions of many reviews can now be found at www.stagewhispers.com.au

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Reviews: Plays

A Cheery Soul. Photo: Daniel Boud.

A Cheery Soul By Patrick White. Sydney Theatre Company. Drama Theatre, Sydney Opera House. Nov 5 - Dec 15. THIS profoundly witty, darkly poetic production by Kip Williams, with his signature expertise with double revolve and inventive camera closeups, drives on Patrick White’s fate to be better remembered for his plays than his literature. In the repression and sterility of 1950’s suburban Sarsaparilla, we meet Mr and Mrs Custance (Anthony Taufa and a deliciously highly strung Anita Hegh). Guilty in their emptiness, they make the mistake of inviting in the homeless Miss Docker. Sarah Pierse plays her magnificently as some malevolent bird, waving her arms, striding from her loneliness, the local truthteller crashing into intimacies and offering unwanted help. Elizabeth Gadsby’s revolving black stage, dotted with iconic 50’s furniture and backdrops, is a fine dreamscape as the play becomes more surreal and psychologically complex. Later, in the gothic Sunshine Home for Old People, the ensemble turns to hilarious vaudevillian drag playing all the biddies caught under Miss Docker’s monstrous control. Tara Morice excels as the ethereal widow Mrs Lillie, but all except Pierse play multiple, gender-blind roles - with the old women in ghastly funereal furs now working as a mad chorus. The play threatens to unravel into abstractions but Kip Williams eye for real characterisations and a thriller 74 Stage Whispers

cinematic score from Clemence Williams hold it together. Crucial is the on-stage camera work projecting intimate observations (David Bergman), well-integrated into Nick Schlieper’s lighting, and Alice Babidge’s period costumes are a theatrical delight. Brandon McClelland is excellent as the suffering priest as is Nikki Shiels as his wife. Others in this impressive ensemble are Emma Harvie, Jay James-Moody, Monica Sayers, Shari Sebbens and the irrepressible Bruce Spence. Martin Portus Hedda A re-imagining of Ibsen’s Hedda Gabler by Melissa Bubnic. Queensland Theatre. Directed by Paige Rattray. Bille Brown Theatre. Nov 10 - Dec 8. MELISSA Bubnic’s reimagined Hedda Gabler doesn’t just do the original Ibsen work justice, it’s also exceptionally relevant to modern Australian society. The script surges between devilishly funny and tense, dramatic scenes. It explores classism and snobbery, gender politics and Australia’s ice problem. Hedda (Danielle Cormack) is in a marriage of convenience with Gold Coast ice baron, George (Jason Klarwein). She’s moved from Melbourne to live in a garish Mcmansion with her new husband. Hedda manipulates every situation to her advantage in a drug-fuelled, violent and deadly game of dominance over the men who seek to control her.

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Director Paige Rattray should be commended for the wonderful work she’s drawn out of the cast and crew. The costuming is perfection. The lighting has that eye-searing brightness of a Gold Coast summer. The crisp, white, minimalist set design by David Fleischer is an inspired choice. Especially notable is the touching performance by Bridie Carter as Thea when she confronts Hedda about her morals and choices. Jason Klarwein and Danielle Cormack are both stellar once they get their first few lines out. Andrea Moor shows excellent comic timing and Jimi Bani is heartbreakingly real. Hedda is an entertaining and confronting look at crime, power and obscene wealth. It explores important issues and leaves you with plenty of food for thought. Where Ibsen’s work might feel dusty, this has all the action and tension of an addictive thriller. Kiesten McCauley

work and just the one face towel that pretty much all the men use to mop their brows. Throw in racism and rationality, and you have the makings of a tense 90 minutes. Written in 1954, 12 Angry Men is the prototypical jury drama. Director Jarrad West has chosen a minimalist, naturalistic setting, with no bells or whistles to distract. With 90 minutes of twelve people in one room around one table with occasional excursions into one bathroom to mop a brow, West has fine-tuned the pace and chosen topnotch actors to drive the story forward. The audience will be riveted by the process of logic, but also by the ebb and flow of dominance of the discussion, and how each man brings their life experience, personal grudges, prejudices, disinterest and personalities to the table. Each of these actors nails the personality of their juror, some with only a few lines of dialogue: Tony Turner, Will Huang, Glenn Brighenti, Alex Hoskison, Pat Gallagher, Geoffrey Borny, Cole Hilder and Duncan Driver are all excellent and provide 80 Minutes No Interval important depth. Colin Giles makes Juror #10 an obnoxious Written & directed by Travis Cotton. Hot Mess Productions. and terrifyingly dangerous bigot, while Martin Searles plays Theatre Works, Acland Street, St Kilda. Nov 21 - Dec 2. the stockbroker Juror #10 with calm rationality. Main hero 80 MINUTES No Interval runs eighty minutes without an juror #8 Isaac Reilly conveys an assertive persuasiveness while Rob de Fries as Juror #3, a man struggling with his interval. In Travis Cotton’s play’s first scene, Lewis (Mr Cotton), a theatre reviewer, intends to propose to his estrangement with his son, provided flashes of dangerous anger as well as deeply poignant moments. girlfriend Claire (Martelle Hammer). But she hates theatre The staging was in the middle of a hall, with the and catalogues her reasons why. It’s pointed, on the money and she’s very funny. What Claire wants is a story audience around the stage in rows, with the juror’s table in something eighty minutes, no interval! The rest of the play the middle on the same level. This was a major issue - short people found it very difficult to see from the second and has an example of just about everything Claire hates, including masks, symbolism, absurdity and a longish stretch third row. It would perhaps have helped to either find some way to stagger the chairs or even build a raised floor so that of complete darkness with weird sounds. The story is of a man - Lewis - who is his own worst people could better see what was going on. This is a tight, competent rendition of a classic. enemy, inhibited if not crippled by indecision and overCathy Bannister thinking, and for whom what can go wrong, does go wrong. It’s illustrated by a series of sketches: dumped by girlfriend, sacked by boss (Robin Goldsworthy), thrown out The Norman Conquests of his parents’ apartment, betrayed by his novel’s publisher Three Plays by Alan Ayckbourn. Ensemble Theatre, Sydney. (Mr Goldsworthy again) - down to the bitter end. Director: Mark Kilmurry. Oct 19, 2018 - Jan 12, 2019 There is some sharp satire here and a lot of laughs. The PLAY 1 of the Ayckbourn trilogy begins at 1 o’clock on a waiter at Lewis’s and Claire’s aborted engagement dinner (a sunny Saturday afternoon and Play 3 finishes at nearly fine, controlled performance from Tom O’Sullivan) has 10.30 on a cool evening. I am quite ready for Play 4. Written in the early 1970’s in a rush of creativity, these ambition only to be a good waiter. Naturally, he succeeds as Lewis fails… and fails - or, more exactly, is dealt blow three plays - designed to be seen in any order - stand as the after blow. Mr Goldsworthy is riveting as two kinds of peak of the author’s achievements (and he’s written over 80 plays), a brilliant, Chekhovian comedy of family monster - Lewis’s editor and his vulgar publisher. But the reason Lewis is sacked is arbitrary, even silly (here’s your manners. See them and be amazed. absurdity), and his scene with his publisher is shocking, but Director Mark Kilmurry has assembled an ace cast, led by neither has much to do with Lewis’s character flaws. Things Yalin Ozucelik as the conquering Norman, an Assistant just… happen. Tamzen Hayes as a young florist provides a Librarian on the hunt for women - any woman will do - to touch of sweetness and hope - but that’s soon dashed too. come under his special spell. This includes his two stay-at-home sisters-in-law, Annie Michael Brindley and Sarah (Matilda Ridgeway and Danielle Carter), and his cool Financial Adviser wife, Ruth (Rachel Gordon). The cast 12 Angry Men By Reginald Rose. Everyman Theatre. Directed by Jarrad is completed by Brian Meegan as Reg, Estate Agent and West. Queanbeyan Performing Arts Centre. Nov 14 - 24. inventor of extravagant board games, and Tom, a slowTAKE a room full of testosterone. Pressurise it with heat, moving, ‘dim’ local vet with an eye for Annie and Annie’s sweat, humidity, life and death decisions, a fan that doesn’t cat. A hesitant ‘Um’ is Tom’s most persistent quotation. Longer versions of many reviews can now be found at www.stagewhispers.com.au

