The July/August edition of Stage Whispers has rolled around again, and with it our showcase of training opportunities in the Performing Arts across Australia, featuring articles exploring disciplines as diverse as acting, dancing, design and musical theatre.
I encourage the Performing Arts teachers who are receiving this magazine to share it with your students who are contemplating a career in the Performing Arts. The course related articles in this edition will receive an encore publication, alongside an extensive directory of courses, in our free annual Performing Arts Course Guide, available from mid-July at stagewhispers.com.au/training.
Just over 50 years ago, as an HSC student, I knew that I wanted to study drama and theatre studies. While my choices were limited in those days, I became aware that there was a great School of Drama at the University of NSW, so armed with a teaching scholarship I headed off to Kensington in 1973 to major in Drama as part of my BA.
Online extras!
Stage Whispers TV got a sneak preview performance of Chicago at the Capitol youtu.be/mHoLEqonCS4
Not having a course guide in 1972, or Drama teacher, ironically it was my Geography teacher (also an accomplished pianist and accompanist in his own right, married to an opera singer) who pointed me in the direction of my future studies.
Up the hill, of course, in its original home (a remnant of the racecourse which formerly occupied the UNSW site) was NIDA, where we saw wonderful performances by the coming generation of Australian actors.
The closest I would come to studying there, though, would be many years later at the current NIDA campus, at some of their wonderful Summer School courses, and the Association of Community Theatre workshops which NIDA hosted, like the one scheduled for September this year. Visit the website communitytheatre.com.au for more details.
Ahead of me has stretched a lifetime of Community Theatre performing and directing, high school Drama teaching, school musicals, and now editing Stage Whispers, none of which I truly imagined at 18, sitting, eating my lunch on the Drama lawn at UNSW, eagerly anticipating my first Drama tutorial.
But those of you who have already embarked on your careers, or prefer a comfy seat in the audience, settle back, there’s plenty more in store for you.
Yours in Theatre,
NeilLitchfield Editor
Cover image: Casey Donovan as Deloris Van Cartier in Sister Act The Musical Read Nicole Smith’s interview with Casey and her stage stalwart co-star Rhonda Burchmore on page 8.
Photo: Benny Capp.
Anthony Warlow checks out what the cast of Chicago are up to in Stage Whispers.
From Australian Idol to the convent, Casey Donovan is taking the leap into a lead role. Nicole Smith speaks to the entertainer and co-star Rhonda Burchmore, both celebrating decades in the limelight.
Casey Donovan and Genevieve Lemon in Sister Act The Musical Photo: Benny Capp.
Casey Donovan has made a habit of capturing the nation’s heart. As a teenager she rose to fame as the winner of the second season of Australian Idol in 2004. Twenty years later she will do it again, as one of the ‘90s beloved movie characters in a show where Sisterhood meets show business, the heart-warming and uplifting musical Sister Act
Nominated for five Tony Awards, including Best Musical, and gaining six Olivier nominations, Sister Act premieres in August at the Capitol Theatre, Sydney ahead of seasons in Melbourne (Nov) and Brisbane (Feb).
Donovan is at the helm, stepping into the famous habit as Deloris Van Cartier the role made famous by Whoopi Goldberg the spirited nightclub singer with a penchant for trouble. When Deloris witnesses a crime and seeks refuge in a convent, hilarity ensues as she transforms the lacklustre choir of nuns into a powerhouse of heavenly voices.
It’s twenty years on since we met the 16-year-old Donovan during her Australian Idol journey, where she was crowned Queen for the first time, taking out the coveted first.
“Someone put a picture up yesterday saying it was 20 years to the day we all auditioned, and I went, oh my goodness!” Casey Donovan says
with a rich, full laugh. “As Guy Sebastian says, it has been a long and winding journey! Looking back, I never thought I would be playing Deloris. I’m excited and can’t wait to get it on the floor and see how she feels.”
Her powerful voice and infectious personality endeared her to audiences, paving the way for a successful career in the entertainment industry. Over the last two decades, she has showcased her versatility as a performer, from singing pop hits to musical theatre productions.
Donovan has worn a few crowns since 2004 including Queen of the Jungle (I’m a Celebrity Get Me Out of Here). Now, she will be the queen of the stage in her first leading role as she takes the leap of faith and dons the habit. “I’m excited for what this show will bring. I get to step into the leading lady light and embrace it. This is what I have been working towards in this musical theatre career that I have stumbled into but loved every minute of.”
When I spoke to Donovan, she was playing her final performances as Nurse in & Juliet. “There is a line in & Juliet where Nurse says, ‘being a nun is a lot of fun’; I started giggling at that line before I could officially
Cover Story
announce it,” she says referring to her upcoming role.
With a two-week break to rest between her final shows as Nurse and the start of Sister Act rehearsals, Donovan planned to switch off the phone as she gets ready to get into the habit. “I am excited to make a switch from nurse to nun. I have started to listen to the soundtrack on Spotify, get the music in my body, listen to the melodies, the rhythms, the pitch, and how I put my spin on it,” she said.
Behind the music for the show is composer Alan Menken, whose songs and scores have become an integral part of our lives since his first works were produced nearly 40 years ago. With stage musicals Little Shop of Horrors, Beauty and the Beast, The Little Mermaid, Aladdin, and The Hunchback of Notre Dame, Sister Act is in good company.
“We are all familiar with the storyline, but with new music by Alan Menken, who has written songs I grew up with and loved, he has encapsulated Motown, disco, and this show’s soul and essence, and I can’t wait.”
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Deloris van Cartier requires a performer who can command the stage with charisma and charm. Donovan plans to bring her unique blend of wit and vulnerability to the iconic role. “I am jumping into those shoes delicately, but also very heavyfooted, which Deloris very much is.” But she is still working on some parts of the character. “I think one of the things I took away from the audition process is to be a little sassier. They said ‘Casey, you’re too kind You need to be a little more sass.’ So I’ve been working on that.
“I love the rehearsal period, where you start to build and create the character. After hearing and watching the actors on Broadway and in the West End, I’m very much looking forward to trying a few new things”.
Growing up, the movie Sister Act was one of her favourites.
“It’s one of those movies that you put on, and you know it word for word, and you still sit there smiling and enjoying yourself like no time has passed. Keeping that essence of the truth and honesty of a character is very important when replicating and recreating a role that is so famous. We all love Whoopi Goldberg and know that she created Deloris. I am hoping to bring those memories to the audience as well”.
The sense of community in Sister Act is portrayed through a diverse cast
of characters who come together through their shared love of music and commitment to supporting one another. It is also an opportunity to spotlight diversity and representation in our entertainment industry.
“It’s amazing that in the last few shows I have been able to do, powerful female protagonists have led the cast. To be in another show with strong, talented women is such a joy, and it embraces women of all ages, sizes, and sexualities. It is going to be beautiful.”
The ensemble nature of the show underscores the idea that through collaboration and mutual respect, a group of individuals can come together to create something extraordinary.
Donavan also looks forward to working with Rhonda Burchmore, who plays Sister Mary Lazarus.
The respect is mutual from Burchmore.
“She is great fun and super talented, and I cannot wait to hear that glorious voice of hers.”
Burchmore is also wrapping up another performance in Cabaret de Paris
“I love jumping from one thing to another, and who would have in a million years thought I would have been jumping into the habit! People’s reactions have been, Oh my god, this is the best casting ever!” she laughs.
“From the ultimate showgirl ensemble, which includes feathers, heels, and all the bling, to Sister Mary Lazarus in a very, very plain woollen habit and sensible shoes, is quite something. I love that they have cast completely against type. It excites me to play against what people usually perceive I would do.”
But she is looking forward to a particular aspect of the costume.
While Sister Act celebrates the transformative power of music and the importance of coming together as (Continued
“We have performed many charities and galas, though I have never worked with her in a musical capacity. I have heard glowing reviews that she is the consummate performer, and I love that. She is full of life and fun and doesn’t take anything too seriously. She has paved the way for young women just to be able to come along and do our jobs. Like Genevieve Lemon (in the role of Mother Superior). They are the trailblazers, and we have been able to follow in their footsteps. I am very much looking forward to having a lot of laughs.”
“I’m celebrating 42 years in the business, and it has always been the high heels and the corsets and showgirl glamorous; this is not glamorous! It is the most comfortable thing I have ever put on, and the shoes are like heaven on my feet. The bunions love it! The maintenance is low. I won’t have to wear wigs or all the make-up and high heels,” she adds. “I’m sold with that!”
a community to support one another through life’s challenges, it highlights the enduring message that anything is possible through unity and shared passion. It is a show that embodies the theme of joy and community that the arts create as Sister Deloris van Cartier undergoes a transformative journey from a reluctant nun to a confident leader.
Burchmore’s Sister Mary Lazarus also has her own journey.
“She is the head of the choir until Dolores comes along. My character is the most uptight of them all initially, but there is a wonderful journey for her to grow from this. There is a fun side of her that comes out in the second half of the show.” And there is a challenge for the veteran performer of 42 years. “I get to do a rap in Latin, which is quite something!”
Burchmore has also enjoyed getting to know the music.
“The score is extraordinary, and the tunes are so catchy they run around in my head all day. There is a great sense of excitement about this show. After coming off Hairspray last year and playing Ms Baltimore Crabs, I redeem myself with this one. I think people will embrace it. It is the sisterhood and joyful sound when all those voices get together.”
The theme of joy is evident throughout Sister Act as the characters discover the power of music and unity in the face of adversity. As Deloris connects with the nuns and helps them find their voices, the audience is reminded of the transformative nature of music and community. “With all the uncertainty in the world, it is a good escape for a couple of hours; joyful is the word that comes to mind. The people are just so excited for it. At the moment, it is playing in the West End and going gangbusters over there”.
When asked about hiding those trademark legs under a habit, she laughs, “There must be some breakaway moment when the leg comes out, and John Frost said anything is possible! So, watch this space!”
Sister Act The Musical Capitol Theatre, Sydney from August. Regent Theatre, Melbourne from November. Lyric Theatre, QPAC, Brisbane from February 2025. sisteractthemusical.com.au
Cover Story
Rhonda Burchmore in Sister Act The Musical Photo: Benny Capp.
Leading lady Marina Prior, who has been thrilling audiences since the age of 19, is about to appear in a concert version of Rodgers & Hammerstein’s masterpiece Carousel. Life-long fan Jonathan Cox was excited to chat with her.
It was Marina Prior’s portrayal of Christine in the original Australian production of The Phantom of the Opera that initially captured my attention. I found myself attending the show on nine separate occasions, primarily due to Miss Prior’s enchanting performance. As a youthful theatre enthusiast, the mere thought of misplacing my ticket or encountering an understudy instead of Marina induced significant anxiety before each show. Even now, many years later, I continue to hold a deep admiration for Marina’s body of work and eagerly anticipate her future endeavours. I am enthusiastic about exploring her extensive career achievements and distinctive viewpoints.
Jonathan Cox: How did your musical life begin?
Marina Prior: My earliest memories are of singing when I started speaking. I played the guitar at the age of eight. At school I studied singing, piano and flute. I taught myself all the singer-songwriter songs of my childhood, including songs by James Taylor, Cat Stevens and Simon and Garfunkel. I would fluctuate between wanting to be someone like Joni Mitchell or Kate Bush.
I started getting paid (at age 15) for playing guitar and singing (underage) in pubs, and when I went
Marina Prior in Carousel
Photo: Jeff Busby.
on to study music at university, I used to busk in the Bourke Street Mall, Melbourne.
JC: Can you tell us about your audition for The Pirates of Penzance, when you scored the role of Mabel at age nineteen?
MP: I turned up to an open call audition which was advertised in the newspaper. They don’t do it anymore! A group of us from university were told to sing the chorus part of the finale of Act One. And then they asked me to go home and learn Mabel’s aria. My dad had to buy the album at the record shop, bring it home to me, and I learned it that night. I went back the next day and ended up getting that role that changed my entire life.
JC: Do you have a favourite role or show you’ve been in?
MP: They’ve all been so amazing, every show brings something different to me, but I did love doing Hello, Dolly! opposite my husband (Grant Piro).
JC: What other leading men have you had strong chemistry with?
MP: A special favourite would have to be Philip Quast. We did The Secret Garden together and played husband and wife in the first tour of Mary Poppins. He’s such a thrilling actor
and just working with him every night was a joy. I’d also have to say that (the late) Rob Guest was one of the most generous people I’ve worked with.
JC: Do you have a favourite stage costume that you’ve worn?
MP: The beautiful, deep blue silk dress (with its original Victorian print) and cape, and red scarf that I wore in the second act of Phantom was spectacular. Even my boots were handmade! The budget for that show alone must have been extraordinary, because such love and care were put into every detail.
JC: What’s the worst costume malfunction you’ve had on stage?
MP: In Phantom I got transformed on stage from the ballerina, into the diva of the Paris Opera House. One night an understudy had trembling hands and could not do the hook up on my ball gown. When it was my turn to sing (‘Think of Me’), she left, and my dress fell to my feet. Another time my wig fell off and disappeared around the Phantom’s feet, and I was left wearing a stocking cap!
JC: How did the audience react?
MP: They gasped, and I ran offstage, and then came back on with a different wig.
JC: Do you have any dressing room quirks, rituals or items that you take with you?
MP: I always take pictures of my family. I take these little pottery dishes that two of my kids made me, to put wedding rings in. I always take a lamp, so I’ve got a nice atmosphere, and a yoga mat, because I like to do yoga before the show.
JC: How did you keep your voice in shape and your sanity during the COVID years?
MP: I work on my voice every day at home, and I’m lucky I live sort of on the edge of the countryside so I could go walking in the bush. And you know, I have spent 40 years constantly running to get to the airport to stay in a place that isn’t my home. And for me, weirdly, COVID was an enforced stopping everything, just being at home to relax and I found it okay.
JC: Do you have a tip for other performers that you’ve used during your career?
MP: Yes, never, ever stop learning! Because the minute you do, you’re closing yourself off to improvement. Always try to learn from people older
(Continued on page 14)
(Continued from page 13)
(or younger) than you, and from the people you’re surrounded by.
JC: Is there a role left on your bucket list?
MP: I’ve got a couple of buckets! I’d love to do Mrs Lovett in Sweeney Todd, the witch in Into the Woods and Norma Desmond in Sunset Boulevard. Me and just about every other female actress of a certain age! I would love to do more plays and screenplays.
JC: Would you be interested in taking on the role of Ruth in Pirates, thus completing a full circle from your debut as Mabel?
MP: I think that’d be a blast, yes!
JC: Is there a musical or film adaptation of a story or a novel you’d like to star in?
MP: Because I just re-read the book recently, I would say I’d like to play the mother (Mrs Bennet) in Pride and Prejudice
Rodgers & Hammerstein’s Carousel: A Concert State Theatre, Sydney on September 3 & 4. Princess Theatre, Melbourne on September 7 & 8. carouselconcert.com
JC: Can you tell the readers a little bit about your upcoming concert performance in Carousel, which will be staged in Melbourne and Sydney?
MP: It’s going to be a fully staged concert version with a full orchestra. I think it’s one of Rodgers and Hammerstein’s greatest achievements, considering it was originally written and performed in 1945.
Carousel is a musical where the leading man is not the hero. He’s an antagonist. He’s not an all-over good guy. Love isn’t always right. Julie and Billy Bigelow love each other, but their relationship is doomed. Carousel touches on domestic violence and looks into all those sorts of grey areas. Up until then many musicals were squeaky clean, and everything always turned out happily in the end. In Carousel, Julie is a widow (who has survived domestic violence), with a young daughter who doesn’t have a father. It was ahead of its time. I think
it resonates with people, because it’s a truthful show, highlighting that life isn’t always perfect for everyone.
JC: Tell us about your role?
MP: I play Nettie Fowler the wiser older cousin to Julie Jordan (played by Anna O’Byrne) who kind of reminds me of the nurse in Romeo and Juliet. She is a confidante, mentor and mother figure. There’s a lovely dynamic between the two cousins. I get to sing ‘You’ll Never Walk Alone’ and ‘June Is Bustin’ Out All Over’.
JC: Will you have an inspiration or person in mind when you sing, ‘You’ll Never Walk Alone’?
MP: Rather than thinking out of context, or of a personal experience, generally I’m so immersed in the story and action that has led to that moment; that is where I’m going to be drawing inspiration.
JC: I’m excited to see which direction Miss Prior’s career will take next!
Cameron Daddo, David James and Marina Prior in The Sound of Music (2015)
Photo: James Morgan.
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The epic Australian play Counting And Cracking is heading for New York in September after completing seasons in Sydney and Melbourne. The ensemble of 19 is bucking the trend towards smaller casts. David Spicer reports.
The hottest export play from Australia in recent years The Picture of Dorian Gray had a cast of one! In the West End, Sarah Snook played all the characters in the stage adaptation of Oscar Wilde’s Victorian novella and took home the Olivier Award for Best Actress for good measure.
The formula is being repeated at the Sydney Theatre Company with its major production of Dracula also with one actress playing all the roles some pre-recorded.
This trend has sparked a debate about whether opportunities are declining for professional actors.
On the podcast Stages with Peter
Eyers, Damien Ryan from the Sport for Jove theatre company noted that, “There are less actors on our stages. The big financial imperative is dangerous in theatre.
“When I was with Bell Shakespeare we would have 15 people in an ensemble. Nowadays there are 8 or 9 in any major productions of Shakespeare in the country.
“What Kip has been doing at the Sydney Theatre Company with one actor on stage is more common.”
The largest cast production this year for Melbourne Theatre Company and Queensland Theatre was for 37, a play about racism in Aussie Rules, with ten actors.
Queensland Theatre’s Associate Artistic Director Fiona MacDonald said it was only possible as a co-
production between the two companies. She says audiences loved the large ensemble. “There is something beautiful in seeing a large number of people on stage doing incredible things. There was joy and power in the movement sequences.”
In commercial theatre, the just completed season of Death of a Salesman from GWB Entertainment and Andrew Henry had a cast of 14.
Big can be big box office.
Counting and Cracking, a sprawling multi-generation saga traversing Sri Lanka and Australia was a hit at the Sydney Festival in 2019 and has since played in Adelaide and Melbourne.
The director of the play Eamon Flack is taking the production to New York in September for a season at the prestigious Public Theater.
I spoke to him ahead of the return season in Sydney.
David Spicer: Do you agree that there are fewer professional actors on the stage these days?
Eamon Flack: I expect there’s been a decrease. The only pressure we face on cast sizes is financial. The pressures on theatre companies are immense: decades of underfunding, costs rising far faster than the rest of the economy, massive cost-of-living pressures on actors, changing audience buying patterns all make it harder to gather big casts.
But we’ve made it a central plank of our producing model to have 60 or more actors in every season and to do at least two big cast plays every year. And our big cast plays are getting bigger, not smaller.
DS: Do you think that the move to doing more plays with a small ensemble and using AV to make up the rest of the cast is here to stay or a fad?
EF: Small cast plays are an inherent feature of modern theatre, for artistic, cultural and financial reasons. I wouldn’t say that AV is being used to replace actors. Kip’s cine-theatre
(Continued on page 18)
Online extras!
Belvoir’s Counting And Cracking prepares to launch in New York. youtu.be/xoREYXSbrCU
Counting And Cracking Carriage Works, Sydney until July 21. belvoir.com.au
Buy the playscript at booknook.com.au/product/counting-and-cracking
Belvoir’s Counting And Cracking (2019)
Photo: Brett Boardman.
MTC’s 37
Photo: Pia Johnson.
(Continued from page 17)
shows are an artistic project rather than a cost-saving measure.
If anything, they possibly end up costing more than a big cast show because the tech is expensive and you still need a bunch of crew. So yes, fewer roles for actors, but more roles for other creatives and crew.
DS: How did Counting and Cracking come about?
EF: Counting and Cracking is a massive show. It sits entirely outside our normal producing capacity. Every time we revive it, it’s always a partnership with at least two or three other major organisations and a whole bunch of supporters and donors.
DS: Why was it imperative that this production have a large cast?
EF: The playwright Shakthi and I worked on the show together for over six years before it finally saw an audience. In that time the cast size got bigger, not smaller. We kept adding characters. Which is unusual, to say the least.
The size of the project was led entirely by the nature of the work itself: multiple timeframes, multiple generations, many different communities. The very meaning of the work is the idea that many people can and must work together to move us all past the worst, to avoid one group turning on another.
DS: What have the rewards been for this large cast?
EF: This cast is a community all of its own. They are a magnificent group of humans full of generosity and care. They take care of each other. It’s not accidental that the personality of the play matches the personality of the cast. But they are all in service to the work, and the work requires an ethos of openness, collaboration, joy, play, care, seriousness…
DS: What is unique about this production and its evolution?
EF: It tells a new kind of Australian story. It tells a new kind of Sri Lankan story, one that perhaps couldn’t really be told in Sri Lanka. It uses multiple languages in a very specific theatrical and dramaturgical way. It invents a whole lot of forms of theatricality and collaboration, drawing both on Belvoir’s history of theatrical playfulness and on South Asian practicality and ingenuity. It mixes Brechtian political theatre techniques with South Asian epic storytelling: love and politics are given equal weight.
The show evolved like nothing has before because no one had done anything like it before. We had to work out how to do it. From the dramaturgy to the casting, to the producing, we needed to borrow and mix and invent processes the whole way along.
DS: The production is going to New York so is that with the full Australian cast?
EF: Yes, it’s the same cast for all three seasons this year Melbourne, Sydney and New York. But when we say “Australian” cast, it’s worth noting that some of the cast are from Sri Lanka, India, New Zealand, France and Malaysia.
DS: How exciting and daunting is that?
EF: It’s very exciting and not very daunting. I say not daunting because this team the cast, the creatives, and crew are a whole little world. We take our values everywhere we go, all the time, so we can’t really fail.
DS: Could you ever stage Counting and Cracking with a few actors and video projection of the rest of the characters?
EF: No.
Zahra Newman in STC’s Dracula
Photo: Rene Vaile.
Australian Theatre Live
Grant Dodwell discusses why he believes it so important for students to see drama performed.
When I was in High School in Year 11, I went to the Ensemble Theatre and saw Shane Porteous on stage (I ended up acting with him on A Country Practice) and for me it was a lifechanging moment. I knew it would be my career.
