Let's Put On A Show 2021 edition

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Contents Coping With COVID-19 ....................................... 6 Features .............................................................. 10 Choosing A Show .............................................. 28 Costumes, Props, Sets And SFX ..................... 42 Public Relations ................................................. 68 Other Goods And Services .............................. 79 Sound And Lighting ......................................... 82 Ticketing ........................................................... 120 A subscription to Stage Whispers Magazine is the best way to keep up-to-date with the world of theatre. For $39.50 you can receive 12-month print and digital access, or 24month digital-only access. All new subscriptions also come with a choice of double passes, CDs, DVDs, BluRays or books. Find out more at

stagewhispers.com.au/subscribe Cover image: CLOC’s Priscilla, Queen Of The Desert: The Musical. Photo: Ben Fon. stagewhispers.com.au Stage Whispers 5

Coping With COVID-19 Theatre makers share their tips and experiences rehearsing and staging shows during the peak of the Omicron variant outbreak.

Producer and Director Peter Novakovich Woftam Productions held rehearsals during December and January for their Sydney community theatre season of Mamma Mia! Peter said the company struggled to get to the stage.

“Literally every second day I was receiving a text or call to say someone had to pull out and much time was wasted trying to get replacements: just as one leak was plugged up another sprang open.

The following rules were imposed on the rehearsals: • Everyone had to be fully vaccinated or hold a valid exemption.

• Masks had to be worn - even when singing (eventually relaxed in line with government recommendations).

• We had to keep our venue well ventilated: doors and windows were kept open to allow for flow of air.

• When cast were not needed for their scene, they had to wait outside.

The cast eventually became used to singing with a mask on, instead of straining their throats and voices by trying to sing through the mask.”

Chelsea Albanesi is the company Stage Manager for Bluey’s Big Play “Tour bubbles work a wonder - keeping all cast and crew in a tight social bubble and wearing masks and using appropriate hand sanitizing and social distancing practices when not able to be in the bubble, eg supermarket runs, or working with venue crew. The only travel is going to work and to the accommodation.”

Theatremaker Cam Castle “For my latest production, read throughs, character, script and plot analysis and some rehearsals have all worked extremely well via Zoom. We've also chosen a play where the actors can easily be socially distant, and it doesn't look out of place. The theatre company has insisted that all cast and crew be double vaccinated. We wear masks and check in at in-person rehearsals and follow strict hygiene protocols. So far, so good.”

Jessi Ryan writer “We decided to reduce our capacity back to 75% - to allow better social distancing in the venue - and the crew has and will continue to be doing RATs daily to ensure no one has caught COVID-19 before any in-person rehearsals or performances. Rehearsals take place in masks, and masks and vaccinations are mandatory for audiences too. We found making a public announcement around these measures was well received - but between our last postponement (in November when a cast member tested positive) and now, people are certainly more hesitant.”

Woftam Productions’ Mamma Mia!.

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Photo: Eduardo Munoz.

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Choose from 1,300 plays at our online store

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Lucy Durack.

Features

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‘Never work with children or animals’ goes the saying. A desperate Debora Krizak, locked down in a COVID-19 hotspot, seeks help from a professional doggie stage trainer Peta Clarke and music theatre star Lucy Durack.

Please know, today was a good day, even though I don’t know what day it is anymore. It doesn’t matter apparently. Not until we reach 80%.

It’s almost 11am and a flutter of excitement comes over me as I switch on the telly in anticipation of the daily press conference. For a split second, it feels like opening night nerves but then my mind catches up and I realise I’m still in my PJ’s, slurping unapologetically on my cup of instant coffee.

I’ve been thinking long and hard about my ‘Behind the Scenes’ feature this month but it seems somewhat futile to spotlight the fabulous work being done by my peers when, let’s face it - the lights are off and everybody’s home. So, I’m coming to you live from my locked down LGA in Sydney where Gladys has finally closed Bunnings and every parent in lockdown grapples with the reality that home schooling is like being trapped in an episode of Survivor.

It’s time for P.E. and the twins have been instructed to do something “physical”. They both look pale and unengaged so when they plead with me to do the latest Gladys workout posted on Tik Tok, who am I to say no? I can’t sugar coat this whole fiasco any longer. If they want to attempt a burpee every time Gladys repeats herself, they can knock themselves out. While they’re at it, they can knock me out too and wake me up when we’re at 70% - just so I

have enough time to primp and preen myself before we reach that magic 80% and are released back into the wild.

In the meantime, I’ve been lured into the online world of puppy scams.

The kids thought we should utilise our time in lockdown to get a puppy.

Feeling sorry for them, I start browsing the net. This proves to be a welcome distraction from arguments with anti-vaxxers on Facebook who claim that Ivermectin is the cure for coronavirus. Lockdown brings out the worst in us all - especially the scammers - but like all the antivaxxers, they underestimate the power of proven research. I digress...

