Stage Whispers July/August 2023 edition

Dear theatre-goers and theatre-doers, Each year, the July/August edition of Stage Whispers focuses on training opportunities in the Performing Arts across Australia. This year the featured courses are as diverse as acting, prop-making, backstage and the technical aspects of theatre.

For young people contemplating a career in the Performing Arts, we’ll expand on this coverage in our free annual Performing Arts Course Guide, which will be available online from mid-July at stagewhispers.com.au/training.

For those of you who have already embarked on your careers, or prefer to watch theatre rather than perform, there’s also heaps of reading ahead.

Adapting Australian novels for the theatre is a major theme this edition, looking at three novels coming to life on our stages in coming months, while an edited book extract from Contemporary Australian Playwriting places this genre in its historical and social context.

Online extras!

Discover what’s new and on special at Book Nook today. Scan or visit youtu.be/m6B8ICbnvjk

In this edition’s musical theatre coverage, we ask the writers and composers of three new Australian musicals which you can see over the next few months about their inspiration and creative process.

Looking ahead to the next edition of Stage Whispers, the over-arching theme will be something so many of us love to do: putting on a show. The articles and features will also be added to the updated edition of our online ‘How To’ publication, Let’s Put On A Show, which you can find at bit.ly/3NU4E1X

I’d love to hear from you with submissions for practical articles for this upcoming edition. You might like to write us a ‘Director’s Diary’, or perhaps you could provide your insight on a production from a Musical Director, Choreographer, Stage Manager, Technical, Set or Costume Designer’s perspective.

I love pictures of set models and costume sketches, so it would be great to feature either of these areas visually from concept, through construction/making, to performance.

If this interests you, please drop me a note via the contact form at stagewhispers.com.au/contact

Yours

in Theatre, NeilLitchfield

Editor

Cover image: Rob Mallett in Elvis: A Musical Revolution Read David Spicer’s interview with the newly crowned “King Of Rock’n’Roll” on page 8.

Photo: Nicole Cleary.

Grease

Several of the leading cast members have been announced for the upcoming Australian touring production of Grease, set to open in Melbourne in December 2023 and in Sydney from March 2024. Annelise Hall, who most recently featured in The Marvellous Elephant Man as well as Aspects of Love at the Hayes Theatre, plays the role of Sandy made famous by Olivia Newton-John. Joseph Spanti, best known for Friends! The Musical Parody and Cruel Intentions: The 90’s Musical, will be donning the famed black leather jacket as Danny Zuko, played by John Travolta in the movie version of the much-loved musical. The cast also includes Patti Newton as Miss Lynch, with Marcia Hines as Teen Angel and Jay Laga’aia as Vince Fontaine. Read more at stagewhispers.com.au/news/grease-casting greasemusical.com.au

Online extras!

Go behind the scenes of the Grease photo shoot. Scan the QR code or visit fb.watch/lng_1pVc7i

Photo: Hugh Stewart.

Wicked

Liam Head (Fiyero), Robyn Nevin (Madame Morrible), Kurtis Papadinis (Boq), Shewit Belay (Nessarose), Todd McKenney (The Wizard) and Adam Murphy (Dr Dillamond) have joined the cast of Wicked, which flies into Australia’s Emerald City at the Sydney Lyric from August 25. Courtney Monsma (Glinda) and Sheridan Adams (Elphaba) were featured in our previous edition. Read more at stagewhispers.com.au/news/principal-cast-members-announced-wicked wickedthemusical.com.au

Online extras!

Get to know the leading ladies of Wicked. Scan the QR code or visit youtu.be/Q1v41mOUYa8

Photo: Hugh Stewart.

Wise men say only fools rush in to recreate an icon on stage, but the star and director of Elvis: A Musical Revolution say you won’t be able help falling in love with their production. David Spicer reports.

Rob Mallett in Elvis: A Musical Revolution

Photo: Nicole Cleary.

Rob Mallett can’t say he’s hungered to touch the songs of Elvis Presley on stage a long, lonely time. In fact, the musical theatre and Home and Away star had only a passing interest in the unchained melodies of the King of Rock’n’Roll, catching him on mid-day movies and through popular culture.

But when he scored the lead in the musical, Elvis: A Musical Revolution, which opens in Sydney, followed by a Melbourne season and an expected national tour, Rob started working like a hound dog and discovered that lots of people he admired were influenced by Elvis (OK, I’ll pause on the puns).

“I grew up on Irish dancing. Michael Flatley was a big hero of mine and he came on stage with eye shadow, and dressed head to toe in leather, which screams Elvis,” he said.

“I was a punk rock tragic, and Elvis was there at the birthplace of rock’n’roll. I can’t imagine where we’d be without his input in those early days.”

The more Rob looked into the back story, the more he became fascinated by the pure unlikelihood of it.

“Elvis embodied this almost mythical American Dream. He was born in poverty in the south and rose to extraordinary fame and fortune.

“It happened early and quickly. Nearly 150 songs of his made it into the Billboard Hot 100 and 114 made the Top 40. Name another solo artist who came close to that! He was dead by 42. It all happened fast and furious for him.”

“At every point (it was unlikely). His first recording at Sun Studios could have been left on the cutting room floor. Yet one recording assistant hung onto it.

“Look at each of these elements his hair, his fashion, his voice and his

dance movement but he is greater than the sum of all these parts. There was some magic created when all these things lined up.

“I think it was a perfect storm that created Elvis. If he sounded like he did, but did not dance like he did, maybe he would not have succeeded.

“The fact that he arrived on the scene just as middle Americans were getting televisions in their lounge rooms gave people a chance to see him dress and dance differently.”

The piece focusses on the unique fusion of different musical styles that Elvis mastered.

“Before Elvis, each community had their own sound. He brought Blues Roots, Gospel and ballads together into the mainstream dominant culture. He reached across the divide of conservative boundaries to create a new sound.”

Elvis: A Musical Revolution, written by David Abbinanti and Sean Cercone, includes 40 songs recorded by Elvis.

The writers say, “there was no roadmap, no guide, and no limit on what could be created. His journey, from a dirt-poor shotgun shack in Tupelo, Mississippi to a singular name, Elvis, has fascinated generations and we’re excited to have him tell it in his own way.”

The musical is based on the leadup to his 1968 comeback tour.

The director of the Australian production, Alister Smith, says, “this is not a womb to tomb story. It focuses on a very specific moment in time and looks back at the impacting moments in Elvis’s life.

“The 1968 concert changed everything for Elvis. The musical explores the key moments of musical revolution that Elvis impacted and lead to this moment of artistic brilliance.”

(Continued on page 10)

Online extras!

Discover the extraordinary life of ‘The King Of Rock ‘n’ Roll’. Scan or visit youtu.be/xjuCkDapSSI

Cover Story

Elvis: A Musical Revolution

The Australian premiere will play at Sydney’s State Theatre from August 5, before rocking into Melbourne’s Athenaeum Theatre from October 6. elvisamusicalrevolution.com.au

(Continued from page 9)

Alister describes the musical as being closest in style to Buddy: The Buddy Holly Story and The Boy from Oz

“It echoes the way these two works use music in the narrative and the way it engages with their audiences. The songs are used as part of scenes in concerts, television performances, recording studio sessions and movie sequences. The joy of using the Elvis cannon is that all the songs are an absolute pleasure to hear and never fail to hit right.”

The production has been endorsed by the Elvis Presley estate, but Smith says it does not sugar coat his life.

“It doesn’t shy away from his troubled years in Hollywood and the relationship complexities with Pricilla, his mother and manager Colonel Parker. It’s fundamentally a story about an artist in crisis and how he braved his own inner demons to find himself as an artist.”

Impersonating Elvis Presley has become almost an industry, with Parkes in regional New South Wales hosting a whole festival dedicated to ‘The King’.

As part of the audition process hundreds of actors made submissions.

“I was not looking for an impersonator for this musical. I was looking for an actor who could embody the essence of this incredible artist, and while he needs to be able to hit the marks singing those songs, and embody the physicality, we needed someone to tell the emotional and psychological story of this man.

“Rob sends shivers through your body when he performs. This is the true measure of X-Factor for me. When an actor does this to me in the audition room, I know they’re the one.

“Since this is a new production, I need to be making this show with a collaborator who can turn our ideas into magic. Rob has this quality. Australia is going to fall in love.”

Part of the audition brief included being able to play the guitar and dance well.

Rob Mallett was a recreational strummer and is now on a crash course to play like Elvis Presley.

“I am on a steep learning curve. Luckily he was only on the rhythm guitar,” Rob said with a little relief.

On the dance front, he has a bigger head start. His first professional gig after graduating from WAAPA was in the cast of the tapdancing extravaganza Hot Shoe Shuffle. Rob describes Elvis’s way of moving as spiritual.

“It came impulsively and naturally. He was inspired by the (AfroAmerican) singers he grew up around and by Gospel.

Rob Mallett and the cast of Elvis: A Musical Revolution

Photo: Nicole Cleary.

Elvis Presley sings “If I Can Dream” during his 1968 Comeback Special on NBC.

“Often it bubbled out, his legs would start shaking and explode to the audience. It was athletic.

“Elvis was born a twin and his brother died early. Some people say when one twin dies the other carries the strength of two men. He pushed himself to exhaustion in the early days and ended up in hospital. He held nothing back.”

Studio executives famously kept his gyrating hips off camera when he appeared on television.

“His pelvis was too much to see on TV. But he started something he could not keep in a box.”

Rob admits that recreating that energy in a long running musical is a challenge.

“What would an Elvis musical be without Elvis in every scene? In his early years he would sing those (difficult) songs as a one-off belt in a recording studio. He did not have to consider the health of his voice, whereas I have to do it seven or eight times a week.”

The production will inevitably draw comparisons with the recent Baz Luhrmann movie.

Rob says, “the movie was great. It captured the hysteria, the fever pitch fandom and focussed on his relationship with his manager. The musical shows us why Elvis changed the music world as we know it.”

Alister says, “trying to tell the story of Elvis and his career without including Colonel Parker is impossible.

So, this character has a major presence as he was a monumental impact on Elvis’ career. We have musical theatre royalty, Ian Stenlake, playing this iconic role so expect a take on the character that is unlike anything you’ve seen before. Ian plays the showman with a darkness that is remarkable.”

There is also a part for a young Elvis in the musical, which is being shared by four children.

“We had a room full of 10-yearold performers, all so passionate and excited about the work of Elvis. The new generation resonates with him still. That proved the power of Elvis is enormous and that he will live forever!”

Online extras!

Meet the creative team behind Elvis: A Musical Revolution during auditions. youtu.be/N8tKYa0V2Hs

Bananaland, Bloom And The Dismissal

The writers of three bold new Australian musicals, premiering in Brisbane, Sydney and Melbourne in coming months, speak to David Spicer about getting their shows off the ground.

What do Bananaland, a musical comedy about the origins of a fictional children’s pop group, The Dismissal, a comedic take on the constitutional crisis of 1975, and Bloom, a musical comedy set in an aged care home have in common? All of them are entirely original Australian musicals which have been carefully and slowly fine-tuned during the pandemic.

Bananaland

Following Ruby, a 21-year-old idealist, and her unintentionally hilarious protest band Kitty Litter, Bananaland, composed and written by Kate Miller-Heidke and Keir Nuttall, is one of the headline productions of the Brisbane Festival in September.

“After working on The Rabbits and Muriel’s Wedding the Musical, we had this big itch to create our own story, and be able to have complete control of the characters and story arc,” Kate Miller-Heidke told me.

“As new parents we have watched a lot of children’s TV with our son Ernie and found ourselves wondering what was happening behind the scenes, imagining all sorts of sordid filthy behaviour.

“I read the Fleetwood Mac biography and all that [sex, drugs and rock’n’roll] sort of stuff. It was fun to think what was hiding behind their eyes.”

Although the idea came to the couple whilst watching The Wiggles, the story is entirely fictional.

“We wondered, how do you get there? Does any musician set out to become a children’s performer or does it just happen to you? So, it is a fictionalised origin story of a

children’s band. It is a very fun show to watch.”

In the musical, the band called Kitty Litter are angry and political.

“They think they are pub rock but they are unintentionally funny, because they are more Rock Eisteddfod. They accidentally have a hit with children under 5 when one of their songs gets added to all sorts of Spotify children’s lists and starts climbing the charts.

“Kitty Litter takes to the stage in Goondiwindi, and to their shock there are people in the audience, as they

don’t normally have fans, and secondly it is full of kids.

“They traumatise the audience and go on a journey that tears them apart. Should they follow the money and sell out, or stick to their guns and change the world through their music?”

And ‘where does Bananaland come into it?’ I asked Kate. She explained that it is the hit song which broke through for them.

“The song itself is rich with metaphor. But it is not what you are thinking. Referring to bananas as a euphemism for a penis never occurs in our show.”

Fruit is, of course, a topic in one of The Wiggles most famous songs, ‘Fruit Salad, Yummy, Yummy!’

Kate is not a big fan of the Aussie group’s music, describing their tunes as inane. By contrast, the music in Bananaland has three distinct styles.

“We wrote some inane crazy catchy fun kid songs. Then there is the angry protest music of Kitty Litter, plus a third strand of music, the real

music, where the cast sing out their hearts and emotions.

“We are both musicians a lot of the characters are a heightened version of real experiences we have had in the music industry. There is a sound guy a rabid fan who comes to every show and sits out the front, and a ruthless record company label [manager].”

The musical has a cast of eight and five in the band.

“After Muriel’s Wedding we wanted to make something smaller.”

Kate and Keir, who married in 2007, make a unique writing and composing team.

“We wrote the music and lyrics together and he wrote the book. For me music and lyrics come at the same time. We both write like that.”

Their son Ernie is now nearly seven and he will be coming to the show.

“It does have some adult themes and is not suitable for little kids. But he loves the music. I think a lot of the rude stuff will sail over his head.”

The World Premiere season of Bananaland plays in QPAC’s Playhouse from September 16 to October 1. qpac.com.au

The Dismissal

A quirky, musical take on the constitutional crisis of 1975, The Dismissal sees the events through the eyes of comedian Norman Gunston. He was on the steps of Parliament House on the day Governor General John Kerr dismissed the elected Labor Government, led by Gough Whitlam. With music and lyrics by Laura Murphy and a book by Blake Bowden and Jay James-Moody, the musical is keenly anticipated. Jay explained how the musical all began.

“My entry point is what I viewed as the Shakespearean tragedy of John Kerr. I was born after The Dismissal and did not know much about it,” he told me.

“Around the time of the reconciliation between Gough and Malcolm [when they appeared on

stage together], I started to think about John Kerr. The more I looked into it, without agreeing with his choices whatsoever, I was drawn to the fact that he made this monumental decision which had a lasting impact on his legacy.

“Kerr was from a very working-class family and ascended to be the Queen’s representative in Australia. He made this one flawed decision, that he never recovered from.”

Does Jay have sympathy for John Kerr?

“I see him as a deeply flawed and weak person. I do feel sorry for him to a degree, but you have to own your choices.”

The character of The GovernorGeneral will be played by actress Octavia Barron Martin.

“The initial reason (for the casting) is we were super conscious we were writing in present times, primarily about characters populated by older white men. We decided to dip a toe

(Continued on page 14)

Online extras!

Keir Nuttall and Kate Miller-Heidke expound on Bananaland. Scan or visit youtu.be/At4LI_lgSb4

Andrew Cutcliffe, Matthew Whittet, Octavia Barron-Martin & Justin Smith in The Dismissal

Photo: Harvey House Productions.

Co-authors of Bananaland, Keir Nuttall and Kate Miller-Heidke.

Photo: Jo Duck.

into the Hamilton technique, where not everyone is cast as a carbon copy of the people they are playing.

“Of the four principals, Norman Gunston, Gough, Fraser and Kerr, we thought it would be great if one was played by a woman. We thought the audience would not be cool with Malcom or Gough being portrayed by women, and Norman must be Norman.

“Kerr was stuck in the middle of Whitlam and Fraser and it is a nice subconscious thing that he is taken for granted by Gough and seduced by Fraser it was a weird triangle.”

The writing team has seized on the fact that comedian Norman Gunston was on the steps of Parliament House when Gough Whitlam made his fiery speech.

“Only somewhere in Australia could a fictional character that an entire country believe is his own person be in the middle of such a monumental event. The story is told through his eyes, and because he is childlike and naïve, it means he can ask questions to explain the complexity of the story in a particular way.

“To twist things for dramatic purposes, it helps to have a slightly unreliable narrator. If it is possible that he was on the steps of Parliament House when Whitlam was dismissed, then it’s possible he could pop up everywhere.”

Australian musicals often get accused of being brought to the stage too early. By contrast, The Dismissal has had a lengthy gestation period due to COVID-19 delays.

The pre-world premiere in 2019 attracted much excitement and it was set to open in Canberra and Sydney in 2021 with the Sydney Theatre Company, but the dreaded virus put paid to that season and another attempt in 2022.

The official World Premiere will be at the York Theatre in the Seymour Centre, which has no proscenium.

“The York Theatre is such a democratic space, where the audience is basically on stage with you. We have been having a blast going through the design possibilities.”

The tryout featured three possible endings to the musical. So which one will make the final cut?

“We have tried to keep the best of everything that works. We are still rewriting it. Even though it is show about the 1970s, we are commenting

on the present day. A lot has happened since 2019. Jokes about Tony Abbott are not relevant anymore.

“The reception to the draft was a bit of a surprise. Audiences will tell us (if they like the ending) when they finally see it.”

The Dismissal will have its World Premiere at the Seymour Centre in August.

thedismissal.com

Bloom

A new production from Working Dog the creators of The Castle, Frontline and The Dish Bloom is a musical about the scheming owner of an aged care home who decides to cut costs by offering university students free board if they work as carers. The book and lyrics are by comedian Tom Gleisner. Composer Katie Weston explains its journey to the stage.

“The concept came from Tom, who saw an advertisement for young people to stay in an old folk’s home in the Netherlands. He said, ‘I think that would make a good musical,’ as his family was heavily invested in that world,” Katie said.

“Bloom is the story of Finn, a 25year-old classical music student. He is

a bit lazy and thinks the world owes him a favour. At the aged care home, he learns to be a better person.

“The other protagonist, Rose, enters Elm Grove at the same time. She has been put there by relatives but as someone who has travelled the world, does not want to be there.

“We follow the story of the old lady who still has a zest for life and a young person who both figure themselves out. Rose teaches Finn how to reconnect to his music and shows all of the residents how to live in full colour again.”

A residents’ choir is established, but working against them is the scheming owner Mrs MacIntyre (Anne Edmonds), who attempts to extinguish the fun because it might cost her some money. Katie describes

her as a combination of Nurse Ratched from One Flew Over the Cuckoo’s Nest, Sybil from Fawlty Towers and an Australian school principal.

“She cuts a lot of corners, she tries to stamp out all the fun to cut costs and bans them from going out.”

The composer describes the music as pop-rock-folk with a bit of Mel Brooks thrown in.

“I come from a wide variety of musical styles. My music is described as familiar but new. You might think you have heard it before, but it is completely new. The audience will walk out singing melodies.”

Weston cut her teeth performing in community theatre in Melbourne, picking up two Guild awards along the way for best female performer

with CLOC and Williamstown Music Theatre. She did composition at the VCA, now works full-time as a singer and was talent scouted by the Working Dog team at a showcase of another of her musicals (Falling Forward) at a Home-Grown concert.

“The Working Dog team are Australian film and TV royalty. They are a real production company that has invested and made the musical from scratch through several workshops and then handed it to the Melbourne Theatre Company for a further workshop.

“It is an amazing opportunity, and I am extremely lucky.”

Bloom plays at Arts Centre

Melbourne from July 18 until August 19.

mtc.com.au

Frankie. J Holden, Vidya Makan and Anne Edmonds in MTC’s Bloom

Photo: Jo Duck.

Three Australian world premiere productions, based on best-selling Australian novels, are due to open soon. Beth Keehn talks to the playwrights who have taken on their adaptation to the stage.

Nevil Shute’s apocalyptic novel On the Beach (1957) and Colleen McCullough’s first novel Tim (1974), have both made the leap to the screen twice, and are no strangers to adaptation, while Pip Williams’ best-selling debut novel The Dictionary of Lost Words (2020) is set to be adapted as a TV series. But how do you translate these much-loved, complex novels for the stage? I asked the playwrights who have undertaken this challenge: Tommy Murphy, Tim McGarry and Verity Laughton.

On The Beach

Based on the novel by Nevil Shute. Adapted by Tommy Murphy. Set in Melbourne during World War III, a group of people await the nuclear apocalypse as a radioactive cloud approaches. Amidst this looming nightmare, we learn stories of hope, connections, and love.

BK: Why On the Beach, and why now?

TM: “I first read the book in 2018 and I did a very fast draft to get the stage adaptation ready for the 2020 season. Then the theatres closed. But now, the timing couldn’t feel more ideal we want to process what we’ve all been through together our shared global experience, and our resilience. I think our audience will bring that recent and ongoing memory to the theatre. And there are a lot of uncanny things that Nevil Shute predicts in his book that are eerily prophetic.”

BK: It really is a very beautiful story about humanity.

TM: “I felt like this story wanted to be a play because of the remarkable characters. Four people come into each other’s constellation they exchange parts of themselves and ways of seeing. And I think Nevil Shute also has something to say about Australia as a place that feels far away from the rest of the world. The character of Moira says it’s so unfair that Australia should bear the brunt of the wrongs of more powerful nations a sentiment that people sometimes still feel.”

BK: The pandemic pause served the writing well.

TM: “The writing process involved working with our director, Kip Williams, all the way along. Having the time away and coming back with a fresh perspective that doesn’t usually happen. And working with actors in rehearsals is a lovely part of the process. I love the scrutiny that the actors bring, and the way they take charge of the characters and look at it in a different way.”

BK: How did you translate the novel’s settings including a submarine, ocean, car race to the stage?