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Unseen but ever-present is the owner of this grand, crumbling house in the English countryside. Mother is fading away on an upper floor, looked after by a resentful Annie, who has called the family here so she can get away for a weekend with Norman, a self-confessed 3-women-aday man, ‘a gigolo trapped in a haystack’. It’s part of the pleasure of watching these three very English plays to see Norman, like an ‘oversized dog’, weighing his chances with the ladies at any moment. Although the house is renowned for its brown colour, Set Designer Hugh O’Connor has put each of the three sets in front of black backgrounds, forcing us to watch the characters. The setting for Play 3 - an overgrown spring garden - is particularly fine. A choice selection of late-60s/early-70s music tracks accompanies the action. Frank Hatherley

Watching the play unfold is like peeling an onion. The transition of this unique relationship is skilfully handled by director Pam O’Grady. She is to be congratulated on her sensitive handling of the themes of ageism and intolerance which underlie the play. Six Dance Lessons in Six Weeks lives or dies on the casting and talent of the two actors involved. Bronwen James’ performance is full of nuance and comic timing and nails every laugh line and every tear in a carefully considered portrayal. Lindsay Prodea gives us high energy and as much as we are annoyed with Michael at the beginning of the play, we are in admiration of his devotion for Lily at the conclusion. In this production a third actor has been added. Maxine Grubel covered the scene and prop changes between scenes armed with a feather duster and lots of sass The setting for Six Dance Lessons in Six Weeks is Lily Harrison’s condominium in Florida. This is skilfully recreated The Dance Of Death in Don Oswald and Pam O’Grady’s set. By August Strindberg. Belvoir St Theatre. Nov 10 - Dec 23. My only reservation with this production was the AUGUST Strindberg’s portrait of the silver anniversary of amount of blank time between the home help’s tidying of a murderously unhappy marriage has been constantly the room and the characters’ entrances. revived by star actors. Six Dance Lessons In Six Weeks is a highly entertaining Judy Davis here turns to directing her husband, Colin evening that will have you thinking, laughing and perhaps Friels, matched with the celebrated Pamela Rabe. Living in shedding a tear or two. an old Swedish island fortress, Edgar is a retired captain of Barry Hill uncertain health and Alice a former, probably bad, actress plotting his end. Calendar Girls Their vicious games and bickering have long since driven By Tim Firth. Hobart Repertory Theatre Society. Directed by away their children and now the last servant (Giorgia Avery) Nicholas Lahey. The Playhouse. Oct 26 - Nov 10. is out the door. Desperate for new meat - and alliances CALENDAR Girls takes place within the time-frame of they welcome the visit of Alice’s naïve cousin, Kurt (Toby the gestation of a sunflower. As John observes: The flowers Schmitz). of Yorkshire are like the women of Yorkshire. Every stage of Blood and dark scum drip from the walls of Brian their growth has its own beauty, but the last phase is Thomson’s ghoulish set, with the fortress home an island of always the most glorious. Then very quickly they all go to period furniture in a moat of blood and rubbish. seed. At first this long marriage seems oddly companionable Calendar Girls is about loss, friendship and community. in its discord, but all turns to surrealistic intrigue with Kurt’s The most effervescent scene is the one in which the “nude” arrival. Increasingly hysterical, Rabe seduces him in an arch calendar shots are taken but later scenes are more display of physical comedy but Schmitz, overly declamatory revealing. Revealed are the cracks in relationships, the and miscast as too fresh-faced, struggles to find depth as broken dreams and the regrets, yet the whole is her pawn and the marital interloper. overwhelmingly positive, an exhortation to fill the hours left Colin Friels is the rock of the production as the to us in the most productive ways. quizzically deceiving and overbearing old soldier. Director Nicholas Lahey assembles a talented ensemble, Davis’ production is undeniably a comic riot but, with stand-out performances by Fransina Kennedy, Sarah overriding Paul Charlier’s dark musical punctuation, too Phillips and Lillie McNamara. Pip Tyrell excels at comic quickly plays for laughs above the pain and loneliness. timing. Not all the performers master the Yorkshire accent, Those stylistic transitions required more care. It’s one thing I however, which is jarring and renders some moments and my partner of 26 years agree on. unintelligible. Once the nervous energy of the exposition Martin Portus settles, however, the characters become coherent individuals, as do the various smaller roles supporting the Six Dance Lessons In Six Weeks members of the Women’s Institute. By Richard Alfieri. The Therry Dramatic Society. The Arts The single set is delightful. The Women’s Institute Hall Theatre, Adelaide. Nov 1 - 10. confines the aspirations of the women but the outdoor SIX Dance Lessons in Six Weeks centres on a formidable scenes remove these limitations. retired woman, Lily Harrison, who hires a flamboyant dance There are poignant moments in Calendar Girls but there instructor and ex chorus boy, Michael Minetti, to give her is much humour and plenty of laugh out loud moments in private dance lessons, one per week for six weeks. celebration of life, aging and women. Anne Blythe-Cooper 76 Stage Whispers

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The Flint Street Nativity. Photo: Peta Grace.

The Flint Street Nativity By Tim Firth. Red Phoenix Theatre. Holden Street Theatre (SA). Nov 8 - 17. RED Phoenix Theatre’s SA premiere production of Tim Firth’s delightfully funny comedy The Flint Street Nativity demonstrates that power play is present among seven-yearolds in any junior school. Red Phoenix Theatre’s production is hilarious fun and a poignant window into the world of one school’s seven-year -olds at Christmas, where each child’s investment of private hopes, wishes and dreams into the staging of a Christmas Nativity play comes up against peer pressures and parental idiosyncrasies. The adult actors all draw on their ‘inner child’ to produce wonderful characterisations of the actual child each portrays, as well as the Nativity character required for that child to represent. Of course the Nativity scene goes hilariously wrong as sporadic chaos ensues. Sharon Malujlo is simply brilliant as Zoe, portraying the innocent yet unselfconsciously uninhibited behavior of an outgoing child. Brendan Cooney is wonderful as Ryan, who plays both Herod and Joseph, but who is more taken up with the presence of his Dad in the audience. Tim Williams poignantly plays his own namesake, the nativity play’s sweet Narrator, Tim. Songs are wonderfully sung not as a trained singer might do, but just with honesty. It is in these songs that each child’s inner feelings and insightful perceptions really come across. Every song is a highlight.

The entrance of the parents at the end, played by the same actors, tends to dampen the joy of the Nativity play’s finale somewhat, but underscores their children’s innocent views of them. The Flint Street Nativity reminds us, through humour and even raw honesty, of the influence adults have on young minds. Lesley Reed Eurydice By Sarah Ruhl. Red Line Productions and Mad March Hare Theatre Co. Old Fitz Theatre. Nov 15 - Dec 15. AMERICAN playwright Sarah Ruhl re-tells the famous tale of Orpheus descending to the underworld to retrieve his dead bride by keeping our focus firmly on Eurydice. There’s gentle poetic humour as the romantic musician pines on earth for his love while below, Eurydice, reconciled in death with her father, seems happy without her boy, now searching her past and dead future. Indeed, the couple, Ebony Vagulans and Lincoln Vickery, are so cheesy and awkward with each other - and later Eurydice certainly drags her feet in following him back up. But the other key relationship is also stilted: between Eurydice and her inexplicable if warm-hearted father (Jamie Oxenbould). What gives this handsome production good clarity is Isobel Hudson’s elevated wooden stage with trapdoors and a back wall of central doors and shuttered windows. Up regularly from the floor come the three female Stones, ragged cabaret artists running a droll commentary

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Krapp’s Last Tape. Photo: Sarah Walker.