I was living in Sydney and had the opportunity to go the theatre. Many students in regional areas can’t attend due to distance and cost.
Students told me it was difficult for them to comprehend a play at school without a visual reference.
Now I get letters from students who say, ‘Away is a great play, but until I saw your broadcast of the Sydney Theatre Company production with Heather Mitchell, I had no visual sense of it, and the recording lifted it from the text.’
We film one performance, one night only. This gives them an edge. You feel like you have a front row seat, missing nothing.
Australian Theatre Live now offers a rich, accessible resource for primary,
secondary, and tertiary students across Music, Drama, Dance, and Physical Education. Our broadcasts span text-based theatre, physical theatre, opera, and circus.
They include education resources, interviews, behind-the-scenes footage, writer’s notes and more.
School subscriptions can be purchased for $150AUD/month or $1000AUD/year, with subsidised subscription for low SES and/or regional/rural schools of $35AUD/ month or $300AUD/year.
Available productions include Away by Michael Gow, Norm and Ahmed by Alex Buzo, Cactus by Madelaine Nunn, Diving for Pearls by Katherine Thomson, Emerald City by David Williamson, Whitefella Yella Tree by Dylan Van Den Berg and the Queensland Theatre Company production of Shakespeare’s The Taming of the Shrew.
New releases coming up include Ghosting the Party, Golden Blood and Blaque Showgirls
Malthouse Theatre’s Away (2017)
Photo: Pia Johnson.
20 Stage Whispers July - August 2024
Opera Australia’s Tosca
Photo: Jeff Busby.
Rome, as an opulent, indulgent and hedonistic city, is stylishly captured in this production of Tosca. The contemporary setting highlights the timeless nature of the issues of exploitation and corruption that plague this iconic city. This production also accentuates the way in which religion is part of the fabric of the betrayal and paranoia that defines its psyche and raison d’être.
The staging at Margaret Court Arena is bold, striking and teases out all the monumental drama of the story and the grand scale of the powerfully moving music. This is echoed in the breathtaking set design, making the MCA a perfect venue for this production. The staging and performances are often daring in their treatment of the controversial themes, and this results in a truly gripping and formidable performance. I was intrigued by the audacious approach to the interpretation of the characters and the events and the determination to so successfully render them both mythical and real.
Patricia Di Risio: What was involved in transforming the tennis arena into an appropriate space?
Warwick Doddrell: You underestimate how complex it is to be able to put on a show. Layers of fabric, all the light rigging, an incredible sound and video system to connect the live orchestra and conductor with the cast on stage, were all installed for the production. One thing we discovered through technical rehearsals was just how wide the space was, so we extended moments out to fill the space differently, which then needed more monitors so that performers could connect with the conductor in those wider positions.
PDR: What was the motivation for setting the opera in a more contemporary Rome?
WD: The original production was conceptualised in 2017, when there was a lot of discussion of Trump’s presidency, of Harvey Weinstein’s abuse of power and the rise of populism across Western Europe. The contemporary setting was chosen so that it could speak directly to these ideas of our time, to these political and ideological struggles between religion and state, intermixed with abusive power dynamics.
PDR: How did you go about creating a vision of Rome and Romans?
WD: Rome becomes a placeholder for a contemporary, theocratic autocracy. Central to this is the dome set piece, creating a deconstructed cathedral space which shifts and transforms throughout the opera. This Rome, and its inhabitants, become a melting pot of contemporary political upheaval, a state at war, with political prisoners, fanatical followers and egregious abuses of power infecting the common people all the way up to glamourous celebrities, such as Tosca. While these themes are universal, it’s important for us to make the story accessible for contemporary and new audiences, to see stories which directly reflect the world they live in.
PDR: The dome was a spectacular aspect of the set design. What were you aiming to convey with an object so large and striking?
WD: Tom Scutt’s brilliant design constructs a Catholic cathedral, providing the floor and a giant golden dome suspended above. Lee Curran’s lighting design works perfectly in tandem, creating a wall of light more akin to a rock concert, mingling celebrity with religious worship. It came from an exploration of the underlying power struggle within the opera, and how pervasive religious power is, its influence felt at every moment. The presence of the dome at first elevates us to a higher plane, before pressuring the space and challenging the characters’ beliefs into terrible deeds.
PDR: How was the dome used in the different acts and with what purpose?
WD: In Act One the dome evokes the cathedral space, with Cavaradossi painting a magnificent fresco in gold leaf for the dome itself, a stunning visual. Angelotti shatters the dome, and with it the calm religious space as he abseils into the cathedral evading capture. In Act Two, the dome shifts position, becoming the domed ceiling of Scarpia’s luxurious apartment. Curran’s lighting reveals the structure of the dome to the audience, creating a torture-like device looming above; you’d almost swear it lowered throughout the scenes. It pressurises the space and our characters. Finally, in Act Three, it shifts again to become more evocative of the firmament, representing the heavens and the stars while also enclosing Cavaradossi
(Continued on page 22)
(Continued from page 21)
and Tosca within the space, trapped by the autocratic powers and religion.
PDR: Karah Son’s interpretation of Tosca was very agile and physical. She often frantically moved around spaces, throwing herself on the ground, rolling off surfaces, climbing across the bed and so on. How was this interpretation of Tosca arrived at?
WD: We are guided by Puccini’s music. There’s so much power, emotion, and story within the music itself; we’re constantly finding new details to help us earn and reach the drama of the music plausibly. The performance is very grounded in the interpersonal, personal anxieties of a contemporary woman, insecure in a very complex adult relationship. I think this makes the world more real for us today. The first act is incredibly relatable; how the subtle
observations of their complex relationship dynamic play out. There’s a lot of humour in the scene, but so very human that we see ourselves in them. We see Tosca and Cavaradossi as adults with decades of history between them, which we hope draws out the drama of the music and the depth of their relationship. This grounding sets up the drama of Act Two; the stakes are huge but deeply personal, guided by the music.
PDR: The scenes depicting the sexual violence between Tosca and Scarpia were quite explicit. What motivated this choice? What was involved in choreographing these scenes?
WD: In response to the scale and bombast of the music, we have to stage something that is physically powerful to meet the emotion of the music. But it would also be disingenuous for us to hold back from the
Opera Australia’s Tosca Photo: Jeff Busby.
violence of these moments, which tragically still occur today as much as when Puccini first wrote the opera. The entire production is exploring the complexities of human behaviour in these power dynamics, referencing real life violence and trauma; it’s important for us to stage this with the real-life gravity of these events. It’s very difficult for the performers. We take it very slow in rehearsal to ensure individuals feel safe and clear on the actions, adjusting and modifying them to suit performers. We make it very clear we are evoking an idea of an action, not creating the action itself. It’s very emotionally taxing to rehearse and perform, but also for the crew to witness so we are frequently checking in to make sure everyone is ok.
PDR: The Sydney venue is very different from Melbourne. What are some of the major differences and what aspects of the production do the different venues offer in terms of the directorial vision?
WD: The directorial vision is the same, but the scale of the venue invites different challenges and opportunities. One of the most exciting adjustments we made for MCA was a moment at the end of Act One where we reveal the orchestra behind the stage. This is unique to the MCA production, due to the arrangement of the spaces, and turned out to be incredibly powerful! Sadly, we can’t recreate that moment in Sydney, but the closer, more intimate space of the Sydney Opera House allows finer control over layers of curtains and gauze to create other effects and stage pictures.
Tosca
Joan Sutherland Theatre, Sydney Opera House from June 25 to August 16. opera.org.au/productions/tosca-sydney
Melbourne audiences give their approval of the unorthodox venue youtu.be/AQaeM3c-Bno
Opera Australia’s Tosca
Photo: Jeff Busby.
Online
Enjoy a preview of Best Musical Tony Award winner, The Outsiders youtu.be/0-W1yvlf_iA
2024’s Tony Award Trends
What do Broadway’s Tony Awards tell us about the shows we’ll enjoy on our main stages in the years ahead?
Does a Tony Award for Best Musical or Best Play guarantee world theatre domination? The truth is it varies wildly. If a blockbuster wins Best Musical, our commercial producers will snap it up, but when an ‘art house’ musical takes out the gong, it’s more likely to emerge eventually in the program of one of our state or independent theatre companies.
Fun Home, the winner in 2015, arrived in Australia six years later, and Dear Evan Hansen, the winner in 2017, will finally open this year at the Sydney Theatre Company, but neither have reached our commercial main stages. Others may emerge on amateur stages, while some never even make it to our stages.
2020 Tony winner Moulin Rouge! is the most recent Best Musical to
reach our commercial stages, with Hadestown (2019) set to arrive next year, while Hamilton (2016) is returning to Sydney in July.
Other winners including The Book of Mormon, Billy Elliot and Jersey Boys preceded them on our main stages, while earlier winners like Hairspray, Cats, Les Mis, Phantom and Annie can regularly be relied on for successful revivals.
Come From Away, a runner-up to Dear Evan Hansen for the 2017 Best Musical Tony, has already toured Australia twice and is set to be the next big thing on our community theatre stages. Another 2017 nominee, Groundhog Day, recently played a commercial season in Melbourne, while Natasha, Pierre and the Great Comet of 1812 was seen at the Darlinghurst Theatre last year.
Six, about to be revived locally, was already a hit here before it even opened on Broadway. It picked up the Best Score Tony in 2022, but was a runner up in the Best Musical race to A Strange Loop, a show which remains obscure in Australia, just like several other previous winners including The Band’s Visit (2018), Memphis (2010) and Contact (2000).
The 2024 Best Musical Tony went to The Outsiders. How will it fit into our local picture?
S. E. Hinton’s 1967 novel on which the musical is based, is certainly a story with staying power remembered by many as far back as the 1970s as a popular novel for high school English classes. It centres on Ponyboy Curtis, Johnny Cade and their chosen family of “outsiders” who fight for survival and a quest for
The Outsiders (2024)
Photo: Matthew Murphy.
Online extras!
Watch as the cast of Merrily We Roll Along perform “Our Time”. youtu.be/Vhvb2uHLoXA
purpose, in a world that may never accept them.
On face value, the recognition of The Outsiders as a novel and a hit film, plus the entertainment appeal of the fight choreography and score, make it more likely that it will get a commercial run in Australia than other winners from recent years.
The Outsiders registered 102% capacity the week before the Tony Awards, so its future looks rosy. Broadway box office success relies on name recognition by tourists, which the production has.
It appears that judges have swung back to picking a more commercial show than in 2023, when Kimberley Akimbo (about a lonely teenager who has a medical condition, which causes her to age rapidly) took out the top award.
It wasn’t an awards blitz for The Outsiders in the musicals category. Suffs, about the American suffrage movement, picked up Best Score and Best Book/Lyrics (for Shaina Taub), which should help producers (including Hillary Clinton) keep it open on Broadway longer. Suffs, which
received reasonably good reviews, feels more like a show for a subsidised theatre here than for a commercial producer.
Merrily We Roll Along was best musical revival, one of its four awards. The Sondheim musical has made a remarkable comeback after starting life as a notorious flop on Broadway in 1981, when it closed after just 16 performances and 44 previews. It scored Best Actor in a Musical for Jonathan Groff and Best Supporting Performance for Daniel Radcliffe.
The Australian premiere of Merrily We Roll Along was presented by the Sydney Theatre Company in 1996, while a Covid delayed revival premiered at Sydney’s Hayes Theatre in October 2021. Given the mixed box office history of Sondheim’s lesserknown musicals it’s not likely to receive a revival by a commercial producer.
Stereophonic, by David Adjmi, was the big winner of the night, taking out 5 awards including Best Play. It looks like a near dead certainty for a commercial producer to bring it down under. The play, set between 1976
and 1977, follows a fictional rock band on the cusp of superstardom as they struggle through recording their new album
Rolling Stone Magazine wrote, “Since Stereophonic opened in April, it’s been one shock after another a slew of rave reviews and sold-out houses have allowed the show to extend its run to January (for now). Even the soundtrack has taken off: it currently has more monthly listeners on Spotify than Best Revival of a Musical winner Merrily We Roll Along.”
Appropriate was recognised as Best Revival of a Play. Set in the grand decaying house of a plantation farmer, it was recently staged by the Sydney Theatre Company.
A highlight of the Tony Awards ceremony was a tribute to the late, great Broadway star Chita Rivera.
Coming Up
Sutton Foster and Michael Urie star in the Broadway revival of Once Upon a Mattress, previewing at the
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Merrily We Roll Along (2023) Photo: Matthew Murphy.
Online
Watch the cast of Stereophonic perform “Masquerade”. Scan or visit. youtu.be/hI-Z9AU_y1U
(Continued from page 25)
Hudson Theatre from July 31 following a successful run at City Center Encores!
Patti LuPone and Mia Farrow return to Broadway in Jen Silverman’s new comedy The Roommate, which begins previews on August 29 at the Booth Theatre, promising a portrait of a blossoming intimacy between two women from vastly different backgrounds, as they navigate the complexities of identity, morality, and the promise of reinvention.
Academy Award winner Robert Downey Jr. makes his Broadway debut in McNeil, a new play from Pulitzer Prize winner Ayad Akhtar, previewing from September 5 at the Vivian Beaumont Theater. A startling and wickedly smart examination of the inescapable humanity and increasing inhumanity of the stories we tell. Good writers borrow, great writers steal.
Darren Criss and Helen J Shen will star in the new musical romantic comedy Maybe Happy Ending, directed by Michael Arden, which
begins Broadway previews at the Belasco Theatre on September 18. By Will Aronson and Hue Park, it’s the story of the unlikely friendship between two obsolete Helper-Bots.
Nicole Scherzinger makes her Broadway debut from September 28 at the St James Theatre as Norma Desmond in the transfer of Jamie Lloyd’s West End production of Andrew Lloyd Webber’s musical Sunset Boulevard.
Tony Award winner James Monroe Iglehart stars as jazz legend and American icon Louis Armstrong in A Wonderful World: The Louis Armstrong Musical previewing from October 16 at Studio 54. The musical is told from the perspective of his four wives.
The musical adaptation of the 1992 film Death Becomes Her, starring Megan Hilty (Smash), Jennifer Simard, Christopher Sieber and Michelle Williams, previews from October 23 at Lunt-Fontanne Theatre.
Audra McDonald, who recently dazzled us during her Australian concert tour, returns to Broadway as Momma Rose in the classic showbiz
musical Gypsy, by Arthur Laurents, Jule Styne and Stephen Sondheim, which previews from November 21. Dolly Parton has announced that her bio-musical Hello, I’m Dolly is in development for Broadway.
During June, Theatre Calgary completed its World Premiere season of Beaches the Musical, starring Kelli Barrett and Jessica Vosk.
Stereophonic (2024)
Photo: Julieta Cervantes.
Once Upon A Mattress (2024).
Photo: Joan Marcus.
London Calling
Muriel’s Wedding The Musical will have its UK premiere in April 2025 at Leicester’s Curve Theatre. Original Australian director Simon Phillips will helm the Made at Curve / Global Creatures co-production, in association with Sydney Theatre Company. With a book by PJ Hogan, adapted from his original screenplay, with music & lyrics by Kate MillerHeidke & Keir Nuttall, and additional songs originally written for ABBA, Muriel’s Wedding won five Helpmann Awards after premiering in 2017. To find out more, visit curveonline.co.uk
The Tony Award winning creators of SIX, Toby Marlow and Lucy Moss, are back in the West End from August 27 at the Garrick Theatre with their new musical, Why Am I So Single? about dating app struggles and unbreakable BFF bonds. Lucy Moss directs Jo Foster and Leesa Tulley.
Seven-time BAFTA award winner Steve Coogan stars in the title role of Dr. Strangelove in the stage adaptation Stanley Kubrick’s film,
reimagined by Armando Iannucci and Sean Foley, at the Noël Coward Theatre from October 8.
Imelda Staunton will star in Hello, Dolly! at the London Palladium from July 6, in a revival directed by Dominic Cooke, with a cast also featuring Andy Nyman, Jenna Russell, and Tyrone Huntley
A Chorus Line returns to London, at Sadler’s Wells Theatre from July 31, with Adam Cooper as Zach and Carly Mercedes Dyer as Cassie, directed by Nikolai Foster.
The Devil Wears Prada plays from Oct 24 at Dominion Theatre, with Vanessa Williams as Miranda Priestly. Directed by Jerry Mitchell, it features a book by Kate Wetherhead, music by Elton John and lyrics by Shaina Taub.
The Curious Case of Benjamin Button The Musical transfers to the Ambassadors Theatre in the West End from October 10, after its soldout run at Southwark Playhouse in 2023. The adaptation of an F. Scott Fitzgerald short story, and Brad Pitt’s iconic love story in a Cornish fishing
village, complete with live Celticinspired music, sees Olivier Award winner John Dalgleish taking on the role of Benjamin Button.
Stephen Schwartz’s cult musical
The Baker’s Wife returns to London for an intimate staging at the Menier Chocolate Factory from July 8 to September 9 with Olivier Award winner Clive Rowe and Eurovision contestant Lucie Jones.
Beyond the West End, Caroline O’Connor will head to Paris to star in a new revival of Hello, Dolly! Directed by Stephen Mear, the show will play at Lido 2 Paris from November 7. The piece will be presented in English with French surtitles.
The English-language premiere production of the South Korean musical Marie Curie, starring Ailsa Davidson in the title role, plays at Charing Cross Theatre until July 28.
Mozart: Her Story The New Musical, with a book and lyrics by Tegan Summer, and music and lyrics by Gregory Nabours, gets a single concert performance at the Lyric Theatre on November 18.
Muriel’s Wedding (2019)
Photo: Jeff Busby.
Australian Musical Theatre Festival 2024
Belinda King reports that this year’s festival was bold, enthralling and thrilling.
There’s definitely something in the water in Tassie. Actually, that should read “in Launceston, Tassie”.
Locally, the percentage of the population that is involved with local theatre, community productions, eisteddfods and music competitions has always been disproportionally high compared to the rest of regional Australia.
Why is that?
Perhaps the answer lies in the lack of big shows from the big island that actually make it to Tasmania, with the local scene seizing upon the opportunity to step things up to fill the void.
But whatever the answer is, it has allowed for a love of musical theatre, in particular, to thrive. And this has provided a solid foundation for further development with the success of the fifth Australian Musical Theatre Festival.
Photo: Cameron Jones Visuals.
The 19 events across 5 days in May saw seasoned professionals working side by side with up-and-coming talent.
The When I Get My Name In Lights concert offered up a number of performance gems, with the opening number “Sparkling Diamond” from Moulin Rouge!, rehearsed in 36 hours, bringing together Australia’s Satine alternate, Patrice Tipoki, with a massed schools ensemble.
I cannot imagine the thrill these young students must have enjoyed, working with one of the Moulin Rouge! stars. It was inspiring to watch and wonder how many of the young ensemble will take inspiration from opportunities like these as they embark upon professional careers in the next couple of years.
Another standout performance came from Samantha Hammersley, offering a deeply moving rendition of “Meadowlark” from The Baker’s Wife. Her interpretation was mesmerising, and, possessing a world class voice, she is a name to watch out for.
Workshops, forums, Q&As, cabarets, concerts and more were eagerly consumed by festival participants, as work continued feverishly behind the scenes on the most audacious entry into the program, the staging of Maury Yeston’s Nine which was put together in under a week.
Based on Fellini’s 8½, it follows the story of worldfamous filmmaker Guido Contini in the midst of a midlife crisis. Up against a deadline for his next film and fresh out of ideas, Guido looks to the past for answers and to the women who guided and moulded him throughout his life.
The resulting staging took the audience on a journey from a first rehearsal room table read and evolved across the duration of the performance into a full-blown production, as scene by scene we watched direction, choreography, a full orchestra, set pieces, props and costumes being layered into the work.
Making the most of the festival’s female divas, Kerrie Anne Greenland played the director Guido’s wife, Natalie Gamsu his producer, Patrice Tipoki became his muse and Jodie Harris his mistress. AMTF’s Artistic Director Tyran Park, also appearing as Guido Contini, assembled the show at break-neck speed. The resulting final day showpiece was bold, enthralling and thrilling.
From Launceston’s parks to the laneways, from the breweries to the formal theatre venues, the Australian Musical Theatre Festival has forged deep roots in the local community and is already bearing a rich harvest of storytelling, ideas and aspiring theatre professionals honing their craft.
For details of the 2025 Festival keep an eye on amtf.org.au
Theatre Programs: Collecting History
Frank Van Straten, the doyen of Australian theatre history and pioneer of the Australian Performing Arts Collection, passed away in April at the age of 87, leaving behind a legacy including spectacular coffee table books and program notes. To honour his memory, we reproduce this adaptation of his article from 1999 on Theatre Programs.
When I was seven my parents took me to my first ‘live’ show. It was a matinee of a 1943 revival of the old musical White Horse Inn at His Majesty’s Theatre in Melbourne. That afternoon I fell under the spell of ‘live’ theatre.
At home, I pored over the program. I was intrigued by its format: a tall two-colour leaflet, 29x11cm, that unfolded to become a single sheet, 29x44 cm, containing details of the show, its various scenes, the cast list, and advertisements for sophisticated hair products and expensive liquor. It was unpretentious, flimsy, easily torn and, I decided, well worth saving.
Months later I went to a pantomime at the Tivoli and took home a second program with coarser paper, less sophisticated typography, more garish colours. And the advertisements were for tonic pills, introduction agencies and a strange unguent called Mercolized Wax.
Then a friend of my parents gave me a handsome booklet, in magazine format, for a show at the Maj in the pre-war years. It was much more elaborate, its full-colour cover and glossy paper reflecting less austere times.
The advertisements were for holidays, radiograms and smart cars. As the years went on I collected more and treasured the programs from every show I saw. I searched for others in second-hand shops. Soon I had hundreds. Now I have thousands! I started to research the history of the theatre program. In 1737 some London managements started to print small playbills for display outside their theatres and inside nearby coffee houses. In 1850 playbills were distributed free to members of the audience at London’s Olympic Theatre.
The earliest surviving Australian playbill dates from 1796. An unpretentious but precious little
document only 20x12 cm, it promotes a performance of Jane Shore, ‘a popular drama of sin and redemption’, at ‘The Theatre, Sydney’ on July 30 1796.