TM: “It’s my policy to write to the characters’ perspective and imagine the world as they would see it. I focus on what the characters are experiencing. I do have to keep in mind the parameters and my sense of what works well on stage. But I can write a stage direction knowing that this will inspire Kip and Michael Hankin, our set designer, to solve that problem and find a beautiful theatrical response to it.”

BK: Everything draws inspiration from the novel.

TM: “Some adaptations require you to be very dutiful to the book. Some require you to preserve the experience of the novel. Others require you to invent something quite distinct from the original material. I think On the Beach sits somewhere in between. And, while the story remains set in 1963, it felt appropriate to alter some of the aspects such as the gender relationships, and some storytelling techniques that don’t work well in a play. But I think that Shute’s message is simple: It’s not too late to change your ways. There is a call to action now in the context of climate change and the current feelings of brinkmanship we are feeling in global politics. Unfortunately, Shute’s call to action and sense of alarm is still necessary today.”

This Sydney Theatre Company production of On The Beach plays a the Roslyn Packer Theatre, Walsh Bay, from July 18 to August 12.

sydneytheatre.com.au

Tim

Based on the novel by Colleen McCullough. Adapted by Tim McGarry.

Mary, a successful business executive, meets Tim, a young labourer with a mild intellectual disability. Their worlds collide, and their lives are changed dramatically.

BK: Why did you want to revisit the novel Tim?

TM: “I always hope that the audience is going to come away understanding the world a little bit better than when they went into the theatre. I hope Tim helps people who live in a family with someone who has a disability and I hope it makes people rethink ageism in relationships and society too.

“Tim is a beautiful love story. But it is about relationships that might not fit the norm. Mary has to decide whether she’s going to move forward as a single

woman or whether she is going to allow herself to love Tim. And I think that’s the journey of the play. We all deserve to live our best life. And we all deserve to love who we want to love without fear or favour.”

BK: The original novel and the play are two very different beasts.

TM: “I read the novel several times, but I took Colleen’s story, became very familiar with it, and then I brought it into the modern day. The novel was very much of its time the early 1970s and so much has changed in the intervening 50 years. Language has changed enormously, particularly around disability, and of course the role of women in society. So, with the permission of the McCullough Estate, I’ve slightly changed the women’s roles and the storyline, so the play rings truer with today’s audiences.

“But, I’ve kept the educational and class differences that exist between Tim and Mary. It’s been a joy bringing the dialogue into the modern day. And updating to modern Australia has also led me to recast the ethnicity of some characters. In the book, Mary goes to a friend at a school for children with disabilities I have changed that to a group home where Tim meets Raj, the house

manager, played by Akkshey Caplash, who is originally from India.”

BK: The other issue is around disability.

TM: “For the last 32 years I’ve worked for people with disabilities in group homes, getting to know people who are going through what Tim and his family are experiencing. While many things have changed, many things haven’t. So that was my passion for doing the work.

“Also, we all felt very strongly that the actor who plays Tim should have a lived experience of a disability. We found a young actor, Ben Goss, who happens to have a disability. He is gobsmackingly fantastic and will be wonderful as Tim!”

BK: Tell me about the journey from gaining permission to getting Tim on stage.

TM: “I contacted the Colleen McCullough Foundation in 2018 and they graciously gave me the rights in 2019. I was commissioned by The Art House in Wyong and the Capitol Theatre in Tamworth to develop the script further and I’ve been tinkering with it ever since, including working with our director, Darren Yap.

“As this is a new work, I will spend the first week of rehearsals with Darren and the actors, going through the script again. They will get up on the floor and then it’s time for me to walk away and leave them to develop the play! But I’m very close by to the theatre, so I can go back and tinker if needed.”

Produced by Christine Dunstan Productions, Tim plays at Glen Street Theatre, Belrose from July 27 to 30, ahead of a regional NSW tour. christinedunstan.com.au/tim

(Continued on page 18)

Tommy Murphy. Tim McGarry.

Photo: Kate Williams.

(Continued from page 17)

The Dictionary Of Lost Words

Based on the novel by Pip Williams. Adapted by Verity Laughton.

Motherless and irrepressibly curious, as Esme’s father and his lexicographers compile the Oxford English Dictionary, she saves the words that are rejected, connecting us to women’s invisible social history.

BK: What drew you to adapting The Dictionary of Lost Words to the stage?

VL: “I am very much a ‘words’ playwright and this novel is about words. It’s a beautiful opportunity as an adaptation, compressing a whole world social history, social change into this partly fictive, partly real discussion of the making of the Oxford English Dictionary. The conceptual framework of the book is very original dealing with our linguistic and dialectic inheritance, and what’s been forced to remain invisible.”

BK: The South Australian connection was a bonus.

VL: “Mitchell Butel [Artistic Director of State Theatre Company South Australia] had read the book and approached the author, Pip Williams, about doing an adaptation. Mitchell asked me if I’d be interested in doing the stage adaptation and I said ‘yes’ with ungracious speed!

“I was able to meet with Pip Williams she lives in a little town in the Adelaide Hills where my grandparents lived. And the book includes characters who emigrate to Adelaide which picks up the other major theme: the granting of women’s suffrage, which happens in Adelaide

way before it happens in the UK.”

BK: When you’re writing, there’s a period when you are really hot.

VL: “I did the bulk of the work quite soon after getting the commission, which was around 2021 that’s when you really must write, when your intuition and your unconscious mind will feed into the script most strongly. Obviously there have been changes since, but the first draft included the structure so once that works you are in a safe place.”

BK: The collaborative side is a lot of fun after working on your own.

VL: “I like to be at the theatre for the first 7 to 10 days of rehearsal. I like to get the script as right as possible before we go into rehearsal, but inevitably things change when you are on the floor and you have the input of a terrific director like Jess [Jessica Arthure] and good actors. But also, it’s not finished until it’s in front of an audience and you’ve been able to calibrate their reactions.”

BK: The words are part of the story and moving the action forward.

VL: “The novel contains many words and lots of letterwriting, and I wanted words to be featured and be part of the forward action so Jonathon Oxlade, our designer will work to realise that in a physical way.

“I hope that this play gives the novel’s readers the experience that they have treasured in a present, threedimensional way. There are so many wonderful characters. And, while parts of the story are quite sad, it is very funny, too and I hope that comes through in the tone of the piece, and people will have a joyous night out at the theatre!”

Co-produced by the State Theatre Company South Australia and Sydney Theatre Company, The Dictionary of Lost Words plays at the Dunstan Playhouse, Adelaide Festival Centre from September 22 to October 14, then Sydney Opera House from October 26 to December 9. statetheatrecompany.com.au sydneytheatre.com.au

Verity Laughton Photo: Matt Byrne.

In The Spotlight With Les Solomon

Dance And Song

As an agent, I find no greater disappointment than to see terrific singers front up very enthusiastically to an audition for a musical, quickly getting a call back because their singing and general presentation is so strong, only to be brutally cut out because their dancing isn’t as strong as their singing.

It seems the day of the sing one, dance two skills are gone. It often seems singing ability is secondary to dance ability, something that has dented the sound and vibrancy of many musicals in the last few years.

Of course, there are two sides to this story. One can easily ask as many of these singers have been trained by a three-year music theatre course at one of our many theatre schools why is it they fail at the dance call? Surely dance has to be a

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and forceful vocal sound, unable to get a job in a musical.

major component of a music theatre course. Also, singers are all generally encouraged to attend two or three dance classes a week in the early years of their careers until they build a strong portfolio of commercial shows. So, one can’t totally blame the choreographers and directors who cut them because they don’t cut the mustard in the terpsichore department.

Then there is the question of why aren’t shows set up so there can be a strong sing and dance ensemble? As most ensemble members also have to cover for leads supporting and main their skill set as something more than movers must be pretty high. Yet what I am seeing in the industry are great and sometimes proudly talented upcoming vocal stars, many of whom possess a strong

A number of the current slew of young Broadway stars such as Ben Platt and Aaron Tveit have actually commented how lucky they were that their big break came with roles that didn’t require expert dance skills. So, the question is, where would their careers be today if they were put through the dance machine?

Yet so many performers get caught in that ever-widening crack where their vocal skills are exemplary but they can’t match what is asked of them by so many musicals.

Also, many musical productions of today are adding big dance numbers and, in some cases upping the ante of the show so that dance becomes a component that was never part of the original design of the show.

Those who saw the videos online of the recent City Center revival of Oliver! will have noticed the high demands required of the ensemble in “Consider Yourself” once just a march and stomp around the stage number. Joseph and the Amazing Technicolor Dreamcoat has been

Jordan Tomljenovic and the cast of Mamma Mia! (2023).

Photo: James D Morgan.

Les Solomon cautions that great singers’ careers are being sacrificed on the altar of musical theatre shows dominated by strong hoofers.

The touring production of Mamma Mia! is a certified crowd pleaser.

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redesigned as almost a dance spectacular. There would have been no people in that ensemble who didn’t have outstanding dance skills.

So, the question also has to be asked how do the shows sound as they should if the dancers are getting the work and the singers are not? Unless it’s a Les Misérables or a Parade, the singing skills often seem to be the least significant in the casting process. I also note in reviews of two musicals in the last two months, mainstream critics have commented on the weakness in the singing in the productions.

There is no easy answer to this problem, but I have seen too many terrific singers who, after a number of years, throw in the towel because they can’t get a foothold in the music theatre world that seems today to put dance ahead of anything else.

Out And About

Of all the shows that I’ve seen over the last few months, the one that stood out, unexpectedly, is Tina the Musical. I have liked the late, great singer, but would never call myself a

fan. I approached the show with some trepidation, but it delivered in spades, thanks especially to the remarkable Ruva Ngwenya, with a special shout out to the oftenoverlooked talent of Mat Verevis as her Aussie manager, Roger. This was not a low budget recreation of the Broadway original, it’s a high-end Broadway production and as such we should welcome it with open arms for that reason, apart from its many other outstanding merits.

A few new Australian works that I’ve seen showed promise, but seemed to need another round or two around the rewrite table. My feeling is that often shows are thrown out as fully developed works too soon, when there is still a lot of work to be done. Sadly, these shows then often wither away, are not reworked, and disappear into the netherworld of musicals that didn’t quite click the way they should.

I found much to admire in the recent tour (it’s played both Sydney and Melbourne) of the musical Driftwood. Yet ultimately it is an incomplete work. The first half seems

a little confused in the jumps from past to present; something that was explored far more clearly in Act Two. Despite the beauty of the music and the inspiring nature of the story, there was a degree of same-ness in the music style, with not enough standalone songs. It shows great potential, but I would love to see it receive some more musical and dramaturgical work before it continues its remarkable journey.

Two new musicals have been performed back-to-back at the Hayes Theatre Metropolis and The Lucky Country Metropolis showed such incredible promise the opening number and set-ups of the show were breathtaking, but lesser songs, and a second act deviation from the original silent film upon which it’s based, let the show down. The performances were incredible, but I felt we were seeing a half-cooked script, in a musical that could one day become almost an Australian style Sweeney Todd

(Continued on page 22)

Ruva Ngwenya in Tina

The Musical (2023).

Photo: Daniel Boud.

(Continued from page 21)

Finally, I hate to be something of a negative voice against the rave reviews that The Lucky Country gathered. This picture of Australia as it is today with its marvellous mix of all nationalities and cultures is exceptionally entertaining, colourful and beautifully performed. I just wanted more. More sophistication in the writing: the piece is a song cycle and its strengths have been well and accurately praised, but the naivety of some of the songs at times reminded me of a very good University revue. This is so much a show that could tour the world showing what Australia is all about in such a dynamic way. But it needs more more time spent, more sophistication in the writing. It is a show with such international potential; to see it performed in the theatre capitals of the world would be a joy. But in both length, script and song, it needs to have the sort of illuminating dynamism throughout that is so well displayed in the final ten minutes of the show...so promising, but could be so, so much more.

If a show is going to survive an initial production, it must have a wide appeal that could be appreciated

throughout the world. We want to see these works grow and develop, not languish into nothingness after the initial production. It’s thrilling to hear of the journey the musical Muriel's Wedding is having in workshops overseas. Let’s get these shows well-cooked here before they are produced in full-scale professional stagings.

So Many Trapps

Not seeing many community shows, I was fascinated by the number of productions of The Sound of Music recently. Is this some sort of Maria Von Trapp anniversary? Or is everyone trying to grab it before professional producers pull the rights for a revival?

The stage version suffers because the screen adaptation is so very much stronger than the book of the musical (the weakest of all the Rodgers & Hammerstein musicals). I always wonder, will the R&H people ever allow the interpolation of the smart wit and clever humour of Ernest Lehman’s excellent screenplay, to improve on the hokey lines that permeate the original stage book, which makes up most of what companies still perform.

Historians have pondered whether if Oscar Hammerstein hadn’t died in the early stages of the show’s creation, his influence might have resulted in a better, less sentimental and contrived script? The movie version, initially more light-hearted, lessened the sentimentality, then became more dangerous and dark in the second half (e.g. Rolf is not the wimp who lets the Trapps escape, while his moral battle adds much to the final moments of the film). The film’s Elsa is a wiser, more complete character who graciously steps aside when she realises her battle for the Captain is lost. In the stage version she leaves for political reasons that would have been obvious long before she sings one (rather weak) trio with the Captain and Max. There are potholes like this that permeate the stage version.

At least the movie’s “Something Good” (replacing “An Ordinary Couple”), and “I Have Confidence” (both written by Richard Rodgers alone), have found their way into the show.

Unless changes are made to the book, I fear The Sound of Music is more and more likely to become like operettas ultimately unperformable.

The Spotlight With Les Solomon

Willoughby Theatre Company’s The Sound of Music.

Photo: Grant Leslie.

Leading Ladies Shine

DIVAS

Bernadette Robinson is returning to Australian stages with the World Premiere of her post-pandemic solo show, DIVAS

Robinson is best known for the Australian and West End hit Songs for Nobodies, that channelled five singers, and the impact they had on complete strangers. Audiences were stunned at the authenticity of her impersonations that ranged from Maria Callas to Judy Garland.

Her new show will be a musical journey through the repertoire of ten of our greatest popular music divas, including Edith Piaf, Amy Winehouse, Shirley Bassey, Barbra Streisand, Maria

Robinson will inhabit their most famous songs and their musings on life, music, audiences and their individual challenges and triumphs.

Bernadette Robinson said, “In DIVAS, I aspire to bring to life ten of the most wondrous voices of our time. Each singer is so utterly thrilling. To honour them through my own voice and heart is an enormous challenge and a privilege.

Simon Phillips said, “I’ve been working with Bernadette for over a decade and my awe at her talent remains undiminished. Every time she

DIVAS will open at QPAC, Brisbane on July 20 then travel to Sydney Opera House opening August 3 then to Fairfax Studio, Melbourne from August 24. duetgroup.com

opens her mouth to ‘become' a new singing legend, I shake my head in disbelief. I should be used to it, but it never ceases to amaze and thrill me. And this new show adds a number of brand-new divas to her repertoire, which makes it doubly exciting.”

Natasha, Pierre & The Great Comet Of 1812

Grace Driscoll plays the role of Natasha in the Darlinghurst Theatre’s Australian premiere production of the musical Natasha, Pierre & The Great Comet of 1812, which is based on a small section of the novel War and Peace. She describes her role.

“Composer and lyricist Dave Malloy’s piece is taken directly from Volume 2, Part V of War and Peace and amounts to a mere 70 pages of the incredible novel,” says Grace Driscoll. “It follows the ingénue Natasha and

Callas, Kate Bush, Dolly Parton, Karen Carpenter, Miley Cyrus and Judy Garland.

Bernadette Robinson, Grace Driscoll and Elise McCann are in the spotlight in DIVAS, Natasha, Pierre & The Great Comet of 1812 and Mamma Mia!

Deone Zanotto, Elise McCann and Bianca Bruce in Mamma Mia! (2023).

Photo: David Hooley.

her love affair with Anatole Kuragin, all whilst coinciding with Pierre’s continual existential crisis. Many of the lines in the show are direct quotes or paraphrased portions of the source material.

“This section is a tight and wonderfully plotted portion of the novel. It is the first time Tolstoy’s main characters share a truly profound moment. It is fascinating to me how Malloy was able to quite literally lift the text off the page (albeit with some small rearrangements).

“Natasha goes through an incredible transition from girlhood to womanhood. She learns of the treachery in the world, but also the beauty in it. What I love most is that she learns the true meaning of unconditional love something so rare and wonderful to find.

“Acknowledging that Natasha is a woman of her time period and has certain limitations, I love her zest and excitement for life, finding inspiration in the mundane. She certainly has flaws, but these all contribute to her growth.

“The show is an electro pop opera, meaning it is sung through. It features an array of musical styles from folk, techno, musical theatre, pop and even choral.

“We have assembled the most incredible ensemble of actors who all also play the score. The show has really been designed around us actors, so

everyone is integral in their parts. I won’t give too much away, but we have some actors on drum kit, piano and clarinet, as well as some more obscure instruments like the keytar, accordion, cajon and of course the triangle!”

Mamma Mia!

Elise McCann is playing the lead role of Donna in the current revival of Mamma Mia!

“It is so much fun. I am having the best time. It is amazing music. We have the most wonderful cast,” says Elise. “Donna is so confident this independent woman who runs her own business.

“The audiences are off the chart. Literally the best audiences I have experienced in my career. It is a different crowd. It is really general public, not a theatre crowd.

“I was surprised that we have a lot of young people; we have a lot of teens and early 20s. They line up at the stage door (for autographs), because they have seen the movie, or the sequel and because ABBA is massive on TikTok.

“The big thing about being the lead is that I sing 13 songs, so it is a big

vocal load. I have look after myself to keep working.

“I was not nervous. I did Mamma Mia! 14 years ago, when I played Ali. It feels like I am coming home. I feel like I know the show. It just feels joyful.

“I thought it might have been too soon to bring back Mamma Mia! as it was only on five years ago (or so) but I found out that one of the reasons they brought it back is because they had such great responses last time, but also now we have Australian creatives.

“This is the local production. All of us have been able to make changes, alter blocking, alter delivery and even a few lines. Usually, we never get to do that (due to international creatives). So even if you saw it five years ago, it is different.

“The character of Bill changes in whatever country it is staged. In London he was Cockney, in America he is from Kentucky and in Australia he is always from the outback.

“In this production Donna and Sophie are also Australian. It is all new choreography. Our set and costumes are designed here. But the music has not changed a bit. Except there are two bits of the musical where there is now some ABBA in the mix. In the opening of Act 2, we actually have them singing ‘Is there a man out there’. It is so cool.”

Mamma Mia! is on stage at the Sydney Lyric Theatre until July 30, before moving on to QPAC in Brisbane in August and the Princess Theatre, Melbourne in October mammamiathemusical.com.au

Natasha, Pierre & The Great Comet of 1812 plays at Sydney’s Darlinghurst Theatre from July 5 to August 20. darlinghursttheatre.com

Bernadette Robinson in MTC’s Pennsylvania Avenue (2014).

Photo: Jeff Busby.

Grace Driscoll.

Each year the Sydney Festival stages 90 productions in 30 days. John Bayley, the Head of Production, is in charge of keeping the cast, crew and audience safe. He shared his tips on stage safety during a Stage Whispers TV live webinar sponsored by The Association of Community Theatre and Marsh Insurance.

“The first thing is to take responsibility for the fact that you’re going to have some risks,” John Bayley warns, “so you need to plan for those.”

He recommends thinking about and identifying risks when designing a show, when you first get to a theatre, and during bump-in. It’s imperative that a written record be made of these risks (i.e. with a checklist), the impact of them be reduced, and that any unavoidable or newly discovered risk is properly communicated.

“At the Sydney Festival we have what we call a ‘toolbox talk’, where at the beginning of the day everyone gets together to talk about risk.

“The other thing to remember is that the show does not have to go on. All companies should rehearse a show stop if an imminent threat to safety is identified during a performance.”

Marsh Insurance, which offers a public liability insurance scheme in conjunction with The Association of

Community Theatre, recommends all on stage watch out for the following:

Personal injuries: Slips, trips and falls

 Spilled drinks, food, water leaks and wet floors.

 Wires and cables running along the ground.

 Props and other items in thoroughfares.

 Steps are lit, have contrasting edges and handrails.

Overhead props, lighting and sound

 Make sure equipment is properly secured, and check danger areas before raising/lowering.

Fire hazards

 Heat sources near flammables, including heat from lighting and sound.

 Electrical components tested and tagged. Connections are secure and fitted correctly.

 Pyrotechnics, flares, and other naked flames are a fire hazard.

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Catch the webinar with John Bayley on Stage Whispers TV. Scan or visit fb.watch/leqTY9HEOe

Rehearsal

“When you first bring a cast on stage they are thinking about other things,” John explains. “The microphone is there temporarily, but if it was a fixture the cable should have tape over it to reduce the trip hazard. There are also loose chairs. They should always be taped or cable tied together in groups of at least four, in case the audience has to leave quickly.”

Bump-In

“The dangers include getting up ladders using tools and machinery,” John warns. “People on stage may not be aware of the live edge. If you see that orange line, that is the top of a fence that the STC puts in. If you step off, you would have something to grab onto. This is worth doing at a Bump-In, even if it is just a line as a visual prompt to the danger.”

Lighting Rigs

“We require people at Sydney Festival to wear a high vis vest, whether they are inside or outside,” John says. “As you can see, people are not visible. High vis vests are very cheap and we use them at the Sydney Festival because it reminds them of the situation they are in.”

Performance

In this picture, John explains a production specific safety measure for Manifesto.

“The designer wanted a nice row of curtains behind nine drummers on raised platforms. We installed a railing behind the platforms so that the drummers would have something to hold onto when they stepped back.”

Plays Have Long Been A Novel Idea

With an existing fanbase and great stories to draw upon, novels have long been a rich source for Australian playwrights. In this edited extract from their new book, Contemporary Australian Playwriting, Chris Hay and Stephen Carleton trace the success of adapting novels such as Cloudstreet into plays and how the craft has evolved in recent times to incorporate more Aboriginal voices.

