Stage Whispers July/August 2017 by Stage Whispers Magazine

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Subscribe to Stage Whispers print edition for one year or more and receive one of the following double passes, CDs, or DVDs or take your chances in our lucky dip. Please nominate three choices, as supplies of some gifts are limited.  Two Double passes to VELVET on Wednesday 26th July at 7:30pm at the Roslyn Packer Theatre.  Five Double Passes to Bodyguard The Musical on Thursday 24th August at 7:30pm at the Regent Theatre, Melbourne.  Elise McCann’s Dahlesque CD  Peter the Great - Mini-series on DVD.  Majestic Collection - The Remains of Day, Jane Eyre and The House of Mirth - 3 DVD set  Paris by Jon English and David Mackay. Double Album CD London Symphony

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In this issue

Big Brother Still Watching ....................................................................... 12 Inside the stage adaptation of Orwell’s 1984 Michael Cassel ........................................................................................ 16 Aussie Producer’s journey from Kiama to Kinky Boots

Paris Professional Premiere ...................................................................... 18 Jon English musical rebirthed by son Inside The Tony Awards .......................................................................... 20 Ian Phipps reports on Broadway’s night of nights The Dawn Of Digital Theatre ................................................................... 24 Theatre technology from the middle ages to today Performing Arts Course Guide ................................................................. 29 Interviews and features on courses across Australasia

Sweeney Todd’s Real Razor ..................................................................... 54 Theatrical brush with death prompts a look at lethal props Theatre On Fire ....................................................................................... 56 Our history feature on the curse of 19th century theatre

Regular Features

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Stage Briefs

Broadway Buzz

London Calling

Stage To Page

Stage On Disc

Stage Briefs

On Stage - What’s On

Reviews

Musical Spice

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THE NEXT ISSUE OF STAGE WHISPERS IS FOCUSSING ON COSTUMES, SETS & PROPS.

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Editorial

Dear theatre-goers and theatre-doers, Once upon a time, a dream of running away to the circus was enough. Nowadays a career in the Performing Arts probably begins with a rigorous Degree course at one of our major training institutions.

and Money. team of NIDA’s Love The 2017 production Photo: Lisa Tomasetti.

There’s definitely more to it these days than the romantic notion of packing your bags and sneaking away from home in the dead of night. Fiercely competitive auditions now precede years of intensive study in one of many prestigious Degree courses at our Universities and tertiary institutions.

The Turnbull Government’s changes to funding for Arts training, particularly with regard to Diploma courses, have certainly narrowed the options. Government policy borrowed from Noël Coward’s advice in “Don’t Put Your Daughter on the Stage Mrs Worthington” strives to direct more young people’s studies and careers to alternate, commercially-driven pursuits. In this edition of Stage Whispers, however, we focus on the options for the many young people who cling tenaciously to their passion for a career on (or behind) the stage and screen, featuring success stories from our major theatre training courses and their graduates. An even more comprehensive online version of our Performing Arts Course Guide will be available at www.stagewhispers.com.au/training from July 15.

Federation University’s 2015 production of Oh What A Lovely War!

Welcome to the many Performing Arts teachers and students reading a free copy of the magazine posted to your school. We hope that you will become regular readers. Yours in Theatre,

Neil Litchfield Editor

Cover image: Twin Share – a 2017 production by WAAPA’s LINK Dance Company. Read more in our story on page 32. Photo: Jon Green.

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Stage Briefs Summer musicals return to Arts Centre Melbourne this year with Dream Lover The Bobby Darin Musical, which plays from December 29th for a strictly limited season. Dream Lover - The Bobby Darin Musical had its world premiere at the Sydney Lyric Theatre late last year. “We’re thrilled to be bringing Dream Lover to Melbourne as the first in the new annual summer musical presentation at the Arts Centre. Audiences in Sydney were awe -struck by the incredible performance of David Campbell as Bobby Darin and we are delighted Hannah Fredericksen will return as the stunning Sandra Dee. We are also very excited to welcome the one and only Marina Prior to the cast, along with Rodney Dobson, who join other returning principal cast Marney McQueen and Martin Crewes. We cannot wait for Melbourne audiences to be blown away by this magnificent cast and to experience this awe-inspiring production,” commented John Frost, on behalf of his co-producers John and Barbara Gilbert. Read more at http://bit.ly/2txfjnO

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Online extras!

Hey Melbourne! Get a taste of Dream Lover on Stage Whispers TV https://youtu.be/B5-Yfqii9Qo Photo: Jim Lee.

Sydney Theatre Company and Global Creatures have announced that the lead role in the world premiere of Muriel’s Wedding The Musical has been won by newcomer Maggie McKenna. The 20-year-old Melbourne born and raised actress has recently returned to Australia from Los Angeles where she trained at the American Musical and Dramatic Academy (AMDA). She will make her professional stage debut in the theatrical version of PJ Hogan’s iconic hit film, updated to today by the writer himself, with original music by Kate MillerHeidke and Keir Nuttall alongside those beloved ABBA numbers. The production is at Roslyn Packer Theatre with previews from 6 November, opening on Saturday 18 November 2017. Joining the new Muriel on stage is Justine Clarke as the long suffering Betty, with other members of the Heslop clan played by Briallen Clarke (Joanie), Michael Whalley (Perry) and Connor Sweeney (Malcolm), while Helen Dallimore plays the strangely ever-present beauty consultant, Deidre Chambers. Celebrating her marriage to Chook (Aaron Tsindos), Tania Degano is brought to life by Christie Whelan Browne. The director/designer team of Simon Phillips and Gabriela Tylesova (Love Never Dies, Ladies in Black and STC’s Rosencrantz and Guildenstern Dead) lead the creative team. Read more on our website at http://bit.ly/2tx3vC5 Photo: James Green.

Online extras!

Stage Whispers TV has the first glimpse of a cast performance from the show. https://youtu.be/gzU0Ggllu6Q

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As a new touring production of 1984 makes its way around Australia, Martin Portus asks… What would George Orwell think of us today? Surely we have arrived at his dystopian world of Nineteen EightyFour, our lives glued to screens, our data swept up and fed back to us in individualised advertising, and now our minds spliced by Big Trump tweeting about alternative facts and fake news. It’s no wonder that Orwell’s vision of our future, imagined back in 1949, has this year shot up the US bestseller list. And that audiences have flocked to a chilling British stage adaptation of his novel, with a production opening in June on Broadway and another currently touring Australia. Adapted and directed by Robert Icke and Duncan Macmillan, 1984 premiered in Nottingham four years ago and went on to three hit seasons in the West End and a sell-out at the 2015 Melbourne Festival. Not surprisingly, the show bristles with screens and other modern technologies of surveillance as the audience become Big Brother, spying on the action, but also share Winston’s bewildered journey navigating the horror of his reality. For the audience, it’s a visceral, even assaulting experience. 12 Stage Whispers July - August 2017

Associate director Corey McMahon in Adelaide has the job of remounting the production currently touring with an Australian cast. “The play is not a passive theatrical experience, as we’ve set out to create the world of Oceania and living under the eye of Big Brother,” says Corey. “And yes, we do reach out into the audience and give everyone a shake! “Robert and Duncan wanted to ensure that 1984 wasn’t a museum piece as though set in post-War Britain, but as dynamic, moving and visceral as a blockbuster in the cinema or one of the Netflix series. They wanted to make it very contemporary and relevant. Theatre has a lot of competition now so it must show in its storytelling how to relate to modern audiences.” This adaptation of Orwell’s novel also makes good use of theatre’s capacity to suspend a number of possible interpretations: about the nature and methods of this totalitarian state and what motivates those who populate it. But guiding the audience through this confusion, sharing the dislocation, is Winston. Comrade 6079 Winston Smith toils as a clerk in the Ministry of Truth, rewriting articles to reflect the

Party line and erasing eradicated ‘unpersons’ from the public record, until he can take it no longer. In the play, from the start, he’s a more dynamic and committed rebel than in the book. This Winston is younger, more engaging, less ambiguous than Orwell’s unlikely hero, and his secretive relationship with another rebel, Julia, is here warmly romanticised. Tom Conroy, who turned 30 this month (June), is certainly a fresher-faced Winston than the haunted John Hurt in “the film of the book of the year” made back in 1984. “In the book, he has an ulcer on his leg and there’s real sense that he’s been broken by the world,” says Tom. “The adaptors here didn’t go down that path but we still do see a man who is an unlikely hero, an everyman, for the audience to see themselves through. “And from the first moment we see him onstage, he has the diary and he knows - as we know

Lead Story

Online extras!

Check out the trailer for 1984. Simply scan the QR code or visit https://youtu.be/8jj6rQcKwXM Tom Conroy in 1984. Photo: Shane Reid.

- that the act of opening the diary will ultimately lead to his death. But he can’t not do it. He might not be the bravest or most cunning man but he’s reacting to the compulsion within - that he can’t sit any longer and do nothing about this totalitarian world.” 1984 opens with the artful device of some futuristic book club or tutorial group discussing not so much Orwell’s story but his often forgotten final appendix, with that dense academic list of Newspeak terms. The destruction of language through the novel, in tandem with how the dictatorial regime stirs nationalistic fervour and promotes ceaseless wars against nebulous foes, is Orwell at his most chilling. Up for the debate from the beginning is what are objective truth and facts and who controls the truth. It’s why Winston hides from the screens that can also watch him (like Samsung TVs can do today, apparently) and starts a diary to find his own words. “Winston,” says Tom, “finds himself in this book group talking about his diary as if it is some historical document and so he has to consider whether he’s imagining the future or he’s gone crazy.” “And at the end of the play,” adds Corey, “one of the book club (Continued on page 14) www.stagewhispers.com.au Stage Whispers 13

the way Google is able to use that to target advertising to us; and how Lead Story metadata laws in Australia are increasingly invasive about the amount of information they can hold. “Also, the number of fascist states that have risen and fallen and so many shifts in the political climate since 1949. It’s a fundamental and ongoing battle between the individual and the state. And of course, screens now are everywhere.” Indeed, George Orwell, it seems, was onto the digital challenge even 1984. 70 years ago. In Nineteen EightyPhoto: Shane Reid. Four he has one of the government And just as the digital world was workers for Big Brother say, “The (Continued from page 13) threatening to be our Orwellian People will not revolt. They will not future. look up from their screens long asks how we know that the Party is “It’s the way we are now giving enough to notice what’s finished; how do we know that the up our privacy and autonomy as happening.” world we are living in is now really individuals,” says Tom. “And so That shows good foresight back free? Or has the Party just beyond Trump, beyond alternative in 1949 from an author, grieving and engineered the world to make us facts and fake news and the fatally ill, writing this cautionary think that they’ve been overthrown, dismantling by Trump of our faith in fable on a remote Scottish island. but they are in fact still in power…” the authority of the media and Audiences today might not see all Back in the year 1984, when the independent thinking, beyond all these contemporary echoes in 1984, film was released, people certainly that, the world we have now is so but they can’t avoid the blood. The held similarly dark suspicions about much closer to Nineteen Eighty-Four tyranny of Big Brother turns to the conspiracies and corruption of in ways that Orwell could never have horror when Winston experiences their political and corporate masters. imagined. what is inside the notorious Room But how much greater, globally, is “Look at the way we give up our 101. The play’s set of dated, wood that scepticism - and now anger information on Facebook every day; panelled rooms with old furnishings, today? This adaptation, 1984, was developed as the WikiLeaks flowed 1984 plays at the Roslyn Packer Theatre, Sydney until July 22, then out, National Security Agency files Canberra Theatre Centre, Canberra (July 25-29) and His Majesty’s were leaked by Edward Snowdon, Theatre, Perth (August 4-13). and Chelsea Manning was jailed.

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the place of tutorials, is replaced by the terrifying clean functionality of the modern state. Audiences reportedly do a lot of squirming as Winston faces his nightmare. Nor is it an easy ride for Tom Conroy. “I can never think about that part before the show starts,” he says. “In the book it’s very brutally described what happens to Winston, and his physical and psychological breakdown is quite graphic. The adaptors wanted to stay true to that. “It’s hard for the audience to sit through and a few people have fainted from the blood in that scene. I have to work very hard to wash it off, in both ways - literally, and also to leave it behind me every night. “But it’s kind of a huge responsibility in a way, and that’s how I am looking at it. Around the world now, and historically, and into the future, there will continue to be people who go through similar things to what Winston goes through and I have to believe in the importance of that story and my role in the telling of that. I think that this

Tom Conroy in 1984. Photo: Shane Reid.

belief in the importance of storytelling is something that gets you through it.” Tom first read Nineteen EightyFour a few years ago, well before he had any thoughts of playing Winston. He felt an obligation to read it and even shameful that he was unfamiliar with such a 20th Century classic.

“I remember I found it troubling, but the trauma of reading the book was less overtly shocking than how much it sat within me, made me feel dirty and uncomfortable; that’s the impact.” Later, talking to audiences, he was struck by the number who had thought they had read the book but then realised they hadn’t. And even that’s a bit spooky.

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Michael Cassel is a rising star in Australian show business. You won’t ever see him on stage, but behind the scenes he has become one of Australia’s major producers of musical theatre - a job he set his sights on as a child. David Spicer reports. When Michael Cassel was 12 years of age a production of Jesus Christ Superstar lit a fire in his belly. So excited was he, that he wrote to the producer Harry M Miller with a proposition. “Dear Harry, will you give me a job?” Harry wrote back and said, “Dear Michael, I suggest you go to High School first. But keep in touch.” We meet in his Sydney office, previously a storeroom behind the stage door of Sydney’s Lyric Theatre, which has been transformed into a trendily decked out office. An assistant hands me an immaculate glossy striped tea cup for a cuppa. Michael’s motto is attention to detail. His team of 18 is working in an artfully decked out open plan room on their productions of Kinky Boots, Beautiful and an Asian tour of The Lion King, with other shows in the pipeline. At the age of 36 Michael Cassel has already had more than twenty years’ experience as a producer. “When I was in Year 9 I started out doing some amateur theatre with the Roo Theatre in Kiama (on the NSW south coast). I began on stage but quickly realised I had no talent, so, as a pianist, I became their musical director for a few of their youth productions.” At 14 he was already getting itchy feet and wanted to produce on his own. He hatched a plan to stage a massive Carols by Candlelight production. Within twelve months he had an orchestra of 40 lined up, stars of the TV series Neighbours and Radio DJ Alan Jones as the MC, for an

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outdoor production. 4000 people turned up! The success of this event gave him an open door to do regular work experience with Harry M Miller and Ric Birch, who was organising the year 2000 Olympics. “To think I could make a career out of it was amazing. Every school holidays I used to go to Harry’s office and answer the phones. I’d sit there and watch while he was doing deals.” During Year 12 studies he noticed that Tourism Wollongong was looking for an outdoor event manager. At the age of 17 he applied for the job, but through a company he set up - the Michael Cassel Group - to make him sound bigger.

“I made sure the job interviews were after school. I quickly changed out of my school uniform to get Mum and Dad to drive me into town.” He got the job and the Michael Cassel Group is still in business. “By April of my HSC year, I ended up with an office in Wollongong and my first employee.”

Jerry Mitchell, Cyndi Lauper and Michael Cassel on the red carpet at Kinky Boots in Sydney.

Soon after he left Wollongong for the big smoke. By 21 he was helping set up Disney Theatrical’s new Sydney office and a few years later was Disney’s Director of International business, overseeing productions in South America, South Africa and South Korea. All appropriate locations for a lad from the South Coast. “When I finished working for Disney in New York my wife and I had a baby, so we came back to Australia. I started working for Global Creatures on international deals, when Cameron Mackintosh called me and said, ‘I want you to produce Les Misérables in Australia.’ I thought down the track I would become an independent producer. The call from Cameron brought that sooner than expected (at the age of 33). “It has been a roller coaster ride, setting up Les Misérables and putting this team together.” Since then has had what he describes as a commercial success with Kinky Boots, and a commercial disappointment with Singin’ In The Rain (which he was a co-producer on), while coming up are Beautiful - The Carol King Musical and a Southeast Asian tour of The Lion King. “The hardest thing I have learnt is the attention to detail and quality. You can’t compromise on the artistic quality on stage. If you get that right you are giving the audience a great experience. People will want to buy tickets.” Michael Cassel said making Kinky Boots a success was not straight forward because the show was unknown in Australia. “The biggest driver for us was reinforcing the great score by Cindy Lauper, the great pedigree of the creative team and the great story, which has a huge heart. “It still takes a lot of convincing to get people to pay $100+ for a ticket. “The best way of promoting a show is having people see it on stage and telling their friends they had a great experience.” Michael Cassel said another challenge in Australia can be casting, which has been the subject of recent negotiation with the Media Entertainment and Arts Alliance.

Callum Francis prepares to take the stage as Lola in Kinky Boots. Photo: Darren Bell.

Online extras!

Watch the cast recording of “Raise You Up” and “Just Be” on Stage Whispers TV https://youtu.be/20OQqsmvU2w

Kinky Boots is playing at Sydney’s Capitol Theatre. Beautiful - The Carole King Story opens in September at Sydney’s Lyric Theatre. In Kinky Boots British performer Callum Francis is playing Lola to widespread critical acclaim. “We searched for six months for somebody with that level of talent. Kinky Boots demanded something extra, and, combined with the ethnicity (needed for the role), proved to be a great challenge. “In the case of Kinky Boots and other shows it is perfectly justified to cast a certain calibre of performer and ethnicity (from overseas).” He said Australia doesn’t always have the level of depth of New York or London. “There are not five people in line to play a role. Usually it is one or two deep.” Casting Beautiful - The Carole King Story, which opens in Sydney in September, has also proved a challenge due to the number of Afro American roles. Michael is pleased to reveal that he managed to cast the entire show from local talent, after some hard work to coax unique individuals onto his stage. “I think Beautiful will excite Australian audiences. I went into the theatre (in New York) thinking, ‘I know Carole King, Mum and Dad played her album every Saturday night.’ I knew all the songs from Tapestry. But I thought, how is this going to sustain a two hour

show? I took my seat and was blown away. It charts her story from a 16-year -old school girl; her first number 1 song at 17; her relationship breakdowns; to finding her own voice. “To me the revelation that she wrote all of these songs for all these major artists, combined with an emotional feel-good musical with big production values, and the incredible casting of Esther Hannford, will knock people’s socks off.” ‘Goodness, doesn’t he sound like a producer?’ I thought. Maybe Michael Cassel has been practising this routine since he was a teenager.

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English playing the role of Menelaus (Helen’s husband). A company in Austria did an extract replica of our production. “Dad was thrilled with the amateur productions, seeing what people power could do with it. All these passionate people turning up in their droves.” The first ever professional production of Paris - written and However, when the singer/ composed by Jon English and David Mackay - will be staged in composer/actor died last year some of concert form at the Melbourne Recital Hall from July 13 to 15. The the television networks replayed much-loved work is being edited by the late rock musician’s son interviews with him, when he revealed Jonathan English, who is “channelling” his father’s original vision. that his one major artistic regret was David Spicer - the agent for the musical - has the inside story. the lack of success for Paris. Is that about to change? From July Jon English became captivated by album) made songs such as “Hell or 13 until 15, the newly formed Music stories of Homer’s Iliad when as a child High Water” sound so different to the Theatre Melbourne will stage a concert his father read the stories to him at little piano ballad he knew. adaptation of Paris at the Melbourne bed time. The Trojan Horse, the Jonathan remembers the Recital Hall. Producer Mark Featherby Achilles heel and the lovers Helen of excitement at his home at the time that has pulled together an extraordinary Troy and Paris were the figures which there were real hopes of a national cast including Ben Mingay as Achilles, fired his imagination. tour of Paris. Tim Freedman as Agamemnon and Decades later Jon did the same to “There was a lot of interest from John Waters as Ulysses. his own son Jonathan whilst he was different parties in staging Paris “Dad would be pretty stoked at the recording the lavish concept album for initially, but it all went cold very fast. It cast. He and John Waters were show the musical Paris, based on The Iliad, was pretty devastating for Dad at the brothers across four decades. John was during the 1980’s. time,” he said. Agamemnon on album, but is now More than a decade passed before playing Ulysses.” “Paris is as old as me,” said Jonathan. “Dad was making this giant the amateur rights were released As well as a hot cast, the rock opera with David Mackay (through my agency) and so began an production team engaged Jonathan to help edit the script. downstairs and upstairs he was telling odyssey of re-writes, as the musical me the stories.” was staged 25 times in five different “I don’t think I am doing any reWhen the incredibly expensive countries. writing,” but instead he said he’s using album came out, the younger English In 2008, a local director Stuart existing material and tapping into was “baffled” that the London Smith and I produced a season of Paris “Dad’s consciousness.” What does that mean? Is he Symphony Orchestra (used on the on the NSW Central Coast - with Jon holding a séance? Does the ghost of Paris is on stage between the 13th and 15th of July, 2017. Jon English return to whisper into his www.melbournerecital.com.au/events/2017/paris-a-rock-odyssey son’s ear? Well kind of. “I worked with Dad as a teenager for a long time. We never listened to music after driving back from a concert. We loved talking about history and trivia and we talked a lot about Paris. I already have lots of scenarios mapped out from our conversations, which have given me a lot of material to draw from.” It is also handy to have his Dad’s laptop and digital audio demo tapes. The director of the production Neil Gooding says it is “disarming” how talking to Jonathan is like talking to his father. “Jonathan knows every thought process and every bit of music. He is very intelligent and very flexible about finding solutions.”

Jon English Musical Rebirthed By Son

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Jon English starring as Menelaus and Kasey McKenzie starring as Helen in the Southern Cross Musicals production of Paris at Laycock St Theatre, Gosford. Photo: Troy Snook.

Gooding, a producer/writer and currently the chair of the Hayes Theatre, also has a childhood connection to the musical. As a teenager he played the concept album so many times that one of the songs warped. So how is Paris being adjusted? Well let’s explain a little bit of The Illiad and recent portrayals of it. If you watched the movie Troy, starring Brad Pitt, you will understand the story from the perspective of Achilles, who is commonly the central character. Achilles was of course the Greek hero who leads the battle against the Trojans, but had that vulnerable heel. Paris, second in line to the throne, ultimately slays Achilles with an arrow to his heel. In Troy, Paris is portrayed as a very insipid character. He is extremely indulgent and careless, plunging his nation into war by stealing Helen (of Troy) the wife of his enemy. The vision of Jon English and David Mackay was to focus the musical on the love story of Paris and Helen. Their best songs, such as when Helen discovers Paris washed up on the beach, are stunning. In the first act of the musical Paris leaves Troy for Greece on a message of peace but ends up stealing his enemy’s wife, then escaping back to Greece. It has a cracking pace. Jonathan believes the problem with the musical was that in the second act events revolve around Paris. “I had this discussion with Dad ten years ago. It is not that I don’t feel

sorry for Paris at the end. He’s just a passenger; there is nothing left for him to do. “A way for a modern audience to approach a musical that has the lead character’s name in the title is that we have to follow his thought process. “Dad and David Mackay had Paris as a young cocky bloke with nothing to lose. A young kid doing stupid things. He went from being kind of a cute buffoon, then a romantic lead and back to being a buffoon.” In this adaptation Paris grows up. In the first act Paris is the headstrong youth who falls for the trap, set by the Gods, of stealing the most beautiful woman in the world. Now in the second act his character develops and he tries to remedy the situation. “There are now a few extra beats to his motivation. He accepts adult responsibility to become a leader of Troy.” Paris starts listening to his sister Cassandra, who has been predicting doom from the start. In previous versions Paris did nothing to stop the Trojans from wheeling the big horse they found on the battlefield into their fort. In the new edition he shows a bit more wisdom. If there is any last-minute tweaking needed Jonathan will be nearby. The music director Isaac Hayward, who is re-interpreting the orchestration, has engaged him to play in the band. A skilled guitarist, like his father, he knows the music by heart. But Jonathan is going to have to learn new features in the orchestration.

Jon and Jonathan English.

“Isaac has got me doing all these new crafty things.” In the Melbourne Recital Hall, with 40 voices in the cast, it should sound extraordinary. Jonathan said it will be nice to put the script down and pick up the guitar. “People get Paris fever and start to obsess over it. They suddenly get these opinions about how to improve it, like an avalanche.” Maybe the fever might finally be broken.

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Kevin Spacey performs “You Will Be Found” from the Best Musical-winning Dear Evan Hansen. Photo: Theo Wargo / Getty Images.

Online extras!

Watch 2017 host Kevin Spacey’s amazing Tony Awards opening performance. https://youtu.be/5wPV4FAb664

For Theatre Publicist Ian Phipps, who has loved theatre all his life, the annual Tony present the awards that Awards are the holy grail. This year he suited up, bought a ticket and discovered aren’t broadcast live - Best Scenic Design of a Play and a that the Tonys are more about business than show. Every Queen’s Birthday long weekend (the irony isn’t lost on me), a group of friends and I sit around and watch, laughing and screaming and bitching and loving (almost) every minute of the Tony Awards. This year I decided to coincide my annual trip to New York with the Tonys. Anyone can buy a ticket online, but they’re usually snapped up very fast. I bought a ticket through a producer friend. The ticket prices start around $US475 and go up to $US850. For the Gala party afterwards, that’s another $495. So it’s not cheap! Alongside the Oscars and Grammys, the Tonys is one of the leading international televised awards ceremonies

but differs from smaller ceremonies in only two ways - the security presence and the calibre of the guests. With ticket in hand I head to Radio City Music Hall late afternoon on 11 June to find the streets around W50th and 6th are closed off. Guests who can’t afford a stretch limo need to walk around the block through several barricades and check points, to eventually join the entry queue parallel to the red carpet - cue glimpses of Erich Bergin interviewing a very pregnant Patina Miller, Tommy Tune chatting to Christine Ebersole, Bette (no surname necessary) holding court and so on. After security checks, metal detectors and more, I’m inside the glorious Radio

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City Music Hall. The audience doesn’t seem in a hurry to get to their seats, despite it being 15 minutes before the 7pm pre-broadcast section of the Awards ceremony. After a bit of star spotting and wandering around to take it all in, I head inside to take my seat about half way down the stalls (“orchestra” section in US theatres). Ten minutes to go and the theatre is still pretty empty. Guests dawdle in there’s nominee Danny De Vito with some minders heading down my aisle (and he is even shorter than I heard), the Oslo cast, Andrew Rannells, playwright nominee Paula Vogel. Other nominees gradually enter as Jonathan Groff and Brian d’Arcy James begin to

Musical, Best Costume Design and so on. It’s a little disappointing that James Earl Jones’ Lifetime Achievement Award is presented to a half full house and not broadcast - he is a giant in this industry; ditto the Isabelle Stevenson Tony to the great Baayork Lee and others. Just before 8pm Jonathan and Brian are hurried off stage; we’re about to go live around the world. Kevin Spacey’s opening number begins and from halfway back in the stalls, it’s easier to watch on the screens either side of the stage. Kevin is playing to the first couple of rows in the theatre but mainly to the dozens of cameras around the theatre. Cameras on dollies swing from one side

of the theatre to the other, steadycams race up and down the aisles, at times blocking the view of anyone more than a few rows from the stage. The ceremony goes on Best Supporting Actor and Actress Awards, Best Direction, Best Score and so on. The only time the audience comes alive is for the major awards - the rest of the time people are restless, talking, leaving in the commercial breaks and coming back in a later break. A couple of hours in, a few people near me leave and don’t return. There’s a distinct lack of buzz, and a lack of respect for the nominees in categories that guests aren’t so interested in. I know it’s called show business, but it feels like most of the audience are there more for the “business” than the “show”. As time ticks on we see segments from nominated musicals to which the audience responds, and speeches by nominated playwrights about their plays to which the audience pays scant attention. Only when some of the main categories

Lin-Manuel Miranda, presenter of the Tony Award for Best Musical. Photo: Theo Wargo / Getty Images.

Bette Midler, winner of the Tony Award for Best Performance By An Actress In A Leading Role In A Musical poses on the red carpet. Photo: Jemal Countess / Getty Images.

are announced, does the energy in the room rise. At the announcement of Ben Platt’s name, the audience erupts and a spontaneous heart-felt standing ovation occurs. Soon after, the announcement of Bette Midler’s win sparks the same response. Broadway loves its stars, and they love and respect Bette. Her insistence of speaking over the music playoff and her eventual triumph over

the playoff is a popular moment. Again, the announcement of Dear Evan Hansen as Best Musical prompts an outpouring of affection. The final number is presented by Spacey and Patti LuPone, a beautiful but disappointingly downbeat Bobby Darin song, and then it’s all over. Guests pour out into the street, some to go to individual show parties, some board the buses outside to take them to the

Gala and others disappear into the night. The show is done. Would I buy a ticket to the Tonys again? Probably not. Will I sit around and watch it on TV live next year, laughing and screaming and bitching with my friends? Hell, yeah! It’s the Tonys!

For our complete coverage and a full list of winners, visit http://bit.ly/2sDW6AS

Writing duo Justin Paul and Benj Pasek were presented with the Tony Award for Best Original Score for Dear Evan Hansen by Cynthia Erivo and John Legend. Photo: Dimitrios Kambouris / Getty Images.

www.stagewhispers.com.au Stage Whispers 21

roadway uzz

By Peter Pinne

Hot on the heels of their Best Musical Tony win for Dear Evan Hanson and an Oscar for their lyric only assignment on La La Land, comes the news that Fox will produce Benj Pasek and Justin Paul’s A Christmas Story as a “live” musical event in December. Based on the cult-classic film of the same name, which was inspired by the stories of the late humorist Jean Shepherd, the musical originally premiered in Missouri in 2009 and followed with several regional dates before appearing on Broadway at the Lunt-Fontanne Theatre November/December 2012. Pasek and Paul will write new songs for the TV version which will have a book by Jonathan Tolins and Robert Cary, and be executive produced by Marc Platt (La La Land/Wicked) and Adam Siegel. Platt will also executive produce for Fox, along with the estate of writer/ composer Jonathan Larson, a “live” musical production of the Tony Award, Grammy Award, and Pulitzer Prize-winning musical Rent. Robert Greenblatt, the chairman of NBC Entertainment, who started the “live” event series of Broadway musicals with Carrie Underwood’s The Sound of Music, has announced they will broadcast a new “live” staging of Andrew Lloyd Webber and Tim Rice’s Jesus Christ Superstar Live! on Easter Sunday 2018. According to Greenblatt they want to “fill out this classic show with as many recording artists as possible to give proper voice to what is the original rock opera score.” The rock-opera has been revived on Broadway three times, the most recent in 2012 in a production that starred Paul Alexander Nolan (Jesus) and Josh Young (Judas). NBC have also postponed their projected Thanksgiving “live” event production of Bye Bye Birdie starring Jennifer Lopez to November 2018, due to the current film and TV commitments of Lopez which include the hit policeprocedure drama Shades of Blue. Stephanie J. Block and Brandon Uranowitz in Falsettos. Photo Joan Marcus

Online extras!

Get a sneak peak of Falsettos. Simply scan the QR code or visit https://youtu.be/ZjnAHOdMQVk 22 Stage Whispers July - August 2017

Disney’s Newsies: The Broadway Musical, a filmed version of the show, is to return to cinemas for a two-day encore presentation on August 5th and 9th. It was first screened in movie houses over three days in February where it grossed $3.47 million. Due to public demand a fourth showing was added March 4, 2017, and it became available digitally on 23 May 2017. Recorded live at the Pantages Theatre, Los Angeles, during performances in September 2016, the production features performances by Tony-nominated Jeremy Jordan (Supergirl) as Jack Kelly, with original cast members Kara Lindsay (Katherine), Ben Fankhauser (Davey) and Andrew Keenan-Bolger (Crutchie). The show received Tonys for its score by Alan Menken and Jack Feldman, and choreography by Christopher Gattelli. Prior to the Newsies cinema outing in August, the recent Broadway production of William Finn’s Falsettos will be seen for a limited engagement in movie theatres July 12. Recorded under the umbrella of Live from Lincoln Center, the show which starred Christian Borle, Stephanie J. Block, Andrew Rannells and Brandon Uranowitz (all of whom received Tony nominations), was filmed live at the Walter Kerr Theatre in January 2017. Borle played the neurotic, bisexual Marvin, Rannells was his lover Whizzer, Block his wife Trina, and Uranowitz his psychiatrist Mendel. On June 4th a theatrical milestone occurred when the record-breaking run of Tom Jones and Harvey Schmidt’s The Fantasticks closed after a phenomenal 21,552 performances. It holds the title of the world’s longest running musical and is only topped in the longevity stakes by The Mousetrap in London, which is the longest-running show in the world having passed 26,000 performances. The story, suggested by the play Les Romanesques by Edmund Rostand, originally opened at the 153-seat Sullivan Street Playhouse in Greenwich Village, 3 May 1960. It played 42 years at that venue amassing 17,162 performances and then four-years later moved to The Theater Center and played a further 4,390 performances. The score includes the standard “Try to Remember”. Dozens of actors have appeared in the show including Ricardo Montalban, Kristin Chenoweth and F. Murray Abraham, but the actor who is most associated with the musical is original cast member the late Jerry Orbach, who went on to have a major career on Broadway appearing in Promises, Promises and 42nd Street, and on television in Law and Order. It is a fitting tribute that the theatre where the musical last played was renamed the Jerry Orbach Theatre. Two movie-to-stage projects in development could have Broadway legs in the future. Cyndi Lauper (Kinky Boots) is reportedly writing the music and lyrics for an adaptation of 1988’s Working Girl. The film - which starred Melanie Griffith, Harrison Ford, Sigourney Weaver, Alec Baldwin and Joan Cusack - won an Oscar for Best Original Song for Carly Simon’s “Let the River Run”. It is unknown if the stage version will include it. Director Alex Timbers (Rocky/Bloody Bloody Andrew Jackson) has scheduled a development lab of Baz Luhrmann’s Moulin Rouge from October 30 to December 15. A separate choreographic lab will be held between August 21 and September 1. John Logan (Red/The Last Ship) will write the book, with music supervision by Justin Levine. The original movie starred Nicole Kidman and Ewan McGregor.

London Calling By Peter Pinne

Martin Freeman (The Office/Fargo) is to star alongside Sarah Lancashire (Betty Blue Eyes/Last Tango in Halifax) in James Graham’s new play Labour of Love at the Noël Coward Theatre, playing from 15 September until 2 December. The play, described as a “razor sharp political comedy”, reunites Graham with director Jeremy Herrin. Their previous collaboration was the Olivier-nominated This House at the Garrick Theatre. The plot pits Labour MP David Lyons (Freeman), who cares about modernisation and ‘electability,’ against his constituency agent, Jean Whittaker (Lancashire), who cares about principles and her community. Set in the party’s traditional northern heartlands, the clash of philosophy, culture and class is played out against the backdrop of the Labour Party over 25 five years. Tony and Emmy award-winner Stockard Channing (Grease 2/The Good Wife) is to return to the West End in a revival of Alexi Kate Campbell’s Apologia at the Trafalgar Studios commencing 29 July and playing until 18 November. Directed by Jamie Lloyd, the play originally ran at the Bush Theatre, West London in 2009 and was Campbell’s second play following the Olivier Awardwinning The Pride, which also played at Trafalgar Studios. “Kristin Miller is a firebrand liberal matriarch and eminent art historian. In her cottage, deep in the English countryside, a birthday gathering should be a time for celebration but the cracks in her family relationships are brought to the surface by the recent publication of her memoir. As the evening progresses, Kristin’s family and friends, and ultimately Kristin herself, begin to question her achievements and choices and indeed if they were worth the sacrifice.” The world’s biggest record label, Universal Music, is to produce The Anarchy Arias, a new punk musical using the songs of The Clash, The Sex Pistols and The Damned. The show, a feel-

Online extras!