For many years it lay forgotten, lodged between the pages of a scrapbook of unrelated material held in a library in Canada. After it was accidentally discovered in 2007, the Canadian government presented it to the people of Australia. It is not only our oldest playbill, it is the oldest example of Australian printing, the work our first printer, convict George Hughes. In 2011 it was recognised by UNESCO as a document of world significance.
In nineteenth-century Australia, theatre managements usually relied on independently produced programs in the style of a small four-page newspaper. The principal Melbourne ones were The Programme, The Call, The Lorgnette and L’Entr’Acte. Sydney had Our Amusements and Adelaide The Electric Spark. They included cast lists, theatrical gossip, reviews, and plenty of advertising. Printed cheaply on poor quality paper, more than a century later they are yellowed and brittle.
The ubiquitous New York Playbill debuted in 1884. Originally called The Playbill, it is basically a pocket-sized monthly magazine in various editions, each devoted to a particular show, with a cover and centre pages devoted to that show. Playbill distributes its programs free to theatre patrons and relies on their advertising content for its revenue.
From 1900 the leading theatrical printer in Australia was Syd Day. One of the most charismatic figures on the fringe of the Australian entertainment
industry, Syd Day was born in East End poverty in London in 1867. Seeking a better life, he arrived in Australia in 1890.
In Melbourne he established himself as a printer, using the sobriquet ‘Syd Day, The Printer’, and cleverly publicising himself through appearances at ‘smoke nights’ singing the jaunty coster songs he had learned in London, and by competing in the cycle races that were then extremely popular. He also became an enthusiastic pioneer motorist, establishing several inter-city records. Among his close friends were retailer Sir Samuel Hordern and theatrical entrepreneur James Cassius Williamson.
In 1900 Williamson commissioned Day to produce an elaborate souvenir for the re-opening of his newlyacquired Her Majesty’s Theatre in Melbourne. From then on, Day printed programs and posters for many theatres in both Melbourne and Sydney. He also printed the magazines The Lone Hand and The Theatre, and had a substantial financial interest in the latter.
In 1908 he built an impressive three-storey printery, just around the corner from Her Majesty’s. Day was only 48 when he succumbed to meningitis in 1915, but the firm he established continued work of the highest quality.
In the early twentieth century, Australian theatre programs were distributed free and were often cheaply printed on poor paper. In 1920 managements decided to publish programs in an upgraded format that they would sell to patrons for three pence.
Not only were the new programs better produced, they were sealed with a little sticker ‘to ensure freshness and hygiene’. The seal ensured that staff did not try to sell discarded programs; it also reflected the emphasis on hygiene that followed the influenza epidemic of 1918-1919.
As the years rolled on, there were firms specialising in theatrical printing in every state. One of the most prominent was Melbourne’s The
Specialty Press Pty Ltd, founded in 1909 and steered by its dynamic managing director, Thomas Allan McKay.
In 1921 McKay sidelined the remnants of the Syd Day firm by gaining the contract to print the programs for Fullers’ Melbourne Theatres and to sell advertising space in them. Soon after, he won the prized contract to provide the same service to J.C. Williamson’s.
Specialty Press became an integral cog in the JCW machine and McKay and his wife were regular guests at the Firm’s first nights. By 1934 Specialty supported a workforce of more than one hundred, and its plant covered approximately 50,000 square feet.
In 1953 its busy printery attracted a young apprentice, John Payne. More than half a century later he reminisced about his career for an article in the Spring 2005 issue of On Stage.
“The company was printing programs for South Pacific when I started, and I was put on a large press that printed the text pages for the programs in black and white. Many of the full-page adverts were for the same clients from program to program.
“I moved to the small machine pressroom that printed the covers for the programs. The cover for Paint Your Wagon was about my first. I enjoyed the colour mixing and register printing.
“The initial cover for Can-Can, the Cole Porter musical, was quite colourful, with a hand drawn illustration of a lady in frilly knickers
kicking her leg up in the air. The design only survived that one performance. There was resentment to the cover design. The next day the programs were returned to have a new cover attached.
“One of my most satisfying cover prints was the three-colour process cover for the program for the Margot Fonteyn season with the Borovansky Ballet. It comprised yellow, magenta, and cyan process screens.
“In 1959, when Specialty Press packed up to make the move to their new factory at North Clayton, tea chests full of theatre programs were sent to the waste-paper recycling. At that time, of course, there was no Performing Arts Collection. I would have loved to have had the opportunity of looking through them. I now have made a hobby of collecting them.”
A revolution in Australian theatre program production was heralded by a tiny notice in the program for the revue Femmes and Furs at the Sydney Tivoli in October 1958. It announced “This program published by Neblich Publicity, PO Box 88, Redfern”.
Neblich was formed by Brian Nebenzahl, a top salesman for Chas E. Blanks, the theatre screen advertising contractors, and Lance Peters (his real name was Peter Lichtenstein), a singer, writer, comedian and disc jockey.
Brian was given the contract to publish the Sydney Tivoli programmes, and he soon adopted the name Playbill. Brian lobbied J.C
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Williamson’s for years and finally got them as well. Playbill’s first JCW program was for Maurice Chevalier’s season at Sydney’s Empire Theatre in March 1960. The Sydney season of My Fair Lady was next.
In an interview with Frank Hatherley for Stage Whispers magazine, Brian confessed to appropriating the name Playbill from the US firm that had been printing theatre programs since the 1880s.
“I really knocked their name off,’ he told Hatherley. ‘We’ve got it registered throughout Asia, the United Kingdom, South Africa. Their words to me were, ‘as long as you don’t get into our cabbage patch we don’t care.’ When we publish in America we call ourselves Platypus Productions, a good Aussie name.”
Australia’s Playbill went from strength to strength. It has been the
leader in Australian programme publishing and theatrical merchandising for over sixty years and now works with most of this country’s subsidised performing arts companies and commercial entrepreneurs. At its headquarters at Moore Park, Playbill has its own editorial office, art studio and printing presses.
Playbill is still a family business (with Brian Nebenzahl passing away in 2021).
Theatre programs are fun to collect. You can choose specific themes: a particular theatre or theatre company; a specific period; an individual playwright or performer. You’ll find an eleven-year-old Zoë Caldwell playing Sprightly in a 1944 production of Peter Pan, long before she became a bright star on Broadway. And the dancing children in the 1957 production of Peter Pan included Kelvin Coe, destined to become one of this country’s greatest dancers.
Mainstream opera and ballet programs are easy to find and are often packed with attractive illustrations and useful historical information. Some programs turn up with monotonous frequency. It seems
everybody kept their programs from the original My Fair Lady! Conversely, some are frustratingly hard to find. The Australian Performing Group, working at the Pram Factory in Melbourne in the 1970s, changed the face of local theatre. Their programs are historic documents but are rarely seen. Particularly collectible are programs from entertainment presented during the 1956 Olympic Games, and from the first seasons of landmark productions like Hair and The Rocky Horror Show. Programs from Dame Nellie Melba’s opera and concert appearances are valuable, as are programs from Anna Pavlova’s dance seasons in the 1920s.
Programs from the Laurence Olivier-Vivien Leigh Old Vic tour of 1948 are certainly collectable. Their covers are the work of Loudon Sainthill, an Australian who had a distinguished international career as a stage designer.
One of the annoyances facing collectors is the lack of dates on many programs. It’s usually not difficult to track down a date, using online tools such as AusStage and Trove. Remember to make a note of the date you saw a show, possibly keeping the ticket stub along with the program. Autographs give programs extra value. It’s worth getting your program autographed by the stars, or even the whole cast. You can usually leave your copy at the theatre’s stage door with a note, and collect it later.
You can find old programs in some second-hand bookshops and at collectors’ fairs, and there are many offered online through sites such as eBay. You may even find other collectors with whom you can exchange your duplicates. Keep your programs in acid-free plastic sleeves, filed in an appropriate way. You’ll find that they’ll bring you years of collecting pleasure and they’ll settle lots of arguments about who was in what, where and when.
This is an adaptation of Frank’s article, originally published in The World of Antiques and Art, JulyDecember 1999.
Drizzle Boy
‘Bugger. Maybe you aren’t Rain Man. Maybe you’re more of a Drizzle Boy.’ Stage Whispers publishes an extract from Ryan Enniss’ award-winning Drizzle Boy, the first Australian play written by an autistic playwright about an autistic protagonist. Staged at the Queensland Theatre in 2023, and published by Currency Press, it is available at Book Nook. Drizzle Boy loves space and dreams of being an astronaut, and the path seems straightforward.
PURITY
Right Ascension 21 Hours, 2 Minutes, 56 Seconds. Declination 18º, 27’ 16”. Age ten.
MOTHER: It’ll be good for you. [HE takes the bleach and reads.]
MOTHER: It’s supposed to clear out all the toxins
DRIZZLE BOY: Guaranteed to remove stains
MOTHER: And bodily imperfections
DRIZZLE BOY: Kills ninety-nine-pointnine-nine percent of germs
MOTHER: And cures autism!
DRIZZLE BOY: And cures autism?
MOTHER: It’s meant to fix you.
DRIZZLE BOY: And then I’ll be ‘normal’.
MOTHER: Yes!
DRIZZLE BOY: No.
MOTHER: No?
DRIZZLE BOY: I just don’t think it’s a fantastic idea to be drinking bleach.
MOTHER: Well it’s not an exact science. I know.
DRIZZLE BOY: Well considering most people use it to clean mould from the kitchen sink, it’s hardly fucking science at all. [Enter FATHER.]
FATHER: Don’t speak to your mother like that!
DRIZZLE BOY: You do realise what’s in this, right?
FATHER: Bleach I imagine. [Pause.]
MOTHER: Sweetheart, we’re just trying to help you.
FATHER: We’ve tried everything else. [Pause.]
DRIZZLE BOY: Why don’t you drink it? [HE pours them each a glass of bleach.]
FATHER: Excuse me?
DRIZZLE BOY: I mean, to show me that it’s safe. [HE hands them the glasses.]
DRIZZLE BOY: There’s no harm in you drinking it, because you don’t have any toxins in your body. Right, Mother? [THEY consider, then drink their bleach. THEY die.]
DRIZZLE BOY: [To the audience] There is a real school of thought that suggests administering bleach will cure your children of autism. Google it. Or don’t, it’s pretty horrific. Of course, most of that didn’t actually happen.
Online extras!
Discover the making of Queensland Theatre’s production of Drizzle Boy. youtu.be/CXk1e54EUPM
[THEY rise up once again. Exit FATHER and MOTHER.]
DRIZZLE BOY: Mum did try to get me to drink a new ‘medicine’ that contained bleach thanks to her work friend, Kate. ‘Aunty Kate’, who showed her a video about it online. But I get it, back here Mum and Dad, they were desperate. At the time I only ate strawberry-jam toast, Hawaiian pizzas, and frozen blueberries. And I had just, um… Ah [Pause.]
DRIZZLE BOY: After the bleach incident, I hid in my room and didn’t come out for a few days. But I like this version better, it’s a bit more fun. You gotta laugh at this stuff. It’s better than the alternative.
Purchase this playscript for just $24.99 from booknook.com.au/product/drizzle-boy
Reaching The Stars And The Moon
An all-abilities Melbourne community theatre is bringing ‘life changing experiences’ for both disabled artists and their mentors. Actor and entertainment journalist Tayla Ham reports
Have you ever attended a theatre production where the lead actor had a disability or a musical in which half the cast members had disabilities?
Chances are that you haven’t.
Melbourne-based amateur theatre group Stars and The Moon (STaM) is changing this through its unique and innovative “inclusicals” which have casts with a diverse range of abilities.
Eitan Meyerowitz founded the company after performing in community theatre with his cousin, who lives with Down syndrome. Meyerowitz wanted to create a space where people of all abilities could shine equally on stage, while producing shows designed and performed to industry standards.
Arts Access Australia released data in 2019 which revealed that almost 60% of arts and cultural organisations did not employ any disabled individuals. Furthermore, about 1 in 5 artists with disabilities reported that their condition had hindered their
professional growth and opportunities.
Although the data is not solely theatre related, it does underscore a significant challenge faced by people with disabilities in developing their talents. If someone cannot secure a spot in a cast, production team, or training program due to ableism, it becomes impossible for them to improve their artistic abilities, putting them at risk of falling behind their peers.
“STaM brands itself as an allabilities theatre company,” says coproducer and co-production manager Alex Miller.
Regardless of a performer’s ability, Miller explains, STaM exists to serve them and focus on inclusion and integration.
“[STaM] aim to create theatre that reflects the diversity of the communities that we serve and that come to our shows,” Miller says.
In 2021, STaM held its first inclusical with a concert performance
of Seussical The Musical. In 2022, they stepped up to a first fully staged inclusical Spongebob The Musical, which was a huge success.
2023’s inclusical School of Rock received an Award of Excellence from the Music Theatre Guild of Victoria for promoting inclusion and diversity for the production.
“We don’t change our standards just because someone has a disability or is neurodivergent,” Miller says. He says a core value of the company is striving for excellence.
“We are here to make great theatre, and we believe in holding everyone to a high standard. That’s what makes our performers thrive... Because, you know, we’re about creating opportunities for people who might not otherwise have them.”
STaM has devised a unique method to ensure the effectiveness of inclusicals, called the ‘Castmates’ model, which Miller explains is a mentorship program that is unique.
The Castmates model “pairs performers with and without disabilities. Usually, that means these performers share a role on stage,
Stars And The Moon’s School Of Rock (2023)
although that’s not a hard and fast rule,” Miller explains.
According to Miller, the Castmate system offers individualised assistance to cast members with disabilities that they may not receive otherwise. Even if they do not require constant support, a Castmate is available to provide support, companionship, help with learning lines and songs, and advocate for them if their support needs change.
If more support is required, the STaM team includes an inclusion coordination team with extensive experience in disability support management. This team is the first point of call to assist with complex situations such as behaviour management and emotional regulation. Miller says the success of the Castmate model is thrilling and he wants to continue working with the company long-term.
For Castmates without a disability, STaM is sometimes the first experience they have working in a disability support role.
“I think most people find it to be very eye-opening and very rewarding.
We attract incredible people, and so there’s an amazing social aspect between the whole cast,” Miller says.
He says that the role is more demanding than a typical community theatre experience, since cast members take on both a disability support role and a role in the show.
To help, Miller says that STaM focuses on supporting not only performers with disabilities but also “supporting the supporters, by providing training, checking in and fostering a social culture within the cast.”
Jocelyn Brewer is a psychologist and performing arts graduate based in New South Wales who has worked with people with disabilities for 15 years. Although she has never seen a model like this used in practice, she believes it can benefit both parties. Brewer explains that often, disability inclusion is commonly thought of to benefit only the disabled person, “but increasingly it is also about the wider
community having direct and meaningful experiences interacting and collaborating with people who live with disabilities.”
“[These experiences] break down stigma and stereotypes that limit our sense of what people with various disabilities can do,” Brewer says.
STaM’s feedback from its disabled performers and caregivers is overwhelmingly positive.
“It is a life-changing experience. We find that theatre is not just a source of catharsis and artistic expression, but it has therapeutic benefits as well… We see our performers overcome their fears and previous challenges, going from things like social anxiety to being able to sing solo on stage under lights,” Miller says. “We find that what we’re creating is not just fun, but it’s also incredibly useful.”
After three successful inclusicals, STaM is working on its fourth inclusion, The Addams Family.
Rehearsals for Stars And The Moon’s Addams Family
In The Spotlight
With Les Solomon
Boulevard Of Broken Dreams
Les Solomon attended the opening night of Sunset Boulevard in Melbourne and laments the absence of an Australian leading lady.
I am angry. As an agent, a journalist, a teacher and most importantly a theatregoer.
My uncle bred in me a love of live musical theatre. The one thing he was most excited about was when a leading role was played by an Australian artist.
In those days (the late ‘40s and the ‘50s) it happened rarely, most notably when Evie Hayes (who was an American artist, but who had moved to Australia some years earlier) won the title role in Annie Get Your Gun in 1947, before also starring in Call Me Madam (1953).
Later Toni Lamond played Babe, the lead female in The Pajama Game (1957), though the importing of American ‘stars’ to play leading roles then resumed, continuing until the mid-60s when Nancye Hayes and Jill Perryman broke through once again with lead roles in Funny Girl and
Sweet Charity
With training institutions such as NIDA beginning to create a world for local artists, it seemed the end was in sight for importing lesser lights, sold to Australian audiences as “Broadway stars”.
So back to my disappointment that in 2024, this practice has
returned. When Sunset Boulevard was mooted to be brought back to Australia, I felt Norma Desmond had to be played by Tina Arena or Caroline O’Connor. Who did we end up with? Sarah Brightman! There will always be room for bona fide superstars at the peak of their careers to play a lead amongst Australian co-stars. No one complained when Patti LuPone took over the lead in Evita some years ago. I would welcome Kenneth Branagh bringing one of his great Shakespearean roles to Australia. There was some case for Andy Karl, who had created the lead role in
Ashleigh Rubenach (Betty Shaefer) and Tim Draxl (Joe Gillis) in Sunset Boulevard (2024)
Photo: Daniel Boud.
Groundhog Day in London and New York, to play the role here.
If Jonathan Groff and Daniel Radcliffe did a season of Merrily We Roll Along in Australia, I would be first in line at the box office.
It was on everyone’s lips after the show. Everyone suspected Ms Brightman’s range and ability as a singer, substantial as it was, could not dramatically be in the right vein to carry a role such as Norma. It was noticeable, within thirty seconds of “With One Look”, with her sound and timbre heading high into her soprano register and the uneven diction.
By contrast the audience went wild with a semi-standing ovation for Tim Draxl when he sang the title song in Act Two. This was partly because he was so damn good and partly because he was a local artist.
Some critics have been vicious, and some say no artist deserves the brickbats thrown at Ms Brightman, particularly from “The Guardian” reviewer.
In an interview with Melbourne Style, Brightman said, “It’s been challenging for me to come back in, and to remember the culture of musical theatre from the first time I did it. Many things have changed.”
The latest news is that performances are being cut by two a week to six, due to poor ticket sales.
This news being blasted across the media and social media bodes poorly for any increase in sales. To allow the public to know that the show is not selling is a serious “no-no” in show business.
I conclude by saying I wish Ms Brightman well in the unenviable position of leading the “Sunset” company, despite the reviews and poor word of mouth, until the end of November. She has a remarkable supporting cast and a leading man who would shine in any production of this show. Let’s hope that people can go along and rejoice in the talents of Draxl, Ashleigh Rubenach (magnificent) and the rest of the cast throughout its Sydney (and the remainder of) its Melbourne seasons.
Editor’s note: For an alternative view, see our review in this edition.
Out and About
Many impressive shows have kept audiences happy in the last few months in Sydney. The Hayes Theatre continues to go from strength to strength (how long before it needs a bigger theatre?) after the sellout success of Zombie the Musical and the interesting venture of Tell Me on a Sunday, with Erin Clare more than showing what is needed to make this little show work.
Then another sell-out musical appealed to younger audiences with
Ride the Cyclone a little known Off-Broadway musical. It’s smart that they have two middle-of -the-road shows coming up in Little Women and Holiday Inn.
Chicago has once again proven it’s a no brainer as far as pleasing audiences. This new production is perhaps the strongest since I saw the original 1996 revival. Every inch is total class, and it looks a lot slicker than the last time I saw the show looking rather tired on Broadway. Go Lucy and Zoë!
Finally, two unexpected delights. I was knocked sideways by the standard exhibited by Willoughby Theatre Company’s production of Jersey Boys. I’ve seen this show all over the world and this production was close to world class. Their star was a new actor who is currently at NIDA, Luc-Pierre Tannous. Watch this name. He was the very best Frankie Valli, vocally or dramatically, I have ever had the pleasure of seeing. To top off the last two months, NIDA has been staging their midyear season of plays, and their production of Spelling Bee was the best one I have seen since the original Broadway cast. The creative combination of director Darren Yap, choreographer Kellie Abbey and MD Andrew Bevis should be encased in gold.
Did I Ever Tell You This? - A Memoir by Sam Neill.
Text Publishing Melbourne $29.99
Sam Neill’s memoir is amusing, hearty, sometimes laugh-out-loud funny, and a moving, warm account of his life.
Neill’s youngest daughter, Elena, was asked at a young age, ‘What does your daddy do for a job?’ Her answer was both perceptive and accurate. ‘My daddy sits in caravans.’ ‘Yes, that’s what I’ve done most of my life, sitting, waiting for someone to tell me what to do, somewhere near a film set.’ He’s appeared in over 150 films, working with some of the biggest stars, in everything from My Brilliant Career and The Piano, to TV’s Peaky Blinders and the Jurassic Park franchise.
Neill started writing this book when he has diagnosed with blood cancer and did not know how long he would live, and jotting things down gave him something to do. Therefore, it’s not chronological, but a book of
bits and pieces, about his career, his vineyard, his family, and his friends.
Born in Omagh, County Tyrone, Northern Ireland, to a father who was in the British army, and a mother who loved dogs and was an accomplished horsewoman, Neill was originally named Nigel, a name he hated and very quickly changed to Sam when he was eleven. He has very few recollections of Ireland but feels curiously at home there; everything is comfortably familiar the stone walls, the trees, the gentle hills, the smell of turf on a fire and the accents.
When the family emigrated to New Zealand, they spent a year in Christchurch, and in 1956 moved south to his father’s hometown Dunedin. But it was at boarding school in Christchurch where he discovered he was hopeless at sports (except skiing and swimming) and liked acting.
and jazz) because we had adjoining rooms. Then The Beatles turned up. I was fifteen when they arrived on our radio, and twenty-two by the time they broke-up. I grew into a man to a Beatles soundtrack.’
