In this issue
Shrek: Into The Swamp ............................................................................. 8 Beyond the green make-up of Shrek The Musical in Australia
8
12
David Suchet: Inside Out ......................................................................... 12 Hercule Poirot and his best-known exponent chat with Coral Drouyn A Horse Of Another Colour ..................................................................... 16 National Theatre of Great Britain’s International hit War Horse returns Aussies On And Off Broadway ................................................................ 19 Composer Eddie Perfect, producer Neil Gooding and playwright Stephen Helper
16
Tudor Queens Get Pop Voices ................................................................. 22 Henry VIII’s wives tell their story in a hit pop musical Black Cockatoo ....................................................................................... 24 Excerpt from the new play about our 19th century Aboriginal cricketers Bran Nue Dae ......................................................................................... 26 Celebrating the landmark Australian musical’s 30th anniversary 19th Century Charm, Sherry & Ghosts ..................................................... 32 A visit to two of our most atmospheric community theatres Community Theatre Seasons 2020 .......................................................... 37 The year of theatre ahead, across Australia and New Zealand
22
Director’s Diary: Look Back In Anger ........................................................ 54 Landmark British drama at Adelaide Repertory Society
Regular Features Stage Briefs
45
56
83
6
Broadway Buzz
30
London Calling
31
Stage On Page
60
Stage On Disc
62
On Stage - What’s On
64
Auditions
71
Reviews
72
Musical Spice
92
Get the most out of our magazine’s online interactions on your mobile device with a QR code scanner. If your device doesn’t have one installed, http://bit.ly/gYbnAN browse your app store, or try one of these free options. http://bit.ly/2NcB9r5
THE NEXT ISSUE OF STAGE WHISPERS IS OUR SCHOOL PERFORMING ARTS RESOURCE GUIDE
89 4 Stage Whispers January - February 2020
PLACE YOUR AD BY FEBRUARY 8 CONTACT (03) 9758 4522 OR stagews@stagewhispers.com.au
Editorial
Online extras!
CLOC’s Mamma Mia! once again set the standard for amateur production. https://youtu.be/UHdTET9M-dA CLOC Musical Theatre’s Mamma Mia! Photo: Ben Fon.
Dear theatre-goers and theatre-doers, I’m celebrating a personal anniversary with our feature promoting 2020 Community Theatre seasons. Back in 1970 a friend of my mother’s, a member of the local Strathfield Light Opera Company, knowing of my love of musicals (especially Gilbert and Sullivan), suggested that I join the company for their forthcoming production of The Gondoliers. And so, at 17 years of age, I began a passion for Community Theatre that is entering its 50th year. Maybe there was something in my genes. My grandmother was a stalwart member of Petersham Musical Society in Sydney’s inner west in the 1920s - first as a member of the ballet, then playing leading roles during the 1930s, with the Society and with Rockdale’s Premier Musical Society. Petersham performed many of their shows at the old Ashfield Town Hall, while Premier Musical Society performed at the original Rockdale Town Hall. While both those venues are long gone, I’ve performed and directed in both of the venues which replaced them and share their names. My mother grew up at my grandmother’s rehearsals, while my grandfather was away on business trips. She fondly remembered after-show parties at the family home, with everyone singing around the piano. Mum was also an ensemble member at Sydney CBD-based Rowe Street Musicals, which had moved west and morphed into Ashfield Musical Society by the time I performed in and directed many shows there. In a nice touch, Mum actually returned to the company, during its Ashfield incarnation, as rehearsal pianist. I’ve come across so many family connections in Community Theatre. I’ve even performed on stage with the daughter and grandson of one of the other principal performers who shared the stage at Rockdale with my grandmother in the 1930s. Fifty years of Community Theatre has been far more than a hobby for me - it’s been my passion. A place of joy and creative expression through The Arts. I’ve been able to perform in and direct numerous musicals, dramas, comedies and classics. It’s been a place of great camaraderie and fun. It’s been a place of family and friendships, shared joyously in many a production by people of diverse ages, backgrounds and working lives. I look forward to spreading the word about Community Theatre to you, our readers, for a long time to come. Yours in Theatre,
Neil Litchfield Editor
Cover image: Ben Mingay as Shrek and Nat Jobe as Donkey in the Australian production of Shrek The Musical. Read David Spicer’s interview with the show’s cast on page 8. Photo: David Hooley.
CONNECT www.stagewhispers.com.au Stage Whispers 5
Online extras!
Watch Dolly Parton put together the Australian cast of 9 to 5: The Musical. https://youtu.be/KzDp4j1RoIo
Online extras!
Sydney theatre-goers were delighted by the premiere of Billy Elliot The Musical. https://youtu.be/JbAyhimepQY 6 Stage Whispers January - February 2020
Samantha Dodemaide, Marina Prior, Erin Clare and Caroline O’Connor will star in Dolly Parton’s 9 to 5 The Musical, which will have its Australian Premiere at the Sydney Lyric Theatre in April. 9to5themusical.com.au Photo: Peter-Brew-Bevan.
Melbourne’s much-loved Regent Theatre reopens with War Horse on January 10, after a major $19.4 million refurbishment. Billy Elliot The Musical follows on Feb 20. marrinergroup.com.au
Stage Briefs
Sir Elton John, who wrote the music for Billy Elliot The Musical, and his husband David Furnish, who is an Executive Producer, surprised the cast of the show at Sydney Lyric on Nov 28, 2019. Elton joined the cast on stage for the curtain call. Afterwards Elton and David chatted to the cast, including the four boys who share the role of Billy - Omar Abiad, Jamie Rogers, River Mardesic and Wade Neilsen. Elton praised the entire cast, telling them it was a phenomenal production and how proud they were to see their performance. Billy Elliot began its Adelaide performances on Dec 29, ahead of a season at Melbourne’s Regent Theatre from Feb 20. Perth and Brisbane seasons will follow. billyelliotthemusical.com.au Photo: James D. Morgan. www.stagewhispers.com.au Stage Whispers 7
Online extras!
A fairy tale Australian cast has been assembled for Shrek The Musical. https://youtu.be/lKu3YHTWCpM
Ben Mingay as Shrek and Nat Jobe as Donkey in the upcoming production of Shrek The Musical. Photo: David Hooley.
8 Stage Whispers January - February 2020
Cover Story Some of Australia’s most popular musical theatre stars are slapping on the green make up and strapping on the knee pads over summer. They are preparing for the awkward demands of playing the leading roles in Shrek the Musical. David Spicer caught up with them before the hard work in the swamp and castle commenced. Ben Mingay was like a child with a new toy when Stage Whispers caught up with him at his first make-up call. He was giggling, and other members of the cast squealed with excitement when the famous actor emerged for the first time as the lovable green ogre. Supervising the transformation was makeup artist Craig ForrestThomas. “He was a bit tentative to begin with. It is quite a long process. Today it took two hours,” Craig said. “We start off with a bald cap. Then we put on a prosthetic cowl (mask), which goes over Shrek’s head. Then we start with the pieces. We’ve got a chin which comes up into his cheek, forehead and nose. “We are painting the colour with
acrylic paint mixed with glue. Then come the finer details like bushy eyebrows and pulling his eyes out.” Please explain? “Framing the eyes so they are not lost on stage,” he explains. “He has holes underneath his nose to breath; to blow his nose, he’s got to get a cotton bud right up there, or one of us has to do it. “It is also very hot. Once he’s up and running sweat comes through the prosthetic, which could fall off. When he is off stage, we quickly push any moisture away with a powder puff.” Blissfully removal is swifter. “That only takes a few minutes using an oil-based product under the prosthetic. The face bits go in the bin.” Ben says he is relishing the opportunity to play a character who looks unconventional. “It has never been more important to include everybody and not judge a book by its cover,” he said. “In a day when Instagram rules, and people are constantly on it all day, we see how some people live and look. People struggle with that, thinking that it’s the norm. In this show, looks and images are not important. What is important is being kind and that relationships are real.” Lucy Durack is more used to spending time in make-up that helps her to look sparkly. Her past leading roles include Elle Woods in Legally Blonde and Glinda in Wicked. In Shrek she’ll be belching away as Princess Fiona. Appearing a little less glamorous is par for the course for the new mother. Lucy was on the rehearsal floor just seven weeks after delivering baby number two. “Coming to work is a bit of a rest for me,” she jokes. “I have to lie in a
dark dressing room for a while. It is part of the process. “We are lucky Theodore has fallen into line, sort of, with his sleeping and Polly has been a beautiful doting sister. My husband Chris has been doing a wonderful job. We have the most beautiful nanny, and mum has come in, so it is all hands on deck.” Lucy is enjoying getting into the psyche of portraying an ogre. “The characters have had to build walls up to cope with life. They remain just open enough to learn from each other to pull these walls down. Shrek comes to teach her that what makes you different is what makes you special.” Craig Forrest-Thomas would not comment on what make-up Princess Fiona requires – except to speculate that if a character required a quick transformation, a team of five people would be required for a tightly choreographed operation. Todd McKenney is also up for a transformation. He’s Lord Farquaad a very angry little dictator. “I am trying to work out who to model him on. I think it might be a cross of Donald Trump and Kim Jong Un - a dictator who can’t see anything wrong in what he is doing but could blow up the world.” The painful part for Todd is that he must spend the entire performance on his knees. He started rehearsals just nine weeks after undergoing a total hip replacement – the result of a lifetime of dancing wear and tear. “This is a physically demanding role. I am giving my hip a run for the first time. To prepare, I do an hour on my knees, in my house, on carpet. I am just getting my muscles used to the action; to not have it totally kill (Continued on page 10) www.stagewhispers.com.au Stage Whispers 9
(Continued from page 9)
me. This show could do the other hip in. “The director said the biggest problem people have in this role is their knees, hip and back. When I said ‘I have just had a hip replacement’ she just froze. “I am down on my knees, so everyone is up - particularly Shrek. With platform shoes, Ben Mingay is eight and half feet. So, everyone is above me, and my back is arched. To prepare, I am working to loosen up my back.” This is a huge physical contrast to his last role in Barnum, which required him to train to spend time on his tippy toes. “I did Barnum with an excruciating bad hip. Nothing could be harder physically.” There is an adage that laughter is the best medicine, and the dance routine for Lord Farquaad is sidesplittingly funny. It uses an old vaudeville trick to portray the flaying arms and legs of an energetic routine. “The costume is very cleverly made. It’s all done with zips, Velcro, smoke and mirrors,” said Todd. Ben Mingay admits that one of the biggest challenges he’ll face in the production is to control his own laughter when Lord Farquaad is on
stage. He’s also relishing the interactions with Princess Fiona. “Lucy Durack and I have never worked with each other. I love the way Lucy is creating a Fiona that dives into her quirkiness,” he said. The admiration is mutual. “I have been a huge fan of Ben. He is bringing so many levels of vulnerability to Shrek, which is important. This could get overlooked in such a big character,” she said. Another actor with big shoes (or should I say horseshoes) to fill is Nat Job. He’s playing Donkey, originally voiced in the movie by Eddie Murphy. “I think he is the role I was born to play. He is silly, gorgeous and fun, with a huge heart. I feel very lucky to put those hooves on every day,” he said. “In the history of animated cinema, Eddie Murphy gave one of the most iconic performances. This is a huge amount of pressure. The trick is not to do any impersonating but make the role your own. “I feel Donkey is the heart and soul of show. He sees through everyone’s differences and sees the good in all the people around him. He has a child -like innocence in bringing the characters together.” Todd McKenney says the rhythm and blues style of music for the character of Donkey is part of a rich
2014 UK/Ireland Touring Company of Shrek The Musical. Photo: Helen Maybanks.
Online extras!
Stage Whispers TV was at cast rehearsals for Shrek The Musical. https://youtu.be/_hPrpYuivnE 10 Stage Whispers January - February 2020
tapestry of musical styles in the production. “Shrek also sings a big power ballad, there is some jolly vaudeville, a song which is an old 40s style tap dancing number, and one channels ‘Defying Gravity’ from Wicked.” For those who haven’t seen the original DreamWorks movie, Shrek is set in a faraway swamp where the precious solitude of an ogre is shattered by an invasion of annoying fairy tale characters. They have been banished from their kingdom by Lord Farquaad. Shrek sets out on a quest to save their homes and rescue Princess Fiona. The musical opened on Broadway in 2008, where it ran for just over a year. The 25-million-dollar production included a technical extravaganza that attracted largely positive reviews, with some reservations about the production. Variety described “an elaborate money-shot involving a giant dragon and a stained-glass window that’s intended to be the show’s equivalent of Miss Saigon’s helicopter or Phantom’s chandelier.” Todd McKenney says the dragon sequence will be different in the Australian production. Marcia Hines is playing the voice of the dragon.
Shrek The Musical Playing at Sydney Lyric Theatre, The Star from Jan 1 to Feb 9, then at Her Majesty’s Theatre, Melbourne from Feb 16, and the Lyric Theatre, QPAC, Brisbane from May 9. shrekthemusical.com.au
2014 UK/Ireland Touring Company of Shrek The Musical. Photo: Helen Maybanks.
Cover Story
“This is a massive dragon puppet which spans the width of the stage, operated by cast members,” he said. “I have just seen her frock. It is worth the admission price alone. “I think Shrek is one of those shows that is universally loved. If people haven’t seen it, they feel they have seen it. “It taps into universal stories that you don’t have to make yourself beautiful to be loved. This is a great message for kids. “And there are fart gags. What other musical has fart gags?”
www.stagewhispers.com.au Stage Whispers 11
Online extras!
David Suchet discusses playing Hercule Poirot with the British Film Institute. https://youtu.be/hKpeBHIGxrw 12 Stage Whispers January - February 2020
David Suchet as Hercule Poirot in Dead Man’s Folly. Photo: Steven Haywood.
Coral Drouyn speaks to acclaimed actor David Suchet and his alter ego before his Australian tour.
to the beauty of my facial adornment. Suchet has - ‘ow you say? -finesse, class, as well as classical training as an actor, very important to portraying my foibles, my complexities. He Everyone wants to speak to understands eccentricity is not the acclaimed actor David Suchet, same as buffoonery. When I died, he particularly about his famous portrayal of Agatha Christie’s Hercule was right there with me (do not laugh, please, my death is not a Poirot - but no-one has interviewed laughing matter) and we each said Poirot to find out what he thinks of Suchet. While waiting to interview Mr goodbye to the other as a friend. Oui, I am pleased - if only he were a little Suchet, I took the opportunity to shorter. speak to Poroit himself and ask his opinion of Suchet and the other great Despite Poirot’s misgivings about actors who have interpreted him. David Suchet’s height (there’s around Hercule Poirot: Eh Bien, many have 10cms between them) Poirot shares tried to capture my - je ne sais quoi the opinion of critics and viewers alike my greatness, if not my modesty. that Suchet is by far the “best”, or, Suchet understands me, he never presumes to know better than me. He perhaps more correctly, the “most is too tall - but that is not his fault. He authentic” and insightful portrayal of Agatha Christie’s much-loved is too English - yes, yes I know of his detective. Lithuanian background, but that Half of his career has been spent cannot be compared to being Belgian. inhabiting the tiny Belgian’s persona Coral Drouyn: So who has been some 25 years on screen - and yet he your favourite of those who have has managed to have an extensive interpreted you? and acclaimed career on stage Poirot: Oh Suchet, bien sur! We running parallel to that. So, while his share a mutual respect. You know, retrospective, David Suchet - Poirot Albert Finney and Peter Ustinov, and More (in which Jane Hutcheon, Kenneth Branagh and even John Malkovich - sacre bleu - they have all respected journalist, will share the stage as interviewer) will, naturally, tried to imitate the elusive qualities lean heavily on details and anecdotes that make me unique. Most have of his life with Poirot, there is so failed. Ustinov was Ustinov, not me. much more to David Suchet, Actor. Finney was perhaps a little too, shall Some might claim he had a we say, stylised. Branagh? He made privileged up-bringing - his mother an fun of my moustache. It is too big, actress; his father a much-respected too undisciplined. He is disrespectful medical specialist; his maternal
grandfather a famed news photographer - but Suchet has paid his dues many times over, and certainly never taken his success for granted. When you have led an exemplary life, been married to the same woman for more than forty-three years (actress Sheila Ferris), are a practising Christian who lives what he believes, then your claim to fame is through the quality of your work. So it is with Suchet. An acclaimed Shakespearean actor, his tenure at the Royal Shakespeare Company has lasted for most of his career, playing such roles as Iago, Bolingbroke and Shylock. He has made many Hollywood movies and even has a strong presence in radio and audio books. He is, by his own admission, ‘a character actor’. His theatre successes (apart from his television work), awards and nominations are all well documented, but there is little written about how he feels about acting and his own career. Was there a moment, I wondered, when he had an epiphany, a revelation about being an actor? He thinks for a moment. “That’s a good question. I had acted at boarding school - and I thought it was fun,” David responded. “But even at that tender age it wasn’t about putting on make-up and (Continued on page 14)
www.stagewhispers.com.au Stage Whispers 13
(Continued from page 13)
‘pretending’ to be a character. I was intensely interested in who these characters were; why they did, or said, the things they did. I joined the National Youth Theatre because it was a path to understanding the people I was playing - and understanding myself. “The epiphany came on the last night of Ben Jonson’s Bartholomew Fair. There’s always mixed feelings on a last night - sadness that the run is over, exhilaration about the next play. I was quite emotional, and I went up on stage to watch them bumping out the set. There was a working light on stage and the auditorium was empty. Everything that had been our reality was a fake, just two dimensional, but still so real to me. An epiphany, you ask? I remember my breath caught in my chest and I thought, ‘This is where I belong. I never want to do anything else. This is my path.’ “So yes, it was an epiphany in that I changed my attitude to it completely. And it was the audience
14 Stage Whispers January - February 2020
more than anything, even though the theatre was empty. It was that sense of connection, of sharing something, reaching out and touching the emotions of others. Once I knew that, I knew I needed to learn more to be the best I was capable of. Luckily I was accepted into LAMDA (London Academy of Music and Dramatic Art).” After graduating, Suchet did seasons in ‘Rep’ - repertory theatre. In the 1960s ‘Rep’ was considered entry level for anyone wanting a career in theatre. There is nothing quite like playing a different play every week or fortnight for 52 weeks of the year. The set-up was such that the same ensemble company would be playing one play on stage, rehearsing the one following and doing a preliminary read on the one after that: thus, brain juggling three roles at once. “It [the ‘Rep’ experience] was immeasurable to me,” he told me. “An actor must be allowed to fail. That’s the best way to learn. And the best way to learn your craft is to fail safely, to know that you missed the
mark, but the next play is coming next week, and you won’t make the same mistake.” It was the time of renowned actors like Laurence Olivier and John Gielgud, so I ask whose work influenced David. “Olivier was a great showman, a performer, but it wasn’t my style of acting,” David explained. “My greatest admiration was for Paul Scofield. He was the consummate actor for me in that he understood each character from the inside out. He sublimated all of himself to serving the character and I’m not talking about ‘method’. He simply let the character speak his truth. Honesty and truth - the putting aside of ‘self’ - that’s what makes a great actor. I was lucky enough to work with him several times and we were very much in tune. Not many people outside the business remember him, but they remember the roles he played, and that’s how it should be for an actor.” I wondered if there’s a role that he would have loved to play, but never got the chance.
“Yes - Napoleon Bonaparte,” David revealed. “A little man with such grandiose visions, yet I sense nothing would ever have been enough for him. Yes, that is a character I would love to have explored.” And so on to Poirot, a role that even his brother warned him could end his acting career. Was he ever afraid of being typecast, and losing other work? “No, that’s the beauty of being a character actor, rather than a leading man,” David responded. “I never stopped doing theatre. The producers were accommodating, especially when they knew there was a theatre role I was compelled to do. There were several plays where shooting overlapped, but we always managed to work around it. Now that I am older, eight performances a week is too daunting, as is a long-running series with a tight shooting schedule. I suspect there will be no more of either, but I am still very open to exploring a limited character role in a well written television series.” In fact, David has such a role in the acclaimed fantasy drama series His Dark Materials, now screening on Foxtel. I asked what Poirot’s best and worst qualities were. “His most admirable is his respect for the dignity of others, even when he proves them guilty. He never demeans anyone. It’s a trait more of us should aspire to,” David told me. “As for his worst? Well, he can be insufferably vain, and his self-belief is sometimes over-powering, though that’s also a good quality. He’s a complex man; as such he embodies the best and worst of all of us. But I count him as a friend, and there is a sense of loss since I let him go.” Finally, I ask, what is the most important thing to remember as an actor? “I believe it’s an incredible privilege to be an actor. But every man’s future is uncertain. When you step on that stage always remember that every performance could be your last - the last chance you may have to speak truth, to connect. Make it count.”
David Suchet in The Last Confession (2014). Photo: Cylla Von Tiedemann.
David Suchet. Poirot and More: A Retrospective. Perth Concert Hall - Jan 18 at 2pm & 7.30pm. Canberra Theatre Centre - Jan 20 and 21 at 7.30pm. Sydney Opera House - Jan 23 at 3pm & 8pm. Arts Centre Melbourne, Hamer Hall - Jan 25 at 3pm & 8pm and Feb 13 at 8pm. Gold Coast, Hota - Jan 29 at 8pm. QPAC, Brisbane - Jan 31 at 8pm and Feb 1 at 2pm & 8pm. State Theatre, Sydney - Feb 7 at 8pm. Newcastle Civic Theatre - Feb 8 at 8pm. Adelaide Festival Centre - Feb 11 at 8pm and Feb 12 at 3pm & 8pm. www.stagewhispers.com.au Stage Whispers 15
With January 2020 bringing a return season in Australia, Coral Drouyn explores the evolution and wonder that is War Horse. How do you recognise an icon except with hindsight? Writers write because they have something to say. But whether anyone wants to hear that story is another matter entirely. You can’t predict what will be a hit, or what will end up in the “Sale Bin” at the bookstore. As the late great screenwriter William Goldman wrote, “Nobody knows anything” - if they did, we could all predict a runaway hit. And that wasn’t the case with War Horse. Perhaps “runaway” is a paradoxical description, though there’s a strong element of running away by Albert in the story, in the search for Joey the farm horse. War Horse in its original
16 Stage Whispers January - February 2020
form, a short book for adolescents, made headway into our consciousness at a trot rather than a gallop. Written in 1982 by noted children’s author Michael Morpurgo, the book became a favourite with those in their early teens, selling steadily for twenty-five years, but couldn’t be described as a smash hit. It’s been reported that Morpurgo’s inspiration was two-fold. The first was a very old man in the Devon village where he lived, who remembered the First World War and the commandeering of farm horses to be sent to the front. Hardly
any returned. Those that survived the battlefields were slaughtered, forgotten by all except the owners who had given them up out of a sense of duty, but never stopped wondering what happened to them. The second was a young boy, severely withdrawn and with a stutter, who visited the Morpurgos’ farm in Devon, where they ran a programme called “Farms for City Children”. There, author Morpurgo observed the boy communicating with one of the farm horses, speaking to it without stuttering, confiding in the animal who couldn’t have understood what the boy was saying, yet empathised with him. Morpurgo had the theme for his book, and his stroke of genius was to tell the story in the first person, through the voice of Joey, the horse. It wasn’t the hit that Anna Sewell’s Black Beauty was, or perhaps even Walter Farley’s The Black Stallion, but it was much loved by those who read it. That could easily have been accolade enough except that Tom Morris, an innovative young theatre director, was artistic director at the Battersea Arts Centre in the mid-90s when he encountered South Africa’s Handspring Puppet Company. Tom, responsible for BAC’s breakout production Jerry Springer: The Opera, saw Handspring’s puppetry at work in The Fastest in Africa, and was overwhelmed by the sense of reality the puppet animals were infused with. He realised that things could be done with puppets which could never work with live animals on a stage;
even a life-sized giraffe made audiences suspend disbelief and accept the magic of the performance. Every expression, every movement, could be controlled by master puppeteers; the puppets themselves could become more real, more alive, than their living counterparts. They could be real characters with emotions, and the ability to connect with an audience, not merely props. Tom got to know Adrian Kohler and the Handspring team, and became even more determined to find a vehicle he could explore through puppetry, but it took his mother to introduce him to War Horse, a book he’d heard of but never read, and he knew then he had found the vehicle. The prospect was enthralling - huge puppets, the size of real horses, live on a stage, with human actors riding them. But was it a dream or merely a fantasy? Tom had been headhunted by the National Theatre and Creative Director Nick Hytner had charged his new associate with finding other, more visceral ways to approach theatre. He gave the green light for Tom to pursue development of War Horse with Adrian Kohler and his partner Basil Jones, and they were soon at the drawing board designing prototypes. If there were misgivings, they lay with the author, Michael Morpurgo. He couldn’t bear the thought of his work ending up like some bizarre pantomime. His fears were dispelled when he saw the original drawings and realised the commitment that (Continued on page 18)
War Horse on tour in Wellington. Photo: Hagen Hopkins.
Online extras!
Watch the story of War Horse come to life through the eyes of the creators. https://youtu.be/qtDadO2KWmM www.stagewhispers.com.au Stage Whispers 17
(Continued from page 17)
was going into the development of the show. But of course the author had written the novel in the first person, and there was no way the National Theatre was going to put a talking horse on stage. Apart from the obvious difficulties, there truly would have been a sense of pantomime caricature if Joey had been allowed to tell his own story. Slowly but surely, the children’s book was morphing into a horse of another colour. When young playwright Nick Stafford came on-board, War Horse shape-shifted yet again. No talking horses and, despite WWI being the story backdrop, the driving force of the play became the relationship between Joey and Albert, the young boy who never stops loving the horse his father sells to the army. Stafford concedes that it initially seemed that the play would have to focus on the human characters, largely because, during the workshops, no-one - including the puppeteers themselves - was sure what the limitations of the horse puppets would be. Gradually, the more sophisticated the puppets became as they developed over more than two years of workshopping, the clearer the story became, the more focussed Stafford’s script evolved, and the more of a living, breathing, character Joey the horse became. The project, though, was getting ‘bigger than Ben Hur’ and Marianne Elliott joined the project as
18 Stage Whispers January - February 2020
War Horse at the New London Theatre. Photo: Brinkhoff Mögenburg.
War Horse Returning to our shores from Jan 10, for limited seasons of five weeks each in Melbourne, Sydney (from Feb 15) and Perth (from Mar 24). warhorseonstage.com.au co-director. With a large cast, and three puppeteers to work each horse (there’s even a separate puppeteer as Joey’s heart), there was more than enough work to justify splitting the workload. As the October 2007 opening approached, it was clear that War Horse was not like any other play with or without puppets - that anyone had seen before in dramatic theatre. The hope, and expectation, was for a success, but no-one foresaw that the show would reach iconic status and spawn an international star in Kit Harrington as Albert, in addition to a Steven Spielberg hit movie. Michael
Morpurgo was so elated that he regularly makes walk-on appearances when he’s in London, just to stay connected to the story he created 37 years ago now. On that opening night, grown men and women wept openly, an entire audience stood and cheered at the poignant ending and War Horse became an overnight icon after 25 years. There will always be debate about who created the icon. Michael Morpurgo certainly created the basics, but without Morris’s vision, or Kohler’s astonishing puppetry, would War Horse have ever become a part of theatrical history? It’s doubtful, but sometimes, especially in the world of the ARTS, the planets align to produce something which is greater than the sum of its parts - something that will last for generations. In the ensuing twelve years, War Horse has won 25 international awards (including Tony Awards for the New York production). It’s been seen by eight million people in 97 cities in eleven countries. Its audiences range in age from 7 to 97, critics unanimously rave about it (I wrote my review of the Australian opening with a box of tissues by my side) and people leave the theatre feeling not just entertained, but spiritually uplifted. That makes it a horse of a unique colour - one we can all embrace.
If you can make it there, you’ll make it anywhere - goes the famous song. But Australians making it big in the New York theatre scene are few are far between. David Spicer met three Aussies giving it a red hot go - composer Eddie Perfect, producer Neil Gooding and playwright Stephen Helper. The biggest thing you notice in Times Square as an Australian theatre buff this season is the towering image of Ainsley Melham. The actor-singer is still Disney’s poster boy for the musical Aladdin, after spending six months in the lead role during 2019. Other Aussies who’ve made it in New York are the team behind Moulin Rouge! The Musical. Written by Baz Luhrmann, it’s the second highest grossing musical on Broadway. Eddie Perfect is riding high on the surprise success of the musical Beetlejuice. We meet for brunch in a restaurant close to the Lincoln Centre, home to the New York Metropolitan Opera and a short distance from where he lives with his wife and two daughters. He loves living close to what he describes as the arts “royalty” of New York away from “dirty” Broadway in
learnt that the ‘heart and soul of the show’, the message, was not being picked up by people. They were just seeing chaos. “So, we went about re-writing the whole thing.” mid-town, where his fortune is being Eddie rolls his eyes at a story made. leaked to the press. With a mouthful of a salmon “They always throw the writers bagel, our conversation turns to under the bus. They say things like, Beetlejuice The Musical. The the director sat down with the writers composer and lyricist says it came saying ‘I want good songs.’ That was close to disaster. annoying. We were the ones doing “We opened in Washington DC the work. The rest are just flapping around. and got really negative press. One critic hated it. That affected our entire “We came to New York with no trajectory into Broadway. The review money in the bank and no one talking set up a narrative that our show had a about the show. Everyone made up great set, but the rest was a corporate their mind that Beetlejuice was dead piece of shit.” on arrival. Ninety percent of press was He grumbles that the musical had about the set. genuine comedy but was being “I had a terrifying conversation stymied by theatrical critical with my agent. He said if daily ticket conservatism. Producers of the sales don’t start going up after the musical adaptation of the Warner first two weeks, you guys are going to Brothers film went back to the be shut before opening night.” drawing boards. They did exit Eddie says that the first interviews with members of the performance at the Winter Garden Washington audience. Producers
(Continued on page 20)
www.stagewhispers.com.au Stage Whispers 19
(Continued from page 19)
Theater - in front of family and friends, people with Zimmer Frames and a contingent of what he calls New York’s “biggest douche bags with no sense of humour” - was a disaster. Next came the first proper paying audience and he was immediately buoyed by a line of people in high spirits queuing around the block. After the first song the applause went for a full minute. “We were still unable to enjoy it. We knew this audience reaction does not inoculate you against the angry conservative man with a sea of people around him loving it. “Opening night was insane. We were so worried and got mixed reviews. The New York Times review was not good, but not King Kong bad.” Audiences were building, but it was by no means a hit, then something changed. Eddie Perfect left his phone off on the day that Tony Award nominations were announced. When he switched it on, it was going off like Fourth of July fireworks. The musical scored eight nominations including Best Original Score for Eddie. “A lot of fancy people (Tony Award voters) then had to see it. Before no one wanted to see us. Word of mouth was building. We got to perform - and rewrite - a song for the Tony Awards. In America people don’t do that. The awards and the cast album changed the narrative from us being a turkey to being something of a cult hit. “People are really fanatical about it. It is not a giant block buster, but it has defied expectations. We opened two days after Tootsie. It was the New York Times critic’s pick, lauded as the way to do music theatre, but Tootsie is closing in January. The whole thing is an absolute gamble mystery.” Since our chat, Beetlejuice the Musical has been given seven months’ notice to vacate the Winter Garden Theater in June to make way for The Music Man, starring Hugh Jackman. The producers are looking for a new home on Broadway, but for 20 Stage Whispers January - February 2020
Eddie Perfect. Photo: Walter McBride.
Online extras!
Eddie Perfect auditions for his next job on Stage Whispers TV in New York. https://youtu.be/89MiI6vJB9E Eddie there is the consolation of a national US tour planned for 2021 and a monstrous advance for amateur rights from Music Theatre International. So now that he is the writer of a Broadway hit musical, which is taking more than $US one million a week in sales, does he need to work again? Eddie politely avoids the question. “Not to diminish the plight of people who are actually poor, but last year we were pretty broke. We still had a roof over our heads and food, but it was pretty miserable. We couldn’t afford to see anything or eat out. “We moved to New York. I sold my grand piano. It was like when the rockets fall away at take-off. “We live in a tiny apartment. This was almost a career killer. I thought, I have failed and will have to move back to Australia. “There is not a huge amount of money coming in whilst the show is running. Before the musical recoups (for investors) there is weekly minimum money coming to pay our rent. This only lasts whilst the show is on.” The answer is yes, he wants to write the next thing, but “I don’t know what it is.”
For the moment he is chilling out in New York until the next inspiration lands. In the meantime, he can supervise his daughter’s lunch dates. I meet producer/director Neil Gooding in an Irish Bar in the heart of Broadway. We both order a Reuben sandwich, which is a mile-high of beef pastrami on rye bread. “I am living in Hell’s Kitchen, so I can walk to Times Square. It is the Disneyland for musical theatre,” he tells me. “There is always something to see. Eight blocks filled with everybody that has come from around the world writers, producers and performers. It is very focussed, with a real sense of urgency and a high benchmark. You have to lift your game here,” he said. Neil Gooding is well established in the Sydney theatre scene as one of the original brains behind the Hayes Theatre, the producer of large pro-am musicals (Packemin Productions), new Australian musicals and international work, and as the writer of jukebox musical hits Back to the 80’s and Popstars! Just a few years north of 40, he’s partially relocated to New York. “I moved here at the start of the year to pursue more opportunities in producing and directing.
