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In this issue
Beautiful Brains ............................................................................... 6 Angie Milliken and Sigrid Thornton’s careers in sync Broadway’s Movie Mania............................................................... 11 Stage musicals dance from the celluloid
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Rolling Thunder Vietnam ............................................................... 15 Concert drama tours Australia Australia’s New Eponine................................................................ 18 Life’s anything but Misérable for Kerrie Anne Greenland Strictly Costumes ........................................................................... 30 Backstage tour of Strictly Ballroom The Musical
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37
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Costume And Prop Marketplace .................................................... 34 NIDA Students At Play ................................................................... 42 Five plays in a month for Design and Costume students
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Putting The ‘Sparkle’ Into Musicals................................................ 46 ‘The Firm’, J.C. Williamson’s, remembered
Regular Features Stage Briefs
62
77
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Stage On Disc
26
London Calling
28
Broadway Buzz
48
Amateur Stage Briefs
88
Auditions
59
On Stage - What’s On
49
Reviews
60
Musical Spice
92
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2 Stage Whispers July - August 2014
Editorial Dear theatre-goers and theatredoers,
The young stars of Strictly Ballroom The Musical, Thomas Lacey (Scott) and Phoebe Panaretos (Fran), enjoy their copies of Stage Whispers on stage at Sydney’s Lyric Theatre.
Since I became editor of Stage Whispers, just six years ago, it amazes me how rapidly we’ve evolved. Now, as then, of course this print magazine remains central to the job, but now, for the first time, we’re communicating the latest theatre news and reviews to well in excess of a million people in a single year via our website www.stagewhispers.com.au Social media, another relative newcomer to the mix, has also grown exponentially, so it was a special thrill for me in June when Stage Whispers passed 9,000 likes on Facebook. One of my favourite parts of working on Facebook each week comes on Sunday evening when I ask you to share the great productions you’ve seen or been a part of over the weekend. It’s a great moment when social media becomes a real theatre community meeting point. If you haven’t joined in already, why not be a part of it this Sunday? This edition, Peter Pinne transports us to the magic of Broadway and the extraordinary range of screen to stage musical adaptations on show. When I read his story, I wanted to rush out, buy my airline ticket and book all the hottest tickets. Costumes, props and sets, the illusion of theatre, are our special focus in this edition of Stage Whispers, as we check out some of the impressive wardrobes of Australia’s Community Theatres. And speaking of costumes, J.C. Williamson’s ‘The Firm’ is remembered this edition in the first of a of two articles by Coral Drouyn, which sprung from recent a re-union. Many of the fabulous costumes from the great JCW musicals came out of the mothballs that day, and next edition we’ll share some of the great pictures, along with a wealth of anecdotes that were shared. I hope our cover wasn’t too graphic for anyone. Frank Hatherley interviews Angie Milliken (holding Cover image: the brain) and Sigrid Thornton, appearing in two Angie Milliken appears as Lorna different productions of Lucy Prebble’s latest play James in the joint Queensland Theatre The Effect, in Brisbane, Sydney and Melbourne. Company / Sydney Theatre Company Looking forward again to next edition, our production of The Effect (Photo: Rob annual Showcase will feature all the latest about Maccoll). Sigrid Thornton plays the same role in Performing Arts Training across Australasia. the Melbourne Theatre Company’s production (image from the Black Swan Theatre Company of A Streetcar Named Desire. Photo: Gary Marsh).
Yours in Theatre,
Neil Litchfield Editor
CONNECT www.stagewhispers.com.au Stage Whispers 3
Stage Briefs
Celebrating five years, the gender-bending music theatre charity show Twisted Broadway returns to Melbourne for one-night-only at Arts Centre Melbourne, Playhouse on Monday 4 August. Twisted Broadway features top music theatre performers singing songs originally penned for the opposite gender. Image: Rodney Dobson, Ian Stenlake and Scott Irwin. Photo: Kurt Sneddon (Blueprint Studios). Leading Australian theatre producer John Frost was awarded an AM (Member in the General Division) in the Queen’s Birthday Honours. He had been awarded an OAM in 1999, which was upgraded this year to an AM for “Significant service in the performing arts, and as a supporter of industry personnel.”
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Nancye Hayes appears as Lady Bracknell in the State Theatre Company of South Australia production of The Importance of Being Earnest from 15th July to 6th August. Following the Adelaide season, the production will tour to Canberra (19th - 23rd August), Geelong 28th - 30th August) and Wollongong 2nd 6th September)
Matt Edgerton, Patrick Dickson, Amy Mathews and Danielle Carter in rehearsal for Richard the Third at The Ensemble Theatre Sydney.
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Angie Milliken
Angie Milliken and Sigrid Thornton are each playing the lead role in two different productions of a sharply intelligent play that requires actors with brains. Frank Hatherley interviews the two stars and discovers that both productions are in luck. The photo of Angie Milliken holding, Hamlet-like, a dripping brain is beautifully confronting. She’s playing Lorna James, supervising doctor of a pharmaceutical drug trial, in the Queensland Theatre Company’s production of The Effect by Lucy Prebble, a play that debuted at London’s National Theatre in 2012. It’s a co-production with the STC and plays Sydney immediately after Brisbane. Angie, surprisingly, currently lives in Los Angeles. This is her first job ‘at home’ in eight years. And this really is home: she was born and raised in Brisbane. Her parents and sister will be at the opening night. She’d always been an actor, she says. “Even when I was very young I would just get up and perform things assuming I knew how to do it. “I grew up watching Brisbane actors. I soaked up what I could of the Queensland Theatre Company, the TN! Company [Twelfth Night Theatre Company], the Grin & Tonic troupe. My foundation in the theatre was here. It wasn’t a celebrity-filled time, but it was a very rich time. I watched actors like Bille Brown work and I thought: ‘I want to do that’.” [The Effect is playing at the QTC’s Bille Brown Studio.] In the 80s Angie completed an English Literature and Sociology degree at the University of Queensland. Bright and brilliant, acting remained a pleasant sideline. She was part of an alternative arts and theatre group called The Fluba Troupe, advertised as ‘the quintessential existential experience’. “I was very naïve. I was experimenting with theatre and what my place in it was, and I was very fortunate to work and collaborate with many wonderful people. I also did some regular plays at the Schonell Theatre.” Did that convince her to try for NIDA? “Not at all. I had never heard of NIDA! I was in a quandary at the end of my degree - should I continue studying
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or get a teaching degree? I was on the phone with my sister Katherine, and she said ‘really, Angie, you’ve got to stop avoiding being an actor’. “Which I was,” she laughs. “I was avoiding making the decision, because I knew it was going to be a precarious life to pursue. But it was just in my blood. “My sister said, ‘look, there’s this school in Sydney, just get the application form, fill it in and go!’ So I said ‘okay’, spread my wings and went to Sydney.” NIDA in the late 80s was a powerhouse of talent. She was in student productions directed by Jim Sharman, Gale Edwards and Lindy Davies. Her first professional job was in Sharman’s 1989 production of The Conquest of the South Pole at Belvoir. An actor named Baz Luhrmann played the lead. The play was not a success, though the Sun-Herald’s review approved of ‘the spirited Angie Milliken’. She was away. Next year she played Irina in The Three Sisters for Richard Wherrett. It was his final production for the STC. “At that stage of his illness he directed from a sofa in the rehearsal room, which was just lovely actually. He was a wonderful and knowledgeable man, expansive and funny, who just enjoyed humanity. It was a really lovely environment to work in. “I felt so privileged to be in the company of actors of different generations, which is what Chekhov affords you, and to learn from such lovely actors as Ron Haddrick, Lois Ramsay, Linda Cropper, Pam Rabe...” Angie was now in demand. Film and television offers came along. “I did an ABC mini-series called The Paperman that was partly shot in Sydney and partly in London. It was loosely based on the beginnings of Rupert Murdoch’s media empire.” She thought of staying in London but got the news that Neil Armfield had offered her The Tempest at the Belvoir. “I came straight back,” she says. She played Miranda to John Bell’s Prospero, a fond memory. I tell her that Bell had recently named this production, on an island set covered
Angie Milliken in The Effect. Photo by Rob Maccoll.
deep in sand, as the best Shakespeare he’d ever done. “I’m not surprised,” says Angie, “it’s a special memory of mine, too. Performing in all that sand - I was in heaven.” Thoughtful, unambitious, dedicated to her craft, she was content to do excellent work in Australia, based mainly in Sydney. “I went with what was offered to me,” she says. Her performance as Vittoria in The White Devil, directed by Gale Edwards was notable: the production went to New York.
But soon she paused. “I needed to spread my wings again!” she says. “I needed to open up a new chapter in my life! I tried living in London and was making the initial moves to work there. But it didn’t feel right to me, personally. “On my way back home I visited a friend in LA, and I just responded to the mountains and the sea and I felt like this was really where I needed to be for my next chapter. “So for the last eight years I’ve lived in LA. That wasn’t a professional choice, (Continued on page 8) www.stagewhispers.com.au Stage Whispers 7
Angie Milliken in The Effect. Photo by Rob Maccoll.
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it was a deeply personal one, part of my personal odyssey. Personal growth must go hand in hand with artistic growth. For me there’s not one without the other. “I didn’t know I would be completely starting all over again, personally and professionally. There were survival skills that I needed to learn. “There’s nothing like having an experience away from Australia to find out just how Australian you are. And there’s nothing like experiencing time 8 Stage Whispers July - August 2014
‘impulse’ technique remains the basis of Angie’s work. “I was blown away,” Neil Litchfield had said, “by Angie’s fearlessness and total commitment to a workshop demonstration to amateur directors of an acting process.” I wanted to know if she used this technique in her preparation for The Effect. “It’s certainly the basis of what I do, definitely,” she says. “It’s what Lindy Davies called at NIDA ‘an approach to performance’. She’s taught it at the VCA as well, so there’s a whole generation of actors who are very, very familiar with it. “It comes from real life. Whatever we do - making a cup of tea or waiting for a bus or driving a car - there are unconscious decisions that we make off impulse. So finding your way into work is finding impulses that are organically connected to what your character needs and wants within the world of the play. “You create a state for yourself where you make organic choices that don’t come from something rational or logical. “But first of all you have to fill yourself up with the world of the play. That involves research. What’s the world of Lorna, a doctor? What’s her relationship with Toby, the other doctor, and with the other characters? “Allow the research to form in a deep way and you make discoveries about the language and about the world of the play. It’s like playing a sport where there are strong rules. Once you really know the rules you can play hard and confidently and instinctively within that context.” away from Brisbane to know just how I ask about the rules she has much a Queenslander you are. developed for being Lorna. She starts “It’s always very important to be slowly, carefully. grounded in where you come from and “I’m the supervising doctor of a to know that’s who you are. It feeds drug trial. I’ve been given a job as a very deeply into your artistic sense of favour from someone very important in self.” my life - Toby, who is also a doctor _________________ working for a pharmaceutical company. “I have a science background. I’m When my editor asked me to do also emotionally driven, with very this interview he told me about strong personal and political beliefs meeting Angie Milliken at a NIDA Open about pharmaceuticals. It’s very Program Directing Masterclass some important to me to run this drug trial years ago. She was working with her absolutely perfectly. My professional acting guru Lindy Davies, whose career is riding on it. I’ve had a lot of
struggles in the past. I refuse to believe depression is an illness. I tend to think it’s a much more grey area...” There’s a long pause. “It’s very hard to talk about her from the outside,” she says. “The play is wonderful because depression gets illuminated in all its many complexities - its causes, whether we should medicate or not. All the issues that surround depression are laid out.” A dedicated seeker after truth in her life and her art, Angie Milliken’s personal odyssey continues. _________________
Eye-catching and committed, while the acting work kept coming Sigrid had no time for formal acting training. “My training has always been on the run really. I gained an awful lot by getting into the profession early. “But it’s swings and merry-gorounds. I would have relished the opportunity to take all kinds of exciting risks in the safe environment of a drama school. Whereas when you’re a young actor out in the field your learning curve is exposed to the public.” Known more for her film and television work than as a stage actor, Sigrid first made a speciality of longPerhaps Sigrid Thornton is not so skirted, feisty, period heroines, mainly intense when I ring her in Melbourne, in the bush. TV series included but she’s just as thoughtful, just as Outbreak of Love (1980), The Last intellectually committed to the acting Outlaw (1981), and movies like The job at hand. Man From Snowy River (1981) and The I soon discover that she’s not only a Lighthorsemen (1987). personal friend of Angie’s but that the The 1983 Channel 7 TV series All two actors share a Brisbane the Rivers Run (‘One woman’s struggle background. “We’re both Brisbane for survival’) led to three years (1988girls!” she says. And they both have a 92) in LA making the CBS ‘family strong connection with the University Western’ series Guns of Paradise. of Queensland. Back home, an uncharacteristic dry “I actually grew on the campus patch came to an abrupt end with because I’m the child of academics. three seasons of the ABC’s Both my parents were teachers there. wildly popular TV series My mother [Merle Thornton] initiated SeaChange (1997the first women’s studies course in the 2000), for which country. My father [Neil] was a Senior she won a Lecturer in Political Science. I grew up running around the lovely green campus, a beautiful place to frolic as a child.” Hers were politically committed and deep thinking parents, making waves in 60s Brisbane. At 13, Sigrid was arrested with her family after a march and sit-in protest against the Vietnam War. Her night in the watchhouse was an education in itself. Acting cut short her own university degree course. Crawford Productions had spotted her while she was at school and she’d been flown to Melbourne to appear in an episode of Homicide. “During my time at school I was doing one or two guest leads a year for Crawfords. Then I dropped my arts degree course in the middle of the first year when I got another job down in Melbourne.”
Logie and the hearts of telly-viewing Australia. Theatre work came later. Betrayal (2001) for the MTC, a national tour of The Blue Room (2002), Desiree in A Little Night Music (2007) for Opera Australia and, earlier this year, Blanche in A Streetcar Named Desire for the Black Swan Theatre Company in Perth. How, I ask her, does acting for the stage compare to acting for the screen? “I love film because you can stop and start again!” she laughs. “There are no safety nets in theatre but that’s what makes it so enticing, such a ferocious jump into the unknown every night. If you get it wrong you are dependent on your colleagues to help you, on your imagination and on the audience’s good graces. You certainly can’t stop and start again. “And I love the whole rehearsal process for theatre, the thorough examination of the text. If I could be paid just to rehearse a good play in a rehearsal room I’d be a very happy (Continued on page 10) Sigrid Thornton - The Effect.
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camper. Never having to put the show on wouldn’t worry me at all. “And if you’re working on a genuine masterpiece like Streetcar the writing is so extraordinarily precise and vivid it carries the actor along if you give over to it. “Some actors like to lock down their performance during the rehearsal process and perform exactly the same way every night. But to me every performance feels different from the last and the job of the actor is to be fresh every night regardless of how thoroughly you feel you’ve got it under your belt.” _________________ I am wondering how Sigrid’s approach to inhabiting Lorna, the doctor/psychiatrist in The Effect, will differ from Angie’s. Sigrid is firm. “I like to do as much pre-preparation as I possibly can while still remaining open to the rehearsal process. It’s really important to come along with an open mind and heart and be ready for what the director, all of the key creatives and one’s fellow cast members have to bring to the table. “I don’t learn my lines before I come to rehearsal. I think there’s a process of amalgamating the intellectual, the physical and the emotional that can’t take place thoroughly until you’re moving on the floor. It’s a process called ‘getting the lines into your body’. “If you lock down too early you can make prejudgements that might waste time. Later in the rehearsal period you might have to double-back and reverse decisions that are already blocked in.” Has she been researching the subject of depression and antidepressants? “Of course,” she says. “Lucy Prebble [the playwright] is really well informed but I can’t take her word for it. I need to have a personal understanding of what is the state of play with medical research on the subject. “It’s a timely play, set in the context of a clinical trial: a stark and clinical environment. We have to humanise it as much as possible. The core of the piece is about the way that this trial, 10 Stage Whispers July - August 2014
Sigrid Thornton in Black Swan State Theatre’s production of A Streetcar Named Desire. Photo by Gary Marsh.
this mental condition and these drugs affect actual people. The fundamental challenge is to humanise the characters, to show them as vulnerable, frail human beings. “It’s also a discussion about love, the power of love to influence the heart. Well, we talk about the heart, but actually it’s also the brain. Where do we separate? What part of love is from the heart and what part from the brain? “I think love is the most valued thing to study in any creative work. That’s my personal view.”
The Effect by Lucy Prebble QTC and STC Co-production Directed by Sarah Goodes Bille Brown Studio, Brisbane 7 June - 5 July Wharf 1 Theatre, Sydney 10 July - 16 August MTC Production Directed by Leticia Cáceres Southbank Theatre, Melbourne 16 August - 20 September
Broadway’s Cinematic Treats
Has Hollywood become the out-of-town try-out for stage musicals? Screen-to- stage adaptations certainly dominated the Great White Way when Stage Whispers’ reviewer Peter Pinne spent a week in New York catching up on some of Broadway’s newest musicals.
Far left: Andy Karl in Rocky. Photo: Matthew Murphy. Left: Andy Kelso, Billy Porter and Jeanna de Waal (center) in Kinky Boots. Photo: Matthew Murphy Above: Jefferson Mays, Jennifer Smith and Bryce Pinkham in A Gentleman’s Guide to Love and Murder. Photo: Joan Marcus. Far right: ‘Arabian Nights’ from Aladdin. Photo: Deen Van Meer.
Rocky slurping raw eggs and his pounding hind-quarters of beef. It’s all there in a script that’s spare but effective. In the title role, Andy Karl is appealing, sexy, buffed, vulnerable, and a guy you want to root for. Margo Siebert brings warmth to the mousey, Back when talkies started in the late shy Adrian, and together their on-stage 1920s, Hollywood plundered Broadway chemistry is potent. Terence Archie as for stories and stars. Today it’s the Apollo Creed preens and struts like a reigning champ, Dakin Mathews’ gymreverse. Broadway continually digs owner Mickey is solid, while Danny deep into the Hollywood vaults. A Mastrogiorgio makes a convincing but season doesn’t go by without several screen-to-stage adaptations. Every odious Paulie, who’s been softened musical I saw on Broadway this year somewhat from the film version. But while Karl and Siebert carry the was based on a movie. On paper, Rocky, the 1976 Sylvester emotion of the plot, it’s Stephen Stallone Oscar-winning film, seems an Hoggett’s fight choreography that’s the star, taking us through every unlikely subject for a musical, but the show that sits on the Wintergarden sweaty blow, move, and punch with stage is a five-star knockout. A perfect exquisite agony. You smell the testosterone and the adrenaline rush is cast, inventive direction by Alex Timbers, and brilliant choreography by exhilarating. $4.3 million was spent on Stephen Hoggitt and Kelly Devine, especially the fight sequences, make it Christopher Barreco’s Tony Award one of the most thrilling experiences winning industrial-scaled set and you see every dollar of it up on stage. I’ve had in a theatre in recent times. Floating panels, elevated catwalks, and Not only is it a triumphant spectacle a full-sized boxing ring that at one and exciting on every level, it is also a time becomes vertical and at the finale musical with heart. You care for the characters. moves out into the auditorium and sits Working from Stallone’s original over the first seven rows of seats (the audience who were sitting there having screenplay, Thomas Meehan and Stallone have retained the movie’s well been moved up on stage to sit on -known plot. They’ve also kept most of bleachers behind the ring to watch the the movie’s iconic moments including action).
Christopher Akerlind’s striking lighting design works overtime along with Dan Scully and Pablo N. Molina’s stunning video projections. There’s an especially memorable pre-dawn running sequence which takes the ‘Italian Stallion’ and a bunch of guys in grey sweats and hoodees through city streets, along the Schuylkill River and up the grand steps of the Philadelphia museum. It’s riveting. Bill Conti’s iconic Rocky theme song “Gonna Fly Now” and “Eye of the Tiger” from the third Rocky movie have been added to Lynn Ahrens and Stephen Flaherty’s original score, a far cry from their work on Once Upon This Island and Ragtime. Flaherty, who grew up in the 70s, captures a sound of the period but also retains his original musical voice. Particularly good is Rocky’s first character building solo, “My Nose Ain’t Broken”, the ballads “Happiness” and “Raining”, and the waltz at the ice-skating rink, “The Flip Side”. The score has been heavily criticised but I thought it was right for the characters. The piano and guitar sound with an occasional string overlay worked for the poignant and intimate spots with the brass and thumping bass building the excitement in the bigger moments. If Rocky is the most spectacular new musical on Broadway then this year’s Tony Award winner, A (Continued on page 12) www.stagewhispers.com.au Stage Whispers 11
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Gentleman’s Guide To Love and Murder, is the funniest. The show is based on Roy Horniman’s 1907 novel Israel Rank (later a 1949 black and white British film called Kind Hearts and Coronets starring Alec Guinness). Set in Edwardian London in 1909, the plot has a penniless heir to the D’Ysquith family fortune bumping-off all who stand in his way to inherit it. The body count is as high as that other grisly killer Sweeney Todd, but this murderer is much more fun. Robert L. Freedman wrote the book, Steven Lutvak the music, and together they created the lyrics. Newcomers to Broadway, the pair have written a musical that is fresh, funny, and musically ripe with melody in the style of 19th-century operetta and Gilbert and Sullivan with flashes of Noel Coward wit. As the penniless heir Monty Navarro, Bryce Pinkham is one of the musical stage’s most endearing murderers. You can’t help but love him and root for him at every turn as he bumps off eight of his relatives. Playing all of the eight mostly pompous relatives (male and female), is the multi -talented Jefferson Mays. He skips,
dances, ice-skates, and bicycles through these various roles with astonishing ability and changes costume in the blink of an eye. It’s a dazzling performance. But it’s not the only dazzling performance in this gem of a show. Lisa O’Hare, as the socially ambitious Sibella, looks demurely attractive, has a delightfully delicate poise, and sings in a glorious clear soprano, whilst Lauren Worsham as Phoebe, Monty’s other love interest who decides to marry him, is delicious. Their second act trio with Pinkham, “I’ve Decided To Marry You”, is simply hilarious. Alexander Dodge’s set recreates an English Music-Hall with a detailed stage-within-a-stage on which most of the action happens. Linda Cho’s Tony Award winning period appropriate costumes add to the fun, which is directed skilfully by Shakespearean specialist Darko Tresnjak, who won the Tony for Best Direction of a Musical. Orchestrator Jonathan Tunick, who orchestrates all of Stephen Sondheim’s musicals, also adds a musical gag of his own by including a few of the opening orchestral bars from “Attend the Tale of Sweeney Todd” at the beginning of “Stop! Wait! What!”
Online extras! Check out a trailer for Aladdin simply by scanning the QR code or visiting http://youtu.be/h4sl3sQPzgc
James Monroe Iglehart in Aladdin. Photo: Cylla von Tiedemann
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when Monty is arrested. It’s an in-joke but it’s amusing. If Rocky is the most spectacular, and Gentleman’s Guide the funniest, then Aladdin must surely be the most magical. Disney’s latest animation-tostage adaptation is one giddy magic carpet ride of riches. Casey Nicholaw, pulling every trick out of his choreographer / director’s hat has come up with an Arabian Nights extravaganza chock full of colourful effects, retro vaudeville schtick, and more baubles, bangles and beads than a bazaar in Baghdad. Chad Beguelin’s book cleverly switches Aladdin’s monkey sidekick to three singing and dancing vagrants and makes the lamp’s Genie a human. The latter is a gift of a role which James Monroe Iglehart grabs by the throat and delivers with sass. A big African-American performer, he sings, dances, does somersaults, and commands the stage whenever he appears, in a performance which earned him the featured role Tony Award. His big first act number, “Friend Like Me”, done in a glittering and sparkling Aladdin’s cave, references pop-culture with Igelhart singing X Factor style Menken’s
the ballads, of which there are many, and leavened it by the occasional touch of country and blues. The songs are tailor-made for star Kelli O’Hara and she rises to the occasion giving one of her most tender and touching performances as a woman torn between the conflict of settling for something safe and secure or something that ignites her passions (for a moment). The opening “To Build a Home” which she sings with the company is stirring and lovely. She also has some standout solos, with “Almost Real” registering strongly. Steven Pasquale as Robert is the perfect match for O’Hara as an actor and vocally delivers a performance that is warm and sincere. He also gets several solos, but his baritone is shown to thrilling effect on his final “It All Fades Away”. Hunter Foster is also especially good, bringing a nice laconic touch to Francesca’s husband Bud, while Cass Morgan and Michael X. Martin are amusing as gossipy neighbours Marge and Charlie. Morgan’s “Get Closer”, Online extras! performed as a radio rock ‘n’ roll Get a first look at Bullets Over Broadway standard, provides some unexpected by scanning the QR code or visiting humour. http://youtu.be/AvPNAWb5Hgw Marsha Norman’s book intelligently covers the back stories. It helps previous Disney hits “Beauty and the Robert James Waller before it became delineate who the characters are but it Beast” and “Part of my World”. The a successful 1995 movie. Waller’s makes for a very, very long show, too sequence also includes references to TV story, set in Iowa in 1965, sees a rural long for a love story as fragile as this. game shows and the like, and builds to housewife having a ‘Brief Encounter’ Bartlett Sher’s direction has the an unbelievably rousing finish. It affair with a National Geographic actors continually moving the scenery, literally stops the show and gets a photographer while her husband and which helps give the show a strong standing ovation. I’ve never before kids are away for four days at the sense of community. There’s little seen a number stop the show in the Indiana State Fair. choreography, but Danny Mefford’s middle of an act and receive a standing In the musical version director movement is appropriate, especially ovation. It was amazing! Bartlett Sher has cast the main during the hoedown in the State Fair But more magic was to come in the characters of Francesca and Robert sequence. second act when Aladdin and Jasmine younger, and makes the neighbours I caught the third last performance sing “A Whole New World” flying of Bridges, which opened 20 February and townspeople of the community around the stage on a magic carpet part of the whole fabric of the piece. 2014 and has since closed. I liked it but and you don’t see any wires. It’s awe - One of them is always on stage as an found the emotion lacking. Towards inspiring and one of the best effects observer of the love affair taking place. the end of the show I momentarily had I’ve ever seen on stage. It’s an interesting directorial device that a lump in my throat, but I did not cry Adam Jacobs (Aladdin) is a spunky works for the plot. and I felt I should have. It was an artand totally winning hero with six-pack It’s undoubtedly the best score house musical with high production abs, while Courtney Reed (Jasmine) is a Jason Robert Brown has ever written values, good music, and a superb cast. pretty but also spunky heroine. for the theatre, earning him dual Tony If ever a movie had ‘Potential Jonathan Freeman, who voiced the role Awards for best score and Broadway Musical’ stamped all over it, of Jafar in the movie, makes a feast of orchestrations. Using mainly acoustic it was Woody Allen’s Bullets over the part on stage. guitar and strings as his Broadway. The 1994 film set in the The Bridges of Madison County was accompaniment, he’s composed 1920s about an idealistic young a popular 1992 best-selling novel by various long-soaring melodic lines for (Continued on page 14) Zach Braff and Marin Mazzie in Bullets Over Broadway. Photo: Paul Kolnik
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playwright who gets a chance at Broadway seemed to be an ideal property for musicalization. But although director / choreographer Susan Stroman’s work is nothing short of miraculous in its invention, the show just does not fizz like it ought to. When it ends you have to ask yourself if songs added anything to the story and the answer is no. Part of the problem is Woody Allen’s book, based on his and Douglas McGrath’s screenplay, and his determination to use existing songs from the 1920’s. Apart from Cole Porter’s “Let’s Misbehave” and Hoagy Carmichael’s “Up a Lazy River”, the rest are mainly obscure. And after a while they all tend to sound the same. Musically the show is caught in a 32bar chorus strait-jacket and no amount of inventive orchestration or arrangement could free it. Also, the placement of the songs within the plot are tenuous at best. An original score would have solved everything. But Stroman’s work is wonderfully entertaining even if we are admiring style over substance. Sexy chorines strut their stuff as train porters, blackhatted gangsters tap their hearts out, and vulgarity raises its head with “The Hot Dog Song”. It’s frothy, it’s flashy, and it’s old-fashioned musical comedy. Best performance came from Nick Cordero as Cheech, the gangster who discovers his hidden playwriting talent. Tall and gangly, his dry delivery totally captured the fun of the character.
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Brooks Ashmanskas was a funny Warner Purcell, the actor who can’t keep his hands away from the buffet table, Karen Ziemba went for goofy as Eden Brent, the actress with the mutt, and Helen Yorke managed to mangle her dialogue perfectly as Olive Neal, the bimbo with theatrical ambition. Zach Braff (Scrubs) works hard and mugs shamelessly as playwright David Shayne but has little chemistry with Marin Mazzie, who’s ferociously unsubtle as the alcoholic diva Helen Sinclair, the role that won Diane Weist an Oscar in the movie. The last show I saw was Kinky Boots, and thanks to Harvey Fierstein’s book, one of the best film-to-stage adaptations currently on Broadway. It’s been playing a year now and has had a couple of cast changes with Andy Kelso replacing Stark Sands as Charlie Price, and Jeanna De Waal taking over the Lauren role formerly played by Annaleigh Ashford. The good news however is Billy Porter’s still around to continue his award-winning performance as the drag-queen Lola. The musical, based on the 2005 movie which starred Joel Edgerton (Charlie) and Chiwetel Ejiofor (Lola), (last year’s Oscar-winner for 12 Years a Slave), is another battler-fightingagainst-the-odds-and-winning story. Fortunately Fierstein has retained the British midlands setting of the original and except for the odd word here and there the adaptation is flawless. Accents are straight out of Coronation Street.
Kelso is appealing and gauche as Charlie who inherits a losing shoe factory when his father dies but hits upon the inspired idea to make boots for the niche drag-queen market, with Billy Porter helping him achieve the impossible, winning over the anti factory-hand Don and starring on the Milan catwalk. Jeanna De Waal is delightfully kooky as Lauren, the factory worker who has designs on her boss, while Cortney Wolfson wears Lauren’s stilettos with style. Adding Lola’s drag-queen ensemble to the chorus numbers was an idea that pays off royally. They’re the piquant spice in the sauce. Cindy Lauper’s score, last year’s Tony winner for Best Score, could not be better; the songs hit their target every time. Porter delivers his eleveno’clock number, “Hold Me In Your Heart”, in true Whitney Houston diva style, while “Not My Father’s Son”, a duet for Charlie and Lola, is emotionally rewarding. Masterful direction and choreography by Jerry Mitchell continually elevate this show to something more than wonderful. It gives loads of pleasure, excites, and brings tears of joy at the finale. If all film-to-stage adaptations could be as good as Kinky Boots, Rocky, Gentleman’s Guide to Love and Murder and Aladdin, then I hope Broadway continues to raid the Hollywood vaults for years. This season’s cinematic treats could not have been better.
Rolling Thunder Vietnam
Online extras! Check out a trailer for the show simply by scanning the QR code or visiting http://youtu.be/M4ONUWUmtiQ Former Sydney Morning Herald theatre critic Bryce Hallett has penned a concert drama based on the poignant stories behind the Vietnam War. It features the rock’ n’ roll and video footage from the era, linked by ‘soliloquys’. Ahead of its national tour in August and September he spoke to David Spicer about the show and the challenges of developing new work. There are no surprises as to what sort of songs appealed to Australian soldiers on duty in Vietnam. Most People I Know Think That I’m Crazy by Billy Thorpe and We Gotta Get Out of This Place by The Animals immediately struck a chord. In the late 1960’s The Rolling Stones were also pretty hot and all sorts of anti-war songs sprung from rockers. They form the backbone of what writer Bryce Hallett says will be a show Atomic. Photo: GXM Photography. that is a cut above the revival concerts that have been wheeled out in recent years. “We call it a concert drama. Between the songs are monologues or
storytelling, in a sense like a series of soliloquys. This captures and evokes the letter writing that was paramount in the Vietnam War, as it was in earlier wars,” he said. The source material is real life stories. “There are the I love you, I miss you, I want you to be here (letters), so there is a love story at the heart of this piece. “But in forming this love story there is something I came upon. A number of mothers in that era, when their sons either chose to join up or were conscripted, would often not turn up at the farewells. “The mothers would keep their heads in the sand. Fathers tended to be more stoic. It was interesting to read some of the exchanges between mothers and their sons. That became a motif in this show. “I use that to tell one story about a character called Johnny who is a country boy from Stanthorpe in Queensland. In his case he wanted to have an adventure before the responsibility of taking over the farm one day.
