12
In this issue
Meet Miss Honey .................................................................................. 12 Elise McCann discusses her role as Matilda’s teacher Stars...Who Needs Them? ..................................................................... 16 Our leading producers talk about casting La Boite Turns 90 With Style .................................................................. 18 There’s An Animal In My Play ................................................................ 22 Hannie Rayson and Lally Katz on their latest plays
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Acting The Truth ................................................................................... 24 The challenges of playing a dramatically maligned, real life character How To Direct A Farce........................................................................... 28 Sexual Energy On Stage......................................................................... 30 An extract from playwright Hannie Rayson’s memoir
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Performing Arts Course Guide ............................................................... 39 A special feature focussing on training courses Projection For Small Theatres ................................................................. 63 Building The Musical Bridge .................................................................. 64 Inside rehearsals for the PLOS production of Legally Blonde Schools On Stage ................................................................................ 104
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Regular Features Stage Briefs
45 56
Stage On Disc
32
London Calling
34
Broadway Buzz
35
Stage To Page
36
Amateur Stage Briefs
38
On Stage - What’s On
68
Reviews
78
Musical Spice
58 78 6 Stage Whispers July - August 2015
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THE NEXT ISSUE OF STAGE WHISPERS IS FOCUSSING ON COSTUMES, SETS & PROPS. PLACE YOUR AD BY AUGUST 3 CONTACT (03) 9758 4522 OR stagews@stagewhispers.com.au
Editorial Dear theatre-goers and theatredoers, Each year at about this time, as young people with a passion for a career in the Performing Arts prepare their auditions and applications, we shine a spotlight on courses and training.
Caroline O’Connor.
While our Performing Arts Course feature (beginning on page 39) features the obligatory articles about acting, dance and musical theatre courses, we also look further afield at courses which are leading to behind-thescenes careers including casting, lighting, stage management and costume construction.
John Frost. Amy Lehpamer.
In addition, our even more comprehensive online directory to Performing Arts courses will be available in mid July at www.stagewhispers.com.au/showcase A special welcome, if you’re a teacher or student in one of the 2000 schools receiving a complimentary copy of this edition. We hope you will join us as regular readers, so until September 1, we’re offering a bonus performing arts book with all two and three year subscriptions. You’ll find the details on page 21. We’re excited to be rapidly approaching the social media milestone of 15,000 theatre-lovers and thespians who keep up to date by following Stage Whispers on either Facebook or Twitter. Yours in Theatre,
Neil Litchfield
Cover image:
CONNECT
NIDA’s production of The Dream Play, directed by Kim Carpenter. Read more about this and other courses in our Performing Arts Course Guide, beginning on page 39.
Editor
www.stagewhispers.com.au Stage Whispers 7
Alex Rathgeber and Claire Lyon in Anything Goes. Photo: Jeff Busby.
Currently starring as Billy Crocker Anything Goes, Alex Rathgeber has established himself as one of Australia’s finest young leading men. With principal roles in major musicals from Australia to London’s West End including The Phantom of the Opera (London), The Boy From Oz, The Drowsy Chaperone, The Rocky Horror Show, Camelot and more, Rathgeber’s debut album Easy To Love is a tribute to Broadway with a mix of classic and contemporary works from composers including Berlin, Rodgers & Hammerstein, Porter, Bernstein & Sondheim, and Lloyd Webber. It features duets with three of Australian musical theatre’s A-list leading ladies - Caroline O’Connor, Claire Lyon and Lucy Maunder.
Blood Brothers, a sell-out hit at Sydney’s Hayes Theatre, plays a three week season at the Alex Theatre, St Kilda from July 16, with Bobby Fox as Mickey, Helen Dallimore as Mrs Johnstone, Josh Piterman as Edward and Michael Cormick as Narrator.
8 Stage Whispers July - August 2015
Stage Briefs
ďƒ¨ Jaz Flowers and Lucy Maunder star in Heathers The Musical, based on the cult teen comedy film, at Sydney’s Hayes Theatre Co from July 16 to August 9. The cast also features Erin Clare, Libby Asciak, Vincent Hooper, Jakob Ambrose, Lauren McKenna, Mitchell Hicks, Michelle Barr, Rebecca Hetherington & Stephen McDowell. Trevor Ashley, Heathers directs, with musical direction from Bev Kennedy.
www.stagewhispers.com.au Stage Whispers 9
Photo: Kurt Sneddon.
Stage Briefs
The live cast recording of the 2014 Hayes Theatre production of Australian musical Miracle City, with book and lyrics by the late Nick Enright and composed by Max Lambert, has now been released. The album features Blazey Best’s award winning performance as Lora-Lee Truswell, alongside Mike McLeish, Marika Aubrey, Esther Hannaford, Josie Lane, Hilary Cole, Cameron Holmes, Peter Kowitz and Jason Kos.
Esther Hannaford and Rohan Browne in Nice Work If You Can Get It, the George and Ira Gershwin musical being presented by The Production Company at the State Theatre, Arts Centre Melbourne from August 15 to 23. www.theproductioncompany.com.au 10 Stage Whispers July - August 2015
www.stagewhispers.com.au Stage Whispers 11
Online extras! Meet Miss Honey and the rest of the Matilda cast. Scan the QR code or visit https://youtu.be/3sGKBoW_nlM 12 Stage Whispers July - August 2015
Haley Flaherty (Miss Honey) in the Royal Shakespeare Company’s production of Matilda The Musical. Photo: Manuel Harlan.
Have you ever had a teacher you adored? Elise McCann has, and now she has the chance to play one in the Australian premiere of Matilda the Musical, which opens in Sydney in August. It has been a stellar time for the performer, who toured Australia in a cabaret based on the life of Lucille Ball and is soon to appear as Peter Allen’s sister in the tele-movie about his life. David Spicer reports. It is a lot to live up to. As novelist Roald Dahl put it, “Miss Jennifer Honey was a mild and quiet person who never raised her voice and was seldom seen to smile, but there is no doubt she possessed that rare gift for being adored by every small child under her care.” We meet in the ABC coffee shop in a break from rehearsals, our staff room away from the children. It’s a sanctuary the cast relish as they have to rehearse four times as long to bring four casts of children up to speed. I ask her for a report card on the four Matildas. Their parents would be pleased.
“The Matildas are so excited but focused. They know their stuff,” she beams. “But all have a different energy. They are so supportive of each other in our own little land on level one of the ABC. “They are all sharing parts. Saying Go Molly. Go Sasha. You can’t help fall in love with them. “Bella is incredibly still. Molly’s brain is going to explode any second. Georgia is like sunshine. Sasha is gorgeous and focussed.” So what does Elise make of Miss Honey? In a nutshell “more than just a beautiful character.” She says it’s a “joy” to be able to draw on the depth of understanding and back story that comes from the novel. “You know what I love about Miss Honey? It’s that she is so fragile but inherently she is so strong. She was described as being so fragile that if someone was to blow on her she would fall over. But whenever she is petrified and fearful of the principal, Miss Trunchball, in the classroom and surrounded by her children, Miss Honey has an automatic response. She
steps up to protect the children. She can’t help herself because has this inner love of children and learning.” Elise’s favourite moment in the musical is the second time you see Miss Honey. “It is just her in the classroom with the children. It is her joy place.” In the classroom she gives Matilda a hug. “She says, Matilda this is the biggest hug in the world. You are going to hug all the air out of me. And Matilda hugs her even tighter.” Elise had a similar relationship with one of her own teachers. “In year one Mrs Fitzpatrick was so fun. She made everything a game. Every person was really important. She gave me my pen licence once I had learnt to write cursive and had adequate spelling. She read a book every Friday and used voices. I remember thinking she was amazing.” Now Elise says she is learning a lot working with the Royal Shakespeare Company on Matilda, particularly their attention to detail and character. (Continued on page 14)
www.stagewhispers.com.au Stage Whispers 13
The Royal Shakespeare Company’s production of Roald Dahl’s Matilda The Musical. Photo by Manuel Harlan.
Elise McCann with Alis on Luff at Matilda The Musical on Broadw ay.
“It is my most exciting experience as an actor. The team we are working with have degrees of information that is off the chart.” And speaking of charts, the biggest challenge appears to be the music, which she describes as “amazing”, but as it is “written by Tim Minchin there are a lot of lyrics, a lot of difficult rhythms and dissonance. So a lot of the notes clash and also, because Tim is a man, it sits in a place in the break of a lot of women’s voices. It happens to be not on my break. A lot break about b or c, I break a little higher.” But it means that many women will find performing this role a bit like torture. Elise managed to get some firsthand advice when she saw Matilda on Broadway and spoke to the actress playing her part. 14 Stage Whispers July - August 2015
Make sure everything you do is so completely crazy it’s unbelievable...” Elise applied this ethos last year during her national tour of the cabaret Everyone Loves Lucy. The American actress/ comedienne was a pioneer for women on television and playing Lucy was “one of my biggest challenges.” “I’ve had to be as brave as she was. That sort of comedy does not work unless you give it 150%. You have to be very honest also.” Lucille Ball “was hilarious obviously, but also very brave for a woman in the 1950’s and “I met Alison Luff backstage. I had 60s, not to be afraid to look been given my script a day before. It ugly or look the fool. was quite fresh and bizarre to see a “She was a career woman. She show I was about to embark on. thought it was OK to look ugly, do her Matilda was heart-breaking and hair crazily, have a pie thrown in her hilarious.” face, not have to be the beautiful siren The novel has many lines in it that (traditionally) on TV.” can inspire performing artists. The show received good reviews Matilda said, “Never do anything by and there are plans for more outings in halves if you want to get away with it. the future, perhaps even in the US. Be outrageous. Go the whole hog.
Stage Whispers’ Neil Litchfield described it as more of a short play with music than a cabaret. “Everybody Loves Lucy dives far deeper into physical comedy, recreating Lucy’s uncanny genius with zest, while touchingly portraying the deep underlying pathos of the classic clown, revealed beautifully as the very real humanity and vulnerability of the woman, wife and mother behind the performer.” Like Lucille Ball, Elise McCann can speak at a hundred miles an hour. As bright as a button, she got into Law and NIDA (Music Theatre) when she did her HSC.
Elise McCann as Lucille Ball in Everybody Loves Lucy. Photo: Blueprint Studios.
“My mother said I should go to NIDA.” After the one year music theatre course at the time, she was immediately cast in Fiddler on the Roof and her only other training involved some short drama and dance courses. As a girl she only dabbled in community theatre. “When I was 14 I did The Pajama Game with the Sydney Youth Musical Theatre Company. James Millar (playing Miss Trunchbull) was also in the cast. I went to his 21st birthday.” She rattles off the names of another three or four SYMT cast members in The Pajama Game who have gone on to professional careers. It must have been one hot community theatre
production. No wonder she only had a minor role - Poopsie. Next year is shaping up as another milestone for Elise McCann. Australians will see her play Peter Allen’s sister Lynne in the Channel 7 biopic Not the Boy Next Door. Lynne is not widely known of, because she was excluded as a character in The Boy From Oz. “She is a very private, quiet woman and was quite happy she was written out of the musical. “It is very much the story of Peter Allen and his mother. Lynne was part of that. As their father died when he was young, the three of them were very close. “It was terrifying at first playing someone that is still alive.” So she met Lynne, who gave her background that led to the script being changed. “Lynne and her mother travelled to New York for the wedding of Peter and Liza Minnelli. The writers wrote that it was a very long flight. She explained that it took five flights to get there. So they were able to add authentic detail.” Sadly the role of Lynne Smith is not a singing one in the TV series. Conversely, many of the leads (Peter Allen played by Joel Jackson and Sigrid Thornton as Judy Garland) are taken by actors who are not traditional singers. So for the next year or so if you want hear the talented Elise sing, Matilda will be her platform to shine. Her favourite song is My House. This roof keeps me dry when the rain falls. This door helps to keep the cold at bay. On this floor, I can stand on my own two feet. On this chair, I can write my lessons. On this pillow, I can dream my nights away. And, this table, as you can see, Well, it’s perfect for tea. It isn’t much, but it is enough for me. It isn’t much, but it is enough. www.stagewhispers.com.au Stage Whispers 15
The latest round of cast announcements for big musicals have been long on natural talent and short on celebrity. Has the tide turned away from casting stars from outside the established theatre world? David Spicer reports. We rolled up to the cast announcement for the forthcoming season of The Sound of Music and on a big poster was the new Maria, surrounded by her clan. At first glance I couldn’t recognise her. Amy Lehpamer is currently playing Janet in The Rocky Horror Show and is seen there in her undies. She looked quite different in modest nun-turned-nanny attire. When John Frost introduced her, he said the production team had to weigh up whether to cast a big star in the lead role, but instead went for what he described as an exciting new talent. She’s well known in the industry for shining in the opportunities she’s had in Rock of Ages and Dirty Rotten Scoundrels, but lacks a high general public recognition factor. So do stars matter? “It depends on the show; if the show has a huge track record, and is straight from Broadway and all of that, and it is a must see show, you don’t really need a star…but every show is different,” said John Frost after the launch. 16 Stage Whispers July - August 2015
“We were lucky when we had Lisa McCune, fresh off the television series (Blue Heelers), when we did it before,” he said (mind you Lisa McCune was a Music Theatre graduate from WAAPA to boot). If the lead is not a celebrity then John Frost believes there should be some in secondary or cameo roles. “The thought was let’s cast the other roles with people that are names, that we think the public would like to see and the media would be interested in interviewing,” he said. For this production, the better-known leads are former TV Host Cameron Daddo as Captain Georg von Trapp, Lorraine Bayly as Frau Schmidt and music theatre doyen Marina Prior as Baroness Schraeder. “I like to have stars. I like to have Bert Newton (currently in The Rocky Horror Show as the narrator). I like all those people that are fun to have. My audiences expect that from a John Frost show. They want to see familiar names.” In Melbourne the next week John Frost did the same
routine, announcing the cast of Jekyll and Hyde with Opera Australia. The Opera company was criticised for agreeing to cast radio broadcaster Alan Jones in Anything Goes, following his small part as FDR in Annie. This time round there were no stunt castings. Opera and recent music theatre baritone Teddy Tahu Rhodes will play the lead. Jemma Rix, who was catapulted to stardom in the role of Elphaba (the Wicked Witch of the West) in the Australian production of Wicked, will portray Lucy. Lucy Maunder, nominated for Helpmann Awards for her roles in both Dr Zhivago and Grease, will play Jekyll’s fiancée Emma Carew. None of them were made famous in another artform and no-one would doubt their pedigree. There was a little disappointment that Anthony Warlow was unavailable to play the lead, Lucy Maunder and Teddy Tahu Rhodes in Jekyll & Hyde. Photo: Jeff Busby.
as he sang on the original concept album. “Anthony Warlow is the only musical theatre star that sells tickets and he now lives in America, so therefore we have go with other people,” he said. Louise Withers, the producer of Matilda, Miss Saigon and Billy Elliott The Musical does not believe in celebrity castings. “The most important thing is to do the right thing by the product and the show. We are looking for the right ingredient for the right character and also someone who is a good company member. Hopefully that creates the magic that makes people want to see it,” she said. Matilda, by its nature, has a substantially unknown cast because they are young children. But Louise Withers also maintained her ethos with the casting of adult principals. James Millar (Miss Trunchball), Marika Aubrey (Mrs Wormwood) and Elise McCann (Miss Honey, interviewed elsewhere in this edition) are known in the industry but have no Amy Lehpamer general public and Cameron Daddo in The recognition. Sound Of Music. Photo: Brian Geach.
“A lot of the requirements come from casting directors from overseas, or what the director is looking for. Sometimes those parameters are very broad or very specific,” she said. John Frost says he would have “gone a different way” if he was casting Matilda. Reacting to critics of his commercial approach, he responds, “I am the last man standing,” naming the producers in music theatre who are no longer standing. (Ouch!) “When you have got five million dollars at stake you want to have a safety net, because it is not my five million, it is the investors’, and they are going to say, ‘who is in it?’ You can’t say Joy Blogs and Bob Smith.” Disney, on the other hand, spends much more than five million on its shows and chooses complete unknowns for leads, as is the case for The Lion King. “If I had budgets like Disney and shows like that I could do the same,” quips John Frost. The only theatre company with access to genuine stars is the Sydney Theatre Company. Hollywood A-listers Cate Blanchett and Hugo Weaving have been regulars in recent years. Geoffrey Rush is playing King Lear at the end of this year. Its best attended production of 2014 was Cyrano de Bergerac starring Richard Roxburgh, just ahead of Macbeth (with a reduced stage capacity) played by Hugo Weaving. In 2013 Cate Blanchett helped sell 43,000 tickets to The Maids and Hugo Weaving assisted in luring 34,000 bums onto seats for Waiting for Godot, with Tim Minchin also chipping in nicely for a similar number at Rosencrantz and Guildenstern are Dead. Producer Louise Withers couldn’t help but salivate at the prospect of having Matilda composer Tim Minchin on stage in Matilda, but alas Online extras! stars like this are The hills are alive with The Sound Of not usually Music. Scan the QR code or visit available for years https://youtu.be/_LckbC6zNuo on end.
“He is an absolute star, unbelievably talented and humble and an incredibly nice person,” she said. Mega stars like that also only tend to appear for “mates rates” when the producer is a not-for-profit entity such as the Sydney Theatre Company. On Broadway the biggest name to have associated with a musical is Tony, short for Antoinette Perry, better known as the Tony Awards. With a Tony on the billboard, a little known show can get a huge boost at the box office. After winning the Tony for Best Musical, Fun Home (based on the story of a young girl’s voyage of lesbian discovery) was on track to do five times its normal daily business. Another musical, The Visit, penned by Chicago’s Kander and Ebb and starring genuine A lister Chita Rivera went in the other direction. It missed out on any awards and announced that it would close within a fortnight. Back in Australia John Frost laments the lack of opportunities to make stars. “Without a doubt we should make stars but we don’t know how you do it. We don’t have variety shows to showcase talent. Bert Newton is not there anymore, Kerry-Anne Kennerley is not there anymore. You have got breakfast television, but the numbers are pretty dismal - 300,000 nationally.” Louise Withers, however, does not think it is worth the trouble. “I am not sure the star system exists in the same way it used to. The world of the internet has broken down many of the factors that created stars.”
www.stagewhispers.com.au Stage Whispers 17
La Boite Turns 90 With Style Boys get out your blazers and boaters, and girls put on your flapper dresses and cloche hats and all Charleston on down to Kelvin Grove for the party of the year. Brisbane’s La Boite Theatre turns 90 in July, and to celebrate it’s throwing a ball in keeping with 1925 - the year the company started. Peter Pinne looks back at the company’s remarkable history. La Boite is the *sixth oldest theatre company in Australia and the only one to move from amateur status to professional that is still in operation. It began as Brisbane Repertory Theatre Society with the A.A. Milne play The Dover Road, directed by founding artistic director Barbara Sisley, which was produced at the Theatre Royal, a venue, along with Her Majesty’s Theatre, that was frequently used in the early days. Brisbane Repertory later found premises in Hale Street, Milton, and with it came a name change to La Boite. Members renovated an old Queenslander, knocked down the internal walls and used the timber to build seats on all four sides with a stage in the centre (hollowed out it looked an old box - hence the French ‘La Boite’). It was Brisbane’s first theatre-in-the -round. Later a new building on the same site became Australia’s first purpose built theatre-in-the-round. Today the company uses the Roundhouse Theatre complex at Kelvin Grove. In its early years, like most theatre companies of the time, its programming choices were safe, with plays by Shaw, J.M. Barrie and Coward. Later, with success, came more adventure with Miller, Pinter and Albee. Today the theatre has been 18 Stage Whispers July - August 2015
repositioned thanks to some innovative artistic directors; Sue Rider, Sean Mee and David Bertold amongst them, as Brisbane’s home of alternative theatre, like Malthouse is to Melbourne and Belvoir is to Sydney. In fact these days some productions play those like-minded sister venues. Throughout its history La Boite has always been a theatre company dedicated to producing Australian work and in particular plays by Queensland writers. Their first playwriting competition in 1931 was won by the prolific and then 26-yearold George Landen Dann with In Beauty It Is Finished. Controversy reigned over its first production because it dared to put Aboriginal
La Boite’s 2010 produc tion of Hamlet.
characters on stage in a story about miscegenation. Some of the theatre’s most successful productions from the last 20 years have been local plays; 2000’s Milo’s Wake by Margery and Michael Forde, which also toured the country, 2004’s Zigzag Street by Philip Dean adapted from Nick Earls’ novel, and 2006’s Johnno by Stephen Edwards, adapted from the novel by David Malouf, which toured to Derby Playhouse in the UK. Other productions to have been seen internationally have been the 2013 Tommy Murphy adaptation of Timothy Congreve’s book Holding the Man which had a season in London. One of the most successful plays from the amateur days is the musical Man of Steel by Simon Denver and Ian Dorricott, which only had a short season at La Boite but went on to become the most successful Australian musical of all time with over 4000 productions as of 2010. Louis Nowra’s Cosi has been a popular choice, with three productions since it first appeared in 1994. But its Prince of
plays, with more outings than anything else is Shakespeare’s melancholic Dane, Hamlet, which last appeared in 2010 with Toby Schmitz in the title role. The theatre’s first professional artistic director was Rick Billingshurst in 1971, and the first play under his leadership was Rodney Milgate’s A Refined Look at Existence, which featured Bille Brown in his first role for the company. Brown later went to London where he had great success with the Royal Shakespeare Company. Other actors who started at La Boite and who have gone on to memorably spread their wings nationally and internationally have included Ray Barratt, a fixture on British TV of the 60s in Emergency Ward 10 and The Avengers, Barry Otto whose films include Bliss, Oscar and Lucinda, and the movie adaptation of Cosi, Deborah Mailman with Bran Nue Dae and The Sapphires credits, and Anthony Phelan, who played Ken Smith in Home and Away, and whose Hollywood entries include, Heaven’s Burning, Acolytes, and X Night of Vengeance.
Ray Barrett & Dorothy Wheeler in the 1951 of The Sacred Flame by W. Somerset Maugham. Courtesy Fryer Library, UQ.
In 1993 La Boite turned completely professional and it has remained that way ever since. Although men have been at the helm for the past few years, with Todd McDonald the current artistic director, throughout its existence the company has been built on strong female artistic leadership; Barbara Sisley in the 20s,
(Continued on page 20) www.stagewhispers.com.au Stage Whispers 19
Showing Their Age Stage Whispers would like our readers to help us work out which are Australia’s oldest theatre companies. From what we can tell these are the oldest. 1889 - Sydney University Dramatic Society (SUDS) and Northam Theatre Company (WA) 1891 - Lieder Theatre Goulburn (NSW) 1903 - Mosman Musical Society (NSW) 1908 - Adelaide Repertory Theatre (SA) 1925 - La Boite (QLD) 1927 - Hobart Repertory Theatre (TAS) 1932 - New Theatre (NSW) and Canberra Repertory Society 1935 - Gilbert and Sullivan Opera Victoria 1937 - The Gilbert and Sullivan Society of South Australia 1938 - National Theatre Ballarat (Vic) and Hartwell Players (Vic) 1939 - Rockdale Musical Society (NSW) Please tell us if you know of any others that should be in the top 10. neil@stagewhispers.com.au (Continued from page 19)
30s and 40s, Babette Stevens in the 60s, Jennifer Blocksidge in the 70s, with Sue Rider in the 90s the last woman to hold the fort. It’s fitting that the “Belle of the Ball” and La Boite’s “poster-girl” for
their 2015 season is actress Muriel Watson who, like La Boite, turns 90 this year. Muriel is a life member. She first appeared in Gloria BirdwoodSmith’s production of Howard Lindsay and Russell Crouse’s The Great Sebastions in 1959.
So join Muriel and the La Boite gang at the Roundhouse on the 31st of July to celebrate this auspicious occasion. Using all of the theatre spaces and surrounding courtyard for the twenties themed ball, there will be drinks, food, a big-band, jazz combo, swing dancing, and hidden away in a corner a specially built speakeasy designed by Lucas Stibbard. Not only will there be amazing entertainment, but everyone will be able to join in at the open-mic La Bamba, a La Boite tradition of old, which will be staged again for this one night only. La Boite’s history has been studded with milestones and attendees will be able to view the journey via video projections and photos around the foyer and theatre spaces. The night will also launch La Boite’s 90 year history on a website made possible by a grant from the Brisbane City Council. It’s a fascinating journey and a part of Brisbane theatre history, which is celebrated on this important archival commemorative site that includes photos, posters, flyers and programs of the productions through the years. La Boite 90th Ball, Friday 31st July 2015. $90 includes food, drink and entertainment. www.90years.laboite.com.au
20 Stage Whispers July - August 2015
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There’s An Animal In My Play
Main image: A tiger quoll. Below: Myles Pollard & Hannah Day in Black Swan’s 2015 production of Extinction. Photo: Robert Frith.
Two of Australia’s brightest female playwrights are making animals the centre of attention in new productions debuting on different sides of the country. In Hannie Rayson’s case the furry creature looks cute but has a nasty personality. For Lally Katz a cuddly pet cat is the star, but it’s the owners that have issues. David Spicer reports. Hannie Rayson suspects that she might have the power to bring a species back to life. Her latest play, Extinction, which will debut at Western Australia’s Black Swan State Theatre Company in September, is about the ubiquitous Tiger Quoll. It is a cute looking (but savage) creature that is native to the western part of Victoria at Cape Otway, where the rainforest meets the Great Ocean Road. “In the course of writing the play there had not been a sighting of a Tiger Quoll in about 25 years. When I pressed send on my second draft, I opened the paper and read on page five that there had just been a sighting,” she said. “It was so spooky and exciting. I was thrilled to bits. 22 Stage Whispers July - August 2015
“It was in someone’s porch, climbing around and running off. They caught a picture on their phone.” Since then they have set up a project and there have been four sightings. As with other endangered animals there is the dilemma about what can be done to save it from extinction. What an animal looks like can impact on public sentiment. “You need to feel for them to lament their loss. I think they are quite sweet looking. Big eyes like possums. “But they’ve got incredible sharp fangs. They are carnivorous. The fangs have evolved to rip flesh. You would not want it to bite you.” There are different types of quolls all over Australia. Some (friendlier varieties) are kept as pets. In her play Extinction an executive from a coal mining company is driving when he hits a tiger quoll. The animal dies on the operating table at a wildlife sanctuary and the executive is inspired to do something to save the species. His company offers two million dollars to a regional University in a bid to help save it. Hannie Rayson says this raises ethnical issues about the implications of ‘getting into bed with a coal company’. Lest you suspect the play is entirely earnest in its subject matter, there is a healthy dose of sex, intrigue and corruption. The characters “are getting in and out of bed literally and allegorically”. Another ‘fascinating’ issue dealt with in the play is the viability of species that are endangered. “An index has been developed about whether a creature is worth saving. If numbers in a species fall below 5000 there might not be enough to survive a flood or natural disaster. “It takes economic rationalism too far. It’s like saying will we save the Javan Rhino or the Sumatran Tiger.” Due to the rarity of the creature and its personality there will be no actual tiger quoll on stage. “There have been no animals or children in my plays before. There may not be ever again.” There is an appearance of some bones of a specimen and she might be
Andrea Demetriades and Benedict Hardie in Belvoir’s Dog/Cat. Photo: Brett Boardman.
Extinction plays from 19 Sep to 4 Oct - Black Swan State Theatre Company - Heath Ledger Theatre, State Theatre Centre of WA. Dog/Cat plays until July 26 downstairs at Belvoir. on the lookout for someone to donate their cat as a prop. Instead there is the haunting beat of a heart throbbing away in the background. Hannie Rayson has big ambitions for the play. She’s hoping that Extinction, commissioned by the Manhattan Theatre Club, is every bit as successful as some of her other plays including Hotel Sorrento and Inheritance. On the east coast Lally Katz is also premiering a new play with animals (of the more cuddly variety) as the focus. It’s part of a double bill called Dog/Cat downstairs at Belvoir. In the first act Brendan Cowell writes Dog, described as the “not-soflattering portrait of the tricky line between mateship and romance, and of the insatiable appetite of Jack Russell terriers for the most disgusting things they can find.” In the second act Lally Katz moves to the feline side. “The pet is shared by a married couple who break up and have to share custody. In my play an actor plays a cat. In Brendan’s the dog is off stage.” Lally loves the ideas of including animals in her plays.
“Most of the time directors make me cut them out. They say things like I don’t know if you need the bear or the dolphin.” In her recent play Timeshare, which debuted at the Malthouse Theatre, she managed to squeeze in a talking turtle, but only for a brief monologue. This comes from her upbringing. “When I was a kid I had heaps of pets. They are great as they change the energy of the house. They help you meet other people. You come home in a bad mood and your dog is there. They clean the energy in a home. They lift the mood. It is nice having pets as long as your cat does not kill native animals at night.” But real animals on stage - that is another issue. “They can be good but are attention stealing. They are unpredictable and the trouble is everyone is watching them. “They are also very expensive as you have to pay for a trainer to be there.” Lally Katz wouldn’t let the cat out of the bag about exactly how the actor will portray the feline but she promised that Andrew Lloyd-Webber will not be an influence.
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With his head in his hands, Martin Portus plays Mr Dussell in The Diary Of Anne Frank. Photo: Matthias Engesser.
Acting The Truth For writers and actors it’s been a challenge since Shakespeare made up Richard III. How do you play an invented character who’s an inaccurate version of a real life one standing there in the wings? Martin Portus explains the dilemma from his vantage point, on stage in the world’s best known Holocaust play.
Hitler’s most famous victim, the teenager later dubbed by Time magazine one of the 20th Century’s most influential people, certainly had the last word. And on Dussel especially. Dussel joined Anne, her sister, Margot, and parents, Edith and Otto Frank, and the Van Daans and their son Peter in that annex attic in 1942, months after the others had been in Poor Richard may have been freshly hiding. In her diaries, Anne quickly unearthed but he long ago lost that dubbed her roommate exasperating, propaganda war. egotistical and a ridiculous old fool. Dussel wasn’t even his name but He’s doomed to be always the one conjured up by Anne when she hunchbacked villain. started revising her diary. Her For actors, it’s a sharper problem inspiration was a BBC broadcast saying when we play characters based on people still alive, with a living wartime diaries would be invaluable as records - and published works! - when reputation at stake or freshly grieving peace returns. Dussel in German relatives clamouring for accuracy. variously translates as bozo or idiot. Take The Diary of Anne Frank, the And so every night, the ghost of the hit 1950’s play about eight, very real Jewish people who almost survived the real Mr Dussel - a certain Fritz Pfeffer holocaust by hiding in an Amsterdam whispers to me from the wings. Everyone but Otto - Anne, Dussel attic. In a current New Theatre and the rest - were exterminated by the production in Sydney, I’m playing the Nazis in the months following their “crotchety dentist” Dussel. For two raid on the attic on August 4, 1944. years he shared a tiny attic bedroom with our famous teenage diarist. They The crashing arrival of the Nazis (offstage) is the climax of the play by didn’t get on. 24 Stage Whispers July - August 2015
Francis and Albert Hackett. Under the careful eye of Otto Frank, this American middle-aged couple, with a few comic successes behind them, drew their story directly from Anne’s diary. Even by then in 1953, Otto’s selectively edited version of the diary had created publishing history across America, Europe and Japan. Voiced by an optimistic teenage victim, here was the first post-war work to deal with the holocaust. The Anne Frank industry was off and running - and so too was the mis/representation of my poor old Mr Dussel. The playwrights though went still further by using Mr Dussel as a vehicle of welcome comic relief. The result was an elderly, bumbling fusspot, impatient and selfish, and always greedy for the biggest slice of cake. The Hacketts had to create an uplifting play about the holocaust which was digestible for American audiences - and Dussel’s buffoonery helped the process. Indeed, comic actor Ed Wynn played Dussel in the 1959 film of the play, and was nominated for an Academy Award. The film was not a
critical and commercial success but nk. The Diary Of Anne Fra it did win three Oscars. As for the er. Photo: Matthias Engess play, amongst other awards, it won the Tony for Best Play and the Pulitzer Prize, was translated into dozens of languages and continues to be staged around the globe. Both the film and the play also minimise talk in Anne’s diary of specifically Jewish suffering (and practices) and, with Otto’s agreement, universalises the story into a post-war plea for a more general in the subsequent film, play and wealth tolerance. of other TV serials and documentaries. To this purpose, Mr Dussel was Lotte was once close to Otto, further transformed into a secular Jew especially when he returned alone from more familiar with the Dutch Catholic Auschwitz, as well as the heroic Dutch practices of St Nicholas Day than the supporters who had provided for their Jewish ritual of Hanukkah. For the real friends in the attic. But she broke Mr Dussel - Fritz Pfeffer - this may be contact with everyone over this the greatest insult. He was, in fact, one treatment of Fitz Pfeffer. Much of the of the most devoutly orthodox Jews in written records, however, the now that attic, certainly far more than the many histories, biographies and liberal Otto Frank. memoirs of those with some link to the The Hacketts defended this Anne Frank story bear witness to who theatrical invention: they needed an Mr Dussel really was. uninformed questioner in that attic to Increasingly isolated, Lotte died in be the means of explaining Jewish her cluttered Amsterdam flat in 1985. ritual to the audience. Her possessions were deposited at the So who then was the real Mr city’s Waterlooplein flea market but by Dussel? chance an employee of the Anne Frank Fritz Pfeffer was a fit and somewhat Stichting (Museum) noticed them. And debonair, intellectual and professional. so Lotte’s treasured collection of A divorcee with custody of his beloved books, letters and photos documenting only child, he escaped Berlin after the the warmth and humanity of her “Mr notorious Kristallnacht attacks and got Dussel” were preserved. his boy safe passage to Britain. He Curiously, many are on display this instead sought haven in Amsterdam year in a current exhibition at the Frank because his English was poor and a Museum devoted to the true story of possible job in Britain would not Fritz Pfeffer. In April, his two middlerecognise his religious observance of the Sabbath. In Amsterdam Pfeffer lived with a considerably younger Catholic woman, Lotte Kaletta, until anti-Jewish laws in the occupied Nederlands made such unions illegal and they were forced to live apart. Lotte never knew where Pfeffer later went into hiding but they continued to exchange letters and she sent him food and presents. A decade after his death at Neuengamme concentration camp in 1945, at the age of 56, Lotte married him posthumously. And like Fritz’s son, Peter, who immigrated to America, Lotte continued to protest at the portrayal of her husband in Anne Frank diaries and
Justina Ward as Anne Frank. Photo: Matthias Engesser.
aged grandsons flew from America to pay tribute to the man at its opening. Meanwhile in Sydney, as directed by Sam Thomas, I must play the Mr Dussel as written in the play and as drawn from Anne’s diaries. But we have worked to give him an added dignity and a rigour of purpose. I have him busy cleaning his dental tools or studiously learning Spanish (as Pfeffer kept himself busy preparing for a postwar life with Lotte in South America). Some nights, when my comic skills are well oiled and the laughter keeps coming, I’m uncomfortable and want to call a halt to the silly gags. In the wings, the real Mr Dussel is there and he deserves better.