In mapping out a genealogy of Australian novel-to-stage adaptations, we are tempted to offer an awkward riff: mainstage Australian theatre’s habit of staging novels might also be as old as the professional Australian theatre. Indeed, the first original commission of the Union Theatre Repertory Company was an adaptation of Fergus Hume’s Victorian crime novel The Mystery of a Hansom Cab (1886) by Barry Pree.

The adaptation, which opened in (Melbourne’s) Union Theatre in January 1961, was firmly in the melodramatic music hall tradition; the programme even declared “the throwing of peanuts is desired”.

A more logical starting point, to understand the contemporary wave of novel adaptations, would be the juggernaut success of Cloudstreet, Nick Enright and Justin Monjo’s 1998 adaptation of the Tim Winton novel. Neil Armfield’s production for Black Swan State Theatre Company in Perth and Belvoir in Sydney enjoyed a national tour, a revival, and two separate seasons in London. It marked an arrival on the global stage: The International Herald Tribune review named it “the greatest achievement of all Australian theatre to date”.

In the 2000s, a number of new mainstage novel adaptations followed, including most notably Adam Cook’s adaptation of Patrick White’s The Aunt’s Story that appeared in Melbourne, Sydney and Brisbane; Susan Rogers and Chris Drummond’s Night Letters (2004) from the novel by Robert Dessaix at the Adelaide Festival; and a 2006

revival of Louis Nowra’s 1988 adaptation of Capricornia by Xavier Herbert at Belvoir.

Ambitious projects all but nothing in that decade came close to Cloudstreet’s success.

Across its many seasons between 1998 and 2001, Cloudstreet was reviewed as “an exceptional production that spoke directly to Australians’ sense of self “.

Criticism of Cloudstreet, when it came, pointed out the production’s sentimentality most often presumed to have been imported from the source novel and its inelegant attempt to centre First Nations characters to incorporate “a politicised statement of Aboriginal Reconciliation”, wrote Jack Teiwes in Australasian Drama Studies.

Armfield highlighted this intention in his director’s note and in public commentary about the production, which opened Cloudstreet to criticism of infidelity:

“In choosing to make the Black Man the narrator, Enright and Monjo, and presumably Neil Armfield, have foregrounded what was background to the lives of the Lambs and the Pickles. They have changed Winton’s metaphysical vision into a political statement about reconciliation,” wrote Heather Nimmo in Contemporary Theatre Review. Reflecting on the production, actor Wayne Blair, a Batjala, Mununjali, Wakkawakka man who played the Black Man in the 2001 revival in Sydney and in London, “felt that Black Man is a character who would need to be revised were there to be any

future productions of the play in order to keep pace with the times in which it is performed,” said Jack Teiwes.

Both Armfield and Cloudstreet would get their opportunity for a doover. Armfield’s came in the form of his 2013 production of The Secret River, adapted by Andrew Bovell from the novel by Kate Grenville and which, like Cloudstreet, enjoyed a national tour followed by a season at London’s National Theatre that was read as a new high for Australian theatre. Cloudstreet’s first major new production arrived in 2019, under the direction of Matthew Lutton in a coproduction between the Malthouse Theatre, Melbourne, and Black Swan.

The 2019 production included new text by original adapter Justin Monjo, adding a prologue that grounded the First Nations presence in Cloudstreet, and introduced Noongar language into the text. The Black Man character was no more: instead, the material was split between two Storytellers, played by Noongar actors Ebony McGuire and Ian Michael; and Birripi man Guy Simon was cast in the central role of Quick Lamb. While many reviews of the revival noted the changes, the racial politics remained problematic, as Alison Croggon noted for The Guardian:

“This doesn’t solve the fundamental problem in the text:

(Continued on page 30)

Nathaniel Dean, Anita Hegh and Ursula Yovich in STC’s

The Secret River (2013).

Photo: Heidrun Löhr.

(Continued from page 28)

rather, it highlights it. Of course it’s legitimate to create an epic story about white Australia. But for all the flaws of its characters, Cloudstreet is ultimately a reassuring tale of Australian innocence this is perhaps the reason for its enduring popularity. The role of the black presences (they’re not characters as such) is not to exist in their own right, but to guide and absolve the white characters.”

In the three adaptations that we consider in this detail in this chapter, we will argue that there is a working through of the absence of Black bodies and Black voices in the Australian literary canon that distinguishes them from the work of decades prior.

Playwrights In Conversation

Chris Hay and Stephen Carleton examined case studies of recent novel-to-play adaptations and invited playwrights to interview each other. Here is an edited extract of Kate Mulvany (Jasper Jones) in conversation with Tom Wright (Picnic at Hanging Rock).

KM: You have adapted, but you are Tom Wright playwright, you know? And it just happens to be that maybe we bowerbird a little bit, but really we're still turning these old ideas into fresh new ones. Each time feels like a brand-new play to me. And if it's not an adaptation of a play or a book or a film, it's usually an adaptation of an event for me.

TW: Most of what you do on a stage is retelling something. It's not the same thing as reportage where you say, “Oh, I just saw this car accident.” A lot of what happens in the theatre, because of rehearsal, because of writing, because of learned culture, is retelling.

KM: Generation after generation. In a way, it's the most ancient craft of our world in that we all sit around and retell stories. I like to think that we're involved in that very, very ancient process with our adaptations.

TW: You don't own retelling something you've inherited from your grandmothers or that you've inherited from people you'll never meet. Is that going to be an act that forces you into a more subjugated role? And I find that liberating but I appreciate many other people find it oppressive. Do you have a political attitude to it?

KM: I'm interested in exploring the characters of a story and where they are in the space, on the stage, at this time, as opposed to where they've come from. Even if that means taking them from where they've come from and putting them in a modern context. I'm all about character. I don't know, maybe that's the actor in me. And there's something about giving a voice to a character rather than the space around them that really, gets my juices flowing when it comes to adaptation. The politics comes second to me.

TW: The character is sort of different here. When you take on an external text, say when you're taking on Jasper Jones, you've got Craig Silvey's text, the character is something of a given and it's something that somebody's already thought about. That's what I mean about the retelling.

KM: In terms of Jasper Jones, yes you are given those characters, but

the thing about Jasper Jones as much as I loved Craig's world, I felt like the female voices were lacking. I grew up in a country town like Corrigan and I knew those people and I knew the politics that went on in that town. But more than anything, I knew the women in that town. So the adaptation gave me the chance to give Mrs Bucktin and the female twin characters a voice that wasn't necessarily there in the book.

TW: What do you think you've learnt about it as a craft, I guess?

KM: The biggest thing that people don't think about adaptation is the extracurricular work around it before you even set pen to paper, getting to know the estate or the original writers. And convincing them in a way that they can trust you.

TW: The other thing is that we talk about it as if there's this sort of enormous smorgasbord of classic plays that contemporary theatremakers can adapt, but if you wrestle with the figures and you look at it, you barely touch the surface. The same things get adapted over and over again.

KM: Yeah! And so what chance does that give any Australian playwright or international playwrights to get their stuff on our stages? I was really saddened recently. I work in the US as an actor and I was sitting around with a bunch of

wonderful actors and creatives who are all theatre-trained, and none of them could name me an Australian playwright. And that broke my heart. I think our stories absolutely deserve to be told overseas.

TW: What we do a lot of in Australia is do a lot of new work. So in theory we are giving every opportunity to playwriting.

KM: I think that the problem is the new work never goes past being new work. It remains in this new work bubble and doesn’t get to have a second production, third production, a fourth production. I have a bookshelf of my plays that have only ever had one production. They got published, but they only ever had one production. And that bothers me.

TW: This is what I mean about the cult of the new, the commodity. We want another commodity, something fresh.

KM: The new work that I do see and that I am seeing now, thank God, it’s just fabulous and I’m just loving the voices that are coming out of our

country. The playwrights that just make my heart just burst through my skin because it’s new stuff that I haven’t seen anywhere in the world, but I have this fear that they (won’t be performed a second time.)

TW: When you take your work overseas there’s a cultural confidence and so your work can suddenly start to speak. The best example is Picnic at Hanging Rock. When five Australian women took that story to the Edinburgh stage in that case or the London stage, the audience met it on its own terms. Whereas I felt in Australia there were people saying, “Oh I’ve only seen the film, I’m not quite sure. Stop talking about the Latin names of species.” Every experience I’ve had of my work playing outside of Australia has been liberating and has given me confidence.

KM: The most important thing for me is emotional intelligence. We can throw adaptation around and we can throw kind of education books and experience at each other, but

ultimately we don’t all come from that background. And so, it has to come from a place of emotional intelligence rather than anything that can be taught.

TW: There’s also something about the emotional intelligence of an audience. Which is the other aspect of it that I think about more, as a more problematic way. Sometimes we’re good as individuals with empathy but we’re not good at collective empathy. Again, I relate this squarely to the unresolved nature of white occupation of the land.

KM: I think there is something quite powerful and magical about sitting in a theatre of people who’ve never met before and feeling, on those very rare occasions, that wave of collective empathy. It’s palpable. And you can feel it on the stage as well, those round moments where you feel an audience coming together and getting it. That’s a very rare event and we do you have a long way to go with that. Let’s just keep trying.

Belvoir’s Cloudstreet (2001).

Photo: Heidrun Löhr.

A Musical Memoir

Shy: The Alarmingly Outspoken Memoirs of Mary Rodgers. Mary Rodgers & Jesse Green (Farrar, Straus & Giroux)

Mary Rodgers’ memoir drips with candor, is cutting in its appraisal, and is honest about her life. A tell-all of Broadway, Hollywood, and TV, it’s a remarkable story of a woman pursuing her goals in a male dominated era of the Arts in the ‘60s. Mary’s credits include the musical Once Upon a Mattress, which made a star of Carol Burnett, and the Disney Freaky Friday franchise. And her cast list is equally impressive: Harold Prince, Leonard Bernstein, Lorenz Hart, Arthur Laurents, Stephen Sondheim, George Abbott, Oscar Hammerstein, and her ‘Daddy’, Richard Rodgers. Mary’s parents’ apartment was a swinging door to creativity which every one who was anyone passed through.

Mary grew up in a 16-room apartment with a maid, cook and nanny, and although she acknowledges it was a privileged life and her parents were wealthy, she was never spoiled. In fact, it was the opposite. She was taught piano, as was her sister Linda, but she had to make it on her own. She calls her father a composer and genius, but

also a womanizer and alcoholic. Her mother was a decorator, and inventor, but also anti-Semitic and lived on pills. Throughout her childhood Mary hated her parents, but loved the Hammersteins. After one of her tantrums, her mother told her, “We love you, but we don’t like you”.

At four, Jumbo was the first of her father’s shows she saw. She wasn’t allowed to go to the first night of Oklahoma!, too young at 10, but two years later she went to Carousel. Talking of her father’s work, she loves Oklahoma! and Carousel, and thinks that ‘Lonely Room’ is “brilliant”. But she can’t abide all those “Goddam praying larks and uplifting hymns for contralto ladies” (‘You’ll Never Walk Alone,’ ‘Climb Ev’ry Mountain’). If she’d had had her way she would have cut ‘You’ll Never Walk Alone’. She loved the “tickly, funny songs he wrote with Larry (Lorenz Hart) and of course the melancholy ones too (‘He was too Good to Me’ and ‘Little Girl Blue’). It was almost impossible to believe that such songs, so natural and full of feeling, were written at all, let alone by him.”

She believed her father started to lose his composing ability around the time of Pipe Dream, and that Flower Drum Song, though it came after, is a

good score, as was proved by the 2002 revival. Mary was even asked by her father to help with The Sound Of Music, should anything happen to Oscar Hammerstein who was very ill at the time of its 1959 opening. It never happened but Mary was thrilled he had asked her.

Mary’s first marriage was to Jerry Beaty, a lawyer, who was a closeted gay man. They raised three kids, but it ended in violence when he began hitting her.

It was around this time that Once Upon a Mattress happened. Mary had been writing for Marshall Barer at Little Golden Records for three years and he asked her to come to Tamiment and help write the summer show. Tamiment, 100 miles from New York in the Pocono Mountains, Pennsylvania, was an inexpensive retreat for office types a talent incubator for the weekend shows that were put on there. The artists got a 12-week course in whatever they did: write, design, act, sing, dance, direct, orchestrate, play in the pit.

Marshall had a great idea to turn Hans Christian Anderson’s The Princess and the Pea into a musical, with Nancy Walker as the lead. Mary liked the idea and went to work. Only one number gave her any trouble, and that was ‘Very Soft Shoes’. She rewrote it and rewrote it as Marshall tippy-tapped around the tiny closet of the main theatre lobby where they were sweating bullets and smoking nonstop. ‘Song of Love’ was also a problem (Mary hated it) until it became a hit in performance. All her friends came to see the show including designers Jean and Bill Eckart, who ended up producing it Off-Broadway and later, on Broadway. Mary was dazzled by Sondheim. She first met him at Oscar Hammerstein’s when they played chess together. She was in awe of his talent, and in love with him her whole life. At one time she embarked on a ‘trial’ marriage with him which lasted a year but eventually they called it quits.

She also had affairs with Harold Prince (2 years), Sheldon Harnick, and lyricist Marshall Barer. She was

especially prone to dating gay men. When her father learned what was going on with Marshall, he called her into his study and said, “Why don’t you go all the way and just marry Truman Capote? Those marriages don’t work.” And he reeled them off: Mary Martin and Dick Halliday, Cole and Linda Porter, Lenny (Leonard Bernstein) and Felicia, and your own. She did not want to admit it, but he was right.

But she did get married a second time, and happily, to Hank Guettel. They had five children one died tragically young, and one of them became the composer Adam, whose Broadway compositions have included Floyd Collins and The Light In the Piazza.

Following Mattress, Mary’s next Broadway outing was Hot Spot, a musical about the Peace Corps for Judy Holliday. It was a mess, not helped by Holliday’s bad health. At one point when it looked like Holiday couldn’t do it, they considered Barbra Streisand, straight out of I Can Get It For Your Wholesale, but the director Morton DaCosta said, ‘Don’t be silly, she’s too ugly.” Sondheim even wrote two songs for the score, but it didn’t help. The Times review began “It’s a shame”, and went downhill from there.

During the ‘60s Mary wrote the television musical Feathertop, based on an 1852 story by Nathaniel Hawthorne. Liberties were taken with the adaptation by John Marsh, who moved the setting to New Orleans, where a witch seeking revenge against the Governor, brings a scarecrow to life as a fancy gentleman to seduce the Governor’s daughter. Hugh O’Brian was the gentleman, with Jane Powell as the daughter. Martin Charnin wrote the lyrics. “I wrote a nice gavotte for the leads and during the taping Marty (Charnin) had to get down on his hands and knees so he could whack O’Brian’s shins to force him onto the beat.”

The idea for Mary’s novel Freaky Friday came from a Thorne Smith

novel Turnabout, in which a husband and wife switch bodies and the husband gets pregnant. Mary thought she could emulate the idea in children’s fiction. She turned in 30 pages and an outline for the rest. The publishers loved it.

“I kept getting snarled in the implications of the simple idea, which was that thirteen-year-old Annabel Andrews wakes up one Friday to discover her consciousness now housed in the thirty-five-year-old body of her mother, Ellen. Also, the publishers kept worrying, how could we avoid the suggestion that Annabel, in her mother’s body, might wind up in sexual situations with her father?” Solving that was easy. She simply had the parents sleep in separate beds. It was a hit and kept Mary busy for twenty years with two sequels, two musical adaptations, three movies, innumerable ‘Freaky’ festivals, and various foreign editions.

Co-author Jesse Green is chief theatre critic for the New York Times,

and his format for the book includes lots of footnotes that identify people and places, but mostly allowing Mary’s own voice to be heard. It’s a fun read with lots of gossip, wit and wisdom. It comes with B&W photos but no index.

Mary Rodgers and her father, Richard Rodgers, in 1959.

Bewildered Australian theatre lovers were crying out on social media, ‘Where are you watching the Tonys?’. Well into the 76th annual Tony Awards ceremony, while early results were already being chatted about, word began to spread: the largely unheralded local TV coverage was playing on can you believe it?

10 Sport.

The biggest winners at this year’s unscripted Tony Awards on June 11 were Best Musical Kimberley Akimbo (five awards) and Best Play

Leopoldstadt (four). Most nominated production (in 13 categories) Some Like It Hot also took home four awards. Parade won for Best Revival of a Musical, while Topdog/Underdog was Best Revival of a Play. Australian playwright Suzie Miller’s Olivier winning Prima Facie didn’t score a nomination for Best Play, but Jodie Comer backed up her Olivier win with the Tony for Best Performance by a Leading Actress in a Play.

There were also historic first-ever wins for non-binary performers for Featured Actor and Leading Actor in a Musical (the categories remained gendered). Alex Newell won for their performance in Shucked and J. Harrison Ghee for their performance in Some Like it Hot respectively.

The mere existence of this year’s televised awards ceremony had hung in the balance due to the Writers

Guild Of America strike. With the threat of picketing action looming, organisers were granted an eleventhhour reprieve by the Guild and eventually allowed to go ahead on the condition that it be unscripted. As a consequence, the event was possibly more fun than ever. There were no voiceovers, and host Ariana De Bose forgot a couple of presenter names, while ad-libbing up a storm and having fun grabbing selfies with the stars. At least one presenter became a little flustered, while Tom Stoppard grasped the chance for a great chatbot gag, reiterating the importance of writers. This year’s Tonys were relatively brisk and pacy too.

Both Best Play Leopoldstadt and Prima Facie depart Broadway on July 2, as anticipated, after playing extended seasons. 2022 Pulitzer winner Fat Ham, James Ijames’s contemporary take on Hamlet, which didn’t pick up any awards from its five nominations, closes on the same day.

Prima Facie recouped its $4.1 million capitalisation after 10 weeks of its 12-week New York season, setting a John Golden Theatre box office record of $1,107,829.96 for an 8-performance week, straight after the awards. Leopoldstadt, originally scheduled to close in March, had already played an extended season.

Best Revival of a Musical, Parade, ends its limited engagement, as

scheduled, on August 6. Best Revival of a Play, Topdog/Underdog, had completed its run in January.

But the rewards for producers of picking up a Tony or two remain clear. Playing to the highest grosses of their runs to date during the week after winning Tonys were Best Musical Kimberley Akimbo, Best Revival Parade, along with Shucked, Prima Facie, Good Night, Oscar, and Sweeney Todd, while non-Tony winner & Juliet clearly reflected the benefit of a national TV performance with its increased weekly gross. However, despite winning 3 Tonys in the design categories, and a slight boost at the box office, Life of Pi brought forward its scheduled closing date by 6 weeks.

Earlier casualties followed the Tony nominations (or lack thereof) in May, when the struggling, un-nominated Lloyd Webber musical Bad Cinderella and the revival of Bob Fosse’s Dancin’ both quickly announced closing dates.

Yet for every show that’s closing, replacements are springing up, as the 2023/24 Broadway season commences. Thriller Grey House opened between nominations closing and the awards. Based on the fall of Imelda Marcos, immersive musical Here Lies Love, with a score by David Byrne and Fatboy Slim opens on July 20. But as we go to press, Britney Spears jukebox musical Once Upon a One More Time has opened to mixedto-scathing reviews, with some critics asking just how many fairytale musicals do we really need?

Coming are the musical adaptation of Back to the Future, with music and lyrics by Alan Silvestri & Glenn Ballard, and a book by Bob Gale, opening on August 3; The Cottage, Sandy Rustin's comedy of sex, betrayal and love inspired by the works of Noël Coward, opening July 24; the first revival of Ossie Davis' comedy Purlie Victorious, about a traveling preacher in the Jim Crow-era South, previewing from September 7; and a revival of Sondheim musical Merrily We Roll Along, starring Daniel Radcliffe, Jonathan Groff and Lindsay Mendez, previewing from September 19.

Broadway Buzz Host Ariana DeBose at the 76th annual Tony Awards at the United Palace theatre in New York.

Photo: Charles Sykes.

The West End will honour Stephen Sondheim’s legacy with Cameron Mackintosh’s new musical revue, Stephen Sondheim’s Old Friends, at the Gielgud Theatre from September 16 to January 6. The starstudded cast features Bernadette Peters, Lea Salonga, Haydn Gwynne, Janie Dee, Bonnie Langford, Joanna Riding, Jeremy Secomb, Beatrice Penny-Touré, Christine Allado, Bradley Jaden and Jac Yarrow. The revue is directed by Matthew Bourne with Julia McKenzie, with choreography by Stephen Mear.

Originally written in German, and premiering in Vienna in 2006, a musical version of Daphne Du Maurier’s classic thriller Rebecca by Michael Kunze and Sylvester Levay will have its English language premiere at Charing Cross Theatre from September 4 to November 18, with a new English translation and lyrics by Christopher Hampton.

The Time Traveller’s Wife: A New Musical, based on Audrey Niffenegger’s best-selling novel and the hit movie, with music and lyrics by Joss Stone and Eurythmics’ Dave Stewart, plays at the Apollo Theatre in London from October 7, starring David Hunter as Henry and Joanna Woodward as Clare. They meet, fall in love and marry but not in that order. Henry travels through time and through Clare’s past, present and future.

Andrew Lloyd Webber’s Sunset Boulevard, based on the classic Billy Wilder film, returns to the West End from September 18 until January 6. Jamie Lloyd directs this new revival starring Nicole Scherzinger as Norma Desmond. Sunset Boulevard features a book and lyrics by Don Black and Christopher Hampton.

Australian actress Sarah Snook, best known recently for her Golden Globe-winning, Emmy-nominated portrayal of Shiv Roy in the HBO series Succession, will play all 26 roles in The Picture of Dorian Gray in the West End for a limited 12-week season from January 2024. Kip Williams’ hit ‘cine-theatre’ adaptation of the Oscar Wilde story, which began its life at the Sydney Theatre Company in 2020, has

toured Australia extensively to widespread acclaim.