In 1969 Neill had the good fortune to be cast as Theseus in A Midsummer Night’s Dream, directed by Dame Ngaio Marsh at the Cort Theatre, Christchurch, and enjoyed it so much that he knew he had found his calling. A few months later he took over the role of Jacques Roux in Marat/Sade in a production that was ‘crazily dynamic and immensely fun to be in.’ It toured to Wellington, which led to him touring for a year around New Zealand for the New Zealand Players Drama Quartet, ‘taking Shakespeare, Shaw and the like to mostly ungrateful school children. And then I got a proper job at the National Film Unit, starting on a wage of $3200 per annum. Friday night drinks were at the Duke of Edinburgh, a pub on Willis Street, or another in Cuba Street that was very rough and frequented by hookers, who specialised in fishing boats from Asia, criminals of all kinds, Stage On Page
‘When my brother Michael left home at 15 to go to Cambridge University, I started to build my own record collection. Up until then I used to listen to what Dad played (classical), and Michael (blues, gospel
and the most fascinating of all, drag queens. Big tough Maori drag queens. Me and my flat-mate, Tony (Toad) Dennison, were fish out of water, but for some reason the drag queens were protective of us. We were safe with them, and they were hilarious, camp as hell and didn’t give a flying f…k what anyone ever thought.’
In 1977 his career path changed again when he received an aerogramme from Hong Kong. It was from Roger Donaldson and he wanted to make a movie in colour (the first in New Zealand), called Sleeping Dogs, with Neill to star. (Russell Crowe remade the movie this year). It was based on a book by C. K. Stead and imagined New Zealand as a police state in which members of the resistance confront government forces. It was filmed on location at Coromandel, with Hollywood star Warren Oates.
The main income in those days in Coromandel was growing marijuana. ‘There were a lot of hippies around who were more prosperous than they should have been. Some even worked on the film. Needless to say it was a very happy film.’ When the film came out Neill did publicity for it in Australia (there for the first time), fell in love
with the country, and made a lifelong friend of Donaldson, who owns the vineyard next to Neill’s in New Zealand.
Sleeping Dogs (1977) opened doors for Neill. He got his first agent, then became a star in My Brilliant Career. He also worked for the first time with Judy Davis. He did three films with her and has vowed to never do another finding her extremely difficult. On their third movie, Children of the Revolution (1996), she stopped speaking to him entirely and wouldn’t even say ‘Good Morning’.
James Mason saw him in My Brilliant Career and thought he was good and should be working beyond Australia. He sent air tickets for him to stay with him and his wife Clarissa in Switzerland and then go on to London and meet his agent. And so his world changed again. He became an international star appearing with the best.
Neill’s most famous role is that of Dr Alan Grant in the three Jurassic Park movies, and he won a Best Actor award early in the ‘80s from the British Academy of Film and Television for the TV Mini-Series, Reilly: Ace of Spies (1983), which put him on the map on the small screen.
He adores working with women and believes the world would be a better place if it were run by women, saying they’re better at politics, and certainly better at acting, and to prove it he lists three pages of women he has been lucky to work opposite everyone from Meryl Streep (twice) and Kristen Scott Thomas (twice), to Helena Bonham Carter (twice) and Miranda Richardson (four times). ‘It’s breathtaking. What a privilege.’
Neill has been married twice, the first time to actress Lisa Harrow who he met while filming Omen III: The Final Conflict (1981), and they have a son, Tim. His second marriage was to make-up artist Noriko Watanabe, which produced a daughter, Elena. He also adopted Watanabe’s daughter
from her first marriage. In his early twenties, Neill fathered a son who was placed in adoption. They reunited in 1994.
Knighted in 2022, these days he’s happily divorced and, when he’s not filmmaking, spends his time at his organic winery, Two Paddocks, in the Central Otago region of New Zealand, a venture he started in 1993. At Two Paddocks he makes Pinot Noir, which he first planted in 1997 and has continued to this day making premium table wine, in the process winning awards. Each year they sell out. Two Paddocks consists of a vineyard at Gibbston, and two near Alexander, all in the Central Otago region. In 2000 he bought his farm, Redbank. It’s fifty hectares, a portion of which he planted in vineyards four hectares of Pinot, two hectares of Riesling, and the rest in growing Lavender. ‘I think we make the greatest lavender oil in the world.’
In his study, he’s surrounded by his collection of vintage photographs and his favorite art pieces. A painting by Ralph Hotere is especially revered, as Neill used to go to a gallery which exhibited his work when he first arrived in Wellington and he was broke. Success meant that he could finally buy an original.
He’s also surrounded by his collection of farmyard animals which he has affectionately named after his acting pals there’s Laura Dern (chicken), Kylie Minogue (duck), Helena Bonham Carter (cow), Brian Brown (female pig), and flocks of highly coloured lorikeets which he feeds every day.
His cancer is currently in remission. The tumors have gone.
Neill’s anecdotes are fresh, funny, and colourful. He’s a great raconteur. You will love this book. I did. It comes with a generous selection of B&W and colour plates of him throughout his career, but no index.
Peter Pinne
Sam Neill discusses his life and the unlikely genesis of his memoir youtu.be/jFBkNq0f8wA
Get a taste of the infectious energy of In The Heights. Scan or visit fb.watch/sTtGqIRvsG
Lin-Manuel Miranda’s debut musical In The Heights arrives at the Sydney Opera House for a strictly limited six-week season from July 20 to August 25. Pictured from the cast are Richard Valdez as Piragua Guy, Olivia Vásquez as Vanessa, and Ryan Gonzalez as Usnavi. In the Heights earned four awards at the 2008 Tony Awards including Best Musical and Best Original Score. The Broadway hit tells the story of three generations in a vibrant community, layering Latin American rhythms with the energy of the borough an energising meltingpot of salsa, soul, hip-hop, street-dance, rap, and merengue styles. Read more at tinyurl.com/23lqpvvf sydneyoperahouse.com
Anaïs Mitchell’s hit West End and Broadway musical Hadestown will make its Australian premiere at Theatre Royal, Sydney in February 2025. Presented by Opera Australia and JONES Theatrical Group, Hadestown won eight Tony Awards when it opened on Broadway in 2019, including Best Musical, Best Score and Best Director and is still playing to packed houses five years later. Pictured is Melanie La Barrie as Hermes with the original London cast. Read more at tinyurl.com/2c9qt6cq hadestown.com.au
Journey to the underworld and back in Hadestown. Scan the QR code or visit youtu.be/WbZJDyAP8wk
Photo: Daniel Boud.
Photo: Marc Brenner.
The Australian Ballet School Turns 60
Future stars of the world ballet stages have been pirouetting out of The Australian Ballet School since it was founded in the 1960s. David Spicer speaks to alumni Graeme Murphy and three students from the class of 2024.
To celebrate the 60th anniversary of The Australian Ballet School, more than 100 students flew from Melbourne in May to the Sydney Opera House for a gala concert that will be reprised in October at the Regent Theatre.
Scores of dancers in tutus and tights leapt in delicious unison in a program which delighted the audience (including my retired ballet student mother-in-law).
Alumnus Graeme Murphy who went onto lead the Sydney Dance Company for 30 years choreographed an interpretation of ‘Winter’ from Vivaldi’s Four Seasons With his trademark wit, it included a nod to winter Olympic ice skating.
Getting into the Australian Ballet School in 1965 changed Graeme’s life. His preparation had been just one hour of tuition a week for two years.
“We were living in the bush, and my parents drove that one hundred miles every weekend there and back,” Graeme told me.
His parents struggled to send him from a small town in Tasmania to the audition in Melbourne.
“Most of the staff said I was too young, too skinny, and not trained.”
Murphy credits Magaret Scott the school’s first director with spotting his potential.
“She said, I want him in the school. She must have had an insight because if I hadn’t got in at that audition, my parents would have said, no, you’re obviously not good enough.”
At the Sydney Opera House, I caught up with three students from the class of 2024 who had entered the school in their mid-teens (Year 9/Level 4) and are about to graduate at 18 and 19 years of age.
For male students there is less competition to get in, but they face other challenges.
Graduating student Riley Burns said, “I was the only ballet dancer in my primary school so I found it really difficult to connect with the boys.”
He found high school a full mental challenge.
“I had boxes thrown at my head, I was kicked, punched and called all forms of homophobic slurs. But then you come into here with these boys. It helped me a lot. It was just a different experience being able to be surrounded by boys who all have the same interests.”
Another male graduating student, Jordan Sawtell, said more boys need to start doing ballet.
“It’s very cool. You get to lift the girls. It’s my passion,” said Jordan.
This comment made Riley laugh.
Australian Ballet School’s 60th Anniversary Showcase défilé Photo: Sergey Konstantinov.
Online extras!
Go behind the scenes of the rehearsals for the 60th anniversary showcase fb.watch/sCzzNQLUfm
The Australian Ballet School 60th anniversary concert takes place at the Regent Theatre, Melbourne on Sunday October 6.
australianballetschool.com.au
“Most guys will look at us and be quite impressed that we can lift a girl above our head with ease,” said Riley. I asked the boys to consider whether their level of athleticism is comparable to a professional Aussie Rules player?
Riley said, “I would like to think we’re quite on par. I think there’s some things that they could do that we couldn’t. I think there’s things we could do that they couldn’t except we don’t get an off-season.”
Jordan felt that ballet dancers needed a greater level of endurance than many sporting professionals.
One the female graduates this year is Isabella Triscari.
“There’s a much bigger expectation for the ladies in ballet,” she said, “and when you go to the auditions, it’s very competitive. It’s hard to feel calm because everyone’s looking at you. And they all want the same thing.”
And the challenges don’t stop once you get into the course and spend four years training and completing high school.
“Especially as a ballerina wearing the pointe shoes all day in rehearsals. It’s very hard with blisters, and icing up after a long day of rehearsal.”
All three students are hopeful of careers as dancers.
Graeme Murphy says the standard of education has improved since he went to The Australian Ballet School in 1965.
“We did music, mime and went to galleries and notation. My school education finished (at 14). Now they have psychology, emotional support and (VCE graduation).
“They learn a fabulous network of solid techniques and variations of dance styles and are then a ripe for the picking to go into lovely companies around the world.”
Four Seasons - Winter. Photo: Sergey Konstantinov.
NIDA’s Foxy Set And Costumes
NIDA student Paris Koppens had to blend the animal and human worlds in designing the set and costumes for the play First Love Is The Revolution, staged in June. Isabella Nocetti reports.
An unconventional love story between a fox, Rdeca, and a boy, Basti, First Love Is The Revolution starts when Basti catches Rdeca to make a coat out of her fur for his ill mother. The plan comes to a screeching halt when Basti finds that he can understand the fox when she speaks to him. Through the conversation the two become fast friends and eventually fall in love. When Rdeca’s mother finds out about this love, the fox is cast out of her den, and the couple must find their own way in the world.
Isabella Nocetti: Can you describe the design of the stage?
Paris Koppens: We had the one end of the stage that was sloped upwards which became the “wild side”, and then the flatter end of the stage had the kitchen, so it became
the “human side”. In the centre of the stage there’s a love heart which was Basti and Rdeca’s home that they create for each other between the two worlds.
IN: In the process of designing this, had you seen images of the play, or was it all original?
PK: I had never seen it before. For the first couple months of the project, I designed without looking at previous material so that I wouldn’t get influenced. I did eventually see some images online, but not until after I had designed the set.
IN: What was the process of building the set and setting up the stage?
PK: Most of the set was made of recycled MDF and Yellow Tongue sheeting, and it was made to look like concrete.
IN: What inspired the costume design?
PK: In my design process, I start with the costumes and the characters, and then the world evolves out of that. What I wanted to draw attention to was that both the foxes and Basti’s family are poor. We were also interested in finding what the Australian class archetype of the different animals would be. We also didn’t want there to be any obvious fox or animal signifiers. We wanted the animal concept to be more of a metaphor. Rdeca is a red fox, so we knew we wanted her to be in red, and that’s where her costume stemmed from. I wanted the humans to oppose the red of the foxes to create a sense of “two worlds colliding”.
Online extras!
Meet Paris Koppens as she discusses her Design For Performance portfolio. youtu.be/c6DtMUaOz1o
Applications are now open for NIDA’s 2025 intake. Find out more about the courses on offer at nida.edu.au
IN: How did you determine what costumes animal characters would wear?
PK: We started with who they were as characters. So, the chickens are these dowdy, older women. They’re funny characters. We wanted them to look frumpy, but still be charming. That’s why we went with quilted vests and the matching hats.
IN: What was the process of making or acquiring the costumes?
PK: Most of the costumes for this show we were able to buy, source, and alter. A lot of the costumes we wanted to look worn and run down
to demonstrate that level of class. So, the costumes were art-finished to look like they were older or were distressed. For example, the mole jacket was art finished, for which we added artificial dirt, cut holes, and sanded with steel wool to wear things down.
IN: What were some of the challenges of making people resemble animals?
PK: In the script, the animals have fur around their eyes, and fleas, so leaning away from that was a challenge. Also, making sure that the humans and animals had distinct
differences between them so that you could see that they’re animals before it’s said. We made those distinctions with stylization. There are pieces in each of those costumes where you realise they’re not human.
IN: Tell me about the BFA Design for Performance course you’re taking at NIDA.
PK: We get to experience such a range of designs and have a balance of theatre and film. This year, I designed and helped direct a short film, and I am working on music video design.
Showcase
Paris Koppens on the set of First Love Is The Revolution.
A theatrical production based on a beloved Australian cartoon is opening up the world to recent WAAPA graduates, reports Anton
Mazandarani.
Henry O’Brien in Bluey’s Big Play
Photo: PhotoCo.
Henry O’Brien and Julia Landberg, graduates of WAAPA’s Bachelor of Performing Arts (BPA) degree, majoring in Performance Making, find themselves in the global spotlight as they tour with HVK and Windmill Theatre Company’s Bluey’s Big Play
Both Henry and Julia share duties as puppeteers for the characters of Bandit and Louis, demonstrating not only their technical proficiency but also their ability to seamlessly integrate into a highly synchronised ensemble.
Bringing these beloved character to life on stage each night requires a lot of stamina, skill and versatility to keep each performance fresh for performers and audience alike, as Landberg asserts, “Each puppet requires three puppeteers and that allows us to rotate and keep it fresh. One show you might be controlling the head, responsible for the majority of facial expressions, and the next show you might be controlling the arms and legs.”
Their journey from WAAPA to international stages was not just a stroke of luck but a testament to the specialised training they received, particularly in puppetry through WAAPA’s partnership with the acclaimed Spare Parts Puppet Theatre.
During their undergraduate years, both students immersed themselves in the unique BPA program, which emphasises versatility and creativity across various performance forms.
Course Coordinator Dr. Jeremy Neideck says, “the BPA course offers skills and experience in a range of performance forms like physical theatre, site-specific work and puppetry that are not typical features of a more narrowly focused Acting course. BPA graduates leave with a portfolio of performance works readyto-go into the industry.”
On the phone from Singapore where the stage play is currently showing, O’Brien, who completed his studies in 2023, emphasises just how “job-ready” BPA graduates are. “I feel like doing the BPA has set me up. I’m
grateful for the training and skill-set behind me that has allowed me to make the most of those opportunities.”
Landberg also found the specialised training with the Fremantle puppet theatre valuable. “For me, it was one of my absolute favorite units. It was allencompassing, starting from the true beginning of puppetry, finding the breadth and the movement and control of puppetry all the way through to creating a performance at the end of of the unit.
“I moved to Melbourne when I graduated and during the COVID lockdown I started working a lot with Trash Puppets. I didn’t realise how big the puppetry industry is in Australia. It’s much wider than I thought, with a lot of opportunities for performers like myself.”
Their roles in Bluey’s Big Play underscored the adaptability fostered by WAAPA’s BPA program.
The production’s international tours to places like Singapore, with plans for Abu Dhabi and Europe, highlight the global appeal and cultural significance of Australian storytelling through puppetry and the universality of Bluey.
For Landberg it’s the focus on imagination and learning through play of Bluey and Bingo, the two main characters, but also for the audience. “There’s lots of shenanigans and fun things happening but also life lessons on what it’s like being a sister, what it’s like learning and how to treat others. And it’s something that everyone enjoys; both kids and adults can all find something in the show that they truly enjoy. It’s not just for little kids.”
WAAPA’s Associate Dean of Performance, Prof. Frances Barbe, is proud of the course’s impact, noting graduates like Henry and Julia contribute to the industry’s innovation and sustainability. “The Bachelor of Performing Arts course at has been running for about 10 years. It is a vital addition to WAAPA’s portfolio of
courses, offering something quite unique that is relevant to our evolving performing arts industry, which demands greater flexibility, creativity and innovation for a long-term sustainable career. BPA graduates are sought after for their collaboration skills and their in-depth understanding of the creative process. They enter the industry with experience in directing, playwriting, and producing as well as performance and that broad range of skills and perspectives.”
Henry and Julia’s story highlights how WAAPA’s BPA program prepares graduates not just for performance but for leadership and innovation across diverse sectors of the arts. Their success underscores the importance of experiential learning and industry partnerships, ensuring graduates are equipped to thrive in a competitive global entertainment industry.
To find out more about Performance Making at WAAPA visit waapa.ecu.edu.au/courses-and-admissions/our-courses/performing-arts
Julia Landberg in Bluey’s Big Play Photo: PhotoCo.
Sydney Conservatorium Musical Students Shine
Students at Australia’s newest Music Theatre program are preparing to take to the stage. Narelle Yeo reports.
The Sydney Conservatorium’s Music Theatre cohort are trained in singing, acting, dance and ensemble, with classes taught by Australia’s best music theatre professionals.
Established just three years ago our first group of students, who are based on the beautiful Conservatorium of Music campus in the heart of Sydney, will stage their first production, Into the Woods, this year.
Australia’s newest music theatre course is already thriving, and students are finding their individual paths to a career in music theatre.
With access to the best theatres in the city, partnerships with Sydney Dance Company and the Hayes Theatre, Music Theatre at the University of Sydney is filled with opportunities to perform, grow and find your individual path into the industry.
In May students in the Music Theatre program were treated to a visit by icon Audra MacDonald and Musical Director of Hello, Dolly! on Broadway, Andy Einhorn.
Students take regular masterclasses with industry greats, have multiple touring opportunities, perform in a range of professional
venues, and learn from the best in the industry.
All of these opportunities at the Sydney Conservatorium of Music make Music Theatre an incredibly competitive program, with students competing from all around Australia to be part of this exciting new force in Music Theatre training:
“The Con has provided us with the industry connections we need to garner professional experience, to build our portfolio and prepare us for a life in music theatre beyond the Con,” said student Ruby Baird.
Music theatre students who want to be changemakers in our industry can also gain admission at the Sydney Conservatorium of Music before ATAR results are released, based on their performance talents.
Music theatre student Charlotte Bertwistle joined the Creative Arts Special Admissions Scheme (CASAS), and secured an early spot at the Sydney Conservatorium of Music, making Year 12 life easier.
The Creative Arts Special Admissions Scheme is a pathway available to students applying for the Bachelor of Music (Performance)
majoring in Music Theatre, with entry based on an online audition, live callbacks and interviews. It can make a world of difference, providing an early unconditional offer to study at the university.
After seeing her friends apply for similar programs, Charlotte applied for the CASAS program at the Con. “I knew that if I was guaranteed a place before the HSC, I could focus solely on my studies while not facing the stress of meeting strict ATAR requirements and further university applications,” she said.
For Charlotte, receiving an early offer to study performance was “truly a weight lifted” off her shoulders, and the relief of having an early offer had a positive impact on her time during the HSC exam period. The best thing about studying at the Con though?
“Beyond being a haven of all things creative, The Con provides its students with so many incredible opportunities and avenues,” says Charlotte.
Associate Professor Narelle Yeo, is the Program Leader of Music Theatre at the Sydney Conservatorium
Sydney Conservatorium of Music students.
Photo: John McRae.
The McDonald College Stages A Chorus Line
“One of the best productions of A Chorus Line I’ve seen. Just brilliant!” -Audience member on opening night.
McDonald College’s musical theatre students, under the direction of Head of Musical Theatre Kate Dunn, wowed audiences over 5 sold out performances with a spectacular production of the iconic musical A Chorus Line. This timeless exploration of self-discovery, ambition, and the complexities of life on stage resonated deeply with audiences, proving its enduring relevance even 50 years after its debut.
The students delivered a powerful rendition of Marvin Hamlisch’s unforgettable score, embodying the vulnerability and determination of aspiring dancers during a grueling audition process. The audience was taken on an emotional rollercoaster, seeing the raw self-doubt and relentless pursuit of a dream through iconic numbers like “What I Did for Love” and “One”.
This production was more than just a showcase of talent; it was a transformative experience for the students. Kate Dunn’s dedication went beyond direction, forging a memorable journey for these young performers. To enrich their experience, Dunn arranged virtual interviews with A Chorus Line alumni Scott Faris and the legendary original cast member Priscilla Lopez. These intimate interactions with Broadway veterans provided the students with unique insights and inspiration for their performance.
McDonald College’s A Chorus Line serves as a powerful showcase of the exceptional talent and dedication nurtured within the College’s walls that combined with Kate Dunn’s exceptional direction, truly brought this timeless classic to life.
For more information on The McDonald College Musical Theatre stream, visit mcdonald.nsw.edu.au/streams/musical-theatre
Source: McDonald College
A Chorus Line.
Musician Thrives At CQUniversity
Anya Eve Mackay always had a passion for singing, but it wasn’t until she embarked on a one-year exchange opportunity at CQUniversity that she solidified her dream to make music her career.
Hailing from Scotland, Anya’s move to Australia was meant to be shortterm. Her encounter with Mackay’s vibrant music community, and the support she received from her lecturers and student-cohort, saw her extend her stay and complete a Bachelor of Music.
Anya studied on campus, with a combination of in-person and online courses. This allowed her to gain exposure locally, through performance opportunities and interstate through her online lecturers.
The musical collaboration came in her first term, when she joined students from Central Queensland Conservatorium of Music on a threeweek trip to Malaysia, participating in a rendition of Andrew Lloyd Webber and Tim Rice’s Evita
“I was only part of the chorus, but what I got out of this experience was learning to work with other people. I think it’s important to make all these connections, especially across the world,” Anya said.
The music student seized any opportunity to perform by engaging
with both the music and the theatre programs. She joined the students from the Bachelor of Theatre in their regional tour, performing in two productions Safety Circuits and Choices both aimed at school students. She learned a new set of skills as part of the technical team, followed by a lead role during her second year.
“The younger kids, they totally engage with you and it’s a bunch of fun. But performing and engaging with the Year 12 students is even more important and scary because they’ll tell you if you’re doing a terrible job, because they have no filter. But it was super cool, I really enjoyed it,” Anya said.