on the protocols of life being dead. Hudson’s costumes and Claudia Barrie’s direction of them are masterful. All the performances are fine, but as the Stones, Alex Malone, Megan Wilding and Ariadne Sgouros take the honours. A campy Nicholas Papademetriou is a sinister if undercooked Lord of the Underworld. Ben Brookman’s evocative lighting and Ben Pierpoint’s outstanding collage of industrial sounds and distant music add to the impact. Ruhl’s playful feminism aside, the power of that original story screams through. Martin Portus Krapp’s Last Tape By Samuel Beckett. Directed by Laurence Strangio. fortyfivedownstairs. Oct 31 - Nov 11. KRAPP (Max Gillies) sits alone behind a desk under a harsh downlight. Otherwise, the space recedes into gloom and then black. When he speaks, it is not a monologue directed to the audience. He speaks to himself. He is all he has. The design concept is by the director, Laurence Strangio, whose use of space is always original. Darius Kedros’ sound design emphasises what Krapp does in the darkness: searching for boxes of audio tape, clanging a garbage tin lid. Mr Gillies is, among his many accomplishments, a clown - if you like, a comedian. He’s proved this in his satirical shows on stage and television. Here, when he introduces us to his character, he makes us laugh. There are bits of comic business, all of which he does with his customary skill, but 78 Stage Whispers

even allowing for Beckett’s predilection for vaudeville and slapstick - we wonder if this approach might be a misjudgement. The laughter diminishes the pathos of Krapp. It diminishes the force of his contempt, not just for his 39year-old self, but for his present self. It diminishes his anger at his mistakes and his losses - anger that could energise the text and the character. Is he a fool, or a sad old man who has ruined his life? Surely this play survives because it is about regret and loss - the path not taken, the lover lost, bad decisions and hopes unfulfilled - things few of us escape or fear that we will not. It’s nevertheless a pleasure to watch Mr Gillies at work. Whatever is done, is done deliberately and pointedly. At the end, as Krapp is isolated under his light: he has remembered too much, more than he intended, his memories are what he is, and they can’t be changed. Michael Brindley Fefu and Her Friends. By Maria Irene Fornes. Joh Hartog Productions. Bakehouse Theatre, Adelaide. Nov 22 - Dec 1. THERE is a lot on this show’s mind, and a great deal that it sets out to encompass and communicate to an audience possibly too much for one play. On the other hand, it may well be a work rich enough to benefit from repeat viewings - but however many times you choose to see Fefu and Her Friends, and regardless of how well you feel you comprehend it, you’re unlikely to forget the experience in a hurry.

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First staged in 1977, but casting its eye back towards the pre-WWII era of 1935 for its setting, the play sees eight women gradually gathering together in the home of the title character, with the aim of preparing a presentation that will encourage the development of education for females. After establishing the central scenario in Act I, audience members are then guided to the first of four smaller areas that each play host to a relatively brief vignette that will give us insights into certain characters and their relations with each other. Fefu and Her Friends sets out to challenge audiences and take them well away from their comfort zone, not by confronting us with unpalatable language or imagery, but by bravely stretching conventional notions of the physical form that theatre can take. Combined with its intriguing take on themes that are as worthy of attention today as they ever were, this makes Fefu a production that the adventurous will want to prioritise. Anthony Vawser Wonderful World By Richard Dresser. Melville Theatre, Palmyra, WA. Directed by Geoffrey Leeder. Nov 23 - Dec 8. RICHARD Dresser’s dark comedy about family relationships played to packed houses at Melville Theatre. On an almost bare set, with minimal furnishing, this cleanly directed production allowed the acting to shine. Opening, literally, with a bang, a clap of thunder, this was our first hint that this comedy about family relationships might be a little stormy and not what we expect. Paul Davey was solid and likeable as the complex Max, who may or may not harbour designs to kill his fiancé. Madelaine Jones was an excellent choice as seemingly flighty Jennifer, revealing her character has more substance than we may expect. Max’s brother Barry, in a concerning marriage, is very nicely played by Jethro Pidd. Natalie Burbage was a tour-deforce as wife Patty, catalyst for the action of the show and an expertly drawn performance. Valerie Henry rounds out the cast in a clever and moving portrayal of mother Lydia, sending the show in unexpected directions. The almost filmic scene requirements kept the stage crew moving furnishings throughout, handled relatively smoothly and effectively, with much of the setting created by Alexander Coutts-Smith’s lighting design. Lyn Leeder’s costumes conjured a New England winter well, and sound design, by Ellis R. Kinnear, helped create atmosphere. A well directed and interesting story, with some impressive performances. Kimberley Shaw

are no “bad guys”, and although there are “hurts”, they are not intentional. Alicia Clements’ design transports us to the late 1800s and has lovely surprises and attention to detail. Composer Ash Gibson Greig blends piano and cello with an emulation of Thaddeus Cahill’s 1897 Telharmonium synthesiser to create a blend of acoustic and electronic, adding an additional dialogue within the show. Rebecca Davis shines as Catherine Givings, who seeks company in her husband’s patients as they pass through her parlour. She plays opposite real-life husband Stuart Halusz, who plays the distracted Dr Givings with excellence, very believable as this clever but emotionally limited man. Jo Morris is a fascinating Sabrina Daldry, whose journey of self-discovery is almost as exciting for the audience. Kingsley Judd provides very solid support as Mr Daldry. Tariro Mavondo gives great depth to the Daldry’s housekeeper Elizabeth. Tom Stokes is strong as Leo Irving, artist and male hysteric. Alison Van Reeken gives a very nicely layered characterisation of nurse Annie. A feminist, feel-good show with broad appeal. A wonderful trip back-in-time that provides great messages for the present-day. Kimberley Shaw

Towards Zero By Agatha Christie and Gerald Verner. Centenary Theatre Group (CTG), Brisbane. Nov 10 - Dec 1. CTG’s Kurt A. Lerps tackles Christie’s Towards Zero apparently blocked to community production for some years - with ardour and aplomb. The plot is quintessential Christie and part of the fun is in trying to keep up until the denouement. Standout performances come from Jill Brocklebank and Debra Chalmers as the elderly hostess Lady Camilla and her long-suffering assistant. Liz Best is wonderfully witty as Kay Strange. She is a vibrant foil to Meg Hinselwood’s quiet and oh-so-straightlaced Audrey. Leading the male performers, Brad Oliver has stage presence but should enjoy himself more as Nevile Strange, the caddish sporting star. Erik deWit and Daren King revel in their roles as the young chaps (and potential love-rivals) on the 1940s thriving social scene. Brian Hinselwood adds seasoned staying power as the intelligent older guest, Matthew Treves, who may beat the plodding police to the chase. As Superintendent Battle, Mark Scott’s Aussie accent was a bit jarring against the perfected posh tones - or hilarious Scottish brogue, in the case of Alison Lees as Inspector Leach. Because ‘Towards Zero’ refers to the careful planning of a murder, converging towards zero hour, there should be In the Next Room, or The Vibrator Play more tension, but the pace is sure to pick up during the By Sarah Ruhl. Black Swan State Theatre. Directed by Jeffrey play’s run. Jay Fowler. Heath Ledger Theatre, State Theatre Centre of CTG is an experienced group of performers, designers, WA. Oct 20 - Nov 4. stagehands and volunteers. Their high standards are also IF it wasn’t for the subject matter of this play, you might reflected in the set design and period costumes. It is a describe it as a “nice family drama”. It is funny, fresh and delight to be transported back to Christie’s polite 1940s in vibrant, and while dealing with quite serious issues, there Longer versions of many reviews can now be found at www.stagewhispers.com.au

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such a welcoming environment at the charming Chelmer Community Centre. Beth Keehn Private Lives By Noël Coward. St Luke’s Theatre, Brisbane. Nov 23 - Dec 1. ST LUKE’s has been presenting productions at Tarragindi for 60 years. With a reputation for providing top quality family entertainment, they certainly succeeded with the Noël Coward favourite, Private Lives. This is community theatre at its best - a vigorous and vocal audience add to the warm and welcoming atmosphere. Because most of Coward’s script depends on good comic timing, director Sharon White keeps the production on track with a spritely pace. And she ensures that her actors deliver confident and entertaining performances. As the rakish Elyot Chase, Matthew Hobbs adds a pinch of Pythonesque frustration to Chase’s roguish scoundrel. He is well matched by Jane Binstead as Amanda, imparting a spoilt-brat selfishness with the allure of a silent screen siren. Emily McCormick elevates her role, playing Sybil with a dizzy delight that made the audience fall in love with her. David Richardson handles the straight-laced Victor with aplomb. Coward’s play tempers the sweetness with an acid edge. He portrays opulence and freedom only a year after the Wall Street Crash and the first UK general election where women could vote. The romance is constantly undercut with the tension of conflict. And, while some of Coward’s material is at risk of becoming dated, this experienced cast made the most of every line, resulting in many laughs and much enjoyment for the capacity audience. Beth Keehn

Sarah’s self-casting as Narrator Alex, a character who sits outside the key narrative, works well, and she was nicely matched with Connor Carlyle, whose lead role of Alex anchors the show effectively. There was some superb casting in this show, including impressive performances from Anna Head, Chris Thomas, Rex Gray, Jarrod Buttery and Phil Barnett. The young thugs, Alex’s “droogs”, stand out in this large cast, with nicely layered performances from Charlie Young, David Heder and Josh Harris, but there were no weak links in this cast of thirty. The production looked good, with interesting costuming and some great AV work (Benedict Chau). The sound design (Sarah Christiner and Daniel Toomath) was a key element. The tiny stage was used to effect, although the lack of a rake and the tightly packed seating may have meant that some action on the floor was missed by some patrons. This production moved well and told its story with a punch. Kimberley Shaw