“I am seeing a lot of readings. There is a beautiful system in New York. If you wanted to, you could go to one of these readings a day. “My main interest is working developing new shows. I am trying to take a step back and see shows as they are being written, getting their first presentation, to make a choice about which are going to be the winners in five years on Broadway.” So, has he found the next Hamilton? “Yes, there is a show that is Hamiltonesque,” he tells me, but “with a female protagonist.” Can he tell me what it is called? “Not at the moment.” How is it that New York is better set up to create hit musicals? “There is a lot more money available. There are also networks of theatre companies that have programs that develop new work. If you are working on the next Wicked or Book of Mormon, the returns are massive if you are in early.” Neil Gooding is leaving the winter chills behind during January, returning to Australia to direct a new musical at the Hayes - The Life of Us - and he’s been supervising a season of Les Misérables which opens in Parramatta in February. He manages his affairs back home with the help of Skype, fuelled by those big pastrami sandwiches. Living in NYC is not cheap, he admits.
“Theatre never pays well, and it is in one of the most expensive cities in the world. I am watching people who are hugely talented, who are struggling. The cost of living makes it a rich person’s game, which is a problem for the industry.” Stephen Helper graciously hosts me in his New York apartment, overlooking Central Park near 110th Street, on the doorstep of Harlem. The director and playwright was born in the US but became an Aussie after first visiting in the 1980s. One of the co-creators of the Broadway hit Smokey Joe’s Cafe, he says the Big Apple provides more opportunities for his plays to be staged. “Today I am rehearsing for a reading of my play Up and Down that will be presented to producers,” he tells me over brunch. “It is about a married couple. Before the play starts, she has an accident and falls off a rickety kitchen ladder. Much to her husband’s horror she goes into a coma. The play is about the man trying to deal with a sudden change in his life.” Stephen says in New York plays need a star to get noticed and he’s struck gold for his reading. “I sent the play to (screen star) Isabella Rossellini. She liked it and contacted me personally to be involved.” The Industry readings are a major benefit of being in New York. Neil Gooding.
Stephen Helper.
“There are always people looking for the next play. People want to invest in something that is beautiful or provocative.” Next March Stephen has a one man play opening in a 99-seat OffBroadway theatre. The venue, he tells me, is considered hot. The play, Sign of the Times, is about a Physics professor who suffers a great loss and decides to spend some time chilling out by working in traffic management. “It is great to be in New York, though I do miss my (adult) children and family. But I can’t think of a downside for the arts. “It is, though, a hard city, with large crowds and bitter winters. Both can make it bleak.” He’s giving himself two years in New York. One of his passions remains the Australian musical Lola Montez, which he staged in a concert in Sydney and is updating. “I love it. It is a great story about a great woman with a great score. “One day we might get it up in New York.” * David Spicer manages the rights to Lola Montez, Back to the 80’s, Popstars and Eddie Perfect’s Shane Warne The Musical and The Beast.
www.stagewhispers.com.au Stage Whispers 21
Remixing the story of Henry VIII’s six wives with a pop score, Six The Musical is touring Sydney, Melbourne and Adelaide this year. Loren Hunter, who plays Jane Seymour, and Olivia Ansell, Sydney Opera House’s Head of Contemporary Performance, spoke to Neil Litchfield. Henry VIII is one of British history’s most notorious and charismatic monarchs, but less is known of the six women who were his queens. In school we learned to remember them by a simple rhyme that told their fate - divorced, beheaded, died, divorced, beheaded, survived - but we rarely got their names right, or at least in the right order. Now, in a climate of female empowerment, all that is changing, and not before time. What was history 500 years ago is now London West End theatre, and all six of his queens are singing, acting and dancing their own stories on stage in the pop musical Six. Two 24-year-olds, Six co-creators Toby Marlow and Lucy Moss, have done what even Broadway giant Richard Rodgers couldn’t. The veteran composer’s 1976 Henry VIII musical Rex folded after 49 performances on Broadway, where Six is now headed in March.
22 Stage Whispers January - February 2020
UK production of Six The Musical. Photo: Idil Sukan.
Six The Musical Playing at the Sydney Opera House from Jan 4, Comedy Theatre Melbourne from Apr 23 and Her Majesty’s Theatre Adelaide from Jun 11 as part of the Adelaide Cabaret Festival. sixthemusical.com/australia Discovered at the 2017 Edinburgh Fringe, 75-minute musical Six, with Henry’s wives finally telling the story from their perspective, is fast becoming an international theatrical phenomenon. On top of its stage success, with more than 300,000 streams a day the show’s cast recording is second only to Hamilton among the highest streaming soundtracks.
On screen Henry VIIIs have included greats Charles Laughton, Richard Burton, Robert Shaw, Keith Michell, Ray Winston, Rowan Atkinson (in Horrible Histories), Sid James (in Carry on Henry) and Homer Simpson. This time around, though, the king is kept in the wings while the six traditionally under-represented Tudor queens take centre-stage. Loren Hunter, who plays Henry VIII’s third wife Jane Seymour in the Australian production, explains. “Henry VIII left his mark in this world. This is an opportunity for these women to leave their own mark, retell their story and redefine what their role was in that time,” she says. “Almost everyone knows them through the eyes of Henry. This is the time when we can go no, that isn’t what it was like. Let’s tell you what it was really like. “We know that Henry was a tyrant, but it’s more interesting to hear the story from behind the scenes.” Six The Musical occupies the 2020 Summer Studio season at the Opera
House, usually given over to circus cabaret for the last ten years. “We’re very conscious of what the social and cultural conversation is at the minute, so there’s a perfect spot to enter the world of Six The Musical and the six under-represented wives of Henry VII,” explains Olivia Ansell, Head of Contemporary Performance at the Sydney Opera House. “It just had this unique format about it. It’s 75 minutes straight through – it’s six women with a four piece, all female band. It’s a musical, but it’s also a pop concert, yet it feels infectious like a cabaret, so it just appeared like the perfect piece of diverse programming to enter the 2020 Summer programme. “Six weaves in everything from an infectious pop score to a wonderful retelling of history through the eyes of these six queens. In a diverse world where we’re celebrating inclusivity and gender and women, it felt like a very empowering production to present as part of (the Opera House’s Summer season). Also, it’s reflecting back at history with a comic, satirical and fresh lens, through the eyes of the heroines of the story, not the protagonist.” How does a very contemporary pop score work for these Tudor queens? “The story reflects the climate that we’re in at the minute. It’s empowering, it’s electric and the stories coincide with the time now. I think to commercialize it, and to place it in the pop realm reflects them in a better way,” Loren tells me. “What’s great about this show is that all the queens can relate to each and every song in every way. No matter what queen you’re playing, even if you’re singing part of another queen’s song, you still feel that it’s your story as well. Their stories are so intertwined and similar in ways, considering we were married to the same man. But I just love my
own song. She’s a champion, she’s a warrior, and I love her.” It has been claimed that ‘Greensleeves’ was written by Henry VIII. Does it get a run in the show? “It’s not really part of my story,” Loren says, “It’s more a part of Anne Boleyn’s story, who he reputedly wrote it about. But it appears, particularly at the beginning, and sometimes through what Anne sings about. They’ve done it really well. There’s a taste of it, but they don’t really focus on it too much.” But revealing anything else, apparently, would be a spoiler. History has often unkindly labelled Jane Seymour the boring wife, best known for providing Henry the male heir he so desperately wanted, but Loren sees another side to her. “It’s interesting that that’s how they see her, because if they look a little bit deeper, she was the Lady in Waiting to both
Catherine and Anne (who preceded her). She was around the whole time that they were married to the king. So, she knows what to do, what does and doesn’t work, and I think she was just smart about it. There’s also a massive possibility that she and Henry were in love. It’s interesting that people just go, ‘Oh she was the weak one. She was the one that didn’t say much.’ But it’s just not the way she was, as far as I can see in my research.” And what would Henry’s wives think of how Six tells their stories? “I reckon they’re looking down, just going thank goodness our stories are being retold the way they should have been told from the beginning,” Loren replied. “I think they’re all sitting around a table, having a cup of tea, going, it took people a while, but thank goodness this is happening.”
Online extras!
Get ready queens! Six The Musical is coming to Australia. Scan or visit https://youtu.be/nqmyJeoCNnY
The Australian cast of Six The Musical: Chloe Zuel, Kala Gare, Loren Hunter, Kiana Daniele, Courtney Monsma and Vidya Makan. Photo: James D. Morgan.
www.stagewhispers.com.au Stage Whispers 23
BLACK COCKATOO
The Sydney Festival and the Ensemble Theatre are teaming up to present the World Premiere of Black Cockatoo during January. It’s about the epic adventure of 13 Aboriginal men from Western Victoria who picked up their cricket bats 150 years ago to embark on a treacherous voyage to England. Risking illness and persecution, Australia’s first international cricket team amazed the English crowds with astonishing talent, personality and grit. During one match, the star of the team Johnny Mullagh walked off the field and refused to play. His protest was over the refusal of the Gentlemen of York to allow him into their luncheon tent. The team was away for a full year, played forty-seven matches, won fourteen, lost fourteen and drew the
24 Stage Whispers January - February 2020
Dubs Yunupingu, Joseph Althouse and Colin Smith with Director Wesley Enoch during Black Cockatoo rehearsals. Photo: Prudence Upton.
rest, against the best and most famous English teams of the day. They should have come home to acclaim and celebration. In their absence, the colonial government took control over Aboriginal lives and moved most Aboriginal people off their traditional lands and onto reserves and missions. Johnny Mullagh refused to be moved. He stayed living on the land
where he was born and did so until he died. Written by Geoffrey Atherden (Mother and Son, Babakiueria) in collaboration with Sydney Festival Artistic Director Wesley Enoch (Black Diggers), Black Cockatoo switches between the events of the late 1860’s and present-day activists sneaking into the Wimmera Discovery Centre. This extract is from Scene 10, aboard the SS Rangatira.
Script Excerpt
Online extras!
Discover the story of Australia’s first touring cricket team. Scan or visit https://youtu.be/m0oO4VXtoRs [Mullagh turns to Lawrence.] Mullagh: Hey, Boss. Lawrence: Yes, Johnny. Mullagh: Won’t there be trouble when we get back? LAWRENCE: I think not. Mullagh: What about Constable Kennedy? Lawrence: What can he do to me? I don’t plan to come back to Victoria, I’ll be across the border in New South Wales. Mullagh: We weren’t worried about you, Boss. Lawrence: I’ve been told that Constable Kennedy and a few others have written to the government asking them to refuse our permission. They don’t want to let us go. [Mullagh is worried.] This is too good to miss out on. I’m going to put you boys in the history books. You’ll come back as heroes, the first team ever, from any part of world, to travel to England and challenge the English will be a team of Australian Aboriginals. [Lawrence steadies himself against a rolling sea.] Mullagh: And boss? Are we going to be paid? Lawrence: Paid? Johnny, it’s much too early to worry about details like that. Mullagh: I told the boys we would. Lawrence: You told them?
Mullagh: Fifty pounds I told them. Lawrence: Fifty pounds? Mullagh: When we were going with Mister Wills, we were all going to get fifty pounds and we all signed contracts. Lawrence: Good heavens, lad, none of you can read or… Mullagh: Mosquito can. He told us what was in those contracts. Lawrence: And now you can see that a contract can be … If you sign a contract with a scoundrel… Look, Johnny, here… [Lawrence holds out his hand. Mullagh takes it.] I give you my solemn word that you will be paid, all of you will be paid, fifty pounds, all right, we’ll make it fifty, fifty pounds, subject, you understand, to the tour being a success, and, let’s hope possibly even more than fifty pounds. There. That’s much better than a contract. [Mullagh assumes that the handshake is over but Lawrence hangs on.] And, more than that. Johnny, I will find you the finest coaching in England. You’re a good player, but you will come home an even better player. You will come home a champion. [Again Mullagh assumes that the handshake is over but Lawrence hangs on.]
And here’s another promise. It’s a long voyage to London and I will teach you all to read and write. You can tell that to the rest of the lads. [They finish shaking hands.] Mullagh: Thank you, Boss. Then we can write our own contracts. And give them to you to sign. [Mullagh holds out his hand to Lawrence. Lawrence almost laughs and shakes Mullagh’s hand.] Mullagh: And boss… Lawrence: Yes? Mullagh: Those English doctors… Lawrence: At the first sign of any illness… Mullagh: I don’t feel too good, Boss. [There has been a slight roll to the deck, which might be a bit more pronounced now. Even Lawrence looks queasy.] Lawrence: Sea sickness. And now it’s been mentioned… It will pass. [But after another roll, Lawrence goes to the far side of the deck and leans over the side. Mullagh turns to the audience.] Mullagh: We learnt something. White man’s sick, black man’s sick, it’s all the same colour. [The sound of a big wind filling out the sails, seagulls cry. Mullagh exits. The sound of a mobile phone ringing takes all the cast back to their 2018 characters.] www.stagewhispers.com.au Stage Whispers 25
The national tour of Jimmy Chi’s 1990 ‘breakthrough’ musical Bran Nue Dae brings new distinction to a theatrical work that is one of Australia’s most important cultural treasures. Bran Nue Dae is being given a national production by a consortium of Australian opera companies, and is the first Australian musical to be given a major, commercial revival thirty years after its original production. Its impact has continued to be felt since 1990, and now a new generation of Australians can experience that rare phenomenon: the voice of Aboriginal Australia on the national stage. It all began, following the 1989 workshop, with the original commercial production of Bran Nue Dae, an unprecedented event which proved to be a breakthrough moment for Australian culture in a number of ways. At its core, the musical carried with it a message of reconciliation, with the hope that the spirit of inclusion and acceptance that was palpable in the community of Broome would inspire all Australians to recognise and empathise with the experience of Aboriginal Australians. Bran Nue Dae became the first Aboriginal book musical and the first Australian stage musical to be made into a major feature film (2009). The film, directed by Rachel Perkins with a cast that included Jessica Mauboy, Deborah Mailman, Geoffrey Rush and Ernie Dingo, was a box office success and re-ignited interest in the musical which had opened as part of the
26 Stage Whispers January - February 2020
Bran Nue Dae
As Australian opera companies collaborate to revive a ‘national treasure’, Peter Wyllie Johnston takes us through the 30 year history of this landmark Australian musical. Perth Festival at the Octagon Theatre in Perth on March 1, 1990. Jimmy Chi (1948-2017), the composer and lyricist of Bran Nue Dae, worked with his band Kuckles to produce a melodic score that proved to have instant appeal to audiences. The story of Bran Nue Dae centres on Willie, a young man from Lombadina (a former mission near Broome) who is in Perth to get a proper Catholic education at hands of the German Pallotines. He is caught stealing Cherry Ripes and is told that he is a ‘blot’ on the mission. Willie is expelled. He meets Uncle Tadpole, an old alcoholic relative. They have a chance encounter with Marijuana Annie and her German lover, Slippery. The four decide to leave the misery and cold of Perth and go back to the Kimberley. They encounter many perils on the trip and Chi, with clarity and directness, confronts his audience with messages in a unique and recognisable style in his lyrics, one that was unheard in an Australian musical before: There’s nothing I would rather be Than to be an Aborigine… I’m glad you say that land rights is wrong
Then you should go where you belong I’d be satisfied, To rebuild your convict ships And sail you on the tide. Eventually Willie completes his journey and Bran Nue Dae concludes in love and reconciliation, with everyone discovering they are really Aboriginal. They sing: We’ve nothing old and nothing new Want us all to be like you We’ve no future, we have no past Hope the sun will shine at last On the way to a Bran Nue Dae Everybody, everybody say, On the way to a Bran Nue Dae… The 2009 film version left much of the score intact, and with its stellar cast, Bran Nue Dae would become the only Australian musical on film ever to carry such a powerful view of Australian social history. Of all the Australian musicals produced since 1990, Bran Nue Dae was the boldest attempt to use words and music to convey an original story as one important means of contributing to reconciliation. It signalled a greater acceptance by non -Aboriginal Australians of Aboriginal creativity than had, or could ever have, existed in the past. Bran Nue Dae attracted good audiences wherever it was produced both in Australia and on its tour to Fiji. By any measure, among wholly original Australian musicals, Bran Nue Dae became the standout success. No other musical was as important in cultural terms and no other original Australian musical could match it as a landmark in contemporary Australian culture. Its influence was seen in several ways, most obviously by the emergence of a powerful, undiluted Aboriginal voice in new Australian musicals, a voice that dealt with major
Stage Heritage
Online extras! Naomi Pigram, Teresa Moore, Tehya Jamieson, Michael Mavromatis, Taj Jamieson and Patrick Bin Amat. Photo: Damian Kelly.
Discover the background story of Bran Nue Dae. Scan the QR code or visit https://youtu.be/_CSgvGDPW18
Bran Nue Dae Opens at Riverside Theatres, Parramatta in January, before touring to Perth, Melbourne, Brisbane, Canberra and Adelaide. brannuedaemusical.com.au social issues such as mental illness and racism. In 1996 Chi’s second musical Corrugation Road, written in conjunction with Kuckles, was a semiautobiographical musical about his struggle with mental illness. The score reflected Chi’s religious conviction that (as he wrote in his biography), ‘we must acknowledge God and do to others as we would have them do to us’. In 1997 Chi received the Red Ochre Award for his two musicals. The following year, a re-written version of Corrugation Road was produced again on tour around Australia. The Age newspaper review summed it up as “One Flew Over The Cuckoo’s Nest crossed with Louis Nowra’s Cosi, set to music that veers
from rock to blues to Lloyd Webber to Gilbert and Sullivan … a loose set of episodic vignettes that tell a universal story.” Among Australian writers and musicians, Jimmy Chi shares the rare distinction of creating two major, commercially produced musicals. This distinction is one he shares with Mrs Varney Monk, whose musicals Collits’ Inn (1933) and The Cedar Tree (1934) were produced in Melbourne and Sydney by F. W. Thring. Today, Mrs Monk’s musicals stand as a reminder of a very different Australia; one that celebrated ‘Australianism’ in an era of starkly different social values. By contrast, Jimmy Chi’s musicals continue to bear a considerable relevance. They are not only a testament to his array of talents, but
Peter Wyllie Johnston is one of the authors of The Australian Musical: From the Beginning available for sale from Stage Whispers http://bit.ly/2sDywIH both of them effectively communicate important feelings, political and cultural messages from a part of the Australian community that, until Bran Nue Dae exploded joyously onto the stage, had never voiced its views in such a way before. In style and substance, they have much to say to contemporary Australia. www.stagewhispers.com.au Stage Whispers 27
Can teenagers change the world? Playwright Dan Giovannoni thinks so and his play, commissioned by the Melbourne Theatre Company, shows how it can be done. Stage Whispers: What is the title about? Dan Giovannoni: It is a play about moments and how moments lead to action, and a moment becomes a movement, even a global political movement. The title comes from three incidents - a slap, a bang and a kiss which begin the play. The incidents in the three young people’s lives that change their lives and can potentially change the world as well. Stage Whispers: Please explain the three incidents? Dan Giovannoni: The slap is a young woman living in a military dictatorship, in this not quite real place. She slaps a soldier who is in control of the place. The bang is the bang of a gun - a shooting in a school. The teenager is in class and someone opens fire. The kiss is a kiss between two teenage boys, who are wanting to set a world record for the longest kiss in a supermarket carpark. Stage Whispers: How do the stories intersect? Dan Giovannoni: There are three actors across all the stories - twenty characters across the three stories. They are told simultaneously. The characters never meet but the stories weave in around each other through monologue, and cutting forward to 28 Stage Whispers January - February 2020
each story, but following a similar trajectory. The stories begin small, but as the ripple effect of their actions goes throughout the world more people are affected. Stage Whispers: Is that a central theme - how one incident can start a ripple effect? Dan Giovannoni: It is about the power of people. It is about the power of activism. Particularly the way people, young people, are discredited or underestimated because they are young. Looking at young characters not jaded by the world as adults, their hope is still present and real. In a time where there’s not a lot of hope around, it’s important to have a story that is about hope and credits them. Stage Whispers: What is the hope of a better future? Is it being listened to, or making a difference? Dan Giovannoni: That you can make a difference - not this other world of people that will change the world. It can be you. I was struck by the youthled global movements witnessed in the last couple of years. Also going to the
past where young people have been agents of change. As they step into the world, they look around and ask, does it have to be like this? In recent times we’ve seen Greta Thunberg (climate activist) and Emma González (from March for Our Lives) harness the power of young people to the mass gatherings to let adults know they want to change things. Stage Whispers: Can they change things or is it futile? Dan Giovannoni: Everything is changeable. There is obviously the responsibility of people to listen to those requesting change. Change is possible all the time. To an extent we get to determine those changes. Stage Whispers: Will the play just appeal to young people or a broader audience? Dan Giovannoni: There is a tendency for older people to think that plays about teenagers are not for themselves. I think this play has appeal to anyone who has ever been a teenager. Teenagers are portrayed as lazy, monolinguistic and disengaged. But these are not the teenagers I know, the engaged critical thinkers. Adults will get to see a portrait of teenagers which they don’t normally see.
Slap. Bang. Kiss. On Stage at Southbank Theatre, presented by MTC, from May 7 - 23, before touring Victoria and Tasmania. mtc.com.au
The Soundtrack Of A Generation Concert drama Rolling Thunder Vietnam is returning for a national tour in 2020. The production mixes classic 1960s rock songs and video footage with a series of monologues based on actual letters sent by Australian soldiers. Tom Oliver has played the lead role since the show premiered in 2014. He told David Spicer that he has been inspired by the reaction of Vietnam Veterans to the production.
We’ve done signings after a performance. After hearing themselves represented on stage they often loosen up and tell us (things like) they were flying through the jungle on a chopper listening to Born to be Wild, which we play in the David Spicer: Tell us about your up in this era of music and I heard show. character? these songs through him when I was One Veteran showed me his hip Tom Oliver: Johnny is a young guy growing up. Now I have been fully flask, which saved his hip. It still had who works on a farm in Warwick immersed in this era through the the dint where a bullet hit. (Queensland). He decides to go to soundtrack of this show. David Spicer: Is there a sense of Vietnam for a bit of a holiday. When David Spicer: What is it about the pride from the veterans which was he gets to Vietnam, he realises that it sound of the show which appeals to not the case when they first returned? is not the holiday he thought he was your generation? Tom Oliver: Yes, it is a cathartic in for. He goes through trials and Tom Oliver: The distorted electric experience; they get to grieve and tribulations, and stays connected guitar - most folks from that era love remember some horrible experiences (through letters) with his girlfriend. that sound. They were the pioneers of but are really proud people are David Spicer: Do you have any that rock’n’roll sound. We also have acknowledging that people family connections to the Australian some legendary musicians to play the sometimes died for their country. We military? songs. need to learn from our mistakes that Tom Oliver: My great grand dad David Spicer: What sort of whilst it was not a war-zone that was shot at Pozières during WWI and experiences have you had connecting Australia should have been in, it was was captured by the Germans. He was with veterans? not the soldiers’ fault and we need to released on Armistice Day. My aunty Tom Oliver: It is unique to tell a celebrate their efforts. was a Go Go dancer who entertained story for an audience who have lived the troops in Vietnam and my father through the experience (on stage). was in the Navy from the age of 17. They follow us around. We get David Spicer: Did your father see standing ovations every night. The active service? veterans are so honoured to hear their Tom Oliver: He started just after story from an Australian perspective. the Vietnam War finished. He grew
Rolling Thunder Vietnam Plays at Geelong Arts Centre on Mar 13 and 14; QPAC Concert Hall on Mar 18 and 19; The Star Gold Coast on Mar 21; Hamer Hall, Arts Centre Melbourne on Mar 25; Canberra Theatre on Mar 27 and 28; State Theatre, Sydney on Mar 31; and Coliseum Theatre, West HQ on Apr 3 and 4. rollingthundervietnam.com
Rolling Thunder Vietnam. Photo: Jeff Busby.
www.stagewhispers.com.au Stage Whispers 29
B
roadway uzz
Laura Linney in My Name Is Lucy Barton. Photo: Manuel Harlan.
By Peter Pinne
Laura Linney returns to Broadway in the Manhattan Theatre Club’s My Name Is Lucy Barton, which begins previews January 4, 2020. Adapted by Rona Munro from the novel by Elizabeth Strout, the play is directed by Richard Eyre and plays at the Samuel J. Friedman Theatre. According to the press release, “Linney is Lucy Barton, a woman who wakes after an operation to find - much to her surprise - her mother at the foot of the bed. They haven’t seen each other in years. During their days-long visit, Lucy tries to understand her past, works to come to terms with her family, and begins to find herself as a writer. Linney previously played the show at the Bridge Theatre in London in 2019 where the reviews were glowing, with The Times saying “Linney is simply superb.” Eddie Perfect’s Tony-nominated musical Beetlejuice will close at the Winter Garden Theatre on 6 June 2020, with a national tour planned for 2021. Based on the 1988 Warner Bros. film of the same name, it is directed by Alex Timbers and stars Alex Brightman in the title role. Tootsie, Santino Fontana’s cross-dressing musical based on the 1982 Dustin Hoffman movie, has also announced it is closing 4 January 2020. Both Beetlejuice and Tootsie opened around the same time last year and, despite critical plaudits, Tootsie has had trouble at the box-office whereas Beetlejuice has climbed the ladder to hit status. Tootsie hit its box-office peak of $1.1 million just four weeks after it opened, but Beetlejuice, which opened two days after Tootsie, did not reach its peak of $1.2 million until its 20th week. However, Tootsie’s producers have faith in their product and will also take it on the road, with a North American tour kicking off in October at Shea’s Buffalo Theater. Plans for several international productions are under way. Rumour has it the reason Beetlejuice was given its marching orders is that the boxoffice dipped below $1 million per week so the theatre owners decided to use their get-out clause. After a twenty-two year wait, Richard Cocciante and Luc Plamondon’s Notre Dame de Paris is to finally make its New York debut for seven performances, 9-13 September 2020, at the David H. Koch Theater at Lincoln Center. It will be performed in French with English supertitles and a live orchestra, and heads to New York direct from a sixweek engagement in Canada, following a celebrated run at London’s Coliseum last January. The show played Las Vegas in 2000 and there was a successful London season at the Dominion Theatre which ran for 17 months and starred Tina Arena, who recorded the hit single “Live For the One I Love”. Natalie Wood’s 1969 hit movie Bob & Carol & Ted & Alice, which also starred Robert Culp, Elliott Gould and 30 Stage Whispers January - February 2020
Online extras!
Laura Linney and Richard Eyre wax lyrical about My Name Is Lucy Barton. https://youtu.be/uv0QzeJhBIo Dyan Cannon, has been dusted off for its new musical incarnation which will play Pershing Square Signature Center 16 January - 15 March. With music and lyrics by Duncan Sheik (Spring Awakening), additional lyrics by Amanda Green, and a book by Jonathan Marc Sherman, it will be directed by Scott Elliott, with choreography by Kelly Devine, musical direction by Jason Hart and costume design by Jeff Mahshie. Jennifer Damiano (Carol), Ana Nogueira (Alice), Joél Pérez (Bob) and Michael Zegan (Ted) will star along with Sheik. The plot features a couple who try to modernise the thinking of their best friends about sexual freedom. It was the top box-office hit of 1969 and led to a spate of further movies about wife-swapping and infidelity. James Cromwell and Jane Alexander star in Bess Wohl’s Grand Horizons, which is now playing at Broadway’s Helen Hayes Theatre. They star as Bill and Nancy, who have spent fifty years together as husband and wife; they practically breathe in unison and can anticipate each other’s every sigh, snore and sneeze. But just as they settle comfortably in their new home in Grand Horizons, the unthinkable happens and Nancy suddenly wants out. As their two adult sons struggle to cope with the shocking news, they are forced to question everything they assumed about the people they thought they knew best. The cast also features Ben McKenzie as Ben, Michael Urie as Brian, Ashley Park as Jess, Maulik Pancholy as Tommy and Priscilla Lopez as Carla. Leigh Silverman directs. Austin Durant (You Can’t Take It With You) has stepped into the shoes of Harold Zidler in Broadway’s Moulin Rouge, filling in for Danny Burstein during his sixweek doctor-ordered medical leave of absence to repair his torn meniscus (knee cartilage). The hit musical, which stars Aaron Tveit and Karen Olivo, is still sizzling at the box-office, selling-out, and taking in excess of $2,300,000 each week.
London Calling
Rosalie Craig in City Of Angels. Photo: Johan Persson.
By Peter Pinne According to London’s Daily Mail, Andrew Lloyd Webber wants his new non-traditional version of Cinderella to open in 2020 if he can find the right theatre, be it on Broadway or in London. He would prefer the latter. He’s been working in a studio with actress Carrie Hope Fletcher (Les Misérables), who’s likely to take the title role, recording some songs written with lyricist David Zippel (City of Angels) and book writer Emerald Fennell (The Crown). Lloyd Webber claims the version they are doing is “very alternative”, with Cinderella “a misfit, a rebel and unconventional. The Ugly Sisters are very beautiful, and Cinderella lives in the South of France where, once again, everything is beautiful. The village has won prizes for 49 years as the most beautiful village. But the 50th time they enter they lose, because Cinderella has done something very naughty.” Some of the song titles are “Bad Cinderella” and “Far Too Late”. There is to be a dance and movement workshop in London in March. Laurence Connor will direct, with Gabriela Tylesova doing scenic and costumes design, and JoAnn Hunter as choreographer. Theo James (Divergent) and Jonathan Slinger (Charlie and the Chocolate Factory) will join Vanessa Williams (Ugly Betty), making her West End debut in the upcoming transfer of Donmar Warehouse’s Olivier Award-winning City Of Angels. They play Stone and Buddy/Irwin, with Williams as Carla/Alaura. Hadley Fraser repeats his role of Stine from the 2014 production, and is joined by Rosalie Craig (Company) as Gabby/Bobbi and Rebecca Trehearn (Show Boat) as Donna/Oolie, also reprising their 2014 performances. Also making her West End debut is former Girls Aloud singer Nicola Roberts. The musical is a beloved spoof of 1940s Hollywood film noir. The entire 2014 creative team will reunite under the direction of Josie Rourke. City of Angels begins performances 5 March 2020 at the Garrick Theatre. The upcoming London production of Pretty Woman has found its leading actors, Aimie Atkinson (Six) and Danny Mac (White Christmas), who will star in the musical that begins previews in February at the Piccadilly Theatre. They play Vivian and Edward respectively, characters originally created on film by Julia Roberts and Richard Gere. The musical premiered on Broadway in 2018 and has original music and lyrics by Bryan Adams and Jim Vallance (as well as the Roy Orbison hit “Pretty Woman”), with a book by Garry Marshall and the movie’s screenwriter J. F. Lawton. Pretty Woman the Musical will be directed and choreographed by Jerry Mitchell, who handled the same chores on Broadway, with scenic design by David Rockwell, costumes by Tom Rogers (based on
Online extras!
Watch a cast performance of “What You Don’t Know About Women”. https://youtu.be/OlqH4NfaPj0 the Broadway originals by Gregg Barnes) and music supervision, arrangements and orchestrations by Will Van Dyke. And while we’re talking about Pretty Woman, Broadway’s original Vivian, Samantha Banks, has been announced to play Elsa in Disney’s upcoming West End premiere of Frozen. Best know for her role of Eponine in the movie version of Les Misérables, Banks also appeared in Donmar Warehouse’s 2014 City of Angels, as Nancy in Oliver!, in Jason Robert Brown’s The Last Five Years at the St James Theatre, and a UK tour of Cabaret. Inspired by Hans Christian Andersen’s The Snow Queen, Frozen follows a princess who journeys to find her estranged sister and free her from a kingdom trapped in eternal winter. As Elsa, Banks gets to sing the film’s breakout anthem “Let it Go”. Frozen is set to open at the Theatre Royal Drury Lane in October after the theatre’s 60 million pound restoration project. The complex of bars and restaurants that are part of the theatre’s wider development will be known collectively as “The Lane”. Tickets go on general sale in March 2020. Dear Evan Hansen has extended its booking period to 3rd May 2020. Now playing at the Noël Coward Theatre, Broadway’s Tony winning musical of 2018 has been recognised by the critics for its “stunningly slick and sleek production”, with accolades for Sam Tutty, making his West End debut as Evan, claiming “Tutty shines in bold Broadway musical export that mines new terrain.” Michael Billington in The Guardian said, “I admired the show without lapsing into unqualified rapture,” whilst the Evening Standard praised Tutty (“startlingly raw and convincing”), and the score and lyrics (“have a clean-cut simplicity and a lack of bombast”), but said “ultimately this is a high school drama about stalkers, trolls and those who piggyback on tragedy. Which may be a tough sell for a London musical audience.” The cast includes Lucy Anderson (Zoe Murphy), Rebecca McKinnis (Heidi Hansen), Lauren Ward (Cynthia Murphy), Doug Colling (Connor Murphy), Rupert Young (Larry Murphy), Jack Loxton (Jared Kleinman) and Nicole Raquel Dennis (Alana Beck). The score is by Benj Pasek and Justin Paul (The Greatest Showman/La La Land) with direction by original Broadway director Michael Greif. www.stagewhispers.com.au Stage Whispers 31
Lilydale Athenaeum foyer. Photo: Simon Parris.