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Comic Monologues For Women There are many monologue books on the market but very few provide rich material for comedy. A new collection from comedian Katy Wix, Comic Monologues for Women, plugs that gap and provides female actors with wonderful warm and interesting characters they deserve. Order your copy at Stage Whispers Books or receive one free with a two or three year print and web subscription. Here is a sample. The Arrival I got home about seven o’clock, which is a bit later than usual. I usually get home about ten past six but I was running late that day because I’d got caught in a shower…I don’t mean as in rain, no, I work at Homebase and I’d been showing a customer our new bathroom range when I got stuck in the shower cubicle. Yeah. Anyway, so I get in and I’m always bursting for a wee when I get in, right, I’ve got a famously small bladder. My Nan says I’ve always been the same - I was like that when I used to come home from school. Which is weird if you think that now, I’m surrounded by toilets all day at work…but they’re just for show - you can’t use the shop ones. There are normal toilets too though obviously, for the staff…or that would be illegal otherwise. So, our toilet is downstairs behind the kitchen right. So I go in and that’s when I see it: the loo is full of something. At first I’m sort of rooted to the spot really, ‘cause I mean I don’t know what it is but I think, well I’ve got a pretty good idea of what it is but, I look again and I notice it’s a really weird colour; a sort of pinky grey. Well the first thing I think is ‘Oh God is Steve ill?! Because whoever’s body that came out of… that is not a well body’ but I go a little bit closer and that’s when I realise…it’s sausages…raw sausages… down the loo. Subscribe for two or three years and receive a bonus copy of And, well, I just started laughing really, The Oberon Book Of Comic Monologues For Women really laughing like it’s sort of a release…it feels good. Why the hell are there sausages down our loo? Steve has heard me laughing from the other room and he’s come in now and says ‘what is that?’ and I say ‘it’s sausages’ and then he starts laughing too ‘cause I’m still laughing as well. And then I see the window and I work out exactly what had happened which I was almost sad about, you know, like it could have stayed as one of life’s little mysteries. I had left a note for the butcher saying that we would iss the delivery and could he just pop it through kitchen window - ‘cause where we live, you can do that sort of thing. And then it all made sense - well he just obviously got the wrong window. Still - they were really tasty. 26 Stage Whispers July - August 2015
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How To Direct A Farce
Sydney Theatre Company’s Noises Off. Photo: Brett Boardman.
pany’s Charley’s Aunt. Genesian Theatre Com
Braham Murray has released a practical handbook: How to Direct a Play - A Masterclass in Comedy, Tragedy, Farce, Shakespeare, New Plays, Opera, Musicals. In this excerpt he ducks swinging doors to give some hints on farce. A lot of directors won’t touch farce and if you don’t have a sense of humour and a love of gags it’s best to keep well away. It is very hard work and requires a lot of nerve but the sound of an audience rocking with laughter is one of the most rewarding sounds you have ever heard. The essence of great farce is that it is only one step away from tragedy. If it didn’t work itself out at the last moment then the leading characters’ lives would fall apart. There are many great French farces, mostly by Feydeau, though I prefer Hennequin and Veber, and I have three English favourites. The Happiest Days of Your Life is set just after the end of the Second World War in a boys’ boarding school. By mistake, the Ministry of Education billets a girls’ boarding school on them. The respective Headmaster and Headmistress battle for supremacy to protect their charges. Love blossoms between two young teachers, and doesn’t between a predatory frustrated spinster and her terrified opposite number. It is set at that moment when the old English Puritanism about sex and the cloistered nature of separately sexed education began to crumble. The play is hilariously funny but is much funnier if it is produced with this serious undertone in mind. 28 Stage Whispers July - August 2015
When you analyse Charley’s Aunt it has an extraordinary undertone. Kitty, Amy, Ela and Charley are all orphans and Jack’s mother is dead. You can’t play this overtly in the text but it makes their desire for love particularly intense. In See How They Run, a German POW has escaped. He is armed and the lives of those who live in the vicarage are in danger. If the audience believe that the characters in the play believe in the situation, then the play is funny. If they don’t, they aren’t, or at least not as funny as they should be. Casting farce is difficult. You need first-rate actors but if they don’t have what I call ‘the chuckle’, then the farce won’t work. What is ‘the chuckle’? They are actors who are inherently funny and engage an audience’s sympathy immediately. They must also enjoy the genre. A good serious actor, even one who is quite clever at business, will be like a lead-weight on the show if they haven’t got the chuckle. Your preparatory work and the first week of rehearsal will be different from any other genre. You will pre-block much more carefully and fully because positioning for the gags is crucial. Simple example: a character comes on stage, doesn’t see another character on there, makes some terrible remarks
about the person they don’t see, then something happens that makes them turn and see the person. It requires the correct positioning and only you can see it. In the first week of rehearsals, although you will have broken down the text in the usual way, it won’t take long to go through the play. There is little complexity in farce and so you will be getting it on its feet pretty quickly to give the actors the feel of the production. Your aim is as usual to get them to the point when they are confident enough to start inventing business organic to their own characters. The invention and trying out of business is singularly unfunny and serious. You’ll find yourself saying something like, ‘Why don’t you walk across to the table, slip on that patch of water, fall off balance, crash into that table, grab the ruler which flips the rubber into the air and falls onto the head of the other teacher who is correcting prep.’ The actor does it. You watch and say, ‘No that isn’t funny. Try it again, and this time the rubber lands in the inkpot and splashes the Master’s corrections, he jumps up and backs into the Games Mistress who is practising her tennis swing and brings her racquet down over the Headmaster’s head.’ You watch again. ‘Yes, that’s funny, let’s keep that.’ So it goes on and by the time you get to the last week you and everyone else have probably lost faith that what you have invented is funny at all. There’s no one in rehearsals to laugh and everything seems purely mechanical and the more you run it the less funny it seems. I remember doing The Miser and becoming convinced that we were producing the unfunniest show ever. I managed to rustle up a small audience of Friends of the Theatre to watch a late run-through, they screamed with laughter and my confidence was restored. You will get used to this but it is very nerve-wracking. Enforced speed is of the essence. If ever there is a genre which requires the audience to be galloping to keep up with you, this is it. Pauses are out. It’s sometimes necessary to tighten scenes in terms of cueing quite early on, as
this both energizes the actors and gives them a glance of what the final result will be. If you go too slowly, the audience will see through the inevitable mechanical contrivances of the author. They mustn’t have time to think. The only pauses should be for laughter. Even here, don’t let the audience dominate you. Once each laugh has hit its peak and is beginning to die, tell the actors to come in with their lines. Not only does this help the rhythm stay correct but it builds and builds until that great moment when the audience laughs so loudly and even applauds, so that you just have to wait. Gags are, of course, mechanical but a good farceur will make them seem natural and therefore funnier. That old chestnut - the double-take - is hysterically funny if done for real in shock surprise. No gag should seem like a gag, and the actors should never seem to be asking the audience to laugh. Feydeau’s advice was never to
bother with laughs in the First Act but to draw the audience into the play so that they are involved in the story, all the whilst winding up the mechanism tighter and tighter and then letting it go, then the frenzy of what ensues will be totally believable. I don’t fully subscribe to not bothering about laughs in Act One but he’s right to emphasize involving the audience in the reality of the situation. To get the right breakneck speed and the reality of the play, you will have to be a martinet and drill the cast because the pace is not real and will have to be imposed. Your pay off, and theirs, will come with the first audience and their laughter.
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Sexual Energy On Stage Acclaimed Playwright Hannie Rayson learnt an important lesson at her drama school (VCA) in the late 1970’s: That “sexuality is the engine room of performance.” In this extract from her memoir, Hello Beautiful! Scenes from a Life, Hannie also reveals the moment she discovered that she hated acting.
headlights on their nipples. This was true whether the actress had the perky variety or a matronly shelf. I’ve often thought that’s why English sitcoms had a lot of barmaids. They were cut off at the waist. By contrast, Marilyn Monroe shone a mighty light from her pelvis. She had an animal power that came from deep within her sexual being. Yes, she was Drama school was a hotbed of ‘commodified for the male gaze’, but promiscuity. We were all into it. How could we not be? We were forever what made her so charismatic was her sliding and slithering over each other in raw sexual energy. She was giving you her entire body. the movement studio. Acting was all The great male actors do this about ‘your human instrument’ - your voice and your body - and this needed naturally. Their power comes from the groin, and we love them for it. tuning. That required taking your clothes Recently, in New York, I watched a off and putting them back on, several fabulous actor perform in my play Extinction at a public reading at the times a day. We wore leotards, Manhattan Theatre Club. With tracksuit pants, running shorts and unselfconscious power, every time he stinky old T-shirts, and we crowded into small unisex changing rooms to addressed an actress, he turned his switch from one outfit to the other. pelvis towards her. Every woman in the room was mesmerised. One of the We wanted to lay ourselves bare; theatre agents whispered to me we wanted to be emotionally free. afterwards, ‘I thought things I couldn’t Such freedom creates intimacy. And intimacy, as we all know, has a way of tell my husband.’ The novelist Anna leading to sex. Funder said, ‘I don’t know what he’s got, but he’s got it.’ Personally, I think this is a good Turn your pelvis - as if to confront thing. The world needs more loving. And the theatre needs sex. Sexuality is your lover, or your enemy, or your oldest friend - and your whole body is the engine room of performance. After nearly forty years of watching committed to that action. actors, I reckon that the best ones It was that full-bodied commitment our teachers at VCA were trying to work from the pelvis. I contrast this unleash in us. We were a ‘universe in with bosom acting. Think of those ecstatic motion’. That line from Rumi bawdy English dramas, like the Carry was scratched onto the door in one of On films: the women made their entrances preceded by their tits, as the girls’ toilets. Underneath, in biro, someone had added a quote by though the director had told these Laurence Olivier: ‘An actor needs the actresses to imagine they had
30 Stage Whispers July - August 2015
voice of an orchestra and the body of a god.’ If we didn’t have the bodies of gods, we had three years to get them. In our first week at the Victorian College of the Arts, we were photographed standing against a wall marked with a grid. We were photographed like criminals - from the front and from the side. The Polaroid snaps were stuck up on another wall for all to see what a sorry rabble we were: round-shouldered, asymmetrical, swaybacked, overweight or slouching. Some of us had our chins sticking out; others had their shoulders hunched around their ears. We looked like any normal group of people waiting for a train. At the end of the year, we all lined up against the grid again, for a second set of photographs. The transformation was miraculous. Thanks to our training, we had all grown taller, some by several centimetres. We had unlearned our bad physical habits and returned to ‘a balanced state of rest and poise’ the mantra of the Alexander technique. Our bodies had become well aligned. We were also fitter and slimmer, the result of exercising for several hours every day. I felt intense muscle stiffness for the entire three years I was there. But it wasn’t my body that caused me grief. It was my voice. I have a slight sibilance. A listhp. In public performance, when I’m nervous, my tongue seems to thicken and get stuck on the roof of my mouth. For many years, I lived with a man who stuttered. I watched him make
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eccentric word substitutions, for fear of getting stuck on words starting with ‘t’, for example. He would never say television; he would always say square box. This gave him a kind of endearing nuttiness. I found myself doing the same. Listening self-consciously to my speaking voice. Avoiding words beginning with ‘s’. This could be managed in private conversation, but when it came to saying lines, it was non-negotiable. Only the laziest actor paraphrases. Many years later, when I was working in Hollywood, a fellow scriptwriter gave me a stamp with the letters ‘AWMF’ on it, to use on actors’ scripts. It stands for As Written, Motherfucker. We had voice classes every morning. Remedial students like me had to return at night. It was torment. I stared into a small mirror and rolled my tongue up and down for forty minutes, thinking, ‘This is now my sixth year of tertiary education and it’s come to this.’ Apart from my vocal problems, I was having the time of my life. A rummage through my camphorwood box unearths the drama school’s 1979 elective program. I could weep with joy at the choices. You could do everything from circus skills to creating theatre in shopwindows.
We studied improvisation, we made puppets, we learned to perfect British and American accents, we created political theatre (The Golden Years of Gough). You could even learn the skills of the Wild West: rope -twirling, knife-throwing, buckjumping and sharp-shooting. One Friday, I found myself falling from the second-floor balcony after being shot in the chest. I fell magnificently onto a truck below, stacked with mattresses. The school’s boast was that it was training us to turn our hands to all aspects of theatre-making. The idea that actors would sit at home waiting for their agents to phone was anathema to us. We were being trained as creators. Movers and shakers. We graduates of the VCA would distinguish ourselves by being able to write, perform and produce our own work. Even if we had to perform in schools, community centres and footy clubs, at least we would be working. The dean was a bright-eyed, hyperactive bloke named Peter Oyston. I viewed him with a mixture of awe and love, bemusement and embarrassment. His personal style was usually over the top: the hallmarks of his public speeches were excessive passion and hyperbole. There were occasions when I had to stare at the floor. But Oyston changed the way I thought about myself. He made me feel that I was an ornament to the human race. Years later, when I wrote the play Life After George, about a charismatic university professor, Oyston was one of my role models. The greatest lesson Oyston taught me was that Australian culture was in the process of being created. Australian theatre was at the frontier. We wanted nothing to do with a second-hand theatre culture where most theatres onlyshowcased plays from America and Britain. Sure, we wanted to see the best from around the world. But we also needed to make our own. To this end, we needed to persuade governments and bureaucrats and audiences that an
Australian voice had something unique to say about the human condition. Oyston’s grand vision was that graduates would form their own artistmanaged companies. He envisioned all manner of theatre collectives emanating from the college and setting up shop in every corner of the country. This was all very inspiring. But, by my second year, I was having an existential crisis. It dawned on me that I didn’t actually like acting. This feeling of being on the wrong train was apparent one day in an acting class. Our teacher was Lindy Davies practised a technique called impulse work. This involves standing against the wall waiting for an impulse. Once the impulse strikes, you run across the studio to another wall. You are free. You are abandoned. You run and run. In the three years I was in drama school, I never once had an impulse. I stood against the wall in my leotard, like everybody else. And nothing happened. I wanted an impulse. Everyone else was having one. I thought about faking. But all that happened was that I stood against the wall. Stuck. Blocked. Jammed. Hopeless. I dragged my impulse-less body to Peter Oyston’s office, knocked on the door and blurted out my confession. ‘I don’t want to be an actor any more.’ He stared at me thoughtfully. ‘I want to be a writer.’ He gazed out the window for an interminable period. ‘Do you own a typewriter?’ I did. Then he did something that changed my life. He reached into the top drawer of his desk and rummaged about, leaned across the table and handed me a key. ‘That’s the key to the front room at the end of the corridor.’ I took the key. ‘That’s yours. Your room, okay? We need playwrights. Go and write a play.’ And I did. www.stagewhispers.com.au Stage Whispers 31
There are some obvious titles in the selection which allow him to flex his muscular voice; Les Miz’s “Bring Him Home”, Carousel’s “You’ll Never Walk Alone” and Phantom of the Opera’s “All I Ask Of You” sung with Kelly Clarkson By Peter Pinne in a slightly more pop version than we’re used to hearing, ON THE TOWN (Leonard but there are also some refreshing inclusions; a coupling of Bernstein/Betty Comden/Adolph “Children Will Listen” (Into the Woods) with “Not While Green) (PS Classics 1525). Until I’m Around” (Sweeney Todd), “Finishing the Hat” (Sunday now there has never been a in the Park with George) and “Pure Imagination” (Charlie complete Broadway cast and the Chocolate Factory). Audra McDonald joins him for recording of Bernstein, Comden a duet of Carousel’s “If I Loved You”, while The Wizard of and Green’s first Broadway Oz’s “Over the Rainbow” features the rarely recorded musical, On The Town (1944). In second set of lyrics for the bridge of the song. Best tracks 1960 Columbia Records created a are undoubtedly “What I Did For Love” (A Chorus Line), studio cast which included some of the original cast and which has a simply brilliant arrangement, quite the best there have been Broadway revivals since, but none were I’ve heard, and “Anthem” (Chess) with a glorious choral recorded. This new 2CD set of the current 2014 Broadway accompaniment that delivers the emotion of the song in revival contains more music than any other disc, including spades. The deluxe edition contains two bonus tracks, the overture, exit music and even opens with the national “Gold Can Turn to Sand” from Kristina by the same writers anthem “Star Spangled Banner”, which was played before as Chess, and an effective low-key “Empty Chairs at Empty the beginning of every theatre performance of the period. Tables” (Les Misérables). In the U.S. K-Mart are marketing a Bernstein’s score, a stylistic revelation at the time, is version of the album with two additional tracks, Man of La brilliant in its evocation of New York City. From the vibrant Mancha’s “Dulcinea” and Beauty and the Beast’s “If I Can’t “New York, New York” which opens the show to the bitter- Love Her”. Both are as good as anything on the disc. sweet finale “Some Other Time” it’s Bernstein, Comden and Green at their best. The story, based on Bernstein and Jerome Robbins’ ballet Fancy Free, follows three sailors on PATRICE TIPOKI - A MUSICAL 24-hour shore leave in New York City. The sailors are naïve HEART (No Label/No Number). in the ways of the big city, unlike the MGM movie version Currently starring as Fantine in which was changed to suit the casting of Gene Kelly, Frank Cameron MacIntosh’s new Sinatra and Jules Munshin, and Tony Yazbeck (Gabey), Jay production of Les Misérables, New Zealander, Patrice Tipoki has racked Armstrong Johnson (Chip) and Clyde Alves (Ozzie) wear their naivety on their sleeves and bring tons of joie-de-vivre up an impressive career in musical theatre since graduating from to their roles. Yazbeck’s vocal of the haunting “Lonely WAAPA. This album is basically a Town” is a highlight, as is his freewheeling “Lucky To Be run-down of songs from that career Me”. Channelling her predecessors, Nancy Walker in the and features not only “I Dreamed a Dream”, but also original, and Betty Garrett in the movie, Alysha Umphress nails not only their inflections but their style on “Come Up Wicked’s “Defying Gravity”, West Side Story’s “Tonight” and the title tune from Sondheim’s Anyone Can Whistle. To My Place” and “I Can Cook Too”. The casting of all principals could not be better. The production also includes Her Les Miz co-star Simon Gleason joins her for “Unchained the song “Gabey’s Coming” which was cut from the 1944 Melody” (Ghost), whilst Alex Boye does likewise with “Can You Feel the Love Tonight” (The Lion King). Tipoki, who at original but reinstated for the 1998 revival. Bernstein did not use any of his score from Fancy Free, but he did recycle one time was a member of Girlband, proves she has the vocal chops to handle anything and everything from rock the music from “Conga Cabana” for “Conga” in 1953’s and pop to soprano and belt. “Somebody to Love”, “I’m Wonderful Town. With accompaniment by a 37-piece Not Afraid of Anything” and “Beauty and the Beast” are all orchestra, the size of the original, this is a Broadway on the money, but it’s her opening number, “Shall We musical the way it should be heard. Dance” from The King and I, that arrests with its JOSH GROBAN - STAGES (Reprise unpredictability and an orchestration that makes it sound uniquely French. Fine musical direction is by her sister, 9362492890). Josh Groban’s Laura Tipoki. Stages is without doubt the best
Stage On Disc
show music album of the past decade. It’s easy to see why it has been number 1 in America, the UK, Australia, and everywhere else, because it’s an album of well -sung show-tunes by an artist who has never sounded better. 32 Stage Whispers July - August 2015
TANIA DE JONG - A MUSICAL HEART (Creativeuniverse 001). A French feel is also there on the quintessential chanson, Edith Piaf’s “La Vie En Rose”, which is one of only three show tracks on Tania De Jong’s first solo album. In contrast to Pot Pourri, of which she was a member and who frequently recorded show tunes, De Jong’s A Musical Heart is thin on the ground in that department. There’s a
nice version of “Somewhere” from West Side Story, and an even better one of “Summertime” from Porgy and Bess. The majority of the tracks are classical art-songs fashioned from the works of Beethoven, Mozart, Faure, Elgar and Dvorak. But the really impressive thing about the album is jazz great Joe Chindamo’s orchestrations and musical direction. They’re eclectic, surprising, and totally satisfying. His jazz piano improvisation on “Summertime” alone is distinctive.
artful adaptation of this romantic musical about a relationship that ultimately burns out. Comedic joy abounds in the Ohio summer-stock theatre sequences.
INTO THE WOODS (Stephen Sondheim) (Disney DVD/Blu-ray). Disney’s Blu-ray release of their screen adaptation of Sondheim’s Into the Woods comes with several bonus features - “There’s Something About the Woods” in which Rob Marshall tells how the musical was brought to life; “The Cast As Good As Gold” in which THE LAST FIVE YEARS (Jason Robert Brown) (Anchor Bay DVD/ the cast discuss their affinity with the Broadway show, and “Deeper Into the Woods”, which Blu-ray). The DVD/Blu-ray release of the film version of Jason Robert discusses in 4 segments the development of the movie. But Brown’s The Last Five Years, which best of all is the inclusion of Meryl Streep singing the new song Sondheim wrote for her called “She’ll Be Back”, stars Jeremy Jordan (Newsies/ which was cut from the final print. There are joys aplenty in Smash) and Anna Kendrick (Into this adaptation, including a box-office gold cast, but the the Woods), and is directed and movie is better in parts than the whole. The film’s current adapted by Richard LaGravenese, box-office take of $212 million rates it a financial success contains some bonus features; a despite mixed notices. conversation with the composer/ lyricist and a sing-a-long version of the film. Jordan and Kendrick bring warmth and youthful passion to their Rating characters while LaGravenese opens up the two-hander Only for the enthusiast Borderline without destroying the intimacy of the original. It’s an Worth buying Must have Kill for it
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London Calling By Peter Pinne
Nicole Kidman is to star in the Michael Grandage production of Photograph 51, which begins previews at the Noël Coward Theatre 5 September and opens on the 14th. The new play by Anna Ziegler looks at Rosalind Franklin, the woman who cracked the DNA code, and asks what is sacrificed in the pursuit of science, love and a place in history. The name Photograph 51 was given to an x-ray image which revealed the double-helix shape of DNA. It became the crucial starting point for research that identified how DNA was structured. Stephen Campbell Moore plays her science assistant, Maurice Wilkins. It’s Kidman’s first appearance in the West End since she starred in David Hare’s The Blue Room in 1998. X-Factor winner Matt Cardle will join the London cast of Memphis The Musical from July 6. He stars alongside Beverley Knight, who extends her run as club singer Felicia Farrell through October 2015. Memphis, a Tony and Olivier winner, has been playing to huge audiences since it opened at the Shaftsbury Theatre last October. Sergio Tujillo repeated his Broadway choreography for the London stint. When her run in Memphis concludes in October, Beverley Knight moves across to the Palladium to star as Grizabella when Cats returns for a 10 week season. Knight, who received the 2015 Olivier Award for Best Actress in a Musical, made her West End debut in The Bodyguard at the Adelphi Theatre in 2013. She is the Queen of British Soul and has sold over a million albums in the UK. Serial Killers, a comedy by New Zealand writer James Griffin, will play a London season at the Bridewell Theatre, June 30 to July 4. Set in the writers’ room behind the scenes of a medical TV soap-opera called Heart of Hearts, the play follows the lives of its five writers juxtaposed with the lives of the fictional characters on screen. Amongst the cast are Lisa Rost-Welling, Hattie Stacey and Dickson Farmer. The play was originally produced in New Zealand in 2000/2001, and was followed with a spin-off seven-part TV series. Derby Playhouse produced it in 2005. A songbook musical review, Pure Imagination, which features the work of composer/ lyricist Leslie Bricusse, will play the St James Theatre, Victoria, 24 September - 17 October. Bricusse, who has won two Oscars and a Grammy, has written over 1000 songs and the book, music and lyrics to more than 40 musical films and plays over a 60-year career. Bricusse is most well-known for his work with Anthony Newley. The show will feature songs from Stop the World I Want To Get Off, The Roar of the Greasepaint the Smell of the Crowd, Dr Doolittle, Willy Wonka and the Chocolate Factory, Pickwick, and the James Bond theme from Goldfinger. 34 Stage Whispers July - August 2015
A Land Without People, a new play by Brian Rotman, gets a season courtesy of Palindrome Productions at the Courtyard Theatre, Shoreditch, 9 July - 1 August. The play is a staging of historical events that led up to the declaration of the State of Israel in May 1948 and comes as the world marks seventy years since the end of World War Two and the liberation of the Nazi death camps. Direction is by Lesley Ferris and the cast includes Jules Brown, Roy Khalil, Tracey-Anne Liles, Sifiso Mazibuko and Elena Voce. After a two-year West End run at the Palace Theatre, The Commitments will close 1 November. Following its closure the production will embark on a UK and Ireland tour. The musical was adapted for the stage by Roddy Doyle, with direction by Jamie Lloyd, and choreography by Ann Yee. Truman Capote’s novella Breakfast at Tiffany’s will have a limited 12 week run at the Haymarket Theatre Royal, commencing 30 June 2016. The play-with-music production comes into the West End following a UK tour and sets the story back in 1943 New York, the period of the original book. It has been adapted by Richard Greenberg, with music by Grant Olding (One Man Two Guvnors). It follows a young writer from Louisiana who falls in love with a charming and vibrant good-time girl Holly Golightly. Popsinger Pixie Lott is to star in the role made famous by Audrey Hepburn in the 1961 movie. Lott first came to notice in Chitty Chitty Bang Bang at the London Palladium and has since had numerous UK chart-topping singles. It’s not the first time Capote’s story has been adapted as a musical. Bob Merrill did it in 1966 with Mary Tyler Moore as Holly, but it never made it to Broadway, closing early on the road. A sign of the times. In an unprecedented move, audiences who go to see The Beatles musical Let It Be, which closes 5 September 2015, can now take photographs during the performance, probably the first time this has been officially allowed in a major West End musical. Is this the end of the ubiquitous pre-show announcement of “no cell phones or photographs allowed during this performance? Only time will tell! Let It Be.
Online extras! What do you think? Are shaky, hand-held videos or dark photos worth the effort? https://youtu.be/na2Lc57LtZw
B
roadway uzz
By Peter Pinne
The musical that launched Bernadette Peters’ spectacular career off-off-Broadway in 1966, Dames At Sea is about to get it’s first-ever revival on Broadway at the Helen Hayes Theatre commencing previews September 24 and opening October 22. Direction and choreography will be by three-time Tony winner Randy Skinner. The musical, a parody of Busby Berkeley-style movie-musicals follows Ruby, fresh off the bus in New York, as she gets her first Broadway role - only to find out, along with the rest of the cast, that the theatre is about to be demolished. The original production opened at the Caffe Cino, moved to off -Broadway’s Bouwerie Lane Theatre, before transferring to the Theatre de Lys (now the Lucille Lortel) in 1969. It has music by Jim Wise, with book and lyrics by George Haimsohn and Robin Miller. Casting will be announced later but a 2013 workshop starred Laura Osnes as Ruby, with Rachel York, Mata Davi, John Bolton, Cary Tedder and Danny Gardner. Britain’s Young Vic have announced that their Joshua Andrews production of Tennessee Williams’ A Streetcar Named Desire starring Gillian Anderson (X-Files) as Blanche and Ben Foster (Orphans) as Stanley will play Brooklyn’s St. Ann’s Warehouse April 23 - May 22, 2016. It will be directed by Benedict Andrews. Streetcar is part of St. Ann’s 2015-2016 season, which will inaugurate its first permanent home, a 25,000-square-foot theatre at Tobacco Warehouse on the waterfront in Brooklyn Bridge Park. With summer comes road tours and the 2015-2016 season sees nine Broadway musicals trundling their busand-trucks from state to state. Matilda The Musical, Tim Minchin’s Tony-winning smash-hit has already opened its tour and is currently playing the Ahmanson in Los Angeles following a preview week in New Haven. Matthew Wachus, as he did in London and on Broadway, directs. Later, come September 20, the same theatre is home to a new production of Rodgers and Hammerstein’s The Sound of Music directed by Jack O’Brien. Another Tony-winner, Beautiful: The Carole King Musical starts its run at the Providence Performing Arts Center on September 15. Also on the slate, but with no scheduled theatre, is the tapdancing frolic 42nd Street. Co-book writer Mark Bramble will direct with Randy Skinner as choreographer. Last year’s Best Musical Tony winner, A Gentleman’s Guide To Love and Murder, kicks off at the Bank of America Theatre,
Online extras! Lucy Dahl was at the opening of Matilda at the Ahmanson theatre in Los Angeles https://youtu.be/AExzW-CdW_4
Chicago, September 29. Darko Tresnjak is once again at the helm. Susan Stroman recreates her Broadway production of Woody Allen’s 20s gangster piece Bullets Over Broadway at the Playhouse Square, Cleveland, from October 6. Michael Grief brings his production of If/Then to the Buell Theatre, Denver, October 13, while Bartlett Sher repeats his Broadway directorial chore on Jason Robert Brown’s The Bridges of Madison County which opens at the Des Moines Civic Center on November 28. Finally, the Roundhouse Theatre Company’s revival of Kander and Ebb’s Cabaret begins its tour at the Providence Performing Arts Center January 26, 2016. A revival of A.R. Gurney’s play Sylvia will begin previews September 25 at an as yet undesignated Shubert venue. The production will be directed by Daniel Sullivan and will star Annaleigh Ashford (You Can’t Take it with You) as Sylvia, Julie White (Airline Highway) as Kate, and Robert Sella (Stuff Happens) as Tom/Phyllis/Leslie. The plot involves a middle-aged couple whose lives are turned upside-down when the husband brings home a stray dog he found running loose in Central Park. Questions of love and commitment are explored along with how do you choose between the love of your life and man’s best friend? The play originally premiered off-Broadway in 1995 with Sarah Jessica Parker as Sylvia, and Blythe Danner as Kate. Andrew Lloyd Webber unveiled his latest creation early June to a select invited audience at the Gramercy Theatre. It was a highly staged concert of School of Rock, an early version of his new rock musical based on the 2003 Jack Black comedy movie. The musical, directed by Laurence Connor (Les Misérables), is due to open at the Winter Garden Theatre in December. It stars Alex Brightman as a substitute teacher who turns a class of prep-school students into his personal rock combo for an all-important battle of the bands. The score includes three songs from the original movie plus 12 new songs composed by Lloyd Webber with lyrics by Glenn Slater (Tangled/Sister Act). The book is by Julian Fellowes (Downton Abbey). The cast for the concert and the Broadway incarnation features school-age performers who were recruited at casting calls earlier this year. Big Edie and Little Edie are about to return to the boards at Bay Street Theater, Stag Harbor, Long Island, when Betty Buckley (Cats) and Rachel York (Dirty Rotten Scoundrels) bring these Long Island recluses back to life in a revival of Michael Korie and Scott Frankel’s musical Grey Gardens. Michael Wilson directs the production which runs August 4-30. Buckley plays Edith Bouvier Beale, the role originated in the Broadway production by Mary Louise Wilson, whilst York plays “Little” Edie Beale, the part played by Christine Ebersole. Both Wilson and Ebersole won Tony Awards for their performances. If Buckley and York should need to research any Beale family history they’re right on the doorstop, with the Bay Street Theatre just eight miles away from the actual Grey Gardens mansion in East Hampton. www.stagewhispers.com.au Stage Whispers 35
Stage on Page
include Golden Rainbow and Bajour, also shared a cowriting credit on Go Fly a Kite. Going Great was a 1964 industrial for Rambler written by Hank Beebe and Bill Heyer, who would later surface off-Broadway with the 1975 revue Tuscaloosa’s Calling Me…But I’m Not Going. It contains By Peter Pinne what the book claims is one of the best “Industrial Show Rhyme Hall of Fame” lyrics - “How could anyone pass a EVERYTHING’S COMING door, where they sell an Ambassador.” UP PROFITS - The Golden But it wasn’t just the top-flight Broadway composers Age of Industrial Musicals who worked these gigs; Broadway stars frequently headed by Steve Young & Sport the bill in between stints on the Great White Way. The Murphy (Blast Books songs were first class, the standards were high, and the pay US$39.95). more than paid the rent. Chita Rivera was the star of 1000 Industrial musicals have and One, an Oldsmobile show based on the musical been around for a long Kismet, choreograped by Carol Haney. Florence Henderson time, but as this book also did several shows for Oldsmobile; the 1957 This Is documents, their hey-day Oldsmobility, 1958’s Good News About Olds, 1959’s Who was the 50s, 60s and 70s. Could Ask For Anything More, and later 1961’s You’re the From cars, fashion, Top. Edie Adams (Li’l Abner) headed the cast of Singer bathrooms, whisky, beer, soap and shampoo to Xerox Sewing Machines’ First Annual Sewing Fashion Festival in machines and everything in between it seems there has 1956, with Dorothy Loudon (Annie) headlining for the been an industrial musical written about it. same company in 1960 with Sing a Song of Sewing. Hal During this “golden age” a sales convention was not a Linden, Bill Hayes, Loretta Swit and Frank Fontaine are just sales convention unless it came with its own show, some of the names that keep cropping up. sometimes small-scale, but frequently on a canvas as large Australia even gets a mention with an entry for a as any mainstream Broadway musical. Frequently with recording from Ford’s 1959 convention, The Theme is Ford. original music and lyrics, but not always, this fascinating The main text is written by Steve Young, with sidebar book discusses the LP and EP recordings that have survived essays by Sport Murphy. Young’s prose captures the eras, from this period and reproduces their amazing artwork. It’s the wackiness, and the lyrics in loving detail, while a treasure trove of delights. Murphy’s pun-filled observations are full of clever smartWho knew that Kander and Ebb wrote an industrial for alecky wordplay. It’s a good read. The authors also rate the General Motors in 1966 called Go Fly A Kite, or that Bock scarcity of the entries, with 1 being impossible to find, 2 and Harnick, long before they became famous for Fiddler being rare, 3 scarce, and 4 relatively common, and have set on the Roof, created the 1959 Ford Tractor musical Ford-i- up a website, www.industrialmusicals.com where you can fy Your Future. Walter Marks, whose Broadway credits hear some of the music.
Stage Whispers Books Visit our on-line book shop for back issues and stage craft books www.stagewhispers.com.au/books 36 Stage Whispers July - August 2015
THEATRE WORLD Volume 68/2011-2012 by Ben Hodges & Scott Denny (Applause US$36) This new volume of Theatre World takes in the 2011-2012 Broadway, OffBroadway, Off-OffBroadway, and regional theatre companies’ seasons. It was a bumper year for musicals; Newsies, Nice Work If You Can Get It, Once, the illfated Spiderman, and revivals of Follies, Porgy and Bess, and Evita, and a not too shabby one for plays; Other Desert Cities, Venus in Fur, The Road to Mecca, and One Man, Two Guvnors. Off-Broadway entries include; Cock, SILENCE the musical, and revivals of Rent and The Man Who Came To Dinner. The book details over 1000 shows and lists cast, replacements, producers, directors, authors, composers, opening and closing dates, song titles, plot synopses, and production photographs for every one. Now in its sixty-eight year of publication, it’s a book that excites with its visual documentation and an essential read for theatre aficionados. DIARY OF A MAD PLAYWRIGHT by James Kirkwood (Applause US$16.95) With Hayley and Juliet Mills touring the country in James Kirkwood’s Legends it’s time to revisit
Kirkwood’s account of what happened on the road with the first production of the play, which starred Carol Channing and Mary Martin. Written in 1989, Diary of a Mad Playwright is as pertinent today as it was back then. Theatrical bad-behaviour doesn’t date, it only gets more salacious, and there’s no shortage of it in this book. Anyone who has ever written a play, produced a play, or had anything to do with actors will associate like crazy with every page of this bitchy, gossipy and acutely funny book. Mary Martin, star of South Pacific, Peter Pan and The Sound of Music, and Carol Channing who indelibly put her stamp on Gentlemen Prefer Blondes and Hello Dolly, would appear to be a match made in heaven but it ended up a match made in hell. Martin at 73, making her first appearance on stage for 15 years, was insecure and couldn’t remember her lines. Channing was frustrated, and with a director who was absent a lot, and an inexperienced producer who constantly interfered, the production was fraught from the beginning. Kirkwood’s account from when the play opened in Dallas until it closed one-year later in Palm Beach after playing 300 performances is theatrical gold.
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Grant Alley OAM. Congratulations to Grant Alley who Stage Briefs
has been recognised with an Order of Australia medal (OAM) in the 2015 Queen’s Birthday Honours List. Grant was awarded this honour for his service to the performing arts, particularly theatre. Currently serving as Treasurer of Melbourne’s CLOC Musical Theatre, Grant was the President between 1990 2015. In addition he has been the CLOC’s Technical Director since 1974, a Committee Member since 1970 and a member of the Production Team since 1969. Grant has dedicated 46 years to CLOC Musical Theatre and given his time and expertise to the theatre community at large.
ORiGiN™ Theatrical is pleased to announce the representation of the Tams-Witmark Music Library, Inc. catalogue of musicals in Australia and New Zealand effective from July 1, 2015. Musicals include: Anything Goes Cabaret A Chorus Line Crazy For You Dreamgirls 42nd Street Funny Girl Gypsy Hair Hello, Dolly! High Society Kiss Me, Kate Lysistratra Jones Mame Nice Work If You Can Get It Nunsense II Snoopy!!! Sugar Sweet Charity Titanic Victor/Victoria The Will Rogers Follies The Wizard of Oz You’re A Good Man Charlie Brown and many more.
L-R: Isaac Fleisher and Sargent L. Aborn (Tams-Witmark), Kim Ransley (ORiGiN) and Ken Duffy (Tams-Witmark).
38 Stage Whispers July - August 2015
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Showcase
Cutting It Across The Tasman Catherine Creighton and Victoria Gridley both moved to Wellington from Australia at the beginning of 2015 to follow their creative passion for textiles and to study Costume Construction at Toi Whakaari: New Zealand Drama School.