Broken By Mary Anne Butler. Lab Kelpie. Fortyfivedownstairs. Nov 15 - 25. BROKEN plays with time, coincidence and consequence. An horrific car accident is dramatised in all its physicality, terror and pain. An abortion is dramatised, heightened by the graphic language that describes it, in its agony and regret. Ash (Naomi Rukavina), with her dog Lucky, crashes off a remote road. Mia (Sophie Ross), alone somewhere outside a town, induces an abortion and changes her mind too late. Ham (Lyall Brooks) sees the beam of Ash’s wrecked car headlight and stops. And all this plays out on a totally Anthony Burgess’ A Clockwork Orange Adapted for the stage by Connor Carlyle and Sarah empty stage. Christiner. Life on Hold Productions. Directed by Sarah Susie Dee has a particular ability for locating bodies in Christiner. The Broken Hill Hotel, Victoria Park, WA. Oct 17 - space and with Mary Anne Butler’s finely-honed play, that Nov 2. ability is much in evidence. With designer Marg Horwell LIFE on Hold Productions’ adaptation of Anthony and lighting designer Andy Turner, she empties the playing space. No props. Actions are at times untethered from the Burgess’ A Clockwork Orange was a passion project for director Sarah Christiner, who has loved the novel for over text that describes them. A wall of smash-punctured timber runs down one side of the space and the eerie use of that is half her life. This production, which launched the new startling and then disturbing. Ian Moorhead’s sound is company, featured a script co-adapted by Christiner. restrained and subtle when it could have been so easily otherwise. Naomi Rukavina has a warm, earthy quality; she keeps us with her when her character is immobilised, badly injured and helpless almost throughout. Sophie Ross’ Mia makes us feel her aloneness - and then her shame and despair. And Lyall Brooks’ Ham has a totally believable Australian bloke quality, a man unexpectedly pierced to the heart by his experiences and obligations. This essentially simple story gains in significance and strength via the way Ms Butler and Ms Dee orchestrate its telling, and in the truth of the performances. Get noticed on the Stage Whispers Michael Brindley

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Twelfth Night. Photo: Jeff Busby.

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Watch as Colin Hay sings ‘O Mistress Mine’ from Twelfth Night. Scan or visit https://youtu.be/YTBuXEqXZd8 Twelfth Night By William Shakespeare. Melbourne Theatre Company. Directed by Simon Phillips. Sumner Theatre. Nov 5, 2018 Jan 5, 2019. TWELFTH Night is rich, complex and pleasingly staged. Boldly directed with vision and flair by Simon Philips, no expense has been spared to entertain, delight and amuse audiences. The themes of Shakespeare’s comedy are love, most particularly romantic love, and mistaken identity. After a disastrous shipwreck, Viola (Esther Hannaford), a young noble woman, is swept onto the Illyrian shore. Believing her twin brother Sebastian (Caleb Alloway) drowned, she proceeds to make the best of a bad lot by taking on the guise of a young man. What is especially fascinating is the stretching and warping of expressions of gendered identity and sensual magnetism due to this disguise. On Gabriela Tylesova’s lovely set, the evening is linked and buoyed along with the most marvellous music by Kate Miller-Heidke and Keir Nuttall. It is grand listening to the distinctive singing voice of Colin Hays (Men at Work). He plays Feste - a fool - though perhaps wisest character in the play. Tylesova’s Elizabethan Era inspired costumes are of bold and handsome design. They exhibit exquisite subtlety in their use of fabrics, leather and variations in colour. The casting is exemplary.

Tamsin Carroll cuts a fine lady’s maid Maria and her ‘partner in crime’ Sir Toby Belch is well fleshed out by Richard Piper. Orsino (Lachlan Woods) is a beguiling dandy of a Duke, surrounded with just the right element of foppery in his courtiers and musicians. Particularly delightful is the expression of the subtext of the physical connection between Orsino and Viola. As Viola, disguised as Cesario, Ms. Hannaford cuts a lovely solid energetic youth, playing this androgynous role with strength and charm. Frank Woodley’s Sir Andrew Aguecheek enthrals the audience, even the slightest expression of whimsy from this wacky character bringing forth squeals of delighted laughter. Christie Whelan Browne cuts a very grand, marvellously expressive, perpetually bewildered Olivia. The much-maligned Malvolio is played skilfully by Russell Dykstra. We watch the foolish Malvolio being manipulated, set up, tricked and pilloried. Although funny, it’s also pretty brutal; the type of funny you wish you didn’t find funny. Dykstra plays the role with gullibility, pervading sincerity and dignity that makes Malvolio’s comeuppance particularly moving. Great show! Funny and satisfying. Suzanne Sandow

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Love By Patricia Cornelius. Directed by Rachel Chant. Darlinghurst Theatre Company, Sydney. Nov 16 - Dec 9. THE title Love could be a little misleading. This is not a romantic play, at least not in a traditional sense. But anyone who knows the work of Australian playwright Patricia Cornelius would not be surprised: Love is confronting, unforgiving and very powerful. Tanya (Anna Samson) is in deep love with Annie (Rose Riley) but she is happy to exploit her continuously - selling her as a prostitute. Love is about their unusual love and another one as well - that between Annie and Lorenzo (Hoa Xuande). Through this three-sided relationship, the play explores what it takes to survive in a world of outcasts, desperate for their next drug hit. Director Rachel Chant has created a simple, stark world, where the characters’ words and actions are all that matters. Ella Butler’s design is superb - lights, railings and a bench on a functional but evocative stage. We get a strange sense of place, where the world doesn’t provide much for these people. The three actors are brilliant. They make their characters endearing, perhaps even likeable, and pay the text the utmost respect. It’s not a fun night at the theatre but a powerful one that’ll make you think twice about the way we treat each other. Peter Gotting Love. Photo: Robert Catto.

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Get a feel for the intensity of Love by scanning the QR code or visiting https://youtu.be/nXskGmAmG1k 82 Stage Whispers

Revolt. She Said. Revolt Again By Alice Birch. Directed by Karla Conway. The Street Company. Childers Street, Acton, Canberra. Nov 28 - Dec 1. HOWLING increasingly potent feminist rage, protest and dark irony, Alice Birch’s Revolt. She Said. Revolt Again unflinchingly explores the ways in which language itself enmeshes women in social roles, in passive sexuality and as victims of violence. It was a natural and challenging choice for the debut piece performed by The Street Company, the brand new group based at The Street Theatre, set up to nurture young performers in a professional setting. Director Karla Conway has opted for a lightning fast delivery of this complex script, which young actors dealt with flawlessly. It became hard to keep track of what was going on, with the rush of words spilling over the audience, the fifth act a surreal pastiche of violent and confusing imagery before a crash and a kind of tense relief in the last act. The frenetic pace didn’t give room to breathe and might have dulled some of the words’ poetic and comic effect, and instead the torrent of language imparted a sense of the fury with which the script had been written. A hyperreal, foreboding lighting design by Jed Buchanan and sound design by Kimmo Verronen complete the experience. This frank, surreal discourse on sex and violence might not be to everyone’s taste, but it will give the audience plenty to think about. Cathy Bannister North By Northwest Adapted by Carolyn Burns from the screenplay by Ernest Lehman. Music: Bernard Herrman. Director: Simon Phillips. Kay & McLean Productions and QPAC. Lyric Theatre, QPAC. Brisbane. Nov 27 - Dec 9. SINCE its premiere by the Melbourne Theatre Company in 2015, this stage adaptation of Alfred Hitchcock’s classic sixties chase-movie has successfully played in Canada and the UK. An obvious crowd-pleaser, Carolyn Burns’ treatment sticks very close to Ernest Lehman’s screenplay (perhaps a little too close) in putting this mistaken identity spy escapade on stage. It’s all captured on a brilliant scaffolding set designed by director Simon Phillips and Nick Schlieper (who also did double duty as the lighting designer), Bernard Herrimann’s iconic Hollywood score, and some video projections with the actors filming miniature models on chroma key set-ups at either side of the stage. Matt Day gives a solid and likeable performance of Thornhill. He’s not Cary Grant (who is?), but he manages to inject believability into the dialogue, which at times walks the fine line between reality and parody. Amber McMahon as Eve, the blonde bombshell, looks like she just stepped out of an episode of Mad Men and adds some nice sexual chemistry to her seduction scene. The ensemble, all actors of calibre, have little chance to create more than caricatures of a multiple range of roles. Fortunately they don’t descend into the funny hats and voices farce of The Thirty Nine Steps, but they should be applauded for making more out of little. It might be gimmick theatre, but it entertains and will please many. Peter Pinne

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Reviews: Musicals

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Meet the cast of Rent during rehearsals. Scan the QR code or visit http://bit.ly/2TaApo9

Rent. Photo: James Terry.