Labour Of Love writer James Graham discusses the genesis of the show. https://youtu.be/HeEXnuNqLi4

good musical, features an unusual combination of opera singers performing punk rock and is based on a new album by Glen Matlock. “The story follows a beleaguered amateur operatic society whose dwindling audiences mean the cast may be forced to take their final bow on the night of their 150th anniversary. In a last-ditch effort to save the society that brought the tight-knit group together, they ditch the Mozart and Wagner in favour of punk classics such as ‘Oh Bondage Up Yours!’ by X Ray Spex and ‘Pretty Vacant’ by The Sex Pistols”. The first lady of British musical theatre, Elaine Paige (Cats/Chess), is to headline this year’s London Palladium pantomime, Dick Wittington. Paige will play Queen Rat alongside Ashley Banjo and Diversity (winners of Britain’s Got Talent 2009) as The Sultan and his Entourage; Gary Wilmot (Dirty Rotten Scoundrels/Copacabana) as Sarah the Cook; and current star of the revival of Half a Sixpence, Charlie Stemp, in the title role of Dick Wittington. Joining them are Julian Clary as Spirit of the Bells, Paul Zerdin as Idle Jack, and Nigel Havers as Captain Nigel. The pantomime is scripted by Alan McHugh, directed by Michael Harrison, choreographed by Karen Bruce, with musical direction and orchestrations by Gary Hind. Yank!, the charming and memorable Off-Broadway musical about gay life in the military during World War II, is to get it’s belated London premiere at the Charing Cross Theatre for a limited run 3 July - 19 August. The production, which is transferring from the Manchester Hope Theatre, has Scott Hunter reprising his Yank magazine reporter role of Stu. Other cast include Andy Coxon (Mitch), Waylon Jacobs (Sarge/Scarlet), Bradley Judge (Rotelli), Lee Dillon-Stuart (Tennessee) and Sarah-Louise Young, the sole female performer, as Louise. The musical, by brothers David and Joseph Zellnik, is directed by James Baker, with choreography by Chris Cuming and musical direction by James Cleeve. Receiving seven Drama Desk nominations for its Off-Broadway stint at the York Theatre in 2010, the show is based on stories suggested by Allan Bérubé’s nonfiction book Coming Out Under Fire. Donmar Warehouse has announced their Autumn Season will include two new productions: David Harrower’s Knives in Hens and Henrik Ibsen’s The Lady From the Sea. Knives in Hens is the first production of Harrower’s ‘hauntingly poetic thriller’ since its London premiere in 1995. “A ploughman and his wife live a simple existence in a pre-industrial time, until the hated local miller ensnares them in a struggle of knowledge, power and attraction.” The cast includes Christian Cooke (Where the Heart Is) as Pony William, Judith Roddy (The Plough and the Stars) as Young Woman and Matt Ryan (Small Change/Constantine) as Gilbert. The limited run plays 17 August until 7 October. Donmar Associate Kwame Kwei-Armah directs the new version of the Ibsen play by Elinor Cook, starring Mikki Amuka-Bird (Welcome to Thebes) as Ellida. “Ellida, the lighthouse keeper’s daughter, is trapped in her marriage and longs for the sea. When a former lover returns from years of absence, she is forced to decide between freedom and the new life she has made for herself.” It plays 12 October - 2 December. www.stagewhispers.com.au Stage Whispers 23

The Dawn of Digital Theatre Playwright and Academic Stephen Carleton reviews the theatre companies using the most exciting new digital tools. He traces the origins of theatre technology from the middle ages to the videography, apps, virtual reality and robots being used on stage today.

Often for playwrights or theatremakers it’s not just a question of asking ourselves how to write a new play, but of asking how we make a new sort of performance? The type of show that people haven’t seen before. To see the future you must first focus on the ghosts of theatre. Writing in 1962, theatre designer and lecturer Richard Southern wrote that “if anyone takes the theatre…and tries to peel off its (layers) one by one to get at the heart of what theatre really is, he [or she] will no doubt find that the most recent accretion is scenery. Scenery is here today but was not there [400] years ago.” “Thereafter, the peeling is progressively harder. Probably the auditorium would be next to go; the theatre is then out-of-doors. Next might follow the stage as a raised platform to act upon; take that away 24 Stage Whispers July - August 2017

and the player is on the ground; strip the player of his costume and mask and there will probably fall apart two separate pieces, leaving nothing inside; those two pieces would be the player and the audience. Take these apart and you can have no theatre.” Southern goes back to this starting point - this heart of the onion - and argues that there are seven great ages of the Theatre. The first phase was the costumed player. An example is the British medieval mummers. The second phase involved the great religious festivals such as the Mexican flying festivals. The third phase comprised the rise of professional playing, including folk playing in royal courts and the use of masks. The fourth phase was the introduction of public playhouses in

China and England during the Elizabethan era. The fifth phase was the introduction of the roofed playhouse such as the Kabuki theatre. The sixth phase was the introduction of illusion - a notable

Online extras!

Check out Complicite’s use of digital technology in their performances. https://youtu.be/6mqTCoM3zd0

Top image: Complicite’s A Disappearing Number. Photo: Joris-Jan Bos.

example being the ghost effects used in Victorian Theatre. The seventh phase was the rise of theatre of anti-illusion, best exemplified in the work of Brecht.. Each of these ages is separated by these great conceptual leaps forward. Might we call each one of these ages a technological breakthrough? As soon as we’re putting a mask on the human face, that represents technological innovation. And if Southern only got as far as anti-theatre, meta-theatre and the early postmodernists, where are we now and what’s next? Are we in the middle of an 8th Age of the Theatre? If so what is it? The digital age perhaps. But let’s hold that thought for a minute. Writing in the early 21st century, Marvin Carlson takes Ibsen as a starting point from which to launch a broader theory about the history of theatre itself. He says that all of Ibsen’s plays can be thought of as ghost plays. In every one of his plays characters are haunted

by past actions or the past reappears unexpectedly in the present. For Carlson this sense of theatre’s hauntedness exists at every level of its being, and places the audience and the expectation it brings at the centre. What Southern and Carlson both have in common is a central paradox: that theatre is constantly evolving - let’s say advancing technologically - and yet looped permanently in a cycle of reinvention that binds us to the elemental past. Both of them argue that- when boiled down to its essence - theatre is a simple ritual, a human exchange between performer and audience. That ritual is simply mediated through different components - a writer, a devisor, a designer, a special effect, a different building or performance space. Bearing all that in mind, what, then, for our purposes today, comes next? There’s no getting away from the fact that we are living in a digital age. We are beginning to experience the world - and live performance mediated through the online technosphere. One of the obvious ways this happens within conventional theatre spaces is via videography, which has asserted itself as an element of performance more and more frequently over the past 25 years or so, as it becomes cheaper and easier to do so. Companies like Complicite in the UK and Version 1.0 in Australian regularly use digital videography not only for content, but also as part of the form of their performances. A performance piece like Complicite’s A Disappearing Number, about string theory and the Indian mathematician who created it, sees his mathematical equations projected on the screen and over the actors’ bodies as they discover their interconnectedness according to the laws of string theory. So what are some of the other ways in which technology is altering the live theatre experience? And does this represent a leap forward into a new phase of performance? We’re seeing more technological magic and illusion in the theatre.

Above: A Kabuki theatre. Right: Mexican flying festival.

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(Continued from page 25)

A very recent performance of The Tempest by the RSC, in collaboration with Intel and in association with The Imaginarium Studios, used motion capture technology to give us a magical Ariel. The company created a 3D digital apparition using live motion capture technology. Theatre critics were impressed. The Daily Telegraph described it as described it as “Lord of the Rings-style magic.” For me, rather than being an example of a new eighth phase of digital performance, the RSC’s production is an excellent example of Richard Southern’s sixth phase: theatre of illusion. The director wanted to match the magic of the original production and to provide a 2016 version that used the latest in theatre technology, just as the Shakespeare did in 1616. So maybe we can expect to see innovations like these hit our stages in festivals, or being toured by very large companies with the resources to make these things possible.

‘Pod Theatre’ has become popular over the past five years or so. This is where audiences still come together to share a communal viewing experience, but use their mobile phones and ipods to engage with the plot and influence its outcome. The venue for this sort of performance experience can vary from a traditional theatre space to the streets of the city you’re living in. App Theatre is a more recent variation on this genre, and

personalises the theatrical experience and allows us to participate from home. So here is a great leap forward into this possible 8th phase that Southern couldn’t have foreseen from 1962. That is the physical separation of actor and audience. Blast Theory in the UK are a leading example of app theatre. Erin Mee describes their production Karen in the following way:

The secret behind the “Pepper’s Ghost” illusion technique.

(Continued on page 27)

26 Stage Whispers July - August 2017

Royal Shakespeare Company’s 2016 production of The Tempest. Photo: Topher McGrillis. © RSC.

“Karen is an app by Blast Theory available (ostensibly in perpetuity) for free on iTunes and Google Play: a participatory smartphone theatre production/game/film about the virtual relationships we create through oversharing private information in virtual spaces. “Psychological profiling is combined with the surreptitious use of personal data (for example, Karen tracks your location in the background unless you change this in Settings) to tailor her conversations. “Blast Theory has reversed the location of private and public (and communal): a private experience that goes public (via the data mined) rather than a public experience that feels private and internal.” We’re also seeing robotics hit the stage and the emergence of the posthuman actor. In Japan the Seinendan theatre company has worked with the robotics laboratory at the University of Osaka on a number of projects which bring together android (robot) performers alongside humans. The company’s plays Sayonara and I, Worker both incorporate androidhuman relations into their plots (exploring themes of substitution and empathy - can robots replace lost children or console us when we are experiencing grief, for instance?) and deploy android ‘actors’ - actual robots programmed and/or voiced by human actors - on stage accordingly. These digital advances all make for fascinating and evolving live theatre experiences, and may constitute any of a range of ways forward. Others will, no doubt, be relegated to the past as the technology upon which they depend becomes obsolete or passe. So maybe the way forward won’t be entirely preoccupied with digital technology; maybe it will be the case that the haunted medium’s components remain the same - familiar genres, spaces, stories - but the content will change. Maybe we’ll continue to see innovations in theatre’s analogue form (as we did in the late 1990s and early 2000s, for example, with the rise of post-dramatic theatre);

certainly we have also seen a recent spike in the number of dramatic plays that have dealt with the digital world, such as Adam Cass’s I love you, Bro and Richard Jordan’s Machina here in Brisbane. In this case, the innovation we are witnessing is in content as playwrights engage with the theatrical possibilities of staging virtual and online worlds. Ultimately, then, I’m in two minds as to whether we’ve moved over into a new eight digital phase of performance -making, or whether we’re caught in this perpetual loop of repetition and ghosting. Whatever comes next, if Southern and Carlson are right, we can only predict one thing with any certainty: that it will feel new, but it will probably remind of something we’ve seen before. This is an edited extract of a speech given to the Drama Queensland Conference. Stephen is a Brisbanebased award winning playwright and academic. www.stagewhispers.com.au Stage Whispers 27

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www.stagewhispers.com.au Stage Whispers 29

Showcase

Video Theatre Evolution

Eurydike + Orpheus.

SALEM.

30 Stage Whispers July - August 2017

Love And Money.

International Video Projection Specialist Sean Nieuwenhuis mentored three NIDA students during their major productions in June. He spoke to David Spicer about the latest trends in the use of video on stage. Is the use of video increasing in theatre? I think it is a constant evolution. As tools keep becoming more accessible, big bright projectors donâ&#x20AC;&#x2122;t have any trouble keeping up with the demands of lighting. Screens are becoming (almost) transparent. The audience is not aware it is a digital thing, just a surface, and if handled well by the design team it can seamlessly fold in with all the other things that are happening on the stage. Is it getting cinematic? Not necessarily. Sometimes the story telling breaks into a cinema kind of feel. The video enhances the traditional scenery or allows more nimble transitions from place to place.

What are the most extraordinary pieces of videography youâ&#x20AC;&#x2122;ve seen in theatre? The design for Dear Evan Hansen in New York is a really interesting combination of surfaces, projection and layers and layers of LCD screens and all sorts of scrims, in a tight integration of the scenic design. The musical is based on a story of teenagers and social media. There was a live camera feed with characters in front of the computer FaceTiming each other and there is scroll of Twitter and Facebook feeds in real time. How did students use video in their recent NIDA productions? MFA (Design for Performance) student Patrick Howe, who was Set/ Props and Costume Designer on Love and Money, used NIDAâ&#x20AC;&#x2122;s new LED system in a very sleek design in a limited space. He used a variety of graphic treatments and animated lines to transition from place to place. BFA (Technical Theatre and Stage Management) second year student Aron Murray, who was Video Designer for SALEM, used projection and live camera moving around the stage

following the action. There were two fixed cameras and a roving camera. He used a smoke chamber as the primary screen surface; part of the set is filling up with fog and it builds as the production unfolds with projected content onto that. BFA (Technical Theatre and Stage Management) third year student Ray Pitmann, who is Video Designer for Eurydike + Orpheus, used video to background and accent pieces. There were maps projected onto the scenery. Six projectors were used on a mix of planes and surfaces. Overall is video becoming more affordable? The tools are more accessible. They offer a much stronger pre-visualization component. A lot of big shows are using D3, a British product, a three dimensional software which allows a director to work out all the cues before you hit the theatre.

What tools do you use? I am a long time user of Watch Out, a multi-media tool from Dataton. There is also Poton - an incredibly powerful tool - motion tracking software. It tracks performers or scenic objects in real time and can throw content at something moving through space. These features trickle on, and as time goes on students at NIDA can get their hands on them.

For more information on this course, or for enrolment details, visit www.nida.edu.au www.stagewhispers.com.au Stage Whispers 31

Showcase

WAAPA Dancers Go Skinless

Main image and inset: LINK Dance Company’s 2017 production of Twin Share. Photos: Jon Green.

The Western Academy of Dramatic Arts has a unique program for its graduate dancers - a company which closely replicates the range of activities experienced in a small contemporary company. Dancers attend daily company class, rehearsals, help fund an annual European tour and perform alongside visiting professionals. The LINK Dance Company’s latest season in May featured a new work called Skinless from Carmelo Segura, a choreographer at the cutting edge of contemporary dance in Spain. It explored the concept of ‘being skinless’ in all its myriad meanings, from exposing feelings that lie under the surface to exploring truthful reactions. This is virtuosity, force, technique and precision wrapped in a thoughtful, sensitive dance piece. “The skin is like our shell; it’s what people see first,” says Segura, whose visit to WAAPA marks his first commission in Australia. “It is vulnerable and it offers protection. It’s a wall to the outside world and covers our bodies and houses us. It’s a living, breathing organism that is unique to us and it’s our first point of contact with the world.” 32 Stage Whispers July - August 2017

Carmelo Segura trained as a dancer in London before spending six years with the Royal Opera Ballet at Covent Garden. He set up his own company in London in 2007 to develop a unique expression on stage that combines contemporary dance with different art forms. Dance Australia gave the work a glowing review. “Figures (eleven dancers) with torches are revealed beaming eerie patterns on their bodies and the stage, using torchlight to create dancing constellations. Shifting formations evolve as bodies converge in waves then separately, incorporating distinctive, articulated port de bras and sustaining the persistent rhythm in rolls, lifts, and falls, their long hair flying. Strikingly side-lit with dancers in light, loose pants that soften their movement, the effect was entrancing.”

Los Angeles for an intensive fortnightlong workshop. Students who participate in the LA trip will have a chance to win a 12 month scholarship at Stella Adler. “It’s fascinating to see how much we are learning and absorbing in such a short time. It’s intense and really hard work but that’s part of the process, and I am loving the experience of challenging myself,” says student Gabrielle Volpe. “We get so much out of our one-onone sessions with industry professionals. Spending time with The Dressmaker producer Sue Maslin was definitely a highlight. She gave us such great insight into the process of bringing a project of this magnitude to life, and the challenges involved,” adds student Yiana Pandelis. APS director Peter Derrick created the acting school as an extension of the sister company SmallFry & DTM Talent Students at Melbourne’s Acting Performance Studio are completing the Agency, established over 35 years ago. As a successful talent agent with school’s first year-long pre-professional acting course. children of his own who were involved in The head of the course, NIDA Shakespeare work, General American the arts, Peter identified a need to offer a Directing graduate Briony Dunn, says dialect, Stanislavski system, Laban high level of training to actors of all ages drama school is not for the faint hearted Movement Analysis, screen test and with equal focus on both stage and but is excited at the calibre of the first audition techniques, an industry screen. batch of students. showcase, showreel & graduate The Tutors include Nottingham “I’ve just come out of the rehearsal production, as well as master classes University graduate Jessica Window, room where I observed a scene which with industry guests. QUT graduate Claire Pearson, and VCA was just jaw-dropping. Two of the The first year has been such a success graduates Margaret Mills and Jason ensemble applied a particular technique that a second year has now been Marrow. to their scene that lifted it to an intense developed, giving students a choice to With classes running on Mondays, and incredibly touching moment,” he attend for 1 or 2 years. Tuesdays and Wednesdays, students will said. Acting Performance Studio students have time for their out-of-class workload Based in Moorabbin (in Melbourne’s are also offered an opportunity to attend and to work part time. South East) with three other branches in the prestigious Stella Adler Institute in the north, east and west of Melbourne, APS is a drama and performing arts school offering acting classes for adults and young people of all ages and levels of experience. The new year long full-time course provides intensive training for talented individuals ready for the commitment of serious actor training and for early-career actors wanting to hone their skills. The program offers a dual focus on stage and screen. It includes advanced

Acting Performance Studio

Applications are by audition only and open in August 2017 for their 2018 intake. For details visit: www.apstudio.com.au www.stagewhispers.com.au Stage Whispers 33

Rent. Photo: Jodie Hutchinson.

Showcase

Federation Stars

Musical theatre star Josh Piterman (Carole King’s Beautiful) and Logie nominee Hannah Monson (Netflix/ABC series Glitch), say the training they received in the Federation University Australia degree program, Bachelor of Acting for Stage and Screen, was fundamental to their success. Both actors learned their craft in the creative hub at the Camp Street Campus in Ballarat. The regional location of the Arts Academy seems to be the perfect backdrop for training actors. Why do you think Ballarat continues to produce so many fascinating and successful actors? Josh: I think being in Ballarat and separating oneself from mainstream big cities enables students to really focus in on the learning environment without distractions. The culture and camaraderie of the place also makes for a unique and safe learning environment. Hannah: They have exceptional teachers, an exceptional community and everyone puts in the work to get results. Ballarat champions individual growth in an environment that is ensemble based. Not only are they producing unique performers but they are producing highly disciplined and generous team members with deep respect for their craft. What was the most valuable lesson you learnt at the Arts Academy? Josh: How to be a diligent performer! I wasn’t the most talented person when I walked in on day one, 34 Stage Whispers July - August 2017

but the Arts Academy taught be how to work hard and work smart and I knew that if I stayed consistent with that I could have a career. Hannah: Trust yourself, trust the work, trust your team. It’s not just the

director, trusting your fellow actors, and trusting yourself. Hard work is for rehearsal; performance is letting go. What is your fondest memory of training at the Arts Academy? Josh: My experiences doing shows

hard work that is important, it’s the ability to throw it all away again at the end. When it comes to performing, things don’t only have to look easy they have to feel easy. The aim is to remove any voice in your head that may be placing value on the moment. Performance should flow presently through each moment. You have to sacrifice control for that feeling and that means trusting your

like Kiss Me, Kate, Into the Woods and Sweet Charity were amazing and lifechanging, but it’s the people you meet, both students and staff, and the moments you have with them that last a lifetime. Some of my best friends are people I went to the Arts Academy with, and some are not even in my year but we share a mutual bond because of the Arts Academy. The Arts (Continued on page 36)

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Oh What A Wonderful War!

(Continued from page 34)

Academy produced some of the most special relationships I have. Hannah: I’d say generally I didn’t appreciate enough the immense satisfaction of waking up early every day to arrive in a work space. Ballarat gives you the opportunity to fully immerse yourself in training. A community is available to you every day to foster and challenge your ideas on what being an actor is for you. I find constant work and learning addictive in performance, so every day would wholly engage some part of me. If you could do it again, what would you focus on in your training? Josh: I would take more risks and be more fearless. I’d explore my body and heart more. 36 Stage Whispers July - August 2017

Hannah: I would focus more on bringing myself to the work. Sometimes as actors we have a notion that performance is bigger or further from ourselves than we recognise, as if we are expected to become another person. In practice, I’ve found the opposite. Acting stays close to you, it requires vulnerability and the

Josh: I’d tell them that it’s called show business for a reason. Understand that you are a business and treat yourself like one. A business that doesn’t work at being a better business falls by the wayside. A business that understands itself, knows what it has to offer, knows how to package it, and delivers that package,

unknown. It requires taking risks but a risk is not always something you have to leap for; it can be something very still that requires an unveiling. We only have ourselves to show the world and have to trust that it’s enough. You’re standing in front of the Class of 2017 at the Arts Academy. What is the most important thing they should know about what’s ahead?

will always have success. Having said that, always remember you are in the business of making art! Hannah: Challenge yourself but do it with compassion. Boldness and knowledge won’t come straight away. It takes practise. I believe every performer you see, no matter how successful, is still practising their bravery and learning about their work.

Teaching Talent Heads To Christchurch Showcase

where the students can be characters who put on the funny hat and the shoes, but I want to challenge our students in a different way. “My favourite teachers were the ones who challenged me and some of the best moments I had were where I got up on stage and failed gloriously; that’s where I learned the most. I don’t ever want to bring material down to the level of the students; I want to take the students up to the level of the material. By choosing things like Ravenhill or [Caryl Churchill’s] Mad Forest, these are big ideas, and for the students who are often 17 or 18 years old when they come into NASDA, it can be somewhat overwhelming to ask them to do that, but it is very important for them to try, for their personal growth and professional development.” Soseh’s connections are already benefitting her students. After years of being a nomad, Sydney-raised director and theatre “I’ve got Julia Moody who is Head teacher Dr Soseh Yekanians has become Head of Acting at the National of Voice at WAAPA [Western Academy of Singing and Dramatic Art (NASDA) in Christchurch, New Australian Academy of Performing Arts] coming and there are so many Zealand. She loves nothing better than to challenge students. others I want to bring over. Every Christchurch is a long way from offering, which is well known in New time I go back to Sydney I am talking New York or Perth, both cities where Zealand and has produced graduates about NASDA and which directors we Dr Yekanians has studied and such as Nic Kyle, who recently starred can bring over here.” worked, but Soseh is thriving in her in The Grand Tour and Savage in new role. London’s West End. So why NASDA? “I completely believed in this “It was a happy coincidence of school, with the changes that were personal and professional ambitions,” being proposed by [Performing Arts Soseh says. “I was just ready to Manager] Richard Marrett and [Head unpack, because I had lived out of a of Creative Industries] Tom Rainey. suitcase for so long. Intuition kicked in and I had a gut “As a teacher it’s really important feeling that this could be the school to keep teaching your methods to in the southern hemisphere that students but if you keep moving everyone wants to come to.” around then you don’t see the Since joining the NASDA family growth over time. I was ready to stay Soseh has chosen challenging plays somewhere where I could influence for her students; most recently a the students and the institution.” Mark Ravenhill double bill of Pool No The timing was right for NASDA Water and Yesterday an Incident too. The school was looking to Occurred. “Yes, they are actors’ plays further develop the acting and hard ones at that. There are so programme within its musical theatre many drama school plays one can do, Dr Soseh Yekanians. Photo: Lee Malzard.

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Showcase

WAAPA Actor Kicks Goals

ing Corporation.

adcast Photos: Australian Bro

After graduating from WAAPA last year, Nelson Baker immediately landed a lead role in the ABC’s new television comedy-drama series, The Warriors, which premiered on April 12. Filmed in Melbourne, The Warriors explores the elite world of professional AFL through the eyes of recruits and established players living in a share house. The eight-part series was created by Tony Briggs (The Sapphires) and Robert Connolly (Paper Planes, Barracuda). The Broome-raised indigenous actor, 23, who plays Zane, the number five draft pick, stars alongside Lisa McCune, John Howard and Vince Colosimo. Baker says working with the Aussie actor veterans was “an honour”. He describes how kind McCune was to him, how Howard gave him advice on learning lines, and how Colosimo inspired the novice indigenous actors. In 2015, Baker was accepted into WAAPA’s Aboriginal Theatre course, which was both challenging and a revelation for the young aspiring actor. 38 Stage Whispers July - August 2017

“The fact that 22 other indigenous men and woman from all over Australia came together from all different lands and tribes in one room to put in the hard work and sweat to not only tell a story but to tell our story - our history and culture. I learnt more at uni about myself and my people’s history than I have anywhere else.” At the end of that year, Baker wanted to go home to Broome to “rest and relax and go back to my old life for a bit”. “But it wasn’t the same when I went home. Life changed. I changed. And all of a sudden I had this drive to be in the industry.” Although the Aboriginal Theatre course offers a unit of study in film acting, Baker felt he needed more on-

camera training before he launched his acting career. So he auditioned for WAAPA’s Screen Performance course and was accepted. “So I went back for another year at uni to a place where it was not at all easy but I felt I belonged. “The main tool that both courses gave me was confidence, knowing what you’re doing on set and with yourself in your acting,” says Baker. “Everything the courses offer, from learning how to read a script to knowing how everything works, helped me so much. It gave me such a strong platform to work from and I felt more than ready to take on this great role in The Warriors.”

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Showcase

A Male Perspective On Dance

Brandon Harrison, a Diploma of Music Theatre student at Spectrum Dance, explains why male dancers have so much fun. Did you experience any stigma at school for dancing, which is often regarded as a female pursuit? There is always going to be someone trying to give you a hard time, but nothing that deterred me. I knew I wanted to be that guy popping up in music videos or back up dancing on stage, and touring the world. Why did you choose Spectrum Dance? I researched all the full time performing arts schools. Once I came When did you start dancing and to Spectrum everyone felt a lot closer; why? it was more of family. The school is I started dancing when I was in smaller than some, and I think this Grade 6. I went to an open day at a gives each student more time to shine Sunday dance school with my mum and brings everyone closer. I also did and my sister. My mum didnâ&#x20AC;&#x2122;t want work experience at Spectrum Dance me to do rugby, and I was open to the which is where I saw their students idea of dance as an activity. From the training at a higher level than other start the people were welcoming and I schools. really enjoyed what I was doing. 40 Stage Whispers July - August 2017

How is your Diploma of Musical Theatre going? My confidence has developed and my acting has improved my dancing; it has given me the ability to adopt a different persona as I immerse myself in a character. I act differently; I move differently; I dance as the character would dance. I know the Diploma of Musical Theatre is making me a more versatile dancer and performer. What advice would you give young boys considering dance as an activity? Simply give it a go. Try one class; try two; try different styles of dance. When you walk into your first class leave everything else at the door, express yourself and let your body do what it wants to do. You might find that you want to keep going. Dance is great not only for getting fit and strong but it also lifts your mood and makes you a happier healthier person.

Persistence Pays Off For Drama Students

grounded and to get your self-worth from places other than your career. This is what will help you have longevity in the industry. What did people say to you when you told them you wanted to study dramatic arts? How would you Three former students of the Bachelor of Dramatic Art degree at Excelsia encourage someone wanting to pursue College in Sydney explain how they overcome set-backs to persist with a the same? Murray Lambert: Mostly people career in the performing arts. tried not to laugh. But if a creative What was unique to your able to portray a character on the SBS path is for you though, keep fighting experience at Excelsia College? show “Family Law” which features a for it, be a dog with a bone, because Murray Lambert: So many of my 90% Asian cast. However being Asian hard work and determination comes creative idols growing up (Mike Myers, means that characters I audition for are first and the rest follows. Ricky Gervais, Tina Fey) were usually stereotyped, have an accent or George Zhao: I was surprised my multidisciplinary in their craft. Most don’t speak English while all the mum encouraged it, and she’s a degrees force you to choose one “area potentially good roles get sucked up Chinese mother. of expertise”, but Excelsia College into the vortex that is ‘whitewashing’. Most people would say “If you allowed me to tailor my degree to train Emily McGowan: The industry can want to pursue acting, stop. Why in performance, writing and directing. be grueling. You audition constantly would you subject yourself to this hell? This opened me up to a greater scope and only sometimes get the part. You Be a doctor.” Because it’s a difficult of professional opportunities. put yourself out there, and seem to career path. Acting is about George Zhao: The teachers sincerely always be comparing yourself to the perseverance and moving forward in care about their students. The classes thousands of other people who look the face of rejection and failure. get very close and after three years exactly like you. Excelsia College helps Emily McGowan: I was told by my you’re practically a family. to build you up and identify your school principal in Year 12 not to Emily McGowan: The amount of unique qualities. It is a place that pursue a career in acting. He suggested experience you get being involved in teaches you skills to keep you I get my Plan B ready. My advice would shows; roughly five public be, you need to dive right in. Don’t performances a year. There is nothing worry about Plan B, just let yourself Applications to study in 2018 more crucial to honing your skills as an enjoy something you love. As my mum actor than performing on stage. always says, if you love what you do, are now open. For info visit Excelsia College helped me to perfect you’ll never work a day in your life. excelsia.edu.au/apply my skills not just as a performer, but also as a theatre maker. They teach you how to devise and how to do many of the production elements, which is essential to working in this industry. What successes & challenges have you faced after studying, and how did Excelsia College prepare you for the ‘real’ world? Murray Lambert: Having teachers mentor you through the process of creating original work empowered me to step into the professional arena. Last year my first play had several rave reviews and one critical review. I was discouraged as it personally attacked my character. I remembered the playwrights we’d studied like Alex Buzo, who’d had his play shut down by police for being offensive. It encouraged me to continue making provocative art. George Zhao: The acting industry is harsh and is riddled with failure and rejection. I was incredibly lucky, being www.stagewhispers.com.au Stage Whispers 41

VCA students in their final year screen acting project, 2016. Photo: Gregory Erdstein.

Showcase

VCA Acting And Theatre Aspiring actors and theatre-makers will be offered two new degrees by the Victorian College of the Arts from 2018. The Bachelor of Fine Arts (Acting) and Bachelor of Fine Arts (Theatre) will replace the Bachelor of Fine Arts (Theatre Practice), providing more thorough and streamlined training in each discipline. Head of Theatre at the VCA Associate Professor Matt Delbridge said the courses will nurture a new generation of culturally-aware, internationally-focused actors and theatre makers, preparing them for 21st-century careers in the Asia Pacific region across a wide range of stage and screen contexts. Delbridge, who took up his position as Head of VCA Theatre in 2016, said the new degrees offer a more nuanced, strategic and pragmatic version of the Theatre Practice degree. “The current degree has aspired to prepare actors for the demands of the screen, main stage productions, and the generation of new work,” he said. 42 Stage Whispers July - August 2017

“That’s an admirable goal and aspiration, but if we give more time, energy and resources to these two ideas separately, we’ll make much better theatre-makers and much better actors.” The Bachelor of Fine Arts (Theatre) will train theatre artists to work across all areas of live performance, including physical theatre, writing, directing and dramaturgy. Third-year students will also have the opportunity to practise in a travelling studio overseas. “We have really increased the amount of time and resources poured into theatre making,” said Delbridge. “It will be the first Theatre course of this type in the conservatoire sector in Australia, and it will be taught by leading practitioners in the field.”

The Bachelor of Fine Arts (Acting) will prepare actors for work across all areas of the profession for stage and screen, including animation and gaming. “Acting is something the VCA has been doing for a very long time and our graduates have had a lot of success,” said Delbridge. “But now, with an invigorated staffing profile and a stronger emphasis on performance for screen, animation and gaming, we are taking a major leap forward. It’s about 21st-Century preparedness.” New teaching appointments to VCA Theatre include I Putu Budiawan, Senior Lecturer (Acting); Leith McPherson, Senior Lecturer (Voice and Movement); Lyndall Grant, Tutor (Stage Combat); Steph Kehoe, Tutor (Theatre Making); and Chris Kohn, Tutor (Directing).

For more information on the new courses visit http://bit.ly/2rJkBLA for the Bachelor of Fine Arts (Acting) or http://bit.ly/2rIYvci for the Bachelor of Fine Arts (Theatre)

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My year at ED5INTERNATIONAL included so many key factors that Showcase shaped my life as a performer and my mentality and approach to life. They fueled a fire to keep me driven, on a path that meant growth, development and progress was a daily ritual. Never allowing myself to disappoint my mentors and teachers, each day I pushed myself harder. If William yelled at me. I worked harder. I worked smarter. I found a way to be better than I was the last time he saw me. This is the principle that he engraved in my very soul, not because he was mean, but because he truly believed that you had more to give. The hours, the styles, the time taken stretching, they all mean nothing without intent and direction behind them. ED5INTERNATIONAL gave me all the tools I needed to apply for myself for the future, not just the months spent in the studios in North Strathfield; it gave me knowledge and Rob Walters is currently on stage in the Chicago production of understanding of how to succeed every Hamilton: An American Musical. The first graduate of time I took class, audition or the time I ED5INTERNATIONAL to perform in musical theatre in the US, he stepped on stage. I love, and I truly mean love, every explains his unlikely career. single moment I spent at ED5INTERNATIONAL. It’s my home. I have been lucky enough to not The funny thing is this isn’t attend ED5INTERNATIONAL and dance have time to go back for a number of something I knew I wanted to do; I five days a week. years because honestly, I’ve been never had huge aspirations of being So, to not be alone and do pursuing what are now my dreams. onstage. What I did have was something with myself, I emailed in Rob Walters graduated in 2008. guidance, intense leadership and a mental capacity to push myself beyond my limits, to improve myself and become stronger than when I started. This is what ED5INTERNATIONAL and attended a private solo audition. He is currently a swing in the gave me. William and Elena (the Course Chicago Production of Hamilton: An I didn’t even attend the open Directors) and myself were alone in a American Musical auditions; I didn’t even know about room. They sat behind a table. I was Rob is one of hundreds of ‘full time’ dance courses. clueless. I had no idea what I was really ED5INTERNATIONAL graduates I finished High School, and my class auditioning for, but, luckily for me they working in every entertainment quarter mates mentioned they were going to accepted me into the program which a in the World. few weeks later would change my life.