Based on the memoir of author Henry Fraser, new British musical The Little Big Things, playing at @sohoplace Theatre from September 2 to November 25, paints a picture of resilience and personal growth, reminding us that it’s the small, seemingly insignificant moments that hold the greatest significance. Featuring a theatrical pop score, with music by Nick Butcher, lyrics by Nick Butcher and Tom Ling, and a book by Joe White, the musical is directed by & Juliet director Luke Sheppard.

Adaptations of an epic sport event, an anime, a Netflix hit and a legendary interview reach London stages in coming months.

Stranger Things: The First Shadow will bring the supernatural world of the hit Netflix TV series to the Phoenix Theatre in London’s West End, beginning performances on November 17, and already booking until August 2024. Directed by Stephen Daldry (The Crown, Billy Elliot the Musical), the show will be creatively overseen by the Duffer Brothers.

Rumble in the Jungle Rematch, at Dock X from September 14 to October 29, promises an extraordinary immersive experience, reimagining the iconic flight between George Foreman and Muhammad Ali for the

Heavyweight Championship of the World, described as part theatre show, part festival. The show will be Rematch’s first post-pandemic production, following on from their 2019 Wimbledon Rematch 1980 event, which reimagined Björn Borg’s epic clash with John McEnroe. Jonathan Maitland’s new play The Interview, which explores the story behind the legendary 1995 TV interview with Princess Diana and Martin Bashir, plays at the Park Theatre from October 27 to November 25, directed by Michael Fentiman.

Park Theatre presents Whole Hog Theatre’s global premiere of The Garden of Words, a new play based on the Anime and novel by Japanese film maker Makoto Shinkai about the lines between platonic and romantic longing and what it is to feel alone in the biggest metropolis in the world. From August 10 until September 9. And finally, The Royal Shakespeare Company presents a major new adaptation of Maggie O’Farrell’s bestselling novel Hamnet, which reveals the imagined life of William Shakespeare and the woman and family who influenced his work.

Adapted for the stage by Olivier Award winner Lolita Chakrabarti (Life of Pi), Hamnet runs at the Garrick Theatre from September 30 to January 6.

London Calling

Musical Vienna’s Rebecca (2006). Photo: Brinkhoff/Moegenburg.

The Harp In The South Trilogy: The Play

Currency Press has released a new edition of Kate Mulvany’s adaptation of Ruth Park’s beloved novel The Harp in the South. This scene, in Act 3, is set in a radio theatre. Buy your copy now at Book Nook Australia’s Performing Arts bookshop.

Scene Ten

[The radio theatre. A CROWD gathers excitedly and takes their seats in an auditorium. MARGARET, HUGH and ROIE take their seats amid the throng. They are overdressed for themselves, but underdressed for the event. They talk over the noise.]

HUGH: Jesus. Look at all the toffs here. We shouldn’t be here, Missus.

MARGARET: We got every right to be here, Hughie. Our Dolour is doing us proud.

HUGH: She’ll make fools of us further. With the whole world listenin’ in. Jesus.

MARGARET: You alright, Ro?

ROIE: I’m fine. Just not used to being out.

HUGH: Jesus, what are we doin’ here?

[Loud music, applause and excited fanfare as a presenter, BILL

BRIGGS, steps up to a microphone before the studio AUDIENCE. ‘He was a glittering individual in a white dinner jacket; his spectacles flashed semaphore messages of hope and cheer to the farthest corners of the theatre. Hugh hated him on the spot.’]

BILL: Hello, and welcome to the ‘Junior Information, Please’ quiz session on 2MB, brought to you by Ivory Soap.

[The AUDIENCE applauds excitedly.]

BILL: I’m your compere, Bill Briggs.

[The AUDIENCE applauds excitedly.]

BILL: Thank you. I know. I know. Thank you.

[He quiets the AUDIENCE down.]

BILL: Now, a little housekeeping. I know you’re all very excited to be here, but do try and keep silent during the show, unless the lovely Lyndall over there holds up this sign.

[A TRIO of three singers LYNDALL, BERNICE and DENISE stands to the side in front of a microphone. LYNDALL holds an ‘APPLAUSE’ sign.]

BILL: Shall we have a go? Ready? One…two…three…

[LYNDALL holds up the sign. The AUDIENCE applauds.]

BILL: Good. Let’s get started then, shall we? And shhhhh. Three… two…one…

[A fanfare of music. The TRIO sing.]

TRIO: ‘Junior…Junior…Junior Information, Please’! On 2MB…

[LYNDALL holds up the applause sign.]

BILL: Welcome, welcome, to ‘Junior Information, Please’ on 2MB, brought to you by Ivory Soap.

[LYNDALL holds up the applause sign. The AUDIENCE obeys. Except HUGH.]

BILL: Are your rough hands snagging your stockings, ladies?

BERNICE and DENISE: [together] They sure are.

DENISE: It’s all the dishwashing I do. My husband won’t hold my hand at the pictures anymore.

STC’s The Harp In The South (2018).

Photo: Daniel Boud.

BILL: No, no, ladies. Dishwashing isn’t what hurts and ages your hands.

BERNICE: Isn’t it?

DENISE: It isn’t?

BILL: Of course not. It’s the kind of soap you use.

BERNICE and DENISE: [together]

Ohhh!

BILL: Strong soap is the villain of the dishpan. But if you use Pure Ivory, you’ve got as nice and gentle a soap as you’d use at your washbowl. Naturally, your hands will thank you. Soon they’ll look like lady-of-leisure hands!

BERNICE and DENISE: [together] So no more snagged stockings?

BILL: That’s right.

BERNICE and DENISE: [together]

Ohhh!

BILL: And your husband will be proud to hold your hand.

[HUGH glances at MARGARET’s hands. She hides them from view.]

BILL: Pure Ivory Soap. For perfectly smooth hands that your dishes will love.

[LYNDALL holds up the applause sign. The AUDIENCE obeys.]

BILL: Alright, let’s get into it, shall we? Our contestants today are Ernest Blainey from Potts Point.

[LYNDALL holds up the applause sign. The AUDIENCE obeys. A primlydressed boy, ERNEST, steps up to the microphone.]

BILL: Welcome, Ernie.

ERNEST: It’s Ernest, Bill.

[The AUDIENCE laughs.]

BILL: Well, my apologies, young man. And Dolour Darcy from Surry Hills.

[BILL has mispronounced her name.

LYNDALL holds up the applause sign. The AUDIENCE obeys.

DOLOUR steps up to the microphone and bumps her face into it.]

DOLOUR: It’s Dolour, Bill.

[The AUDIENCE laughs.]

HUGH: Jesus. Look at her. She’s gonna make a fool of the lot of us.

BILL: Ernest, your first of three questions. Name all four of the Presidents who have recently been sculpted into the side of a mountain in America.

[A clock ticks.]

ERNEST: George Washington. Thomas Jefferson. Abraham Lincoln and Theodore Roosevelt.

BILL: Correct!

[LYNDALL holds up the applause sign. The AUDIENCE obeys.]

ERNEST: The artist was Gutzon Borglum, Bill.

HUGH: Well, he didn’t ask that, did he?

[DOLOUR glares at her father from the stage as an USHER shines a torch on him crossly.]

HUGH: What? That shouldn’t count!

BILL: Hahahaha. Good work, Ernest. Right. Dolour.

[BILL mispronounces Dolour’s name throughout.]

DOLOUR: Dolour.

BILL: Your first question. Which horse won the 1934 Melbourne Cup?

[A clock ticks.]

HUGH: Jesus. She doesn’t know anything about betting. Who’d ask a little girl a question like that?

[The torch shines on him again.]

ROIE: Da. Shhh.

DOLOUR: Um…was it…was it Peter Pan?

BILL: Peter Pan is correct!

[LYNDALL holds up the applause sign. The AUDIENCE obeys.]

DOLOUR: He also won in 1932.

HUGH: Christ on a bike, I’m takin’ her down the bookies with me next time.

BILL: Ernest, your next question. What creature died in 1936 in Hobart Zoo?

[A clock ticks.]

ERNEST: The last Tasmanian Tiger.

BILL: I’ll need the scientific name, please, Ernest.

[ERNEST pauses.]

ERNEST: Tha…thal…thylacine?

BILL: Correct!

[LYNDALL holds up the applause sign. The AUDIENCE obeys.]

BILL: Thought we’d stumped you for a moment there, Ernie.

ERNEST: Ernest.

BILL: Dolour…

DOLOUR: Dolour.

BILL: …your second of three questions. What colour is a tenpound note?

ERNEST: Oh, what?

[DOLOUR looks bewildered as the clock ticks.]

DOLOUR: Ten pounds?

BILL: Yes, Dolour.

ROIE: Dolour!

MARGARET: Well, that’s not fair. She’s never seen that amount of money in her life.

HUGH: Nor have I.

[DOLOUR looks around worriedly.]

DOLOUR: Um…

[DOLOUR picks at her red cardigan distractedly.]

DOLOUR: Um…

[ERNEST sniggers.]

DOLOUR: Is it…Red?

[Beat.]

BILL: Correct!

[LYNDALL holds up the applause sign. The AUDIENCE obeys.]

DOLOUR: I saw a tenner once! Delie Stock came to our school and pulled one right out of her bosom!

BILL: Hahaha. Did she? And now for your final question, Ernie.

ERNEST: Ernest.

BILL: When were women given the right to vote in the state of New South Wales?

[ERNEST is immediately stumped. The clock ticks.]

ERNEST: Who?

BILL: Women, Ernie.

ERNEST: Women? [Beat.]

ERNEST: Women?

[DOLOUR bites her lip expectantly.]

ERNEST: I…don’t know.

[The AUDIENCE sighs.]

BILL: Well, that puts quite a spin on things, doesn’t it? Dolour…

DOLOUR: Dolour.

BILL: …if you get the next question right, you take home the threepound jackpot.

HUGH: Three pounds? Gawn there, Dolour. Gawn.

[The torch shines across him again.]

BILL: Who is the patron saint of aviators?

[A clock ticks.]

HUGH: Oh, for

MARGARET: Now, wait, Hughie.

HUGH: What kind of a fuckin’ question is that?

(Continued on page 38)

Script Extract

(Continued from page 37)

[The torch shines on him again.]

ROIE: She knows saints. She does. Never stops!

[DOLOUR bites her lip.]

DOLOUR: The patron saint of aviators. Is an aviator like an airman?

BILL: Or airwoman.

[He winks at the AUDIENCE. They laugh.]

DOLOUR: Patron saint of airmen and airwomen…Is it…? It’s…

[DOLOUR looks confused.]

DOLOUR: Is it Saint Joseph of Cupertino?

[BILL looks stunned.]

BILL: Uh…

[BILL checks his card.]

BILL: Uh…yes. Correct.

[A bewildered LYNDALL holds up the applause sign. The AUDIENCE obeys. HUGH is on his feet, screaming.]

HUGH: Yes! Yes! That’s my little girl! That’s my Dolour! Smartest kid in Sydney!

DOLOUR: I thought it must be Saint Joseph of Cupertino! He wasn’t very clever, as far as saints go, but he could levitate as high as a tree!

BILL: Is that right? Well, congratul

DOLOUR: And I know when women were allowed to vote here too! Nineteen oh-two! My Grandma Eny told me that. She died a few weeks ago.

BILL: Hahahaha! Did she? Now, Dolour, here’s your three pounds. Don’t spend it all at once. Unless it’s on Ivory Soap, that is.

DOLOUR: I’d never waste it on soap, Bill Briggs.

BILL: Hahaha. Well, thanks for listening in, at home. Stay tuned for the evening news, brought to you by the smooth, rich taste of Camel cigarettes the brand recommended by ninety per cent of doctors.

[LYNDALL holds up the applause sign. The AUDIENCE obeys. The TRIO

sings as the AUDIENCE is hurried out.]

TRIO: [singing] ‘Junior … Junior … Junior Information, Please’! On 2MB…

[As HUGH and MARGARET hurry off to find DOLOUR, ROIE lags behind.]

HUGH: Dolour! Show us the cash!

DOLOUR: Look, Da! Mamma, look!

[The studio is almost empty. ROIE clutches her head as she follows. She falls, unseen by her family. A young man who is departing with the AUDIENCE turns back to see her. He is CHARLIE. He rushes to her. ‘He had the sort of heart that great men have. Straightforward, undeviating and tranquil.’]

CHARLIE: Are you alright?

ROIE: I’m awfully sorry. It’s…it’s the heat. And the crowd. I’ve been poorly. Sorry.

CHARLIE: It’s not your fault. Are you by yourself?

ROIE: No…my family are here. My sister just won three pounds.

CHARLIE: Oh, yeah! She was fun!

ROIE: She was.

CHARLIE: I’m Charlie.

ROIE: Oh. Rowena. Roie. Thank you.

[CHARLIE helps ROIE to walk.]

MARGARET: Roie! We lost you in all the excitement!

DOLOUR: Look, Roie! Three pounds! Did you see?

ROIE: I did.

HUGH: Who’s this, then?

ROIE: I…I felt a bit dizzy and this man helped me.

MARGARET: That’s very kind of you, son. It’s her first night out in a while.

CHARLIE: It’s nothing. I hope you’re feeling better soon, Roie. Good evening.

[CHARLIE goes to leave.]

HUGH: Oy! You can’t be goin’ like that! Rescued our daughter, you did! Let’s have a drink.

ROIE: Da, please…he’s got somewhere else to go.

CHARLIE: I’m not one for drinking, sorry, sir.

HUGH: What’s wrong with yer?

ROIE: Da!

HUGH: Where do you live, son?

CHARLIE: Got a lodging near Devonshire.

HUGH: We’re practically neighbours! Well, if you’re ever near Plymouth Street, perhaps you’d like to drop by sometime for supper and wireless.

[CHARLIE breaks into a smile.]

CHARLIE: I’d like that. Thank you.

DOLOUR: We live at twelve-and-ahalf.

CHARLIE: Alright. Goodbye.

[CHARLIE wanders away.]

HUGH: What a nice feller.

DOLOUR: Three whole pounds. I’m gonna buy you some new shoes, Mamma.

MARGARET: Think he was a native, that one.

HUGH: No. You think? Thought he’d just gotten some sun.

MARGARET: You just invited him to tea!

HUGH: You’ve got a Prod-hopper and a witch livin’ upstairs, woman. What’s an Aborigine for tea gonna matter?

DOLOUR: Three whole pounds!

MARGARET: Well, I suppose … What’s his name?

[ROIE is still gazing in the direction CHARLIE left.]

ROIE: Charlie. His name is Charlie.

Getting A Handle On Props

I walked down a long corridor backstage at NIDA and everywhere I looked was either a prop or a student in costume, as they prepared for their winter production seasons.

An actor walked by in a pirate hat with sparkles, next to him a wall of masks. A stampede of “techies” poured out of one door after being let out on a break.

One of their ambitious productions in the season was Sweeney Todd: The Demon Barber of Fleet Street, directed by Constantine Costi with musical direction from Andrew Worboys and choreography by Shannon Burns.

For a prop maker, the “part melodrama, part Grand Guignol blood-fest” is an exciting project.

NIDA Props Student and Prop Master Gaia Stein is familiar with gory shows, having also worked on

the play Eat Me, that had a fake heart ripped out of someone.

Two of the props she is particularly proud of are the iconic Sweeney Todd meat grinder and a fake hand, both made with silicone and gel. She used a mold and finished it with sculpting and paint.

LG: What was the process of doing props for the show?

GS: “Well, it's a big and complicated show. I think there's over 250 props. And obviously a lot of it is reliant on mechanisms and things that make things happen, like all the blood stuff and the (barber’s) chair. A lot of it was trial and error, and trying to look at past shows and figure out how they did stuff. (A major challenge) was trying to not stain the costumes (with fake blood).”

LG: What was the process of making the hand/meat grinder?

GS: “The hand was made from a silicone called transil [translucent silicone rubber], to provide the translucency of skin and add flexibility for heightened realism. It was made from a live cast of an actor's hand using skin-safe silicone. Since the transil sets so quickly, if you mix it, it becomes lumpy and meat-like, so I was able to use the cure-time to my advantage to make the hand look severed.

“The meat that goes into the grinder is made from a jelly-wax, which means it's reusable and can be melted down and reformed for every performance. Because it's so soft, it also makes it easy to grind, which is perfect.”

LG: Did anything go wrong along the way? If so, what did you learn from it?

GS: “The hardest part of the production was the [fake] blood and trying not to stain the costumes.

Livia Greenberg went behind the scenes of NIDA’s production of Sweeney Todd and spoke to Gaia Stein a 3rd year NIDA Props Student about their work on the show.

In NIDA’s BFA Props and Effects, you will learn to become an adaptive and multi-skilled designer-maker, ready to join the arts and entertainment industries in areas including theatre, film, exhibitions and events. Learn more about the course at nida.edu.au/study/undergraduate/props-and-effects

“I found that as the show went on, I became quicker at problemsolving and figuring out solutions to issues that I hadn't foreseen.”

LG: Did the dark content of the script affect your prop making in any way?

GS: “The designer decided to go for a more realistic look with everything, so things like meat as well as the blood and stuff were included. It was actually fun just seeing people’s reactions to things that I was making. I just enjoyed

people coming into the room and going “Eww!” and getting disgusted.”

LG: In terms of the chair, what went into making that work?

GS: “The chair was made solely by one of my very talented classmates, but the entire frame was welded so that it could support the weight and movement of the actors going down the chute.”

LG: Is there anything you’re proud of that the audience may not notice?

Showcase

GS: “I've put a lot of detail into the props. In Joanna's bedroom was a table, and in this version of the show, she's very obsessed with birds. And so I carved a little bird into her side table. And I did a whole bunch of little inscriptions that she's done in her bedroom.”

LG: What are the career prospects in terms of props making?

GS: “Since prop-making is so broad, and our skillset is so vast, our career prospects are endless. Whether it's advertising, film, TV shows, theatre, or even store-front displays, we have so many possibilities.”

NIDA’s Sweeney Todd: The Demon Barber of Fleet Street. Photo: Phil Erbacher.

NIDA props student Gaia Stein with her hand/meat grinder prop.

Actors Centre Australia

HSC Plays

DS: Anthony, how did your first play pitched at the school curriculum, The Laramie Project, go?

AK: It has been a terrific response, very well received, with schools travelling from as far as Woy Woy. The Q&A with the director, actors, and school students after the show has been full of fascinating and insightful questions.

DS: What opportunity has it presented for past graduates of ACA and for High School students studying the text?

AK: ACA allows our graduate actors to work, to practice, further develop their skills and contribute to the community in the context of learning for HSC school students.

DS: Which productions are coming up later this year?

AK: The Female of the Species is on from September 5 to 8. That includes a pre-recorded discussion with the playwright Joanna Murray-Smith. Our final 2023 company play is The Shape of Things by Neil La Bute which is on from September 12 to 15.

DS: How has the landscape for

Performing Arts schools changed in recent years?

AK: Performing Arts schools have a responsibility to represent diversity and inclusivity that is reflective of the broad ever-changing community we live in. An example of how this is represented is in the Accessible Acting Program (AAP), a 20-week intense program for people living with disability.

DS: I understand international students are enrolling now at ACA. What are they bringing to the cohort?

AK: Yes, in 2024 we will be accepting international students into the BA program in partnership with our University Partner, Torrens University. People can apply all year round.

DS: Deciding on a career in the Performing Arts is a big step. ACA offers a few shorter courses. Can you describe them?

AK: We have the 20-week Accessible Acting Program for people living with disability, which is a

tremendous success, at capacity enrolments. We also have the 20-week Foundation program, devised by Associate Director Johann Walraven, that caters to not only beginners but also those in the industry wanting to work on the tools of their instrument as an actor.

DS: For those who are set on longer study, what is available at ACA?

AK: The heartbeat of ACA is its BA Degree program an intense, dynamic course that is designed to develop and nurture the emerging artist within all students as part of an ensemble, preparing them for the industry of performance on stage and on screen.

DS: What the key deadlines coming up for auditions?

AK: Applications are open all year round for the Degree program, with the cut off period in November 2023 for an audition period in December 2023 for the 2024 intake.

DS: What advice would you give to a nervous student wanting to apply?

AK: Perhaps I apply this answer to an audition be honest, open, prepare to have fun and just be you as you are.

Apply now for ACA’s Foundation Program (July Intake) or the Bachelor of Performing Arts (Stage & Screen) 2023 intake by visiting actorscentreaustralia.com.au

An HSC play season at the Actors Centre Australia HQ in inner Sydney is off to a flying start. Stage Whispers’ David Spicer caught up with Anthony Kierann the Chief Operating Officer at ACA about the season and latest opportunities at the training school.

The Laramie Project.

Photo: Clare Hawley.

Training Up In Tech

Does your school or community group have students or volunteers who are interested in working backstage? Outlook, one of Victoria’s leading audio and full production companies, is putting out the welcome mat.

Outlook is offering an opportunity for students, who don’t want to be on stage, to train alongside some of Melbourne’s best radio mic technicians or be mentored in mixing sound front of house.

Outlook is one of the only companies that allows such involvement.

“All staff who work directly with students have current Working With Children Checks which provide teachers and parents that added level of security,” said company owner Jack Jones.

“Whether it’s from day one of rehearsals or just before production week, working with an Outlook experience is a once in a lifetime opportunity.”

Outlook also offers work experience for those students who are looking at production once they have finished school.

Jack Jones’ love of theatre began in 2010 at his high school.

Outlook was the sound supplier for all the Junior and Middle School

productions, as well as other major school events.

His first production working alongside Outlook and its founder Greg Ginger was Carey Baptist Grammar School’s Middle School production of Oliver! in 2010. From then on, Jack was hooked.

“Ï was the first student to mix a musical at Carey in 2015, which was Crazy For You. After I left school, and with the encouragement of the whole school’s Theatre and Music Department, I went on to study at the

Showcase

Victorian College of the Arts and worked part-time at Outlook.”

His passion continued throughout the pandemic, when he took the massive step to purchase Outlook.