Whakaari. In addition, the annual Costume Showcase is an opportunity for the graduating costumiers to work on a live performance event that showcases their own major works. The first year Costume Construction students are currently working on Restoration period pieces. “Within the first two months I “You’re producing work that you could already see a difference in my get to see up on stage, what it looks work, in the way that it was done and like in a performance environment and moving around,” says Cat. “The presented,” says Vic. Costume students collaborate with learning environment at Toi Whakaari is completely different from anything the New Zealand School of Dance on their major performance events, as well else I’ve experienced and it feels like it as being actively involved in the shows prepares you more for the real world than any of the universities I’ve been and performance projects at Toi 40 Stage Whispers July - August 2015
to,” adds Vic. Cat and Vic both started out making Cosplay costumes before going to Melbourne to get degrees in science and animation respectively. Part of the process “I find the structures the school uses to teach really grounding. It’s a strong base that applies to everything,” comments Vic on the collaborative teaching environment at Toi Whakaari. “The course is a bit like an internship in a way; you’re learning as well as creating work that is used by the rest of the school, which is awesome.” Twice a week the future costumiers join other students from the Acting, Design, Technology and Management
courses for kōiwi. It’s where the students and staff gather in one of the big studios to practice the skills of collaboration and responsibility. It’s a way for Toi Whakaari to keep creating a culture that enables the teaching and learning to be ongoing and life giving. “The way kōiwi makes the school work together has affected the way we learn; we listen and we do, we respond as necessary to the work we have to do and just get on with it, which is really good,” says Vic. Fitting in Cat and Vic feel at home in New Zealand. “Everyone is just so polite and giving here. I haven’t met a mean Kiwi yet,” says Vic. Both students have been juggling school and work to get by. It’s not just about money for the necessities according to Cat, “but just meeting new people and learning different skills, so that I can combine all my work skills and my school skills and become a more well-rounded, mature adult.” The Diploma in Costume Construction is the only course in New Zealand that specialises in costume for
stage and screen. It’s taught by some of today’s best industry professionals and aims to provide students with skills in all forms of costume construction and production, leading to employment in theatre, film and allied industries.
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Showcase
called? In acting terms, this may sound simple, and it is. The tricky part about things that are easy to do is that they are just as easy not to do - the actor can then become sidetracked by obligations that neither anchor nor release them. So - lock and load: energetically lock on and encompass what’s on your radar be 100% present whilst giving each component the attention it both deserves and demands. Then, load your intention: from there allow the golden rule to guide you: if you’re getting what you want, want more of it. If you’re getting what you don’t want, work to change it. Getting ‘in state’ Actors then need to get ‘in state’ in order for this process to work effectively - i.e. in a state of readiness in every way required for acute reception and transmission of energy. When I’m ‘on’ as an actor, teacher or director, I feel available, present, eager, free, brave, sturdy, flexible, instinctive, responsive, alert. What are the words for you that describe your ‘on’ and in state? Once this moves into your muscle memory you’ll be able to step into your peak state on command for an audition, a screentest, the first run of the play, a preview, opening percentage of his energy waits for the night, you name it. It doesn’t mean there isn’t vulnerability present and approaching bus, the majority of it is some trepidation. There most often beaming across the world, alert, (always) is, particularly the higher the exposed and ever-present. stakes. But it means you can ‘be’ with Now - intention. To zero in on that whilst being in command of all intention ask this simple question: you need to do. Therein lies one of the “What can I learn or lose within my skills of the actor, self-management: field of focus?” In other words will choosing what you wish to focus on what’s on my radar screen help or hinder me? Is it someone or something and what you choose to give your I want in my life or out of my life? The energy to. Look at what triggers move you into golden rule of acting then kicks in: if your peak state and also which triggers it’s good for you, want more of it. If it’s bad for you, run from it, hide from move you out of state. As with all things, we want to build on our it, deny it, destroy it or change it. strengths and manage well our With your attention chosen and intention loaded, the actor then needs weaknesses. to let go and surrender to the journey Dean Carey, 2015 (Quotes from The as it unfolds through words and action. Acting Edge book) The man at the bus stop has .2% of his energy locked on the bus and 99.8% locked on his distant girlfriend. He ACA’s Full-Time Course applications sends a simple text, “Hey - what’s will be launching in August 2015. happening?” but with the intention: Do you miss me? Do you care for me as For ACA’s online course info go to www.acasydney.com.au I do for you? If so, why haven’t you
What Fuels An Actor? Dean Carey, Creative Director of Actors Centre Australia (ACA) in Sydney, says two things fundamentally fuel acting: the actor’s attention and intention. I define attention as whatever your energetic field is encompassing: what or who is on your radar and within your field of focus; it could be the book you are holding, the person who sits across the dinner table from you, the people surrounding you in the doctor’s surgery waiting room or a combination of a number of elements. It can also be invisible to the eye. When observing someone lost or deep in thought, even though this person sits on the couch in your lounge room, it is clear their energetic field is encompassing something far off and unseen. Watch a man staring at the screen of his cell phone and even though he is physically at the bus stop, his multitude of thoughts are clearly miles away - in fact, 3,578 miles to be exact, as his new girlfriend is away overseas. A small 42 Stage Whispers July - August 2015
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Showcase Back in 2008, Alexis Johns was looking for a new career path. She had a degree in Contemporary Arts (Theatre) from the University of Tasmania and had worked overseas as an English teacher. The idea of working in the arts industry both creatively as well as on the business end appealed to her. “Having a creative background, I’ve always enjoyed working with actors and other creatives,” says Johns. “However I also had a real interest and flair for the business side of the industry.” In 2009 she enrolled in WAAPA’s Arts Management course, with the aim of becoming a casting agent. “I worked hard to steer my studies and related-work experience in that direction and apply my learning to the screen industry,” says Johns. In her final year at WAAPA, Johns secured a workplace secondment with one of Australia’s top casting agencies, Mullinars Casting Consultants in Sydney. She found herself assisting on casting a major TV commercial and a feature film.
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Casting Calls How an Arts Management graduate got her dream job in casting When her secondment finished, Johns was offered a job as a voiceover agent with Australia’s top voice agency, RMK Management. Now a Casting Associate at Mullinars, Johns has worked on film and television projects including Underbelly, Love Child, Howzat! Kerry Packer’s War, A Place to Call Home, Puberty Blues, Paper Giants, Fat Tony, Serangoon Road, Miss Fisher’s Murder Mysteries and House of Hancock. Johns believes the Arts Management course set her up for her future career. “I apply the skills and knowledge I gained to my work every single day,” she explains. “Whether it be negotiating with agents, working with actors in a creative sense or dealing with producers and networks, subjects I studied at WAAPA such as Arts Law, Management and Finance prepared me for many of the specialised areas I am now responsible for.”
The practical experience Johns gained at WAAPA, working in a number of different arts organisations and getting to know the people behind them, also played an important role in preparing her for the industry. “I still hear their words of wisdom and advice in my head when I come across a difficult scenario.” Johns is happy that many of her fellow graduates have also gone on to positions in top arts organisations. “It’s our own little arts management community. We see each other often and it’s nice to be able to get together and talk shop over a few drinks.” The budding casting director thinks one of the most important skills actors need is to know the industry ‘inside out’. Johns believes it serves actors well to be aware of what is happening on Australian screens, the people who produce the work and their competition in the market. “It’s also important to embrace and maintain your individuality. Casting directors and producers are always looking for someone unique who can bring something different to a role they may not have envisaged before. And don’t take yourself too seriously...!”
an ensemble must exercise a great awareness of every other member’s output in the ensemble setting in order to achieve a cohesive and coherent performance. It can be common practice at jam sessions for people who have never met before or even spoken to each other to be thrown into this situation of collaborating simultaneously. A high level of empathy (appreciating and understanding others’ role and contributions) and problem solving is required to be able to achieve a synergetic performance. These skills are extremely valuable to any profession.
A Jazz Education:
Life Skills Beyond The Music Jazz Music Institute believes that learning music through a jazz curriculum results in a more holistic understanding of how contemporary music works, more so than learning through any other genre. A jazz education instills a deeper understanding in melody, harmony and rhythm that can be transferred to any style or genre of contemporary music. However, it is not only music skills that can be transferred from a jazz education. There are also a number of life skills gained through a jazz education that can go beyond just the music. New York saxophonist Dave Liebman has outlined a number of values and life skills learned through the study of jazz music that are directly transferrable to life in general. Here are but a few of the skills learned through a jazz education that transfer to life skills beyond the music.
your brain, understanding the harmonic structure of the song you are improvising over (chord changes), knowing the notes that make up the chord changes (scales and arpeggios), understanding the rhythmic style of the song, listening to and reacting to the fellow musicians you are playing with. All while simultaneously funneling your own emotions, life experiences and personality to express your own voice and creativity through your instrument. Being able to achieve this complex level of multi-tasking is invaluable in skills outside of music. To be able to synthesise learned knowledge, environmental input and utilise one’s own personality and creativity displays an impressive level of clarity of thought, something that is useful in many life situations
Empathy and problem solving Collaboration in an ensemble performance Clarity of thought - Improvisation as an In jazz music especially, activity of multi-tasking collaboration in performance involves a Improvisation is a central aspect to heightened sense of “group” outside learning jazz music. It involves a of “self”. Due to the improvisational complex process of multi-tasking in manner of the music, each member of
Flexibility - Performing standard repertoire and applying one’s own voice Jazz music has a set of standard repertoire that, through the history of the music, is learned and interpreted by all aspiring jazz musicians. It’s common practice in the jazz industry to learn and understand the standard repertoire as it is, as well as applying your own interpretation of the repertoire through melodic, rhythmic and harmonic variation to express your own voice and personality. Through understanding the rules behind a song (the harmonic structure), learning jazz gives you tools for knowing what rules can be changed and broken to promote creative thinking and individuality. Being able to adjust and change direction in a situation already framed by a given set of rules and conditions instils the skill of flexibility and innovation; a life skill that is paramount to forging a successful career in any industry in the 21st century. The above are but a few skills learned through an education in jazz that are transferrable to other aspects of life in general. Through a jazz education you not only learn how to play music in a more holistic manner, arming you with tools that enhance your scope of creativity, you also develop valuable life skills that can be transferred to any vocation or industry. For more information regarding the courses available at Jazz Music Institute, visit www.jazz.qld.edu.au www.stagewhispers.com.au Stage Whispers 45
The VCA: A Force In New Australian Music Theatre
How can the Australian musical theatre industry better develop, produce and present new Australian musicals? Training Institutions should be part of the answer says Alix Bromley.
A Little Touch of Chaos performance, 2014. Photo: Jeff Busby. A Little Touch of Chaos rehearsal, 2014. Photo: Drew Echberg.
Debate was ignited in February when theatre director John Senczuk released The Time is Ripe for the Great Australian Musical, a Currency House Platform Paper. The central proposition was the “Perth Solution” - to create a hub for the development and presentation of new musicals, destined for touring Australia and overseas markets, in Perth rather than the major cultural capitals Melbourne and Sydney. The Victorian College of the Arts’ (VCA) Music Theatre program, led by Margot Fenley, has another view. By writing creative development of new works into the Bachelor of Fine Arts (Music Theatre) curriculum, the institution is committed to supporting new writing on an annual basis. 46 Stage Whispers July - August 2015
In 2011, the VCA steered Hugo Chiarella and Robert Tripolino’s DreamSong (2011) through creative development to full production, supported by the Ron and Margaret Dobell Foundation and The Geelong Amateur Arts Fund. Then last year, after two years of script and performance workshops, James Millar and Peter Rutherford’s A Little Touch of Chaos (2014) was presented as part of the New Australian Music Theatre Project, generously supported by the State Government through Creative Victoria.
Twenty-five-year-old Josh Robson, currently performing in the ensemble of Les Misérables, is a VCA alumni committed to new Australian musicals. Robson started a production company with Damien Bermingham called Blue Saint Productions. They opened their first show, Guilty Pleasures, starring Angelique Cassimatis, at Chapel off Chapel in early October 2014, written by Josh Robson and original music by Hugo Chiarella (lyrics) and Robert Tripolino (music). After a second run in Sydney there are plans for more seasons this year. Last year Robson was also awarded the Rob Guest Endowment. He plans to travel across America with the funds, study in New York and gain writing inspiration for another production. Another alumni is 24-yearold Phoebe Panaretos (Bachelor of Music Theatre, 2011) who was cast as Fran in Baz Luhrmann’s Strictly Ballroom The Musical. Panaretos says she would have really floundered during the creative development process with Luhrmann without her VCA training, which taught her to harness her individuality. “VCA is really good at stretching you out, making you flexible and opening your eyes to the different possibilities within your creative range,” Panaretos says. After mixed reviews in Sydney, Strictly Ballroom was reduced by 30 minutes. After further workshops and changes, the Melbourne season is going well and it opens in Brisbane on September 10. On opening night of Strictly Ballroom, Panaretos remembers what production designer Catherine Martin said: “In Australia we just need to stop
being scared; we need to be unafraid to embrace individuality on a large scale, on big stage.” Panaretos agrees, “Who wants to see Grease again for the 150th time?! Wouldn’t you love to see Muriel’s Wedding on stage?” The VCA’s new musical program this year commenced in February. Third year students worked with industry professionals on two projects selected from 45 submissions: The New Lonely Planet by Tobias Manderson-Galvin, Ben Ely and Liam Barton and Stealing Picasso by Joel Paszkowski and Tom Reed. For the first time this year, students of the Master of Directing and Master of Dramaturgy are sitting in on developments, observing the fine art of getting a new musical off the ground. Margot Fenley believes we need to create a culture that can better support the development of local music theatre. One that links up existing programs, however small, develops new partnerships and then addresses gaps in funding to support sustainable longevity for new writers, composers and presenters to fully develop and exercise their artistic potential. She’s one of the organisers of a oneday symposium later this year, that will bring together funding bodies, independent producers, theatre companies, writers, composers, directors, musical directors, philanthropists and training institutions with a commitment to creating a National New Music Theatre Network. Fenley sees the VCA as having a significant part to play in this network of organisations, for a range of reasons: “Universities are places of research and development, so to expand our engagement in developing local music theatre just makes sense - for the benefit of our students and for the wider community,” says Fenley. “VCA Music Theatre has wellestablished industry links and there’s been great enthusiasm from everyone I’ve spoken with about the symposium. People are genuinely excited about coming together and look for positive, practical ways to support the development of new Australian musicals, of all kinds.” It seems the time is ripe to embrace our own stories and make them sing.
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Duet & Bogey Man. Photo: Paul Jones.
From Wollongong To Singapore University of Wollongong’s Bachelor of Performance students were recently represented at the 8th Asia Pacific Bureau Theatre Schools Festival and Directors Conference at La Salle in Singapore.
The Asia Pacific Bureau (APB) Theatre Schools Festival was established in 2008. Its aim is to foster collaboration, build professional connections and encourage the sharing of knowledge and experience between theatre schools in the Asia Pacific region. The project was a double Daniel Keene is a multi-award bill: Duet & Bogey Man, two short winning playwright; critically plays by Daniel Keene directed by third year Bachelor of Performance acclaimed throughout Australia, the student, Mark Churchill. United States and Europe. Since The two plays are woven together 2000, more than 80 productions of into a single performance, but each his work have been presented, predominately in France. describes a different world. Bogeyman is set on a farm exploring Mark Churchill is working with the relationship of a farmer and his four 2nd year Bachelor of wife after the death in birth of their Performance students to bring Keene’s observations on the first child. Duet is set in a sewer where two homeless men push each symptoms of the underclass to the stage. He was recently awarded the other to the breaking point. Keene’s drama exists not only in inaugural Emerging Theatre Artist’s the words but around, beneath and Award for the high calibre of his between, in the silences from which work as an emerging theatre director, and in recognition of his his words are formed. Keene strips contribution as a sound designer his characters bare leaving them to and musician on various student and struggle with their needs and vast cravings in worlds that are parched staff directed projects. and desolate. www.stagewhispers.com.au Stage Whispers 47
48 Stage Whispers July - August 2015
Rising Star Wins Heath Ledger Scholarship Screenwise Showreel graduate Matt Levett has been announced as this year’s winner of the hotly contested Heath Ledger Scholarship held in LA. The Heath Ledger Scholarship, proudly sponsored by Screenwise, was established in 2008 in honour of the late Academy Award winner. The scholarship aims to identify promising young Australian actors, and provide a bridge to help them carve out a career both at home and in Hollywood. Levett is now one step closer, receiving a USD$10,000 cash fund, a two year scholarship at the Stella Adler Academy of Acting and Theatre in Los Angeles, return flights with Virgin Australia, a 7 day Californian trip from Visit California, USD$5,000 worth of visa and immigration services from Raynor and Associates and complimentary lifetime membership to StarNow. The scholarship also includes mentorship from professionals in the industry. Since Matt graduated from Screenwise, he has appeared in TV dramas including A Place to Call Home, Bed of Roses, Home & Away, All Saints and the acclaimed mini-series Devil’s Playground. The career trajectory of the Aussie actor has continued to gain momentum through headlining Dean Francis’ powerful teen feature Drown, which played to sold out screenings at Sydney’s Mardi Gras Film Festival and also through directing the comedy short, Unwanted Friend, which was a finalist at Tropfest Film Festival in 2012. While it has been a prosperous 12 months for Levett, his success has been carefully planned and driven by dedicated training and hard work. In 2004 Levett enrolled in the popular Showreel Course at Screenwise. It is a part-time, year-long course that Visit www.screenwise.com.au for information on the Showreel Course as well as other courses.
develops screen acting skills required for a professional and competitive showreel. It was during his studies here that Screenwise CEO and Principal Denise Roberts quickly noticed Levett’s “unique ability to back up his acting skills with confidence and passion while under pressure which is at the core of our Showreel Course.” The Sydneyraised actor said he was stunned when he received the phone call from Ledger’s father, Kim. As is tradition, each year, Kim, patron of the scholarship, contacts the winner to advise them that they have won. “It is always such an exciting phone call to make because we know that the scholarship makes such an impact on a young performer’s career,” Ledger said. “For the seventh year, the scholarship has gone to a deserving recipient in Matt Levett.” Levett described winning the scholarship as “an incredible gift and a foot in the door, in the US.” Matt continues to cement his name in the domestic and international Film & TV Industry. Now spending more time in the US to “ride the wave”. “I will stay in the US for a bit now but I love Australia and I’ll never forget where I started,” he said. Screenwise Showreel students have scored roles in Home & Away, Janet King, Underbelly, Rescue, Crownies, Packed to the Rafters and countless TV commercials whilst studying at Screenwise. Proven to be a launch pad for many acting careers, the Showreel Course has produced actors of the calibre of Andy Whitfield (Spartacus), Stef Dawson (Hunger Games: Mockingjay 1 & 2), Tabrett Bethell (Legend of the Seeker),
Showcase
Valentino Del Toro (Fools Gold) and Christian Clark (Gabriel) to name a few. Screenwise was established fifteen years ago to provide specialist, careerfocused training in acting for film & television. Screenwise Showreel graduates develop a showreel that illustrates the depth of their acting calibre. Over 40 weeks students refine their acting skills in preparation for a five week week production.
www.stagewhispers.com.au Stage Whispers 49
Federation Music Theatre Across Two Cities
Thoroughly Modern Millie.
lie. Thoroughly Modern Mil
Federation University became Australia’s first two city Music Theatre degree in 2015. The first group of students trod the boards in Sydney, supplementing its long standing course at the Ballarat Arts Academy. Under the academic leadership of director/choreographer David Wynen, Federation Uni is bouncing into 2015 with its offerings in Music Theatre. A highlight will be a full scale production of Thoroughly Modern Millie in the historic Her Majesty’s Theatre Ballarat, followed by The Mystery of Edwin Drood and The Pajama Game with 2nd year students. “I am so proud of what we have achieved at Federation’s Music Theatre Course. So many of our graduates are carrying the torch in so many exciting ways. Not only are we producing challenging and wonderful 50 Stage Whispers July - August 2015
work in Ballarat, we are also so excited about making a real impact in the theatrical hub of Sydney,” said David Wynen.
This year’s graduating Ballarat cohort will Showcase in Sydney for the first time in November. They also worked with Fed Uni Music Theatre Patron and icon Miss Nancye Hayes O.A.M./ AM to put together a true Australian Music Theatre presentation for the International Music Theatre Educator’s Alliance Conference at WAAPA in June. Their presentation included excerpts of two Australian musicals set in Ballarat: Eureka and Lola Montez. “Working under pressure sometimes seems to bring out the best in us. And the support and enthusiasm brought to the rehearsal room by the 3rd year course graduates of the Bachelor of Arts Music Theatre degree course confirmed to me why I love being a part of the creative process of ‘putting on a show’,” said Nancye Hayes. “Especially when I can pass on the history of our profession. I know music theatre future is in safe hands and hearts and most
www.federation.edu.au www.sydneytafe.edu.au importantly talent, which I have experienced with this group of students.” The course is known for its bold, vibrant and innovative place in the industry. Wynen isforging ahead with a bold reinvention and this is clearly evident by graduates gracing the insides of so many theatrical programs and the dramatic increase in applicants. The Ballarat Arts Academy course has produced many graduates working in major musicals across the country and internationally. Graduates have worked on Strictly Ballroom, Cirque De Soleil, King Kong, Mamma Mia!, Cats, Les Misérables, Hairspray, Jersey Boys, Mary Poppins, and Wicked to name a few. High profile graduates of the course include: Chris Durling, Cristina D’Agostino, Josh Piterman, Joel Parnis, Jaz Flowers, James Smith, Jared Newall and Graeme Foote. A new chapter will open in 2016 when the inaugural season of works
Thoroughly Modern Millie.
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from Sydney students in second year commences. “Your students were brilliant and so present and connected! I was truly impressed with the work you have done there! Every single student that performed was grounded... with a clear story and so prepared.” - Faith
Prince (Tony Award winning performer). “I’m so impressed at the changes you’ve made to the Music Theatre program, and am delighted to see it flourishing under your leadership.” Kim Smith (New York Cabaret artist MAC award winner).
www.stagewhispers.com.au Stage Whispers 51
52 Stage Whispers July - August 2015
A Year In The Life Of A Stage Manager
Performing Arts courses have no trouble attracting thousands of would be actors and singers to audition, but if you’re after an exciting career, working backstage might be more the answer. The Actors College of Theatre and Television (ACTT) in Sydney asked two of their tutors in Stage Management what they actually get up to.
House before touring it up the East Coast. I returned to start on Daylight Saving, an Australian play by the late, great Nick Enright at the Eternity Playhouse with a fantastic cast. “Next was a children’s puppet show, Charlie & Lola’s Extremely New Play, which we toured to Melbourne and Perth over summer. I’m now approaching 80 shows as Deputy Stage Manager on Strictly Ballroom The Musical (directed by Baz Luhrman) in So, what do Stage Managers actually do? ACTT says everything. They Melbourne, and many more to go.” are leaders, organisers, managers, artist Farlie Goodwin trained as a Stage liaisers, show-callers, babysitters, and Manager at The London Academy of teachers, generally all at the same time. Music and Dramatic Arts. Here’s a Stage Managers are the individuals who snapshot of Farlie’s past year. “I was recently offered a ‘Job of a make sure everything goes according to plan, from first rehearsals to the Lifetime’, as Stage Manager on the performance, and are imperative in Russian Opera Eugene Onegin, for a creating a successful live production. national tour of Norway, working for a wonderful company called NOSO (Nord Ryan Tate is a graduate of ACTT’s Norway Opera and Symphony Advanced Diploma of Stage Orchestra). My first thought was Management. His theatre credits since 2006 include Priscilla, Queen of the “Brilliant, I get to be paid to travel in a Desert, Bell Shakespeare’s Taming of new country - a holiday!” My second the Shrew, and 42nd Street. He was thought was “How am I going to also Venue Co-ordinator of the London understand the language and be able to do my job correctly?” which caused no 2012 Olympic Games Opening and small amount of fear. Closing ceremonies. “In the past year I got to open a “On the first day I realized that 90% new Children’s play, The Incredible of rehearsals would be in Norwegian and, very quickly, that stage Book Eating Boy at the Sydney Opera
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management in Norway is not the same as in Australia. I had to train the director, the performers and the creatives in my way of stage management. This caused some tension, especially dealing with a second language, but ultimately it resulted in great appreciation of stage management, communication and the ability to overcome challenges. “I can now confidently say that music is an entirely international language, understood by all. It was an experience of a lifetime because I got the opportunity to share my love of stage management, to work with amazing international performers and, of course, have a great holiday in Norway. I’ll be going back next year.” ACTT’s Advanced Diploma of Live Production and Management Services will prepare students for all manner of theatre productions, large-scale events, such as the Olympic Opening and Closing ceremonies that Ryan worked on, to festivals, galas and corporate functions. More importantly, it will teach invaluable skills in management and communication that can be applied to any job in any industry. www.stagewhispers.com.au Stage Whispers 53
create a sense of being uncomfortable and pushing an audience a little closer Showcase to their edge, Brendan went for the immersive experience, whilst still being true to the story. It worked.” The company not only made brave creative decisions, but also managed to achieve full houses. As Producer of the show, Kuo’s role covered organising, liaising contracts, rehearsal schedules, press and PR, with his ultimate focus on making sure that the show worked. “At the end of the day the buck stops with the producer,” he says. “I’m a performer at heart but I thoroughly enjoyed getting the show up as a producer. It was very satisfying and the pressure was kind of appealing.” As most small independent theatre companies already know, making the most with a little, is almost a given. Not to say that Exclaim doesn’t have support. Being alumni from the Australian Institute of Music, the members of Exclaim are also proud of Music Theatre graduates from the Days and Spelling Bee) were reasonably the fact that they all studied at AIM and that AIM is 100% behind what Australian Institute of Music in Sydney obscure,” he adds. they do. have set up a new theatre company to “Hair on the other hand is a show “We are the only independent showcase their talents. AIM news that most people have at least heard theatre company of our kind, made up of, if not seen.” This wasn’t to be just spoke with music theatre graduate exclusively of alumni, that I am aware any old re-hash of a 70’s musical. turned producer Julian Kuo recently, of in the country,” says Kuo. “It’s nice “Most shows people go to these days following their sell out production of to have that support from the school the Brendan Hay directed musical are quite a passive experience, in that where we studied, especially from AIM HAIR. the audience sits while the performers Music Theatre Head of Department perform,” says Kuo. “Brendan (our Jennifer Murphy, who has given us her director) wanted Hair to be an It’s not often you’ll meet an full support. AIM helped us with things immersive experience, not only on independent theatre company made like venues, licensing rights, rehearsal stage, but from the moment the up entirely of musical theatre school alumni, but then again, the Exclaim audience entered to the moment they time and space, marketing and promotion.” Theatre Company is not your average left.” Audience response was extremely The production truly was a ‘had to theatre company. positive. The show also attracted the The company gives the opportunity be there’ experience. “We gave one interest of well-known Australian for members to perform, develop skills audience member a private tepee director Darren Yap, who came on experience for example,” says Kuo, in production, direction, design, writing and the technical side of the where each night, a random audience board as a directorial mentor, in addition to choreographer Bree craft. member was selected and taken off Langridge, and vocal mentor, Andrew into a tepee, where they became part “These are all the skills we learned Bukenya. Both Darren and Bree also of the story. Set ‘in the round’, the at AIM,” says Kuo. “Exclaim is about teach at AIM. show began right from the design of putting those skills into practice,” he “Being Exclaim, and being able to adds, through the presentation of full the foyer entry, to the use of couches, put on shows like Hair, also gives us productions, cabaret opportunities and colour, sound, whispering in people’s exposure to industry theatre people we ears and much more. “It was very skill development workshops. would otherwise not ever meet,” says much inclusive,” says Kuo. In May the group took on the Kuo, who re-iterates how important The challenge was to create some production of Hair, giving it a fresh this aspect of building a successful kind of new shock value. “Back in the twist for a 2015 audience. “We wanted to try a more well day, Hair used nudity and people were music theatre career is for the known show this time round,” says shocked. These days, people are almost members of Exclaim. “For example, I received a call from Darren this too used to nudity,” says Kuo, “so to Kuo. “Our first two musicals (Glory
Exclaim: Hair We Are
54 Stage Whispers July - August 2015
morning to congratulate been trained to do,” says Exclaim on putting on The Kuo, who is a strong advocate of the Fantastics later this year,” says Kuo. “As theatre quadruple threat of artists, we also get to invite singing, acting, dancing whomever we want to our and creating. shows, agents, Exclaim is not just about representatives and the putting on shows like, to see the work we however. They also stage were doing.” events like ‘read To champion the value throughs’, ‘sing throughs’ of cross artist pollination and workshops for the and integration, Hair was continual development of members. also able to procure the talents of musicians from Kuo’s passion for Exclaim To know more about Exclaim, its members and the AIM Contemporary and for putting on high upcoming shows, visit their Facebook page at Performance department, quality theatre is clearly www.facebook.com/ExclaimTheatre who made up the 6-piece evident. “Providing others to get involved in working and creative options for Sydney audiences band for the show. “This was a complete AIM alumni/student delivered building a career,” says Kuo, “it’s a and putting on affordable theatre is show, from top to tail,” says Kuo, with dual relationship.” what it’s all about at the end of the 11 named roles and 25 ensemble “Proven ability is the hallmark of day,” says Kuo. “We want to work, we members known as ‘the tribe’. As Kuo Exclaim. It’s one thing to offer and want people to come see what we explains, Exclaim gives opportunity to spruik a course such as Music Theatre create, and Exclaim is our vehicle for doing that.” not only music theatre alumni but also at AIM, but another to showcase to others outside of the genre. alumni through a company like So keep an eye out later this year “Whether you are a musician, an actor, Exclaim. Our company and shows for Exclaim’s production of The a technician, a manager, a vocalist or provide the ‘seeing is believing’ proof Fantastics, the longest running show in whatever, Exclaim is a vehicle for that we can actually do what we have Off Broadway history.
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Showcase
A Dream Play
Kim Carpenter, the artistic director of Theatre of Image, led an all-student cast and crew from NIDA in June to produce a hauntingly beautiful rendition of A Dream Play by Caryl Churchill and August Strindberg. The play is about a girl who descends from heaven to find out what life is like on earth. The production involved Acting, Costume, Design, Technical, Properties and Staging students from the Bachelor of Fine Arts degrees. Kim describes the experience.
You eventually have to invent all your organic logic to the whole thing, because it is a dream, and the object is to put a dream on stage. When I first met the actors, I didn’t give my opinion. I asked them what they thought after having read the play. They said they thought it was beautiful. I thought isn’t that wonderful. The general comment from the public was that they found it beautiful. We knew it was an enigmatic piece. Being a young company of NIDA It has been known to be called un- students, I wanted to find the light in the dark. directable. Carol Churchill likes to be In the Churchill version there are no cryptic and disconnected. So when you stage directions. They say it’s a room. combine Strindberg’s disconnection with hers, you get a double dose. It is Or a stage door. The scenes just begin and end. enigmatic, and you do spend a lot of It is so much to do with time wondering what the intention or atmosphere. Some connect with it, meaning is. others don’t, like a surrealist painting. 56 Stage Whispers July - August 2015
It was designed by a third year student, Isabel Hudson. We worked together. She is a student I have taught in a classroom. Once designed we had all the students in different departments work on it. For some it was a huge leap to work on something like this. (The design included windows, building blocks and little people.) The window plays a big part in our life. You see faces framed in windows. People looking out of windows. It is a frame like a photograph. But it was a skewed window. Everything was slightly irregular, in keeping with dream. The building block was about power and ambition and achievement and skyscrapers. The puppets depicted all the little tiny people on this planet. They rose to the occasion in terms of the actors. It is good to introduce something non naturalistic. They looked to expressionism in its various forms. I encouraged them to give truthful performances that were heighted and expressionistic. I think they are have achieved that in bold performances.
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A Career In Lights
Sarah Jane Doig is fulfilling her ambition of working in theatre as a Lighting Technician at the Queensland Performing Arts Centre (QPAC).
meaning I was exposed to both theory and practical experience across the technical disciplines, stage management, lighting, sound and staging.” Sarah recently worked on The Lion During Sarah’s time at Coomera, King and Wicked and has attributed she was involved in the production of her fast-tracked success to her time at two musicals. “We started at the very beginning TAFE Queensland Gold Coast’s with script analysis and moved through Coomera campus. “I have long had a passion for live all the steps of the process including productions, having always been production meetings, budgeting, fascinated by the technical elements, design, construction, implementation, such as the placement of a set piece or rehearsals, the performance season, and bump out. It was very gratifying to a lighting effect,” said Sarah. “Going to the theatre quickly see projects through from the became my favourite way to spend my beginning to the end. free time and it didn’t take long before “As a creative hub, the Coomera campus offers an excellent modern I decided to turn my passion for facility, staffed with experienced and theatre into my career. “I put my previous career path on passionate industry professionals. It has hold and enrolled in a Certificate IV in its own theatre spaces and recording Live Production, Theatre and Events studios, equipped with the same through TAFE Queensland Gold Coast equipment that a graduate will encounter in the broader industry. at Coomera, which is their renowned “The campus and its instructors creative industries campus. “The course was a multi-disciplinary have a relationship with the local introduction to technical production, industry, enabling students to be 58 Stage Whispers July - August 2015
involved with productions outside of the campus, providing an opportunity to meet industry professionals and learn in real-world venues.” Whilst Sarah enjoyed learning sound production and staging, it was lighting that really caught her attention. “I worked as a follow spot operator on the Brisbane seasons of The Lion King and Wicked. When I have time I also do some stage management work.” Sarah believes that her time studying at TAFE Queensland gave her the practical skills needed to get into the industry and excel within her job at QPAC. “This course, combined with my other experience and skills, equipped me to move into my current role as a Lighting Technician at the Queensland Performing Arts Centre. While I continue to learn new things every day, the theory and practical skills I gained through my studies gave me the grounding I needed to build my new career path upon.”
Online extras! Check out a showreel of Spectrum productions. Scan the QR code or visit https://youtu.be/gOVDZ0QWvaw
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Spectrum Dance
Where Small Classes Equal Big Time Stars Melbourne’s Spectrum Dance is celebrating another group of students gaining employment around the world, on the high seas and on land. Former student Tyrone Anthony will be a featured dancer with Caribbean Cruises travelling throughout Asia. Laura Parker is currently sailing the seas as a lead dancer in their aerial show and Saturday Night Fever The Musical. First year student Stephanie Quittner will join the Entertainment Store in their tour of the Middle East as Baby Bop in the Barney show. Spectrum Dance is committed to cultivating talent and providing personalized classes that allow students to excel in all facets of performance. Directors Trish Squire-Rogers (The Footy Show, Melbourne Storm Cheerleaders) and Katie Rappel (World Expo ‘88, Victorian State Opera) strive to create the next generation of Australian stars within a safe and supportive environment. Class sizes are deliberately kept small. Spectrum Dance only accepts artists prepared to commit to their craft
and offers the chance to excel in every style of dance training to ensure healthy, happy and employable dancers at the completion of the course. Spectrum Dance offers students a variety of options in their education and future career from Certificates through to Diplomas, and leads directly into the Spectrum Talent Agency. The company says over 80% of students join the professional ranks of the performance industry through their inhouse talent agency. Students are offered the flexibility to work and study throughout the course. This comprises specialized programs that encapsulate more than the basics of dance training. In addition to the Certificate IV and Diploma (Elite Performance) in Dance, Spectrum also offers a Diploma in Musical Theatre headed by Stephen Wheat (Legally Blonde, Shout, Dusty) that encompasses the fundamentals of Drama, Singing and Dance (Accredited Qualifications are delivered in partnership with ATOD (RTO#31624). In conjunction with Yvette Lee, recognised internationally for her work
For more information about the Spectrum Dance courses and audition dates, head to spectrumdance.com.au choreographing on SYTYCD Australia, Moonshadow and Rock of Ages, and Kim Adam, described by the school as ‘Australia’s favourite pocket sized powerhouse dancer and choreographer’, Spectrum has many of Australia’s best professional performers guiding their students. With so many former (and current!) Spectrum Dance students obtaining professional contracts across the globe, there are increasingly more opportunities for employment closer to home, giving Australia a strong global presence. Former Spectrum Dance student Dakota Gordois and 3rd year student Breeana Davis were recently chosen to work with the original Pussycat Doll Robin Antin in a unique performance at Crown Casino Melbourne. At the Burwood studio, dancers will be nurtured, encouraged and given every opportunity to succeed. www.stagewhispers.com.au Stage Whispers 59
Goods & Services
TicketHost Never used an online system to sell your event tickets? Think it will be too complex or too expensive? Fortunately, the online ticketing services provided by TicketHost are a win-win for parents and schools. Parents love the convenience of purchasing tickets at a time and place of their choosing. With a few clicks they can order, choose their own seats and select from a variety of payment methods. For schools there are no more manual order forms, no students queuing with cash and no spreadsheet nightmares. The TicketHost system is powerful and flexible, yet simple to use. “Most events can be created in less than 15 minutes,” said Eric Staples, the creator of TicketHost. “We find that some event administrators enjoy getting their hands dirty and do the setup themselves. However it can also be as simple as lobbing an event poster into our inbox and we’ll happily configure the event on their behalf,” he said. With a hosting fee of just $0.35 cents per ticket, TicketHost is generally 200-400% cheaper than U.S. based competitors. So contact TicketHost today.