Rent Book, Music & Lyrics by Jonathan Larsen. A James Terry presentation at Chapel off Chapel. Nov 29 - Dec 9. LIKE its original inspiration, Puccini’s La Bohème, Rent doesn’t date. The show’s themes are as contemporary as ever: loyalty, friendship, the search for and risks of love, loss, death and dying, the obstacles to identity and creativity in a hostile world. The cast is filled with talent - and that includes the socalled ‘ensemble’, each of them playing multiple roles. Of the solid lead cast, the women - and we should include Marty Alix’s Angel here - rather outshine the men. Mimi (Samantha Bruzzese) burns with charisma, making her doomed love for Roger (Connor Morel) all the more poignant. Zenya Carmellotti brings vitality to her lawyer Joanne; but the standout is Kala Gare as Maureen. Tall, gawky but graceful, her deliberately ludicrous routine “Hey, Diddle Diddle” - made even funnier by back-up ‘dancers’ Nathan Fernandez and Willow Sizer trying to keep up - is a highlight. Filmmaker Mark (Evan Lever), one of the few characters not HIV Positive, has to spend much of the show acting as Narrator - and square-jawed Cameron Steens’ landlord/ villain Benny gives limited chances. Dave Barclay brings gravitas and humour to Collins, his love for drag queen Angel (Marty Alix) hugely touching. Mr Alix himself is suitably outrageous in drag, enfeebled and pitiful, dying in pyjamas. Connor Morel brings truthful emotion to the key character of Roger, only getting to lighten things in the flirtatious duet “Light My Candle” with Mimi in Act One.

But he is heartbreaking with his beautiful, final song “Your Eyes” as Mimi supposedly lies dying. Director Mark Taylor and set designer Sarah Tulloch opt for the band onstage and a shallow playing space flanked or screened by cyclone wire fences on two levels. Kim Bishop’s costumes fix the period precisely. Mr Taylor manoeuvres his big cast of fourteen - at times all on stage at once - with great skill, never letting the pace flag. Lighting changes from Rachel Lee smooth the transitions. Musical Director Katie Weston gets a big sound out of her ten musicians, including herself. Producer James Terry has done splendidly to put together this great cast, great musicians, designer, lighting, sound and choreography (Freya List) to bring Rent back to life again in this fresh and pumping iteration. Michael Brindley We Will Rock You Music and Lyrics by Queen. Story and Script by Ben Elton. Peewee Productions. AIS Arena, Canberra. Nov 7 - 10. THIS show is all about the music; the extravagant, complex legacy of the inimitable Freddie Mercury. And it is brilliant. I’m going to confess, when I saw the Sydney production as directed by Ben Elton himself in 2016 I really didn’t like it much. It wasn’t the production or the performers - it was the script, containing the world’s most dumb premise for a tribute show. So what made this Canberra show better? It was in a stadium and staged in a way far more suited to the music.

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The Wild Party. Photo: Clare Hawley.

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Watch a timelapse video of The Wild Party by scanning the QR code or visiting https://youtu.be/cYvX1faYqeA Toby Francis (Galileo) has a vocal range and strength approaching Mercury’s and Erin Clare (Scaramouche) has a marvellous stage presence and the voice of an angel. They come together well on “Hammer to Fall” and “Under Pressure”. Samantha Marceddo as Oz and Dave Smith as Brit are incredibly strong and with some obvious chemistry. And then they’ve brought out the big musical theatre guns for the villains. Khashoggi is played by one of Canberra’s favourite big voiced tenors, Max Gambale, who gets to stretch to his impressive full range on “Seven Seas of Rhye”. And arguably the best thing about the show is the magnificent Queenie van de Zandt as the Killer Queen. Relishing the role, van de Zandt dominates the stage and fills the stadium with her voice. The choreography is great - everything from classic show girl pieces through to jitterbug and swing (on the classic 50s-influenced “Crazy Little Thing Called Love”). But what really makes it work is that the production was treated like a rock concert, especially Phil Goodwin’s spectacular laser lighting. And the audience loved it. Cathy Bannister

from the start and they couldn’t get enough of this multifaceted performer. Lennox Broadley played the young Peter, with Anna Melia as Liza Minnelli, Libby Stock as Judy Garland, Mick Webb as Greg Connell and Mel Doriean as Marion Woolnough (Peter’s Mum), and a small but enthusiastic ensemble and children’s choir completed the cast. It’s not until you see a production of The Boy from Oz that you realise just what a prolific songwriter Peter Allen was and how much of the lyrics stay in one’s memory; obvious from the many audience members singing along. Not only did Paul Belsham combine with his wife Sue in directing the show, he also led the small instrumental combo accompanying the show. Choreography was in the capable hands of Jaime Sheehan. Roger McKenzie

The Wild Party By Michael John LaChiusa and George C. Wolfe. Based on the narrative poem by Joseph Moncure March. Little Triangle. Reginald Theatre, Seymour Centre. Nov 15 - 24. INFAMOUS jazz age parties, descending into booze and The Boy From Oz drug fueled orgies, drive this musical and the 1928 Music and Lyrics by Peter Allen. Book by Nick Enright. narrative poem which inspired it. Ballina Players. Directors: Paul and Sue Belsham. Nov 9 A coterie of (often second rate) vaudeville performers Dec 2. and hangers-on, partying in a New York apartment, AS Peter Allen in the Players final offering for 2018, The introduce themselves via songs styled after traditional Boy from Oz, Brian Pamphilon carried the production with Vaudeville turns during a non-linear first act, awash with competence and pizzazz, accompanying himself on the ego, before descending into something altogether darker in white piano for many of the hit tunes. He held the audience its second act. 84 Stage Whispers

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Director Alexander Andrews serves up a tight, stylish, high energy production of what is not an entirely satisfying show in and of itself. Costuming, particularly of the women, nails the period with stylish decadence. Star of the night, though, is Madison Lee’s choreography, dazzling with its wit and sophistication, led exquisitely by five sassy, scantily lingerie clad chorines, epitomising the Follies era. Georgina Walker might have stepped straight off the silver screen, so utterly did she embody a 20s platinum blonde starlet, while landing her underlying vulnerability. As her abusive partner Burrs, Matthew Hyde also nails the second-rate vaudeville performer. A talented supporting cast grab their individual moments to shine, introducing themselves in character appropriate Vaudeville-styled songs. MD Conrad Hamill leads a terrific jazz band, though I missed one of the trademark joys of Little Triangle’s first two productions, both acoustic performances. The need for amplification with this very different mix of instruments and vocal projection hadn’t been fully factored in, with the sound balance on opening night inconsistent. Still, production company Little Triangle remains an incredibly exciting new light on Sydney’s musical theatre scene. Neil Litchfield

Jesus Christ Superstar Music by Andrew Lloyd Webber. Lyrics by Tim Rice. Platinum Entertainment. Directed by Trevor Patient. Musical Direction by Frank La Cava. Quarry Amphitheatre, City Beach, WA. Oct 31 - Nov 4 PLATINUM Entertainment’s Jesus Christ Superstar was set at the Superstar Music Festival, featuring headline acts Jesus, Judas and Simon Peter. Set in the present day, including mobile phones, social media references and uber eats, the extended metaphor continued throughout the show without messing with the original script. Vin Trikeriotis brought stunning vocals to rock star Jesus Christ, a confident and impressive performance. Sam Rabbone created a very layered Judas in an impressively acted and sung portrayal. Clay Darius was a strong Simon Peter. Jamie Mercanti’s Pilate was formidable and vocally strong, while Paul Whitehead’s Herod lit up the stage in Herod’s song, assisted by a gorgeous chorus of dancers. The Producers at Priest Records - Andrew Milner, Ash Schofield, Dan Millgate and Luke Miller - worked well together. Mary Magdalene was very sweetly played by Genevieve Wilson, who has a beautiful voice. Jesus Christ Superstar.