“But locked into his story is that thing with his mum, who is totally against the possibility of something happening to him. She feels that he is deserting the family while they are struggling on the land. “Hopefully what this show does, through this journey of the four central characters, is not just give a sense of what war does to people, but also give an insight into how war has a domino effect. “Where it causes damage not just to the soldiers on the battle front, but also people struggling back at home. “The show is largely set in 1968 and 69. It was a pivotal time. Robert Kennedy and Martin Luther King had been shot in that year. The world had gone mad. “The uncertainty played into what was the first televised war. If you grew up in the 60s, you were not out of it on drugs but watching the war on TV every third and fourth night. There was some horrific imagery that would startle people.” (Continued on page 16) www.stagewhispers.com.au Stage Whispers 15
(Continued from page 15)
To find the personal stories Bryce Hallett spent many an hour speaking to veterans. “All of a sudden you find they are pouring their heart out for you. “There was one vet I met at a hotel for a beer. Originally he was finding it a bit difficult then half way through the schooner of beer it was like I was his best mate. “He started to tell me things about his experience in Vietnam. What it meant to his career and his family back home. His great affinity to this day to (helping people in) Vietnam.” Bryce Hallett is still best known from his time as the chief theatre critic for the Sydney Morning Herald for a good part of a decade. But he bristles at being pigeonholed as such and says crossing the line to becoming a writer has been liberating. “Even when I was reviewer for many years at the Sydney Morning Herald I never separated my roles as a journalist who was championing artists, and art forms across opera and music theatre.” His highest profile outing as a writer was a cabaret he penned with Tim Draxl
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Bryce Hallett
called Freeway - The Chet Baker Journey. How did the critics review his work? His former colleague at the Herald John Shand described Freeway as “as fine a piece of cabaret as has been hatched in Australia.” Wouldn’t every writer like a review like that? But if a bad one comes along Bryce Hallett says, “I will take it. “Both (Freeway and Rolling Thunder are) really an extension of journalism. It is not as through I am creating these fictional worlds which don’t bear any relationship to reality.” He says the biggest advantage of being a former critic is the amount of theatre he has seen. “You learn an awful lot. I have sat through a lot of theatre that was uninspiring. You are continually analysing things. I have watched different art forms become hybrids. I have been around long enough to see sub sets of art forms I did not even think possible.” Bryce Hallett says the biggest pitfall to the development of new work is them not being ‘looked after’ and rushed to the stage too soon. “The Book of Mormon was in development for eight years and had many re-writes.” On the other hand he says Australia suffers because of the lack of out of town try-outs. “When An Officer and a Gentleman opened it happened too quickly and shot itself in the foot. It needed so much work. Kind of like once the train
John (Tom Oliver) and Sarah (Kimberley Hodgson)
has left the station there is nothing we can do. There is opening night and bang.” He is also critical of on-line bloggers that snipe at shows during the previews. “When I interviewed Julie Taymor she had just come through the whole debacle of Spiderman the musical. “It seemed to have a curse which exposed it to public humiliation and (ultimately) very savage reviews. “She had a very forceful view about the tyranny of on-line bloggers and their appetite to make pronouncements even before opening night.” A similar episode happened with Strictly Ballroom the Musical with an on-line blogger attempting to slam dunk the show at the first preview. “I don’t think this is a good thing to happen. There are reasons why things are given previews and out of town try outs.” So what is Bryce doing to avoid those mistakes?
Well firstly he has one out of town try out in Toowoomba and, as he puts it, his baby is being well looked after. “I have such a great collaborative team.” The Director is David Berthold, who he describes as bright, intuitive with a wicked sense of humour. And he says sitting in on sessions with his musical director Chong Lim is like being at a masterclass. The cast however is young and fresh, many straight out of training academies. “It kind of made sense using people at the very age the army conscripted them. The energy and vulnerability of them will be a strength of the show. “We’ve seen a lot of these nostalgia shows. There is always some band which does a cover. You think is this the real deal or is it Neil Diamond playing Neil Diamond. “There is a lot of virtue in creating that youthful aspect and giving that raw power to these songs.” Read more about the critics in theatre in Musical Spice on page 92.
Rolling Thunder Vietnam plays Empire Theatre, Toowoomba, Aug 8 & 9; Concert Hall, QPAC, Brisbane, Aug 14 & 15; The Events Centre, Caloundra, Aug 16 & 17; Arts Centre Melbourne, Hamer Hall, Aug 22 & 23; State Theatre, Sydney, Aug 29 & 30; Newcastle Civic Theatre, Sept 3; Canberra Theatre, Sept 7; Crown Theatre, Burswood, Perth, Sept 12 & 13 and Thebarton Theatre, Adelaide, Sept 19 & 20. www.stagewhispers.com.au Stage Whispers 17
Life’s Anything But Misérable For Kerrie Anne Kerrie Anne Greenland is about to see Les Misérables for the very first time… but not from the audience. Cast to play Eponine in the new production of Les Misérables, which opens on July 3rd in Melbourne, she talks to Coral Drouyn about her “charmed life”.
Kerrie Anne Greenland as the Witch in the 2012 WAAPA production of Into the Woods. Photo Jon Green.
“On my own, pretending he’s beside me” … time after time we hear stories of little girls dreaming about a special role in a musical and pursuing that dream as they grow up, until they make it a reality. Kerrie Anne Greenland had no such dreams, and she’s a little embarrassed about it, especially now that she’s about to play one of the most sought after roles in theatre, in Les Misérables. “I feel like ‘having the dream’ is part of the process. It’s what’s expected of Things might have been a lot more She moved to Sydney and before you,” she says. “I haven’t even ever seen focussed if Kerrie Anne had been long was doing some amateur children’s the show on stage, and that’s growing up in the city, but home was shows. embarrassing. But on the other hand, McLaren Vale, some forty kilometres “I even got to sing a solo at the because this wasn’t a childhood dream, south of Adelaide. Kerrie Anne went to Opera House. Imagine, little Kerrie Anne it is like the most fantastic fairy tale the local school and her teachers still from McLaren Vale, who had never ever coming true for me over the past year; remember that even at 6 or 7 years of seen an opera, singing at the Opera like suddenly discovering you’re a age Kerrie Anne was down the front House.” When someone suggested to princess and you have to re-think your during assembly leading the singing, her that she sounded a little like Judy whole life. It’s almost too much to take always eager to perform. When the Garland, Kerrie Anne asked “Judy who?” in. Does it ever become real? Perhaps family moved to Adelaide, Kerrie Anne … “Really, you could have taken the after opening night I will finally believe was enrolled in Charles Campbell “land” syllable off my name and just it.” Secondary School, which had a strong called me Kerrie Anne Green.” It’s not that Kerrie Anne didn’t have Performing Arts faculty. Kerrie Anne did get to find out who a musical background, but she thought “In years 8 and 9 I did school Judy Garland was when she played the it would stay as the background, not the productions, The Tempest and Mary role of ‘Little Voice’ in an amateur primary focus of her life. Poppins, but I never thought to myself production. Then someone told her “I’ve always sung,” she explains, “but ‘This is it, this is what I have to do.’ We about WAAPA. “I had no idea how singing was something that was just weren’t theatregoers. I think I only saw many terrific people were trained there. I fun; I didn’t think of it as a way to earn one musical in a theatre and that was thought, if I’m seriously going to try this, a living. It’s strange really because mum Fame.” then I have to be properly trained, and and dad were in a band together and When Kerrie Anne left school she so my drive was all about getting into there were all these family photos of moved to Canberra for University; a WAAPA, not thinking what might them in crazy fashions that we’d bring double degree in Psychology and Arts/ happen afterwards.” out and make fun of at family Drama. “The second year was based There’s no such thing as a bad year gatherings, just to embarrass them. The around the American Musical, and that’s at WAAPA - every graduating class band was before I was born, but mum when I got hooked,” she says. “I produces exceptional talent. Kerrie Anne really could belt out a song, Whitney thought if I could get into a community graduated along with Emily Langridge, Houston style …it’s one of my earliest theatre production it would be just who will star alongside her in Les Mis as memories. I guess I just started joining Cosette. But they have a closer theatre great, the absolute pinnacle.” in. Mum says I was singing before I relationship. At WAAPA both became could talk.” friends with Nick Hedger, the amazing 18 Stage Whispers July - August 2014
young Wunderkind composer and performer of Musical Theatre and Cabaret. All three were reunited earlier this year for Nick’s showcase production Playground. “It was such a buzz because of course we all knew each other from the Academy - and that really did seem like a movie. Friends from school put on a show…except it wasn’t really like that, Nick is insanely talented and very dedicated to his talent.” Kerrie Anne muses for a moment. “We all knew Nick would make it, but I honestly wasn’t sure what I would do. I thought well, I have to get a job, make a living, and maybe audition for some ensemble roles…it will take time. I was prepared for that. I had the chance to play some fabulous roles at WAAPA [including the Witch in Into the Woods (pictured opposite)], so I at least was confident once I hit the stage; at least I was able to convince people I was.” But within a week of graduating Kerrie Anne had an agent, was booked to sing the National Anthem at the Cricket Test Match in Tasmania and was a finalist in the 2012 Cabaret Showcase.
her voice, “but then, three days before the last audition my agent called and said, “Cameron Mackintosh wants to see you tomorrow. Like an idiot I said, ‘I can’t, I’m not washing my hair until Thursday.’ Because everyone has a routine when you know an audition is coming up - when to wash your hair, when to do your nails, all of the mundane things. Then she said, ‘I think you’d better be there tomorrow. He wants to offer you Eponine.’ For a moment I thought I had misheard her, then I thought it was a joke. I just Kerrie Anne Greenland couldn’t stop laughing. I fell on the floor in hysterics. I mean, who would believe “Here I was, fresh out of Performing it.” Arts school, and working in an industry Eventually Kerrie Anne was that so many older performers had persuaded it was for real and for the busted their guts over for years. No past few months she has been in wonder I feel it isn’t quite real.” rehearsals. “There are four of us from When Kerrie Anne’s agent arranged that same class in WAAPA so it really is for her to audition for the ensemble of like family,” she explains. the new production of Les Misérables, On July 3rd, the dream that Kerrie she was over the moon. Anne never had will actually become “I had two call-backs and that was a reality, because sometimes - if you’re good sign. I just had to get through one very talented and you work hard at your last audition on the Friday and I would craft - things just turn out that way. know if I was in.” Disbelief creeps into
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Youth Theatre Spreads Its Wings
Artistic Director Fraser Corfield. Photo: Sam Glissan
The Sydney based Australian Theatre for Young People is developing a national reputation for premiering sparkling new work, largely due to the creative force that is its Artistic Director, Fraser Corfield.
Fraser Corfield joined in 2009 as Artistic Director after more than a decade in directing and developing youth theatre across the country. His philosophy for youth theatre and securing its future is simple. “If you create something that Opening night of the ATYP’s latest young people love as teenagers, you create an impression of the art form production had the double whammy that they take with them into of being sold out before the season started and impressing critics to boot. adulthood,” says Corfield. “ATYP is a bit unique, in that it’s It was the World Premiere of M. Rock, a play by Lachlan Philpott, staged in the only youth theatre company in collaboration with the Sydney Theatre Australia, that I’m aware of, whose identity is not tied to the specific Company. suburb where it lives. Some thought it was the best “The core philosophy that drives the outing of a new play seen in Sydney for years and at the helm was Fraser company is common across all youth Corfield, the Artistic Director of the theatres in Australia, which is that being involved with theatre builds ATYP. Last year the company had another better people, and that it builds sociosupersonic hit in collaboration with the emotional health.” Belvoir Street Theatre. The play, Whether an aspiring actor, writer or Medea, swept the 2013 Sydney director, ATYP caters to interests in most facets of theatre. Theatre Awards with five wins, “We’re not a drama school, and I including Best New Australian Work think there’s a big difference between and is set to tour to Poland. Australia’s oldest and largest youth youth theatres and drama schools. The theatre company, ATYP has been focus for drama schools is on training,” bridging the divide between young Corfield says. The ambition and passion that has people and professional theatre made ATYP so successful, however, practice since 1963.
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comes at a cost, with youth arts organisations in Australia receiving the bare minimum in funding from government bodies. Of the 13 funded youth theatre companies in Australia, the three largest (ATYP, St Martins in Melbourne and Corrugated Iron in Darwin) receive proportionally the lowest amount of government funding. According to the Australian Bureau of Statistics, drama in the arts sector receives only around 0.4% of all cultural funding from the government. “Theatre is expensive and needs to be funded,” Corfield remarks. ATYP turns over just under two million dollars per annum. Funding for ATYP remains extremely modest, with just less than fifteen per cent of its turnover coming in the form of government funding. However, Corfield is determined that ATYP can still tell important stories without stressing over the
organization’s profitability. “Giving young artists the opportunity to be in shows with professional production values, supported by leading artists, is expensive. We don’t do it to make money. We do it because we believe it is an investment in the future of our nation’s artists and audiences,” states Corfield. “The big focus for us as a company is all about national impact,” says Corfield. ATYP have tried to extend their national impact by creating an online presence with their Fresh Ink writing program, adapting works of theatre into films in a bid to achieve broader exposure. “That proved really, really successful, and now over a million people have watched one of our short films,” noted Corfield. Drawing online traffic towards
Spur Of The Moment by Anya Reiss, directed by Fraser Corfield (2013). Photo: Olivia Martin-McGuire.
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The Voices Project 2012: Bite Me. Photo: Jez Xavier-Mansfield
(Continued from page 21)
ATYP connects to a need to rebuild confidence in theatregoers in attending youth theatre. “We still feel like we’ve got a lot of work to do in generating the atmosphere that coming to see a show here is a good thing to do on a night out,” says Corfield. Corfield and ATYP are striving to create a consistency across all of their shows leading to more people wanting to see an ATYP production, a show that is significantly cheaper than the ticket prices set by Sydney’s professional theatre companies. Corfield is careful to emphasize ATYP’s unique nature and that it would not be willing to compromise its artistic integrity to receive funding for a show; what he describes as a fundamental flaw in the youth arts area.
and what it is trying to do, “It certainly irks me when I go to talk to companies, you’d be talking to a major company about co-producing and they’ll try and just put you in touch with their education team. It’s that funny thing of going, ‘No, that’s not what we’re interested in’.” So what is ATYP interested in? Corfield displays a sincere passion in developing the arts, which ties in with the organisation’s goal of promoting and involving youth in that aspect. “To build confidence, and to have the confidence to then tell the stories or create stories that you share with other people,” said Corfield of ATYP’s future and its goals. For Corfield, the arts transcend monetary gains and mere creative expression. “We’re not specifically trying to do something terribly clever,” jokes Corfield. “It’s about using the arts as a means to discover yourself.”
“Often we use youth theatre as a heavy handed educational tool,” commented Corfield. “We need to get back to the idea that just going to the theatre should be about being told a story that you find really interesting, or fun, or engaging and then if you do that, that By Nicholas Christou, Emma Gillespie, will have ramifications down the Sam Glissan, Polly McDouall and Woon track.” Shin Wong. Additional material David ATYP sets itself Spicer. M.Rock. Photo: Lis apart from other a Tomasetti youth or community theatre organisations in that it is focused on audiences of all ages, not just young people or schools. Corfield seems frustrated at the common misconceptions about what ATYP is
M.Rock. Photo: Lisa Tomasetti
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www.stagewhispers.com.au Stage Whispers 23
Many Happy Returns For Sydney’s Genesian Theatre A small theatre in a large city is celebrating an enormous milestone. Sydney’s Genesian Theatre will celebrate its 70th Anniversary in August. Over the years the Theatre has introduced some of today’s leading artists with Bryan Brown, John Bell, Peter Carroll, the late Nick Enright, Judi Farr, Angela Punch-McGregor and even a young Baz Luhrmann among the thousands of performers to have graced the intimate theatre’s stage.
becoming the home of The Genesian Theatre in 1954. On 8 April 1954 the curtain opened on a performance of Murder in the Cathedral so on Tuesday 8 April 2014 the theatre celebrated with a rehearsed workshop of sections of the T.S. Eliot play and a party. Although the building is still owned by the Catholic Church and the company retains links with the church, membership of the group is open to all. In addition to between six and eight main-stage shows a year, the Theatre Director Roger Gimblett company holds classes with industry said that 2014 was extremely professionals, workshop productions significant for the company, marking and social events. not only 70 years since it’s formation Extraordinarily, given the at a meeting of members of the continuous nature of its programme, Catholic Youth Organisation held on 15th August, 1944, but additionally 60 the Genesian Theatre runs on a totally years occupying its historic Kent Street volunteer basis with a significant percentage of the annual profits being premises. donated to charities. This year’s worthy Originally St John’s Church and dating from 1868, the building (which causes include St Vincent de Paul, is said to be frequented by a couple of Barnardos and Youth off the Streets. While perhaps best known for friendly ghosts) served as both a staging hugely popular murder church and a poor school until 1932 mysteries (its eight week season of when it became the Kursaal Theatre, housing the Sydney Repertory Agatha Christie’s The Mousetrap sold Company. In 1938 it became the first out every seat in the theatre weeks before opening), the Genesian also Matthew Talbot Hostel before staged the Sydney premiere of Andrew
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Lloyd Webber’s By Jeeves; new work by Dusty and Shout author Mel Morrow and, recently, the world premiere of a new musical based on Oscar Wilde’s The Star Child. It also has an established reputation for Shakespeare, having an unexpected hit in 2012 with The Merchant of Venice, directed by 22-year-old Constantine Costi, who subsequently was accepted into the NIDA Directors course. Gimblett said the theatre had a certain ‘circle of life’ with two of this season’s directors being aged in their 70s and three more in their 20s. “As with any community theatre people come and go. We have people go on to further theatre study at institutions such as WAAPA and NIDA and we have those for whom theatre will only ever be a hobby. “What we try to do is create a sense of ‘company’ where there are no stars and everyone participates in all aspects of producing theatre. We don’t get it right every time, but, whether it’s the ambience of the building or the nature of the group, more often than not our cast and crew seems to develop a very tight and long-lasting bond.” After 70 years some surprises can crop up. During its recent production of Pride and Prejudice the theatre was honoured to entertain Cecilia Bradley, a foundation member, who had played the part of Miss Bingley in the Genesian’s production of the play in 1945. Cecilia, now in her 90’s, was delighted with the show and stayed to meet the cast afterwards. The 70th celebrations continue midAugust with various events culminating in a Gala Dinner on Friday 15 August. Past members and supporters of the company are welcome to join the festivities. Despite the birthday the shows must go on, and Gimblett said the Board of the theatre had worked hard to set a suitable season to mark the
Genesian Theatre
celebrations. Sherlock Holmes - the Final Adventure runs in July/August, to be followed by the traditional murder-mystery - this year Agatha Christie’s Spiders Web. The season also features Peter Shaffer’s play exploring the life of Mozart, Amadeus, opening on the 25th of October. Terence Rattigan’s moving drama of family loyalty The Winslow Boy, which was recently revived on Broadway, and Shakespeare’s A Midsummer Night’s Dream round out this season in early 2015. In addition an ongoing maintenance programme is planned on the 146 year old building to keep the curtain going up each weekend for the next 70 years on new generations of enthusiastic amateurs and future stars.
Term of His Natural Life
Frankenstein (2014)
The Comedian (1945)
www.genesiantheatre.com.au www.stagewhispers.com.au Stage Whispers 25
Stage On Disc By Peter Pinne
bumps off eight relatives to become the Earl of Highhurst and proclaim the family fortune. Bryce Pinkham as Monty has enormous fun delivering patter songs and romantic ballads in a firm tenor, whilst Jefferson Mays, who plays all eight of the deceased characters, has a field day being outrageously pompous and silly. His “I Don’t Understand the Poor” is delicious, whilst his “Lady Hyacinth Abroad” in drag, is wonderfully British, and wonderfully Noel Coward in style. Mays and Pinkham also score with “Better With a Man”. The second -act trio “I’ve Decided to Marry You” is a riot in the hands of Pinkham and the women in his life, Lisa O’Hare (Sibella) and Lauren Worsham (Phoebe). “Why Are All The D’Ysquith’s Dying” is a great comic second-act opener, as is Monty’s capture with “Stop! Wait! What!” in which orchestrator Jonathan Tunick slips in a musical-gag by using the opening bars of Sondheim’s “Attend the Tale of Sweeney Todd”.
The Bridges of Madison County (Jason Robert Brown) (Ghostlight B-4484). Jason Robert Brown’s score for The Bridges of Madison County is the finest he has written for the theatre. It is a serious musical theatre work with big melodic themes and lyrical images to suit the material, sometimes set as free verse and sometimes rhymed. Brown has masterfully orchestrated the work for an 11piece orchestra of mainly acoustic guitars and strings and musically uses blues (“Get Closer”), gospel (“When I’m Gone”), folk/rock (“Another Life”) and bluegrass (“State Road 21”) to tell the story of a tender four -day love affair set in the Iowa township of Winterset in 1965. Big-voiced Kelli O’Hara and Steven Pasquale are perfect as the lovers. Andrew Beale and Kelvin Harman She sets the tone of the show with the soaring opening and Beautiful (Carole King/Gerry Goffin/Cynthia Weill/Barry beautiful “To Build a Home” and follows with a lovely Mann) (Ghostlight 8-4483). What Jersey Boys did for the “What Do You Call a Man Like That”, while her second -act Four Seasons, Beautiful does for the songs and life of Carole back-story aria “Almost Real” is heartbreaking. Steven King - not only Carole King, but also her collaborator and Pasquale’s voice is thrilling and tear -inducing, especially on husband Gerry Goffin and friendly rivals Cynthia Weil and the emotional duet “One Second and a Million Miles”. The Barry Mann. Jesse Mueller as King gets the vocal sound and work of the chorus, who frequently sing oohs and aahs in inflections right and also plays a mean piano in this jukebox the background on several tracks, adds enormously to the musical that walks down the memory lane of 60s pop. Hits listening experience. by The Drifters (“Some Kind Of Wonderful”), The Shirelles (“Will You Love Me Tomorrow”), Little Eva (“The A Gentleman’s Guide To Love and Murder (Steven Lutvak/ Locomotion”) and the Righteous Brothers (“You’ve Lost Robert L. Freedman) (Ghostlight 8-4482). One of the most That Lovin’ Feeling”), rub shoulders with “One Fine Day”, “So Far Away”, “You’ve Got a Friend” and “(You Make Me sophisticated scores to appear on Broadway in years, A Fell Like) A Natural Woman”. The performances are good, Gentleman’s Guide To Love and Murder is also one of the wittiest. Broadway virgins Steven Lutvak (music & lyrics) and the sound perfectly captures the era, and the songs are classics. It’s an enjoyable listen. Robert L. Freedman (book & lyrics) have written a th marvellous pastiche of 19 Century Operetta and Andy Capp (Alan Price/Trevor Peacock) (Stage Door 9034). Edwardian Music-Hall that bears repeated listening. Set in In trying to capitalise on the successful musicalization of the London in 1909, the story follows Monty Navarro as he comic-strip Little Orphan Annie into the Broadway hit Annie, Andy Capp, based on Britain’s well-loved Daily Mirror comic-strip by Reg Smythe, about a work-shy, beerswilling loser, opened in the West End in 1982. Despite warm notices it was gone four months later. Stage Door’s first-time-on-CD release of the original cast is thick with North Country accents and a striking performance by Tom Courtenay as the title character. Courtenay delivers the best number in Alan Price’s score, “I Ought To Be Ashamed of Myself”, which is a catchy piece in the style of George Formby complete with ukulele accompaniment. “Points of View”, a patter song, “Going to Barcelona”, a wedding costs list song, and “Hermoine”, a song about the hero’s pigeons, register briefly in Price’s underwhelming score. But Val McLean as Andy Capp’s put -upon wife Flo gets a nice ballad in “When You’ve Lived In Love With Someone”.
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Swan Esther (Nick Munns/J. Edward Oliver) (Stage Door 9035). Swan Esther is another curious entry from Stage Door. A rock oratorio, it’s based on the biblical story of The Book of Esther. Producer David Land commissioned the musical after innumerable requests from British schools and societies for a follow-up show in the style of Joseph and his Technicolor Dreamcoat. Like Joseph, a concept album was recorded which is the basis of this CD. The musical played a short season at the Young Vic Theatre in 1983. It was later revised and under the title of Swan Esther and The King toured the UK in 1985. A high-profile cast, Stephanie Lawrence, Denis Quilley and Clive Carter, head the concept cast. They struggle with lacklustre material awash with clunky and obvious rhymes. The only songs that stand out are a rhythm and blues number “Nothing To Lose”, sung by The Square Pegs, and Stephanie Lawrence’s diva solo “My Love is Like a Dream”. The CD also includes 9 studio rehearsal demos from the rewrite tour. These additional songs are by Shirlie Roden and John Miller, and even in their raw state of just piano and voice are better than the original concept material.
favourite amongst the eleven on offer here but mine would be “Sweet Dreams”, with its pretty melody, “Grateful”, from the musical Urban Myths, “If I Ever say I’m Over You”, and “Better Than I”, which Campbell sang on the 2000 Grateful CD collection of Bucchino songs and which comes from the movie Joseph, King of Dreams. Accompaniment on solo piano is by the composer, who brings light, shade and warmth to this collection.
Simon Tedeschi - Gershwin: Take Two (ABC 481 0629). It was inevitable following the success of Gershwin and Me that Simon Tedeschi would release a second volume of George Gershwin’s work. Recognised as being one of the world’s top interpreters of the music of Gershwin, Tedeschi this time out includes more of Gershwin’s short solo pieces; “Promenade”, “Prelude (Novelette in Fourths), My Baby Just Cares for Me - David “Jazbo Brown Blues” and “Impromptu In Two Keys”, as well Hobson & Rachel Beck (ABC 481 as a host of songs including “My One and Only”, “I’ll Build 0818). The thing that elevates this show tune album out of the ordinary a Stairway to Paradise” and “Do-Do-Do”. He also includes are the brilliant vocal arrangements by his complete piano version of “Rhapsody In Blue”. This time David Hobson and Chong Lim. They’re out Tedeschi is assisted by trumpeter James Morrison on “Nice Work If You Can Get It” and “Prelude (Melody No. classy. As they proved when they 17)”, and jazz singer Sarah McKenzie on “Embraceable starred opposite each other in Chitty You” and “Let’s Call the Whole Thing Off”. It’s not Chitty Bang Bang, Hobson and Beck have a chemistry between them which is clearly evident on surprising it topped the classical music charts like its predecessor. this CD. They have fun with Frank Loesser’s “Baby It’s Cold Outside” (Neptune’s Daughter), Gershwin’s “I’ve Got Rating Rhythm” (Girl Crazy) and a swinging version of “My Baby Only for the enthusiast Borderline Just Cares For Me” (Whoopee!), with some lyric pop-culture Worth buying Must have Kill for it references. There is also a Sound of Music medley, “Stranger In Paradise” (Kismet) and an original cast track from Chitty Chitty Bang Bang, “Truly Scrumptious”. A five-piece group led by Chong Lim on piano accompany them, moving effortlessly through a number of musical styles with five-star results.
David Campbell Sings John Bucchino (Social Familiar Records SFR0017). I first encountered David Campbell singing John Bucchino at the Colony Theatre, South Beach, Miami, in 1999. Fifteen years later he’s still singing this material, but better. The voice is more mature, the lyric interpretation more potent, and the performance more assured. Bucchino writes literate cabaret songs and Campbell’s voice is the perfect conduit to showcase them. Every listener will have a different
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London Calling
1991 indie movie about a cruel bet by Vietnam-bound Marines in 1963 San Francisco. It played the Second Stage Theatre, New York, in 2012. The London production will be directed by Matt Ryan with musical direction by George Dyer. The 39 Steps has extended its booking period to 28 March 2015, at which time it will celebrate 10 years of performances since it began life at the West Yorkshire Playhouse in 2005. Based on Alfred Hitchcock’s 1935 classic By Peter Pinne movie thriller, the play is performed by four actors who play 150 roles as they enact every legendary scene from the Cameron Mackintosh’s new production of Schönberg and Boublil’s Miss Saigon has extended its booking period to award-winning film. The current production is directed by 25 April 2015. On its official opening night, 21 May 2014 at Maria Aitken, with design by Peter McKintosh and lighting by Ian Scott. the Prince Edward Theatre, Mackintosh said that whatever Australian director Benedict Andrews’ new production of the reviews are for the show, it would not make the Tennessee Williams’ A Streetcar Named Desire will play the “blindest bit of difference as the public have already made Young Vic Theatre from 23 July until 6 September. It stars up their mind.” Mackintosh has already recouped his production costs of 4.5 million pounds, 4 million on the first Gillian Anderson as Blanche DuBois, Ben Foster as Stanley Kowalski and Vanessa Kirby as Stella. It’s Foster’s London day of ticket sales in September 2013. But the reviews have debut and it follows his Broadway debut last year in Orphans been good, with raves for Eva Noblezada who plays Kim: “Combining innocence with an incredible vocal range she is opposite Alec Baldwin and Tom Sturridge. His film credits include X-Men and Contraband. Kirby, who was seen in the human heart of an impressive production that is fundamentally opera for people who don’t like opera,” said Benedict Andrews’ production of Three Sisters at the Young Vic, also played Estella in the BBC adaptation of Charles The Express, with Henry Hitchings in the Evening Standard Dickens’ Great Expectations alongside Gillian Anderson. calling her a “remarkable find.” Miss Saigon originally The Donmar Warehouse has announced its Autumn/ premiered at the Theatre Royal, Drury Lane in 1989 and ran Winter season for 2014-2015 will include a 20th anniversary for ten years. production of Kevin Elyot’s Olivier Award-winning comedy Cameron Mackintosh has also announced that the Victoria Palace Theatre, which Delfont Mackintosh took over My Night With Reg, an all-female production of William Shakespeare’s Henry IV directed by Phyllida Lloyd, and a in June, will be significantly refurbished with the stage revival of Cy Coleman’s Tony and Olivier Award-winning extended by six metres, the front of house enlarged and musical City of Angels. A Night With Reg stars Julian completely overhauled and the auditorium and exterior Ovenden (John), Jonathan Broadbent (Guy), Matt Bardock restored to their full glory. Renovations will commence in (Benny), Richard Cant (Bernie), Lewis Reeves (Eric) and late 2016, which means the house’s current tenant, the Geoffrey Streatfeild (Daniel), with direction by Robert Hastie. Elton John musical Billy Elliot, will play another two and a half years at the venue. Billy Elliot has just welcomed its 37th It previews from 31 July, opens 5 August, and plays until 27 Billy Elliot and a new cast led by Ruthie Henshall and in May September. Irving Berlin’s White Christmas is to play an 8 week next year will celebrate its10th birthday. Christmas season at the Dominion Theatre from 12 Mackintosh has also acquired the Ambassadors Theatre, November. It stars Aled Jones, who is making his West End which brings his theatre-owning portfolio (under the group debut, and Tom Chambers, who last appeared on the West name Delfont Mackintosh) to nine venues. The Ambassadors, End stage in Top Hat. Both performers have previously which will be renamed the Sondheim Theatre, will become a appeared on the popular BBC TV series Strictly Come receiving house for extended seasons of new productions Dancing. from the subsidized sectors in London and the regions. It is intended to completely rebuild the auditorium to create a non-proscenium stage which mirrors many companies’ own performance spaces. West End and Broadway director Matthew Warchus has been announced as Kevin Spacey’s successor at London’s Old Vic, taking up the Artistic Director mantle in late 2015 when Spacey steps down. Warchus is currently an Assistant Associate at The Old Vic, having directed their 2008 production of Speed-the-Plow, starring Spacey and Jeff Goldbaum, and the Alan Ayckbourn trilogy The Norman Conquests. His current direction credits include Tim Minchin and Dennis Kelly’s musical Matilda. The Off-Broadway musical Dogfight is to get its European premiere at London’s Southwark Playhouse 8 August and will run through 13 September. Written by Benj Pasek and Justin Paul (A Christmas Story), the musical is based on the 28 Stage Whispers July - August 2014
NIDA production of In The Blood. Set and costume design by Michael Hili.
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Costumes & Props
Strictly Preposterous Costumes Quadruple Oscar winner Catherine Martin explains the philosophy behind the costumes in Strictly Ballroom the film and now the musical. David Spicer reports. “The ballroom world is one of sartorial freedom where nothing is out of bounds. “If this is set in any period, it is set in the 1980’s. But it is really set in its own world, the world of Strictly Ballroom, which is defined in the film. “Baz Luhrmann said we needed to be true to the film but we needed to amplify the message for the stage, so details you see in a close up, you can’t see. We needed the message of the characters very clear. We chose to keep all the colour coding that we used in the film. “We looked at Angus Strathie who designed the ballroom costume work in the film. It was about keeping that spirit; making sure it worked on stage. So whilst Tina Sparkle was in tiny little fruit (in the film), we had to expand that message so that people understand she is not wearing little colour baubles. (Instead) she is wearing big pineapples. “When we made the movie, ballroom was not a very well known subculture. Now we have programs on television that celebrate the art of ballroom dancing. So we had to be sure we were delivering things that are true to the world, but also gave the audience a sense of that world being outside what they had seen on TV. “Then I think the other special word is preposterous. With all these refinements and all these attempts that the innate joy, the preposterous no holds barred nature of the ballroom dancing costumes in that era, the world they inhabit. “You don’t too tasteful. Taste is a dangerous world. You judge yourself by the norms of the world not by you own.”
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Making and Maintaining the Costumes Catherine Mayne, Costume Supervisor for Strictly Ballroom The Musical, took Stage Whispers TV on a tour backstage. Her favourite costumes are the fruity mambo costumes. “They are spectacular.” The male version of the pineapple “has approximately 250 leaves on his sleeves. It is pretty heavy and fun. “They take a lot of love. All the machine work is pretty laborious.” The girl version “is a bit saucy. When she wears it, it looks pretty naked. It is mostly lyrca and strip sequencing. The actual diamantes take least time. The women get on a mission and go bang bang bang. All costumes are lined inside so it does not scratch the boys.” Then of course there are the fabulous ball gowns. “Most of these gowns take about 100 hours to complete. That is not including the diamante work.”