The Accidental Performer

44 Stage Whispers July - August 2017

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role in a TV series. A musical theatre performer may even win a contract in a production that runs for many months or even years. But still - it’s a gig-to-gig life. “Actors need to be well-trained to secure work in a competitive marketplace,” said Elizabeth Avery Ever heard of the ‘gig economy’? More Australians have a gig-to-gig Scott, managing director of approach to their working lives - they are moving out of traditional models of employment into freelance work, self-employment and online Canberra Academy of Dramatic Art. “At Canberra Academy of businesses, getting paid for each job they complete; think Uber drivers, Dramatic Art, we’re not only dog walkers, designers, bloggers, digital entrepreneurs, and so on. training actors, we’re training small Actors have always been part of There are small jobs for actors - businesspeople, who, quite frankly, the gig economy, even before it the day-long TV commercial shoot, rent their skills to others. became ‘a thing’. An actor’s life is the voiceover recording (which may “When those skills are topproject to project - and if you want just take a few minutes), a guest notch, the likelihood of securing to be a professional performer, spot on a soap, or the night as MC the next gig increases.” you’re going to have to adapt to for a function. There are larger Ms Scott said a recent survey this lifestyle, and the way it pays. jobs, too - a season in a theatre showed that only about 14% of show, a tour, a film, or a recurring drama schools train their students in business skills. Canberra CADA students perform in a production Academy of Dramatic Art, she of John Concannon’s Anzacurio. points out, is one of them. “Those wanting to train to be actors need to consider carefully whether they are willing to embrace a future life of this kind,” Ms Scott said. “It’s a life which includes approaching your career in a business-like way.” Many actors, she said, do other work to support their acting careers. This may be in the form of a part-time job, full-time employment with a boss who’s willing to be flexible, or freelance work in a secondary field of endeavour. “I would recommend all aspiring actors undertake suitable training that will connect them up with industry professionals and networks, to help advance their project-by-project lives. “In an ideal world, you want to be working on one project while lining up the next.”

The Actor’s Life In A Gig Economy

For more information about Canberra Academy of Dramatic Art, go to www.cada.net.au 46 Stage Whispers July - August 2017

Showcase CADA students perform in a contemporary version of the traditional Greek classic Antigone.

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Application is key; knowing how and why simple beats like this work, where they came from and how they’ve been used throughout the history of music. This is one of the many concepts you begin noticing when you stretch Take the common drum beats back into the history of music and below for example: drum development, especially in a jazz Example 1: One of the first rock curriculum like taught at Brisbane’s beats you learn as a drummer. Jazz Music Institute. Example 2: A basic bossa nova beat, And example 3, stems from the popularised in the late 50’s. Notice the early 20/30’s big band era, whereas similarities between the two? Although example 4 (without the swing beat), is they were both popularized a few basically the classic heavy rockin’ “Back decades apart, there is still such a in Black” by AC/DC. There is such a striking resemblance between them. huge crossover of information from as early on as the traditional jazz, transitioning all through to the modern music of today. It’s an inescapable fact that so much of the history of playing drums has come through the jazz world and has just been applied in a different manner. Coming from a time before amplification and huge PA systems, the music was reliant on dynamic variation and an understanding of touch and tone, an almost forgotten set of skills these days with many contemporary drummers. When you look at some of the greats of today, the players who drummers around the world are trying to emulate, so many have a rich history in the jazz language and how the instruments work in almost any ensemble. Take for example someone like Steve Gadd, a household name for any drummer, who’s played for and

Becoming A Better Drummer Through Jazz There’s a good reason jazz drummers are some of the most proficient and sought after drummers in the world. A massive part of the history of music has been present inside of the jazz language, from early classical, through the jazz period, and exists even up to the current new music of the world.

48 Stage Whispers July - August 2017

Showcase

For more information about jazz visit www.jazz.qld.edu.au recorded with the likes of Eric Clapton, Paul McCartney, Steely Dan etc, and yet you look through his early career and he’s worked with some of the greatest jazz icons of the last few decades. He has spent so much time around these artists it’s no wonder he’s one of the first call drummers around the world. Studying jazz makes opportunities like that a real possibility, having the knowledge and know how to get through almost any musical situation that comes your way.

Online extras!

Hours of jazz sessions from JMI await you on their YouTube channel. Here’s a taste: https://youtu.be/F9yz3V8WVK8

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New Queensland Acting Course

Kimberley Hodgson is another musical theatre graduate hitting the big time. She was cast in the ensemble of Aladdin and chosen to understudy the role of Princess Jasmine. “I’ve got to constantly be ready to go on as Jasmine at any minute, often The Queensland Conservatorium is launching a new acting degree in 2018. The Bachelor of Acting will prepare graduates for a career on the with very little notice, so I’ve got to be on top of things the whole time - but I stage and screen under the direction of internationally renowned feel like my training at the Con has teachers and performers. prepared me to handle it all.” The course has received the stamp Fair Lady, Aladdin, Beautiful and As part of its 60th anniversary of approval from Academy Award Mamma Mia! celebrations this year, the Queensland winner, Dame Judi Dench. 2016 Matilda Award-winner Conservatorium will mount a “Drama training is essential for the Georgina Hopson was cast in Opera blockbuster production of West Side development and encouragement of Australia’s acclaimed production of My Story, with a cast featuring the entire young performers, and this course Fair Lady, and was handpicked by musical theatre school. supplies the skills and knowledge to Final year student Courtney Dame Julie Andrews to understudy the build and sustain a successful career,” lead role. Monsma landed the lead role of Maria she said. “I chose the Con because it was an in West Side Story, and was also “The University offers the chance to amazing training ground for musical recently cast in Mamma Mia! work with dedicated and experienced theatre - my time there was such a “I wouldn’t have had the tutors in superb facilities. This is a dream,” she said. confidence to audition if not for this wonderful opportunity for those “The head of the musical theatre course,” she said. determined to follow their dream.” program, Associate Professor Paul “I will do the first run of Mamma Queensland Conservatorium Head Sabey, is a genius. He has trained many Mia! in Canberra, and then make it of Performing Arts Associate Professor of the performers working in London’s back to Brisbane just in time for Paul Sabey said the new course would West End and was like a father to us graduation!” complement the successful musical all.” theatre program. “Students will undertake intensive 2016 production of Our Country’s Good. training in acting, voice and speech, Photo: Nick Morrissey. singing and movement,” he said. “Our goal is to ensure that talented performers are equipped with the passion, drive and skills to perform across a range of disciplines, from theatre to film and TV.” Associate Professor Sabey said the new program had drawn from the most highly regarded actor training models around the world, and would involve collaborations with Griffith Film School, Queensland Theatre, the Brisbane Powerhouse and national performing arts companies. “Our boutique program will be offered to a small number of high quality performers, with a focus on industry engagement,” he said. The new acting degree will build on the success of the Queensland Conservatorium’s musical theatre degree. Since its establishment in 2011, the Bachelor of Musical Theatre degree has had graduates cast in high profile productions such Les Misérables, My 50 Stage Whispers July - August 2017

2016 production of Our Country’s Good. Photo: Nick Morrissey.

Showcase

2016 production of Our Country’s Good. Photo: Nick Morrissey.

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Showcase

play that have been exaggerated from my own memories.” He believes the autobiographical elements, as well as the push to capture the more diverse voices of the Australian arts landscape, have really enabled the play to connect with audiences and were integral in propelling the work onto the stage at Sydney Theatre Company. The play caught the attention of Sydney Theatre Company via its Rough Draft Program, a week-long creative development process that enables playwrights to expand the scope of their ideas and further develop their works for the stage. The main character will be played by Mason Phoumirath, who graduated from UOW with a Bachelor of Performance. The result is a work that Sydney Theatre Company has described Thai and Australian - in a family of as “an investigation of the migrant restaurateurs living in a small town, experience from the inside out”. that sense of isolation, loneliness and For Disapol, having one of his first exclusion. Seen through the eyes of the plays debut on the most prominent main character Ben, the family stage in Australian theatre is a thrilling grapples with its place in the regional and terrifying experience. town and the question of when to “I just couldn’t believe it at first,” he leave and when to stay. says. “When they were deliberating Disapol says it was based on his over whether to include the play in the years growing up in Bathurst, as the season, I was just so happy to have son of a mother who ran a Thai gotten that far. So it was extremely restaurant in the town, but was also exciting to find out it would be staged. inspired by the feelings and There’s a lot of pressure on me to experiences of the generations that deliver now. I’m just trying to spend came before him. my time making this the best play I “I tried to tap into my experiences can, but at a certain point you have to growing up in a rural town in a just let go and see what form it takes restaurant family. I was trying to tell on stage.” that story of the conflict between the Disapol says the experience of Thai and Australian cultures,” he says. studying creative writing at UOW has “But it’s also the experiences of my been integral to his transformation as a parents’ generation and my family. It playwright and his future on the stage. was difficult for them, being in a “As soon as I got to UOW, I just country town. It still is. In places like loved it. Australian Graffiti was the first Sydney, they have that sense of project I developed for my creative community, but in somewhere like writing classes and it just kept growing Bathurst, they are on their own, they bigger and bigger. The workshops at keep to themselves. It’s that sense of UOW just give you so much room to isolation that I was trying to capture. experiment and keep developing. I “I tried very much to be honest in wouldn’t have my play staged at my experiences, although there are Sydney Theatre Company if it wasn’t some more fantastic elements in the for that experience,” Disapol says.

STC’s Youngest Ever Playwright University of Wollongong creative arts student Disapol Savetsila has his extraordinary play staged by the Sydney Theatre Company.

Disapol Savetsila. Photo: Paul Jones.

When the house lights dim and the curtain rises on Australian Graffiti at Sydney Theatre Company this month, the play’s author won’t be familiar to most in the audience. At just 23 years of age, the University of Wollongong student has already achieved more than most aspiring writers could dream. His play, Australian Graffiti, which tells the story of a Thai family working in the restaurant industry in a small country town, was accepted into Sydney Theatre Company’s 2017 main season. It is a major feat for any playwright, but all the more impressive considering Disapol, a Bachelor of Creative Arts (Creative Writing) student, only began seriously writing for the theatre when he came to UOW. “Writing is the only thing I’ve ever had any interest in doing,” says Disapol, who has been putting pen to paper since he was young, dabbling in the world of fiction. “I started a double degree in journalism and creative writing, but I realised that journalism wasn’t for me. I started specialising in writing for the theatre and found that I really enjoyed it. Australian Graffiti is a largely autobiographical story for Disapol, who grew up in Bathurst, a regional city located in the heart of New South Wales’ Central Tablelands. It captures the tension between two cultures 52 Stage Whispers July - August 2017

Australian Graffiti will premiere at the Sydney Theatre Company on Friday July 7, and run until Saturday August 12. Tickets are available via www.sydneytheatre.com.au

Special Book Offer For Stage Whispers Subscribers These superb resource books are available at special prices for Australian subscribers to Stage Whispers. Here is a sample from Drama Games for Rehearsals. Jazzercise A game where the players scat-sing the text. How to Play Scat-singing is improvised jazz. When musicians improvise together they listen to each other in order to pick up on cues and work as an ensemble. And that is where actors may learn something from them. There comes a point in most rehearsal processes where actors will know a scene so well that their manner of playing each line becomes ingrained. It moves into muscle memory and it can become difficult to deliver the line in any other way. In order to prevent the overlearning of lines, which can lead to stale performances, try scat-singing it. Ask them to play the scene, singing the text instead of speaking it but, like jazz singers do, purposefully adding pauses, holding words, changing the rhythm in order to ensure other players can’t predict their delivery. In doing so, they not only drop their regular rhythms, but the actors responding to them will have to rethink their delivery as the known patterns will be gone. In some ways, this game is the opposite to the other text singing game in this book, Shakespeare: The Musical! (Game 10), in which the point is to find the recognisable and correct shape of a line. This exercise is all about going against what the text tells you and shaking it up. It is not only great fun, but it’s hugely releasing and will, as a by-product, force the actors to listen to each other much more carefully.

$20

Here is a sample from Drama Menu. Outside In A focused Starter that encourages truth in performance. Ask the group to form an audience, facing a door. Select a volunteer from the audience and explain that they are going to exit the door and re-enter in response to what has just happened outside. Give a few examples of what could have happened out there to get the creative juices flowing: 1) You were chased by the police. 2) You’ve just come back from a perfect first date. 3) You’ve just been dumped. 4) You are returning from a drunken night out. Now, ask the chosen player to step outside, close the door and enter when they are ready. Encourage the players to thoroughly immerse themselves in the created world, to be as truthful as possible in their portrayal and to stay ‘in the moment’ until you bring the exercise to an end. Once everyone is settled, have a discussion about how truthful it was. Did we get a sense of what had happened outside? Did the performer bring something interesting into the space? Were they noticeably aware of the audience? You will probably note that in early attempts, the entering players will work hard to show/tell the audience what has happened outside the door. Discourage this behaviour and ask that the players trust their focus - if they immerse themselves within the created world, the audience will be with them every step of the way. With strong/clear information and clarity of focus, performers can produce engaging and truthful work in any space and this simple premise can often produce some electric theatre.

$20

$25

To purchase, subscribers should use the order form on the back of the address label or email stagews@stagewhispers.com.au Non-subscribers may purchase copies of them at RRP at www.stagewhispers.com.au/books

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A report into how students at a New Zealand High School had their throats accidentally cut during a performance of Sweeney Todd presents valuable lessons for all involved in live theatre. Tim Cramsie reports. Some years ago I wrote an article for Stage Whispers with the headline When to Stop a Show. This prompted me to discuss the pressures we all feel when mounting a stage production or live event, to ensure the show “goes on”. I contrasted the emotive and international pressure to do just that, generated by one of the greatest opening nights of all - an Olympic Games opening ceremony. In this case the Sydney Games of 2000, and the decision by Rick Birch and his team to hold the world (and Cathy Freeman) waiting for what seemed like an eternity when something mechanical went astray, as she stood in the centre of the flaming Olympic Cauldron waiting for it to rise into its final position. Birch described the procedure his team followed - not to run the mechanism without knowing it was safely engaged, even if the world is watching and waiting. His team stuck to their guns (and their duty of care) while a crew member climbed into position to carry out a visual check - in effect “stopping the show” - to check that everything was OK, before carrying on. That “duty of care”, to ensure a safe workplace, is enshrined in Australian Law under the WHS Act 2011. All events require a production risk assessment. The Stephen Sondheim musical Sweeney Todd poses a number of challenges for the Production / 54 Stage Whispers July - August 2017

Technical Design Team. A major one might be how to stage and illustrate the Demon Barber’s murderous practice operating above a pie shop. Here, the unfortunate victims of the lead character, instead of a shave, have their throats cut and their organs involuntarily incorporated into the pies of the adjoining bakery. Let us turn our Risk Management focus to the question of the Sweeney Todd’s tool of trade - his aptly named cut-throat razor. Would this figure strongly in a list of potential hazards to be identified - as did Rick Birch “before the final design”? “Of course not!” I hear you answer. They would be props. In 2016, during an Auckland high school production of Sweeney Todd, not one but two unfortunate student actors had their throats accidentally slashed during the opening-night performance. It caused potentially lifethreatening injuries requiring

Risk Management Process  Identify the Hazards (ask “what could go wrong”)  Assess the Risks (ask “how likely is it for hazards to occur”)  Control the Risks (reduce the likelihood of those hazards occurring to an acceptable level)  Review your Control Measures (test and evaluate your plans during rehearsals).

emergency surgery and the closure of the remaining performances. The first and most important point to make here is that even though this was a High School musical production, the resulting injuries were investigated by WorkSafe New Zealand. This is the same regulatory body who would investigate a construction site or other workplace accident or fatality. The penalties available to the courts to impose in Australia under Section 31 of the Act are $300,000 or 5 years imprisonment or both. Did the teachers ask “what could go wrong?” The principle of all Risk Management - and this applies to both Financial and all other types of risk - is to follow a basic process (see box below). In my original article, I referenced Rick Birch in the planning phase of the Sydney Olympics as displaying exactly this process. “Before we did the final design, I asked the tech director, “what happens if the cauldron does have to stop somewhere along its journey?” In the case of our High School production, we have to ask if those in control (the management of the group as well as the technical and design team) had identified a key element of the show as a hazard. To some extent they had. They had real razors and had attempted to “blunt” the blades and then tape over them with various materials. But, having identified the hazard, the second phase was implementing an effective control. Risk Management principles comprise a hierarchy of controls ranked from most effective to least effective in controlling any hazard. These are: 1. Elimination 2. Substitution 3. Engineering Controls 4. Administrative Controls 5. Personal Protective Equipment. In this case, eliminating a cut-throat razor entirely would have rendered a rather large hole in the plotline of the story. The next most effective control over the hazard presented by the need to have a razor would be to substitute a prop version made of plastic, rubber,

Manly Musical Society’s 2017 production of Sweeney Todd. Photo: Jim Muir.

foam or other material for the real razor. Not only did the production team “skip” the level 2 control during the performance, their level 3 attempt (attempted blunting of the blade, covering it with foam etc) clearly failed. What Rick Birch had put in place was a protocol that said, at a critical point in the production, if something goes wrong, we will have someone physically able to check on the status of a critical system and intervene if necessary - even if it means stopping the performance. At the school there was no plan in place to check on the health status of the first stage victim after contact with the (still dangerous) razor. This then allowed a second student to also be injured in the same way. To cap off a roundly disappointing WHS tally for the evening, the performance continued - without stopping, even though an ambulance had to be called at the time. If the teachers at this school were setting about providing a text book case of how not to properly evaluate and manage a hazardous practice, it would be hard to imagine a better one. For most of us, if we are presented with an activity which provides more than an average skill-level challenge, one of the first things we would do is to call in an expert. In the case of a complex musical dance sequence, most of us would not dream of controlling the risk of a mid-stage collision without calling in a choreographer.

To not request the expertise of either an armourer or other professional with demonstrated skills in martial arts to advise on the correct use, handling and storage of dangerous blades in a theatrical performance is asking for trouble. Meanwhile it has emerged that a prop supplier had told staff from the college’s production team not to use real razor blades “weeks before” their performance. The anonymous supplier told NZ website “Stuff” they had refused to let the college rent out the blades for their performance of Sweeney Todd because they “don’t let school productions have those”. The Safework NZ report does specify that a person did “send an email to the other teachers involved in the performance that included a risk assessment which had been undertaken by Auckland Music Theatre for their performance of Sweeney

and the actors in the performance.” The students themselves were told that the razors had been blunted and were safe to use for the performance. The entire running of the school and its health and safety processes were audited in the investigation. Responsibility for deciding to produce Sweeney Todd was called into question, and whether the management of the school properly exercised its duty of care in understanding the risks involved before the production had even started. In this case, the Safework NZ report clearly indicates that “even the controls in the risk assessment were not fully implemented. While checks were undertaken, the straight razors were not dulled in accordance with the risk assessment. Rather they were covered. This meant that the coverings were always at risk of being cut through by the sharp blade under them.”

Cathy Freeman at the opening ceremony of the 2000 Olympic Games. Photo: Kevin Frayer.

Todd. Sometime after this, and before the first performance the next night, the risk assessment was slightly amended by [a person] who was in charge of technical aspects of the performance (for example lighting and sound). The report quotes from a person responsible for the use of the razors explaining, “we knew that using real razors to act out slitting throats posed a real risk, so we mitigated that by ensuring that the only people allowed to handle them were teaching staff

The message for boards and committees of all musical theatre groups is quite clear. They must ensure that they consider the hazards involved in a show at the selection phase and at least seek advice on how those hazards are typically controlled. They must also ensure that those responsible for the technical aspects of their shows follow the agreed procedures to the letter. Failure to do so may not only stop an individual performance, but, given the legal & financial ramifications, may put a stop to future productions. www.stagewhispers.com.au Stage Whispers 55

Theatres on Fire: The Victorian Curse Jenny Fewster from Ausstage reports. In late 19th century Australia, theatre fires had become so common that one of the most popular medicines of the time was advertised under the somewhat misleading headline, “A Theatre on Fire”. Advertorial for the patent medicine told readers that “panic was averted” and “fire was got under (control)” due to the quick thinking of an actor who had the wherewithal to perform the Sailor’s Hornpipe after the outbreak of fire. The moral of the piece being that “if we only have the presence of mind to think of Holloway’s Pills and Ointment all will be well and danger need not be feared”. Unfortunately, the risks of fire in theatres during the 19th century were very real. A newspaper article published in 1897 claimed that “732 theatres have been destroyed by fire” leaving victims “numbered by the thousands” since the middle of the previous century. One of the worst was The Lehman Theatre fire of December 1836 in St Petersburg, Russia. During a circus performance, a stage lamp caused the

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roof to ignite. As the fire spread rapidly 800 people died, mostly by trampling. In the latter half of the 19th century alone more than fifteen theatres in Australia were destroyed by fire. Those destroyed include The Prince of Wales, Sydney (1860 and again in 1872), Olympic, Melbourne (1866), Haymarket Theatre and Apollo Hall, Melbourne (1872), Theatre Royal, Melbourne (1872), Prince of Wales, Melbourne (1872), Royal Victoria Theatre, Sydney (1880), Bijou Theatre, Melbourne (1889), Theatre Royal, Sydney (1892), Theatre Royal, Broken Hill (1894), Tivoli Theatre, Sydney (1899), and Theatre Royal, Ballarat (1899). Often the causes of these fires were never ascertained. A fire at Sydney’s Theatre Royal in 1892 completely destroyed the auditorium but miraculously spared the stage and backstage areas, even before the use of the now mandatory fire curtain. It was blamed on a smoker’s discarded match in the gallery. Just why so many theatres succumbed to fire may seem obvious. 19th century theatre structures were made of highly flammable substances, primarily wooden, sometimes with a cloth or canvas covering. Large swathes

of fabric were used as curtains and drapery. Backdrops were frequently painted layers thick with highly flammable oil based paints. There was no fire retardant in existence at the time. The need to light the spaces appropriately for the performance often relied on naked flames and gas supplies. An 1898 study of the causes of fires starting on stage found that 19.2% of cases were caused by open lights, 9.2% by lamps and 22.8% were caused by defects in gas installations, which were hard to detect as gas at that time was still odourless. However, electric lighting, which came into limited use in the 1880s, was also frequently problematic. In 1894 the Princess Theatre Melbourne transformer room ignited as the stage hands prepared the theatre for the evening’s pantomime. The room contained all of the storage batteries for the electric lighting. With the assistance of the fire brigade the stage hands extinguished the blaze. “The electric lighting appliances, however, were thrown out of use, and as there was not sufficient time to replace them, the pantomime had to be carried on with gaslight.” The cause of the fire was described as being from the “fusion of wires” At the Bijou in Melbourne one evening in 1897 at “about 10 o’clock Miss Elsie Adair appeared to dance. For the purpose of effect the theatre was darkened, the lights being turned down, and the limelight played on the dancer. The young man appointed to look after the lights did not seem to properly understand how to darken the incandescent lights in the dressingroom, and covered them with a cloth, instead of turning off the electric current.” (Goldfields Morning Chronicle 1897) Eventually the cloths ignited and the electric globes exploded. A quickthinking member of the audience threw the cloths in some water and turned off the electrical circuit, averting disaster. Ignorance of the new electric lighting caused audience members problems too. A full house was in attendance at the Princess Theatre in 1897 for a matinee in aid of the actors’ benevolent fund when the cry of “fire”

went up upon the smell of smoke. A stampede very nearly ensued. It was discovered that a “woman’s cape caught fire when she threw it over a globe on taking it off in the theatre”, presumably using the globe as a coat hook. Stampedes were often a bigger cause of death than burns in situations of fire, and in many cases patrons were killed where the fire alarm had been false. Often the gallery was built with a single point of access and a single staircase; there were no designated fire exits. Added to this, gas supply would be turned off in the event of an emergency, plunging the building into darkness. People would often fall, or trip, over their lengthy garments, resulting in trampling and asphyxiation, or simply be crushed to death in the ensuing commotion. On the evening of the 9th June 1895 during a performance of Gounod’s opera Faust at Covent Garden Theatre, the scenery caught fire, and a panic occurred among the audience, many of whom rushed for the doors. The play was stopped, and Nellie Melba, who was playing the part of Marguerite, appeared before the curtain in her stage costume, and “by her voice and presence secured the attention and calmed the apprehensions of the audience. The fire having been extinguished the opera went on, after Madame Melba had been heartily cheered by the audience for the coolness and presence of mind which had promptly checked what threatened to be a very serious panic.” (The Age 1895) Theatre goers in the Victorian age were also at risk from their predilection for realism and spectacle. The reason the scenery caught fire in Melba’s Faust at Covent Garden was because Mephistopheles entered to the accompaniment of “red fire”. At the Mechanics’ Institute in Albury in 1895 during a performance a scare was caused owing to an accident with some coloured firelights. “The operator was pouring a chemical preparation from a bottle, when a spark from the pan in which the fire was burning communicated with the contents of the bottle, and a large flame was caused. Before the fire

Stage Heritage

could extend to the scenery the water kept in buckets on the stage for such emergencies was dashed on the fire, and it was quickly extinguished.” (Evening News,1895) However, sometimes human intervention made things worse. In September 1896 at Esperance Theatre a wire-walker named Martin dropped a burning hoop on to the stage. The newspapers reported that “an exciting scene ensued. The scene-shifters rushed forward, and poured a tin of kerosene on to the flames in mistake of water. Gigantic flames rose to the ceiling, and the people commenced to rush out. A panic was prevented by the proprietor calmly walking along the stage extinguishing the flames with a bucket of water”. Sadly the fires that did take hold not only took people’s lives, but they also robbed people of their livelihoods. Scenery, wardrobes, musical instruments, sheet music and properties were often not included in the insurance policies on theatres, and were not insured separately. Many performers lost the tools of their trade. In the Tivoli fire of 1899, £3000 worth

of pantomime appointments were lost including all of the properties of the very popular Australian pantomime Jack the Giant Killer. The Theatres and Public Halls Act of 1908 came into operation at the beginning of 1909 and regulated such things as the use of the fire curtain, limiting audience numbers, keeping corridors and passageways clear, no smoking during periods that the theatre was open, no wooden chairs and the requirement for external doors that opened outwards. Each premises was to be licensed and stringent penalties were handed out for licensees not adhering to the regulations. These new regulations did notably reduce the number of people injured when exiting theatres where fires had broken out. They also led to better containment of fires by dividing the auditorium from the stage by the fireproof curtain. Thankfully as building and safety standards have improved a trip to the theatre is no longer the risk it was in the days of our forefathers.

www.ausstage.edu.au www.stagewhispers.com.au Stage Whispers 57

Teaching An Old Tapper New Tricks Natalie Pedler describes the excruciating challenge of having to re-learn tap dancing, memorizing lots of lines and squeezing into a leotard on the wrong side of 50.

I may be a middle-aged mother of two, working in a largely sedentary occupation, but in my head I’m Hollywood’s Anne Miller - long legged, wasp-waisted and full of energy as I tap myself though life with lightning speed and precision. So when a friend told me about a play she was directing that involved tap dancing, I nonchalantly replied, “sounds interesting” while my inner Anne mentally did a high five and told my feet to prepare for action. I confess I’ve tapped before. I took classes as a child so I knew tapping to be a joy. Of course time marches on and the only way to know if you still “have it” is to strap on the taps and give it a go. Stepping Out is a terrific play. Written by British playwright Richard Harris, it’s set in a dingy church hall in 58 Stage Whispers July - August 2017

Northern London where a disparate group of individuals gather each week to master the art of tap dancing. With little confidence, little cohesion and very little talent between them, their hapless teacher, Mavis, faces a challenge preparing her motley crew for a charity performance. As the play unfolds the audience learns a lot about each character and the characters learn a lot about themselves. With a distant tap history in my favour, I also drew upon a very distant amateur acting past as I prepared for my first audition in over twenty years! It’s odd the way life imitates art. Stepping Out takes place in a church hall. Brisbane’s St Luke’s Theatre Society is based entirely in a church hall! The characters in Stepping Out

come from all walks of life. Our cast included a drama student, a trainee teacher, an accountant, a public servant, a primary teacher, two retail workers and a career counsellor. The characters in Stepping Out are largely novice tappers; absolute parallel there too, with almost every cast member new to tap dancing. So with a distant history in both tapping and acting I suddenly found myself needing to master both anew. Memorizing all those lines was excruciating. This middle-aged brain ain’t what it used to be. The tapping, however, was my biggest challenge. The steps were relatively easy to master. It was the sequences that befuddled me. No matter how many times my legs went through the motions I found the music

started and my mind drew a complete blank (I bet that never happened to Anne Miller!). I was not alone. Two cast members very nearly downed tools and walked off the job, so sure were they that they’d never manage to tap dance convincingly. We often reassured each other that our characters were learners, not professional tappers; some degree of clumsiness and dodgy coordination was surely only going to make our portrayals more authentic. Lines and tapping aside, costuming posed quite a dilemma for me. My character, Vera, was meant to be a classy woman in her late thirties. From a distance, in a good light, I can probably pass for 39, but only in well fitted, flattering clothes - not a leotard! How was I going to appear, on stage, in a leotard and not look like a complete idiot? Moreover, the script also called for my character to appear in a silver catsuit. I firmly rejected that cat-suit idea from the outset and, thankfully, our Director agreed. To my everlasting relief, we managed to concoct a vulgar silver costume that audiences seemed to find amusing without the revealing properties of a cat-suit.

There was still the challenge of the And so Opening Night came. Vera leotard. The sight of my fifty-two-year- donned her leotard and skirt and I old self in a full length mirror clad in channelled Anne Miller. We all tapped just a small amount of lycra was frankly our way through the play to rapturous

applause and nobody seemed to mind that we fell short of the high dancing standard Broadway has set. Far from minding, the audiences seemed to warm to our efforts. They chuckled when we dropped our canes and hats; they chortled as we collided with each other and they cheered their appreciation as we unleashed our glittering “finale” number upon them, dazzling them with a bit of polish and dispiriting. In the end I decided that some clever choreography that actually Vera would be the kind of woman who made us look half decent - proving the would wear a soft chiffon dance skirt play’s point that with support, some over her leotard. A skirt hides a self-belief and a little application you multitude of sins. can find your feet.

www.stagewhispers.com.au Stage Whispers 59

Goods & Services

School Performance Services www.schoolperformanceservices.com.au School Performance Services is a complete solution to all your school entertainment needs, from large scale musicals and concerts to intimate drama. We can use your existing facilities, or transform your school hall or space into a performance venue. Our services include lighting design and realisation, set design and construction, equipment hire, sound and staging, and providing technical crews. We use the latest in entertainment technology to wow your audience. By specialising in school productions, we offer a supportive and personal relationship that larger event companies can’t provide, and at very affordable rates. Scenic Studios www.scenicstudios.com.au Scenic Studios specialises in Scenic Painting, Scenic Paints and Backdrop Scenic Hire. Currently we are painting backdrops and scenery for Australian Ballet’s production of Alice’s Adventures in Wonderland and starting to paint sets for Beautiful the Musical. We were also lucky enough to do scenic painting on The Book of Mormon musical earlier this year. In our scenic hire range we have over 200 backdrops which are professionally painted and give depth to the scene and allow for lighting tricks and ambience. We have standardised the size, 12m wide x 6m drop, fitting most theatres and school auditoriums. A good backdrop will set the scene or create the atmosphere you desire for your performance. So many different themes are available from traditional production such as Oliver, The Lion King, Seussical, Beauty and the Beast to ballrooms, circuses, forests & gardens. All can be found on our website www.scenicstudios.com.au under backdrop hire. We also have sequin drapes, slash curtains, lame curtains and crush velvet drapes to give your theatre production that something extra. We also manufacture Scenic Paints which are especially designed to paint backdrops and scenery. There are 28 colours to choose from with special paints such as texture, canvas / surface primers and stage black to paint your stage with our durable paint. If you are creating or painting a backdrop and scenery yourself give us a call, we ship Australia wide. 60 Stage Whispers

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

Masks and Puppets Plus www.masksandpuppets.com According to mask maker Tessa Wallis, Commedia dell’Arte is a perennial favourite since its genesis in Italy about five hundred years ago. “Commedia is about everyday people, with love intrigues and topical issues like politics, business and family relationships providing scope for improvisation. Commedia dell’ Arte has an air of mystery, not only because masks are worn but also because written records of scripts or historic performances are rare. Commedia relies on physical expression, improvisation and the ability of the actors to communicate with the audience largely without a script. “Wearing commedia masks gives drama students who lack confidence the opportunity to participate with anonymity. Whether they do a ‘silly walk’ or challenging acrobatics, wearing a mask can help develop confidence,” she said. Tessa has been designing and supplying masks to clients in Australia and overseas for over twenty years. Diversity Rigging & Entertainment Services www.diversityrigging.com.au Based in Melbourne we offer a friendly, reliable and professional service. At Diversity Rigging & Entertainment Services, we have strong commitment to quality and ongoing customer service. We are always striving for improvement so that we can constantly exceed customer expectations. Equipment: Control Desks, Scaffolding & Trusses. Specialty: Stage Productions & Theatrical Drapes. Call us on 03 9585 4613 for all your theatrical supplies & services.

and frequently studied plays from Ancient Greek to the present. Why do we do it? Because our culture, as it is expressed in theatrical performance, forms a quintessential role in reflecting our shared society and sense of ourselves. Actors, writers, directors and teachers everywhere share this passion with us and it is a joy to be able to help bring exciting new plays as well as revered classics to the next generation of theatregoers.

installation services to various churches, schools, production companies and venues.

Selecon, LDR, ETC and many other brands. Products and prices are listed on their website.

Clearlight Shows www.clearlight.com.au Clearlight Shows’ aim is to assist you in purchasing or hiring theatrical or architectural lighting. The products we import are known internationally for their quality and reliability, and are fully supported by our in-house technical staff. We rigorously test all new products to ensure they meet our expectations before we make them available to the Australian market. Clearlight Shows is a major supplier of spare parts and new fixtures available for shipping anywhere in Australia. Our customers include arts centres, theatres, galleries, schools and community groups. We have spare parts for Strand,

Hadley Theatre Seating www.hadleyaustralia.com.au Hadley Australia Pty Ltd specializes in the manufacture of high quality tip up theatre seating for Performing Arts and Lecture Theatre installations throughout Australia. If you are thinking of seating, Hadley/Series have a very proficient design and layout service and can provide budget quoting - all without cost or obligation. This includes sight line analysis, critical dimensions, seat numbering etc. Our seating is engineered to give a life of 40 years at a cost of $10 per chair per year. A quick email to hadley@hadleyaustralia.com.au will get you started.

Phantos Lighting www.phantos.com.au Phantos Lighting is the Australian distributor for some rising brand names in Book Nook the professional lighting www.booknook.com.au industry including DJpower, Book Nook specialises in KKMark, MLB, XMlite and performing arts books - both KOLO etc. Our target market plays and texts on acting, is mid end customers who theory and history. may not be able to afford We stock every new top brands but still need Australian play and as many quality product with strong new international plays as local support. Over the years possible. We also stock a we have supplied lighting large collection of popular products and provided Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 61

Choosing a Show School Releases ORiGiN™ Theatrical www.origintheatrical.com.au The Phantom of the Opera The Phantom of the Opera is available for performance by Australasian schools, colleges and universities in 2018 and 2019, on their own premises. The musical is a perfect way to introduce young people to the pleasures and mysteries of a live theatre experience. The Phantom of the Opera evokes ideas and concepts that run through history and literature: the outcast, the mythology of beauty and the beast, the use of the mask, women in Victorian society and the power of music. School Editions with performance tracks are now available for the following Broadway and Off Broadway shows: Heathers, Rock of Ages, Monty Python’s Spamalot, The Addams

62 Stage Whispers July - August 2017

Lion King Experience Junior Introduce theatre to your classroom today! Explore, create and share the arts with this easy-to-use, multi-media program.