We welcome our new puppy “LuLu” into home detention, and I suddenly remember what it is like to be locked up with a destructive toddler. Nothing is off limits and I have unwittingly become the sole carer of a weeing, pooing, chewing ball of brown chocolate fluff. Luckily, I have nothing else to do - thanks Gladys. The cuteness factor lasted an entire day for the kids until LuLu decided that bedspreads and pillows were the ideal place to do a number two.

It was time for some serious puppy training. But where do I start? Time to call in the big guns, which leads me to my next artist in spotlight - animal trainer Peta Clarke from “We Do Animals”.

Peta has been training animals in film, TV and theatre for years. Some of her credits include professional stage productions of Legally Blonde, Annie, Chitty Chitty Bang Bang and feature films such as The Invisible Man, Top End Wedding and the soon to be released My Life Is Murder. She knows that picking up poo is par for the course. Likening her profession to “running away and joining the circus”, Peta initially studied for a degree in child psychology, but it was animal behaviour that piqued her interest. I asked her what traits an animal trainer needed in the entertainment industry.

“You need to have good problemsolving skills as well as the ability and patience to observe animal behaviour.

You also need to have the backbone to say no when a job is not in the best interest of the animal. You are the animal’s voice and need to ask all the questions for them.”

I ask Peta what she thinks about the saying ‘never work with children or animals’. Her response - “You’ve never worked with us!”

Her passion and love for animals clearly outweighs the challenges. A workday for Peta can be anything from working with writers, to producers and directors, actors and animal owners, as well as making sure her animals are trained to the script.

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“At script development stage, we offer insights into the natural behavioural repertoire of the species in question, creating believable animal action on screen. We liken ourselves to puppeteers and love creating behaviours and actions that evoke an emotional response from our audience, which helps to establish the animals as strong characters within each story.”

Perhaps the most important training aspect is to instil a confidence in the animal to feel comfortable and settled in their work setting. The emotional and physical well-being of Peta’s animals is paramount.

“We are consistently thinking about real world exposure. A film or theatre set can be a scary and unusual place for an animal. It’s not for

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“Like actors, we have to audition our animals. It’s all about confidence and bounce back. They need to be able to take anything the ‘make believe’ world can throw at them.”

This is beginning to resonate with me. All actors are experts at bouncing back and we’ve all worked with overconfident types. Perhaps there is a career in this for my LuLu after all. She seems to bounce back effortlessly when I pull her off my brand new, white duvet.

Whilst some animals may impress with their ‘audition’ skills, performing the task consistently, night after night, requires specialised attention to detail. Some of that training includes scent work, where an animal relies on their sense of smell in locating objects and is rewarded with a treat at the other end. On movie sets, where a trainer may not be able to reward the animal immediately, a clicker is used and the animal instantly recognises that the treat is coming. Stick training is also used for specific sightlines on set, but the main tool used by most animal trainers is repetition.

Peta was the animal trainer responsible for the roles of Bruiser and Rufus in the 2013 musical Legally Blonde, starring Lucy Durack as Elle Debora Krizak and LuLu. Woods. I asked Peta what it is like for animals to work with actors’ eight everyone’s pet. Every day, every show-a-week schedule. interaction, every time they are “The dogs know the difference exposed to something in their between a rehearsal and an actual environment - we are shaping their show. It’s as obvious to them as it is response to it.” to us. We make sure all the training So, how is an animal selected for a work gets done before and during career in the entertainment industry? rehearsals so that we can maintain Surely, they’re not subjected to hours consistency on stage. Things can fall of unpaid auditions and self-tapes apart very easily. The repetition of the from the doghouse? I recently same thing can be a massive help, but discovered that LuLu’s father is, in if things do go wrong, or something fact, a performing toy poodle. Clearly changes, it can be a huge hindrance. the universe thought we needed One of the funniest things that another locked down performer in happened was when my little our house. When it comes to Chihuahua, who played Bruiser in choosing the right animal for the job, Legally Blonde, had a cameo at the Peta considers the overly confident end of a scene and had to walk on set and enthusiastic character traits and cock his leg on a tin can and walk perfect opportunities to cast the right out. He was listed in the credits as the animal. Sometimes the best trained Pissing Dog.” dog isn’t the best performer because As actors, it can be both a they are ‘over trained’. challenging and rewarding experience to work alongside animals on stage.

But how do they develop a rapport with their human co-stars while learning to navigate uncharted territory? I spoke with Elle Woods herself, Lucy Durack, about how this impacted her show preparation and rehearsals.

“I felt very lucky. Each morning I would have at least an hour to get to know and play with all the dogs learning how they worked while playing and rehearsing. Only those of us who worked with the dogs on stage were allowed to play with them, so it felt like a great privilege!”