In Melbourne and Sydney, community theatres are custodians of historic venues which give audiences a unique experience. Our correspondents Simon Parris and Carol Wimmer describe what it’s like to attend a performance at the Lilydale Athenaeum and Genesian Theatres, respectively. Lilydale Athenaeum Theatre Not just a beautiful historic venue, the Athenaeum Theatre, Lilydale is surely one of the most generous and hospitable theatres in Australia. Once a semi-rural town, Lilydale is now firmly attached to the suburban sprawl in Melbourne’s outer east. On this day, the township is buzzing with the annual Lilydale Show. Leaving the bustling crowds behind to step into the vestibule of the Athenaeum Theatre is to step back to a time of genteel serenity. Furnished in burgundy brocade wallpaper and matching carpet, the room glows with antique lamps, a glass cabinet proudly displaying the trophies won by the company. A marble tablet memorialises the Mechanics Institute and free library that stood on this site from 1888. Stepping through to the main foyer, there is a strong sense of history, with an abundance of posters of past productions alongside gleaming World War Honour Rolls. Audience members are enjoying the free pre-show sherry, a cherished tradition, from half an hour before curtain at each performance and free programs handed out by volunteers. The production on show today is the popular new Australian musical Ladies in Black. For a company that 32 Stage Whispers January - February 2020
generally stages plays, the musical is good fit, with its tight ensemble cast and richly drawn characters. The musical’s setting in the late 1950s also brings a welcome sense of nostalgia for the company’s regular attendees. The season has sold around 2700 seats, proving popular with the company’s bank of 1300 subscribers. The director of Ladies in Black, Alan Burrows, also serves as Chairman of the Board of Lilydale Athenaeum Theatre Company. Over 40 years, Mr Burrows has directed 39 shows and choreographed ten. The foyer of the theatre is named after his father Harold, who directed 19 productions at the Athenaeum. Mr Burrows’ mother Doreen acted in several of them. Following its initial life as a Mechanics Institute, the building became an RSL, the centenary of which was celebrated in January 2019. In line with this history, the building is open for a function every Anzac Day. Coming to the attention of local television producers, the theatre was rented out to film an episode of the mystery series My Life is Murder, which stars Lucy Lawless. Local audience members joined television extras in the auditorium for the filming. The building was converted to a theatre in 1976, and the Athenaeum Theatre Company is the sole occupant
with a long-term lease. The company stages four productions each year, focusing on shows that will appeal to good directors and actors as well as to the audience. Ladies in Black, a co-production with the Malvern Theatre Company, had a relatively generous budget, allowing for a full range of period costumes. Scenic design is expanded with projections, bringing the 1950s to vivid life. The auditorium comfortably houses 200 patrons, with good sightlines. The dark burgundy decor continues through the auditorium, with a highlight being the white swirled pattern on the original pressed steel ceiling. Plays are performed acoustically, with a small number of plate and shotgun microphones used in musicals to give the vocals a boost. Cast members are accommodated in dressing rooms and green room below the stage. Sets and scenery are constructed in an adjacent workroom. The theatre enjoys a good relationship with the nearby Melba Museum, and a room adjoining the main foyer contains the theatre’s own collection of Melba memorabilia, including photos and newspaper covers. Some of the items are reproductions created by Lilydale Historical Society volunteer Sandy Ross, who sadly passed away in 2019. More of the theatre’s own history is also on display in this room, including costumes and set boxes. Pre-show sherries and programs are not the only bonus attractions of attending a show at the Athenaeum. At interval, the foyer fills with audience members enjoying the complimentary tea, coffee, soft drinks and biscuits. Further complimentary beverages and savoury nibbles are served after the performance, giving audience members the chance to meet and mingle with the cast. Easily reached by train, Lilydale has an old-world charm, underpinned by the charming character of the Athenaeum Theatre. The 2020 season for Lilydale Athenaeum Theatre Company includes The Full Monty and Witness for the Prosecution.
Venue Spotlight
The Genesian Theatre’s Last Chapter In the heart of Sydney, dwarfed by surrounding warehouses and skyscrapers, nestles a little sandstock building that has been part of the city’s history since 1868. It began life as the Church of St John the Evangelist and for sixty-four years served as both a church and a poor school. In 1932 it became the Kursaal Theatre, home of the Sydney Repertory Company, then, from 1938 to 1954, it served the less fortunate as Sydney’s first Matthew Talbot Hostel. For the past sixty-five years it has been the home of the Genesian Theatre Company, one of Sydney’s most highly respected community theatres. Named after Saint Genesius, the patron saint of actors, the company, formed in 1944, has nurtured its historic home, (Continued on page 35) www.stagewhispers.com.au Stage Whispers 33
Venue Spotlight
34 Stage Whispers January - February 2020
Grant’s brothers, sister and his son have all performed on the Genesian stage - along with more than 11,700 actors preserving its distinctive façade and the original wooden and creatives. Some, like veteran actor and director John fence that still protects it from passers-by. Bell, playwright Peter Kenna, broadcaster James Dibble Walk with me along Kent Street from Darling Harbour and movie director Baz Luhrmann moved on relatively to the classic yellow neon sign that has been beckoning quickly to greater things. Others, like Bryan Brown, Peter theatre goers for years. Look up to the widows above the Carroll, Sarah Chadwick, Colleen Clifford and Kevin door, where the Greek theatre masks are depicted in Jackson, performed in many productions before their painted glass. Come with me through the narrow double talent took them to the wider theatre world. wooden doors into the tiny foyer where members of the The company has mounted 441productions in 75 company do their ‘front-of-house turns’ at the box office years. Many of these premiered on the Genesian stage. or usher us into their little theatre that proudly still Many introduced new Australian playwrights. Some of whispers of its historic past. their Shakespearean productions moved on from Kent See how the transept has become a raised stage. Street to other, bigger stages. Today the company mounts Behind its velvet curtains, look up to the original ornate six plays a year, no mean feat for a group of devoted stained glass windows that grace the high back wall. ‘volunteers’ who rehearse and build in other spaces, then Damaged in 1968, these windows were lovingly rebuilt ‘bump in’ to the theatre, transporting the set and into metal-hinged frames. Light boxes behind them reconstructing it ready for final rehearsals. ingeniously imitate the light that would have shone The 2020 season includes three Sydney premieres: The through them before higher buildings blocked out the Ladykillers, adapted by Graham Linehan, based on the sun. film of the same name; Sherlock Holmes and the Death On either side of the theatre, notice the painted lead on Thor Bridge, adapted by company stalwart Sandra light windows that commemorate the company’s very first Bass; and William Shakespeare’s Long Lost First Play production, The Comedian, performed in 1945, and, (Abridged) by Reed Martin and Austin Tichenor. appropriately, Murder in the Cathedral, their first play at Comedy and tragedy, mystery and satire, new and old. this, the Genesian Theatre, in 1954. This, surely, is a season that will please … but, sadly it From the stage, a slight rake houses the main body of may be their last. Like so many of Sydney’s old and the theatre with seating for 87 patrons. Behind it, also cherished buildings, this special little theatre is soon to be rebuilt in 1986, is the control box, the technical hub of subsumed into a major redevelopment. every production. Turn and look above the control box to For over a hundred and fifty years its stained-glass the quaint “Dress Circle” and climb the metre-wide windows have kept watch over a diverse variety of Sydney staircase built by the members to replace the ladder that -siders - church congregations, schoolchildren, homeless once led to the original choir gallery. Here 38 patrons look men, nearly twelve thousand theatre practitioners and down on the stage - and I’m assured by archivist/ over fifty thousand theatre patrons. Its sandstock walls historian/set builder/photographer Grant Fraser that have seen a city change and grow. The little wooden front “seats 8 and 9 in the front of the circle are the best seats fence has protected it from horse-drawn carriages, cars in the house”. and skateboards. Perhaps the ghosts of church wardens, Genesians like Grant are justly proud of their theatre teachers, directors and players past - and Saint Genesian and its history. For many it has been a family affair. himself - will breathe a little history and classic culture Harold Fraser, Grant’s father, was a foundation member. into the new walls that rise around them. (Continued from page 33)
www.stagewhispers.com.au Stage Whispers 35
Bringing The Puppets Back To Life Preserved in their calico bags, with many dangling from their strings in the dark inner sanctum of the archive, are 170 puppets, mostly from Marionette Theatre of Australia from productions including The Tintookies, Dr Rodney Seaborn dedicated himself to the development of Sydney The Magic Pudding, The Explorers and theatre 33 years ago by establishing a philanthropic foundation to The Water Babies. restore Sydney theatres, support the creators of new productions and As part of North Sydney’s annual Children’s Festival in October, the to collect and preserve cultural heritage. Foundation arranged for music He scoured the city and enticed and country NSW programs, covering teacher Janet Bagnall and puppeteers theatre lovers to lodge their theatre, circus, dance, opera and Maddy Slabacu and Ben Kuryo to memories, records and artifacts with other vocal music productions have bring some of the Mysterious his archive. been individually recorded and Potamus puppets back to life in the Today the Seaborn, Broughton & arranged in 129 separate collections Foundation’s theatre space. The Walford Foundation houses an from Actors’ Company to Zenith puppets have enthralled a new enormous variety of theatrical items, Theatre. These range from big generation of children. including 170 marionette and rod professional companies to amateur The Foundation has an ongoing puppets, tens of thousands of and even school productions. The program of public performances and programmes and photographs, film catalogue will soon be available talks, and provides affordable and sound recordings, posters, online. rehearsal space for small professional theatre designs and set boxes, and personal and organisational records. The latter include the Independent and Ensemble Theatres, the Stables/ Griffin Theatre Company and Syd Irving’s JC Williamsons papers from the 1950s. More than 80 collections of personal records include papers donated by Colleen Clifford, Gwen Plum, John Tasker, theatre critic Norman Kessell, ABC’s ‘The Showman’ John West, Robert Levis, Richard Bradshaw and JC Williamson’s diary. The archive also has a large collection of books and periodicals.
Theatre Treasures In Safe Hands
New Location For many years housed in industrial buildings in southern Sydney, the massive collection has been relocated to attractive office space in the Neutral Bay shopping precinct - one bus stop north of Wynyard. This has increased the accessibility of the archive to researchers, and forged closer links with the performing arts sector and the community. Theatre Programmes Appraising, arranging and preserving this treasure trove is an ongoing task. Focus had been on the more than 100,000 donated programs, which include many duplicates. More than 17,000 Sydney 36 Stage Whispers January - February 2020
John Senczuk researching for his book Griffin Rising: The first decade of the Griffin Theatre Company (1979-1988), with Neil Pollock, the Foundation’s archivist in the background
In addition, interstate and classical music programs have been arranged but not recorded. Volunteers are currently sorting through about 20,000 overseas productions. Those with Australian connections will be preserved. Inevitably the project has identified tens of thousands of excess programs dating back to the 1930s. Theatre lovers seeking to add to their own collections can buy them from the Foundation for $3 each.
theatre and music groups. It is also better positioned than ever to serve the needs of theatre researchers. To become a Friend of the Foundation, to join an enthusiastic group of theatre lovers who are keen to support of the performing arts and preserve theatre history, for volunteer opportunities and to receive the Newsletter with invitations to Foundation events, ring Carol Martin on (02) 9955 5444.
Community Theatre Seasons 2020
Amy Curtin in Willoughby Theatre Company’s Sweet Charity. Photo: Grant Leslie.
www.stagewhispers.com.au Stage Whispers 37
You across the country. The King is still in at least one building with All Shook Up, while Peter Allen continues Jukebox is set to provide the soundtrack for call Australia home with productions of The Boy From Community Musical Theatre in 2020. Oz. Abba looks set to be ‘Top of the Pops’, with Mamma Elsewhere on the musical theatre circuit there’s a Mia! the most popular musical on the circuit, following broad mix of choices, stretching from Gilbert and several successful productions in 2019. Sullivan operettas, to classic musicals and contemporary But there’s plenty of competition from newly hits. released biographical jukebox musicals about big name As usual, our theatre companies are presenting an popular music stars, and a well-loved Aussie road trip incredibly broad classic and contemporary repertoire show. including comedies, dramas, thrillers, farces and more, Beautiful: The Carole King Musical will give Abba a with a diverse mix of Australian plays across the mix. run for their money from the first half of the year, while productions of Jersey Boys are springing up later in the year. How many aspiring Carole Kings and Frankie Vallis around the country dream of playing the popular music icons at the heart of these shows? Drag takes to the community musical theatre stage for the second year in a row, with Priscilla Queen of the Desert stepping into the high heels of last year’s hit Kinky Boots. That iconic bus, with its diverse playlist, is headed off into the outback from theatres across the country. Buses, and minibuses, are already on the drawing boards and production lines in props departments around the country, designed to manoeuvre their way around stages large and small, while there’s certain to be quite a run on beading, bling, sequins and diamantes. Queen continues to be popular on the community theatre charts, with several productions of We Will Rock
Seasons 2020
Emilie Lawson in Miranda Musical Society’s Beautiful: The Carole King Musical. mirandamusicalsociety.com.au
38 Stage Whispers January - February 2020
www.stagewhispers.com.au Stage Whispers 39
40 Stage Whispers January - February 2020
Seasons 2020
Robert Snars, Dimitri Armatas and Nicole Harwood as the Butler, Jekyll/Hyde and the Maid respectively, in Castle Hill Players’ production of The Strange Case of Dr. Jekyll and Mr Hyde. From Jan 31 at the Pavilion Theatre. Photo: Chris Lundie.
A.C.T. Free-Rain Theatre Company: Mamma Mia! (Apr/May). Queanbeyan Players: The Sound of Music. Canberra Rep: The Grapes of Wrath (Feb), Brighton Beach Memoirs (Apr/ May), The Governor’s Family (Jun), What the Butler Saw (Jul/Aug), Doubt, A Parable (Sep), Absurd Person Singular (Nov/Dec). Child Players: Peter Pan (Jan), The Jungle Book (Jul), The Pirates of Penzance (Oct). Canberra Philharmonic Society (Philo): The Who’s Tommy (Mar), Jersey Boys. Tempo Theatre: Hello … Is There Any Body There? (May) New South Wales Miranda Musical Society: Beautiful: The Carol King Musical (Mar), Priscilla Queen of the Desert - The Musical (Sep). Willoughby Theatre Company: Priscilla Queen of the Desert: The Musical
(May), Cabaret Show (Aug), Mamma Mia! (Oct). Packemin Productions: Les Misérables (Feb), We Will Rock You (Jul/Aug). Strathfield Musical Society: Iconic: Great Moments in Music (May), Legally Blonde (Oct). Engadine Musical Society: Wicked (May), Freaky Friday (Oct). Bankstown Theatre Company: The King and I (May), You Can’t Take It With You (Aug), In The Heights (Nov). EUCMS (Eastwood): Princess Ida (May). Manly Musical Society: Gala Benefit Concert in Support of Care for Claire (Feb), Disney’s Alice in Wonderland Junior (Mar), Miss Saigon (Jul). North Shore Theatre Company: The 25th Annual Putnam County Spelling Bee (May), Heathers The Musical (Sep). NUCMS: She Loves Me (Jun), Patience (Oct).
Rockdale Opera Company: HMS Pinafore (May), Die Fledermaus Gala Concert (Jul), The Magic Flute (Nov). The Regals Musical Society: Be More Chill (Mar), Anything Goes (Jun). Hornsby Musical Society: Beautiful: The Carol King Musical (Apr/May), Holiday Inn (Oct). Blue Mountains Musical Society: Mamma Mia! (May/Jun), Jersey Boys (Oct/Nov). Holroyd Musical and Dramatic Society: Disney’s Beauty and the Beast (Jun). Rockdale Musical Society: Singin’ in the Rain (Mar), 13 The Musical (May), Oliver! (Sep). Hills Musical Theatre Company: High School Musical: On Stage, The Sound of Music. Gilbert & Sullivan Opera Sydney: The Sorcerer (Oct). Dural Musical Society Inc: Ali Baba and the Forty Thieves (May), Oklahoma! (Oct).
www.stagewhispers.com.au Stage Whispers 41
Seasons 2020 Sydney Youth Musical Theatre: Kinky Boots (Jul), The Addams Family (Nov). Campbelltown Theatre Group: Mamma Mia! (Feb/Mar), Death of a Salesman (May), The Addams Family (Oct). Castle Hill Players: The Strange Case of Dr Jekyll & Mr Hyde (Jan/Feb), Things I Know to be True (Mar/Apr), Always a Bridesmaid (May/Jun), The Cripple of Inishmaan (Jul/Aug), Roald Dahl’s The Witches (Sep/Oct) and Entertaining Angels (Nov/Dec). Liverpool Performing Arts Ensemble: The Tempest (May). Blackout Theatre Co: We Will Rock You (May), 20th Anniversary Gala, The Boy From Oz. The Theatre On Chester (Epping): In Duty Bound (Apr/May), Blithe Spirit (Jul/Aug), Things I Know To Be True (Nov). Pymble Players: The Shoe-Horn Sonata (Feb/Mar), Blithe Spirit (May), You
Can’t Take It With You (Jul/Aug), Pack of Lies (Oct). Guild Theatre, Rockdale: Looped Australian Premiere (Feb/Mar), Crown Matrimonial (May/Jun), Gasping (Aug/ Sep), Calendar Girls (Nov/Dec). Hunters Hill Theatre (Now performing at Hunters Hill Town Hall): The Mousetrap (Mar/Apr), 84 Charing Cross Road (Jul/Aug), Australia Day (Nov/Dec). Genesian Theatre: The Ladykillers (Jan/ Feb), Sherlock Holmes and the Death on Thor Bridge (Feb-Apr), William Shakespeare’s Long Lost First Play (Abridged) (Apr/May), Agatha Christie’s The Secret of Chimneys (May-Jul), A Passage to India (Jul/ Aug), Lady Windermere’s Fan (Sep/ Oct). Arts Theatre Cronulla: Don’t Dress for Dinner (Feb/Mar), Travelling North (May/Jun), Life Without Me (Jul-Sep), The Book of Everything (Oct/Nov). Penrith Musical Comedy Company: Grease (May), Annie (Oct). Elanora Players: Calendar Girls (Jan), Moon Over Buffalo (Apr).
Combative parents Veronica Novak (Angela Gibson) and Alan Raleigh (Gavin Leahy) face off, literally, in Arts Theatre Cronulla’s 2019 production of God Of Carnage. Photo: Port Hacking Camera Club.
42 Stage Whispers January - February 2020
Lane Cove Theatre Company: The Complete Works of William Shakespeare Abridged (Feb), Steel Magnolias (May), Retrospective - a Cabaret Showcase (Jun), A Streetcar Named Desire (Aug), In A Nutshell 10 minute play festival (Sep), Hercules (Nov). Henry Lawson Theatre (Werrington): God of Carnage (Mar), Ruby Moon (Jun), Third World Blues (Sep), It’s My Party and I’ll Die If I Want To (Nov). Glenbrook Players Inc: Orson’s Shadow (May), Lend Me a Tenor (Nov). Blackheath Theatre Company: More Than a Little Black Dress (May), Out of the Blue - Short Play Season (Jul), The Peach Season (Oct). Picton Players: Fawlty Towers (Apr/ May) Richmond Players: Allo, Allo! (Mar/ Apr), Les Misérables (Aug), Milo’s Wake (Nov). Cumberland Gang Show (Scouts and Guides): Rise Up (Jul).
www.stagewhispers.com.au Stage Whispers 43
44 Stage Whispers January - February 2020
Bankstown Theatre Company’s My Fair Lady. Photo: Ray Parkinson.
Newcastle and Hunter Region Atwea College: Plaques and Tangles (Apr), Unlocked (May), Cosi (Jun), Hunter Cabaret Festival (Jul), Jesus Christ Superstar (Sep), Snow White and the Seven Dwarfs (Oct). Bearfoot Theatre: Do Your Parents Know You’re Straight? (Aug). Bling Productions: Grease (Jul). High Street Productions: Seussical KIDS (Apr) Hunter Drama: Roald Dahl’s The Witches (Apr), Almost, Maine (May), Alice in Wonderland JR (Jul), The History Boys (Aug), Tarzan - The Musical (Oct), Sweet Charity (Dec). Knock&Run Theatre: The Unseen (Mar), Play Date (May), Two Point Oh (Aug), Trevor (Oct). Maitland Repertory Theatre: Australia Day (Feb), Mr. Melancholy (Mar), Agatha Christie’s The Mousetrap (Apr/ May), After Happily Ever After (Jul), Twelfth Night (Reamus Youth Theatre, (Aug), The Effect of Gamma Rays on Man-in-the-Moon Marigolds (Oct).
Seasons 2020
Metropolitan Players: The 39 Steps (Mar); Priscilla, Queen of the Desert (Aug). Newcastle Theatre Company: A Comedy of Tenors (Feb), Daughters of Heaven (Mar), Glorious! (May), Murder on the Nile (Jun), Steel Magnolias (Jul/Aug), Play in a Day 20 (Aug), The House of Bernarda Alba (Aug/Sep), Barefoot in the Park (Oct), A Hit and Miss Christmas (Nov/Dec). Indie Season: The Laramie Project (Seated Ovation, May), Art (BlackJack Theatre, Sep), Trevor (Knock&Run Theatre, Oct). Opera Hunter: She Loves Me (Feb/ Mar), La Traviata (Jun), Love, Life & the Americans and Amahl & The Night Visitors (Dec). St Philip’s Christian College, Newcastle: Aladdin JR (Jun). Stray Dogs Theatre: Love Magic/ Behind the Wire (Apr), Being Sellers (Nov). Theatre on Brunker: Chapter Two (Mar), Ladies in Black (Jun), The Matchmaker (Sep), Godspell (Nov). The Very Popular Theatre Company: Chess the Musical (Mar), Just
Macbeth (Jul), Awkward Conversations with Animals I’ve F*cked (Sep), Mystery Musical Vol. 2 (Nov). Young People’s Theatre: Picnic at Hanging Rock (Feb), Chitty Chitty Bang Bang (Apr/May), The Wizard of Oz (Jul/Aug), A Midsummer Night’s Dream (Oct), A Year with Frog & Toad (Nov/Dec). N.S.W. Central Coast Wyong Musical Theatre: The Addams Family (May), Disney’s The Lion King Jr (Jul), Little Shop of Horrors (Sep). Gosford Musical Society: Disney’s Alice in Wonderland Jr (Jan), Mamma Mia! (Mar), 42nd Street (Jul/Aug), Beautiful (Oct). Woy Woy Little Theatre: The Final Test (Feb), Ladies in Lavender (May), Appointment with Death (Aug), Ben Hur (Nov). Wyong Drama Group: King & Country - Anzac Tribute (Mar), The Full Monty (May), N.S.W. Play Festival (Jun), Birthrights (Sep), Nunsense Xmas Spectacular (Dec) www.stagewhispers.com.au Stage Whispers 45
Seasons 2020
N.S.W. North Coast Ballina Players: Dr Dolittle Jr (Jan), Dial M For Murder (Mar/Apr), Priscilla Queen of the Desert (Jun). Lismore Theatre Company: Soft Murder (Mar/Apr), The Touch of Silk (Jun), Educating Rita (Aug/Sep), Neighborhood Watch (Oct/Nov) Coffs Harbour Musical Comedy Company: Into the Woods (May), Mamma Mia! (Nov). Criterion Theatre Grafton Inc: Joseph and the Amazing Technicolor Dreamcoat (Mar/Apr). Murwillumbah Theatre Company: Elise and Norm’s Macbeth (Mar), Keeping Up Appearances (May/Jun), James and the Giant Peach (Oct / Nov). Players Theatre, Port Macquarie: Something’s Afoot (Mar), Chemical Imbalance - A Jekyll and Hyde Play (May), Leader of the Pack (Jul/Aug), Are You Being Served (Sep), Oliver! (Nov). Taree Arts Council: Mamma Mia! (Oct).
46 Stage Whispers January - February 2020
Meg Bennett as Hotspur and Hannah Martin as Prince Hal in Nash Theatre’s 2019 production of Shakespeare’s Henry IV Part One. Photo: Jason Nash.
CHATS Productions Inc (Coffs Harbour): Romeo and Juliet (Apr), Steel Magnolias (Jul/Aug), The Importance of Being Earnest (Oct). N.S.W. South Coast and Southern Highlands Nowra Players: Mamma Mia! (Mar), Letters to Lindy (May/Jun), Baskerville (Aug/Sep), Dinkum Assorted (Nov/ Dec). So Popera (Wollongong): Legally Blonde (Jan). Roo Theatre Co (Shellharbour): Aladdin The Panto (Jan). Arcadians Theatre Group (Corrimal, Wollongong): The Pirates of Penzance (Mar), Ladies in Black (Jun). Spectrum Theatre Group (Merimbula): The Little Mermaid Jr. Highlands Theatre Group, Mittagong: Jesus Christ Superstar (Jul). Wollongong Workshop Theatre: Ruben Guthrie (Feb/Mar), Boeing Boeing (May), Angels in America Part 2: Perestroika (Jul), The Clean House (Sep), The Mousetrap (Nov).
Albatross Musical Theatre, Nowra: Annie (Jun/Jul), Alice in Wonderland (Oct), Jesus Christ Superstar (Nov). Regional N.S.W. Parkes Musical & Dramatic Society: Into the Woods Jr (Mar). Orange Theatre Company: Mamma Mia! (May). Tamworth Musical Society: Mamma Mia! (May), Sweeney Todd (Oct). Tamworth Dramatic Society: She Kills Monsters (Mar), Steel Magnolias (Aug), A Midsummer Night’s Dream (Nov). Armidale Drama and Musical Society: Favourite Shorts 2020 (Mar), Mamma Mia! (Jun), Little Gem (Oct), Forever vs No Tomorrow (Nov). Albury Wodonga Theatre Company: Cat on a Hot Tin Roof (Apr), Disney’s Aladdin Jr (May), Thumbelina (Jul). Carillon Theatrical Society (Bathurst): The Sound of Music (May). Singleton Theatrical Society: The Addams Family (Jun).
www.stagewhispers.com.au Stage Whispers 47
48 Stage Whispers January - February 2020
Queensland Savoyards: Into the Woods (Mar), Oliver! (Jun/Jul), The Wizard of Oz (Sep/Oct). Queensland Musical Theatre: The Producers (Jun), Hello, Dolly! (Nov). Sunnybank Theatre Group: Viagara Falls & the 70-Year-Old Virgin (Feb), The Beauty Queen of Leenane (Apr/ May), First Things First (Jun), Xanadu (Aug), Sunflowers (Sep/Oct), Little Red Riding Hood (Nov). Brisbane Arts Theatre: Main Stage: A Streetcar Named Desire (Jan/Feb), The 39 Steps (Mar), Our House (Apr/May), Mary Poppins (May-Jul), The Woman In Black (Aug/Sep), Terry Pratchett’s Feet of Clay (Sep/Oct), The 25th Annual Putnam County Spelling Bee (Oct/Nov) Children’s Theatre: Roald Dahl’s The Twits (Jan-Apr), Curious George (Mar-May), Sleeping Beauty (Apr-Jun), The Hundred and One Dalmatians (Jun -Aug), Garfield (AugOct), The Tale of Peter Rabbit (SepNov), Alexander and the Terrible, Horrible No Good, Very Bad Day (NovDec).
Villanova Players: Falling From Grace (Mar), Switzerland (Apr), An Ideal Husband (Jun), Songs for Nobodies (Jul), Quartet (Aug/Sep), The Lion In Winter (Nov). Mousetrap Theatre Company: Captain Hook’s Revenge (Jan), The Opposite Sex (Feb/Mar), The Addams Family (May), One-Act Play Night (May), Murrumba Drama Festival (Jun), The Lady in the Van (Jul/Aug), Dial M For Murder (Sep/Oct), Interactive Murder Mystery (Nov). PRIMA: Life Is a Cabaret (Mar). Nash Theatre: Casablanca (Feb/Mar), Deathtrap (May), P.S. Your Cat is Dead (Jul), A Season of One Act Plays (Oct), Ding Ding (Nov). Centenary Theatre Group: Mr Bailey’s Minder (Mar), Love, Loss and What I Wore (May/Jun), Radium Girls (Aug), Unnecessary Farce (Sep/Oct), Go Back For Murder (Nov). St Luke’s Theatre Society: The Importance of Being Earnest (Mar), The Dinner Party (Jun), Natural Causes (Aug/Sep), Living Together (Nov).
Seasons 2020 Phoenix Ensemble: Little Miss Sunshine (Jan/Feb), Kinky Boots (May), Side Show (Jul/Aug), Be More Chill (Oct/Nov). Growl Theatre: Rumours (Feb/Mar), The Importance of Being Earnest (May/Jun), Miss Bennet; Christmas At Pemberley (Nov/Dec). Tweed Theatre Company: The Snow Queen (Mar), A Red Plaid Shirt (Jun/ Jul), The Fabulous 40s and 50s (Sep), Youth Variety Showcase (Nov). Beenleigh Theatre Group: A Chorus Line (Jan/Feb) Rock of Ages (Apr/May) The Little Mermaid (Jun/Jul), Peter Pan (Oct), The Sound of Music (Nov). Gold Coast Little Theatre: Long Gone Lonesome Cowgirls (Feb), Bye Bye Birdie (Apr/May), One Act Play Festival (May), Metamorphoses (Jul), No Sex Please, We’re British (Aug/Sep) Green Day’s American Idiot (Nov/Dec). Tugun Theatre Company: Aurelia (Feb), The Dixie Swim Club (May), The
Logan McArthur, Eleanor Petricevic and Luke W Shepherd star in Lane Cove Theatre Company’s production of The Complete Works of William Shakespeare (Abridged). From Feb 7 - 22 at St Aidan’s Performance Space, Longueville. lanecovetheatrecompany.com
www.stagewhispers.com.au Stage Whispers 49
Seasons 2020
50 Stage Whispers January - February 2020
Molly Pepper Johnson as Annie and Bella as Sandy in Queensland Musical Theatre’s Annie. Photo: Deanne Eastwood.
Kidnap Game (Aug), The Butler Did It (Nov). Ipswich Little Theatre: Blithe Spirit (Feb/Mar), Waiting For God (Apr/ May), Turn a Blind Eye - Inconceivable (Jul), Ladies Day (Sep/Oct), My Fair Empire (Nov/Dec). Javeenbah Theatre, Nerang: Ladies Day (Jan), Assassins (Mar), Eyes To The Floor (May), The Government Inspector (Jul), Bette and Joan (Sep), Two Weeks With The Queen (Nov). Spotlight Theatrical Company, Benowa: Pinocchio (Jan), 13! The Musical (Feb), Firebringer (Mar), The Bodyguard (May), Senior Youth Showcase (Jun), Hansel and Gretel (Jul), Beautiful - The Carole King Musical (Jul/Aug), The Psychic: (A Murder Mystery of Sorts) (Sep), Footloose (Oct/Nov). Burdekin Singers and Theatre Company: Beauty and the Beast (Feb). Cairns Little Theatre / Rondo Theatre: Wife After Death (Feb), Brassed Off (Apr/May), Extinction (Jul), Myth, Propaganda and Disaster in Nazi Germany (Sep), Things I Know To Be True (Nov). Coolum Theatre Players: Diplomatic Relations (Mar/Apr). Noosa Arts Theatre: Sleeping Beauty Pantomime (Jan), Retro Re-Plays (Feb), Mamma Mia! (Apr), Shorts on Stage (May), Up for Grabs (Jul), Pygmalion (Sep), 43rd Annual One Act Play Festival (Oct), Encore! A Musical Exravaganza (Nov). BATS Theatre (Buderim): Jabberwocky (Jan). Mackay Musical Comedy Players: Peter Pan - Pantomime (Feb), Mamma Mia! (May). Empire Theatre Toowoomba: Mamma Mia! (Mar) Toowoomba Repertory Theatre: The Things We Do For Love (Feb). Toowoomba Choral Society: Priscilla Queen of the Desert (Sep). North Queensland Opera & Music Theatre: Kinky Boots (Mar/Apr), Priscilla Queen of the Desert (Oct). Yeppoon Little Theatre: The Mousetrap (May), Calendar Girls (Nov/Dec).
Victoria CLOC: Priscilla Queen of the Desert The Musical, (May), Jersey Boys (Oct). Babirra Music Theatre: Mamma Mia! (May/Jun), A Funny Thing Happened on the Way to the Forum (Oct). Gilbert and Sullivan Opera Victoria: Sullivan and Friends (Feb), The Gondoliers (July), The Yeomen of the Guard (Oct/Nov). Williamstown Musical Theatre Company: Mamma Mia! (May), Once on This Island Jr (Aug), Sweeney Todd (Nov). Fab Nobs Theatre: Puss in Boots (Jan), Big Fish (Mar), Camp Rock The Musical (Jul), Sweeney Todd (Oct/ Nov). Latrobe Theatre Company: We Will Rock You. PLOS Musical Productions: Mamma Mia! (Jan), Hello, Dolly! (Aug). Diamond Valley Singers: The Lion King Jr (Mar). PEP Productions: Disenchanted (Feb). Windmill Theatre Company: Bring It On (Jun). Cardinia Performing Arts Co: Mamma Mia! (Feb/Mar), Priscilla Queen of The Desert (Aug / Sep). NOVA Music Theatre: Beautiful The Carol King Musical (May). Aspect Theatre Inc: Singin’ in the Rain. MLOC Productions: Seussical (May). SLAMS Music Theatre Company: We Will Rock You (Mar), Skorts (May), Avenue Q (Sep). MDMS: 40 Years of Broadway (Feb), Oklahoma! (Jun). Phoenix Theatre Company: We Will Rock You (May). Panorama Theatre Co: Chitty Chitty Bang Bang (Mar/Apr). Heidelberg Theatre Co: Gaslight (Feb), Three Little Words (Apr/May), And a Nightingale Sang (Jul), The Beauty Queen of Leenane (Sep), The Ladykillers (Nov) The Mount Players: Switzerland (Feb/ Mar), The Vortex (May/Jun), The Complete Works of William Shakespeare Abridged (Jun), One Act Play Festival (Jul), Annie (Aug/Sep), Too Many Crooks (Nov).