Dominie Drama www.dominie.com.au/drama Representing Nick Hern Books www.nickhernbooks.co.uk Brainstorm by Ned Glasier and Emily Lim (modern drama) Inside every adolescent brain, 86 Music Theatre International billion neurons connect and collide to www.mtishows.com.au produce the most frustrating, chaotic 60-Minute Versions adapted for and exhilarating changes that will ever young performers up to 18 years old. happen to us. Shrek the Musical Junior The play is designed to be created “Everyone’s favourite ogre is back and performed by a company of in the hilarious stag spectacle based teenagers, drawing directly on their on the Oscar-winning film.” personal experiences. Peter Pan Junior Girls Like That by Evan Placey Broadway’s timeless classic musical (modern drama) whisks you away to a place where Cast: 6-24f / 0-6m dreams are born and no one ever An urgent and explosive play that grows up! explores of the pressures on young Singin in the Rain Junior people today in the wake of advancing Tap your toes and sing along in this technology. splashy adaptation of the world’s most celebrated movie musical. Family, Curtains, All Shook Up, A Chorus Line, The Wizard of Oz, Anything Goes, Big Fish, Grease, Crazy for You, Joseph & The Amazing Technicolor Dreamcoat and Cats.

Grimm Tales by Philip Pullman, adapted by Philip Wilson. Rediscover the magic and wonder of the original Grimm Tales, retold by Philip Pullman. In this stage version by Philip Wilson, you’ll meet the familiar characters and some unexpected ones too.

Williams’ children’s classic. It’s a magical adventure that is, at its heart, about the love between a parent and a child. Kate Mulvany’s adaptation with music by Mikelangelo and the Black Sea Gentlemen and Pip Branson now has a superb backing track and orchestration.

Representing Pioneer Drama www.pioneerdrama.com A Mother Goose Comedy Cast: Flexible cast of 7 to 34. Time: About 45 minutes Mother Goose is now retired and living in a Resort Spa where she has time to pursue sports and fitness! She gets tweets and texts from children all over the world who want to know how she got the ideas for her nursery rhymes, and uses comedy sketches and audience participation to show how all of her nursery rhymes and characters came about.

Musicals News

David Spicer Productions www.davidspicer.com.au Our most popular new release in schools is Masquerade, a gorgeous musical adventure based on Kit

Choosing A Show

David Spicer Productions is thrilled to announce that more than a dozen community theatres and schools will stage the Queen and Ben Elton hit musical We Will Rock You in 2018. The World Community Theatre Premiere will be staged by the Townsville Choral ORiGiN™ Theatrical has announced Society in January at the Townsville the representation of Baz Luhrmann’s Entertainment Centre. Strictly Ballroom The Musical in Australia and New Zealand. Music Theatre International (MTI) Strictly Ballroom The Musical is the now represents the secondary stage performance rights to five musicals by story of a championship ballroom the legendary writing team of Lerner & dancer who defies all the rules to Loewe, including their masterpiece My follow his heart. This uplifting and Fair Lady, the beloved classics Camelot, courageous tale originated as a stage Brigadoon and Paint Your Wagon, and play that Baz Luhrmann created as a student at NIDA back in 1984. their newly-restored early work, The Cast: 7 Female, 9 Male, 2 children Day Before Spring. (1 female & 1 male) + Ensemble.

www.stagewhispers.com.au Stage Whispers 63

Stage on Page By Peter Pinne

When Broadway Went To Hollywood by Ethan Mordden (Oxford US$29.95) Ethan Mordden has written extensively about Broadway and the Broadway musical. His opinionated style, laced with bitchy and gossipy anecdotes, is popular with theatre buffs and historians. He knows his stuff. This latest book finds him documenting the careers of major Broadway songwriters in Hollywood; Berlin, Porter, Kern, Rodgers and the Gershwins. He asks the question, did their original movie work ever surpass what they did on Broadway, and in Mordden’s opinion they almost invariably did not. Yes, he does find some of their celluloid efforts to praise (Lerner and Loewe’s Gigi gets his top accolade) but by and large he finds their work “second division”, as he described Cole Porter’s High Society. But he pushes the concept beyond original movie musicals and also includes film versions of their stage shows and films that used a jukebox collection of their hits. He claims Top Hat was Irving Berlin’s Hollywood pinnacle, Kern’s was Swing Time and the Gershwins’ was Shall We Dance, all movies from the thirties and all movies starring Fred Astaire and Gingers

Rogers. He calls the Gershwin title “one of the glories of thirties cinema.” Rodgers and Hart’s 1932 Jeanette McDonald and Maurice Chevalier starrer Love Me Tonight gets high marks because of its innovative use of rhymed dialogue, but Rodgers and Hammerstein’s State Fair is dismissed for its lack of situation character songs. One chapter cobbles together the work of Frank Loesser, Harold Arlen and Johnny Mercer because he obviously thought they didn’t rate solo chapters on their own. He admires several Loesser songs, notably ‘Baby It’s Cold Outside’ (Neptune’s Daughter) and the score to Hans Christian Anderson, Arlen’s work on The Wizard of Oz and A Star Is Born, and gushes about Mercer’s (with Gene DePaul) Seven Brides For Seven Brothers. There’s a chapter on Operetta which discusses the Jeanette McDonald and Nelson Eddy titles and later The Great Waltz and The Song of Norway. Of the movies that were almost direct stage to film transfers, he likes Gypsy and Funny Girl, most of the Rodgers and Hammerstein oeuvre Oklahoma!, The King and I, Carousel, and The Sound of Music, and Lerner and Loewe’s My Fair Lady. They get special points if the film includes any of

Stage Whispers Books Visit our on-line book shop for back issues and stage craft books www.stagewhispers.com.au/books 64 Stage Whispers July - August 2017

the original stage cast. There’s criticism of set and costume designer John Truscott’s excesses on Camelot and Paint Your Wagon, while Oliver! is given two lines (because its composer Lionel Bart was English), yet bewilderingly he devotes two pages to another West End show Half a Sixpence, which starred Tommy Steele. Recent stage to film transfers include Evita, The Phantom of the Opera, Les Misérables, Dreamgirls and Chicago, which ends the book and is the movie he considers the best stage transfer of all. His choice of titles is very selective, with several anecdotes repeated from

production of Ben Hur at Her Majesty’s Theatre, Sydney, whose horse and chariot company numbered 100, and was in South Africa touring Puss In Boots when the First World War broke out. Important musicals she choreographed were Josie Melville in Jerome Kern’s Sally (1923), Carrie Moore in Leslie Stuart’s Floradora (1901), Florence Young in Lionel Monckton’s A Country Girl (1903), and the London and Australian production of Rudolf Friml’s High Jinks (1916), although she never saw the London first night, being recalled to Australia at the last minute. With no personal papers to draw upon, author Liz Coady (a grand niece Finding Minnie Everett by Liz Coady of Everett) was forced to research most (BookPod) of the book’s material online, where Little has been written about early she came upon a series of articles Australian musical theatre and even written by Everett in 1932 about her less about its practitioners. Minnie mistress, choreographing and career for the magazine Table Talk. Everett was one of them but you will producing pantomime and musical These make up the bulk of this slim find few references to her in any book comedy in Australia, New Zealand and volume and are by far the most (Currency’s definitive Companion to South Africa. Future star Florence interesting for being a first-person Theatre in Australia only mentions her Young made her first appearance for account of life and times in the theatre JCW in the Everett directed Aladdin. A in the early part of the twentieth once), but her achievements were many, including the first woman in the feature of these elaborate pantomimes century in Australia, New Zealand and world to direct all of the Gilbert and at that time were the transformation South Africa. Sullivan operas and the first woman to scenes, Harlequinades, and specially The book would have benefited direct a musical in London’s West End. devised ballets; ballet of the seasons, from the inclusion of some review The Mikado in 1917 was her first G&S produce of the farm, and the popular quotes and a listing of known Minnie and over time she became so adept at flower ballets at which Everett became Everett productions. Still, the their canon that she could direct them a master. occasional photograph and sketch, She also choreographed the lauded along with newspaper theatre ads, without a script. She spent considerable years Poi dance in Alfred Hill’s comic opera help illustrate the period nicely. The working for the J.C. Williamson Tapu (a hit in New Zealand but a flop book is available for $30.00 (including management, which saw her as ballet in Australia), was a part of the 1902 postage) at coalizzie@iprimus.com.au other books, but it is musically erudite, perhaps too much so. In discussing the song ‘Over the Rainbow’ he claims “it has an unusual release, with seesawing eighth notes in the tonic and then the supertonic seventh over a tonic pedal, then in the tonic and submediant minor diminished with an added fourth,” a sentence that means nothing to those who aren’t musically literate. Examples like this are studded throughout the narrative, which definitely narrows its reader base. It’s a slim volume (235 pages), with a good selection of B&W stills, an index and a three page bibliography of books he suggests for further reading.

JOIN THE CONVERSATION! Follow us on Twitter: www.twitter.com/stage_whispers Like us on Facebook: www.facebook.com/stagewhispers www.stagewhispers.com.au Stage Whispers 65

feature Simon Gleeson on a glorious “Lily’s Eyes” (The Secret Garden), Silvie Paladino bringing heart to “Sun and Moon” (Miss Saigon) and Claire Lyon’s lyric-soprano a perfect choice By Peter Pinne for “One Hand, One Heart” (West Mark Vincent - A Tribute to Mario Lanza (Sony Side Story). The only misstep on the 88985431722) whole album is a supper-club arrangement of “Edelweiss” from The In 2009, at the age of 16, Mark Vincent won the third season of Australia’s Got Talent singing “Nessun Dorma” and Sound of Music, which seems out of was immediately signed by Sony Music Australia. Since that time he has released seven albums which have all gone to Online extras! No.1 on the classical cross-over chart, an amazing Pick up a copy of “Different Stages” on achievement. Therefore it’s no iTunes. Simply scan the QR code or visit surprise that his latest album, his http://apple.co/2s9dEVk eighth, A Tribute to Mario Lanza has also topped the chart. Backed by a 50 -piece orchestra and choir, Vincent’s place. Best tracks are Miss Saigon’s “Why God Why” and thrilling tenor has never sounded Beauty and the Beast’s “If I Can’t Love Her”. The album has a better in this selection of opera arias, generous 17 songs with two extra bonus tracks available on Alexander’s website, Craig Carnelia’s “Flight” and “The Prayer”, also a duet with Paladino. 

Stage On Disc

Online extras!

Hello, Dolly! (Jerry Herman) (Masterworks Broadway 88985-40592-2) Bette Midler’s return to Broadway has impacted almost as much as Dolly’s famous return to the Harmonia Gardens movie and Neopolitan songs. The best thing about the Restaurant. Audiences are forking out big bucks to see her album is the pairing of Vincent and Lanza in a virtual duet of walk down those stairs in her red dress, but for those less the late MGM star’s final million-seller and Academy Award- fortunate, and unable to get a seat, this album brings much Winning “Because You’re Mine”. It works remarkably well, of the Broadway sparkle alive. Fortunately, with the help of with Vincent matching the intensity and power of Lanza the recording edit suite, Midler’s note for note. Other tracks include “Como Prima” (For the vocals are much better than they are First Time), “The Loveliest Night of the Year” (The Great in the theatre. She eats up “I Put My Caruso), and “Be My Love” (The Toast of New Orleans), Hand In” and “Before the Parade Lanza’s first No.1 hit. “O Sole Mio” leads the Neopolitan Passes By”, nails the title song, and titles which also feature “Arriverderci Roma” (The Seven Hills with her trademarked nasal delivery of Rome), whilst the opera arias comprise “E Lucevan Le makes a meal of “So Long Dearie”. Stelle” (Tosca), and the piece that started Vincent’s career, “Nessun Dorma” (Turandot). The album concludes with a Online extras! stirring reading of Nicholas Brodsky’s rarely-heard-these-days See why Bette Midler’s performance won song of faith, “I’ll Walk with God” (The Student Prince). a Tony Award by buying the album now. Impressive and rich accompaniment is by the Sydney http://apple.co/2s9B90j International Orchestra conducted by Guy Noble, with the Royal Melbourne Philharmonic Choir adding heft and vocal colour on some tracks.  David Hyde Pierce is a fine Horace, whose character is helped by the inclusion of the cut-from-the-original “Penny In My Kane Alexander - Different Stages (Jay CDJAY 14478) Pocket”. Best vocals are by Gavin Creel (Cornelius) and Kate Kane Alexander’s new album finds him singing a Baldwin (Irene Molloy), especially “It Only Takes a Moment” collection of mainly musical theatre power-ballads which is one of the songs enhanced by Larry Hochman’s new accompanied by the English National Symphony Orchestra. orchestrations.  It’s a big sound, with big hard-sell finishes, something he obviously learnt when he toured with Il Divo. Although the Richard Kiley - Rodgers and Hammerstein Songbook song line-up is filled with the usual suspects, songs from (Stage Door STAGE 2390) Phantom (“Music of the Night”), Les Miz (“Empty Chairs at Stage Door continue their Collector’s Series with this Empty Tables”), and Chess (“Anthem”), there are some reissue of two-time Tony Award winner Richard Kiley’s only interesting off-beat choices such as “Falling Slowly” from solo recording, a double album from 1960. Kiley, who won Once, a duet with Natalie Mendoza, the vibrant “I Got life” from Hair, and Jason Robert Brown’s beautifully tender Rating ballad “It All Fades Away” from The Bridges of Madison  Only for the enthusiast  Borderline County, which simply throbs with emotion. Other duets  Worth buying  Must have  Kill for it

Swoon along to Mark Vincent’s dulcet tones. Simply scan the QR code or visit http://apple.co/2s94Oac

66 Stage Whispers July - August 2017

his Tony Awards for Man of La Mancha and Redhead, first came to notice as the Caliph in Kismet, and later appeared in No Strings and I Had a Ball. Accompanied by George Siravo and his Orchestra, it’s very much an album of the period with an ethereal chorus on some tracks and arrangements that sometimes include an organ. Songs from all the major R&H

bereavement, but it’s Rebecca Faulkenberry’s ‘perky breasted one-night-stand’ number “Finding Nancy” that shows off Minchin’s ability to be poignant but still make us smile. 

A Bronx Tale (Alan Menken/Glenn Slater) (Ghostlight Records 84514-02) Alan Menken and Glenn Slater’s score mines the sounds of fifties and sixties pop for this play, which became a movie, which became a musical, about a young guy growing up Italian American in the Bronx. Pastiches of Motown, R&B, big -band, swing and rock ‘n’ roll stud the score, which has Online extras! good vocals, good arrangements, and sometimes throws in Grab Richard Kiley’s Rodgers And an organ for a good period effect. Menken and Slater, Hammerstein Songbook now. whose previous collaborations have included the movie-tohttp://apple.co/2s9uYto stage adaptations of Sister Act and Leap of Faith, are in good form here with Menken providing some catchy beats and Slater penning lyrical wit: ‘next year’s Frankie Valli’s/Croonin’ musicals are included, except The Sound of Music as the in the alleys/Getting’ those falsettos to soar’. Two Sinatrarecording was made before it opened on Broadway. Kiley esque numbers are perfect for Nick Cordero as the hood; was an excellent leading man and an actor who could sing and sing very well indeed. This collection showcases his easy “Nicky Machiavelli”, which details the gangster’s survival methods as learned style and rich baritone. Best track is “Younger than by the Italian Renaissance writer and Springtime” (South Pacific), but some tracks from the lesser known shows impress - “No Other Love” (Me and Juliet), “So is styled after “Mack the Knife”, with a multitude of keys changes, whilst Far” (Allegro), “It’s a Grand Night For Singing” (State Fair), “One of the Great Ones” is an ode to “Do I Love You Because You’re Beautiful” (Cinderella) and unforgettable love stories. “Look to “Everybody’s Got a Home But Me” (Pipe Dream).  Groundhog Day (Tim Minchin) (Masterworks Broadway 8898543101-2) Tim Minchin’s score for this musical. based on the popular Bill

Online extras!

You can buy the cast recording of Groundhog Day The Musical right now. http://apple.co/2s9mdiI

Online extras!

Get your hands on A Bronx Tale: The Musical from iTunes. Scan or visit http://apple.co/2s92tM5 Your Heart”, a memorable ballad, first sung by the strongvoiced Bobby Conte Thornton as the protagonist and the talented Hudson Loverro as his younger self, is used throughout to tie the story threads together. Loverro also gets his moment of showstopping attention when he leads the ensemble in “I Like It”. 

Murray movie of the 90s about a burned-out and cynical TV weatherman who relives his day after day after day, is clever, smart, sophisticated and witty. Andy Karl brings his considerable musical theatre chops to the piece and is wildly funny on “Stuck”, which gloriously sends-up alternative therapies (this must be the only musical theatre song that uses the word enema ‘essential oils, organic teas/who needs enemas with friends like…?’), “Hope,” in which he commits suicide (but of course comes back to life again because his life is on repeat), and “Nobody Cares”, a great country-bluegrass trio with Andrew Call and Raymond J. Lee. John Sanders’ “Night Will Come” nicely underscores his character’s www.stagewhispers.com.au Stage Whispers 67

costuming you’d expect from a touring musical. It was supercalifragilisticexpialidocious to have a full orchestra and backing vocalists, but at times they drowned out the performers’ vocals. Chloe Crick was practically perfect as Mary. Her singing, dancing and acting was exemplary. Emmerson McMillan as The Bird Lady brought tears to the eyes with her melodic singing and mature acting in ‘Feed the Birds’. Sadly, a few jokes in the musical fell flat, but every one of Michael Banks’ funny lines was Mary Poppins delivered with excellent comic timing Original Music and Lyrics by Richard M. by Joshua Thompson. Sherman and Robert B. Sherman. Book No review of Mary Poppins would by Julian Fellowes. New songs and be complete without mentioning the additional music and lyrics by George digital set design, while one of the Stiles and Anthony Drewe. Apr 21 - 29. biggest stars was the magic built into MARY Poppins The Broadway the physical set design, adding a ‘wow Musical was a testament to The factor’ making the show truly magical. Australian School of the Arts. It was Kiesten McCauley packed with performers, staging and A Fleeting Night’s Dream.

Schools On Stage

A Fleeting Night’s Dream The Kings School and Tara Anglican School. Original Concept and Adaptation by Michel Terzo and Diane Herron. Music and Lyrics by Fleetwood Mac. Based on Shakespeare’s A Midsummer Night’s Dream. Mar 15 25. BLESSED with extraordinary technical facilities, matched by the enthusiasm of staff and students, the World Premiere of this unique adaptation of Shakespeare blew the roof off the Kings Theatre. At the centre of the stage was a platform which had flashing LED lights. The structure moved around and its LED top rose vertically to become a movie screen. Whether as a dancing floor, or a backdrop, the interactive colour and movies added a unique dimension to the production. Costumes were in an intriguing psychedelic 1960’s fashion, the lighting was powerful, the orchestra used the new score with panache and the dancing of the very large cast was enthusiastic and well drilled. The school had a coup in securing permission from super group Fleetwood Mac to use their songs in a new musical. Combining the pop music and Shakespeare proved to be an excellent vehicle for a large group of students. The dialogue was lifted from the bard, with the songs dropped in where appropriate. A Fleeting Night’s Dream lived up to its by-line that promised “You’ll see things in a different way.” David Spicer 68 Stage Whispers July - August 2017

Australian Students Pilot Disney’s Newsies Jr. Young Australian performers will collaborate with New York City theatre professionals on a new student edition of Newsies. A cast of 40 young Australians will take part in a week-long pilot of Newsies JR., a new student version of the Tony-winning Disney Theatrical Broadway production. The students will participate in a workshop in the week leading up to the second annual Junior Theatre Celebration Australia (JTCOz) event, which will be held at the Civic Theatre, Newcastle on Saturday 28th October. Newsies JR. is a 60-minute version of the stage musical, which in turn was based on the 1992 musical film “Newsies”, inspired by the Newsboys Strike of 1899 in New York City. The musical features music by Alan Menken, lyrics by Jack Feldman and a book by Harvey Fierstein. Now in its second year, the 2017 Junior Theatre Celebration Australia (JTCOz) provides an opportunity for young Australians from 8 to 18 years to celebrate their love of musicals. The Junior Theatre Celebration Australia (JTCOz) draws groups representing primary and secondary schools, along with private acting academies from all over Australia. For audition applications and group registrations visit www.oztheatrics.com

Rodgers and Hammerstein’s Cinderella.

Rodgers and Hammerstein’s Cinderella Iona Presentation College. Mar 17-19. IONA Presentation College’s Cinderella was a lavish show with a big budget feel. Jade Spirito, as Cinderella, had lots of personality and a gorgeous voice. Strong, larger than life performances came from Courtney Preston and Mikaela Giancaspro as the stepsisters, showing lovely teamwork. Particularly impressive performances from young ladies playing well above their age; Georgia Wilson (Fairy Godmother), Hannah Howard (Stepmother) and Apryl Richards (Queen) all gave portrayals showing maturity, depth and lovely sass. Iona sourced some wonderful guest performers. Matthew Healy made a handsome, charming Prince Christopher, Joshua Brant won affection as valet Lionel, while Christopher Bedding was a comic and loveable King. A strong and dedicated chorus shone, expertly executing excellent choreography by Coby Brant. A 27 piece orchestra, under the baton of musical director Aaron Wyatt, sounded great. A family friendly, expertly presented musical. Kimberley Shaw

and made the parables live. This was an energetic, optimistic and thoughtful production. Merlene Abbott Hairspray Book by Mark O’Donnell and Thomas Meehan. Music: Marc Shaiman, Lyrics: Scott Wittman, Marc Shaiman. Rosny College Performing Arts, Hobart. May 17 - 27. THE twin messages of diversity and discrimination, wrapped up in fun and fabulous entertainment in Hairspray the Broadway Musical, was ably performed by Rosny College students. Set in Baltimore, Maryland, in the 60s, the musical is still relevant today. Lewincamp, who owned the role and The joyous exuberance of Hairspray, the stage, with a presence and with excellent direction by Darren assuredness way beyond his years. The Sangwell and fabulous choreography obligatory chain mesh fence was used by Kristy Baker, was fun to see. by director Justan Wagner as the Elizabeth Nichols (Tracy Turnblad) sings setting of a detention centre, implying beautifully, and worked superbly with marginalised people - those who need fellow cast members in full ensemble a saviour, or at least a solution. So numbers and one-on-one scenes. good to hear the Godspell music Brandon Chilcott (Edna Turnblad) again, from the lovely version of owned the stage with a confidently “Prepare Ye”, sung with drama by Sam assured performance. The ensemble Pyefinch, to the vibrant finale. work was excellent. Diction was a little Costumes of recycled or repurposed hard to understand on some lines, but clothing in beige, brown and white that was probably more a feature of implied drab sameness, while splashes the furious pace of the show and the of blood-red implied menace, defiance, Maryland accent required. joyousness, energy and hope. With 49 A joyous, wonderful show. actors on stage, the tight Merlene Abbott choreography came into its own. The text of the Gospel of Saint Mathew Visit Schools on Stage at came to life in a series of (relatable) www.stagewhispers.com.au/schools games, such as mime and charades, Hairspray.

Godspell Music & Lyrics: Stephen Schwartz. Book: John-Michael Tebelak. Elizabeth College, Hobart Director: Justan Wagner. June 2 - 10. ELIZABETH College was fortunate to have a charismatic Jesus in Taylor www.stagewhispers.com.au Stage Whispers 69

Stage Briefs Producer/director Matt Byrne of Matt Byrne Media is producing Adelaide’s first taste of the stage musical version of Saturday Night Fever and is excited about his all-local casting. Relative unknown Sebastian Cooper plays Tony Manero and sees a lot of himself in Tony. “He’s just the perennial under-achiever,” Sebastian said. “Three years ago I was Tony. I had no prospects; no idea what I wanted to do and no inclinations of what I wanted to do.” Sebastian is determined to create a unique character. Audiences won’t see a John Travolta clone, but Saturday Night Fever will have everyone on their feet, so make sure you’re in the disco groove in July. Playing at the Arts Theatre from July 5 to 15 and Elizabeth’s Shedley Theatre from July 20 to 29. Bookings on 8262 4906 or at www.mattbyrnemedia.com.au Read our full article online at http://bit.ly/2t5tQdf

70 Stage Whispers July - August 2017

Evergreen entertainer Ron Pidcock has enjoyed an illustrious career on stage in a multitude of well-received roles; and off, as a Committee Member and two terms as Gilbert & Sullivan Opera Victoria President. Gilbert & Sullivan Operaâ&#x20AC;&#x2122;s very own patter man was recently rewarded for his contribution to our national performing arts culture with a 2017 Order of Australia Medal. He will be showcasing his considerable talents in A Song to Sing O in July at the Phoenix Theatre in Elwood, for a strictly limited season: July 8th -16th Enquiries: 0490 465 009 Read more on our website at http://bit.ly/2t5784O

www.stagewhispers.com.au Stage Whispers 71

On Stage A.C.T. Charlie and the Chocolate Factory. Child Players. Jul 6 - 16. Theatre @ BCS, Frencham Court, Belconnen. (02) 6257 1950.

A.C.T. & New South Wales

Joseph and the Amazing Technicolour Dreamcoat by Andrew Lloyd Webber and Tim Rice. Ballina Players. Until Jul 9. Players Theatre, Ballina. (02) 6686 2440.

1984. By George Orwell. A new adaptation created by Robert Icke and Duncan Macmillan. Sydney Theatre Company in association with State Theatre Constellations by Nick Payne. Jul Company South Australia & by 14 - 29. The Street Theatre. (02) arrangement with Ambassador 6247 1223. Theatre Group presents the Headlong, Nottingham 1984 by George Orwell. Playhouse & Almeida Theatre Headlong, with Nottingham production. Until July 22. Roslyn Playhouse and the Almeida Packer Theatre. (02) 9250 1777. Theatre. Jul 25 - 29. Canberra Theatre. (02) 6275 2700. Front by Michael Abercrombie. The Mad Hatter’s Tea Party. Jul 12 - 15. The Playhouse, Canberra Theatre Centre. (02) 6275 2700.

Around the World in 80 Days. Adapted for the stage by Toby Hulse. Ellis Productions and Aleksandar Vass. Aug 2 - 5. The Q, Queanbeyan Performing Arts Centre. (02) 62856 290.

Jackrabbit Theatre. Until Jul 15. The Depot Theatre. thedepottheatre.com

Spamalot by Eric Idle and John Du Prez (Musical). Sydney Youth Musical Theatre. Jul 5 - 15. Hornsby RSL. (02) 9477 7777. Mame by Jerry Herman, Jerome Lawrence and Robert E Lee. Neglected Musicals in association with the Hayes Theatre Co. Jul 5 - 9. The Hayes Theatre. www.hayestheatre.com.au Junk: The Flying Fruit Fly Circus. Jul 5 - 16. Playhouse, Sydney Opera House. (02) 9250 7777. Singin’ In The Rain Jr by Betty Comden and Adolph Green. Hunter Drama. Jul 5 - 8. St Philip’s Christian College Theatre, Waratah (Newcastle). www.tickets.spcc.nsw.edu.au

Legally Blonde: The Musical JR. Music and lyrics by Laurence Grace by Craig Wright. Knock O’Keefe and Neil Benjamin, and Run Theatre. Until Jul 1. book by Heather Hach, based Civic Playhouse, Newcastle. (02) on the novel by Amanda Brown. 78 Reasons to Stay the Night by 4929 1977. Pantseat Performing Arts. Jul 6 Trevar Alan Chilver. Aug 2 - 6. Neville’s Island by Tim Firth. 8. Civic Playhouse, Newcastle. The Courtyard Studio, Canberra Ensemble Theatre. Until Aug 12. (02) 4929 1977. Theatre Centre. (02) 6275 2700. (02) 9929 0644. How The Other Half Loves by Neighbourhood Watch by Lally Spamalot by Eric Idle and John Alan Ayckbourn (Comedy). Katz. Canberra Repertory Du Prez. Armidale Drama and Elanora Players. Jul 7 - 15. Society. Aug 3 - 19. Theatre 3. Musical Society. Until July 15. Elanora Community Centre. (02) 6257 1950 (10-4 Mon-Fri). The Armidale School’s Hoskins 9979 9694 Bennelong. Bangarra Dance Theatre. Aug 3 - 5. Canberra Theatre. (02) 6275 2700 Blue Love. Shaun Parker & Company. Aug 16 & 17. The Playhouse, Canberra Theatre Centre. (02) 6275 2700. Intimacy by Beth Buchanan, Adriano Cortese, Raimondo Cortese, Paul Lum and Patrick Moffatt. Ranters Theatre. Aug 23 - 27. The Street Theatre. (02) 6247 1223. Archè. Concept and Direction by Simon Hoy. Melbourne Ballet Company. Aug 25 - 26. The Q, Queanbeyan Performing Arts Centre. (02) 6285 6290. New South Wales

Centre, Cnr Brown & Chapel Sts, Live Laugh Smile. Cumberland Armidale. www.adms.org.au Gang Show (Scouts and Cloud Nine by Caryl Churchill. Guides). July 7 - 15. Riverside Sydney Theatre Company. Jul 1 - Theatre, Corner Church and Aug 12. Wharf 1. (02) 9250 Market Streets, Parramatta. 1777. www.gangshow.asn.au Justine Clarke’s Look! Look! It’s a Gobbledygook by Hilary Bell. July 1 - 11. Playhouse, Sydney Opera House. (02) 9250 7777. The Rover by Aphra Benn. Belvoir. Jul 1 - Aug 6. Belvoir Upstairs. (02) 8355 9341.

Peter Pan. Adapted by Craig Bring It On. Music by Tom Kitt & Sodaro from the novel by J.M. Barrie (Children’s classic). Lin-Manuel Miranda, Lyrics by Maitland Repertory Theatre. July Amanda Green & Lin-Manuel 7 - 23. (02) 4931 2800 Miranda, Book by Jeff Whitty. Gosford Musical Society Juniors. Australian Graffiti by Disapol Jul 4 - 8. Laycock Street Savetsila. Sydney Theatre Community Theatre, North Company. Jul 7 - Aug 12. Wharf Gosford. (02) 4323 3233. 2. (02) 9250 1777.

Kinky Boots. Music and lyrics by Cyndi Lauper. Book by Harvey Fierstein. Michael Cassell Group. Little Borders by Phillip Kavanagh. Jul 4 - 15. Old 505 Until Aug 13. Capitol Theatre, Theatre, Newtown. Sydney. 1300 558 878. old505theatre.com 72 Stage Whispers

The Great Australian Rock Musical by Jodie Connor. Albatross Musical Theatre Company (Nowra). Jul 7 - 16. Shoalhaven Entertainment Centre, Nowra. 1300 788 503.

The Adventures of Peter Pan and Tinkerbell. Pantomime. Bonnie Lythgoe Productions. Jul

7 - 16. State Theatre, Sydney. 1300 139 588. Emma by Jane Austen adapted by Pamela Whalan. Genesian Theatre, 420 Kent St. Sydney. Jul 8 - Aug 19. 1300 237 217. Cats (Abridged). Music by Andrew Lloyd Webber. Based on “Old Possum’s Book of Practical Cats” by T.S. Eliot. Young People’s Theatre Newcastle. Jul 10 - Aug 12. Young People’s Theatre, Hamilton. (02) 4961 4895. www.ypt.org.au This Much Is True by Louis Nowra. Old Fitz Theatre. Jul 12 Aug 12. www.oldfitztheatre.com The Wolf and Peter. CoisCéim Dance Theatre. Jul 12 - 16. Playhouse, Sydney Opera House. (02) 9250 7777. Mr Stink. Adapted by Maryam Master from the book by David Walliams. CDP Productions. July 12, Cessnock Performing Arts Centre, (02) 4993 4266 and July 25 - 26, Civic Theatre, Newcastle, (02) 4929 1977. The Incredible Here and Now by Felicity Castagna, based on her novel of the same name. National Theatre of Parramatta. July 13 - 22. Riverside Theatres, Parramatta. (02) 8839 3399. The Wedding Singer. Music: Matthew Sklar Lyrics: Chad Beguelin. Book: Chad Beguelin & Tim Herlihy. Based upon the New Line Cinema film written by Tim Herlihy. Campbelltown Theatre Group. July 14 - 29. Town Hall Theatre, Campbelltown. (02) 4628 5287. Grease. Book, music & lyrics by Jim Jacobs and Warren Casey. Harvest Rain. Jul 14 - 16. Newcastle Entertainment Centre, Broadmeadow. (02) 4921 2121. Australia Day by Jonathon Biggins. Tweed Theatre Company. July 14 - 30. Tweed Heads Civic and Cultural Centre. 1800 674 414. 9 to 5: The Musical. Music and lyrics by Dolly Parton. Book by

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

On Stage Patricia Resnick, based on the screenplay by Resnick and Colin Higgins. Canterbury Theatre Guild. Jul 14 - 22. The Playhouse, NIDA. www.canterburytheatreguild.com

Theatre Co. Ju 19 - 23. The Hayes Theatre. www.hayestheatre.com.au

New South Wales Bankstown. 0481 869 858. Company. Jul 26 - Aug 8. www.bankstowntheatrecompany.com Sutherland School of Arts, Sutherland. A Love Affair by Jerry Mayer. www.thesutherlandtheatrecompany.com.au DAPA. Jul 21 - Aug 5. DAPA

The Age of Consent by Peter Morris. Two Tall Theatre. Jul 19 Theatre, Hamilton (Newcastle). - 22. Civic Playhouse, Newcastle. 0416 252 446. The Sea by Edward Bond. (02) 4929 1977. The Women at Lockerbie by Newcastle Theatre Company. Jul Legally Blonde Jr. Book: Heather Deborah Brevoort. Castle Hill 15 - 29. Newcastle Theatre Hach. Music & Lyrics: Laurence Players. Jul 21 - Aug 12. Pavilion Company, Lambton. (02) 4952 O’Keefe and Neil Benjamin. Theatre, Doran Drive, Castle Hill. 4958 (3-6pm Mon-Fri). CHATS Productions Inc (Coffs (02) 9634 2929. Disney is a Wish Your Heart Harbour). Jul 20 - 30. Jetty The Magic of the Musicals - 60th Makes. Musical tribute to Disney Memorial Theatre, Coffs Anniversary Concert. Willoughby films. Maitland Musical Society. Harbour. (02) 6652 8088 (12-4 Theatre Company. Sat July 22. Jul 8 - 9. Maitland City Sports Tue-Fri). The Concourse Concert Hall, Bowls and Recreation Club, Therese Raquin. Adapted from Chatswood. Rutherford. Jul 15 - 16. Soldiers the Emile Zola novel by Gary www.willoughbytheatreco.com.au Point Bowling Club. Abrahams. A Dirty Pretty Thaïs by Massenet. Opera www.trybooking.com/278555 Theatre & Critical Stages Australia. July 22 - 24. Sydney An Inspector Calls by J.B. Production. Joan Sutherland Town Hall. (02) 9318 8200. Priestly. Pymble Players. Jul 19 - Performing Arts Centre. Jul 20 Pinafore and So Much More! A Aug 12. Pymble Players Theatre. 22. (02) 4723 7600. G & S Revival! Tamworth (02) 9144 1523. Oliver! Music and Lyrics by Musical Society. Jul 22 & 23. Under The Covers by Matthew Lionel Bart (Musical). Bankstown Tamworth Town Hall. Theatre Company. July 21 - 30. www.tms.org.au Mitcham and Nigel TurnerCarroll. Twists and Turns Bryan Brown Theatre, Cnr A Good Man by Frederick Productions Pty Ltd in Rickard & Chapel Roads, Stroppel. Sutherland Theatre association with the Hayes

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

Bakersfield Mist by Stephen Sachs. Tasmanian Theatre Co and Straightjacket Productions. Jul 25. Cessnock Performing Arts Centre. (02) 4993 4266.