Man Of La Mancha By Dale Wasserman. Music by Mitch Leigh. Lyrics by Joe Darion. St Jude’s Players (SA). St Jude’s Hall. Nov 15-24. ST JUDE’S Players regularly pack their venue with loyal and enthusiastic patrons and such was the case on the recent opening night of an unusual production for St Jude’s, not its regular fare of drama or comedy, but instead, a musical… in this case, Man of La Mancha. The overall themes of the musical are of innocence and goodness counter-played against the darkness of humankind. Graham Loveday does good work with a difficult lead role and with equally difficult songs such as “The Impossible Dream”. In the role of Aldonza, Billie Turner has a lovely voice, as in “What Do You Want of Me?” She gives quite a good performance but her inexperience as an actor shows with some lack of nuance in characterisation. This production brings out the comedy elements of the narrative well but does not do as well with the deeper dramatic layers in terms of contrasting the darkness of human nature against the goodness and aspirational elements. Heading into the company’s 70th year in 2019, St Jude’s Players continues to be one of Adelaide’s most successful community theatre groups. Their production of Man of La Mancha may not be all that the many themes could perhaps have delivered, but St Jude’s tireless input has resulted in a show that is still one local theatregoers can happily enjoy. Lesley Reed Longer versions of many reviews can now be found at www.stagewhispers.com.au

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A strong supporting cast performed enthusiastically throughout. Frank La Cava led a very solid “headliner band”. The outdoor venue added to the festival feel. A fun way to kick off the Quarry’s production season, and a fresh look at a rock classic, there was lots to like. Kimberley Shaw Company Music and Lyrics by Stephen Sondheim. Book by George Furth. Directed by Julie Baz. The Depot Theatre, Sydney. Nov 14 - Dec 1. LITTLE Triangle’s Merrily We Roll Along was a pleasant surprise at Depot Theatre earlier this year. There are a lot of similarities here as the producers at Depot stage their own version of a Sondheim musical. Like their colleagues, they pull it off with zest and aplomb. Company doesn’t have a plot but is like a revue, exploring themes of companionship and love through the experiences of the main character, Robert. He is resolutely single and his nearest and dearest try to convince him of the benefits (mostly) of getting hitched. The space at Limelight on Oxford is cramped but with a little band and wonderful singing, the company of Company pack it with lots of fun. The cast is stronger as a whole than individually - the full chorus numbers like “Side by Side by Side” are the best. Brendan Paul gets stronger as Robert as the show progresses, most powerful in “Being Alive”. There are other notable performances: Ileana Pipitone as April, Heather Campbell getting the laughs as Amy and Michele Lansdown is a highlight as Joanne. The love and respect they show for this small show at a boutique venue pays off. Bravo. Peter Gotting Elf Jr. The Musical Book by Thomas Meehan and Bob Martin. Music by Matthew Sklar. Lyrics by Chad Beguelin. Old Mill Theatre, South Perth, WA. Directed by Katherine Friend. Nov 30 Dec 8. ELF Jr. was a feel-good Christmas celebration, bursting with holiday feeling, youthful exuberance and community joy. George O’Doherty was a loveable Buddy, whose genuine but ebullient performance kept us completely engaged. He was thoroughly at home with his elf family, played by the youngest cast members, and Santa Claus (Ashley Garner). We discover Buddy’s dad Walter (a strong Blake Jenkins), his wife Emily (a nicely nuanced portrayal by Kelsey Zampino) and son Michael (an impressive community theatre debut from Keaton Humphries). I enjoyed input from Charlotte Kiely as secretary Deb, and the delightful cameo from Rowan Marley as Security. Love interest Jovie was a lovely Kaitlin Sonnendecker, and Macy’s Manager was a solid performance from Cooper Jenkins. Toby Crestani was a perplexed fake Santa.

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Villainous Mr. Greenaway was played with outstanding expression by Ashley Garner. First time choreographer Gemma Trenbath created fun dances that catered to a broad range of abilities, and were well executed. The set was simple and projections (the wonderful Blake Jenkins) helped set the scenes. John Woolrych’s lighting design captured the mood very well. This snack sized show was a crowd pleaser with great heart. Kimberley Shaw End Of The Rainbow By Peter Quilter. Directed by Brad Tudor. Koorliny Arts Centre, Kwinana WA. Nov 9 - 24. KOORLINY Arts Centre’s End of the Rainbow centred on Judy Garland’s comeback concerts in late 1968. A beautifully presented piece of drama, with a great singing performance. Presented cabaret style in Koorliny’s smaller theatre, designer Jon Lambert transformed the compact stage into a London hotel suite, which in turn became a concert venue, revealing a hidden band. Director Brad Tudor’s costume design was an elegant, effective reflection of the era. Rachel Monamy was outstanding as Judy Garland in a heartfelt, beautifully drawn performance of great depth. Rachel also sang with passion, embodying Judy’s style in gorgeous concert segments that were a great contrast from the tragedy of Judy’s life. Rachel bears more than a passing resemblance to Judy, but her performance is quite transformative and a joy to watch. The supporting performances were outstanding. Laurence Williams showed great range as Judy’s fiancé Mickey Deans, Peter Shaw played Anthony, a pianist and devotee of Judy’s, in what may be his strongest performance to date. Jon Lambert made three short distinctive cameos. Kate McIntosh, musical director, led a talented fourpiece band, worthy of accompanying a big star. Accurately described as part concert, part drama and all Judy, this was a well directed, expertly performed and moving production. Kimberley Shaw Aspects Of Love Music by Andrew Lloyd Webber. Lyrics by Don Black and Charles Hart. Based on the novella by David Garnett. Walk This Way Productions. Hayes Theatre. Director: Andrew J. Bevis. Nov 22 - Dec 30. THIS production felt more like a night at Opera Australia than independent theatre. Aspects of Love is already opera-like in the sense that it is through-sung. The generous sized cast of sixteen and orchestra of ten squeezed onto the Hayes Theatre stage added to the feeling of abundance. The drama switched seamlessly between cafes, bedrooms, the backstage of a theatre, Venice, a railway station, the Pyrenees, a naval port and more.

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Caitlin Berry and Jonathan Hickey in Aspects Of Love. Photo: David Hooley.

A fiendishly clever set designed by Stephen Smith - using frames, boxes and backdrops - twirls and moves in harmony with the choreography. The musical is Andrew Lloyd Webber at his most florid. The signature tune “Love Changes Everything” is heard at the outset then repeated often, albeit with new lyrics. It stays in your hard drive long after you leave the theatre. The story is a little overwrought. A 17 year old soldier in post WWII Paris seduces an older actress, which spins into a love triangle with his much older artist uncle. Other women/relations further complicate the ménage a trois. The leading lady Caitlin Berry (Rose Vibert) and Jonathan Hickey (Alex Dillingham) sang beautifully and sparkled as a couple. The debonair silver fox Grant Smith (George Dillingham) elegantly captured the heart of the much younger actress. It is a little difficult to accept the complete absence of any jealousy when the younger suitor arrives back on the scene. A growing infatuation between Rose’s child and Alex is also problematic. The splendid orchestra under the baton of Geoffrey Castles swept the audience through the longish drama that comes to a surprising ending. This was an inviting night in the theatre for serious music theatre buffs. David Spicer

Hello, Dolly! Music & Lyrics: Jerry Herman. Book: Michael Stewart. Gold Coast Little Theatre, Southport. Director: Kate Peters. Nov 3 - Dec 1. Hello, Dolly! was first produced on Broadway in 1964, winning ten Tony Awards and playing for 2,844 performances, receiving three Oscars when the movie was released in 1969. Australia first met Dolly Gallagher Levi in 1965. In this production the title role is being played by Amy McDonald, with all the wily charms befitting the lady. Gold Coast regular Grant Ebeling plays the long-suffering Horace Vandergelder. Supporting these seasoned performers are Louise Harris - Irene Molloy, Rory Impellizzeri - Cornelius Hackl, Naomi Mole - Minnie Fay and Andrew Cockcroft-Pennman Barnaby Tucker. The production team of director Kate Peters, vocal coach Tracey Kriz and co-choreographers Tess Burke, Bruce Harris, Tracey Kriz and Kim Reynolds have combined to give the audience a wonderful experience of theatre from the good old days, with many a patron humming the hit tunes as they happily leave the theatre. A minor disappointment for me: the scenery lacked that theatrical pizzazz one associates with a show which is steeped in such theatrical folklore. Roger McKenzie

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Stage Whispers 87

The Addams Family. Photo: Grant Leslie.