Jack isn’t the only staff member who came from Outlook’s Schools Program. Over 30 percent of Outlook staff were students at schools or community theatre groups that have hired the company’s services.

“So, giving your students that one opportunity that they wouldn’t get elsewhere could change their lives forever. And isn’t that what education is meant to be about? Teach them something that they can’t get elsewhere?

“Have you got an upcoming production? Lock us in now to support your students to the full potential.”

Jack Jones (left) from Outlook Communications providing technical instruction to a student.

WAAPA Cuts Footloose

Featuring a cast of 40 triple-threat performers and a live band, the musical extravaganza was WAAPA’s biggest production of the year.

“In a production worthy of the big stage, WAAPA’s cast and crew make all the right moves,” announced Seesaw Magazine in its review, and Stage Whispers singled out “the teamwork and joy of performing is very evident in this production”.

While audiences applauded the music theatre students on-stage and music students in the orchestra pit, there was also an army of WAAPA

production and design students working hard behind the scenes.

From costume, props and scenery, to sound, lighting, production design and stage management, WAAPA’s Production and Design students were involved in every aspect of Footloose the Musical Set Designer Bryan Woltjen’s highly industrial set design, which used the full height of His Majesty’s Theatre’s stage over multiple levels, was made by WAAPA’s Production and Design students. Morphing from church to living room, school locker room to highway, and burger joint to

railway line with ease, this was a clever, intricate set that needed skill to create.

A time-lapse video captured the extensive work needed by WAAPA’s staff and students to bump the set into the theatre and rig the lights.

“This production was the largest set electrics build the WAAPA lighting crew have ever undertaken, with over 100m of LED neon flex used and 444 programmed individual lighting states,” said Jason Glenwright, WAAPA’s Coordinator of Lighting.

Megan Parker, Lecturer in Costume at WAAPA, described how the team

Footloose The Musical, proudly presented by the Western Australian Academy of Performing Arts at Edith Cowan University, was a sold-out success at His Majesty’s Theatre, Perth in June.

of 15 costume students displayed creativity, discipline and resourcefulness in realising the costume designs.

“The costume supervisor, Olivia Adamow, spent many hours scouring the WAAPA stock to find the perfect 2000s vintage pieces for each cast member. Head cutter McKenna Marshal displayed both ingenuity and thriftiness to maximise the potential of each denim garment repurposed to create the finale outfits.

“Remnant fabrics and trims from the wardrobe were used to create an authentic and sustainable realisation of early 2000s fashion. Offcuts were supplied to the Props and Scenery Department to create the denim

Showcase

Online extras!

Check out a time-lapse video of the Footloose The Musical bump-in.

fb.watch/lhliJGADPw

bunting for the finale. Dressing Supervisor Phoebe Mitchell communicated closely with cast members to ensure the costumes met the physical requirements of the energetic choreography.”

Working on shows such as Footloose the Musical provides WAAPA’s students with invaluable hands-on theatrical experiences. It is just one of over 300 performances and concerts that make up WAAPA’s annual program of theatre, music theatre, opera, dance and music offerings, providing exciting opportunities for its Production and Design students.

This ‘on-the-job’ training gives WAAPA graduates the winning edge in preparation for a seamless transition into a wide range of careers within the creative and technical industries, both nationally and overseas.

“There is so much opportunity for creative practitioners internationally

right now, across the arts entertainment and live events industries,” said Anton Maz, WAAPA’s Marketing Manager. No ATAR is required to enrol in the Diploma of Live Production and Technical Services (CUA50420). This entry level year of study offers two distinct streams to choose from:

 Production Arts: Structured to appeal to the creative designer/ maker, developing skills across the areas of Scenic Art, Costume Construction, Prop Making and Scenic Construction.

 Technical and Live Performance: Includes Lighting, Sound, Stage Management, and Technical Drawing. Similarly to Production Arts, the expected destination of the graduate with this award is as an assistant.

Footloose The Musical was directed by Jason Langley and choreographed by Jodie Bickle.

To find out more about WAAPA’s Production and Design course, check out the WAAPA website at waapa.ecu.edu.au and take a FREE Production Tour on Wednesday August 30 from 6pm to 7.30pm; book at trybooking.com/1046861

NIDA’s Footloose The Musical. Photo: Stephen Heath.

NIDA’s Footloose The Musical.

Photo: Stephen Heath.

Movie Role For Music Theatre Grad

CQUniversity Music Theatre graduate Lauren Hamilton Neill is back generating buzz in the entertainment industry after being cast in the upcoming thriller movie Stage 5.

Since completing an Advanced Diploma at CQUniversity’s Central Queensland Conservatorium of Music (CQCM), Lauren has secured a string of successful acting roles.

“This is my first major role. I still get excited when I think about the movie as a whole and about my character,” Lauren said.

“This project has shown me that if you truly stay honest in who you are, and what you can do, the right people will see you and write roles specifically for you.”

Lauren was approached for the role by the movie’s writer and director, Eddie Arya, in November 2020.

“I used every part of my skill set and I feel so endlessly blessed that I have this experience.”

Lauren credited her studies at CQU for educating her with crucial skills and giving her the confidence to succeed in physically and mentally challenging roles.

“The skills I learned regarding singing and vocal work are always at the front of my mind, and this role was the most vocally intense and demanding character I’ve ever played,” Lauren said.

“One of the earliest things I remember learning at CQU is that my voice is my tool. It has to always be my priority to keep it healthy and in tune. Thanks to the skills I learned, I didn’t lose my voice or have any vocal strain until the very last day of filming.

“Studying at the Conservatorium was a wonderful time for me. I wish I’d appreciated it more, to be honest! If I could go back, I would make sure I cherished the classes, artists, tutors and time more.

“I remember reading a quote by Denzel Washington when I was struggling in high school because all I wanted to do was perform. It has stuck with me my entire career: ‘You create your career as much by what you say no to, as what you say yes to.’ When you’re starting, it’s so tempting to give in to fear that you won’t get another opportunity and so people end up saying yes to things that they

Showcase

have no passion for and are beneath them.

“I’m now sitting here as an actor who is a lead in a feature film [produced in Canada]. I even have several other lead roles in feature films lined up.

“Big things that are worthy can take time to manifest and show themselves.”

CQUniversity offers a range of options in Creative, Performing and Visual Arts, preparing students with skills to be industry-ready entertainment professionals. Students across the disciplines get opportunities to perform together for a range of big events at the Central Queensland Conservatorium of Music, and via digital platforms.

To learn more about CQU’s Creative Performing and Visual Arts courses, visit cqu.edu.au/study/creative-performing-visual-arts

Lauren Hamilton Neill with fellow Aussie co-star Jack Campbell.

JMC Acting Goes National

A new Bachelor of Creative Arts (Acting) course launched in Sydney by the JMC Academy in 2020 has been expanded to include Melbourne and Brisbane.

All JMC Academy campuses are located in central city locations and have been upgraded to include designated theatre spaces including a blackbox theatre, rehearsal space, dance studio and auditorium.

One of the first Sydney graduates, Steven Ljubović sings the course’s praises. “The connections I made whilst studying at JMC were the most important connections I’ve ever made in my life.”

After graduating from JMC Acting in 2021, Steven jumped straight into the world of performance, first landing a touring Shakespeare role, and is working as a director, choreographer, consensual movement coordinator, and producer.

Steven founded the physical theatre company MERAK, which is named after the Serbian word which refers to the ‘feeling of bliss and the sense of oneness with the universe that comes from life’s simplest pleasures’.

Following MERAK’s first production, Mortel, Steven was also invited to join the Directors Lab at Sydney’s Darlinghurst Theatre Company, to work on the historymaking production Overflow by Travis Alabanza, where the entire creative team and cast were trans/gender diverse.

Speaking about the opportunity in Rolling Stone, Steven said, “this is the first time an Australian mainstage theatre production has ever done this. I was lucky enough to work very closely with director Dino Dimitriadis as an associate director on this production.”

Steven will be the first to say that a career in acting isn’t all just about performing on stage, and credits JMC for helping them to prepare for the nitty-gritty of the acting world.

“I learned everything from script analysis, to movement, to voice, to

singing. Acting for screen. Acting for motion-capture. Acting for animation…we’re in the twenty-first century and I think they [JMC] absolutely understand that and they’ve tailored the course to really prepare you for the industry”.

The Head of Acting, Glen Hamilton, said, “Steven’s story is a special one to us, because their time at JMC speaks not only to the skills they have learned during their studies, but also of the personal development they underwent during their time here.”

“Finding your feet as a creative is tough enough from a skills perspective, but learning to step into your creativity and embrace the limits of yourself and your creativity is another test entirely. Watching Steven step into the spotlight, literally and figuratively, is truly what makes up the heart of what JMC aims to give to its students,” he said.

Read the entire Rolling Stone article at bit.ly/3pjmPEB

Steven Ljubović.

New Acting And Theatre Makers Course

The National Drama School, in Melbourne’s bayside suburb of St Kilda, has launched a new two-year qualification for aspiring actors and theatre makers in 2024.

Established in 1935, The National Drama School (formerly the National Theatre Drama School) is Australia’s longest-running vocational training organisation for acting. Today, the school is well regarded for its expertise in actor training for the stage and screen, intimate class sizes, industry professional teaching faculty and strong industry connections.

Current Director of Drama, Dr Jo Loth, recently announced a new two -year format for The National Drama

School’s flagship Advanced Diploma of Acting, commencing in 2024.

“We’ve restructured the current three-year program into an accelerated two-year qualification that deepens engagement and builds skills while also allowing students to kick-start their professional careers a year earlier,” says Jo.

The new two-year, full time, nationally accredited Advanced Diploma of Acting (NAT108884) will deliver an intensive immersion focussed on the craft of acting and prepare students for careers as

actors and performance makers in theatre, film, television, and new media.

Students work closely with a range of Industry professionals, undertaking a rigorous program of actor training. The first year delivers intensive training in acting, voice, movement and performance making. Dr Loth is a highly experienced voice and movement specialist, as evidenced in the first year curriculum.

“I’m absolutely passionate about the Suzuki actor training method and Linklater voice work, so, in their first year, students train intensely in those two forms. The combination creates strong, physically present,

Students wishing to apply for the two-year Advanced Diploma of Acting are encouraged to register their interest at nationaltheatre.org.au/drama-school/advanced-diploma-of-acting. Acceptance to the course is by audition only. Auditions will be held at The National Drama School Studios on Sunday October 1 and Monday December 4.

Registrations for auditions open July 1.

Oedipus Doesn’t Live Here Anymore (2022)

Photo: Cameron Grant.

robust actors who can connect to their individuality and authenticity,” says Jo.

In the second year, students undertake a concentrated year of Showcase performances to extend their skills, hone their craft and showcase the students’ work to industry leaders. Many of the performance opportunities are staged in the historic National Theatre or the purpose built 50 seat black-box theatre. The Showcase year also addresses the needs of a modern screen actor including preparation and creation of a selftape and show reel.

On graduation, students will have accumulated a series of professional head shots, show-reels, a self-tape and the necessary skills, authenticity, and confidence to successfully undertake the inevitable auditions process.

The National Drama School’s esteemed alumni includes Australian stars of stage and screen Kat Stewart, Richard Cawthorne, Bella Heathcote, Tosh Greenslade, Sachin Joab, Esther Hannaford, Harvey Zielinski, Lawrence Mooney and Geraldine Quinn, among others.

Live Sound Training

Sydney live sound engineer Julius Grafton explains his new handson courses.

In 2023 there are fewer training options than 20 years ago, with six times the number of working crew. New entrants are attracted to live sound, seeking the buzz of an audience and the engagement as part of a working show.

As the number of TAFE courses and traineeships sunk due to VET training issues such as shonky ‘Fee Help’ courses offered by private colleges, a raft of ’three letter acronym’ colleges ramped up ’studio audio’ degree courses. The distortions in the training landscape last decade live on.

I have been training live sound since the 1980s and for a time ran an accredited college.

This year I have commenced practical, ‘hands-on’ courses that have stripped out all the ‘core unit’ padding found in Certificate courses

Julius’ timetable can be found at julius-av.com, allowing him to bring training to venues anywhere in Australia.

at TAFE.

Running three days, small groups alternate between a classroom and a training shed full of equipment. Starting on a small analogue mixer, they learn signal flow, set up a variety of front of house PA systems and stage monitors, and simulate a full show using multitrack recordings of a live band.

The National Drama School students.

Julius Grafton.

Behind The Scenes

With Debora Krizak

Working With Children

For those of you who are familiar with the movie, I don’t need to tell you what a great story Billy Elliot is. With the movie released over 20 years ago, the themes are more current than ever, with young Billy struggling with his identity and society’s perception of a young boy giving up boxing for ballet. It’s a love letter to self-acceptance, embracing individuality and reaching for the stars.

I’d never worked in a musical that had children at the forefront of the story, so I knew the process was going to be different. It struck me almost immediately how vastly different our three talented Billys were. I felt an immediate connection with them all but also felt a sense of responsibility in nurturing these boys as they began their own journeys into professional musical theatre. Being a mother with children of a similar age, I was already well equipped in navigating the preteen awkwardness and I had only four weeks to establish a bond that would translate naturally onto the stage.

With three young boys alternating as Billy, every routine and scene had to be repeated three times to allow each actor the time on the floor. For the adult cast, this meant we were afforded the time to really lock into the text and explore what evolved with the

different Billys. Each boy brought something different to the role and that would mean the scene dynamic would shift slightly.

Casting the role of Billy and the children’s cast was an ambitious task for producer Matt Ward.

“We put out a national search looking for the perfect Billy. We saw about 50 boys in the audition room in March this year and our three boys Harrison, Diesel and Ethan were clear standouts across the triple threat disciplines. Each has their own fresh take on Billy and it is wonderful to observe coming through in the rehearsal room. The Ballet Girls auditions were huge, with about 200 girls auditioning on the day.”

“All up we have 27 children in the company. In Queensland, children can only work four days per week. The role of Billy is rarely off stage, so scheduling rehearsals, let alone learning this role in four days per week during full time rehearsals is very challenging. Many days we rehearse midday to 8pm so as not to interfere with schooling.”

When I asked the boys if they’ve been met with any challenges of their own since embarking on this journey, their responses were vastly different to the character of Billy.

They come from supportive families and have trained most of their young lives preparing for this big moment. It’s a far cry from the Northern English town of Newcastle, where Billy stumbled across the local ballet school during a boxing class and is forced to keep his newfound passion a secret from his father.

These boys are the lucky ones. Thanks to the stories such as Billy Elliot, they’ve had the opportunity to discover the magic of theatre and dance and I can’t help wondering what impact this show will have on them in years to come.

I can’t really explain it. I haven’t got the words. It’s a feeling that you can’t control. I suppose it’s like forgetting, losing who you are.

And at the same time something makes you whole.

Billy Elliot, presented by Matt Ward Productions, plays at The Star, Gold Coast from July 6. billyelliotmusical.com.au

Debora Krizak has been cast as the dance teacher Mrs Wilkinson in a Gold Coast production of Billy Elliot The Musical, and describes the process of working with children.

Diesel Batson, Harrison Smith and Ethan Dahl the three Billys in Billy Elliot.

Photo: Kenn Santos.

High School Musicals And Plays

To celebrate the achievement of students and teachers, we present a gallery of outstanding productions.

We Will Rock You

Sheldon College, Australian School of the Arts, Brisbane. Musical Director: Lauren Cossettini. Redlands Performing Arts Centre. Apr to May 2023.

The Australian School of the Arts unleashed the power of rock'n'roll through their successful season of We Will Rock You. Across six performances they ignited the gritty tale of love and rebellion, exhilarating audiences of all ages.

davidspicer.com.au/shows/we-will-rock-you-youngpart

Rockin’ Robin Burnie High School, Tasmania. Director: Ben Lohrey. Oct 2011.

The jukebox musical was staged with very high production values. In Rockin’ Robin, a drama group is rehearsing for the Rock Eisteddfod, when an electrical fault causes two of the cast to be transported through time to Sherwood Forest. Director Ben Lohrey said, “We were attracted to the musical because of the terrific score that contains many very well-known and catchy musical numbers from the 50s, 60s and 70s. This, coupled with a very humorous script, strong lead roles for both males and females and the scope for the inclusion of a very large ensemble (we had 120) made Rockin’ Robin the ideal choice.”

davidspicer.com.au/shows/rockin-robin

Rockin’ Robin.

Titanic: The Musical

Marist and St Peter's Combined Colleges, Auckland.

Director: Stephen Dallow. Playhouse Theatre, Glen Eden. May 2023.

Director Stephen Dallow says, “I have been directing shows for over 30 years and this was a personal highlight for me, working with a cast of 100 teenagers. At our first rehearsals we researched every character in the show and the students quickly took on this honour of playing real people who had passed away during this tragic event. You could hear a pin drop at rehearsal. Everyone wanted to honour the story and tell it from an historic angle, not what we had seen in the movie. The show has beautiful music, wonderful harmonies, characters the audience will fall in love with and opportunities to do some unique theatre making. At the final number, where the survivors tell their story, we projected images of the real people they were playing on to the stage the audience left every night in tears.” origintheatrical.com.au/work/8918

The Jungle Book

Shenton College, WA.

Written and adapted by Briandaniel Oglesby from Rudyard Kipling. Director: Kate Lloyd. May 2023.

In May, the Perth school used creative costumes, scenic projections, backstage crew and musicians to turn their whole auditorium into a vision of Rudyard Kipling’s The Jungle Book davidspicer.com.au/shows/jungle-book

The Jungle Book.

Photo: Michael Swallow.

Titanic: The Musical.

Choosing A Show

Disney’s Tarzan

Buderim Youth Theatre of Excellence, Queensland. May to Jun 2023.

For 23 years on the Sunshine Coast, Byte Youth Theatre has provided quality musical theatre training for young people. This year they brought audiences the classic story of Tarzan, told with the energetic music of Phil Collins in this production of Disney’s Tarzan mtishows.com.au/tarzan

Sheerluck Holmes

Georgiana Molloy Anglican School, Busselton, W.A. Director: Sue Thompson. Aug 2021.

Rachel Fentiman from Maverick Musicals said, “These talented high school students had a successful season performing this popular musical about the famed detective. The culmination of high-quality costumes, captivating choreography and the extraordinary talent of the students made this musical a memorable experience for those on and off stage, and in the audience.” maverickmusicals.com/play/sheerluck-holmes

Online extras!

Check out GMAS’ production of Sheerluck Holmes. Scan or visit fb.watch/liLgjPu8bF

The Jungle Book.

Photo: Stacey Kilburn.

Sheerluck Holmes.

Noosa Arts Theatre One-Act Playwriting Competition

Noosa Arts Theatre in Queensland is calling for playwrights to submit an entry into their highly regarded One-Act Playwriting competition.

Now in its 47th year, this prestigious competition attracts submissions from Australia and overseas. It is not only the prize money which attracts, but the fact that each of the three finalist plays is performed over a two week festival by a highly regarded acting and directing fraternity. How is it judged? Six readers thoroughly read all submissions, then determine a shortlist which then goes to a panel of three industry professional judges in Australia. They determine 1st prize $5000 (Nimmo Family Trust), 2nd prize $3000 (Edyth Brook Cooper Trust) and 3rd prize $1000 (Susan Dearnley). Those prizes plus the Audience Choice Award of $500 (Nancy Cato Family),

$500 Best Ensemble Award (Liza Park) and best acting and directing awards are announced at the conclusion of the Festival. Audiences love coming to the Festival because the three finalist plays are staged at every performance. Each one comprises only one act around 30 minutes long and can be comedy, drama, tragedy or mystery. The variety is endless.

You may be thinking “how can I compete against international writers?” Well this year all three prize winners were from Australia, which vindicates the strength of theatre in this country. This competition has encouraged and nurtured many new playwrights over the years who have

gone on to prosperous lives in the theatre.

So if you are a playwright, or maybe fancy yourself as one, jump onto the Noosa Arts Theatre website, noosaartstheatre.org.au and under the Playwriting tab you will find all the information you need, plus helpful suggestions and videos to guide you on writing a play to suit community theatre.

The 46th Noosa One-Act Play Festival.

On Stage

A.C.T.

Roald Dahl’s The Twits. Adapted for the stage by shake and stir theatre co. Jul 13 - 15. The Q, Queanbeyan. theq.net.au

Lucie in the Sky. Australian Dance Collective. Jul 14 - 15. The Playhouse, Canberra Theatre Centre. canberratheatrecentre.com.au

The Ten Tenors: Greatest Hits Tour. Jul 15. Canberra Theatre. canberratheatrecentre.com.au

Yuldea. Bangarra Dance Theatre. Jul 20 - 22. Canberra Theatre. canberratheatrecentre.com.au

Amadeus by Peter Shaffer. Canberra Rep. Jul 27 - Aug 12. canberrarep.org.au

Legacies by Rachel Pengilly. Q the Locals and Ribix Productions. Aug 2 - 5. The Q, Queanbeyan. theq.net.au

A.C.T. & New South Wales

COVID-19 Notice

Readers are advised to monitor public health advice in their jurisdiction and check with the relevant theatre group, venue or ticket outlet for specific performance impacts, cancellation or rescheduling information.