“I’ve not just learned singing. I’ve learned how to do tech, acting, dancing and really performing. I think it’s important to build my skills in lots of different areas; all these things will help in the future.”
Central to Anya’s journey was the Big Night In, a yearly exam assessment where emerging talents from CQUniversity and the Central
Online extras!
Listen as Anya discusses her experience studying at CQUniversity youtu.be/UVlzXhvesOM
Queensland Conservatorium of Music perform in front of friends, family and the public.
“Big Night In is our big performance. We have guest artists who usually join us and workshop with us the week before the show; they give us feedback on our songs and what we could do to improve them. It’s cool to workshop with different people, especially because a lot of them are from all over the world.”
Anya appreciates CQUniversity’s intimate learning environment, highlighting the personalised support she received from the university and the opportunities on stage.
“CQU is not a small university but the cohort in the Bachelor of Music is quite a small group of people. It means they’re giving you a chance if you need one-on-one help. The connections from lecturers and the community at the Central Queensland Conservatorium of Music have been incredible and they have been so great putting me forward for gigs, involving me with companies and local events.”
Kick-start your career in creative and performing arts at CQUniversity. Apply for an audition at cqu.edu.au/courses/699891/bachelor-of-music
Anya Mackay.
Showcase
Actors To Storytellers
Graduating actors at the Flinders University Drama Centre participated in a two-year performance research project Coming of Age on Stage, incorporating collaborations with some of Australia’s leading artists, and performances at the Adelaide Festival Centre. Jude Hines reports.
Flinders Drama Centre alumni include legends of stage, film and television, from grande dame Noni Hazlehurst in the inaugural graduating group in 1974, and graduates include stage actors, Amber McMahon and Nathan O’Keefe, film-maker Scott Hicks, actor, producer Joanne Hartstone, director Gale Edwards and Twilight series star Xavier Samuel, all of whom have gone on to have success at local, national and international levels.
The current cohorts were inspired by this heritage of innovation and originality, to share their own stories through their work. In 2022, mentored by Teaching Artist-in-Residence, director Wayne Harrison AM, the graduating actors explored the history of coming-of -age stories in Australian theatre from Ray Lawler to Debra Oswald, to create the anthology production Coming of Age in Australia. The 2023 cohort responded by going global in working with famed actor and acting teacher Glenda Linscott investigating the contemporary repertoire to create Coming of Age in the Twenty-First Century. Each group took the step of presenting two graduate showcases at the Adelaide Festival Centre, made up of new works they wrote themselves.
Graduate Ella Le Fournour, who came to the Drama Centre with a passion for storytelling, said “the greatest strength of my training at the Drama Centre has to be the focus on being true to ourselves, not being afraid of our vulnerabilities and using them to create characters.”
Ella, and Rhys Griffin, also a 2022 graduate, undertook a three-year degree and Honours year, each appearing in ten productions on stage and screen during their training. Both commented that being taught and mentored by a respected and highly qualified team of arts professionals including Lecturer and stage director, Dr. Christopher Hurrell brought confidence and the opportunity to hone skills in both stage and film.
Following their mentoring by director and creative producer Wayne Harrison best known as CEO and Director of the STC in the 1990s both commented that they had been treated as “fully qualified, skilful performers who are already in the industry and whose input, creative ideas and thoughts were treated with respect and genuine interest.”
Rhys said, “Wayne’s dramaturgical experience is mesmerising,” and the
opportunity to learn and work with him and the team at the Drama Centre in an environment that is “safely creative, respected and collaborative has been both eye-opening and life-changing.”
Each of them believes they now have a well-packed kit bag of skills, ideas and experiences to be day one contributors in the world of the performance.
Ella and Rhys fearlessly deployed their own real-life personas in the fictional works they created for their graduate showcase, be/coming. The students were trained in playwriting by award-winning playwrights Caleb Lewis and Emily Steel, and solo performancemaker Emma Beech.
“Having explored issues of political, personal and gender identity through their independent performance research through each year,” said Dr Hurrell, “our talented graduates have now found their own unique voices, transforming their own stories into dynamic works of theatre.”
After graduating, Rhys and Ella moved to Melbourne and signed with agents. Griffin plans to follow his dream to direct in the Australian film industry, and he noted, “We need to understand ourselves as actors first. I know it is a journey. I am patient and flexible and know that I will continue to learn as I become part of the industry.”
Ella commented that “people at the Drama Centre have moved mountains...to equip students to be powerful, confident storytellers.”
Their passion is contagious. I, for one, am expecting to see their names very soon as the credits roll on a film or series or perhaps in a theatre program proclaiming a new ‘find’ in a great role.
can be viewed here
Ella Le Fournour and Rhys Griffin in Coming Of Age In Australia
Photos: Sam Oster
Queensland College Of Dance
Over the past five years, Queensland College of Dance has experienced remarkable growth, solidifying its reputation as a dynamic force in performing arts education. Jacqui Devereux, Head of Musical Theatre reports.
With a focus on nurturing the next generation of performers with dedication and expertise, Queensland College of Dance has rapidly become a highly sought-after destination for aspiring young artists.
Our programs are designed to ignite passion, hone talent, and prepare students for flourishing careers in the performing arts. Offering comprehensive Diploma and Advanced Diploma qualifications, the college ensures that graduates are wellequipped for professional success. The faculty, comprised of industry professionals, provides personalised mentorship, cultivating each student’s unique potential.
The college boasts first-rate facilities at its Brisbane campus, which provide students with ample opportunities to gain real-world experience. Regular performances allow students to showcase their skills on stage. This hands-on approach, combined with a robust curriculum, creates an exceptional pathway to success for students.
Diverse Training Streams
The College offers four specialty streams Musical Theatre, Commercial Dance, Classical Dance, and Contemporary Dance. Each stream is meticulously designed to provide targeted training, ensuring that students receive the most relevant and comprehensive education possible.
Spotlight On Musical Theatre
One of the most anticipated events is the Musical Theatre stream’s mainstage show. For 2024, we proudly present Alice By Heart, featuring music by Duncan Sheik and a book by Steven
Sater. This modern musical adaptation of Lewis Carroll’s classic Alice’s Adventures in Wonderland explores themes of love, loss, and the power of imagination amidst the backdrop of war-torn London.
The creative team of Artistic Director Tim Hill, myself as musical director and choreography by Tess Hill is devising a fresh and poignant interpretation, fully immersing the audience in Alice’s fantastical world.
The talents of Diploma and Advanced Diploma of Musical Theatre students will be showcased, highlighting their skills in acting,
singing, and dancing. Tickets will be available in September.
A Proven Track Record
Graduates are making their mark in the professional sphere, securing roles both internationally and across Australia. From Universal Studios, Royal Caribbean Cruise Lines, Sydney Dance Company, the Teatrul De Balet Sibiu to the Moulin Rouge, young artists from all four of the Queensland College of Dance’s programs are performing world-wide.
Numerous students have advanced to study
QCD classical dance student.
Photo: Erik Sawaya
Musical Theatre at other distinguished universities after first completing diploma courses at the college.
Maddie Kirkwood, a 3rd Year Musical Theatre Student at the Queensland Academy of Excellence in Musical Theatre, Griffith University, reflects on her experience: “During my full-time studies at the Queensland College of Dance I felt so supported and guided in pursuing a career in musical theatre. The course offered a wide variety of classes which ensured I was getting the most versatile training in all genres of singing, acting, and dance. Not only was I able to solidify my skillset as a performer, I found lifelong friends and mentors who still support me post-graduation.”
Elliott Gough, now a performer at Universal Studios Beijing, credits the College for his professional and personal growth: “Two of the most important lessons I learnt were not being self-conscious, and how to listen. These newly acquired skills now shape my career and the rest of my life. I’m beyond grateful for all the tutors and teachers for guiding me to where I am today.”
A Bright Future
As Queensland College of Dance continues to grow and evolve, it remains steadfast in its mission to provide top-tier performing arts education. The combination of state-of -the-art facilities, expert faculty, and a passion-driven curriculum ensures that
students are well-prepared to succeed in the competitive world of performing arts.
For anyone with a dream of making it in the world of dance or musical theatre, we offer an unparalleled opportunity to turn that dream into reality.
QCD musical theatre students.
Photo: Peter Cabral
National Drama School Leader
The National Drama School has welcomed the appointment of professional actor, theatre director and academic Dr Jaime Dörner to the leadership role of Director of Drama.
Jaime joined The National Drama School as Associate Artistic Director in mid 2023 and has been instrumental in the continuing development and growth of the acting courses being offered.
“The National Drama School has played a vital role in cultivating Australia’s stage and screen acting talents since it was founded in 1936,” says Jaime. “It’s a privilege to step into this important performing arts leadership role and take the reins of this dynamic learning institution as we approach our 90th anniversary.”
After completing training in New Zealand and Chile, Jaime earned a Doctorate in Theatre and Performance at Monash University in 2019.
“My curiosity as a practitioner constantly leads me to question the craft of making theatre; what the purpose of theatre is and how effective theatre can be,” says Jaime. “I believe theatre can be a trigger and a provocateur of emotional/ intellectual processes that connect artists and audiences through storytelling.”
During his theatrical career, Jaime was twice awarded Artist in Residency at Massey University, directing A Midsummer Nights’ Dream in 2012 and King Lear in 2015. He has directed theatre and movement-based shows in Chile, New Zealand and Australia.
Established in 1936 by revered arts pioneer Gertrude Johnson OBE, The National Drama School in Melbourne
is Australia’s longest-established vocational training organisation for acting and a leading cultivator of stage and screen talent.
All training programs are focussed on developing acting skills and delivered by a team of professional teaching faculty and industry experts.
The Young Actors Program offers primary and secondary school children regular classes in acting for stage and/ or screen, along with interactive seasonal school holiday programs in winter and summer.
For young adults and school leavers seeking to pursue a professional acting career, The National Drama School offers the industry leading bridging program, Foundation in Acting, and the flagship two-year Diploma of Acting qualification.
Renowned for its industry connections, intimate class sizes, and passion for the craft of acting, the school celebrates and champions diversity, while cultivating excellence and authenticity.
Australian stars of stage and screen who are alumni include Kat Stewart, Richard Cawthorne, Tosh Greenslade, Esther Hannaford, Lawrence Mooney and Geraldine Quinn.
Stepping into his new role, Jaime has identified three core values that underpin The National Drama School’s training programs: Care, Excellence and Community.
Discover the courses available at The National Drama School and register your interest for the 2025 intake at nationaltheatre.org.au/drama-school
“In these ever-evolving times, The National Drama School remains committed to developing the voice of our next generation of performing artists,” says Jaime. “We have established three core values for our training programs. Care for each individual student, their particular background and way of learning. Excellence in our teaching and performance outcomes, and finally we are passionate in transforming the National into a vibrant centre of performance making for our creative community.
Information and applications are available at nationaltheatre.org.au/ drama-school for aspiring performers interested in joining the Young Actors Program and those exploring a professional career who may wish to join the Foundation in Acting or Advanced Diploma of Acting courses.
Online extras!
Find out what sets The National Drama School apart. Scan the QR code or visit youtu.be/sGOKfnrZpnc
Jaime Dörner.
Schools Rock On Stage
Brentwood Secondary College in Melbourne staged Andrew Lloyd Webber’s School of Rock in 2023. Jack Jones from Outlook Communications describes the challenge of setting up a huge production in a school gymnasium in a few days.
School of Rock is a very challenging musical to stage technically, because not only do the lead characters need microphones, but if the actors play live on stage, their instruments also need to be amplified and balanced with the backstage band.
For this production we used 40 radio microphones for the cast and instruments.
Brentwood is a public school with a modest budget and no dedicated performing arts venue.
Outlook Communications threw ourselves into the challenge, with three days to convert their hall into a theatre.
To make it more difficult, the space has a terrible echo. Fortunately, international sound designer Julian Spink was available to help, in down time from his other gigs on professional tours of Chicago and & Juliet
We managed to get just enough radio frequencies which did not have interference. To install the 40 channels of fixed and hairline microphones we trained students to assist us.
Brentwood’s Director of Performing Arts, Ash Bull, says, “Outlook turned our 55-year-old gym into a theatre with sound of the highest calibre.
“It was also great for students not comfortable on stage to participate in the performing arts program by teaching them to install the microphones and connect the microphone packs.”
To mix the sound we used a new Allen and Heath Avantis console which can handle up to 64 channels and a Funktion-one speaker system. To allow the front rows of the audience to hear the musical we required extra smaller speakers (JBL Control 25) to boost sound.
Little Shop of Horrors
Brentwood Secondary College from August 13 to 17.
Other technical elements included a vision link from the conductor backstage to the cast on-stage.
John Yanko (Dewey Finn) won a Music Theatre Guild Award for best lead performer in a male presenting role. The School of Rock band also won a Victorian Youth Lyrebird Award for best acting partnership.
Outlook Communications loves working with schools and offering extra resources for their productions.
Get in touch with Outlook Communications at outlookcomms.com.au
Brentwood Secondary College’s School Of Rock (2023).
Choosing A Show
Rights holders describe their new and recommended musicals and plays for schools and community theatres.
Music Theatre International Australasia mtishows.com.au
Dot & The Kangaroo
An all-new musical adaptation of the bestselling Australian classic, based on the 1899 novel of the same name, Dot and the Kangaroo will lead audiences on a beautiful journey into the world and spirit of Australia.
Young, rambunctious Dot longs for an adventure. When she finds herself lost and afraid in the darkening Australian bush, Dot befriends a wise mother Kangaroo who enlists the help of Australia’s favourite bush creatures to help Dot find her way back home. mtishows.com.au/dot-the-kangaroo-jr
Midnight
Featuring a passionate, feisty, and funny young heroine who doesn’t need or want a so-called Prince Charming. Can all be achieved before midnight?
Midnight is not just a tale about true love; it is the story of a girl who is destined for so much more than what the world has given her and features a funny, intelligent and strong-willed Cinderella who is determined to make her mark. mtishows.com.au/midnight-the-cinderella-musical
Come From Away
Available for Community Theatres, Come from Away is based on the true story of the time when the isolated community of Gander, Newfoundland, played host to the world when 38 planes, carrying thousands of people from around the globe, were diverted to Gander’s airstrip on September 11, 2001. Undaunted by culture clashes
and language barriers, the people of Gander cheered the stranded travellers with music, an open bar and the recognition that we’re all part of a global family.
mtishows.com.au/come-from-away
Maverick Musicals maverickmusicals.com
Man Of Steel
The soaring high school musical best seller! Man of Steel is an action-packed musical spoof, a parody of the most famous comic book superhero. It centres on the entertaining battle of our Super Hero (and his Heroine) triumphing over the evil Countess Olga and her motley Henchmen. If only he could get it right occasionally … why are tights so hard to wear? Fast moving action, spectacular chorus and a fabulous score.
maverickmusicals.com/play/man-of-steel
Oceans & Emotions
A pirate-themed musical written for lower primary students. Amongst the fun and razzmatazz of quirky characters, there are serious themes explored: wellbeing, mindfulness, anger management, mental toughness, anxiety and depression.
The four happy chemicals of dopamine, oxytocin, serotonin and endorphin together with Calypso, appear as muses to guide the fellow pirates through the choppy seas of self-doubt and beyond (70 minutes).
maverickmusicals.com/play/oceans-emotions
Tiddalik The Musical
A primary school musical based on the popular Dreaming story set in the beauty of an Australian landscape. Native animals and Tiddalik the Frog are so thirsty they decide to drink all the water in the land. To restore the balance of nature the animal groups decide to make Tiddalik laugh so that fresh water can be released. maverickmusicals.com/play/tiddalik-the-musical
Binary
One Act Play. Tonight is Brynn’s first night out, as herself. For years they have questioned their thoughts and feelings, knowing that they are different, but unable to identify why. Not knowing if they were a he or a she, a him or a her, a boy or a girl, a son or a daughter. What pronoun does one use when they are born male but identify as female?
maverickmusicals.com/play/binary
David Spicer Productions davidspicer.com.au
We Will Rock You
The most popular high school musical for DSP remains We Will Rock You by Queen and Ben Elton, which is now available in three editions Global, School and Young @ Part. Resources available include a superb backing track and Scenic Projections.
“It was such a great show. The kids and community loved it.” -St Michael’s Grammar. davidspicer.com.au/shows/we-will-rock-you
Back To The 80’s
The second most popular show in the DSP catalogue is Back to the 80’s a tribute to the era that brought the world the Rubik’s cube. The show will soon also have a Scenic Projection resource. davidspicer.com.au/shows/back-80s
Choosing A Show
Song Contest - The Almost Eurovision Experience
A brilliant homage to Eurovision. Made with love, music and cheese. Connecting communities and giving everyone clackers! Allows for members of the audience to vote for their favourite country on their mobile phones.
Staged by high schools and community theatres this year, the show is being updated in a production produced by the creator Glynn Nicholas in Adelaide in December. davidspicer.com/shows/song-contest-almost-eurovision -experience
Georgy Girl: The Seekers Musical
DSP has announced the availability of community theatre rights to Georgy Girl: The Seekers Musical, the quintessential Australian story of how three clean-cut young men who looked like bank tellers, and a shy cuddly girl-next-door type, left their hometown to have a go at making the big time. Read more in Musical Spice on page 86.
The Woman in Black by Stephen Mallatratt, based on the story by Susan Hill. Jul 914. Canberra Theatre. canberratheatrecentre.com.au
Bombshells by Joanna MurraySmith. Echo Theatre. Jul 1827 The Q - Queanbeyan Performing Arts Centre. theq.net.au
The Girl Who Glows by Zeeko and Jo Turner. The Street Theatre. Jul 18 - 21 thestreet.org.au
Mary Stuart by Kate Mulvany, after Friedrich Schiller. Jul 24Aug 3. ACT Hub at Causeway Hall. acthub.com.au
William Golding’s Lord of the Flies. Adapted for the stage by Nigel Williams. Canberra Rep. 25 Jul - Aug 10. canberrarep.org.au
Julia by Joanna Murray-Smith. Sydney Theatre Company. Jul 31 - Aug 11. The Playhouse,
Canberra Theatre Centre. canberratheatrecentre.com.au
Menopause The Musical SK Entertainment and GFour Productions. Aug 14 - 17. The Q - Queanbeyan Performing Arts Centre. theq.net.au
Every Brilliant Thing by Duncan MacMillan. Aug 14 - 24. ACT Hub at Causeway Hall. acthub.com.au
The Merry Widow by Franz Lehár. National Opera Productions. Aug 23 - 25. The Q - Queanbeyan Performing Arts Centre. theq.net.au
New South Wales
Chicago. Book by Fred Ebb & Bob Fosse, Music John Kander, Lyrics Fred Ebb. John Frost for Crossroads Live, Jones
Theatrical Group in association with Barry and Fran Weissler. Until Jul 28. Capitol Theatre, Sydney. chicagomusical.com.au
Trophy Boys by Emmanuelle Mattana. Soft Tread and
A.C.T. & New South Wales
Seymour Centre in association with The Maybe Pile. Until Jul 7. Seymour Centre. seymourcentre.com
Oliver! By Lionel Bart. Holroyd Musical and Dramatic Society. Until Jul 7. Redgum Function Centre, Wentworthville. hmds.org.au
Stolen by Jane Harrison. Sydney Theatre Company. Until Jul 6. Wharf 1 Theatre. sydneytheatre.com.au
Counting and Cracking by S. Shakthidharan with Eamon Flack. Belvoir Street. Until Jul 21. Carriageworks. belvoir.com.au
Master Class by Terence McNally. Ensemble Theatre. Until Jul 20. ensemble.com.au
The Odd Couple by Neil Simon. John Frost for Crossroads Live. Until Jul 28. Theatre Royal. theoddcoupleplay.com.au
King Lear by William Shakespeare. Bell Shakespeare.