Technicolor Life by Jami Brandli. The Depot Theatre. Jul 26 - Aug 12. The Depot Theatre. thedepottheatre.com Hello, Goodbye & Happy Birthday by Roslyn Oades & Collaborators. A Performing Lines’ Road Work initiative, supported by the Australia Council for the Arts and Creative Victoria. July 27 - 29. Riverside Theatres, Parramatta. (02) 8839 3399. Murdered to Death by Peter Gordon. Dinner Theatre. Orange Theatre Co. Jul 28 - 30. Orange Civic Theatre. (02) 6393 8111. Dry Land by Ruby Rae Spiegel. Outhouse Theatre Co and Mad

Stage Whispers 73

On Stage March Hare at the KXT Theatre. Jul 28 - Aug 19. The Kings Cross Theatre, Level 2, Kings Cross Hotel. www.kingsxtheatre.com Landscape With Monsters. Circus work looking at the complexity of being human. Circa and Merrigong Theatre Company. Jul 28 - 29. Civic Theatre, Newcastle. (02) 4929 1977. Miss Saigon. Music by ClaudeMichael Schonberg. Lyrics by Richard Maltby jnr and Alain Boublil. Packemin Productions. Jul 28 - Aug 12. Riverside Theatre, Parramatta, (02) 8839 3399. Holding The Man by Tommy Murphy (Australian Drama). Lane Cove Theatre Company. July 28 - Aug 5. www.lanecovetheatrecompany.com Chitty Chitty Bang Bang. Music & Lyrics: Richard & Robert Sherman. Book: Jeremy Sams & Ray Roderick. Roo Theatre Company. Jul 28 - Aug 12. Roo

74 Stage Whispers

New South Wales

Theatre, 12 Addison Street, Shellharbour. www.roo-theatre.com.au Young Frankenstein. Music & Lyrics by Mel Brooks, book by Mel Brooks & Thomas Meehan. Gosford Musical Society. Jul 28 Aug 12. Laycock Street Community Theatre, North Gosford. (02) 4323 3233.

Zandt in association with the Hayes Theatre Co. Aug 3 - 5. The Hayes Theatre. www.hayestheatre.com.au The 39 Steps (Comedy) by John Buchan and Patrick Barlow. The Theatre on Chester. Aug 4 - 26. Cnr Chester St and Oxford St, Epping. (02) 9877 0081 www.theatreonchester.com.au

The Plant by Kit Brookman. The Rose Tattoo by Tennessee Ensemble Theatre. From July 28. Williams. The Guild Theatre. (02) 9929 0644. Aug 4 - Sep 2. The Guild Theatre, Rockdale. (02) 9521 Love and Information by Caryl 6358. Churchill. Stooged Theatre. Jul 29 - Aug 6. Catapult Dance Studio, Newcastle. www.trybooking.com/285916

The Jungle Book by Craig Higginson. Nautanki Theatre. Aug 3 - 5. Lennox Theatre, Riverside Theatres, Parramatta, (02) 8839 3399. Blue: The Songs of Joni Mitchell by Queenie van de Zandt and Max Lambert. Neil Gooding Productions and Queenie van de

Shady Business by Robin Hawdon. Arts Theatre Cronulla. Aug 4 - Sep 9. Arts Theatre, Cronulla. (02) 6523 2779. Shady Business by Robin Hawdon. Arts Theatre Cronulla. Aug 4 - Sep 9. (02) 6523 2779.

Richmond School of Arts. www.richmondplayers.com.au Play in a Day 8. Plays written and staged in 24 hours. Newcastle Theatre Company. Aug 5. NTC Theatre, Lambton. (02) 4952 4958. After The Dance by Terence Rattigan. New Theatre. Aug 8 Sep 9. newtheatre.org.au Parisfal by Wagner. Opera Australia. Aug 9 - 14. Concert Hall, Sydney Opera House. (02) 9318 8200. Verdi Requiem. Opera Australia. Aug 10 - 11. Concert Hall, Sydney Opera House. (02) 9318 8200. Jaques Brel is Alive and Well and Living in Paris by Jaques Brel, Mort Shuman and Eric Blau. Miranda Musical Society. Aug 10 - 13. Riverside Theatres, Parramatta. (02) 8839 3399.

Disneyâ&#x20AC;&#x2122;s Beauty and the Beast. Composer: Alan Menken. Lyricists: Howard Ashman, Tim A Murder is Announced by Rice. Book by Linda Woolverton. Agatha Christie. Woy Woy Little Richmond Players. Aug 5 - 26. Theatre. Aug 11 - 27. Peninsula

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

On Stage

Queensland & New South Wales

Theatre, Cnr McMasters Rd and Ocean Beach Rd, Woy Woy. (02) 4344 4737 www.woywoylt.com.au

(Musical comedy). Nowra Players. Aug 18 - Sep 2. Players Theatre, Bomaderry. 1300 662 808.

City of Angels by Cy Coleman and David Zippell. Beenleigh Theatre Group. Until Jul 8. (07) 3807 3922.

Love’s Labour’s Lost by William Shakespeare. Reamus Youth Theatre. Aug 11 - 26. Maitland Repertory Theatre. (02) 4931 2800.

The Father by Florian Zeller,  translated by Christopher Hampton. A Sydney Theatre Company and Melbourne Theatre Company production. Aug 19 - Oct 21. Wharf 1. (02) 9250 1777.

Rice by Michele Lee. Qld Theatre. Bille Brown Studio, South Brisbane. Until Jul 16. 1800 355 528

The Sound of Music by Rodgers and Hammerstein. Woftam Productions. Aug 11 - 26. Town Blue Love. Joan Sutherland Hall Theatre, Campbelltown. Performing Arts Centre. Aug 19. http://bit.ly/2rGv0vN (02) 4723 7600. The Game’s Afoot by Ken Ludwig. Theatre on Brunker. Aug 11 - Sep 2. St Stephen’s Hall, Adamstown (Newcastle). (02) 4956 1263. Melba. Book and lyrics by Nicholas Christo. Music by Johannes Luebbers. Adapted from the book Marvelous Melba by Ann Blainey. Hayes Theatre Co and New Musicals Australia. From Aug 11. The Hayes Theatre. www.hayestheatre.com.au 4:48 Psychosis by Sarah Kane. Old Fitz Theatre. Aug 16 - Sep 9. www.oldfitztheatre.com Jaques Brel is Alive and Well and Living in Paris by Jaques Brel, Mort Shuman and Eric Blau. Miranda Musical Society. Aug 16 - 19 at Mittagong Playhouse. (02) 4868 0888. Les Misérables. Music by Claude -Michel Schönberg. Lyrics by Herbert Kretzmer. Original French text by Alain Boublil and Jean-Marc Natel. Metropolitan Players. Aug 16 - 26. Civic Theatre, Newcastle. Ticketek. (02) 4929 1977. Lip Service by John Misto. Ensemble Theatre. From Aug 17. World Premiere. (02) 9929 0644.

2017 Micro Theatre Festival. New short plays written and staged by Newcastle and Hunter people. Micro Theatre Pty Ltd. Aug 22 - 27. The Press Bookhouse, Vinyl Café, Curve Gallery. microtheatre.com.au Modern Jesus by Christopher Neels. Fledgling Theatre Co. Aug 23 - Sep 2. The Depot Theatre. thedepottheatre.com My Fair Lady by Lerner and Loewe. Opera Australia and John Frost. From Aug 24. Capitol Theatre, Sydney. 1300 889 278. Inherit The Wind by J Lawrence & R E Lee. Newcastle Theatre Company. Aug 26 - Sep 9. Newcastle Theatre Company, Lambton. (02) 4952 4958 (3-6 Mon-Fri). Swan Lake / Loch na hEala. Choreographer / Director: Michael Keegan-Dolan. Aug 30 - Sep 2. Drama Theatre, Sydney Opera House. (02) 9250 7777. The Wharf Revue. Sydney Theatre Company. Joan Sutherland Performing Arts Centre. Aug 31 - Sep 2. (02) 4723 7600. Queensland

The Woman in Black by Stephen Mallatratt. Arts Theatre, Cirque Africa. African Brisbane. Until Jul 15. (07) 3369 performers in acrobatics, dance, 2344. songs and comedy. Cessnock Performing Arts Centre. Aug 17. One Hundred and One Dalmations by Dodie Smith and (02) 4993 4266. Glyn Robbins. Arts Theatre, Song Contest - The Almost Brisbane. Until Sep 2. (07) 3369 Eurovision Experience. Written 2344. by Glynn Nicholas, music by Daniel & Gideon Frankel

Planet of The Nebulons by Aiden Ossovani (Panto). Spotlight Theatre Company, Benowa. Until Jul 8. (07) 5539 4255. The Woman in Black by Stephen Mallatratt. Arts Theatre, Brisbane. Until Jul 15. (07) 3369 2344. He Dreamed a Train/Eve by Margi Brown-Ash. Powerhouse, Brisbane. Until Jul 16. (07) 3358 8600. 70, Girls, 70 by Kander and Ebb. Gold Coast Little Theatre, Southport. Jul 1 - 23. 5532 2096. The Winter’s Tale. Choreographer: Christopher Wheeldon. Music by Joby Talbot. Royal Ballet. Lyric Theatre, QPAC. Jul 5 - 9. 136 246. Chitty Chitty Bang Bang. Music & Lyrics: Richard & Robert Sherman. Book: Jeremy Sams & Ray Roderick. Toowoomba Chorale, Empire Theatre, Toowoomba. Jul 8. 1300 655 299. Bakersfiled Mist by Stephen Sachs. Tasmanian Theatre Co/ Straight Jacket Productions. Empire Theatre, Toowoomba. Jul 8. 1300 655 299

Empire Theatre, Toowoomba. Jul 13 - 15. 1300 655 299. My Name Is Jimi. Based on a story by Dimple Bani, Jimi Bani, and co-created with Jason Klarwein. Queensland Theatre. Centre of Contemporary Arts, Cairns, Jul 10 - 15 and Bille Brown Studio, South Brisbane. Jul 22 - Aug 13. 1800 355 528. Ruddigore by Gilbert and Sullivan. Opera Q. Playhouse, QPAC. Jul 14 - 29. 136 246. Lady Windermere’s Fan by Oscar Wilde. Nash Theatre, New Farm. Jul 14 - 23. (07) 3379 4775. Keeping Up Appearances by Roy Clark. Sunnybank Theatre Group. Jul 14 - 29. (07) 3345 3964. Alexander’s Feast by Handel. Toowoomba Philharmonic Society. Philharmonic Performance Complex, Toowoomba. Jul 15 - 16. (07) 4636 3072 The Bodyguard. Book by Alexander Dinelaris. Based on the Warner Bros. Film. Music by various including Whitney Houston. Michael Harrison, David Ian and John Frost production. Lyric Theatre, QPAC. From Jul 19. 136 246. La Cage aux Folles by Jerry Herman and Harvey Fierstein. Phoenix Ensemble, Beenleigh. Jul 21 - Aug 12. (07) 3103 1546. Billy Liar by Keith Waterhouse and Willis Hall. Javeenbah Theatre, Nerang. Jul 21 - Aug 5. (07) 5596 0300.

The Sum of Us by David Stevens. Ipswich Little Theatre. Jul 12 - 29. (07) 3812 2389.

Australia Day by Jonathan Biggins. Tweed Theatre Co. Jul 21 - Aug 6. 1800 674 414

One-Act Play Festival. Noosa Arts Theatre. Jul 12 - 22. (07) 5449 9343.

The Merry Widow by Franz Lehár. Opera Q/Qld Music Festival @ Jimbour House Amphitheatre, Jimbour. Jul 22 (Free Event).

Visions by Barney Norris. Toowoomba Repertory. Jul 12 29. (07) 4632 8058. 25th Annual Putnam County Spelling Bee. Book: Rachel Sheinkin. Music and Lyrics: William Finn. Shoebox Theatre.

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

Blackrock by Nick Enright. La Boite. Roundhouse Theatre, Kelvin Grove. Jul 22 - Aug 12. (07) 3007 8600. The Spring Heeled Terror of Stepney Green by Stanley Walsh. Centenary Theatre Stage Whispers 75

On Stage

Queensland

Online extras!

Sink your teeth into a clip from Dracula. Simply scan the QR code or visit https://youtu.be/3r7I0kRtLdo

76 Stage Whispers

shake & stir theatre co is haunting the Cremorne Theatre at Queensland Performing Arts Centre (QPAC) with an encore season of Bram Stokerâ&#x20AC;&#x2122;s gothic masterpiece Dracula from 15 August to 2 September.

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

On Stage

Queensland & Victoria

Group, Chelmer. Jul 22 - Aug 12. 0435 591 720.

Lyric Theatre, QPAC. From Aug 22. 136 246.

Until Jul 16. Beckett Theatre. (03) 9685 5111.

Courthouse Theatre. (03) 5333 5888.

West Side Story by Leonard Bernstein, Stephen Sondheim and Arthur Laurents. Griffith University. Conservatorium Theatre. Jul 27 - Aug 5. Qtix.

Bennelong. Bangarra Dance Theatre. Playhouse, QPAC. Aug 25 - Sep 2. 136 246.

Vincent in Brixton by Nicholas Wright. Williamstown Little Theatre. Until Jul 15. (03) 9885 9678.

A Song to Sing O! Book by Melvyn Morrow. Music and Lyrics by W.S. Gilbert, Arthur Sullivan and George Grossmith. Gilbert & Sullivan Opera Victoria. Jul 8 - 16. Phoenix Theatre, Elsternwick. 0490 465 009.

Joseph and the Amazing Technicolor Dreamcoat by Andrew Lloyd Webber and Tim Rice. Mousetrap Theatre, Redcliffe. Jul 28 - Aug 12. (07) 3888 3493 9 To 5 - The Musical by Dolly Parton and Patricia Resnick. Spotlight Theatre Company, Benowa. Jul 29 - Aug 19. (07) 5539 4255.

The Hollow by Agatha Christie. Growl Theatre, Windsor, Brisbane. Aug 25 - Sep 2. boxoffice@growltheatre.org.au Honour by Joanna MurraySmith. Villanova Players. Ft Barrell Auditorium, Yeronga. Aug 25 - Sep 10. (07) 3899 9962.

The Rapture. Finucane and Smith. Until Jul 16. fortyfivedownstairs. (03) 9662 9966. Australia Day by Jonathan Biggins. Mordialloc Theatre Company. Until Jul 15. Shirley Burke Theatre, Parkdale. (03) 9587 5141.

Puttin’ On The Ritz. Mellen Events. Concert Hall, QPAC. Aug The Pirate Princess by Mazz 30. 136 246. Ryan. Essendon Theatre Co. Jul 1 - 8. Bradshaw Street Victoria La Fille mal gardée. Score by Community Hall, West Aladdin. Music by Alan Menken. Essendon. 0422 029 483. Ferdinand Hérold and John Book by Chad Beguelin. Lyrics Lanchbery. Queensland Ballet. Vigil by Steve Vizard. Starring by Howard Ashman, Tim Rice Playhouse, QPAC. Aug 4 - 19. Christie Whelan Browne. Jul 4 and Chad Beguelin. Disney 136 246 8. Fairfax Studio, Arts Centre Theatrical Productions. Her Festival of One Act Plays. Melbourne. 1300 182 183 Majesty’s Theatre, Melbourne. Beenleigh Theatre Group. Aug 4 Ongoing. 132 849. The Housekeeper by James - 6. (07) 3807 3922. Prideaux. Encore Theatre The Book of Mormon. Book, Mozart Airborne. Opera Q/ Music and Lyrics by Trey Parker, Company Inc. Jul 7 - 21. Clayton Expressions Dance Co/QPAC. Community Centre. 1300 739 Robert Lopez and Matt Stone. Cremorne Theatre, QPAC. Aug 5 Ongoing. Princess Theatre, 099. - 12. 136 246. Melbourne. Disney Beauty and the Beast Jr. Brisbane Sings 2017. Concert Hall, QPAC. Aug 6. 136 246. The Ten Tenors. Concert Hall, QPAC. Aug 11. 136 246. Cinemagic. Toowoomba Philharmonic Society. Philharmonic Performance Complex, Toowoomba. Aug 11 - 13. (07) 4636 3072.

BookOfMormonMusical.com.au Book by Linda Woolverton. My Fair Lady. Book and lyrics by Lyrics by Howard Ashman & Tim Rice. Eltham Little Theatre. Jul 7 Alan Jay Lerner and music by - 23. Eltham Performing Arts Frederick Loewe. Opera Australia / John Frost. Until July Centre. 0411 713 095. 30. Regent Theatre. Ticketmaster.

Macbeth by William Shakespeare. Melbourne Toy Symphony by Michael Gow. Theatre Company. Until Jul 15. Southbank Theatre, The Cairns Little Theatre. Rondo Sumner. (03) 8688 0800. Theatre, Cairns. Aug 11 - 19. The Moors by Jen Silverman. 1300 855 835. Red Stitch Actors Theatre. Until The Boy From Oz by Nick Enright. Arts Theatre, Brisbane. Jul 9. Rear, 2 Chapel Street, St Kilda East. (03) 9533 8083. Aug 12 - Sep 8. (07) 3369 2344.

Revolt. She Said. Revolt Again Dracula. Shake & Stir. Cremorne by Alice Birch. Malthouse Theatre, QPAC. Aug 15 - Sep 2. Theatre. Until Jul 9. Merlyn Theatre. (03) 9685 5111. 136 246. Model Citizens. Circus Oz. Until Kinky Boots. Book by Harvey Jul 16. Circus Oz Big Top, Fierstein. Music and Lyrics by Birrarung Marr, Melbourne Cyndi Lauper. Based on the (between Federation Square and motion picture Kinky Boots, written by Geoff Deane and Tim Batman Avenue). Ticketek. Firth. Michael Cassell Group.

Heart Is A Wasteland by John Harvey. Malthouse Theatre.

All My Sons by Arthur Miller. Heidelberg Theatre Co. Jul 7 22. (03) 9457 4117.

Pygmalion by George Bernard Shaw. Geelong Repertory Theatre Company. Jul 7 - 22. Woodbin Theatre, Geelong. (03) 5225 1200. Shrek Jr The Musical by David Lindsay-Abaire and Jeanine Tesori. Fab Nobs Theatre, Bayswater. Jul 7 - 16. www.fabnobstheatre.com.au Noises Off by Michael Frayn. Melbourne Theatre Company. Jul 8 - Aug 12. Playhouse, Arts Centre Melbourne. (03) 8688 0800. Falling From Grace by Hannie Rayson. Ballarat National Theatre Inc. July 8 - 15. The

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

White Lies. Created by Pierre Ulric. Pierre Ulric Mysteries as a part of the 2017 Melbourne Magic Festival. Jul 11 - 15. Northcote Town Hall (Studio 3). (03) 9481 9502. By A Thread. One Fell Swoop Circus. Jul 12 - 16. Gasworks Arts Park, Albert Park. (03) 9699 3253. Shrek Jr The Musical by David Lindsay-Abaire and Jeanine Tesori. Young Australian Broadway Chorus. Jul 12 - 15. Union Theatre, University of Melbourne, Parkville. (03) 8199 8344. Next Fall by Geoffrey Nauffts. July 12 - 30. The Loft, Chapel off Chapel. (03) 8290 7000. Ickypedia - The Listies. Jul 11 15. Fairfax Studio, Arts Centre Melbourne. 1300 182 183 Oliver! by Lionel Bart. CenterStage Geelong. Jul 14 29. Geelong Performing Arts Centre. (03) 5225 1200. Tick, Tick, Boom! By Jonathan Larson. Off The Leash Productions. Jul 14 & 15, The Gem, Emerald; Jul 21 & 22, Wesley of Warragul; Jul 28 & 29, Anglican Church, Drouin. www.offtheleashtheatre.com.au The Coronation of Poppea by Monteverdi. Lyric Opera of Melbourne. July 15 - 22. Chapel off Chapel. (03) 8290 7000. Incognito by Nick Payne. Red Stitch Actors Theatre. Jul 18 Aug 13. Rear, 2 Chapel Street, St Kilda East. (03) 9533 8083. Jude Perl: Let’s Hang Out. The Butterfly Club. Jul 18 - 23. thebutterflyclub.com The Association - a secret meeting for women, by women. Stage Whispers 77

On Stage By Perri Cummings. Girls Act Good. Jul 18 - 30. Number 64 64 Pentland Parade, Yarraville. www.trybooking.com/QGKE Swipe Right. The Butterfly Club. Jul 19 - 23. thebutterflyclub.com

Victoria

The Adventures of Peter Pan and Tinkerbell. Pantomime. Bonnie Lythgoe Productions. Jul 21 - 30. Comedy Theatre, Melbourne. 1300 111 011.

And The Big Men Fly by Alan Hopgood. Sherbrook Theatre Company. July 21 - Aug 5. The Merchant of Venice by Doncaster Playhouse. 1300 650 William Shakespeare. Bell Shakespeare. Jul 19 - 30. Fairfax 209. Studio, Arts Centre Melbourne. Dandenong Ranges One Act 1300 182 183 Play Festival. Gemco Players Community Theatre Inc. Jul 21 The Book of Revelations by 23. The Gem Community Arts Alison Richards. Black Hole Centre. www.gemcoplayers.org Theatre. Jul 19 - 30. fortyfivedownstairs. (03) 9662 9966.

Frankenstein by Lally Katz, based on the book by Mary Wollstonecraft Shelley. Theatre Works and Don’t Look Away. July 20 - 29. Theatre Works. (03) 9534 3388. Oliver! by Lionel Bart. Latrobe Theatre Company. Jul 21 - Aug 6. Latrobe Performing Arts Centre.

78 Stage Whispers

On the Road with Nina Simone. The Butterfly Club. Jul 26 - 30. thebutterflyclub.com

The Astruds: Retro Grade. The Butterfly Club. Aug 1 - 6. thebutterflyclub.com

9 to 5 The Musical. Music and lyrics by Dolly Parton. Book by Patricia Resnick. PLOS Musical Productions. July 28 - Aug 5. Frankston Arts Centre. plos.asn.au

You’re Not Alone by Kim Noble. Malthouse Theatre. Aug 1 - 13. Beckett Theatre. (03) 9685 5111.

Anything Goes. Music & Lyrics: Cole Porter. Book: Timothy Crouse and John Weidman based on the original by P.G. Wodehouse, Guy Bolton, Howard Lindsay & Russell Salty. The Butterfly Club. Jul 25 - Crouse. Benalla Theatre Company. Jul 28 - Aug 5. 30. thebutterflyclub.com Bowie and Mercury Rising by Warren Willis. Lyric Opera of Melbourne. July 26 - 30. Chapel off Chapel. (03) 8290 7000. One Night in Bielefeld by Michael Healy. The Butterfly Club. Jul 26 - 30. thebutterflyclub.com

A Twist in The Tale by Brian Clemens & Denis Spooner. Frankston Theatre Group. Jul 28 - Aug 6. Mt Eliza Community Centre. 1300 665 377. Jesus Christ Superstar by Andrew Lloyd Webber and Tim Rice. The Production Company. Jul 29 - Aug 6. State Theatre, Arts Centre Melbourne. 1300 182 183

Credentials by David Williamson. Aug 1 - 13. La Mama Courthouse. (03) 9347 6142. The Perfume Garden by Rajendra Moodley. Aug 2 - 13. Chapel off Chapel. (03) 8290 7000. The Vagina Monologues. The Butterfly Club. Aug 2 - 6. thebutterflyclub.com Looking Glass by Louris van de Geer. New Working Group. Aug 2 - 15. fortyfivedownstairs. (03) 9662 9966. Last of the Summer Wine by Roy Clarke. The 1812 Theatre. Aug 3 - 26. (03) 9758 3964. Trapper by Angus Cerini and Emilie Zoey Baker. Arena Theatre Company. Aug 3 - 5.

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

On Stage Fairfax Studio, Arts Centre Melbourne. 1300 182 183. The Real and Imagined History of The Elephant Man by Tom Wright. Malthouse Theatre. Aug 4 - 27. Merlyn Theatre. (03) 9685 5111. Ararat One Act Play Festival. Ararat Theatre Co. Inc. Aug 5 & 6. Gorrin House, Ararat. Lohengrin by Richard Wagner. Melbourne Opera. Aug 7, 10, 12 at the Regent Theatre, Melbourne, 1300 111 011 and Aug 19 at Monash University’s Robert Blackwood Hall, (03) 9905 1111.

Victoria In her first production with Bell Shakespeare, director Anne-Louise Sarks presents a new, contemporary production of Shakespeare classic, The Merchant Of Venice. Starring Australian Mitchell Butel (pictured) and Jessica Tovey, The Merchant Of Venice opens at the Arts Centre Melbourne, Fairfax Studio, from 19 - 30 July 2017, followed by a national tour.

The Lioness: Sketchy at Best. The Butterfly Club. Aug 8 - 13. thebutterflyclub.com Britney Spears The Cabaret by Dean Bryant. Starring Christie Whelan-Browne. Aug 9 - 12. Chapel off Chapel. (03) 8290 7000. Matrophobia!. The Butterfly Club. Aug 9 - 13. thebutterflyclub.com The Vicar of Dibley. Ian Gower and Paul Carpenter adapted from the original TV series by Richard Curtis and Paul Mayhew -Archer. Wyndham Theatre Co. Aug 10 - 19. Crossroads Theatre, Werribee.

11 - 26. Unicorn Theatre, Mt Waverley Secondary College, Mt Waverley. (03) 9808 0770 (10-2 Mon-Fri).

A Room With A View by Emma Louise Watson, adapted from novel by E.M. Forster. Skin Of Our Teeth Productions. Aug 11 Life After George by Hannie Rayson. Peridot Theatre Inc. Aug 26. Shenton Theatre, Geelong.

A Happy and Holy Occasion by John O’Donohue. The Basin Theatre Group. Aug 11 - Sep 2. 1300 784 668 (7pm-9pm). Di and Viv and Rose by Amelia Bullmore. Melbourne Theatre Company. Aug 12 - Sep 17. Southbank Theatre, The Sumner. (03) 8688 0800.

Birkenhead, based on “The Philadelphia Story” by Philip Barry. Lilydale Athenæum Theatre Company Inc. Aug 17 Sep 2. (03) 9735 1777. Caravan by Donald McDonald. PEP Productions. Aug 17 - 26. Doncaster Playhouse. pepproductions.org.au

Goodbye to Berlin. The Butterfly The Female of the Species by Club. Aug 15 - 20. Joanna Murray Smith. thebutterflyclub.com Strathmore Theatrical Arts Niche. Created by Emily Tomlins Group (STAG). Aug 17 - 27. (03) 9382 6284. and Eryn Jean Norvill. Elbow

Room. Aug 16 - 26. Northcote August Osage County by Tracy Town Hall, Main Hall. (03) 9481 Letts. Beaumaris Theatre Inc. 9500. Aug 18 - Sep 2. www.beaumaristheatre.com.au Europe Won’t Fix You. The Butterfly Club. Aug 16 - 20. thebutterflyclub.com

The Garden of Granddaughters by Stephen Sewell. Brighton Theatre Company. Aug 17 Sept 3. Bayside Arts and Cultural Centre, Brighton. 1300 752 126.

The Full Monty. Book by Terrence McNally. Music & Lyrics by David Yazbek. The Mount Players. Aug 18 - Sep 10. Mountview Theatre. (03) 5426 1892.

Chicago. Music by John Kander. Lyrics by Fred Ebb. Book by Fred High Society. Music and lyrics by Ebb and Bob Fosse. Wonthaggi Theatrical Group. Aug 19 - Sep Cole Porter, book by Arthur Kopit, additional lyrics by Susan 2. www.wtg.org.au Advertise your show on the home page of www.stagewhispers.com.au

Stage Whispers 79

On Stage The Way Out by Josephine Collins. Red Stitch Actors Theatre. Aug 22 - Sep 24. Rear, 2 Chapel Street, St Kilda East. (03) 9533 8083.

Victoria, Tasmania, S.A & W.A.

Around the World in 80 Days by Jules Verne, adapted by Toby Hulse. Ellis Productions and Aleksandar Vass. Aug 18 & 19. Theatre Royal, Hobart. (03) 6233 2299.

Guru of Chai. Indian Ink production. Aug 22 - 27. Fairfax Diary of a Wombat. Based on Studio, Arts Centre Melbourne. the book by Jackie French and 1300 182 183. Bruce Whatley. Monkey Baa Theatre Company. Aug 15 & 16, Completely Improvised Potter. The Butterfly Club. Aug 22 - 27. Princess Theatre, Launceston (03) 6323 3666, & Aug 22 & thebutterflyclub.com 23. Theatre Royal, Hobart. (03) Would You Like Fries With That 6233 2299. by Jai Cameron. The Butterfly The Merchant of Venice by Club. Aug 24 - 26. William Shakespeare. Bell thebutterflyclub.com Shakespeare. Aug 24 - 26. Brief Encounter / We Were Theatre Royal, Hobart. (03) Dancing by Noël Coward. 6233 2299. Malvern Theatre Company Inc. South Australia Aug 25 - Sep 9. 1300 131 552. Saturday Night Fever by Robert Tasmania Stigwood and the Bee Gees. Shit by Patricia Cornelius. Loud Matt Byrne Media. July 5 - 29. Mouth Theatre Company. Until Arts Theatre until July 15 then Jul 8. Theatre Royal Backspace, Shedley Theatre from July 20. Hobart. (03) 6233 2299. mattbyrnemedia.com.au What Rhymes with Cars and The Golden Dragon by Roland Girls by Aiden Fennessy, Schimmelpfennig. Bakehouse adapted from Tim Rogers’ Theatre Company. Jul 6-15. album. Tasmanian Theatre Bakehouse Theatre. Company. Until July 15. Peacock www.bakehousetheatre.com Theatre. (03) 6234 5998. The Importance of Being God of Carnage by Yasmina Earnest by Oscar Wilde. Venture Reza. Hobart Rep. July 14 - 29. Theatre Company. Jul 13 - 22. Playhouse Theatre, Hobart. (03) Trinity Hall, Christies Beach. 6234 5998. venturetheatreco@gmail.com Frame of Mind. Sydney Dance Charlie and the Chocolate Company. Jul 19, Princess Factory by Roald Dahl, adapted Theatre, Launceston, (03) 6323 by Richard George. Tea Tree 3666, & Jul 21 & 22, Theatre Players. Jul 21-22. Tea Tree Royal, Hobart, (03) 6233 2299. Players Theatre. (08) 8289 Chicago. Music by John Kander. Lyrics by Fred Ebb. Book by Fred Ebb and Bob Fosse. Bijou Creative. Jul 28 - Aug 12. Theatre Royal, Hobart. (03) 6233 2299. Doctor Faustus by Christopher Marlowe. Plot Theatre. Jul 28 Aug 5. Moonah Arts Centre. (03) 6234 5998. The Addams Family. Music and Lyrics by Andrew Lippa. Book by Marshall Brickman and Rick Elice. Stage Right Youth Theatre. Aug 8 - 10. Princess Theatre, Launceston (03) 6323 3666. 80 Stage Whispers

5266. www.teatreeplayers.com Rose’s Dilemma by Neil Simon. St Jude’s Players. Aug 3-12. St Jude’s Hall. (08) 8296 2628, 0436 262 628. Cry God for Harry. Adapted from Shakespeare by Rob Croser. Independent Theatre Company. Aug 4 - 12. The Space Theatre. www.bass.net.au or 131 246.

Three Tall Women by Edward Albee. Aug 9 - 19. University of Adelaide Theatre Guild. The Little Theatre. www.trybooking.com/QBSM

Trial By Jury & HMS Pinafore. By Gilbert and Sullivan. SALOS. Aug 10 - 20. Tower Arts Centre. (08) 8294 6582. Pride and Prejudice. From the book by Jane Austen. Hills Youth Theatre. Aug 11 - 20. Stirling Community Theatre. hillsyouththeatre.com/current-show BEEP by Katherine Fyffe. Windmill Theatre. Aug 24 - Sep 3. The Space Theatre. www.bass.net.au/events/beep Western Australia Sparrow. Finn’s new tamagotchi is acting weird. Until Jul 8. The Blue Room Theatre, Perth Cultural Centre, Northbridge. (08) 9227 7005. The Secret Garden by Marsha Norman and Lucy Simon. Melville Theatre. Until Jul 15. Musical based on Frances Hodgson Burnett novel. Melville Theatre, Stock Rd, Palmyra. (08) 9330 4565.

musical. Phoenix Theatre, Memorial Hall, Hamilton Hill. www.phoenixtheatreinc.com.au The Merry Widow by Lehár. The West Australian Opera. Jul 15 22. Brand new production by Graeme Murphy. His Majesty’s Theatre, Perth. Ticketek 132 849. Relatively Speaking by Alan Ayckbourn. Garrick Theatre. July 20 - Aug 5. Comedy directed by Ken Harris. Garrick Theatre, Guildford. (08) 9378 1990. Heathers The Musical by Kevin Murphy & Laurence O’Keefe. Hand in Hand Theatre. Jul 20 22. Based on David Waters film. Nexus Theatre, Murdoch University. www.trybooking.com/PZSA

Coma Land by Will O’Mahony. Black Swan State Theatre Centre. Jul 20 - Aug 6. The child one expects is never the child one receives. Studio Underground, State Theatre Out of Order by Ray Cooney. Centre of Western Australia. Darlington Theatre Players. Until Ticketek 132 849. Jul 15. Marloo Theatre, Greenmount. Bookings Gwynne The Sunshine Boys by Neil Simon. Harbour Theatre. Jul 21 Marshall. (08) 9255 1783. - 30. Comedy about Vaudeville. An Evening of Unearthly Camelot, Lochee St, Mosman Encounters by John Lewington. Park. TAZ Tix (08) 9255 3336. KADS. Until Jul 22. KADS Town What Belongs to You by Richard Square Theatre, Kalamunda. Maker. Stirling Players. Jul 21 Bookings: Lucky Charm Aug 5. new play set in Nazi Newsagency, Kalamunda Germany. Stirling Theatre, Shopping Centre. Innaloo. (08) 9440 1040. Out of Order by Ray Cooney. Darlington Theatre Players. Until Disney’s The Little Mermaid by Alan Menken, Howard Ashman, Jul 15. Marloo Theatre, Glen Slater and Doug Wright. Greenmount. (08) 9255 1783. Mercedes College. Jul 28 - 30. Disney’s High School Musical. Family musical. Regal Theatre, Book by David Simpatico. Subiaco. Ticketek 132 849. Roleystone Theatre. Until Jul 15. The Graduate by Terry Johnston. Roleystone Theatre, Brookton Hwy, Roleystone. Bookings (08) Stray Cats Theatre Company. Aug 3 - 5. Based on the novel 9367 5730. and film. The Fishtrap Theatre, Saltbush. Barking Gecko Theatre Mandurah Performing Arts Company. Jul 12 - 14. Centre. www.manpac.com.au Interactive Aboriginal theatre. Speed D8n by Martin Lindsay. Studio Underground, State Blak Yak Theatre. Aug 3 - 12. Theatre Centre of Western New local work about dating. Australia. Ticketek 132 849. Shenton Park Community Hall. HONK! By George Stiles and www.blakyak.com.au Anthony Drewe. Phoenix Other Desert Cities by Jon Robin Theatre. Jul 14 - 28. Family Baitz. Playlovers. Aug 4 - 19.