Online extras! Go backstage with Stage Whispers TV by scanning the QR code or visiting http://youtu.be/EgVERyMbzE0 “Most of them have three rows of feathers. The circumference of every skirt is about 11 metres. All are hand sewn.” The matador coat which Scott wears to finish the production is another show stopper. “We searched far and wide for right trims in this jacket. There was at least 60 hours of construction. It comes in layers. First the base, then overlay of gold lace, lattice work
stitched on, base trim and sequin over the top. Then the epaulettes, collars, sleeves and back. Then gold flowers with velvet underneath with a glue cut. There is also the bead work and diamante work and he dances in it eight times a week.” Every so often it gets a once over for running repairs. A seamstress’s job is never done.
A selection of CLOC Musical Theatre’s costumes for hire. www.cloc.org.au
Strictly Ballroom the Musical is on stage at Sydney’s Lyric Theatre. An exhibition of costumes from the movie is on display at Sydney’s Powerhouse museum until Nov 9.
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Costumes & Props
Lace & tulle
Costumes With All The Trimmings Shine Trimmings & Fabrics has over forty years of experience in the Dance & Theatre worlds. Its staff has expertise in Dressmaking, Costume design & creation, and performing on stage at a professional level.
need in stock the company will attempt to source it for you for the best possible price. The stock in supply now includes: Fabrics, Trimmings, Sequins, Beads, Chain, Feathers, Flowers, Fringe, Fancy Hats, Masks, Wigs, Fans, Tassels, Craft, Haberdashery, Gloves, Paint, Glue, They know which products make Motifs, Fringe, Crystals, Tiara’s, maximum impact under the lights and Patterns, Dance Tights, Buttons, and on camera. The company imports from Asia, Buckles. America, Europe and many other The company displays over 5,000 products on its website. corners of the globe. Buyers frequently Like them on Facebook to be travel the world sourcing new & exciting regularly updated. products. If they don’t have something you Mail orders are welcome. Visit www.shinetrimmingsfabrics.com.au and like Shine on Facebook: www.facebook.com/ShineTrimmingsFabrics Trimmings & motifs made up into a top
32 Stage Whispers July - August 2014
All suitable for tutus
Fancy hats & fabrics
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All subscribers who take out a $70 or $95 subscription will receive a copy of the CD David Campbell Sings John Bucchino (valid until Sept 1, 2015). All subscribers are also in the running to win: Either A Double Pass to Rolling Thunder Vietnam Brisbane: Friday 15 Aug at 7.30pm Melbourne: Saturday 23 Aug at 7.30pm Sydney: Saturday 30 Aug at 7.30pm Perth: Saturday 13 Sept at 7.30pm Adelaide: Saturday 20 Sept at 8.00pm Or A Double Pass to Palace Opera and Ballet (10 available) Screened nationally in July and August. Manon or Balachine or La Traviata
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Costume And Prop Marketplace CLOC’s Costume Cavalcade www.cloc.org.au Walking through the aisles of CLOC Musical Theatre Company’s Costume Resource Centre is like singing that song about Joseph’s coat (“It was red and yellow and green and brown….”etc.). With nearly 12,000 items catalogued including dresses, coats, suits, shirts, bowties, shoes, hats, bags, gloves, scarves, jewellery, wigs and everything in between, the centre is a stroll through centuries of fashion from 100 productions over 50 years. Wardrobe Co-ordinator Allan Paul has spent every Saturday for the past 20 years lovingly caring for the collection, aided by a dedicated group of about 15 women who sew costumes for the current show, as well as sharing gossip and good food. CLOC’s most recent show and its 100th production, 42nd Street, just completed a spectacularly successful season at The National Theatre in St Kilda. Costume designer Victoria Horne took charge of 300 costumes. Some costume changes were so quick that each cast member had two complete costume/wig changes within one three minute number. Each cast member had both 1930s day and rehearsal wear, as well as glitzy, bespeckled and feathered outfits to represent the ‘show within a show’. Given this brief, it is no wonder that Vicky had absolutely no trouble in keeping up her tradition of ensuring that each costume had at least one sequin on it. Even in the famous “42nd Street Ballet” that forms the show’s climactic and most intricate dance number, Vicky ensured that every individualised character costume featured sequins - the gangsters, the street sweeper, the newspaper seller, the Salvation Army girls, the soldier, the beggar and the policeman. From the cast of 33, each female ensemble member had 12 costumes and each male ensemble nine, including matching shoes with each costume as well as a multitude of accessories such as specially created jewellery, gloves, bowties, beaded chokers and hats/headgear, made from scratch by CLOC’s millinery team led by Tina Scott. Costume consultant Nancy Matthews also hand knitted two 1930s style vests for leading man Tim Cant. Anyone who saw 42nd Street will attest to the success of Vicky’s vision and her team’s artistry, skill, talents and commitment to excellence.
sewing ladies who are pursuing their love of dressmaking and are currently designing and sewing for Annie and The Phantom of the Opera. A rental of a large set of costumes typically costs in the vicinity of $3000 plus laundry costs. GMS has eight shows being hired at the moment including Beauty and the Beast, Hairspray, The Producers, Spamalot and Oliver! The GMS Costumes website features up to 100 photographs from the last 30 musicals performed by GMS. Contact (02) 43241305 or gosfordmusical@bigpond.com Bankstown Theatre Company (NSW) www.bankstowntheatrecompany.com/hire.html From Greek armour to a dead deer, no job is too difficult for the Bankstown Theatre Company’s wardrobe department. It all began when Pauline Paull started making costumes in her lounge room for My Fair Lady in 1976 and now continues in the company’s premises at the Bankstown Arts Centre nearly forty years later. Costumes have been designed and made for over 110 productions, giving BTC a wardrobe for all shapes, sizes, colours, styles and eras. Since Pauline’s sad passing in 2007, a team has continued the tradition in her place. “If you’re looking for something unusual,” says costume maker Lynne Beach, “who knows, we might just have it. We have costumes available for hire to theatre companies, schools or individuals, from one-off costumes through to some complete production sets. “Our website will give you an idea of the variety of shows we have performed over the years and an indication of the wide variety of men’s and women’s costumes that we have accumulated and have for hire.” Contact Lynne on 0438 449 334. MLOC Productions (Victoria) www.mloc.org.au A spectacular full set of CATS costumes is available for hire from MLOC Productions in Melbourne’s south-east. The company also has an array of costumes and resources to suit many shows. Recent productions staged by the company include Thoroughly Modern Millie, Annie, Pippin and White Christmas. Contact Margot (03) 9808 9775.
Ballarat Lyric Theatre (Victoria) www.ballaratlyrictheatre.com.au/costume-hire Fresh from a triumphant production of The Phantom of the Opera that included stunning masquerade masks, the Ballarat Lyric Theatre now has a wide variety of fully GMS Costumes (NSW Central Coast) costumed shows available for hire to theatres around www.gmscostumes.com.au Australia. The rental of entire show sets of costumes to other The company has multiple Guild Awards for excellence musical societies and schools is still extremely popular. Most over the years. production companies don’t have the storage space or the Other popular full sets include Hairspray, Joseph, Cats resources to make show costumes. GMS makes good quality and The Sound of Music. costumes that not only last for their show but also numerous The costume department also has an animal print, leather hires. The Gosford Musical Society has a dedicated group of and fur frenzy going on for party animals. 34 Stage Whispers July - August 2014
A selection of costumes for hire from MLOC www.mloc.org.au
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Costumes & Props A selection of costumes for hire from Bankstown Theatre Company www.bankstowntheatrecompany.com/hire.html
36 Stage Whispers July - August 2014
Hairspray costumes available for hire from Gosford Musical Society www.gmscostumes.com.au
A selection of costumes available for hire from Ballarat Lyric Theatre ballaratlyrictheatre@gmail.com
www.stagewhispers.com.au Stage Whispers 37
Costumes & Props
Online extras! Discover the Celebration II theatre seat by scanning the QR code or visiting http://youtu.be/cFYoAQcOlO4
Comfortable Bums On Seats Thinking of new theatre seats? Roger M Pratt from Hadley Australia has some tips on keeping the posteriors of your audience members happy. When the time has come to replace your old theatre seats or to select seats for your new venue, it pays to take some time to evaluate what is being offered. Uncomfortable seating is what is remembered by your patrons and is a big factor in their future ticket buying decisions. A theatre chair should be firm with good lumbar support and hold you well. A chair that has squishy foam seems on a quick try to be the most comfortable, but is not for the duration of a performance. Also a soft foam doesn’t last (think airline seats !) and has to be replaced frequently. Often when a chair is being selected, a number of them will be presented to a selection committee who only sit for a few seconds in each one. Narrow the choice down, take these home and watch a couple of hours TV before you decide. Obviously look for a long guarantee on both the chair and the fabric. Also check the chair envelope (front to back measurement with the seat up) as the smaller the envelope the more egress there is in the row.
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The seat cushion should be quickly changeable by the usher without tools. The cushions should have zip off covers so they can be quickly changed if soiled/vandalized. The strongest chairs have inner metal frames (not plastic) encased in moulded foam with no voids. Tipping should be silent and by gravity, not springs. Springs squeak and break over time. Timber arms look more upmarket than upholstered arms and maintain their look much longer - no fabric to wear out. LED aisle lighting is preferred - they give a long life without heat and are dimmable. The building code has now changed in most states so that the foam has to be fire rated to AS 1530 pt III as does the upholstery fabric. It is important to have this certification as for a major fire your insurance company may not pay out. Check out the weight rating of the chair being offered, the higher weight capacity the more abuse it will take and the longer the life expectancy. Can the PWD removable seating be handled by one staff member? For a new build, always select your chair early so that the acoustic ratings can be given to the Acoustic Consultant to incorporate into his calculations. This way you get the acoustic results that you want. Remember the cost of the chair will quickly fade; the comfort enjoyment remains long after. So choose well.
For all the latest in Community Theatre news, check out the Stage Whispers website http://bit.ly/1ijtGn1 You can also follow us on Twitter, Facebook and Google+
For more advice contact Roger M Pratt from Hadley/Series Australia Pty Ltd on 0412 435 089 or visit www.hadleyaustralia.com.au
Online extras! Watch a seating installation time lapse video by scanning the QR code or visiting http://youtu.be/8-cIquoLWcQ
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Costumes & Props
Forty Years Of Wonderful Colours
40 Stage Whispers July - August 2014
Batik Oetoro was founded in 1972 to supply the dyes, waxes and tools for the then flourishing fascination with batik work. The company has since then grown to stock the dyes, paints, chemicals, and tools required for almost any technique you can think of. Be it dyes for colouring natural and synthetic fibres plain even all over colour, or tie dye and shibori, transfer printing and batik. The company also supplies fabric paints for screen and block printing, hand painting and marbling. A quick look at their website www.dyeman.com will feed your imagination. The owner Lynne Britten has a lifetime of experience with the textile arts and crafts. She was taught the lady-like accomplishments of knitting, crochet, and hand embroidery at an early age, and then went off on a tangent... dyeing offcuts of worn out cotton sheets with mulberries! A Diploma of Visual Arts (majoring in textiles) and Graduate Dip of Education (Art) followed. Batik Oetoro already succesfully supply to costume and prop departments of film and TV studios including Spartacus Productions in NZ, Opera Australia, the major Australian ballet companies, and NIDA, to name a few.
Huge Props Sale
Storing props can be a major headache, but Melbourne company Event Affairs is showcasing collapsible props in its latest sale. The variety on offer includes collapsible tribal huts complete with selfsupporting large tree trunk frames. These can be garnished with jungle vines and garlands of colourful tropical flowers. A show stopper is a collapsible Moulin Rouge Windmill with rotating wings and LED lights. There is also a large Ancient Greek portico, Venetian masks to go with a gondola, display carts for a market scene and ornate oval mirrors fit for an opulent palace. A complete superhero set is available. “Gotham City” has all four Super Heroes over 3m high flats complete with a fabric backdrop of city skyscrapers. Event Affairs has a huge selection of fabrics including original Indian jewelled saris and drapes. The company says the cabaret/ showgirl look is catered for by “a stunning collection of full size mannequins - complete with make-up and stunning costumes, torsos, dancing legs & glamorous hands.” And their Christmas props include golden reindeers, oversized baubles and “Charles Dickens” centrepieces. Event Affairs promises a complimentary espresso coffee when you make an appointment to inspect their East St Kilda showroom / warehouse. Phone (03) 9510 2828 or email klaudia@eventaffairs.com.au
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Costumes & Props
NIDA Students At Play
Set design for The Greeks (Hecuba) by Isabella Andronos.
It was peak hour during June at the National Institute of Dramatic Arts in Sydney. There were five plays in production requiring hundreds of litres of blood, assorted sets and 135 costumes from a silk slip to full military combat gear. Productions included the premiere of new Stephen Sewell play Kandahar Gate, along with The Greeks, Much Ado About Nothing, In the Blood and The False Servant. Stage Whispers spoke to some of those stitching and nailing the productions together.
Anna Porcaro - Costume Supervisor The Greeks (Hecuba, Agamemnon, Electra) What was one of the challenges you have faced for this production? Being a Greek tragedy, there is a lot of blood used in this production. For every single performance, approximately 15 litres of blood is required and so for 15 shows, including technical rehearsals and dress runs, that amounts to 230 litres of blood. In order to make such a quantity, 95 litres of corn syrup and 80 bottles of chocolate syrup are used. What is your favourite costume from this production?
Kandahar Gate set design by Charles Davis
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One of the characters, Clytemnestra - dressed in a white, floor length chiffon dress - is consumed with revenge and murders her husband and her husband’s lover offstage and re‑enters dripping in their blood. The audience is unaware that behind the scenes, the actress has to perform a quick change into an identical white dress so as to always have one dress clean and pristine and the other, red and bloody. Isabella Andronos - sets and properties designer for The Greeks (Hecuba, Agamemnon, Electra) What was your brief for your design? Working with the director, John Sheedy, and the costume designer, Charlotte Henery, it was established early on that we didn’t want to do a traditional production of The Greeks. The vision for the work was to create separate spaces for each of the three plays, each reflecting the mood of the text. The designs were very much about creating wide, open spaces for the actors to work in, to allow the focus to be on the beauty of the words. Colour was also important in the
design process as yellow came to link the plays together, used through costume, lighting and props. The two doors in the space also remained as a constant throughout the work, staying the same throughout the plays while the walls changed. Michael Scott-Mitchell - Head of Design, NIDA What different methods do the students use in creating their models or renderings? Design students move from sketch drawings to sketch 3D models, then onto a phase of development known in the industry as the ‘white card’. This involves the presentation of the full design without colour representation in set, props or costume. For the final design presentation the designers complete their scale models, costume renderings and prop drawings with the application of texture and colour. Once these are complete the designers photograph their work and present formally with the aid of a Power Point. What are some of the main challenges for a designer? Budgets are a fact of life and we encourage designers to use them in a positive way to help shape the conceptual decisions taken in the evolution of their design and more broadly by the production.
Workplace Health and Safety (WHS) is also a given, and can also be used, rather than as an impediment, to help define their work conceptually and as a component in creative problem solving. Fiona Reilly - Head of Costume, NIDA What is the biggest challenge in taking a design from a design to an actual costume? A rendering is the two dimensional expression of an idea. The role of the costumier is to transform that idea into a three dimensional reality. The challenge in ‘translating’ the costumes is to stay true to the director and designer’s intentions, while taking into account elements such as budget, resources and the physical demands of production. How many costume students are working on NIDA’s June productions? There are twelve Costume students currently studying at NIDA - four in each of the three years of Costume. The course is designed to expand and grow the role of the Costume student within the productions and this is reflected in their level of involvement. The four first-year students (some of whom have never worked on a production before) participate in the productions at the ‘coal-face’ fulfilling the role of costume crew on the
productions. At a basic level they work under the supervisors to create the show and they act as the show crew in performance. The second-year Costume students make more advanced costumes as part of their classwork - either draping female costumes or tailoring for the males. In their third year the students supervise costumes for a complete production as well as advancing their making skills. How many costume pieces are needed for this season of NIDA student productions? Within the five productions there are approximately 135 complete costumes. These can range from bloodied underwear, a silk slip, full military combat gear to an 18th century court suit. A few costumes involve only one or two items, but a single female costume in The False Servant is layered with a chemise, corset, stockings, shoes, garters, panniers, petticoat, underskirt, over-robe, wig and jewellery. Some actors have up to five changes of costume during the performances and for three of the productions which include blood, we add to the total of costumes another forty or so to cover doubles.
NIDA production of Much Ado About Nothing. Photo: Lisa Maree Williams. Bride costume design by Rachel Giuffre.
www.stagewhispers.com.au Stage Whispers 43
Technical
Can You Hear The People Sing? System Sound reflects on the changes in audio technology since Les Misérables was first in Australia. Les Misérables is back; over 25 years after the first Australian production opened at the Theatre Royal, Sydney, this acclaimed new production opens at Melbourne’s Her Majesty’s Theatre on July 3rd. Theatre sound company System Sound Pty Ltd (in its 35th year) is contracted to provide Sound, Communications and CCTV facilities for the production tour, having done the same for all of the Cameron Mackintosh productions of Les Mis around Australasia. The original Australian production, in 1987, as on the West End and
44 Stage Whispers July - August 2014
Broadway, was state of the art in sound design for its time - and not surprisingly, the technology has changed immensely since then. Mixing Console Then: Live theatre mixing consoles were not computer assisted, and the console of choice the world over was a Cadac “E-type” - an analogue console of the highest audio quality and specifically designed for the needs of theatre sound production. Now: Not surprisingly, the mixing console of choice is now digital a Digico SD7T - fibre-optic linked to the stage and orchestra pit.
Top: Digico SD7T digital console Above: Cadac “E-Type” analogue console Below: Sennheiser miniature mics (in sweatresistant latex covers)
UK tour cast of Les Misérables. Photo: Michael Le Poer Trench, courtesy of Cameron Mackintosh Australia Pty Limited
Sound Designer: Mick Potter. Associate Sound Designer: Shelly Lee Head of Sound: Alan Lugger Second Engineer: Evan Drill Radio Tech: Que Nguyen. Sound Designer Mick Potter’s Associates Adam Fisher (UK) and Shelly Lee (System Sound) with Head of Sound Alan Lugger.
Radio Microphones Then: The cast were “miked” with only 16 channels of Micron radio mics, to cover every utterance of the 40 or so performers. The two System Sound radio techs backstage had an extremely busy plot involving moving transmitters from person to person with 67 “pack changes” through the show and the operator had to manage the many gain and EQ changes with an equally complex plotted libretto to work from - without computer assistance. Now: A brand new system of 40 channels of Sennheiser radio mics has been provided by System, for much more exacting control - but the art of mixing still requires the operator to be “on” for every second of the performance. Speakers Then: Meyer Sound speakers were the preference of then Sound Designer Andrew Bruce a modest sound system by current standards, but a great sound even then. Now: Meyer Sound loudspeakers are again Designer Mick Potter’s choice. This time though, the current M’Elodie line array systems have been selected. This suits System Sound very well, as they use these in many theatre
productions. These 4m high arrays are hidden in the scenic design. What also now contributes greatly to the more immersive sound-production experience are the 158 Delay and Surround Sound speakers called for. System Sound has worked with Matthew Peckham at Her Majesty’s to install permanently the wiring, mounting points and patching to facilitate the easy installation of just about any type of active or passive speaker in any configuration of delay/ surround design at Her Majesty’s for years to come.
Evan Drill and Que Nguyen at the radio mic moinitoring station backstage.
For Les Misérables, System Sound has provided 158 D&B speakers and associated amplifiers, temporarily installed. System Sound will provide all equipment, installation, operation and maintenance throughout the tour.
The 40 Sennheiser radio microphone receivers
www.stagewhispers.com.au Stage Whispers 45
Stage Heritage
The “Sparkle” Of Musicals Coral Drouyn explores Australia’s love affair with Musical Theatre and how a legendary choreographer affectionately known as ‘Pounder’ helped make a generation of chorus and principals sparkle.
Stage Door Johnnies waited in hope, while horse drawn carriages crowded the streets, “Our Glad” was mobbed everywhere she went, and the first ticket scalpers were seen in Melbourne’s Exhibition Street, outside “The Maj”. It was an amazing time, A hundred years ago the names and the phrase “cultural cringe” had Glad, Nellie and Flo were on every not yet been coined. Nor did there theatre-goer’s lips. No, they weren’t seem any need for it, ever. It seems hard to imagine in 2014, some strange Antipodean feminist when there are at least three major version of The Three Stooges, they were three leading ladies who graced producers of musical theatre, and every our stages over a period of 50 years or community theatre now does major so from the late 1800s until after the musical productions, but one company dominated musical theatre from the Second World War. 1890s right through to the late 1970s Gladys Moncrieff, Nellie Stewart and Florence Young were the darlings JC Williamson Ltd. Williamson’s of theatre goers; home grown stars (known as The Firm) ruled the field who packed the theatres every night in long after the founder was dead and at the time the company sold its holdings Melbourne and Sydney. The Maid of in 1976 it was the largest theatrical the Mountains was such a smash hit company in the entire world; in a that Gladys Moncrieff, as Teresa, country most people knew nothing racked up more than 2,800 performances in the role. When you about, with a population of around 18 consider that is more performances million. Australians were crazy for than Ethel Merman, Mary Martin, and musical theatre and our own stars. Yet something happened in the mid Gwen Verdon put together in their -1940s which lasted for more than biggest hits, the power of a leading lady in the Antipodes is even more twenty years and had even longer astonishing. lasting repercussions. We became aware, as a nation and as theatre-
46 Stage Whispers July - August 2014
goers, of a whole different world of theatre. We started seeing Hollywood musicals and hearing about Broadway. Box office is all about “bums on seats” after all, so who could blame the Tait Brothers - who by then were running the legacy that was JC Williamsons for thinking audiences were champing at the bit to see overseas stars? And it’s true that licensing of some shows came with the proviso that an imported artist MUST play the lead. American writers and producers had never heard of Our Glad, and couldn’t imagine that we had homegrown talent to equal that on Broadway. And so we suffered through 20 years or more of Broadway understudies or touring company leads giving often quite ordinary performances, while our local talent was confined to supporting roles. So it was for Jill Perryman, playing Irene Molloy in Hello Dolly and understudying Carole Cook, the lead.
When Cooke became ill, Jill went on. An incident with her dress, coming down the staircase in the title number plus the comic aplomb with which Jill carried it off - convinced Director Fred Hebert that she was perfect for Funny Girl. Without Jill and that dress, we might still be seeing fabulous talent in supporting roles. Once the door, or rather the floodgate, was opened, there was no turning back. When Jill was ready to ease off she passed the crown to Nancye Hayes, who had also managed to steal various shows whilst in supporting roles. Nancye’s star exploded in Sweet Charity in 1967 and these two leading ladies ruled our stages for the best part of 20 years. Behind the scenes, though, the driving force was a lady whom most people simply called Pounder. Betty Pounder was a dancer in the late forties in musicals and revues, but soon became assistant ballet mistress, then choreographer and assistant producer, before becoming a director of The Firm’s shows. She wasn’t the world’s greatest dancer but she was very quick
to learn steps and she developed a notation system, much like shorthand, for copying down the dance sequences in Broadway productions. She would re -create them here, and add extra sequences to show off our dancers. Before long the word spread overseas that we had the best “Chorus” boys and girls in the world. Ensemble members from Australian shows went to England and even America and were able to get work on the strength that they had worked with Pounder. Her catch-cry was always “Sparkle Darlings” and they did, the moment they hit the stage. If you didn’t have that sparkle, that energy and enthusiasm, then you weren’t right for Pounder. In 1957 Pounder daringly suggested that The Pajama Game should have an all Australian cast. When it was a hit with audiences, the tide began to turn - and the fact that we have all Australian casts in shows like Wicked is the direct result of Pounder’s legacy. The ensemble members were made to feel as important as the stars and Pounder let
them know there was no show without them. Whilst a star might have lay-off periods because a show wasn’t suitable for them, the ensembles were constantly in work, going from show to show and getting better all the time. “Sparkle Darlings” worked its magic every time. It seems so long ago now - more than forty years - you would imagine they have all retired to nursing homes or passed on. Well, you’d be wrong. There are a hundred or more still alive and kicking - some quite literally. Whatever they went on to do, they are still part of that musical world, still Pounder’s “Darlings” and to prove it they staged a big reunion at Her Majesty’s Theatre in Melbourne….home of so many JC Williamson triumphs. You could almost smell the Greasepaint in the air. We’ll tell you all about that reunion, and what those “stars” have been doing for the last forty years when we cover the reunion and share unpublished anecdotes of theatre history in our next edition.
www.stagewhispers.com.au Stage Whispers 47
B
The Sydney Theatre Company will return to Lincoln Center with their 2013 production of Jean Genet’s The Maids starring Cate Blanchett and Isabelle Huppert, which will play 6-16 August during Lincoln Center’s Summer Festival. Directed by Benedict Andrews, the new English translation is by Andrews and Andrew Upton. Genet’s play was inspired by the infamous Papin sisters who brutally By Peter Pinne killed their employer and her daughter. The Sydney Theatre Company’s last visit to New York was in 2012 when they Kristin Chenoweth returns to Broadway next year when presented Blanchett in an acclaimed production of she stars in the Roundabout Theatre Company’s revival of Chekhov’s Uncle Vanya. On The Twentieth Century, the 1978 Cy Coleman, Betty Closing notices have been posted for Will Eno’s The Comden and Adolph Green musical. Chenoweth plays Realistic Joneses, which will end its Broadway run at the temperamental actress Lily Garland opposite Peter Lyceum Theatre, 6 July. A high-profile cast that included Gallagher (TV’s Covert Affairs) as her mentor and former Toni Collette, Michael C. Hall and Marisa Tomei could not lover Oscar Jaffe. The musical, which is part operetta, part keep this dark comedy afloat for longer than three months. farce, and part screwball comedy, is based on the play of Even good reviews, especially from the New York Times the same name by Ben Hecht, Charles MacArthur and Bruce who called it “funny and moving” and “wonderful and Mulholland, and won a Tony Award for Best Score in its weird” and claimed it was the best new play of the season, original production. The show has never been revived on had little effect. They have however been acknowledged for Broadway but a one-night-only staged concert of the piece their work, winning the 2014 Drama Desk Award for was presented in 2005 with Marin Mazzie (Garland) and Outstanding Ensemble Performance. Douglas Sills (Jaffe). The limited run Roundabout Tony Sheldon, who recently played Pellinor in a production will be directed by Scott Ellis, with celebration concert of Lerner and Loewe’s Camelot with choreography by Warren Carlyle. It previews 12 February Brian Stokes Mitchell (Arthur) and Laura Michelle Kelly for a 12 March opening, and closes 5 July 2015. (Guinevere) in Washington D.C., continues his Lerner and Chenoweth last appeared on Broadway in a 2010 revival of Loewe association when he dons the apparel of Colonel Promises, Promises opposite Sean Hayes. Pickering in a production of My Fair Lady which will open at Prior to On The Twentieth Century Chenoweth will star the Guthrie Theater, Minneapolis, 4 July and play through alongside composer/lyricist Andrew Lippa (The Addams September. The cast also includes Jeff McCarthy (Henry Family) in the New York premiere of Lippa’s choral work I Higgins), Helen Anker (Eliza Doolittle) and Donald Corren Am Harvey Milk at Avery Fisher Hall 6 October. Lippa will (Alfred P. Doolittle). Joe Dowling directs with musical play the title role with Chenoweth as the soprano soloist. direction by Andrew Cooke. The production will feature the Orchestra of St Luke’s and The Broadway premiere of Britain’s National Theatre hit introduce the 12-member All Star Broadway Men’s Chorus. The Curious Incident of the Dog in the Night-Time begins Noah Himmelstein directs, Joel Fram is musical director and previews 10 September at the Barrymore Theatre. The conductor, and Michele Lynch is choreographer. The work National Theatre production, directed by Marianne Elliott, has been described as “part choral work, part theatre will feature Alexander Sharp (Christoper), Ian Barford (Ed), piece”, and traces the life of gay rights activist Milk from Helen Carey (Mrs Alexander), Francesca Faridany (Siobhan), boyhood, through his political career and eventually to his and Enid Graham (Judy). Simon Stephens’ play, adapted assassination in 1978. The oratorio had its premiere last from the best-selling novel by Mark Haddon, and is about a summer as part of the San Francisco Gay Men’s Chorus’ 15-year-old boy Christopher who has Asperger’s syndrome 35th Anniversary Celebration Concert. and is accused of killing his neighbour’s dog. Following a Glenn Close and John Lithgow are to star in a revival of sold-out run at the National’s Cottesloe Theatre the Edward Albee’s A Delicate Balance which opens a limited production transferred to London’s West End, where it engagement at the John Golden Theatre, with previews received seven 2013 Olivier Awards including Best New beginning on 20 October for a 20 November opening. The Play. Scott Rudin production will be directed by Pam McKinnon On Your Feet, a musical about the life of seven-timeand the cast will also feature Martha Plimpton, Lindsay Grammy-winning Latin singer Gloria Estafan and her Duncan, Bob Balaban and Claire Higgins. Close and husband, music producer Emilio Estafan, is eyeing Lithgow play long-married couple Agnes and Tobias, who Broadway for 2015. The musical, which will play a summer welcome home their 36-year-old daughter (Plimpton) after world-premiere season in Chicago, has a book by Alexander the collapse of her fourth marriage, give shelter to their Dinelaris, with direction and choreography by Jerry Mitchell. best friends (Balaban and Higgins) and tolerate Agnes’ The score will feature Estafan’s chart -topping hits, “Rhythm alcoholic sister Claire (Duncan). The play was last revived in Is Gonna Get You”, “1-2-3” and “Conga”, along with new 1996 with George Grizzard, Rosemary Harris and Elaine music written by the Estafans. Stritch.
roadway uzz
48 Stage Whispers July - August 2014
On Stage
A.C.T. & New South Wales
The cast of Bell Shakespeare’s Henry V, touring to 32 venues across Australia from June to November. Photo: Michele Mossop.
A.C.T. Showtune. Canberra Repertory Society. Until July 5. Theatre 3. 6257 1950
The Ten Tenors on Broadway. July 17 - 19. Canberra Theatre Centre. (02) 6275 2700.
Wombat Stew Live on Stage. Stage adaptation and lyrics by The Magic Hour by Vanessa Gary Young. Original score and Bates. Performing Lines WA. July arrangements by Paul Keelan. 4 - 6. The Street Theatre. 6247 Garry Ginivan Attractions and 1223. Canberra Theatre Centre. July Legally Blonde The Musical. 24 - 26. Canberra Theatre Music and lyrics by Laurence Centre. (02) 6275 2700. O’Keefe and Nell Benjamin and Bartleby by Julian Hobba after book by Heather Hach. FreeHerman Melville. Made in Rain Theatre Company. July 4 Canberra. July 26 - Aug 3. The 27. ANU Arts Centre. (02) 6275 Street Theatre. 6247 1223. 2700. Cirque Mother Africa. July 29. The Incredible Book Eating Boy Canberra Theatre Centre. (02) by Maryam Masters. CDP 6275 2700. Production. July 7 - 12. The Street Theatre. 6247 1223. Boundless. Quantum Leap. July 30 - Aug 2. Canberra Theatre The Witches by Roald Dahl. Centre. (02) 6275 2700. Child Theatre. July 10 - 19. Belconnen Theatre. 6257 1950. Arcadia by Tom Stoppard. Canberra Repertory Society. July Patyegarang. Bangara Dance 31 - Aug 16. Theatre 3. 6257 Theatre. July 17 - 19. Canberra 1950 Theatre Centre. (02) 6275 2700.
Circa’s S. Aug 6 - 9. Canberra Strictly Ballroom The Musical by Theatre Centre. (02) 6275 2700. Baz Luhrmann and Craig Pearce. Global Creatures and Bazmark. Devdas The Musical. Ruchi Sydney Lyric Theatre, The Star. Sanghi. Aug 16. Canberra 1300 795 267. Theatre Centre. (02) 6275 2700. Mojo by Jez Butterworth. STC. The Importance of Being Until July 5. Wharf 1. 9250 Earnest by Oscar Wilde. State 1777. Theatre Company of SA. Aug 19 - 23. Canberra Theatre Centre. The Violent Outburst That Drew (02) 6275 2700. Me To You by Finegan Kruckemeyer . Siren Theatre Co Bell Shakespeare’s The Dream and Griffin Independent. SBW by William Shakespeare. Aug 28 Stables Theatre. Until July 12. - Sep 13. Canberra Theatre (02) 9361 3817. Centre. (02) 6275 2700. Richard III by William New South Wales Shakespeare. Ensemble Theatre. The Lion King. Based on the Until July 19. (02) 9929 0644. 1994 Disney animated film of Ruthless! The Musical by Joel the same name with music by Paley and Marvin Laird. The Elton John and lyrics by Tim Theatre Division. Until July 5. Rice, along with the musical Reginald Season at The Seymour score created by Hans Zimmer, Centre. (02) 9351 7940. with choral arrangements by Lebo M. Disney Theatrical. Toad of Toad Hall by A. A. Capitol Theatre, Sydney. Milne from the book by Ticketmaster. Kenneth Grahame. Maitland Junior Repertory Theatre, at its
Advertise your show on the front page of www.stagewhispers.com.au
Stage Whispers 49
On Stage
New South Wales
theatre in Maitland. Until July 6. Joseph and the Amazing (02) 4931 2800. Technicolor Dreamcoat. Music by Andrew Lloyd Webber, lyrics Death By Chocolate by Paul by Tim Rice. Young People’s Freed. Castle Hill Players. Until Theatre. Until Aug 16. Young July 12. Pavilion Theatre, Castle People’s Theatre, Hamilton Hill Showground. 9634 2929. (Newcastle). (02) 4961 4895. Company by Stephen Sondheim Every Second by Vanessa Bates. and George Furth. Newcastle Darlinghurst Theatre Company. Theatre Company. Until July 5. Until July 27. Eternity Playhouse. Newcastle Theatre Company (02) 8356 9987. Theatre, Lambton. 4952 4958. High School Musical 2. Gosford Who Knows by Paul McIntyre. Musical Society. Laycock Sydney Independent Theatre Theatre, Gosford. July 1 - 5. (02) Company / Kore Productions. 4323 3233. Until July 12. Old Fitzroy Theatre, Woolloomooloo. 1300 Managing Carmen by David Williamson. HIT Productions. 367 264. July 2. Cessnock Performing Arts Rigoletto by Verdi Opera Centre. (02) 4990 7134. Australia. Joan Sutherland Opera Theatre, Sydney Opera Orphans by Dennis Kelly. F&C House. Until Aug 24. 9318 Theatre Makers and Mel Ashby. 8200. July 2 - 20. The Old 505 Theatre. Jesus Christ Superstar by Andrew Lloyd Webber & Tim Peppa Pig Live! Treasure Hunt. Rice. Armidale Drama and Life Like Touring. July 2, Civic Musical Society. Until July 12. Theatre, Newcastle, (02) 4929 Hoskins Theatre, The Armidale 1977 & July 5, Cessnock Performing Arts Centre, (02) School. 4990 7134. Who Knows by Paul McIntyre. Kore Producions and Emu Legally Blonde - The Musical. Productions. Until July 12. King Music and lyrics by Laurence Street Theatre, Newtown. 0423 O’Keefe and Nell Benjamin from 082 015. book by Heather Hach. Moonglow Productions. WIN Hedda Gabler. Adapted from Entertainment Centre the play by Henrik Ibsen. Belvoir. Wollongong. July 4 & 5. Until Aug 3. Belvoir St Theatre, Upstairs. (02) 9699 3444.