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www.tickethost.com.au info@tickethost.com.au (03) 9011 3221
Australian Theatre Supplies Turn your next production into a virtuoso performance with expert assistance from Australian Theatre Supplies - your one stop shop. Their team has more than 30 years experience in all aspects of lighting, audio, microphones, curtains and curtain track, stage flats and risers, front and rear projection screens and projectors and more. In recent times ATS equipped a school drama room with Front of House curtains and a backdrop as well as LED Par Cans and Fresnels with LSC Clarity DMX control systems. They have
replaced all stage drapes in several Town Halls in Far North Queensland, have re-fitted a full stage in Western Queensland with curtains, LED luminaires, replacement audio system and a large motorised screen, as well as providing support with consumable requirements. The company’s busy in-house production department can manufacture curtains to your exacting specifications and time frames, while their experienced installation team will ensure timely completion in readiness for your next production because, as we all agree, the show must go on! www.austheatre.com.au info@austheatre.com.au (07) 3285 6311
Stage School Australia: The Costume Dept
Established in 1984, the Stage School Australia is committed to providing high quality performing arts training to young people aged under 18. It boasts locations across metro Melbourne that offer a range of services and performances to schools, including guest speakers, performances and workshops. Stage School Australia has a vast costume collection which it makes available for concerts, theatre productions, and school shows (minimum hire: 20 costumes). Rates start at $25 per costume and get cheaper the more costumes you hire. It may be possible for you to hire costumes for as little as $12.50 per costume. Some schools charge students a costume levy to cover this fee, so that you can have great costumes without eating into your production budget. Give them a call before you buy fabric to make costumes - it may be cheaper to hire them! www.stageschool.com.au admin@stageschool.com.au (03) 9384 1644
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Goods & Services
A Word from Book Nook “I would like to express my gratitude as a parent and as a citizen to all the teachers and practioners of Drama and other Performing Arts,” says Mary Sutherland of Book Nook. “Drama, and in fact all the arts, are so important to the development and maintenance of a caring and reflective shared culture. “We would be excited to meet you at the Drama Australia International Conference at NIDA in Sydney, aptly called GAME CHANGER July 10 - 12.” Some highlights of what’s new: The Phantom of Menace by Ian Doescher - to quote The School Library Journal, “One of the best written Shakespeare parodies created for this audience and its absolutely laugh-outloud funny for those familiar with both the Bard and Star Wars.” A Town Named War Boy by Ross Mueller developed with ATYP with a young cast and audience in mind, inspired by The State Library of NSW collection of WWI diaries and letters: bringing the ANZAC legend to life. Mother by Daniel Keene - a onewoman play - probably not for school performance but worth exploring as, in the words of Bryce Hallett of SMH, “Daniel Keene is indisputably one of
www.booknook.com.au sales@booknook.com.au (07) 4637 9980 Australia’s most poetic, thoughtful and probing playful hits.” Set to address the long overdue new focus on Drama in primary schools is Katherine Zachest’s Drama for Early Childhood, a comprehensive, practical program for children 3-8 years old. And for a bit of fun, an international offering which has us excited: The Big Book of Molière Monologues is a selection of fun and funny monologues for actors from teens to mature.
In one section of the auditorium it is necessary to bring in a boom lift to change the lighting fixtures. The solution was to install two Jands SLX100 motorized lighting battens. These off-the-shelf hoists are ideal for school halls, auditoriums, or anywhere that there is the need to easily and safely raise and lower lighting fixtures. “Now the lighting bars can be lowered at the simple press of a button,” said Adrian Ward, Technical Director, Stage & Studio Productions. A Jands FPX 12 channel dimmer was also chosen. The students have no trouble handling the simple menu to access the configuration and test options. As the auditorium features a number of LED PAR luminaires, Ward Perth’s Stage & Studio Productions decided that an ETC SmartFade would be the ideal control console. This had the students in mind when it installed a new lighting system into the compact console has some serious auditorium of Kennedy Baptist College, power under the hood, yet is easy to use while including a rich speciallocated in the suburb of Murdoch. Built in 2000, the auditorium seats feature set when you need it. The console fits perfectly into 1,200 and offers a large stage suitable venues such as the Kennedy Baptist for a range of performances and College auditorium, that have a bit events. more than conventional lighting. A significant feature is the 20 students who form part of the College tech team. They run the sound, audiowww.jands.com.au visual, and lighting for assemblies and info@jands.com.au other College events. (02) 9582 0909
New Light Fixtures For School
62 Stage Whispers July - August 2015
Guide To Projection For Small Budget Theatre Projection is becoming an almost mandatory component of any theatrical production. As set and lighting designers are looking for more complex palettes to work from, the opportunities video presents are too great to ignore. Projection in theatre does not have to be only the domain of professional or big budget, semi professional theatre. There are some basic concepts of good theatrical projection that mean you can achieve great results without access to expensive media servers and superbright projectors. Content is King The key to great projection is great content. You can have the fanciest toys but the content must be right for your projection to work. Get your set designer to draw the images, take the effort to shoot your own video pieces. There are free 3D animation software packages out there. Don’t allow the content to become just something you found on the web that’s almost right.
light (we call this the projector raster). You need to be able to control this light. If you plan to have a projector in a show make sure you have a method of shuttering or blocking the light when you don’t want it. This can be as the lighting designer should allow for simple as someone placing a piece of that in the lighting design to ensure cardboard in front of the lens (maybe there is no spill onto the projection an elaborate string and pulley system); surface. In fact in nearly all professional we used to all make shutters out of old shows the projection content is CD Drives (search the web) or you can controlled by the lighting console so rent DMX controlled shutters. More that it can all work together smoothly. modern projectors often have built in shutters, which can be controlled by Lots of surfaces can be projected upon various bits of software or the remote. You don’t only have to project on to white surfaces. We’ve all seen videos of Use Playback Software building projections. You can project Seeing a Windows page, or the play onto anything; we often project onto button from your DVD player is black smothers! I recommend doing inexcusable. There is a lot of software some testing before the theatre; you for playing images and video clips in will be amazed at what will work. presentations out there. Use one of them. Powerpoint and Keynote are ‘Map’ your projection obvious examples. If you have access to One of the keys to good theatre a Mac then look at QLab. It is cheap projection is it doesn’t look like video. If and rentable for the duration of a you are projecting clouds, make sure production. they don’t land on the set. Put black boxes in your image to mask objects David McKinnon, General Manager you don’t want images on. The at CVP Events Film and Television. software you are using will define how fiddly this is, but it turns ordinary images and projection into stunning results.
Projectors are just fancy lights When designing your production Projectors Don’t Do Black remember that the projector is just Even when projecting a black another light source. The impact it will image, your projector is still emitting have is effected by all the other lights www.cvp.com.au sources, so the projection and lighting info@cvp.com.au designers must work closely together. If (03) 9558 8000 the projector is not very bright, then
Live character projection during The Game at Melbourne Gang Show 2011.
www.stagewhispers.com.au Stage Whispers 63
Building The Musical Bridge Coral Drouyn explores the sense of family and standard of excellence in one of Melbourne’s “MEGA” community theatre companies. She spent time with PLOS rehearsing for Legally Blonde.
we LOVE Musical Theatre, so what are we to do? In this new century, we have a new option. It is the MEGA Community Company. It can’t be called Amateur theatre because the standard is so high. It can’t be called Professional because everyone volunteers their A world without musical theatre doesn’t bear thinking about. For a services and have day jobs to support start, there would be no need for this them. It’s still defining itself, but, just magazine. But theatre can be as most songs have a “bridge” that anything from kids putting on a show links two parts melodically, the same in their garden, to multi-million dollar but with different lyrics, so the MEGA spectaculars. For most of us it is the company provides a Musical Theatre small amateur companies in the bridge, with tickets half the price of suburbs, providing entertainment to those in the city. The production budgets are high people who normally would never visit ($100,000 +), the costumes and sets a theatre, or the main stage are superb, all the band are good productions of John Frost and Cameron Mackintosh, which cost musicians (often retired professionals) millions of dollars and charge around and the quest for excellence and love of what they do are the driving forces. $100 for a ticket. Do we get our After all - nobody gets paid, so you money’s worth? Sometimes yes. have to be driven by passion. The Sometimes we kick ourselves for wasting big dollars. But we love…no, result is something truly special and, apart from the obvious definition of
64 Stage Whispers July - August 2015
the word, MEGA is my acronym for More Entertainment Guaranteed Annually. Guaranteed because the musicals are already tried first on the Main Stage, the glitches have been ironed out, and the audience has been identified. So the company can do productions of musicals that people (generally) want to see. It’s a win-win situation. There are only a handful of these companies in Melbourne. PLOS (Peninsula Light Operatic Society) is my local company, and it has as its performing space the impressive Frankston Arts Centre. I love it because the standard is so high and I don’t have to go 45 kms to the city to see a marvellous show. The first thing you notice is the sense of Family….they belong, they have each others’ backs. They’re excited to be there. This isn’t a job… it’s sheer heaven. The production in rehearsals is Legally Blonde, opening on July 24th, and tonight they are
Little Shop Of Horrors. Photo: Mike Fletcher.
doing a full stagger-through run of Act One. President Fran, along with all her admin duties, is den mother and also makes cups of tea… “I should have made scones,” she tells me, “but there are biscuits.” PLOS has its own building, known as The Shed - an airplane hangar-like structure where it makes and stores its scenery and costumes and rehearses. It’s unique in that respect. Everything is at hand and props are available as they are made. So are the sets. There’s a green room and a kitchen where everyone gathers before the warm up. Company Secretary/Public Officer and general dogsbody Brett is working on budget reports, checking props, showing me photo proofs and waylaying Tayla, who plays Elle, the lead, to give her a dark and somewhat tatty black wig to wear. “It’s to help you get used to the wig,” he says when she grimaces. “Legally Brunette…the Musical,” Tayla quips as she tries it on. “It feels….do I have to say how it feels?” Tayla is young and pretty and lithe (of course) and has been performing since she was in Kindy. “As soon as she auditioned we all said ‘That’s our Elle,’ that was back late last year,” choreographer Karen, who also choreographed Cats and Spamalot for the company, says. “But then we discovered she wasn’t a dancer, and we had some really good dancers. Danny (who has directed close to a dozen shows for the
company) said to her, ‘How badly do you want this part?’ She wanted it so badly she immediately enrolled in dance classes and look at her now.” Tayla is perfect casting and there’s no resentment from those who missed out. As she belts out a number perfectly, the other girls watch with interest. “She’s so good. I don’t think I would’ve been that good.” “You would so have been good….but….different.” “Yeah…maybe. Different.” “I wouldn’t get away with the odd coloured socks though.” Aidan, who plays two key roles, is worried about his opening night tickets. “I need five, but I can’t pay for them right now…I promise I’ll pay next week. Please, Please don’t let them go.” Ensemble members chuckle at how earnest he is, but Fran promises him they are reserved for him. Later, with a dance routine going on in front, he lightly duck waddles, with arms flapping like wings, across the back of the floor. Onlookers laugh, but the dancers don’t blink, they’re so focussed. Aidan looks sheepish. Karen puts the company through a warm up to Whipped Into Shape - a frenetic number with skipping ropes; legs get tangled; someone stumbles. “Get it together guys,” Danny tells them, and they do. There’s another number with acrobatics involving the boys turning the girls over in
cartwheels. When a female head gets stuck in a male crotch…there’s much “woot woot” ing from all sides of the room. There’s a sense of fun, of strong camaraderie, but no-one doubts for a moment that they’re here to work. Everything is about the show, but sometimes you have to come up for air and just look around. They’re in their sixth month of rehearsals. “Can I wear my jacket tonight,” Daragh…fresh out of high school yet already a seasoned performer asks. “I just think it will help me. It’s a corduroy jacket with fake sheepskin lining.” “Oh Daggy!” another cast member says. “Emmett’s a Daggy character,” Daragh responds with a grin. He’s barely 18 yet sings up a storm. James is having trouble with the engagement ring. He’s playing the cad Warner and no matter which way up he puts the ring box in his pocket, it keeps coming out the wrong way up. “I’ll work on it,” he promises. He’s in the green room and misses a cue by a split second. Moosh… the omnipresent Stage Manager, gives him “The Look”. Fran explains that Moosh never misses a rehearsal and is perhaps the only one on top of EVERYTHING. Elise, who starred as Nancy in Oliver for the company, strikes a pose as Paulette. She looks curvy and sexy and there are mock wolf-whistles from the ensemble. She puts them back in their box with a teasing look that (Continued on page 66) www.stagewhispers.com.au Stage Whispers 65
The Addams Family. Photo: Mike Fletcher.
Legally Blonde runs at Frankston Arts Centre from July 24th (Continued from page 65)
would turn grown men to stone. “Okay - settle now,” Danny calls good -naturedly. It’s obvious they respect Danny and he’s totally committed. The company is so much family to him that he has even brought his little pumpkin Claire to a rehearsal - where she showed everyone the hole in her tights. Musical Director Martine is helping the rehearsal pianist, who is having trouble with some very fast arpeggios. She sits down beside him and plays them with ease. Though the vocal harmonies are spot on, and the voices quite marvellous, she’s not happy with the timing on the final line of OMIGOD. “You’re coming in late,” she says as she directs them to do it again. “It’s not a pause…it’s not even a full
66 Stage Whispers July - August 2015
beat…it’s a Boom…OMIGOD!” The next time is perfect. It’s after 9pm and the cast is getting tired, but Danny can’t afford to let up. “Break up that line….it’s too straight line…and where’s the energy? Make a noise, do girly shit, hug each other, look spontaneous. Get excited! I don’t want to see you waiting for cues.” It’s the most he’s said so far in the whole run through. They run the number again then segue to another scene in which they’re working with the actual bulldog for the first time. When he chases the basketball through Elle’s legs, everyone claps and cheers. It’s hard not to feel upstaged by the adorable dog’s one correct cue.
Brett, always busy, takes me up to the mezzanine floor…where rack after rack of costumes and hundreds of boxes of shoes and accessories live. It’s like going through the archives of the Melbourne Arts Centre, and just as impressive. “We hire out whole productions to high schools and smaller companies,” he tells me. I ask about the new costumes this time round …. There’s a beautifully tailored bright pink coat for Elle sitting on the tailor’s dummy. “We have some great seamstresses but, again, it’s all volunteer. The good thing is that people WANT to be part of what we do. They may not sing or dance, but they have skills that are just as important. That’s why we always credit every member of a production in the programme. They’re always
important. We rely on goodwill, along with sponsorship and ticket sales, and that means acknowledging that even someone supplying an old prop to us is important. When you need to keep $100K always in hand for your next production, we couldn’t exist any other way.” When the rehearsal finally wraps after three hours, the cast sits crosslegged on the floor while the key creatives give notes. There’s no sign of The Shed.
tiredness, everyone is too pumped, and there’s a real buzz in the rehearsal room. There’s an old Irving Berlin song called “There’s No Business Like Show Business” which says “Everything about it is appealing … Nowhere do you get that happy feeling …” I doubt that anyone in the room knew that song, but every last person knows that feeling. Thank you, PLOS, for letting me share the Buzz .
In rehearsals for Legally Blonde.
www.stagewhispers.com.au Stage Whispers 67
On Stage A.C.T. Cassanova by Russell T Davies. Canberra Repertory Society. Until Jul 4. Theatre 3. 6257 1950. The BFG by Roald Dahl, adapted by David Wood. Childs Players. Jul 9 - 18. Belconnen Theatre. 6257 1950. Lore. Bangarra Dance Theatre. Jul 9 - 11. Canberra Theatre Centre. (02) 6275 2700. Circus Under My Bed. Flying Fruit Fly Circus. Jul 16 - 18. Canberra Theatre Centre. (02) 6275 2700.
A.C.T. & New South Wales
The Diary of Anne Frank by Frances Goodrich and Albert Hackett. New Theatre. Until Jul 11.
Venus in Fur by David Ives. Darlinghurst Theatre Co. Until Jul 5. Eternity Playhouse. 02 8356 9987. Mother Courage and Her Children by Bertolt Brecht. Translation: Michael Gow. Belvoir. With Paula Arundell and Robyn Nevin. Until Jul 26. Upstairs Theatre. 02 9699 3444
68 Stage Whispers
Theatre. Jul 9 - Aug 15. Wharf 1 Theatre. (02) 9250 1777.
Reach for the Stars. Cumberland Gang Show (Scouts and Guides). Jul 3 - 11. Riverside Theatre, Corner Church and Market Streets, Parramatta.
Of Mice and Men by John Steinbeck. The Seymour Centre and Sport of Jove Theatre Company. Jul 9 - 25. Reginald Theatre, Seymour Centre, Chippendale. 02 9351 7940.
Alice in Wonderland (and back again) by Randy Wyatt, based on the books by Lewis Carroll. Maitland Repertory Theatre, 244 42nd Street. Book by Michael High Street, Maitland. Until Jul Stewart and Mark Bramble, 5. (02) 4931 2800. lyrics by Al Dubin, and music by Turandot by Puccini. Opera Harry Warren. Sydney Youth Australia. Until Aug 28. Joan Musical Theatre. Jul 3 - 11. Sutherland Theatre, Sydney Hornsby RSL Club, 4 High St, Opera House. 9318 8200. Hornsby. (02) 9477 7777. The Dog / The Cat. The Dog by Brendan Cowell / The Cat by Lally Katz. Belvoir. Until Jul 12. Downstairs Theatre. 02 9699 3444
Grease by Jim Jacobs and Warren Casey. Queanbeyan City Council. Jul 29 - Aug 15. The Q, Bring It On The Musical by LinQueanbeyan Performing Arts Manuel Miranda, Tom Kitt and Centre. (02) 6285 6290. Amanda Green. Supply Gaslight by Patrick Hamilton. Evolution. Until Jul 9. NIDA Canberra Repertory Society. Jul Theatres, Kensington. 132849. 31 - Aug 15. Theatre 3. 6257 Footloose. By Dean Pitchford 1950. and Walter Bobbie, based on Of Mice and Men by John the screenplay by Dean Steinbeck. Aug 6 - 8. Canberra Pitchford. Music by Tom Snow Theatre Centre. (02) 6275 2700. (and others), lyrics by Dean Betrayal by Harold Pinter. State Pitchford. Gosford Musical Theatre Company of SA. Aug 19 Society. Until Jul 4. Laycock - 22. Canberra Theatre Centre. Street Community Theatre, (02) 6275 2700. North Gosford. (02) 43 233 233. The 26-Storey Treehouse by Richard Tulloch, from the book The Dapto Chaser by Mary by Andy Griffiths and Terry Rachel Brown. Apocalypse Denton. Aug 25 - 28. The Q, Theatre Company and Griffin Queanbeyan Performing Arts Independent. July 1 - 25. SBW Centre. (02) 6285 6290. Stables Theatre. (02) 9361 3817. New South Wales Les Misérables. Music by Claude -Michel Schönberg. Lyrics by Herbert Kretzmer. Original French text byAlain Boublil and Jean-Marc Natel. Cameron Mackintosh. Ongoing. Capitol Theatre, Sydney. Ticketmaster.
Bridge St. Coniston. 0407 067 343.
Fame Jr. Book by Jose Fernandez, music by Steve Margoshes, lyrics by Jacques Levy. Hunter Drama. July 1 - 4. Civic Playhouse, Newcastle. (02) 4929 1977. Ladies in Lavender by Shaun McKenna, adapted from the screenplay by Charles Dance. Ensemble Theatre. From July 3. (02) 9929 0644. La Traviata by Verdi. Opera Australia. Jul 3 - 22. Joan Sutherland Theatre, Sydney Opera House. 9318 8200. Macbeth by William Shakespeare. Phoenix Theatre. Jul 3 - 18. Phoenix Theatre,
Merrily We Roll Along. Music and Lyrics by Stephen Sondheim. Book by George Furth. Riverside Lyric Ensemble. Jul 10 - 18. Riverside Theatres Parramatta, Church St, Parramatta. (02) 8839 3399.
Wife After Death by Eric Chappell. Elanora Players. Jul 3 - The Carnivores by Ian Wilding. 11. Elanora Players Inc. (02) Pencil Case Productions. July 10 9982 7364. - 18. Royal Exchange, Newcastle. (02) 4929 4969. Accidental Death of an Anarchist by Dario Fo. Wollongong Workshop Theatre. Jul 3 - 18. Wollongong Workshop Theatre. 0455 896 501
The Phantom of the Opera by Andrew Lloyd Webber. WOFTAM Productions.
Magic of the Musicals - Rodgers and Hammerstein. Willoughby Theatre Company. Jul 4. The Concourse Concert Hall, Chatswood. 1300 795 012.
Fellowes. Moonglow Productions. Jul 10 & 11. WIN Entertainment Centre, Wollongong. Ticketmaster.
Jul 10 - 25. Town Hall Theatre, 297 Queen Street, Peter Pan by J.M. Barrie. Book & Campbelltown. https:// Lyrics by Peter Denyer. Music by sites.google.com/site/ Barrie Bignold. Roo Theatre phantomwoftam/ Company. Jul 3 - 11. Roo Mary Poppins. Music & Lyrics: Theatre, Cnr Addison & Richard M. Sherman, Robert B. Wentworth Sts, Shelharbour. Sherman, George Stiles, (02) 4297 2891. Anthony Drewe. Book: Julian
The Book of Everything adapted by Richard Tulloch from Guus Kuijer’s novel. Popular Theatre Company. Jul 8 - 12. Civic Playhouse. Civic Playhouse, Newcastle. (02) 4929 1977. Ghost Stories by Jeremy Dyson and Andy Nyman. Prince moo Productions. Jul 8 - Aug 15. Drama Theatre, Sydney Opera House. 9250 7777. The Witches by Roald Dahl, adapted from the stage play by David Wood, reimagined by Lucas Jervies. Griffin Theatre Company. Jul 8 - 11. Bruce Gordon Theatre, Wollongong. 02 4224 5999. Love and Information by Caryl Churchill. Sydney Theatre Company and Malthouse
Be Your Self. Australian Dance Theatre. Jul 10 & 11. IMB Theatre, Wollongong. 02 4224 5999. The Government Inspector. Players Theatre Inc., Port Macquarie. Jul 10 - 26. 33A Lord St, Port Macquarie. www.playerstheatre.org.au Merrily We Roll Along by Stephen Sondheim and George Furth.Parramatta Riverside Ensemble. July 10 - 18. Riverside Theatres, Parramatta. 8839 3399. Death of a Salesman by Arthur Miller. CHATS Productions Inc., Coffs Harbour. Jul 12 - 26. Jetty Memorial Theatre, Harbour Drive, Coffs Harbour. (02) 6652 8088. Don Carlos by Verdi. Opera Australia. Jul 14 - Aug 15. Joan
Just $40 a month to reach thousands of theatre goers. Contact Stage Whispers for details.
On Stage Sutherland Theatre, Sydney Opera House. 9318 8200. Octonauts Live! Operation Reef Shield. Life Like Touring. Jul 15. Civic Theatre, Newcastle. (02) 4929 1977. Edmond by David Mamet. Two Peas. Jul 15 - 26. Old 505 Theatre, Surry Hills. Heathers The Musical by Laurence O’Keefe and Kevin Murphy. Showqueen Productions and Working Management, in association with the Hayes Theatre Co. Jul 16 - Aug 8. Hayes Theatre Co. (02) 8065 7337.
Surf Road, Cronulla. Phone (02) 9523 2779 on 11 and 18 July between 9am and 12pm and from 7:30pm - 8pm on any night a performance is scheduled. Twelve Angry Men. Adapted by Sherman L Sergel based on the television movie by Reginald Rose. Pymble Players. Jul 22 Aug 15. Cnr Bromley Ave & Mona Vale Rd, Pymble. MCA Ticketing 1300 306 776. Seminar by Theresa Rebeck. Stooged Theatre. Jul 22 - Aug 1. Civic Playhouse, Newcastle. (02) 4929 1977.
Dylan Thomas: Return Journey. Merrigong Theatre Co. Jul 15 18. IMB Theatre, Wollongong. (02) 4224 5999.
LORE. Bangarra Dance Theatre. Jul 23 - 25. IMB Theatre, Wollongong. 02 4224 5999.
Perfect Wedding by Robin Hawdon. Arts Theatre Cronulla. Jul 21 - Sep 5. Arts Theatre, 6
Transparency by Suzie Miller. The Theatre on Chester. Jul 24 Aug 15. Corner of Chester and
Stagewest Festival of One Act Plays. Hosted by The Orange Detroit by Lisa D’Amour. Darlinghurst Theatre Co. Jul 17 - Theatre Company. Jul.24 - 26. Aug 16. Eternity Playhouse. 02 Orange Civic Theatre. Ticketek Orange (02) 6393 8111. 8356 9987.
New South Wales Oxford streets, Epping. (02) 9877 0081.
Sherman, George Stiles, Anthony Drewe. Book: Julian Fellowes. Packemin Productions. The Snow Queen Adapted by Jul 24 - Aug 8. Riverside Trent Gardiner. Lane Cove Theatre Company. July 24 - Aug Theatre, Parramatta. (02) 8839 8. Kit Kirkwood Hall, Lane Cove 3398. Public School, Austin Street, Dancing at Lughnasa by Brian Lane Cove. Friel. Newcastle Theatre www.lanecovetheatrecompany.com Company. Jul 25 - Aug 8. Newcastle Theatre Company, 90 Never Too Late by Sumner Arthur Long. Sutherland Theatre De Vitre St, Lambton. (02) 4952 4958 (Mon - Fri 3pm - 6pm). Company Inc. Jul 24 - Aug 2. The Sutherland School of Arts. (02) 9150 7574.
Legally Blonde. Music & Lyrics: Laurence O’Keefe & Nell Benjamin. Book: Heather Hach. Gosford Musical Society. Jul 24 Aug 8. Laycock Street Community Theatre, North Gosford. (02) 43 233 233.
The 26-Storey Treehouse by Richard Tulloch. CDP Theatre. Jul 27 - 28. Civic Theatre, Newcastle. (02) 4929 1977.
Matilda. Music and lyrics by Tim Minchin. Book by Dennis Kelly. Royal Shakespeare Company, Louise Withers Michael Coppel & Michael Watt. From July 28. Disney’s Camp Rock The Musical Lyric Theatre, Sydney. by Robert L. Freedman and Faye Ticketmaster. Greenberg. Chatswood Musical Blonde Poison by Gail Louw. Society. Jul 24 - 26. Produced by Adam Liberman. www.chatswoodmusicalsociety.org Jul 28 - Aug 15. Old Fitzroy Theatre, Woolloomooloo. Mary Poppins. Music & Lyrics: Richard M. Sherman, Robert B.
Advertise your show on the front page of www.stagewhispers.com.au
Stage Whispers 69
On Stage
New South Wales
The cast of Keating! The Musical (L-R): Jonathan Holmes, Sean Curran, Richard Woodhouse, Andy Leonard, Claire Mitchell, Doron Chester, Rebecca Morris and Alex Morgan. To be presented for the first time in Paul Keating’s former electorate, at the Bryan Brown Theatre, Bankstown, by Birdie Productions from July 15 - 19. Bookings on 9731 1620 and at www.birdieproductions.com.au Photo: Grant Leslie (Perfect Images).
SLIDE (your sticky fingers inside my mind) - an interactive devised show about Goulburn youth. Lieder Youth Theatre Company. Jul 31 - Aug 8. Lieder Theatre, 52 Goldsmith St Goulburn. www.liedertheatre.com The Bleeding Tree by Angus Cerini. Griffin Theatre Company. World Premiere. July 31 - Sep 5. SBW Stables Theatre. (02) 9361 3817.
A Midsummer Night’s Dream by William Shakespeare. Reamus Youth Theatre. Jul 31 - Aug 15. Maitland Repertory Theatre. (02) 4931 2800.
Mary Poppins. Music & Lyrics: Richard M. Sherman, Robert B. Sherman, George Stiles, Seventeen by Matthew Whittet. Anthony Drewe. Book: Julian Belvoir. Aug 1 - Sep 13. Upstairs Fellowes. Metropolitan Players Theatre. 02 9699 3444. Inc. Aug 5 - 15. Civic Theatre, Dear World. Music and Lyrics by Newcastle. Ticketek (02) 4929 1977. Jerry Herman. Book by Jerome Lawrence and Robert E Lee. Love (Awkwardly) by Maryann Carolan and John Rotondo. Neglected Musicals. Aug 3. Hayes Theatre Co. (02) 8065 Young People’s Theatre. Aug 5 7337. 15. Young People’s Theatre, Hamilton (Newcastle). (02) The Present. After Anton Chekhov’s Platonov, by Andrew 4961 4895.
A Midsummer Night’s Dream by William Shakespeare. Maitland Repertory Theatre. July 31 - Aug 15. (02) 4931 2800. Upton. Aug 4 - Sep 19. Sydney Steel Magnolias by Robert Theatre. (02) 9250 1777. Harling. Castle Hill Players. July Sex with Strangers by Laura 31 - Aug 22. Pavilion Theatre, Eason Tasmanian Theatre Castle Hill. (02) 9634 2929. Company and Straightjacket The Addams Family by Rick Elice & Marshall Brickman. Arcadians Theatre Group. Jul 31 - Aug 15. The Arcadians’ Miners Lamp Theatre. (02) 4284 8348. 70 Stage Whispers
Sydney Opera House. 9318 8200.
Productions. Aug 5 - 8. Bruce Gordon Theatre, Wollongong. 02 4224 5999.
The Marriage of Figaro by Mozart. Opera Australia. Aug 6 - 29. Joan Sutherland Theatre,
Rockdale. Aug 7 - Sep 5. (02) 9521 6358. Zingara. Dance of Life. August 8. Civic Playhouse, Newcastle. (02) 4929 1977. The Women by Clare Boothe Luce. New Theatre. Aug 11 Sept 12. Dylan Thomas: Return Journey devised by Bob Kingdom. Merrigong Theatre Co and Richard Jordan Productions. Aug 11 -12. Civic Playhouse, Newcastle. (02) 4929 1977. TaikOz in Concert. Aug 12 - 16. Glen Street Theatre. 9975 1455.
Gulls by Robert Hewett. Aug 7 Sherlock Holmes & the Suicide 22. Hunters Hill Theatre. Club by Jeffrey Hatcher. Woy Bookings (after July 12). (02) Woy Little Theatre. Aug 14 - 30. 9879 7765. Peninsula Theatre, Woy Woy. The Hatpin by James Miller and (02) 4344 4737. Peter Rutherford. Phoenix The 26-Story Treehouse by Theatre. Aug 7 - 15. Phoenix Richard Tulloch, adapted from Theatre, Bridge St, Coniston. the book by Andy Griffiths and 0407 067 343. Terry Denton. A CDP Moonlight and Magnolias by Production. Aug 14 & 15, IMB Ron Hutchinson. Guild Theatre,
Just $40 a month to reach thousands of theatre goers. Contact Stage Whispers for details.
On Stage
New South Wales & Queensland
Theatre, Wollongong, 02 4224 5999; Aug 21 & 22, Laycock Street Theatre, Gosford, (02) 4323 3233.
Players Theatre, Meroo St, Bomaderry. 1300662808 (Shoalhaven Visitors Information Centre).
Mother, Wife and the Complicated Life by Amity Dry and Mark Simeon Ferguson. Popjam Productions. Aug 14. Cessnock Performing Arts Centre. (02) 4990 7134.
The Book Club by Roger Hall. Ensemble Theatre. From Aug 26. (02) 9929 0644
Don’t Dress for Dinner by Mark Camoletti and Robin Hawdon. Richmond Players. Aug 15 - 29. Richmond School of Arts. (02) 8006 6997. Ruff 1 - New Works in Progress. Make It @ Merrigong. Aug 15. Bruce Gordon Theatre, Wollongong. 02 4224 5999. Naked Bunyip Dancing by Steven Herrick. DAPA. Aug 15 29. DAPA Theatre, Hamilton (Newcastle). 0416 252 446. The Australian Ballet: The Dancers Company 2015. Includes Swan Lake Act III, Paquita, and Rimbombo. Aug 18 - 19. Civic Theatre, Newcastle. (02) 4929 1977.
The Wharf Revue 2015. Written and Created by Jonathan Biggins, Drew Forsythe and Phillip Scott. Sydney Theatre Company. Aug 26 - 29. IMB Theatre, Wollongong. 02 4224 5999. La Traviata by Sisters Grimm (Declan Greene and Ash Flanders). Belvoir / Sisters Grimm. Aug 27 - Sep 20. Downstairs Theatre. 02 9699 3444 Allo, Allo by Jeremy Lloyd and David Croft. Tamworth Dramatic Society. Aug 28 - Sep 9. Capitol Theatre, Tamworth. (02) 6767 5300.
Viva La Cabaret. Mousetrap Theatre, Redcliffe. Jul 2 - 5. 3888 3493.
Road Uniting Church, New Farm. Jul 11 - Aug 1. 3379 4775
One Act Play Festival. Noosa Arts Theatre. Jul 2 - 18. 5449 9343
Ginger Mick at Gallipoli by Stuart Morritt. Villanova Players. Auditorium, Yeronga State High School, Annerley. Jul 17 - Aug 2. 3395 5168
Beauty and the Beast by Linda Woolverton, Alan Menken, Howard Ashman and Tim Rice. Dad’s Army by Jimmy Perry & Beenleigh Theatre Group. Jul 3 - David Croft. Centenary Theatre Group. Chelmer Community 18. 3807 3922 Centre. Jul 18 - Aug 8. 0435 Alice in Wonderland by Archie 591 720 Wilson. Coolum Players. Jul 4 12. 5446 2500.
Noises Off by Michael Frayn. Arts Theatre, Brisbane. Jul 4 Aug 15. 3369 2344. Country Song by Reg Cribb. QTC. Cremorne Theatre, QPAC. Jul 4 - Aug 8. 1 800 355 528. Ballet Revolución. Concert Hall, QPAC. Jul 9 - 12. 136 246. Hotel Sorrento by Hannie Rayson. Javeenbah Theatre. Jul 10 - 25. 5596 0300.
Spamalot by Eric Idle. Music by Sweeney Todd by Brian J. John Du Prez and Eric Idle. Burton. NashTheatre, Merthyr Campbelltown Theatre Group Inc. Aug 28 - Sep 12. Town Hall The Paris Underground Cabaret. Theatre, Campbelltown. www.trybooking.com.au Madotti and Vegas. Aug 19. Cessnock Performing Arts Death and the Maiden by Ariel Centre. (02) 4990 7134. Dorfman. Sydney Theatre Company and Melbourne Ruthless! The Musical by Joel Theatre Company. Aug 28 - Oct Paley & Marvin Laird. Wyong Drama Group. Aug 20 - 29. The 10. Wharf 1. (02) 9250 1777. Wyong Grove Theatre. 1300 655 600. Mothers and Sons by Terrence McNally. Ensemble Theatre. From Aug 21. (02) 9929 0644. Hamlet by William Shakespeare. Bell Shakespeare. Aug 21 - 22, Civic Theatre, Newcastle, (02) 4929 1977; Aug 24, Laycock Street Theatre, Gosford, (02) 4323 3233; Aug 26 & 27, Glasshouse, Port Macquarie, (02) 6581 8888; Aug 29 - 31, NORPA, Lismore, 1300 066 772. Black Coffee by Agatha Christie. Theatre on Brunker. Aug 21 Sep 12. St Stephen’s Church Hall, Adamstown (Newcastle). (02) 4956 1263.
Happy Days by Samuel Beckett. QTC. Bille Brown Studio. Jul 18 Aug 15. 1 800 355 528 Candide. Music by Leonard Bernstein, book by Hugh Wheeler after Voltaire, Lyrics by Richard Wilbur, with additional lyrics by Stephen Sondheim, John La Touche, Lillian Hellman, Dorothy Parker and Leonard Bernstein. Opera Q. Playhouse, QPAC. Jul 23 - Aug 1. 136 246. Pack of Lies by David Whitmore. Sunnybank Theatre Group. Jul 24 - Aug 8. 3345 3964,
Queensland Songs From Broadway. Tweed Theatre Co. Until Jul 28. 1800674414. Sleeping Beauty by Natalie Trengrove & Jim Fury. Arts Theatre Brisbane. Until Aug 15. 3369 2344. Funny Money by Ray Cooney. Cairns Little Theatre. Rondo Theatre, Cairns. Until Jul 4. 1300855835 Peter Pan. Ballet by Trey McIntyre. Qld Ballet. Playhouse, QPAC. Until Jul 11. 136 246. Dirty Dancing by Eleanor Bergstein. John Frost. Lyric Theatre, QPAC. Until Jul 19. 136 246.