How do the cast on stage adapt their performance when things go awry? I remember seeing a preview performance of The Wizard of Oz when Toto proceeded to lick the lead actress for an entire song. It made for wonderful viewing but I’m sure the sentiment of the song was completely lost on the audience.

Lucy recalls the time when one of the understudy dogs had to have knee surgery and a new little dog was brought in to start the bonding process with the actors. Lucy said that one of the perks was being able to take the dog home for the night in order to fast-track the training. Being familiar and comfortable with a lead actor is a necessity when it comes to delivering scenes together. But just like human actors, the dogs all bring their own personalities to the role and respond to varying types of positive reinforcement.

“The Chihuahuas would always perform for food and the bulldogs would perform for hugs! They all had such interesting and different personalities. Quinn was lovely and a bit more reserved, Audrey was a bit of a princess and Sparrow was legitimately a star - reincarnated from Hollywood!” says Lucy.

Star power aside, having witnessed the antics of my very own puppy over the course of a week, I think animal trainers themselves deserve a Helpmann. Whether it’s treats or hugs that motivate these cute and complex creatures, I’m still a long way off getting this ‘Ugg boot obsessed’ puppy of mine to “Pissing Dog” credit status.

It’s A Dog’s Life Most memorable job description?

Peta Clarke: Rat Trainer. I trained 100 rats for Mel Gibson’s movie Hacksaw Ridge!

Stage or Film?

Peta Clarke: Theatre is one of my favourite places to work. I love the sense of family and camaraderie amongst the cast. The actors often come into the dressing room to spend time with the dogs every day. There’s a consistency with theatre that the dogs respond to well.”

Biggest “fur” pas Peta Clarke: Not warming up one of the Chihuahua’s voices before a show and he couldn’t bark on cue!

Lucy Durack as Elle Woods with Bruiser in Legally Blonde (2012).

Photo: Eva Rinaldi.

Online extras!

Meet Lucy Durack and Bruiser at the launch of Legally Blonde. Scan or visit youtu.be/dVVR02xa7Wg

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Black Lives Matter and #MeToo have changed the game for musical theatre. David Spicer reports on the new rules for the stage.

Classic musicals with glorious scores but problematic story lines or histories are under threat in a new order, as the world slowly returns to the stage. Some musicals have been withdrawn, others are being reinvented and strict new rules are being applied to the authenticity of casting.

Just over a decade ago a Broadway revival of Finian’s Rainbow was nominated for a Tony Award for Best Revival of a Musical. The New York Times’ critic at the time lauded the “comforting pleasures of infectious song, exuberant dancing, jokes both lovably corny and unexpectedly fresh.”

In Finian’s Rainbow a spell is cast on a racist politician, turning him into a black man, so that he can experience life from the other side. What was accepted as satire only a few years ago is now considered offensive.

The issue was the hot topic across the Australian Musical Theatre Festival held in Launceston in May. Finian’s Rainbow is not the only musical now considered problematic. Another is Disney’s Alice in Wonderland Jr. How you ask?

Well, it is all about the song “Zip-A -Dee-Doo-Dah”, sung by a caterpillar to lift the spirits of Alice. Influenced by the 1830s folk song “Zip Coon”, “ZipA-Dee-Doo-Dah” was originally composed for the Disney movie Song of the South. Released in 1946, that movie is considered racist for evoking stereotypes of African Americans. One of the characters in the movie even describes how he missed being a slave.

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Also on the sidelines is Disney’s Peter Pan, for its depiction of Native Americans as Redskins. (Disney+ also recently quietly removed several movies from its children’s channels, including Dumbo and Aristocats, for similar reasons.)

Tyran Parke - head of Music Theatre at the VCA - tackled the issue of how to save creaky old shows with wonderful scores with a campaigner’s zeal at the festival. In one seminar he described how his job changed after COVID-19.

“I used to think my job was to stage a show. Now I need a position on text to make sure it is not racist, homophobic, or sexist,” he said.

The problem, as he described it, is that music theatre has largely been the domain of white middle class men. He has been challenged by his students to give them work to perform and study from a more ‘diverse’ group of writers (Tyran prefers the term inclusive rather than diverse, to include all backgrounds).

“It is not good enough just to put on stage what we have seen before. I am fighting the nostalgia of what I loved at the age of nine. I would show up to the VCA and 60 people would see the world differently from what I saw before. The students got ahead of me in respect to social change.”

Tyran now believes that if a musical makes someone from a minority group uncomfortable then it needs to be withdrawn or reinvented.

As an example, he cited a season of Thoroughly Modern Millie staged

by The Production Company in 2019.

The musical has a lead character posing as an Asian woman with two Asian sidekicks. A white woman in yellow-face sings ‘Mammy’ in Cantonese.

“An actor of colour in the audience was upset. If any person of colour finds it offensive, then it is offensive.

Whilst the production was incredibly successful ten years ago, The Production Company did not read the room,” (in terms of how it reacted to the criticism) he said.