50 Stage Whispers
There’s A First Time For Everything. Wollongong Playback Theatre. July 5. Harbour Theatre, Coniston.
Mammory Monologues. Wollongong Workshop Theatre. July 11 - 13. Wollongong Workshop Theatre. (02) 4225 9407
Otello by Verdi. Opera Australia. Joan Sutherland Opera Theatre, Rabbit Hole by David LindsaySydney Opera House. July 5 Abaire. Newcastle Theatre Aug 2. 9318 8200 Company. July 12 - 26. Newcastle Theatre Company The Little Prince. Adapted by Theatre, Lambton. 4952 4958 Jerry Ray from the novella by (3-6pm Mon - Fri). Antoine de Saint-Exupery. July 5 - 12. The Royal Exchange, Blithe Spirit by Noël Coward. Newcastle. 0429 434 974. Ruby Productions. July 12 - 26. John Lees Centre, Evan St, The Listies Earworms. Penrith. (02) 47355422. Merrigong Theatre Co. IPAC. The Man in Black - The Johnny July 8 & 9. (02) 4224 5999. Cash Story by Jim McPherson. A Knight to Remember by Chris Starring Tex Perkins. July 15 Fletcher and Richard Howard. 20. Drama Theatre, Sydney Footlice Theatre Company. July Opera House. 9250 7777. 8 - 12. The Black Box Theatre, Hamilton East (Newcastle). An Evening with Groucho. Actor 0405 154 174. Frank Ferrante’s look at the wise -cracking Groucho Marx. Jally The Factory by Vella Mnusaute, Entertainment. July 16, Composer - Poulima Salima. Cessnock Performing Arts Merrigong Theatre Co. IPAC. Centre, (02) 4990 7134 & July July 9 - 12. (02) 4224 5999 19, Civic Theatre, Newcastle, The Effect by Lucy Prebble. (02) 4929 1977. Sydney Theatre Company and Autumn Song by Penny Dennis. Queensland Theatre Company. CHATS Productions Inc. July 17 July 10 to Aug 16. Wharf 1. 21. Jetty Memorial Theatre. 9250 1777. A Doll’s House by Henrik Ibsen. A Midsummer Night’s Dream by Sport for Jove. July 17 - Aug 2. William Shakespeare. Phoenix The Reginald Theatre, Seymour Theatre Co. July 11 - 26. Centre. 9351 7940. Phoenix Theatre, Coniston. 0407 067 343. Ugly Mugs by Peta Brady. Griffin Theatre Company and
Just $40 a month to reach thousands of theatre goers. Contact Stage Whispers for details.
On Stage Malthouse Theatre - World Premiere. July 18 - Aug 23. SBW Stables Theatre. (02) 9361 3817. Disney’s Beauty and the Beast. Music by Alan Menken. Lyrics by Howard Ashman. Book by Linda Wolverton.Packemin Productions. July 18 - Aug 3. Riverside Theatre, Parramatta. (02) 8839 3399. An Ideal Husband by Oscar Wilde. Epicentre Theatre Company. Zenith Theatre Chatswood. 18 - 26 July. Summer Rain by Nick Enright & Terence Clark. Roo Theatre. July 18 - 26. Roo Theatre, Shellharbour. 4297 2891. Where’s Your Buccaneers?by Brian McGinn. The Black Diamond Players. July 18 - 27. Woonona School of Arts. 4296 9448 Annie. Book by Thomas Meehan, Music by Charles Strouse, lyrics by Martin
Charnin. Gosford Musical Society. July 19 - Aug 16. Laycock Theatre, Gosford. www.laycockstreettheatre.com (02) 4323 3233. Macbeth by William Shakespeare. STC. Sydney Theatre. July 21 to Sep 27. 9250 1777. Life After George by Hannie Rayson. Pymble Players. July 23 Aug 16. Cnr Bromley Ave & Mona Vale Rd, Pymble. MCA Ticketing 1300 306 776. Dark Voyager by John Misto. Ensemble Theatre. From July 24. (02) 9929 0644. Through These Lines by Cheryl Ward. Turnaround Productions and No Rest for the Wicked. July 24 - Aug 5. Fort Scratchley, Newcastle. (02) 4929 1977. Don Giovanni by Mozart. Opera Australia. Joan Sutherland Opera Theatre, Sydney Opera House. July 25 - Aug 30. 9318 8200.
New South Wales Dearly Beloved by Jessie Jones, Nicholas Hope & Jamie Wooten. Sutherland Theatre Company. July 25 - Aug 3. The Sutherland Memorial School of Arts. 9150 7574.
DAPA. Aug 1- 16. DAPA Theatre, Hamilton (Newcastle). (02) 4962 3270.
Wombat Stew: The Musical. Book and lyrics Gary Young, music Paul Keelan, adapted from Marcia K. Vaughan’s children’s story. Garry Ginivan Productions. July 30 - 31. Civic Theatre, Newcastle. (02) 4929 1977.
Valentine. Wollongong Workshop Theatre. Aug 8 - 23. (02) 4225 9407.
Hotel Sorrento by Hannie Rayson. Guild Theatre. Aug 1 30. Guild Theatre, Walz St. Secret Bridesmaids’ Businessby Rockdale. (02) 95216358 MonElizabeth Coleman. Arts Theatre Sat 9am to 5pm. Cronulla. July 25 - Sep 6. (02) The Tempest by William 9523 2779 Box Office open Shakespeare. Reamus Youth 9am-12pm Saturdays 12, 19 & Theatre. Aug 1 - 16. Maitland 26 July or any performance Repertory Theatre. (02) 4931 night. 2800. The Mystery of Edwin Drood. Insignificance by Terry Johnson. Music, Lyrics and Book by Woy Woy Little Theatre. Aug 1 Rupert Holmes. Bankstown 17. Peninsula Theare, Woy Woy. Theatre Company. July 25 - Aug 4344 4737. 3. Bankstown Arts Centre, Play in a Day 5. Writers, Olympic Parade, Bankstown. directors and actors develop 96761191. and stage plays in 24 hours. The History Boys by Alan Newcastle Theatre Company. Bennett. The Theatre on Chester Aug 5. NTC Theatre, Lambton. (Epping). July 25 - Aug 16. The (02) 4952 4958. Theatre on Chester, Epping. The Elixir of Love by Donizetti. (02) 9877 0081. Opera Australia. Joan Tartuffe by Molière. A New Sutherland Opera Theatre, Version by Justin Fleming. Bell Sydney Opera House. Aug 8 Shakespeare. July 26 - Aug 23. 31. 9318 8200. Sydney Opera House, Drama Constellations by Nick Payne. Theatre. 02 9250 7777 Darlinghurst Theatre Company. Troika. Premiere of three dance Aug 8 - Sep 7. Eternity works devised by Isabelle Playhouse. (02) 8356 9987. Leonard and Mason Peronchik. The National Theatre Company. Four Flat Whites in Italy by Roger Hall. Hunters Hill Theatre. July 26. The Factory Theatre, Aug 8 - 23. 9879 7765. Adamstown (Newcastle). (02) 4929 1977. Parramatta Girls by Alana
Breaking Up is Hard to Do. Lyrics by Neil Sedaka, Howard Greenfield & Philip Cody. SUPA North (Ballina). Aug 8 - 16. Ballina RSL, 240 River St, Ballina. (02) 6686 2544.
‘S’. Created by Yaron Lifschitz and the Circa Ensemble. Avenue Q by Jeff Whitty. Merrigong Moves. IPAC. July 31 Campbelltown Theatre Group. - Aug 3. (02) 4224 5999. Aug 8 - 23. Town Hall Theatre, Agnes of God by John Pielmeier. Campbelltown. 4628 5287. Henry Lawson Theatre. Aug 1 - The Magic Flute by Mozart. 22. Henry Lawson Theatre, Orchestra Reduction. Merrigong Henry Lawson Drive, Add-On Shows. IPAC. Aug 8 & Werrington. (02) 4729 1555. 9. (02) 4224 5999 Winners and Losers: The 50s. A Nora. By Kit Brookman and look at the songs nominated for Anne-Louise Sarks after A Doll’s Academy Awards in the 1950s. House by Henrik Ibsen. Belvoir. Advertise your show on the front page of www.stagewhispers.com.au
Stage Whispers 51
On Stage
New South Wales & Queensland
Man In Black. Drama Theatre, Sydney Opera House, Tuesday July 15 - Sunday July 20 2014.
Aug 9 - Sep 14. Belvoir St Theatre, Uptairs. (02) 9699 3444 Jonas Kaufmann in Concert. Opera Australia. Concert Hall, Sydney Opera House. Aug 10. 9318 8200. Hairspray. Book - Mark O’Connell & Thomas Meehan. Music - Marc Shaiman. Lyrics Scott Wittman & Marc Shaiman. Metropolitan Players. Aug 13 to 23. Ticketek 49291977. Accomplice by Rupert Holmes. Castle Hill Players. Aug 15 - Sep 6. Pavilion Theatre, Castle Hill Showground. 9634 2929. The Phantom of the Opera by Andrew Lloyd Webber, Charles Hart and Richard Stilgoe, from the book by Gaston Leroux. Arcadians Theatre Group. Aug 15 - 24. IPAC. Death of a Salesman by Arthur Mller. Wollongong Workshop
52 Stage Whispers
Theatre. Aug 15 - 30. 0455 896 De Vitre St, Lambton. 4952 501. 4958 (3-6pm Mon - Fri). Food by Steve Rodgers. Composer & Sound Designer: Ekrem Mulayim.Merrigong Theatre Co. Gordon Theatre, IPAC. Aug 20 - 23. (02) 4224 5999. Intimate Letters. Bell Shakespeare and the Australian Chamber Orchestra. Aug 20. Newcastle City Hall. (02) 4929 1977. Oedipus Rex. Belvoir. Aug 21 Sep 14. Belvoir St Theatre, Downstairs. (02) 9699 3444. Black Comedy by Peter Shaffer. Theatre on Brunker. Aug 22 Sept 13. St Stephen’s Church Hall, Adamstown (Newcastle). (02) 4956 1263. Lost in Boston by Neil Simon. Newcastle Theatre Company. Aug 23 - Sep 6. Newcastle Theatre Company Theatre, 90
The Jack Manning Trilogy by David Williamson. Face to Face, A Conversation and Charitable Intent. Ensemble Theatre. The Concourse, Chatswood. From Aug 25. (02) 9929 0644. The Magic Flute music by Wolfgang Amadeus Mozart, libretto by Emanuel Schikaneder, adapted by Michael Gow. Oz Opera. Aug 26. Civic Theatre, Newcastle. (02) 4929 1977. Unholy Ghosts by Campion Decent. White Box Theatre and Griffin Independent. World Premiere. SBW Stables Theatre. Aug 27 - Sep 20. (02) 9361 3817. Pure and Palpable. Regional Institute of Performing Arts. Aug 28 - 30. Civic Playhouse, Newcastle. (02) 4929 1977.
75th Anniversary Gala. Rockdale Musical Society. Aug 31. Rockdale Town Hall. 0433 990896. Queensland Charlotte’s Web by E.B. White, adapted by Joseph Robinette. Arts Theatre, Brisbane. Until Aug 2. 3369 2344. The Effect by Lucy Prebble. QTC & STC. Until Jul 5. Bille Brown Studio. 1 800 355 528 Company by Stephen Sondheim and George Furth. Ignatians Musical Society. Until Jul 5. Schonell Theatre, St Lucia. 3371 2751. Romeo and Juliet. Ballet by Kenneth McMillan. Until Jul 5. Queensland Ballet, QPAC. 136 246. The Breakfast Club by John Hughes, adapted by Drew Jarvis. Arts Theatre, Brisbane. Until Aug 2. 3369 2344
Just $40 a month to reach thousands of theatre goers. Contact Stage Whispers for details.
On Stage Shut Up and Think of England Musical Memories Musicals. by John Chapman & Anthony Tweed Theatre Co, Tweed Marriott. Gold Coast Little Heads. July 5-6. 1 800 674 414. Theatre. Until 12 Jul. 5532 2096 Managing Carmen by David An Evening With Groucho by Williamson. Christine Harris & Frank Ferrante. Jally Hit Productions. July 8, Ipswich Entertainment. July 1-2. Civic Centre, 38106699; July 18Gardens Theatre, Brisbane. 19, Gardens Theatre, Brisbane. 3138 4455 3138 4455; July 22, The Arts Centre Gold Coast, 5588 4000; Peter Pan by Kate Peters. July 25 & 26, Cairns Civic Spotlight Theatrical Co, Gold Theatre, 40319931. Coast. July 2-12. 5539 4255 Sweet Fanny Adams by Peter It’s a Long Way to Tipperary. Pinne & Don Battye. Lind Lane Mousetrap Theatre, Redcliffe. Theatre, Nambour. July 11-26. July 3-6. 3888 3493 5441 1814. Cats by T.S. Eliot & Andrew A Midsummer Night’s Dream by Lloyd Webber. Harvest Rain. July William Shakespeare. Nash 4-6. Brisbane Convention Theatre. July 12 - Aug 2. Centre. 1 300 364 001. Merthyr Road Uniting Church, Speaking in Tongues by Andrew New Farm. 3379 4775 Bovill. Rondo Theatre, Cairns. La Bohème by Puccini. Opera Q. July 4-12. 1 300 855 835. July 12 - Aug 2, Conservatorium Anthony Warlow & Faith Prince. Theatre, South Bank, Brisbane; Concert Hall, QPAC. July 4-5. Aug 9, Arts Centre, Gold Coast; 136 246. Aug 12, Ipswich Civic Centre;
Queensland Aug 15, Empire Theatre, Toowoomba; Aug 20, Brolga Theatre & Convention Centre, Fraser Coast; Aug 23, The Pilbeam Theatre, Rockhampton; Aug 27, Mackay Entertainment & Convention Centre; Aug 30, Townville Civic Theatre and Sept 4, Mount Isa Civic Centre. 1984 by George Orwell. Shake & Stir Theater Co. July 15 - Aug 2. CremorneTheatre, QPAC 136 246 The Factory. Kila Kokonut Krew. July 15 & 16. The Arts Centre Gold Coast, 5588 4000.
19 - Aug 9. Chelmer Community Centre. 3257 6666 Gloria by Elaine Acworth. QTC. July 19 - Aug 16. Bille Brown Studio, Brisbane. 1 800 355 528 Morning Sacrifice by Dymphna Cusack. Javeenbah Theatre Co, Gold Coast. July 25- Aug 9. 5596 0300. Flourish. Queensland Ballet. Aug 1-9. Playhouse QPAC. 136 246 Yes, Prime Minister by Antony Jay & Jonathan Lynn. Mousetrap Theatre, Redcliffe. Aug 1-16. 3888 3493
The Red Shoes. Ballet by Natalie Weir. Expressions Dance Co. July Sweet Charity by Cy Coleman, Dorothy Fields and Neil Simon. 18-26. Playhouse. 136 246 Coolum Theatre Players. Aug 1Pale Blue Dot by Kathryn 10. 5446 2500 Marquet. La Boite. July 19 - Aug Wombat Stew - The Musical. 9. Roundhouse Theatre, Kelvin Stage adaptation and lyrics by Grove, Brisbane. 3007 8600 Gary Young. Original score and The Vicar of Dibley by Richard arrangements by Paul Keelan. Curtis and Paul Mayhew-Archer. Garry Ginivan Attractions. Aug Centenary Theatre Group. July
Advertise your show on the front page of www.stagewhispers.com.au
Stage Whispers 53
On Stage 6. The Arts Centre Gold Coast, 5588 4000. Little Shop of Horrors by Alan Menken & Howard Ashman. Phoneix Ensemble. Aug 8 - Sep 6. Pavilion Theatre, Beenleigh. 3103 1546. Downtown by Phillip George, David Lowenstein and Peter Charles. Spotlight Theatrical Co, Gold Coast. Aug 8-30. 5539 4255. The Addams Family by Andrew Lippa. Arts Theatre, Brisbane. Aug 9 - Sep 13. 3369 2344. Heddonism’s Second Album by David Burton & Claire Christian. La Boite Indie. Aug 13-30. Roundhouse Theatre, Kelvin Grove, Brisbane. 3007 8600 Patyegarang. Bangarra Dance Theatre. Aug 15-23. Playhouse. 136 246 The Last Confession. Chichester Festival Production. Aug 20-24. Lyric Theatre, QPAC. 136 246 Swan Lake. Ballet by Kevin McKenzie after Marius Petipa & Lev Ivanov. American Ballet Theatre. Aug 28 - Sep 4. Lyric Theatre, QPAC. 136 246 Rabbit Hole by David LindsayAbaire. Villanova Players. Aug 29 -Sep 13. TAFE Theatre, Morningside. 3395 5168
Queensland & Victoria Victoria
Wicked. Music and lyrics by Stephen Schwartz and a book by Winnie Holzman. Based on the Gregory Maguire novel. Regent Theatre, Melbourne. Ticketmaster.
Griffin. Until July 25. Beckett Theatre. (03) 9685 5111 (select 2).
Little Murders by Jules Feiffer. Heidelberg Theatre Company. July 3 - 19. 94574117.
The Vortex by Noël Coward. Malvern Theatre Co Inc. Until July 6. 1300 131 552.
My Fair Lady by Lerner and Loewe. Shepparton Theatre Arts Group Inc. July 4 - 12. Westside Performing Arts Centre. (03) 5832 9511.
Six Dance Lessons in Six Weeks Les Misérables by Claude-Michel by Richard Alfieri. Williamstown Schonberg, Alain Boublil and Little Theatre. Until July 12. (03) Herbert Kretzmer. Her Majesty’s 9885 9678. Theatre, Melbourne. Ticketek. Loot by Joe Orton. Mordialloc The King and I by Rodgers and Theatre Co. Inc. Until July 6. Hammerstein. John Frost / (03) 9587 5141. Opera Australia. Until Aug 17. The Good Person of Szechuan Princess Theatre, Melbourne. by Bertolt Brecht. New 1300 111 011. translation by Tom Wright. The Speechmaker by Santo Malthouse. Until July 20. Merlyn Cilauro, Tom Gleisner and Rob Theatre. (03) 9685 5111 (select Sitch. MTC. World Premiere. 2). Arts Centre Melbourne, RENT by Jonathan Larson. Playhouse. Until July 5. (03) CenterStage Geelong. Until July 8688 0800. 12. Drama Theatre, Geelong Grounded by George Brant. Red Performing Arts Centre. 5225 Stitch Actors Theatre. Until July 1200. 12. (03) 9533 8083. The Phantom of the Opera by The Rocky Horror Show by Andrew Lloyd Webber, Charles Richard O’Brien. John Frost. Hart and Richard Stilgoe. Until July 13. Comedy Theatre, Warragul Theatre Company. Melbourne. 1300 111 011. Until July 12. West Gippsland Arts Centre. 5624 2456. But Wait…There’s More. Circus Oz. Until July 13. Circus Oz Big Henry V by William Top, Birrarung Marr, Shakespeare. Bell Shakespeare. Melbourne. 136 100. July 1 - 12, Fairfax Studio, Arts Centre, Melbourne, 1300 182 The Witches by Roald Dahl, 183; Frankston Arts Centre, July based on the stage play by 15, 9784 1060; Aug 12 & 13, David Wood. Malthouse / Her Majesty’s Theatre, Ballarat, 5333 5888; Aug 14, Westside Performing Arts Centre, Shepparton, 5832 9511; Aug 19, The Capital, Bendigo, 5434 6100; Aug 21, Wangaratta Performing Arts Centre, 5722 8105, Aug 28 & 29, Lighthouse Theatre, Warrnambool, 5559 4999; Aug 30 & 31, Whitehorse Performing Arts Centre, Nunawading, 9262 6555. Glamping - with Bobby and the Pins. In The Wings season. July 3 - 6. The Butterfly Club. Acrobat: Dining Room Tale by David Chong. A is for Atlas. July 3 - 12. A private home in Malvern Vic.
54 Stage Whispers
Gaslight by Patrick Hamilton. Geelong Repertory Theatre Inc. July 4 - 19. Woodbin Theatre, Geelong West. 5225 1200. Hello, Dolly! by Jerry Herman and Michael Stewart, based on Thornton Wilder’s The Merchant of Yonkers. Diamond Valley Singers and Eltham Orchestra. July 4 - 12. Warrandyte High School Theatre. Glengarry Glen Ross by David Mamet. MTC. Southbank Theatre, The Sumner. July 5 Aug 9. (03) 8688 0800. Little Shop of Horrors by Alan Menken and Howard Ashman. SPX Waterdale Players. July 10 12. Rivergum Theatre, Bundoora. 0400 837 739 Bugsy Malone by Alan Parker, Music & Lyrics by Paul Williams. Foster Amateur Music & Drama Association (FAMDA). July 11 19. Foster War Memorial Arts Centre. 5682 1381 or 0400 867 872. Arsenic and Old Lace by Joseph Kesselring. Encore Theatre Inc. July 11 - 26. Clayton Community Centre Theatrette. 1300 - 739 - 099 (9.00am 9.00 pm). Oliver! by Lionel Bart. Eltham Little Theatre. July 11 - 27. Eltham Performing Arts Centre. 0411 713 095. The Book of Loco by Alirio Zavarce. Malthouse. July 17 Aug 2. Beckett Theatre. (03) 9685 5111 (select 2). LIVE WITH IT we all have HIV. Phillip Adams BalletLab. July 17 - 27. Arts House, Meat Market. 03 9322 3713 The Motion of Light in Water by Elbow Room, inspired by the work of Samuel R. Delany &
Just $40 a month to reach thousands of theatre goers. Contact Stage Whispers for details.
On Stage
Victoria
Fancy Free. American Ballet Theatre (ABT) at Queensland Performing Arts Centre (QPAC) from 28 August to 7 September 2014.
Marilyn Hacker. July 17 - 27. The Zoo and Trial by Jury. Theatre Works. (03) 9534 3388. Gilbert and Sullivan Opera Victoria. July 24 - 27. Knox Guys and Dolls by Frank Loesser, Community Arts Centre, Jo Swerling and Abe Burrows. Bayswater. 98855276 / 0412 The Production Company. July 267 907. 19 - 27. State Theatre, Arts Peace Train: The Cat Stevens Centre Melbourne. 1300 182 Story. Starring Darren Coggan. 183. Phil Bathols & Andrew Into the Woods by Stephen McKinnon. July 30 - Aug 3. The Sondheim and James Lapine. Playhouse, Arts Centre Victorian Opera. July 19 - 26. Melbourne. 1300 182 183. The Playhouse, Arts Centre Melbourne. 1300 182 183. I Heart John McEnroe by Clare Watson, Luke Mullins, Katherine Britney Spears: The Cabaret by Tonkin. Theatre Works. July 30 Dean Bryant, with musical Aug 10. (03) 9534 3388. arrangements by Mathew Frank. Starring Christie WhelanWalking into the Bigness by Richard Frankland and Wayne Browne. Luckiest Productions. July 23 - Aug 10. Chapel off Blair. Malthouse. Aug 1 - 23. Chapel. 8290 7000. Merlyn Theatre. (03) 9685 5111 (select 2).
Our Man in Havanna. Adapted by Clive Francis from the novel by Graeme Greene. Aug 1 - 9. George Jenkins Theatre, Frankston. 1300 665 377 or Monash Booking Office (03) 9905 1111.
House Guest by Francis Durbridge. Peridot Theatre Inc. Aug 8 - 23. Unicorn Theatre, Mt Waverley. 1300 138 645 (Toll Free for landlines) or 9898 9090 - mobiles (10.00am - 3.00pm Monday-Friday).
Twelve Angry Men. Adapted by Sherman L Sergel based on the movie by Reginald Rose. Playhouse Players Incorporated. Aug 1 - 9. Richmond Theatrette. 0458 095 176.
My Three Angels by Samuel and Bella Spewack. Sherbrooke Theatre Inc. Aug 8 - 23. 1300 650 209.
Quills by Doug Wright. Mockingbird Theatre. Aug 2 15. Arts House, Meat Market, North Melbourne. Dad’s Army by David Croft & Jimmy Perry. The 1812 Theatre. Aug 7 - 30. 9758 3964
Advertise your show on the front page of www.stagewhispers.com.au
The Yard. By Shaun Parker & Company and Captivate. Aug 13 - 16. Fairfax Studio, Arts Centre Melbourne. 1300 182 183. Thérèse Raquin. Adapted and written by Gary Abrahams, based on the novel by Emile Zola. Theatre Works. Aug 14 30. (03) 9534 3388. Stage Whispers 55
On Stage
Victoria & Tasmania
Wombat Stew: The Musical. Gasworks Theatre, Albert Park, July 3 & 4; Glen Street Theatre, Belrose, July 19 - 22; Canberra Theatre Centre, July 24 & 25 & Civic Playhouse, Newcastle, July 30 & 31.
The Other Place by Sharr White. The Basin Theatre Group. Aug 15 - Sep 6. The Effect by Lucy Prebble. MTC. Southbank Theatre, The Sumner. Aug 16 - Sep 20. (03) 8688 0800. Anglesea 24th One Act Play Festival. Anglesea Performing Arts Inc. Aug 16 & 17. Anglesea Community Hall. Show Boat by Jerome Kern and Oscar Hammerstein II. The Production Company. Aug 16 24. State Theatre, Arts Centre Melbourne. 1300 182 183. The Rise and Fall of Little Voice by Jim Cartwright. Lilydale Athenaeum Theatre Co. Inc. Aug 20 - Sep 6. 9735 1777. The Heiress by Ruth & Augustus Goetz. Strathmore Theatre Arts 56 Stage Whispers
Group (STAG). Aug 21 - 30. 9382 6284. Chilling and Killing My Annabel Lee by Aidan Fennessy. Brighton Theatre Co. Aug 21 - Sep 6. Brighton Arts & Cultural Centre. 1300 752 126. Rolling Thunder Vietnam by Bryce Hallett. Blake Entertainment in association with QPAC. Aug 22 & 23. Hamer Hall, Arts Centre Melbourne. 1300 182 183. The Sublime by Brendan Cowell. MTC. World Premiere. Arts Centre Melbourne, Fairfax Studio. Aug 22 - Oct 4. (03) 8688 0800.
You’re Driving Me Crazy!Los Trios Amigos. Aug 27 - Sep 7. Chapel off Chapel. 8290 7000. Children of Eden by Stephen Schwartz and John Caird. PEP Productions. Aug 28 - Sep 6. Doncaster Playhouse. 0418 549 187. The Importance of Being Earnest by Oscar Wilde. State Theatre Company of SA. Aug 28 - 30. The Playhouse, Geelong Performing Arts Centre. 5225 1200. The Wisdom of Eve by Mary Orr. Eltham Little Theatre Inc. Aug 29 - Sep 13. Eltham Performing Arts Centre. 0411 713 095.
2299; July 12, Burnie Arts & Function Centre, 6430 5850 & July 16, Earl Arts Centre, Launceston, 6323 3666. Little Red Riding Hood and The Wolf by Christopher Gist & Paul Kooperman. Festival of Voices. July 9 & 10. Theatre Royal, Hobart. 6233 2299. Craig Wellington and Friends. Festival of Voices. July 10. Theatre Royal, Hobart. 6233 2299. Classical Triple Bill. The Australian Ballet and The Dancers Company. July 16, Princess Theatre, Launceston, 6323 3666 & July 18 & 19, Theatre Royal, Hobart, 6233 2299.
Spike Heels by Theresa Rebeck. Tasmania Q44 Theatre Company & Crazy Big Baby by Van Badham. Chair Productions. Aug 27 - Sep The Ten Tenors on Broadway. Terrapin Puppet Theatre. July 4 14. Chapel off Chapel. 8290 Frog in a Sock. July 23 - 25. 6, Theatre Royal, Hobart, 6233 7000. Just $40 a month to reach thousands of theatre goers. Contact Stage Whispers for details.
On Stage Theatre Royal, Hobart. 6233 2299.
Space Encounters by Sean O’Boyle and Ian McFadyen. July 12. Banquet Room, Adelaide Festival Centre.
Steel Magnolias by Robert Harling. Launceston Players. July 25 - Aug 2. Earl Arts Centre, The Sound of Music.by Rodgers Launceston. 6323 3666. & Hammerstein. Gilbert & Sullivan Society. July 19 - Aug 2. Pete The Sheep. Monkey Baa The Arts Theatre. 8477 7239. Theatre Company. Aug 5, Devonport Entertainment and Playing Sinatra by Bernard Kops. Convention Centre, 6420 2900; St Jude’s Players. July 23-Aug 2. Aug 8 & 9, Theatre Royal, St Jude’s Hall, Brighton. 8270 Hobart, 6233 2299 & Aug 12 & 4205. 13, Earl Arts Centre, December Songs by Maury Launceston, 6323 3666 Yeston. Growling Grin Journey’s End by R. C. Sheriff. Productions. Olivia Jane Parker Hobart Repertory Theatre vocals and Margaret Lambert Society. Aug 8 - 16. Playhouse piano. July 31-Aug 2. La Theatre, Hobart. 6234 5998. Boheme.
Tasmania & South Australia & W.A. Western Australia Grease by Jim Jacobs and Warren Casey. John Frost. Until July 18. Crown Theatre, Perth. Ticketek 132 849. Dust by Suzie Miller. Black Swan State Theatre Company of WA. Until July 13. The world turns upside down. Studio Downstairs, State Theatre Centre of WA, Northbridge. Ticketek 132 849. Giving Up the Ghosts by Sarah Kate Young. Owl Productions. Until July 12. Based on real events. The Blue Room. 9227 7005.