Burn the Floor. Aug 9. Canberra Theatre. canberratheatrecentre.com.au

You Can’t Tell Anyone by Joanna Richards. Canberra Youth Theatre. Aug 10 - 20. The Courtyard Studio, Canberra Theatre Centre. canberratheatrecentre.com.au

JUST Live On Stage. By Robin Goldsworthy, adapted from the JUST book series written by Andy Griffiths and illustrated by Terry Denton Red Line Productions. Aug 11 & 12. The Q, Queanbeyan. theq.net.au

Miss Peony by Michelle Law. Canberra Theatre Centre and Belvoir St Theatre. Aug 23 - 26. Playhouse, Canberra Theatre

Centre. canberratheatrecentre.com.au

Tim by Tim McGarry, based on the novel of the same title by Colleen McCullough. Christine Dunstan Productions. Aug 2526. The Q, Queanbeyan. theq.net.au

New South Wales

Tina - The Tina Turner Musical. By Katori Hall with Frank Ketelaar and Kees Prins. Paul Dainty AO/TEG DAINTY in special collaboration with Stage Entertainment, Tali Pelman and Tina Turner. Continuing. Theatre Royal, Sydney. tinathemusical.com.au

Mamma Mia! Music and Lyrics by Benny Andersson and Björn Ulvaeus and some songs with Stig Anderson. Book by Catherine Johnson. Originally conceived by Judy Craymer. Until Jul 30. Michael Coppel, Louise Withers & Linda Bewick. Sydney Lyric Theatre. mammamiathemusical.com.au

Disney’s Beauty and the Beast. Composer: Alan Menken. Lyricist: Tim Rice. Book: Linda Woolverton. Continuing. Capitol Theatre, Sydney. beautyandthebeastmusical.com.au

City of Angels. Music by Cy Coleman. Lyrics by David Zippel. Book by Larry Gelbart. Joshua Robson Productions in

60 Stage Whispers

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

On Stage

Antoinette Halloran and Ben Mingay will thrill audiences as they wreak vengeance upon Victorian London in Stephen Sondheim’s Sweeney Todd. The Victorian Opera and New Zealand Opera co-production directed by Stuart Maunder will play at Sydney Opera House from July 22 until August 27. sydneyoperahouse.com

association with Hayes Theatre Co. Until Jul 23. hayestheatre.com.au

The Poison of Polygamy. A play by Anchuli Felicia King, adapted from the book by Wong Shee Ping, translated by Ely Finch. Sydney Theatre Company. Until Jul 15. Wharf 1 Theatre. sydneytheatre.com.au

Benefactors by Michael Frayn. Ensemble Theatre. Until Jul 22. ensemble.com.au

Dumb Kids by Jacob Parker. Legit Theatre Co. Until Jul 8.

KXT On Broadway, 181 Broadway, Ultimo. kingsxtheatre.com

Aida by Giuseppe Verdi. Libretto by Antonio Ghislanzoni. Opera Australia. Until Jul 21. Sydney Opera House. opera.org.au

Romeo and Juliet by William Shakespeare. Bell Shakespeare. Until Aug 27. The Neilson Nutshell, Pier 2/3, Dawes Point. sydneyoperahouse.com

Ladybird Ladybird by Linda Nicholls-Gidley. Vox Theatre. Until Jul 15. Flight Path Theatre, Marrickville. flightpaththeatre.org

Miss Peony by Michelle Law. Belvoir, in association with Arts Centre Melbourne and QPAC. Jul 1 - 30. Belvoir Street Upstairs. belvoir.com.au

Brontë by Polly Teale. Genesian Theatre, 420 Kent St, Sydney. Jul 1 - 22. genesiantheatre.com.au

Mr Stink by Maryam Master, based on the book by David Walliams. CDP Kids. Jul 1 - 15. Playhouse, Sydney Opera House. sydneyoperahouse.com

The Elixir of Love by Gaetano Donizetti. Rockdale Opera Company. Jul 1 - 9. Rockdale Town Hall. rockdaleopera.com.au

All My Sons by Arthur Miller. Classic American Drama. Maitland Repertory Theatre. Jul 5 - 23. mrt.org.au

Ignite! Cumberland Gang Show. Jul 5 - 9. Parramatta Riverside Theatre. gangshow.asn.au

Disney Frozen Jr. Music & Lyrics by Kristen Anderson-Lopez and Robert Lopez. Book by Jennifer Lee. Campbelltown Theatre Group. Jul 7 - 16. ctgi.org.au

Through Our Lens. Adakar Theatre and Cultural Group Jul 7 - 8. Lennox Theatre, Riverside Theatres Parramatta. riversideparramatta.com.au

Jailbaby by Suzie Miller. Griffin Theatre Company. Jul 7 - Aug 12. SBW Stables Theatre. griffintheatre.com.au

The Sound of Music. Music by Richard Rodgers. Lyrics by Oscar Hammerstein II. Book by Howard Lindsay and Russel Crouse. Albatross Musical Theatre, Nowra. Jul 7 - 16. Shoalhaven Entertainment Centre. amtc.org.au

Roald Dahl’s The Twits. Adapted by Nelle Lee. shake & stir theatre. Jul 7 - 8, Glen Street Theatre, glenstreet.com.au & Jul 1820, Riverside Theatres Parramatta, riversideparramatta.com.au

All Sorts - Short Play season. Jul 8 - 22. Henry Lawson Theatre, Werrington, County. hltheatre.com.au

Photo: Daniel Boud.

On Stage

Wolfgang’s Magical Musical Circus. Circa. Jul 10 - 12. Lennox Theatre, Riverside Theatres Parramatta. riversideparramatta.com.au

Tales of Hoffmann by Jacques Offenbach. Opera Australia. Jul 11 - 22. Sydney Opera House. opera.org.au

1984 The Musical. Libretto: Diana Reid & Tom Davidson McLeod. Music: Riley McCullagh. Sydney University Music Theatre Ensemble. Jul 11 - 14. Seymour Centre. seymourcentre.com

Off The Record by Chris Aronsten. New Theatre. Jul 11 - Aug 5. newtheatre.org.au

Dirty Rotten Scoundrels. Book by Jeffrey Lane. Music and lyrics by David Yazbeck. Metropolitan Players Inc. Jul 12 - 22. St Philip’s Christian College Theatre, Waratah, Newcastle. metropolitanplayers.com.au

Forgetting Tim Minchin by Jules Orcullo. Belvoir 25A. Jul 12 - 29. Belvoir Street. belvoir.com.au

Shakespeare in Love. Based on the screenplay by Marc Norman and Tom Stoppard. Adapted for the stage by Lee Hall. Music by Paddy Cuneen. Shepherd's Purse Theatre Company (Tyalgum). Jul 1315. Flutterbies Cottage Café. shepherdspursetheatre.com.au

Disney’s Newsies JR. WoodsRay Theatricals. Jul 14 - 16. Bruce Gordon Theatre, Illawarra Performing Arts Centre. merrigong.com.au

The Barber of Seville by Rossini. Opera Australia. Jul 14 - 15. Riverside Theatres Parramatta. riversideparramatta.com.au

The Gruffalo’s Child. Adapted from the award-winning picture-book by Julia Donaldson and Axel Scheffler. CDP Kids / Tall Stories. Jul 14 -

16. Seymour Centre. seymourcentre.com

The Hero Leaves One Tooth by Erica J. Brennan. Ratcatch Theatre. Jul 14 - 29. KXT On Broadway, 181 Broadway, Ultimo. kingsxtheatre.com

Mother of the Maid by Jane Anderson. Newcastle Theatre Company. Jul 15 - 29. newcastletheatrecompany.com.au

The Pirates of Penzance by Gilbert and Sullivan. Highlands Theatre Group, Mittagong. Jul 15 - 30. Bowral Memorial Hall. htg.org.au

Not Now, Darling by Ray Cooney and John Chapman. Parkes Musical & Dramatic Society. Jul 15 - 30. The Little Theatre, Parkes. parkesmandd.com.au

On The Beach by Nevil Shute, adapted for the stage by Tommy Murphy. Sydney Theatre Company. Jul 18 - Aug 12. Roslyn Packer Theatre. sydneytheatre.com.au

Are We There Yet? Adapted by Finegan Kruckemeyer, from the book by Alison Lester. CDP Kids. Jul 18 - 19. Glen Street Theatre. glenstreet.com.au

Teenage Dick by Mike Lew. Divergent Theatre Collective. Jul 19 - Aug 5. Flight Path Theatre, Marrickville. flightpaththeatre.org

The Tap Pack. Jul 19 - 30. Studio, Sydney Opera House. sydneyoperahouse.com

Disney’s Winnie The Pooh. Life Like Touring and Rockefeller. Jul 20 - 23. Playhouse, Sydney Opera House. sydneyoperahouse.com

The Turn of the Screw by Richard Hillier (after Henry James). Tooth and Sinew. Jul 21 - Aug 12. Seymour Centre. seymourcentre.com

Sweeney Todd: The Demon Barber of Fleet Street. Music and lyrics by Stephen

New South Wales

Sondheim. Book by Hugh Wheeler from an adaptation by Christopher Bond. Victorian Opera / New Zealand Opera. Jul 22 - Aug 27. Drama Theatre, Sydney Opera House. sydneyoperahouse.com

Fade by Tanya Saracho. National Theatre of Parramatta. Jul 27 - Aug 5. Lennox Theatre, Riverside Theatres Parramatta. riversideparramatta.com.au

9 to 5 The Musical. Music and lyrics by Dolly Parton. Book by Patricia Resnick. Gosford Musical Society. Jul 28 - Aug 12. gosfordmusicalsociety.com

The Peach Season by Debra Oswald. The Theatre on Chester. Jul 28 - Aug 19. theatreonchester.com.au

In the Next Room, or The Vibrator Play by Sarah Ruhl. Castle Hill Players. Jul 28 - Aug 19. Pavilion Theatre, Castle Hill. paviliontheatre.org.au

Les Misérables. Music by Claude-Michel Schönberg. Lyrics by Herbert Kretzmer. Original French text by Alain Boublil and Jean-Marc Natel. Packemin Productions. Jul 28Aug 12. Riverside Theatre Parramatta. packemin.com.au

Mr Bailey’s Minder by Debra Oswald. Ensemble Theatre. Jul 28 - Sep 2. ensemble.com.au

Constellations by Nick Payne. Sydney Theatre Company. Jul 29 - Sep 2. Wharf 1 Theatre. sydneytheatre.com.au

War of the Worlds: The 1938 Radio Script. Hunter Drama. Aug 2 - 5. Civic Playhouse, Newcastle. hunterdrama.com.au

Romeo and Juliet by William Shakespeare. Sport For Jove. Aug 2 - 18. Seymour Centre. seymourcentre.com

Le Aerial Aerial Artists Australia. Aug 2 - 6. Studio, Sydney Opera House. sydneyoperahouse.com

On Stage

Starring some of Australia’s finest and most distinguished dancers and singers, The Tap Pack is Jesse Rasmussen, Jordan Pollard, Thomas J Egan, Ben Brown and Mark Hill. They sing. They dance. They joke. They bring a new energy to a timeless style! At the Playhouse, QPAC, July 12 to 15, and the Studio, Sydney Opera House, July 19 to 30. thetappack.com

New South Wales

Online extras!

Mad Scenes with Jessica Pratt Opera Australia. Aug 3. Sydney Opera House. opera.org.au

Ma Baker’s Tonic by Mary McMahon. Inverell Theatre Company. Aug 3 - 12. Inverell RSM Club. Bookings at the club. (02) 6722 3066

Bernadette Robinson - DIVAS. Duet Productions. Aug 3 - 13. Playhouse, Sydney Opera House. sydneyoperahouse.com

The Perfect Murder by Hugh Janes, adapted from the novel by Jeffrey Archer. Woy Woy Little Theatre. Aug 4 - 20. Peninsula Theatre, Woy Woy. woywoylt.com

Things I Know To Be True by Andrew Bovell. Arts Theatre Cronulla. Aug 4 - Sep 9. artstheatrecronulla.com.au

Murder for Two by Kellen Blair and Joe Kinosian. Hayes

Theatre Co. Aug 4 - Sep 3. hayestheatre.com.au

The Weekend. Based on a novel by Charlotte Wood, adapted by Sue Smith. Belvoir. Aug 5 - Sep 3. Belvoir Street Upstairs. belvoir.com.au

Captain Moonlite by Jye Bryant. Richmond Players. Aug 5 - 26. Richmond School of Arts. richmondplayers.com.au

The Hollow by Agatha Christie. Genesian Theatre, 420 Kent St, Sydney. Aug 5 - Sep 9. genesiantheatre.com.au

Table Manners by Alan Ayckbourn. Pymble Players. Aug 9 - Sep 3. Pymble Players Theatre. pymbleplayers.com.au

The Sunshine Club. HIT Productions. Aug 9 - 13. Glen Street Theatre. glenstreet.com.au

La Giaconda in Concert By Amilcare Ponvhielli, based on the Victor Hugo play. Opera Australia. Aug 9 - 12. Sydney Opera House. opera.org.au

Saturday Girls by Miranda Michalowski. Sour Cherry Productions / Tail of Tales Productions / Belvoir 25A. Aug 9 - 27. Belvoir Street. belvoir.com.au

Cloudstreet. Adapted by Nick Enright and Justin Monjo from the novel by Tim Winton. Lane Cove Theatre Company. Aug 11 - 27. The Performance Space at St Aidan's, Longueville. lanecovetheatrecompany.com

Wait Until Dark by Frederick Knott. The Guild Theatre. Aug 11 - Sep 9. Walz St, Rockdale. guildtheatre.com.au

A Doll’s House by Henrik Ibsen, translated by Kenneth McLeish.

The Players Theatre, Port Macquarie. Aug 11 - 27. playerstheatre.org.au

Sharpies by David Sharpe. Wollongong Workshop Theatre. Aug 11 - 26. Workshop Theatre, Gwynneville. wollongongworkshoptheatre.com.au

A Very Expensive Poison by Lucy Prebble. New Theatre. Aug 15 - Sep 16. newtheatre.org.au

Menopause The Musical. SK Entertainment and GFour Productions. Aug 15 - 17. Glen Street Theatre. glenstreet.com.au

The Approach by Mark O’Rowe. Aug 16 - Sep 2. Flight Path Theatre, Marrickville. flightpaththeatre.org

Miss Saigon by Boublil and Schönberg. Opera Australia.

On Stage

Aug 17 - Oct 13. Joan Sutherland Theatre, Sydney Opera House. sydneyoperahouse.com

Disney’s Finding Nemo Jr. Music and lyrics by Kristen Anderson-Lopez and Robert Lopez. Book adapted by Lindsay Anderson. Rockdale Musical Society. Aug 17 - 20. Rockdale Town Hall. rockdalemusicalsociety.com

Pope2Pope by Melvyn Morrow. Hunters Hill Theatre. Aug 18Sep 3. huntershilltheatre.com.au

Two Weeks With the Queen by Mary Morris adapted from the novel by Morris Gleitzman. Wyong Drama Group. Aug 1826. Red Tree Theatre, Tuggerah. wyongdramagroup.com.au

One Man, Two Guvnors by Richard Bean, adapted from Carlo Goldoni’s The Servant of Two Masters. Newcastle

Theatre Company. Aug 19Sep 2. newcastletheatrecompany.com.au

Rhomboid by Eric Jiang. Aug 25 - Sep 9. KXT On Broadway, 181 Broadway, Cnr Mountain St, Ultimo. kingsxtheatre.com

The Dismissal. Book by Blake Erickson and Jay James-Moody, Music and Lyrics by Laura Murphy, Conceived and Directed by Jay James-Moody. Squabbalogic. From Aug 26. Seymour Centre. seymourcentre.com

Avenue Q. Book by Jeff Marx. Music & Lyrics by Robert Lopez and Jeff Marx. Ballina Players. Aug 29 - Sep 10. ballinaplayers.com.au

Collen McCullough’s Tim. Adapted by Tim McGarry. Christine Dunstan Productions. Aug 31 - Sep 2. Riverside Theatres Parramatta. riversideparramatta.com.au

New South Wales & Queensland

The Crucible by Arthur Miller. The Henry Lawson Theatre, Werrington. Sep 1 - 17. hltheatre.com.au

Queensland

Moulin Rouge! The Musical Book by John Logan, based on the Baz Luhrmann film. Global Creatures. Until Jul 27. Lyric Theatre, QPAC. qpac.com.au

Robin Hood: Care of Sherwood Forest by Sally Daly & Shaeyna Day. Brisbane Arts Theatre. Until Jul 8. artstheatre.com.au

Così by Louis Nowra. Brisbane Arts Theatre. Until Jul 22. artstheatre.com.au

Tiny Beautiful Things. Based on the book by Cheryl Strayed, adapted by Nia Vardalos. Queensland Theatre. Until Jul 8. Bille Brown Theatre. queenslandtheatre.com.au

A Vicar of Dibley ChristmasThe Second Coming. Sunnybank Theatre Group.

Until Jul 8. sunnybanktheatre.com.au

Armed N Dangerous by Len Randall. Tweed Heads Theatre Co. Until Jul 9. Tweed Heads Civic Centre Auditorium. tweedtheatre.com.au

42nd St. Music by Harry Warren, Lyrics by Al Dubin. Book by Michael Stewart and Mark Bramble. Based on the novel by Bradford Ropes. Savoyards Musical Comedy Society. Until Jul 8. Iona Performing Arts Centre, Iona College, Lindum. (07) 3893 4321.

Cinderella The Pantomime. Spotlight Theatrical Company. Until Jul 8. The Basement Theatre, Benowa. spotlighttheatre.com.au

The Importance of Being Earnest by Oscar Wilde. Cairns Little Theatre / Rondo Theatre. Until Jul 9. therondo.com.au

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

On Stage Queensland & Victoria

Blackrock by Nick Enright. Gold Coast Little Theatre. Jul 1 - 22. gclt.com.au

The Cemetery Club by Ivan Menchell. New Farm Nash Theatre. Jul 7 - 29. nashtheatre.com

Halfway There by Norm Foster. Toowoomba Repertory Theatre Society. Jul 11 - 22. Rep Theatre, Toowoomba. toowoombarep.com.au

Cake by Dan Gough and Emma Churchland. IMRSE. Jul 1115. Metro Arts / New Benner Theatre. metroarts.com.au

The Tap Pack. Created by Jesse Rasmussen, Jordan Pollard and Thomas J Egan. Co-created and directed by Nigel Turner Carroll. Kym Halpin in association with SK Entertainment. Jul 12 - 15. Playhouse, QPAC. qpac.com.au

We’re All Mad Here. One Act Plays. Ipswich Little Theatre. Jul 14 - 23. ilt.org.au

The Pirates of Penzance by Gilbert and Sullivan. Noosa Arts Theatre. Jul 20 - Aug 6. noosaartstheatre.org.au

The Voyage of the Dawn Treader by CS Lewis and Glyn Robbins. Brisbane Arts Theatre. Jul 22 - Sep 30. artstheatre.com.au

Killing Katie: Confessions of a Book Club by Tracey Trinder. Centenary Theatre Group. Jul 22 - Aug 12. centenarytheatre.com.au

Romeo and Juliet by William Shakespeare. Sport for Jove Theatre Co. Jul 20 & 21. HOTA, Gold Coast. hota.com.au

One Act Wonders. Javeenbah Theatre. Jul 21 - Aug 4. javeenbah.org.au

Capricorn. Written and directed by Aiden Rowlingson. La Boite. Jul 24 - Aug 12. Roundhouse Theatre. laboite.com.au

Under Milkwood by Dylan Thomas. Brisbane Arts Theatre. Jul 27 - Aug 5. artstheatre.com.au

Monty Python's Spamalot. Book and Lyrics by Eric Idle. Music by John Perez and Eric Idle Jul 27 - Aug 26. Spotlight Theatrical Company, Benowa. spotlighttheatre.com.au

Let Yourself Go! Devised by Kate Peters. Top Hat Productions. Gold Coast Little Theatre. Jul 27 - 30. gclt.com.au

Roller Coaster. Everybody NOW. Aug 3 - 5. HOTA, Gold Coast. hota.com.au

All Shook Up. Book by Jo DiPietro, with the songs of Elvis Presley. Coolum Theatre Players. Aug 4 - 13. coolumtheatre.com.au

The Addams Family. Book: Marshall Brickman and Rick Elice. Music and Lyrics: Andrew Lippa. Phoenix Ensemble, Beenleigh. Aug 4 - 26. phoenixensemble.com.au

Freaky Friday. Music by Tom Kitt. Lyrics by Brian Yorkey. Book by Bridget Carpenter. Based on the novel by Mary Rodgers. Townsville Choral Society. Aug 18 - Sep 2. Townsville Choral Society Hall. tcs.org.au

Mamma Mia! The Musical. Music and Lyrics by Benny Andersson and Björn Ulvaeus. Book by Catherine Johnson. Produced by Michael Coppel, Louise Withers and Linda Bewick. Aug 6 - Sep 24. Lyric Theatre, QPAC. qpac.com.au

Proof by David Auburn. Tugun Theatre Company. Aug 1026. tuguntheatre.org

My Family and Other Animals by Gerald Durrell, adapted by Janys Chambers. Villanova Player. Aug 19 - Sep 3. villanovaplayers.com

The 25th Annual Putnam County Spelling Bee. Book by

Rachel Sheinkin. Music and Lyrics by William Finn. Originally conceived by Rebecca Feldman. Brisbane Arts Theatre. Aug 19 - Sep 30. artstheatre.com.au

Don’t Ask What The Bird Look Like by Hannah Belanszky. Queensland Theatre. Aug 19Sep 9. Bille Brown Theatre. queenslandtheatre.com.au

The Tragedy of Macbeth by William Shakespeare. St Luke’s Theatre Society. Aug 25 - Sep 9. Christ Church Hall, Yeronga. stlukestheatre.asn.au

Tae Tae in the Land of Yaaas! By Nelle Lee. shake & stir theatre co. Aug 25 - Sep 17. Cremorne Theatre, QPAC. qpac.com.au

Yes Yes Yes by Eleanor Bishop and Karen McCracken. HOTA, Gold Coast. Aug 28 - 29. hota.com.au

Victoria & Juliet. Music: Max Martin. Book: David West Read. Until Jul 29. Regent Theatre, Melbourne. andjuliet.com.au

Midnight. Book by Dean Murphy. Music/lyrics by John Foreman and Anthony Costanzo and featuring an exclusive song by Kate MillerHeidke Aspect Entertainment, Sounds Write & Impresario Productions. Ongoing. Comedy Theatre, Melbourne. midnightmusical.com.au

Is God Is by Aleshea Harris. Melbourne Theatre Company / Sydney Theatre Company. Until Jul 15. Southbank Theatre, The Sumner. mtc.com.au

Shhhh by Clare Barron. Red Stich. Until Jul 6. redstitch.net

The Whales of August by David Berry. Malvern Theatre Co. Until Jul 8. malverntheatre.com.au

Continental Quilt by Joan Greening. Williamstown Little Theatre. Until Jul 15.