Tyran said that the musical is now being re-written, while he also claimed that the furore contributed to the decision to close The Production Company.

Sentiment at the seminar was divided. Some called for outdated musicals to be dropped.

“Nostalgia for what?” was one comment.

“I have always shied away from old musicals. Maybe we can revisit them and make them relevant,” said another participant.

With that in mind, Tyran described how two directors recently approached one of the classic musicals - which has what he describes as a problematic ending.

The musical was My Fair Lady.

“One (recent production) was offensive. The other was remarkable.

Not a word was different.”

In the original play Pygmalion, George Bernard Shaw has Eliza walking out on Professor Higgins to marry Freddie in the last scene.

However, when it was made into a musical, the ending was changed to

A workshop at AMTF 2021.

Photo: Melanie Kate.

have Eliza return to Higgins subserviently.

As the text is written in the musical, Professor Higgins says in the last line, “Where the devil are my slippers?” He slumps in his chair, with his hat slipping down his face before the music swells. The revival, directed

by Dame Julie Andrews for Opera Australia, took the traditional approach as it was a faithful revival of the original Broadway production.

This approach left Tyran unimpressed.

“What do young women make of that?”

A different staging took place in the recent revival on Broadway. Tyran said the director made the last scene a moment of empowerment for Eliza.

She went to find his slippers, then stopped and walked out on him through the audience. Professor Higgins then rose to give her a standing ovation as she leaves him.

“Eliza had become bigger than he made her. This staging goes some of the way to solving it,” he said.

Choosing A Show directory: bit.ly/2nEEIxv

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Another case study was a concert version of Chess, which Tyran directed this year. He described some of the lines in the songs as “scary”. ‘One Night in Bangkok’ is traditionally staged in a bar with scantily clad Asian women.

“When done eight years ago, it had white people dressed as Asian people for this scene. The tricky thing is that it was a hit in the original show. What was I to do with this piece?”

“I decided to change it to a company number. Everyone sang a part of it.”

Tyran also wanted the lines “You’ll find a God in every golden cloister, and if you’re lucky then the God’s a she” removed from the song. The lyric alludes to the hope that a lady picked up in a Thai bar is female. In this case he wrote to the lyricist Tim Rice and was given permission to change the words to “If you are lucky they will set you free.”

The musical Tyran described as the most “problematic” that he has directed is Barnum. It was staged in a

season in Melbourne starring Todd McKenney.

“Barnum is deeply offensive. So how did we do it? We decided that Barnum was Donald Trump. We made every male character a cartoon and the Ringmaster Kirby Burgess played all these men. It worked enough so that is was not so offensive, but it may not have entirely solved it. At the end we made Todd come out as a clown.

In the original it ends with a triumph, but we had a different ending. Todd was speaking to an empty circus.”

Tyran’s view is that it is still acceptable to portray racism or sexism on stage, so long as there are consequences for the behaviour.

Callum Francis, the Helpmann winning lead of Kinky Boots, tackled the issue at another seminar, pushing back at cancel culture.

“If there is a troubled story which might make people uncomfortable, (we must consider that) it was written in a time from another era. Just because it is on, doesn’t mean we (Continued on page 16)

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believe it now. I don’t believe in the cancellation of shows. It is still art,” he said.

However, Callum endorsed moves for greater authenticity in casting.

There have been high profile controversies in recent times in community theatres in Brisbane and Melbourne. Companies came under strident attack on social media for casting In the Heights (with nonLatinos) and Kinky Boots (featuring a white Lola).

Stricter casting requirements have now come into place. The new rule of thumb is that if a writer stipulates that ethnicity is critical to a character, then those wishes must be adhered to, or the rights may be withdrawn. On the flip side, if there is no ethnicity stipulated by the writer, then it should not be assumed that the actors must all be white.

A few years ago, theatrical devices were allowed to portray race. Schools were given permission to stage the musical Hairspray with the African American characters portrayed by their costumes. The seminar was told this is no longer acceptable.

Callum Francis said he is very uncomfortable at casting being portrayed by clothing.

“Absolutely not. Hairspray without the race part is just a fun, amusing musical.”

As for the character of Lola in the musical Kinky Boots, Callum agreed that this should be cast with a person of colour, as the lyrics of the songs

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My Fair Lady (2016).

Photo: Jeff Busby.

refer to this, and a critical scene is written to it.

Having access to a high calibre of artists from diverse backgrounds is not always straightforward. It can be especially problematic in regional community theatre or schools with smaller pools of talent.

Across the board, community theatres are coming to terms with the new rules. In Priscilla Queen of the Desert, an indigenous artist must be engaged for the indigenous character in the musical. When Melbourne’s CLOC Musical Theatre could not find a male indigenous artist, they were allowed to cast a female indigenous artist.