Until Jul 20. The Nelson Nutshell, Pier 2/3. bellshakespeare.com.au
Tosca by Puccini. Opera Australia. Until Aug 16. Joan Sutherland Theatre, Sydney Opera House. opera.org.au & Juliet. Music and Lyrics by Max Martin and friends. Book by David West Read. Michael Cassel Group in association with MTM/LEYLINE. Until Jul 12. Sydney Lyric Theatre. andjuliet.com.au
Dracula by Bram Stoker, adapted by Kip Williams. Sydney Theatre Company Jul 2 - Aug 4. Roslyn Packer Theatre. sydneytheatre.com.au
A Streetcar Named Desire by Tennessee Williams. Maitland Repertory Theatre. Jul 3 - 21 Maitland Rep Theatre. mrt.org.au
Il Trittico by Puccini. Opera Australia. Jul 3 - 19. Joan Sutherland Theatre, Sydney Opera House opera.org.au
On Stage New South Wales
Written by award-winning Australian playwright, Kieran Carroll and starring rising Sydney performer, Jackson Carroll (no relation) Late, Late At Night is a poprock stage adaptation of Rick Springfield’s compelling and searing autobiography, the New York Times best-seller, Late, Late at Night. Directed by Robert Johnson, the show features over 20 fantastic Springfield gems from Zoot to the present day and includes many of Springfield’s 17 Top 40 American hits in the 1980s. Touring NSW and Victoria in July. kierancarrol.com
Cut Chilli by Chenturan Aran. New Ghosts Theatre Co. Jul 527. Old Fitz Theatre. oldfitztheatre.com.au
Too Human by Michael McStay. Liminal Productions. Jul 5 - 20. KXT on Broadway. kingsxtheatre.com
Night Must Fall by Emlyn Williams. Newcastle Theatre Company. Jul 6 - 20. newcastletheatrecompany.com.au
Sunset Strip by Suzie Miller. New Theatre, Newtown. Jul 9Aug 3. newtheatre.org.au
Charlie and the Chocolate Factory. Music by Marc Shaiman. Lyrics by Scott Wittman & Marc Shaiman. Book by David Greig. Songs from the Motion Picture by Leslie Bricusse & Anthony Newley. Based on the novel by Roald Dahl. Gosford Musical Society Juniors. Jul 9 - 13. Laycock Street Community Theatre. gosfordmusicalsociety.com
What Of It by Bec Sgouros. Jul 9 - 14. Old Fitz Theatre. oldfitztheatre.com.au
Off The Record. Cumberland Gang Show. Jul 10 - 14. Riverside Theatres, Parramatta. gangshow.asn.au
The Past is a Wild Party by Noëlle Janaczewska. Siren Theatre Co. Jul 10 - 27. The Loading Dock Theatre, Qtopia, Sydney. qtopiasydney.com.au
Children Are Stinky. Circus Trick Tease. Jul 11 - 13. Riverside Theatres Parramatta. riversideparramatta.com.au
Little Women. Book by Allan Knee. Music by Jason Howland. Lyrics by Lindy Dickstein. Based on the novel by Louisa May Alcott. Joshua Robson Productions. Jul 12 - Aug 11. Hayes Theatre Co. hayestheatre.com.au
Boots. The true story of Puss in Boots: A Pantomime. By Nick
Don’t Dress for Dinner by Marc Camoletti. Elanora Players. Jul 12 - 20. North Narrabeen Community Centre, North Narrabeen. elanoraplayers.com.au
Agatha Crusty and the Village Hall Murders by Derek Webb. Bankstown Theatre Company. Jul 12 - 21. Bankstown Arts Centre. bankstowntheatrecompany.com
Crazy For You by George Gershwin, Ira Gershwin and Ken Ludwig. Armidale Drama and Musical Society. Jul 1220. adms.org.au
Charlie and the Chocolate Factory. Music by Marc Shaiman. Lyrics by Scott Wittman & Marc Shaiman. Book by David Greig. Songs from the Motion Picture by Leslie Bricusse & Anthony Newley. Based on the novel by Roald Dahl. Albatross Musical
Theatre Co. Jul 12 - 21. Shoalhaven Entertainment Centre, Nowra. (02) 4429 5747. amtc.org.au
Finding Nemo Jr. Book, music and lyrics by Kristen Anderson–Lopez and Robert Lopez. Orange Theatre Company. Jul 12 - 14. orangetheatreco.com.au
Tick, Tick … Boom! By Jonathan Larson. Good Time Theatrics. Jul 16 - 26. Old Fitz Theatre. oldfitztheatre.com.au
The Addams Family. Music and Lyrics by Andrew Lippa. Book by Marshall Brickman and Rick Elice. Metropolitan Players. Jul 17 - 27. SPCC Theatre. metropolitanplayers.com.au
The Bugalugs Bum Thief. Based on the book by Tim Winton. Adapted for the stage by Tim McGarry, Eva Di Cesare, Sandra Eldridge. Red Line Productions. Jul 17 - 21. Riverside Theatres Parramatta. riversideparramatta.com.au
Photo: Ivan Kemp.
On Stage
New South Wales
Step into the dazzling world of high society in the shimmering streets of Paris, where love, laughter, and a touch of mischief collide in National Opera’s production of Franz Lehar’s timeless masterpiece The Merry Widow. Playing at The Q, Queanbeyan from August 23 to 25. nationalopera.org.au
Blood Wedding by Frederico Garcia Lorca, translated and produced by La Fábrica de Microobios. Jul 17 - Aug 3. Flight Path Theatre. flightpaththeatre.org
Cost of Living by Martyna Majok. Sydney Theatre Company. Jul 18 - Aug 18. Wharf 1 Theatre. sydneytheatre.com.au
Legally Blonde. Music and lyrics by Laurence O’Keefe and Nell Benjamin. Book by Heather Hach. The Players Theatre Inc, Port Macquarie. Jul 19 - Aug 11. playerstheatre.org.au
In The Heights by Lin-Manuel Miranda. Joshua Robson Productions. Jul 20 - Aug 25. Drama Theatre, Sydney Opera House. sydneyoperahouse.com
Hamlet. Music by Brett Dean. Libretto by Matthew Jocelyn after William Shakespeare Opera Australia. Jul 20 - Aug 9. Joan Sutherland Theatre,
Sydney Opera House opera.org.au
Le Aerial. Aerial Artists Australia. Jul 20 - 28. Studio, Sydney Opera House. sydneyoperahouse.com
Karim by James Elazzi. National Theatre of Parramatta. Jul 25Aug 3. Riverside Theatres Parramatta. riversideparramatta.com.au
Mrs Warren’s Profession by George Bernard Shaw. Castle Hill Players. Jul 26 - Aug 17. Pavilion Theatre, Castle Hill Showground. paviliontheatre.org.au
Home, I’m Darling by Laura Wade. The Theatre on Chester, Epping. Jul 26 - Aug 17. theatreonchester.com.au
Uncle Vanya by Anton Chekhov, adapted by Joanna Murray-Smith. Ensemble Theatre. Jul 26 - Aug 31. ensemble.com.au
The Arrogance by Olivia Clement. Jul 26 - Aug 10. KXT on Broadway. kingsxtheatre.com
Jesus Christ Superstar by Tim Rice and Andrew Lloyd Webber. So Popera Productions. Jul 26 - Aug 3. Illawarra Performing Arts Centre. sopoperaproductions.com
The Woman in Black. By Susan Hill. Stage adaptation by Stephen Mallatratt. PW Productions, Woodward Productions & Neil Gooding Productions. Jul 30 - Aug 17. Theatre Royal, Sydney. thewomaninblack.com.au
Hamilton. Book, music, and lyrics by Lin-Manuel Miranda. Jeffrey Seller, Sander Jacobs, Jill Furman, The Public Theater and Michael Cassel Group. From Jul 30. Sydney Lyric Theatre. hamiltonmusical.com.au
Occasional Combustible Disaster by Daniel Cotter. Jul
31 - Aug 10. The Loading Dock Theatre, Qtopia, Sydney. qtopiasydney.com.au
Private Lives by Noël Coward Arts Theatre Cronulla. Aug 1Sep 7. 6 Surf Rd, Cronulla. artstheatrecronulla.com.au
Cosi Fan Tutte by Mozart. Opera Australia. Aug 1 - 17.
Joan Sutherland Theatre, Sydney Opera House opera.org.au
The Girl on the Train by Rachel Wagstaff and Duncan Abel. Woy Woy Little Theatre. Aug 2 - 18. Peninsula Theatre, Woy Woy. woywoylt.com
Shout! The Legend of The Wild One. Book by John-Michael Howson, David Mitchell & Melvyn Morrow. Gosford Musical Society. Aug 2 - 17. Laycock Street Community Theatre. gosfordmusicalsociety.com
Arlington by Enda Walsh. Empress Theatre. Aug 2 - 24.
Photo: Thomas Lucraft.
On Stage
Seymour Centre. seymourcentre.com
Sweet Road by Debra Oswald. Pymble Players. Aug 7 - 31. Pymble Players Theatre. pymbleplayers.com.au
Gaslight by Patrick Hamilton. Wollongong Workshop Theatre. Aug 9 - 24. wollongongworkshoptheatre.com.au
Radium Girls by D.W. Gregory Lane Cove Theatre Co. Aug 925. The Performance Space at St Aidan’s, Longueville. lanecovetheatrecompany.com.au
The Effect by Lucy Prebble. Newcastle Theatre Company. Aug 10 - 24. newcastletheatrecompany.com.au
The Mikado by Gilbert and Sullivan. Richmond Players. Aug 10 - 31. Richmond School or Arts, Corner March and West Market Streets, Richmond. richmondplayers.com.au
Hangmen by Martin McDonagh. New Theatre, Newtown. Aug 13 - Sep 14. newtheatre.org.au
Pride and Prejudice. An Adaptation in Words and Music. Featuring Nadine Garner. Aug 14 - 18. Playhouse, Sydney Opera House. sydneyoperahouse.com
Gold. Choreographer: Simonne Smiles. Composer: Me-Lee Hay. A Simonne Smiles production Aug 15 - 17. Riverside Theatres Parramatta. riversideparramatta.com.au
Agatha Christie’s The Mousetrap. John Frost for Crossroads Live in association with Shake & Stir Theatre Co. Aug 15 - 25. Glen Street Theatre, Belrose. glenstreet.com.au
The Turn of the Screw. Opera by Benjamin Britten, libretto by Myfanwy Piper, after a story by Henry James. Craig Baldwin in association with the Hayes
New South Wales
Theatre Co. Aug 16 - Sep 15. hayestheatre.com.au
Tita by Jordan Shea with Happy Feraren. kwento. Aug 16 - 31. KXT on Broadway. kingsxtheatre.com
Guys and Dolls. Music & lyrics Frank Loesser. Book Jo Swerling and Abe Burrows. Dubbo Theatre Company. Aug 1624. Dubbo Regional Theatre and Convention Centre. drtcc.com.au
Beyond Caring by Scott Brawley & Robert Stewart. The Guild Theatre Rockdale. Aug 16 - Sep 8. guildtheatre.com.au
The Curious Incident of the Dog in the Night-Time. Based on the novel by Mark Haddon, adapted for the stage by Simon Stephens. Belvoir. Aug 17 - Sep 22. Belvoir Street Theatre, Upstairs Theatre. belvoir.com.au
Pickled. Original Concept Created by Najee Tannous. Written by Najee Tannous,
Antony Makhlouf, Hayden Tonazzi, May Yousif, and Fransceso Pelli. Belvoir 25A. Aug 20 - Sep 8. Belvoir Street Theatre, Downstairs Theatre. belvoir.com.au
Romanoff and Juliet by Peter Ustinov. Maitland Repertory Theatre. Aug 21 - Sep 1 Maitland Rep Theatre. mrt.org.au
A Gay Escapade. Songs by Kander and Ebb. Little Triangle. Aug 21 - 31. The Loading Dock Theatre, Qtopia, Sydney. qtopiasydney.com.au
Gaslight by Patrick Hamilton, adapted by Johnna Wright and Patty Jamieson. Aug 21 - Sep 8. Roslyn Packer Theatre, Sydney. roslynpackertheatre.com.au
La Bohème by Puccini. Opera Australia. Aug 24. Riverside Theatres Parramatta. riversideparramatta.com.au
Sunset Boulevard by Andrew Lloyd Webber, Don Black and Christopher Hampton. Aug 28 - Nov 1. Joan Sutherland Theatre, Sydney Opera House sunsetmusical.com.au
Murder by the Book by Duncan Greenwood and Robert Kay. Hunters Hill Theatre. Aug 30Sep 15. Club Ryde. huntershilltheatre.com.au
Steel Magnolias by Robert Harling. Nowra Players. Aug 30 - Sep 14. Players Theatre, Bomaderry. nowraplayers.com.au
Queensland
Tina - The Tina Turner Musical. Book by Katori Hall with Frank Ketelaar and Kees Prins. TEG Dainty. Until Aug 23. Lyric Theatre, QPAC. qpac.com.au Hair. Book and Lyrics by Germone Ragni and James Rado. Music by Galt
MacDermott. Gold Coast Little Theatre. Until Jul 20. gclt.com.au
Cost of Living by Martyna Majok. Queensland Theatre. Until Jul 11. Bille Brown Theatre. queenslandtheatre.com.au
Crazy Ladies by Devon Williamson. Tweed Heads Theatre Co. Until Jul 7. Tweed Heads Civic Centre Auditorium. tweedtheatre.com.au
Shrek The Musical. Music by Jeanine Tesori. Book and lyrics by David Lindsay-Abaire. Savoyards. Until Jul 6. Iona Performing Arts Centre. savoyards.com.au
The Hardcastle Hotel by Devon Williamson. Cairns Little Theatre. Until Jul 13. Rondo Theatre. therondo.com.au
47th Annual One Act Play Festival Noosa Arts Theatre Jul 4 - 14. noosaartstheatre.org.au
The Strange Case of Dr Jekyll and Mr Hyde by Noah Smith, from the story by Robert Louis Stevenson. Sunnybank Theatre Group. Jul 5 - 20. sunnybanktheatre.com.au
Maggie’s Getting Married by Norm Foster. Toowoomba Repertory Theatre Society. Jul 9 - 20. Toowoomba Repertory Theatre, 94 Margaret Street, Toowoomba. toowoombarep.com.au
Dido and Aeneas by Henry Purcell. Opera Queensland and Circa Jul 11 - 17. Playhouse, QPAC. qpac.com.au
The Appleton Ladies Potato Race by Melanie Tait. KUCOM (Mackay). Jul 18 - 27. kucom.org.au
Ghost The Musical. Book & Lyrics by Bruce Joel Rubin. Music & Lyrics by Dave Stewart & Glen Ballard. Spotlight Theatre. Jul 19 - Aug 17. spotlighttheatre.com.au
Antigone: 3021. Adapted by Nina Mansfield. Ipswich Little Theatre’s Young Theatricals. Jul 19 - 27. ilt.org.au
The Thrill of Love by Amanda Whittington. Centenary Theatre Group Jul 20 - Aug 11. Chelmer Community Centre. centenarytheatre.com.au
Scenes from the Climate Era by David Finnigan. Cairns Little Theatre. Jul 25 - 27. Rondo Theatre. therondo.com.au
POTUS by Selina Fillinger. Queensland Theatre. Jul 27Aug 24. Bille Brown Theatre. queenslandtheatre.com.au
Clancestry. Jul 30 - Aug 9. qpac.com.au
Company Music and lyrics by Stephen Sondheim. Book by George Furth. Phoenix Ensemble, Beenleigh Aug 224. phoenixensemble.com.au
The Cemetery Club by Ivan Menchell. Tugun Theatre Company. Aug 15 - 31. Tugun
Village Community Centre. tuguntheatre.org
Alice by Heart. Book by Steven & Jessie Nelson. Music by Duncan Sheik. Lyrics by Steven Satar. Townsville Choral Society. Aug 15 - 24. Townsville Civic Theatre. tcs.org.au
The Odd Couple - the Female Version by Neil Simon Nash Theatre Aug 16 - Sep 7. The Brunswick Room, Methyr Road Uniting Church, New Farm. nashtheatre.com
A Streetcar Named Desire by Tennessee Williams. Spotlight Theatre. Aug 23 - Sep 7. spotlighttheatre.com.au
Pride and Prejudice Adapted from Jane Austen’s novel by Jane Kendall. St Luke’s Theatre Society Aug 23 - Sep 7. Christ Church Hall, Yeronga. stlukestheatre.asn.au
The Importance of Being Earnest by Oscar Wilde Villanova Players. Aug 23 - Sep 1. Ron Hurley Theatre, Seven Hills, Brisbane. villanovaplayers.com
Straight From The Strait. Writer/Co-Librettist: Norah Bagiri. Composer / CoLibrettist: Rubina Kimiia. Opera Queensland. Aug 28 - 31. Playhouse, QPAC. qpac.com.au
How The Other Half Loves by Alan Ayckbourn. Sunnybank Theatre Group. Aug 30 - Sep 14. sunnybanktheatre.com.au
Kimberly Akimbo by David Lindsay-Abaire Javeenbah Theatre Aug 31 - Sep 14. javeenbah.org.au
Lord of the Flies by William Golding, adapted by Nigel Williams Gold Coast Little Theatre Aug 31 - Sep 21. gclt.com.au
Victoria
Sunset Boulevard by Andrew Lloyd Webber, Don Black and Christopher Hampton. Until Jul 28. Princess Theatre. sunsetmusical.com.au
On Stage Victoria
Six The Musical will reign again at Melbourne’s Comedy Theatre from August 2, the Theatre Royal Sydney from October 25 and at QPAC’s Playhouse in Brisbane from January 2, 2025. The production will feature Kimberley Hodgson (Catherine of Aragon), Deirdre Khoo (Anne Boleyn), Loren Hunter (Jane Seymour), Zelia Rose Kitoko (Anna of Cleves), Chelsea Dawson (Katherine Howard), Giorgia Kennedy (Catherine Parr) as the eight wives of Henry VIII. Read more at tinyurl.com/2632tev3 sixthemusical.com.au
Wicked. Music and Lyrics by Stephen Schwartz. Book by Winnie Holzman, based on the novel by Gregory Maguire. John Frost for Crossroads Live Australia, Marc Platt, Universal Pictures, The Araca Group, Jon B. Platt and David Stone. Until Aug 25. Regent Theatre, Melbourne. wickedthemusical.com.au
Disney Beauty and the Beast. Music by Alan Menken. Lyrics by Howard Ashman & Tim Rice. Book by Linda Woolverton. Ongoing. Her Majesty’s Theatre, Melbourne. beautyandthebeastmusical.com.au
The Whale by Samuel D. Hunter. MSD Studio. Until Jul 14. Alex Theatre, St Kilda. alextheatre.au
The Real Thing by Tom Stoppard. Williamstown Little Theatre. Until Jul 13. wlt.org.au
Recollection by Georgia Ketels. Potkettleblack Productions.
Until Jul 7. fortyfivedownstairs theatre, 45 Flinders Lane, Melbourne. fortyfivedownstairs.com
Suite Surrender by Michael McKeever. Lilydale Athenaeum Theatre. Until Jul 13. lilydaleatc.com
Misery by William Goldman. Geelong Repertory Theatre Co. Until Jul 13. Woodbin Theatre. geelongartscentre.org.au
Wait Until Dark by Frederick Knott. Heidelberg Theatre Company. Until Jul 13. htc.org.au
Lovesong by Abi Morgan. Malvern Theatre Co. Until Jul 6. Malvern Theatre. malverntheatre.com.au
Julia by Joanna Murray-Smith. Melbourne Theatre Company. Until Jul 8. Southbank Theatre, The Sumner. mtc.com.au
Who’s Afraid of Virginia Woolf by Edward Albee. Red Stitch Actors’ Theatre, GWB
Entertainment and Andrew Henry. Until Jul 21. Comedy Theatre, Melbourne. redstitch.net
Sam King - TA DA. Magic Festival. The Butterfly Club. Jul 1 - 6. thebutterflyclub.com
The Long Game by Sally Faraday Glieson-Faraday Productions and Theatre Works. Jul 3 - 13. Explosives Factory. theatreworks.org.au
La Mama Explorations Various productions playing short seasons. Jul 4 - Oct 8. La Mama HQ. lamama.com.au
A Date with Death by various playwrights. Ballarat National Theatre. Jul 5 - 14. bnt.org.au
Castro’s Children. Music by Simon Stone. Book and lyrics by Peter Fitzpatrick. Jul 5 - 13. Gasworks Theatre. gasworks.org.au
A Coupla White Chicks Sitting Around Talking by John Ford Noonan. Peridot. Jul 5 - 14.
Clayton Community Centre. peridot.com.au
Macbeth (An Undoing) by Zinnie Harris, in a new version after Shakespeare. Malthouse Theatre. Jul 5 - 28. Merlyn Theatre, Malthouse. malthousetheatre.com.au
The Hunchback of Notre Dame. Music: Alan Menken. Lyrics: Stephen Schwartz. Book: Peter Parnell. BATS Theatre. Company. Jul 5 - 7. batstheatre.org.au
The Spongebob Musical (Youth Edition). Fab Nobs Theatre. Jul 4 - 14. Fab Factory. fabnobstheatre.com.au
The Little Mermaid. Music by Alan Menken, lyrics by Howard Ashman and Glenn Slater. Based on the Hans Christian Andersen story and the Disney film. Diamond Valley Singers. Jul 5 - 13. Warrandyte High School Theatre. dvsingers.org
Photo: Michelle Grace Hunder.