Brighton Theatre Company: Interesting Times (Jan/Feb), Flipside (Apr), Bakersfield Mist (Jun/Jul), Chancers (Sep), The Architect (Nov). Mordialloc Theatre Company Inc: Knickers - a brief comedy (Feb), 4000 Miles (Apr/May), Ladies in Retirement (Jun), Visitors (Aug/Sep), Four Flat Whites in Italy (Nov). Frankston Theatre Group: History Boys (Mar/Apr), Are You Being Served (Jul/ Aug), Bloody Murder (Nov/Dec). Strathmore Theatrical Arts Group (STAG): Fool for Love (Feb), Popcorn (May), The Merchant of Venice (Aug), Towards Zero (Nov). Malvern Theatre Company Inc: Crown Matrimonial (Feb), Whose Life is it Anyway? (Apr/May), Nobody’s Perfect (Jun/Jul), The Flick (Aug/Sep), Noises Off (Oct/Nov). Williamstown Little Theatre: The Last Romance (Feb), The River (Apr/May), The Raft (Jul), The Importance of Being Earnest (Sep), Shirley Valentine (Nov/Dec). Peridot Theatre Inc: Waiting for God (Jan/Feb), To Kill a Mockingbird (Jun), Sunday Dinner (Aug), Veronica’s Room (Nov). Encore Theatre Company Inc: The Witches (Jan), Run For Your Wife (Mar/Apr), Lord Arthur Savile’s Crime (Jul), Laughter on the 23rd Floor (Oct). Lilydale Athenæum Theatre Company Inc: The Full Monty (Mar), Still Alice (May/Jun), This Way Up (Aug/Sep), Witness for the Prosecution (Nov). ARK Theatre: 100 (Mar/Apr). The 1812 Theatre: On Golden Pond (Feb/Mar), War of the Worlds (Apr), And Then There Were None (May/ Jun), A Flea in Her Ear (Jul/Aug), Let The Right One In (Sep), The ShoeHorn Sonata (Oct), Dracula - The Bloody Truth (Nov/Dec). Essendon Theatre Company: Psycho Beach Party (Mar). Beaumaris Theatre Inc: They Came from Mars and Landed Outside the Farndale Avenue Church (Feb/Mar), Anne & Gilbert (May/Jun), Closer Than Ever (Jun), Speaking in Tongues (Aug), Ladies in Black (Nov). Gemco Players: Women of Troy (Mar). Eltham Little Theatre: The Sum of Us (Feb), The Songs of a Sentimental
Bloke (May), Peter Pan Jr (Jul), The Long Road (Sep), Cinder Fella (Nov/ Dec). Powderkeg Players: Cider with Rosie (Mar) The Basin Theatre Group: Death Knell (Feb/Mar), Scenes from a Separation (May/Jun), Vincent in Brixton (Aug/ Sep), Gentlemen Incorporated (Nov). Regional Victoria Geelong Repertory Theatre Company: The Foreigner (Feb), Tuesdays with Morrie (Apr/May), Albert Nobbs (Jul), Metamorphosis (Sep), Summer of the Aliens (Nov/Dec). Ballarat Lyric Theatre: Les Misérables (Feb/Mar). Footlight Productions (Geelong): Mamma Mia! (Jan / Feb). Off The Leash Productions: Rabbit Hole (Mar/Ap). BLOC Music Theatre (Ballarat): Mamma Mia! (May) CenterStage Geelong: West Side Story (Mar), Priscilla Queen of the Desert (Jul/Aug), 10 Year Celebration (Oct). Wonthaggi Theatrical Group: Magic Monkey (Jan), Mamma Mia! (Jul/Aug). Bendigo Theatre Company: Little Red Riding Hood (Jan), TENX10 (Mar), Beyond Reasonable Doubt (Apr/May), We Will Rock You (Jul), Two & Two Make Sex (Aug), Cats - Tribes Youth Theatre (Sep). Benalla Theatre Company: Ma Baker’s Tonic (Jun). Shepparton Theatre Arts Group: 10 in Ten (Mar), Noises Off (Jun), Mamma Mia! (Sep). Mansfield Musical & Dramatic Society (MMuDS): The Kastle (May). Echuca Moama Theatre Company: Last Tango in Little Grimley & Last Panto in Little Grimley (Feb/Mar), Little Shop of Horrors. Leongatha Lyric Theatre: Kinky Boots (Jul), Ladies in Black (Oct). Horsham Arts Council Inc: Showcase (May) Ararat Musical Comedy Society: All Shook Up (Jun). Warrandyte Theatre Company: Calendar Girls (Mar/Apr), Love Sick (Jun/Jul), Love Letters (Sep), The 2020 Visionary Follies (Nov/Dec). www.stagewhispers.com.au Stage Whispers 51
Tasmania Gilbert and Sullivan Society of Tasmania: Trial by Jury (Jan). Hobart Repertory Theatre Society: Keeping Up Appearances (Feb/Mar), Blithe Spirit (May), Charlotte’s Web (Jul), Love from a Stranger (Oct/Nov). Devonport Choral Society Inc: The Full Monty (May). Burnie Musical Society: Beautiful: The Carole King Musical (Mar/Apr). Launceston Players: The Bridesmaid Must Die (May) Encore Theatre Company: Mamma Mia! (Mar/Apr), ‘Allo ‘Allo (Jul/Aug), Kinky Boots (Oct/Nov). The Old Nick Company: Be More Chill (Feb), The Uni Revue. Three River Theatre: Gloria (Jun).
Therry Dramatic Society: Twentieth Century (Mar), Titanic the Musical (Jun), The Audience (Nov). The Stirling Players: Wicked Sisters (Mar), Heisenberg (Sep). University of Adelaide Theatre Guild: The Government Inspector (Apr), Bengal Tiger at the Baghdad Zoo (May), Blithe Spirit (Aug); 4,000 Miles (Oct). Venture Theatre Company: Murdered to Death (Mar/Apr). Zest Theatre Group: Heathers the Musical (Jan).
Western Australia Roleystone Theatre: A Midsummer Night’s Dream (Feb/Mar), A Funny Thing Happened on the Way to the Forum (Mar/Apr), The Woman in Black (Jul), Monstrous Regiment South Australia (Nov). Adelaide Repertory Theatre: Crimes of Primadonna Productions: Granny Get the Heart (Apr/May), We’ll Always Your Gun (Feb), Song Contest - The Have Paris (Jun), Good People (Aug/ Almost Eurovision Experience (Mar). Sep), Humble Boy (Nov). AIM - Art in Motion: The Last Five Adelaide Youth Theatre: Seussical Jr Years (Jan/Feb), Junior Production (Jan). (Apr), Puffs (Aug). Blue Sky Theatre: She Stoops to Garrick Theatre: Bette and Joan (Feb), Conquer (Jan). The Hound of the Baskervilles (Apr/ Davine Productions: Beautiful, the May), Managing Carmen (Jul), One Carole King Musical (Feb). Act Season (Aug), Our Gang (Sep/ Deadset Theatre Company: Rattling Oct), The Importance of Being Earnest the Keys (Jan). (Nov/Dec). Galleon Theatre Company: Stage Kiss Irish Theatre Players: Lizzie’s A (May/Jun), Emily (Oct). Darlin’ (Feb), Little Gem (Jun), If There Ipskip Productions: A Man for all Is I Haven’t Found It Yet (Nov). Seasons (Jan). KADS: Accidental Death of An Hills Youth Theatre: The Story of Anarchist (Mar), The Last Resort Aladdin (Jan). (May), Six Dance Lessons in Six Weeks Noarlunga Theatre Company: (Jul), Yes Prime Minister (Nov). Inspector Cluedo and the Curse of the Marloo Theatre: Alice in Wonderland Darjeeling Diamond (May), Play On (Feb), Wife After Death (May), The (Oct). Odd Couple (Jul), One Act Season Northern Light Theatre Company: (Aug), Hills Festival of Theatre (Sep), Mamma Mia! (Mar/Apr). Robin Hood (Nov/Dec). Pelican Productions: Found - Musical Stirling Players: The Actress (Feb), The Theatre Camp (Jan). Small Hours (Apr/May), The Mystery of Edwin Drood (Jul), The Addams St Jude’s Players: The Ghost Train Family - Young@Part (Sep/Oct), Full (Apr), The Pig Iron People (Aug), Circle (Nov/Dec). Game Plan (Nov). Tea Tree Players: Any Number Can Die Koorliny Arts Centre: Shout! The Legend of the Wild One (Feb), The (Feb); Happy Birthday (Mar/Apr), Drowsy Chaperone (Jul), Songs for Lucky Numbers (May); Junior Chaos (Jun); Ma Baker’s Tonic (Jul); Roleplay Nobodies (Oct), The Brothers Grimm Spectaculathon (Dec). (Aug); According to Rumour (Oct), Beauty and the Beast (Nov/Dec) 52 Stage Whispers January - February 2020
Limelight Theatre: Annie (Feb), Quartet (Apr), Taking Steps (May/Jun), Lady Killers (Jul/Aug), Peter Pan (Oct), Heathers (Nov/Dec). Melville Theatre Company: One Act Season (Feb), Next to Normal (May), The Dresser (Jul), Incognoto (Sep), The Odd Couble (Female Version) (Nov/ Dec). Midnite Youth: Where in the World is Frank Sparrow? (Feb), Romeo and Juliet (May), Blood Brothers (Aug), Rock Bottom (Sep) She Loves Me (Dec). Harbour Theatre: Breakfast at Tiffany’s (Mar). Old Mill Theatre: Spider’s Web (Mar), Last of the Red Hot Lovers (May), Old Times (Jul/Aug), Three Tall Women (Oct), Pantomime (Dec). Murray Music and Drama (Pinjarra): The Celts Are Calling (May), Nana’s Naughty Knickers (Jul/Aug), Happy Days - A New Musical (Nov). Laughing Horse: Jekyl and Hyde (Mar), The Vicar of Dibley (Apr), Around the World in 80 days (Jul), Seussical the Musical (Oct). GRADS: The Merry Wives of Windsor (Mar). Gilbert and Sullivan Society: The Pirates of Penzance (May), The Sorcerer (Oct). Stray Cats: Phantom of the Opera (May). Bunbury Repertory Club: Sex Cells (Apr). ARENAArts: Sex Toys (Mar), The Odd Couple (Female Version) (May), Bombshells (Jul/Aug), One Act Season (Sep), Pantomime (Nov). Fremantle Performing Artists: The Outsiders (Mar). Joondalup Encore Theatre Society: The Viewing Room (Mar), Trivial Pursuits (Jul), Dying to Meet You (Nov). Tivoli Theatre: The Best of Broadway (Apr/May), Top of the Pops (Jun), Juke Box Jive’n (Aug), Christmas Crackers (Nov/Dec). Halcyon Playhouse: Lucy Angell: The Threat of Stones (Oct). Bridgetown Repertory Theatre: Calendar Girls (Mar), The Darling Buds of May (Jul/Aug).
New Zealand Taieri Musical (Dunedin): Mamma Mia! (Oct). Abbey Musical Theatre: Sister Act (Apr/May). Showbiz Christchurch: My Fair Lady (Apr), Chess in Concert (Jun), Buddy The Buddy Holly Story (Sep). Manukau Performing Arts: Aladdin Jr (Apr), The Full Monty (Oct). Rotorua Musical Theatre: Disney The Lion King Jr (Jul). Centrestage Theatre Company, Orewa: Strictly Ballroom (Mar), A Streetcar Named Desire, Cats, Disney The Lion King Jr, Urinetown New Plymouth Operatic Society: Wicked (Jun). North Shore Music Theatre: Kids Cabaret (Apr), Wicked (Mar 2021). Variety Theatre Ashburton: It’s only Rock’n’Roll Baby (May) North Canterbury Musicals: Joseph and the Amazing Technicolor Dreamcoat (May). Nelson Music Theatre: Mary Poppins (Jun). Musical Theatre Dunedin: Les Misérables (May). Whangarei Theatre Company: Ladies in Black (Mar/Apr), Shrek (Jun/Jul), The Murder of my Aunt (Sep), Oliver! (Nov). Harlequin Musical Theatre: Annie (April/May), Into the Woods (Aug). Tauranga Musical Theatre Inc: Chitty Chitty Bang Bang Jr (Jan), The Blues Brothers: First Contact (Apr), Les Misérables (Sep). Musikmakers Hamilton: Madagascar Jr (Jan), A Funny Thing Happened on the Way to the Forum (May). Napier Operatic: Grease (Mar/Apr). Blenheim Musical Theatre: The King and I (May). Butterfly Creek Theatre Troupe: Othello. Detour Theatre, Tauranga: Mad Sisters (Mar) Waipawa Musical & Dramatic Club: Priscilla Queen of the Desert. Dolphin Theatre (Auckland): Last Legs (Feb/Mar), Deathtrap (Apr/May), One Act Play Season (May/Jun), At the Sign of the Crippled Harlequin (Jul/Aug),
Seasons 2020
Tim Gibbs as Jean Valjean in the Taree Arts Council production of Les Misérables. Photo: Ashley Cleaver.
The Long Weekend (Sep), A Christmas Carol (Oct/Nov). Ellerslie Theatrical Society: Proof (Mar), The Rivals (Jun), Our Man in Havana (Aug), Sham (Nov). Elmwood Players: Johnny Appleseed (Jan), Waiting for God (Apr), Array 20 - Short Plays Live Music (Jun), Talk (Aug), Daughters of Heaven (Sep/Oct). Hawera Repertory Society: The Motor Camp (Mar/Apr), Bugsy Malone (Jun). Howick Little Theatre: Stag and Doe (Feb/Mar), Love From a Stranger (May), Dinner With Friends (Jun), The Viewing Room (Jul/Aug), NSFW (Aug), Dead Simple (Sep/Oct), Swallow The Fly (Oct), A Christmas Carol (Nov/Dec). Papakura Theatre Company: A Few Good Men (Jul).
Stagecraft Theatre (Wellington): One Man, Two Guvnors (Feb/Mar), Ophelia Thinks Harder (May), She Kills Monsters (Jun/Jul), The Revlon Girl (Aug/Sep). Company Theatre (Auckland): Peninsula (Mar/Apr). Mairangi Players: First Things First (Mar/Apr). Titirangi Theatre: A Skull in Connemara (Mar), Waiting for God (Jun), Jack and the Giant Kauri Tree (Nov). Shoreside Theatre (Auckland): Macbeth & As You Like It (Jan/Feb). Oamaru Repertory Society: Carol & Nev / The Lover (Mar).
www.stagewhispers.com.au Stage Whispers 53
Director’s Diary
Look Back In Anger
Photo: Norm Caddick.
In September Lesley Reed directed Adelaide Repertory Theatre’s production of Look Back In Anger by John Osborne.
viewpoint that the work is a ‘classic’ and that its themes of misogyny, toxic relationships, marital breakdown, The Beginning relationships with women were class distinction, unresolved grief and I was browsing among used books turbulent and who was one of a the angst of working class people in a cluttered bookshop in which group of radical young playwrights of against a privileged ‘establishment’ many titles were crammed together the time. In this drama the are timeless, as relevant today as they without classification. The shelves playwright’s working class and under- ever were. However, the challenge extended to the ceiling, making some employed main protagonist Jimmy was to present this play to modern books impossible to reach, but I Porter endures a toxic relationship audiences in its original 1950s period. persisted because it was one of those with his upper middle class wife The ‘angry young man’ persona quirky shops in which one can find Alison in a cramped attic room of a central to the play remains present hidden treasures. Sure enough, I rundown Victorian-era boarding today, but the rampant misogyny in discovered a very early and decidedly house. His workmate and friend, the narrative was a concern. How tattered edition of John Osborne’s laidback Welshman Cliff, also lives in would Adelaide audiences react to it 1950s British drama Look Back in the boarding house but spends much from a modern viewpoint? Anger. It began a long journey that of his time being peacemaker The Vision And Approach culminated with me directing the play between Jimmy and Alison. Jimmy in September 2019 for Adelaide detests Alison’s parents, brother and I decided not to soften the play’s Repertory Theatre. friends and abhors their class. 1950s misogyny and argued in the Tensions explode when Alison’s friend program notes that the production The Play Helena arrives to stay. aimed to present the work as an essay on the British times it reflected; not to Look Back in Anger is set in the The Challenge mention, that in terms of relevance, Midlands of England during the mid 1950s. It is widely assumed the play is While some might argue that Look many women still suffer abuse and misogyny. based on the real-life experiences of Back in Anger is dated, I instead playwright Osborne, whose personal approached directing it from the
54 Stage Whispers January - February 2020
In terms of audience analysis of the Porters’ possible future beyond the text, when the emotional reunion of Jimmy and Alison occurs at the end of the play, the actors, despite their own possibly different interpretation of the scene’s intent, played it with their characters utterly believing this is a new start; that things will not go back to their marriage’s former toxic state. Conversely, however, I wanted audiences to go away unsure of this aspect. Is it really a happy ending, or just another step in a cycle of abuse and emotional dependency that is perhaps more often recognised these days than it was when the play was written?
of the scene, to have a break from the returning home from a public laundry. sense of threat and tension that The ‘landlady’ appeared in person on Jimmy creates with his very presence. stage briefly and wordlessly, as if stepping from the projected newsreel Casting And Character Interpretation footage. The role of working class ‘angry young man’ Jimmy Porter was a major Setting/Set Issues casting decision, as the character Creating a cramped and rundown must drive the action. Jimmy Porter is attic room on the large stage of a dream role for male actors and Adelaide’s Arts Theatre meant a need professional actor Adam Tuominen for creativity in set design. The won the role. He was compelling as atmosphere of the Porters’ grubby, Jimmy, having put in months of work small room must be claustrophobic prior to and during the rehearsal and depressing, one of sadness and period, including learning basic poverty. To achieve the effect on the trumpet playing. wide expanse of stage, set design All five actors interpreted their incorporated not just the Porters’ roles well. Part of the rehearsal period room, but a complete ‘attic floor’ on involved character exercises, such as two slightly different levels, with a Script Challenges developing a detailed ‘beyond script’ side corridor from which doors led to The script, much like others of its private background history for each. stairs and Cliff’s room. The internal day, is wordy and is written in three Work and discussion on characters wall of the Porters’ room was a low acts. In excess of 100 pages, the was intense, including for ‘cut out’, revealing this side corridor. duration of each performance was unconscious motivation. An intuitive The upstage ‘rear wall’ of the room likely to be beyond what today’s approach to ‘blocking’ helped develop was also partly cut out to reveal a audiences would tolerate. My natural movement on stage and back corridor. Both corridors met on a challenge was to present the play contributed to character landing from ‘downstairs’. Furniture with only one interval and to make development. was crammed into the ‘small room’ judicious edits without impacting on space of the Porters’ bedsit. Action in the intent, rhythm, themes, character Projection For Context the corridors included what is given arcs and tension of the play. I edited With the 1950s context important only in stage directions in the script to achieve the single interval, for audiences to know, performances and not normally seen on stage, therefore only two acts, by extending began with projection of historical including people coming and going Act 1. I climaxed the first act with the news footage featuring people of that from the ‘floor’. This additional tension and anger of the ‘tea’ scene time and place going about their lives. action, occurring simultaneously with and Alison’s subsequent quiet The projection concluded with a that in the Porters’ ‘room’, gave defiance of Jimmy. The arrival of ‘landlady’ character, one discussed in further layers to the production; a Alison’s father Colonel Redfern was a the play by the characters, but not ‘filmic’ quality. gentler point at which to begin the normally seen. We filmed her using ‘new’ final act, allowing the audience, one of our cast, blending her with real (Continued on page 56) with the absence of Jimmy for much 1950s footage of a Midlands woman
LET’S PUT ON A SHOW! ALL THE RESOURCES YOU NEED TO STAGE YOUR NEXT PRODUCTION stagewhispers.com.au/StageResources www.stagewhispers.com.au Stage Whispers 55
Photo: Norm Caddick.
PRODUCTION TEAM Director: Lesley Reed Director’s Assistant: Sophie Rendina Cast: Adam Tuominen, Leah Lowe, James Edwards, Jessica Carroll & Jack Robins Stage Manager: Deborah Knapp Production Manager: Genna Dixon Publicity: Laura Antoniazzi Set Concept: Lesley Reed Set Design: Brittany Daw Set Construction: Stanley Tuck and team Lighting Design/Operation: Richard Parkhill Sound Design: Ray Trowbridge Sound Operator: Barry Blakebrough Music Design: Kim Orchard Projection Design: Genna Dixon & Lesley Reed Wardrobe: Fran Hardie & Rebecca Jarratt (also Hair Design) Properties, Set Dressing: Leah Klemm and team Backstage Crew: Stanley Tuck & Josh Gargiulo FOH Manager: Ray Trowbridge Program: Robert Nottage (Continued from page 55)
Music, Lighting, Sound Original music by Kim Orchard helped to enhance the claustrophobic oppression of the Porters’ lives, as well as the sadness, hopelessness and fleeting hopes and joys. Recorded jazz trumpet music was used in key scenes in conjunction with Jimmy’s live trumpet playing. Lighting and sound were entrusted to skilled Arts Theatre technicians, who created realistic effects to add to the atmospherics. Costumes, Hair And Props The photos used with this story were taken at an early dress rehearsal and don’t exhibit hair design, but the stylist created Victory Rolls and other period-authentic hairstyles. Costumes too, predominantly from Adelaide Repertory Theatre’s extensive wardrobe collection, were enhanced through the talents of a seamstress. Outcomes In general, audience and critical response was very good. As occurs whenever this play is produced, some people walked out during each show. In some ways we wore this as a badge of honour because it meant the performances had impacted people in a deep and personal way and perhaps had also raised awareness of the 56 Stage Whispers January - February 2020
Photo: Richard Parkhill.
effects of verbal abuse and control. I look back on this production of John Osborne’s Look Back in Anger with a sense of having learned much as a Director, as well as with immense satisfaction that it pleased, touched and gave many theatregoers pause
for thought. The scrappy little script that started it all is now a treasured possession of the production’s lead actor Adam Tuominen. *Note: Lesley Reed is also a correspondent for Stage Whispers
Subscribe now!
Subscription Form
Subscribe to our print edition and receive one of the following double passes or DVDs. Visit stagewhispers.com.au/subscribe Please nominate three choices, as supplies of some gifts are limited.
A double pass to Songs For Nobodies at Sydney Opera House on Friday 24 January at 7:30pm
Double passes to Rolling Thunder Vietnam QPAC, Brisbane Concert Hall on March 18 at 7pm Hamer Hall, Arts Centre Melbourne on March 25 at 8pm State Theatre, Sydney on March 31 at 7.30pm A DVD of Angela’s Ashes (Courtesy of ViaVision) A BluRay of Mr Holland’s Opus (Courtesy of ViaVision)
SUBSCRIBE NOW!
SUBSCRIBE AT stagewhispers.com.au Name: .................................................................. Address: ............................................................... Phone: ................................................................. Email:...................................................................
Please nominate your 1st, 2nd and 3rd free gift choices below:
.............................................................................................
Send your money order, cheque, credit card details, or request for invoice to:
Stage Whispers, PO Box 2274, Rose Bay North, NSW, 2030. ABN 71 129 358 710
Visa MasterCard American Express Expiry:......./........ Credit Card Number: .............................................................. CCV Number .......................................................................... Signature: .............................................................................. Sign me up for (tick applicable box):
6 issues Print and e-mag for $39.50AUD / $49NZ OR E-mag only for $24.95AUD 12 issues Print and e-mag for $70AUD / $90NZ OR E-mag only for $39AUD 18 issues Print and e-mag for $95AUD / $120NZ OR E-mag only for $55AUD (GST inclusive where applicable) ($NZ cheques address to David Spicer Productions)
Awards
(L-R) Tony Sheldon (Guest of Honour), Kate Peters (Convenor) and Ian Stenlake (Compere).
Gold Coast PALM Theatre Awards Glamour and a touch of horror were the themes for this year’s Gold Palm Awards, held for the first time at Dracula’s Cabaret restaurant near Surfers Paradise. Patrons frocked up to enjoy ghostly vibes and spooky technology that is the hallmark of the venue. Music and dance numbers from shows staged during 2019 entertained the capacity crowd, with international patron Tony Sheldon and MC Ian Stenlake special guests. Many categories of the Awards were won by companies outside the Gold Coast, including Ipswich, Toowoomba and Redcliffe in Queensland, and the northern NSW towns of Ballina and Bangalow. The evening is the culmination of a busy judging year for the Palm Awards judges, who attended 76 shows. During the year convenor/creator Kate Peters received an Order of Australia Medal for her contribution to Entertainment on the Gold Coast. The Gold Palm Award went to the Beenleigh Theatre Company for its production of Bonnie and Clyde. Full results at http://bit.ly/35Asg2K
Wicked Bendigo The Bendigo Theatre Company had the most successful night in the history of the Music Theatre Guild of Victoria awards. The company won a record 13 Guild awards, including Best Musical for its production of Wicked, eclipsing CLOC Musical Theatre’s previous record of 11 awards for Les Misérables in 1993. Bendigo Theatre Company President Abe Watson said, “it was the biggest team we ever assembled, with a lead time of 12 months and a team of 40 who built everything from scratch. “We didn’t want to do a replica production. Wicked is usually staged with a steam punk theme - we went for a turn of the century Wild West machine age look. “The flying monkeys were our stage crew, so it flowed really well.” The annual awards were held at Her Majesty’s Theatre, Ballarat, featuring a smorgasbord of entertainment from community theatres and high schools. Full details at http://bit.ly/2S4Grtd
Bendigo Theatre Company’s Wicked. Photo: David Field.
58 Stage Whispers January - February 2020
Victorian Drama League Awards The Victorian Drama League’s annual presentation was dominated by Melbourne suburban theatres. The 1812 Theatre won six awards, including Best Comedy for Baskerville: A Sherlock Holmes Mystery. The Mount Players picked up five awards including Best Drama for Twelve Angry Men. Producer Bernadette Tonna said, “we had a dream cast for a powerful production. Some you loved, others you wanted to punch in the face. “Even though the play was written in the 1950’s, the themes of prejudice are still very relevant today.” The play was staged in a horseshoe setting to allow the audience to see all members of the jury. For full details please visit https://bit.ly/34Bgowa Newcastle Youth Shines THE 2019 City of Newcastle Drama Awards (CONDAs) showed that performers and backstage workers are increasingly revealing their talents at an early age. Two shows that each won four CONDAs - Playing Face (Bearfoot Productions) and Mamma Mia! (The Very Popular Theatre Company) - had many people in their teens and early 20s in their teams. Bearfoot Productions is a company that was established by people in that age group, with Cassie Hamilton, who wrote the play and directed it, collecting the awards for Best New Play or Musical Written for a Newcastle Company and Director of a Drama or Comedy. Awards for Mamma Mia! included Best Musical Production and Best Ensemble Acting. The judges noted in their citation that it was “A rollicking, infectious, colourful romp that had audiences dancing in the aisles and standing in ovation. A seamless production”. Two musicals which substantially featured young performers - Hunter School of the Performing Arts’ Matilda the Musical and Hunter Drama’s Rock of Ages - each won two CONDAs. Full results at http://bit.ly/2sAlQlR
1812 Theatre’s Baskerville - A Sherlock Holmes Mystery. Photo: Ash Walker.
The Mount Players’ Twelve Angry Men. Photo: Karlana Santamaria.
CONDA Award for Ensemble Acting: Mamma Mia! (The Very Popular Theatre Company)
www.stagewhispers.com.au Stage Whispers 59
Stage on Page
Stephen Schwartz’s 2016 Viennaonly Schikaneder is mentioned, along with a passing reference to Frank By Peter Pinne Widlhorn’s South Korean The Man Who Laughs, but Wildhorn’s extensive A Million Miles From Broadway Sullivan’s comic opera oeuvre in catalogue of musicals in Prague Musical Theatre Beyond New York London. (Carmen), Switzerland (Count of and London - Revised and Expanded We cross the pond to New York Monte Cristo/Excalibur) and Japan Edition by Mel Atkey. (Friendly Song with the arrival of Jerome Kern’s (Never Say Goodbye/Cyrano) are Princess Theatre shows, the Gershwins ignored. Company A$42.44) Mel Atkey has updated and and Rodgers and Hart, and in the Still, considering the scope and expanded his 2012 A4 sized book into thirties the London work of Ivor parameters of Atkey’s focus, it’s a this more bookshelf friendly tome. If Novello, Vivian Ellis and Noël Coward. magnificent work and should be on the previous version was monumental A chapter on Rock ‘N’ Roll the shelf of every musical theatre geek discusses rock influences in musical in its research, then this update is around the world. Atkey’s love of the even more all-encompassing, and at theatre (Hair/Rent etc), and one on genre shines through on every page. 644 pages is a veritable bible of musical writing craft quotes Lehman It’s an easy read and indispensable as Engel, Stephen Sondheim and Dave musical theatre outside of London a reference work. It comes with an and New York. Mallory. index and some images of the players Atkey’s premise is to “explore the Act 2 looks at “Europe After and productions. diversity of multi-national musical Hitler”, with international successes theatre, and to learn its craft by Irma la Douce, Les Misérables and My Life You’re Soaking In It by examining the works that have gone Once, the post-war British musical Robina Beard. (Playscript $24.99) before - in all parts of the world.” He and Atkey’s home country, Canada, Robina Beard has spent a lifetime succeeds very well because the book which has added its recent in the arts and a lot of it in dance or covers all types of musical theatre international hit Come From Away. dance related projects. She has been including operetta, zarzuela, revue, There’s a large and detailed chapter National President of Cecchetti Ballet cabaret and jukebox musicals. It on Australia, with entries as recent as of Australia and President of doesn’t include the innumerable The Detective’s Handbook, Melba and AusDance NSW. She has a Lifetime international productions of The Evie May. South Africa (in the original Achievement Award from the Phantom of the Opera, Les Miz or manuscript) is now just Africa and the Australian Dance Awards, of which Mamma Mia! - that’s another book - chapter includes Egypt. South she was Chair and a founding but looks at originally created work in America and Asia follow. organiser, and a Medal of the Order the various countries. Atkey visited the Daegu of Australia “For service to the arts, Act 1 begins with the birth of the International Musical Festival in 2019, particularly through dance.” musical theatre in Paris with so there’s quite a lot about what’s Her biography begins with her Offenbach’s Orpheus in the happening in South Korea, while post-war childhood in England and Underworld in 1858. He then Singapore has been beefed up with follows with her early education in more entries. discusses operetta in Vienna and Australia and her dance training. Berlin before we get to Gilbert & She started her career for J.C. Williamson’s in 1954 in Can-Can, dancing in the chorus, her one and only stint as a ‘chorus girl’. She became obsessed with intimate revue and the work at Sydney’s Phillip Street Theatre, joining the company for a NSW Arts Council tour of The Willow Pattern Plate. She later played the March Hare in Alice in Wonderland for the same company and followed with several of their original musicals, which included Ride On a Broomstick, Mistress Money and A Wish is a Dream, but had her greatest success playing a flapper in the 1920’s set Flaming Youth. Beard understudied Judy Bruce in the original Australian production of Irma La Douce and played the role 60 Stage Whispers January - February 2020
many times, then did the original Australian seasons and tour of The Sentimental Bloke. In the sixties she worked in television, on IMT (In Melbourne Tonight) and as a weather girl, and appeared in one of the first Aussie TV sitcoms, Barlie Charlie, alongside Sheila Bradley. Her brother Chris, after success in Australia scripting Revue 61, moved to Toronto, Canada. Beard visited him and ended up as one of the performers in the long-running revue Spring Thaw. She stayed two years and then returned to work in Australia at
Phillip Street again, this time as choreographer of Hail Gloria Fitzpatrick. A revival of The Boy Friend and Anything Goes followed. In 1968 Beard was offered a TV commercial that would bring her national fame, as Madge in the Palmolive Dishwashing Liquid ad which ran for 20 years. She next played Theatre Restaurant (Dimboola/ Girl’s Night Out), appeared briefly in No. 96, and returned to musical theatre in Chicago, The Stripper and Four Lady Bowlers in a Golden Holden, a compilation show of some of the best sketches from the Phillip Street revues, which played at Kinselas, Darlinghurst in 1982. She later taught dance to Aboriginal students at NAISDA. Beard has had a rich career, achieving many of her dreams and missing out on others. She desperately wanted to play the title role in Sweet Charity, but when told that Nancye Hayes was already cast and they asked her to understudy, she said “Oh no I couldn’t understudy someone I was better than.” Cassie in A Chorus Line was another role she wanted and she was emotionally destroyed when they dismissed her after she sang a song and didn’t want to see her dance. The book is full of spelling mistakes. Par for the course these days with self-published titles, and it would have benefited from someone fact checking. David Merrick did not close On a Clear Day You Can See
Forever out of town (it played 280 Broadway performances with Barbara Harris and John Callum), and the song is called “Hurry! It’s Lovely Up Here” not “Hey Buds Below”. The show that did close out of town was Breakfast at Tiffany’s, with Mary Tyler Moore and Richard Chamberlain. Still, despite the errors, it’s an engaging read, especially the early post-war years in London and Australia in the fifties. A Is For Audra - Broadway’s Leading Ladies from A to Z by John Robert Allman / Illustrated by Peter Emmerich. (Doubleday Books for Young Readers A$27.94) This cute book is the ideal gift for young budding musical theatre geeks. A series of caricatures of, and verses about, Broadway leading ladies, it starts with Audra McDonald as Billie Holiday in Lady Day at Emmerson’s Bar and Grill... “A is for Audra, who awes and amazes, With each line and note, all the critics sing praises,” ...and ends with Z is for Liza - with a “Z,” not an “S”! In between there’s a host of divas from Bea Arthur and Sutton Foster, to Ethel Merman, Bette Midler and Barbra Streisand. The prose is fun and the caricatures capture the ticks and quirks of the subjects with loving admiration.