The Addams Family Music and Lyrics by Andrew Lippa. Book by Marshall Brickman and Rick Elice. Hills Musical Theatre Company. Model Farms High School, Baulkham Hills. Nov 9 - 17. THE Addams Family tells a completely new story. Daughter Wednesday, now a teenager, becomes engaged to a plain American boy, Lucas Beineke. They confide in Gomez, but keep their relationship a secret from Morticia fearing she will overreact. Director Gloria Dodds has expanded her cast to 33 players. A large ensemble helped boost volume, while each performer had their own individual ancestor role to play, some of which really stood out with great movement and characterisation. The caricatures of the Addams Family members were spot on. Angie Franjesevic’s enthralling Morticia was a standout, impressively developing her annoyance at being lied to. Her musical number “Just Around the Corner” was a highlight, with her great dancing skills on show both here and in the Act 2 Tango with Gomez. Scott Miller’s Gomez, a softly spoken version, excelled as the stuck in the middle father/husband, vocally strong throughout. The chemistry he and Franjesevic shared was clearly evident. Lucas’ mother Alice was playfully performed by Julianne Horne, with the character shift after “The Game” worth the price of a ticket alone.

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Gloria and Duncan Dodds’ very practical set, for the most part a single backdrop of the Addams house, featured a staircase providing levels, creating space to move and work. Susan Brown and her orchestra were precise and produced a full sound, well balanced with the voices. Cathlyn-Rose Mckeller produced some smart entertaining choreography, with “Just Around the Corner” the dance highlight, using better dancers to great effect while allowing lesser skilled ensemble members to shine. Gai Reckless and her costume team should be applauded - the large cast looked amazing, with the wellknown characters appearing just as they should. James Russell Heathers: The Musical By Laurence O’Keefe and Kevin Murphy. GJ Productions. Directed by Jack Wilkinson with Musical Direction by Peter Verhagen. St Martins Theatre, South Yarra. Oct 26 - Nov 3. GJ PRODUCTIONS expertly manages the combination of musical elements with black comedy to maintain the spirit of the 1988 film. Casting evokes the characters with accuracy while allowing the performers to bring their own style. The milieu of a typical US high school is meticulously reproduced. The attention to detail in the costumes, staging and accents, combined with the incredible enthusiasm of the performers, produces a vivid and vibrant performance.

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Antoinette Davis (Veronica) and Jack Michel (JD) capture the depth and ambivalence of their leading roles perfectly, with impressive vocal abilities displayed across the entire cast. The emotional resonance of the music is echoed through the dynamic staging of the show. The movement, dance and action are seamlessly woven together and executed with enormous precision. The presence of an exceptional eight-piece band adds to the power of the music and the story. However, the limitations of the performance space often put the singers in competition with the musicians. One of the highlights of the show is the rendition of the song “Seventeen”. The evocative and moving quality of this bitter-sweet melody is beautifully captured and is a prime example of how this production is able to charm and captivate its audience. Patricia Di Risio High Society Music & Lyrics: Cole Porter. Book: Arthur Kopit. Additional Lyrics: Susan Birkenhead. Based on the play The Philadelphia Story by Philip Barry and the movie High Society. VILLANOVA Players. Ron Hurley Theatre, Seven Hills, Qld. Nov 2 - 18. A JOYOUS cast, a hard-working ensemble and an onstage band give Cole Poter’s High Society a big jolt of adrenaline in Villanova’s final production for the year. The main reason the show fired was the presence of recent QUT graduate Louella Baldwin as the indecisive bride -to-be Tracy. Her line readings were spot-on, her movement had grace, and her vocals were a commanding strength. Michael McNish played the ex with urbanity and scored with Baldwin on the duet “True Love”. As Mike and Liz, the two newspaper sleuths, Peter Cattach and Lucy Moxon got laughs pretending not to be news hounds and warbled one of the show’s better-known tunes “Who Want to be a Millionaire”. Lillian Dowdell was terrific as the younger sister Dinah, Phillipa Bowe had fun as an inebriated society mother Margaret, whilst Leo Bradley as Uncle Willie (another in his long list of stage drunks), brought life to “She’s Got That Thing”, but was a riot in “Say It With Gin”, a funny, funny song from the score of the 1930s musical The New Yorkers. I liked Jacqueline Kerr and Helen Ekundayo’s production with the white formal attire for the band and black and white maid and waiter costumes for the ensemble, who spent a good deal of time on stage as back-up to the principals. It was an enjoyable production. Peter Pinne

intriguing to follow with the singing, costumes and movement. Directors Shirley Budinger and Paula-Mary Camilleri have achieved wonders over-all with this youth theatre production. Keeping the set relatively free of props, they were able to manipulate the large cast with exuberant movement while keeping the storyline clear. The excellent costuming added greatly to the effectiveness of this production. Of the cast of 34, many made up the Jungle Citizens, Bird Girls and Whos, the chorus groups so vital to this type of show. Corey Perkins as Cat in the Hat was very good in controlling much of the action. Of the other performers who had the chance to develop their characters, Grace Brunne, Meghan Budinger, Belle Townsend, Tammy Bensley and Adoja Sam stood out in both acting and singing. Unfortunately Don Koendijk as Horton needs increase his clarity but this will come with more performances and confidence. The other cast members were solid. Mousetrap Theatre has chosen a bold and daring way to develop the skills and talents of their youth theatre members. Not only was this a good production, it was very entertaining over-all. William Davies

Tarantara! Tarantara! By Ian Taylor, using songs by Gilbert and Sullivan. Malvern Theatre. Director: Andrew Ferguson. Musical Director: Jan Hall. Oct 26 - Nov 10. MALVERN Theatre’s Tarantara! Tarantara! was a most enjoyable experience - a slick, well-oiled production. The small stage was well used, with three trucks being rolled out swiftly to change the scene and keep the action moving. As one piece of dialogue or song finished, other cast members were in place to move the show forward. The show follows the antagonistic relationship between Gilbert and Sullivan, and the struggles Richard D’Oyly Carte had to keep it together. Greg Barrison and Sam Marzden were both fiery as the two protagonists. Greg struggled with intonation, but had a pleasant singing voice and excellent diction. An experienced music theatre performer, Sam was a stand-out with his excellent singing and strong acting. They worked well together. Reg Ellery was the exasperated Carte, struggling to keep the partnership together. He had plenty to sing and his fine baritone was a delight. Ricki Howden and Aron Toman had plenty to sing too as George Grossmith and Joe, with excellent diction. I remember Catherine Bolzonello and Stephanie James from their eisteddfod days, and was pleased to hear they are still singing beautifully. Naomi Tooby was a strong Seussical Jr. Jessie Bond. There was some lovely harmony singing from By Lynn Ahrens and Stephen Flaherty. Based on the works the small ensemble. of Dr Seuss. Directed by Shirley Budinger and Paula-Mary Jan Hall did sterling work on the piano, but would have Camilleri. Mousetrap Theatre, Redcliffe, Qld. Nov 16 - 25. SEUSSICAl Jr is designed for young performers up to the been able to offer more support if it had been in front of the stage. age of 16 and is based on many Dr Seuss stories. Thus, This was a delightful night at the theatre. Horton the Elephant, The Cat in the Hat and all the Graham Ford. favourite Dr Seuss characters come to life onstage. Even for those who have not read all the books, the characters are Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 89

Choosing A Show Music Theatre International Australasia www.mtishows.com.au

Rule of Thumb - a triple bill of short, contrasting plays comprising The Wasps Nest, The Rats and The Patient. 4w,5m. The Secret of Chimneys - a political murder mystery in three acts. 4w,10m. The Stranger - a small cast, short version of an intimate psychological thriller taken from Philomel Cottage. 4w,2m. Towards Zero - Outdoor Version - a clifftop murder mystery set entirely outdoors. 5w,8m. The Wasp’s Nest - a short, small cast Poirot story. 1w,3m. Yellow Iris - a short radio play for live performance featuring Hercule Poirot. 2w,7m. www.origintheatrical.com.au/author/1093