Noises Off by Michael Frayn. Nowra Players. Aug 22 - Sep 5. Advertise your show on the front page of www.stagewhispers.com.au
Stage Whispers 71
On Stage
Queensland & Victoria
Ariel Dorfman’s psychological thriller Death and the Maiden, starring Susie Porter (pictured), Eugene Gilfedder and Steve Mouzakis, a co-production between the Melbourne Theatre Company and the Sydney Theatre Company, opens on Thursday 23 July at Southbank Theatre, The Sumner before travelling to Sydney for a season at Wharf I Theatre from Friday 28 August.
Private Lives by Noel Coward. Gold Coast Little Theatre, Southport. Jul 25 - Aug 15. 5532 2096. Anything Goes by Cole Porter. Original book by P.G. Wodehouse & Guy Bolton and Howard Lindsay & Russel Crouse. New book by Timothy Crouse & John Weidman. John Frost/Opera Australia. Lyric Theatre, QPAC. From Jul 28. 136 246.
Incinerator Theatre, Ipswich. Aug 7-9. 3812 3450
Playhouse, QPAC. Aug 21 -29. 136 246.
Her Majesty’s Theatre, Melbourne. 132 849.
A Funny Thing Happened On The Way To The Forum by Stephen Sondheim, Burt Shevelove and Larry Gelbart. Phoenix Ensemble, Beenleigh. Aug 7 - Sep 5. 3103 1546.
Mort by Terry Pratchett. Arts Theatre, Brisbane. Aug 22 - Oct 3. 3369 2344.
Anything Goes. Music and lyrics by Cole Porter. John Frost / Opera Australia. Until July 19. Princess Theatre, Melbourne. 1300 111 011.
The Long Weekend by Norman Foster. Toowoomba Repertory Theatre, Toowoomba. Aug 7 22. 4632 9797. Maximum by Natalie Abbott. La Boite Indie. Roundhouse Theatre, Kelvin Grove, Aug 1222. 3007 8600.
Blood Brothers by Willy Russell. Griffith University Musical Theatre. Burke Street Studio Theatre, Woolloongabba. Jul 30 Dracula by Bram Stoker. Shake - Aug 1 & Aug 19-22. 3735 & Stir. Cremorne Theatre, QPAC. 3224. Aug 13 - 29. 136 246. Legally Blonde by Laurence The Twelve Dancing Princesses O’Keefe & Nell Benjamin. by Jim Fury. Tweed Theatre Co, Spotlight Theatre Co, Gold Tweed Heads. Aug 15 - 30. 1 Coast. Jul 31 - Aug 22. 5539 800 674 414 4255. 7 Deadly Sins by Natalie Weir. 61st One Act Play Festival. Expressions Dance Co. Ipswich Little Theatre.
72 Stage Whispers
A Chorus Line by Marvin Hamlisch & Edward Kleban, Griffith Uni Musical Theatre. Burke St Studio Theatre, Woolloongabba. Aug 26-29. 3735 3224. Evita by Tim Rice and Andrew Lloyd Webber. Toowoomba Choral Society. Aug 28 - 30. Empire Theatre Toowoomba.
The Rocky Horror Show by Richard O’Brien. Howard Panter and John Frost. Until Jul 12. Comedy Theatre, Melbourne. 1300 889 278.
The Lion King. Music & Lyrics: Elton John & Tim Rice. Additional Music & Lyrics: Lebo The Seagull by Anton Chekhov. M, Mark Mancina, Jay Rifkin, QTC. Bille Brown Studio. Aug 29 Julie Taymor, Hans Zimmer. Continuing. Regent Theatre, - Sep 26. 1 800 355 528. Melbourne. Ticketmaster Jack & The Beanstalk by Peter North by Northwest. Adapted Pinne & Don Battye. Arts Theatre, Brisbane. Aug 29 - Nov for the stage by Carolyn Burns. Melbourne Theatre Company. 14. 3369 2344. Arts Centre Melbourne, Victoria Playhouse. Until Jul 4. World Strictly Ballroom by Baz Premiere. 03 8688 0800. Luhrmann and Craig Pearce. Birdland by Simon Stephens. Global Creatures. Continuing. Melbourne Theatre Company.
Just $40 a month to reach thousands of theatre goers. Contact Stage Whispers for details.
On Stage
Victoria
Until Jul 11. Southbank Theatre, Heights College Performing Arts Exit The King by Eugene The Sumner. 03 8688 0800. Centre. 0491 151 340. Ionesco. Geelong Repertory Children of Eden by John Caird Theatre Co. Jul 3 - 18. Hotel Sorrento by Hannie Rayson. Mordialloc Theatre Co. Inc. Until Jul 11. Shirley Burke Theatre, Parkdale. (03) 9587 5141.
and Stephen Schwartz. Cranbourne Community Theatre. July 3 - 10. 0402 197 390.
Letters Home by Joe Lui. Theatre Works and Renegade Productions. Jul 1 - 12. Theatre Works, St Kilda. (03) 9534 3388.
The Merry Widow of Bluegum Creek by Franz Lehar and Frank Hatherley. Diamond Valley Singers and Eltham Orchestras. Jul 3 - 11. Warrandyte High School Theatre. www.dvsingers.org/
Saltwater. Theatre Works and Jamie Lewis. Jul 1 - 12. Theatre Works, St Kilda. (03) 9534 3388.
Crossed Wires: A Season of One Act Plays. Tangled Up In Blue by Brad Boeson, He Said and She The Board Shorts 10 Min Play Festival. The 1812 Theatre. Jul 2 Said by Alice Gerstenberg and Interviews with Loneliness by - 4. (03) 9758 3964. Ann Wuehler Hartwell Players Time Stands Still by Donald Inc. Jul 3 - 11. Ashwood College Margulies. Williamstown Little Performing Arts Centre. (03) Theatre Inc. July 2 - 18. (03) 9513 9581. 9885 9678. The Little Mermaid Jr by John ARKstraliana: Farmer Will Swap Leahy. Eltham Little Theatre Inc. Combine Harvester For Wife + Jul 3 - 12. Eltham Performing Down Came a Jumbuck by Arts Centre, Research. 0411 713 Hugh O’Brien and Ian Austin. 095. ARK Theatre. Jul 3 - 11. Lilydale
Woodbin Theatre, Geelong West. (03) 5225 1200.
The Producers by Mel Brooks and Thomas Meehan. Altona City Theatre. Jul 3 - 18. Altona Theatre. 0425 705 550. The Female of the Species by Joanna Murray-Smith. Ballarat National Theatre. Jul 4 - 11. The Courthouse Theatre. 03 5333 5888. Cuckoo by Jane Miller. 15 Minutes from Anywhere. Jul 8 26. Fortyfivedownstairs. (03) 9662 9966. The Magic Chicken. Slapstick Comedy for Kids. Theatre Beating. Jul 8 - 12. Fairfax Studio, Arts Centre Melbourne. 1300 182 183 Cash on Delivery by Michael Cooney. Encore Theatre Inc. Jul 10 - 25. Clayton Community Centre Theatrette. 1300 739 099.
Advertise your show on the front page of www.stagewhispers.com.au
The Cripple of Inishman by Martin McDonagh. Heidelberg Theatre Company. Jul 10 - 25. (03) 9457 4117. West Side Story by Leonard Bernstein, Stephen Sondheim and Arthur Laurents. The Production Company. Jul 11 19. State Theatre, Arts Centre Melbourne. 1300 182 183. Dead Centre by Tom Holloway and Sea Wall by Simon Stephens. World Premiere | Australian Premiere Directed by Julian Meyrick. Red Stitch. Jul 14 - Aug 15. 03 9533 8083. Hamlet by William Shakespeare. Bell Shakespeare. Jul 14 - 25, Fairfax Studio, Arts Centre Melbourne, 1300 182 183; Her Majesty’s Theatre, Ballarat, Jul 27 & 28, (03) 53335888; Whitehorse Performing Arts Centre, Nunawading, Jul 29 & 30, 9262 6555; Mildura Arts Centre, Aug 1. Blood Brothers by Willy Russell. Enda Markey Production. Jul 16
Stage Whispers 73
On Stage - Aug 2. Alex Theatre, St Kilda. 132 849.
Victoria
Ruben Guthrie by Brendan Cowell. Sunshine Community Theatre Inc. Jul 24 - Aug 8. 0407802165.
Death and the Maiden by Ariel Dorfman, Melbourne Theatre Company. Southbank Theatre, The Long Red Road by Brett C. The Sumner. Jul 18- Aug 22. 03 Leonard. Jul 29 - Aug 9. 8688 0800. Fortyfivedownstairs. (03) 9662 9966. Evita by Tim Rice and Andrew
Lloyd Webber. CenterStage Steptoe and Son by Ray Galton & Alan Simpson. The 1812 Geelong. Jul 18 - Aug 1. Geelong Performing Arts Centre. Theatre. Jul 30 - Aug 16. (03) 9758 3964. Sweeney Todd: The Demon
Aug 7 - 22. Unicorn Theatre, Mt by Gerard Van Dyck. KAGE. Aug Waverley. 1300 138 645. 18 - 30. Fortyfivedownstairs. (03) 9662 9966. Supersense. A hypersensory journey for the curious and the bold that explores music, film, dance, performance art, sound and light. Curated by performer Sophia Brous in collaboration with the Asian Performing Arts Program. Aug 7 - 9. Arts Centre Melbourne.
Gurrumul: The Gospel Songs. Aug 8. Arts Centre Melbourne, Barber of Fleet Street by Women in War by Tassos Stephen Sondheim and Hugh Ioannides and Deborah Parsons. Hamer Hall. 1300 182 183. Wheeler. Victorian Opera. Jul 16 Artek Productions in association Conversations with the Gods - 25. Playhouse, Arts Centre with Arts Centre Melbourne. Jul about their Deaths & Other Matters. Written & performed Melbourne. 1300 182 183. 30 - Aug 1. Arts Centre by James McCaughey. Aug 12 Melbourne. 1300 182 183. The Wisdom of Eve. Theatre 16. Fortyfivedownstairs. (03) Works. Jul 20 - 26. Theatre Yours The Face by Fleur 9662 9966. Works, St Kilda. (03) 9534 Kilpatrick. Theatre Works and 3388. Quiet Little Fox in partnership The Dead Twin by Chi Vu. with the VCA. Jul 30 Aug 9. Footscray Community Arts Something to Hide by Leslie Theatre Works, St Kilda. (03) Centre and Theatre Works in Sands. Frankston Theatre Co. Jul partnership with the VCA. Aug 24 - Aug 2. Mt Eliza Community 9534 3388. 12 - 22. Theatre Works, St Kilda. Kindness by Bridget Mackey. Centre. 1300 665 377. (03) 9534 3388. Legally Blonde. Music & lyrics by Theatre Works in partnership with the VCA. July 30 Aug 9. Doubt: A Parable by John Laurence O’Keefe and Neil Theatre Works, St Kilda. (03) Patrick Shanley. RL Productions. Benjamin. Book by Heather 9534 3388. Aug 13 - 22. Chapel Off Chapel. Hach. PLOS Musical Adventures in the Skin Trade. By (03) 8290 7000. Productions. Jul 24 - Aug 1. Frankston Arts Centre. 9784 1060.
Dylan Thomas. Adapted for the stage by Lucy Gough with Summer of the Seventeenth Doll Theatr Iolo. Aug 5 - 8. Fairfax Studio, Arts Centre Melbourne. by Ray Lawler. Jul 24 - Aug 7. Playhouse Players Inc. Richmond 1300 182 183. Theatrette. 0468 917 450 Lend Me A Tenor by Ken Ludwig. Peridot Theatre Inc.
74 Stage Whispers
Daddy’s Dyin ... Who’s Got The Will? by Del Shores. Lilydale Athenaeum Theatre Co.Inc. Aug 19 - Sep 5. (03) 9735 1777. The Wisdom of Eve by Mary Orr. Strathmore Theatre Arts Group. Aug 20 - 30. (03) 9382 6284. Glory Box La Revoluciόn. Finucane and Smith. Aug 20 Sep 13. Melba Spiegeltent, Collingwood. Time Stands Still by Donald Margulies. Brighton Theatre Co. Aug 20 - Sep 5. Brighton Arts & Cultural Centre. 1300 752 126. Sweeney Todd - The Demon Barber of Fleet Street by Christopher Bond. Beaumaris Theatre Inc. Aug 21 - Sep 5. (03) 9583 6896. The Mystery of Edwin Drood. Book, Music and Lyrics by Rupert Holmes. Malvern Theatre Company Inc. Aug 21 - Sep 5. 1300 131 552. Detroit by Lisa D’Amour. Victorian Premiere. Red Stitch. Aug 25 -Sep 26. 03 9533 8083.
The Weir by Conor McPherson. Melbourne Theatre Company. Betrayal by Harold Pinter. Aug 14 - Sep 26. Arts Centre Melbourne Theatre Company. Melbourne, Fairfax Studio. 1300 Southbank Theatre, The 182 183. Sumner. Aug 26 - Oct 3. 03 Pride and Prejudice by Jon Jory, 8688 0800. adapted from the Jane Austen Bad Jews by Joshua Harmon. novel. Skin Of Our Teeth Aleksandar Vass & Vass Theatre Productions. Aug 14 - 29. Group. Aug 27 - Sep 13. Alex Shenton Theatre. 0409389461. Theatre, St Kilda. Finding Centre. Trisha Dunn. 20: 21. The Australian Balet. Aug 14 & 15. Gasworks Arts Aug 27 - Sep 5. State Theatre, Park. (03) 9699 3253. Arts Centre Melbourne. 1300 Grief and the Lullaby by Patrick 182 183. McCarthy. Theatre Works and 84 Charing Cross Road by James Fabricated Rooms in partnership Roose Evans. Mordialloc Theatre with the VCA. Aug 14 - 23. Co. Inc. Aug 28 - Sep 12. Shirley Theatre Works, St Kilda. (03) Burke Theatre, Parkdale. (03) 9534 3388. 9587 5141. Nice Work If You Can Get It. Lost In Yonkers by Neil Simon. Music and lyrics by George and Eltham LittleTheatre Inc. Aug 28 Ira Gershwin. Book by Joe - Sep 12. Eltham Performing DiPietro. The Production Arts Centre, Research. 0411 713 Company. Aug 15 - 23. State 095. Theatre, Arts Centre Melbourne. Masterclass by Terrence 1300 182 183. McNally. Left Bauer Productions. Picnic. Conceived, choreographed and performed
Just $40 a month to reach thousands of theatre goers. Contact Stage Whispers for details.
On Stage
Victoria, Tasmania & Western Australia Repertory Theatre Society. Aug 14 - 21. Playhouse Theatre. 6234 5998.
Actor and comedian Roz Hammond (pictured) will bring Madame Arcati to life in all her madcap, outlandish glory, alongside WA favourites Adam Booth, Adriane Daff, Michelle Fornasier, Ella Hetherington, Michael Loney and Jo Morris in Black Swan State Theatre Company’s production of Noël Coward’s Blithe Spirit, at the Heath Ledger Theatre, State Theatre Centre of WA from Saturday 18 July to Sunday 9 August 2015. Photo: Robert Frith (Acorn Photo).
Dylan Thomas: Return Journey. Merrigong Theatre Company and Richard Jordan Productions. Aug 26 - 28. Backspace, Theatre Royal, Hobart. (03) 6233 2299. Western Australia Wicked by Stephen Schwartz and Winnie Holzman. Gordon Frost Organisation. Until Jul 18. Crown Theatre, Perth. Ticketek 132 849. The Real Thing by Tom Stoppard. GRADS and Stirling Players. Until Jul 4. Stirling Theatre, Morris Place, Innaloo. www.trybooking.com/129805 The Gruffalo’s Child by Tall stories, adapted from the book by Julia Donaldson and Axel Scheffer. CDP. Until Jul 5. Sequel to The Gruffalo. Heath Ledger Theatre, State Theatre Centre of Western Australia. 132 849 or 6488 5555. The Boat Goes Over the Mountain by Andrew Hale. Happy Dagger Theatre. Jul 1 - 4. Features Andrew Hale and Craig Williams. Subiaco Arts Centre. 132 849. Desperately Young At Heart by Robert Hoffman. Perth Theatre Trust. Jul 3-4. On its way to Edinburgh Fringe Festival. His Majesty’s Theatre, Hay St, Perth. 132 849.
Sep 1 - 13. Fortyfivedownstairs. (03) 9662 9966. Tasmania Jane Eyre by Charlotte Bronte. Hobart Repertory Theatre Society. Until Jul 4. Playhouse Theatre. 6234 5998. Mother by Daniel Keene. If Theatre Production. Starring Noni Hazlehurst. Jul 14, Devonport Entertainment & Convention Centre, (03) 6420 2900. Jul 16 - 18, Theatre Royal, Hobart, (03) 6233 2299.
I Love You, You’re Perfect, Now Change. Book and lyrics by Joe DiPietro and music by Jimmy Roberts. Allan Jeffrey and Leiz Moore in association with The Show Company. Jul 16 - 22. Playhouse Theatre, Hobart. 6234 5998. Perplex by Tom Holloway. Blue Cow Theatre. Jul 23 - Aug 1. Backspace, Theatre Royal, Hobart. (03) 6233 2299. Freckleface Strawberry The Musical. Stage Right Youth
Theatre. Aug 4 - 6. Princess Theatre, Launceston. (03) 6323 3666.
Terry Pratchett’s Maskerade. Adapted by Stephen Briggs. Arena Arts. Jul 3-18. Discworld fantasy directed by Simon James. LC Theatre, Belmont. www.arenaarts.com.au
Blueback. Based on the book by Tim Winton. Spare Parts Puppet The Possum by Sean Munro. Theatre. Jul 4-18. celebration of Mudlark Theatre Company. Aug WA coastline. Spare Parts 6 - 8. Earl Arts Centre, Puppet Theatre, Fremantle. Launceston. (03) 6323 3666. 9335 5044. Australia Day by Jonathan Storm Boy by Tom Holloway. Biggins. HIT Productions. Aug 7 Barking Gecko Theatre & 8. Theatre Royal, Hobart. (03) Company. Jul 8-11. Return 6233 2299. season of familiar story. Heath On Our Selection. Based on the Ledger Theatre, State Theatre stories of Steele Rudd, adapted Centre of WA. 132 849. by Rod Anderson. Hobart
Advertise your show on the front page of www.stagewhispers.com.au
Stage Whispers 75
On Stage Gruesome Playground Injuries by Rajiv Joseph. Playlovers. Jul 10 - 25. Hackett Hall, Floreat. 0415 777 173. Inside Job by Brian Clemens. Melville Theatre. Jul 10 - 25. Melville Theatre, Stock Rd, Palmyra. 9330 4565. Bugsy Malone. Book by Alan Parker, music and lyrics by Paul Williams. Phoenix Theatre. Jul 10-19. School holiday musical. Phoenix Theatre, Memorial Hall, Hamilton Hill. trybooking.com The Marriage of Figaro by Mozart. West Australian Opera. Jul 14 - 25. Traditional opera with a twist. His Majesty’s Theatre, Hay St, Perth. 132 849.
Western Australia & South Australia
1917. Marloo Theatre, Greenmount. 9255 1783. Cranky Bear by Nick Bland. University Theatres and Patch Theatre Company. Jul 18. Show for 4-8 year olds. Octagon Theatre, University of Western Australia. www.ticketsWA.com.au Blithe Spirit by Noel Coward. Black Swan State Theatre Company of WA. Jul 18 - Aug 9. Classic play about spectral action/ State Theatre Centre of WA, Northbridge. 132 849. Ballet Revolucion. Cuban dance theatre. Jul 21-26. Regal Theatre. 132 849.
Hoedown at the Civic. Murray Music and Drama Club. Jul 31 Aug 8. Country and western themed entertainment. Pinjarra Civic Centre. 0458 046 414. The Ballad of Pondlife McGurk. Barking Gecko and Windmill Theatre Productions. Aug 1. Show for 7-12 year olds. Dolphin Theatre, University of Western Australia. www.ticketsWA.com.au Dirty Dancing by Eleanor Bergstein. Aug 5-23. Based on the film. Crown Theatre, Perth. 132 849.
Disney’s High School Musical. Based on Disney Channel Be Your Self. Perth Theatre Trust Original Movie. Australian Picasso at the Lapin Agile by and ADT. Jul 24 - 27. Exploring Performing Arts Network. Aug 6 Steve Martin. KADS. Jul 17 what makes you. State Theatre - 8. Guest stars Lisa Adam and John O’Hara. Regal Theatre. 132 Aug 8. Chance meeting of Pablo Centre of WA. 132 849. 849. Picasso and Albert Einstein. Wolf Lullaby by Hilary Bell. Old Speaking in Tongues by Andrew KADS Town Square Theatre, Mill Theatre. Jul 31 - Aug 15. Bovell. Wanneroo Repertory Kalamunda. 9257 2668. Australian drama. Old Mill Club. Aug 6 - 22. Australian Basin Street Blues. Darlington Theatre, South Perth. 9367 play. Limelight Theatre, Theatre Players. Jul 17 - Aug 8. 8719. Wanneroo. 9571 8591. Musical set in New Orleans, Popstars by Neil Gooding and Nicholas Christo. Flametree Theatre Company and St George’s Anglican Grammar School. Aug 6 - 8. 90s musical. State Theatre Centre of WA.132 849. Hamlet by William Shakespeare. Perth Theatre Trust. Aug 12 15. Dark acts result in darker consequences. State Theatre Centre of WA, Northbridge. 132 849. Peter Pan by J.M. Barrie. Helena College. Aug 20 - 22. Fantasy. Helena College Performing arts Centre. Bookings via the College. Cloudstreet by Tim Winton adapted by Nick Enright and Justin Mojo. Midnite Youth Theatre Company. Aug 20 - 22. Abridged version - based on the novel. Studio Underground, State Theatre Centre of WA, Northbridge. 132 849. Steel Magnolias by Robert Harling. Kooliny Arts Centre. Aug 21 - Sep 5. Koorliny Arts Centre. 9467 7118. 76 Stage Whispers
The Mill on the Floss by George Elliot adapted by Helen Edmundson. WAAPA - Second Year Acting Students. Aug 2127. Based on the novel. The Roundhouse Theatre, WAAPA, Mt Lawley. 9390 6895. One Act Season by various authors. Garrick Theatre. Aug 21 - 22. Garrick Theatre, Guildford. 9378 1990. Carrie the Musical by Michael Gore, Dean Pitchford and Lawrence D. Cohen. WAAPA Third Year Music Theatre Students. Aug 22 - 29. Based on the novel by Stephen King. Geoff Gibbs Theatre, WAAPA, Mt Lawley. 9390 6895. The Mars Project by Will O’Mahoney and students. WAAPA - Third Year Acting Students. Aug 22 - 27. Explores the real life Mars One Project. Rehearsal Studio 2, State Theatre Centre of WA, Northbridge. 132 849. Rogers, Hammerstein and Rogers and Hammerstein. Roleystone Theatre, Aug 29. Gala concert. Roleystone Theatre, Brookton Hwy, Roleystone. 9367 5730. South Australia Mary Poppins. Music & Lyrics: Richard M. Sherman, Robert B. Sherman, George Stiles, Anthony Drewe. Book: Julian Fellowes. Based on stories by P.L Travers, and the Disney film. Matt Byrne Media. Jul 2-18, Arts Theatre. Jul 23-Aug 2. Shedley Theatre. 8262 4906 or BASS. God of Carnage by Yasmina Reza. Barossa Players. Jul 3-5. Barossa Arts & Convention Centre. Ticketmaster. Bear With Me by David Megarrity. Jul 7-18. Space Theatre. BASS Hip Hop Harry by Malcolm Harslett. Jul 8-11. Star Theatres. 8234 1800. The Wizard of Oz by Frank Baum, adapted for stage by Jeanette Jaquish. Tea Tree
Just $40 a month to reach thousands of theatre goers. Contact Stage Whispers for details.
On Stage Players. Jul 9-11. Tea Tree Players Theatre. 8289 5266. Broadway for Kids. Adelaide Youth Theatre. Jul 14. Star Theatres. 8234 1800. The Fairies ‘Fairy Dancing Girl’ Tour 2015. Country Arts SA. Jul 15. Hopgood Theatre. 08 700 944 00. Jesus Christ Superstar by Andrew Lloyd Webber and Tim Rice. Scotch College. Jul 29 Aug 1. Scotch College. www.scotch.sa.edu.au Einstein and The Polar Bear by Tom Griffin. St Jude’s Players. Aug 6-15. St Jude’s Hall. www.stjudesplayers.asn.au Flapper-A Roaring 20’s Musical by Tim Kelly. Hills Youth Theatre. Aug 8 - 16. Stirling Community Theatre. hillsyouththeatre.com The Book of Loco by Alirio Zavarce. Windmill Theatre. Aug 14-22. SpaceTheatre. http:// www.bass.net.au/events/thebook-of-loco.aspx The Cowgirl and The Showgirl by Libby O’Donovan and Beccy Cole. Country Arts SA. Aug 15. Hopgood Theatre. 08 700 944 00. The Lion in Winter by James Goldman. Therry Dramatic Society. Aug 19 - 29. The Arts Theatre. 8358 3018 then from August 17 call 8410 5515. New Zealand Hairspray. Book by Mark O’Donnell & Thomas Meehan. Music by Marc Shaiman. Lyrics by Scott Wittman & Marc Shaiman. Based on the New Line Cinema film written and directed by John Waters. Whangarei Theatre Company. Until Jul 4. 09 438 8135 Mamma Mia! by Catherine Johnson, Benny Andersson and Bjorn Ulvaesus. Hamilton Operatic Society. Until Jul 4. Founders Theatre. Ticketek. Rupert by Shelagh Stephenson. Auckland Theatre Company. Until Jul 19. Q, 305 Queen St. 09 309 3395.
the beautiful ones by Hone Kouka. Until Jul 11. Circa 1 Theatre, Wellington. 04 801 7992. Dirty Dusting by Ed Waugh & Trevor Wood. Feilding Little Theatre Players. Until Jul 11. Midsummer (A Play with Songs) by David Greig and Gordon McIntyre. Centrepoint Theatre, Palmerston North. Until Jul 11. 06 354 5740. Eight Gigabytes of Hardcore Pornography by Declan Greene. Silo Theatre. Until July 11. Q, 305 Queen St, Auckland. 09 309 9771. Nunsense by Dan Goggin. Rotorua Musical Theatre. Until Jul 11. Casa Blanca Theatre. Ticketmaster. Pygmalion by George Bernard Shaw. Butterfly Creek Theatre Troupe. Jul 2 - 11. Muritai School, Lower Hutt. Yours Truly… A Jack the Ripper Story by Albert Belz. Backyard Theatre. Jul 8 - 18. Gryphon Theatre, Wellington. 0508 iTICKET (484-253). The Ugly One by Marius von Mayenburg, translated by Maja Zad. Jul 9 - Aug 8. Circa Theatre, Wellington. 04 801 7992. Antony & Cleopatra by William Shakespeare. ProperJob Productions. Jul 9 - 18. Te Manawa Museum of Art, Science and History, Palmerston North. 0212429766. The 21st Narcissus by Sam Brooks. BATS Theatre. Jul 10 25. The Propeller Stage at BATS Theatre. 04 802 4175 How To Catch a Grim Reaper by Helen Vivienne Fletcher. BATS Theatre. Jul 10 - 25. The Propeller Stage at BATS Theatre. 04 802 4175.
South Australia & New Zealand Invercargill Musical Theatre. Jul 10 - 21. Civic Theatre, Invercargill. Ticket Direct.
Company. Aug 1 - 15. Off Broadway Theatre. iTicket.
Monty Python’s Spamalot by Eric Idle and John Du Prez.. Nelson Musical Theatre. Jul 17 Aug 1. iTicket.
Grease by Jim Jacobs and Warren Casey. Kirwee Players. Aug 7 - 15. Kirwee Community Hall, Canterbury. 0800 BUY TIX (289 849).
Between Two Waves by Ian Birthrights by David Williamson. Meadows. Aug 4 - 15. Herald Howick Little Theatre, Auckland. Theatre, Auckland. 09 970 Jul 11 - Aug 1. 534 1406. 9700.
The Wedding Singer. Music: Matthew Sklar Lyrics: Chad Beguelin. Book: Chad Beguelin & Tim Herlihy. Harlequin Musical Theatre. Jul 18 - Aug 1.
The Hound of the Baskervilles by Stephen Canny and Clive Nicholson. Fortune Theatre, Dunedin. Aug 8 - Sep 5. 03 477 Love off the Shelf by Roger Hall. 8323. Frankenstein by Nick Dear, Jul 23 - Aug 1. Theatre HB at The Playhouse, Hastings. 0800 based on the novel by Mary BUY TIX (289 849). Shelley. Aug 8 - 29. Centrepoint Theatre, Palmerston North. 06 Go Back for Murder by 354 5740. Agatha Christie. The PumpHouse Theatre, Auckland. Jul 23 - Aug 1. (09) 489 8360.
Louisa May Alcott’s Little Women. Adapted for the The Hound of the Baskervilles by stage by Emma Reeves. Wellington Repertory Theatre. Arthur Conan Doyle, adapted Aug 12 - 22. Gryphon Theatre, for the stage by Clive Francis. Wellington. 04 479 3393. Circa Theatre. Jul 24 - Aug 29. Circa 1, Wellington. 04 801 Jesus Christ Superstar by Tim 7992. Rice and Andrew Lloyd Webber. Tauranga Musical Theatre. Aug Lysistrata by Aristophanes, 14 - 29. Westside Theatre. adapted by Michael Hurst. iTicket. Auckland Theatre Co. Jul 30 Aug 23. Q, 305 Queen St, Auckland. 09 309 3395.
Hairspray by Marc Shaiman, Scott Wittman, Mark O’Donnell and Thomas Meehan.. Gore Musical Theatre. Jul 31 - Aug 8. SBS St James Theatre, Gore. iTicket. Curtains. By Rupert Holmes, John Kander, Fred Ebb and Peter Stone. Papakura Theatre
Mamma Mia! by Catherine Johnson, Benny Andersson and Bjorn Ulvaesus. Abbey Musical Theatre. Aug 14 - 29. Regent on Broadway. 06 3579740. Snip/Bonking James Bond by April Phillips. Tauranga Repertory Society. Aug 26 - Sep 12. 16th Avenue Theatre. 0508 484 253.
Auditions
The First 7500 Days of My Life by Uther Dean. BATS Theatre. Jul 10 - 25. The Propeller Stage at BATS Theatre. 04 802 4175. The Phantom of the Opera by Andrew Lloyd Webber, Charles Hart and Richard Stilgoe.
Advertise your show on the front page of www.stagewhispers.com.au
Place your audition notice in our next edition. Email stagews@stagewhispers.com.au or call (03) 9758 4522
Online extras! Check out all the latest auditions online. Scan the QR code or visit www.stagewhispers.com.au/auditions Stage Whispers 77
Reviews: Premieres
Legends! Photo: Jeff Busby.