Stage Whispers Books Visit our on-line book shop for back issues and stage craft books www.stagewhispers.com.au/books www.stagewhispers.com.au Stage Whispers 61
Stage On Disc By Peter Pinne
Beau (Douglas Lyons/Ethan D. Pakchar) (Masterworks Broadway) It’s not often a major label releases a regional production but that’s the case with New York based Douglas Lyons (lyrics) and Ethan D. Pakchar’s (composer) Beau, which premiered at the Adirondack Theatre Festival in 2019. The plot tells the story of Ace Baker, who at 12 discovers the grandfather his mother intended to keep secret - a man who changes Ace’s life forever by putting a guitar in his hand. The music and lyrics nod towards Pasek and Paul’s work in that they’re poppy but have individuality in this likeable funk-rock score. “Coming Home” is tender, “Thursday in July” documents first love, whilst “Disappear” has some full vocal diva screams. The single release, “Runnin’ ”, finds Matt Rodin joyously reflecting about love and self-worth.
Online extras!
Buy the Beau cast recording from Amazon today. Scan or visit https://amzn.to/2Q5tdd6
The New Yorkers (Cole Porter) (Ghostlight) The Encores! 2017 production of Cole Porter’s 1930 musical The New Yorkers has spawned a cast recording and it’s a gem. In one of their most extensive reconstructions, Encores! have pieced together a version of the original score plus some interpolations from other Porter shows. It’s a great compilation which does Porter proud. The story - which involved broads and sugar daddies and a gangster who wants to take over New York’s caviar market had tons of Porter’s famed wit in a dazzling array of songs. Summer Strallen kicks up her heels to a frenetic Charleston version of “Most Gentlemen Don’t Like
Online extras!
Stream The New Yorkers from Spotify now. Scan the QR code or visit https://spoti.fi/38YwgMF 62 Stage Whispers January - February 2020
Love”, warbles winningly on “Night and Day” and couples nicely with Tam Mutu on the languid “Where Have You Been” and the all-stops out finale “Take Me Back To Manhattan”. Robyn Hurder registers early with “Please Don’t Make Me Be Good”, Ruth Williamson scores the laughs on “The Physician”, whilst Cyrille Aimee is seductively sexy on the show’s enduring hit “Love For Sale”. Porter’s wit has never been droller than in “Say it With Gin”, a first act number for the Male Ensemble that mentions Gordon’s and Gilbey’s et al. The show closes with Porter’s paean to the Big Apple, “I Happen To Like New York”, sung by Strallen and the company. It’s vintage Porter, vintage Broadway, and delightfully zany. Judy (Decca) The soundtrack to this TV movie masquerading as a feature about Judy Garland, and her last London stint and final days at Talk of the Town in the 60s, features all of Garland’s signature tunes - “By Myself”, “The Trolley Song” and “Over the Rainbow”, and some that she sang which are not in the movie (“For Once In My Life”). Based on Peter Quilter’s cliché-ridden play The End of the Rainbow, the movie stars Renée Zellweger in a performance that’s been called Oscar worthy. She does give a good performance and while you’re watching the movie you accept her vocal interpretations, but divorced from the images it comes across as merely competent. The songs lack the Garland throb, but there’s some great big -band arrangements of her catalogue which mirror Garland’s originals. Sam Smith duets on a driving “Get Happy”, with Rufus Wainwright doing likewise on “Have Yourself a Merry Little Christmas”.
Online extras!
Get the soundtrack of Judy from JB Hi-Fi today. Scan the QR code or visit http://bit.ly/34I8m4S Hayden Tee - Face To Face (Broadway Records BRCD13019) Hayden Tee’s Face to Face, a collection of songs sung by rebels and antagonists, is both raw and exciting. Last seen in Australia as Javert in Les Misérables, he opens the CD with that character’s anthem “Stars” but then he also includes Marius’s “Empty Chairs at Empty Tables”, which he sang in his West End debut. Singing better than ever, his top notes on “Till I Hear You Sing” (Love Never Dies) are glorious, and a duet with his Les Miz co-star John Owen-Jones, of The Secret Garden’s “Lily’s Eyes”, is thrillingly passionate. A folk version of Dvorak’s New
World Symphony is present in the backing of Jason Robert Brown’s “It All Fades Away” (The Bridges of Madison County), whilst a mash-up of Kander and Ebb’s “I Don’t Care Much” and “So What” (Cabaret) brings out the indifference and apathy of the characters. Best of all, however, are a riveting “Molasses To Rum” (1776) and his original cast West End performance of Miss Trunchbull’s “The Smell Of Rebellion” from Tim Minchin’s Matilda. Accompaniment is by the magnificent sounding 50-piece Budapest Scoring Orchestra, with excellent and inventive orchestrations and arrangements by Nigel Ubrihien. It’s a classy album of show songs from a performer at the top of his game. Highly recommended!
Jesus Christ Superstar (Andrew Lloyd Webber/Tim Rice) Australian Cast Recording Live (Aztec Records AVSCD083) The original Australian stage production of Jesus Christ Superstar, only the second in the world after New York, opened at Sydney’s Capitol Theatre in 1972 and ran for two years. It became the basis for the London production. During the Australian season there were several cast changes, but the one that blew the critics away was Reg Livermore as King Herod in one of the great show-stopping performances in the history of Australian musical theatre. It’s captured in all its outrageousness on this new live recording that has surfaced of a 1973 performance. Running twice as long as the track on the original concept album, he seduces, cajoles, and plays with the audience in a simply brilliant performance of “King Herod’s Song”. Jon English is solid as Judas (his performance is captured on the original Australian cast album MCA MAP56244), as is John Paul Young as Jesus, but it’s Marcia Hines, the first black woman in the world to play Mary Magdalene, who is outstanding. She excels on Online extras! “Everything’s Alright” and “Could We Start Again Please” Get your copy of Face To Face from and is just beautiful on “I Don’t Know How to Love Him”. Google Play. Scan the QR code or visit The performance was recorded, on his own http://bit.ly/2QcakF8 equipment, by cast member Peter Chambers, who played various roles and was a cover for both Jesus and Judas. The Little Mermaid Live (Disney) He has painstakingly restored the tape, eliminating all the Although it captured 11 million viewers, Disney’s latest clicks, bumps and grinds associated with live hand-held live action TV event was criticised for having too much microphones in those days, and the result is a raw and animation and not enough live performance. Despite that, exciting version of the show. the cast, headed by Queen Latifah, has a great deal of fun Accompaniment is by a large orchestra led by Patrick with Alan Menken and Howard Ashman’s Caribbean Flynn, augmented by a rock ensemble which featured flavoured delight. “Under the Sea” is insanely infectious, Michael Carlos on organ and Moog synthesizer. as is the calypso ode “Kiss the Girl”. Graham Phillips is a The production, directed by Jim Sharman, was also virile Prince Eric hero, leading the ensemble on “Fathoms notable for bringing together two young singers, Russell Below” and being dreamily romantic on “Her Voice”, Hitchcock and Graham Russell, who went on to form Air whilst Auli’i Cravalho sounds lovely as Ariel, the Supply, becoming one of Australia’s most underwater heroine, in successful pop groups and “Part of Your World”. John song-writing duos. Aztec Stamos reprises his movie Records are to be role as Chef Louis on “Les congratulated on this Poissons”, but it’s Queen superb time-capsule of Latifah’s Ursula that’s Australian theatrical irresistible. Her “Poor history. It’s cause for Unfortunate Souls” is celebration and deserves deliciously dark. accolades.
Online extras!
Download the album from Apple Music today. Scan the QR code or visit https://apple.co/34Nkwcp
Online extras!
Get your copy of Jesus Christ Superstar direct from Aztec Records. Scan or visit http://bit.ly/34KUBCr
Rating Only for the enthusiast Borderline Worth buying Must have Kill for it www.stagewhispers.com.au Stage Whispers 63
On Stage
A.C.T. & New South Wales
The World Premiere of Black Cockatoo by Geoffery Atherden, inspired by the true story of legendary First Nations cricketer Johnny Mullagh and Australia’s first ever international sporting team, plays at the Ensemble Theatre as part of the Sydney Festival from Jan 4 to Feb 8. www.ensemble.com.au Photo: Christian Trinder. A.C.T. Peter Pan The Musical. Adapted by B. J. Anyos and Georgia Pike. Child Players. Jan 15 - 18. Theatre 3, 3 Repertory Lane, Acton. (02) 6257 1950. canberrarep.org.au The Grapes of Wrath by John Steinbeck, adapted by Frank Galatti. Canberra Rep. Feb 13 29. Theatre 3. canberrarep.org.au Hell Ship by Michael Veitch. Feb 21 & 22. The Q, Queanbeyan Performing Art Centre. theq.net.au
New South Wales
Withers, Michael Coppel and Linda Bewick. From Jan 4. School of Rock. Music: Andrew Sydney Opera House. Lloyd Webber. Lyrics: Glenn sydneyoperahouse.com Slater. Book: Julian Fellowes Based on the Paramount Movie Betty Blokk-Buster Reimagined. Written by Mike White. Red Line Productions / Sydney Ongoing. Capitol Theatre, Festival. Jan 7 - 26. Magic Sydney. Mirrors Spiegeltent. schoolofrockmusical.com.au sydneyfestival.org.au Shrek The Musical. Music by Jeanine Tesori. Book and Lyrics by David Lindsay-Abaire. John Frost. From Jan 1. Sydney Lyric Theatre, The Star. 1300 795 267. shrekthemusical.com.au La Bohème by Puccini. Opera Australia. Until Jan 30. Joan Sutherland Theatre, Sydney Opera House. opera.org.au
H.M.S. Pinafore by Gilbert and Sullivan. Hayes Theatre Co production. Feb 25 - 29. The Q, Queanbeyan Performing Art Black Cockatoo by Geoffery Centre. theq.net.au Atherden. Sydney Festival / Ensemble Theatre. Jan 4 - Feb Monty Python’s Spamalot. 8, Ensemble Theatre, Based on Monty Python and ensemble.com.au & Feb 18 the Holy Grail. Book and lyrics 22, Riverside Theatres, by Eric Idle. Music by John Du Parramatta, Prez and Eric Idle. Feb 26 - Mar riversideparramatta.com.au 1. The Playhouse, Canberra Theatre Centre. Six The Musical by Toby canberratheatrecentre.com.au Marlow and Lucy Moss. Louise 64 Stage Whispers
Joan Sutherland Theatre, Sydney Opera House. opera.org.au I’m A Phoenix, Bitch by Bryony Kimmings. Sydney Festival. Jan 14 - 17. Drama Theatre, Sydney Opera House. sydneyoperahouse.com
Disney’s Alice In Wonderland Jr by Lewis Carroll. Book adapted and additional lyrics by David Simpatico. Music adapted and arranged, and additional lyrics by Brian Louiselle. Based on the Disney Film. Gosford Musical Society. Jan 14 - 18. Laycock Every Brilliant Thing by Duncan Street Community Theatre, Macmillan. Belvoir. Jan 10 - 26. Wyoming. belvoir.com.au gosfordmusicalsociety.com Calendar Girls by Tim Firth. FreshWorks. Various new plays. Elanora Players. Jan 10 - 18. 49 Old 505 Theatre, Newtown. -51 Kalang Rd, Elanora Jan 14 - Mar 1. Heights. (02) 9979 9694 / old505theatre.com elanoraplayers.com.au Time Flies. Flying Fruit Fly Dr Dolittle Jr By Leslie Bricusse. Circus. Jan 14 - 19. Seymour Ballina Players. Jan 10 - 19. Centre. (02) 9351 7940 / ballinaplayers.com.au seymourcentre.com Carmen by Bizet. Opera Grimm Tales by Philip Pullman. Australia. Jan 11 - Mar 26. Marian Street Theatre for Laser Beak Man. Dead Puppet Society, Tim Sharp, Sam Cromack (Ball Park Music), Sydney Festival. Jan 8 - 12. Drama Theatre, Sydney Opera House. sydneyoperahouse.com
Just $50 a month to reach thousands of theatre goers. Contact Stage Whispers for details.
On Stage Young People. Jan 15 - Feb 22. Pomona by Alistair McDowell. Glen Street Theatre. (02) 9975 Secret House. Jan 24 - Feb 8. 1455. glenstreet.com.au KXT - Kings Cross Theatre. kingsxtheatre.com The Life of Us by Ashleigh Taylor & Ben Bennett. 100 The Spoils by Jesse Eisenberg. Coffees Productions and Neil Jan 26 - Feb 8. Flight Path Gooding Productions. From Jan Theatre, Marrickville. 16. Hayes Theatre Co. flightpaththeatre.org hayestheatre.com.au The Strange Case of Dr Jekyll & Hour of Power. Katie Lees and Mr Hyde by Robert Louis Grace Rouvray. Jan 16 - 25. Stevenson, adapted by Noah Flight Path Theatre, Smith. Castle Hill Players. Jan 31 - Feb 22. Pavilion Theatre, Marrickville. flightpaththeatre.org Doran Drive, Castle Hill. paviliontheatre.org.au Bran Nue Dae by Jimmy Chi and Kuckles. Opera Pulp Fiction. Newcastle Singers Conference. Jan 16 - Feb 1. and Musicians perform all the Riverside Theatre, Parramatta. songs from the cult crime riversideparramatta.com.au movie soundtrack. Jan 31. Lizotte’s, Lambton (Newcastle). The Official Blues Brothers (02) 4956 2066. Revue. Adapted from Dan Ackroyd and John Belushi’s film Angry Fags by Topher Payne. script by Dan Ackroyd, Judith New Theatre / Sydney Gay & Belushi Pisano and Victor Lesbian Mardi Gras. Feb 4 Pisano. Lennard Promotions. Mar 7. newtheatre.org.au Jan 16. Lizotte’s, Lambton The Deep Blue Sea by Terence (Newcastle). (02) 4956 2066. Rattigan. Sydney Theatre Family Values by David Company. Roslyn Packer Williamson. Griffin Theatre Theatre. Feb 4 - Mar 7. Company. Jan 17 - Mar 7. SBW sydneytheatre.com.au Stables Theatre. Australia Day by Jonathan griffintheatre.com.au Biggins. Maitland Repertory The Ladykillers by Graham Theatre. Feb 5 - 23. 244 High Linehan. Genesian Theatre Street, Maitland. (02) 4931 Company Inc. Jan 18 - Feb 15. 2800. maitlandreptheatre.org 420 Kent Street, Sydney. Jesus Wants Me for a genesiantheatre.com.au Sunbeam. Based on the novella Opening Night. Sydney Festival. by Peter Goldsworthy, adapted Jan 21 - 26. Drama Theatre, by Steve Rodgers. Belvoir. Feb Sydney Opera House. 6 - Mar 8. belvoir.com.au sydneyoperahouse.com Jack Whitehall - Stood Up. David Suchet. Poirot and More: Adrian Bohm & Phil Mcintyre. A Retrospective. Liza Mclean & Feb 6. Civic Theatre, Newcastle. Andrew Kay. Jan 23. Concert (02) 4929 1977. Hall, Sydney Opera House. The Complete Works of William sydneyoperahouse.com Shakespeare Abridged by Songs for Nobodies by Joanna Adam Long, Daniel Singer and Murray-Smith. Starring Jess Winfield. Lane Cove Bernadette Robinson. Duet Theatre Company. Feb 7 - 22. Productions. Jan 23 - Feb 9. The Performance Space @ St Playhouse, Sydney Opera Aidan’s, Longueville. House. sydneyoperahouse.com lanecovetheatrecompany.com Don Giovanni by Mozart. Opera Australia. Jan 24 - Feb 27. Joan Sutherland Theatre, Sydney Opera House. opera.org.au
A Comedy of Tenors by Ken Ludwig. Newcastle Theatre Company. Feb 7 - 22. (02) 4952 4958. newcastletheatrecompany.com.au
New South Wales OnStage 2020. NSW Educations Standards Authority. Feb 8 - 14. Seymour Centre. (02) 9351 7940. seymourcentre.com David Suchet. Poirot and More: A Retrospective. The stage, film and television star looks at his career. Liza Mclean & Andrew Kay. Feb 8. Civic Theatre, Newcastle. (02) 4929 1977. The 2 Of Us: Lazy Lunch with Marina Prior & David Hobson. Entertainment Consulting. Feb 9. Lizotte’s, Lambton (Newcastle). (02) 4956 2066. No Pay? No Way! by Dario Fo, in a new adaptation by Marieke Hardy. Sydney Theatre Company / Riverside Theatres. Drama Theatre, Sydney Opera House, Feb 10 - Mar 20, sydneytheatre.com.au & Riverside Theatre, Parramatta, Apr 1 - 4, riversideparramatta.com.au Faust by Gounod. Opera Australia. Feb 10 - Mar 11. Joan Sutherland Theatre, Sydney Opera House. opera.org.au War Horse by Michael Morpurgo, adapted by Nick Stafford. National Theatre of Great Britain. From Feb 10. Sydney Lyric. warhorseonstage.com.au Wake in Fright. Adapted from Kenneth Cook’s novel by Declan Greene. Malthouse production. Feb 11 - 15. Playhouse, Sydney Opera House. sydneyoperahouse.com The Rise and Disguise of Elizabeth R by Gerry Connolly, With Nick Coyle And Gus Murray. Sugary Rum Productions. From Feb 13. Hayes Theatre Co. hayestheatre.com.au The Campaign by Campion Decent. White Box Theatre / Sydney Gay & Lesbian Mardi Gras. Feb 13 - 28. Seymour Centre. (02) 9351 7940. seymourcentre.com
Advertise your show on the front page of www.stagewhispers.com.au
Crunch Time by David Williamson. Ensemble Theatre. Feb 14 - Apr 9. ensemble.com.au Australian Open by Angus Cameron. bub. Feb 14 - 29. KXT - Kings Cross Theatre. kingsxtheatre.com Looped by Matthew Lombardo (Australian Premiere). Guild Theatre, Rockdale. Feb 14 Mar 7. guildtheatre.com.au Les Misérables. Music: ClaudeMichel Schönberg. Lyrics: Herbert Kretzmer. Original French text by Alain Boublil & Jean Marc Natel. Packemin Productions. Feb 14 - 29. Riverside Theatres. riversideparramatta.com.au Mamma Mia! Music and Lyrics by Benny Andersson, Björn Ulvaeus and Stig Anderson. Book by Catherine Johnson. Campbelltown Theatre Group. Feb 14 - Mar 7. Town Hall Theatre, Queen Street, Campbelltown. 0426 285 287. ctgi.org.au Gala Concert in Support of Care for Claire. Manly Musical Society. Feb 14. Glen Street Theatre. manlymusicalsociety.com The Final Test by Chris Paling. Woy Woy Little Theatre. Feb 14 - Mar 1. Peninsula Theatre, Cnr Mcmasters & Ocean Beach Road, Woy Woy. woywoylt.com Don’t Dress For Dinner by Marc Camoletti, adapted by Robin Hawdon. Arts Theatre Cronulla. Feb 14 - Mar 21. 6 Surf Road, Cronulla. artstheatrecronulla.com.au Newk! by Kieran Carroll. Feb 16 & 17. Glen Street Theatre. (02) 9975 1455. glenstreet.com.au Senior Moments 2. Musicalcomedy revue looking at older people’s lives. Return Fire Productions. Feb 18 - 19. Civic Theatre, Newcastle. (02) 4929 1977.
Stage Whispers 65
On Stage
New South Wales & Queensland
Myra DuBois: Dead Funny. Feb 18 - 29. Utzon Room, Sydney Opera House. sydneyoperahouse.com Our Blood Runs in the Streets. Sydney Gay and Lesbian Mardi Gras. Feb 19 - Mar 21. Old Fitz Theatre. redlineproductions.com.au The Shoe-Horn Sonata by John Misto. Pymble Players. Feb 19 Mar 14. pymbleplayers.com.au H.M.S Pinafore by Gilbert and Sullivan. Hayes Theatre Co Production. Feb 20 - 22. Glen Street Theatre. (02) 9975 1455. glenstreet.com.au Ruben Guthrie by Brendan Cowell. Wollongong Workshop Theatre. Feb 21 - Mar 7. 190 Gipps Rd, Gwyneville. 0431 875 721. wollongongworkshoptheatre.com.au RAW Comedy 2020. Comedy routines by new local comedy performers. Melbourne International Comedy Festival. Feb 21. Civic Playhouse, Newcastle. (02) 4929 1977. Chat 10 Looks 3. ABC Television stars Annabel Crabb and Leigh Sales look at their careers. Chat 10 Looks 3 Productions. Feb 22. Civic Theatre, Newcastle. (02) 4929 1977. You & I. Cassus Circus / Sydney Gay & Lesbian Mardi Gras. Feb 22 & 23. Seymour Centre. (02) 9351 7940. seymourcentre.com
Co-creators Ashleigh Taylor and Ben Bennet head the World Premiere cast of their own new musical The Life Of Us, presented by Neil Gooding Productions at Sydney’s Hayes Theatre from Jan 16 to Feb 8. hayestheatre.com.au Yummy Unleashed. Sydney Gay & Lesbian Mardi Gras. Feb 26 28. Seymour Centre. (02) 9351 7940. seymourcentre.com She Loves Me. Adapted from Miklos Laszlo’s play Parfumerie. Book by Joe Masteroff, music and lyrics by Jerry Bock and Sheldon Harnick. Opera Hunter. Feb 26 - Mar 8. Lake Macquarie Performing Arts Centre, Warners Bay. (02) 4943 1672.
Sex Education. Sydney Gay & Lesbian Mardi Gras. Feb 25 28. Seymour Centre. (02) 9351 B&B: A Night of Benny & Bjorn. 7940. seymourcentre.com Performers from The Very Hot Brown Honey. Sydney Gay Popular Theatre Company’s & Lesbian Mardi Gras. Feb 25 - Mamma Mia! Songs by the 28. Seymour Centre. (02) 9351 Abba team. Feb 27. Lizotte’s, Lambton (Newcastle). (02) 7940. seymourcentre.com 4956 2066. The 91-Storey Treehouse. Sherlock Holmes and the Death Adapted by Richard Tulloch on Thor Bridge by Arthur from the book by Andy Griffiths and Terry Denton. Feb Conan Doyle, adapted by Sandra Bass. Genesian Theatre 26 - 29. Glen Street Theatre. Company Inc. Feb 29 - Apr 4. (02) 9975 1455. 420 Kent Street, Sydney. glenstreet.com.au genesiantheatre.com.au 66 Stage Whispers
Hamlet by William Shakespeare. Bell Shakespeare. Feb 29 - Apr 4. Playhouse, Sydney Opera House. sydneyoperahouse.com The Bridges of Madison County. Book by Marsha Norman. Music & Lyrics by Jason Robert Brown. Based on the novel by Robert James Waller. Matthew Management and Neil Gooding Productions. From Mar 6. Hayes Theatre Co. hayestheatre.com.au The Pirates of Penzance by Gilbert and Sullivan. The Arcadians Theatre Group. Mar 6 - 21. The Arcadians’ Miners Lamp Theatre. arcadians.org.au Falsettos by William Finn and James Lapine. Theatre & Company. Mar 6 - 14. Riverside Theatres. riversideparramatta.com.au
Queensland The Book of Mormon by Trey Parker, Robert Lopez and Matt Stone. Jan 3 - Feb 23. Lyric Theatre, QPAC. 136 246. Stick By Me by Andy Manley and Ian Cameron. Jan 7 - 11. Studio 1. QPAC. 136 246. Wolfgang’s Magical Musical Circus. Circa. Jan 7 - 18. Cremorne Theatre, QPAC. 136 246. Pinocchio by Millie Talbot. Spotlight Theatre Company, Benowa. Jan 8 - 18. (07) 5539 4255. spotlighttheatre.com.au Fantastic Mr Fox by Roald Dahl. shake & stir theatre co. Jan 9 18. Playhouse, QPAC. 136 246. Ladies Day by Amanda Whittington. Javeenbah Theatre Company. Jan 10 - 25. (07) 5596 0300. javeenbah.org.au
Just $50 a month to reach thousands of theatre goers. Contact Stage Whispers for details.
On Stage
Queensland & Victoria
Randy Newman. Feb 7. Concert The Happy Prince by Oscar Hall, QPAC. 136 246. Wilde / Graeme Murphy. Australian Ballet. Feb 25 - 29. 13: The Musical by Jason Lyric Theatre, QPAC. 136 246. Robert Brown, Dan Elish and Robert Horn. Spotlight Theatre Speed: The Movie, The Play. An Evening with David Sedaris. Company, Benowa. Feb 7 - 29. Brisbane Powerhouse. Feb 27 Jan 13. Concert Hall, QPAC. (07) 5539 4255. Mar 22. (07) 3358 8613. 136 246. spotlighttheatre.com.au Blithe Spirit by Noël Coward. Peepshow. Circa. Jan 14 - 25. Power and Glory. Queensland Ipswich Little Theatre. Feb 27 Cremorne Theatre, QPAC. 136 Symphony Orchestra. Feb 8. Mar 14. (07) 3812 2389. 246. Concert Hall, QPAC. 136 246. The Opposite Sex by David Swan Lake Act II & Graduation Emerald City by David Tristam. Mousetrap Theatre, Ball. Ballet Theatre of Qld. Jan Williamson. Queensland Redcliffe. Feb 28 - Mar 15. (07) 22 - 25. Playhouse, QPAC. 136 Theatre. Feb 8 - 29. Playhouse, 3888 3493. 246. QPAC. 1800 355 528. mousetraptheatre.asn.au Captain Hook’s Revenge by Richard Coleman. Mousetrap Theatre, Redcliffe. Jan 10 - 19. (07) 3888 3493. mousetraptheatre.asn.au
Penn and Teller. Jan 22 - 26. Concert Hall, QPAC. 136 246. The Twits by Roald Dahl. Brisbane Arts Theatre. Jan 25 Apr 11. (07) 3369 2344. Hannah Gadsby: Douglas. Jan 29 - 30. Concert Hall, QPAC. 136 246. David Suchet. Poirot and More: A Retrospective. Jan 31 - Feb 1. Concert Hall, QPAC. 136 246. A Chorus Line. Music: Marvin Hamlisch. Lyrics: Edward Kleban. Book: James Kirkwood, Nicholas Dante. Beenleigh Theatre Group. Jan 31 - Feb 15. (07) 3807 3922. beenleightheatregroup.com A Streetcar Named Desire by Tennessee Williams. Brisbane Arts. Jan 31 - Feb 29. (07) 3369 2344. artstheatre.com.au Little Miss Sunshine by James Lapine and William Finn. Phoenix Ensemble, Beenleigh. Jan 31 - Feb 22. (07) 3103 1546. phoenixensemble.com.au Long Gone Lonesome Cowgirls by Philip Dean. Gold Coast Little Theatre. Feb 1 - 22. (07) 5532 3224. gclt.com.au The Blindboy Podcast. Feb 4. Cremorne Theatre, QPAC. 136 246. MI:WI. Feb 5 - 8. Studio 1, QPAC. 136 146 Yundi Li Sonata World Tour 2020. Feb 6. Concert Hall, QPAC. 136 246.
the book by Andy Griffiths and Terry Denton. CDP Kids. Jan 4 19. Playhouse, Arts Centre Melbourne. artscentremelbourne.com.au The Witches. Adapted by David Wood, based on the story by Roald Dahl. Encore Theatre. Jan 9 - 18. Clayton Community Centre. 1300 739 099.
War Horse. Adapted by Nick Stafford from the novel by Michael Morpurgo. National Theatre of Great Britain and Trafalgar Entertainment. From Jan 10. Regent Theatre, The Neighbourhood by Todd Anh Do - The Happiest Refugee Melbourne. MacDonald, Aleea Monsour & Live!! Feb 28 - 29. Concert warhorseonstage.com.au Ari Palani. La Boite, Kelvin Hall, QPAC. 136 246. #Hypocrisy. Imogen Stirling. Grove. Feb 8 - 29. (07) 3007 Rumors by Neil Simon. Growl Midsumma Festival. Jan 13 8600. laboite.com.au Theatre. Feb 29 - Mar 15. 25. The Butterfly Club. Gladys Knight. Feb 11. Concert boxoffice@growltheatre.org.au thebutterflyclub.com Hall, QPAC. 136 246. Victoria Stick By Me by Andy Manley CO_EX_EN. Feb 12 - 15. Studio and Ian Cameron. Andy Harry Potter and the Cursed 1, QPAC. 136 246. Mankey and Red Bridge Arts. Child. Based on an original Ru Paul’s Drag Race: Werq The new story by J.K. Rowling, Jack Jan 14 - 18. Playhouse Rehearsal Room, Arts Centre World Tour 2020. Feb 12. Thorne and John Tiffany. Melbourne. Concert Hall, QPAC. 136 246. Continuing. Princess Theatre, artscentremelbourne.com.au Melbourne. Viagara Falls and the 70-Yearharrypottertheplay.com/au Mamma Mia! Music and lyrics Old Virgin by Alan Youngson and Janet Findley. Sunnybank Come From Away. Book, music by Benny Andersson, Björn Ulvaeus and Stig Anderson. Theatre. Feb 14 - 29. (07) 3345 and lyrics by David Hein and Book by Catherine Johnson. 3964. sunnybank2020.com Irene Sankoff. Junkyard Dogs Productions and Rodney Rigby. Footlight Productions. Jan 17 Gene Kelly: The Legacy - An Feb 1. Playhouse Theatre, Continuing. Comedy Theatre, Afternoon with Patricia Ward Geelong Performing Arts Melbourne. Kelly. Feb 16. Concert Hall, Centre. comefromaway.com.au QPAC. 136 246. footlightproductionsvic.com Charlie and the Chocolate Beethoven 1, 2 & 3. Australian Home, I’m Darling by Laura Factory. Music by Marc Chamber Orchestra. Feb 8 - 17. Wade. Melbourne Theatre Shaiman, lyrics by Scott Concert Hall, QPAC. 136 246. Company. Jan 20 - Feb 22. Wittman and Marc Shaiman, Southbank Theatre, The Jason Alexander - Master of His book by David Greig, with Sumner. mtc.com.au Domain. Feb 21. Concert Hall, additional songs by Leslie QPAC. 136 246 Bricusse and Anthony Newley Love by the Hour. Midsumma Festival. Jan 20 - 25. The Yatra Holi Sandhya - A Celestial from the 1971 Warner Bros motion picture. Her Majesty’s Butterfly Club. Journey. BrisAsia Festival. Feb Theatre, Melbourne. Until Feb thebutterflyclub.com 22. Gardens Theatre. (07) 3138 2. charliethemusical.com.au 7750. The Boy I Paid For. Writers’ gardenstheatre.qut.edu.au Chicago. Music by John Block Theatre / Midsumma Kander. Lyrics by Fred Ebb. Festival. Jan 20 - 25. The Casablanca - Radio Play. Nash Book by Fred Ebb and Bob Butterfly Club. Theatre, New Farm. Feb 22 Fosse. John Frost and Suzanne thebutterflyclub.com Mar 7. (07) 3379 4775. Jones. Continuing. State As One. Music & Concept by The Trumpet Unleashed. Theatre, Arts Centre Laura Kaminsky. Libretto by Southern Cross Soloists. Feb Melbourne. 1300 182 183. Mark Campbell & Kimberly 23. Concert Hall, QPAC. 136 The 91-Storey Treehouse by Reed. Gertrude Opera / 246. Richard Tulloch, adapted from midsumma festival. Jan 22 -
Advertise your show on the front page of www.stagewhispers.com.au
Stage Whispers 67
On Stage
Victoria
Nikki Shiels (pictured) and Jane Turner appear in the Melbourne Theatre Company’s production of the Olivier Award-winning comedy, Home, I’m Darling, at Southbank Theatre, The Sumner from Jan 20 - Feb 23. mtc.com.au Photo: Justin Ridler.
Online extras!