Eight Gigabytes of Hardcore The 39 Steps by John Buchan No Man’s Land by Harold Pinter. Pornography by Declan Green. and Alfred Hitchcock, adapted University of Adelaide Theatre Perth Theatre Company. July 2by Patrick Barlow. HIT Guild. Aug 2-16. Little Theatre. 12. Comedy in the Too-MuchProductions. Aug 15 & 16. BASS 131246. Information Age. Studio Theatre Royal, Hobart. 6233 Underground, State Theatre Secret Bridesmaids’ Businessby 2299. Centre of WA. Ticketek 132 Elizabeth Coleman. Blackwood 849. But Wait … There’s More. Players. Aug 8 - 23. Blackwood Circus Oz. Aug 21 - 23. Theatre Memorial Hall. 0481 373 949. Hay Fever by Noel Coward. Playlovers. July 4-19. British Royal, Hobart. 6233 2299. Speakeasy. Noarlunga Theatre comedy. Hackett Hall, Floreat. OneFest. Hobart’s One Act Play Company. Aug 9. Port 0415 777 173. Festival. Hobart Repertory Noarlunga Arts Centre. 0499 Theatre Society & The Old Nick Snap. Prima Donna Productions. 870 929. Company. Aug 22 & 23. July 4-5. Comedy. Pinjarra Civic Theft by Eric Chappell. Tea Tree Playhouse Theatre, Hobart. Centre. 0401 588 962. Players. Aug 20-30. Tea Tree 6234 5998. Players Theatre. 8289 5266 or Farndale Avenue Housing Threefold. Tasdance and www.teatreeplayers.com Estate’s Townswomen’s Guild Dancenorth. Aug 16, Earl Arts Dramatic Society’s Production of The Summer of the Seventeenth Centre, Launceston, 6323 3666 Macbeth by David McGillivray, Doll by Ray Lawler. Therry & Aug 28 & 29, Theatre Royal, Walter Zerlin Jr and William Dramatic Society. Aug 21-30. Shakespeare. Darlington Theatre Hobart, 6233 2299. The Arts Theatre. 8296 3477 Players. July 4-19. Part of a The Berry Man by Patricia until August 17, then 8410 season of Shakespeare Cornelius. Tasmanian Theatre 5515. BASS and Venuetix. influenced productions. Marloo Company. Aug 28 - Sept 7. A Month of Sundays by Bob Theatre, Greenmount. 9255 6234 5998. Larbey. Barossa Players. Aug 21- 1783. South Australia 23. Barossa Arts and Hi-5 House Hits. Live Nation Convention Centre. 08 85614 Pan The Man (When The Boy Australasia. July 6. School 299. Grew Up) by John Mawson & holiday show. Perth Concert Rob Smith. Tea Tree Players. July Djuki Mala (Chooky Dancers). Hall. Ticketek 132 849. 10-12. Tea Tree Players Theatre. Country Arts SA. Aug 23. The Little Prince. Adapted from 82895266. Hopgood Theatre. 08 8207 the book by Antoine de Saint3977. Ettie’s Boys by Ian McGrath. July Exupery. Spare Parts Puppet 11-27. Holden Street Theatres. Peter and Alice by John Logan. Theatre. July 7-19. Timeless Venuetix 8225 8888. Independent Theatre. Aug 21message about friendship. 30. Space, Adelaide Festival Spare Parts Puppet Theatre, Lloyd Webber and Friends. Centre. BASS 131 246. Short St, Fremantle. 9335 5044. Country Arts SA. July 11. Hopgood Theatre. 08 8207 Denise Drysdale. Country Arts Confessions of A Pyromaniac by 3977. SA. Aug 28. Hopgood Theatre. Matt Cooper. Shakara Walley. 08 8207 3977. July 9-19. In association with Advertise your show on the front page of www.stagewhispers.com.au
Yirra Yaakin Theatre. The Blue Room. 9227 7005. The Sound of Music by Rogers and Hammerstein. ICW Productions. July 10-19. Regal Theatre, Hay St. 132 849. Cranford by Elizabeth Gaskell, Garrick Theatre. July 10 - 26. Costume drama. Garrick Theatre, Guildford. 9378 1990. Disney’s Beauty and the Beast. Music by Alan Menken. Lyrics by Howard Ashman. Book by Linda Wolverton. South West Opera Company. July 10-12. Bunbury Regional Entertainment Centre. The Hatpin by Peter Rutherford and James Miller. Old Mill Theatre. July 11-26. Australian musical. Old Mill Theatre, South Perth. 9367 8719. Relative Values by Noel Coward, Melville Theatre. July 11-25. Melville Theatre, Stock Rd, Palmyra. 9330 4565. The 13 Story Tree House by Andy Griffiths and Terry Denton. CDP Productions. July 15 - 20. State Theatre Centre of WA, Northbridge, Ticketek 132 849 & July 25, Mandurah Performing Arts Centre Boardwalk Theatre. 9550 3900. The Magic Flute by Wolfgang Amadeus Mozart. West Australian Opera. July 15-26. Traditional production. Performed in English. His Majesty’s Theatre, Hay St, Perth. Ticketek 132 849. The Great American Trailer Park Musical by David Nehls and Betsy Kelso. Roleystone Theatre. July 18 - Aug 2. Roleystone Theatre, Brookton Hwy. 9367 5730. Jasper Jones by Craig Silvey, adapted by Kate Mulvaney. Barking Gecko. July 18 - Aug 9. For teens. Studio Underground, State Theatre Centre of WA, Northbridge. Ticketek 132 849. Charitable Intent by David Williamson. KADS. July 19 - Aug 10. KADS Town Square Theatre, Kalamunda. 9257 2668.
Stage Whispers 57
On Stage
Western Australia, N.T. & New Zealand
Lovers by Brian Friel. Irish Theatre Players. July 22-27. Two short plays - Winners and Losers. Irish Club, Townshend St, Subiaco.
Mutts by Johnny Grim. Arena Arts and Entertainment. Aug 823. ‘Tail’ of dogs in a pound. Latvian Theatre, Belmont. 9497 5150.
The Adventures of Alvin Sputnick by Tim Watts. Perth Theatre Company. July 23. Innovative solo show. Mandurah Performing Arts Centre - Boardwalk Theatre. 9550 3900.
The Seagull by Anton Chekov. Black Swan State Theatre Company of WA. Aug 9-31. Stars Greta Scaachi. State Theatre Centre of WA, Northbridge, Ticketek 132 849.
Henry V by William Shakespeare. Bell Shakespeare. July 23-26, State Theatre Centre of WA, Northbridge, Ticketek 132 849 & Aug 1, Mandurah Performing Arts Centre Boardwalk Theatre, 9550 3900. It’s Dark Outside by Tim Watts. Perth Theatre Company. July 24. Surreal multi-media show. Mandurah Performing Arts Centre - Boardwalk Theatre. 9550 3900. One Act Season. Various authors. Stirling Players. July 25 - Aug 9. Season of short plays. Stirling Theatre, Innaloo. 9440 1040. Rottnest After Dark: Capturing the Enemy. Scooplight Theatre. July 25 - Aug 2. Original production staged on Rottnest Island. I Hate Shakespeare by Steph DeFerie. Murray Music and Drama Club. Aug 1-9. Comedy. Pinjarra Civic Centre. The Last Confession by Roger Crane. Murder mystery set in the Vatican. Aug 2-10. His Majesty’s Theatre, Perth. 132 849. Pride and Prejudice by Jane Austen, adapted by Jon Jory. Wanneroo Repertory Club. Aug 7-23. Limelight Theatre, Wanneroo. 9571 8591. Xanadu by Douglas Carter, Jeff Lynne and John Farrer. Kooliny Arts Centre. Aug 8-23. WA Premiere of popular musical. Koorliny Arts Centre. 9467 7118.
58 Stage Whispers
The Dancers Company: Classical Triple Bill. Choreography by Marius Petipa, Dale Baker, Simon Dow and Joanne Michel. The Australian Ballet. Aug 12. Swan Lake, Rimbobo and Paquita. Mandurah Performing Arts Centre - Boardwalk Theatre. 9550 3900. Triple Bill: One Act Season by Norm Flynn, Adrian Egan, Bob Chateris, Penny Swingler. Bunbury Repertory Club. Aug 13 -17. The City or the Bush, At Home With The Herringbones, The Morning After. Bunbury Little Theatre, Pratt Rd, Eaton.
The Grapes of Wrath by Frank Galati. WAAPA Second Year Acting Students. Aug 23-28. Based on the novel by John Steinbeck. Enright Studio, WAAPA, Edith Cowan University, Mt Lawley. 9370 6895. One Act Season by various authors. KADS. Aug 30 - Sep 6. Season of short plays. KADS Town Square Theatre, Kalamunda. 9257 2668. Mort by Terry Pratchett. Naked Villainy Theatre. A Discworld Comedy. Aug season. Cube Theatre at Bunbury Entertainment Centre. 1300 661 272. Northern Territory Soweto Gospel Choir. July 19. Araluen Arts Centre, Alice Springs. 08 8951 1122. Henry V by William Shakespeare. Bell Shakespeare. Aug 5. Araluen Arts Centre, Alice Springs. 08 8951 1122.
The Fox on the Fairway by Ken Ludwig. Dolphin Theatre, Auckland. Until July 5. Hay Fever by Noël Coward. Detour Theatre, Tauranga. Until July 5. 0800 224 224. Secret Bridesmaids’ Businessby Elizabeth Coleman. Nelson Repertory Theatre. Until July 5. The Whale Rider by Witi Ihimaera. Tim Bray Productions. Until July 19. The PumpHouse, Auckland. 09 4898360. The Addams Family - A New Musical by Andrew Lippa, Marshall Brickmann and and Rick Elice. Wellington Repertory Theatre. Until July 5. Gryphon Theatre, Wellington. The Mercy Clause by Philip Braithwaite. Centrepoint Theatre, Palmerston North. Until July 6. 06 354 5740.
Blood Brothers by Willy Russell. Court Theatre, Christchurch. Until Aug 2. 963 0870 or One Act Season by various Darwin Festival 2014 - August 7 freephone 0800 333 100. authors. Garrick Theatre. Aug - 24 - darwinfestival.org.au The Phantom of the Opera by 14-15. Garrick Theatre, featuring Sugarland by Rachael Andrew Lloyd Webber, Charles Guildford. 9378 1990. Coopes and Wayne Blair Hart and Richard Stilgoe. New Australian Theatre for Young Managing Carmen by David Plymoth Operatic. TSB People; The Magic Hour by David Williamson. Aug 16. AFL Showplace. July 3 - 26. Vanessa Bates; Yasukichi Player, Cross Dresser. Subiaco Ticketmaser. Murakami: Through a Distance Arts Centre. 132 849. Lens by Mayu Kanamori; The The Man Whose Mother Was Yeoman of the Guard by Gilbert Harbinger by Dead Puppet A Pirate by Margaret Mahy. and Sullivan. Gilbert and Society; Yana Alana in Between Auckland Theatre Company. July Sullivan Society of WA. Aug 21- the Cracks and Matthew 4 - 8. Bruce Mason Centre. 30. Serious comic opera. Mitcham in Twists and Turns. 0800 111 999. Octagon Theatre, University of New Zealand Jumpy by April De Angelis. WA. 9349 4339. Fortune Theatre, Dunedin. July 5 Dreamgirls by Henry Krieger and Be My Baby by Amanda - Aug 2. 03 477 8323 Tom Eyen. Napier Operatic Whittingham. Harbour Theatre. Society. Until July 5. The Road That Wasn’t There by Aug 22 - Sept 6. Set in a Ralph McCubbin Howell. Circa mother and baby home. Once On Chunuk Bair by Theatre, Wellington. July 8 - 19. Camelot Theatre, Mosman Park. Maurice Shadbolt. Auckland Circa 2. 04 801 7992. TAZTix: 08 9255 3336. Theatre Company. Until July 5. Maidment Theatre, Auckland. Sin. Directed by Sarah Graham. Great Expectations by Charles 09 2625789. The Outfit Theatre Company. Dickens, adapted by Nick July 9 - 18. Q, Auckland. 09 309 Omerod and Declan Donnellan. ‘Way Out West’ Midwinter 9771. WAAPA Third Year Acting Mystery Dinner Show. Prime Students. Aug 23-28. New Productions. Until Aug 12. Kiss the Fish by Jacob Rajan and adaptation of classic story. Tauranga Racecourse. 0800 BUY Justin Lewis. Indian Ink Theatre Geoff Gibbs Theatre, WAAPA, TIX (289 849) Company. July 9 - 12, Theatre Edith Cowan University, Mt Royal, Nelson, 0800 224 224; Lawley. 9370 6895. July 18 & 19, Napier Municipal Just $40 a month to reach thousands of theatre goers. Contact Stage Whispers for details.
On Stage Theatre; July 23, Turner Centre, Kerikeri. 09 407 0260; July 25, Forum North, Whangarei, 0800 224 224;
Three Sisters by Anton Chekov. Butterfly Creek Theatre Troupe. July 17 - 26. Mutitai School Theatre, Eastbourne.
Othello by William Shakespeare. The Lord Lackbeards. July 11 20. The Moorings, Wellington. 0800 BUY TIX (289 849)
A View From The Bridge by Arthur Miller. Circa Theatre, Wellington. July 19 - Aug 23. 04 801 7992.
Cat vs. Dog by Dan Bain. Fortune Theatre, Dunedin. July 12 - 20. 03 477 8323
A Chorus Line by Marvin Hamlisch, Edward Kleban, James Kirkwood, Jr. and Nicholas Dante. Harlequin Musical Theatre. July 19 - Aug 2.
Sherlock Holmes The Pantomime by Jenny Gilbert, based on the characters of Sir Arthur Conan Doyle. July 12 26. Playhouse Theatre Inc, Glen Eden. iTicket.
Appointment with Death by Agatha Christie. The PumpHouse Theatre, Auckland. July 24 - Aug 2. (09) 489 8360.
4000 Miles by Amy Herzog. Howick Little Theatre, Auckland. MAMIL (Middle Aged Man in July 12 - Aug 1. 534-1406. Lycra) by Gregory Cooper. July 25 - Aug 16. The Herald Grease by Jim Jacobs and Theatre, Auckland. 09 970 Warren Casey. Wellington 9700. Musical Theatre. July 16 - 26. Wellington Opera House. Constellations by Nick Payne. Ticketek. Circa Theatre, Wellington. July 25 - Aug 23. 04 801 7992. The Good Soul Of Szechuan by Bertolt Brecht. Auckland Theatre Chicago by John Kander and Company. July 16 - Aug 15. Q, Fred Ebb. Whangarie Theatre Auckland. 093099771. Company. Aug 1 - 12. The Riverbank Centre. 09 438 8135.
New Zealand Echoes of Swing. Coasters Hound of the Baskervilles by Musical Theatre Inc. Aug 1 - 16. Steven Canny and John Nicholson. Centrepoint theatre, That Woman by Jo Denver. Palmerston North. Aug 9 - Sep Dolphin Theatre, Auckland. Aug 13. 06 354 5740. 2 - 22. 636-7322. Hairspray. Music: Marc The Tautai Of Digital Winds by Shaiman. Lyrics: Scott Wittman, Iaheto Ah Hi. Kinetic Marc Shaiman. Book: Mark Wayfinding Theatre. Aug 5 - 12. O’Donnell, Thomas Meehan. Mangere Arts Centre, Auckland. North Shore Music Theatre. Aug 0800 BUY TIX (289 849). 16 - Sep 6. SkyCity Theatre. iTicket. Mamma Mia! By Catherine Johnson, Benny Andersson and Totem. Cirque du Soleil. Aug 22 Björn Ulvaeus. Invercargill Music - Sep 28. Alexandra Park Theatre Inc. Aug 6 - 16. Civic Raceway, Auckland. Theatre, Invercargill. TicketDirect. Lungs by Duncan Macmillan. Fortune Theatre, Dunedin. Aug Cat on a Hot Tin Roof by 23 - Sep 13. 03 477 8323. Tennessee Williams. Stagecraft Theatre, Wellington. Aug 6 - 16. Destination Beehive by Pinky iTicket. Agnew and Lorae Parry. Circa Theatre, Wellington. Aug 28 Grease by Jim Jacobs and Sep 20. Circa 2. 04 801 7992. Warren Casey. Theatre Hawkes Bay. Aug 7 - 23. Playhouse, Death of Walt Disney by Lucas Hastings. TicketDirect. Hnath. Circa Theatre, Wellington. Aug 29 - Sep 29. Little Shop of Horrors by 04 801 7992. Howard Ashman and Alan Menken. Musikmakers Hamilton. Aug 9 - 23. iTicket.
Auditions
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Stage Whispers 59
Reviews: Premieres
Kat Stewart (Katie Mitchell, Senior Political Advisor), Sheridan Harbridge (Alex Wyatt, White House Press Secretary), Erik Thomson (James Bickford, President of the United States) in The Speechmaker. Photo: Jeff Busby
The Speechmaker Written by Santo Cilauro, Tom Gleisner and Rob Sitch. MTC. Director: Sam Strong. Playhouse, Arts Centre Melbourne. May 31 - July 5. THE Speechmaker is 90 minutes of entertainment geared perfectly for the MTC audience, and the new theatre -goer. Cilauro, Gleisner and Sitch have generously provided them with enough laughs to keep them warm through winter. President James Bickford (Erik Thomson) is on Air Force One with his entourage, about to make a surprise visit to say Merry Christmas to the British PM. The President is an affable puppet who finds himself suddenly facing a moral dilemma, when it is revealed that the PM is about to be assassinated by a covert cell of “Good Terrorists”. With more than a nod to Dr Strangelove and The West Wing, Bickford must decide whether to tell the truth about “Itsus” or save his administration. Thomson is superb as the president. His good looks and charm belie some fine acting as he is forced to wrestle with what is morally right but politically wrong. Kat Stewart is impressive as Mitch (the Senior Political Advisor with her own agenda), brittle and driven by self-interest. Lachy Hulme is powerful, adding physical and intellectual menace (along with considerable acting chops) as the UnderSecretary of Defence. Nicholas Bell brings superb timing to Chief of Staff Bob. Brent Hill shows his versatility as the steward, Chip. David James gives a nicely rounded touch to Larry, Secretary of Defence. Sheridan Harbridge is perfect as Alex, the White House Press Secretary, always looking for a photo op, and Jane Harber has just the right degree of 60 Stage Whispers
brittle ambition as Sam, National Security Advisor. Toby Truslove as Ed, the Director of Special Events, is totally credible and detached from human emotion. Wonderful performances in roles which could have been caricatures. Dale Ferguson’s set is mindbogglingly good and serves the action perfectly. Russell Goldsmith’s sound design, and original score, are added bonuses, as is Paul Jackson’s lighting, but the kudos must go to Sam Strong for pulling the elements together so perfectly. Coral Drouyn Cruise Control Written and directed by David Williamson. Ensemble Theatre (NSW). April 30 - June 14. DAVID Williamson was enjoying himself on opening night, laughing at his own jokes and revelling in the crisp performances. The audience was having just as good a time. Afterwards in the foyer John Bell reached up to give David Williamson a pat on the back and was overheard saying it was ‘very well directed’. The storyline has wide appeal. An Australian couple, two Jewish New Yorkers and a pair of stiff upper lip Poms board a cruise ship in London, retracing the journey of the Titanic. They are trapped on the same dining table for seven nights as their relationships hit icy waters or sink. As well as being the playwright and director the family affair was extended by the casting of David Williamson’s stepson Felix as the villain Richard Manton. He is a lounge lizard extraordinaire who cruises the ship looking for
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conquests while his hapless wife Fiona (Michelle Doake) weeps in her cabin. It was the best role in the play, portrayed with razor sharpness. The other couples were just as delicious. Henri Szeps, more than slightly typecast as Jewish dentist Sol Wasserman, produced the belly laughs alongside his charismatic wife Sally, played by Kate Fitzpatrick. Peter Phelps as Darren Brodie showed off his impressive tattoos when he tore off the monkey suit on the way to the formal dinner which he attended in jeans. But any Barry Humphries-like cliché about unsophisticated Aussies was deflated by his elegant wife Helen Dallimore (Imogen). Perhaps the course of events might not always have been entirely believable and maybe there could have been a bit more character development and yes there were a few grizzles in the audience about the plastic crockery the Ensemble Theatre dished up. But overall this was one of the brightest new plays David Williamson has penned in recent years. David Spicer The Factory Kila Kokonut Krew. Festival Theatre, Adelaide. Adelaide Cabaret Festival June 12-14, and touring. IF you’re in the mood to see something boldly original, then The Factory is a must see event. An original stage musical performed by New Zealand theatre troupe Kila Kokonut Krew, The Factory tells the story of immigrant workers employed at a textile factory in New Zealand during the 1970s. Paulina Salima’s score is quite impressively eclectic, with disco, funk and soul infused numbers perfectly capturing the prevailing pop trends of the period, in addition to less slick, more folksy numbers which emphasise the islander heritage of the show’s immigrant protagonists. Sean Coyle’s sets and Seraphina Tausilia’s costumes are also superbly evocative, and Amanaki Prescott Faletau’s choreography is positively bursting with energy. The entire cast are true triple threats, from leads Milly Grant-Koria and Edward Laurenson, all the way down to supporting players, Aleni Tufaga, Ross Girven, Lindah Lepou and Taofia Pelessa. Performances are impressive right across the board, both in terms of technical finesse and emotional candour. This is a show with big heart that offers a vision of musical theatre very different to the norm. Highly recommended to all adventurous theatre lovers. Benjamin Orchard
us to see the dancers exit and enter the screen area. And yet, seeing six dancers run behind a screen in no way prepares you for the spectacular sea horse that appears on screen. Two tiny crabs walk across the sleeping body of a girl and we believe they are crabs. It’s this suspension of disbelief which is all that is needed for the audience to become part of the magic themselves … so we believe in the giant who takes our heroine’s head and replaces it with that of a dog, the jellyfish who saves her life … every illusion becomes an alternative reality to the audience. The shadow play itself is spectacular and totally engrossing. However, the actual dancing surpasses the magic on the screen. Lauren Yalango, who plays the lead character, seems to be suspended in air, as she glides her way across the male dancers, or is moved in some stunning lifts between them. She is simply exquisite. And her portrayal (behind the screens) of Dog Girl is quite wonderful. The simple romance between Dog Girl and the Centaur is breath-taking when it segues into “live” action. Time and space don’t allow me to list the entire company, but they are a superlative example of ensemble work, and I am in awe. Coral Drouyn
Pyjamas in the Daytime By Grahame Cooper. Footlice Theatre Company. The BlackBox Theatre, Hamilton (Newcastle). May 16 - 24. GRAHAME Cooper has been a carer in nursing homes since the mid-1990s, and his affection for the aged people in his charge was evident in this moving and funny story of the relationship between a carer and a resident. Cooper played the carer, James, who finds in his first day in a nursing home that one of the residents, Phyllis (Fiona Mundie), is a colourful and questioning 87-year-old. Before James made his appearance, the audience saw just how animated Phyllis could be. After drinking from a teacup, she donned a hat and scarf to make a short journey using her mobility walker, with her subsequent actions raising affectionate laughter. When James came into the room prior to bringing a meal to Phyllis, she was naturally inquisitive about him and, in her questioning, revealed much about herself. Most of the subsequent scenes showed the pair at her mealtimes, often prefaced by Phyllis amusingly engaged in solo activities such as trying to play a card game, reading a romantic novel and preparing to knit. The latter led to delightful interplay between the two when James tries to help Phyllis with her needles. During the course of the tale a sign on a wall that has the nursing home company’s name is replaced by one that Shadowland indicates there has been a change of ownership. This has Devised, choreographed and directed by Pilobolus and their an impact on James’s role as a carer, and Phyllis’s reaction creative team. Arts Centre Melbourne. May 28 - June 1 and shows how much she has come to depend on his friendship touring. and support. THE long awaited opening night of Shadowland proved Director Merilyn Hey and the actors brought out the that there is still a child in each of us willing to believe in tenderness and warmth of the relationship of James and Phyllis. magic. Pilobolus is not a high tech company, and therein James was always mindful of his position as a carer in lies half of the magic and the charm. There are a series of screens of varying sizes with ample space on either side for Grahame Cooper’s performance, while listening engagingly Longer versions of many reviews can now be found at www.stagewhispers.com.au
Stage Whispers 61
Scott Irwin, Ian Stenlake and Toby Francis in Truth, Beauty And A Picture Of You. Photo: Noni Carroll.
to Phyllis’s reminiscences and conversing affectionately with her. Fiona Mundie delectably showed Phyllis’s idiosyncrasies, including dancing with her walking stick. And her questioning of James, as she drew on her own experiences to offer him support, showed that she saw him as more than a by-the-book carer. Ken Longworth
beauty. It makes for a lush and enjoyable score, a bit like sampling delicious flavours at a Thai Restaurant, both mains and desert. That was a theme milked more than once for a story set in trendy inner city Newtown. The story cooked up by Alex Broun fits comfortably around the music. A twenty something lost soul Tom, played by the well-chiselled Ross Chisari, ventures from the country to meet friends of his late father who died before Truth, Beauty And A Picture Of You he was born. Music and Lyrics by Tim Freedman. Book by Alex Broun and His first appointment is with his father’s former band Tim Freedman. Directed and Produced by Neil Gooding. buddy and now grumpy underpants Anton. He’s played by Hayes Theatre Company, Darlinghurst (NSW). May 9 - June Ian Stenlake, in what could be the performance of his career, transforming from a spunky young rock’n’roll 1. SINCE launching a few months ago, the Hayes Theatre groover into a snarling fat lump. Company has dazzled Sydney with the high production Helping young Tom cope with inner city rigors is the standards of the musicals it has performed on a compact lovely Erica Lovell as Beatrice, a Mosman film student. He stage. needed all the support he could get as the story takes him in an unexpected direction. After Sweet Charity and The Drowsy Chaperone has The premiere was another feather in the crowded cap of come the first original Australian production, Truth, beauty and a picture of you. the Producer/Director Neil Gooding, who helped found the The trademark fiendishly clever staging and lighting was Hayes Theatre with the aim in part of nurturing new on display. This time, one box was pushed forward and musicals. pulled back to create the elevated stage of a rock band, or David Spicer a bedroom underneath or even the edge of a high-rise Grounded building. Although it is a musical put together from existing By George Brant. Directed by Kirsten von Bibra. Red Stitch popular songs by Tim Freedman, that he wrote The Actors Theatre, Chapel St Prahran (Vic). June 11 - July 12. Whitlams, it never felt like a juke-box musical. GROUNDED is not just a monologue; it is a beautifully His songs are naturally dramatic, dealing with issues as structured one-woman play. Embracing both the crude and eclectic as the perils of poker machines, loneliness and inner the exquisitely lyrical, it explores many issues: how women 62 Stage Whispers
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define themselves in a man’s world, the struggle between duty and morality, and the legal right to commit murder without danger or fear of personal retribution. These are heady issues and for 80 minutes the audience is confronted with them. “The pilot” is an F16 fighter pilot, a Rock Star in a world of men. She is addicted to “The Blue”, the sky, which she feels she owns. She’s brash and arrogant, and she’s earned that right. When she finds out she is pregnant she also discovers that she has fallen in love, something that was never on her radar. She marries and has a daughter “Samantha” but she’s itching to get back to “The Blue”. The problem is that she is grounded, now a drone pilot, part of the “chairforce”, operating from a dark caravan. Blue becomes endless grey as she dispenses death at the click of a button. We watch in horror the slow disintegration of a woman and an officer. Kate Cole is remarkable; at times unlikeable, clearly “acting” for effect, then touchingly frail and honest as she battles with the power that she’s been given. She wears the pilot’s uniform as if it is her skin. Kirsten von Bibra, with a rich background in teaching some of our most eminent actors, is a fine director and has blocked this impeccably. The white box set by Matthew Adey is the perfect canvas for his stunning lighting plot. This is theatre of the highest order. If war is reduced to a video game, how great will be the addiction? Coral Drouyn The Safe House Written by Tim Wotherspoon. Realized by Kirsten Von Bibra. 3rd Room Theatrical. The Owl and The Pussycat (Vic). May 7 - 17. TIM Wotherspoon is one of those actors who exudes theatre through every pore. He brings an almost menacing intensity coupled with a subtextual fragility to everything he does…and his comic timing is second to none. In this three hander he is brilliantly supported by Lily Constantine and the seemingly immortal Rhys McConnochie. The story is about perceptions. Josie (Constantine) hides inside a safe house, afraid to go outside. Why? Is she a spy caught up in the cold war? Has she discovered the secret of time travel? Or is she a seriously mentally scarred woman incapable of caring for herself? Sid (Wotherspoon) is her brother, or maybe her sister, who may also be a spy and her handler, or perhaps a criminal, or an escapee from an asylum. Alan (McConnochie) is a senior spy, or a brilliant scientist, or a vagrant looking after Josie in exchange for a bed…and the radio is a portal to time travel…or is that the toaster? This is delicious Theatre of the Absurd and Wotherspoon, as writer, is the love child of Pinter and Becket. As an actor his performance is astonishing, one minute threatening, the next withdrawing in fear, but always hilarious. Produced on a budget of not much more than the cost of two cappuccinos, this is spectacular theatre and marvellous comedy. Coral Drouyn
Eight Gigabytes of Hardcore Pornography By Declan Greene. Griffin Theatre Company and Perth Theatre Company. Director: Lee Lewis. SBW Stables Theatre, Sydney, May 7 - 14 June; The Street Theatre, Canberra, June 17 - 21 & Studio Underground - State Theatre Centre of WA, July 1 - 12. DON’T come to this saucily titled play if you’re looking for even a single binary digit’s worth of porn. There are many establishments just along the main Kings Cross drag nearby where plenty of uplifting hardcore awaits you. Declan Greene’s new play, on the other hand, will bring you down. Way down. Under the austere direction of Lee Lewis, actors Andrea Gibbs and Steve Rodgers brilliantly, forensically, portray an unnamed couple of 40-year-olds who declare themselves at the outset to be “stupid and fat and boring and ugly and old”. Both reach out via the internet and meet amid the ruins of their adult lives. He is the one who has watched the downloaded porn of the title, not that it did him the slightest good. She has two neglected children, a crook back and a habit of splurging her credit card on items she neither needs nor wants. Though clearly not stupid, fat or ugly enough to truly fulfil their author’s vision, both Gibbs and Rodgers deliver searing, up-close portraits of extreme unhappiness and wracked despair. The houselights are left on for most of the performance, forcing us to inspect the half-an-audience facing us, after which, out into the bleak Kings Cross night we go, chilled to the very marrow. Frank Hatherley Withnail and I Adapted by Mick Byrne and Libby DeVenny from the screenplay by Bruce Robinson. Pencil Case Productions. The Royal Exchange, Newcastle. June 7 - 14. NEW theatre group Pencil Case Productions did an entertainingly good job in adapting for the stage Bruce Robinson’s screenplay for the cult British comedy film. The story, based on the writer’s experiences after graduating from a London acting school, shows two young actors whiling away their lives drinking and taking drugs while trying to get work in 1969. The pair, the overly active Withnail and the more reticent Marwood, take a break from their squalid suburban flat by borrowing the keys to the Yorkshire country cottage of Withnail’s Uncle Monty and heading there for a quiet holiday. It is anything but quiet, however, and the events that occur while they are in that place impact on their relationship and futures. The released film jettisoned many scenes and incidents from Robinson’s lengthy screenplay and actors Mick Byrne and Libby DeVenny (who also directed) astutely restored some of the excised material while keeping the show moving briskly along. Byrne’s Withnail and Jay Piper’s I were rarely offstage and were always amusingly engaging. Their performances
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made scenes that relied on visual settings in the film come vividly to life. In one, for example, the pair watch a bull charging among cows. Their voices, facial expressions and body language as they observed the offstage action revealed their fascination and fear. Director DeVenny stepped into the role of the flamboyantly gay Uncle Monty after another actor had to withdraw late in the rehearsal period. She was a delight as the unsubtly over-the-top man. In an early scene Uncle Monty tried to stop a pet cat from jumping on him and she made the furry puppet feline come spiritedly alive. The supporting cast, playing multiple roles including bartenders, police and a drug dealer, added to the tale’s liveliness. Ken Longworth Loves & Hours By Stephen Metcalfe. Domain Theatre, Marion.Galleon Theatre Group (SA). May 22-31. ADELAIDE’S Galleon Theatre Group produces comedies that are often outside mainstream amateur theatre fare. The company’s productions are invariably quirky, darkly funny or decidedly tongue-in-cheek. Helped by Erik Strauts’ excellent direction and a fine ensemble cast, Galleon’s Australian Premiere of Loves & Hours is all of this and more. Divorced empty nester Dan Tilney is completely at a loss as to finding another partner, but his friends insist he needs someone. There are complications though, all of which revolve around love, family, age, sex and sexuality. Andrew Horwood is excellent as Dan Tilney, imbuing the gentle man with a realistic willingness to laugh at his own middle-aged attempts to recapture his youth. Shelley Hampton is another standout as Dan’s lifelong friend, Julia Schwabb. Her performance subtly and poignantly portrays Julia’s repressed love for Dan, creating a stoic but at times humorous character. Rosie Williams is perfect as Dan’s other love interest, the irrepressible and delightful young tax agent, Charlotte Walker. In a difficult role for a relatively inexperienced actor, there is no self-consciousness in Williams’ acting and plenty of natural talent. Loves & Hours is an episodic play and it takes a while to engage the audience, but this is entirely due to the writing, with the complicated historical relationships of the characters being explained up-front. As the story progresses we’re hooked, and we learn that this play has been well worth the scene-setting. Lesley Reed The Effect By Lucy Prebble. Queensland Theatre Company & Sydney Theatre Company. Bille Brown Studio. June 7 - July 5. Wharf Theatre, July 10 - August 16. THE Effect showcases the finest acting you will see from four of Australia’s top actors. Not light entertainment, however, it’s rather an intelligent examination of what love is under the metaphorical microscope of drama. Two young people are paid volunteers for the clinical 64 Stage Whispers
trial of a new anti-depressant wonder-drug: Connie (Anna McGahan), seriously committed to the exercise after recent psychology studies and Tristan (Mark Leonard Winter), affable serial volunteer for tests of this type - he is saving toward a holiday. Conducting their five-week trial, each week with an increasing dosage, is Dr James (Angie Millikin). She is carefully precise in her observations of both their medical and psychological states but reveals her human side in a brilliant scene with the confused and concerned Connie, who admits that she has fallen in love with Tristan and has had sex with him. Dopamine changes that accompany love risk the validity of the trial by masking the drug’s effect. Dr James’s ‘human side’ involves her neurologist supervisor, Toby (Eugene Gilfedder). They differ in depression theories, which appear to have affected an earlier relationship. Renée Mulder’s cold hospital set of black reflective tiles and white playing space with fluoros dominating Ben Hughes’s lighting and Guy Webster’s subtle sound backing support the emotional and scientific mood of the piece. Engaging, challenging, but don’t expect answers. Jay McKee Thief of Time By Sir Terry Pratchett. Unseen Theatre Company. Adapted and directed by Pamela Munt. Co-directed by David Dyte. Bakehouse Theatre, Adelaide. May 23 - Jun 7. UNSEEN Theatre Company are specialists at adapting the work of Terry Pratchett, and their latest is something a mixed success, but generally an enjoyable one. This reviewer was borderline-bewildered by much of the show - but, happily, entertained by most of it. Thief of Time’s storyline is fit to bursting with unusual ideas and concepts, many of them derived from messing about with the fundamental laws of nature and physics and mathematics. At its playful best, the tone of the show manages to be amusingly droll and arrestingly offbeat. Making an exceptionally strong impression is Hugh O’Connor as the Reaper himself, with a performance both fearsome and funny. Also standing out in this cast are Philip Lineton, crafting an engaging characterisation as elderly mentor Lu-Tze (and dealing deftly with a large amount of offbeat exposition), as well as Leighton James in a demanding dual role. Where this show stumbles somewhat is in its ambitious telling of a peculiar and complex story, which will doubtless be simply too peculiar and complex for some viewers. In the end, Thief of Time delivers enough intrigue and entertainment to be recommendable, especially for those who seek something unusual. Anthony Vawser Brothers Wreck By Jada Alberts. Belvoir Street Theatre, Upstairs. 24 May 22 June 2014 JADA Alberts’ first play was inspired by a suicide within her family in Darwin and her fear of so-called suicide contagion.