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On Stage

Western Australia

Pullitzer Prize winning play. Old Mill Theatre. 0475 895 701.

Coma Land by Will O’Mahony - A Black Swan Lab Production in association with Performing Lines WA from July 20 to August 6 at Studio Underground, W.A. Photo: Robert Frith.

One Flew Over The Cuckoo’s Nest by Dale Wasserman. Murray Music and Drama Club. Aug 4 - 12. From the novel by Ken Kesey. Pinjarra Civic Centre. 0458 046 414. Marry My Son by Noel O’Neill. Old Mill Theatre. Aug 11 - 26. A family comedy. Old Mill Theatre, South Perth. 9367 8719. Let the Sunshine by David Williamson. Wanneroo Repertory Club. Aug 17 - 26. Australian drama directed by Tim Riessen. Limelight Theatre. 9571 8591. Ruthless the Musical by Marvin Laird & Joel Paley. Koorliny Arts Centre & Kwinana Industries Council. Aug 18 - Sep 2. Spoof musical. Koorliny Arts Centre. 9457 7118. The Marriage of Figaro by Wolfgang Amadeus Mozart. Opera Australia. Aug 19. New production - performed in English. Mandurah Performing Arts Centre. www.manpac.com.au Switzerland by Joanna MurraySmith. Black Swan State Theatre Centre. Aug 19 - Sep 3. Australian play starring Jenny Davis, Heath Ledger Theatre, State Theatre Centre of Western Australia. Ticketek 132 849. Disney’s Beauty and the Beast by Alan Menken, Howard Ashman, Tim Rice and Linda Woolverton. APAN. Aug 25 Sep 3. Family musical. Regal Theatre. Ticketek 132 849. Wife After Death by Eric Chappell. Serial Productions. Aug 25 - Sep 9. Comedy. Old Mill Theatre. 0475 895 701. Love and Information by Caryl Churchill. WAAAPA 3rd Year Acting Students. Aug 25 - 31. Over 100 characters search for meaning. Roundhouse Theatre, WAAPA, Edith Cowan University, Mt Lawley. (08) 9370 6636. Momentum by Andy Paris and Students. WAAAPA 2nd Year

Acting Students. Aug 25 - 31. Enright Studio, WAAPA, Edith Cowan University, Mt Lawley. (08) 9370 6636.

President. Roundhouse Theatre, WAAPA, Edith Cowan University, Mt Lawley. (08) 9370 6636.

Bloody, Bloody Andrew Jackson by Michael Friedman and Alex Timbers. WAAAPA 2nd Year Music Theatre Students. Aug 26 - Sep 2. Story of America’s 7th

Chicago by John Kander and Frank Ebb. WAAAPA 3rd Year Musical Theatre Students. Aug 26 - Sep 2. A tale of fame, fortune and all that jazz. Geoff

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Gibbs Theatre, WAAPA, Edith Cowan University, Mt Lawley. (08) 9370 6636. Unleash. WAAAPA Dance Students. Aug 29 - Sep 2. Student choreographed work. Dolphin Theatre, University of Western Australia, Nedlands. (08) 9370 6636. Stage Whispers 81

On Stage Tilt. Devised work. WAAAPA 3rd Year Performance Making Students. Aug 30 - Sep 9. Two programs of new work. The Blue Room, Perth Cultural Centre. (08) 9370 6636.

Western Australia, Northern Territory & N.Z.

French text by Alain Boublil & Jean Marc Natel. Hamilton Operatic. Until Jul 8. 0800 TICKETEK (842 538) or from a Mobile: (04) 384 3840.

Performing Arts. Jul 8 - 16. iTicket.

Theatre, Auckland. (09) 369 1864.

The Great Gatsby by Ken Duncan, from the novel by F Scott Fitzgerald. Howick Little Theatre. Jul 8 - 29. iTicket

Peninsula by Gary Henderson. Wellington Repertory Theatre. Aug 2 - 12. (04) 479 3393.

Lord of the Flies. Original novel by William Golding, adapted for Alice in Wonderland by Mike the stage by Nigel Williams. Carter. Morrinsville Theatre. Jul Stagecraft Theatre (Wellington). 11 - 22. 0508 484253 Until Jul 8. iTicket. Oliver! By Lionel Bart. Kerikeri Weed by Anthony McCarten. Theatre Co. Jul 11 - 15. Turner Northern Territory Circa Theatre, Wellington. Until Centre. www.turnercentre.co.nz Jul 29. (04) 801 7992. Darwin Festival. Aug 10 - 27. The Sound of Music by Rodgers www.darwinfestival.org.au Twelfth Night by William and Hammerstein. Waipawa Shakespeare. Fortune Theatre Blanc de Blanc. Strut & Fret. Music and Drama Club. Jul 13 Co., Dunedin. Jul 1 - 21. (03) Aug 10 - 27. Aurora 22. CHB Municipal Theatre. 477 8323. Spiegeltent, Parliament Lawn. Children of Eden by John Caird www.darwinfestival.org.au ‘Allo ‘Allo by Jeremy Lloyd and and Stephen Schwartz. Jul 14 David Croft. Musical Theatre The Marriage of Figaro by 16. Ashburton Trust Events Dunedin. Jul 5 - 15. Mozart. Aug 11. Darwin Centre. (03) 307 2010. www.musicaltheatredunedin.org.nz Entertainment Centre. Nine by Arthur Kopit and Maury www.darwinfestival.org.au Mary Poppins. Music and Lyrics Yeston. Auckland Musical by The Sherman Brothers Longing Lasts Longer. Penny Theatre. Jul 15 - 29. Westpoint (additional lyrics by George Arcade. Aug 11 - 12. The Performming Arts Centre. iTicket Stiles and Anthony Drewe) with Lighthouse. script by Julian Fellowes. New Catch Me If You Can. Music by www.darwinfestival.org.au Plymouth Operatic Society. Jul 6 Marc Shaiman. Lyrics by Marc - 22. TSB Showplace, New A Night at the Musicals. Jonny Shaiman & Scott Wittman. Book Plymouth. Ticketek. Woo and Le Gateau Chocolat. by Terence McNally. Papakura Aug 15 & 16. The Lighthouse. Theatre Company. Jul 15 - 29. Cheshire Cats by Gail Young. www.darwinfestival.org.au iTicket. Fiordland Players. Jul 6 - 8. Troppo. Circa. Aug 18 & 19. Lord of the Flies by Nigel Sister Act. Music by Alan Darwin Entertainment Centre. Williams, after William Golding. Menken, lyrics by Glenn Slater, www.darwinfestival.org.au Centrepoint Theatre, Palmerston book by Bill and Cheri North. Jul 15 - Aug 5. (06) 354 Steinkellner and additional book Frame of Mind. Sydney Dance 5740. material by Douglas Carter Company. Aug 26. Darwin Beane. Invercargill Musical Entertainment Centre. The Very Hungry Caterpillar Theatre Co. Jul 7 - 22. Ticket www.darwinfestival.org.au Show. Based on Eric Carle’s Direct. books. Jul 18 - 20, Bruce Mason New Zealand Theatre, Takapuna, Auckland; Blood Brothers by Willy Russell. Jul 29 & 30, Regent Theatre, Iolanthe by Gilbert and Sullivan. Napier Operatic Society. Jul 7 Dunedin; Aug 4, Civic Theatre, Wellington G & S Light Opera. 22. Tabard Theatre. iTicket. Invercargill. Until Jul 29. Wellington Opera In The Heights. Music and lyrics House, Southward Theatre Singin in the Rain Jr. By Betty by Lin-Manuel Miranda. Book by Kapiti, Regent Palmerston Comden, Adolph Green, Arthur Quiara Alegria Hudes. Manukau North, Royal Wanganui Opera Freed and Nacia Herb Brown. Performing Arts. Jul 8 - 22. House and Napier Municipal Centrestage Theatre Co. Jul 18 Spotlight Theatre, Papatoetoe. Theatre. www.gns.org.nz 22. (09) 361 1000. www.centrestagetheatre.co.nz Bonnie and Clyde. Book by Ivan Grease by Jim Jacobs and Menchell, lyrics by Don Black Showstoppers 2. Drama League Warren Casey. Alexandra and music by Frank Wildhorn. South Canterbury. Jul 20 - 22. Harlequin Musical Theatre. Until Musical Society. Jul 8 - 14. Theatre Royal, Timaru. iTicket. Alexandra Memorial Theatre. Jul 8. iTicket. Chance to Ignite. Massive Nui High School Musical Jr. Book by Les Misérables. Music: ClaudeEnsemble. Jul 25 - 29. Q Davis Simpatico. Pukekohe Michel Schonberg. Lyrics: Herbert Kretzmer. Original Playing the Fool by various authors. Stirling Players. Aug 31 - Sep 9. One act season of comedies. Stirling Theatre, Innaloo. (08) 9440 1040.

82 Stage Whispers

The Pickle King by Justin Lewis and Jacob Rajan. Indian Ink. Aug 2 - 19, Q Theatre, Auckland; Aug 26 - Sep 9, Hannah Playhouse, Wellington. A Doll’s House. Adapted by Emily Perkins from the play Henrik Ibsen. Circa Theatre, Wellington. Aug 4 - Sep 2. (04) 801 7992. Steel Magnolias by Robert Harling. Court Theatre, Christchurch. Aug 5 - Sep 1. (03) 963 0870. Into the Woods by Stephen Sondheim and James Lapine. Fortune Theatre Co., Dunedin. Aug 5 - 26. (03) 477 8323. Caging Skies by Desirée Gezentsvey. Circa Theatre, Wellington. Aug 11 - Sep 9. (04) 801 7992. The Full Monty. Music & Lyrics by David Yazbek. Book by Terrence McNally. Based upon the screenplay by Simon Beaufoy. Abbey Musical Theatre. Aug 11 - 26. Wallace Developments Theatre. www.abbeymusicaltheatre.co.nz Nell Gwynne by Jessica Swale. Auckland Theatre Company. Aug 15 - 30. ASB Waterfront Theatre. (09) 309 3395. The Opposite Sex by David Tristram. Whangarei Theatre Company. Aug 18 - Sep 2. Little Shop of Horrors by Howard Ashman and Alan Menken. Theatre Whakatane. Aug 25 - Sep 9. iTicket. Wonderland. Book and Lyrics by Kira Josephson, Music by Bruno Shirley. Stagecraft Theatre (Wellington). Aug 30 - Sep 9. iTicket Social Climbers by Roger Hall. Fine Thyme Theatre Company. Aug 30 - Sep 8.

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

Reviews: Premieres

Online extras!

Sing along to “I’m Every Woman” from The Bodyguard The Musical. Scan or visit https://youtu.be/PMaZDh-DuKM

The Bodyguard The Musical. Photo: Jeff Busby.

The Bodyguard The Musical Book by Alexander Dinelaris. Based on the Warner Bros. Film. Music by various including Whitney Houston. Lyric Theatre, Sydney. Opening Night, Apr 27. THE Bodyguard The Musical is a high cholesterol entertainment banquet. On the menu is a rock concert, a pyrotechnical extravaganza, a belt song fest, and plenty of gyrating male abs, with an unplanned touch of pantomime. The movie starring Whitney Houston and Kevin Costner was conveniently replayed on TV just last week. The 1990’s film depicts a chiselled jaw bodyguard brought in to save a highly strung pop princess from an a crazy fan. My first thought is how would they fit all those car chase scenes and the snow shoot out into a stage show? The answer is - they all happen off stage, but there is more than enough action on stage to make up for it. The production is razor sharp. Bits of the set are flying up and down, stairs roll out, platforms spin and projected images drop onto the stage at the flash of a camera. Whitney Houston smirked a little too much for my liking in the movie, but the voice made up for it. Paulini absolutely nailed every note as Rachel Marron. Her voice was like a polished brass instrument. Alongside Kip Gamblin as Frank Farmer they left everyone in the audience with a smile during interval after they locked lips for the first time just before the curtain fell. Kip and other members of the male chorus spent a fair bit of time with their shirts off. Paulini by contrast only has a discreet moment in her lingerie.

The eye candy and visual treats are so rich that they do at times reduce the tension from what is a serious plot line. At one point when the stalker is poised to do something horrific a member of the audience laughed. It almost felt like someone was going to yell out “he’s over there - look out!” Expect to have lots of fun and you will. David Spicer Black Is The New White By Nakkiah Lui. Sydney Theatre Company. Wharf 1 Theatre. May 5 - June 17. FRESH with her same delicious racial lampooning as in the ABC’s Black Comedy, Nakkiah Lui’s new play clashes race, culture and class as we open in the upmarket holiday home of an affluent Aboriginal family, and what promises to be an awkward Christmas reunion. Successful lawyer Charlotte has discovered that her father, a former black politician, hides an unethical past. And he’s not going to welcome her new fiancée, Francis, who’s an impoverished musician - and white! Her sister Rosie, a designer, seems a better model for black babymaking, given her husband, Sony, is an Aboriginal former star footballer turned financier. And then Francis’ conservative parents arrive. It’s a jolly rom com all played out on Renee Mulder’s opulently detailed, domestic TV-studio styled set, extensive with staircases and landings.

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Stage Whispers 83

Daisy Coyle in The Lighthouse Girl. Photo: Lee Griffith.

Online extras!

Director Stuart Halusz discusses The Lighthouse Girl. Scan the QR code or visit https://vimeo.com/215777988

Lui’s drive to deliver the backstory and destination of all eight characters serves up a banquet of themes around gender, sexuality, cultural and class identity, and by end some mad liberations into self-determination. The play sparkles with wit and, while sometimes bogged down in over-writing and sermons on optimism, you have to admire Lui’s dense and ambitious storytelling. Director Paige Rattray expertly orchestrates her engaging cast across the big stage and even the crazy physical comedy fits true to the TV realism. Shari Sebbens and Kylie Bracknell delight as the contrasting sisters, as do James Bell as Francis and Anthony Tuafa as Sony. As the parents, Tony Briggs and Melodie Reynolds-Diarra, and Geoff Morrell and Vanessa Downing, give their comic best through what is a long Christmas of discovery. Martin Portus

designed by Joe Lui and sound by Brett Smith, it becomes the lighthouse cottage, rural Victoria, Egypt and Anzac Cove. This is a gentle but emotive play, with some heartfelt performances. Daisy Coyle is outstanding as the titular character Faye Howe, a shining beacon of hope and a constant presence throughout the story. Daisy captures a girl on the brink of womanhood beautifully. Benj D’Addario gives quiet strength to Robert Howe, Faye’s recently widowed father, in a lovely performance. Murray Dowsett charms as Joe Taylor, a grandfatherly figure with quiet wisdom. Lovely larrikinism and terrific teamwork from Will McNeill (Jim Finch) and Giuseppe Rotandella (Charlie), as young soldiers with a beautiful coming of age journey. Excellent support and understated elegance from Alex Malone as Alice Finch, and strong portrayals from Nick The Lighthouse Girl Maclaine as photographer Frank and Major Bridges. By Hellie Turner, adapted from the Dianne Wolfer books An excellent new play with a wonderful and uplifting Lighthouse Girl and Light Horse Boy. A Rio Tinto Black Swan theme. So fitting that the World Premiere in Albany and its co-commission, in association with Albany Entertainment opening in Perth were both within a week of Anzac Day. Centre. Directed by Stuart Halusz. Studio Underground, Kimberley Shaw State Theatre Centre of Western Australia. Apr 28 - May 14. BLACK Swan State Theatre Company’s world premiere of Three Little Words The Lighthouse Girl is a beautiful telling of a lovely, if sad, By Joanna Murray-Smith. Melbourne Theatre Company. Southbank Theatre, The Sumner. Apr 18 - May 27. Australian First World War story. A single set, an inspired design by Lawrie Cullen Tait, AFTER twenty years, Tess (Catherine McClements) and represents a rocky outcrop that is predominantly the barren Curtis (Peter Houghton) have decided to separate. The ‘three little words’ are: ‘We’re splitting up.’ When Tess says Breaksea Island, but, with the assistance of lighting 84 Stage Whispers

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

those words, it’s not only their best friends Annie (Kate Atkinson) and Bonnie (Katherine Tonkin) who are shocked. The audience is too. ‘Marriage’ might be open to debate, but Joanna Murray-Smith has clearly touched a nerve. Tess finds it hard to define exactly what it is that she wants beyond what she doesn’t. But Ms McClements’ vitality and touching vulnerability keep us with the character even when we might want to shake her. Mr Houghton navigates beautifully his character’s transformation from PC, metrosexual feminist to a man of supressed rage and frustration. Kate Atkinson is superbly clear and sweet and no one does confused uncertainty turning into knowledge and understanding better. Katherine Tonkin gets a lot of the best lines - a sort of foulmouthed Eve Arden with very fine comic timing. It’s a tribute to cast and director Sarah Goodes that there are as many laughs at the characters’ reactions as there are to Ms Murray-Smith’s lines. Ms Goodes keeps the characters on the move, each in her or his own way, but also calibrates their transforming realisations seamlessly. Four locations are all on a revolve, but the actors moving props and Paul Jackson’s light and shadows move us through time and the string of short, sharp scenes. Tess’s and Curtis’ split is a catalyst. Who’ll take who’s side? Compromises dissolve. Buried enmities are revealed. Simmering resentments come to the boil. And what people really think gets spoken and it gets vicious. Audiences will recognise these phenomena even while laughing out loud - because this is a very funny play, making it far more punchy and effective than a solemn weepie in delivering its truths. Michael Brindley Two Weddings, One Bride By Robert Andrew Greene. Music by Strauss, Offenbach, Lehar, Kalman and Stolz. Opera Australia. Playhouse, Sydney Opera House. Apr 27 - Oct 22. THIS is a juke-box of ancient operetta show tunes but with new lyrics and the bedding of a new story by operetta expert Robert Andrew Greene. With no orchestra, it’s all up to Greene on grand piano as music director with just violinist Yuhki Mayne. Luckily, the songs are a delight - snatched from the best of Strauss, Offenbach, Lehar, Kalman and Stolz - and the six singers first-rate. Rewriting an operetta by Charles Lecocq, Greene retains the ridiculous scenario around this wedding day of twin identical brides thrown into confusion by one being abducted by pirates. The setting, colourfully rendered by Owen Phillips, is shifted to exotic Morocco, circa World War Two. Tim Chappel’s period costumes and John Rayment’s sparkling lights add even more colour. Operettas once had a reputation for sharp social satire but there’s little wit and modern mocking in this “update” from Greene.

The singers mug like bad actors but director Dean Bryant keeps all the madcap silly business airborne enough for us not to care. Geraldine Turner helps, bringing her comic gravitas to the Governor’s wife and, as her identical daughters, Julie Lea Goodwin brings a charismatic voicing well-learnt from musicals. Andrew Jones and especially Nicholas Jones are entertaining, even convincing, while buffoonery thrives elsewhere. It’s good to refashion, reassemble, old forms but this one needs more comic and contemporary ambition. Martin Portus Smurf in Wanderland Written and performed by David Williams. Griffin Theatre Company, Sydney. Directed by Lee Lewis. SBW Stables Theatre. May 2 - 13. A PLAY about football needs a bit of an explanation at the theatre. David Williams tells us that this is about the “round ball” game, where Sydney FC supporters are known as “smurfs” because they don sky blue; “Wanderland” is the home ground of cross-city rivals, the Western Sydney Wanderers. This story is about Williams, originally from Sydney’s west but now a sky blues fan, who buys a Wanderers membership and defiantly wears his Sydney FC colours to Parramatta. Smurf in Wanderland is about the tribalism of sport and the fascinating split between the western suburbs of Sydney - where people share a sense that they have “been doing it tough” - and the rest of the city. These tribes are divided by much more than club colours. This is a clever one-man play by the writer and producer David Williams. Even if you’re not a football fan, it’s entertaining; Williams is an engaging performer who elucidates the unwavering devotion that sport inspires. The play is well-directed by Lee Lewis, the Griffin artistic director in her debut for the National Theatre of Parramatta. A shorter play would be better focused but Williams has done a nice job bringing a different story to stage: one that’s central to how Sydney is divided and how it comes together. Peter Gotting I Love You Now By Jeanette Cronin. Darlinghurst Theatre Company Production. Director: Kim Hardwick. Eternity Playhouse, Sydney. June 9 - July 9. JEANETTE Cronin writes plays for two people in which she, a terrific, incendiary actor, portrays The Woman, stripped bare and revealed. This is often enough for certain Sydney audiences who couldn’t care less what her plays are actually about. I Love You Now at the Eternity Playhouse follows I Hate You My Mother at the Old Fitz Theatre earlier in the year, both directed by Kim Hardwick. This one has Paul Gleeson as her male sparring partner. Two plays in six months is brilliant. If only I could grasp exactly what is happening in the latest offering.

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Stage Whispers 85

To a beautifully presented hotel room (designed by Isabel Hudson and lit by Martin Kinnane) come June and Leo. Immediately they begin to ‘role play’ three or four different characters each. On and off go the glasses, her dress and her knickers. His German accent for one character is perfect; her loud-mouthed lover is demanding. The double bed is the centre of their universe. Director Hardwick says in a programme note that “each relationship becomes a reflection of a reflection of a reflection”. That’s as maybe. Cronin gives her absolute all as June, loudly falling over herself stripped to the bone, or quietly announcing her demise. Paul Gleeson is equally adept. Frank Hatherley

Melbourne Talam By Rashma N. Kalsie. Melbourne Theatre Company (MTC Education). Southbank Theatre, The Lawler. May 4 - 20. TALAM, playwright Rashma N Kalsie tells us, is an Indian word for rhythm. Here it means the ‘rhythm’ of Melbourne - a rhythm that you ‘get’ or you don’t. The play tells the stories of three very different young people from the subcontinent trying to sync with that Melbourne talam. What hangs over all three is the fear of failure. As each tells their story, Flagstaff Station Platform 3 (design by Andrew Bailey, lighting by Rachel Burke) stands in for apartments, workplaces and ‘homes’ back in India. Each actor steps into supporting roles to play relatives, employers, flatmates or potential lovers. The stories go to dark places, but there are flashes of humour, ironic and Mapping the Lake black. Each comes to a feel-good but credible and satisfying Developed and staged by Tantrum Youth Arts. Lake resolution. Director Petra Kalive’s work is accomplished: Macquarie City Art Gallery Parkland, Booragul (NSW). Apr weaving together and transitioning between many 28 - 30. characters and strands, despite the occasional infelicities of THE night air might have been cold, but audiences the text. moving between various places in the park around Lake Sonya Suares is an attractive and confident performer, Macquarie Art Gallery and the lake shoreline were warmed although her rather one note character seems to restrict by the stories put together about the lake’s past, present her: an upper-class girl from Delhi, who intended to be an and future by young people and the accompanying, often ‘independent woman’, but is now a shop assistant, amusing performances. excluded by her workmates, lonely and horny. Sahil Saluja As audience members arrived at the first site, the area has a great deal of attractive charm in his main role of an IT around a large tree at the park’s entrance, they saw specialist, but his depiction of a sour, pessimistic Sikh flat colourful self-portraits by primary school students. Then a leader has toughness and weight. Rohan Mirchandaney, a teenage girl high in the tree talked about the many things comedian elsewhere, nicely balances pathos and a faltering she had so far learnt about Lake Macquarie. The audience but dogged spirit as the anxious Sikh, and his supporting next walked to a jetty, where another speaker chatted roles are complete and amusing transformations. about mysteries associated with the lake, followed by Melbourne Talam reveals the struggles of some Indians gumbooted high school students standing in the water and (and by extension, many other Asians) coming from far individually talking about a mystical creature. At the third more ‘traditional’ societies, burdened with heavy and spot, a large patch of grassland, the watchers learnt perhaps unreal expectations, and trying to succeed and find amusingly about a girl’s passion for fish and chips, and a place in Melbourne. It does so without sentimentality, but how she had assessed shops supplying such food around with grit and humour and a kind of sweetness. the lake. This led to a chipper water sliding process by Michael Brindley several wet-suit-clad youngsters. Site four was the Meeting Place, a garden dedicated to The Nixon Tapes the Aboriginal people who once lived on the lake’s shores, By John Adams. Opera Australia. Concert Hall, Sydney with three indigenous people of different ages talking on a Opera House. June 5. screened video about the role the lake had played in their JOHN Adams’ thrilling opera Nixon in China has, lives and those of ancestors. Next, a group of performers inexplicably, never been seen in Sydney. Now thirty years moving around sculptures that brought together natural after its premiere, Opera Australia is at least performing and industrial elements looked at changes the lake faced four extracts in a Concert Hall version, and dubbing it The from predicted climate change. And the final spot had the Nixon Tapes. audience members moving around a grassy lake map put Andrew Mogrelia conducts the full OA Orchestra and together behind the art gallery by its staff and art students Chorus and five soloists singing the roles which made this and writing notes about their individual experiences. historic 1972 meeting in Beijing. Mapping the Lake, directed by Tantrum Youth Arts artistic The contrasting scenes capture the score’s driving director Lucy Shepherd, and with almost 50 young excitement as Nixon (Luke Gabbedy) and chorus sing of his performers and around 30 adults involved in the arrival as a global news story and also the ordinary development and staging process, some for almost two character of conversation as he and wife Pat (Jade Ede) years, lived up to the production team’s smile-raising prepare for dinner. description of the show as “an immersive theatrical There Premier Chou En-Llan (Christopher Tonkin) toasts adventure”. peace with solemn idealism while Pat’s private reflection is Ken Longworth beautifully poetic celebrating basic American communities. 86 Stage Whispers

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

Sierra Boggess - In Concert..

Online extras!

Check out a trailer for Sierra Boggess - In Concert. Simply scan the QR code or visit https://youtu.be/80om3uWDN90 Kissinger (David Parkin) adds droll comment and a fiery Madame Ts-Tung (Eva Kong) concludes with her stamp. This one-hour edit of Adams’ masterpiece samples his eloquent instrumental and choral variety, driven by a relentless pace, and a witty libretto rich in poetry but also the banter of common speech. One day, after the Sydney Opera House renovations, perhaps we’ll see the full staged work. Adams is 70 this year. The program also included a short orchestral work for strings, Popcorn Superhot Receiver, by Jonny Greenwood, lead guitarist from Radiohead, which nicely hummed like a highway trip, punctuated by long sad chords and percussive plucking, and a finely articulated orchestral journey, with added big brass and electric guitar, St Carolyn by The Sea, by Bryce Dressner from The National. Martin Portus Sierra Boggess - In Concert Concertworks production. Musical Director: Brian Hertz. Concert Hall, QPAC, Brisbane. June 8. ROYALTY came to Brisbane last night - that is Broadway and West End royalty - in the form of the brilliant and captivating young star Sierra Boggess. Not only is she Broadway and West End royalty, she is also a Disney Princess as well having created the role of Ariel in the stage version of The Little Mermaid animated movie. Boggess possesses one of the best soprano voices I have ever heard in musical theatre, clear as a bell and

astonishing for its sweetness and strength at every level of her range. She opened in Julie Andrews-mode with “I Have Confidence in Me”, closing with a stunningly dramatic “Wishing You Were Somehow Here Again” and the title song from Love Never Dies. In between, she had fun parodying Britney Spears, singing “Think of Me”, performed an aria from La Boheme sending up the coloratura trills, and got down-and-dirty in an all-out punchy-belt on “I Don’t Care”. She displayed a quirky sense of humour telling stories of her family, her philosophies and her affection for nature, especially water, which segued nicely into the wistful “How Come” (Tom Sawyer) and “Just around the Riverbend” (Pocahontas). An invitation from Lloyd Webber to his country mansion to sing for Queen Elizabeth on her Diamond Jubilee resulted in the evening’s best anecdote and a simply marvellous rendition of “If My Friends Could See Me Now”. Peter Pinne Do Your Parents Know You’re Straight? Written and directed by Riley McLean. Eclectic Productions. Civic Playhouse, Newcastle. May 3 - 6. WRITER-director Riley McLean’s Do Your Parents Know You’re Straight? looks intently and with humour at a significant subject that many playwrights would avoid: the unwillingness of most so-called straight people to recognise that gay and transsexual people have a place in our world.

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

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Neil Pigot & Sarah Sutherland in The Realistic Joneses. Photo: Teresa Noble.

This has been done by setting the story in a society where heterosexuals are very much in the minority and a teenage schoolboy, a would-be writer who is attracted to girls at his school, begins putting together stories centred on a lesbian girl whose nervousness reflects his, in the hope that the situations she is in will help him to make up his mind about how he should behave. The problem for the boy, Casey, well-played by Jack Twelvetree, is that the girl, Riley (Alexandra Jensen), becomes increasingly real and determined to be herself. The play is certainly an interesting and very different work, eliciting much laughter from watchers, and with Riley McLean putting many funny references into the story, including one of the students revealing that the school’s annual musical is going to be Guys and Balls. McLean is in her early 20s, so she is certainly a writer and director to follow in coming years. But I felt at this play’s end that it still needs more work. The relationships between the school students, with some, like Casey, attracted to members of the opposite sex, but generally only momentarily, are twodimensional and the behaviour of Casey’s two dads have an overly repetitive nature, so that the people and their actions come across as too fictional. The play needs more characters like schoolteacher Miss Jenkins (Taylor Reece), who, for the most part, shows a sympathetic determination to help Casey win a place in a tertiary writing class. She is very much a real person in the way her moods change. Ken Longworth

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The Realistic Joneses By Will Eno. Red Stitch, St Kilda East, Vic. Apr 25 - May 28. YOU have to surrender and attend closely to Will Eno’s near musical wordplay as his characters circle around their failing attempts to understand each other - or, more likely themselves. There are revelations - darker and darker - that emerge in awkward encounters between people desperate to communicate… but can’t. Two couples, neighbours in small town USA, are both called ‘Jones’. Meaning, perhaps, that they are ‘ordinary’ but united by being, in the end, ‘realistic’ about their predicaments. Sarah Sutherland gives her ‘Jennifer Jones’ a buffeted stability; in her own quietly dutiful way, she is heroic. Her husband, ‘Bob Jones’ (Neil Piggot), is a blunt curmudgeon, but Mr Piggot restrains his usual ebullience, creating a sad tension between what Bob was and to what he has been reduced. With ‘John Jones’, Justin Hoskin has perhaps the most tasking role - and he never falters. His John, under all his non-sequitur chatter, is desperate, struggling to accept his fate - revealed at last in a heartbreaking conclusion. A first impression of ‘Pony Jones’ is of an airhead who tries too hard, but Ella Caldwell, with her natural warmth, builds audience sympathy for an immature girl, who is way, way out of her depth. Director Julian Meyrick’s achievement is to keep this almost formless play moving along and to maintain a sharp ear for the nuances of the immensely complex, playful dialogue in which so much is subtext, and which his cast masters with great skill, making credible these flawed and foundering characters.