Legends! By James Kirkwood. Director: Christopher Renshaw. John Frost Production. Playhouse, QPAC. Opening Night: June 2 (later touring to Sydney, Perth, Adelaide, Melbourne). STAR-DRIVEN plays have been the backbone of the commercial theatre since the days of Shakespeare. These days Broadway or the West End couldn’t survive without them, but they’re been very thin on the ground in Australia in recent times. John Frost is redressing the situation by starring the Mills sisters, Hayley and Juliet, in a play about two aging downon-their-luck cinema divas, who want to kick-start their careers on Broadway. Hayley and Juliet have the street cred (movies, TV and stage), star personalities, and they’re now actors of a ‘certain age’ - a perfect combination for James Kirkwood’s slightly dated play, which deals in bitchy repartee, gossip and theatrical one-upmanship. Leatrice Monsee (Hayley) and Sylvia Glenn (Juliet) let the fur fly and scratch and claw like cats in a whorehouse, but it’s all on the surface because underneath they’re just two lonely old broads. And that’s the clincher. Legends is a comedy with heart. Juliet gets the bitchier role and a multitude of laughs, but Hayley gets the second-act pathos. Whether knocking back gin on-the-rocks, scoffing hashbrownies, or remembering their good-old-days, together they’re a hugely enjoyable double-act. Leah Howard was a riot as the stereotypical non-PC “Mammy” maid, whilst David Denis with his Chippendale strip-routine added a much needed sizzle to the plot. Maxwell Caulfield as the fast-talking, but hollow-promises 78 Stage Whispers
agent did a splendid job of acting alone. His accents and comic timing were particularly adept, especially the secondact opener when he’s juggling three different pay-phones at once, and his hash-brownie blitz was slapstick funny. Peter Pinne The Exonerated By Jessica Blank and Erik Jansen. Directed by Andrei SchillerChan. Chapel off Chapel. May 20 - June 7. GREAT theatre is exhilarating and transcendent. The Exonerated is a harrowing but ultimately uplifting play. Six prisoners, who were innocent but sat on death row for years, tell their true stories simply and without histrionics. Producer/Director Andrei Schiller-Chan has assembled a superlative ensemble of ten actors and then directed them with taste and passion and with a confidence that belies his lack of theatre experience. He has drawn from his cast exceptional performances that come from truth. Garikai Jani, a mountain of a man, plays the artist, the poet caught in the wrong place at the wrong time. He is powerful and charismatic, yet full of gentle spirituality. Jordan Armstrong, the heartbreaking innocent suspected of being gay and thus brutalised in prison is superb. Vuyo Loko, as a successful man whose career and future were stripped from him in a wrongful conviction is full of authority and equally superb. Are you seeing a pattern here? Diana Brumen plays a variety of roles, all of them beautifully drawn and tempered with honesty is also superb. Karla Hillam is stunning as the hippy who forgives
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and tries to give something back in her husband’s name Noray Mohammed, a man with the sad and defeated eyes of someone who has given up on life and yet somehow, deep inside, still believes in miracles. Joseph Green, as the hillbilly who is tricked into believing perhaps he actually did kill his parents, is wonderful. Ben Taylor, in a variety of roles - all of them calling for very different characterisations - is fabulous. Sam Lavery is a skilled actor who impresses in each of his roles. Noelle Roeg is both beautiful and talented and totally convincing throughout. It’s an exemplary cast. Travis McFarlane has given us a lighting plot that is integral to the storytelling. I can’t speak highly enough of his understanding of the text, and the emotional depth of his lighting. Hanna Read’s set is masterful. Paul Raine’s sound, including the background effects, is perfect. Superb theatre! Coral Drouyn
repeated a little more. But this musical has the best shot yet of grabbing the mantle of greatness. David Spicer
Timeshare By Lally Katz. Malthouse Theatre. Director. Oliver Butler. Merlyn Theatre. April 23 - May 17. THIS ridiculously funny work is riddled with cliché and infused with strange surrealist unreality and imagery. Mother Sandy (Marg Downey) and Daughter Kristy (Brigid Gallacher) are at a non-specific resort, somewhere on the International Date Line in the Pacific. Timeshare is a well-crafted, funny and weirdly quirky work that surprises with a compelling exposition. This is unanticipated and gratifying as it adds rich dimension to a kooky but already satisfying work. The whole, with all its anomalies, is well honed and effectively and efficiently managed by director Oliver Butler. There can be no doubt Ned that he gets Katz’s fleeting imagination and entrancingly Music and Lyrics by Adam Lyon. Book by Anna Lyon. Book light touch. and Set Design by Marc McIntyre. Directed by Gary Young. Marg Downey manages a difficult role capably and Ulumbarra Theatre Bendigo. May 21 - 30. convincingly. Brigid Gallacher shines and elicits much QUITE simply, this is the best completely original, laughter in her contrasting roles of dutiful and somewhat entirely Australian musical ever. long suffering daughter Kristy and passionate and It opens with Ned being prepared for execution. ambitious dancer Maria. Fayssal Bazzi is fabulous as Juan, Flashing back to his childhood, a boy is given a sash as a the Latin tour guide, but not quite as convincing as Gary, reward for saving a drowning friend. A father is led away to Sandy’s straight and well-meaning son. All performers are prison. A single mother has to raise a large family in required to have their characters waft away into light and oppressive conditions. Up against it, Edward Kelly is driven lyrical song. All the singing is enjoyable but Bert Le Bonte’s through circumstance to become an outlaw. voice enchants. Yet despite this being such a swashbuckling cops and Music by Jethro Woodward is great, while Dale robbers “boys’ story” the female characters are given Ferguson’s set allows for all the changes and nuances of tremendous scope. atmosphere that are skillfully achieved by Paul Jackson’s The women dominate probably the best song in the enriching lighting design. musical, the haunting ballad No Way Back. Great fun - a really enjoyable production. The style of the music is traditional Broadway melody Suzanne Sandow with an Irish Folk flavour. And there were no short-cuts on stage. The set (Mark Boys Will Be Boys McIntyre) was striking, the costumes (Emily Barrie) were By Melissa Bubnic. Sydney Theatre Company. Wharf 2 evocative, the lighting (Rob Sowinski) was haunting and the Theatre. Apr 16 - May 9. orchestrations were lush. CONFRONTING, visceral, brutal, this play exposes every Local Bendigo performer Nelson Gardner portrayed Ned dirty trick played by unscrupulous men in power - and every with sensitivity and humour. His final stand inside the demeaning sacrifice women might make as they try to win armour was evocative. The Kelly Gang - Brent Trotter as “in a boy’s world”. Steve, Connor Crawford as Joe and Robert Tripolino as Dan, Brechtian in style, it challenges performers and audience were charismatic. alike. There is bad language, near nudity, a suggestive sex Another fascinating male role is that of the villain scene and harsh bullying. Melissa Bubnic’s writing is cutting Fitzpatrick (Nick Simpson-Deeks). Penny Larkins was stoic as edge. She makes her point with sledge hammer tactics and Ned’s mother Ellen, whilst Ned’s sisters Kate (Hannah exaggeration. But is it exaggerated? Fredericksen) and Maggie (Alana Tranter) grabbed their Without tough, tight direction and fast, impeccable moments with both hands. action, the stinging impact of the play would be lost. The Having listened to most of the famous full book all female cast works at a stiletto-striding pace, to push past Australian written musicals (excluding jukebox musicals), shock and disbelief. “We’re used to seeing despicable men and representing a number of them as a theatrical agent, I behaving badly. What we’re not used to is despicable can’t think of one that is so satisfying on every level. women behaving like men.” (Paige Rattray, director). This of course does not mean that Ned is guaranteed to Danielle Cormack plays Astrid, who believes that to be a commercial success. It can still be further tweaked. succeed you have to act like a man but look sexy and Perhaps the dialogue can be trimmed and the best tunes available. Cormack plays her with harsh, brittle alacrity, moving easily from aggressive trader to sexy cabaret singer. Longer versions of many reviews can now be found at www.stagewhispers.com.au
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Tina Bursill is brutal as Arthur. Tall and statuesque, she carries the character of the ‘top suit’ with haughty elegance, malice in every expression and every controlled stiletto step. Naïve trainee Priya is played by Sophia Roberts, and Meredith Penman plays Isabelle, a prostitute who brings some redeeming softness to the play. The play ‘digs’ at male nepotism through Harrison, the office ‘wimp’, played by Zindzi Okenyo. Describing the second character she plays, bravely, would give away one of the more shocking scenes of the play … Clever design (set David Fleischer, lighting Ross Graham) allows the action to move from office to night club without marring the split second action. Beautifully tailored suits and glittering leotards are worn with elegant ease. This play raises issues some won’t admit - and others still refuse to believe! Carol Wimmer My Way - A Musical Tribute to Frank Sinatra Conceived by David Grapes and Todd Olson. SUPA North. Director: Paul Belsham. Ballina RSL. May 15 - 23. MAKING its Australian Premiere, My Way is consists of 50 songs associated with Frank Sinatra’s long and colourful career. Performed by an ensemble cast of five and a trio of musicians this was a great night’s entertainment. Ballina RSL’s Vicki Veitch had gone to a lot of trouble to convert one of the club’s function rooms into a cosy, Black and White themed nightclub, complete with “Sinatra” drink coasters, the perfect showcase for this wonderful show. The production team of Paul Belsham, Musical Director Dean Doyle and Choreographer Tim Roberts created a lively, toe-tapping trip down memory lane. In the dual role of M.D. and leading man, Doyle lead the performers, Lee Millward, Brian Pamphilon and Tahnee Arnold, through hit after hit, enhanced by dance breaks with Tahnee and Tim. Accompanying the singers was pianist Narelle Harris, bass-player Hudson Birden with Paul Belsham on drums. The ambience of the room and the quality of the performance is something that will linger for many years to come. Roger McKenzie
Online extras! Check out our behind the scenes video of My Way. Scan the QR code or visit https://youtu.be/qpYr4Zxe98Q Between Heaven and Her By Dodo Gombár, translated from Slovak by Danica Haláková. Auto Da Fe Theatre Company Production. La Mama, Carlton (VIC). May 6 - 17. A ‘TECHNICIAN’ (Majid Shokor) finds a play text on a chair… and begins to read… and thus becomes our ironic Narrator for all that follows. He is joined by two accomplished and attractive actors Katherine Innes and Reece Vella - who give us twelve variations on desire: from the Garden of Eden to the couple 80 Stage Whispers
who’ve just met, to the couple who need games to spice things up, to the couple in old age and so on. There is a distinct Eastern European feel to this show: whimsical, philosophical, poetic, a touch of world-weary, non-judgmental but sometimes coldly objective. The roles of ‘Man’ and ‘Woman’ require courage in portraying such naked emotion and vulnerability. Ms Innes and Mr Vella are fully up to the challenge and the swift changes in mode, mood and persona - teasing, uncertain, angry, desperate. These are actors to watch. Mr Shokor, however, an actor of compelling presence, twice nominated for a Green Room Best Actor Award, sometimes lacks clarity and that mars the Narrator’s complex and nuanced little speeches - a sad loss because they are the glue that holds it all together and are the voice of the playwright himself. Nevertheless, Between Heaven and Her provides an exotic take and salient insight into ‘the mating game’ - a refreshingly different and brave evening of theatre. Michael Brindley Closure By Ron Blicq. Director: Gary Kliger. Centenary Theatre Group. Chelmer Community Centre, Brisbane. May 9-30. CANADIAN based English writer Ron Blicq got the idea for Closure when he heard a BBC radio documentary about men and women in the UK whose mothers had a relationship with Canadian servicemen during World War 2 and who now wanted to find their fathers to seek ‘closure’. Donald Barlow has discovered his father is still alive and seeks help from a Dutch agency to find him, against the wishes of his wife Daphne. Donald’s daughter Claire, a journalist, embarks on a “Where Are They Now” magazine series and in so doing meets her grandfather, Gordon Devereaux, and his wife Helen, in Canada, and with the help of her son Gordie begins to get him to open up about his WW2 experiences. Later both story strands coalesce with Donald meeting his father for the first time. Concerned young mother and tenacious career woman sat comfortably in the hands of Simone-Marse Dixon as Claire, the journalist daughter, whose performance was the best in the show. Matching her in strength was Debra K. Chambers, who brought warmth and depth to the Canadian wife Helen. Reghan Hobby, making his on-stage debut, gave life to the live-wire 9-year-old boy Gordie, whose fascination with planes helps him bond with his grandfather. Old-stager Kurt A. Lerps had his moments as the irascible grandfather, while Patrick Leo came across as a bit lightweight as the indecisive Donald. Peter Pinne The Battle of Waterloo. By Kylie Coolwell. Sydney Theatre Company. Wharf 1 Theatre. June 1- 24, 2015 IN the inner Sydney suburb of Waterloo are two toweringly unattractive public housing blocks. Playwright Kylie Coolwell is a local resident. Her aim was to make the audience look beyond perceptions of Waterloo as an entirely impoverished drug
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A Super Brady Cabaret. Photo: Belinda Strodder.
and crime riddled housing estate, and instead celebrate that they are part of a thriving community who “support each other through the myriad of challenges that being on the poverty line brings.” The first act was like a high cholesterol episode of Redfern Now. There is sex, drugs, rock n roll and flashing police sirens. In the high rise unit conditions are cramped. The feeling of living on top of each other was portrayed evocatively through having the beds, toilet and kitchen squeezed together on stage and effective placement of balconies. In the black soap opera, Ray (Luke Carroll) has just got out of prison. He tries to go down the path of rehabilitation but battles the temptations along the way. His girlfriend Cassie (Shari Sebbens) is walking the education ladder to escape the cycle of poverty. It moves at a cracking pace and there are some searing moments which will be difficult to erase from your memory. Battle of Waterloo succeeds as a piece of entertainment and it also succeeds in making you find something to like in all the characters. But as it is written as a love letter to the playwright’s community it falls a little short as a piece of drama. David Spicer A Super Brady Cabaret Written and Directed by Drew Downing and Robbie Carmellotti. Chapel off Chapel, June 3 - 14. IF you have just arrived from another planet, or are under 15, you may not know who the Brady Bunch are, but for the rest of us this non-pretentious cabaret was an absolute hoot. The Brady Bunch are on their final tour…and stopping off in Melbourne to record their last ever TV Special. The year is 1992 - and things have changed since the 70s. Mom Carol is sleeping with Greg; Dad Mike is out of the closet;
oldest daughter Marcia still thinks she’ll be a Supermodel; middle son Peter is a rampaging stud; Jan is the forgotten middle girl with a name no-one remembers; Cindy is now in her thirties and drags on a fag (of the tobacco kind) but the years of braces didn’t cure her lisp, and Bobby…well he’s still adorable though he looks like a jockey in lurex pants. In the commercial breaks, the masks are dropped and we see all the backstage bitching. Sophie Weiss (Jan) is just fabulous and very funny throughout. Kathleen Amarant (Marcia) is a triple threat who makes her mark on every entrance. Nicola Guzzardi (Cindy) is totally at ease on stage, and hilarious. Lauren Edwards is a terrific Carol/Florence Henderson with delicious comic timing. Baby-faced Thomas Bradford (Greg) does seem a little slender and under-developed to be bonking his step-mom. Still, he’s a fine talent with great appeal. Giancarlo Salamanca (Peter) is just terrific and owns the role. Dylan Licastro (a BAPA graduate) is a great performer and totally adorable as Bobby. Paul Congdon (Mike) brings authority to his “Dad” role without over-camping it. Drew Downing leads the band in some terrific numbers as well as choreographing the dance movement which is crisp and perfect for the time. This is 65 minutes of great entertainment. Coral Drouyn The Waiting Room By Kylie Trounson. Melbourne Theatre Company. Fairfax Studio, Arts Centre, Melbourne. May 15 - June 27. IF nothing more The Waiting Room is a lyrical homage by playwright Kylie Trounson to her father, IVF pioneer Alan Trounson. Our collective social history and Kylie’s personal history, in relation to the development of IVF, is placed under the microscope and framed by the music of the era. Although it touches on the down side and controversy it treads lightly there. It is not so much a play describing
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Haydan Hawkins, Kyle Sapsford, Jack Van Staveren, Toby Francis and Luigi Lucente in Dogfight. Photo: Noni Carroll.
conflict as a work describing the personal perseverance of a number of characters. Relationships are tempered with sensitivity and understanding this work is way more about people than ethics. The short scenes are mostly presented in quick and efficient succession, displaying quite some slickness in the direction by Naomi Edwards. A very strong and competent troupe of actors move deftly both physically and from character to character. Sophie Ross plays Kylie Trounson as a comfortable and genuine young woman, while Greg Stone morphs into a liberal, gentle and loving father with great, sense of humor in his portrayal of Alan Trounson and, charm as Eros. There are memorable moments of pathos such as William McInnes shuffling around PJ’s and slippers with his back to the audience representing Carl Wood in an advanced stage of dementia. Heaps to think about in this satisfying production. Suzanne Sandow
Naïve about their mission, a group of young US Marines in San Francisico, about to depart for Vietnam, have been institutionally desensitized to a point where their moral compass has shut down, as they participate in the ugly systemic misogyny of the traditional of the ‘Dogfight’ - the guy who brings the ugliest girl to the party wins the prize pool. Sensitive, transformational performances from Luigi Lucente and Hilary Cole in the pivotal roles of initially tough young Marine Eddie Birdlace and the insecure young waitress Rose lift Dogfight above ugliness and engage us with the journey. Both also have to-die-for musical theatre voices and the dramatic instincts to take us to the heart of their songs. Luigi Lucente creates an initially brash, yet intense, complex, conflicted young man. Through body language, hairstyling and costumes, the attractive Ms Cole somehow convinces us she’s plain, yet finds Rose’s radiance, and convincingly establishes her growth. Dogfight A feisty Johanna Allen fires in the high impact role of Music and lyrics by Benj Pasek & Justin Paul. Book by Peter Marcy, the outspoken call-girl one of Eddie’s buddies pays Duchan. Neil Gooding Productions. Hayes Theatre Co. May to be his date, packing a broad comic punch, and an 1 - 31. affecting edge of pathos. NATIONS have sent young men off to war, As Eddie’s marine buddies, Toby Francis and Rowan underprepared, for generations, returning them to society Witt are excellent, convincingly creating two very different unsupported, but who’d have thought someone could write young men. such a poignant, gritty, affecting rock musical about it. A small, impressive supporting ensemble cast shift in and out of a variety of roles adeptly. 82 Stage Whispers
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Director Neil Gooding, choreographer Camilla Jakimowicz, and set designers James Brown and Georgia Hopkins have crafted a taut, simple, eloquent production, using basic props to ensure a cinematic flow, in conjunction with effective lighting by Ross Graham and Alex Berrage. Elizabeth Franklin’s costumes evoke the diverse aspects of the era splendidly. Jed Silver’s sound mix ensures a balance where Isaac Hayward’s excellent rock band never overwhelms the voices, and lyrics are never lost. Neil Litchfield Birdland By Simon Stephens. Directed by Leticia Caceres. MTC. Southbank Theatre Melbourne. June 6-27 BIRDLAND, it is suggested in the program notes, is a contemporary take on “be careful what you wish for” - the corrupting cost of fame. Main character Paul is a rock singer catapulted to stardom and we watch as his career unravels. Mark Leonard Winter performed this demanding part with plenty of energy, alternately howling at the audience, freaking out at his friends, and remaining constantly perplexed at the reaction his callous indifference to their feelings provoked. Socratis Otto, as his longsuffering mate Johnny, was the focus of most of the audience’s sympathy, given Paul’s unredemptive nature. Anna Samson was very impressive in her multiple roles and particularly as Marnie, a character pivotal to the plot despite her appearance in only a couple of scenes. Bert Labonte, Peta Sergeant and Michala Banas also had multiple parts and of these, Labonte’s charged performance as Marnie’s father, Sergeant’s warm characterisation of Jenny and Banas’ comic turn as DC Richter were most memorable. It is a powerful play, confrontational in its naked depiction of utter self-absorption, but without any positive resolution - placing the audience in the uncomfortable position of sitting through two hours of watching the lead character self-destruct while he remains oblivious. Alex Paige
French muse is beautifully played by Astrid Grant, who gives Celeste strength and verve. Jacinta Larcombe gives the role of the florist a romantic fae-like air, while George Shevstov breathes mystery and charm into the ‘man with the pram’. Strong support came from Thomas Papathanassiou and Sarah Nelson playing a plethora of small roles. Nick Wales’ compositions are integral to the plot and are thoughtfully constructed. Costumes by Aurelio Costarella are clever and aesthetically lovely, while lighting (Matthew Marshall) and set (Bruce McKinven) are gorgeously atmospheric. Act One may run a fraction too long and be a little too gently paced, but otherwise is very enjoyable. A lovely ‘date night’ kind of play. Kimberley Shaw
Love and Information By Caryl Churchill. Directed by Kip Williams. Malthouse Theatre. June 12 - July 4, then Wharf 1, Sydney Theatre Company, from July 9. JUST when you thought you had seen all theatre has to offer and it was safe to go back in the water, along comes a shark by the name of Churchill to turn all your preconceptions upside down. Basically, the “play” has seven sections, which must be played in order, but within the sections are numerous scenes and a company chooses seven of these which may be played in any order, plus an obligatory end scene, 50 scenes in all - seemingly totally disconnected. There are no designated characters, no gender assigned dialogue…. just words on the page - ready for interpretation. One could be forgiven for thinking this sounds pretentious in the extreme, but this is not a play you dismiss when you leave the theatre. In fact, this is not a play you dismiss at all. There are perhaps 8 scenes in the play which tear at the heart and are unbearably moving. In a stunning funeral scene, there are two lines … when a supporter of the grieving widow says to her “I’ve never lost someone I’ve loved” (sic) and she responds “I’m sorry”. It has impact within its context - but it has far more in the middle of the night when the full import of the old adage ‘No Ecstasy The Song Was Wrong Written and directed by Melissa Cantwell. Perth Theatre without Agony’ clicks into place. Connection. Company. Studio Underground, State Theatre Centre of The other 42 scenes come and go…there are laughs a WA. June 4-20. plenty, some innovative staging, lovely performances, and, THE Song was Wrong Melissa Cantwell is a gorgeously on the surface, not a lot else. Information without context is still valid to a computer, gentle, sweetly told story, that provides much food for but it means nothing to human beings. We need a conduit, thought and is a pleasure to watch. This full-length show possibly has only fifteen minutes of a connector, an adaptor. The thing that connects us; which dialogue stretched throughout the evening and Perth makes information more than ‘Sound and fury signifying Theatre Company’s production relies strongly on nothing’ is Love - in all its definitions. Kip Williams has done an extraordinary job with his movement, striking stillness and choreography to move the action. Largely allegorical and relying strongly on metaphor, brilliant ensemble cast (Marco Chiappi, Harry Greenwood, there are many questions not firmly answered and it leaves Glenn Hazeldine, Anita Hegh, Zahra Newman, Anthony much to the interpretation of the audience. Taufa, Alison Whyte and Ursula Yovich) and the white Felix Jozeps, perfectly cast as a creative, with cubist set. This is Super and Superb theatre. Minchinesque hair, plays the central role of the pianist Coral Drouyn Christian, in a likeable, sympathetic performance. His exotic Longer versions of many reviews can now be found at www.stagewhispers.com.au
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Anything Goes. Photo: Jeff Busby.
Online extras! Check out our video of Anything Goes by scanning the QR code or visiting https://youtu.be/IzaJyeySQpc
Reviews: Musicals Anything Goes Music and Lyrics by Cole Porter. New Book by Timothy Crouse and John Weidman. Princess Theatre Melbourne, May 31 - July 14, then Brisbane and Sydney. OH what a glorious evening of perfect old-fashioned entertainment this is. Dean Bryant’s direction is classy, restrained, and just perfect. Andrew Hallsworth’s choreography is great. Bravo! Dale Ferguson’s costumes are just stunning, avoiding excessive sequins and bling. Matt Scott’s lighting is equally stunning. Michael Waters’ sound is brilliant throughout and Peter Casey’s Musical Direction of a wonderful orchestra cannot be praised enough. Add to this a cast that could immediately open on Broadway or in the West End. There simply aren’t enough superlatives for Caroline O’Connor (Reno). She is a superstar who has retained all of her triple threat skills and added to them the art of the clown, physical comedy once the realm of Lucille Ball and Betty Hutton. Even without the rest of the show she is worth double the ticket price, just for her rendition of “Blow Gabriel Blow” - or her comedy in “Friendship” with the marvellously elastic Wayne Scott Kermond (Moonface), who proves once again that when you’re born into the business, your talent just keeps getting better with age. Todd McKenney (Lord Evelyn) is a revelation in a comedy character role that he owns from his first entrance. The super talented Alex Rathgeber (Billy) with his fabulous voice and the delightful soprano Claire Lyon (Hope) are just adorable as the young lovers; Carmen Duncan (Mrs Harcourt) and Bartholomew John (Elisha 84 Stage Whispers
Whitney) bring charm and authority to their roles and young Josh Gates is a delight as The Purser. Gerry Connolly channels the great Paul Lynde to make a feast out of a “snack” in his role as the captain, and Debora Krizak (Erma) is her usual sensational self, all legs and talent, and almost stops the show. The very politically incorrect China-men are beautifully played by Nick Kong and Aljin Abella who find every comic moment while keeping their dignity and steal the finale with an encore of “Anything Goes” in Mandarin. The entire show is “oh so easy to love”. Coral Drouyn Legally Blonde Music & lyrics by Laurence O’Keefe and Neil Benjamin. WAAPA Musical Theatre Students. Book by Heather Hach. Directed by Jason Langley. Regal Theatre, Subiaco, WA. June 13-20. FEATURING Third and Second Year Musical Theatre students, with more WAAPA students in the pit and in production and creative roles, WAAPA’s annual ‘Regal Show’ is the biggest opportunity for Perth’s general public to see what WAAPA can produce. Anchored by Kate Thomas as Elle Woods, the Music Theatre class of 2015 features some excellent triple threat performers. Kate has the power to lead a show and does it with absolute flair. In a strong female line up, Taryn Ryan shows fabulous characterization, making a loveable Paulette. Matilda Moran was a beautifully elegant Vivienne, Baylie Carson
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was a gorgeously awkward Enid and Megan Kozak shone as the super-fit Brooke. The sorority sisters, come Greek Chorus, led by Tayla Jarrett, Heather Manley and Jess Phillipi were outstanding. Joel Granger merged boy-next-door with leading man as a wonderful Emmett, while Callum Sandercock mastered snobby Warner. Matthew Hyde managed the role of Professor Callahan very well, while Chris Wilcox charmed the audience in the dual roles of Kyle and Dewey. There were no weak links in the cast who were all more than fully engaged at all times and there were some delightful cameos including Daniel Ridolfi as Nikos the poolboy, Marissa Economo as murderous Chutney and Rosabelle Elliot and Alex Thompson as Belle’s parents. Set designer Steve Nolan has created a set that equals major touring productions. Moved mostly by actors and crew, transitions were smooth and it functions beautifully. Costumes, designed by Isabel O’Neill are a visual feast. Trudy Dalgleish’s lighting feels big budget and the sound design by Toni Lodge is smooth and well managed. David King’s orchestra is excellent while choreography by Lisa O’Dea is exciting and well executed. Kimberley Shaw
close to upstaging her with their introduction. Late in the show Jacqui Dwyer brings a beautiful, fresh voice to the role of Sally Simpson. Tommy often feels like little more than a series of great rock songs. That’s O.K. though, because this production often plays like a series of great rock videos. Sharing the big numbers between six choreographers only serves to enhance that. Neil Litchfield
Sondheim On Sondheim By Stephen Sondheim and James Lapine. Manilla Street Productions. Director: Chris Parker. Melbourne Recital Centre. May 23. WHEN you have eight of Australia’s top Musical performers, including a bona fide legend, words and lyrics by the greatest force in Musical Theatre in the past sixty years, plus a small but beautifully formed orchestra under a sensitive MD, the result is pure bliss for Sondheim fans. It’s also directed by Chris Parker, in his usual pursuit of excellence in all areas. The show is driven by Sondheim on video - adapted from many interviews over the years. Sondheim is a great raconteur and it was fascinating to hear him discuss his The Who’s Tommy flops as well as his hits. No-one will ever forget the Man Music and Lyrics by Pete Townsend. Book by Pete himself singing “Anyone Can Whistle” with the beautiful Townsend and Des McAnuff. Blue Mountains Musical Kellie Dickerson accompanying him live on piano. Society. Evan Theatre, Panthers, Penrith. May 27 - 31. But if Sondheim is the star, then the amazing cast TOMMY is a ‘sensation’-al high energy, multi-media comprises the planets in his orbit. It only took the first 4 rock’n’roll celebration at BMMS. Live theatre, music video bars of “Broadway Baby” for the audience to cheer Nancye and rock concert ambience meet in two pacy hours of high- Hayes’ entrance. A star in every sense of the word, there energy fun. were flashes of both Elaine Stritch and Angela Lansbury Director Jessica Lovelace’s savvy interpretation uses throughout her performance. With the wonderful Lucy technology and costuming to bridge the decades since the Maunder - who seems to be able to do anything - plus the release of The Who’s 1969 album. Sophisticated use of live talents and sensitivity of the incredible Lisa Marie Parker, video projection seamlessly blends video and stage action. and Delia Hannah singing her ample bosom off - the Pinball was the rage in the late 60s, but lightning fast female half of the cast is a triumph. ambidextrous iPhone gaming makes for a striking On the male side Martin Crewes is always a force to be contemporary parallel. reckoned with and he is ably supported by the skills of Costumes, which initially struck me as swinging 60s, are Anton Berezin and the charming tenor of Blake Bowden. in fashion again, though in somewhat shorter cuts than 60s Michael Cormick is so darned good you just want to watch versions. him all night and I have never heard him sing better. With A pulsing rock band, led from the drums by Matthew 62 songs from 19 musicals, it’s impossible to name Lovelace, drives this Tommy, with the sound design highlights - but the vocal work and harmonies throughout providing a very effective rock mix. were quite remarkable. 18-year-old Liam Gray gives a remarkably mature acting Coral Drouyn performance as the older Tommy, singing the role splendidly, and interacting effectively, visually and Spamalot emotionally, with the younger Tommys, Jonah Blackwell Book and Lyrics By Eric Idle. Music by John Du Prez. and Pedro Donoso. Directed by Jane Court. MLOC. Phoenix Theatre Elwood. Clare McCallum and Simon Dane handle the straighter June 12 - 20. roles of Tommy’s parents capably. I HAVE avoided Spamalot in the past, but I’m glad I took As the pedophile, Uncle Ernie, Craig Wynn-Jones oozes the plunge this time around. The show is a paradox. On the dark, sleazy comedy, with a grotesque nod to British Music one hand being a 14 time Tony nominee and a smash Hall. Thankfully the bully, Cousin Kevin, provides Simon Broadway hit, based on the work of one of the most iconic Halligan with an altogether lighter dark comedy, helped comedy groups in history; and conversely being a gigantic along by a bright, cheeky dance routine. urine extractor full of old gags and corny music which Melanie Driver makes much of her high-octane cameo surely has something to offend everyone (though I applaud as Acid Queen, though Emma Druett and Aarin Starkey go Longer versions of many reviews can now be found at www.stagewhispers.com.au
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its delicious political incorrectness). Oh, there is one other thing I should mention…it is abso-freaking-lutely hilarious. Jane Court has wanted to direct this for a long time and so she has thrown in everything bar the kitchen sink to make us laugh, and it’s a triumph. There are the usual community theatre problems of not everyone being equally skilled, especially where the dancers are concerned. But Choreographer Keir Jasper has mostly overcome that and MD Ian Nisbet keeps the skilled band tight at all times. Sam Marzden makes an excellent King Arthur. He’s funny, endearing, vocally strong; astonishing when you read that this is his first show ever. Lisa Nightingale (Lady of the Lake) has a great voice and loads of stage appeal. Nick Rouse handles Patsy with great comic timing; Matt Bearup is hysterical as an unlikely Lancelot; Ben Moody is extremely impressive as Sir Dennis Galahad and Jake Waterworth almost stops the show as Prince Herbert. But the undisputed star is Matthew Hadgraft….a Quadruple Threat as Sir Robin. I watched the Broadway cast on YouTube and Matt even out-Robins David Hyde Pierce. Coral Drouyn
The cast is excellently supported by a good sound mix, creating an excellent balance with musical director Anthony Cutrupi’s concealed band. Melissa Trickey’s choreography is effective on the compact Zenith stage. While I was initially impressed by a cartoon-styled set, and the attractive abstract woods which follow, the concept didn’t translate into the requisite chaos of act 2. Moments that suggest a touch of theatrical magic seem underdone. Neil Litchfield
The Music Man By Meredith Willson and Franklin Lacey. Director: Deian Ping. Musical Director: Julie Whiting. Choreography: Julianne Burke. Queensland Musical Theatre. Schonell Theatre. June 3- 8. ONE of the major strengths of Queensland Musical Theatre’s production of The Music Man was the choral work of the company. They thrilled harmonically in “Iowa Stubborn” and “The Wells Fargo Wagon”, producing a big, glorious Broadway vocal sound. Shane Webb’s robust baritone as Harold Hill added Into The Woods colour to “Ya Got Trouble” and “Seventy-Six Trombones”, By Stephen Sondheim and James Lapine. Chatswood whilst his “The Sadder but Wiser Girl for Me” was a Musical Society. Director : Leonie Cambage. Zenith Theatre, vaudevillian delight. Opposite him as the love interest Chatswood. May 1 - 9 Marian, WAAPA graduate Lauren Ashlea Fraser’s lilting IN act one a collection of fairy tale characters venture soprano soared on “My White Knight”. Together their into the woods in search of their wishes, before finding vocals excelled on the show’s most famous song, “Till There themselves in a world devoid of happy endings in act two. Was You”. Characterisations are strong, relationships credibly Connor Clarke, Zachary Vella, Guy Harvey and Livio developed, vocals excellent and the commitment to Regano harmonised well as the Barbershop Quartet and storytelling consistent in Chatswood’s production. with their female counterparts Maud Dunlop, Sally Tim Page provides strong traditional storytelling as the Kennedy, Amy Cooper, and Kristin Metzeling, made Narrator. Jamie Collette and Jessica James-Moody establish “Goodnight Ladies” and “Pick-a-Little, Talk-a-Little” one of a warm, lively rapport as the Baker and the Baker’s Wife, the first act highlights. while stamping their mark on individual acting and big The other highlight was the company whooping it up in vocal moments. Chapin Ayres’ scary-yet-wise Witch “Shipoopi” which showcased a lively routine by Julianne navigates Sondheim’s tongue-twisters to sweeping ballads, Burke. Displaying a genuine Irish brogue, Fiona Buchanan with aplomb. Alexandra de Zwart’s Cinderella combines the was the perfect Mrs Paroo, likewise Oliver Cameron’s requisite sweetness, underpinned by knowing and spunk, Winthrop who made a song-and-dance meal of “Gary with assured vocals. Indiana”. Tim Garnham’s Jack is delightfully boyish; Kate Mannix Peter Pinne balances bossiness and maternal love nicely as Jack’s Mother; Joshua Rogers pairs dash as Cinderella’s Prince Mary Poppins with sleazy assurance as the Wolf; Michaella Edelstein finds Music & Lyrics: Richard M. Sherman & Robert B. Sherman. fun and pathos as Rapunzel; Richard Woodhouse’s high Additional Music & Lyrics:. George Stiles & Anthony Drewe. camp interpretation of Rapunzel’s Prince, though, really Book: Julian Fellowes. Empire Theatres Production. Director/ leaves me wondering how they produced twins; Tisha Choreographer: Alison Vallette. Musical Director: Lorraine Kelemen is bustling and boisterous as Cinderella’s Fuller. Empire Theatre, Toowoomba. May 28 - June 7. Stepmother; Kathy Xenos and Heather Campbell give MARY Poppins is great family entertainment and this stepsisters Florinda and Lucinda a nice bitchy edge; Sarah production was great community theatre. The level of Dolan’s Little Red Riding Hood displays great energy and professionalism shown in direction, performance, lighting enthusiasm; among her multiple roles Inara Molinari and design was top-tier. Director and choreographer Alison impresses as a feisty Granny; Anthony Young is aptly Vallette delivered what has to be one of the best officious as the Steward, while Allan Royal creates a community theatre productions of the year. doddery cameo as Cinderella’s Father. Mature character Mary Poppins is not an easy musical to stage with its actor Mary Bentley plays Milky White, the cow, with multiple locations, multiple characters, plus a title character deliciously underplayed nuances. who flies, but with the help of some inventive art design by 86 Stage Whispers
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Empire Theatres’ Mary Poppins. Photo: Mary Quade.
Bill Haycock, Debra Nairn’s colourful costumes based on the originals, and Timothy Panitz’s lighting and Steve Alexander’s sound, it satisfied it’s target audience. Shannon Gralow’s Mary Poppins not only had spunk and lemon-drop tartness to her, she was adorably appealing and the epitome of P.J. Travers’ English nanny. She sang like a lark, tap-danced with frenzy, and flew up into the flies like a kite. Justin Tamblyn’s chimney-sweep Bert was a perfect partner for her, singing and dancing his heart out over London’s rooftops whilst suspended from a flying-harness. Mr Banks’ character arc from authoritative bully to pathos is one of the strengths of the show and Brendan Walmsley showed he not only ruled his household, but also the stage. Lisa Sherman (Winifred Banks), Sophie Little (Jane), and Aleksandr Little (Michael) also did excellent work. Peter Pinne Iolanthe By Gilbert and Sullivan. The Gilbert & Sullivan Society of Tasmania. Playhouse Theatre, Hobart. Director: Robet Manion. May 21 - 30. THE Gilbert & Sullivan Society of Tasmania presented Iolanthe, in a “pared back”, but high standard, entertaining production. Staunch G&S buffs may need bigger, fuller casts and ensembles but the whimsical, fast, jolly production, under the tight direction of Robert Manion, was just the ticket for this theatre-goer. The un-miked singers projected well throughout. Grace Ovens (Phyllis) was wonderful, her lovely voice and excellent
timing working well. Carole Williams was an appealing Iolanthe, and Anne Blythe-Cooper, with strong voice and impressive stage presence was the commanding Queen of the Fairies. James Bourke was a charming and fey Strephon. Director Robert Manion also filled the substantial Lord Chancellor role. Chris Hamley (Lord Tolloller) and Mark Morgan (Lord Mount Ararat) worked well together as upper -class-twits, ably supported by Nigel Kidd and Michael Topfer. Mischievous fairies Melinda Briton (Celia), Samantha James- Radford (Leila) and Anna Kidd (Fleta) dominated their scenes and. Anna Kidd also gave a hilarious performance as Helga. The ensemble/chorus work was consistently good, with lovely vocals. Lovely costumes - pretty for the fairies, lavish for Iolanthe and the Queen of the Fairies, beautiful for Phyllis and effective for the males - glowed in a dark, generally brooding lighting design. Technically, I liked the look and design of the show, and everything worked well. Merlene Abbott Hot Shoe Shuffle Story and concept by David Atkins and Max Lambert. Book by Larry Buttrose and Kathryn Riding. Birdie Productions. Bryan Brown Theatre, Bankstown. April 24 - May 2. IT was a new theatre company, inside an almost new venue and cripes the man who wrote it, is sitting in the audience right in the middle of the third row. No wonder that afterwards one of the performers burst into tears off stage. It was prompted by the standing ovation led by David Atkins at the curtain call.
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Stage Whispers 87
Daryl Somers in Birdie Productions’ Hot Shoe Shuffle. Photo: Grant Leslie (Perfect Images).