Some musicals won’t be staged as often. The new rules are expected to affect classics such as The King and I, which is set in Thailand. Opera Australia got away with Teddy Tahu Rhodes in the lead a few years back.

Could that happen again? Companies will have to work harder to widen their pool of participants at auditions.

Indigenous artist Naarah Shaye Barnes told the Diversity seminar that she would love to stage The Colour Purple in Hobart. She noted there was an audible groan from the audience at how difficult this might be to cast.

“The Hobart theatre scene is not very diverse. We have to change the communities we are talking to. I know so many (POC) families in Hobart who sing in church. Those people don’t know they could be in theatre.

Staging The Colour Purple in Tasmania is 100 percent possible.”

Chess (2021).

Photo: Jeff Busby.

Issues of racism and attitudes to women came to a head in Sydney this year when the Notable Theatre Company advertised auditions for Miss Saigon.

On social media, a writer called for a boycott charging that the musical is “famously racist and misogynistic and enforces a narrative about a southeast Asia politically and sexually subservient to white supremacy.”

Others countered that showing ‘uncomfortable truths’ is a pathway to further learning and further acceptance.

Indigenous artist Brittanie Shipway told the seminar that if Miss Saigon “is not put on, then all the Asian women in that community will miss out on an opportunity.”

The Notable Theatre Company attracted a large pool of quality audition candidates. Many in the cast have family connections to the Vietnam War. The company further resolved to “engage with representatives of the Vietnamese community to seek input to the staging of the production in a culturally-sensitive way.”

Callum Francis noted that when Miss Saigon opened in London, white British actor Jonathan Pryce wore prosthetics to alter the shape of his eyes, and make-up to alter the colour of his skin, to play the part of the scheming pimp called The Engineer.

His reaction to this had one syllable “Eek!” Acts like this have been consigned to history.

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Into The Woods Director Kimberley Shaw thought she was out of the woods when COVID-19 restrictions eased in Perth during the final rehearsals for the musical Into The Woods in July 2021. Then came a dripping sound as the heavens opened. Was their production alright on opening night? Read on to find out.

The Stirling Players’ Into The Woods.

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Into the Woods had a conventional rehearsal period, or at least a COVID-19 conventional rehearsal period.

We auditioned in January, had an excellent turn-out that saw about 200 people audition over four days, and were thrilled with our chosen cast.

Planning to start rehearsals the week before Easter, Perth’s February lockdown had little impact on our production.

April’s lockdown affected us slightly. The Stirling Players’ production preceding ours, To Kill A Mockingbird, was shut down on its projected opening night, costing us three early rehearsals. Mockingbird opened a week later, extra performances were added within their scheduled run, and they closed only a day later than originally planned, meaning just one extra rehearsal in an alternative venue.

Rehearsing in masks was tricky but not impossible - especially relatively early in the rehearsal process. With a flight attendant set designer and another flight attendant in the cast, there was always a risk that one of them might have to go into isolation. Ironically, during this period, our Rapunzel’s Prince, flight attendant Zac, was forced to skip a rehearsal while waiting for test results, but it was because he shopped at Coles at the wrong time.

In the theatre on the morning of Sunday June 27th, we received the announcement that masks would become compulsory within the hour. I ran to the chemist (thankfully only a couple of doors away) to pick up a packet of masks (and inform the pharmacist that she may be in for a busy afternoon). Actors, crew and orchestra members who arrived without having heard the news were handed a mask, and we did our best to do a masked sitzprobe.

The next evening we were in rehearsal when our phones started pinging with messages that Premier Mark McGowan was about to hold an unscheduled press conference. I sent stage manager Mollie out to listen, then paused rehearsals to tell the cast that we were going into a four-day

The Stirling Players’ Into The Woods.

lockdown from midnight. We completed that rehearsal, knowing it would be our last for the week, and hoping desperately that we would be clear to rehearse properly for ‘Hell Sunday’ (tech, dress and orchestra) the following week. We had a Zoom rehearsal midweek - but as many know, time delays make rehearsing a musical on Zoom only moderately helpful at best.

Our set was almost complete, save for a small amount of painting on the stage floor - a specialty job that our set designer Wayne had planned to do himself. Having returned from Northern Queensland, Wayne was thrown into two-weeks’ isolation, meaning that not only would he need to make other arrangements to get the floor painted, but sadly, he would miss opening night.

News came the following Friday that lockdown was ending, but there was now a limit of twenty people inside a venue for the next three days.

We had planned a full day rehearsal for the Sunday - the first time that we would properly combine cast and orchestra, implement sound, do full lighting, and have full dress. With

eighteen in the cast, an orchestra of fourteen, a crew of three, stage manager, lighting designer, sound designer, and costume designer, even operating without committee members and any other helpers we would be well over the limit.