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Gregory Clarke’s set is definitely no frills - not even naturalistic - but perfectly up to requirements. Bronwyn Pringle’s unobtrusive lighting and Ian Moorhead’s sound establish the still nights and the backwater quiet. On opening night people were laughing, but whether that was to encourage the cast or to fend off the sadness of these characters is hard to say. They just don’t have the words, let alone the prior experience, to formulate their pain. In the end, there is a kind of acceptance. You wouldn’t exactly call it ‘stoic’, but, as Bob says, ‘What can you do?’ Michael Brindley

Childless Vicky (Helen Hopkins) has been the carer for Mum for a long time. Mum’s Alzheimer’s is so advanced she no longer recognises Vicky or Vicky’s sister Deborah (Rohana Hayes), a single mother, struggling to establish her organic vegetable business. Phlegmatic brother Jack (Ezra Bix), Mum’s favourite, has a successful real estate business but not so successful that he can solve the financial problems of his sisters. The best nursing homes are cripplingly expensive - and the cheaper ones stink. Their only asset is the house, but they can’t sell until Mum dies… Ms Hopkins is completely convincing in her moving portrayal of Vicky’s hollow-eyed, shut-in exhaustion. Mr Bix appears at first to play Jack as coldly restrained, but Jack is This is Not Mills and Boon keeping himself under control: his emotions break through By Erica J Brennan. Glorious Thing Theatre Co. The Old 505 the more powerfully as hard choices must be made. Rohana Theatre, Newtown, NSW. May 25 - June 3. Hayes gets a lot of laughs as her hostile-dependent THIS is one sexy comedy that will make you blush and character Deborah vehemently defends her contradictions laugh a lot. The classic ingredient for intense drama is to pit and rationalisations, dishonesty and, finally, her people at extremes against each other, in embarrassing ruthlessness. Perhaps this is director Sara Grenfell’s decision situations. since Deborah provides the comic relief in the three-way Writer Erica Brennan has dreamt up the delicious power struggle. scenario for newly coupled Aby (Emma Chelsey) and Sol The play runs seventy unrelenting minutes. The (Gabe Fancourt). challenging intention is unmistakeable and the implications Aby has to meet Sol’s mother for the first time at the unavoidable. The audience ‘vote’ at the end could be a book launch for her latest blockbuster - a graphically revelation. written porn - that is words and no pictures. The book Michael Brindley celebrates a woman’s intense desire for the male anatomy and there are no Mills and Boon euphemisms to hide Sunset Strip behind. By Suzie Miller. The Uncertainty Principle, Griffin Delivered with alacrity by Mary (Alison Bennett) it got Independent. The SBW Stables Theatre, Sydney. Director: away with indulgences which a man could not reciprocate. Anthony Skuse. June 14 - July 1. Into the book launch walks Aby’s father (Lynden Jones), EVERYTHING in Suzie Miller’s new play is not what’s a straight-laced gardener, who can’t quite believe his ears. expected. For example, it’s title. Sunset Strip, the name of The set piece in the production, you won’t be surprised the holiday spot where Ray brought up his two girls, to hear, is a double bed. The equally attractive and taut Phoebe and Caroline, is now a dust bowl, the lake young couple do some “wrestling” in their underpants. completely dried up. Audiences should approach the There were some flashes, but they were of the flash action, the characters and everything they say with utmost back variety. How Aby and Sol met, how they broke up caution. and, to spice things up, Mary and Abe keep appearing in City lawyer Caroline (Georgina Symes) comes to visit costume from the smorgasbord of fantasy concocted by single mum Phoebe (Emma Jackson) who is overjoyed to Mary. see her sister again. Also in the house is father Ray (Lex It lost a little momentum when it became serious for a Marinos), left with only occasional flashes of his former self, moment but overall this is a beautifully acted and staged and Teddy (Simon Lyndon), the man who Phoebe secretly comedy. plans to marry the next day. Caroline and Teddy were once David Spicer an item, though Phoebe doesn’t suspect. For Phoebe, like everything else, it’s all fabulous. The Magnolia Tree Lex Marinos and Simon Lyndon are excellent. Teddy tries By Michael Griffith. Directed by Sara Grenfell. La Mama hard to stand up to Caroline: “You’ve obviously had a lot of Theatre, Carlton VIC. May 17 - 28. therapy,” she quips. Razor-thin, damaged, Georgina Symes AT the end of The Magnolia Tree the audience is asked battles brilliantly to keep her thoughts under control. to vote on the characters’ choices. The play dramatizes a Emma Jackson’s Phoebe is the joy of this production. dilemma particularly pressing for Baby Boomers and Gen Slipping and sliding through a host of contradictory Xers. What to do about Mum or Dad who’s not just infirm feelings, she shows total commitment to her soon-to-beor dependent but who’s disappearing into Alzheimer’s or returned children, her frazzled father, her sister, her man. dementia? Michael Griffith has built his characters with Suzie Miller’s beautiful play is carefully directed by details specific to them; they are not ‘any family’ but this Anthony Skuse on a sand covered setting by Emma Vine. family - but the audience can see themselves and their own Go see it. decisions there on stage. Frank Hatherley Longer versions of many reviews can now be found at www.stagewhispers.com.au

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Out of Earshot Conceived and Directed by Kate Denborough. Created in collaboration with the cast. KAGE for the Melbourne International Jazz Festival. At Chunky Move, Southbank. June 1 - 10. IN this dance performance, part of The Melbourne Jazz Festival, sound is introduced as body percussion played by Myele Manzanza on the dancers’ bodies. Eventually Manzanza moves to a featured drum kit that he plays at intervals throughout. The sound is both explosive and at times acutely sensitive. Creator/director Kate Denborough plays with perceptions of the embodiment of sound. The remarkable aspect of this performance is that not all the dancers are hearing. Anna Seymour, who was born profoundly deaf, works as an equal collaborator - one of a quartet of dancers. Throughout there is an intensity of communication between performers that is possibly a heightened awareness to visual cues. Intrinsically Out of Earshot appears to be about relating to others. It is the non-verbal communication and the intimate dancing relationships that really seem to be at the heart of what activates movement and meaning in this work. Gerard Van Dyck, always beguiling to watch, delights with his sense of humour, particularly towards the end of the performance. Timothy Ohl delivers some extraordinary moves. I found myself gasping at a number of his rolls. Elle Evangelista is enchanting to observe. A very unique and seminal ensemble piece that we are bound to be talking about for years to come. Suzanne Sandow

Director Anne-Louise Sarks goes for broad comedy, verbal and physical, at every possible opportunity. Designer Mel Page puts a corridor between the two bright but sterile beige sides of a revolve, linking one scene to the next. Matt Scott’s lighting goes from bright fluoroes to reds and greens reflecting the characters’ heightened emotions. Stefan Gregory’s knowing music, breezily moving the story along or deliberately, self-consciously melodramatic, makes for ironic contrasts. Minnie & Liraz is hardly a work of great depth and substance, but it’s cleverly plotted - until the clumsy ending that feels forced - and Ms Katz gives us these characters with warmth and sympathy. Some may be inclined to dismiss this show as shallow or contrived, but it is a good example of the art than conceals art. Michael Brindley

Salt By Seanna van Helten. She Said Theatre. La Mama Courthouse, Carlton, VIC. June 8 - 18. SEANNA van Helten jumps off a real-life scandal and makes her three characters rounded if damaged individuals. Eight-year-old Caitlin (Artemis Ioannides), only child of a single mother, is picked to appear on a Saturday kids’ singing and dancing show with adored television ‘personality’ Bobby (Scott Major). Then she’s in a sit-com, playing Bobby’s daughter. Her controlling manager, Sam (Brigid Gallacher) is Bobby’s manager, but also Bobby’s real daughter. (Caitlin’s mother never appears, but we learn that financially she does very nicely…) Caitlin turns thirteen, restless and bored. And the real Bobby is not like the façade on which she had such a crush. Caitlin is a catalyst to reveal Bobby’s inadequacies and Minnie & Liraz Sam’s ambivalence and lonely inability to connect with By Lally Katz. Melbourne Theatre Company. Arts Centre anyone. Ms Ioannides’ layered performance has a Melbourne, Fairfax Studio. May 12 - June 24. disturbing if unconscious sexual subtext, but we never AT the Autumn Road Retirement Village, Minnie Cohen forget that Caitlin is a child - at the mercy of a frustrated (Nancye Hayes), bridge player extraordinaire, nearly ninety, man and a resentful woman. worries about her unmarried thirty-eight-year old Mr Major bravely plays Bobby as a man with paper-thin granddaughter. Husband Morris (Rhys McConnochie), deaf charm for the cameras, but a lazy, not very bright guy who and grumpy, has one aim left: to outlive Minnie - because lucked in to the show business. Brigid Gallacher plays Sam what would she do without him? Then crude, grating Liraz as a steely control freak, desperate for Bobby’s love, but Weinberg (Sue Jones), over ninety, bullies Minnie into who can only be with him by controlling him. Worse, she becoming her bridge partner. Minnie can’t stand Liraz, but comes to love Caitlin as well... realising that Liraz has an unmarried grandson, Minnie is Owen Phillips’ set design is constrained by budget and the tiny La Mama Courthouse, but it works because the prepared to make a deal. So, there’s a burgeoning romance between Rachel characters keep us engaged, and Amelia Lever-Davidson’s (Virginia Gay), and Ichabod (Peter Paltos). Rachel is lighting points up the emotions. Ms Harpham’s direction at defeated, a loser in love, and Ichabod is an introvert times renders the import of some scenes fuzzy or obscured theoretical physicist. Mr Paltos plays a solemn, shy nerd and by blocking choices. then cracks that impression with a killer, wolfish smile. Ms Salt is a play that is concerned with the way pop culture Gay plays the klutz with perfect timing and her reactions can shape unreal and impossible expectations, but it goes tell us as much as the lines. beyond that to show the consequences. At the end, we The retirement village is presided over by Norma have a climax that is cruel and vile but inevitable and true. (Georgina Naidu), resolutely ‘positive’ and cheerful, Michael Brindley desperately trying to rope people into her ‘Memoir’ group which pays off in a way that provides some of the best writing in the show. 90 Stage Whispers

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Reviews: Plays

1984. Photo: Shane Reid

1984 By George Orwell. New adaptation created by Robert Icke and Duncan Macmillan. Ambassador Theatre Group, GWB Entertainment & State Theatre Company South Australia present the Headlong, Nottingham Playhouse & Almeida Theatre production. Touring Australia from May - Aug. WHAT is reality? Can ‘alternative’ facts trump actual facts? How easily can the identity of individuals and societies be destroyed by power, propaganda and menacing officialdom? These questions are contemporary, yet the themes defy time, demonstrated by George Orwell’s 1949 dystopian novel Nineteen Eighty-four. The narrative begins as the clock strikes thirteen on a cold April day in 1984. It has at its core the story of Winston Smith’s resistance towards the thought control and omnipresent government surveillance exerted in ‘Oceania’, a totalitarian superpower overseen by the mysterious person or entity, Big Brother. Orwell made it clear his novel is not just a narrative of Winston Smith’s ‘real time’ resistance experience; it also takes place as a history and in remembered time from the future. Icke and Macmillan have brilliantly focused on a section of the novel people rarely read, the Appendix, to create the ‘history’ and ‘future’ elements of the play’s design. Tom Conroy is superb as Winston Smith. He embodies Winston’s fear, confusion and confliction. Ursula Mills appears wooden as Julia, but this is clearly deliberate. She

delivers a wonderfully enigmatic character. Terence Crawford gives a chilling performance as O’Brien. The remaining very fine acting ensemble includes Paul Blackwell, Guy O’Grady, Yalin Ozucelik, Fiona Press and Renato Musolino. The monochromatic colour palette contributes to the claustrophobic atmosphere and setting of much of the piece. The set later morphs dramatically from ‘institutionlike’ interior to something huge, open, but more disturbing, the horrifying Room 101; a superb design feat supported by highly unsettling sound and light effects that shock the senses. Overall design is excellent, but particularly sound and lighting, which become characters in their own right, lashing the audience with the gut-wrenching power of their ‘voice’, causing audience members to experience a taste of what must occur with mind and sensory control. 1984 is 1 hour and 41 minutes of powerful and mindbending theatre, uninterrupted by either interval or free thought; a sometimes frightening but unmissable experience. Lesley Reed Hating Alison Ashley Book by Robin Klein. Adapted by Richard Tulloch. Directed by Tanja Stanley. Mousetrap Theatre, Redcliffe. June 2 - 10. IF you think you know what school students are really like, you should see these grade eights at the notorious Barrington East School. Work and good behaviour are

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Creature: An Adaptation of Dot and the Kangaroo. Photo: Jacquie Manning.

foreign to them. The dominant person is Erica Yurken, who believes she is destined for a glittering stage career. Alison Ashley arrives as a complete contrast to the others - she is beautiful, rich, clever and well behaved. The school’s camp brings everything to a head when they stage the camp play. Tanja Stanley’s directorial skills were further extended with this Youth Theatre production, under the guidance of senior mentors. The fact that half of the characters were year eight students helped but the whole show flowed quite well. The minimal set allowed the action to move along smoothly. The hilarious over the top camp play had the audience laughing loudly. The standards of the performances varied a good deal, with some very impressive. Emma Hunt as Erica Yurkin was good in one of the central roles. When Tyallah Bullock who was an equally impressive Alison Ashley was on stage with her, the two young actors interacted really well. Also worthy of mention were Jamie-Lee Bone as school teacher Miss Belmont and Ethan Beer as Barry Hollis, the pain in the neck student. Others will undoubtedly improve during the run and with this experience. Mousetrap Theatre is to be congratulated for exposing the young actors and crew to this successful practical experience. William Davies Creature: An Adaptation of Dot and the Kangaroo A Stalker Theatre and Out of the Box production. Sydney Opera House. Apr 19 - 25. AERIAL acrobatics, dance, music and interactive, digital projections come together in this visually striking 92 Stage Whispers

adaptation of the Australian children’s classic Dot and the Kangaroo. Written by Ethel Pedley 112 years ago, this timeless classic tells the tale of Dot, who is lost in the bush and rescued by a kangaroo. Giving Dot magical berries to help her understand the animals around her, Mrs Kangaroo guides her home. Stalker Theatre’s production takes the audience on an enchanting adventure, exploring the wonder and magic of the Australian bush and raising some important questions about the impact humans have on our native wildlife. The performers take on the roles of some of our unique fauna including a cheeky kookaburra, a haughty platypus, a cautious hare, a sprightly willie wagtail and the protective and loyal kangaroo. The beauty of the movement in this show stood out for me. The performers were agile and nimble, mirroring each creature’s movements perfectly from the way they hopped, jumped, ran and flew, to their posture, stance and facial expressions. They were a joy to watch, particularly the stunning brolga routine - a graceful blend of movement, aerial work and music. The large-scale projections creatively illustrated the Australian landscape while responding to the movement of the performers, while the music, sound effects and ethereal voice of Ursula Yovich created atmosphere, mood and drama. This was a unique and truly Australian theatrical experience. Shannon O’Connell

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The Golden Antelope By Brian Birkefeld and Chris Fletcher. Footlice Theatre Company. The Unorthodox Church of Groove, Newcastle West. May 5 - 13. FOOTLICE Theatre Company chose an appropriate work to start the celebration of its 30th birthday. The Golden Antelope, the first full-length play written and staged by its members, is a very funny send-up of Agatha Christie-style murder mysteries, with body after body falling in the English country mansion that is the home of the titled Oxencart family. And when the family head dies, leaving behind no will, it is amazing just how many family members find that document, with each of them the main beneficiary. The title object, by the way, is a family heirloom which also seems to have gone missing. Merilyn Hey, who directed the initial production, was again at the helm, and kept the laughs and suspense coming. She also repeated the role of Aunt Maude, the family matriarch who stares threateningly at anyone who wants to pour a drink from the household “blue sherry” bottle that she regards as hers. The good cast included founding Footlice members and recent recruits, with several playing two very different roles. Brian Birkefeld was, for example, a self-seeking butler and an Indian whose car breaks down near the mansion, and Oliver Pink amusingly doubled as Jessica, the Oxencarts’ bearded maid, and their gardener, Weird Bob. The interactions of the characters, including an unexpected tennis match, kept the laughs coming, and Agatha Christie would undoubtedly have enjoyed the surprise arrivals at the mansion, including clairvoyant Madame Oracle, a colourful friend of Lady Oxencart, and stern police inspector Weazel. The set, put together by the staging team, established the classical setting of the mansion and its surrounds, and there was an unexpected and very amusing surprise when something happened to the mansion in the second act. Ken Longworth

collection of ladies. Cathy Parr is very believable as bar manager from the wrong side of the tracks, Claudette. Marsha Holt brings credibility to marketing manager Lucinda. Charlotte Weber gives depth to the uncertain Jean. Sarah Langridge continues to grow as an actor, playing the conflicted Rosie. Raelene Cover is likeable as retiree Celia, while Laura Goodlet captures the audience’s sympathy as the complex Kelly. A pleasing show with recognisable characters that clearly struck a chord with the audience. Kimberley Shaw

The Village Bike By Penelope Skinner. Cross Pollinate Productions. Director: Rachel Chant. The Old Fitz Theatre, Sydney. June 7 - July 8. THE audience face a perfect little setting in which everything works - the doors, the upstairs bedroom, the rumbling pipes, the computer, the sink, the bike. The Sydney Theatre Company couldn’t wish for a more polished and convincing set. This is the English village home of Becky (Gabrielle Scawthorn) and John (Benedict Wall), and Penelope Skinner’s The Village Bike follows the indiscrete adventures of Becky, a pregnant English teacher on her July-August holidays. Faced by Mike’s obsession for having a healthy child, Becky finds herself keen for a little sex. The behaviour of those around Becky doesn’t help. There’s Mike (Jamie Oxenbould), the local plumber, anxious for easy pickings; Jenny (Sophie Gregg), the next-door neighbour, who wants to unload baby clothes and toys; and Oliver (Rupert Reid), an amateur actor who cycles around in his handsome highwayman costume and whose wife Alice (Kate Bookallil) is conveniently absent. Never off the stage, Gabrielle Scawthorn gives a brilliant, feisty account of Becky, red hair aglow. In a perfect cast, Rupert Reid is ideal as the marauding Oliver, and Jamie Oxenbould great as the weak-willed plumber. The meticulous setting is the work of Anna Gardiner and Love Me Slender Martelle Hunt. Brilliant lighting by Hartley Kemp makes By Vanessa Brooks. Directed by Anita Bound. Kalamunda every bit of the set work and the compositions of Nate Dramatic Society. KADS Theatre, Town Square, Kalamunda, Edmonson fill every second of time between the scenes. WA. Apr 21 - May 13. Full marks to director Rachel Chant, whose desire for perfection is hereby duly noted. “REMEMBER girls - not slim for today, not slim for tomorrow, but slim for life.” This is the motto for the Frank Hatherley slimming club, held in a church hall and led by autocratic over-achiever Siobhan. We follow their progress over half a After Dinner year. By Andrew Bovell. Hobart Repertory Theatre Society. KADS create the dilapidated church hall beautifully Directed by Petr Divis. Playhouse Theatre, Hobart. May 12 perhaps not surprisingly, considering that this lovely little 27. theatre was once a church, with lovely detail from designer AFTER Dinner was a perfect comedy theatre experience. Geoff Rumsey and his team. There is straight-forward Words, actors, costumes, set, lighting, timing, production lighting and sound by Julie Hicking and Stephen Marr. crew and audience all conspired to create a wonderful play. Costumes, by Rose Weighell and the cast, have some lovely Director Petr Divis “got” Andrew Bovell’s deliciously funny character insights. script, the actors “got” each other and the director’s Set locally, which doesn’t always sit cleanly with the text intentions, and the audience “got” the result. but gives some nice laughs, this is a production with At a suburban pub bistro the office girls have come out camaraderie and a warm feel. to have a good time. Monica (Kath Uziallo) hasn’t been out Siobhan Vincent plays her namesake Siobhan with in years. Paula (Laura Gilkes) just wants a table with a view unnerving passive-aggressive power. She leads an unlikely of the band, and Dympie (Astrid Tiefholz) just wants Longer versions of many reviews can now be found at www.stagewhispers.com.au

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everything done her way. The bloke population is represented by Gordon (John Hoggart, a real find) and Stephen (Jon Lenthall, with his clear diction and lovely voice projection). The hilarious but cringe-worthy scenes that followed are some that we have all observed. The comedy was beautifully written and balanced, with believable characters who all enjoyed their “moment to shine”. Tiefolz and Uziallo both made the most of their histrionic scenes. The lighting design by Blake Talbot worked beautifully, and costumes designed by Leah Venatacci were balanced for style, colour and visual effect. The statuesque Laura Gilkes carried off the 80s garb beautifully, and shone in her role as the amenably nice Paula. After Dinner is the funniest, most polished show I’ve seen all year. Merlene Abbott

Left-leaning documentary film-maker Toby has had some career embarrassments and has escaped Sydney for Noosa with wife Ros. One of life’s milestones means the couple may be getting together with Ros’s former school friend, ‘Stepford Wife’ Natasha and her rich right-wing Sydney property developer husband, Ron. Toby always clashes with Ron. What’s more, the wives only just tolerate each other whenever they meet. The arrival of Toby and Ros’s struggling musician son, Rick, together with Ron and Natasha’s driven, successful corporate lawyer daughter, Emma, means the volatile mix is about to explode. Kym Clayton is very good as irascible Toby, showing both the impatient side of Toby’s character and his soft centre. Despite Williamson’s female characters never being written with quite the same depth as the males, Deborah Walsh is terrific as Toby’s wife Ros. Andrew Horwood embodies the boorish, market-savvy property developer Ron and delivers some very funny, acid Beyond Reasonable Doubt By Jeffrey Archer. 1812 Theatre (Vic). May 25 - June 17. one-liners with impeccable timing. Anita Canala could perhaps make a little more of wife Natasha’s surface IN BEYOND Reasonable Doubt, Sir David Metcalf finds superficiality, but produces a very good performance himself accused of the willful murder of his terminally ill nevertheless. wife. After an overwrought courtroom scene, we see him Hal Bruce is very fine in portraying Rick’s desperation to locked in an extensive legal struggle with his adversary, Anthony Blair-Booth QC, as his former housekeeper claims be taken seriously by music producers. As Emma, Charlotte Batty matches Hal Bruce’s character development in a to have witnessed the fatal act, and testifies against him. Tim Byron as Anthony Blair-Booth QC was clearly well at strong performance. ease in this role, his dialogue snappy, yet casual and his use Galleon Theatre Group is renowned for its fine of the stage and mannerisms as you would expect of a high productions and this is no exception. Lesley Reed -priced prosecuting counsel. Act II takes us back to the week preceding, and The Diary of Anne Frank importantly, the crucial night of Lady Metcalfe’s demise. The play closes with a classic “unexpected twist” (which I By Francis Goodrich and Albert Hackett. WAAAPA Third found clichéd and pandering to the audience - the fault in Year Acting students. Directed by Peggy Shannon. The Roundhouse Theatre, WAAPA, Mt Lawley, WA. May 5 - 11. the writing). Stephanie King was the clear star of the show with her WAAAPA’s Third Year Acting students presented a very exquisite performance as Lady Millicent Metcalf. She moving, beautifully told rendition of The Diary of Anne Frank, by Francis Goodrich and Albert Hackett, in a delivered perfect restraint in the role of the dutiful wife, perfect hostess, and pain addled cancer sufferer. production that showcased not only beautifully developing She was teamed well with Brett Hyland as Sir David acting skills, but the depth of talent of WAAPA Production Metcalf. Hyland sat into the script well, but without over and Design students. Under the guidance of visiting reaching it. I felt he struggled a bit with this role, purely Canadian director Peggy Shannon, it moved much of the because of the trite and overwritten dialogue. audience to tears. Unfortunately, there were a few minor hiccups with Set and costume designer Ellise Stratton expertly created lighting and sound cues and some of the actors were still the secret annex in which the Franks, Van Daans and Mr struggling with the script. These will be ironed out quickly. Dussell spent 25 months in hiding. The space, in which the The set design was an engineering feat: a courtroom in ‘in hiding’ characters remained visible at almost all times, Act 1 and an immoderate lounge room in Act 2. All in 20 felt genuine, with costumes faithful to era and character. minutes! A commendable effort! Bluey Hart’s lighting design helped to steer audience focus Penelope Thomas within the space and Nikolaas Wajon’s sound design was disarmingly realistic. Skye Beker was lovely in the title role, maturing credibly Let The Sunshine By David Williamson. Galleon Theatre Group. Domain throughout the show. Her relationship with Peter, a good performance from Joshua Orpin, was a beautiful diversion. Theatre Marion (SA). May 4-13. Roy Joseph was excellent at Otto Frank, in a mature and WHILE David Williamson’s Let the Sunshine doesn’t have nearly as much bite in terms of social satire as in many of measured performance. Stephanie Somerville created a very his earlier plays, Galleon Theatre Group’s strong casting and nuanced Mrs Frank, whose complex relationship with her daughter was expertly drawn. Audrey Blyde was lovely as magic touch with edgy comedy ensures an enjoyable production. Margot Frank. 94 Stage Whispers

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Jack Scott and Katherine Pearson were believably fraught Mr and Mrs Van Daan, both with depth of character, owning difficult scenes. Jake Fryer-Hornsby brought layers to Mr Dussell. Elliot Giarola was strong in his brief appearances as Mr Kraler, as was “borrowed’ first year student Lucinda Howes, with dignity and poise as Miep. The Diary of Anne Frank was a hopeful, uplifting performance, beautifully presented by WAAPA. Kimberley Shaw Henry V By William Shakespeare. University of Adelaide Theatre Guild. Little Theatre. May 6 - 20. MEGAN Dansie goes “once more unto the breach”, directing another successful Shakespearean play at the Little Theatre. Henry V is a celebration of the British victory at Agincourt during the Hundred Years’ War against France. Young King Henry V (Nick Duddy) has just assumed the throne and embarks upon an invasion of France. This production features a new approach, staging the opening in full light in a therapy group for PTSD patients. The therapist becomes the Chorus (Peter Davies), ably assisting us to navigate the play. I was immediately struck by the simple yet effective staging of this production, utilizing chairs to great effect as battlements and locations. Costuming by Megan Dansie cleverly kept the contemporary feel through use of t-shirts and army fatigues, but paid homage to the era by using colour and emblems (the Fleur de Lys and English Flag). As Henry V, one of England’s best-known heroic monarchs, Duddy does a sterling job, displaying great passion and poise. Steve Marvanek, as the Duke of Exeter,

gives yet another solid performance. Matt Houston as Fluellen was wonderful - a real star. This is a close-knit ensemble piece and everyone performs with poise and clarity. Dansie’s production is powerful and accessible. Utilising the space well, giving the play a semi contemporary setting, and having such a strong team of actors, she has definitely created a very watchable piece of theatre. Shelley Hampton Design for Living By Noël Coward. Directed by Barry Park. Old Mill Theatre, South Perth, WA. Apr 21 - May 6. ONCE controversial, even banned, Noël Coward’s Design for Living is a delightful time capsule of 1930s upper class life. Central character Gilda, in love with both Otto and Leo (also very fond of each other), is gorgeously played by Nyree Hughes. She owns the stage in a clever, elegant, sophisticated performance. She is also the most exquisitely attired in this fabulously costumed production, with costumes by Jennifer Prosser (assisted by Dinah Zaikos, Nyree Hughes and Jeffrey Watkins). Jeffrey Watkins may well have been born to play Noël Coward, giving a nuanced, clever and cosmopolitan performance as Otto. The third party in this love triangle is Leo. Played by Garry Davies, a late-in-rehearsal replacement, he belies his shortened preparation time and works well as the third corner of the relationship. Excellent support from ‘old friend’ Ernest, very genuinely played by Neale Paterson. Julie Holmshaw is an audience favourite in two very different and beautifully presented roles. Charlie Young is strong as both Mr Birbeck and Henry Carver. Praveen Hooda makes the most of his brief L-R: Garry Davies, Nyree Hughes and Jeffrey Watkins in Noël Coward’s Design For Living. Photo: Linda Hewell.

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M. Butterfly. Photo: Les Zetlein.

appearance as valet Matthew, and Rebecca Calwell is lovely in her post 10.15pm appearance. The set for Design for Living is design delight. Constructed by Greg Aylmer, we see three very different rooms created. All are finished superbly, with distinct and polished ambience. Sheila Wileman has excelled with decor and properties and John Woolrych’s lighting design is ambient and appropriate. Sound is also strong, featuring recordings by Justin Freind and operated by Nina Doherty. A lovely nostalgic night at the theatre. Kimberley Shaw M. Butterfly By David Henry Hwang. St Jude’s Players. Apr 27 - May 6. DIFFICULT though the epic story of David Henry Hwang’s M. Butterfly must have been to design and perform on the small stage in St Jude’s Hall, the play’s Director John Graham, set designer Don Oakley and the cast have created an excellent production overall. M. Butterfly is loosely based on true events; an ill-fated affair between a French diplomat in Beijing and a Chinese opera singer. Covering a period of forty years and set in France and China, the story has parallels with Puccini’s iconic opera Madame Butterfly. The additional themes concerning societal attitudes towards relationships within the double contexts of gender stereotyping and West vs East add meat to the narrative. James Whitrow produces a stellar performance as Rene Gallimard, who tells his story from his prison cell in a series of sequential vignettes. Often speaking directly to the audience, Whitrow creates a completely believable and nuanced character. 96 Stage Whispers

James Edwards is riveting in a towering performance as Song Liling. Edwards transfixes those watching, particularly in Song Liling’s developing relationship with Rene and also in the controlled transformation that occurs as his true ‘Butterfly’ persona emerges. Benjamin Orchard, Kyla Booth, Chanelle Le Roux, David Rapkin, Kristin Telfer, Martin Wong and Fiona Chen all produce good performances in terms of minor characters. Uneven accents for some actors let the production down. Although M. Butterfly is a very long play, the opening night audience remained completely absorbed in the story and performance. Lesley Reed A Midsummer Night’s Dream By William Shakespeare. Adapted and directed by Daniel Maslen. Prospero Players. Apr 26 - 29. I SAW this production of Shakespeare’s classic comedy at a matinee that had many very young audience members. The brightness of the costumes and sets gave the story the look of a fairy tale and they were engrossed by the antics of the fairies and the workmen who were would-be actors. Hopefully, they will remember this show when they get to study the Bard’s work in later years. And while many people think that Shakespeare’s language is very much of times past, much of the dialogue in this staging had people young and old laughing loudly. There was, for example, a scene where Hermia and Helena, two young women who have fled with the men they love to escape parental marriage demands, argue when left together in a forest. Helena tells Hermia she doesn’t trust

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her and is moving on, and actress Jacqueline Chapman’s sharp delivery of her lines “Your hands than mine are quicker for a fray. My legs are longer though, to run away.” had a very contemporary feel. This production was directed by Daniel Maslen, a recently retired English expert on eurythmy, an expressive movement art that was developed by Rudolf Steiner in the early 20th century, and which puts dance elements into movements. Maslen, who came to Australia to stage the play for Prospero Players, showed how well eurythmy could be incorporated into physical comedy, with the lovers’ antagonisms, the workmen’s lack of acting skills, and the fairies’ manipulation of the strangers in the forest having audience members in jolly laughter. Ken Longworth

serving / long suffering butler to Sir Cecil. When, after fifty years, Sir Cecil’s first love, Evelyn, unexpectedly contacts him and arranges a visit, strong emotions come to the fore all round. With an elaborate set, full of detail, depicting the inside and outside of Sir Cecil’s estate in the English countryside, Sir Cecil tries to make up for the past 50 years by proposing to Evelyn for a second time; this time it seems luck is on his side. In the meantime the butler can see his idyllic lifestyle is doomed if he has to share his position as friend and confident with a lady of the house. All’s well in the end as they reach a positive solution: Cecil and Evelyn agree to marry and the butler services are secure once again. Roger McKenzie

The Forwards Written and directed by Stefo Nantsou. Brisbane Powerhouse, Shock Therapy Productions and Zeal Theatre. Visy Theatre, Brisbane, Qld. June 14 - 24. OPENING night had me enthralled by the energetic, entertaining and electrifying story of the Pintoon Parrots’ struggle to attain AFL final glory. The five actors (Sam Foster, Hayden Jones, Ellen Bailey, Stefo Nantsou, Rob Diley) morphed between a myriad familiar characters, played with heightened realism, outstanding physicality and a lot of heart. Writer Stefo Nantsou includes themes of peer pressure, small town rivalries, violence, and the destruction wrought by the over-use of drugs and alcohol, without resorting to preachy monologues. It’s clever, funny, and insightful. The fight choreography was tight and convincing. Geoff Squires’ lighting direction was excellent at enhancing the mood. The actors provided their own sound effects, which was highly effective. The live music provided by the actors on drums and guitars added extra excitement, but a few times it was a little too loud. Set design by Stefo Nantsou and Sam Foster was cleverly evocative. Ellen Bailey was brilliant, particularly as Rabbit and Julie. Her honesty and commitment to her characters’ pain brought me to tears. Sam Foster shone as Hoges, was all too convincing as Cactus and did an outstanding job of playing Teddy without mocking or offending. That said, all of the actors were believable, hilarious and worked well together to bring the story to life. The Forwards is a beautifully paced play packed with talented performers and wonderful teamwork. Kiesten McCauley

HurlyBurly By David Rabe. Directed by Gabriella Rose-Carter. Q44 Theatre. 550 Swan Street, Richmond VIC. May 22 - 21. Playwright David Rabe’s ‘hurly-burly’ is one of life at accelerated speed, blurred desperation, fuelled by drugs, cynicism and ‘Hollywood’ culture, from which LA casting agent Eddie struggles to escape. He and his business partner Mickey have no illusions about their ‘industry, but while Micky is blasé, Eddie is bitter. It is the women, however, who pass through their lives that illuminate their darkest places. There’s Donna (Amelia Bishop), a hitchhiking teen waif who expects too ‘put out’ for a place to sleep or a meal. Darlene (Erin Lilja) could be Eddie’s salvation - if Eddie could get past his obsessive suspicions. And there’s Bonnie Nicole Melloy), ‘exotic dancer’ and parttime hooker. These women are more grounded than the everrationalising men - and that’s enhanced by the performances director Gabriella Rose-Carter gets from all her cast - her direction ever alert to the sub-text and the body language of the characters. Kostas Ilias might be just a touch too laid back as deluded Arnie, would-be producer forever on the brink of a deal. Will Atkinson’s Mickey is nicely, chillingly above it all, while their client, roughneck wanna-be actor, Phil (William Prescott) is a confused and violent guy with zero selfknowledge. Mr Prescott tackles the role admirably: to play credibly a character so morally obtuse. Anthony Scundi is the ensemble’s lynchpin as Eddie and Mr Scundi takes him movingly to the brink of realisation or even escape… These men are so very articulate and yet keep missing (or evading) the point. Their automatic, casual misogyny may be startling, but for me there is nothing unfamiliar about their The Kingfisher attitudes. Annalisa Lucca’s transverse, all-white set is cunningly By William Douglas Hume. Javeenbah Theatre Co, Nerang, Gold Coast.. Director: Nathan Schulz. May 26 - June 10. designed to allow for the characters’ restless, frenetic (at “HOW long would you wait for a second chance?” is the times a little too frenetic?) movements. Time and mood are established by John Collopy’s lighting. question asked of the audience by Javeenbah’s current production. Q44 chooses another play of substance, providing more than opportunities for marvellous acting. This one is tough The answer is fifty years for the cast of The Kingfisher. and uncompromising, but illuminating in its starkness. This three-handed romantic comedy stars Chris Hawkins and Vivian Gian (pictured) with Graham Scott as the long Michael Brindley Longer versions of many reviews can now be found at www.stagewhispers.com.au

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Reviews: Musicals

Marina Prior and Grant Piro in Hello, Dolly! Photo: Jeff Busby.