On Stage Victoria
9 to 5: The Musical. Music by Dolly Parton. Lyrics & Book by Patricia Resnick. Waterdale. Jul 5 - 13. Pascoe Vale Girls College. waterdale.org.au
Into The Woods Jr. By James Lapine and Stephen Sondheim. Eltham Little Theatre. Jul 621. Eltham Performing Arts Centre. elthamlittletheatre.org.au
The Boy From Oz. Music and Lyrics by Peter Allen. Book by Nick Enright. Theatrical. Jul 621. National Theatre Melbourne, 20 Carlisle St, St Kilda. theatrical.com.au
Murder by Magic. Magic Festival. The Butterfly Club. Jul 8 - 13. thebutterflyclub.com
Scarabs. The Butterfly Club. Jul 8 - 13. thebutterflyclub.com
A Streetcar Named Desire by Tennessee Williams. Melbourne Theatre Company. Jul 9 - Aug 17. Playhouse, Arts Centre Melbourne. mtc.com.au
Popera: Sex, Death & Politics. The Butterfly Club. Jul 10 - 13. thebutterflyclub.com
La Belle Époque by Future D. Fidel. Theatre Works. Jul 1020. theatreworks.org.au
Elegies: A Song Cycle by William Finn. Clovelly Fox Productions. Jul 10 - 21. fortyfivedownstairs theatre, 45 Flinders Lane, Melbourne. fortyfivedownstairs.com
After Dinner by Andrew Bovell. Wyndham Theatre Co. Jul 1220. Crossroads Theatre. wyndhamtheatrecompany.org.au
Night Watch. A Terry Pratchett and Stephen Briggs Play. GEMCO Players. Jul 12 - 28. The Gem Community Arts Centre. gemcoplayers.org
Reclaim The Crone by Gabrielle Leah New. The Space Between Performance Collective. Jul 1727. Theatre Works. theatreworks.org.au
By Jane’s Hand. Devised and curated by Emma and Olivia O’Brien of Seldom Theatre Productions Jul 17 - 28. La Mama Courthouse. lamama.com.au
Kid Stakes by Ray Lawler. Mansfield Musical and Dramatic Society. Jul 19 - 27. mmuds.org.au
Romeo & Julie by Gary Owen. Red Stitch Actors’ Theatre. Jul 20 - Aug 18. redstitch.net
Our Monster’s Name is Jerry by Amy May Nunn. Geelong Arts Centre and Dirty Pennies. Jul 24 - Aug 3. Theatre Works. theatreworks.org.au
Two Men, Two Genres. Matthew Sheehan and Martin Shellshear. The Butterfly Club. Jul 24 - 27. thebutterflyclub.com
Little Murmur by Aakash Odedra and Lewis Major. Jul 25 - Aug 4. The Show Room, Arts Centre Melbourne. artscentremelbourne.com.au
Two Remain by Jake Heggie. Nightingale Opera. Jul 25 - 28. fortyfivedownstairs theatre, 45 Flinders Lane, Melbourne. fortyfivedownstairs.com
Alice by Heart. Book by Steven & Jessie Nelson. Music by Duncan Sheik. Lyrics by Steven Satar. MLOC Productions. Jul 26 - Aug 3. Shirley Burke Theatre. mloc.org.au
Head Over Heels. Featuring the music of the GoGos. CentreStage Geelong. Jul 26Aug 10. centrestage.org.au
English by Sanaz Toossi. Melbourne Theatre Company. Jul 29 - Aug 24. Southbank Theatre, The Sumner. mtc.com.au
The State by Marli Jupiter and Rhi Bryan. Theatre Works. Jul 31 - Aug 10. Explosives Factory. theatreworks.org.au
Zorba’s Last Dance by Tom Petsinis Jul 31 - Aug 11. La Mama Courthouse. lamama.com.au
The Sweet Delilah Swim Club by Jessie Jones, Nicholas Hope and Jamie Wooten The 1812 Theatre. Aug 1 - 24. 1812theatre.com.au
The Importance of Being Earnest by Oscar Wilde. Bloomshed. Aug 1 - 11. fortyfivedownstairs theatre, 45 Flinders Lane, Melbourne. fortyfivedownstairs.com
SIX. Book, lyrics and music by Toby Marlow and Lucy Moss. Louise Withers, Michael Coppel and Linda Bewick. From Aug 2. Comedy Theatre, Melbourne. sixthemusical.com.au
Turning 25 by Georgie Hindle. The Butterfly Club. Aug 5 - 10. thebutterflyclub.com
Apologia by Nicole Gunn. Malthouse Theatre. Aug 6 - 18. Beckett Theatre. malthousetheatre.com.au
Piper. Frenzy Theatre and Theatre Works. Aug 8 - 24. theatreworks.org.au
The Bridges of Madison County. Music and lyrics by Jason Robert Brown and book by Marsha Norman. Beaumaris Theatre. Aug 9 - 24. beaumaristheatre.com.au
Jennie! by B.W. Shearer. Melbourne Writers’ Theatre. Aug 9 - 17. Gasworks Theatre. gasworks.org.au
The Boy From Oz. Music and Lyrics by Peter Allen. Book by Nick Enright. Maffra Dramatic Society and Sale Theatre Co. Aug 9 - 17. The Wedge. thewedge.com.au
The Rage of Narcissus by Sergio Blanco, translated by Daniel Goldman. Gavin Roach. Theatre Works. Aug 14 - 24. Explosives Factory. theatreworks.org.au
On Stage
Three Magpies Perched in a Tree by Glenn Shea Aug 1425. La Mama Courthouse. lamama.com.au
Murder for Two by Kellen Blair & Joe Kinosian. Hayes Theatre Co. Aug 15 - 25. Fairfax Studio, Arts Centre, Melbourne. artscentremelbourne.com.au
Milk and Blood by Benjamin Nichol. Aug 15 - Sep 1. fortyfivedownstairs theatre, 45 Flinders Lane, Melbourne. fortyfivedownstairs.com
Admissions by Joshua Harmon. Brighton Theatre Company. Aug 16 - 31. Brighton Arts and Cultural Centre. brightontheatre.com.au
Family Values by David Williamson. The Mount Players. Aug 16 - Sep 1. The Mount View Theatre. themountplayers.com
Topdog/Underdog by SusanLori Parks. Melbourne Theatre Company. Aug 23 - Sep 21. Southbank Theatre, The Lawler. mtc.com.au
Frankenstein by Mary Shelley, adapted by Nelle Lee. Shake & Stir Theatre Co and John Frost for Crossroads Live. Aug 23Sep 1. Princess Theatre. frankensteinlive.com.au
West Side Story. Book by Arthur Laurents. Music by Leonard Bernstein. Lyrics by Stephen Sondheim. MLOC Productions. Aug 23 & 24, Kingston City Hall & Aug 2931, Bunjil Place. mloc.org.au
Little Women The Musical. Book by Allen Knee. Lyrics by Mindi Dickstein. Music by Jason Howland. Malvern Theatre Company. Aug 23Sep 7. malverntheatre.com.au
Things I Know To Be True by Andrew Bovell. Warrandyte Theatre Company. Aug 23Sep 7. Warrandyte Mechanics Institute. trybooking.com/CQZXF
Mary Poppins. Book by Julian Fellowes, adapted from the
Victoria, Tasmania & South Australia
stories by PL Travers and the original Disney film. Music and lyrics by Richard M. & Robert B. Sherman, additional music and lyrics by George Stiles & Anthony Drew. Latrobe Theatre Company. Aug 23 - 31. Gippsland Performing Arts Centre.
latrobetheatrecompany.org.au
Sneaky Little Buggar. Devised by The Amateur Collective. Created and performed by Oberon Marriott, Dustin Waters and Tess Nethercote Way Aug 28 - Sep 1. La Mama Courthouse. lamama.com.au
Hand To God by Robert Askins. STAG - Strathmore Theatrical Arts Group. Aug 29 - Sep 7. trybooking.com/CNWSK
The Volition Project. Created by Theatre Works Early Career Artists Program. Theatre Works. Aug 29 - Sep 7. Explosives Factory. theatreworks.org.au
The Children’s Bach. Composer: Andrew Schultz. Libretto: Glen Perry, after the novel by Helen Garner. Lyric Opera of Melbourne. Theatre Works. Aug 29 - Sep 7. theatreworks.org.au
A Vintage Death by Geoff Collishaw (Based on the novel by Colin King). Synchronicity. Aug 30 - Sep 7. The Engine Room, Bendigo. synchronicity.org.au
Minnie and Liraz by Lally Katz. Mordialloc Theatre Co. Aug 30 - Sep 7. Shirley Burke Theatre, Parkdale. mordialloctheatre.com.au Tasmania
Festival of Voices. Until Jul 7. festivalofvoices.com
Hole by Ellie Kendrick. IO Performance (Launceston). Until Jul 6. ioperformanceco.com
Agatha Christie’s The Unexpected Guest. Hobart Rep. Jul 10 - 20. The Playhouse Theatre, Hobart. playhouse.org.au
ARC. Erth Visual and Physical Inc. Jul 10 - 12, Studio Theatre, Theatre Royal, Hobart, theatreroyal.com.au & Jul 18 & 19, Princess Theatre, Launceston, theatrenorth.com.au
The Visitors by Jane Harrison. Moogahlin Performing Arts and Sydney Theatre Company. Jul 30, Princess Theatre, Launceston, theatrenorth.com.au & Aug 13, Theatre Royal, Hobart, theatreroyal.com.au
The Box by Nathan Maynard & Rob Braslin. Mudlark Theatre. Jul 24 - 27, Earl Arts Centre, Launceston, theatrenorth.com.au & Aug 78, Studio Theatre, Theatre Royal, Hobart, theatreroyal.com.au
The Marvellous Wonderettes by Roger Bean Star Rae Productions. Aug 9 - 17. Australian Italian Club, Prospect Vale. starraeproductions.com
The Laramie Project by Moisés Kaufman and members of the Tectonic Theater Project. Three River Theatre. Aug 21 - 24. Earl Arts Centre, Launceston. threerivertheatre.com.au
Past The Shallows by Julian Larnach. Australian Theatre for Young People and Archipelago Productions. Aug 22 & 23, Studio Theatre, Theatre Royal, Hobart, theatreroyal.com.au & Aug 30, Annexe Theatre, Inveresk, theatrenorth.com.au
Music of the Night. Tribute to Andrew Lloyd Webber and West End Musicals. World Class Entertainment. Aug 25. Theatre Royal, Hobart. theatreroyal.com.au
Fourteen. Adapted by Shake & Stir Theatre Co with Shannon Molloy. Aug 27. Princess Theatre, Launceston, theatrenorth.com.au
The History Boys by Alan Bennett. Hobart Rep. Aug 28Sep 7. The Playhouse Theatre, Hobart. playhouse.org.au
La Bohème by Puccini Opera Australia. Aug 30 & 31. Theatre Royal, Hobart. theatreroyal.com.au
South Australia
Starweaver by Jamie Hornsby and Ellen Graham. Madness of Two. Until Jul 6. The Void, Flinders University Drama Centre. madnessoftwo.com.au
Hits by Rebecca Meston. Laughter through the tears productions. Jul 3 - 6. Space Theatre, Adelaide Festival Centre.
adelaidefestivalcentre.com.au
The Wizard of Oz. Based on the novel by L Frank Baum, adapted by Tom Kirkham. Tea Tree Players. Jul 11 - 13. teatreeplayers.com
Jewels - A Balanchine Masterpiece. The Australian Ballet. Jul 12 - 18. Adelaide Festival Theatre. adelaidefestivalcentre.com.au
Ratburger by Maryam Master, based on the book by David Wallams. CDP Kids. Jul 18 - 20. Dunstan Playhouse, Adelaide Festival Centre. adelaidefestivalcentre.com.au
The Music Man. Book, music & lyrics by Meredith Willson. Story by Meredith Willson & Franklin Lacey. Additional Lyrics by Marc Shaiman & Scott Whittman. Marie Clark Musical Theatre. Jul 19 - 27. The Arts Theatre, Adelaide. mcmt.net.au
The Gruffalo’s Child. Adapted from the picture-book by Julia Donaldson and Axel Scheffler. CDP / Tall Stories. Jul 19 - 21. Dunstan Playhouse, Adelaide Festival Centre.
adelaidefestivalcentre.com.au
The Questions by Van Badham and Richard Wise. State Theatre Company South Australia. Jul 26 - Aug 17. Space Theatre, Adelaide Festival Centre. statetheatrecompany.com.au
The Addams Family. Music and lyrics by Andrew Lippa. Book by Marshall Brickman and Rick
On Stage
South Australia & Western Australia
Moogahlin Performing Arts and Sydney Theatre Company present the national regional tour of Jane Harrison’s critically acclaimed play The Visitors, directed by the Quandamooka man Wesley Enoch. Fresh from its triumph at the 2023 Sydney Theatre Awards, The Visitors will tour across Australia from July to September. To read more, and see full tour dates, visit tinyurl.com/2dydtl56 artsontour.com.au
Elice. The Magpie Warblers (Port Pirie). Jul 19 & 20. Northern Festival Centre. countryarts.org.au
Di and Viv and Rose by Amelia Bullimore. Blue Sky Theatre. Aug 2 - 11. Marion Cultural Centre. blueskytheatre.com.au
Chicago The Musical. Book by Fred Ebb & Bob Fosse. Music: John Kander. Lyrics: Fred Ebb. John Frost for Crossroads Live, Jones Theatrical Group in association with Barry and Fran Weissler. Aug 4 - 31. Adelaide Festival Theatre. chicagomusical.com.au
Jersey Boys. Book by Marshall Brickman & Rick Elice. Music by Bob Gaudio. Lyrics by Bob Crewe. Therry Dramatic Society. Aug 7 - 17. Arts Theatre, Adelaide. therry.org.au
Fourteen by Shannon Malloy. Shake & Stir Theatre Company. Aug 7 - 10. Dunstan
Playhouse, Adelaide Festival Centre.
adelaidefestivalcentre.com.au
Silent Sky by Lauren Gunderson. St Jude’s Players. Aug 8 - 17. stjudesplayers.asn.au
Music of the Night. Tribute to Andrew Lloyd Webber and West End Musicals. World Class Entertainment. Aug 10. Her Majesty’s Theatre, Adelaide. adelaidefestivalcentre.com.au
Julia by Joanna Murray-Smith. State Theatre Company South Australia. Aug 16 - 31. Dunstan Playhouse, Adelaide Festival Centre. statetheatrecompany.com.au
King Lear by William Shakespeare. University of Adelaide Theatre Guild. Aug 16 - 25. Little Theatre. trybooking.com/CLFQR
Nobody’s Perfect by Simon Williams. Tea Tree Players. Aug 21 - 31. teatreeplayers.com
Nana’s Naughty Knickers by Katherine DiSavino. Adelaide Repertory Theatre. Aug 2231. The Arts Theatre. adelaiderep.com
Così Fan Tutte by Mozart. State Opera South Australia. Aug 29 - Sep 7. Her Majesty’s Theatre, Adelaide. adelaidefestivalcentre.com.au
High by Sharon Mascall-Dare with Rachel High. No Strings Attached Theatre of Disability. Aug 29 - 31. Space Theatre, Adelaide Festival Centre. adelaidefestivalcentre.com.au
And Then There Were None by Agatha Christie. Phoenix Variety and Music Group Aug 31 - Sep 8. Mclaren Vale Institute Hall.
Western Australia Young Frankenstein by Mel Brooks and Thomas Meehan. Darlington Theatre Players. Until Jul 13. Marloo Theatre. marlootheatre.com.au
Hands on a Hard Body by Doug Wright Wanneroo Repertory Club. Until Jul 13. Limelight Theatre, Wanneroo. (08) 9255 3336. taztix.com.au
Hare Brain by Justin Cheek. Spare Parts Puppet Theatre. Until Jul 13. Ellie Easton Theatre, Claremont Showgrounds. sppt.com.au
Grease by Jim Jacobs and Warren Casey. John Frost for Crossroads Live. Until Jul 14. Crown Theatre, Perth. greasemusical.com.au
The Addams Family by Marshall Brickman, Rick Elice and Andrew Lippa. Roleystone Theatre. Until Jul 13.
Prima Facie by Suzie Miller. Black Swan State Theatre Company. Jul 1 - 21. Heath Ledger Theatre, State Theatre Centre of WA. blackswantheatre.com.au
Top Girls by Caryl Churchill. GRADS. Jul 5 - 20. Stirling Theatre, Innaloo. stirlingplayers.com.au
Brothers Wreck by Jada Alberts. Yirra Yaakin Theatre Company. Jul 5 - 20. The Studio, Subiaco Arts Centre. artsculturetrust.wa.gov.au
The Lighthouse Girl Saga by Jenny Davis and Hellie Turner, based on the books by Diane Wolfer. Theatre 180. Jul 6 - 14. Como Cinema. humanitix.com
Charlie and the Chocolate Factory by Marc Shaiman, Scott Wittman and David Greg, based on the Roald Dahl novel. Art in Motion Theatre Company. Jul 10 - 13. City of Gosnells Don Russell Performing Arts Centre, Thorlie. (08) 9498 9419. gosnells.wa.gov.au
A Good Death by Kim Parkhill. Tempest Theatre. Jul 16 - 20. The Studio, Subiaco Arts Centre. artsculturetrust.wa.gov.au
Raagas, Shakespeare and Everything in Between. Chit Ambara. Jul 16 - 20. The Blue Room, Perth Cultural Centre. blueroom.org.au
Smells like You by Lily Muirell. Lady Great Theatre Company. Jul 17 - Aug 3. The Blue Room, Perth Cultural Centre. blueroom.org.au
A Midsummer Night’s Dream by William Shakespeare, Holy Cross College. Jul 17 - 20. New Norcia Building, Holy Cross College, Ellenbrook. trybooking.com/1240380
Rusalka by Antonin Dvorak and Jaroslav Kvapil. West Australian Opera. Jul 18 - 27. His
The Deep Blue Sea by Terence Rattigan. Melville Theatre Company. Jul 19 - Aug 3. Main Hall, Melville Civic Centre. melvilletheatrecompany.au
And Then There Were None by Agatha Christie. Esperance Theatre Guild. Jul 19 - Aug 3. Bijou Theatre, Esperance. thebijoutheatre.org.au
Yule Be Sorry. Cluedunnit. Jul 19 - 20. Downstairs at The Maj, His Majesty’s Theatre, Perth. artsculturetrust.wa.gov.au
General Inspector by David Harrower, a version of Nikolai Gogol’s The Government Inspector. Hayman Theatre. Jul 23 - 27. Hayman Theatre, Curtin University, Bentley. haymantheatre.curtin.edu.au
Snow White - A Dark Fairytale. Stray Cats Theatre. Jul 24 - 28. Mandurah Performing Arts Centre. manpac.com
Bring it On by Tom Kitt, Lin Manuel Miranda, Amanda Green and Jeff Whitty. Mercedes College. Jul 25 - 28. Regal Theatre, Subiaco. ticketek.com.au
Dear Edwina Jnr by Zina Goldrich and Marcy Heisler, and Oliver! Jr by Lionel Bart. John Curtin College of the Arts. Jul 25 - 27. Curtin Theatre, John Curtin College of the Arts. jc.wa.edu.au
The Girl on the Train by Rachel Wagstaff, Duncan Abel and Paula Hawkins. Murray Music and Drama Club. Jul 26 - Aug 3. Pinjarra Civic Centre. taztix.com.au
The Addams Family by Marshall Brickman, Rick Elice and Andrew Lippa. Kiara College. Jul 26 - 27. Kiara College Performing Arts Centre. trybooking.com/1232285
35. Centre For Stories and Performing Lines. Jul 26 - 27. The Blue Room, Perth Cultural Centre. blueroom.org.au
Matilda Jr by Dennis Kelly and Tim Minchin, based on the novel by Roald Dahl. MLC. Jul. 29 - Aug 3. Hadley Hall, Methodist Ladies College, Claremont. shorturl.at/jaVsz
Clue on Stage by Johnathan Lynna and Sandy Rustin, based on the board game - Cluedo. Presbyterian Ladies College. Jul 30 - 31. Hazel Day Drama Centre, Presbyterian Ladies College.
trybooking.com/1241168
Guys and Dolls by Abe Burrows, Jo Sweling and Frank Loesser. Midnite Youth Theatre. Jul 31 - Aug 3. Subiaco Arts Centre. artsculturetrust.wa.gov.au
Charlie and the Chocolate Factory by Marc Shaiman, Scott Wittman and David Greg. Snapshot Youth Theatre, Aug 1 - 3. Peter Moyes Anglican School, Quinns Rocks. snapshotyouththeatrecompany.com
Steel Magnolias by Robert Harling. Garrick Theatre. Aug 1 - 17. Garrick Theatre. taztix.com.au
My Son Pinocchio Jr by Stephen Schwartz and David Stern Tranby. College. Aug 12. Koorliny Arts Centre, Kwinana. koorliny.com.au
Breaker Morant by Garry Lawrence. Old Mill Theatre. Aug 2 - 17. Old Mill Theatre, South Perth. oldmilltheatre.com.au
All Boys. Every other theatre company. Aug 6 - 24. The Blue Room, Perth Cultural Centre. blueroom.org.au
Mamma Mia! Music and Lyrics by Benny Andersson and Björn Ulvaeus. Book by Catherine Johnson. St Mark’s Anglican Community School. Aug 710. Barbara Goodwin Performing Arts Centre, St Mark’s Anglican Community School, Hillarys. trybooking.com/1183927
Disney The Little Mermaid by Doug Wright, Alan Menken, Howard Ashman and Glenn
Slater. Iona College. Aug 911. The Regal Theatre, Subiaco. ticketek.com.au
Winter Warmers - Playlovers
One Act Season. Aug 9 - 17. Fully Installed, Not a Boring Life and The Dumbwaiter. The Actors Hub, East Perth. playlovers.org.au
Twinderella the Musical by Charlie Lovett. Aug 10 - 17. Northam Theatre Group. Link Theatre, Northam.
Dracula, A Comedy of Terrors by Gordon Greenburg and Steve Rosen. Aug 15 - 29. Koorliny Arts Centre, Kwinana. koorliny.com.au
Lost in Yonkers by Neil Simon. Roxy Lane Theatre. Aug 16Sep 1. Roxy Lane Theatre, Maylands. taztix.com.au
One Act Season. Four short plays by various authors. Darlington Theatre Players. Aug 23 - Sep 7. Marloo Theatre. marlootheatre.com.au
The Children by Lucy Kirkwood. Black Swan State Theatre Company. Aug 24 - Sep 15. Heath Ledger Theatre, State Theatre Centre of WA. blackswantheatre.com.au
Same Time Next Week. Nick Pages Oliver and Scott McArdle. Aug 13 - 31. The Blue Room, Perth Cultural Centre. blueroom.org.au
Murder to a Tee. Cluedunnit. Aug 23 - 24. Downstairs at The Maj, His Majesty’s Theatre, Perth. artsculturetrust.wa.gov.au
Generator 2024. 2nd Year Bachelor of Performing Arts at WAAPA. Aug 28 - 31. The Edith Spiegeltent, WAAPA, Edith Cowan University, Mt Lawley, WA. waapa.ecu.edu.au
The Vicar of Dibley by Richard Curtis and Paul MayhewArcher, based on the TV series. Harbour Theatre. Aug 30 - Sep 8. Hamilton Hill Memorial Hall. harbourtheatre.org.au
Watch a trailer for the new Australian production of Sunset Boulevard. youtu.be/fKHZvPQyP2w
Sunset Boulevard
Music: Andrew Lloyd Webber. Book & Lyrics: Don Black & Christopher Hampton. Director: Paul Warwick Griffin. Princess Theatre, Melbourne from May 21, then Sydney Opera House from Aug 28.
DIRECTOR Paul Warwick Griffin’s epic production features all the glamour of 1950s Hollywood, whilst expressing ideas relevant to modern audiences. Morgan Large’s sets and costumes are indispensable to the success of this production. The grand reveal of Norma’s lavish mansion drew gasps from the audience! The meticulously detailed costumes, with a touch of contemporary flair, have the wow factor! Choreographer Ashley Wallen’s attention to detail is evident throughout, many scenes evoking pure joy and others moving the audience to tears.
Lighting, Projection and Sound Design by Mark Henderson, George Reeve and David Greasley, respectively, elevate the show with dimension and elegance. The Melbourne orchestra, under the capable baton of Musical Director Paul Christ, sounds sublime.
The big draw cards to this production are Sarah Brightman (in her first theatrical role in 30 years) and
Silvie Paladino, who share the role of Norma Desmond. The audience erupted in thunderous applause as Miss Brightman made her grand entrance an unforgettable moment of awe and excitement. Brightman’s performance left me utterly amazed.
Tim Draxl (Joe Gillis) is equally captivating with his exceptional tenor vocals and remarkable acting prowess that exudes charisma. His standout rendition of “Sunset Boulevard” received the most deafening applause of the entire evening. Robert Grubb (Max Von Mayerling), with his commanding tenor voice, is authentic, unaffected, and precise. Ashleigh Rubenach’s (Betty Schaefer) honeyed vocals and natural portrayal make her enthralling to watch. Her duet with Draxl, “Too Much In Love To Care”, was enchanting and exhilarating to watch.