We determined that we could make it work. We started with a crew rehearsal, using the time to set up the sound, rehearse quick set changes such as manœuvring grandma’s bed, trying out our flying (Cinderella’s birds, her dress drop, and the growing beanstalk) and rehearsing only actors that had tricky stage business involving the crew.

The crew and sound designer went home, and the plan was then to run the show twice with the cast (using Rehearscore) and then send most of them home and rehearse the orchestra. Stage Manager Mollie was keeping a careful tally of the number in the building, calling cast members in as the crew departed. It was raining steadily, so she had people wait in their cars until called.

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Floodwater at Stirling Theatre.

The Stirling Players’ Into The Woods.

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Running a little late, we ran Act One and decided to break for lunch.

We had just given the five-minute call to resume when Mollie queried, “Can anyone hear dripping?”

Our band was to be housed in a craft room just to the right side of the auditorium. Sound designer Aaron had spent the morning session laying microphone cabling, so the floor was covered in cabling and orchestra seating nicely laid out.

We suddenly had two major leaks in that room’s ceiling, one beneath a join in what was once two rooms, the other in a skylight. Cast scrambled to find containers to catch the considerable drips and I climbed up to remove the black masking from beneath the skylight (getting very wet in the process). Suddenly we realised that flood water was coming through the two external doors to the room.

“Rip up the cables!” Mollie cried, and within seconds two hours of Aaron’s careful work was yanked from the floor.

“It’s coming in the foyer!”

Actors rushed to find fabric or towels to try to block the flow of water now pouring into both our orchestra room and the foyer. We opened the costume storage area to find that water was coming under the door there too.

Suddenly actors were everywhere, stemming the flow and getting things off the floor in the three rooms now affected. Phone calls were made to Aaron, the club President, and the Rangers (it is a council building).

Outside the foyer doors, water was five or six cm deep, and drains were not coping. Actors ran out into the rain to attempt to clear drains, with others building a makeshift dam across a path down which water was cascading like a river. We managed to keep the water out of the auditorium, while the stage and dressing rooms, being on ‘higher ground’, stayed dry.

The rain flow slowed, and about two hours later we had the orchestra room mopped out and sort of dry, an industrial dryer “on the way” from the council and rehearsal resumed - albeit

The Stirling Players’ Into The Woods.

Kimberley Shaw is also Stage Whispers’ tireless Perth reviewer. She could not review her own production, which Breanna Redhead described as “delightfully charismatic”. stagewhispers.com.au/reviews/woods-15 with actors who were still literally dripping. We only managed to complete the one run.

Due to the restrictions, we had to rearrange our tech week rehearsals slightly. We skipped our Monday tech rehearsal, then moved everything back a day. By Tuesday we were allowed full rehearsal capacity although actors needed to be masked when not on stage, as did crew and non-wind orchestra - and we finally managed our first tech and dress.

Council workers worked on the roof most of the week, and we were assured that it was repaired - that the previous weekend had been a ‘once in a decade’ occurrence and that we didn’t need to worry.

After a successful preview that went as smoothly as we could hope, we were looking forward to Opening Night.

Ever the nervous director, I arrived at the theatre in the early afternoon, just to do little jobs and offer any help to front of house.

Around 3pm I was helping committee member Elaine prepare the auditorium. It was raining, so we were occasionally checking the band room ceiling, even though the roof repairmen had been at the theatre

late. Stirling Council found us two large industrial driers to dry the foyer and sent a magic machine that when I had arrived and reassured me sucked the bulk of the water from the that it was watertight. Suddenly we carpet. The orchestra was kind heard a familiar dripping. enough to squeeze into what was Rushing to find something to essentially a large cupboard on the catch the drips, there was flooding other side of the auditorium (not at under the doors once more. Within all comfortable), and the Roleystone seconds the band room was flooded Theatre (whose own temporary and although I attempted to get theatre space had flooded that everything off the floor, this time it weekend) lent us curtaining to was simply too fast, especially with dampen the echo in that space. only two of us in the building. We Having spent the day on an managed to build walls to stop the unsuccessful search for a new power water entering the auditorium, but source, a plethora of Perth theatre the band room flooding was deeper, people offered us keyboards, with extending through the foyer and Taui Pinker driving his beautiful and toilets. I had sent an urgent message precious keyboard to us an hour to the group chat - I think it was before curtain. simply “Help, flood!” - and within a While we remained nervous for short time we were being inundated the rest of the run, and a team of by cast, Stirling Players members and actors led by our Cinderella, Grace, their friends. flood barricaded the theatre between Despite the efforts of many, we every show, we were lucky enough to were unable to open that night. We enjoy a successful, well received and couldn’t guarantee that we wouldn’t completely sold-out run. flood again, the foyer carpet was I am very thankful to have had a completely sodden, we needed to cast and team who smiled through make arrangements to ensure that adversity, laughed instead of cried our orchestra would remain dry and and remained kind to each other we had managed to drown (and kill) through a very stressful last couple of the power source to one of the weeks. To miss multiple rehearsals keyboards. and face such major upheavals would Thanks to the generosity of others, break many shows, but this team was we were able to open, albeit a day simply awesome.

stagewhispers.com.au Stage Whispers 21

How do you create a world premiere during a global crisis and ensure that the production is the jewel in the crown of a much-anticipated Brisbane Festival?