Matilda Only available for licensing to Australian High Schools. The story of an extraordinary girl who, armed with a vivid imagination and a sharp mind, dares to take a stand and Maverick Musicals And Plays change her own destiny. www.maverickmusicals.com Inspired by the twisted genius of Roald Dahl, with book by Dennis Kelly and original songs by Tim Minchin, Matilda Mystery on the has won 47 international awards. Rotorua Musical Theatre’s production Packed with high-energy dance numbers, catchy songs Orient Express. of Mystery On The Orient Express. Take a ride on and an unforgettable star turn for a young actress. www.mtishows.com.au/roald-dahls-matilda-the-musical the famous train through France, Freaky Friday Italy, Switzerland Based on the beloved 1972 novel and Austria. by Mary Rodgers and the hit Disney Audiences take a films, Freaky Friday features music and wild theatrical ride, lyrics by Tom Kitt and Brian Yorkey - the seated in first class, composers of Next to Normal. second class, no class or baggage compartments, as the When an overworked mother and her bumbling Holmes, Watson, Inspector Gadget and Miss teenage daughter magically swap bodies, they have Marple try to solve the mystery. just 24 hours before Mom’s big wedding to put things right again. Set in the present day, Freaky Friday features a tuneful pop-rock score. Available in Full Length & One-Act versions www.mtishows.com.au/freaky-friday

ORiGiN Theatrical www.origintheatrical.com.au New Agatha Christie plays now available As well as being known for her 66 detective novels, Agatha Christie wrote a number of plays. From Poirot mysteries to melodramas, The Agatha Christie Collection contains 25 plays including plays that are available for the first time. Akhnaton - an epic historical drama in three acts. 4w,12m. Butter In A Lordly Dish - a dark and gruesome one act radio play for live performance. 5w,3m. A Daughter’s A Daughter - an intense personal drama of family ties in two acts. 5w,4m. Fiddlers Three - a murder caper in two acts. 3w,8m. Personal Call - a chilling radio play in one act for live performance. 5w,9m. A Poirot Double Bill - a double bill of short Poirot plays. 2w,7m. 90 Stage Whispers January - February 2019

The World Bra-Unclipping Championships at Garimba by Hugh Oâ&#x20AC;&#x2122;Brien. A new generation Dimboola, a laugh-out-loud comedy destined to be performed by numerous rural drama groups. More Than a Little Black Dress by Jo Denver. Coco Channel sizzles, manipulates and charms her way through this stylised play. Two actresses chart her calculated interaction with the Germans throughout the war. Free perusal scripts, ordering and licensing at www.maverickmusicals.com

David Spicer Productions www.davidspicer.com.au The Incredible Here And Now by Felicity Castagna. First staged by the National Theatre of Parramatta, this is a play about cars and The Incredible Here And Now. boys and having to grow up too soon. Michael is living in the shadow of his older brother Dom. He is the biggest guy in the school with the best car and the girlfriend with the huge-arse hair. When he is gone, Michael roams the streets, navigating life, friendship, love and family. Cast: 7 female, 6 male. www.davidspicer.com.au/shows/incredible-here-and-now

PERFORMING ARTS MAGAZINE JANUARY/FEBRUARY 2019. VOLUME 28, NUMBER 1 ABN 71 129 358 710 ISSN 1321 5965

All correspondence to: The Editor, Stage Whispers, P.O. Box 2274, Rose Bay North 2030, New South Wales. Telephone: (03) 9758 4522 Advertising: stagews@stagewhispers.com.au Editorial: neil@stagewhispers.com.au PRINTED BY: Spotpress Pty Ltd, 24-26 Lilian Fowler Place, Marrickville, 2204 PUBLISHED BY: Stage Whispers PRE-PRESS PRODUCTION & DESIGN BY: PJTonline Solutions, email: pjtonline@pjtonline.com DISTRIBUTED BY: Gordon & Gotch, 25-37 Huntingdale Road, Burwood, 3125 DEADLINES For inclusion in the next edition, please submit articles, company notes and advertisements to Stage Whispers by February 8th, 2019. SUBSCRIPTION Prices are $39.50 for 6 editions in Australia and $60AUD elsewhere. Overseas Surface Mail (Airmail by special arrangement). Overseas subscribers please send bank draft in Australian currency. Maximum suggested retail is $6.95 including GST. Address of all subscription correspondence to above address. When moving, advise us immediately of your old and new address in order to avoid lost or delayed copies. FREELANCE CONTRIBUTORS Are welcomed by this magazine and all articles should be addressed to Stage Whispers at the above address. The Publisher accepts no responsibility for unsolicited material. Black and white or colour photographs are suitable for production. DISCLAIMER All expressions of opinion in Stage Whispers are published on the basis that they reflect the personal opinion of the authors and as such are not to be taken as expressing the official opinion of The Publishers unless expressly so stated. Stage Whispers accepts no responsibility for the accuracy of any opinion or information contained in this magazine. LIMITED BACK COPIES AVAILABLE ADVERTISERS We accept no responsibility for material submitted that does not comply with the Trade Practices Act. CAST & CREW Editor: Neil Litchfield 0438 938 064 Sub-editor: David Spicer Advertising: Angela Thompson 03 9758 4522 Digital production: Phillip Tyson 0414 781 008 Contributors: Cathy Bannister, Anne Blythe-Cooper, Mel Bobbermien, Michael Brindley, Rose Cooper, Kerry Cooper, Ken Cotterill, Bill Davies, Coral Drouyn, Jenny Fewster, Graham Ford, Peter Gotting, Frank Hatherley, Jude Hines, John P. Harvey, Barry Hill, Tony Knight, Neil Litchfield, Ken Longworth, Kiesten Mcauley, Rachel McGrath-Kerr, Roger McKenzie, Peter Novakovich, Shannon Oâ&#x20AC;&#x2122;Connell, Peter Pinne, Martin Portus, Sally Putnam, Lesley Reed, Lisa Romeo, Suzanne Sandow, Kimberley Shaw, David Spicer, Penelope Thomas, Anthony Vawser, Carol Wimmer and Mark Wickett. www.stagewhispers.com.au Stage Whispers 91

followed me around asking if I remembered her name. Musical Spice My next engagement was at the Virgin Airline Christmas Party. It was my first experience of feeling like a superstar. Everyone wanted selfies and tightly squeezed photographs. I must have been cuddled by at least 40 Virgin cabin crew. Santa was even inspired enough to get up and dance with the band. What a letdown, though, when I left the function. As I walked out, rolling my suitcase behind me, no-one even gave me a second look. That big red suit packs a punch. Apparently Santa is the second most recognised person on earth - after Jesus. He elicits universal feelings of comfort and joy. Later I was assigned to the dreaded Online extras! shopping mall. Meet Rhonda Burchmore and Todd Sitting down for McKenney on their cruise in Vanuatu hours as family https://youtu.be/Lr_9JnLtLwo after family rolled up for a picture Stage Whispers Editor 60-page textbook. was beginning Neil Litchfield gave me some The instructions to be very tough assignments in recent included: Stay in taxing. Two months. First, he asked if I character. Don’t let grown men with would like to go on a cruise teenage girls sit on tattoos sat on to the South Pacific. your knee. Children my knee. The hardship included should have legs Most children eight days of buffets and together when they asked for scrumptious entertainment sit on your lap. Hands predictable on board the Bravo Cruise of on their shoulders. presents. the Performing Arts. Don’t stare at “Yummy Occasionally On Mystery Island in Mummies”. And most something nice like Vanuatu I ran into Rhonda important, never promise a “world peace” or a “happy Burchmore on the beach. present - always say “I will family”. She was also working hard. do my best”. Finally a real estate agent Rhonda sang on the first We were also told if a hired Santa for an outdoor night and the last - giving child makes an impossible thick jacket, beard, wig and street party in a posh her plenty of time for sun but touching request to see a woolly hat! suburb. There was a long tanning in between. No a relative who has passed First gig was walking line-up for the free photos. wonder artists love cruising. away, Santa should say around a club. Children aged Santa’s patience was tested. Next came an assignment “your late relative will always between three and eight Bringing smiles to involving many more layers be with you in your heart.” loved me. Those under this people’s faces, though, is a of clothing. Would I like to This must be one of the age often screamed their nice job, whether it be for fill in as a Santa? Could I most uncomfortable jobs heads off! Some of those children, grown ups or fluffy help fill a shortfall in Sydney? around in a hot summer. In older than ten looked very pooches. Off to Santa school I sweltering conditions, I was suspiciously at my large went, where I was given a wearing a padded stomach, woolly beard. One child David Spicer David Spicer meets Rhonda Burchmore in Vanuatu.

92 Stage Whispers January - February 2019

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