The ensemble is one of the strongest I’ve ever seen all are stars in their own right!
With its remarkable staging, captivating musical score, impeccable casting, and the opportunity to see Sarah Brightman ‘close up’ it’s a must-see performance!
Jonathan Cox
Sunset Boulevard.
Photo: Daneil Boud.
The Odd Couple
By Neil Simon. John Frost for Crossroads Live. Comedy Theatre, Melbourne, May 23 - Jun 23, then Theatre Royal, Sydney, Jun 27 - Jul 28.
WITH its progress from stage play to movie and then a long running television series, the term ‘odd couple’ has passed into the language. In this iteration, the odd couple divorcees incorrigible slob Oscar Madison and pernickety hypochondriac Felix Ungar are Shane Jacobson and Todd McKenny. And It’s to their great credit that they’re not channelling Walter Matthau and Jack Lemon, or Jack Klugman and Tony Randall.
The opening poker game sets up the other guys. Laurence Coy’s Speed is aggressive, verging on nasty, needling Jamie Oxenbould’s henpecked Vinnie. John Batchelor’s accountant Roy is a grumpy complainer. The standout is Anthony Taufa’s Murray, the slow but caring cop. Those guys are the Chorus. Then there’s comic diversion and a hint of sex the English Pigeon sisters, Gwendolyn (Penny McNamee) and Cecily (Lucy Durack) but basically, the play is a situation: two guys who get on each other’s nerves. We don’t question whether the inevitable resolution is, well, a little contrived and easy.
Jacobson’s warmth gives us an Oscar who may be may be a slob, but he’s an amiable, happy-enough, loveable slob, not too heartbroken that he and wife Blanche broke up. He takes Felix in primarily because he’s a big-hearted guy who cares for his friend. McKenny meanwhile gives us
a sustained, detailed traumatised Felix. He, and no doubt director Mark Kilmurry, push Felix to extremes: relentlessly solipsistic, self-pitying, almost as irritating for us as he is for Oscar. Which is not to say that he isn’t very funny.
The Odd Couple now has the status of a ‘classic’. It’s a gift to actors, has a clear beginning, middle and end it’s complete. This production may rely on its leads, but they make it fresh.
Michael Brindley
Cost Of Living
Written by Martyna Majok. Co-directed by Priscilla Jackman and Dan Daw. A Queensland Theatre and Sydney Theatre Company Co-Production. Bille Brown Theatre, 20 Jun - Jul 13.
COST of Living had the opening-night audience in fits of laughter from the get-go. It wasn’t long before this play about the many ways in which people need people was breaking our hearts.
Philip Quast brought jocularity and charisma to the role of Eddie. He wore his heart on his sleeve as he tried to break the ice with his ex-wife Ani (Kate Hood). Hood was believable as the bitter and emotionally broken Ani. We empathised with her fight between desiring independence and needing daily care.
Dan Daw was powerful and authentic, capturing John’s wealth, status, and intellect. He was focussed and controlled, showing remarkable chemistry and trust with
Online
Catch all the opening night action as The Odd Couple opened in Melbourne youtu.be/deXqvXYDVUY
The Odd Couple. Photo: Pia Johnson.
Zoe de Plevitz as Jess. De Plevitz didn’t put a foot wrong and brought a lovely balance of pluck and vulnerability to her role.
Co-Directors Priscilla Jackman and Dan Daw brought us a thoughtful and compassionate rendition of the play. Set and Costume Designer Michael Scott-Mitchell’s work was clever, adaptable and effective. Lighting Designer John Rayment kept us focussed on the action and gave us a cool moody noir feeling for some scenes which was really beautiful.
Cost of Living reminded us never to make assumptions about, underestimate or patronise people living with a disability. It was the sort of play that one leaves with a better understanding the human condition.
Kitty Goodall
Medea
By Kate Mulvany and Anne-Louise Sarks, after Euripides. Queensland Theatre. Bille Brown Theatre. May 11 - Jun 8.
QUEENSLAND Theatre’s latest production is a bold new take on the Greek tragedy. Written by Kate Mulvany and Anne-Louise Sarks, this adaptation is written from the point of view of the children at the heart of the tragedy.
Having the story told from the perspective of Medea’s sons is a radical take. However, at times, the script was a little vague and audiences should come with a knowledge of the play beforehand. The standouts were the incredible set design and the committed and believable performances from the two young boys at the helm of the show. Edward Hill and Jeremiah Rees as Jasper and Leon. The pair were both accomplished and confident actors and had a natural rapport. Hats off to both of
Online extras!
Medea is a bittersweet retelling of the ancient Greek tragedy youtu.be/wv_2ypls7SI
these young performers who no doubt have a very bright future. Helen Cassidy played Medea, the boys’ mother, in brief stage appearances that brought a frantic and foreboding energy to the stage.
Director Daniel Evans incorporated a lot of physicality in the blocking, which added to the realism of the show. And the set design by Chloe Greaves was truly breathtaking. Yasmin Elahi
The Woman In Black
By
Stephen Mallatratt.
Original story by Susan Hill. Produced by Woodward Productions and Neil Gooding Productions. Directed by Robin Herford. Playhouse Theatre QPAC, Apr 30 - May 11, then touring.
SUSAN Hill’s ghost story from the late 19th Century is at the core of this play, cleverly adapted by Stephen Mallatratt. It works a treat. This two-hander manages to create true tension and atmosphere, both of which were missing in the plodding, reality based 2012 film.
Robin Herford’s original direction is faithfully reproduced by Antony Eden and is impeccable. But it is the acting which guarantees the success of this new production. Daniel McPherson is excellent as The Actor; full of self-aggrandisement and just slightly supercilious, he brings a wonderful subtlety to the role, while slipping seamlessly into the role of Kipps as a young man, and he almost holds his own with John Waters as Kipps the Elder. I say almost, because the charismatic Waters gives the performances of his life as the broken Kipps, who (we realise at the end in a very clever end twist by Mallatratt) has lost so much.
Medea.
Photo: David Kelly.
When you have a strong script and two fine actors at the top of their game, you have an absolute winner. It won’t scare you, but it will provide a spectacular night of rip-roaring, rollicking entertainment. And you can’t ask for more than that.
Coral Drouyn
Jekyll & Hyde
Presented by A Slightly Isolated Dog. Adelaide Cabaret Festival. Space Theatre. Jun 7 - 9.
THE story is familiar, yet its retelling is fresh each of the faux-French performers taking their turn to adorn the hat of Dr. Jekyll or the wig of Mr. Hyde. A smattering of twenty-first century references are naturally inserted, and
whilst one tells the story, the others are in the audience, throwing cheeky asides.
The pace is unrelenting, the jokes crack from every direction, and now, we’re all willing participants in this storytelling, mimicking the gestures and vocals of the actors around us.
The narrative’s velocity occasionally decelerates for impressive song, but the five performers never seem to take a breath. I say five, but it really should be six, as sound designer Sam Clavis’ astounding audio is very much a part of the storytelling here.
This theatre is part-spoken word, part-song, partimprov (with audience stories surfaced amongst Stevenson’s), but all-physical theatre. The props are
Hold your nerves during a thrilling preview of The Woman In Black. youtu.be/jKID9uI51oE
The Woman In Black.
Photo: Justin Nicholas.
minimal but immensely effective, as is the lighting, which creates just the right kinds of darkness for this tale.
A fantastic hour of immersive, sexy, crazy, laugh-till-ithurts theatre.
Mark Wickett
Patti LuPone: A Life in Notes Adelaide Cabaret Festival. Festival Theatre. Jun 19, then touring to Sydney, Melbourne, and Brisbane.
PATTI LuPone takes the stage to rapturous applause, here to tell her stories, mostly through her huge songbook, but also with smatterings of anecdotes from her life.
LuPone might have made her Broadway debut in 1973, but you wouldn’t guess her age from the energy she gives through every song: from the Carpenters to Cole Porter via Cyndi Lauper, LuPone shows incredible range in style, pitch, emphasis, and volume. And her enunciation is
so crisp and clear, the audience can hear every word.
The audience gorges on famous numbers from Evita (‘Don’t Cry For Me Argentina’), Les Misérables (‘I Dreamed A Dream’), and Company (an effervescent ‘The Ladies Who Lunch’). And the sassy humour isn’t lost in more poignant moments, where she connects each injury to the Broadway or West End show that gave it to her, or when singing and laughing through Peggy Lee’s ‘Ready To Begin Again’.
The accomplished Joseph Thalken arranged the music and plays the piano, ably supported by the talented multiinstrumentalist Brad Phillips. Together they are a perfect accompaniment.
A deserved standing ovation, not just for the evening of entertainment, but for the lifetime of music LuPone has given to the theatrical world.
Mark Wickett
Patti LuPone talks to ABC’s 7.30 about her new show A Life In Notes. youtu.be/qzl9MpHeh4k
Patti LuPone: A Life In Notes Photo: Douglas Friedman.
Fourteen
By Shannon Molloy, adapted by Nelle Lee and Nick Skubij with Shannon Molloy. Shake & Stir Theatre Co and QPAC. Director Nick Skubij. Riverside Theatre Parramatta, May 34, and touring (shakeandstir.com.au/mainstage/fourteen).
NELLE Lee, Nick Skubij and the Shake & Stir team have worked with award winning journalist Shannon Molloy to convert his telling memoir Fourteen into a beautiful piece of theatre.
Skubij directs this troubling, but gentle, story about a gay teenager growing up in football mad rural Queensland. The ignorant abusive bullies in his Year 9 classroom and the parents and friends who saved his life are depicted by seven energetic actors in vibrant pictures that are moving and upsetting but tinged with humour and insight. The dialogue is economic, the language real, the humour touching.
Conor Leach plays Shannon Molloy, reaching through the fourth wall in a performance that is perceptive, heart-
Reviews
wrenching and wryly amusing. As well as the confusions of sexuality and the other uncertainties of growing up, he shows the importance of being brave, loyal, and true to yourself.
Josh McIntosh designs clever sets that are transportable but skilfully re-create time and place. A twostorey tenement-type building frames the stage which becomes a toxic classroom, a happy home, an imaginative fashion parade, a quiet corner of contemplation. Short transitions backed by thumping music and flashing coloured lights are amazing snippets of theatre in themselves.
Shake & Stir describes Fourteen as a “moving comingof-age memoir about adversity and tragedy [that] is also a story of resilience, hope and hilarity.”
Carol Wimmer
Fourteen.
Photo: David Fell.
Merrily We Roll Along
Music and Lyrics by Stephen Sondheim. Book by George Furth. Ad Astra, Brisbane. May 16 - Jun 8.
I AM sure that Stephen Sondheim would have approved of the superb cast in Ad Astra’s production of his Merrily We Roll Along. Also, their smaller setting suits the New York apartment backdrop. Performances must be by warm and engaging actors who can also sing magnificently! This cast ticks all the boxes! As the selfconfident and ambitious musical writer, Franklin Shepard, Stephen Hirst is a brilliant and charismatic leading man. As his two loyal friends, we have Mary Flynn, a wannabe writer, played by Natasha Veselinovic with heartbreaking emotional eloquence; and lyric writer, Charley Kringas, played by Alex Watson, who balances his honesty with quick humour and speed in the signature Sondheim ‘patter song’. These three performers are the heart of the show.
Fortunately, in the Ad Astra constellation, the supporting characters are all played by stars too, including Heidi Enchelmaier, Jordan Twigg, Chris Kellett, Chelsea Burton and Liam O’Byrne. Adding to the energy are Musical Director, Ben Murray, and Lucas D Lynch on keyboards, and Peter Lavrencic on drums, and the music is great. Even audiences who think they don’t like stage musicals will enjoy this production!
Beth Keehn
Black Box
Book, music and lyrics by Paul Hodge. Cremorne Theatre, QPAC. May 10 - 19.
THIS world premiere of a new Australian musical by Brisbane-based writer Paul Hodge delves into the story of David Warren, an unsung Australian who invented the Black Box flight recorder.
Billed as the “first binaural musical”, the play’s technical subject matter perfectly suits the use of today’s tech as audience members each wear headphones, which allow for crystal clear music, sound effects and dialogue. Part stage musical, part radio play, part documentary, Black Box may seem an odd theme for a stage musical, but it works thanks to a multi-talented team effort, featuring two stunning stars: Michael Cormick plays David Warren and Helen Dallimore plays his soulmate, Ruth.
The musical numbers are delightful, and supporting vocals are provided by Bryan Probets, Hugh Parker, Bernard Curry, Liz Buchanan, Ethan Lwin and Freddie Hagley. The Sound Design by Daniel Herten is superb, with Sound Recording by James See. Directed by David Berthold, there is never a dull moment in this tightly woven and sung tale.
Beth Keehn
Merrily We Roll Along.
Photo: Creative Street Photography.
The Grinning Man Book by Carl Grose. Music, arrangements & orchestration by Tim Phillips & Marc Teitler. Lyrics by Carl Grose, Tom Morris, Tim Phillips & Marc Teitler. Salty Theatre & Vass Productions. Alex Theatre, St Kilda. Apr 25 - May 19.
THE Grinning Man is a mix of melodrama, pathos, pantomime, and very black comedy performed by a cast who sing, play musical instruments, dance, cavort, mug and bring people to tears. The music is a kaleidoscopic inventive pastiche, mixing pop with classical, and referencing modern music theatre hits. Music Director David Youings gets energy and clarity out of his ensemble of six.
It’s a loose, cut-down adaptation of Victor Hugo’s 1869 Gothic novel The Man Who Laughed (L’Homme qui rit). If the plot gets a little hard to follow in places, the audience is swept along by the gusto of the cast, the gags, the clever anachronisms, the brisk direction by Miranda Middleton and Ashley Taylor Tickell, and Freya List’s spirited choreography.
Maxwell Simon is a powerful presence as Grinpayne, a hideously disfigured man his face permanently cut into a rictus smile; he sings of his quest to find who cut him with great emotion and through the bloody bandage that covers his horrible grin. Luisa Scrofani is his sweet and touching love, blind Dea. Dom Hennquin brings great presence and dignity to Ursus his depiction of guilt is a most moving element in the show. In addition, there’s Mojo the wolf (a puppet), sex-mad Duchess Josiana (Melanie Bird), Duke Derry-Moir (Anthony Craig), Josiana’s loopy brother (and sometime lover), the eccentric, previously mute Queen Angelica (Stephanie Astrid John), and a madly ambitious clown/jester and Mr Fixit, Barkilphedro (the indefatigable Jennifer Vuletic) who’s also our knowing Narrator.
Perhaps the comedy tends to undercut an horrific story of injustice, poverty, cruelty and suffering especially when Melanie Bird is such a brilliant verbal and physical comedian while Stephanie Astrid John gets laughs by announcing extraordinary things while remaining dead pan. And of course Vuletic dominates story and stage.
The show began life at the Bristol Old Vic in 2016. Here, it is enthusiastically revived for its Australian debut.
Black Box.
Photo: Darren Thomas.
The setting is a surreal ‘Lonn-donn’ in the late 17th century and on into the reign of Queen Anne with its mix of sordid back streets, prisons and palaces all superbly evoked by Sophie Woodward’s excellent set design.
Michael Brindley
Head Over Heels
Songs by the Go-Go’s, adapted by James Magruder. Original Book by Jeff Whitty. WAAPA Third Year Music Theatre. Directed by Melanie Hillman. The Roundhouse, Western Australian Academy of Performing Arts, Edith Cowan University, Mt Lawley, WA. Jun 7 - 13.
THIS W.A. premiere was performed by WAAPA Third Year Music Theatre Students, and designed, built, and crewed by WAAPA Production and Design students.
This strong cohort lived up to its reputation with excellent singing, expertly performed dancing and intelligently acted characters.
Adapted from Sir Philip Sydney’s 16th century The Countess of Pembroke’s Arcadia, designer Josh McNeil gave the costumes a 16th century feel with some modern twists, while his clever topiary style set design revealed surprises. Fabulous lighting choices from Declan Fyneman added pizazz.
The Arcadian royal family attempt to save their county’s “Beat” while their King tries to outrun prophecy. King Basilius is given by Taye Grant, working well with Sarah Bowers, sophisticated as Queen Gynecia. Their beautiful daughter Pamela, who leans towards the narcissistic, is played with style by Emma Caporaso, while younger daughter, sweet Philoclea, is played charmingly by Madison Randl.
Philoclea’s childhood friend, shepherd Musidorus, is considered an unsuitable match, and actor Blake Douglas steps into disguise in drag, in a lovely performance. Pamela’s handmaid becomes her love interest, with Mopsa gorgeously portrayed by Lucy Laylor. Her father,
companion to the King, Dametas, is given knightly demeanour by Harrison Ion.
Oracle Pythio, non-binary, wise and powerful, was played with strength and magic by Sophia Matthews.
A strong ensemble is kept busy throughout, singing up a storm (vocally this show was amazing) and completing Reed Laplau’s choreography with energy and precision.
It was a privilege to watch this top-notch new production.
Kimberley Shaw
Billy Elliot Book & Lyrics: Lee Hall. Music: Elton John. Directors: Lynette & Chris White. CLOC Musical Theatre. The National Theatre, Melbourne. May 10 - 25.
STAGING the Victorian non-professional premiere of Billy Elliot, directors Lynette and Chris White demonstrate remarkable expertise in orchestrating such a first-rate production.
If you’re anticipating a lacklustre presentation due to the theme of coal mining think again! Sets crafted by Chris White exhibit clear evidence of thorough research and meticulous attention to detail, almost taking on a character of their own. Lynette White’s choreography showcases a broad range of styles, including tap, hip hop, jazz, and ballet. Costumes by Victoria Horne are period appropriate, with plenty of nods to gaudy 80’s fashion. The exceptionally skilled orchestra is led by David ClausenWisken. Brad Alcock’s lighting and Marcello Lo Ricco’s sound designs are unparalleled.
Lukas Elliott (at the performance I attended) is the authentic essence of the boy, Billy. His naturalness, pure voice, and mastery of modern and classical ballet is unmistakable. Angus Hutchinson (Michael), Emily BondFuller (Debbie), Melanie Ott (Mrs Wilkinson), Chris Hughes (Billy’s Dad), Barbara Hughes (Grandma), Joshua Sumner (Billy’s brother), Tim Carney (Mr Braithwaite) and Elise Stevens (Billy’s Mum) with decades of experience between them, all star in their own right.
Head Over Heels. Photo: Stephen Heath.
The cast is so deeply engrossed in their characters that the line between actors and genuine individuals is nearly blurred. Melbourne theatregoers are in an enviable position, having the opportunity to witness this exceptional, world-class theatre group delivering their 112th production in 60 years!
Jonathan Cox
Comedians On Stage Auditioning For Musicals Adelaide Cabaret Festival. Banquet Room: Festival Centre. Jun 21 & 22.
COMEDIANS on Stage Auditioning for Musicals heralds a new, at times, cringeworthy cult show. Michelle Brasier and her ‘ex-husband’, Director, Ben Russell are searching for a new star for the Wagga Wagga Amateur Theatre Society. It may be for a role in Les Misérables or Cats Who knows? Indeed, it is possible that the auditionees are somewhat confused too.
Audition pianist, Julie is wonderful also showing off her own musical talents in her rendition of “Life is a Cabaret”. The audience joined in “When You’re Good to Momma”, which Brasier describes as ‘bringing up the same emotion as a divorce case.’ Braden Kelly delighted the audience. Alas his feedback was, ‘Deep down, you are….useless.’
No feelings are spared; comedian, Leela was advised to consider a career in dentistry rather than music. After serenading the audience with “They Call the Wind Mariah”, tenor ‘Mad dog Malcolm’ pointed out that getting a part, ‘Would mean the world’ to his dying mother.
The Festival’s Artistic Director Virginia Gay rushed in, apologising for her lateness attributing that to ‘Having to take on her pregnant sister’s shift at Baker’s Delight!’ Interestingly, her feedback was, ‘You could be an actor.’
This is a madcap show, so take care if you are considering auditioning. You may be safer to become a Dentist!
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CAST & CREW
Editor: Neil Litchfield
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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.
Comedians On Stage Auditioning For Musicals. Photo: Claudio Raschella.
One of the most popular recent posts on the Stage Whispers’ Facebook page was my announcement that community theatres will be able to stage Georgy Girl the Seekers Musical next year.
The Australian folk group displaced The Beatles and The Rolling Stones from the top of the charts in the early 1960’s, with their unique harmonic songs that included “I’ll Never Find Another You”, “I am Australian” and, of course, “Georgy Girl”.
They were unlikely pop stars, described in a famous quote as “a cuddly girl-next-door-type and three sober cats who looked like bank tellers.”
A scheduled short trip to London laid the ground-work for them selling 50 million records and having six top ten hits in the mid-sixties.
Georgy Girl the Seekers Musical was produced in 2015, with the four band members taking to the stage at
the end of their hometown Melbourne premiere.
It has been a long road for my theatrical agency to secure the rights to represent the musical.
Last year I finally met the writer, Patrick Edgeworth, whose family connection was that his brother Ron married The Seekers’ lead singer Judith Durham.
Patrick was keen for the musical to be available across the country and had a special joke that he wanted to add to the show.
The gag which relates to Judith’s maiden name (that rhymes with sock) was emailed to me by Patrick in a new draft of the script.
Sadly, Patrick passed away just months later, joining Judith Durham, who died in 2022, in musical heaven.
Judith’s struggles with health, selfimage, relationships and a car accident are touched on in the musical, as well as the band’s magic carpet ride to success.
The surviving members of the band were devastated by Judith’s death, which drew the curtain on their famous reunion concerts.
Productions of Georgy Girl the Seekers Musical give audiences the chance to hear their famous sound replicated on stage again. Speaking on behalf of the band Keith Potger said: “It’s a great honour to know that the Seekers’ story can be given this extra chance to be told.”
The producer of the musical, Richard East (also one of the producers of Mamma Mia!), said “after a successful first commercial run we are now very happy to see the show performed in all corners of Australia and New Zealand, finding a new audience for the Seekers wonderful story and songs.”
My company is seeking expressions of interest from community theatres to stage the musical in 2025 and beyond.