Williamstown Little Theatre. wlt.org.au

Just a Boy, Standing in Front of a Girl by Jane Miller. 15 Minutes from Anywhere. Until Jul 9. fortyfivedownstairs. fortyfivedownstairs.com

Switzerland by Joanna MurraySmith. Lilydale Athenaeum Theatre Co. Until Jul 15. lilydaleatc.com

My Old Lady by Israel Horovitz. Heidelberg Theatre Co. Until Jul 15. htc.org.au

Proof by David Auburn Geelong Repertory Theatre Company. Until Jul 15. Woodbin Theatre. geelongartscentre.org.au

The Sound of Music. Music by Richard Rodgers. Lyrics by Oscar Hammerstein II. Book by Howard Lindsay and Russel Crouse. Ballarat Lyric Theatre. Until Jul 9. Civic Hall, Ballarat. ballaratlyrictheatre.com.au

The Producers. Music & Lyrics: Mel Brooks. Book: Mel Brooks and Thomas Meehan. Leongatha Lyric Theatre. Until Jul 15. Memorial Hall Leongatha. leongathalyric.com.au

Monty Python’s Spamalot. Book and Lyrics by Eric Idle. Music by John Perez and Eric Idle. Diamond Valley Singers. Until Jul 8. Warrandyte High School Theatre. dvsingers.org

Disney High School Musical 2. Book by David Simpatico. Fab Nobs. Until Jul 9. 33 Industry Pl, Bayswater. fabnobstheatre.com.au

Disney High School Musical Jr. Book by David Simpatico Based on a Disney Channel Movie written by Peter Barsocchini Eltham Little Theatre. Jul 116. Eltham Performing Arts Centre, Research. elthamlittletheatre.org.au

Rogues’ Gallery by John Patrick Shanley. The Butterfly Club. Jul 3 - 8. thebutterflyclub.com

On Stage

Online extras!

Take a peek into the rehearsal room of Is God Is. Scan the QR code or visit youtu.be/tnPQzjgi1Sw

Is God Is the breakout hit from award-winning US playwright

Aleshea Harris is a modern myth about twin sisters on a mission for vengeance, inspired by Spaghetti Westerns, hip-hop and Afropunk. Bold, brash and darkly comic, this explosive play is codirected by Zindzi Okenyo and Shari Sebbens and plays at MTC’s Southbank Theatre, The Sumner until July 15. The co-production with STC will see a follow-up run at Wharf 1 Theatre in Sydney from September 15 to October 21. mtc.com.au

sydneytheatre.com.au

Victoria

Gonzo Magic. Pierre Ulric. The Butterfly Club. Jul 5 - 8. thebutterflyclub.com

Ada by Dora Abraham. La Mama Courthouse. Jul 5 -16. lamama.com.au

This is Living by Ash Flanders. Malthouse Theatre. Jul 7 - 30. Merlyn Theatre. malthousetheatre.com.au

Welcome To Us! The Butterfly Club. Jul 10 - 15. thebutterflyclub.com

66 Stage Whispers

Ross Daniels - Offline. The Butterfly Club. Jul 10 - 15. thebutterflyclub.com

Far Away by Caryl Churchill. Patalog Jul 12 - 30. fortyfivedownstairs, Melbourne. fortyfivedownstairs.com

Romeo and Juliet by William Shakespeare. Bell Shakespeare. Jul 13 - 29. Fairfax Studio, Arts Centre Melbourne. artscentremelbourne.com.au

Giselle. The Australian Ballet. State Theatre, Arts Centre Melbourne. Jul 14 - 22. artscentremelbourne.com.au

The Popular Mechanicals by Keith Robinson, Tony Taylor and William Shakespeare. Encore Theatre. Jul 14 - 22. Clayton Community Centre. encoretheatre.com.au

Shadows of History: The Iridescent Tale of A Woman Erased by Gracie C. Rogers & Ryan J. O'Connor. Someone

New Theatre Company. Jul 1423. Old Geelong Gaol. trybooking.com/CFLGM

The Children by Lucy Kirkwood. Off The Leash Productions. Jul 14 - 29. Neerim South, Stratford, Yinnar and Warragul. offtheleashtheatre.com.au

A Voice for Villains. Stevie McKeon. The Butterfly Club. Jul 17 - 22. thebutterflyclub.com

Bloom by Tom Gleisner. Melbourne Theatre Company.

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

Photo: Pia Johnson.

On Stage

Jul 18 - Aug 19. Playhouse, Arts Centre Melbourne. mtc.com.au

Garage Girls. Written by Candace Miles, Madelaine Nunn and Anna Rodway (Three Birds Theatre) in collaboration with Carolyn Bock and Helen Hopkins (The Shift Theatre). La Mama Courthouse. Jul 19 - 30. lamama.com.au

Life Without Me by Daniel Keene. PEP Productions. Jul 20 - 29. Doncaster Playhouse. pepproductions.org.au

The Semi-clean Slate. The Butterfly Club. Jul 20 - 22. thebutterflyclub.com

Stage Door by Edna Ferber and George S. Kaufman. Aspect Inc. Jul 20 - 29. Shirley Burke Theatre, Parkdale. aspecttheatre.org.au

Telethon Kid by Alistair Baldwin. Malthouse Theatre. Jul 28 - Aug 13. Beckett Theatre. malthousetheatre.com.au

Princess Truffles. The Butterfly Club. Jul 31 - Aug 5. thebutterflyclub.com

Fiddler on the Roof. Music by Jerry Bock. Lyrics by Sheldon Harnick. Book by Joseph Stein. MLOC. Aug 2 - 13. Alex Theatre, St Kilda. mloc.org.au

I Said This To the Bird. La Mama Courthouse. Aug 2 - 13. lamama.com.au

Kerosene & Sirens by Benjamin Nichol. VIMH Aug 2 - 13. fortyfivedownstairs, Melbourne. fortyfivedownstairs.com

Miss Peony Michelle Law. AsiaTOPA, Belvoir St Theatre & QPAC. Aug 2 - 20. Fairfax Studio, Arts Centre Melbourne. artscentremelbourne.com.au

Picnic at Hanging Rock. Adapted from the Joan Lindsay novel by Tom Wright. The 1812 Theatre, Upper Ferntree

Gully Aug 3 - 26. 1812theatre.com.au

Victoria, Tasmania & South Australia

We Wrote Some Plays! By Audrey Farthing, Melissa Forge and Angelo Snell. Essendon Theatre Company One Act Play Festival. Aug 3 - 12. Bradshaw Street Community Hall, Essendon. essendontheatrecompany.com.au

What If Only and Escaped Alone by Caryl Churchill. Melbourne Theatre Company. Aug 7 - Sep 9. Southbank Theatre, The Sumner. mtc.com.au

The Simon and Garfunkel Story. Spiritworks and Tim Woods. Aug 8. Hamer Hall, Arts Centre Melbourne. artscentremelbourne.com.au

Monument by Emily Sheehan. Red Stich. Aug 9 - Sep 3. redstitch.net

Things I Know to be True by Andrew Bovell. Peridot Theatre.

Aug 10 - 20. Clayton Community Centre Theatre. peridot.com.au

The 39 Steps. Adapted by Patrick Barlow from the novel by John Buchan. The Basin Theatre Group. Aug 10 - 20. The Basin Theatre. 1300 784 668

Cactus by Madelaine Nunn. La Mama Courthouse. Aug 1627. lamama.com.au

A Normal Heart by Larry Kramer. Strathmore Theatrical Arts Group. Aug 17 - 26. Strathmore Community Hall. stagtheatre.org

Fracked! Or Please Don’t Use the F-Word! By Alistair Beaton. Brighton Theatre Company. Aug 18 - Sep 2. Brighton Arts and Cultural Centre. brightontheatre.com.au

Charlie and the Chocolate Factory Book by David Greg, music by Marc Shaiman, lyrics by Scott Wittman and Marc Shaiman, based on the novel by Roald Dahl. Songs from the

motion picture by Leslie Bricusse and Anthony Newley. CPAC Musical Theatre. Aug 19 - Sep 2. Cranbourne Community Theatre. cpacmusicaltheatre.com

Moulin Rouge! The Musical. From Aug 23. Regent Theatre, Melbourne. moulinrougemusical.com

My First Bike by Maude Davey. La Mama HQ. Aug 23 - 27. lamama.com.au

Julius Caesar by William Shakespeare. Melbourne Shakespeare Company Aug 24 - Sep 3. fortyfivedownstairs, Melbourne. fortyfivedownstairs.com

The Third Act by Emma Wood. Malvern Theatre Company. Aug 25 - Sep 9. Malvern Theatre. malverntheatre.com.au

The Pirates of Penzance by Gilbert and Sullivan. GSOV. Aug 25 - 27. The Alexander Theatre, Monash University. gsov.org.au

Shrek The Musical. Based on the DreamWorks Animation film. Book and lyrics by David Lindsay-Abaire. Music by Jeanine Tesori. Latrobe Theatre Company. Aug 25 - Sep 2. Gippsland Performing Arts Centre. latrobe.vic.gov.au/gpac/events

Aeroplane Jelly. The Butterfly Club. Aug 25 - 26. thebutterflyclub.com

Becoming Eliza. Starring Anna O’Byrne. Aug 26. Comedy Theatre, Melbourne becomingeliza.com

Tasmania

Festival of Voices. Until Jul 9. Various venues. festivalofvoices.com

At What Cost? by Nathan Maynard. Belvoir. Jul 6 - 8. Theatre Royal, Hobart. theatreroyal.com.au

Interloper. ROOKE Jul 13 & 14, Studio Theatre, Theatre Royal, Hobart, theatreroyal.com.au & Jul 20, Princess Theatre, Launceston, theatrenorth.com.au

Forgotten - The Female Convict Rebellion by Cate Whittaker. Jul 14 - 16. The Playhouse Theatre, Hobart. playhouse.org.au

Let’s Kill Agatha Christie by Anthony Hinds. Hobart Rep. Jul 28 - Aug 12. The Playhouse Theatre. playhouse.org.au

Disney’s Winnie The Pooh by A.A. Milne. Songs by the Sherman Brothers. Life Like Touring and Rockefeller. Aug 4 - 6, Theatre Royal, Hobart. theatreroyal.com.au & Jul 2627, Princess Theatre, Launceston, theatrenorth.com.au

Girls & Boys by Dennis Kelly. State Theatre Company South Australia. Aug 10 - 12. Theatre Royal, Hobart. theatreroyal.com.au

Hiccup. Windmill Theatre Company. Aug 15 - 16. Earl Arts Centre, Launceston. theatrenorth.com.au

JUST Live On Stage by Robin Goldsworthy, adapted from the book by Andy Griffiths & Terry Denton. Red Line Productions / Arts On Tour. Aug 16 - 17. Theatre Royal, Hobart. theatreroyal.com.au

Onefest 2023. Hobart’s One Act Play Festival. Hobart Rep. Aug 25 - 26. The Playhouse Theatre. onefest.com.au

The End of Winter by Noelle Janaszweska. Siren Theatre Co and Critical Stages Touring Aug 30 - 31. Earl Arts Centre, Launceston. theatrenorth.com.au

South Australia

Adelaide Guitar Festival. Jul 116. Adelaide Festival Centre. guitar.adelaidefestivalcentre.com.au

On Stage

Mary Poppins. Based on the book by P.L. Travers and the Walt Disney Film. Music and Lyrics by Richard M. Sherman and Robert B Sherman. Book by Julian Fellowes. New Songs by George Stiles and Anthony Drewe. Jul 1 - Aug 20. Festival Theatre. adelaidefestivalcentre.com.au

The Snail and the Whale. Based on the book by Julia Donaldson and Axel Scheffler. Jul 20 - 23. Dunstan Playhouse, Adelaide Festival Centre. adelaidefestivalcentre.com.au

Priscilla Queen of The DesertThe Musical. Book by Stephan Elliott and Allan Scott, adapted from the film by Latent Image/ Specific Film Productions The Magpie Warblers. Jul 13 - 15. Northern Festival Centre, Port Pirie. countryarts.org.au

2061 - A Space Idiocy by John Mawson and Rob Smith. Tea Tree Players. Jul 13 - 15. teatreeplayers.com

The Flick by Annie Baker. The Stirling Players. Jul 14 - 22. Stirling Community Theatre. stirlingplayers.sct.org.au

The Duck Variations by David Mamet. Galleon Theatre Group. Jul 15 - 16. Domain Theatre. galleon.org.au

Girls & Boys by Dennis Kelly. State Theatre Company South Australia Aug 2 - 5. Dunstan Playhouse, Adelaide Festival Centre. statetheatrecompany.com.au

Mr Bailey's Minder by Debra Oswald. St Jude’s Players. Aug 3 - 12. St Jude’s Hall, Brighton. stjudesplayers.asn.au

ZOOOM. Patch Theatre. Aug 5 - 19. Space Theatre, Adelaide Festival Centre. patchtheatre.org.au

Kissing The Witch by Emma Donoghue. University of Adelaide Theatre Guild. Aug 10 - 20. Little Theatre, The Cloisters, University of

Adelaide. trybooking.com/CECXG

South Australia & Western Australia

Mill Theatre, South Perth. oldmilltheatre.com.au

His Majesty’s Theatre, Perth. artsculturetrust.wa.gov.au

Home I’m Darling by Laura Wade. Therry Theatre. Aug 1726. Arts Theatre, Adelaide. therry.org.au

Euphoria by Emily Steel. State Theatre Company South Australia. Aug 22 - 26. Odeon Theatre. statetheatrecompany.com.au

Così by Louis Nowra. Tea Tree Players. Aug 23 - Sep 2. teatreeplayers.com

Lady Day at Emerson’s Bar & Grill by Lanie Robertson. State Theatre Company South Australia, Belvoir St Theatre and Melbourne Theatre Company. Aug 25 - Sep 9. Space Theatre, Adelaide Festival Centre.

statetheatrecompany.com.au

Noises Off by Michael Frayn. Adelaide Repertory Theatre. Aug 31 - Sep 9. Arts Theatre, Adelaide. adelaiderep.com

Western Australia

The Snow by Finegun Kruckemeyer. Barking Gecko. Until Jul 15. Studio Underground, State Theatre Centre of WA. barkinggecko.com.au

Blueback by Peta Murray. Spare Parts Puppet Theatre. Jul 115. Adapted from the book by Tim Winton. Ellie Eaton Theatre, Claremont Showgrounds. sppt.asn.au

The York Realist by Peter Gill. Garrick Theatre. Jul 6 - 22. Garrick Theatre, Guildford. (08) 9255 3336. taztix.com.au

Seven Little Australians by David Reeves and Peter Yeldham. Stirling Players. Jul 7 - 22. Stirling Theatre, Innaloo. stirlingplayers.com.au

Anything Goes - Youth Edition by Cole Porter, Timothy Crouse and John Weidman. Bel Canto Performing Arts. Jul 7 - 15. Old

Les Misérables by ClaudeMichel Schönberg, Herbert Kretzmer and Alain Boubil. Laughing Horse Productions. Jul 7 - 15. Koorliny Arts Centre, Kwinana. (08) 9467 7118. koorliny.com.au

Much Ado About Nothing by William Shakespeare. Darlington Theatre Players. Jul 7 - 22. Marloo Theatre, Greenmount. marlootheatre.com.au

All Shook Up by Joe di Petro. HAMA Productions. Jul 8 - 23. Crown Theatre, Perth. ticketmaster.com.au

We’ll Always Have Bali by Lily Baitup. Blue Room Theatre and Samantha Hortin. Jul 11 - 29. The Blue Room Theatre, Perth Cultural Centre. blueroom.org.au

Dog Man the Musical by Kevin Del Aguila and Brad Alexander, based on the books by Dav Pilkey. Jul 12 - 16. Octagon Theatre, University of Western Australia. ticketswa.com

One Act Play Season by David Tristram and Edward Albee. Irish Theatre Players. Jul 1216. The Fat Lady Sings in Little Grimley and Zoo Story. Irish Club of WA. 0406 906 553. irishtheatreplayers.com.au

Macbeth by William Shakespeare. Stray Cats Theatre. Jul 19 - 23. Mandurah Performing Arts Centre. manpac.com.au

Otello by Guiseppe Verdi. WA Opera. Jul 20 - 29. An Opera Australia production. His Majesty’s Theatre, Perth. artsculturetrust.wa.gov.au

Jugular Vain by Paul Kerslake. Bunbury Repertory Club. Jul 21 - 30. Bunbury Little Theatre, Eaton. trybooking.com/CGSRV

Yule Be Sorry. Cluedunnit. Jul 21 - 22. Downstairs at the Maj,

The Persians by Aeschylus. Hayman Theatre Company. Jul 25 - 29. Hayman Theatre, Curtin University, Bentley. haymantheatre.curtin.edu.au

Be More Chill by Joe Tracz and Joe Iconis. Art in Motion Theatre Company. Jul 28 - Aug

5. City of Gosnells Don Russell Performing Arts Centre, Thornlie. bit.ly/bemorechill23

The Matchmaker by Thornton Wilder. Murray Music and Drama Club. Jul 28 - Aug 6. Pinjarra Civic Centre. (08) 9255 3336. taztix.com.au

The Hypotheticals by Jeffrey Jay Fowler and Sarah Reuben. The Last Great Hunt. Jul 29 - Aug 5. Studio Underground, State Theatre Centre of WA. artsculturetrust.wa.gov.au

A Chorus Line by Marvin Hamlisch, Edward Kleban, James Kirkwood Jr and Nicholas Dante. Drew Anthony Creative. Aug 2 - 27. The Royale Theatre at Planet Royale, Northbridge. drewanthonycreative.com.au

Sydney II: Lost and Found by Jenny Davis. Theatre 180. Aug 4 - 13. Koorliny Arts Centre & Windsor Cinemas. theatre180.com.au

Koolbardi wer Wardong by Gina Williams and Guy Ghouse. WA Opera. Aug 4. Bunbury Regional Entertainment Centre. waopera.asn.au

The Rocky Horror Show by Richard O’Brien. Aug 5 - 20. Crown Theatre, Perth. rockyhorror.com.au

High School Musical by David Simpatico and Peter Barsocchini. Holy Cross College. Aug 8 - 12. Strathmore Parkway, Ellenbrook. holycross.wa.edu.au

Present Laughter by Noël Coward. Roxy Lane Theatre,

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

On Stage

Western Australia

Online extras!

See the characters of Disney’s Winnie The Pooh brought to life. Scan or visit vimeo.com/649068862

Disney's Winnie the Pooh: The New Musical Stage Adaptation brings to life the iconic Hundred Acre Wood with life-size puppetry, gorgeously hand-crafted set pieces, and a sweeping score featuring beloved music old & new. Following successful US and UK runs, the show will tour Australia from July 7 to October 1. winniethepoohshow.com/australia

Maylands. Aug 10 - 27. Classic comedy. (08) 9255 3336.

Marriage is Murder by Nick Hall. Serial Productions. Aug 11 - 26. Old Mill Theatre, South Perth. trybooking.com/CIFHZ

Same Time Next Week by Scott McArdle. Presented by Nick Pages Oliver and Scott McArdle. Aug 15 - Sep 2. The Blue Room Theatre, Perth Cultural Centre. blueroom.org.au

Catastrophes by Renée Newman and Ella Hetherington. PICA, Perth Institute of Contemporary Arts. Aug 16 - 26. PICA - Perth Cultural Centre. pica.org.au

Twelfth Night by William Shakespeare. Bell Shakespeare. Aug 16 - 19. Heath Ledger Theatre, State Theatre Centre of WA. artsculturetrust.wa.gov.au

Ladies Who Wait by Yvette Wall. Off the Wall productions. Aug 17 - 26. Subiaco Arts Centre - Studio. artsculturetrust.wa.gov.au

The 39 Steps by Patrick Barlow. Goldfields Repertory Club. Aug 18 - Sep 2. The Rep Club, Kalgoorlie. goldfieldsrepclub.org.au

Into the Woods by Stephen Sondheim and James Lapine. Stage Left Theatre. Aug 18Sep 2. Stage Left Theatre, Boulder. stageleft.org.au

Extraordinary Auspol by Dean Lovett and David Cox. BS Productions. Aug 22 - Sep 9. The Blue Room Theatre, Perth Cultural Centre. blueroom.org.au

Winnie the Pooh by A.A. Milne and Sherman Brothers. TEG, Life Like Touring, Rockefeller Productions and Disney

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Theatrical Productions. Aug 23 - 24, Mandurah Performing Arts Centre; Aug 25 - 26, Bunbury Regional Entertainment Centre & Aug 29 - Sep 3, Regal Theatre Perth. winniethepoohshow.com/australia Pull the Other One by Norman Robbins. Rockingham Theatre. Aug 25 - Sep 3. The Castle, Rockingham. rtcrockingham.com

Witness For the Prosecution by Agatha Christie. KADS. Aug 25 - Sep 9. KADS Town Square Theatre, Kalamunda. kadstheatre.com.au

Little Shop of Horrors by Alan Menken and Howard Ashman. Melville Theatre. Aug 25 - Sep 16. Main Hall, Melville Civic Centre, Booragoon. (08) 9255 3336. taztix.com.au

Murder at the Manor. Cluedunnit. Aug 25 - 26. Downstairs at the Maj, His Majesty’s Theatre, Perth. artsculturetrust.wa.gov.au

Les Misérables by Alain Boublil and Claude-Michel Schönberg. Esperance Theatre Guild. Aug 25 - Sep 9. Bijou Theatre, Esperance. thebijoutheatre.org.au

Tomorrow Generator 2023 by various authors. WAAPA Second Year Performance Making. Aug 29 - Sep 2. Edith Spiegeltent, WAAPA, Edith Cowan University. (08) 6304 6895. waapa.ecu.edu.au

The Princess and the Showgirl (Adriana Lecouvreur by Cilea). Freeze Frame Opera. Aug 31Sep 3. Fremantle Town Hall. freezeframeopera.com

Reviews

Happy Days

By Samuel Beckett. Melbourne Theatre Company. Southbank, The Sumner. May 1 - Jun 10.