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Kenneth Ransom and Marthe Rovik in The House on The Lake. Photo: Gary Marsh.
Young fisherman Ruben struggles to deal with the suicide of his cousin. As the aunt who adopted him battles for life in hospital, Ruben turns to drink, courts police arrest and mournfully returns to the scene of the suicide. The strongest scenes in Alberts’ moving story are when Ruben resists the entreaties of his councillor (Cramer Cain) to open up, and mocks all the orthodoxies to help indigenous youth. But the play overwhelmingly stays focused on this family, and Dale Ferguson’s domestic ground space under the Darwin house. Luckily for Ruben, he has the straight-talking love of his cousin (Rarriwuy Hick), the mateship of her partner (Bjorn Stewart) and the matriarchal harangue of another aunt (a wonderfully arch Lisa Flanagan), who drove up from Alice Springs for the job. They all lecture and swear at Ruben; they tease and cajole him in amusing dialogue skillfully captured by Alberts. Aboriginal Australians, we see again, have that great propensity to laugh into grief as do other often alienated communities. Eventually, Ruben confides to his cousin’s ghost and, inexplicably, all is cured and the play leaps to an optimistic end. Director Leah Purcell fosters strong performances from all although some of the shifts to locations beyond the house are misplaced. Redeeming all is the central performance of young (Bangarra) dancer/actor Hunter Page -Lochard as Ruben - he’s lithe, proud, angry and vulnerable. An actor to watch, in a simple but tender and effective tale. Martin Portus
The House On the Lake By Aiden Fennessy. Black Swan Lab. Directed by Stuart Halusz. State Theatre Centre of WA. Jun 6-22, 2014 IN this intriguing psychological thriller, David Rail, a prominent lawyer, wakes in a hospital room with no memory of how he got there. His doctor, Alice, must work quickly to solve the mystery before David forgets again. An intense two-hander, Kenneth Ransom and Marthe Rovik work beautifully together in this powerful, tangled storyline. Ransome is very convincing as intelligent, but amnesic David, and wins the audience’s sympathy for David’s situation. Rovik has an unusual, slightly clipped delivery, which works well for the efficient, thoughtful and precise doctor. India Mehta’s set design is impressive. Using the full height of the Studio Underground, this hospital room was of institutional, old world design, stark and imposing, cold and slightly run-down. Trent Suidgeest’s lighting was used to great effect. This World Premiere production is part of the Black Swan Lab, an initiative designed to present new shows and to push boundaries. Aiden Fennessy’s play is a fascinating new work and it was interesting and rewarding to see actor Stuart Halusz perform impressively in his first direction role for Black Swan. Kimberley Shaw
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Stage Whispers 65
Reviews: Plays
Eamon Farren and Josh McConville in Sydney Theatre Company’s Mojo. Photo: Brett Boardman.
Mojo By Jez Butterworth. Sydney Theatre Company. Wharf 1 Theatre, Sydney. Director: Iain Sinclair. May 17 - July 5. LONDONER Jez Butterworth was 24 when his play Mojo exploded onto the Royal Court Theatre stage in 1995. It’s well worth collecting in this vivid STC production, directed at a cracking pace by Iain Sinclair on a setting by Pip Runciman that is quite the best I’ve seen at The Wharf. Basically a tautly meshed 5-actor piece with exhilarating, overlapping torrents of dialogue, the production suffered a blow when one of the team had to drop out close to the opening. Critics were deterred until the second week of performances to allow replacement Lindsay Farris to settle into the key role of abused and dangerously unpredictable Baby. Farris is now quite marvellous in the slinkily lethal role. It’s 1958. On Runciman’s wonderful underground Soho nightclub setting, Skinny (Eamon Farren), Potts (Josh McConville) and Sweets (Ben O’Toole) are coping with two sudden disappearances - the rising rock-n-roll singer Silver Johnny and owner/gangster Ezra, whose son Baby (Farris) must suddenly face the blood-soaked challenges of succession. In his way stands Mickey (Tony Martin), the club’s dubious manager. With key characters popping uppers throughout, the Cockney dialogue stutters, spirals and repeats. “Do something or don’t do something,” urges Skinny, “but isn’t it time to do something?”
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The acting is fine all-round and Director Sinclair has great fun at the slippery, blood-soaked conclusion: the daily dry cleaning bill must be considerable. Frank Hatherley Neighbourhood Watch By Lally Katz. State Theatre Company SA. The Dunstan Playhouse. May 2 - 24. MIRIAM Margolyes steps on stage in Lally Katz’s Neighbourhood Watch and at once we feel she isn’t just playing elderly former refugee, Ana, but in fact is this funny, endearing, manipulative and emotionally damaged woman. The audience becomes immersed in the production of Katz’s whimsical, moving play and it delivers in spades. Neighbourhood Watch is the story of HungarianAustralian widow and her tentative friendship with Catherine, an out of work actor who is Ana’s young neighbor. When Ana and Catherine finally take tentative steps into friendship, the past comes flooding in and life lessons are learned on both sides. Miriam Margoyles’ comic timing is perfect. She needs only to lift an eyebrow, purse her lips or punch out a pithy aside to have the audience in stitches. When in various situations Ana says, ‘don’t push,’ as an ongoing means of instructing Catherine not to get ahead of herself, it adds another delicious touch to the superb performance. Equally, in Ana’s sad moments and in the character’s reflections on her Hungarian childhood and other past traumas, Margoyles is heartbreakingly poignant.
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Carmel Johnson, Ben Roberts, Eugenia Fragos, James Smith, Eleanor Stankiewicz, Nic English and Miriam Margolyes in Neighbourhood Watch. Photo: Shane Reid
Recent NIDA graduate Eleanor Stankiewicz is excellent as Catherine, even though the episodic nature of the play and deliberate dearth of back-story prevents full development of the deep emotions her character must surely be experiencing in moving on from her own past. The remaining cast is very good and kept extremely busy. Not only do most have one key character, they perform at least one other role. They also help in the flawless set changes, with pace never lapsing. This is a memory play and the story evolves in such a way that scenes move from the present to the past and back again, creating a sometimes dreamlike feel. The action moves fluidly and uses every part of the stage. Under Julian Meyrick’s skilful direction the audience immediately recognises the moments in which time changes but is never confused by these transitions. Miriam Margoyles and the rest of the Neighbourhood Watch cast clearly enjoyed the audience’s final ovation on opening night. It resulted in several curtain calls. I bet, if given the chance to intervene, Ana would have told us in her own inimitable way not to push it. Lesley Reed The Violent Outburst That Drew Me To You By Finegan Kruckemeyer. Siren Theatre Co and Griffin Independent in association with InPlay Arts. SBW Stables Theatre, Sydney. Director: Kate Gaul. June 18 - July 12. THE splendidly named Tasmanian playwright Finegan Kruckemeyer writes primarily and prolifically for children and teenagers.
Director Kate Gaul brings theatrical pace and panache to Kruckemeyer’s sketch-like account of 16-year-old Connor’s angry frustrations with his family, his school, his unhappy life. Michael Cutrupi plays Connor with enormously energetic attack, though it is difficult to warm to his constantly unreasonable behaviour: everything and everybody annoys him so. Four appealing and versatile actors (Anthony Weir, Emily Ayoub, Renee Heys and Natalia Ladyko) play all the other characters, cabaret style. Under busy direction, the cast dance, too, and come together for a funny, full-on musical number at the mid point of the 70-minute running time. Unable to cope, Connor’s parents dump him in the woods (er, the bush) and, fable-like, the lost boy meets his match with no-nonsense Lotte, whose role is oddly shared by all three actresses. There’s a clever setting by Jasmine Christie and excellent sound design by Hartley Kemp, who also wrote the music. It’s a vibrant piece of theatre, no doubt about that. Frank Hatherley Realism By Anthony Neilsen. WAAPA Third Year Acting Production. Directed by Anthony Skuse. Roundhouse Theatre, WAAPA, Mt Lawley, WA. June 13 - 19. REALISM is an insight inside an ordinary bloke’s head, when he decides to do nothing all day. As suggested by author Anthony Neilsen, characters are given their actors’ names and slang and references are localised. This isn’t always completely successful; Black and
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Realism. Photo: Jon Green
White Minstrels don’t have the same cultural resonance as in the UK and heavy snowfalls don’t ring true, but there has been a decided effort to make this topical. WAAPA’s Third Year Actors are excellent. Liam Maguire in the central role was wonderfully personable, so we forgave (and embraced) his character’s peculiarities and lack of political correctness. Alexis Lane and Ben Kindon played Liam’s parents, working nicely together. Alexis’ surprise appearances were a high point. Good performances from present day friend, Adam (Sollis), childhood pal, Alfie (Alexander Frank), recently departed girlfriend, Kirsty (Marillier), and first love, Harriet (Davies). Harriet’s performance was both brave and relaxed and her singing a lovely touch. Assistant Stage Managers Sarah Roberts and Stephanie Tchorzewski had more responsibility than usually required of an ASM, portraying Liam’s fantasy Stage Assistants. Kudos to the strong Stage Management team. The audience loved this show, but not everything worked. The production number felt slightly self-conscious, some jokes were uncomfortable and the staging required by The Roundhouse’s odd dimensions meant that some key moments were missed. Ultimately this was an intriguing production, well worth seeing, that highlighted the talents of WAAPA’s students both Third Year Acting and those in the production courses. Kimberley Shaw
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F*ck Decaf By Tyler Jacob Jones. The Cutting Room Floor. Directed by Scott Corbett. Mary Street Bakery, Highgate, WA. 29 May 14 June 2014. F*CK Decaf is an hilarious play in a fun setting. For the most part a swift two-hander (aside from a gorgeous cameo by Jack Walker), F*ck Decaf follows a series of coffee dates between idealistic and conservative Ruby (Amanda Watson) and her wilder best and oldest friend Kate (Ann-Marie Biagioni). Superb and highly energetic performances from the performers kept the pace flowing in a captivating show. Director Scott Corbett makes the most of the unusual space. The presenting company, The Cutting Room Floor, aims to use non-conventional performance spaces and Mary Street Bakery is essentially a rather cool coffee shop on Perth’s busiest cafe strip. Even on a weekday evening the passing pedestrian traffic is heavy and this works its way, in a surprising fashion, into the production. Using only existing lighting, seating and furnishings, Mary Street Bakery becomes the perfect performance space. The true star of this production though is the writing. Comic and clever, the play turns in very unexpected directions and is the funniest new show I have seen since… well… one of Tyler Jacob Jones previous shows. F*ck Decaf is a slightly naughty, clever, feel-good show that makes witty observations about relationships and growing older and will entertain both those going through their matchmaking years and those who remember them with fondness or embarrassment. Oh…and this is a slightly
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tactile production. Don’t sit in the front row if you value your clothing. There is a splash zone. Kimberley Shaw
Words wound, even if they are funny! School for Scandal is a good vehicle for actors to learn or hone their skills. Merlene Abbott
The Magic Hour By Vanessa Bates. Queensland Theatre Company. The Bille Brown Studio. 20 - 31 May 2014. THIS one-woman show is big kids’ bedtime stories - it has several adult moments. Ursula Yovich is a joyful storyteller; a dynamic little actress who draws everyone into her circle with warmth of personality and eye contact. Sitting on the steps of her edge-of-town shanty, she offers neighbourly greetings to people as they arrive. All of Yovich’s stories have familiar nursery story plots but now they are clad in modern situations, always from the point of view of a woman narrator e.g. grandmother of Red Riding Hood; the younger ugly sister in the Cinderella scenario; the single mother from a happy stable marriage who is dependent on her good son, Jack, after her husband died … Yovich plays the Vanessa Bates script in such a relaxed and informal way the stories sound impromptu. Alicia Clements’ ingenious set and costume designs contributed to the smooth transition between stories; and Joe Lui’s sound design enveloped us in the stories’ locale. He also wrote the songs Yovich sings as part of the show. Jay McKee
Parramatta Girls By Alana Valentine. Riverside Productions. Riverside Theatre, Paramatta. May 1 - 17, 2014. DIRECTOR Tanya Goldberg has assembled a formidable cast for Alana Valentine’s poignant re -telling of the traumatic stories of past inmates of The Girls Training School at Parramatta. First staged in 2007, the play has received wide acclaim as a piece of verbatim theatre that successfully inter-weaves the heart-breaking stories of the horrors the girls suffered at the hands of corrective and medical staff, into a piece of theatre that exposes the dark and hidden horrors, yet is interspersed with humour and hope. It is a telling example of the continuing role of theatre as an agent for change. Avoiding preaching, Valentine has re-created her characters with empathetic understanding using a variety of techniques that take them from their pasts to their brave present with seamless scene changes and carefully considered theatricality. Goldberg has emphasised this with sympathetic direction on a set that recreates in vivid detail the aging institution that still stands a few blocks away from the theatre in which eight very experienced actors recreate the lives of the strong women who had the courage to share their memories with the world. The cast is formidable - Christine Anu, Holly Austin, Annie Byron, Vanessa Downing, Anni Finsterer, Sandy Gore, Sharni McDermott Tessa Rose. Each brings to life their own Parramatta Girl with amazing depth and understanding and warmth. Carol Wimmer
The School for Scandal By Richard Brinsley Sheridan. PLoT (Produce Lots of Theatre). Director: Mark Morgan. Peacock Theatre, Hobart. April 24 - May 3. THE Peacock Theatre in Hobart was recently the venue of an unpleasant school - The School for Scandal. PLoT presented a new version of the much-produced Sheridan play. Almost 237 years after School for Scandal was first performed it still has resonance. Gossip, defamation of character, deceptive appearances, hypocrisy, and the pitfalls of idleness are bleak themes, but the play can be taken as a cautionary tale. Director Mark Morgan set this version against the background of the roaring twenties. Fast-paced, amusing the clever wordiness of Scandal is quite a challenge for actors and audience - its continuing success must lie in the characters, odious as they are. Who doesn’t know a Sneerwell, Snake, or a Backbite? Laura Gilkes was an elegant and nasty Lady Sneerwell, while Ben Harvey maintained the two-faced personae of Joseph Surface. Michael Bruce was the charming Charles Surface, whose expansive, generous gestures worked to gain audience sympathy. Other excellent performances were from Shannon Harwood as Agnes, Tara Carroll as Snake, and Mel Cuthbertson as Mrs Candour. Sir Peter and Lady Teazle, played by Mark Morgan and Sera Goldstone sparkled with quick repartee and jolly flirting. A simple but adaptable set and fast scene changes allowed for the rapid comings and goings of the ensemble.
Patient 12 By Kevin Summers, La Mama Courthouse, Carlton (Vic). Until May 11, 2014. CAULFIELD Rehabilitation Hospital, 1916. An unidentified soldier, grievously wounded in France, lies comatose, beyond recovery, but refusing to die. He could be James, an upper middle-class couple’s son. He could be Andy, a lad his father begged not to fight the capitalists’ war. He could be Freddie, the fiancé of a barmaid. Percy, diagnosed with shell shock, believes Patient 12 is his best mate Leo. Sophie Woodward’s costumes are evocative of character and Bronwyn Pringle’s lighting is very effective. Dennis Coard is outstanding as a Wobbly miner. Jenny Seedsman’s great presence strengthens her stubbornly held delusions, and Colin MacPherson, as her lawyer husband, is exactly right as a respectable mediocrity keeping doubt at bay. Will Ewing conveys Andy, Leo and Freddie with beautifully judged clarity. Heidi Valkenburg, as the barmaid, has yet to find the technique that delivers emotion without compromising diction. Jason Buckley, as Doctor Thomas, and Joel Parnis, as Percy, need to realize that ‘intensity’
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doesn’t always constitute the emotion that reaches an audience. The play’s promising premise does not develop very far and things devolve into a clash of attitudes personal and political. But although you won’t hear anything new, Patient 12 is nevertheless pointed, poignant and relevant to today. Michael Brindley Romeo and Juliet By William Shakespeare. University of Adelaide Theatre Guild. The Little Theatre. May 3 - 17. EVERY production of Romeo and Juliet must rely heavily on the chemistry between its teenage lovers to be successful. Thanks to their natural acting skills and the sensitive direction of Megan Dansie, the young principals in this version have their ‘chemical balance’ just right. Abby Hampton is superb as Juliet, sensitively portraying the joy and fears of the character’s first love. Hampton’s nuanced performance also demonstrates she has a mature understanding of Juliet’s struggle against the restrictive norms of her family and society. Akkshey Caplash is a natural actor who gives a touching sense of realism to Romeo. He embodies a young man who strikes a macho persona when he is with his testosteronefuelled friends, but who has a sensitive and tragically naïve soul. The remaining cast is very good, developing unique characters with sometimes little dialogue. The fight scenes are tightly-choreographed and very authentic, thanks to choreographer, Vanessa Redmond and fencing instructors, Scott Curness and Mark Holgate. Sharon Malujlo’s fifteenth century costumes are stunning, with their colour themes also helping the audience determine which character belongs to which faction. Megan Dansie has chosen to stage Romeo and Juliet fairly traditionally, unlike her modernistic take on Richard III for the Theatre Guild last year. Even so, the themes within the world’s best known love story are still true and so the play needs no modernising in order to resonate with today’s audiences. Love and hate are timeless and we still experience family feuds, angry young men, knife violence, arranged marriage and sadly, youth suicide. Lesley Reed
Abby Hampton and Akkshey Caplash in Romeo and Juliet.
job. But Eilert Lovborg, a friend with whom both Hedda and George grew up (Tristan Ozinga - as impressive as a recovered alcoholic as the backslider to which he sinks ignominiously), is main competition for the job. He has written a successful book and already has printer -ready manuscript for a sequel. Hedda dreams of a higher social station in life, and knows that Judge Brack (Ralph Porter) will decide who gets the position. He is an old friend with poorly disguised lustful interest in Hedda. What a splendid thriller plot! Elegant Sophie Goto (a memorable performance as Hedda’s down -at-heel confidante, Thea Elvsted), Sharon White (George’s aunt, Juliana Tesman), and Gilly Graham (Berta) all impress in minor roles. Backstage factotum, Phil Carney, chose appropriate Hedda Gabler Grieg piano music to link the scenes, and looked after the Henrik Ibsen. New Farm Nash Theatre. Directed by Brenda White. May 10 - 31. lighting. TOP credit for this accessible, enjoyable production goes Jay McKee to director, Brenda White, for her astute casting of a The Young Tycoons handsome-looking company who acquitted themselves By CJ Johnson. Directed by Michael Pigott. Darlinghurst professionally under her guidance. Deceptively simple Theatre Company. Eternity Playhouse. May 16 - June 15. screens (Brenda White and Gilly Graham’s creation) provided an effective set. AUSTRALIANS have long been fascinated by their Kristi Gregory established her Hedda as a villain from the country’s media dynasties. So it was little surprise that The outset. She is dissatisfied with her new husband, George Young Tycoons was a huge success when it premiered in 2005. Tessman (beautifully portrayed by Chris Vaag), recently awarded a Doctorate that should secure him a high-ranking 70 Stage Whispers
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Kerry Packer died in 2005 so his inheritance was topical. It was also the year Lachlan Murdoch quit News Corp. A comedy about the young tycoons in two media families, which quite clearly resemble some real ones: what perfect timing! Now, less so. This play is still very funny and the recognition of the characters is no less obvious. But without the drama, this production is distinctly lacking. David Williamson’s Rupert, performed last year by Melbourne Theatre Company, hit its mark with tight and timely jokes. And importantly, it had a dramatic core. The Young Tycoons needs it too. Writer CJ Johnson and director Michael Pigott have resisted updating the play’s setting. What a shame they didn’t give in to temptation. Plays are too often contemporised in Australian theatre but The Young Tycoons could make an exception. It’s a shame because the writing is witty and there’s not a moment of boredom. The ensemble cast give strong performances too. Notably Laurence Coy and Edmund Lembke-Hogan ensure the Vogler family is likeable and even endearing. Peter Gotting The Talented Mr Ripley By Phyllis Nagy, from the novel by Patricia Highsmith. Hobart Repertory Theatre Society. Director: Danni Ashton. Playhouse Theatre, Hobart. May 16 - 31. HOBART Repertory Theatre Society achieved an excellent result with The Talented Mr Ripley, Phyllis Nagy’s adaptation of the acclaimed novel Patricia Highsmith, in this complex psycho-drama. Tom Ripley is a charming sociopath who is sent to Italy by wealthy businessman Herbert Greanleaf, hoping that his wayward son will return from the Bohemian life and take up family business and responsibilities. Marcus Johnson shone in the difficult role of Tom Ripley. In the beginning we could see he was a self-serving, lying conman, but it was when Tom Ripley moved away from morality and into the cruel and amoral side of his nature, and his grip on reality began to disintegrate, that we saw Johnson’s talents. His psychological unravelling was difficult for a young fresh-faced actor to portray, but was achieved well by Johnson under the direction of Danni Ashton. Accents were well done and strictly maintained throughout. Steven Jones was Herbert Greanleaf and Roverini the policeman equally convincingly. Harley Mason handled the three characters Reddington/Faustio/Silvio well, even providing some comic relief as the campy Faustio. Other multi roles from Jon Lenthall as Marc Priminger and Freddie Miles, and Carole Williams as Dottie/Emily Greenleaf were all in character and convincing. Sasha Roubicek was sympathetic and pleasing on the eye as Marge Sherwood and capably played other filler roles. Alexander McKenzie was convincing as the likeable but spoiled Richard Greenleaf. This riveting and chilling play is good enough to see again. Merlene Abbott
Orphans By Lyle Kessler. Q44 Theatre Company. Directed by Gabriella Rose-Carter. 1st Floor, 550 Swan Street, Richmond (Vic). June 14 - 29. ORPHANS by Lyle Kessler is a gritty play about two orphan brothers, Treat, a petty criminal and Phillip, an innocent restricted to the house due to possible life threatening allergies, and the impact on their lives when Treat decides to move up from petty theft and kidnaps a gangster. The arrival of Howard into their narrow world upsets the violent yet delicate control Treat has over his brother. Q44 theatre has created a powerful performance in a tiny garret theatre in Richmond. The stage setting incorporated physical aspects of the old warehouse space beautifully and the intimate positioning of the audience, no more than 4 metres from the action, makes for an intense experience. The cast of Ashley Mckenzie as Treat, Mark Davis as Phillip and Gareth Reeves as Harold all gave powerful performances while maintaining excellent American accents. Direction was tight and the build up of tension was palpable as the power shifted between characters and the relationships transformed. Orphans is at times violent and shocking but also has moments of humour and whimsy. Q44’s version is powerful and deserves an audience. Shirley Jensen Cribbie By Margery & Michael Forde. Presented by 4MBS Classic FM. Cremorne Theatre, QPAC. June 4 - 7. CRIBBIE has more heart than other stage plays with music. It is real: about life and destruction of a suburb of Brisbane without warning. There is no protagonist. This play is about a community, isolated, disenfranchised, parodied by the media. Proud, close-knit community, Cribb Island was shattered by the news that the entire town was going to be resumed to accommodate an extended landing strip for international planes at Brisbane airport. Cribbie developed after the Great War (WW1) at the end of the road alongside the Brisbane River. It attracted poor people with dreams and enterprise who took up cheap lease seaside blocks where they could build rough beach shacks, often from free pine slabs from crates in which new cars were delivered. Building regulations meant nothing at Cribbie. They became fishermen or dealers in sea shell and beach worms (fish bait). Everyone was poor but all developed a close village community. “If anyone had something, we all had something,” became their slogan. Cribbie thrived: two churches, community hall for dances and functions, State School, and a basic shopping centre. Culture developed from which three Cribbie dancers progressed all the way to the Borovansky Company; and the Gibb brothers grew up there, testing their juvenile talents against the locals. Four brilliant actors: Louise Brehmer, Sandro Collarelli, Kevin Hides and Erin Murphy stay true to this third version, and still enthrall their public.
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All praise to creators, Margery and Michael Forde, and the technicians. Be prepared for laughter, smiles and tears. Jay McKee Beyond Therapy By Christopher Durang. 1812 Theatre (Vic). Directed by John Mills. May 29 - June 21. NEVER let it be said that 1812 Theatre doesn’t take risks. Not content to present “same old - same old” plays in their repertoire, they reach for the offbeat and unusual and challenge their stalwart audience time after time. They, and experienced director John Mills, do a sterling job with a largely inexperienced cast in this Off Broadway play about two Manhattanites, one a shy woman whose body clock is ticking, the other a sensitive bi-sexual man. Jacqui Stewart (Prudence) is a delight to watch, giving a beautifully rounded performance. Sarah Somers is an award winning actress and it shows. She gave us a deliciously eccentric menopausal matron in hippie gear as Charlotte (Bruce’s Psychologist), who can’t remember the correct words for things (eg…patients become porpoises and so on). Jacob Pilkington is impressive as Bruce, the sensitive bisexual who cries over everything, but David Coonan seems far too young as Stuart (Prudence’s psychologist), though I’d really like to see him in something else. Robert Ruscitti (Bob, the gay lover) is a newcomer but impressive, and Matthew Chaloupka-Wagner makes all that he can of the small role as the waiter. Though this wasn’t the company’s greatest offering it was still an enjoyable night out, well worth the long drive, and the sumptuous champagne supper that 1812 provides after every show is always a welcome extra. Coral Drouyn
Patrick Leo (a determined suicider who doesn’t want to do it without his doctor’s approval). I rarely leave a theatre with aching ribs and stomach muscles - I did in this case. I suspect most of the audience did also. Jay McKee
The 58th Far North Queensland One-Act Play Festival Cairns Little Theatre. April 4 - 5. A MIXTURE of comedy, drama and quality acting were the ingredients for this enduring one-act play festival, this year hosted on the Cairns Little Theatre’s in -the-roundstage. Comedy was well represented by A Dog’s Life and Dinner for One. Directed by Cath Willacy, Pam Valentine’s A Dog’s Life was the comedy hit of the festival. Good acting from Paul Carey (a German shepherd), Maria Vella (a French poodle), Terry Grant (a mongrel) and Katie Duckworth (a puppy) had the audience in stitches. Dinner for One from the Malanda Theatre Company was also well received with Trevor Hannam re-creating the role of the drunken butler to Jo-Ann Dittman’s Miss Sophie. The Mount Isa Theatrical Society also made everybody laugh with their play And Then There Was One, a spoof on Agatha Christie murder mysteries by Michael Druce, with enough twists and turns to confuse the most cynical of murder mystery fans. Good drama was on hand in Children of the Levant, a well directed piece by John Hughes, that featured quality acting from Dudley Powell as an Israeli soldier and Francesca Fay as a young Palestinian woman. The play Babble-On by Avril Duck had the audience a little confused as to where it was going, although it was strongly directed by Jesse Cook. Young actors came to the fore in Cosmic Fruit Bowl Habeas Corpus from the Atherton Performing Arts. Director Jacqui By Alan Bennett. Villanova Players (Q). ‘The Theatre’ Seven Stephens got the best from a talented group of young Hills TAFE. June 6 - 21. actors who played a variety of fruit in a fruit bowl. The Fall THIS should go down in their annals as one of of a Lifetime by Tropical Arts was a self-devised production Villanova’s greatest successes. Habeas Corpus is proof again for young actors that entertained the audience. The actors there can be fully professional-standard productions in certainly had confidence and good voice projection in a community theatres. play that was directed by Heidi Davies. Playwright Bennett is a brilliant comedy wordsmith; his Finally, veteran actors Mike Carrette and Narelle Shorey mastery of English knows no bounds. When a company as brought the festival to a close with perfect performances in competent as this one assembled by Brisbane veteran of Alan Ayckbourn’s play Countdown. Carrette and Shorey theatre, Brian Cannon, is given the chance to explore its full had played the roles some thirty years ago and required comedy potential, the result can be unfettered laughter make-up to make them look elderly. from start to finish. And it was! A good festival that showcased the theatre talent in Far Cannon’s canny casting meant there wasn’t a weak link North Queensland. among the eleven performers. Everyone mined Bennett’s Ken Cotterill maniacal mirth possibilities and struck paydirt: Trevor Bond (Dr Wicksteed) and Jane Sizer (Mrs Swabb) Broken Glass led the laugh charges and their troupe emulated their By Arthur Miller. Grads. Directed by Barry Park. Stirling efforts: Jill Cross (Mrs Muriel Wicksteed, the doctor’s wife); Theatre, Innaloo, WA. June 5 - 14. Alex Walsh (Dennis, their hypochondriac son); Helen GRADS do justice to Arthur Miller’s words in a very solid. Ekundayo (Connie Wicksteed, the doctor’s spinster sister); Set in New York against the events of Germany’s Cameron Gaffney (Canon Throbbing); Chris Sibley (Lady Kristallnacht, Sylvia Gellburg is suddenly and inexplicably Rumpers) and Olivia Pinwill (her daughter, Felicity); Nick paralysed. Nield (Sir Percy Spender, head of the British Medical Maree Graydon is strong and believable as Sylvia, while Association); Bill Bassett (a bosom-enhancer fitter); and perfectly cast Geoff Miethe is impressive as Phillip Gellburg. 72 Stage Whispers
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Dangerous Liaisons. Photo: Sarah Walker
Neil Cartmell is lovely as handsome Jewish doctor Harry Hyman, while Georgia Jones is excellent as his gentile wife. Sally Barendse gives a convincing performance, while Phillip Mackenze was solid. Accents (coached by Noel O’Neill) were appropriate and well maintained. This production uses cello interludes composed by Grant Olding for the 2011 West End revival. These haunting pieces of music were played beautifully by Sophie Parkinson -Stewart. They added a very moving element to the production during scene transitions and my only complaint was that occasionally an actor would walk in front of the cellist, breaking the mood. Costumes by Jennifer Prosser were nicely chosen, with the women’s hair being appropriate to the period. The split set was used well, with nicely selected furnishings. This was a nicely polished performance of a well-written and interesting play. Congratulations to all involved. Kimberley Shaw
gold design by Eugyeene Teh and her costumes, with Tessa Leigh Wolfenbuttel Pitt, are perfectly in keeping with this approach to the play. But is it ‘queer theatre’ to cast Janine Watson as the sexual predator Valmont? How does comment on the character, or subvert any convention? Alexandra Aldrich as Merteuil moves beautifully and does hauteur well, but there’s no trace of sensuality. Catherine Davies, as manservant Azolan and courtesan Emily, works so hard at being ‘sexy’, it’s parody. Amanda McGregor plays Cécile as an idiot - but it’s ‘funny’ and so, unfortunately, is her rape. The only male, Tom Dent, plays Danceney as a wetlipped booby. But the ‘comedy’ goes on hold when Rosemonde (Joanne Sutton) explains men to Madame de Tourvel (Brigid Gallacher). Perhaps Mr Nicolazzo couldn’t think of a way to camp that up - unlike Valmont’s death, which he certainly does. The queer theatre approach only trivializes the text. Unrelenting attempts to camp it up look random and rather Dangerous Liaisons shallow. Don’t worry about that though. It’s fun. By Christopher Hampton, adapted from the novel by PierreMichael Brindley Ambroise-François Choderlos de Laclos. Little Ones Theatre / MTC Neon Festival of Independent Theatre. The Lawler, Love Song Southbank Theatre (Vic). May 29 - June 8. By John Kolvenbach. Director: Glen Hamilton. The Tap HAMPTON’S adaptation of this feminist novel is, despite Gallery Downstairs (NSW). June 11 - 22. its wit, not a comedy. But, a program note says that Little THIS is a fascinating play, by a mature and clever writer, Ones Theatre - a ‘queer theatre collective’ - see it as a creatively directed and passionately acted by members of ‘lethal drawing room comedy.’ the Gamut Theatre Company. If you ignore Hampton’s intentions, then this’s an In Love Song four quirky characters inhabit the small entertaining evening. It’s physical and high-energy. The all playing area downstairs at the Tap Gallery where their Longer versions of many reviews can now be found at www.stagewhispers.com.au
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snappy dialogue and fast pace quickly draw their audience into their mysterious tale and keep us riveted. There’s a happy couple, the wife’s quirky brother and his inscrutable lady friend. There is rising tension, fear of madness and copious love. Life can be damned difficult, but friendship and love can make it bearable and sometimes even beautiful. There is a wonderful message contained within this play, which never turns sickly sentimental. Working in this small space, with limited lighting and sound capability, is never easy, but this skilled team run this show smoothly and with considerable power. Mel Hyde as Joan and Ben Scales as Harry are a likable and funny couple who squabble, caress and love each other so powerfully, that Joan’s brother Beane (Ford Sarhan) wants some too. So, as well as his sister and brother in law, he loves his doppelganger Molly, who adds a new dimension to his life. These two couples live in different worlds, but they are never far apart. The many scenes in this play are negotiated with subtle lighting changes, a bulb that glows brightly and dimly (like brother Beane) and a simple set design that indicates the transient lifestyle of Beane. Director Glen Hamilton has structured this production astutely and made it work well in a difficult space. And the cast fully inhabit the characters and bring their story to life. Stephen Carnell The Strange Case of Dr. Jekyll and Mr. Hyde By Noah Smith, based on the writing of Robert Louis Stevenson. KADS. Directed by Tim Edwards and Michael McAllan. Town Hall Theatre, Kalamunda, WA. May 9 - 31. BASED on the writing of Robert Louis Stevenson, KADS’ production of The Strange Case of Dr. Jekyll and Mr. Hyde, by Noah Smith, has a sense of its novella origins and an unusual presentation style. Kate O’Sullivan and Stuart Porter ostensibly play the maid and butler, but they actually narrate, soliloquise, commentate, provide an insight into other characters’ thoughts, play a plethora of minor characters and act as stage crew. Excellent performances from this duo are much
of the key to the success of this production. Keith Scrivens performs well in the title roles, providing two very distinct characters and a good understanding of their conflicts. Jodie Hansen strongly portrays Cybel, a sexy, mature and intelligent woman, who happens to be a prostitute, in a nicely layered performance, while Nicola Chapman is both sweet and smart as young American Helen O’Neill. Good support from the remaining cast - John Bevan, Gareth Sambridge and Adrian Roberts. Chairs and rostra blocks are re-arranged to create multiple settings and much of the period atmosphere is created by a tight lighting design (Joy Miles) and beautiful Victorian costumes, designed by Leonie Briggs. A very watchable production that kept the audience interested throughout. A creative, nicely presented production. Kimberley Shaw The Laramie Project By Moises Kaufman. Hunter TAFE’s Regional Institute of Performing Arts. Civic Playhouse, Newcastle. May 29 - 31. THE brutal beating and subsequent death of a 21-yearold gay university student in the Wyoming town of Laramie in 1998 led to playwright Moises Kaufman and actors from a New York theatre group doing 200 interviews with residents there over the next 18 months. Kaufman drew on their comments, as well as media reports and court documents when the two young men who killed the student, Matthew Shepard, were put on trial, in writing this play. While The Laramie Project is very much a docudrama, with the 13 student actors in this production playing 60 characters, the text and the performances made it a downto-earth and moving story about the reactions of ordinary people to unfortunate events. The actors switched with ease from one character to another, using their voices and body language to define people who were in many cases seen just briefly.