Watch the preview for Home, I’m Darling. Scan the QR code or visit https://youtu.be/bLt1KWRQQPQ Feb 1. fortyfivedownstairs. fortyfivedownstairs.com Unmasking Prince Charming. Midsumma Festival. Jan 23 25. Chapel off Chapel. chapeloffchapel.com.au
Dean Arcuri is Yours Sincerely. Midsumma Festival. Jan 27 Feb 1. The Butterfly Club. thebutterflyclub.com
The Foreigner by Larry Shue. Geelong Repertory Theatre Company. Feb 7 - 22. Woodbin Theatre, Geelong West. geelongrep.com
The Feather in the Web by Nick Confessions of a Mormon Boy. Coyle. Red Stitch Actors’ Theatre. Jan 29 - Mar 1. Gooding Productions and NF2 Sugarbabies: A Boylesque redstitch.net Productions. Midsumma Musical. Midsumma Festival. Festival. Feb 7 - 9. Chapel off Jan 23 - 25. Chapel off Chapel. Waiting for God by Michael Chapel. Aitkens. Peridot Theatre Inc. chapeloffchapel.com.au chapeloffchapel.com.au Jan 31 - Feb 15. Unicorn David Suchet. Poirot and More: Theatre, Mount Waverley Torch the Place by Benjamin A Retrospective. Jan 25 & Feb Law. Melbourne Theatre Secondary College. 13. Hamer Hall, Arts Centre peridot.com.au Company. Feb 8 - Mar 21. Melbourne. Fairfax Studio, Arts Centre artscentremelbourne.com.au Interesting Times by Stephen Melbourne. mtc.com.au Briggs, based on the novel by Dahlin! It’s The Jeanne Little Terry Pratchett. Brighton Shake’n’Blake. Blending the Show by Kieran Carroll. Theatre Company. Jan 31 - Feb works of Williams Shakespeare Midsumma Festival. Jan 27 and Blake. Terra Incognita. Feb 15. Cnr Wilson & Carpenter Feb 1. The Butterfly Club. Streets Brighton.1300 752 11 - 23. fortyfivedownstairs. thebutterflyclub.com 126. brightontheatre.com.au fortyfivedownstairs.com SWEETie. Kieran Carroll. Confetti: Pretty, but a bit of a The Last Romance by Joe Midsumma Festival. Jan 27 mess by Ashy Rose. Midsumma DiPietro. Williamstown Little Feb 1. The Butterfly Club. Festival. Feb 3 - 8. The Butterfly Theatre. Feb 12 - 29. thebutterflyclub.com Club. thebutterflyclub.com wlt.org.au 68 Stage Whispers
Kinckers - a brief comedy by Barbara Crawford. Mordialloc Theatre Co. Feb 14 - 29. Shirley Burke Theatre, Parkdale. mordialloctheatre.com The Sum of Us by David Stevens. Eltham Little Theatre. Feb 14 - 29. elthamlittletheatre.org.au Gaslight by Patrick Hamilton. Heidelberg Theatre Company. Feb 14 - 29. htc.org.au Death Knell by Gregor McGibbon. The Basin Theatre Group. Feb 14 - Mar 7. 1300 784 668. thebasintheatre.org.au The Importance of Being Earnest by Oscar Wilde, adapted by Jon Haynes, Jude Kelly & David Woods. Malthouse Theatre. Feb 14 Mar 8. Merlyn Theatre. malthousetheatre.com.au
Just $50 a month to reach thousands of theatre goers. Contact Stage Whispers for details.
On Stage Crown Matrimonial by Royce Ryton. Malvern Theatre Company. Feb 14 - 29. 1300 131 552. malverntheatre.com.au Shrek the Musical. Music by Jeanine Tesori. Book and lyrics by David Lindsay-Abaire. John Frost. Feb 15 - Mar 29. Her Majesty’s Theatre, Melbourne. On Golden Pond by Earnest Thompson. The 1812 Theatre. Feb 20 - Mar 14. The Lowe Auditorium, Upper Ferntree Gully. 1812theatre.com.au 40 Years of Broadway. MDMS. Feb 19. Karralyka Centre, Ringwood East. mdms.org.au Black Ties. Ilbejerri Theatre Company and Te Rēhia Theatre as part of AsiaTopa. Feb 21 29. The Pavilion, Arts Centre Melbourne. artscentremelbourne.com.au Fool for Love by Sam Shepard. Strathmore Theatrical Arts Group (STAG). Feb 20 - 29. Strathmore Community Hall. stagtheatre.org What is Chinese? by Xiao Ke x Zi Han. AsiaTopa. Feb 20 - 29. Arts House, North Melbourne. artshouse.com.au Disenchanted! A New Musical Comedy. PEP Productions. Feb 21 - 29. Doncaster Playhouse.
Victoria, Tasmania & South Australia
Mamma Mia! Music and lyrics by Benny Andersson, Björn Ulvaeus and Stig Anderson. Book by Catherine Johnson. Cardinia Performing Arts Co. Feb 22 - Mar 6. Cardinia Cultural Centre. cardiniaperformingarts.com Salome by Richard Strauss. Victorian Opera. Feb 22 - 27. Palais Theatre, St Kilda. victorianopera.com.au
Mar 1. The Foundry Arts Space, Keeping Up Appearances by Echuca. Roy Clarke. Hobart Repertory Theatre Society. Feb 28 - Mar Switzerland by Joanna Murray15. The Playhouse Theatre, Smith. The Mount Players. Feb Hobart. playhouse.org.au 28 - Mar 15. themountplayers.com South Australia Sullivan and Friends. Gilbert and Sullivan Opera Victoria. Feb 29 - Mar 8. gilbertandsullivan.org.au Tasmania
Are You Ready To Take The Law Into Your Own Hands by Sipat Lawin and friends. AsiaTopa. Feb 26 - 29. Arts House, North Melbourne. artshouse.com.au
Trial by Jury by Gilbert and Sullivan. Gilbert and Sullivan Society of Tasmania. Jan 10 Feb 1. Supreme Court of Tasmania. gilbertandsullivantas.org.au
Les Misérables. Music: ClaudeMichel Schonberg. Lyrics: Herbert Kretzmer. Original French text by Alain Boublil & Jean Marc Natel. Ballarat Lyric Theatre. Feb 27 - Mar 8. Her Majesty’s Theatre, Ballarat. ballaratlyrictheatre.com.au
Mamma Mia! Music and lyrics by Benny Andersson, Björn Ulvaeus and Stig Anderson. Book by Catherine Johnson. The Show Company Tasmania. Jan 17 - Feb 1. Theatre Royal, Hobart. theatreroyal.com.au
They Came from Mars and Landed Outside the Farndale Avenue Church by David McGillivray & Walter Zerlin Jr. Beaumaris Theatre Inc. Feb 28 - Mar 14. beaumaristheatre.com.au Last Tango in Little Grimley & Last Panto in Little Grimley by David Tristram. Echuca Moama Theatre Company. Feb 28 -
Be More Chill. Music and lyrics by Joe Iconis. Book by Joe Tracz. Based on the novel by Ned Vizzini. The Old Nick Company. Feb 6 - 15. The Playhouse Theatre, Hobart. playhouse.org.au American Song by Joanna Murray-Smith. Red Stitch / Critical Stages. Feb 21 & 22. Theatre Royal, Hobart. theatreroyal.com.au
Billy Elliot the Musical. Music by Elton John. Book and lyrics by Lee Hall. Adelaide Festival Centre Trust. Until Jan 19. Adelaide Festival Theatre. billyelliotthemusical.com.au Rattling the Keys by Zoe Muller. Deadset Theatre Company. Jan 7 - 11. The Breakout at The Mill. trybooking.com/544197 The Story of Aladdin by Sonja Zadrow. Hills Youth Theatre. Jan 14 - 19. Stirling Community Theatre. hillsyouththeatre.com Who’s Afraid of Virginia Woolf? By Edward Albee. Butterfly Theatre. Jan 22 - 26. Holden Street Theatres. trybooking.com/523563 Heathers the Musical. By Kevin Murphy and Laurence O’Keefe. Zest Theatre Group. Jan 31 Feb 9. Victor Harbor Town Hall. trybooking.com/BGZRM Any Number Can Die by Fred Carmichael. Tea Tree Players. Feb 5 - 15. Tea Tree Players Theatre. (08) 8289 5266. teatreeplayers.com
JOIN THE CONVERSATION! Follow us on Twitter: www.twitter.com/stage_whispers Like us on Facebook: www.facebook.com/stagewhispers Advertise your show on the front page of www.stagewhispers.com.au
Stage Whispers 69
On Stage
South Australia & Western Australia
The Black Swan State Theatre Company / Malthouse Theatre production of Cloudstreet, adapted from the Tim Winton novel by Nick Enright and Justin Monjo, plays at His Majesty’s Theatre, Perth from Feb 21 to Mar 15 as part of the Perth Festival. perthfestival.com.au Photo: Pia Johnson.
Adelaide Fringe. Feb 14 - Mar 15. Multiple stage events. Multiple venues. adelaidefringe.com.au Adelaide Festival. Feb 28 - Mar 15. Multiple arts events. Multiple venues. adelaidefestival.com.au
Oakley and Olivia. Amoré Stage Production. Jan 17 - 20. New musical for kids. Subiaco Arts Centre, Studio, Perth. ptt.wa.gov.au
CROOKIE! A Mystery Musical. Drug Aware & Subilicious. Jan 22 - 25. Detectives seek a cookie culprit. Subiaco Arts Western Australia Centre, Studio, Perth. Treasure Island by Ben Crocker. ptt.wa.gov.au Busselton Repertory Club. Until Roald Dahl’s Fantastic Mr Fox. Jan 11. Pantomime. Weld shake and stir theatre Theatre, Queen St, Busselton. company. Jan 22 - 26. Heath trybooking.com/BGZUW Ledger Theatre, State Theatre Annie Jr by Charles Strouse, Centre of WA, Perth. Thomas Meehan and Martin ptt.wa.gov.au Charnin. Kidz Kompany! Jan 11 The Last Five Years by Jason - 12. Old Mill Theatre. Robert Brown. AIM - Art in trybooking.com/569553 Motion / Fringe World. Jan 24 The Little Prince. Adapted from Feb 2. Don Russell Performing the book by Antoine de Saint- Arts Centre, Thornlie. Exupéry. Spare Parts Puppet fringeworld.com.au Theatre. Jan 13 - Feb 1. For David Walliams’ The Midnight children and adults. Short St, Gang by Maryam Master. cdp Fremantle. sppt.asn.au kids. Jan 28 - Feb 1. Based on 70 Stage Whispers
Online extras!
Watch a preview of Cloudstreet. Scan the QR code or visit https://youtu.be/CAN5TFM7MyY
the book. Heath Ledger Theatre, State Theatre Centre of WA, Perth. ptt.wa.gov.au
Maj, His Majesty’s Theatre, Perth. ptt.wa.gov.au
Room on the Broom by Julia Donaldson and Axel Schleffer. Jan 28 - Feb 2. Based on the book. Heath Ledger Theatre, State Theatre Centre of WA, Perth. ptt.wa.gov.au
Annie by Charles Strouse, Thomas Meehan and Martin Charnin. Wanneroo Repertory. Feb 6 - 22. Popular family musical. Limelight Theatre, Wanneroo. limelighttheatre.com.au
Kiss: A New Musical by Greg Lavelle. Western Sky Theatre & Subilicious. Jan 29 - Feb 1. Offbeat family drama. Subiaco Arts Centre, Studio, Perth. ptt.wa.gov.au
Anthem by Andrew Bovell, Patricia Cornelius, Melissa Reeves, Christos Tsiolkas and Irene Vela. Perth Festival. Feb 6 - 16. Subiaco Arts Centre. perthfestival.com.au
The Killdeer: A Musical by Taylor Broadley. Fringe World. Feb 1 - 2. Lost teenager returns home. Studio Underground, State Theatre Centre of WA. ptt.wa.gov.au
Bran Nue Dae by Jimmy Chi and Kuckles. WA Opera. Feb 6 - 15. Regal Theatre, Subiaco. perthfestival.com.au
Comma Sutra by Louise Fitzhardinge. Aces at the Maj. Feb 4 - 8. Grammatical comedy. Downstairs at the
Heathers by Kevin Murphy and Laurence O’Keefe. HAMA Productions. Feb 6 - 9. Based on the film by Daniel Waters. Studio Underground, State Theatre Centre of WA. fringeworld.com.au
Just $50 a month to reach thousands of theatre goers. Contact Stage Whispers for details.
On Stage Hecate. Yirra Yaakin Theatre Company and Bell Shakespeare. Feb 6 - 16. In a world where Noongar is spoken, a yarn about a Scottish king is retold. Subiaco Arts Centre. perthfestival.com.au The Actress by Peter Quilter. Stirling Players. Feb 7 - 22. Backstage drama. Stirling Theatre, Innaloo. trybooking.com/553965 Disenchanted! by Dennis T. Giacino. Aces at the Maj and Grey Lantern Productions. Feb 11 - 15. Princess musical. Downstairs at the Maj, His Majesty’s Theatre, Perth. ptt.wa.gov.au Bette and Joan by Anton Burge. Garrick Theatre, Guildford. Feb 13 - 29. The feud between Bette Davis and Joan Crawford. garricktheatre.asn.au
Western Australia & New Zealand
Youth production. Pinjarra Civic David Mitchell and Melvyn Centre. 0401 588 962. Morrow. Koorliny Arts Centre, Kwinana. Feb 21 - Mar 7. Tao of Glass by Philip Glass and Australian Rock musical based Phelim McDermot. Perth on the life of Johnny O’Keefe. Festival. Feb 19 - 25. koorliny.com.au Meditations on life, death and Taoist wisdom. Heath Ledger Hansel and Gretel by Theatre, State Theatre Centre Humperdink. WA Opera. Feb of WA. perthfestival.com.au 22. Opera in the Park, Supreme Court Gardens. Free Event. Lizzie’s A Darlin’ by Siobhan Wright. Irish Theatre Players. Mám. Teac Damsa. Feb 26 Feb 20 - 29. Locally written 29. International dance premiere. Townshend Theatre, theatre. Heath Ledger Theatre, Irish Club of WA. State Theatre Centre of WA. irishtheatreplayers.com.au perthfestival.com.au Where in the World is Frank Sparrow? by Angela Betzien. Midnite Youth Theatre. Feb 20 - 22. Set in a dark underworld. Drama Centre, Christchurch Grammar School. trybooking.com/BFXVD
Alice in Wonderland by Lewis Carroll, adapted by Mike Carter. Darlington Theatre Players. Feb 28 - Mar 14. Marloo Theatre, Greenmount. marlootheatre.com.au
Fidelio by Ludwig Van A Fortunate Life by A. B. Facey, Beethoven. WA Opera. Feb 28 adapted for the stage by Jenny - Mar 1. Perth Concert Hall. Davis and Stuart Halusz. perthfestival.com.au Black Ties by John Harvey and Theatre 180 and Cinemastage. A Midsummer Night’s Dream Tainui Tukiwaho. ILBIJERRI Feb 20 - Mar 4. Theatre by William Shakespeare. Theatre Company and Te Rêhia performance in a cinema. Roleystone Theatre. Feb - Mar Theatre. Feb 13 -16. The Midland Ace Cinema. season. Outdoor venue in biggest, blackest wedding ever. afortunatelife.com.au Roleystone area. Studio Underground, State Cloudstreet by Nick Enright roleystonetheatre.com.au Theatre Centre of WA. and Justin Monjo. Black Swan New Zealand perthfestival.com.au State Theatre Company and Love’s Labour’s Lost by One Act Season. Melville Malthouse Theatre. Feb 21 Williams Shakespeare. Jan 10 Theatre, Palmyra. Feb 13 - 22. Mar 15. Australian drama 23. The Historic Village, meltheco.org.au based on the novel by Tim Winton. His Majesty’s Theatre, Tauranga. 0800 BUY TIX (289 Granny Get Your Gun by Tony 849) Perth. perthfestival.com.au Nicholls. Primadonna Productions. Feb 14 - 15. Shout! The Legend of the Wild Madagascar Jr. Based on the One by John-Michael Howson, DreamWorks Animation Motion Picture. Book by Kevin Del Aguila. Original Music and Lyrics by George Noriega and Jo Somelian, Musikmakers Hamilton. Jan 14 - 18. Riverlea Theatre. riverleatheatre.nz Place your audition notice
Auditions
in the next edition of Stage Whispers magazine. Email stagews@stagewhispers.com.au or call (03) 9758 4522
Online extras!
Check out all the auditions that didn’t make it to print. Scan or visit www.stagewhispers.com.au/auditions
16 - Feb 8. Circa Theatre, Wellington. (04) 801 7992. The Surprise Party by Dave Armstrong. Jan 17 - Feb 8. Circa Theatre, Wellington. (04) 801 7992. Johnny Appleseed by Garry Thomas and Steve Millar. Elmwood Players. Jan 18 - 26. elmwood-players.org.nz Macbeth & As You Like It by William Shakespeare. Shoreside Theatre (Auckland). Jan 18 Feb 15. The PumpHouse Outdoor Amphitheatre. shoresidetheatre.org Treasure Island. Anthony Harper Summer Theatre. Jan 29 - Feb 16. Christchurch Botanic Gardens. Free Event. Winding Down by Roger Hall. Auckland Theatre Company. Feb 11 - Mar 8. ASB Waterfront Theatre. atc.co.nz The Vagina Monologues by Eve Ensler. V-Day Whangarei. Feb 13 - 15. Forum North, Whangarei. David Suchet - Poirot and More. Feb 17, The Opera House, Wellington, 0800 111 999; Feb 19, Christchurch Town Hall, 0800 ticketek; Feb 22, Kiri Te Kanawa Theatre, Auckland, 0800 111 999. Last Legs by Roger Hall. Dolphin Theatre (Auckland). Feb 21 - Mar 7. dolphintheatre.org.nz A Streetcar Named Desire by Tennessee Williams. The Court Theatre, Christchurch. Feb 22 Mar 14. 0800 333 100.
One Man, Two Guvnors by Richard Bean based on “The Chitty Chitty Bang Bang Jr. Servant of Two Masters” by Music & Lyrics: Richard & Carlo Goldoni. Stagecraft Robert Sherman. Adapted for Theatre. Feb 26 - Mar 6. the stage by Jeremy Sams & Gryphon Theatre, Wellington. Ray Roderick. Tauranga Musical stagecraft.co.nz Theatre Inc. Jan 17 - 25. Stag and Doe by Mark Westside Theatre. Crawford. Howick Little taurangamusicaltheatre.co.nz Theatre. Feb 29 - Mar 21. A Traveller’s Guide to Turkish hlt.org.nz Dogs by Barnaby Olson & company. A Mulled Whine. Jan
Advertise your show on the front page of www.stagewhispers.com.au
Stage Whispers 71
Reviews: Premieres
Online extras!
The shows’ creatives discuss the cyclical patriarchal brutality of Packer & Sons. https://youtu.be/xt073WuUhBY
John Howard in Packer & Sons. Photo: Brett Boardman.
Packer & Sons By Tommy Murphy. Belvoir Street Theatre. Nov 16 - Dec 22. THERE’S no holding the man in Tommy Murphy’s new play about four generations of Packer men. These big blunt bullies dismiss their sons as competitors, and weak to boot. They’re fathers whose cold hearts all fail to get them past their 60s, but have carved newspaper, magazine, television and now gambling empires out of Sydney. Eamon Flack nimbly directs this generational duplication of toxic masculinity on Romanie Harper’s minimalist Belvoir stage. It’s a compelling passage of patriarchal brutality, and Murphy’s obvious research helps to pack a punch even stronger. His challenge though is to distil all that into a play. As it eddies into overdetailed tangents and business deals, it feels like these real life Packers are demanding something bigger, perhaps a NSW9 mini-series. John Howard drives it through with his weighty performance as Frank and an older Kerry Packer, as does Brandon McClelland as Clyde, the brother who got away. Josh McConville plays vulnerable Packers, first the young Kerry and then James, as the (overly written) unravelling of One Tel triggers his first breakdown. Nick Bartlett is a fine Teflon coated Lachlan Murdoch, such a counter to James, while Anthony Harkin is the welcome whizz kid buddy, Jodee Rich. John Gaden plays Rupert and youngsters provide chilling imagery of boy Packers being bludgeoned by their Dads’ expectations. 72 Stage Whispers
Alan John’s music provides a cinematic sweep even if the play’s own rhythms stumble by the end. Martin Portus Bright Star Music, book & story by Steve Martin. Music, lyrics & story by Edie Brickell. Pursued By Bear. Director: Mark Taylor. Musical Director: Nathan Firmin. Choreographer: Freya List. Chapel Off Chapel. Oct 25 - Nov 3. IT’S not every day that you see a small-scale musical and come out thinking that not even Broadway could do this any better. This little-known show by actor/musician Steve Martin & singer Edie Brickell is finally getting to ‘shine bright’ in Australia. The idea that a traumatic life event doesn’t have to define you, but instead presents an opportunity for growth, was the underlying theme for Director Mark Taylor’s vision. From the opener “If You Knew My Story”, I fell in love with Kala Gare’s honest portrayal of Alice Murphy. “At Long Last” brought down a packed house of sobbing patrons. Matthew Prime’s depiction of Alice’s love interest Jimmy Ray Dobbs was charismatic, magnetic and vocally brilliant, especially during “Heartbreaker”. Callum O’Malley’s (Billy Cane) title song “Bright Star” and Sarah Krndija’s (Margo Crawford) wistful rendering of “Asheville” were standout performances. Comedy relief was amiably supplied by Ellie Nunan (Lucy Grant) and Lachlan Hewson (Daryl Ames) who had the audience in stitches. For me the surprise of this cast were the smaller roles of the parents. Mike Gardiner (Mayor Dobbs), Tref
Longer versions of many reviews can now be found at www.stagewhispers.com.au
Gare (Daddy Murphy), Lindy Yeates (Mama Murphy) and Tom Blair’s (Daddy Cane) portrayal of heartbreak and hope no doubt resonated with parents in the audience. Musical Director Nathan Firmin’s bluegrass band added another layer of excitement to the show. Freya List’s choreography, involving the use of apple crates as props, was highly compelling and the scenes were set up and changed seamlessly. A standing ovation was well deserved. Jonathan Cox Control By Keziah Warner. Red Stitch Actors’ Theatre. St Kilda East. Oct 1 - Nov 3. A SCI-FI satire in three parts, Control is about being controlled, attempting to regain control, and losing control. One austere set, designed by Emily Collett, serves for all three stories, with atmospheric light changes by Lisa Mibus. In Part 1, Elizabeth (Christina O’Neil), Andrew (Dushan Philips), Jake (Samuel Rowe) and Laura (Naomi Rukavina) are on a spaceship, about to land on Mars! But they’re obliged to take part in a ‘reality’ television show - and what the show’s unseen producer-controllers demand is clichés and banality. In Part 2, Xavier (Mr Rowe), tries to get embarrassing data deleted at the Museum of Childhood Memories. Meanwhile Caroline (Ms Rukavina) and Nikki (Ms O’Neil) ‘control’ a partially programmed grumpy and uncoordinated cyborg Alex (Mr Philips) - about the only ‘control’ they can achieve. Part 3, set aeons later, sees an uncertain Isabelle (Ms O’Neil) attempt to program an advanced cyborg Esta (Ms Rukavina). Here, the overt comedy is restrained, it is psychologically acute and performed with meticulous detail. Both actors are brilliant. Isabelle becomes a rounded character and the increasing dominance of the cyborg becomes eerie. As is to be expected at Red Stitch, all performances are excellent and that makes up for the rather derivative text. It is certainly ‘funny’ - very funny initially - but what it presents are three situations rather than three stories, and even the intriguing Part 3 doesn’t tell us anything we didn’t know or haven’t seen before. Michael Brindley
recently broken up with her boyfriend. Gemma is an uptight architect, has a pet rabbit and a boyfriend. Iris appears to be suffering from OCD; she has a perfect body but is not happy with it. Gemma is a nine-to -fiver, has neurotic tendencies and is out of shape. All the typical female friendship tropes are evident: tarot reading, sharing beauty-tips and toying with Tinder. Zuanetti has addressed the everyday banalities with sharp and funny dialogue. Thomas and Mass are captivating, hilarious and engaging as they manoeuvre around their all pale pink kitchenette/lounge set, designed by Sophie Woodward. Flora Georgiou
Antigone Adapted by Merlynn Tong after Sophocles. Directed by Travis Dowling. Queensland Theatre. Bille Brown Theatre. Oct 26 - Nov 16. QUEENSLAND Theatre has a hit on its hands with Antigone. This production proffers excellent acting, stunning design, outstanding sound and beautiful lighting. Director Travis Dowling should be applauded for nurturing such exceptional talents to deliver work of this standard. One can’t thank Merlynn Tong enough for dusting off this ancient tale and making it so relevant for a modern audience. Jessica Tovey as Antigone is powerful, focussed and committed. Her rage against the authoritarian rule is wonderfully controlled both physically and vocally. Antigone’s sister Ismene is played with heart and earnest conviction by Shubshri Kandiah. No stranger to musical theatre, Shubshri also fulfils role of chorus, singing beautifully and with amazing power and breath control. Kevin Spink delights in his role of Creon’s beloved son and Antigone’s devoted fiancé, Haemon. Kevin’s excellent diction and physical discipline show you Haemon is a soldier and a perfectionist. Oracle Tiresias is played by Penny Everingham with great wisdom and gravitas. Christen O’Leary is captivating as Creon. You can’t take your eyes off her as the charismatic Queen of Thebes. Christen has a gorgeous voice, enviable emotional range and is clearly relishing her role. Composer and sound designer Tony Brumpton builds a great atmosphere. Ben Hughes has the show perfectly lit. Vilma Mattila’s design gives several nods to the ancient Greeks, yet it feels somehow timeless. Thigh Gap This show is tight, tight, tight! Kudos to all involved. By Jamaica Zuanetti. La Mama Courthouse. Oct 30 - Nov 10. Kiesten McCauley IF you have a thigh gap, it means you’re slim, taut and terrific, so the new show by Jamaica Zuanetti delves into What Girls Are Made Of pop culture to explore body image, beauty and being By Cora Bissett. Raw Material & Traverse Theatre female in the modern era. The comical absurdist play, Company. Director Orla O’Loughlin. Melbourne directed by Alice Darling, questions female stereotypes International Arts Festival. The Famous Spiegeltent. Oct 3 and the hazardous consequences of living up to an - 13. impossible image. THIS ‘girl’ is Cora Bissett, writer and lead performer in Iris (Veronica Thomas) finds a new housemate Gemma a fabulous, foot-tapping, laughter and tears, rock’n’roll (Lauren Mass). They are opposite in shape, size and music-theatre show from Scotland, a meteoric-rise-tolifestyle. Iris, an artist who works in hospitality, is obsessed fame-and-plunge-back-to-obscurity tale enlivened by the with dieting, women’s magazines, TV soapies and has detail of little Cora’s childhood - especially her Mam and Longer versions of many reviews can now be found at www.stagewhispers.com.au
Stage Whispers 73
Dad - and all the characters she meets along the way to fame. Around 1992, in a Scottish backwater, schoolgirl Cora, who’s picked Patti Smith as her role model, sees a newspaper ad: Band Seeks Singer. The ‘band’ becomes ‘Darlingheart’ - and soon they’ve got a manager (oh-oh), a record deal and they’re touring with top of the bill bands like Radiohead and Blur. The cast are actors who are also great musicians and they create all the characters - funny and/or sad - or posh or camp or nasty or evil - as the story requires, public and private - as well as the bands Darlingheart tours with. Emma Smith is on percussion, and she’s also Cora’s school and teen friends. String bean Simon Donaldson, lead guitar, plays many characters - his only prop a pair of glasses - but most importantly Cora’s Dad. Burly, bearded Harry Ward, on bass, plays a variety of men but also Cora’s Mam (!). It’s a cautionary tale that’s funny and very moving; there are highs and lows. There’s the roar of the crowd and the glare of the lights, and there are the most intimate moments of family, of friendship, of time passing and hopes dashed… A great show with great music tributes and all - and a story that holds all the way. Michael Brindley
Dali: Hallucinogenic Toreador By Carl Caulfield. Stray Dogs Theatre, Civic Playhouse, Newcastle. Nov 15 - 23. PLAYWRIGHT Carl Caulfield played the title role of the famed eccentric and flamboyant painter, and was on stage for an unbroken 90 minutes as watchers followed Dali from childhood to late life and observed the different interactions with people he knew and made contact with. Those characters, who include his parents, wife Gala, poet Frederico Garcia Lorca, and other artists, were engaging figures through the performances of Shane Bransdon and Charlotte De Wit. And director Daniel Stoddart made good, and often amusing, use of background projections, showing artistic works Dali had put together and the actions of others that had led him to develop the works. The relationships between the figures came out well, with the demands of Dali’s parents in his childhood and teens leading him to become more eccentric as an adult. And the audience could certainly understand why his words and movements were often idiosyncratic, with Caulfield delivering a wide range of facial movements that made good use of Dali’s pointed moustache. The action also had an amusing background musical score, that included flamencos, by composer and musician Simon Ritchie. The Village Interestingly, Caulfield developed the play after giving Stan Lai and Performance Workshop In collaboration with a 20-minute lecture on Dali at Newcastle City Art Gallery, with Ritchie accompanying the talk on a flamenco guitar. Wang Wei-Chung (Taiwan). Oz Asia Festival. Festival Theatre Adelaide. Oct 25 - 26 One of the listeners came to him at the end of the talk and asked when his play about Dali would be performed. THIS Australian premiere of The Village features 23 That led him to do more research on Dali and the interest amazingly agile and diverse performers. Of epic proportions, it presents, in chronological order, the shown in it being a full-length play had Newcastle City Council offering to include it in the Civic Theatre’s annual establishment of a village, comprised of people from season. disparate Chinese sub groups, thrown together by mainland Chinese politics. Ken Longworth Drawing from true life stories, starting in 1949, The Coram Boy Village traces the lives of three different families, largely made up of Communist-defeated Chinese Nationalist Adapted for the stage by Helen Edmundson from Jamila Gavin’s novel. bAKEHOUSE Theatre and KXT. Party soldiers, across half a century of heartbreak, struggle, intersecting relationships and loss of family and Nov 22 - Dec 7. fortune and identity. CORAM Boy is an epic tale, set in 18th Century England, with Dickensian themes and characters. In The set is impressively imaginative, cleverly rotated at England and America it has been played on vast stages key points to create different playing areas. The ‘fly’ used to create a tree under which men, women and children with large casts and lush costumes, yet its Sydney premiere, on the small traverse stage of the Kings Cross meet to gossip, problem solve, support and challenge each other, is a triumph of subtle evocative staging. Theatre, loses none of the dark drama or redeeming love The first half is fast paced, using western and of this beautiful adaptation. In fact the proximity of the performers spreads like a traditional music at key points to embellish and underline the changing circumstances and eras. The second half cloak that wraps around the audience, gathering them into this poignant tale of greed, betrayal, love and music, employs a somewhat slower melodramatic style, and transporting them into a time when slavery was reminiscent of Chinese Opera, to tell the stories of those who are re-united, and those who are lost to each other condoned and children could be sold. It’s a heartbreakingly beautiful tale, told by a company that has the by time, migration and misunderstanding. For no other reason than to taste the delicious courage to do big things in small but clever ways. dumplings (from the story) presented to all who attended Directors John Harrison and Michael Dean have used the performance, see, learn and laugh with this amazing physical theatre to imply moods, change pace, transition cast and story. time and evoke tension. Their multi-talented cast of 15 performers work together as a committed collective, Jude Hines 74 Stage Whispers
Longer versions of many reviews can now be found at www.stagewhispers.com.au
Coram Boy. Photo: Clare Hawley.
carrying more than 20 characters into the jaundiced society of the early days of the Industrial Revolution and the twisted moralities that are their lives. There are some outstanding performances in this production, but that of Joshua McElroy as Meshak lingers as a symbol of the downtrodden and neglected that hover on the outskirts of society. Nevertheless, it is the ‘whole’ that impresses most about this production. Cruelty and pain, hope and joy are portrayed in a true ensemble production that has become bAKEHOUSE’s trademark. Carol Wimmer
and sensitivity. 15-year-old Jacob Miles shone as Peter, in a beautifully crafted performance. The largely symbolic set, supplemented with excellent projections and sympathetic lighting design by John Woolwrych, allowed us to travel to multiple locales, with the inclusion of real-life pictures of Barrie and the Llewelyn-Davies family proving particularly poignant. Kimberley Shaw
Second Coming By Andrew R Kelly. Swan Hill Theatre Groups. Memorial Hall, Swan Hill. Oct 20 - 26. The Man Who Was Peter Pan FULL of puns, laughs and chuckles that reference our By Allan Knee. Directed by Sarah Christiner. Old Mill Australian culture, Second Coming is created by a strong Theatre, South Perth, WA. Nov 1 - 16. multi-talented team of theatre makers, many of whom THE Australian premiere of The Man Who Was Peter double up in performing as well as creative roles. Pan, an artistic retelling of the life of J. M. Barrie, played This show really packs a punch. It is loud, brash, lively at Old Mill Theatre. and riddled with some of the best Aussie songs from the James Matthew Barrie was played with dedication and 70s and 80s sung by a troupe of fabulous energetic actors quiet charm by Gino Cataldo, resembling the real-life with stunning voices. It’s a play/musical full of nostalgia, fun, romance, some pretty funny jokes and kitsch Barrie, and inhabiting him nicely. He established and maintained believable relationships with the Llewelynreferences. But it has its more serious side, looking at the Davies family, including an “almost romance” with underbelly of the music ‘fame industry’, highlighting the dangers of living imbalanced lives that rely heavily on widowed Sylvia, played with grace and conviction by Anna Head. drugs and alcohol as self-medication. Thankfully it is not The roles of the boys are very challenging, with the overtly didactic, but writer Andrew R Kelly makes a strong and pertinent point whilst not alienating his audience by young men required to age from pre-teen children to grown men. Michael Nicholls was good as eldest son preaching or pointing fingers. Rock’n’Roller Jim Rowan (Paul Fergus Morris) is George. Alec Federer was a likeable, larrikinesque Jack. Charlie Young was lovely as Michael, played with thought brought back to life after his suicide. We all happily Longer versions of many reviews can now be found at www.stagewhispers.com.au
Stage Whispers 75
Sharbat. Photo: Tasha Faye.