BECKETT’S Winnie is buried up to her waist in a mound of earth. Despite this, she is relentlessly, absurdly upbeat. ‘Oh, this is a happy day,’ she repeats. But she corrects, ‘This will have been another happy day. After all. So far.’

Fans of Judith Lucy may be surprised. Her Winnie could not be more different and she plays the role brilliantly. She gets the apparently random rhythms of the text where one cliché seems to follow the next. Yes, there’s direction from Petra Kalive and voice coach Amy Hume, but Lucy is inside the text: every joke, every innuendo salacious or otherwise every subversive cultural quotation, every plea to husband Willie (Hayden Spencer) for attention, every regret…

Winnie keeps to her rituals and her chatterbox monologue, occasionally directing a remark or a question to porcine husband Willie (Hayden Spencer). We glimpse him below on the slope of the mound behind her, wearing that English seaside knotted handkerchief and a straw boater. He rarely answers, except to grunt or blurt a phrase from his newspaper.

The light is unrelentingly harsh. Behind Winnie’s mound, a treeless desert vista stretches away to the horizon under a hot shimmering sky. In Act II, things are

worse. The bizarre setting is designed by Eugyeene Teh, following Beckett’s customary directions.

At the first London production in 1962, Kenneth Tynan a Beckett supporter wrote that the play is ‘a metaphor extended beyond its capacity.’ I have to agree, despite Beckett’s sly or broad comedy, his verbal dexterity, his understanding of what some humans will do, when fighting off despair. Nevertheless, a string of prestigious actresses since 1961 to the present have played Winnie, undaunted by what amounts to a ninety-fiveminute monologue. Lucy’s interpretation of Winnie can certainly stand in their company but then comedians know how to play the audience.

Michael Brindley

Beauty And The Beast

Music by Alan Menken Lyrics by Howard Ashman and Tim Rice Book by Linda Woolverton Disney Theatrical Productions. Capitol Theatre, Sydney. Opening night: Jun 22.

BEAUTY and the Beast has been given a digital makeover, which prompted an almost unheard of (in Australia) standing ovation during the middle of the musical.

The catalyst for the eruption of appreciation was the rendition of “Be Our Guest”, when the humans trapped as furniture put on a lavish extravaganza of appreciation for the Beast’s prisoner Belle.

The original Broadway and Australian production had all sorts of edible delights and cutlery dancing around. In

Online extras!

The cast and creatives discuss Happy Days during rehearsals. Scan or visit youtu.be/dMfK-7GGxH8

Judith Lucy in MTC’s Happy Days

Photo: Pia Johnson.

this new foodless rendition, there is complex geometrical choreography (reminiscent of American director Busby Berkeley and an Esther Williams synchronized swimming movie sequence) amplified by projection that was breathtaking.

The digital makeover and magic tricks give the musical a sparkling fresh lick of paint to satisfy anyone who has seen the musical before and of course dazzle those new to the work. One patron told me he had his “money’s worth” in the first ten minutes.

You can feel the ripples of appreciation of an audience familiar with the musical – welcoming back friends.

Rohan Browne, as the candelabra Lumiere, and Gareth Jacobs, as the clock Cogsworth, received a murmur of appreciation when they walked onto the stage, and carved up their roles with panache alongside all the other assorted delightful characters of the castle Jayde Westaby (Mrs Potts), Hayley Martin (Babette), Nick Cox (Le Fou) and Alana Tranter (Madame).

Jackson Head as the chief jerk Gaston had very impressive biceps and his fitness was tested working though the new energetic choreography from Matt West.

Shubshri Kandiah was a radiant Belle and Brendan Xavier a convincing Beast. They had a strong chemistry on stage and their voices, both with a controlled vibrato at the end of their phrases, were well matched.

Beauty and the Beast is set for a long and glorious return around Australia.

David Spicer

Pony

By Eloise Snape. Griffin Theatre Company. SBW Stables Theatre. May 12 - Jun 17.

ELOISE Snape’s debut play about the fears and nightmares of pregnancy should be required viewing for all maternity classes, if only for its hilarity.

Hazel is a wildchild, delighting in reality TV shows, male strippers and drunken promiscuity, but her biological clock is ticking loudly. Luckily, she lands a patient husband, and so begins nine months of intense anxiety about her capacity to be a Mum and the failures of her own family.

Briallen Clarke is the irascible Hazel and also plays the two dozen or so characters who cross her journey from an over extended childhood to motherhood. She’s a whizz creating quick sketches of one-night stands and strippers, doctors and nurses, Hazel’s exasperated best friend and her well-whiskyed Granny, and the Mum she blames for her Dad’s escape years before.

Solo on the pocket-sized Griffin stage, Clarke triumphs in building a shared irony with her audience, unforced, natural and gutsy. Against a glittering backdrop, only a large showground pony shares her space, matching her rhinestone cowgirl costume.

Director Anthea Williams makes full use of Isabel Hudson’s dazzling production design and Verity Hampson’s quick lighting changes, to artfully move the focus. And Clarke changes scenes and characters with the flick of her head.

Shubshri Kandiah and Brendan Xavier in Disney's Beauty and The Beast the Musical

Photo: Daniel Boud.

Whether pregnant or otherwise, we all face the uncertainty, even anguish of moving unpredictably through life’s new chapters, and Snape’s ending reminds us of how we are bound by birth and death. She could edit down some of Hazel’s busy chapters but it’s a riotous ride.

Martin Portus

Comedians Auditioning For Musicals

Adelaide Cabaret Festival. Space Theatre. Jun 11.

THE opening sforzando of Les Misérables’

‘Confrontation’ opens the show, the commanding singing voices of our hosts Michelle Braiser and Ben Russell offset by their valiant attempts not to take it too seriously. Braiser is a bold Valjean; Russell a straight-faced Javert.

VCA Vicky Christina Aguilera (Braiser) is auditioning for an amateur musical, along with the director, her ex-husband Sir Robert Nida (Russell), who tells us he taught ‘Cate to Blanche-it’. Our nervous auditionees are chosen from the vast array of talent performing in the Adelaide Cabaret Festival.

First up is Virginia Gay, who bravely continues the Les Mis theme with Javert’s ‘Stars’. It might be played for laughs, but Gay has a good voice for the single-minded police inspector. Zachary Ruane channels his anxiety in performing Chicago’s ‘Mr Cellophane’; the irrepressible Reuben Kaye enlightens us on Disney’s not-so-secret agenda and sings a cheeky ‘Poor Unfortunate Souls’ from The Little Mermaid; and Eddie Perfect delivers a wonderful version of Oklahoma!’s ‘I Can’t Say No’.

Trevor Jones arrives on stage in a tiger suit to audition for Cats as Delta Goodrem the role of Grizadelta. His mash-up of ‘Memory’ and ‘Born to Try’ is brilliant in concept and voice. Even the talented accompanist, Gillian Cosgriff, gets in on the act, revealing her fabulous voice through choral harmonies created with the aid of a loop pedal.

A thoroughly enjoyable and wonderful demonstration of how good cabaret can reward and uplift.

Mark Wickett

Jacky

By Declan Furber Gillick. MTC Next Stage Writers’ Program. Melbourne Theatre Company. Arts Centre Melbourne, Fairfax Studio. May 22 - Jun 24.

JACKY dramatises an abiding and just now very contemporary issue: the place of indigenous people (and their culture) in a whitefella dominated, post-colonial society.

The eponymous Jacky (Guy Simon), a clean-cut, young Aboriginal bloke, has left the ‘mish’ (mission) and his family, and come to the big city where he’s determined to fit in and buy his own place the reason why he is a gay sex worker. His life is thrown into disarray by the arrival of his brother Keith (Ngali Shaw) bursting with energy and chiacking humour but also alienated and angry.

Jacky’s the protégé of white Linda (Alison Whyte) who runs a community support organisation and is trying to

expand to include urban indigenous people. Then there’s Glen (Greg Stone), whose fantasy is ‘big, black cock’ and so he chooses Jacky to act this out…

Jacky runs an hour and forty minutes, but director Mark Wilson (also dramaturg with Jennifer Medway) maintains a cracking pace with smooth transitions aided by Christina Smith’s simple but clever set design: an Irish pub, Jacky’s apartment and the hotel room where Jacky and Glen meet for sex.

Jacky is a man with a foot in two camps, halfsucceeding in whitefella society but as a deracinated black rent boy and a ‘performer’ of indigenous culture via dance. For Linda, he’s the indigenous guy she can show off to ‘investors’. And for Glen, Jacky is the vehicle for his racist ambivalence, his sexual fantasies of dominating and being dominated.

Jacky manages to be hugely entertaining and deeply serious at the same time. Furber Gillick skilfully and without being didactic mines the contradictions, and the racism conscious and unconscious of Australia. There were cheers and loud applause at the end for a supposedly optimistic finish but it too, in keeping with the rest, is deeply ironic.

Michael Brindley

Do Not Go Gentle

By Patricia Cornelius. Sydney Theatre Company. Roslyn Packer Theatre. May 23 - Jun 17.

IT takes a while to be fully on board Patricia Cornelius’ play as she follows the icy tracks of Robert Scott and his doomed team trudging to the South Pole in 1911.

By the time Scott arrives there, just beaten by the Norwegian explorer Amundsen, Do Not Go Gentle is an articulate, compelling and beautiful exploration of the challenges, regrets and dreams of old age.

Cornelius’ genius metaphor is in the four geriatric explorers, all aches and doubts as they follow Philip Quast’s blundering if heroic Scott. It’s such an accomplished cast, with veterans Peter Carroll, idealistic but now always grizzling, and John Gaden as Oates, locked down and haunted by a lost son.

Vanessa Downing is gloriously funny as the hockeysticks optimist Wilson, who with Scott discovers a late lust and love. Brigid Zengeni however avoids all talk of intimacy.

Wandering across Charles Davis’ impressive glacier setting are the illusory figures of Josh McConville’s near naked Man Beast and Maria, a European émigré who has lost her country. An unresolved character, Maria is still well-conjured by opera soprano Marilyn Richardson, who may be 87 but sings charismatically amongst the ice of impending death.

Paige Rattray’s direction through the absurdism and wild nature is artful, even sublime, but early scenes on the trek are oddly exclamatory and static. The cast is wellsupported by Davis’ super realistic Antarctic wear, and his white set is expressively coloured by Paul Jackson’s

Reviews

Online extras!

Check out a sizzling preview of Ensemble’s Clyde’s. Scan or visit https://youtu.be/LwrWDX35FTQ

lighting, and punctuated by James Brown’s jarring and swooning sound.

This is ultimately a rich tale of life’s traps and possibilities.

Martin Portus

Clyde’s

By Lynn Nottage. Ensemble Theatre, Sydney. Directed by Darren Yap. May 5 - Jun 10.

IT’S extremely unusual for the Ensemble to feature an American play that opened on Broadway only 18 months ago. But ever-on-the-alert play selectors for this excellent Sydney venue have certainly hit the jackpot with Clyde’s, a zippy piece by two-time Pulitzer Prize winner Lynn Nottage.

Set in the kitchen of a greasy-spoon diner whose patrons are truckers making the long haul across Pennsylvania, owner Clyde and her four backstage workers are all ex-cons and desperate. Hungry truckers only order sandwiches here, it seems, so the hunt is on for the most creative and best-presented stuff between two slices of bread.

In a strong cast, Clyde herself (played with abundant aggressive attack by Nancy Denis) reigns supreme in the kitchen, towering over her craven staff single-parent Letitia (Ebony Vagulans), touchy Rafael (Gabriel Alvarado),

thoughtful Montrellous (Charles Allen) and multi-tattooed Jason (Aaron Tsindos). She enters and exits with orders, humiliating her workers, who put up with her browbeating for fear they’ll be back in the slammer.

Directed by Darren Yap, the play zips along, with costumes and setting by Simone Romaniuk. If occasionally seeming like a sitcom-in-the-making with a weekly swinging door of short-order cooks the play leads its characters on an optimistic path of redemption. And it brought the Ensemble house to a long, full-on standing ovation.

Frank Hatherley

The Wolves

By Sara Delappe. WAAPA Third Year Acting. Directed by Anna Houston. Enright Studio, WAAPA, Edith Cowan University, Mt Lawley, WA. May 18 - 20.

WAAPA Third Year Acting Students split for the latest performance seasons. The women appeared in this production of The Wolves, with male classmates performing in Fatherland. Directed with precision by Anna Houston, The Wolves follows a teenage girls’ indoor soccer team over a six-week period.

Identified only by the numbers on their uniforms, 16 and 17-year-olds deal with both trivial and huge issues as their friendships and relationships change over their

Nancy Denis and Gabriel Alvarado in Ensemble Theatre’s Clyde’s Photo: Prudence Upton.

season and we are drawn into their emotions as they deal with unexpected tragedy.

Set and costume designer Bec Simpson’s artificial grass set clearly places us in a suburban rec centre and her costume design is functional and appropriate. Dusan Nikora's lighting suits both location and emotional arcs, with Brendan Dietrich’s sound design effective and supportive.

Lila McGuire as #0 stood out in the pack. With probably the lowest line count, Lila was compelling as this young woman with crippling social anxiety, and was completely committed to character whether speaking or not. Tess Bowers was believable as the captain, #25, Aida Bernhardt was lovely as home-schooled outsider #46.

Ruby Henaway demands attention as queen bee #7, with Kelsey Jeanell showing depth as her bestie #14. Lauren McNaught shows lovely subtlety as #13 struggling to make sense of her relationships.

Estelle Davis is sweet and genuine as the bright #11 lovely to watch. Lucinda Smith is endearing as #2, while Elyse Phelan again displays natural comic skills as #8.

The Wolves is a tender and clever production that shows the stretch and strength of the women in this Acting cohort. Simply a joy to watch despite its often dark storyline.

Kimberley Shaw

The Hunchback Of Notre Dame

Music by Alan Menken. Lyrics by Stephen Schwartz. Book by Peter Parnell. Blackout Theatre Company. Pioneer Theatre, Castle Hill. May 19 - 27.

THE Hunchback of Notre Dame is dark. Expect the awful side of humanity.

The story revolves around the entwined lives of three men of Notre Dame Claude Frollo (Joshua Rogers), Quasimodo (Matthew Herne) and Phoebus.

Herne plays Quasimodo as the grown child hidden amongst bells. It is painfully sad when you realise his playmates are merely the inner dialogue of a lonely man. Herne switches between two different versions of Quasimodo his solitary existence changes to a life with a limited body and voice when the world sees him. Herne gives a brilliantly moving, compelling performance. You need tissues, especially during “Made of Stone”.

Claude Frollo is not a typical villain. The complex, layered role has a subtle descent into fanatical madness. The depth Rogers has created complicates our desire to detest him. He is such a powerful Frollo, commanding the stage terrifyingly. Vocally he is stunning. Watch for the showstopper “Hellfire”.

Phoebus meets Frollo when we are not sure of either character. Is Frollo on edge but not entirely toppling? Is Phoebus a good guy? Phoebus and Frollo become hero and villain when both fall in love with the same woman,

Online extras!

Watch a teaser for The Hunchback Of Notre Dame. Scan the QR code or visit fb.watch/lkYATxsYPn

Matt Herne in Blackout Theatre’s The Hunchback Of Notre Dame

Photo: Maria Gorelik.

gypsy Esmeralda (Dylan Hayley Rosenthal). Phoebus chooses genuine love, while Frollo delights in his sin of falling in lust.

Rosenthal’s raw vulnerability and passion shone in “God Help the Outcasts”. Her performance combined soft and kind with fierce and powerful.

In John Hanna’s multipurpose set, staircases and pillars depict Notre Dame, always there watching over her city, her bells hanging high above the stage. Housed in a lower level, the choir sometimes interacts as part of a crowd scene, but is mostly a static presence.

Beneath the darkness is a beautifully haunting score with some big songs. The choir do a lot of heavy lifting, with glorious sounds filling the theatre. MDs Koren Beale and Alvin Mak led perfectly, while Kieran Beale mixed the show phenomenally, blending a big orchestral sound and, at times, 40 singers, superbly.

Katie Griffiths' costume design plot was the icing on the already stunning show, reminiscent of the movie and just the perfect fit.

Alongside their massive team, directors Cierwen Newell and Luke Quinn have created a sure-fire hit for Blackout.

Nicole Smith

That’s What She Said

By Josephine Gazard. Director Suzanne Millar. Crisscross

Productions. The Vault at KXT on Broadway. May 6 - 29.

THERE is no theatre more important than that which exposes wrong and inspires reaction.

When it’s written and performed by the protagonist themself, it can be confronting and often raw which is not necessarily always good theatre. Not so with this piece. Josephine Gazard has taken it through 65 drafts until it is good theatre.

Gazard was raped in her first term at university. On campus. In her own room. She writes about the shame, the guilt, the isolation, the trauma. But she also writes about her grit and determination: to report the assault; to expose the perpetrator. To let other survivors know they are “worthy…and have a voice…that no one can take away”.

Suzanne Millar directs Gazard with understanding and care, in a space that is contained but allows the changes in movement that take her from eager student, to lost victim facing many questions. Gazard pared an interview with a college official to answers alone, many of them simply “I don’t know.” Clever restrained writing that is beautifully timed in performance.

Lighting designer Aron Murray ensures that the effects are equally restrained. Shadows haunt the story; patches of light justify courage and the beginning of hope.

Gazard joins others who have exposed sexual assault in a carefully crafted piece of theatre that tells its message compellingly.

Carol Wimmer

PERFORMING ARTS MAGAZINE

JUL/AUG 2023. VOLUME 32, NUMBER 3

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Contributors: Cathy Bannister, Anne Blythe-Cooper, Michael Brindley, Kerry Cooper, Rose Cooper, Ken Cotterill, Bill Davies, Coral Drouyn, Jenny Fewster, Kitty Goodall, Peter Gotting, John P. Harvey, Frank Hatherley, Barry Hill, Jude Hines, Beth Keehn, Fiona Kelly, Tony Knight, Debora Krizak, Neil Litchfield, Ken Longworth, Rachel McGrath-Kerr, Mel Newton, Peter Novakovich, Peter Pinne, Martin Portus, Suzanne Sandow, Kimberley Shaw, David Spicer, Mark Wickett, Geoffrey Williams and Carol Wimmer.

More reviews can be found at stagewhispers.com.au/reviews Stage Whispers 75

When I’m 64

Comedian and writer Ben Elton has made his West End debut at the age of 64, appearing on stage as the rebel leader in a revival of We Will Rock You, which he is also directing.

As I am the proud agent for the musical, I scored an exclusive interview with the proud dual Australian/British citizen.

DS: What tempted you to appear in We Will Rock You?

BE: “It’s the main comedy role and when Brian, Roger and I were discussing who to offer it to for the Coliseum, my name kind of suddenly came up! I’ve rehearsed it with other actors so often they said, “time you gave it a go” and I thought why not?”

DS: How have you found the experience of being in a full musical? Is it harder than a stand-up gig?

“If I wasn’t directing it as well, I think I would have loved every minute of it but wearing two hats has been hard. I find I’m on stage thinking about lighting and other actors’ performances and nearly miss my own cues!”

DS: As the writer do you have a licence to ad lib - or do you have to (Poo-bah like) run it by the Director?

BE: “Yes, I do to a certain extent, certainly more than I would allow other actors, but I’m very careful indeed not to mess with other characters’ cues or imbalance the scene. I did it a lot in rehearsal but not now we’re running.”

DS: What notes as Director do you give yourself an actor?

BE: “Don’t over act! It’s my tendency but Pop is a big mad character so it’s good to play it big.”

DS: Do you have any ambitions to appear in more musicals in the future? What would you like to have been in?

BE: “Ha ha! Maybe? I played The Artful Dodger in Oliver! twice in Am Dram when I was a teenager, so maybe it’s time for my Fagin!”

DS: How is the theatre scene in the West End? Is it out of the doldrums?

BE: “Absolutely! It’s vibrant and exciting.”

DS: Where do you consider home now Australia or England?

BE: “Both, as I have done for 35 years. It’s not very convenient but it’s a great privilege to be so closely connected to two wonderful countries.”

DS: Have you been asked around for tea and scones by King Charles yet?

BE: “No, the invite must have been lost in the post but in a couple of weeks I will be appearing with Judi Dench at Hampton Court Palace in front of Queen Camilla for her Literacy campaign.”

My interview was conducted on the morning of the press opening. In a moment to make any We Will Rock You producer in the past green with envy, the actual Brian May turned up to play ‘Bohemian Rhapsody’ on the guitar. Please don’t call me and say, “Is Brian May available to do ‘Bohemian Rhapsody’ at Barnhill Town Hall we would be so honoured.”

On behalf of all amateur and school productions, I was honoured to meet Brian and had an audience with him that lasted a whole 93 seconds when I was squeezed backstage at a Queen and Adam Lambert concert watched closely by his bodyguard.

In a preamble to the show, Elton’s rebel leader talked about some of the less flattering reviews of the original production.

Unfortunately, I don’t have the space in this column to quote from those old reviews and the new ones (which are…ahem…similar.)

In the great tradition of selective quotes from reviews, I note that the Guardian critic wrote, “It is still plain to see why the show endured for its original 12-year run at the Dominion: the songs transcend their context and keep their rousing, big stadium sound.”

We Will Rock You is on stage at the London Coliseum until August 27.

David Spicer

Musical Spice

Elena Skye, Ben Elton and Ian McIntosh backstage at We Will Rock You

Photo: Dave Hogan.

Ben Elton in We Will Rock You Photo: Dave Hogan.