To find out, Beth Keehn spoke to the creative team Queensland Theatre enlisted to take best-selling novel Boy Swallows Universe from page to stage.

We will never know how, after the plague had decimated London’s theatres in 1593, Shakespeare pulled his next play together. But we do know that he didn’t rehearse his players remotely by Zoom while quarantining in Stratford. When the Elizabethan theatres did reopen, the playbill advertised The Comedy of Errors, a sweeping exotic tale based on a Roman play by Plautus called The Two Brothers. More than 400 years later, an eagerly awaited Australian production is another tale of two brothers - Eli and August Bell - not set in the exotic Greek city of Ephesus, but in the Brisbane suburbs during the mid-1980s.

Trent Dalton’s gritty dreamlike Boy Swallows Universe is set in an explosion of colour, with a cacophony of characters, moving at a blur in a unique coming-of-age tale. Dalton mines his own dysfunctional upbringing - a mother with a heroin addiction, a step-father who deals drugs, an ex-crook as baby-sitter and best friend, connections to the suburban criminal underworld - and a determination to escape on an epic scale, navigating the violence and trauma with humour. In Eli’s case, it’s words that come to his rescue - he writes letters and stories and aspires to work on the local newspaper. His brother, August, refuses to speak and only writes in the air with a scrawling finger. But at the heart of the darkness is an unconditional love of family.

Weathering the storm of the

22 Stage Whispers Let’s Put On A Show 2022

Features Boy Swallows Universe.

All photos: David Kelly.

global pandemic and the series of onagain, off-again lockdowns has taken a lot of time, talent, tenacity, and sheer will. With a year-long delay, it has demanded dedication, passion and patience to bring the play to life.

When I spoke to the creative team, rather than pressure and stress, the two words I kept hearing were ‘gift’ and ‘generosity’.

The Director is Sam Strong.

Beth Keehn (BK): Sam, what’s it like working on a brand-new theatre piece - is it more stressful or is it liberating?

Sam: I think working on a world premiere is always more exciting because the degree of difficulty is greater. And I think the other key difference here is that Boy Swallows Universe is such a cherished property and story - so many Australians have loved this book - that naturally informs the process, but for us that’s a gift rather than a source of pressure.

As a creative team, we saw our job as channelling the spirit of the novel into the theatre, and the spirit of the novel has found its way into the rehearsal room - so that sort of ultimate optimism in the face of adversity that is the story of the novel has been the story of the making of the show as well - and that’s pretty heartening.

We talk about all the disciplines working collaboratively, but underlying that you’ve got the best creative artists in the country in all of (Continued on page 25)

stagewhispers.com.au Stage Whispers 23

Features

Boy Swallows Universe.

Photo: David Kelly.

Online extras!

Go behind the scenes at rehearsals with the Boy Swallows Universe team. youtu.be/oqYoa3TX158

24 Stage Whispers Let’s Put On A Show 2022

Cast rehearsals.

Photo: David Kelly.

(Continued from page 23)

their disciplines. Whether that’s adapting, set and costume design, audio-visual design, lighting design, movement direction, or composition and sound design. The ambition of the story requires an ambition and audacity from each of the artists and in each of their disciplines. And to see all of that come together in a way that ultimately will be quite seamless is pretty wonderful. What’s most exciting is that the story gives all of those great artists the chance to just kind of let rip!

Transferring The Novel To The Stage Tim McGarry This play has been three years in the making for playwright Tim McGarry, who has been working with novelist Trent Dalton and director Sam Strong to adapt the best-selling novel for the stage.

BK: How did you start to shape the script?

Tim: When we did the first readthrough it was a six-hour play!

Or at least twice as long as it is now (at around 2.5 hours). It’s been a threeyear process of slowly whittling it down, but Sam Strong. when the creative team came on board, so many of the elements that they created on the work meant you don’t need so many words. The music, visuals, costumes and set, and the lights all create sound and atmosphere, and the movement tells story beautifully. And of course, the actors, through emotion and through their talent tell the story - so it’s gone down from around 170 to 95 pages.

BK: And you’ve enjoyed the rehearsal process?

Tim: What’s been extraordinary is watching the collaborative process, and to see it all unfold just blows my mind! We were in a meeting and Craig Wilkinson (our video designer)

said ‘Have a look at this’ and gave me Video Design a little sneak peek. I nearly fell off my Craig Wilkinson chair! If this is like 30 seconds of what In his top five reasons why he I’m going to see, I’m going to be in wrote Boy Swallows Universe, Trent the theatre with my jaw dropped.