suspend our disbelief in the joy of listening to golden oldies such as “Am I Ever Going To See Your Face Again”, “Glad All Over” and “Before Too Long”. The direction by Paul Fergus Morris and Andrew “Hondo” Hondromatidis, great but a little rough around the edges, is part of its charm. The team of actors is exemplary, maintaining a wicked elevated energy that infectiously carries the audience on a high, from go to whoa. It should definitely tour halls around the country as high-octane Aussie mayhem with a message embedded in a way that communicates subtly and is unlikely to cause unnecessary anguish or distress. But it has the potential to open up the conversation. Solid, great fun - funny and very entertaining! Suzanne Sandow
between her warring sisters is anxious and conflicted Arooj “Roo”, played with great sensitivity and depth by Sabrina Hafid. Played in the Chaos Room, Kelly Fregon’s set uses the room’s original features to create a believable 1920s era bachelor flat occupied by Roo. Lovely ring-of-truth detail in this “just moved into” unit, with effective lighting and sound by Mai Han. While it is great to see a modern Muslim family on stage, and there are issues that are uniquely Islamic, at heart this show could be about any family, with appeal to a broad audience. Kimberley Shaw
Mansion Written, directed & produced by Bass G Fam. Labassa Mansion, 2 Manor Grove, Caulfield North. Oct 17 - Nov 3. Sharbat MANSION is not for the faint of heart. The horrific By Doreshawa Khan. Directed by Michelle Aitken. The Blue elements may initially appear to be innocuous or even Room, Perth Cultural Centre. Oct 24 - Nov 2. amusing, however, chills running down your spine are SHARBAT by Doreshawa Khan is about being young, guaranteed by the end. female and Muslim in Australia. A story of estranged This imaginative and resourceful exploitation of the sisters, of forgiveness and of family, this is a bittersweet setting, combined with the extraordinary dance and circus drama with feel-good overtones. skills of the performers, is set in opulent Victorian Labassa The Gül sisters are a very different trio. The oldest, Mansion. Historically home to the early 20th Century Shazia, ostensibly devout, married and outwardly bossy, is Melbourne elite, it proves the ideal setting for this played with gusto by author Doreshawa Khan. The gruesome story. youngest, a clever bio med student with an edge, Batool Newly widowed Mel Walker (Skylar Dephinus) and her “Batty”, is powerfully played by Mani Mae Gomes. Caught children, Levi (Lukas White) and Rachel (Shona Guiry), 76 Stage Whispers
Longer versions of many reviews can now be found at www.stagewhispers.com.au
begin to experience disconcerting paranormal events in their luxurious home. Demonic spirits emerge from the walls and the furniture simultaneously seducing and threatening to devour the family members. This immersive theatre experience is accentuated by the promenade approach and each room reveals a different episode of the narrative. The ghostly characters are given great scope and prominence and they become as familiar as the family itself. The Caretaker (Bass G Fam) guides the audience through the space in an eerie manner. The spectral presence of former residents is beautifully choreographed. The interactions with the family become increasingly nightmarish, invading ever increasing private spaces such as bedrooms and bathrooms. Each scenario features a phenomenal dance or circus performance, often combining contemporary dance with ballet, commercial dance, burlesque and amazing aerial acts. The voice-overs and soundtrack work well to help drive the narrative along, though a more nuanced use of sound might have helped heighten the sinister atmosphere. Mansion is immaculately produced. Elaborate costuming, well-defined spaces and intricately designed sets bring a fresh and innovative approach to very familiar horror tropes. This unforgettable, unique theatrical experience is also highly sensual and sumptuous. Patricia Di Risio
Shirong Wu were equally forceful. Matthew Pearse, the sole male character, found the delicate balance between misogyny, machismo and humour. Though the language may shock, this play reflects contemporary issues in contemporary language with a cast that shows the diversity of talent that abounds in multicultural Australia. Carol Wimmer
Zander’s Boat By Grace Barnes. Q44 Theatre, Abbottsford Convent. Oct 22 - Nov 3. ZANDER’S Boat is a play of stories, told in monologues which run parallel, never interweaving or intersecting, by three women of the Shetland Isles. Motherhood, isolation and the ‘masculine’ culture of the place are the central components. The beach and the sea are central loci, subtly suggested by William Atkinson’s simple set of sand and driftwood, and his lighting design of milky, misty light that breaks to a warmer glow as each woman becomes the storyteller. Edith, in her 60s, adored her boy Zander when they dreamed of building a boat and sailing far away. But Zander grew up and Edith disliked the boy-become-man and now, tragically, it is too late. Marie (a fierce performance from Gabriella Rose-Carter), in her 40s, tells a not unfamiliar story of a life of dissatisfaction, of some ineffable something always out of reach. And yet what White Pearl would be enough? Sylvie (Liza Meagher), in her 20s, has a By Anchuli Felicia King. Riverside’s National Theatre of story rich in detail - and humour: her marriage to Paul, his Parramatta and Sydney Theatre Company. Riverside blaming her for their having no children - and what she Theatres Parramatta. Oct 24 - Nov 9. did about that. But the ‘happy ending’ is one of a THE cast of White Pearl seizes the stage in a rush of deception that can’t guarantee a future. words, energy and attitude in a ‘go girls’ performance All three actors tell their characters’ stories with that they sustain for 90 fast-paced minutes. There is no passion, emotion and a fine sense of pace, and of light room for laxity in Anchuli Felicia King’s fiercely modern and shade. Director Susan Heywood has certainly ensured play. Her dialogue, that director Priscilla Jackman that, but only with Edith, yearning over a past that cannot describes as “razor sharp idiomatic specificity”, keeps the be changed, do we feel the location suffusing her sad six actors at peak pace, their characters bouncing off and tale. Playwright Grace Barnes tries to wrap the stories in at each other in a dark comedy that subversively the Shetlands’ silence, darkness, myths and magic - but challenges what Jackman terms “the irrefutable those things turn out to have very little to do with stories complexities of PC culture”. that could, indeed, happen anywhere. The plot, about an advertisement exposing ill-effects of Michael Brindley a skin whitening cream, provokes a power play between them. They connect and disconnect, accuse and Oil denounce and in so doing, raise issues about different By Ella Hickson. Red Stitch Actors’ Theatre. Nov 12 - Dec 15. cultural perspectives, what people see as funny, what lies OIL is a sprawling saga stretching from 1889 and on consumers believe and the fallout that comes of global into our future. In five extended scenes, rocketing through exposure. time, oil is the catalyst - as a source of a heat and light; as It is hard to differentiate between the performers in an essential commodity for the imperial powers, invading this tightly directed, blatantly contentious, crisply funny and carving up the Middle East; as a source of bloody production. Each exposes their character with equal dispute when the Middle East tries to take back what lies energy and boldness. under their soil… And into an oil-less future, when China Perhaps Vaishnavi Suryaprakash deserves special has ‘won’ and Chinese salesperson (Jing-Xuan Chan) mention for the robust physical manifestation of her rising offers a cold fusion lamp made of minerals sourced from anger and frustration, and Merlynn Tong for her laid-back the Moon… nonchalance and comedic timing. But the performances The scenes are linked by the figure of May (Daniela of Deborah An, Mayu Iwasaki, Catherine Van Davies and Farrinaci), each time an epoch-appropriate figure but Longer versions of many reviews can now be found at www.stagewhispers.com.au
Stage Whispers 77
essentially the same strong-willed, ruthless survivor - a rebellious farmer’s wife, a maid in Tehran, an oil company executive, a British politician making backstairs deals in Syria and finally, a crooked old woman, all passion spent. Daniela Farrinaci gives an astonishing performance and she is the centre of this panoramic epic. She is bolstered by a strong supporting cast. Farmer Joss (a solid Charlie Cousins) and his family - the brook-no -dissent matriarch Ma (Jennifer Vuletic), Thomas (Justin Hosking), Samuel (Mathew Whitty), Anne (Nicole Nabout) and Fanny (Jing-Xuan Chan) - all made miserable, bitter and violent by poverty, ignorance and darkness. Then, in 1908, the British are poking around in Persia for oil. Now May inveigles herself - with daughter Amy (a glowing Hannah Fredericksen) in tow - into a job as a maid, flirting with an arrogant idiot of a British Army sergeant (pitch perfect performance from Mr Whitty). But the central thread is subsumed by playwright Ella Hickson’s other concern - which is the relationship of the various iterations of May and her various daughters called Amy. If the intention is that mothers’ attempted control of daughters is analogous to attempts to control a valuable resource (oil), the link is strained. Oil is enormously ambitious, as is Red Stitch for mounting it. But perhaps the playwright attempts too much by including too much. Nevertheless, we cannot take our eyes off Daniela Farrinaci and Hannah Fredericksen: they take us with them across aeons and all their struggling personas. Michael Brindley
multiple roles and are entertaining in each. Anthony Scundi is suitably sleazy and charming, and Angela Scundi stands out as a sexy firecracker, but sensitive when Madeleine is in trouble. Stephen Mahy’s Frank is used to success but he’s sweetly shocked when Millie jumps his bones. The professionalism and pizazz of the cast lifts the show. It’s based on a 1984 movie, Electric Dreams, written by Rusty Lemonrande - and the text here is mostly his. Drew Lane saw it when he was eight - and it stuck. He’s smoothed out the plot and added twenty-two (!) songs of his own. There’s great enjoyment in the clear genre path and the opening night audience was all smiles by the curtain call. Michael Brindley
When The Leaves Fall By Western Sydney high school students. Tantrum Youth Arts, at the Merewether Tantrum Studio, Newcastle. Nov 29 - Dec 1. THIS premiere production of an amusing play developed in 2018 by students at four western Sydney high schools, under the guidance of professional theatre teams, was drawn from the experiences of the students at different venues, including a river bank, a bus shelter, a high school cleaning room, a man delivering food on an afternoon shift, an aeroplane flying over the sea, a ComiCon festival, and an edge-of-town park. The 11 teenaged Tantrum X Ensemble students, under the direction of artistic director Chris Dunstan, who was one of the Sydney theatre professionals who interacted with the writing team, made this a very enjoyable 50Electric Dreams Music & lyrics by Drew Lane, book based on the movie minute work, with audience members having to move ‘Electric Dreams’ created by Rusty Lemonrande. Music their chairs to different places, stand or sit on low Theatre Melbourne. Gasworks Theatre, Albert Park. Nov platforms and cushions, and repeatedly have “leaves”, cut 20 - 24. from pages of colourful old magazine pages, thrown over or around them. And two teenage musicians, as the band A NEW Australian musical - even if it’s set in San Francisco in 1984 - mounted by Music Theatre CHOP, added to the fun with their music and sound Melbourne. Nerdy Miles (Tom Green) gets a new-fangled accompaniments. The ComiCon sequence had one of the visitors to the (to him) computer and names it ‘Edgar’ (its voice is Owen James). Beautiful cellist Madeleine (Madeleine Featherby), colourful festival dressed as God, and another as Darth nursing a broken heart, moves in next door. She falls for Vader, with bouncing balls thrown around the audience. Miles when Edgar the computer joins her in a duet. She And the park scene had a woman dying when she thinks Miles is musical - but Edgar falls in love with her jumped into the adjoining river after fleeing from her male companion, with him calling out to her. It was one too… Violinist lothario Bill (Anthony Scundi) makes a move on Madeleine and is rebuffed. Meanwhile, Frank of a few darker scenes among the mostly light-hearted (Stephen Mahy) is hijacked by uninhibited Millie (Angela incidents. Scundi) - a hot contrast to clutzy Miles and wary nice girl Ken Longworth Madeleine… Director and Choreographer Roman Berry, assisted by Flight Memory Sarah Davies, moves things along with pace and energy. Music by Sandra France. Text by Alana Valentine. Directed by Lachie McFarlane gives us Edgar’s computer screen with Caroline Stacey. The Street Theatre, Canberra. Nov 14 - 17. 1980s font and graphics, and his stage design is BASED on a biography of David Warren, the Australian uncluttered and functional. Drew Lane is his own Musical inventor of the black box, Alana Valentine’s latest project Director and he gets a big, bouncy sound out of his eight- Flight Memory is a tale of sadness, persistence, guts, loss piece band. and triumph, underpinned by that poignancy. The Street’s Four ensemble members - Zak Brown, Sophie production presents the material as a song cycle, a kind of Loughran, Aidan Niarros and Courtney Smyth - play bare-bones musical. 78 Stage Whispers
Longer versions of many reviews can now be found at www.stagewhispers.com.au
Sandra France’s modern jazz score is Bruce Rowland film music meets Dave Brubeck, with hints of smoky bar jazz, Andrews Sisters and 60s scat. With complex rhythms and rapidly changing tempos, it’s clever without ever becoming too discordant or inaccessible. The three performers are excellent. There are two rich, top notch jazz vocalists in Michelle Nicolle and Leisa Keen, contrasting with the mellow, textured sound of Liam Budge, who voices protagonist David Warren. The song “Crystal Set” beautifully evokes the eerie, nostalgic crackles and whines of tuning an early radio. Like many of the songs, it’s suffused with sadness: in this case, the radio in question was a gift to Warren by his father soon before his father died in plane crash. “Fatal Fog” and “Voices of the Dead” are deeply sad, full of ghostly echoes. There’s a strange rhythm and repetition to the words, a kind of choppy awkwardness that might have come with embodying the engineer Warren’s voice, which perhaps some will find off-putting. These contrast with the humour of “The Family Jewels” and the joyful 60s jazz of “Red Tap Reg”. The show opens with a non-specific threat to theatrical critics (noted), so I will take my life into my hands and mention that I felt the number “Corner of Hell” did not work. Perhaps what would rescue it would be to make it much more recognisable as beat poetry and emphasise the preaching - even there, Liam Budge is working against his own laid-back style which was undercutting the power of the piece. That niggle aside, Flight Memory is a challenging and moving work. Cathy Bannister
as a refugee, but also impersonate an official or ‘artistic’ Aussie. Another of the writers, Milad Norouzi, sings ‘Goodbye’, composed by himself and accompanied by himself on guitar. In an item called ‘Beautiful Jail’, he tosses a basketball - a mere basketball that suggests a helpless sadness. The separate ‘items’ meld into one another, united by the Kanun music and improvisations on Iranian classical music from Vahideh Eisaei. Irine Vela’s casting, direction and dramaturgy (together with Maryanne Lynch) and this diverse cast make for a coherent whole - political theatre that rises far above agit-prop. Michael Brindley
Play Things By Scott McArdle. The Blue Room Studio, Perth Cultural Centre. Nov 5 - 23. EDGY and moving, this coming of age story follows a pair of teenagers as they help each other deal with trauma. Two 13-year-olds, Lucy and Arnold, form an unlikely alliance. She is defiant, outspoken and drawn to the macabre. He is awkward and uncertain. They are drawn to each other for very disturbing reasons. Excellent performances from Courtney Henri and Daniel Buckle, who capture the characters’ adolescence beautifully and create a tangible friendship. Strong support from Siobhan Dow-Hall as teacher Miss Richards, fighting her own demons, and St John Cowcher as Lucy’s step dad, a rough diamond struggling to do better. Sara Chrichilli creates relatable spaces that lay on top of each other to strong effect, with effective video design The Audition By Patricia Cornelius, Tes Lyssiotis, Sahra Davoudi, Christos by George Ashforth and highly emotive sound design and Tsiolkas, Melissa Reeves, Milad Norouzi, Wahibe Moussa. composition by Rebecca Riggs-Bennet. Play Things is really heartfelt, effective storytelling that Outer Urban Projects & La Mama. La Mama Courthouse, Carlton. Nov 13 - 24. draws you in and demands that you care about these IRINE Vela’s moody, funny, bitterly ironic production beautiful, disturbed and odd young people. comes from three of the Melbourne Workers Theatre Kimberley Shaw writers, who gave us Anthem, plus three talented newcomers. In a series of pieces, characters offer themselves at ‘audition’ but find that what is acceptable is predetermined by prejudice or cliché. Theatrical auditions segue into a Border Force interview, or a plea from an inmate slowly dying in one of our concentration camps for ‘illegals’. Mary Sitarenos auditions for the role of Olive in Summer of the Seventeenth Doll. She’s black haired, black eyed, striking and has enormous presence. But she won’t get the part: she’s ‘not white’. A young woman (Sahra Davoudi), a refugee who has witnessed horrors, wrestles with a well-meaning but impotent immigration officer (Peter Paltos). Later she auditions for a production of The Trojan Women with a Get noticed on the Stage Whispers bullying and condescending director (Mr Paltos again). Ms Davoudi proves herself a quite astonishing talent - and website with a premium listing she is one of the writers here too. Mr Paltos can touch us
Stage Whispers Directory Premium listing: $20
www.stagewhispers.com.au/directory-central
Longer versions of many reviews can now be found at www.stagewhispers.com.au
Stage Whispers 79
Reviews: Plays
Jonathan Biggins in Krapp’s Last Tape. Photo: John Marmaras.
Krapp’s Last Tape By Samuel Beckett. Red Line Productions. Old Fitz Theatre, Woolloomooloo. Nov 26 - Dec 14. BRIAN Thomson’s set and Veronique Bennett’s lighting embrace Krapp, providing him with the dim space and light he craves: “The new light above my head is a great improvement. With all this darkness around me I feel less alone.” Sixty shabby filing drawers tower like a wall above him, a ladder propped beside them. His battered desk is centred under “the new light”. Its globe dims each time he moves away. Jonathan Biggins inhabits Krapp like a threadbare coat or a worn slipper. He shuffles in from the bathroom, obviously still suffering the digestion problem that we learn about later in his story. Gale Edwards directs this version of Krapp to uncover the incredible complexity that Beckett wrote into the character. His youth. His love affairs. The few copies of his books sold. The death of his father - and his mother. The feel of a rubber ball in his hand. Every little revelation in the text has been assiduously included in the character she and Biggins have developed - every action and reaction thoughtfully considered and intuitively paced. The way he fiddles with his keys. The way he peels a banana. The way he smiles crookedly recalling the woman in the punt. And the way he waits, at the end of the play, as the “new light” above his head gradually fades … Carol Wimmer 80 Stage Whispers
Lobby Hero By Kenneth Lonergan. Around the Moon Productions. fortyfivedownstairs, Melbourne. Oct 22 - 27. IT ALL happens with just four characters, across two nights in the lobby of a mid-level, shabby Manhattan apartment building and on the street just outside. Young Jeff (Charles Grounds) is the ‘security officer’ at a desk in Juliette Whitney’s expansive, clever set - on which Lachlan McLean’s lighting rings subtle changes. Jeff is a familiar Kenneth Lonergan character - and Mr Grounds delights with a motor-mouth performance that has us laughing, irritated, touched, wincing and sad. William (Victory Ndukwe) is Jeff’s supervisor - family man, solid, dull but decent, intent on doing it by the book and on promotion - tougher for an African American. Two cops swing by. Bill (Ryan Murphy) is a tough guy on the way up - mentor and more - to rookie Dawn (Monique Fisher). She believes Bill is visiting a friend - until Jeff, instantly smitten, says Bill is upstairs with a hooker… Meanwhile, William lies to protect his criminal brother and makes the mistake of telling Jeff. Bill, demonstrating what a good guy he is, backs up William’s lie with the detectives… And Dawn, having challenged Bill, won’t get his support on her assault charge… These characters, their dilemmas, their bids for status, their moral twists and turns, their switches from nice to nasty are all totally engrossing - and all delivered in dialogue that sounds like real, living New Yorkers - fast talking, quick on the uptake, aggressive as the best defence. Director James Vinson’s casting decisions are
Longer versions of many reviews can now be found at www.stagewhispers.com.au
visually and temperamentally right; making his live theatre debut, he sustains the story across the two hours, twenty minutes - no interval - running time. Lobby Hero, first produced in New York in 2001, has scarcely dated. Possibly Dawn is underwritten and, in the light of #MeToo, shouldn’t be stuck with the choices she makes. There are contrivances, but they are well hidden, and it holds up to the end. Michael Brindley The Glass Menagerie By Tennessee Williams. Directed by Brenda White. Brisbane Arts Theatre. Oct 19 - Nov 9. TENNESSEE Williams’ memory play The Glass Menagerie, his first great hit, is narrated by Tom Wingfield, the son of the battling family living on the edge in St. Louis. It is his memory of his battling life while supporting his former southern belle mother Amanda, and his super shy, physically handicapped sister Laura. The problem is to find a beau for Laura. Finally, Jim O’Connor, a work friend of Tom’s, comes for dinner. Does Amanda’s plan work? Does Tom remember correctly? Director Brenda White has cast wisely. The set is effective with lace curtains, good visual images and space to move. Together with the costuming, this meant the mood was set and then maintained throughout. Virginia Gray was a very strong, flirtatious, manipulative and dominating mother. Jeremy Wood, as the dinner guest Jim O’Connor, was outstanding, lifting the play when he appeared to meet Laura, played by Bianca Butler-Reynolds. I thought that this character, although very shy and injured, needed a little more vim at times but it was a consistent performance. Alex Porteous, as Tom, definitely needed more strength and energy in his performance at times, as the play - his memory of the family life - depended on him. I congratulate everyone involved in bringing this classic to life in such a strong and entertaining way. William Davies Writer’s Block Written by Kellie Silver. Mates Theatre Genesis (Qld). Oct 18 - Nov 2. KELLIE Silver’s hilarious home-grown play has been served very well by director Shane Webb. Shane has encouraged confident comedic performances from his cast; the witty dialogue supported by fun sight gags. The narrative centres around script writer Jane (Libby Harrison), whose process involves seeing and hearing the characters she’s creating. Jane’s suffering from some writer’s block, but in the process of working on her script, she works out some of her own issues and learns to let go of the past. Libby Harrison plays a lovely, warm and down-to-earth Jane. Vivien Wood brings spunk and energy to the imaginary Adele. Zach Price as the imaginary ‘ideal man’ Jake is hilarious, nailing the heroic cliché one-liners and dominant posturing. Both Zach and Vivien also show great risk-taking and fearlessness in their physical work.
Jane’s sister Kate is played with sincerity by Tereska Hart. Andrew McArthur is delightful as Paul and Captain Brooks. Assistant director Suze Harpur and the cast have sourced costume pieces that suit the characters and eras. Shane Webb’s set design provides visual interest and adaptability. Sound and lighting design (Alysha Collie, Shane Webb, Heather Sheen with James Auld) work well throughout. They’re particularly beautiful in the scene during which Jake and Adele slow dance. Writer’s Block has imagination, heart and humour. It’s the kind of play that has you leaving the theatre with a big smile on your face which you’ll wear all the way home. Kiesten McCauley The Beauty Queen Of Leenane By Martin McDonagh. Sydney Theatre Company. Roslyn Packer Theatre. Nov 18 - Dec 21. YAEL Stone plays Maureen, 40 years old, stranded in a remote bog Irish hovel as the reluctant carer of her irascible mother, Mag (Noni Hazlehurst). Maureen has a last chance to escape her mother - and Ireland - when Pato Dooley returns home from labouring in London, enlivened with that old Irish dream of making good in America. But Mag destroys the budding, fumbling romance, and the story, born of loneliness and bitter disappointment, turns deadly. Renee Mulder’s split cottage on revolve, with smoking stack and cramped with derelict detail, sits atop a forlorn and boggy coastal landscape. Pato (endearingly played by Hamish Michael) is desperate to leave here; so too is his young brother Ray, a delicious live wire of anxiety from Shiv Palekar. Martin McDonagh’s tight and engaging four-hander skims close to stereotype but it shines with the absurd ramblings and repetitions of everyday speech, its undertow of poverty and despair relieved by sparkles of irony and laughter. Paige Rattray’s excellent cast take the easy latter way, going for laughs, and stepping quickly past the shadows as do so many Australian productions of anything darkly themed. Yael Stone is impishly delightful as Maureen but only wears the full burden of her disappointments in her final devastation. Noni Hazlehurst is such a perfect nightmare of manipulation and self-pity, it’s hard to feel an ounce of empathy beyond the laughs. Martin Portus Six Dance Lessons in Six Weeks By Richard Alfieri. Melville Theatre Company. Directed by Geoffrey Leeder. Nov 22 - Dec 7. MELVILLE Theatre Company’s tender and beautifully acted Six Dance Lessons in Six Weeks was a vibrant production which delighted capacity audiences. Gorgeous performances from Suzannah Churchman as Lilly and Manuao TeAotonga as Michael, as they work beautifully together in this well-crafted story, which
Longer versions of many reviews can now be found at www.stagewhispers.com.au
Stage Whispers 81
reveals their histories gradually, and allows some beautifully layered characterisation. They dance together, with precision and style, with lovely choreography by Katie E. Williams. Geoffrey and Lyn Leeder’s set design captures Lilly’s beachside condominium well, including lovely set dressing, with Lyn Leeder’s costumes wonderful choices for these characters. Lighting design by Alexander CouttsSmith and Kate Lloyd from Enchant Entertainment gives a great sense of mood - including a stunning sunset. I saw this production with a very vocal matinee audience, whose enchantment was obvious, and deservedly so. This little feel-good production was among the best theatrical gifts of the year. Kimberley Shaw Matriarch By Sandy Greenwood and Oliver V Cowley. Directed by Jasmin Sheppard. QPAC Clancestry 2019. Cremorne Theatre. Nov 27 - 30. UPON entering the Cremorne, you encounter a huge representation of Australian Aboriginal artwork, beneath which natural elements - grasses, rocks, shells - and an indigenous art depiction of a creek combine to convey a sense of the bush. A soundtrack of bird and animal calls, and live didgeridoo played by Minjarrah Jarrett further enhance the mood as the performer, Sandy Greenwood emerges on stage. Sandy’s powerfully moving and personal work explores the experiences of her matriarchal line; their lives, loves and culture, the racism they encountered, oppression, theft of their children and murder of their kin. It’s also a haunting display of how it feels to identify as Aboriginal, while at times being accused of ‘looking too white’. The narrative looks at the ways in which connecting with country and family can help to heal inter-generational trauma. Sandy is very flexible and adept at molding herself physically and vocally into each character. Her pain and anger is palpable and she throws her entire essence into the performance. The artistic vision is supported by subtle lighting design. The combination of one woman, one man, and one didgeridoo, alongside wonderful set, lighting and sound design, creates a lovely foundation for the emotionally charged work that is evocative and inspiring in a modern-day world that still grapples with racial identity. Kiesten McCauley PULP By Joseph Zettelmaier. Centenary Theatre Group. Chelmer Community Centre. Nov 9 - 30. PULP mashes up Pulp novels, detective fiction, sci-fi and Monster-sploitation to create its own unique stage genre, combining stagecraft (lighting, sound and visual effects are superb), stage combat, and midnight movie schlock horror. The ensemble cast makes the most of the 82 Stage Whispers
genre tropes in this wickedly funny show involving a group of pulp magazine writers involved in a real-life murder mystery. Fans of the mixed genres will pick out the breadcrumbs of plot devices and in-gags. Leading us on the trail of clues and red herrings is a perfect cast: Michael Civitano in the lead as Private Investigator, Frank Ellery, confidently embodying the 1930s noir LA gumshoe; Andrew Wallace, outstandingly zany as RA Lyncroft, is a cross between Rocky Horror’s Dr Everett Scott and Chariots of the Gods’ Erich von Däniken; Jason Nash adds laugh-out-loud cartoon comedy as Walter Kingston Smith, the mystery writer who moonlights as a crime-fighting vigilante; Erik de Wit is Bradley Rayburn, the nerdy sci-fi writer whose den of inventions includes gadgets crucial to the twisted plotline; and Megan Bennett as the glamorous romance author and femme fatale, Desiree St Clair. The play itself is a tad long, but Director Cam Castles keeps the Dodge wheels rolling. The LA setting is brilliantly brought to life using back-projected films and sound design by Liam Castles, a detective office diorama by Thomas Swanborough, and a wonderful collection of pulp fiction covers and film posters. Brian Hobby’s superb lighting design is crucial to transporting us into the LA underworld of pulp fiction and sci-fi scapes. Beth Keehn Six Degrees At A Hot Melbourne Market Directed and designed by Mazz Ryan and D. B. Valentine. Studio Theatre Gasworks Arts Park, Albert Park. Nov 13 - 23. MELBOURNE Writers’ Theatre’s latest offering, paying homage to the Queen Victoria Market, is more edgy and dystopian than usual. ‘Wormholes’ by Alison Knight is surprisingly lively, set in the haunted underground cemetery where the present, in the person of a market worker (Emma Drysdale), meets the past, in the form of egocentric actor (Jonty Reason) and assistant Scamp (Rubin Francis). Louise Hopewell’s ‘The Future of Organics’ is effective and funny due to the stunning acting of Lennan Andrusiw. Mother (Rebecca Morton) and daughter (Del Jordan) are discussing the mother’s choice to employ a robot. Morton and Jordan create a convincing mother/ daughter relationship. ‘Clothes are just protective coatings’ by Bruce Shearer covers some interesting territory about how we use clothing to signal our state of mind. This is a slippery work. The hippy sales person (Faran Martin) engages with the customer (Del Jordan) with aplomb and enthusiasm. Michael Olsen pays homage to Waiting for Godot with ‘Arriving Today’. It also explores the anxiety of not being ready or organized. There is a sense that the two characters played by Emma Drysdale and Faran Martin could be homeless. Faran Martin uses a lovely solid ‘Pommy’ accent. Design and direction by Mazz Ryan and D. B. Valentine tends towards being organic and free form. Suzanne Sandow
Longer versions of many reviews can now be found at www.stagewhispers.com.au
Tiffany Hoy in Nell Gwynn. Photo: Chris Lundie.
Nell Gwynn By Jessica Swale. Castle Hill Players. Pavilion Theatre. Nov 15 - Dec 7. ENGLAND. 1660s. Oliver Cromwell is dead. Charles II has returned from exile in France and reopened the taverns and theatres. From the stalls in the theatre, prostitute-turned-orange-seller Nell Gwynn cheekily heckles, drawing the attention of the King’s Company’s leading actor, Charles Hart. Under the tutelage of Hart, Nell becomes the first female actor in the company - attracting the eye of the lascivious King, who sets her up as his latest mistress. Jennifer Willison’s production is a tale told in words, song and dance, with minstrels strumming and piping, and a cast of over twenty performers. Designer Maureen Cartledge has set the royal throne between marble pillars surrounded by shimmering red velvet curtains. Anthea Brown’s costumes are fashioned in rich brocades, lace cuffs, gold braid and long curling wigs … and that’s just the men! Tiffany Hoy, as Nell, finds the different dimensions of the character - sassy, disrespectful, ambitious, lovestruck, wickedly satirical. Dan Ferris plays actor Charles Hart, intriguingly taken in by Nell’s impudent charm. Richard Littlehales is Edward Kynaston, the actor displaced by Nell as the company’s leading ‘lady’! Paul Sztelma reigns benevolently as King Charles, moving elegantly in true ‘Restoration-mode’. Michelle Masefield rants in Portuguese as Queen Catherine and Stephen Snars is the prudent and pretentious equerry, Lord Arlington.