Jerry’s Girls By Jerry Herman, Larry Alford and Wayne Cilento. Gold Coast Little Theatre, Southport. Director: Kate Peters. May 15 - June 13. GOLD Coast Little Theatre has a smash hit in Jerry’s Girls, featuring some of the Coast’s most talented ladies. The show is a musical tribute to the music and lyrics of Jerry Herman, with showstoppers like ‘Hello, Dolly’, ‘Mame’, ‘I am what I am’ and ‘I Won’t Send Roses’. Bright and brilliantly dressed, this production brings back the golden era of the musical and is the perfect showcase for the talented cast to “strut their stuff”. The amazing ladies are Kirri Adams, Elisa James, Katrina Lardner, Deborah Leigh-Russell and Becky Morgan, with Teagan Beetham, Katie Grace, Erin Lardner and Abby Marchwycki dancing up a storm. Director Kate Peters has excelled with this production and the choreography of Andrew Ross-Graham has enhanced the 37 musical items of the show. A glamorous set and the ladies dripping with sequins and feathers, this is an evening not to be missed. Roger McKenzie
Moonlight Serenade Conceived and directed by Gai Byrne. Tugun Theatre Co., Gold Coast. Tugun Village Community Centre. May 14 - 30. FIRST time director Gai Byrne has put together an entertainment featuring a variety of songs and sketches covering the era from the 1930’s to 1950’s. With a beautifully dressed cast of 20, the program includes popular songs made famous by Vera Lynne, “Old Blue Eyes” and Dean Martin to name a few, and even has a section showcasing Burlesque Queen Tracey “Fleur” Lord, complete with feathered fans, and stripping down to a You are allowed to be tired and emotional after tapping couple of “doo dahs”. up a frenzy. This is the ninth different production of Hot The finale of Act 1 featured WW 2 songs presented in Shoe Shuffle that I have seen and it was as classy and front of a large Lancaster Bomber made especially for the joyous as the best of them. show by “Captain Corflute”, Mark Randle and Trevor Neve. Daryl Somers was the celebrity cast member, playing the What a striking backdrop to commemorate all those men old man Max, who tricks his sons into reviving their classic and women who served their country! tap dance. A terrific showman, he had the audience on his Mark also penned the numerous “Benny Hill” style side. sketches adding a touch of Music Hall to the proceedings. It must have been intimidating for Daryl to dance Roger McKenzie alongside such a terrific bunch of tapers. The most extreme dancer was Jay Johns as Slap. He had to do the All Shook Up murderously fast tap dance at the end of the show. Book by: Joe DiPietro. Devonport Choral Society Inc. Anchoring the musical were the steady hands and feet Devonport Entertainment and Convention Centre. Director: of Erin Bruce (April) and Luke Alleva (Spring), who would Sid Sidebotom. May 15 - 30. not have been out of place in any of the recent national DEVONPORT Choral Society’s latest production is a tours of the musical. tribute to the King, the Elvis Presley jukebox musical All The band, under the baton of Joshua Ransom, Shook Up. impressed with their clarity, the direction under Elle Zattera Director Sid Sidebottom created a tight, almost seamless managed to eke out the humour of a script that is on the production, with all disparities in age, experience, size, corny side. dancing ability and voice power overshadowed by the David Spicer* extraordinary talent available. Most of the famous Elvis songs were there: “Jailhouse Rock”, “Heartbreak Hotel”, *David Spicer Productions manages the rights to Hot “Follow That Dream”, “Blue Suede Shoes”, “Devil in Shoe Shuffle on behalf of David Atkins Enterprises. Disguise”, “Can’t Help Falling in Love”, and so on, but the main element of this show was that the cast was well 88 Stage Whispers
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rehearsed. Every cast member had “fallen in love” with the magic of the production. The large band, under the superb guidance of young musical director Bronwyn Darvell, struck the notes and pace. “Jailhouse Rock”, the first song, was a delight. Costume designer Vicki Purnell made an impact with costumes in black and white, which had the effect of unifying the wide disparity in size of the cast. The marvellous ensemble work, excellent choreography from Phoebe Wootton, and exciting design and sets were effective for the energetic cast. DCS is blessed with many powerful singers - Shayne Lowe (Sylvia), Tash Turner (Mayor Matilda) and many more, but each song was a highlight, from every cast member. Paul Wells (Chad), Laura Gillard (Natalie/Ed), Ally Douglas (Lorraine) and Alastair Yeates (Dennis) played their larger roles well, and every support role was well handled. Well done DCS - thang you, thang very much! Merlene Abbott
Saturday Night Fever The Musical Music by the Bee Gees. Adapted for the stage by Robert Stigwood and assisted by Bill Oakes. Edited by Ryan McBryde. Showbiz Queenstown (NZ). May 13 - 23. PICTURESQUE Queenstown was festooned with the iconic dancing man logo of this 1970s film turned musical and the leading man Cameron Mason is so full of beans it looked like he had leapt out from a poster. This boy could move. He commanded the Disco floor like a King, sang nicely and absolutely nailed the character of Tony Monaro, made immortal by John Travolta. There was also a titter from the audience when he stripped down to his underpants...where did he have his microphone pack? Cameron is keen to spread his wings across New Zealand. He was the only imported talent. All the rest were locals. The local lighting team TomTom Productions set up an LED lighting screen. It flashed many of the outdoor scenes including the iconic Brooklyn bridge up onto the back of Evita the stage. By Andrew Lloyd Webber and Tim Rice. Willoughby Theatre Absolutely dazzling was the disco floor projection which Company. The Concourse Theatre, Chatswood. May 22 also beamed the dancers in action up onto the wall. 31. The overall slick performance allowed the audience to feast on the Bee Gees hits and take in the dialogue, which WILLOUGHBY Theatre Company’s lavish Evita is community musical theatre of the highest calibre, with often surprises. outstanding production values complemented by strong This was a production equal to elite community theatres casting and performances, tightly-drilled choreography, a in Australia but from a town with a population of just professional orchestral sound and excellent technicals. 10,000. David Spicer Evita tells the story of glamorous, charismatic Argentine first lady Eva Peron, cut down by cancer at the age of 33. Eva, as scripted by Tim Rice, is an anti-hero, tough to Into the Woods empathise with, except when she’s stricken with terminal By Stephen Sondheim and James Lapine. Maitland Musical cancer. Rob Hale’s highly convincing performance as Che Society. Various venues from May 8 - 24. only serves to amplify Rice’s view of Eva. DO fairy tale characters live happily ever after, as their Virginia Natoli tackles the diva title role head on, singing stories suggest? Or do they, like the people who read the the vocally treacherous score impressively. Jeremy Curtin stories, encounter problems that change their lives? nails the mediocre night-club singer and Latin lover While everyone has what they want by the end of the Magaldi. Clive Hobson’s Juan Peron is an appropriately stiff, first act, the second, set a few years later, shows the enigmatic, un-emotive military figure. As Peron’s mistress, consequences of their actions. Director Aaron Taylor and musical director Callan Creed Lucy Hood delivers capably on a great song. The ensemble has a tremendous sense of focus and and a strong cast ensured that the people in this tale are shared storytelling responsibility, establishing the world of very down-to-earth in their hopes, dreams and behaviour. the piece splendidly. The production team also put on stage a green forest set, Director Declan Moore again proves himself theatrically including a hilltop for a narrator who links the events and a savvy and imaginative. Not only is Amy Gough’s clock which shows the hours passing as the witch’s deadlines approach. choreography appropriate and creative, it’s drilled to military precision, complete with attitude and The 15-minute opening sequence, with short snatches characterisation. Greg Jones’ orchestra satisfies our of dialogue between the lyrics, introduced the main expectations for these familiar arrangements, and the mix characters well, with Jenny Ingles’ initially ugly witch of the show’s rock sound is excellent. making her offer to the baker (Guilherme Noronha) and his wife (Melissa Ingles) one they could not refuse. Willoughby’s Evita looks fabulous too. Set design by Peter Georgson, with scenic art by David Verdejo, is striking, While many of the songs are ensemble numbers, there sophisticated and highly functional. The costuming, from a were stand-out pieces delivered by one or two characters. variety of sources, has an impressive sense of unity. Sean These included I Know Things Now, a boasting declaration Clarke’s lighting design complements the production, and by Red Riding Hood (Alcy Manen) after she meets the wolf, the director’s vision emphatically. Giants in the Sky, in which Jack (Jackson Vaughan) voices wonder at what he has learnt climbing the beanstalk, and Neil Litchfield Agony, as two princes (James Walker and Anna Lambert) Longer versions of many reviews can now be found at www.stagewhispers.com.au
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express concern about their failure to make headway with beautiful maidens. Ken Longworth
the various scenes, ranging from the seaside to a factory to flying through the sky. Having the vintage car tilt a little was enough to satisfy the illusion. Chitty Chitty Bang Bang The lead roles were in safe hands. Geoff Stone as Music & Lyrics: Richard & Robert Sherman. Book: Jeremy Caractacus Potts and Alicia Jedrzejczak as Truly Scrumptious Sams & Ray Roderick. Pelican Productions. Directed by Jen were likable in roles that are on the dull side. Brian McGann Frith & Kylie Green. The Scott Theatre, Adelaide. April 19as Grandpa Potts and Peter Sampson as the Toy Maker 26. were pleasing. PELICAN Productions’ staging offers not only thrilling Stephen Halstead as Baron Bomburst and Melissa spectacle, but also a lot of genuine heart. One is Stewart as his Baroness gave us lashings of ham, whilst immediately taken aback by the visual splendour of the Steve Woodhouse as Boris and Haji Myrteza as Goran got proceedings, the projected backdrops that serve as scenery plenty of laughs. But the stand out performer was Lachlan O’Brien as the resemble the pages of a children’s storybook come to life, and some are enhanced further by the use of limited Child Catcher. He looked sensational and brought back animation. The costumes are all strikingly colourful and those haunting childhood memories of Sir Robert fittingly, the various props are impressively intricate and the Helpmann in the movie. choreography is dizzyingly nimble. The Regals exceeded expectations for this production. It is a fitting production to jump start their 70th birthday Jason Bensen has enthusiasm to spare as the eccentric inventor hero, but also projects heartfelt paternal devotion. celebrations. Finnegan Green and Zara Blight are endearingly cute, David Spicer without being cloying, as his precociously imaginative offspring. Caitlin Mortimer-Royle plays Potts’ somewhat Jesus Christ Superstar idealised love interest with an earthy sensibility that makes By Andrew Lloyd Webber and Tim Rice. Presented by her seem relatable to mere mortals, and Max Rayner Sneddon Hall and Gallop and Pee Wee Productions. emerges as a scene stealing delight in the role of the dotty, Directed by Stephen Pike. AIS Arena, Canberra. June 2 - 7. forgetful but nonetheless adventurous Grandpa. This entire THE arena production of Jesus Christ Superstar is a family unit have a solid chemistry in their interactions with spectacular feast of sound. Director Stephen Pike has each other. brought out the soul of the story, with consistently good The villains - played by Daniel Barnett, Emily Wood, characterisation shown throughout, and he has used every Nicholas Winter, Billie Turner and Joel Castrechini - ham it part of the set, giving points of interest at all times, up like they walked off the set of a 70s James Bond film, important in such a large venue. The chorus show complete with hysterically over the top pseudo-Germanic commitment and talent. Ian McLean has brought a fine accents. A very large chorus acquit themselves well, musical vision to his music direction, showing how good contributing just enough flair to make the backgrounds the new orchestration (featuring more strings) can be. come alive, but without distracting from the main story Great care has been taken with all vocal aspects, and kudos unfolding in the foreground. to Sharon Tree (vocal coach / assistant director) and The irrepressibly catchy score is given suitably energetic Matthew Webster (repetiteur). arrangement, buoyed by an orchestra at the top of its Chris Neal has shown excellent and imaginative sound game. design and management (the final minutes will stay in my Benjamin Orchard memory for a long time). The set design by Brian Sudding and Phil Goodwin gives the performers space to move, Chitty Chitty Bang Bang highlighted by the creative and fascinating lighting design Music & Lyrics: Richard & Robert Sherman. Book: Jeremy by Phil Goodwin. The lights fill the enormous stage, yet Sams & Ray Roderick. Regals Musical Society. Rockdale capture the still, quiet moments very effectively. Town Hall. May 1 - 16. Luke Kennedy plays Jesus, with a strong voice that also captures subtle shadings as well. Michael Falzon plays Judas AT its heart Chitty Chitty Bang Bang is a good oldfashioned operetta with some sweet tunes and a prop that and sounds assured in the entire range of emotions that he sends tremors through all but the most daring of must display. Simon Zealotes is played by Will Huang with community theatre groups. brio and Gordon Nicholson makes an unforgettable King The foundation of any operetta is a sumptuous Herod. Jenna Roberts plays Mary and her beautiful voice orchestra. Conductor Alan Steedman duly provided this and and charming stage presence are an asset to the steered the show at a brisk place. production. Chitty Chitty Bang Bang itself certainly did not cost one Jordan Kelly has created a wonderful range of million dollars to make. But it looked authentic, and having choreographic pieces to fit in with the director’s vision and a large prop pushed around the stage is something that felt to use the many skills of the chorus members. Standouts right for a lush musical set in the early 20thcentury. include “Superstar” and “King Herod’s Song”. Rachel McGrath-Kerr What immediately gave it a lift was the video backdrop. The moving projection transported the cast smoothly from 90 Stage Whispers
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Little Shop of Horrors By Alan Menken and Howard Ashman. Pantseat Productions. Civic Playhouse, Newcastle. May 7 - 16. THE shop in question sells flowers in New York’s depressed Skid Row, with business so bad that the owner is thinking of closing. But his downtrodden young assistant, Seymour, buys a strange-looking but colourful plant at a market and when it is put in the shop window customers begin pouring in. Director-choreographer Drew Holmes, the teenage cast and the production team engagingly showed how the plant, Audrey 2, increasingly impacts on more people as it grows. The songs, well-delivered under the vocal direction of PJ Willis, draw on the styles of 60s rock and other music of that decade, with amusing but affectionate references to the time. In Audrey’s wistful ballad, Somewhere That’s Green, for example, her idea of a perfect life includes frozen meals and watching television on an “enormous 12-inch screen”. The production had two actors alternating in most of the main roles. Justin Smith and Tyran Stig were engaging as Seymour, revealing his dream of escaping to a better life in the bright ensemble number Skid Row (Downtown), doing a foot-sure dance with flower shop owner Mr Mushnik (Lachlan Bartlett) in Mushnik and Son, and offering his love to Audrey (charmers Elise Jensen and Georgia Hicks-Jones) in Suddenly, Seymour. Theo Williams, as the manipulator and voice of Audrey 2, threateningly singing “Feed me”, controlled the movements of the increasingly enlarging plant well. Ken Longworth
Sarah Aylen’s passionate Anita develops a strong chemistry with Quaglia’s Maria, from early affectionate sarcasm to tragic passion in ‘A Boy Like That’. She leads the Sharks girls impressively in a snappy, energetic ‘America’. Relying on natural voice projection, with the band placed on stage and behind the action, the natural sound balance is excellent. Dural punches well above its weight, with experimentation, inventiveness and originality. Neil Litchfield
Evita By Andrew Lloyd Webber and Tim Rice. Director: Stephen Carr. Koorliny Arts Centre, Kwinana, WA. May 15-30. ANDREW Lloyd Webber and Tim Rice’s power-house musical is presented with class at Koorliny. A strong cast delivers a nicely nuanced production that also packs a punch. In the title role, Al Hill sings beautifully and offers an Evita whose motives remain an enigma. Saint or schemer we are never quite sure. Her real life brother shines as Chè. Paul Spencer’s performance is excellent and he brings a continuing energy to the show. Another Paul, Paul Treasure, delivers a beautifully acted Juan Peron, with a genuine affection for his young bride and power and ambition to match Evita. In smaller roles, David Wallace is delightful as tango singer Magaldi. Katherine Langford is simply exquisite as the young mistress, and young Gabriela Postma shines in a cameo. The ensemble is kept very busy, giving credence to a variety of roles. The singing is well handled and choreography by Allen Blachford is well chosen and nicely executed. West Side Story Lynda Stubbs has sourced and produced wigs and costumes that beautifully recreate the era and her use of By Leonard Bernstein, Arthur Laurents and Stephen colour is thoughtful and effective. Colour is also used very Sondheim. Dural Musical Society. Dural Soldiers Memorial Hall. May 15 - 30. cleverly by lighting designers Ben Davis and Stephen Carr, SEMI-RURAL Dural seems quite a leap from New York’s on a simple set designed by the director that is beautifully West Side, but director Eddie Bruce ensures many strong, in finished and used well. A seven piece band led by Kate McIntosh sounds tight -your-face moments by reconfiguring the intimate hall, with and the music was well balanced. audience on three sides, no more than a few metres from Kimberley Shaw the action of this classic musical based on Romeo and Juliet. To one side of the stage, Maria’s fire-escape balcony feels like audience members are just across a narrow laneway. Dural’s young cast approach the show with vigour and attitude. The space is a little cramped for bigger scenes like the dance at the gym, yet many scenes work particularly well. Stephanie Quaglia gives the standout performance as Maria, full of heart and impressively sung. Opposite her, musical theatre newcomer Rewi Pakinga is a sincere, earnest Tony. Phil O’Connor (Riff) and Adam Garden (Bernardo) lead the gangs with authority and attitude. Jets members get Get noticed on the Stage Whispers the best individual male chances with ‘Gee, Officer Krupke’, website with a premium listing which lives up to its showstopper status. Emily Daniels nails the tomboy role of Anybodys. www.stagewhispers.com.au/directory-central
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Frankie and Johnny in the Clair de Lune. Photo: Chris Lundie.
Reviews: Plays
Frankie and Johnny in the Clair de Lune By Terrence McNally. Directed by Peter Rhodes. Castle Hill Players (NSW). Pavilion Theatre. June 5-27. INVOLVING some nudity, this play requires very sensitive acting and directing - both of which Castle Hill Players have managed to achieve. It brings together two lonely, middle-aged people who work in a city diner. Their first date ends up in the bedroom of Frankie’s little New York City apartment in the early hours of a Sunday morning. With a full moon shining on the bed, they unveil past joys and hurts. Director Peter Rhodes has been “waiting for seven years to share this beautiful play” - but it has been worth the wait. In Leigh Scanlon and Dave Went he has cast two very committed, sensitive and courageous actors who find the essence of these damaged characters. On a cluttered, realistic set they have little room to escape the pulls and pushes of desire and apprehension, but room enough to explore their backgrounds. Scanlon finds the juxtaposition of strength and vulnerability in Frankie. Through tiny gestures, harsh, untypical reactions, abject apologies and gentle attempts at humour, her Frankie is scarily natural and endearing. So too is Dave Went’s Johnny. He is talkative, nervously brash, a little clumsy in this small, cluttered apartment. His apparent confidence covers a vulnerability, which Frankie eventually finds. This is a fine production that shows commitment, creativity, caring direction, and courage. Carol Wimmer 92 Stage Whispers
Much Ado About Nothing Written by William Shakespeare. University Of Adelaide Theatre Guild. Directed by Megan Dansie. May 2-16. THIS production transplants the story from 16th Century Italy to 1940s England in the immediate aftermath of World War 2, complete with strikingly authentic costumes. The lively choreography perfectly captures the celebratory mood of VE day, and together with the tightly co-ordinated lighting design, ensures that scene transitions are swift and smooth. However, very few alterations have been made to the script in accordance with the new setting, and this does take a bit of getting used to.. The cast deliver The Bard’s words with such a deep sense of conviction that even if the exact meaning of certain archaic turns of phrase proves elusive to a contemporary audience, the underlying meaning is clearly evident from their emotional inflections. The entire ensemble bring many layers of finely nuanced, impeccably timed physical comedy to the proceedings that perfectly complement the wit of Shakespeare’s dialogue. Among the highlights... Adam Tuomien and Bronwyn Palmer play out the argumentative courtship of Benedick and Beatrice with a ferocious screwball flair. Alex Antoniou and Olivia Lilburn play beta couple, Claudio and Hero, with an ingenuous sweetness that allows the audience to forgive their characters’ moments of rash foolishness. Tony Busch and Gary George play benevolent authority figures, Leonato and Don Pedro, with a relaxed affability which serves as an amusing contrast to the pompous self importance of local constable, Dogberry (a comically serious Lindsay Dunn).
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Brad Martin generally plays the villainous Don John with snide arrogance, but also injects some odd hints of vulnerability. Benjamin Orchard
and Patrick Farrelly as a Greek-chorus of reporters, doctors and girlfriend, added to the overall strength of this solid production. Peter Pinne
Venus in Fur By David Ives. Darlinghurst Theatre Company. Director Grace Barnes. Eternity Theatre, Darlinghurst. May 29 - July 5. THIS dark gothic tale peppered with humiliation, cruelty and eroticism takes place over 100 continuous minutes on a dark and stormy night in a New York indie theatre. The time structure makes the storytelling riveting. A writer/director auditions a late arrival actress for his play. But nothing is really as it first appears. Vanda (Anna Houston), the actress, begins as a ditzy Jersey girl who at first appears to be the epitomy of all the writer/director Thomas (Gareth Reeves) is appalled by in the current crop of aspiring New York actresses (quote ‘a four year old on helium’). But the power shifts as Vanda undergoes a series of astounding transformations. The tension in the room is palpable as power is snatched and twisted and gender stereotypes bent. This is an excellent play, skillfully delivered by a very capable director and highly talented actors, heightened with powerful lighting and sharp sound design - indicating that the gods may or may not be crazy but are certainly vengeful. The mood is established with loud thunder claps and a self-absorbed monologue by the director. Then the actor enters the space and the play accelerates for the next 90 minutes. Stephen Carnell
Grounded By Alana Valentine. Director by Maggie Shephard-King. Rondo Youth Theatre, Cairns. May 2015. THIS is an odd, but interesting, play. Set in Newcastle, the story interweaves the life of socially-shunned teenager, Farrah Martin, and her fascination with big ships, especially bulk carriers. The play focuses on the universal themes of isolation, belonging and identity through Farrah’s obsession with shipping. Though a complicated story, the cast were certainly up to the task of interpretation. Director Maggie Shephard-King opted for a minimal, movable set to interpret the play. She also had a good leading actress in Laura-Jane Jurss-Lewis, who was outstanding as the confused and troubled Farrah. Zakary Cao-Kelly gave strong, energetic support in a number of roles, while Samantha Schipke, as Chloe, had possibly the strongest theatrical voice that has ever been heard in the Rondo Theatre. Andrew Trewin as Jack the bullyboy and Mia Peled-Bolger as Jess were also very good in their roles. It was good to see young actors performing with energy and confidence before a large audience. Ken Cotterill
Never The Sinner By John Logan. Director: Dan Lane. Nash Theatre. Merthyr Road Uniting Church, New Farm, Brisbane. May 9-30. JOHN Logan’s Never The Sinner is a compelling look at Leopold and Loeb’s heinous thrill-kill in 1924 Chicago and their subsequent trial, where they were defended by legendary defence attorney Clarence Darrow. Told in a series of short, sharp scenes with the occasional flashback, it’s a well-researched, well-written docudrama of the infamous trial and is totally engrossing in Nash’s appropriately bare-bones production by Dan Lane. Two tables and half a dozen chairs constitute the set, Al Jolson recordings set the times, cloche hats evoke the period, and it’s all lit strikingly for dramatic effect by Phil Carney. Kurtis Laing’s Leopold was a perfect mixture of bravado, superciliousness and indifference, whilst James Meggitt’s Loeb was manipulative, bullying, and totally amoral. Although both characters are abhorrent, Laing and Meggitt imbued them with a very real humanity. The latter’s inappropriate laughter during the prosecutor’s detail of the crime was chillingly effective. Tony Granzien as chief prosecutor Robert Crowe had authority and pleaded his eye-for-an-eye death-penalty POV with prosecutorial zeal, while Ralph Porter as Darrow effectively argued his case in what was a précis version of Darrow’s iconic original. Bianca Reynolds, Alexandria Page
The Book of Everything By Richard Tulloch, from the novel by Guus Kuijer. Directed by Chris Proctor. 1812 Theatre (Vic). May 28 -Jun 20. 1812 PULLS out all the stops for an ambitious production of The Book of Everything - a deceptively simplistic play that gives a child’s perception of a complex adult world. Chris Proctor sets the ambience for us in the theatre foyer. There’s dancing to marvellous music from Helmut Lopaczuk and Richard Foster on jazz accordion and guitar. The two musicians also provide the background music, on stage, to the play itself. Thomas Kopper (aged nine) is writing, in his Book of Everything, the smallest details of his life. There’s a religious and abusive father, a rebellious sixteen-year-old sister, a battered mother and a ‘witch’ (an old widow), as well as a feminist aunt and a crippled girl with a leather leg. I saw the MTC production in 2013, and this production holds up really well - and that’s a credit to the production team, especially Robin Emmett for his special effects. Matt Phillips is most impressive as Thomas, totally convincing as a child. Dhania McKechnie is excellent as older sister Margot. Frank Schrever does a fine job in the unsympathetic role of the father, and Jackie Hutchison is a hoot as Mrs Van Amerstoort, the witch. It’s also great to see Stephen Barber as the most unlikely Jesus you will ever encounter. While the pace was a little slow for the opening, there’s always the excellent supper and bubbles to look forward to (not just opening night, but after every performance). Coral Drouyn
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The Crucible By Arthur Miller. Canberra Repertory. Directed by Jordan Best. Theatre 3, Acton, Canberra. May 1 - 16. MICHAEL Sparks’ set design is otherworldly, a forest from an imagined time and place with rope branches hanging with ominous portent, and simple benches doing double or triple duty as a bed or table or wall, and the set is lit expertly to a design by Kelly McGannon. The emotional temperature of the work is heightened and enhanced by this combination. Sound design by Jordan and Peter Best is subtle. The casting has been managed masterfully. Mark Bunnett’s Judge Danforth is powerful and his voice chills with conviction. Zoe Priest’s performance of Abigail Williams is a marvellous mix of the innocent and the knowing. Duncan Ley and Lexi Sekuless play John and Elizabeth Proctor with great emotional depth and are two of the highlights of the production. The young girls make a marvellous chorus of hysteria and accusation. Their choreography, facial expressions and tone of voice can be both delightful and chilling, and they work very well together. Geoffrey Borny (Francis Nurse) and Liz Bradley (Rebecca Nurse) show marvellous depth of character. Indeed, challenging is the key term for the whole play, which is no walk in the park for the actors. The melange of accents across the cast is a little confusing and distracting, as are the variety of costumes across time periods. This is a very good production of a difficult play, and its resonances follow through, past 1950s McCarthyism to our current twenty-first century worries. Rachel McGrath-Kerr Dream Home By Emilie Collyer. Darebin Arts Speakeasy. Northcote Town Hall. May 21 - June 3. DREAM Home is a theatrical experience defined by daring and innovation. The opening scenes immediately put the audience at ease without allowing them to become complacent. The performance is deliberately targeted at creating a tangible and direct connection with the psyche of the characters and the realities of contemporary life. The realism of Brian (Christopher Brown) and Wendy (Emily Tomlins) as an upwardly mobile, ethically sound and environmentally conscious couple proves to be both satirical and comforting. However, their unwitting journey into a frequently dark past, elicited by their unfinished dwelling, suggests that the characters house more than just some skeletons in the closet. The soldier (Ben Clements) is played with restraint while Elise (Olivia Monticciolo) and her open mike rampage is virtually unleashed onto the stage. These kinds of contrasts in performance make the characters intriguing and allow the actors to display their craft with the skill and confidence of a virtuoso. As the dialogue becomes increasingly poetic, and the familiarity of everyday banter meanders into more existential realms, the characters become positively ethereal. These dramatic changes in the textual properties are not always an easy transition but they are managed deftly, even 94 Stage Whispers
if their purpose is somewhat obscure. Perfectly timed execution of lines and beautifully choreographed movement contribute to making this a very clever production. Patricia Di Risio Big Maggie By John P. Keake. Directed by Brian Dennison and Mary Murphy. The Irish Club, Subiaco, WA. May 20-30. IRISH Theatre Players (ITP) has made Big Maggie a complete experience, creating an Irish village in the foyer and bar area, with signs in Gaelige and English and serving Irish snack food at the bar which becomes Maggie’s “Siopa” (shop), a tie-in to the play. The not very big Denice Byrne creates the role of ‘Big Maggie’ Poplin very well, conveying her cynicism and hardness but hinting at a lifetime of hurt and vulnerability. The four children of Maggie form a believable family. Ria Ryan is excellent as headstrong Katie, and Michelle Delaney is sympathetic as wronged younger daughter Gert. Fergal Benson makes a strong community theatre debut as lovelorn Maurice and Mark Tilly is lovely in his brief appearances as the stuttering Mick. Sean Haining is strong and convincing as stone mason Mr. Byrne. The ‘old men’ played by Stan O’Neill and Joe Purcell provide a pleasant diversion. Joe Grace and Paddy Ryan have created a well-finished and versatile set with ring-of-truth detail, while John Spurling’s lighting and sound is practical and unobtrusive. Congratulations to directorial team Mary Murphy and Brian Dennison for creating a feel-good experience from a show that is rather downbeat in tone. Kimberley Shaw Dora By Wendy Woodson. Performed by Wendy Woodson and Phil Roberts. La Mama Courthouse, Carlton (VIC). June 314. NO, not Freud’s ‘Dora’, although you might have assumed so. Instead, there is an uncooperative or resistant patient (Ms Woodson). There is a frustrated therapist (Phil Roberts) who is gradually drawn into the patient’s fragmentary narrative. We gather that Ms Woodson is some kind of warrior returned, it seems alone, from some kind of mission that went horribly wrong. Her memories are visionary and immediate, but only to her - vivid images, but as if seen when a flash of lightning illuminates a face or a landscape for a second. She repeats them in no particular order, but enough, I must say, to create some longueurs, in which the mind is tempted to wander. The director, Peter B Schmitz, a dancer as well as an actor, choreographs Ms Woodson and Mr Roberts. Speech is punctuated with abrupt movements and gestures that seem deliberately mechanical. As a performer, unfortunately, Ms Woodson is somewhat dry and abstract; she keeps the audience at a distance as well as her therapist. Mr Roberts is more ‘real’, but perhaps that’s
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because he’s enacting the frustration the audience is feeling. Theatre, of course, is an art form, but with the poetic, allusive, calibrated Dora you know you are in the presence of Art. Ms Woodson says it is ‘a piece about love and imagination’, but its pleasures are more aesthetic and formal than emotional. At the risk of condemning myself to the category of Philistine, I quote Queen Gertrude to Polonius: ‘More matter, less art.’ Michael Brindley
All My Sons. Photo: Jon Green.
Rabbit Hole By David Lindsay-Abaire. Javeenbah Theatre Co, Nerang, Gold Coast. Director: Barry Gibson. May 15 - 30. BARRY Gibson presented a first class production with the drama Rabbit Hole, the story of a young couple grieving the accidental death of their four-year-old son. Strong performances were the order of the night with Jacy Moore and Dean Mayer turning in moving and sensitive characterisations as the parents, with fine support from the expectant, food loving sister, Emily Scanlon and mum Del Halpin (who had a fall the evening prior to this review and “in true ‘showbiz’ tradition”, performed in a ‘moon boot’ on one foot, the other heavily bandaged and the support of a crutch). Young actor Andrew Barnes, as the driver in the accident, has a promising future. Barry’s split-level set worked extremely well. This play has pathos and humour woven into a wellwritten piece of theatre. As usual, the technical support at this theatre enhanced coach Claudia Alessi and fight choreographer Andy Fraser the overall production and resulted in a most enjoyable evening’s entertainment. the actors, without exception have created credible and Roger McKenzie multi-faceted characters. Sallyanne Facer uses the tricky Roundhouse stage well, in a design that has both realism and functionality and All My Sons symbolic elements. Cameron Routley’s lighting design By Arthur Miller. WAAPA Third Year Acting Students. Directed by Tom Healey. Roundhouse Theatre WAAPA, WA. noticeably highlights the strong emotive elements. Shaun 1-7 May, 2015 Sandosham’s sound design pays homage to the era while ALL My Sons is presented with passion by WAAPA’s Madeleine Watt’s rural postwar costuming is both beautiful Third Year Acting students, in a well-rounded production and respectful to each character. Kimberley Shaw which brings this post-war American classic to life, with warmth and raw emotion. Flak While the audience are asked to suspend belief, with actors playing well above their age, the performances are By Michael Veitch. Ellis Productions. The Q - Queanbeyan very convincing, complete and intelligent portrayals. Performing Arts Centre. April 28 - May 2, and touring. Andrew Greer brings depth and credence to Keller IF the Lancaster bomber you were piloting five miles over Sweden suddenly disintegrated in a flash of white family patriarch Joe, Brittany Morel is mesmerising as the light, would you have the wherewithal to think: “Now fragile and deeply troubled Kate and Chris Keller expertly crafts the emotional journey of son Chris. might be a good time to open my parachute”? Bruce Stephanie Panozzo is lovely as the complex Anne Clifton did, and survived to be interviewed by Michael Deever, with Hoa Xuande quickly establishing himself in his Veitch, along with about fifty other WWII pilots. A life-long aviation geek, Veitch compiled these into his best-selling second act appearance as the protective and emotionally history of combat aviation, Flak. For this show, Mr Veitch wrought brother George. has adapted the five most remarkable of these stories for Benjamin Kindon is charmingly authoritative as Dr Bayliss, Elle Harris strong as his wife Sue, with Dacre his one-man show of the same name. Montgomery and Harriet Gordon-Anderson performing very Veitch inhabits each of these characters in turn, bringing well in supporting roles. them to life in a way that seems completely authentic. Referring to his original tapes, he’s endeavoured to capture Well coached by director Tom Healey, vocal coach their unique voices. The backdrop of dramatic (if static) Donald Woodburn, dialect coach Julia Moody, movement Longer versions of many reviews can now be found at www.stagewhispers.com.au
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A Murder Is Announced. Photo: John King Smith.