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Watch the orchestra rehearse the timeless tunes from Hello, Dolly! Scan or visit https://youtu.be/dxzwMYhRHoo Hello, Dolly! Book by Michael Stewart. Music and Lyrics by Jerry Herman. Based on the play The Matchmaker by Thornton Wilder. The Production Company. Playhouse - Arts Centre Melbourne. May 27 - June 11. HELLO, Dolly! is one of Broadway’s most successful musicals, and not surprisingly, as this simple love story is full of humanity and lovely witty lines. Marina Prior, as Dolly Levi a Matchmaker, ever so lightly holds the audience in the palm of her hand. As anticipated it is well worth seeing this lovely contained production for her alone. But there is much more to delight. The staging is crisp and clean on a simple yet evocative set by Shaun Gurton. This skilfully designed and manoeuvred framework is indicative of various locations. Performers enhance settings by creating ambiance in divinely colourful costuming by Isaac Lummis. The orchestra, conducted by Musical Director Vanessa Scammell, is situated centre stage and appropriately part of the action. Garry Young‘s direction is streamlined and uncluttered. Kristen King has created some great environment defining tableaux with her choreography. Show stopper ‘Hello, Dolly!’ is outstanding, in fact breathtaking, as a feat of mastery of swift lively movement/dance. All performers reach way past the proscenium arch to charm their audience. We are so fortunate to have The Production Company in Melbourne and all its invaluable philanthropic supporters. Suzanne Sandow 98 Stage Whispers

Sweeney Todd Music & Lyrics by Stephen Sondheim. Book by Hugh Wheeler. Director: J.J. Geelen. Musical Director: Derek Walter. The South Coast Choral and Arts Society. Victor Harbor Town Hall. May 12 - 28. THE talented and always-resourceful team at SCCAS have brought us the ghoulish tale of a vengeful barber on a bloody mission - but those expecting a headlong plunge into Grand Guignol may be surprised. A deliberate decision has been made to eliminate overt bloodletting from this production, instead conveying the realities of Todd’s vengeance through lighting effects and stylised suggestion. Dramatic moments are, by and large, quietly underplayed. While this approach can, in the moment, feel like a disappointing departure from convention, it is easier, in hindsight, to respect the director’s intentions in presenting Sweeney Todd this way. The spirit of the show is certainly not betrayed, and those who are unfamiliar with the material are likely to find this production instantly accessible. Wayne Scotton has a most effective presence in the title role, communicating his complex character in a powerfulyet-understated manner. Penny Smith finds an ideal balance between the magnetic and the repellent to play partner-incrime Mrs Lovett. The multi-level set (designed by the director) is outstandingly successful and produces many striking effects on stage. Millie Doherty’s costume design is sumptuous without being gaudy. The band achieves a successful

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balance with the dialogue on stage, supporting the actors and the atmosphere alike. Though it may be a relatively well-behaved Sweeney Todd, this in no way diminishes its achievements or the satisfaction that it generates. Anthony Vawser Oklahoma! Music: Richard Rodgers. Book & Lyrics: Oscar Hammerstein 2nd. Based on the play Green Grow the Lilacs by Lynn Riggs. Roleystone Theatre, WA. Directed by Paul Treasure and Bree Hartley. May 5 - 20. OH what a beautiful musical. Played on a gorgeously constructed and finished set, designed by Daniel Ramsell, this show looks great, and while scene changes are significant, they are quick and effective. Judith Armstrong and Grant Armstrong have provided lovely backdrop art. Costumes, co-ordinated by Joanne Padget, also look lovely. Liam Gobbert is a likeable and strong Curly who believably charms his onstage love interest, as well as charming the audience. Hayley Currie, in her first leadinglady role, is a lovely Laurie, singing beautifully and a pleasure to watch. There’s also a very cute coupling in Tim Tyrie as Will Parker and Steph Hickey as Ado Annie, in very sweet, likeable performances. Oliver Kaiser is believably dark and brooding as the troubled Jud. Celeste Underhill brings humour to the gratingly annoying Gertie. Andre Victor gives probably his best performance to date as Ali Hakim - an audience favourite, and Paul Presbury and Jackie Presbury are both endearing as Andrew Carnes and Aunt Eller. A focused and enthusiastic ensemble bring colour and energy to every appearance. Choreography by Emily Botje is executed with oomph and joy. A feel-good performance of a favourite musical which is delighting audiences. Kimberley Shaw Joseph and the Amazing Technicolor Dreamcoat Music by Andrew Lloyd Webber. Lyrics by Tim Rice. Spotlight Theatre, Benowa, Gold Coast. May 5 - 27. DIRECTOR Andrew Cockcroft-Penman, musical director Shari Ward and choreographer Jamie Watt have joined forces on this imaginative staging of this Lloyd Webber favourite, featuring a mixture of modern and traditional costumes with a minimalist set with lots of “everyday items” for props. As Joseph, Jordan Foster carried the role and the show with all the confidence of a seasoned artist, belying his young age. An accomplished “quadruple” threat (singing, acting, dancing and playing the piano), Jordan owned the stage and was ably supported by Caroline Taylor’s wonderful voice narrating the plight of Joseph and his “brothers”. When it comes to well documented historical events, I do not agree (nor did some of the audience sitting near me) with substituting female performers in male roles. The youngish supporting cast were solid in the execution of the requirements of the production team and

everyone looked like they were really having an enjoyable time. Roger McKenzie How to Succeed in Business Without Really Trying Music & Lyrics: Frank Loesser. Book: Abe Burrows, Jack Weinstock and Willie Gilbert. Hornsby Musical Society. Hornsby RSL Club. May 5 - 13. HORNSBY Musical Society’s brightly paced, impressively sung production of this Tony Award and Pulitzer Prize winning musical proves an audience-pleaser. Combining direction and choreography duties, the flow and timing of Lauren Oxenham’s production are mostly excellent, with dance routines and movement regularly reinforcing plot and situation. A colourful unit set, combined with limited props and furnishings, provides some effective staging solutions. Supported by a compact brass and woodwind orchestra, led by musical director Andrew Bartle at the piano, with a splendid sound mix from Loud and Clear, strong vocals across the cast complete the listening pleasure. James Burchett brings a cheeky charm to corporate climber J. Pierrepont Finch. Erica Penollar, an assured young leading lady with a delightful voice and strong acting chops, shines engagingly as his romantic interest Rosemary. Confident and knowing as her confidante Smitty, Amy Neville also displays great vocal pipes. Elizabeth Dobb’s street-smart Hedy LaRue oozes sexuality, complemented by snappy comic timing. Jordan Anderson portrays devious Bud Frump with broad-stroke humour. Kris O’Ryan projects an assured presence and vocals as Bert Bratt. Monika Cole is a warm likeable Miss Jones. Paul Sheldon’s Mr Twimble and Paul Mepham’s J.B. Biggley solidly and effectively characterise their corporate stereotypes. Emily Layson’s vivacity and vocals in the small role of Miss Krumholtz show that talent runs deep in this cast. It’s good to see this classic Broadway musical back in the spotlight. Neil Litchfield Annie Music: Charles Strouse. Lyrics: Martin Charnin. Book: Thomas Meehan. Phoenix Theatre Ensemble, Beenleigh, Queensland. Apr 28 - May 20. ANNIE tells the story of an 11-year-old girl living in a run -down orphanage in 1933, whose optimism allows her to believe she will one day see her parents again and that each tomorrow will be a better day. As Oliver Warbucks, Nathaniel Currie commands the stage and exudes power when needed, helped of course by the beautiful Grace Farrell, played with dignity and heart by Morgan Garrity. Young actress Emily Marshall-Simmons impresses as the 11-year-old title orphan, nicely balancing scrappiness, vulnerability, wide-eyed excitement and flatout cuteness. Director Lisa Ng’s most impressive impression on this production is the way she shaped the performances of the young orphans, whose songs, dances and acting were all polished and highly entertaining. Chloe Weise as Kate,

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Harmony Scott as Sylvie, Lucinda Murray as July, Mia Wooldridge as Pepper, Olivia Baker as Duffy, Sienna Barney as Tessie and the charismatic pocket rocket Tia Drew as Molly bring the show to life with their performance of “Hard Knock Life”. Miss Hannigan, the mean-spirited matron of the orphanage, was skillfully portrayed by Julia Lefik. With her ‘nasty’ partners in crime Rooster Hannigan and Lily St. Regis (played wonderfully by Alexander Thanasoulis and Kate Doohan), their performance of “Easy Street” quickly became a show-stopper. The band, led by Musical Director Nick Ng, was also phenomenal. Who knew such a rich and professional sound could resonate within the walls of a tin shed. Sometimes working with kids and animals can be the perfect mix after all. Mel Bobbermien Miss Saigon Music: Claude-Michel Schonberg. Lyrics: Richard Maltby Jr & Alain Boublil. Director: Mardi Schon. Musical Director: Julie Whiting. Choreographer: Maranne McQuade. Queensland Musical Theatre. Schonell Theatre, Brisbane. June 7 - 11. STAGING Miss Saigon is a challenge for any community theatre company but Queensland Musical Theatre came through with flying colours. The big set-pieces of the show worked remarkable well; the steamy raunch of Saigon’s bar scene with the bar girls looking like bar girls and the men as horny G.I’s, the colourful but chilling “Morning of the Dragon”, “Bu-Doi”, with outstanding vocal work by the men’s chorus, the famous helicopter evacuation, and the splashy “American Dream” with Mike Zarate as The Engineer giving the best performance in the show, there was a lot to like. Young Danielle Remulta was a waif-like Kim with an appealing and note-perfect delivery. Opposite her as Chris was Chris Simpson, who looked the part but had problems with pitch for most of the night. Jessica Ham brought strength to Ellen which was never more apparent than when she sang “Now That I’ve Seen Her”. Tristan Ham was an excellent John, sang well, and made the most of his centre-stage-time leading the men in “Bui-Doi”. Stage virgin Rex Cho showed promise as the hated but strictlydisciplined Viet Cong soldier Thuy, but it was Zarate’s sleazy opportunistic Engineer who walked away with the show. His “If You Want to Die in Bed” was good, but “The American Dream” was top-shelf better. Peter Pinne

Cathy’s timeline goes backwards, starting with the break up and ending with her having just met Jamie. Meanwhile Jamie’s timeline starts at just as they become a couple. This is a neat piece of structural play that allows for mood and tempo changes, as well as juxtaposition of the characters’ emotional states at different times of the relationship in order to wring out maximum pathos. So it is that just after Cathy opens with the sweet, heartbreaking lament “I’m Still Hurting”, Jamie bursts onto the stage with “Shiksa Goddess”, which Mr Balog performs with so much gusto that the girls next to me giggled. Mr Balog has a rich, bluesy voice and his enthusiastic and hammy rendition of “The Schmuel Song” was a highlight. Alessa Kron’s Cathy is angry and hurt, but far more restrained. The closing number, “Goodbye Until Tomorrow/I Could Never Rescue You”, is heart-wrenching, pitching Cathy’s hopeful excitement as she falls in love against Jamie’s devastation as he packs his bags to leave forever. Underpinning it all was Ms Chen’s delicate and emotional piano work. Cathy Bannister

Bring It On: The Musical Libretto by Jeff Whitty. Music by Tom Kitt & Lin-Manuel Miranda. Lyrics by Amanda Green & Lin-Manuel Miranda. Pelican Productions. Norwood Concert Hall. May 12 - 21. HOW do you fill an upbeat, lightweight, frothy musical entertainment - one that is hampered by pedestrian plotting and an uneven score - with both tension and spectacle, so that it emerges a winner? By making the show about cheerleading, that most intellectually meaningless yet physically undeniable American institution. Bring It On: The Musical delivers on its promise of gymnastic achievements that look exceedingly difficult and risky to attempt; the result is a presentation that lifts the spirits and sends you home smiling, thanks to its irrepressible energy and the sheer exhilaration of seeing talented young performers accomplish all the tricky tasks that are demanded of them. The level of success and satisfaction attained by this production is a reflection of Adam Goodburn’s exemplary efforts as director, not to mention the expertise of vocal MD (and hair/make-up stylist) Rosanne Hosking, band MD Martin Cheney, and choreographers Carla Papa & Chloe Boucher. Set/video designer Craig Williams deserves special mention for brilliant use of animation to generate not only functional backdrops but also, at times, genuine poignancy. Leading the ensemble cast is the stunning Scarlett Anthony, playing the central role of Campbell with beaming radiance and complete confidence. She is matched by the striking and powerful presence of Stephanie Antonopoulos The Last Five Years By Jason Robert Brown. NUTS (National University Theatre as Danielle. Society). Directed by Maddie Mavro. May 10 - 13. Hats off to producers Jen Frith & Kylie Green for WRY laughs and pathos abound in NUTS’ production of delivering a show that is both fun and impressive, by any the cult tear-jerker The Last Five Years. This is a bare-bones, standards. tiny budget show, hinging on the sheer energy of Jamie Anthony Vawser (Colin Balog), the unworldliness of Cathy (Alessa Kron) and Erica Chen’s excellent piano rendition of the fabulous score. 100 Stage Whispers

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Willoughby Theatre Company’s Wicked. Photo: Grant Leslie.

Wicked Music & Lyrics by Stephen Schwartz. Book by Winnie Holzman. Based upon the novel by Gregory Maguire. Willoughby Theatre Company. The Concourse Theatre, Chatswood. May 20 - June 4. WILLOUGHBY Theatre Company’s Wicked is pure spectacle for all who make the trip to the Concourse Theatre. Walking into the theatre we are greeted by the amazing set from PLOS Musical Productions, with charming additions by Simon Greer. When Greg Jones’ orchestra began the Overture you could feel the buzz, building to cheers as the Ensemble filled the stage for ‘No One Mourns the Wicked’. The orchestra sounded amazing all evening, assisted by great sound operation. Carolyn Curtin plays Galinda with the naivety and ditsyness we have come associate with the role. Curtin was also a major vocal stand-out. Her ad lib in ‘Popular’ was a treat. Nikole Music is a phenomenal Elphaba, in a characterisation of great depth. Powerful vocally, Nikole performed the best version of ‘Defying Gravity’ I’ve ever heard. Madame Morrible is played with great poise by Julianne Horne. Jared Pallesen is a joy to watch as the Munchkin Boq, besotted with Galinda, his dancing skills clearly on display in ‘Dancing Through Life’. Triple threat Gavin Brown makes an instant impact as Fiyero, with his smooth attitude and charm. His special chemistry with both leading ladies is a credit to all three actors. Nessa Rose is brought to life

with great passion by Jessica Balzer, in a stronger version than I’d seen before. Stig Bell, Greg Jones and Kim Dresner, the Production Team, have created a top-notch community theatre production. Different directorial choices to usual expectations all really worked, giving the audience a fresh take. The choreography gelled splendidly with every number and the cast really outdid themselves. Costumes and Make Up are always a big part of any production of Wicked and Willoughby’s team excelled in both. Some of Galinda’s dresses are strikingly beautiful, while Dr Dillamond’s costume really caught my eye. Willoughby Theatre Company should be ecstatic with all aspects their production. James Russell The Wind in the Willows By Alan Bennett, adapted from the book by Kenneth Grahame. Music: Jeremy Sams. Villanova Players, Qld. Director: Leo Bradley. Musical Director: Rosemary Murray. Choreographer: Lynette Wockner. May 13 - 28. WRITTEN by Kenneth Grahame in 1908, The Wind in the Willows belongs in that group of English fiction popular at the time, which includes Alice in Wonderland, whose characters are anthropomorphised animals. The adventures of Mole, Ratty, Badger and Toad have been read and loved by generations. Alan Bennett’s love of words and the English language is given full reign in the character of Ratty, nicely played by Gary McEwen as the full English gentleman. Elizabeth

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Alex Thompson and Henry Brett in Spring Awakening. Photo: Belinda Strodder.

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Watch an extended cast performance mix of Spring Awakening. Scan or visit https://youtu.be/8ojsbJqEZ48 Morris is simply delightful as Mole; whether “messing about in boats” with Ratty or gobbling a chicken at a picnic, she gives the character buckets of heart. Denis Bowman’s imposing Badger has a nice regional accent, Nathaniel Kennedy as Toad takes petulance to a new level, whilst Leo Wockner delivers Alfred’s lines with delicious irony, as does Brian Cannon as the Magistrate open to bribery. Leo Bradley’s sure directorial hand is in evidence every step of the way as a large cast of adults and children scramble, skip and hop about the stage as Rivers Bankers, Wild Wooders, Field Mice and people of the Wide World. Bennett’s adaptation is, as to be expected, very English, which is enhanced by Jeremy Sams’ songs of the folk-song/ madrigal variety. They please, as does the whole production. Peter Pinne Spring Awakening Book and lyrics by Steven Sater, music by Duncan Sheik, original play by Franz Wedekind. StageArt. Director: Robbie Carmellotti. Musical Director: Caleb Garfinkel. Choreographer: Zoee Marsh. Chapel Off Chapel (Vic). May 19 - June 10. STAGEART’s Spring Awakening was an amazing production. Everything seemed to flow. As one song was being sung, you tended to not notice that the stage was being reset by the performers behind, until the lighting changed. It was very slick. 102 Stage Whispers

The choreography was energetic and tight, with all performers moving as one when required. As well as head microphones, soloists were usually given a wireless microphone to sing with for better sound, this often being handed to them by another performer. Sometimes that performer held it for them if they were unable to do it themselves. This was very unobtrusive. All the performers were strong and had excellent voices. Often one was picking up a violin or guitar to add to the fabric of the orchestra. They were really a multi-talented lot. Ashley Roussety and Jessie-Lou Yates were superb as the young lovers, Melchior and Wendla, and generated a real chemistry. Brent Trotter was excellent as their tortured friend, Moritz. Barry Mitchell and Olivia Solomons played a number of adult roles, and clearly differentiated between them. We left feeling we’d been put through the wringer, but wouldn’t have missed it. Graham Ford Aida By Tim Rice and Elton John. The Hills Musical Company. Stirling Theatre, Adelaide. May 5 - 20. THE word Aida immediately conjures up images of pyramids, animals, huge sets and lavish costumes, largely thanks to Giuseppe Verdi’s 1871 opera. This Elton John and Tim Rice stage musical played on Broadway from 2000 until 2004. It’s an admirable undertaking by Director Lauren Scarfe and the Hills Musical Company to bring this lovely piece to Adelaide.

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This production is elevated superbly by the three leads, truly a triple ‘tour de force’. Lindsay Prodea is poignant and powerful as Radames, Rebecca Raymond, naturally radiant, with a voice of great beauty and variety, impresses as Aida, while Tegan Gully is a fabulous Amneris, the superficial and self-obsessed princess with a fashion fixation, who matures into a wise ruler. Their stunning vocals, beautiful characterization and stage presence make this show. Aida’s plot is relatively simple and light, but focuses well on the intimate relationship between Radames and Aida. Daniel Steven gives a fine supporting performance as Mereb, a Nubian slave who has refined the art of theft and bribes - an appealing character, played with humor and charm. Brad Martin’s Pharaoh is strong and convincing, as is Howard Raymond as Amonasro, although some dialogue was a little hard to understand on opening night. The Ensemble works hard throughout, with a standout performance and great vocals from Kathryn Driver as Nehebka, a slave girl. Thomas Phillip’s choreography was generally interesting, fitting the very varied styles of music well. Whilst not a deep musical, the poppy score and enthusiastic performances all-round are very enjoyable. A warming love story on a crisp Stirling evening. Shelley Hampton

Miss Saigon Music: Claude-Michel Schönberg. Lyrics: Alain Boublil & Richard Maltby Jnr. Stray Cats Theatre. Directed by Karen Francis. Mandurah Performing Arts Centre, WA. May 18 21. THE West Australian Community Theatre Premiere of Miss Saigon was a beautifully presented production by Stray Cats Theatre. This large cast show was strongly sung, with the 50+ cast members well led by Vocal Director Kristie Gray. Musical Director David Hicks guided a tight thirteen-piece orchestra. The lead cast were especially strong. Andrea Lim shone as Kim, in a performance that was acted with great conviction and gorgeously sung - an amazing first leading role. Kim’s relationship with Chris was beautifully drawn, with Tate Bennett excellent as the torn Chris. Robert Sardual was an audience favourite as The Engineer, with amazing energy and presence, if a little hard to understand at times. John Mondelo was believable and sympathetic as Thuy. Tara Lynette Elliott brought a gritty honesty to Gigi. Paul Spencer was outstanding as John, with his anthemlike “Bui Doi” a showstopper. Lisa Taylor had lovely depth as Ellen. Noah Verne was a little charmer, making an impressive debut as Tam. Fiddler on the Roof Music by Jerry Bock, Lyrics by Sheldon Harnick. Book by Support roles were generally well played, with some Joseph Stein. Therry Dramatic Society. Arts Theatre, strong cameos. Adelaide. June 8 - 17. Lovely eye-catching moments abounded, including the FIDDLER on the Roof has been close to my heart since I dazzle of “American Dream”, the clever helicopter, and the played in the orchestra for a production in 1981. striking dragon. The opening tableau, was simply stunning. The set design had moments of bells and whistles, while Therry’s production captures the bleakness of early twentieth century Russia in every department - lighting, other scenes were played very simply - or filled with people costumes and set design. More than that though, thanks to (usually exquisitely costumed). Lighting was very dramatic director Norm Caddick, every laugh and tear is skilfully with strong choices. highlighted. Wonderful to see this rarely presented musical performed with passion and power. The success of Fiddler on the Roof depends on the character of Tevye. David Gauci’s rich baritone voice and Kimberley Shaw perfect timing quickly endear him to the audience and his Annie Get Your Gun conversations with God and quotes from the good book are hysterically funny. He is well partnered by Anne Doherty Music and lyrics by Irving Berlin and book by Herbert and as Golde his wife. She is the perfect foil to Tevye’s Dorothy Fields. Murray Music and Drama Club. Directed by Cathy Puzey. Pinjarra Civic Centre, WA. May 12 - 26. brashness. Ruby Pinkerton (Hodel) steals the audience’s heart, ANNIE Get Your Gun was presented with colour and particularly in her solo ‘Far From The Home I Love’. enthusiasm by MMDC, in a return to the first musical Jared Frost gives one of his best performances as Motel presented by the company in 1993. the tailor, particularly in ‘Miracle of Miracles’. There was lots to like in this traditionally presented There are many other notable performances that make production. Lori Anders made a lovely journey as the Fiddler on the Roof a real ensemble show. sharpshooting Annie Oakley, nicely matched with Rowan The orchestra, although competent, did have a few Crewman, who gave Frank Butler a charming yet imposing air. disappointing moments, which should resolve as the production settles in. Nic Davenport was a picture-perfect Buffalo Bill, working All in all, though written in 1964, Fiddler on the Roof nicely alongside Trevor Delaporte as Charlie Davenport. deals with family values that are still very relevant today and Vicki Ormsby gender flipped to play an imposing Chief is an entertaining night out in theatre. Sitting Bull. Barry Hill Carole Dhu revived her portrayal of Dolly Tate, looking great for twenty-four years between the same role. Dolly’s daughter Winnie was beautifully played and prettily sung by Rhiannon Draper. Her love-match, Tommy Keeler, was very Longer versions of many reviews can now be found at www.stagewhispers.com.au

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nicely played by Alex White, making the most of this romantic little sub-plot. The children were delightful, lifting the show with every appearance. An enthusiastic and very busy ensemble provided colour and warmth. Lots of costume changes for many of the cast - well handled by Costume Co-ordinator Tammy Peckover and her team, who created a lovely period look. The show is well accompanied by single pianist Kenn Ellis. While not as vocally strong as I would expect at MMDC and occasionally a little under-paced, Annie Get Your Gun has a lovely feel and the audience was enjoying it very much. Wonderful to see a classic musical with its gorgeously memorable score being presented. It is so important that we continue to perform and love these classic shows. Kimberley Shaw

Little Shop of Horrors Book and lyrics by Howard Ashman, music by Alan Menken. Based on the film by Roger Corman, screenplay by Charles Griffith. Blackwood Players (SA). Blackwood 21. May 26 June 17. LONG-established Adelaide community theatre group Blackwood Players has its mojo back, with a very enjoyable production of Little Shop of Horrors. James Barbary is hugely endearing as gentle and sensitive flower shop assistant Seymour, while Karina Black is his perfect match as Audrey. Ron Densley is fantastic as Audrey’s abusive partner and also in his other roles. Chris Overton generates plenty of laughs as Mr Mushnik, while Elle Nichelle, Tammy Shields and Lauren Bannard do well as local girls/backup singers Crystal, Chiffon and Ronnette. A good ensemble gives solid support to the key performers. Joseph and the Amazing Technicolor Dreamcoat Moving Audrey 2, Georgina Lumb has good puppetry Music by Andrew Lloyd Webber. Lyrics by Tim Rice. Geelong skills and director Georgie Bannard also does a convincing Lyric Theatre Society, Victoria. Director: Davina Smith. and funny turn providing the monstrous plant’s voice. Musical Director: Bradley Treloar. Choreographer: Molly Sound elements let down all the performers in this production. Carter. Geelong Performing Arts Centre. May 5 - 13. THE GLTS production of Joseph and the Amazing Blackwood has come out firing with a very good Technicolor Dreamcoat rockets along. Fifty minutes in, the movable set for this production, designed by the indefatigable backbone of the company, James Barbary. lights announce intermission - catching me by surprise. For those who aren’t up to date with their Bible stories Costume design is strong and the creation of Audrey 2 is very fine. Lighting is excellent in the lightning scene and or their Andrew Lloyd Webber, Joseph retells the story of serviceable in general. Lighting cues, especially immediately the son of Jacob from Genesis 37- 50. GLTS have gone for a high-impact, colourful production after blackouts for set and scene changes, need to be crisper. with lots of movement. Every element of the production Little Shop of Horrors is a welcome step up by supports that. Take the set design. The design team went for simple Blackwood Players and should herald quality productions to come. pieces with high visual impact. Ditto the costumes. Lesley Reed Or look at the multimedia introduction during the Footloose overture. Visually bright and impressive. While I liked the multimedia introduction, I think it set a By Dean Pitchford and Walter Bobbie. Music by Tom Snow false expectation for the show. The introduction eased the (and others), lyrics by Dean Pitchford. MLOC. Director/ Choreographer: Leah Osburn. Musical Director: Malcolm audience into the show rather than giving them an appropriate high-energy jolt. Huddle. Shirley Burke Theatre, Parkdale. May 19 - 27. I THOROUGHLY enjoyed this MLOC production. Though Charlie McIntyre dominated as Joseph. He has classic the premise is a bit corny, the strength of the acting drew leading-man good looks, a voice that’s sweet, warm, and authoritative, and he possesses the all-important likability me in. This was a colourful, high energy show with a large cast. factor. As one of Joseph’s brothers Levi, Andrew Ward There was a steel structure at the back for elevation, and presented a cheeky interpretation of the character. His different parts of the set were wheeled on and off swiftly to keep the action moving. version of ‘One More Angel in Heaven’ was at times mournful and in other places, funny. After seeing a number of overtly sexual operas, it was When Pharaoh (Connor Rawson) made his appearance, refreshing to see a delicate restraint in the relationship between the two lovers, Ren and Ariel. Michael Hurrey and it was with the Elvis-inspired ‘Song of the King.’ Rawson made the king look cool. Uh-huh. Mollie Williams found a genuine chemistry, and being able As you’d expect for a show written for a school, it’s fun to sing and dance as well as they did was an extra bonus. for all ages. And GLTS have ramped up the fun with such a Ashley Cooper was excellent as Ariel’s father, the high-energy production. preacher who took the high moral ground before finding his humanity again. This was a terrific voice. Emma Blake, Daniel G. Taylor as his long-suffering wife, had moments of real pathos. 104 Stage Whispers

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Nathan Hodge as Jesus in BMMS’ Jesus Christ Superstar. Photo: Brenden Neaton.

Almost stealing the show was Nick Rees as the gawky Willard. There are lot of trios and quartets, all involving close harmony singing, which was invariably accurate and exciting. Deanne Palmieri, Maddi Plum and Amanda Rotberg shone in this area. The choreography was tight. As it was opening night, microphones were occasionally switched on a bit late. However, it was the lighting which was the biggest disappointment. Maybe some of the lights blew or the cues were out of sequence, but in one trio, two were in spot and the other in darkness, while sometimes performers across the front of the stage were unlit. Hopefully these issues can be addressed as this was a truly delightful evening. Graham Ford Jesus Christ Superstar Music: Andrew Lloyd Webber. Lyrics: Tim Rice. Blue Mountains Musical Society. Director: Jessica Lovelace. Musical Director: Matthew Lovelace. Choreographer: Emma Joseph. Blue Mountains Theatre. May 20 - June 4. THIS was a hi-tech, hi-energy spectacle. The show’s setting was changed to a post-apocalyptic future, with lots of dancing. Imagine Mad Max: Beyond Thunderdome as a School Spectacular. Aarin Starkey as Judas has a soaring music-theatre voice. Sarah Namdar as Mary has a presence as beautiful as her voice. Nathan Hodge as Jesus was passionate as he was gutsy, and in fine tune.

Matt Herne as Pilate brought much gravitas to the part. Clare McCallum’s Herod was a scene stealer. Eamon O’Flynn as Simon, Liam Gray as Peter, Erin Bogart as Annas were also in great voice. Lachlan Gracie’s Caiaphas was more manic than usual. The 11-piece band was scattered around the stage, ably led by MD Matt Lovelace. Emma Joseph’s choreography is impressive. As with all such productions that go for Rock Eisteddfod razzamatazz, the show gives priority to energy over emotion, movement over character, and technical effects over storytelling. The technical wizardry is a marvel, but many times I was so bedazzled by the effects that I watched those more than

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Stage Whispers 105

Joanna Licuanan-Francis (Gary Coleman) and Nick Valois with Princeton in Avenue Q.

Some of the best songs are the humorous ensemble piece “The Internet Is For Porn” and “If You Were Gay”, sung by Nicky (Dave Smith) and Rod (Joel Hutchings). “Schadenfreude”, sung by Gary Coleman (Joanna Licuanan Francis) and Nicky (Dave Smith) was amusing. Overall the singing is fine, though flat in high notes in some songs. Choreography is simple and clear and takes into account the use of puppets. It is no easy task to bring a puppet to life, making this show’s achievements with good singing and characterisation all the more impressive. Rachel McGrath-Kerr

The King and I Music: Richard Rodgers. Book & Lyrics: Oscar Hammerstein II. Based on Anna and the King of Siam by Margaret Landon. Savoyards. Iona Performing Arts Centre, Wynnum. June 17 - July 1. THE magic of Rodgers and Hammerstein’s The King and I is in evidence everywhere in Savoyards new production of their timeless classic. Songs which are normally cut in modern productions, mainly because of their political incorrectness, as presented here make for a greater depth and understanding of Rodgers and Hammerstein’s original intent, especially the second-act opening “Western People Funny” with the King’s Asian wives dressed incongruously in 1860-style Western hoop-skirts. The strength of Johanna Toia’s production is the dynamic acting of Miranda Selwood as Anna and Reindert Toia as The King. Selwood gave Anna a cultured maturity, sang her songs sweetly, and parried the King’s declarations with charm and steely determination. Toia’s King was ruthless, autocratic, demanding and ultimately persuasive the cast e.g. at the crucifixion Jesus was acting his messiah as a man trying his utmost to be progressive. Together they off, but I was watching the Cross - made of video monitors. brought heart and joyous emotion to the production. The This production took risks that paid off for the audience, audience were in tears during the iconic polka around the giving the show rapturous applause and standing ovation. palace in “Shall We Dance,” and at the finale in the deathPeter Novakovich bed scene. Vanessa Wainwright sang a lovely “Something Avenue Q Wonderful,” Dani Heraud’s “My Lord and Master” was Book by Jeff Whitty. Music and Lyrics by Robert Lopez and affecting, but last minute replacement Mike Zarate was Jeff Marx. Supa Productions. Directed by Jarrad West. vocally out of his depth as Lun Tha. Oliver Cameron and Queanbeyan Performing Arts Centre. Apr 28 - May 13. first-timer Anthony Diakos-Masters impressed as Prince BRIGHT and fast-moving, this production is another Chulalongkorn and Louis, whilst Michael Furtado was an accomplishment from Supa. With direction that makes the imperious Kralahome. most of the set (designed by Chris Zuber and Nick Valois) Peter Pinne and tight musical direction from a band of six (musical direction by Elizabeth Alford), the audience is drawn into Jekyll & Hyde: The Musical the streetscape of Avenue Q and its human and monster Book and Lyrics by Leslie Bricusse. Music by Frank Wildhorn. residents. This is not Sesame Street by any means, Director: Ben Todd. Musical Director: Ben Stefanoff. discussing sex, racism, political correctness, apathy and the Choreographer: Rebekah Stonelake. Marie Clark Musical difficulties of adult life. Theatre Company. The Arts Theatre, Adelaide. May 26 Emma McCormack is a standout as Kate Monster. Nick June 3. Valois plays Princeton with charm. Josie Dunham plays Lucy THIS is an example of musical theatre that takes us back T. Slut with appropriate va-va-voom. Nina Wood as in time while attempting to both touch our emotions and Christmas Eve, the therapist with no return clients, and Riley jangle our nerves, rather than simply push our nostalgia Bell as Brian, the aspiring comedian, make an amusing buttons. Boasting a brilliant central portrayal, some strong couple. supporting performances, a talented ensemble, and 106 Stage Whispers

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generally impressive musical/technical qualities, this Jekyll & Hyde is a winner. David MacGillivray has displayed an undoubted talent on Adelaide stages for a number of years now; the title role in Jekyll & Hyde is almost certainly his greatest work to date. Supporting him ably are Ashley Muldrew as Jekyll’s refined fiancé Emma Carew, and Sarah Wildy as the farmore-worldly Lucy Harris; both women possess superb voices that perfectly capture the essence of their roles. Not everything in this production works equally well. The tongue-in-cheek opening will be strictly a matter of personal taste, and some of the performances in smaller roles make a rather distracting impact, either through slight overplaying, or else what sounded to this reviewer like blatantly anachronistic ad-libbing; fortunately, these moments are just moments, and cannot sway this ship off course. Not likely to be labelled a light-hearted experience, Jekyll & Hyde should be seen by those who wish to be exhilarated by a gripping story, one that is energetically presented and impressively acted by top-drawer talent. Anthony Vawser Blood Brothers Book and songs by Willy Russell. Newcastle Theatre Company. NTC Theatre, Lambton (Newcastle). Apr 22 - May 6. BLOOD Brothers is a very down-to-earth musical, as it follows the lives of twin brothers separated after birth because their single mother has seven children and cannot afford to keep two more. She sells one to a wealthy woman, but at the age of seven the boys meet in a park and, learning that they have the same birthday, decide to become “blood brothers”, with the story following their increasingly troubled lives over the next two decades. Willy Russell grew up in the story’s setting, Liverpool, and his background helps make the characters very moving, while drawing on the styles of the Beatles and other songwriters of the tale’s 1960s and 70s. And director Adelle Richards and her cast added to the pleasures of the humorous moments and the heartaches when things go wrong. The use of a narrator to comment on events in dialogue and song worked well through Jason King’s performance, Jacquelyn King as the twins’ mother, Mrs Johnstone, affectingly brought out the woman’s hopes and frustrations in her musical numbers, and Melinda Smith as the adoptive infertile mother, Mrs Lyons, was touching as she desperately tried to hide the truth about her son’s parentage. Luke Baker, as Mickey, the son retained by his mother, and Brayden Weber, as Eddie, the more upmarket twin, put a lot of humour into the relationship of the boys, but they increasingly had watchers on the verge of tears as the demands placed on them while growing into adulthood impacted on their lives and friendship. The other performers were equally engaging, with the background ensemble involved in most of the musical numbers and playing roles including a policeman, judge, bus conductor and milkman. Ken Longworth

PERFORMING ARTS MAGAZINE JULY/AUGUST 2017. VOLUME 26, NUMBER 4 ABN 71 129 358 710 ISSN 1321 5965

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

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Stage Whispers 107

Musical Spice

Motherhood The Musical

Brooke - Manon Gunderson-Briggs. Amy - Rebecca Spicer. Tash - Chloe Angel. Barb - Christie Koppe.

Recently I came up with a brainwave - why don’t I put on a show? Time to take a break from sending out scripts and scores for other people to perform from and get my own hands dirty. It’s only happened once before, and even though it went very well, I have steered clear of being a producer as I know just how hard it is. To get approval from my wife I had to keep the season very close to home. The show I am putting on is Motherhood The Musical, which is a production from my catalogue. The music is sweet and the jokes have appeal to anyone who has a belly button. The venue is a theatre I can walk to The Bondi Pavilion Theatre - at an iconic Sydney beach you may have heard of. The cast of four women are super talented. The catalyst for the work, Amy, is having a baby. The musical is set at her surprise baby shower. Now as it happens Amy is played by my daughter - Rebecca. How did she get the part you ask? Well she got the part by promising to do a big share of the work in 108 Stage Whispers July - August 2017

producing the musical. (Oh, and yes, she did graduate from NIDA and AIM so she can sing and act.) The musical is on in two months and at the time I write this column we have sold one ticket. Mind you we have not started promoting it yet. The challenges of starting a new company, with a small cast show, without any established database of local theatre-goers are high. The Bondi Pavilion, I have been warned, is also considered off the theatrical beaten track. Having been the co-publisher of Stage Whispers for a decade, you might say I have read of all the tricks of the trade. Here are some of them, which I am about to roll out. Firstly, I called the company Bondi Theatre Company, so it sounds quite grand. Think Bondi Vet, Bondi Rescue, and now Bondi Theatre Company.

Next I have had amazing photographs taken of the cast, even before the first rehearsal, which we are about to unleash onto the social media universe. Another trick is to share the venue. I noticed some clever producers have been putting on one show at night and another during the day. In our case I have at least four cabaret acts lined up to bring in their own audiences during the time we are renting the space. As you might imagine anyone with a connection to the most intense time of motherhood will be hearing about the musical. The weekend we bump-in is the City -to-Surf, so we can’t get to the theatre on the day of the big race. I look forward to letting you all know how we crossed the finishing line in the next issue of Stage Whispers. David Spicer

The Bondi Theatre Company’s season of Motherhood The Musical by Sue Fabisch, and associated cabaret, is on from the 17th until the 26th of August. Bookings at www.bonditheatrecompany.com.au

Read scripts, listen to music and order free catalogue at: www.davidspicer.com.au david@davidspicer.com (02) 9371 8458

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