This play depicts a little slice of theatrical and social history. Director Jennifer Willison and choreographer Jan Mahoney have made it a colourful historical cavalcade. Carol Wimmer Waiting In The Wings By Noël Coward. Canberra Repertory. Directed by Stephen Pike. The Q, Queanbeyan, Nov 20 - 23. Theatre 3, Canberra, Nov 29 - Dec 7. A LARGE, comfortable charity home in 1960 England named The Wings houses retired actresses. Of its nine present residents, all but one know of an impending addition to their number, the actress Lotta Bainbridge. The resident in the dark, May Davenport, has refused for the past 30 years to speak with Lotta, and everybody else is afraid of her reaction when May finally realises that Lotta is soon to arrive. Not Coward’s wittiest play, Waiting in the Wings nonetheless offers, among a few surprises and a little suspense, the development of these women’s relationships with one another and with The Wings’ staff in many amusing moments that highlight the acerbic arguments over and illuminating discussions of the past, one another, the facility’s governing board, and the vexations of ageing, as well as more passing matters. Though he attributes the consistently fine acting to the experience of the players, director Stephen Pike has excelled in making of this play an enlightening entertainment: the accents and postures were as natural as can be; timing was impeccable; and, above all, the interactions, both sympathetic and hostile, were
Longer versions of many reviews can now be found at www.stagewhispers.com.au
Stage Whispers 83
convincing. The set, representing the home’s lounge, Director Charley Sanders works to fill the gaps but isn’t stairs, and landing, was utterly believable, as were helped by a banal dialogue of non-sequiturs - it’s just not costumes, props, and sound effects. All in all, it was a very enough to hold us for 90 minutes and nor, obviously, this easy play to become engaged in. relationship. John P. Harvey Kobe Donaldson’s lighting slowly fades through nights and days and brings welcome shifts, and his dappled backdrop and floor of moving water is perfect. On the The Lion, The Witch And The Wardrobe Adapted by Glyn Robbins from the novel by C. S. Lewis. open bare stage Charley’s actors move inventively in their Directed by Craig Griffen. Koorliny Arts Centre. Nov 8 - 23. confined boat space and, notably, when they swim overboard. KOORLINY Arts Centre’s production might easily be described as The Lion, the Witch and the Wardrobe You watch, and wait, and wonder if this millennial Spectacular. This lavish show featuring a large ensemble, streaming of spliced banter is a poor descendent of that old absurdist chat from Samuel Beckett. Certainly Tom puppet magic and strong visuals was a sensory delight. Most characters were played in puppet form, with gets a good laugh when he announces he’s giving up Facebook. ensemble members puppeteering a wide variety of Martin Portus animals, birds and trees, with beautifully choreographed movement sequences providing emotion and atmosphere. The ensemble was constantly moving, changing Almost Face To Face characters and executing choreography, while facilitating Written and performed by Stephen House. Directed by set changes. Peter Green. Bakehouse Studio Theatre. Dec 4 - 14. STEPHEN House is a performer with the skills to sustain Notable performances came from Aaron O’Neil and Katie E. Williams’ personable Beavers, while Kairen Thorpe interest in a monologue over the course of an hour and to created a powerful Aslan. Steven Correia was strong as still leave his audience potentially wanting more. In a style somewhere between that of a casual the Dwarf, with solid community theatre debuts from Michael Schutte (Tumnus) and Keenan Parish (Maugrim). raconteur and an intense confessional poet, House takes Nat Burbage was a wonderfully larger than life wicked us vividly into a world of compulsive sex and easy access white witch, and Craig Griffen’s costume design gave her to drugs, of sad reclusive lives looking for comfort in the an “other world” feel. arms of fellow misfits, of communal activities leading to a dance with death. The children captured childish innocence and the burden of responsibility. Liam Gobbert was an earnest, There is humour to be found here, though it grows forthright Peter, Ruth Bennet a sweet Susan, and Tay increasingly sparse; there is also compassion for those who populate House’s text, as well as a philosophical Broadley was an appropriately infuriating Edmund, with Madeleine Shaw embodying girlish wonder and integrity that commands respect, and an openness to enthusiasm as Lucy. Their enthusiasm and belief allowed spirituality that points to an implicitly hopeful future. Just how much (if any) of what House has to tell us the audience to be drawn into the experience. The soundscape is integral to creating the magic of may be autobiographical is, ultimately, not for a reviewer to speculate or to place undue emphasis on, but this Narnia, with strong and meaningful musical arrangements by Kairen Thorpe. possibility adds an unavoidable extra layer of interest to Strong directorial vision created a magical world. the proceedings. In any event, Almost Face to Face is a Kimberley Shaw show that powerfully communicates a feeling of truth. This production manages to go beyond mere The Split storytelling, into the realm of true theatre, even with a cast of one and a minimum of costuming, set dressing, or By Sarah Hamilton. House of Sand and Old 505 Theatre. Dec 3 - 14. impersonation. Stephen Dean contributes some quite A HETEROSEXUAL, millennial couple are adrift on a exquisitely executed lighting and sound. If it is one of the purposes of art to shine a nonboat playing out their last days together before their inevitable split. judgemental light onto aspects of human experience that An easy, even touching familiarity, some aimless chat, will challenge an audience, then Almost Face to Face is binds them together, but irritabilities flare and we see undoubtedly the work of a brave and accomplished artist. they rarely touch each other. Tom glumly strums guitar, Anthony Vawser Jules draws and gazes at the horizon; there’s sunbaking, card-games and silly aping of musical favourites. The Odd Couple Max Garcia-Underwood and Amy Victoria Brooks play By Neil Simon. Ensemble Theatre, Sydney. Directed by well the subtle, sometimes tender unravelling of this Mark Kilmurry. Nov 22 - Dec 29. relationship, but it’s all unspoken. Indeed, Sarah Hamilton NEIL Simon’s spectacularly famous New York comedy gives the actors a negligible back story; we have no idea gets the Christmas call this year at the Ensemble. It’s why they’re splitting, or why they even came together. Simon’s most famous play, drenched with gags and oneTom at least has more to tell with his boyish uncertainties liners, and the Ensemble - with 8 players on a nifty, overwhile Jules is left enigmatic. packed setting (by Hugh O’Connor) of a 14th floor Upper 84 Stage Whispers
Longer versions of many reviews can now be found at www.stagewhispers.com.au
Steve Rodgers as Oscar and Brian Meegan as Felix in The Odd Couple. Photo: Prudence Upton.
Online extras!
Meet the cast of Ensemble Theatre’s The Odd Couple. Scan or visit https://youtu.be/coHKr1fIcfE West Side flat - throws big resources into this production. The ‘odd couple’ are relaxed, slobby Oscar (Steve Rodgers) and uptight, precise Felix (Brian Meegan), who come together in a moment of Felix’s dire need: he’s been thrown out of his house by his distraught wife. Of course the laughs should all stem from the unlikelihood of this paring, but the surprise of this production is how robust the comedy is from the others in the cast. There’s Murray, the caring plain-clothes cop (James Lugton); Vinnie, who nervously wins all the card games (Nicholas Papademetriou); big sarcastic Speed (Laurence Coy); and Roy, blessed/cursed with exceptional smell (Robert Jago). Their scenes are cracking. And after the interval we meet the Pigeon Sisters, loud and full of fun. Gwendolyn (Katie Fitchett) and Cecily (Olivia Pigeot) bring a sharp, ready-for-anything boost to proceedings. When the wheels of this famous setup get rolling it’s clear that Oscar and Felix will boom and bust their way to an inevitable conclusion. Rodgers is good as the grubby sportswriter turned unwilling host; Meegan ticks all the boxes of the prissy, self-doubting nag. Mark Kilmurry’s direction is fine, as he navigates his cast round the squashed-together furniture. Frank Hatherley
that’s just one more pressure. The subtext is fear and how fear develops into rage and violence. There’s Nicholas (Flynn Smeaton), the jock. Tanya (Annie Shapiro) nurses a crush on a teacher and is mocked for it. Bennett (Karl Richmond) is a restless bully, a front for sexual anxieties. His girlfriend, supposedly, is Cissy (Ruby Duncan), buzzing about like a fly in a bottle, fears all on the surface. Chadwick (Laurence Boxhall) is the quiet, literal-minded boy, butt of the others’ teasing. William (Ben Walter) would so love to be the alpha-male but painfully isn’t. Lily (Zoe Hawkins), the newcomer, is self-possessed, not to be drawn in. These ‘archetypes’ - not stereotypes, claims playwright Stephens - clash and ricochet, challenge, tease, belittle and intimidate. Chadwick delivers an apocalyptic prediction of the future - that is, their future - which underlies all the displaced fears. Director Ruby Rees keeps her characters on the move, reflecting their stifled energy, and elicits very real performances from this excellent cast. The action is punctuated with deafening bursts of the eponymous punk rock and frenetic out-of-character action by the characters in half-light (the design is by Richard Vabre), and there are ritualised scene changes in full light, undercutting the heightened realism, reminding us that Punk Rock this is a play. The ‘library’ is simply a shabby bit of the By Simon Stephens. Patalog Theatre. fortyfivedownstairs. fortyfivedownstairs space, and the characters’ individual Dec 4 - 15. versions of school uniform (design by Freya Allen) remind THIS 2009 play is more plugged into the zeitgeist than us these could be the noisy kids on our trains or trams. ever. Set in an English private school, the characters are Punk Rock is a powerful play, powerfully realised. teenagers in the midst of their ‘trial’ A-level exams - but Michael Brindley Longer versions of many reviews can now be found at www.stagewhispers.com.au
Stage Whispers 85
Little Miss Sunshine. Photo: Bob Seary.
Reviews: Musicals Little Miss Sunshine Book by James Lapine. Music & lyrics by William Finn. New Theatre, Sydney. Directed by Deborah Jones. Nov 12 - Dec 14. BASED on the 2006 movie, delightful small scale musical Little Miss Sunshine covers an 800-mile family road trip to California where Olive, the youngest member, can compete in a beauty pageant and be ‘the first Miss America from New Mexico’. So, into their beat-up, clapped-out camper van they pack to accompany perky, vibrant Olive (Kiera Dzeparoski). There’s Sheryl, the matriarch (Fiona Pearson); her out-ofwork husband Richard, full of schemes and dreams (Martin Grelis); their moody, absolutely mute son Dwayne who hates everybody and hasn’t spoken for 85 days (Christopher O’Shea); Sheryl’s brother, Uncle Frank, a depressive who has recently cut his wrists (Julian Ramundi); and disreputable, hedonistic Grandpa (John Grinston). They finally arrive in California (crucially, one family member short) a few minutes past the deadline. This leads to a sublime rendition of girlish highjinks featuring Olive, who gives a spirited take on her Grandpa’s views on feminism. The girls should have been younger but - lead by the outstanding Kiera Dzeparoski - we’ll let that pass. She’s simply fantastic. 86 Stage Whispers
Some of the William Finn songs in the show are terrific; some are so-so, easily forgotten. It’s James Lapine, well known as the book writer on a lot of Sondheim’s great shows, who drives events forward. Direction by Deborah Jones is fine in the big numbers, dodgy at other times. But the small cast rise to the challenges of the piece, leaving a rich and satisfying glow well after the final number. Frank Hatherley Les Misérables Music by Claude-Michel Schönberg. Lyrics by Herbert Kretzmer. Original French text by Alain Boublil and JeanMarc Natel. Darlington Theatre Players. Directed by Joe Isaia. Marloo Theatre, Greenmount, WA. Nov 15 - Dec 14. LES Misérables is always a “big” production, but Darlington Theatre Players’ version is a behemoth of a show. Using the full depth of Marloo’s stage, Owen Davies’ excellent set design, a multi-level fold in and out set, works well for nearly all locales. The paving stones are particularly impressive. Shelly Miler runs what feels like a thousand cue lighting design with evocative lighting, empathetic to the performance. Costumes are particularly impressive, from detail in the broken-down clothes of convicts, to the excesses of the
Longer versions of many reviews can now be found at www.stagewhispers.com.au
Thenardiers at the ball, and are a credit to Marjorie De Caux and team. Wigs, by Lynda Stubbs, are used to effect. Forty-seven cast members work hard throughout. Leading the cast, Paul Hayward reprises Jean Valjean in a solid performance. He finds a worthy adversary in Javert, played with great emotion by Chris Gerrish. Lovely work from the romantic leads, with a stunning performance from Marli van der Bijl as Cosette, working nicely with Nic Millar as Marius. Charlize Gosnell delivers beautiful vocals as Eponine. Catherine Archer’s Fantine has outstanding vocal timbre, while Thomas Dimmick as Enjolras brings passion and power. John Taylor’s Bishop was particularly notable, while the Thénardiers, Cassy Eaton and Alan Markham, work well as a team. Emmy Bekink, as little Cosette, is charming and could have stepped straight off the iconic poster for the show. Felix Steinwandel’s Gavroche is a delight, with lots of personality and strong vocals. With a credit list in the hundreds, this is a mammoth production with a great deal of heart, hard work and passion. Kimberley Shaw
loathing, yet he finds a courage he didn’t know he had. By the finale, we love Molina and we gasp in horror at his fate. Unfortunately, our beloved Caroline O’Connor is just not Molina’s gay fantasy figure Aurora - let alone the deadly Spider Woman. When she plays it for laughs, she gets them, but it’s a mistake - like some of the ‘funny’ dance numbers. Perhaps director Dean Bryant sought to add humour to this sad, sad, story - but the attempt to ‘lighten things up’ goes too far and dilutes the drama. Michael Brindley
Bonnie And Clyde Music by Frank Wildhorn. Lyrics by Don Black. Book by Ivan Menchell. Beenleigh Theatre Group. Nov 15 - 30. BONNIE & Clyde has been given a rip-roaring production by BTG, with strong and likeable performances of the title roles. Connor Hawkins is a cocky and charismatic Clyde - a charmer and a bad boy with a lusty appetite for Bonnie, which she finds irresistible. Lauren Conway’s Bonnie responded with equal passion, was feisty, and a willing partner in crime. As a couple they were electric and carried the show. Their “Picture Show”, sung with their younger selves (Kieran McGinlay was especially good as Young Clyde), was a ragtime joy, whilst Kiss Of The Spider Woman Bonnie’s “How ‘Bout A Dance” was touching, as was Book by Terence McNally. Music by John Kander. Lyrics by Clyde’s low-key and tender “Bonnie”. Fred Ebb. Based on the novel by Manuel Puig. Melbourne Brad Kendrick was terrific as Clyde’s adorationTheatre Company. Southbank Theatre. Nov 18 - Dec 28 obsessed brother Buck, with Katya Bryant giving solid KISS of the Spider Woman is set in a South American support as his pious wife Blanche. Their “You Are Going prison - a place of imprisonment without trial, murder Back To Jail!” with the hair-salon women was funny and and torture. Molina (Ainsley Melham) is a gay window one of the show’s highlights. dresser, imprisoned for sex with a minor. He daydreams of Bonnie’s would-be-lover, Dallas cop Ted, was nicely the movies of hyper-glamorous 1940s star played by Dominic Bradley, while Stuart Fisher let his ‘Aurora’ (Caroline O’Connor). Molina’s prattle drives beefy-baritone rip as the Preacher and made a meal of homophobic Marxist cellmate Valentin (Adam-Jon “God’s Arms Are Always Open” and “Made In America”. Fiorentino) crazy, but as each undergoes threats and Julie Whiting - leading an eight-piece group which torture, they draw closer - though always under the included fiddle and guitar - worked wonders in the pit, surveillance of the Warder (Bert LaBonté). Chris Art’s lighting and sound added grisly atmosphere to Musical Director and Orchestrator Jack Earle has only the murders, whilst Kaitlyn Carlton’s direction kept it swift four musicians, but they sound like much more, and energetically alive. maintaining Kander and Ebb’s ‘South American’ rhythms Peter Pinne and 1940s show biz references without ever sinking to pastiche. Director Dean Bryant, however, makes some Ladies In Black puzzling decisions. The prison set by Alicia Clements Book by Carolyn Burns from the novel by Madeleine St provides a large open space, allowing for Andrew John. Music and Lyrics by Tim Finn. Directed by Leo Hallsworth’s choreography, reflective of Molina’s Busby Bradley and Elizabeth Morris. Villanova Players. Ron Hurley Berkley-like fantasies. But that open space also sacrifices Theatre. Oct 26 - Nov 10. the claustrophobia of Molina’s and Valentin’s cell. AUSTRALIAN musical Ladies in Black has fast become a Most of the casting, however, is excellent. Natalie favourite of audiences around the nation for its heartGamsu as Molina’s mother and Elandrah Eramiha as warming story, wonderful music and fabulous fashion. Valentin’s love Marta sing beautifully and movingly. Mr This delightful coming of age story, set in 1950s Sydney, LaBonté has little to do beyond menace and a sadistic is now being produced by Brisbane’s Villanova Players. smile but does it with great presence. Mr Fiorentino gives The show includes a lot of gorgeous costuming by Lia Valentin solidity, but Valentin is there as something of a Surrentino. Great effort has been made to source periodplot device and the contrast to Molina. appropriate pieces that complement the actors and suit The show belongs to Ainsley Melham’s Molina, who the characters. can turn from campy gush to flights of fancy, revealing The best acting, dancing and singing is delivered by the artist he could have been. His self-knowledge Lauren Flood as Patty. She has great confidence and expressed in witty quips - takes him to despair and selfcommitment. Jane Sizer as Mrs Crown and Pat Wockner Longer versions of many reviews can now be found at www.stagewhispers.com.au
Stage Whispers 87
as Miss Jacobs are very believable in their acting. Cecilia Girard is suitably awkward and nervous as the bookish Lisa. Nikolai Stewart as Rudi has a lovely, strong singing voice with beautiful tones. As always, The Bastard Song is the most loved by the audience and the performers appear to really relish the execution of the number too. The set design by Epi Pereira functions well and looks period-appropriate. The old photos that are projected on screen above the stage are a nice touch. Lynette Wockner’s choreography also suits the era and is well within the abilities of the cast. Ladies in Black isn’t all frocks and giggles. It deals with some sensitive and meaty issues such as racism, patriarchy and infertility. The show does it in such a clever and entertaining way, it’s no wonder it has theatre companies around Australia clamouring to perform it. Kiesten McCauley
Everyone in the cast adds humour and pace to help this delightful fairytale move along at the right pace. Originally written for Julie Andrews for a TV broadcast in 1957, Director (and Choreographer) Maureen Bowra has given the script a teeny makeover to rejuvenate it for today’s audiences. And there is much to enjoy - from solid supporting work by Nicole Wheeler (what a beautiful voice) and Nathaniel Currie (lovely comic timing) as the Queen and King, to the thoroughly modern millennial step-sisters as portrayed by Sophie Price and Louise Hayes, with their wickedly real-housewives mother played with relish by Meg Kiddle. Tom Markiewicz adds warm strength as Prince Christopher. His “Do I love you because you’re beautiful” has a nice Hamlet-esque touch - indecisive until he finds his perfect match. Fittingly, it is Madeleine Ratcliffe who wins everyone’s heart as the ever-optimistic Cinderella. Together, they are perfect lead material. The Wiz The costumes by Anita Sweeney are fabulous - sleek Music & lyrics by Charlie Smalls. Book by William F. and stylish. Georgina Purdie makes a wonderful Fairy Brown. Based on The Wonderful Wizard of Oz by L. Frank Godmother in her red sequins and satin. She is a modern Baum. QPAC & ACPA. Directed/choreographed by Simon feminist mentor - urging Cinderella to take control. The production uses a nifty device of using her helpers as Lind. Cremorne Theatre. Dec 5 - 7. magic stage sprites creating many of the settings - most STAGES around the country have been awash with musicals in green costumes about the land of Oz for years memorably the giant clock face that counts down to midnight. (Wicked/The Wizard of Oz) but this black version, except Beth Keehn for a live Christmas outing on NBC in 2015, has rarely been seen despite a good score by Charlie Smalls. Bravely ACPA (Aboriginal Centre for the Performing Arts) has now The Wizard Of Oz Retro Book adapted by L. Frank Baum from his novel, original redressed the situation, mounting an ambitious but enjoyable student production. lyrics and score by Baum and his musical assistant, Paul Star of the night and audience favourite would have to Tietjins, with the script, music and lyrics revised and new be Garrett Lyon. A camp performance coupled with an songs added by director Paul Causley and his Maitland ability to work the audience, his Lion was funny, fey and Musical Society staging team. St John’s Procathedral totally adorable. Matching him in crowd appeal would be Theatre, Maitland, Nov 15 - 17. Dungog High School, Nov Selwyn Powers’ Scarecrow. Loose-limbed, agile and prone 23 - 24. Raymond Terrace Public School, Nov 30 - Dec 1. to break-dancing, it was also a winning performance. FRANK Baum, who wrote The Wizard of Oz, adapted it Serina O’Connor’s Dorothy hit the notes, was vulnerable, into a musical a year after the novel was published in and sang “Home” with feeling. Gara Doolah’s Tinman 1901, and it certainly has differences to the popular Judy was a bit underpowered vocally, but Kelsey Lynn scored Garland 1939 film version. It has constantly been altered points as Addapearle, bringing charisma to the stage. by staging teams, and that was the case with this Others to impress were Jamaine Wilesmith (The Wiz), enjoyable production. Director Paul Causley retained most of the original Michaella Stubbs (Evillene), and Kayci-Lee Gillies (Glinda). One of the best things about Simon Lind’s direction was music, but he and others involved rewrote many of the his impressive ensemble choreography - sharp, snappy, lyrics. The show’s format had a colourful Jester as a narrator who set up the characters and their interactions, and executed with a high degree of precision. The production had been tweaked with some cute local and also had the audience offering advice, with many references - Dorothy wanted to go home to Cairns instead young watchers taken on stage for a crowd scene that of Kansas - and musical accompaniment was by the had Oz residents observing the behaviour of various ubiquitous backing tape. officials. Some figures were certainly different to those in the film, with the Wizard trying to escape from the Peter Pinne unsmiling demands of the Oz King Pastoria who had Cinderella returned from exile with the aid of one of the witches. By Rodgers and Hammerstein. Lynch & Paterson. Princess And several characters had amusing names, such as the Theatre, Brisbane. Nov 15 - 17. inept army commander, General Riskett. WITH a cast of 24 and more than 15 crew, Cinderella The 45-member cast moved briskly around and on-and -off the stage when the settings changed, with the is a major undertaking for relatively new musical production company Lynch & Paterson. The strength of director and three other participants swiftly switching this Cinderella is the standard of the ensemble work. 88 Stage Whispers
Longer versions of many reviews can now be found at www.stagewhispers.com.au
Spamalot.
their colourful outfits to make them part of the scenery. Their costume changes added to the fun. Ken Longworth Spamalot Based on Monty Python and the Holy Grail. Book and lyrics by Eric Idle. Music by John Du Prez and Eric Idle. Brisbane Arts Theatre. Nov 23 - Jan 18. KING Arthur and the Knights of the Round Table supposedly existed around the fifth century, though most historians now believe it all to be a myth. What the Monty Python film took to preposterous lengths, this musical has taken even further. Add song and dance to the farcical situations as King Arthur and his knights search for the Holy Grail, plus the diverse people Arthur meets, and the end product is Spamalot. Director Alex Lanham has met the challenge of Arts Theatre’s stage - small for a musical - very successfully indeed, with free-flowing movement and dance, plus the innovative use of a screen to tell some of the story. The costumes are suitably weird, to match both the storyline and the characters. Outstanding, in a uniformly strong cast, were Alexander Thanasoulis as Arthur and Laura Fois as the Lady of the Lake, giving clear convincing performances throughout. The remaining cast members - Lachlan Morris, Damien Campagnolo, Oliver Catton, Ben Kasper, Liam Hartley, Christopher Batkin and Matthew Nesbitt -
deserve mention for their inter-play and being able to carry off wearing such costumes. For such a complicated production, congratulations to all those who assisted in any way. Well done to the Arts Theatre for presenting this ratbag musical, which was such a treat to watch, listen to and enjoy. William Davies The Yeoman Of The Guard By WS Gilbert and Arthur Sullivan. The Gilbert & Sullivan Society of WA. Directed by Michael Brett. Dolphin Theatre, University of Western Australia. Oct 24 - Nov 2. THE Yeomen of the Guard is a fun, 16th century romp that rivals Shakespeare plots for confused identities. Barry Boyd’s set nicely conjures the Tower of London, and we are transported to the early 1500s by Veronica Hudson’s costumes. Colonel Fairfax, unfairly sentenced to die, is played with charm by Chad Henderson. Player Elsie is played with sweet voice by Emily Schinkel, with Liam Auhl delighting audiences as unfortunate fiancé Jack Point. Marli van der Bilj is outstanding as forthright Phoebe, with Glenn Rowan capable as her father, and Cam East making the most of the small role of her brother. Ross Bryant brings a good sense of comedy to Wilfred Shadbolt, Avalon Rector plays up the role of Dame Carruthers, with support from Paris Ceglinski as Kate. Max Page brings gravitas and strength to real-life historical figure, Sir Richard Cholmondeley.
Longer versions of many reviews can now be found at www.stagewhispers.com.au
Stage Whispers 89
deserve admiration for their excellent job in the pit. Gerard Livsey and team also get a round of applause for their rubbish-tip set, which even included some theatrical cast-offs - a Phantom mask and chandelier. Finally, let’s acknowledge a great cast, who gave 110% every time. Alison McKenzie was a distraught, faded Grisabella, whose performance of “Memory” was touching, with pathos. It was a nice touch to have the former ‘glamour cat’ dressed in Manolo Blahnik heels. Sex and the City’s Sarah Jessica Parker would have been super proud. David McLaughlin’s Munkustrap was nimble and appealing, whilst Darcy Rhodes’ Rum Tum Tugger had the necessary cocky swagger of a tom-cat. Peter Pinne Wicked Music by Stephen Schwartz. Book by Winnie Holzman. Ballina Players. Directed by Jacquie McCalman. Nov 8 - Dec 1. FINISHING the year with flare, the Players are presenting Wicked in a bright, refreshing telling of the goings on leading up to The Wizard of Oz. Ella Jackowski and Tammy Dundon share the vocally demanding role of Galinda/Glinda and likewise, Justine Guttridge and Liz van Eck share Elphaba. The supporting cast includes Melanie Dorien, Luke Hogan, Jacinta Hunter, Liam Gatt, Carl Moore and Rod Ramsey. Ballina’s “mechanical styled” set and a cast of almost 50 colourfully costumed performers had a ball. The technical support and effects worked really well, enhancing the production. Ballina audiences are very supportive of their ‘home grown’ theatre company and with the addition of extra performances the Players know exactly what their Alison McKenzie as Grizabella in Cats. audiences want. A solid ensemble provides support throughout, and The orchestra was superb and didn’t drown out the while the chorus of Yeomen don’t always move with a singers at any time, while the clear diction made it easy great deal of grace, the cast are obviously well drilled. for those older audience members to follow the plot. Georg Corall leads a 23 piece orchestra who play Director Jacquie McCalman, M.D. Ben Ryan and beautifully, if loudly. choreographers Anna Jaques, Abby McCalman and This is a nicely executed production (despite the lack of Bethany Young have certainly “nailed it” and the audience any actual executions). witnessed the proof of their combined efforts on stage. Kimberley Shaw Roger McKenzie Cats Music by Andrew Lloyd Webber. Based on Old Possum’s Book of Practical Cats by T.S. Eliot. Queensland Musical Theatre. Directed by Kade O’Rourke. Schonell Theatre, St Lucia. Oct 25 - Nov 3. THE only things that matter in a production of Cats are, can Grisabella sing “Memory” and does the choreography stack up. Queensland Musical Theatre ticked both boxes in a production that was ablaze with energy, dance gymnastics and vocal expertise. First kudos must to go to Jo Badenhorst and her welldrilled choreography - not easy moving a forty-bodied ensemble. Next up, let’s salute Renee Milton and Cat Schwarten for costumes and wigs. Take a bow ladies, they were fantastic. Julie Whiting and her band of musos also 90 Stage Whispers
Jekyll & Hyde Music by Frank Wildhorn. Book & lyrics by Leslie Bricusse. Based on Robert Louis Stevenson’s 1896 novella The Strange Case of Dr. Jekyll and Mr Hyde. Phoenix Ensemble, Beenleigh. Oct 18 - Nov 9. ELODIE Boal has assembled a raft of talented and experienced community theatre performers for her Phoenix Ensemble production, which gives full reign to this pop-opera score. Long-haired Michael Mills, in the dual roles of Jekyll/ Hyde had undeniable charisma; smooth and upstanding as the experimenting doctor and wild, animalistic and debauched as Mr. Hyde. His physical transformation to the latter was alive with menace, and his vocals had passion, especially the show’s monster-hit “This Is the Moment”.
Longer versions of many reviews can now be found at www.stagewhispers.com.au
As the Red Rat brothel’s newest prostitute Lucy, Ebony Hamacek was sexy, pragmatic, and brought guts and grit to the role. Her “Someone Like You” soared, whilst “Bring on the Men” had buckets of raunch. Kelly Cooper, as Jekyll’s fiancée Emma, was no wilting violet, but a feisty woman with an emancipated streak. She excelled on the sweet anthem, “Once Upon a Dream”. Others to impress, all destined for a grisly death, were Mary Veitch (Lady Beaconsfield), Simon Stone (Sir Danvers Carew), Joshua Brandon (Lord Savage) and James Hogan (Bishop of Basinstoke). Trenton Dunstan led a keyboard-heavy band which at times sounded thin, especially in the big power-ballads, but Justin Tubb-Hearne’s costumes were excellent and reeked of the period, with Emma’s white crinoline wedding gown the apotheosis. At times it’s a serious musical, yet at others highly melodramatic and risible as the bodies piled up. Despite the clunky mix, this trip to Edwardian London was great fun. Peter Pinne The Mikado By Gilbert and Sullivan. State Opera South Australia. Festival Theatre, Adelaide. Nov 9 - 23. STUART Maunder’s new concept for The Mikado combines traditional gags with a new slant and setting, full of mobile phones, Japanese businessmen, iPads and blonde cupie-doll chorus girls. Simon Kenway’s orchestra gives us the lush resonant score - Sullivan would be impressed. Simone Romainuk’s set design, coupled with Donn Byrnes’ lighting, creates a free-flowing series of scenes with rotating Japanese house modules. Siobhan Ginty’s choreography is clever, quirky and eminently suited. Pelham Andrews’ Mikado has a rich voice and the new lyrics to ‘My object all sublime’ are hilarious. Dominic J. Walsh’s Nanki Poo is the epitome of what a modern wandering minstrel could be. His voice is one of the best I’ve heard in this role. Amelia Berry’s Yum-Yum is every inch the leading lady, with a glorious voice and an infectious sense of fun. Andrew Collis’ Pooh-Bah certainly possesses the vocals to give Pooh-Bah the dignity needed, however his characterisation did not always deliver the laughs. Bethany Hill’s Pitti-Sing is full of the fun that the role needs. She has a rich voice and a clever sense of timing and delight. Elizabeth Campbell’s Katisha has a voice that soars over the chorus in Act 1, while giving us a touch of heartbreak in her act 2 aria. The undoubted star of the show is Byron Coll, whose Ko-Ko combines Mrs. Brown’s Boys with the banter of a Scottish accented pantomime dame, dominating the action with perfect timing and abundant energy. Once again, Opera SA bring opera to the masses with style! Barry Hill
PERFORMING ARTS MAGAZINE JANUARY/FEBRUARY 2020. VOLUME 29, 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. pjtonline@pjtonline.com DISTRIBUTED BY: Ovato Retail Distribution Australia. 1300 650 666. contactus.retaildistribution@ovato.com.au DEADLINES For inclusion in the next edition, please submit articles, company notes and advertisements by February 8th, 2020. 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 O’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.
Longer versions of many reviews can now be found at www.stagewhispers.com.au
Stage Whispers 91
Musical Spice
I was lucky enough to be able to Hot Shoe Shuffle across the US for a few weeks in November. Not that I can in any way tap dance - rather it was my duty, as an agent, to attend a theatre north of Miami which was staging the Australian-conceived musical with the nifty title.
Waitress The Musical was too delicious to miss. Set in a diner, this sweet tale of scrumptious pies, unhappy marriages and untrammelled lust is a hoot. No wonder it’s lasted more than three years on Broadway and is headed to Australia. My second most expensive ticket was for this 2019’s winner of Best Musical at the Tony Awards - Hadestown. The big blues-soul musical with deep voices is based on the legend of Orpheus In The Underworld. It’s a beautiful The Wick Theatre, in retirement central Boca Raton, arthouse musical that is not particularly entertaining. Florida, is a gem. Not only is the musical theatre top rate, but My last musical was the surprise flop of the season, the owner Marilyn Wick has America’s largest repository of Tootsie. For those in the industry, the story of the actor who theatrical costumes. auditions as a woman to get work, with one clever joke after They have a museum next to the theatre, where you hear another, is a hard to resist package. I enjoyed it, but it failed things from the guide like “this is the original Angela out there in general public land. Perhaps the central premise Lansbury costume from Mame.” Nearby is the Wick’s that no one would know Tootsie was a man was credible in warehouse called Costume World, where as far as the eye 1982 when the movie was made, but is absurd in 2019. can see are racks and racks of theatrical costumes. Far be it for me to name drop, but in addition to having After Florida I headed north to New York, which is where lunch with Australia’s newest Broadway wunderkind, Eddie the story of Hot Shoe Shuffle is set. My first theatrical Perfect, I also rubbed shoulders with none other than appointment was with Moulin Rouge! The Musical. The Stephen Schwartz. The legendary composer lyricist of Wicked Australian-produced musical is the second hottest ticket on and Godspell was a special guest at a fundraiser for the New Broadway. York Music Theatre Festival. He played and The production is like watching one slick sang a song from his new West End musical music video after another. All up, there are Prince of Egypt. Afterwards he asked for a around 70 bits of pop songs beautifully selfie with me, but I politely responded that if I moulded around Baz Luhrmann’s story, did that, everyone in the room would want which blends the story of La Bohème into one (or maybe it was the other way around). the famous Parisian nightclub. Next, I had a ticket for 2017 Tony AwardDavid Spicer winning musical Dear Evan Hansen. This contemporary musical about a teenage boy who turns the untimely death of a school fect. Brunch with Eddie Per student into a ticket to fame, is totally engrossing. Following a matinee performance of Dear Evan Hansen, I attended Beetlejuice The Musical that evening. There are some very clever songs and scenic effects in this musical, but I was too tired to enjoy it properly. I do suspect that teenagers and Americans drenched in Halloween traditions are the production’s prime demographic. You can’t go to Broadway and only see musicals, so the Wick Theatre cast of Hot Shoe Shuffle. next day I bought a rush ticket to To Kill A Mockingbird. It only cost me US$35 to purchase the ticket at the box office and I was sitting in the clouds. Online extras! Even though I almost had to stand to see anything, I was Join Stage Whispers TV at Costume utterly engrossed by this beautifully produced adaptation of World in Florida and on Broadway. the classic novel. http://stagewhispers.com.au/galleries/444 92 Stage Whispers January - February 2020
Read scripts, listen to music and order free catalogue at: www.davidspicer.com.au david@davidspicer.com (02) 9371 8458
Our Most Popular Musicals
NEW
Cruisin’ The Musical
www.stagewhispers.com.au Stage Whispers 1