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Brendan Hanson, Jovana Miletic, Steve Turner, James Sweeny, Luke Hewitt and Caitlin Beresford-Ord in As You Like It. Photo: Gary Marsh Photography
There was a sense of outrage among the watchers on the night I saw the show when anti-gay protesters, led by religious zealot Fred Phelps, picketed Shepard’s funeral, waving “God hates fags” signs. Director David Brown used projections of photos taken at the funeral to underline the picketers’ appalling behaviour, with subsequent pictures of Laramie people dressed in white and wearing wings in a subsequent “angels’ protest” against Phelps’s inappropriate conduct, showing that hundreds of Laramie residents at least did not share his views. While some of the comments made about Shepard indicated ambivalence about his sexuality, people’s words for the most part showed concern for the way he had been treated. And, in a moving address to a court, Shepard’s father appeals for one of his son’s killers not to be given a death penalty. Ken Longworth
Set designer Christina Smith also designed costumes, showing a wonderful sense of fun. Modern yet distinctive, characterisation inherent in costuming tells its own wonderful story. Performances throughout are strong. Jovana Miletic appears in her element as Rosalind, with Grace Smibert a beautiful and witty Celia. James Sweeny is a worthy, charming Orlando - with Igor Sas winning the audience as Orlando’s elderly retainer Adam. Andy Fraser, who as fight director devised dynamic fight choreography, plays obnoxious wrestler Charles and hard-done-by William. Brendan Hanson brings lovely broadstroke comedy to Le Beau and lends his resonant voice to Amiens. Luke Hewitt was a likeable, funny Touchstone, nicely paired with Caitlin Beresford-Ord’s gorgeously awkward Audrey. Geoff Kelso was convincing both as detestable Duke Frederick and his reasonable brother, while Brett Dowson handled Oliver’s transformation from villain to As You Like It hero nicely. By William Shakespeare. Directed by Roger Hodgman. Ash Gibson-Greig ‘s score adds depth to the story and Heath Ledger Theatre, State Theatre Centre of WA. May 17 modern incidental music brings humour. - June 1. As You Like It is a lovely feel-good production, AS You Like It’s set has particular impact. The distinctive beautifully told and glorious to look at. Easy to follow, this would be a wonderful introduction to Shakespeare. wood features of the Heath Ledger Theatre extend on to the stage in a seamless melding, so that The Court seems to Kimberley Shaw be part of the theatre. The set later spectacularly transforms into the stunning Forest of Arden and the feeling of being at one with the set continues. Longer versions of many reviews can now be found at www.stagewhispers.com.au
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His Mother’s Voice By Justin Fleming. Bakehouse Theatre Company. atyp Studio 1, Hickson Rd, Walsh Bay. April 30 - May 17. AS well as being a heart-warming love story, this is a play about courage in the face of brutality and power of the state. Based on the story of a young Chinese pianist whose mother taught him the notes of the piano by painting a keyboard on the kitchen table and singing the notes, Justin Fleming has created beautiful characters that tell his story in carefully chosen words and striking, sometimes shocking, images of the tragic misconceptions of the Chinese Cultural Revolution and the tenuous developments of SinoAustralian diplomatic relations in the 1970s and 80s. Originally written for 7 actors playing 13 plus roles, the response from Sydney’s Asian performers allowed director Suzanne Miller to extend the cast to 12, and so make the tension of the revolutionary scenes stunningly real. Renee Lim plays Yang Jia, a classical piano teacher. Lim plays this role with intense focus and gentle understanding. Her son, Liu, is played Harry Tseng, who finds the taut control and resentment that always hovers beneath be his great musical talent. His relationship with translator, Emma Fielden (played by Danielle Jackson), is beautifully crafted. Singling out these actors in no way detracts from the ensemble as a whole. There is an overwhelming sense of unity in this production, a sense of strong belief and transformation. Music underscores every moment of this play and sound designer James Colla and lighting designer Christopher Page, create an atmosphere that beats with the changing rhythms of the action. Carol Wimmer
Among the hard working supporting characters I particularly enjoyed the portrayal of Mrs Lindell by Mary Murphy, and the believable conversation of the girls in the flashback scenes. Costuming by Lynda Stubbs made good use of colour and captured the diversity of teen fashion. The production embraces youth involvement, with Yr 12 student Clayton Reichert operating lighting and building the set and the Cyril Jackson Senior High School Certificate Two Live Theatre Production class involved in the production. A fascinating production with a lovely vision that is well worth seeing. Kimberley Shaw
The Merchant Of Venice By William Shakespeare. Stooged Theatre. Shakespeare in Gloucester Festival, May 8 - 10. Civic Playhouse, Newcastle. June 4 - 7. THE stage setting grabbed audience attentions before The Merchant of Venice started, with banners at either end of the back wall urging people to vote for the rival candidates, Antonio and Shylock, in a mayoral election. Director Carl Young and actor Luke Standen astutely brought Shakespeare’s play into the present day with their adaptation of the text. The election rivalry added to the tension between the two men, as Antonio (Glen Waterhouse), a merchant whose money is tied up in a shipping fleet, borrows money from Shylock (Tim Blundell), here a banker, despite having made insulting public comments about Shylock being a Jew. The adaptors also gave an amusing and cutting 21st century edge to the play’s romance between Antonio’s So Much To Tell You friend Bassanio (Tim O’Donnell) and heiress Portia (Giverny By John Marsden. Directed by Gail Lusted. Garrick Theatre, Lewis). Shakespeare has suitors required by Portia’s late Guildford, WA. May 1 - 17. father’s will to chose between three caskets, one of which JOHN Marsden’s play So Much To Tell You, based on his includes a message of approval for her marriage, with the novel of the same name, is the story of a scarred teenager, others imposing penalties on the would-be grooms. sent to boarding school when she refuses to speak. Based Here the caskets were part of a television game show on a true story, it’s both compelling and confronting. called Who Will Win Portia’s Hand? Almost filmic in structure, the 38 scenes posed great One of the suitors, the Prince of Morocco, became P. challenges on the tiny Garrick stage and although the Rocco, a rock singer with a backing duo, who performed staging was clever, scene changes though obviously briefly before choosing a casket. choreographed, were sometimes clunky and comparatively The changes slid smoothly into the work, with a firstlong, which interrupted the flow of the drama. rate cast making it a lively tale. There was a strong cast of fourteen young actresses Giverny Lewis was a glamorous Portia, becoming a playing students at Warrington College and Marina’s convincing male when she gave legal aid to Antonio. And friends in flashbacks, supported by an adult cast of five. the rivalry between Waterhouse’s Antonio and Blundell’s The central role of Marina is played in a very even Shylock was gripping, with Blundell giving dignity to performance by Elizabeth Offer. Solid performances from Shylock’s sting-in-the-tail “Hath not a Jew eyes” speech. her classmates abounded. I enjoyed the powerful The other characters were also recognisably performance of Katie Toner as Kate, the gentleness of Bre contemporary figures, with Launcelot, the clown figure Edelmen and the lovely genuine performance of Abigail who is a servant to Shylock, becoming a speechwriter with Morritt as Cathy. Shannon Berry, Kiah Van Vlijmen and an amusing way with words, and Scott Eveleigh really Nahdarin Yahya created believable characters. Emily rocking as P. Rocco when given his chance to show his Theseira as Lisa was a standout while Darcie Azzam and performance talents on television. Brittany Isaia delivered strong performances while clearly Ken Longworth battling illness. 76 Stage Whispers
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Reviews: Musicals
Jemma Rix as Elpheba in Wicked. Photo: Jeff Busby
Wicked Music and lyrics by Stephen Schwartz. Book by Winnie Holzman. Directed by Lisa Leguillo. Regent Theatre, Melbourne. Opening Night: May 10, 2014. AH, Wicked! Stephen Schwartz’s terrific score still provides great songs you will sing all the way home, and the book (Winnie Holzman) is arguably the best of any of the great Broadway musicals. The costumes are as glorious as ever. The re-casting of some key roles has raised the cast level to the lofty heights of superlatives. Reg Livermore dazzles in the role which has previously seemed the weakest in the show. Along with the charisma, the stage-craft, the finesse, the humour and the voice, is the pathos of a truly great actor. Welcome back Reg. In Steve Danielsen we finally have a true triple threat Fiyero, and he is simply fabulous in the role. Similarly, Edward Grey brings much more than could reasonably be expected to the role of Boq. Emily Cascarino (Nessarose) is beautiful as well as talented, and Nathan Carter is an absolute delight as Doctor Dillamond. The ensemble is brilliant, as Australian ensembles inevitably are. Maggie Kirkpatrick, though stalwart in reprising Madame Morrible, was sick with flu. And so to the “new” Elphaba and Glinda. Lucy Durack is now a fully-fledged musical star, and it shows. The poise is greater, the voice is stronger and more powerful in the top register, and the connection with the audience and everyone on stage is magic itself. Add to this a fully developed sense of timing and a delicious stock of comic inventions worthy of Lucille Ball.
Jemma Rix is nothing short of astonishing. She gives us an Elphaba that is flesh and blood, darkness and yearning, a superb acting job. Her singing is unbelievable, rich and full in the bottom register, soaring on top. Ms Rix is not just a “belter”, she understands the lyrics, she conveys the loneliness as well as the conviction. To see these two amazing performers at a heightened, adrenalin rush, peak of their game is a privilege. It truly does not get any better than this. Coral Drouyn West Side Story By Leonard Bernstein, Arthur Laurents and Stephen Sondheim. Directed by Crispin Taylor, Musical Direction by David King. Choreography by Lisa O’Dea. Regal Theatre, Subiaco, WA. June 14 - 21. WAAPA’s mid- year musical is a highpoint on the Perth theatrical calendar, and West Side Story is the best to date. Superbly directed by Crispin Taylor, Lisa O’Dea’s choreography is outstanding with brilliant execution throughout. Music standards are second to none, with a brilliant orchestra matched by excellent vocals. Steve Nolan’s complex, multi-level set rotates to provide distinct locations. Cleverly designed, its own effective choreography is used intrinsically throughout the show. Rhiannon Walker’s costumes capture the era’s mood and highlight the gulf between Sharks and Jets. Lighting (Mark Howett) was precise and emotionally aware with sound (Tim Hamer) very good, in a notoriously tricky venue. William Groucutt is a handsome, personable, gorgeously voiced Tony. Tiny Miranda Macpherson is a powerhouse Maria. Singing and acting beautifully, she inhabits this role,
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West Side Story. Photo: Jon Green
owning the stage, especially in the final scene. The Jets are a loveable bunch of hoodlums delivering excellent performances. “Gee Officer Krupke” was a highlight of the show. Shannen Alyce was another standout as Anybodys; and singing “Somewhere” - a lovely production choice, movingly performed. The Sharks were equally impressive. It is hard to imagine a better choice for Bernardo than Lyndon Watts. The girls were fantastic - Suzie Melloy’s strong, conflicted Anita was breathtaking, with Rebecca Hetherington lovely as Rosalia and Sophie Stokes standing out. Minor roles and the ensemble as a whole were brilliant. While WAAPA’s Regal Theare performances have always been impressive, West Side Story felt like a big budget professional production, a huge achievement for a student production and a great sign for the future of music theatre on and under the stage and behind the scenes. Kimberley Shaw
ocean floor and costumes that are nothing short of stunning. This show owes its success not only to the talented cast, but to the amazing creative team. Directors and producers Jen Firth and Kylie Green have done a marvellous job in putting this show together, casting key roles well by focusing on actors’ strengths. Having to put together a senior and junior cast for various performances is no easy task, but with the support of Musical Director Rosanne Hosking and Choreographer Mark Stefanoff this show fires on all fronts. The little mermaid Ariel is played beautifully by Stephanie Antonopoulos; she moves well across the stage and vocally is flawless. Her rendition of ‘Part of Your World’ is a highlight. Scuttle is hilariously brought to life by Emily Wood; her cheeky vocals in ‘Human Stuff’ were a favourite. Emily Johnson’s menacing portrayal of Ursula is excellent. The ensemble are strong and well-rehearsed. Kerry Cooper
The Little Mermaid Music by Alan Menken and Lyrics by Howard Ashman and Glenn Slater, adapted and arranged by David Weinstein. Based on the Hans Christian Andersen story and the Disney film and directed by Jen Firth and Kylie Green. Walford Theatre (SA). April 24 - 27. PELICAN Productions have done this household favourite proud. Do not make the mistake of thinking this show is aimed only at a younger audience, because you too will be swept up in the magic that is The Little Mermaid. An underwater paradise has been created with the use of set pieces cleverly manoeuvred by cast, a cyclorama scattered with breathtaking images transporting you to the
Annie Directed by Katherine Friend, Music Direction by Justin Friend. Koorliny Arts Centre, Kwinana, WA. 2 - 17 May. KOOLINY Arts Centre’s Annie is a production with a lovely heart and a positive vibe. Christie McGarrity looks perfect in the title role, bringing a beautiful voice and genuine smile. Chris Gerrish is a strong, warm Daddy Warbucks, with a voice to match and partners well with Kimberley Harris who is perhaps the perfect Grace, efficient and precise in an excellent performance. Val Henry balances the humour and villainy of Miss Hannigan nicely, while Joshua Munroe is disturbingly
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likeable as despicable Rooster. Georgia McGivern creates a gorgeously flashy, trashy Lily St Regis. The orphans are delightful; a band of 6 core orphans, supported by a larger orphan ensemble. Many of the principal orphans have professional credits - and the remainder match them in talent, while the ensemble children bring enthusiasm and energy. Particularly memorable was Saoirse Gerrish as Molly (she alternates with Georgia Fleay) - a natural comedienne delivering an endearing performance. Koorliny Arts Centre manager Ryan Taafe moonlights in a cameo as Bert Healey, and his work with Wacky (Blake Jenkins - another juvenile pro) is a show highlight. The adult ensemble includes an abundance of “new to community theatre” faces and they are vocally very impressive. A standout is Vikki Walker as A Star To Be. Annie is always a feel good show and this production captures this joy well with a warm and sweet presentation. Kimberley Shaw The Phantom Of The Opera By Andrew Lloyd Webber, Charles Hart and Richard Stilgoe. Willoughby Theatre Company. The Theatre on The Concourse, Chatswood. Director: Declan Moore. Musical Director: Greg Jones. Choreographer: Sarah Friedrich. May 14 - June 1. DECLAN Moore’s beautifully crafted production of The Phantom of the Opera has a sweeping, cohesive vision, strong on spectacle yet richly dramatic, supported by a full, lush orchestral sound worthy of any professional pit, under the musical direction of Greg Jones. Simon Greer and Slade Blanch have seamlessly augmented Miranda Musical Society’s excellent set, while Joy Sweeney effectively supplements costumes created by Newcastle’s Metropolitan Players to complete the striking visuals. However the great coup has really been strong casting. Simon Greer’s accomplished Phantom is rich in somewhat unconventional pathos and pain, while Gavin Brightwell’s Raoul is full of proud aristocratic bearing and credible earnestness. Both men give fine vocal performances too; Greer handles the falsetto passages impressively and seamlessly, while Brightwell sings Raoul with a warm rich baritone. But it’s their beloved Christine who sparks the chemistry. Diminutive, beautiful Chloe McKenzie possesses a fresh, sparkling coloratura voice, but before this talent is heard, you spot her acting. Later, it’s fully revealed in the intensity with which she endows her male co-stars with an extra degree of charisma and seductiveness through her reactions. The dramatic impact of this conflicted Christine, who you believe could go either way throughout, is immeasurable, while her passionate kisses seem to hold nothing back. David McKenzie with his Pavarotti-esque Ubaldo Piangi, is an archetypal egotistical operatic tenor, delightfully matched with the classic portrayal of temperamental operatic diva Carlotta by Georgia Kokkoris. Operatic scenes are treated as affectionate, knowing 19th century opera
pastiche, led by these two with enormous comic zest, supported by an ensemble who enter enthusiastically and capably into the spirit. As the comic opera managers, Messrs André and Firman, Andrew Benson and Andrew Castle have the contrasts and rapport essential to make the pairing work. When Virginia Natoli enters straight-backed, she embodies the stern, enigmatic ballet-mistress Madame Giry. Kate Ash’s bright, warm Meg brings a delightful, inquisitive touch to close the show. Performances in supporting roles are capably handled, the ensemble is tight and disciplined, while a ballet of eight, all dancing en pointe, is the icing on the casting cake. Technical achievements like the spectacular scene as the Phantom’s boat crosses the lake of fog, proved immense. Impressively handled too, are the many scenic transitions. Willoughby Theatre Company has ‘raised the bar’ for community musical theatre in Sydney with The Phantom of the Opera. Neil Litchfield Downtown By Phillip George, David Lowenstein, Charles Morris. Supa North. Director/Musical Director: Paul Belsham. Ballina R.S.L. (NSW). May 2 - 10. FOLLOWING the huge success of Smokey Joe’s Cafe, Supa North have another hit on their hands with Downtown; a musical celebration of British Music of the 60’s and early 70’s. This “MOD” musical brings Carnaby Street to downtown Ballina with the walk, talk, fashion and everything “fab”; told through the lives of five girls: Blue-Veronica Lovejoy, Red-Carly Hebbard, Yellow-Lee Milward, Green-Liz Van Eck and Orange-Belinda Toth (who also choreographed the show). The girls are suitably supported by Advice Columnist -Diane Ennew, the Voice of Shout Magazine-Dylan Wheeler and dancers Ellie Kelly-Lloyde and Iesha Williams. Everyone had their opportunities to shine which they did to their advantage throughout the show. Wearing two hats on one head, Paul Belsham has directed a fast paced show and the small combo of keyboards Brian Pamphilon and Jan Reimer together with Paul on drums turned out all the hits of the period much to the audiences delight who sang along with the music. The simple set of the Union Jack divided over 5 separate flats complimented the colourful ‘period’ costumes. For a small company they make a habit of delivering shows which are larger than life. Roger McKenzie Young Frankenstein Music and Lyrics Mel Brooks, Book Mel Brooks and Thomas Meehan. Spotlight Theatre, Benowa, Gold Coast. Director: Tony Alcock. May 9 - 31 2014. MEL Brooks converted his hysterical movie into a Broadway Musical and expectations were high: however this production just missed the mark. The large cast consisted of experienced performers and
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On The Roof fame), this is one of those romantic comedies where the plot development is both predictable and contrived, that relies on a charming cast to keep it afloat. Fortunately, James Reed and Lauren Potter both give impassioned performances as two argumentative parfumerie employees who eventually discover they have more in common than they first thought. They have strong chemistry, both as adversaries in argument and as romantic partners. Able support is provided by John Greene, Sarah Nagy, Buddy Dawson, Tim Taylor and Mitchell Smith - all endearingly quirky as Georg & Amalia’s colleagues. But the big scene stealer is Andrew Crayford, who appears onstage as a pushy waiter during a disasterous dinner date sequence. The show is visually marvellous from start to finish, the sets and costumes (courtesy of Patsy Thomas, Norman Caddick and Gilian Cordell) are all finely detailed, brilliantly evocative of the time period. Madeline Edwards’ choreography makes imaginative use of props, and subtly contributes to much of the production’s humour. She Loves Me is a work that has dated badly in some Thoroughly Modern Millie respects, but thanks to the lively, energetic work of Therry, New Music: Jeanine Tesori. New Lyrics: Dick Scanlan. Book: it never feels like a museum piece - rather, watching this Richard Morris & Dick Scanlan. Savoyards. Director: Johanna show feels like stepping back in time to another era. Toia. Musical Director: Shane Tooley. Choreographer: Jo Anthony Vaswer Badenhurst. Iona Performing Arts Centre, Wynnum. May 31 - Jun 14. Thoroughly Modern Millie A VIBRANT and winning performance by Astin Blaik in Directed by Lyn Laister. MLOC (Vic). Phoenix Theatre, the title role and snappy dance routines by Jo Badenhurst Elwood. June 13 - 21. were the pluses of Savoyards production of Thoroughly THOROUGHLY Modern Millie could hardly be called one Modern Millie. “Forget About the Boy” and “Gimme of the great musicals. Nevertheless, for pure enjoyment and Gimme” both sung by Astin Blaik registered strongly. Kim enthusiasm, this is well worth a visit. Kee as Millie’s friend Miss Dorothy gets to show -off a nice Amy Gridley, a seasoned dancer and singer, is an soprano range dueting with Jordan Ross (Trevor Graydon) excellent Millie, with the right mixture of determination and on Victor Herbert’s “Ah! Sweet Mystery of Life” and “I’m romanticism. James Robertson (Jimmy Smith), is charming Falling Love with Someone.” It’s a funny moment which and appealing and Mandie Lee is a delightful Dorothy they both capture with charm. Millie’s love interest Jimmy is Brown. MLOC has two great assets in Trish Carr (Mrs well-played and sung by William Hinz. Sherryl-Lee Secombe Meers), a performer guaranteed to impress everyone, and does what she can with the underwritten role of Mrs Carly Daley (Muzzy Van Hossmere), who, although heavily Meers. Jaqui Cuny as Mizzie belts “Only in New York” and pregnant with her first child, adds large doses of “Long as I’m Here With You” as if they were showstoppers, professional expertise. Ash Cooper impresses as Trevor, and which they are not, while Chris Fox as Ching Ho and Walter the role hides the fact that he is a little stiff onstage, and Lago as Bun Foo get the best comedic moment when they Mary Bryant (Miss Flannery) and the Priscilla Girls strike just sing the old Al Jolsen song “Mammy” in Chinese with the right notes. English sur-titles shown above the proscenium. It’s an The real stars of the show are the fabulous Ju-Han Soon audience winner. Johanna Toia’s direction could have had (Ching Ho), who is comically endearing and one heck of a more fizz in the first half, not helped by the slow scene dancer, and William Kim (Bun Foo), who is making an changes, but the second was as bubbly as a glass of astounding debut. His Chinese rendition of Mammy (with champagne. subtitles) has to be seen to be believed. Peter Pinne Lyn Laister has done a lovely job with the direction and Rhylee Nowell has tapped into 1920s choreography with She Loves Me great style. Musical Director Stacey-Louise Camilleri really By Joe Masteroff, Jerry Bock and Sheldon Harnick. Therry whipped the orchestra into a great syncopated ragtime Dramatic Society. Directed by Patsy Thomas. The Arts performance in the second act. The costumes, set and Theatre, Adelaide. Feb 17 - 22. lighting all work a treat. MLOC is not the flashiest or most THE Therry Dramatic Society presents a shamelessly old- ambitious of community Musical Theatre groups, but they fashioned musical comedy with She Loves Me. Featuring have the ability to make each production infectious. catchy songs by Jerry Bock and Sheldon Harnick (of Fiddler Coral Drouyn those who were starting out and the gap between the standards was obvious and this performance wasn’t helped by slow scene changes (with plenty of torch light and hands etc. visible from the audience). Tony Alcock had cast a strong principal line up with standout performances from Jessica Papst as the house keeper Frau Blucher, Martin Jennings as The Monster and the numerous cameo roles of Joel Beskin. Under the baton of Matt Pearson, the show had a strong music foundation and Paulo Natividad’s choreography was impressive and the Puttin’ On The Ritz routine featuring The Monster was the highlight of the evening. Quite often, when a movie is rewritten as a musical, the new version struggles to recreate the original magic - which is a shame. On a lighter side, the visual effects were great and effective. Hopefully the show will tighten up and deliver a production worthy of Mel Brooks. Roger McKenzie
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Wizard Of Oz.
Xanadu - The Musical Book by Douglas Carter Beane; Music & Lyrics by Jeff Lynne & John Farrrar. Beenleigh Theatre Group. Crete Street Theatre. May 2 - 17. THE movie flopped but this Xanadu flies! All the same songs but the stage version lampoons the movie. What joyful entertainment! No serious world issues, just a whimsical story about a mortal and a Greek muse who fall in love. With a well-drilled cast (Michael Skelton’s inspired direction, with Allison Nipperess), simple set designed by the director with Phillip Maas, a supportive combo of six instruments down front under Christine Leah on keyboards, and the hard-working cast of eighteen (choreography by Shelley Scott with Stewie Matthews), the show transports us, tapping our toes to already familiar songs. Some dialogue is corny, cheesy, full of puns but always fun. Charismatic Isaac Tibbs plays artist, Sonny Malone who has lost his mojo. Katya Bryant (Clio on Mt Olympus, Kira on Venice Beach, LA) comes down to be his muse. Both shine in their duet “Suddenly”. Ian Moore (Danny Maguire, whom Clio inspired a generation ago) brings a rich baritone to his songs. Muses are central to this show: Allison Nipperess (Euterpe); Brendan Dieckmann (Thalia); Carly Quinn (Calliope); Della Kidd (Melpomene); Douglas Rumble (Zeus); Gavin Drogemuller (Terpsicore); Kaitlin Carlton (Eros); Nicole Harrison (Erato); and Phillip Maas (Hermes). Memorable magic moments: the production number with peacock- feather fans and shawls; the Pegasus sequence; Stewie Matthews’ tap routine; and romance destroyers Melpomene and Calliope.
A thoroughly professional musical! Jay McKee The Wizard Of Oz Music: Harold Arlen. Lyrics: E.Y. Harburg. Book: John Kane based on the MGM movie screenplay, after the novel by Frank L. Baum. Queensland Musical Theatre. Director: Deian Ping. Musical Director: Gerry Crooks. Choreographer: Julianne Burke. Schonell Theatre, Qld. June 11 - 15. QUEENSLAND Musical Theatre’s skip down the Yellow Brick Road was an enjoyable experience thanks to astute casting by director Deian Ping of the central characters. It wasn’t flawless, but the spirit of Frank L. Baum’s timeless and beloved story was captured on stage. Amy Winner was a feisty Dorothy with a sweet voice and sang the score’s iconic “Over the Rainbow” with style. Conor Ensor was an amusingly boyish Scarecrow and his “If I Only Had Brain” routine was one of the first act’s genuine highlights. Mention should also be made of the Three Crows (Steph Booth, Laura Eban, Katya Taibi) who added to the fun of the scene. James Rogers captured the charm of the Tinman and showed off his terrific tap ability in the “If I Only Had a Heart” sequence. Best of all though was Shane Webb’s Cowardly Lion. His wonderful vocal delivery and funny stage-business were a delight and lifted the show whenever he appeared. Ros Booth, wearing the Wicked Witch of the West’s black hat was eminently hissable, with Amy Cooper (Glinda), Adam Milton (Wizard), Rob Carr (Uncle Henry) and Tammie Watson (Aunt Em) each earning their place in the spotlight. Peter Pinne
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Jesus Christ Superstar By Andrew Lloyd Webber and Tim Rice. Engadine Musical Society. Sutherland Entertainment Centre. May 14 - 18. A CONTEMPORARY setting of scaffolding and graffiti alerts you instantly that this will be a modern interpretation of Jesus Christ Superstar. Director Meg Day always pushes the envelope in community theatre, this time with slickly produced video and media. As Alan Steadman’s impressive orchestra launches into the overture, an edgy contemporary vision of street violence and armoured riot police sets the scene. It’s raw, physical, youthful and contemporary, energized by an enthusiastic ensemble; clothed in mostly dark tones there’s something repressive, edgy and bleak happening here. The relationship between James Gander (a popular revolutionary Jesus) and Daniel O’Connell (Judas) is a ripping rock music confrontation. Gander’s Jesus is a touch cocky and arrogant, and needing to be restrained from striking out at the persistently niggling Judas. Tanya Boyle’s Mary Magdalene definitely implies there’s something going on with Jesus. Her ‘I Don’t Know How to Love Him’ builds affectingly from introspection to a bravura climax. The priests are boardroom corporates. As Ciaphas, James Jonathon has the perfect bass register for those familiar deep notes, conveying a cold, ruthless persona. His fellow priests resonate as shadowy, archetypal ‘faceless men’. Pilate (Greg Windred) is similarly dressed to the priests, but his contemplative dream song marks him apart. Windred, for mine, is the stand-out rock vocalist. Ethan Harvey’s young, flamboyantly dressed Herod is a Bieber-esque spoilt teen brat, supported by delightful backing girls putting over some snappy, witty Craig Nhobbs choreography, before providing slinky support to Judas in the title song. The striking visual and choreographic moment, however, has to go to a crowd surfing Jesus in the red-light Temple scene, spectacularly raised above the heads of the seething ensemble. An excellent, original multi-media take on the first great rock opera. Neil Litchfield
With assured projection, and an apparently benign characterization overlaying malevolence, Andrew McLean is very well cast as the policeman / narrator, frequently teamed with Reich Webber-Montenegro’s ‘cute-as-abutton’ urchin Little Sally, creating a bright rapport of one up-manship. Nicholas Gilbert (Bobby Strong) and Eddie Bruce (Cladwell B. Cladwell) both have the acting and vocal projection to propel the show’s central conflict without amplification. Gilbert’s Bobby is a clean-cut earnest hero and romantic lead, while you’d never know that co -director Eddie Bruce stepped in as his antagonist just weeks before opening. As the heroine Hope Cladwell, Stephanie Quaglia has all the fresh-faced charm and spirit necessary, though her sweet, true voice doesn’t quite balance with her male co stars’ natural projection in duets. There’s good ensemble playing throughout the production, with distinct individual characters and ample projection. Musical Director Leo Dent and his small combo struck an excellent ‘unplugged’ balance with vocals and dialougue. There are disadvantages to this small venue and its lack of facilities. But there’s trade-offs too, like the up-close experience, and the hospitable foyer, where you can buy a generous serving of Tiramisu or a brownie with your coffee. Neil Litchfield
The 25th Annual Putnam County Spelling Bee Conceived by Rebecca Feldman; music and lyrics by William Finn; book by Rachel Sheinking. Exclaim! Theatre Company. Director: Bryce Halliday. Choreographer: Monique Salle. Musical Director: Aaron Robuck. The Australian Hall, Sydney. May 23 - June 1. EXCLAIM! Theatre Company has been established as a vehicle for AIM (Australian Institute of Music) musical theatre alumni to bridge the gap between training and the industry. Small cast Broadway musical The 25th Annual Putnam County Spelling Bee, celebrating America’s national Spelling Bee phenomenon, is their first venture. Young adult performers are challenged to credibly create a group of awkward offbeat teen / pre-teen spelling nerds who we can empathise with and care about. Several cast members achieve that splendidly in a smart, highUrinetown energy production, while others go a bit OTT. Book and lyrics by Greg Kotis. Music and lyrics by Mark Emma Cooperthwaite does full justice to easily the Hollman. Dural Musical Society. Dural Soldiers Memorial musical’s best role, as she mines all the potential of initially Hall. May 18 - 31. withdrawn Olive Ostrovsky’s moving journey from A POWERFUL businessman bribing a corrupt politician insecurity, disappointment and vulnerability, through to a for control of scarce water resources; no it’s not the latest sense of strength and assurance.. ICAC song and dance, it’s Urinetown The Musical. We laugh affectionately with Jaimie Leigh Johnson in Dural Musical Society presented a clean, simple her heartfelt performance as Logainne unplugged production of the Broadway satire. SchwartzandGrubinierre, the intense daughter of two ultraAuthoritative in-character ad-libs by Officer Lostock competitive gay fathers. The character’s lisp is sufficient to (Andrew McLean), striding through the auditorium with off be evident, yet never impair understanding, and her rant in -sider Officer Barrell (Augustin Lamas), provides a fun the latter part of the show is a joy. variation on pre-show announcements. 82 Stage Whispers
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Ms Cooperthwaite and Ms Johnson land both the pathos and character-driven humour of their roles beautifully. Anthony Finch’s simple, gangly Leaf Conybear engages, while Meg Bate gently imparts the conflicted over-achiever Marcy Park’s personal dilemna. Amongst the adult roles, Holly Summers-Clarke’s poised and contained Rona Lisa Perretti hits the mark early on with her wistful flashback song. As Mitch Mahoney, doing community service as the Bee’s ‘comfort counsellor’, Richard Woodhouse starts out scarily convincing as the rough character you’d expect, but by evening’s end he’s evolved into a rough diamond, imparting a genuinely sympathetic edge. It’s rewarding to go future star-spotting, while getting a bright night’s entertainment into the deal. Neil Litchfield Guys And Dolls Music and lyrics by Frank Loesser. Book by Jo Swerling and Abe Burrows. Directed by Tyler Hess. MDMS (Vic). Karralyka Theatre Ringwood. June 13 - 21. THERE’S much to love about this spectacularly ambitious production from MDMS:- Danny Forward’s expert musical direction of a band of the highest order; Jason Bovaird’s amazing lighting design; Craig Wiltshire’s eclectic choreography; a blistering cameo performance from Jay Miller as General Cartright; a genuine leading man with a great voice and presence in Anthony Bolger (Sky Masterson) and a show-stopping star turn from Musical Diva Jaclyn De Vincentis as Adelaide. However, there are some problems which took the edge off the overall excellence. Jacob Battista’s set, for example, with its revolving lighted letters revealing other spaces and partsets (including a full sized religious statue), is quite mindblowing to look at, but it does require blackouts and stage waits to move into place. Adelaide is essentially a supporting role, not the lead, yet this marvellous performer, Jaclyn De Vincentis, steals every scene, and swamps all other performers. Harrison Wall (impressive in Act Two), playing Nathan Detroit, has trouble holding his ground with her, and doesn’t ever look like he could successfully put off marrying Adelaide. Jasmine Dare as Sister Sarah Brown is the victim of poor casting or poor direction, playing the normally cool, intelligent, and determined Sarah (all qualities which attract Sky) as a ditsy blonde with a squeaky voice, the kind of “doll” that Sky has no respect for. She’s further hampered by going to Havana dressed not in her uniform (the uniforms are too attractive anyway and look like chic office outfits), but in a gorgeous ensemble which might have been made for Daisy in The Great Gatsby, rather than a missionary sister. Everything is just a little too sumptuous, too glamorous. I confess to not understanding the rationale for the white face expressionless makeup on the men, robbing Robert Clark (Nicely-Nicely), Scott Reid (Benny Southstreet) and Matt Hirst (Rusty Charlie) of natural humour and charm, though all sang well.