slides and the set is minimalist, so what drives this show is Mr Veitch’s engaging delivery and the narrative strength of each of the tales. Mr Veitch seems always to be pulling back from caricature, particularly with the German and Welsh accents. But in doing so, he gives a spirited delivery that captures attention even though, as very old men, the characters obviously didn’t move a lot. The stories themselves were riveting, exciting and on occasion horrifying. There are a couple of diversions to discuss technical information which might lose the attention of less technically-minded in the audience briefly, but these are a nod to the aviation obsessives who will no doubt be in the audience. It’s extraordinary to imagine people surviving being shot out of the sky, and these awe-inspiring and vividly related narratives are astonishing. Cathy Bannister
and Samantha Lush (Phillipa Haymes) were well handled. Ann Harvey (Mrs Swettenham) maintained character throughout; Andrew Cooper (Sergeant Mellors/Rudi Scherz) rounded out the stock-standard Christie characters. With 11 actors, multiple comings and goings, and the usual plot convolutions of an Agatha Christie play, it’s a good thing that concise diction was a feature of the director’s toolbox. There were no weak links in the cast, and the play “looked good”. Don Gay designed the set and the effective lighting. Original music by Mark Hulsman and soundscape by Scott Hunt added to our expectations of danger. Merlene Abbott
The Shoe-Horn Sonata By John Misto. Ensemble Theatre (NSW). May 22 - June 28. MUCH-LOVED theatre ‘treasures’ Sandra Bates and Lorraine Bayly return to the stage to reprise their 1995 A Murder is Announced depiction of Bridie Cartwright and Sheila Richards, two By Agatha Christie. Hobart Repertory Theatre Society. The characters created by John Misto based on the memories of Playhouse Theatre, Hobart. Director: Don Gay. May 1 - 16. women who survived Japanese P.O.W. camps. The play tells DIRECTOR Don Gay said that the secret to the success of of courage and stoicism in the face of unbelievably cruelty. his latest production, an Agatha Christie mystery, was the Bates plays Bridie, an Australian Army nurse who was wonderful casting. serving in Singapore. Bayly plays Sheila, who was a fifteenyear-old English schoolgirl. Both were evacuated after the Sarah Phillips is everything we expect to see as Miss Marple - gentle, softly spoken and clever. The “sensiblyfall of Singapore in 1942 on over-loaded boats that were heeled sleuth” was effectively paired with Roger Chevalier sunk by Japanese warships. Miraculously they survived only (Inspector Craddock). Fransina Kennedy (matriarch Letitia to find themselves imprisoned for over three years. Blacklock) was believably British middle-upper class, with Fifty years later, the women are brought together to superb timing. Pip Tyrell, whose specialty is dotty old lady take part in a television program based on their experiences. Bates and Bayly bring a wealth of theatrical roles, was a delight as Letita’s old friend Dora “Bunny” Bunner. Her dying scene was priceless. Daughter Sophie experience and personal perception to their recreation of Tyrell, also a capable actor, acquitted herself well as Julia the characters. Bates captures the underlying steeliness of Simmons. Astrid Tiefholz played the over-the-top foreign Bridie and the stamina she needed to face the ordeals of cook Mitzi well. imprisonment. Bayly portrays Sheila with hesitant reactions and an Other red herrings in the plot - Jon Lenthall (Edmund Swettenham), James Colburn- Keogh (Patrick Simmons), underlying reluctance, the reason for which becomes 96 Stage Whispers
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movingly clear as the women re-connect. Her Sheila is a softer foil to Bridie’s self-assurance, but there is strength and tenacity beneath her apparent unease. Carol Wimmer
mesmerising, charming and yet threatening. It’s a multifaceted and totally convincing performance. William Prescott - with a background in stand-up and music imbues Martin with a down-home sense of decency. His body language and facial expressions paint a man totally The Rivers of China out of his depth and trying desperately to keep up with By Alma de Groen. Theatre Works & Don’t Look Away what’s happening around him. Sam Allen’s Old Man is an Company (VIC). May 20-30. enigma until the denouement, yet Allen makes him real and THE Rivers of China plays with two time frames. There is appealing without any physical aid to convey his age. a female dominated future in which men are subservient, Director Gabriels Rose-Carter directs them with confidence their books banned, and they are orderlies in hospitals and empathy. where all doctors are women. An experimental ‘plastic The Q44’s theatre is an odd little space and doesn’t surgeon’ (Kim Denman) can remake more than a face and allow for any great or sensational blocking. But Rose-Carter as a consequence an unnamed ‘Man’ (James Cook) believes doesn’t need it…she uses the space in a natural way and he is Katherine Mansfield. The story in the past is of the real forgoes flashiness in favour of truth, and that is such a Katherine Mansfield’s last days, before dying of blessing. tuberculosis, in the hands of that charismatic fraud, Georgi Coral Drouyn Ivanovich Gurdjieff. Alexandra Aldrich as Mansfield has that quality of This Is Where We Live drawing and holding the audience’s caring attention. She By Vivienne Walshe. State Theatre Company of South registers all the steps of Mansfield’s evolving thoughts and Australia and Hothouse Theatre. Directed by Jon Halpin. emotions: desperation, incredulity, anger, denial, The Space Theatre, Adelaide. May 12-16. acceptance, realization and a kind of triumph. Rob THIS Is Where We Live is a confronting hour of theatre Meldrum as Gurdjieff plays it low key: gruff, dogmatic, that is uncompromising in its exploration of such topics as bullying, brooking no questioning of his authority. teenage alienation, depression, substance abuse, When we first see Mansfield, she is with her husband, dysfunctional families and social prejudices. John Middleton Murray (Tom Heath), the literary critic - or The play basically takes the form of a series of parasite on the famous, including his wife. When he takes monologues delivered by Chloe (Matilda Bailey) and Chris her in his arms, it looks more like smothering than comfort (James Smith) - two teenagers growing up in a small - a nice piece of direction. Ms Aldrich renders beautifully a country town who bemoan that society has presented them mix of needing to be loved and reassured with fear and a with limited opportunities, their peers treat them with desire to break free. bullying contempt and that teachers/parents relate to them The Don’t Look Away Company continues its with prejudiced condescension. Though the two of them commendable program of revivals of ‘classic Australian develop a passionate connection, they still struggle to relate plays’. Director Phil Rouse calls this play ‘a delicate, finelyto each other on terms of equality and their dialogue is crafted, musical world of infinite emotional depth’ and it is, delivered in a self conscious style, punctuated with asides to more or less, those things, but if it is also a coherent and the audience. satisfying whole is another matter. But it is certainly a Vivienne Walshe’s lines are stylised and not naturalistic playwhich should be applauded for its ambition, daring, teen speak, but her wit cuts to the bone and the underlying insight and poetry. sentiment of her words feels painfully authentic. Bailey Michael Brindley attacks the script with a ferocious, feral intensity that is sometimes frightening to behold, and is appropriate for her Fool For Love extroverted character. Smith, playing a more introverted By Sam Shepard. Director: Gabriella Rose-Carter. Q44 personality, teases out moments of subtle humour from the Theatre (Vic). June 10 -28. proceedings and poignantly expresses many unspoken ONCE again I find myself singing the praises of a small feelings through the subtleties of his facial expressions and independent theatre company with impeccable taste and a hand gestures. thirst for excellence. Sam Shepard’s play on the nature of Rob Scott’s lighting design tastefully complements the love is not an easy one to handle. It deals with concepts of fluctuating intensity of the characters’ emotions and Morag love/hate, obsession, guilt, dysfunction, abandonment, Cook’s set design, with a broken pipe featured prominently, shame and betrayal, and yet manages to find comedy and is suitably evocative of the decaying town environment some lightness within the context. which feeds into the characters’ despair. Rebecca Fortuna (May), Mark Davis (Eddie), William Benjamin Orchard Prescott (Martin) and Sam Allen (Old Man) are all names to remember. If there is any justice in this most unjust of Reasons To Be Pretty professions, you will hear about them loudly and often. By Neil LaBute. Directed by Joh Hartog. Bakehouse Theatre Fortuna’s May is all red headed passion and wildly Theatre, Adelaide. June 11-27. attractive, but the underlying pain and uncertainty are GREG (Nic Krieg) is a quiet, bookish twentysomething palpable. She’s quite marvellous. Davis, as Eddie, is stuck in a dead end job stacking shelves at a food Longer versions of many reviews can now be found at www.stagewhispers.com.au
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warehouse, struggling to hold together a relationship with hypersensitive beautician, Steph (Clare Mansfield). When Greg casually remarks to a friend that he considers Steph’s features to be “regular”, rather than “pretty” or “beautiful”, Steph takes this as proof that he doesn’t really love her, flies into a rage and dumps him. This serves as the catalyst for Greg to re-examine the way he relates to people generally, specifically his best friend Kent (David Hirst) - an arrogant misogynist who is cheating on his loyal, emotionally insecure partner, Carly (Krystal Brock). The story is basically set up as a series of arguments between characters whose simmering, repressed emotions have reached boiling point. A lot of swearing ensues, but as shockingly profane as most of the dialogue is, there is a snappy, spitfire wit underlying it all, which is further enlivened by the fiercely impassioned performances. As a story of four troubled individuals, Reasons To Be Pretty makes for a smashing black comedy, the laughter from the audience on opening night was both frequent and very loud. Unfortunately, the play flounders when it tries to make wider social commentary about male/female relations in the modern world. These moments come across as heavy -handed. Director Hartog paces the proceedings with screwball zest and Stephen Dean’s lighting ensures that scene transitions are both swift and smooth. Benjamin Orchard
state near the ruins of a lakeside holiday house. However, it will only be the recovery of David’s anterograde amnesia that will give us the answer we’re all after - why? Higginson crafts a raw performance in his most vulnerable state of memory loss, balanced with the emergence of his sharp wit as he is coaxed out of confusion. The other half of the double act, Cronin, perfectly executes the measured tone of a stereotypical health professional “could you possibly stop talking at me as if I were a vegetable?” The Stabes Theatre proved the perfect space for this play. Its cramped performance space aided with the illusion that David was trapped in the confines of his sparse room, as the audience too were trapped within the confines of their seats in the tiny theatre. Kelly Ryall’s eerie string underscoring brings this psychological minefield to life. The House on the Lake provides a rare theatre experience. I would suggest you start practising your Sudoku and crosswords now if you expect to uncover this ‘whydunnit’. Emma Squires
Cactus Flower By Abe Burrows. Newcastle Theatre Company. NTC Theatre, Lambton (Newcastle). May 2 - 16. THERE is a scene in Cactus Flower where dentist Julian Winston, who is having romantic problems, looks The House on the Lake disdainfully at his by-the-rules nurse and tells her she is as By Aidan Fennessy. Griffin Theatre Company. SBW Stables prickly as the small cactus on her reception desk. Theatre. May 15 - June 20. But by the time the cactus flowers the unattached nurse THE House on the Lake craftily brings to the stage the has likewise developed attractive petals and captivates genre that the film industry seems to be stealing as their several dance partners when she attends a nightclub with own: the thriller. her boss as part of a scheme to end the difficulties facing Criminal lawyer David (Huw Higginson) wakes up to find his love life. himself confined to a small, sparsely furnished room, Julian - played with dash by director Brian Wark - tells unable to recall what happened the day before. Or even the the women he dates that he is married so that he can have week before, as it turns out. Psychologist Alice (Jeanette the freedom of a single life. But when his current, much Cronin) provides us with the facts: he’s been placed in a younger girlfriend Toni (a charming Belinda Hodgson) psychiatric ward after he was discovered in a disoriented
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despairingly commits a desperate act, Julian offers her marriage, saying he will divorce his wife. The catch is that Toni wants to meet the wife. So Julian asks his unsmiling nurse, Stephanie (Jan Hunt), to pose as his wife. Stephanie, rigidly wearing white uniforms and astutely handling the demands of patients, gradually blossoms, with Hunt engagingly showing her transformation in the spirited nightclub dance scenes. And Paul Predny gave vitality to the tale’s other key character, Igor Sullivan, a young would-be playwright living in an apartment next to Toni. Matthew Lockyer’s stunning set design enabled smooth shifts between venues including the dentist’s reception room, Toni’s apartment, a record shop, and nightclubs. Ken Longworth
techniques. The director has been very hands-on, designing lighting, sound, set and poster for the show. The set focuses on the stable which dominates centre-stage, with actors playing characters involved in the events leading up to the blinding of horses - the catalyst for action in the show, remaining on stage throughout. Oliver Kaiser plays central character Alan Strang, a disturbed seventeen year old whose psychosis mixes a fascination with horses with religion and sexuality. Oliver delivers a well managed performance with great depth. Alan Kennedy works hard as the psychiatrist trying to help the boy, and they build a credible relationship. A dedicated supporting cast maintain focus throughout. Lauren Henderson and Cary Hudson as Alan’s parents play well off each other, Elouise Eftos is lovely as love interest Jill, Darren Goodison plays stable owner Harry Dallon well, Jay Shaw is professional as magistrate Hester Saloman and My Love Had a Black Speed Stripe Sean Bullock epitomises nursing efficiency. The equine ensemble - Michael Fagan, Rhonda Based on the novel by Henry Williams, adapted and directed by Brenna Lee-Cooney. Fractal Theatre Ipswich and Beresford, Nicola Gredziuk, Kate Hitchins, Helen Jackson Anywhere Festivals, 2015. and Abby McCaughan, work well as a team and their THE theme of this play struck a personal chord with me costuming is effective. because coincidentally I recently decided to abandon life on At times the pace could have been more intense and the suburban highway and its environs in preference to the some individual performances needed more impact at comforts of public transport; and one of the reasons relates times, but overall this was a very satisfying production. to life on the road and the typical so-called Ugly Australian Kimberley Shaw who enjoys venting his spleen with the accelerator pedal and causing chaos in his wake. The Playboy of the Western World Additionally, this sentiment was enhanced for me by this By J. M. Synge. The Roundhouse Theatre, WAAAPA. June moving presentation with tasteful direction, succinct use of 12-18. surreal poetic and symbolic choreography and, in particular, THE Playboy of the Western World features members of a cast who really take you there, right into their characters’ WAAAPA’s 3rd Year Acting Class assisted by 1st Year Acting subconscious, and with conviction. students and a predominantly student production team. Sandro Colarelli is superbly cast as the central character, Dolly-Mere Nettleton’s beautifully evocative set Zoe DePleviz’s role as the poor wife convincing with her transports us to early 1900s Ireland, while the costumes, by character’s demonstrable truths, great presence from Beth designer Ashliegh Hodges, have a broken-down, gritty Incognito while Vanja Matula’s transition between five realism. Lighting designer Amelia Blanco notably heightens multiple roles, in particular the sadly harassed neighbour of moments of tension, while Chris Mulchinock’s sound design European extraction, was smooth and capable, though was of the era. perhaps an additional single item of clothing for each The role of Pegeen Mike could have been written for character would have topped off the effective minimalist Claudia Ware who gave the fiery Irish colleen a beautiful setting of this well-developed adaptation from the novel. assuredness. With society’s infatuation of cars both as a sex symbol Seamus Quinn embraced his Irishness, giving larrikin and a form of escapism including Australia’s current charm to the title role of Christy Mahon. Luke Fewster was struggle with racism and domestic violence, this is a theme a gorgeous contrast as unlikely local suitor Shawn. Rian well worth exploring and though the outcome was nearHowlett played Old Mahon with formidable power and like predictable for a psychopathic central character, this dark all who were playing older characters, had an excellent urban tale was brought to life by an excellent production, make-up transformation. cast and crew. Megan Wilding owned her scenes and was an audience Brian Adamson favourite as Widow Quinn, while a trio of local lasses were well played by Shalom Brune-Franklin, Jessica Paterson and Equus Natasha Vickery who formed a delightful team. By Peter Shaffer. Melville Theatre, Melville WA. May 8-23. Nice comic teamwork also from Lincoln Vickery and DIRECTOR Lars Jensen brought Equus to the Melville Mitchell Bourke as country characters, while Rebecca Gulia Theatre, a challenging, well-known but rarely performed very successfully played across gender as Michael James. play that remains somewhat controversial, over forty years A well crafted story that was directed with warmth by after its first rehearsal. Patrick Sutton. The directorial approach to this Equus is interesting, Kimberley Shaw combining heightened realism with some Brechtian Longer versions of many reviews can now be found at www.stagewhispers.com.au
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Rob Mills.
Back Again”, NSYNC’s “It’s Gotta Be Me” and Moving Pictures’ “What About Me” brought instant audience identification. A larrikin edge in his patter was personable, ingratiating, and selfdeprecating. This was top-tier cabaret and Mills should find himself in demand on this burgeoning circuit. Peter Pinne Dedications - The Love God John O’Hara. Adelaide Cabaret Festival. Artspace. June 6. BASED on a long-running late-night radio program, the show features several characters who regularly ring in and share their loves and lives through requests. John O’Hara (on leave for a fortnight from Wicked) showed his versatility as both an actor and singer by bringing to life an older listener with a love in his past; a bogan loser whose wife has gone and left him with the kids; a teenager with a lesbian mother; the lesbian lover; a woman discovering love in a hotel and a writer wracked with loneliness. The writing is superb, at the end bringing the various elements in to a satisfying conclusion (the piece is written by Anthony Harkin & John O’Hara). This is probably one of the most entertaining and well-presented pieces of cabaret I’ve ever seen; an intelligent, thought-provoking 70 minutes of superb acting, writing, music and comedy-drama. Kate Peters
Reviews: Cabaret Rob Mills Is … Surprisingly Good Queensland Cabaret Festival. Brisbane Powerhouse. June 14. STARTING with a high-energy “Live in Living Color” (Catch Me If You Can) Rob Mills proved he was not only “Surprisingly good”, but charismatic and massively entertaining. A runner-up in the first series of Australian Idol, “Millsy” survived the ups and downs of reality television and an overnight pop career, to finally establish himself as a leading man in musical theatre in Wicked. A kick-ass band led by Andrew Worboys backed Mills, using his signature Wicked tune “Dancing through Life”, spun the audience on a roller-coaster ride through his career. Taylor Swift’s “Trouble” was a great comment on his media over-hyped tryst with Paris Hilton. A salute to Australian Idol with a medley which included Backstreet Boys “Oh My God I’m 100 Stage Whispers
Michael Griffiths - Cole Banque Room, Festival Theatre, Adelaide. Adelaide Cabaret Festival. June 7 - 8. A CONFESSIONAL cabaret performed “in character”, Cole sees Michael Griffiths assume the role of witty songwriter Cole Porter, who penned some of the most enduring standards in the Great American Songbook “Anything Goes”, “Under My Skin”, “Night & Day” among them - whilst wrestling with personal demons. Seated before a grand piano, Griffiths croons his way through Porter’s greatest hits and in between regales the audience with anecdotes from Cole’s often colourful life. Griffiths’ winningly sassy charm lends Anna Goldsworthy’s scripted stage-patter the illusion of spontaneity. Goldsworthy effectively captures the sly wit and gleeful cheek Porter is well known for, though this cabaret incarnation is much more upfront about his
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sexuality than the real Cole ever was during his lifetime. Still, this creative liberty enhances the intimacy of the show, with the audience positioned in the role of confidantes. Griffiths’ renditions are powerfully dynamic, and focused on capturing the underlying emotion of each piece, rather than imitating the nuances of any previous interpretation. This show does nothing revolutionary, but for fans of the composer, this classy tribute is a must see. Benjamin Orchard
David Gauci: It Was Worth The Weight Adelaide Cabaret Festival. Artspace. June 5 & 6. DAVID Gauci is a powerhouse of a man, full of personality and self-effacing humour. Accompanied by the young and very talented Josh Belperio, Gauci taps into the dreamer in all of us. He makes an eclectic mix of songs from musical theatre to the classics relevant to the young boy with a dream who simply never gave up. A collection of small props and witty banter between Belporio and Gauci produces some of the most hilarious Looking For Lawson moments of the evening. He retells his experiences as a Adelaide Cabaret Festival. Space Theatre, Adelaide Festival wedding singer and shares some of the challenges he has Centre. June 12 - 13. faced being the ‘elephant’ in the room. I quote him on this. Gauci sings from the heart and you immediately feel EMILY Taheny, Lindsay Field, and John Thorn all deserve to take their bows with pride for what they have achieved that you are witnessing something special. Gauci draws you in Looking for Lawson, interspersing succinct, in with his humour and sincerity, capturing a vulnerability compassionate narration with a mostly marvellous selection that could only come from experiencing hard times. of Henry Lawson’s work, newly set to music, all beautifully Gauci reminds us of the importance of self-acceptance and resilience. presented in a cabaret idiom (but a distinctly Aussie one). The musical accompaniment is influenced at times by Kerry Cooper the sound of country ballads, but you should also be able to spot echoes from Kurt Weill to Les Mis, none of which Meow Meow feel clashing or incongruous in each other’s company. The Adelaide Cabaret Festival. Dunstan Playhouse. June 6. cumulative power of the poetry combines with the SINGING in German, French and English, Meow Meow generally first-class musicalisation to make a show that one showed why she has become such a sought-after performer ends up feeling very close to. world wide. She’s supremely sexy, has a pair of legs she While total perfection may not have quite been achieved uses very effectively, particularly on unsuspecting audience here - the personal songs tend to resonate more strongly members, and has an intimate style and a great voice. and powerfully than the overtly political ones, and a couple Despite one audience member shouting “Sing something in English”, to which she replied “Well, it was of tunes toward the end are undistinguished and underwhelming - anybody looking for high-quality cabaret publicised as a Weimar show”, she had the capacity crowd need look no further than Looking for Lawson. in the palm of her hand. Dragging on a load of furniture Anthony Vawser attached to a chain on her ankle (the weight of previous cabaret shows...) she sang of love and life and gave a hint Pure Blonde - Christie Whelan Browne of just what pre-war Berlin would have offered. Superb. Kate Peters Adelaide Cabaret Festival. Artspace. June 11 - 13. DEAN Bryant and Mathew Frank have produced a show that pays homage to the blondes of musical theatre and Marney McQueen - Hair To The Throne what better performer to bring this cabaret to life than Adelaide Cabaret Festival. Space Theatre. June 7 & 8. accomplished triple threat Christie Whelan Browne. MARNEY McQueen has made a name for herself as the chameleon of cabaret, so it was no surprise when the very Rushing past a seated audience, Whelan Browne’s first character is WAAPA graduate Jess, who takes advantage of sexy and cheeky Rosa Waxoffsi joined us to share her tales her 15 minutes of fame by showcasing her many talents, in of life, from growing up in Leningrad to immigrating to the vain hope there may be a casting agent in the room. Australia to become the much sought after bikini-waxer to Hilariously neurotic, Jess highlights the competiveness of the stars. McQueen brings this sassy individual, full of the industry and never misses a chance to have a dig at confidence and quick wit, to life and the results are hilarious. established stars. Whelan Browne’s vocals flow from We are first introduced to her special guest, Russia’s innocent newcomer, to egotistical leading men, to hasbeens trying to keep up with a continually evolving biggest pianist Boris Longschlongadongski, a reserved man industry. with much admiration for Rosa who with a straight face Concluding with a heart-wrenching rendition of ‘There’s delivers some of the funniest jokes of the evening. He is the perfect foil for the over the top Waxoffski. No Business Like Showbusiness’ performed by an aging Sharing her hilarious tales of personal grooming, performer to his last audience was tender and did well to shine the spotlight on the diversity on display. McQueen’s alter-ego mingles with audience members, Highlighting some of the less appealing aspects of show dragging them into her humorous banter. She brags of business was fascinating, but some sketches, although waxing many politicians, including Pauline Hanson, who happened to be in the audience. Though the butt of many clever, were too long and I yearned for more of Whelan jokes, the audience members, or perhaps more accurately, Browne’s dynamic voice. victims, were good sports. Kerry Cooper Longer versions of many reviews can now be found at www.stagewhispers.com.au
Stage Whispers 101
This princess of plucking and preening was captivating, never more so than when she was belting out one of her many parodies. Recognisable songs that were reworked to fit the show’s theme highlighted the versatile voice of McQueen. She held you prisoner to her madness and was a combination of naughty and alluring. Kerry Cooper
times bold and brash, one felt the audience were more embarrassed than the character himself because some of this show is just plain outrageous, lovingly so and within the limits of decorum. But this is an actor who can sing beautifully, enchantingly, write some clever lyrics and demonstrate his of experience on the stage. What is also impressive is his ability to communicate to his audience what it is really like Peter & Jack (From Gundagai to Mandalay in music) to be gay and to what capacity the GLBT community can go Adelaide Cabaret Festival. Festival Theatre, Adelaide June 7 to feel true love. WHO would have thought that a show based on a 100This was a fun night out, bitter, sweet and generous in year old Aussie baritone and songwriter would be so its selection of emotions. enchanting. In a green smoking jacket, Barry Humphries Incidentally, he does, er, take his shirt off ...... Brian Adamson came out of the audience and on to the stage to narrate and showbiz history was made. He took us back to the late 1800s, before radio, and told the story of two Australian Lady Rizo - Unescorted music legends. Adelaide Cabaret Festival. Space Theatre, Adelaide Festival Subtly using auto-prompts, this master of story-telling Centre. 17-19 June. wove songs like ‘Our Don Bradman’ and ‘On the Road to SOMETIMES a performer will take your breath away Gundagai’ into 2 hours of superlative entertainment. with the manner in which they joyfully push against the Featuring baritone Teddy Tahru Rhodes (in a surprisingly conventional boundaries of cabaret tradition. Lady Rizo is passionate mood), soprano Greta Bradman and The Idea of just this kind of exhilarating fresh-air blast. North, with the superlative Adelaide Symphony Orchestra, With the wardrobe of a typical diva, yet a thoroughly this was a night of nostalgia, and memories. And superb unpretentious and winning personality, Rizo sweeps you up entertainment! and along with her for a wild night of fantastic fun. Her Kate Peters sense of humour is hilariously vulgar and impolite, yet creative, without ever resorting to mere lazy crudeness. Daniel Koek - Bringing Him Home With His West End Story Adelaide residents with an ability to laugh at themselves Adelaide Cabaret Festival. Festival Theatre Stage. June 13 & should get a kick out of her good-natured digs. Rizo is clearly in possession of a powerhouse vocal ability, 14. WEST End sensation Daniel Koek is an Adelaide boy who with as much of a knack for gritty blues styling as for has come home to perform highlights from his musical tenderly vulnerable lullabies. Signing off with To Love theatre roles. Somebody, done in a sing-along with her appropriately Looking suave in his three piece suit, Koek took us on a adoring audience, was the sweetest possible cherry on a musical journey, with an honesty that was refreshing. richly satisfying cabaret cake! Retelling his story of ambition and challenging experiences Anthony Vawser through words and music was both inspiring and entertaining. Koek is a man who has clearly worked hard The Songbirds - Shout Sister Shout for his success and we were lucky enough to witness the Adelaide Cabaret Festival. Banquet Room, Festival Theatre. fruits of his labour. June 19-20, 2015 Songs from The Phantom of the Opera, Chess, South “THE Songbirds” are a multicultural trio (Australian Pacific, West Side Story and Les Misérables and a couple of Danielle DeAndrea, American Erica Canales and Guatemalan Gaby Moreno) who apply the all-female, threegems from his latest album High showcased a voice that was controlled and demonstrated a broad range for a part harmony singing style popularised in the 1920s to a tenor. wide variety of material. Their set ranges from Kerry Cooper straightforward renditions of standards commonly associated with ye olde girl groups (such as “Rum & Coca Cola” and “Chatanoonga Choo Choo”), to more Dash Kruck: I Might Take My Shirt Off adventurous excursions into the realms of gospel, Cabaret at the Cremorne, QPAC Brisbane. June 11. DASH Kruck plays Lionel, a shy, somewhat confused first bluegrass, 80s pop-songs and even Australian pub rock -nighter on a reluctant World Premiere of his debut cabaret anthems by Cold Chisel. show, incorporating a musical evening of sex, booze, boys Their performances of the more traditional pieces in their repertoire are delivered with such zest and enthusiasm and mythical beasts. This is Kruck’s own opus, with music composed by Chris it feels as if one has been transported back to another time Perren. He portrays a loveable gay guy who has recently and is hearing them sung for the first time. The Songbirds’ broken up with the love is his life and by using arrangements of more contemporary material are boldly monologues, song and audience participation he is able to imaginative, sometimes radically so, but are nonetheless sublimate in-depth on the so-called ins-and-outs of the faithful to the emotional content of the original songs. The technical quality of their singing throughout is impeccable, experience. Comical, sentimental and reflective, while at 102 Stage Whispers
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and though they do come across as somewhat underprepared in their stage patter, it has the effect of adding an extra layer of goofball charm to the proceedings. Benjamin Orchard
Geraldine Turner. Photo: Kurt Sneddon.
MDMA: Modern Day Maiden Aunt By Geraldine Quinn. Hayes Theatre Co. June 16 & 17. GERALDINE Quinn hits the stage running in this bright, fast-moving expose on being single, unmarried and …. how can she possibly cope? … childless! Her show is witty, close to the bone, and very carefully scripted, rehearsed and timed. It mixes stand up comedy and raunchy, well-written songs in a show that has real personal appeal. Quinn’s material is based on her experience as the maiden aunt to nineteen nieces and nephews and the childless friend of many married couples with children - as well as the only unmarried daughter of a despairing father! Quinn’s voice is strong and gutsy, her phrasing and enunciation clear, ensuring that none of the humour in her carefully constructed lyrics is lost. Every song impacts on the story that precedes it - and every song is punchy and just a little bit risqué. Quinn’s energy is infectious. She works the audience with her eyes, captures them with her personal approach and holds them for the full hour of the show. She sets a fast tempo and sustains it, carefully pacing herself, never missing a cue and never allowing the audience to slip out of her control. Carol Wimmer Under the Influence: Class of Cabaret Grads Adelaide Cabaret Festival. Artspace Gallery, Adelaide Festival Centre. June 13-14. COMBINING the friendly, funky feel of a jam session with an awareness of stagecraft and a hopeful eye cast toward a possible professional future, Under the Influence is a most worthwhile venture, aimed at showcasing Adelaide’s youthful cabaret talent in a setting where each can test their skills and refine their craft. The nature of this presentation necessarily entails that the five performers (Lauren Greco, Beth Hubmayer, Kate Lewis, Ella Lawry and Jego Loreto), though sometimes vocalising all together in tandem, occasionally even contributing instrumentally to each other’s songs, are generally operating on individual wavelengths. One common denominator is Logan Watt, the versatile pianist providing what is predominantly the solo instrumental accompaniment. There are many sweet and delicious moments, along with some slight awkwardness (mainly in the storytelling that is such a strongly traditional aspect of cabaret) and questionable artistic decisions. There is also bravery and creativity, along with some relatively routine choice of material and delivery, as well as undeniably superb comic energy and flair. Ultimately, there is enough talent, variety, and promise here to make this a solidly enjoyable (and encouraging) afternoon for cabaret connoisseurs. Anthony Vawser
Turner’s Turn Geraldine Turner with Brad Miller (Piano). Qld Cabaret Festival. Brisbane. Jun 12. ANYONE who starts their cabaret act with “Rose’s Turn” has got guts, and Geraldine Turner certainly has plenty of that. The iconic song from Gypsy was immortalised by Ethel Merman as Mama Rose, every diva’s dream role, and whilst Turner missed out on playing it three times, she was born to put her stamp on the part as she proved last night. A big performer, with a big voice, and a lot of heart, she gave her all as she strutted around the postage-stamp-sized stage delivering a show with a little bit of Sondheim, a little bit of Brel, and a lot of show-business savvy. She was incandescent! She was also warm, real and honest peppering the act with funny theatrical anecdotes and singing material from her vast repertoire. Her turn as Norma Desmond, which coupled Boulevard’s “Those Wonderful People (Out there in the dark)” with Sunset Boulevard’s “As If We Never Said Goodbye” had pathos and was particularly moving. Sondheim and Mary Rodgers’ witty “The Boy From…” (The Mad Show) never fails to get laughs, and in Turner’s hands they were maximised. Classy piano accompaniment came from Brad Miller who brought some showy and expressive fingerwork to the set. Peter Pinne
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exposing your students to musical theatre activities/skills Schools On Stage can bring… Through musical theatre students will: develop a love of music and theatre through singing, acting and dancing gain confidence improvising, miming, storytelling and performing learn to truly focus and have self-control, working as part of a team gain the skills to react appropriately and quickly to different situations and scenarios express themselves creatively, with greater empathy and social awareness. Engagement in the Performing Arts has been found to: Does your school provide its students with the opportunity reduce stress and anxiety in children and teens to be involved in a musical theatre production each year or have many cognitive, social, psychological, physical, biannually? Are your creative and emotionally articulate health and spatial benefits for the growing child/teen students being stimulated and provided with an outlet to be beneficial to brain development, memory and other express themselves? If so, great! academic areas (including literacy and numeracy) Undoubtedly your school will have students who thrive improve communication and presentation skills on entertaining others and being the centre of attention. How can a school benefit from recommending their This is fine in the playground, in a drama class or on the students attend a musical theatre class? stage but not so welcome in a maths class. Your school will These classes teach students the skills related to singing, also have students who are a bit shy and need to develop acting and dancing whilst providing them with rehearsal confidence communicating and performing in front of and performance opportunities thus increasing students’ others. A musical theatre production or class can address confidence and skills required in a school musical the needs of all these students whilst developing and production. Additionally, in the high school classes, the nurturing them creatively. teachers help prepare students for auditions through So what if your students don’t aspire to a Performing lectures and holding Master Classes where students can Arts career? That’s fine! But consider all these benefits that perform solo, being critiqued constructively by their peers and teachers. Sending your students to a class means that when it comes to audition time, your school will have more students of a high standard potentially auditioning for principal and ensemble roles. Too often, schools are forced to cancel productions because of “lack of interest” or not enough students with the required skills to pull off the main roles. The author of this article, Ingrid Bass is the Founder and Manager of AApplause Musical Theatre Academy in Sydney, which specialises in weekly musical theatre classes for students from Kindy to Year 12 in Chatswood, Roseville and Killarney Heights. The academy also runs holiday programs, singing/acting workshops and provides performance opportunities for its students, including an annual end-of year cabaret-style soiree.
Why Should Your Students Do Musical Theatre?
For more information go to: www.applausemta.com.au or call Ingrid on 0405 495 099. 104 Stage Whispers July - August 2015
Reviews: Schools
Annie.
Annie By Charles Strouse and Thomas Meehan. Coomera Anglican College, Gold Coast. DIRECTOR Kirsty Terry and MD Liz Smith delivered a polished, interesting and exciting production of Annie. From the start the show exploded with talent: a loveable Annie - Mckeira Cumming and her delightful dog Sandy Benny; Daddy Warbucks (with his arm in a sling) - Jack Otter; the “medicine” swigging Miss Hannigan - Anja van Aswegen; the refined Grace Farrell - Tatem Parmley; Rooster Annie.
and Lily - Richard Procter and Bridie Hunt and the wheelchair bound President Roosevelt - Jamie Carter, led an enthusiastic, well rehearsed company. Special mention must be made of the 10 musicians in the pit: they handled the difficult score like seasoned musos. Troy Phillips’ choreography was simple but effective and the entire company were well disciplined in stagecraft. The entire production was college based and everyone should be justly proud of their combined efforts. Roger McKenzie The Boy from Oz Chevalier College A CHALLENGING musical for high schools, we knew this year was the year to do The Boy from Oz due to the talent we had in the senior years, both in the orchestra and on stage. Even with all this musical talent we had to call in a few professionals for the orchestra to mentor the younger players along with our outstanding musical director Monica Waples. Jacob Sgouros inhabited the charisma and flair that was Peter Allen and was a joy to watch and listen to every time he took to the stage. An
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Schools On Stage
Jacob Sgouros as Peter Allen in The Boy From Oz.
outstanding cast of singers and dancers backed him from Year 7 to Year 12. A musical of this caliber demands more than a term to put on stage, so we took the whole cast and orchestra (including the fabulous costume ladies) on a musical camp during the term one holidays to pull it all together! Kate Price (Director) Popstars! The 90’s Musical By Neil Gooding and Nicholas Christo St Patrick’s College, Shorncliffe QLD POPSTARS! was staged for the first time this year at nearly 20 schools across Australia and New Zealand. It is a celebration of the great decade of the 90’s driven by Popstars! The 90’s Musical. a soundtrack by artists such as The Spice Girls, Backstreet Boys, N Sync, Britney Spears, Christina Aguilera, Mariah Carey, MC Hammer and many more. It’s a battle of ‘Boyband v Girlband’ to win the state talent show. Popstars was a hit, with audience members enthralled by the story, genuinely connected to each character and singing along with the great 90’s soundtrack. A 130 strong team of cast, band and production crew brought great creativity, energy and teamwork to this project. 106 Stage Whispers July - August 2015
Our performance space was divided into 3 areas: A central “main stage” with the band as a backline amongst 4 runs of vertical truss. Each truss piece was uplit with LED cans, and hung with an LED colour strip and 2 Mac101 moving head LED’s. The centre 2 trusses each had a laser array mounted on top. 2 platforms (stage left and right) connected by short ramps had an LED screen array as a backdrop allowing us to project backdrops (garage, lounge room, park etc) for scenes played in isolation. Front of House Lighting Bar - 8 x 2K Fresnel for warm wash + 6 Mac 600 Moving head wash for colour/FX. By using 3 areas with projected backdrops we could run the entire show with minimal use of 3D set pieces (a push on diner counter, a few tables, chairs and a couple of signs/ banners) which meant the show flowed instantly from one scene to the next with zero down time. Mr Geoff Samuels (Head of Culture) Jesus Christ Superstar By Andrew Lloyd Webber. Lyrics by Tim Rice. Scotch College, Carruth Road, Torrens Park (SA). July 29 August 1, 2015 AS well as studying Jesus Christ Superstar as part of their theatre education, the senior students of Scotch College
PERFORMING ARTS MAGAZINE JULY/AUGUST 2015. VOLUME 24, NUMBER 4 ABN 71 129 358 710 ISSN 1321 5965
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Jesus Christ Superstar.
Adelaide have selected the rock opera as a school production. Clearly, casting and directing a college musical presents the dual challenges of showcasing the talent of all the students involved without impacting on the original content of the show. To achieve this, director Adam Goodburn decided to double cast some roles and has cast females in key roles that are traditionally filled by male performers. On casting Herod, Goodburn says, “I wanted to have a contemporary, readily identifiable character that had a lot of social influence and to do that, and achieve what we wanted in terms of choreography, we made the decision to cast a female.” Goodburn explains that for a show which traditionally only has one featured female, creating additional female roles was an important consideration in a co-ed school. “It may seem like a brave step,” he says, “but in reality, schools have always been able to push the boundaries of casting in both gender and colour and it is a welcome trend being extended to community and professional theatre environs.” Herod is double cast and is to be played by Tayla Coad and Onor Nottle, who recently starred in the feature film Touch. Many of Scotch College’s young performers have already worked professionally. Ben Francis, a highly experienced young man who has won multiple eisteddfods and performed worldwide, will play Jesus, while AFI award -nominated Tom Russell plays Judas Iscariot. Tom is particularly well known for his role as Chook in feature film The Last Ride, opposite Hugo Weaving. Scotch College will incorporate contemporary staging and a 21st Century feel into its version of Jesus Christ Superstar Lesley Reed
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Musical Spice Pictured here is Adam Lyon the ultra-talented composer/producer of Ned - A New Australian Musical which premiered at the extraordinary Ulumbarra Theatre in Bendigo during May. You may know him as one of the principals of King Kong and he’ll soon also appearing in Jekyll and Hyde. Adam pulled off the seemingly impossible in May, staging a new Australian musical, with a large professional cast, about a colonial icon, in a small country town, and recouping (that is covering costs). The venue had to schedule an extra performance in the new 1000 seat theatre. The musical excited members of the general public, who gave it seven standing ovations. Even hardnosed producers who saw it thought that it had a promising future. You’d have to say that the hometown advantage helped. Locals cheered it on as many of the cast and creatives were from Bendigo. Also the experience of walking into the Ulumbarra Theatre was quite unique, putting punters into a positive mood. As you can see in Stage Whispers TV’s video, when you walk into the theatre you pass by the old jail cells of the former Sandhurst prison, from which it was built. One of the cells was the last prison residence of the late Mark “Chopper” Reed. The reason why I say that the latest Ned’s success was seemingly impossible is that distinctively historical Australian musicals have a poor box office track record. Eureka closed after six weeks in 2004, History of Australia The Musical failed to excite the public in 1988, and Reg Livermore’s Ned Kelly was famously crucified by Adelaide critics in 1978. 108 Stage Whispers July - August 2015
A Tale Of Two Ned Kelly Musicals Undeterred by this, I had Reg Livermore’s Ned Kelly orchestrated and licenced six productions of it to amateur theatres and schools. I saw a very entertaining production in Campbelltown in Western Sydney and in Newcastle. Reg has since retired the work because he thinks there are too many flaws in the book. My perspective of the new Ned musical was unique, in that I could compare song for song and scene for scene the two productions. I have to acknowledge that the new Ned is superior to the old in a number of respects. Adam Lyon and his fellow creatives have captured the story better. It was fascinating to see young Ned as a boy earning a sash for bravery for saving a friend from drowning, then still wearing the sash when he was captured by Police at Glenrowan all those years later. It was also strong musically - although I was yearning for a couple of Reg and Patrick Flynn’s songs to be dropped in particularly the rollicking Gonna Robba Bank. Adam Lyon has also gone about developing the work very cleverly, trying it out
in a country town first before developing it further. To break even on the first outing in phenomenal. In my opinion the musical only needs a little more work and is far more mature than Strictly Ballroom and King Kong were when they premiered in Sydney and Melbourne. The next step is the release of a cast recording, then probably another outing in a regional centre. Even if a producer was keen, finding a vacant theatre in metropolitan cities takes time. Some say that movies, plays and musicals about the famous Victorian outlaw have been cursed by bad luck. Maybe this one is about to buck the trend. David Spicer
Online extras! Take a look at Bendigo’s stunning new prison theatre. Scan the QR code or visit https://youtu.be/4k44UIMwzO4
Read scripts, listen to music and order free catalogue at:
www.davidspicer.com.au david@davidspicer.com (02) 9371 8458
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