This is still an enjoyable night of Music Theatre -it just wasn’t, for me, the magic MDMS has shown me in the past. Coral Drouyn Phantom Of The Opera By Andrew Lloyd Webber, Charles Hart and Richard Stilgoe. Babirra Music Theatre. Director: Neil Goodwin. Musical Director: Phil Osborne. Choreographer: Di Crouch. May 31 June 14. FOR their 100th show Babirra chose one of the most technically demanding in Phantom of the Opera, and they triumphed. In the opening scene the chandelier swung out over the audience and upwards to a spectacular show of pyrotechnics and an ovation from the audience. It set the tone. Paul Batey was a menacing Phantom early, but incredibly vulnerable toward the finale. We felt his pain. He has a beautiful voice, though I’d have preferred him to retain that beauty, which he sacrificed for passion towards the end. Diminutive twenty-one year old Georgia Wilkinson is an amazing talent. I’d been blown away with her Maria for Babirra as an eighteen-year-old and she has matured. Her voice was beautiful and she was a passionate Christine. She worked well with Andrew Baker as a strong Raoul. Another very good singer and strong actor, he made love scenes very real. As Carlotta, the fast vibrato in Nikol McKail’s voice made a good contrast to Christine. She was feisty, and fearlessly attacked all those fiendish top notes. Shanul Sharma was a strong Piangi. The chorus and orchestra did well, and “Masquerade” was a highlight. I particularly liked the costumes chosen for this scene. The sound was an issue. The orchestra drowned the singers on several occasions and some of the leads’ top notes were painfully loud. But the full house confirmed that Babirra had conquered the Everest that is Phantom of the Opera. Graham Ford Footloose The Musical By Dean Pitchford and Walter Bobbie, based on the screenplay by Dean Pitchford. Music by Tom Snow (and others), lyrics by Dean Pitchford. The Regals Musical Society Inc. Rockdale Town Hall. May 16 - 24. LOCAL minister Rev. Shaw Moore has banned dancing in a small American town. For much of stage musical Footloose, this plot constraint limits the opportunities for the energetic dancing of an enthusiastic, youthful ensemble - The Regals’ production’s shining asset. Performers in key teen roles provide strong pop vocals and personality-plus. Charisse Graber’s ‘Let’s Hear It For The Boy’ was my favourite, though Sam Larielle (Ren) delivered assured vocals, especially on ‘Footloose’. As the minister’s rebellious daughter Ariel, Jamie Raabe handles her share of the pop score impressively, though show-stopping trio
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‘Learning to Be Silent’, harmonizing with ‘adult’ cast members Stacey Wilson (her stage mum) and Susie Hoggard (Ren’s mum), is a special highlight. First night nerves saw younger actors sometimes rush their dialogue, though Ren and Ariel’s late scenes with Rev Moore suggest better to come as the season progresses. Of the adult roles, Rev. Shaw Moore and Lili Moore are the most rewarding. Peter Sharratt and Stacey Wilson find plenty of truth in these roles. Ms Wilson has a resonant music theatre voice and nailed her moving Act 2 ballad ‘Can You Find it in Your Heart’. Co-designer Paul Riley and director Julian Batchelor have come up with a viable, coherent staging to cope with numerous scene changes. Musical Director Julie Ryan’s compact band achieve both pop and music theatre sounds effectively. Infectious youthful energy and enthusiasm carries the night in this bright pop music fable. Neil Litchfield
Sondheim has crafted a diverse, period-appropriate score to match the various presidents and assassins in this flawed ‘cult classic’ musical. A strong cast of community theatre talents has been assembled to play the nine assassins. Nathan Farrow is a strong convincing John Wilkes Booth, every inch the failed classical actor, while Gavin Leahy delivers vocally as the Balladeer; strong scenes between these two bookend the show, with their powerful status reversal displaying both performers’ range. Stand-out moments include a witty dialogue scene in the park between intending Gerald Ford assassins Jennifer Parbery (Lynette ‘Squeaky’ Fromme) and Chiz Watson (Sara Jane Moore). Peter Meredith’s manic monologue as Samuel Byck, recording a message to Leonard Bernstein, more darkly comic, is quite compelling. Andrew Fabris (John Hinckley) and Jennifer Parbery combine in perhaps the vocal highlight, ‘Unworthy of Your Love’, capturing Sondheim’s juxtaposition of the beauty of the song, with subtextual darkness. Musicals In Concert With Rachael Beck Director Garth Saville has eschewed the theatrical motifs Directed by Marina Del Basso. Riverside Theatre, Perth usually associated with the piece and gone for a more Convention Centre, WA. May 18. straightforward historical interpretation, making excellent RACHAEL Beck shone in the concert at the Perth use of projections. Stylistically it makes many things less Convention Centre, also highlighting the talents of over two clear though. hundred young performers. Sondheim’s ‘to die for’ score (pun apologies) is well Musicals in Concert is an innovation of the Australian served here by an excellent band and a ‘killer’ cast of Performing Arts Network (APAN), to have an outstanding assassins. musical theatre artist perform alongside developing Neil Litchfield performers. Rachael, with wonderful charisma, performed a Fiddler On The Roof flamboyant opening number with APAN’s full -time Book by Joseph Stein. Music by Jerry Bock. Lyrics by Sheldon students, and two substantial sets. APAN full-time student Harnick. Directed by Carole Dhu. Music direction by Merle Sarah Towler joined Rachael for the impressive duet ‘For Brown. Murray Music and Drama Club. Pinjarra Town Hall, Good’ from Wicked. Pinjarra, WA. May 9 - 24. The children and young adults from APAN were a IS there such a thing as a Magnum Opus for an actor? worthy support act. From the tiniest performers in an Paul Treasure’s performance in Murray Music and Drama Oliver! medley (Sebastian Coe providing a strong solo), the Club’s Fiddler On The Roof may qualify. tremendous tappers in Newsies and 42nd Street (Bella Paul Treasure as Tevye was outstanding. There was a McSporran and Hamish Briggs leading), through the energy lovely sense that this was foremost a dramatic role, of Shout! and magic of A Chorus Line, performances beautifully acted, with the ITA President bringing a throughout were impressive. Vocal talents (strong through fascinating truth to this confused, conflicted, flawed but the whole show) were highlighted in a Cats sequence. loveable father. Treasure also has the vocal depth to shine Soloists included Nicholas Cruse, Madeleine Shaw, Nonie in this role. Trainor and Georgia Rodgers, with breathtaking dance Cat Baxter delivered strongly acted support as wife solos from Channel Cahill and Jack Dunne Golde, with the five daughters - Sian Dhu, Suzy Wiseman, Kerry Smith, Cassandra Power and Corinna Gosby, all giving A wonderful experience of the talents of Rachael Beck lovely performances. and a glimpse into the future of music theatre. Kimberley Shaw Darren Bilston’s Motel was strong vocally, Luke Pisano, as Perchick, is a strong developing talent and Lea Tunbridge Assassins was a delightful Yente. By Stephen Sondheim and John Weidman. Miranda Musical Choreography was well chosen and nicely executed, especially by the young men, and the bottle dance very well Society. Director: Garth Saville. Musical Director: Andrew performed. Chava’s ballet, featuring Maren Gosby, was Howie. Choreographer: Emma Paul. Sutherland Memorial School of Arts. June 13 - 22. particularly moving and a fitting accompaniment to Paul A REVUE-style musical about assassinating US Presidents Treasure’s hauntingly beautiful singing. - it’s scarcely mainstream audience fare, but Assassins, is The nine piece band played very well under Josh Haines and the sound (Mike Rogers) was well balanced. Vocally, one of those rarely performed collectable experiences that this was very strong. musical theatre fans hang out for. Stylistically Stephen 84 Stage Whispers
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Hairspray.
While Paul Treasure was a highlight, Fiddler On The Roof was impressive throughout, and deserved its sell-out season. Kimberley Shaw Hairspray By Marc Shaiman, Scott Wittman, Mark O’Donnell and Thomas Meehan. PRIMA (QLD). Director: Melanie Evans. Musical Director: Mark Beilby. Choregraphy & Co Direction: Maureen Bowra. Redcliffe Cultural Centre, Qld. June 12-15. GLORIOUS 60s retro is the only way to describe Prima’s production of Hairspray. As the ‘big’ girl who sees her big dreams come true, Alicia Poulter had the voice to do the Tracy Turnblad role justice. Time and time again she nailed the songs in an impressive belt. Opposite her as her teen heartthrob Link, the Justin Beiber look-a-like Adam Goodall, did not put a foot wrong. Brooding, narcissistic, but charming underneath his teenage swagger, it was a terrific performance. Stacie Hobbs was a powerhouse as superbitch Amber Von Tussle, while Katherine Vacca also brought fun and a big voice to Tracy’s dorky girlfriend Penny. The three girls (with their mothers) ate up the trio “Mama I’m a Big Girl Now.” Ethan Watson’s performance as Edna, whilst good on many levels just had a little too much female and not enough man in it, which resulted in the second-act showstopper “You’re Timeless To Me” not working as well as it should. But Colin Rhys-Jones as Edna’s better-half Wilbur was spot-on, as was Melissa Beilby’s “Miss Baltimore Crabs” Velma. Others who did good work were Mal Christian (Corny Collins), Asabi Goodman
(Motormouth Maybelle), William Motunuu (Seaweed), and Michelle “Rebel” Murenec (Little Inez). Peter Pinne Footloose The Musical Javeenbah Theatre Co. Nerang, Gold Coast. Directed by Amy-Louise Anderson and Jocelyn MooreCarter. May 23 - June 7. WITH a sell-out production on their hands, Javeenbah’s Footloose is fast paced, full of life and a sure-fire hit, led by “Pocket Rocket” Jackson Brash as Ren, Lauren Steiner as the rebellious Ariel, Jy Etherington as the awkward Farm Boy Willard, Nathan Skaines as the bigoted Rev Shaw Moore and a supporting cast of well rehearsed adults and youngsters. The production team had two directors, two musical directors, Heidi Enchelmaier and Cassidy Mackie, and two choreographers, Kym Reynolds and Clay English and, instead of scenery, they chose a bare stage with a number of ‘cross shaped’ boxes which were rearranged to depict the various locations in the story line but unless one was familiar with the story it didn’t mean much. There were occasions where lyrics and dialogue were overshadowed by the M T Pit pre-recorded music but that didn’t detract from the overall production. Energy levels, both on stage and in the audience were high and lasted throughout the post show party. This ‘feel good’ production makes a lasting impression. Roger McKenzie
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Stage Whispers 85
Reviews: Opera Kiri Te Kanawa 70th Birthday Gala Tour Llewellyn Hall, Canberra. 16th May 2014 and touring Australia and New Zealand. THE Canberra performance of Dame Kiri Te Kanawa’s 70th Birthday Gala Tour revealed this ageless performer sounding very like her recorded self. The majority of the programmed pieces perhaps lacked the grand emotionality of some of her bigger successes, but Puccini’s “O Mio Babbino Caro”, and Vandross’s “Dance With My Father”, given as encores, were particularly moving. Dame Kiri drew us in both technically and emotionally, allowing us to appreciate the trills and cadenzas of Vivaldi’s “Io Son Quel Gelsomino”, the soaring peaks of Handel’s “Se Pieta”, her agility in Granados’s “La Maja y el Ruiseñor” and Canteloube’s “Baïlèro”, and her ability to have a whispered note carry unamplified to the back of the concert hall in Obradors’s “Del Cabello Más Sutil”. She let us appreciate the playfulness of her exposition of Puccini’s “Sole e Amore”, the joyous frolic she makes of Cantaloube’s “Malurous Qu’o Uno Fenno”, and the lover’s sorrow in protestations of love in Hahn’s “À Chloris”. The eminently watchable piano accompaniment that Terence Dennis provides for Dame Kiri was faultless, letting every sung note in such a melodically strange piece as Debussy’s “Romance” sound exactly right. Dennis is one of those pianists whose hands express visually his understanding of the piece he is playing, and his interactions with Dame Kiri were entertaining in and of themselves. John P. Harvey The Tender Land Lyric Opera of Melbourne. Director: John Kachoyan. Conductor: Pat Miller. Chapel off Chapel. May 2 - 10. OPERA is usually associated with big voices singing in big venues. With The Tender Land, Lyric Opera put up a strong case for the opposite approach.
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In this intimate venue beautiful pianissimo singing was the order of the day, and didn’t the audience love it. The small orchestra at the side was lovingly controlled by Pat Miller, so voices didn’t have to fight to be heard. The two “outsiders” were played by Asians, Henry Choo and Raphael Wong, as Martin and Tom. This added another dimension to the suspicion expressed by the others. Both had excellent voices and blended superbly. Emily Uhlrich played the romantic Laurie, who falls in love with Martin. She captured the naivety of the character and her pianissimo top notes were heavenly. Daniela Leska was delightful as the younger sister. As the mother Caroline Vercoe’s rich, warm voice was just right for the part and she moved from a happy mother playing with her children, to a concerned anxious one as her older daughter contemplated leaving the family fold. It was disconcerting to have Tiriki Onus, as the grandfather, a decade or so younger than his daughter, but his imposing presence and voice were an asset, though a real bass would have felt more comfortable in this role. The simple set, comprised of a lean-to verandah and fence, was effective, and was enhanced by the lighting. The direction was excellent, with all characters having meaningful movement. A great night at the theatre. Graham Ford The Consul By Menotti. Gertrude Opera. fortyfivedownstairs (Melbourne). Director: Teresa Borg. Musical Director: Rick Prakhoff. May 16 - 23. GERTRUDE Opera is a new company which appears to have sprung from the Opera Studio, utilising some of their students. A clear plastic screen separated the front and back of the stage, behind which figures could be seen sitting in a waiting room. Often some would shine torches on the screen, like police searching for their man. It was very effective. The simple set worked quite well with a cupboard in Magda’s house becoming the secretary’s desk at the consulate. Often a square of light would shine on the back wall to suggest a window. I had a couple of issues with the direction. In the great Papers Aria where Magda finally loses it with the secretary, Magda sang to the audience instead of to the secretary, draining it of the emotional impact it should have had. And at the end, Magda just walked off stage instead of sticking her head in the gas oven, and so there was no phone call to miss. The singing was magnificent, particularly from professionals Glaston Toft, Simon Meadows and Adrian McEniery. Equally impressive was student Eugene Raggio. Linda Thompson did a commendable job of the demanding role of Magda, her big voice being just right for the role. Katherine Day handled the difficult score with aplomb and Rick Prakhoff held it all together. A great opportunity to see this rarely heard work. Graham Ford
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La Traviata By Giuseppe Verdi. Victorian Opera. Conductor: Richard Mills. Director: Henning Brockhaus. Her Majesty’s Theatre, Melbourne. May 17 - 29. THERE was much to like about this production, particularly the Violetta of ex-pat Jessica Pratt. This was beautiful singing of the highest order, but much more than that. The start of her great Act 1 showpiece, “Ah, fors e lui” was delayed for several seconds as she contemplated this new man she was inviting into her life. Then as the aria started, she casually took out her earrings, kicked off her shoes and took off her wig. It was all so right. The last note in her last act aria was pure gossamer. As her lover, Italian tenor Alessandro Scotto Di Luzio displayed an attractive voice, though not as big as his partner. He was young and good-looking and they worked well together. Jose Carbo as Germont had no trouble matching Jessica with his big beautiful baritone, but was hampered by direction that didn’t allow Germont to show his softer side. Some smaller roles were taken by graduates of the VO Masters of Music program and they all showed they belonged in this exalted company. I’ve now seen a few productions where a mirror is employed at 45 degrees so that what is on the floor becomes the backdrop. It was quite effective, however I was concerned that the second act was set outside the country retreat with a writing table in the middle of the lawn. The chorus singing was tight and the orchestra responded well under the firm hand of Richard Mills. The
costumes were lavish. However, it will be the Violetta of Jessica Pratt that people will come to see and they will not be disappointed. Graham Ford Opera on the Beach: The Magic Flute By Mozart. Greenmount Beach, Gold Coast. Opera Australia. Director Michael Gow. May 9 - 11. UNDER cloudy skies, the magnificent set of the OA’s Magic Flute seemed at home with the surrounding high-rise apartments. As if on cue, the clouds started to part as the Overture commenced and thus began a fabulous event. Billed as a world first, Opera On The Beach was an experience not to be missed and the capacity crowd of over 3,500 in beach chairs, banana lounges and sleeping bags enjoyed every minute. Sung in English, the story was easily to understand. The cast was a mix of international and local singers and (fittingly) lifesavers. The Orchestra and Community Choir, under the baton of Simon Kenway, were brilliant. As the Queen of the Night Milica Ilic was superb and the well matched principal line up included Pamina, Janet Todd; Tamino, Jonathan Abernathy; Papageno, Jason BarrySmith, First Lady, Hannah Dahlenburg; Second Lady, Emma Castelli; Third Lady, Anna Yun; Papagena, Jessica Dean; Monostatos, Benjamin Rasheed and Gold Coast resident Conal Coad was Sarastro, who made an entrance in a Sudan Chair supported by Surf Life Savers from the local Tweed Heads and Coolangatta Surf Club situated at Greenmount Beach. Roger McKenzie
La Traviata. Photo: Jeff Busby.
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Stage Whispers 87
Stage Briefs
Finalists Announced For Noosa’s National Playwriting Competition
For the first time in the 37-year history of the National One-Act Playwriting Competition, a panel of industry professionals chose the top three scripts from over A Postcard from Diamond Valley Singers’ Hello, Dolly! 80 entries received from all over Back row L-R: Josh Thomas (Barnaby), Malcolm Wilton (Horace), Jesse O’Donnell (Cornelius). Front row L -R: Amy Peterson (Minnie). Lucy Nicolson (Dolly), Eleesha Higbed (Mrs Molloy). Australia and beyond. The panelists included playwrights Stephen Carleton and Helen Howard, and Director, Actor, Educator and former QTC board member Kate Foy. The three finalists competing for their share of the $6,000 prize money are: (in no particular order): Michiko Parnell from Western Australia with a black comedy, Instructions for Two or More Players, Michelle OAP finalists McCormick also from Western Australia for her Tragicomedy The Invitation, and Queenslander Frank Wilkie with the drama The Devil’s Dance. The plays, which are are now in rehearsal ready to make their stage debut in July The winner will be announced when the plays are presented at Noosa Arts Theatre for a 3-week season, as part of the 2014 Noosa Long Weekend Festival. The winner will receive $3000 for Best Play, courtesy of major sponsor Bendigo Bank, second place $2000 and $1000 for third. One playwright will also win the Nancy Cato Audience Choice Award. The winner of this award receives a Publishing Contract with publishing sponsors Maverick Musical & Plays, plus a cash prize donated by the family of the late Nancy Cato who was the first winner of the Competition. This competition and One-Act Play Festival, where the playwrights get to see their new work come to life on stage, is one of the most popular productions on the Noosa Arts Theatre calendar each year. “The audiences love it, because they get to vote, and it is a real thrill for the writers to see their plays brought to life on our stage. The atmosphere on the final night is just electric with anticipation and it is such an exciting moment for the playwrights”, says publicity officer Synda Turnbull. “They love coming to Noosa too. The prize money is a really great bonus!” The season runs from July 3 to July 19. Book now to see these 3 exciting new Australian plays. Entry Forms are available now online from the Noosa Arts Theatre website, for the 2015 National One-Act Playwriting Competition. Bookings: phone 5449 9343 or online at Get noticed on the Stage Whispers www.noosaartstheatre.org.au. Noosa Arts Theatre Inc, 163 Weyba Rd, Noosaville.
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Let’s Put On A Show
an integrated score to be proud of. … This is a must see.” www.davidspicer.com.au/shows/shanewarne-musical
From ORiGiN Theatrical Evita ORiGiN Theatrical has announced that after many years of requests From David Spicer Productions Andrew Lloyd Webber and Tim Rice Saturday Night Fever have released the rights to Evita. The Redcliffe Musical Theatre The musical (Queensland) will stage the world brings to life the community theatre premiere of the dynamic, larger70’s disco classic Saturday Night Fever than-life persona The Musical in March next year. of Eva Peron. The company was given the honour Beginning with a as the Bee Gees grew up in the young and northern Brisbane suburb. ambitious Eva, Other companies staging the the production musical (so far) in 2015 are in Sydney, follows her Melbourne, Townsville, Adelaide, meteoric rise to Mandurah (WA), Canberra and sainthood and Queenstown New Zealand. the enormous wealth and power she The musical features the latest gained and the means by which she orchestration for the production which became the beloved Evita of Argentina. is about to tour the UK for a fourth Cast Requirements: Eva Peron, time. Peron, Che, Peron’s Mistress, Magaldi, www.davidspicer.com.au/shows/ plus large ensemble. saturday-night-fever-musical Origin Theatrical has also flagged two hot Australasian premieres. Shane Warne the Musical David Spicer Productions is also The Brain From Planet X (Phoenix excited to announce the release of Theatre W.A. from September 11 - 27) Eddie Perfect’s Shane Warne - The - a musical send-up of bad 50’s sci-fi Musical for community theatre and as movies, telling the story of an alien a cast album. invasion circa 1958. www.rnh.com/show/17/The-BrainFrom-Planet-X Hot New Musical and Play releases from our Right’s holders.
musical about self-discovery. Based on the adored 2001 movie starring Reece Witherspoon. http://licensing.halleonard.com.au/ musicals/find-a-show/11355-legallyblonde-the-musical Mary Poppins The next community theatre blockbuster from Disney and Cameron Mackintosh is Mary Poppins, based on the classic movie put together by Walt Disney himself and composed by the Sherman Brothers. It also features new additional material from George Stiles, Anthony Drewe and was co-created by Cameron Mackintosh. Companies across Australia are gearing up to fly away with this musical in 2015. http://licensing.halleonard.com.au/ musicals/find-a-show/15023-marypoppins
Loserville In a similar vein to the smash-hit teen rock-musical 13, West End musical Loserville tells the stories of teenagers struggling with what it means to grow up. Pimples, girls, boys, cliques, parents and homework all Ring of Fire (Curtain Up Productions form the worlds of the misfits in in Coffs Harbour) - From the songbook of Johnny Cash comes this musical about love and faith, struggle and success, rowdiness and redemption, and home and family. More than two dozen classic hits including “I Walk The Line”, “A Boy Named Sue”, “Folsom Prison Blues”, and the title tune. www.theatricalrights.com/ring-firebroadway
The updated edition, staged last From Hal Leonard Australia year under the direction of Simon Legally Blonde: The Musical Phillips, takes Shane’s life up to his Community theatres across relationship with Liz Hurley. Australia are staging Legally Blonde: SW Reviewer Coral Drouyn wrote of The Musical for the first time in 2014. it, “The show is full of witty lyrics and Harvard’s beloved blonde takes the great melodies, all courtesy of Mr P… stage by pink storm in this fun, upbeat
Loserville accompanied by a rocking score that’s sure to get every kid rocking out. Based on the album Welcome to Loserville from the band Son of Dork.
www.stagewhispers.com.au Stage Whispers 89
who read it. It also shoots to the top of King Charles III the best-seller list. Script and rights By Mike Bartlett available now from Mike Bartlett’s provocative ‘future www.mavmuse.com history play’ explores the people beneath the crowns, the unwritten From Dominie Drama rules of our democracy, and the Contact drama@dominie.com.au conscience of Britain’s most Jeeves & Wooster in ‘Perfect famous family. Nonsense’ Queen By the Goodale Brothers. Original Elizabeth II is author P.G. Wodhouse dead. After a An inventive, fast-paced lifetime of comedy featuring P.G. waiting, her Wodehouse’s iconic double son ascends Sondheim on Sondheim act. Winner of the throne. A As we celebrated the prolific the 2014 future of Stephen Sondheim’s 84th birthday on Olivier Award power. But March 22nd, now is the perfect time to for Best New how to rule? get to know the man behind the Comedy. The play draws on the style and legend with Sondheim on Sondheim Cast usually structure of a Shakespearean history Ranging from the beloved to the follows the play, with much of the dialogue obscure, the carefully selected twoprofessional written in blank verse, a comic subplot, dozen songs hang from a framework premiere (3m and even the occasional appearance of of in-depth video interviews delving who play a a significant ghost... into Sondheim’s personal life and variety of artistic process. roles.) From Judith Prior Free Perusal Doubling Three companies will in August www.halleonard.com.au indicates that some or all performers stage the first ever productions of play more than one part, and the play Judith Prior’s latest dinner theatre From Maverick Musicals and Plays could be performed by more than one The Making of the Great Lover performer. By Jo Denver In 1918, little known author Edith Pressure Winstanley Hull, a pig breeder’s wife By David Hague. from a quaint English village, pens a An intense thriller about the most sensational novel - The Sheik. important weather forecast in the The equivalent to Fifty Shades of Grey history of warfare. June 1944. As Dfor the era, her racy and sumptuous Day approaches, two rival forecasters tale about female sexuality give contradictory predictions, with the scandalises, shocks and titillates all outcome of the entire war at stake. comedy, Hacienda del Toro. An Think, three amigos, hot chilli, extraordinary salsa, tequila, burritos, enchiladas. and littleHidden treasure, bad Spanish accents, known true culture clashes, misunderstandings and story. much mirth as everyone comes Cast usually together to have a good time at the follows the Fiesta del Toro. professional The Hokitika Dramatic Society (NZ) premiere (1f gets in first followed by the Bell 12m). Theatre Group and Springwood High Doubling in Queensland. indicates that some or all performers www.davidspicer.com.au/shows/ play more than one part, and the play hacienda-del-toro could be performed by more performers. 90 Stage Whispers July - August 2014
From Devon Williamson New Zealand playwright’s new release is Over Paid, Over Sexed and Over Here. Set during World War 2 in a living room that backs onto a dry cleaning shop ( 5M 2W ). Lots of laughs as the tension erupts between American Soldiers and locals. The world premiere this year was a sell out. Devon has also enjoyed his first ever season in the US of How to Train Your Husband. www.davidspicer.com.au/shows/over-paid-over-sexed-overhere Dimboola - still a monster hit. John Timlin has put the shingle out as a literary agent after enjoying success as a producer and agent. He began at Carlton’s famous Pram Factory Theatre which produced over 140 new plays in ten years. This included major premieres by Jack Hibberd, Barry Oakley, David Williamson, Tim Robertson, Barry Dickins and John Romeril. In partnership with Max Gillies, he packaged The Gillies Report for ABC TV and many live shows featuring Max. The most famous work that John Timlin represents is Jack Hibberd’s wedding reception play Dimboola. It has been a staple item in amateur theatre for over 40 years and, by 2013, about 1.5 million people had seen it here and overseas. At least fifteen productions are booked each year. www.jackhibberd.com gives an overview of Dr. Hibberd’s many plays all of which, including A Toast To Melba and The Les Darcy Show, are available for amateur production Barry Oakley’s play Music had a phenomenal run at the Melbourne Theatre Co. in 2012 and has now been released for the amateur stage. A tragi-comedy and a star vehicle for four actors, its appeal mirrors that of an early Oakley play, Bedfellows. His Xmas oriented comedy, Yuletide, has now been rewritten and is also available for production. Rights to all Hibberd, Oakley and Robertson plays are available through timlin@bigpond.net.au.
PERFORMING ARTS MAGAZINE JULY/AUGUST 2014. VOLUME 23, 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 3rd, 2014. 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, Cathy Bannister, Rod Bertram, Jason Bovaird, Ken Cotterill, Ray Dickson, Coral Drouyn, Graham Ford, Greg Ginger, Peter Gotting, Frank Hatherley, John P. Harvey, Shirley Jensen, Steve Lawrence, Neil Litchfield, Ken Longworth, Rachel McGrath-Kerr, Jay McKee, Roger McKenzie, Dean Matthews, Benjamin Orchard, Alex Paige, Peter Pinne, Martin Portus, Lesley Reed, Kimberley Shaw, David Spicer, Anthony Vawser, Geoffrey Williams, Carol Wimmer and Maryann Wright. www.stagewhispers.com.au Stage Whispers 91
Musical Spice
Critics Don’t Like Me Recently playwright Alex Broun penned an open letter to The Australian, following the critical response to his first major musical outing Truth, Beauty And A Picture Of You. “Let’s be honest - bad reviews hurt. Except of course when they’re for other people. “Nothing gives your day that little boost better than seeing someone else having shreds stripped off themselves. But when that person being torn to shreds is you, the hollow joy of schadenfreude quickly fades. “I’m starting to realise a very hard truth: critics don’t like me.” The major metropolitan reviewers had almost in unison criticised the book which formed the basis of the musical, set to songs from The Whitlams’ lead singer Tim Freedman. Broun argued that the critics were ‘elitists’ totally out of step with the audiences who loved the musical and were moved to give it regular standing ovations. I should point out that I gave it a positive review mainly for the set and music - but was fainter in my praise for the book, which could be taken to another level. The aim of giving the musical an outing in the small Hayes Theatre Co is to allow it exposure and to be developed. That is hard if the show is harshly dealt with at birth. I tend to agree that some of the critiques were over-thetop and one reviewer gave me the impression that she is a little bit spoilt by seeing too much theatre.
One insider says Sydney metropolitan reviewers almost invariably get stuck into new Australian musicals whereas in Melbourne they are more sympathetic and understand the process better. But even if Broun has a point, he committed the cardinal error - never, ever, ever criticise critics in public. It feels good but all you do is amplify and publicise the bad opinions. The only approach to take (note Strictly Ballroom the Musical) is find the reviewers that did like the show (such as mine and Aussie Theatre) and put their opinions in BIG BOLD CAPITAL letters wherever you can. I interviewed former Sydney Morning Herald reviewer Bryce Hallett earlier in the magazine about this issue. “Whenever there is an ovation, some writers say let’s demolish the so called critic as the review is outside public opinion. “When I’ve been in that scenario and months or years later I have run into the odd director and they tell me, you were so right about what you said, I say but you didn’t say that at the time. “You have to allow the dust to settle. Clearly a writer of a show has a vested interest but as a critic you have to be disinterested. “The audience wants someone who is going to be honest. People are sometimes unnecessarily destructive of critics. They are people who do it because they love the thing they are writing about - and care about it.” But is there not the risk that a reviewer who attends 200 plays a year can become a little jaded and lose their sense of what a member of the general public who goes once a month might think about a show? “I never got jaded. To this day if I hear something is good I race to it.” David Spicer
92 Stage Whispers July - August 2014
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