Dalton noted: Watching everybody’s element come together in rehearsals has been an Australian suburbia is a dark and absolute delight - it’s beyond delight. brutal place.

Delight doesn’t even cut it.

Australian suburbia is a beautiful BK: What do you hope audiences and magical place.

will take away from the stage adaptation?

Tim: I hope that audiences will see the work from a completely new perspective - because theatre is a very different medium to reading a book and there is nothing like sitting in a theatre with people around you experiencing a work for the first time.

From a social justice point of view, I hope that audiences will rediscover an empathy for the family of Eli Bell because one of the story’s big themes is ‘what is good and bad?’ We all have good and bad in us, and this family has experienced life in a very difficult way.

On the stage, that dichotomy is writ large in exploding visuals, changing locations - interiors and exteriors, night and day - through videography by Craig Wilkinson. This allows us to travel across Brisbane to Bich Dang’s Vietnamese restaurant at Darra, to Boggo Road Jail, to the clocktower at Brisbane’s City Hall.

The element of the novel that allows it to work on an imaginative level (and not descend to a harsh underbelly of ‘true crime’) is its magic realism and dream-like atmosphere.

Director Sam Strong insisted that the unique stage craft elements movement, lighting, sound, music, (Continued on page 26)

stagewhispers.com.au Stage Whispers 25

Features (Continued from page 25)

videography, and multimedia - serve the story rather than detract from it.

He and video designer Craig Wilkinson have used technology to underline the story’s positive themes - as Eli Bell’s flights of imaginative fancy in the novel help him through the tougher times, stage devices and techniques were used to underline this theme of ‘transcending trauma’.

BK: Craig - this is a very visual story - where did you start and where did you finish?

Craig: It starts with lots of research, pulling up images and videos. It’s not just about location, it’s also about how we emotionally feel that space. We don’t necessarily dive completely in and decide to have 40 scenic spaces that we need to be in.

The basis for us is seeing the world through Eli’s eyes - finding his journey, and how far he might dive into a certain moment. Whether it is reality; whether it is a moment of trauma; whether it is the ‘moon pool’ dream - our foundation is always seeing it through Eli’s eyes. Some moments we go ‘full floral’ - in the realisation of a certain place or space.

We don’t go full on throughout the whole thing - it’s about finding light and shade.

I hope the play is an emotional rollercoaster for the audience and we grip them from the beginning right to the end.

Costumes & Set Design Renée Mulder Renée Mulder’s set is a blank concrete canvas that allows the suburban streets, multiple settings and dreamscapes to come to life. Her costumes are a laundry basket of 80’s classic pieces, spun dry with op-shop honesty.

BK: Renée, Trent Dalton has said that your set is “like his head come to life.”

Renée: Wow! It’s very generous of Trent to say that. Personally, I grew up in Brisbane in the 1980s, so the era is close to home. I don’t have to look far

26 Stage Whispers Let’s Put On A Show 2022

- I just talk to Mum and Dad. And Trent’s world has lent itself to being such an imaginative space - we’re in Eli’s imaginative world. We have over 40 scenes and it travels at lightning speed at times - so it has to serve everything.

BK: Is it true you have searched every op shop in Brisbane?

Renée: Absolutely! We were able to track down key pieces from the 1980s, and we were lucky enough to make a few things from scratch as well.

BK: What do you hope people will take away from this production?

Renée: We come together, and we watch this story - ultimately to be entertained, and also to be moved that’s the biggest, sweeping thing for me and that’s what people will remember.

Music Composition & Sound Design Steve Francis Music and pop culture play a significant role in Boy Swallows Universe - and the 1980s setting has inspired several Spotify playlists!

Composer and sound designer Steve Francis has cleverly chosen pop songs that don’t just evoke the era, but emotionally resonate the times too.

His original music adds the tension and tenderness so crucial to the story.

Steve has worked with director Sam Strong for many years. After last year’s delayed opening due to the lockdown, Steve had continued to stay in touch with Sam, swapping music files to begin to get a sense of the feel of the play. Steve was anticipating “some very bold storytelling with video and sound design” and was looking forward to setting up his studio in a friend’s garage for the six-week rehearsal period. But then the latest wave of the pandemic hit and Steve found himself stuck in Sydney in lockdown.

BK: Steve, how have you been connecting with the team?

Steve: It’s been tricky, but I’ve Zoomed in to all the rehearsals - even when Nerida (Matthaei) is doing a movement class, I’m able to watch all that - in fact I joked with Renée recently that I might never go to

rehearsal again - because I can watch what’s going on. It has been a gift being able to work on a show. Tim and Sam have allowed Nerida to work on some movement pieces with me which you wouldn’t normally see in the context of a show like this, and I’m pleased with how that is working musically. All of my colleagues are pretty desperate - you know, every day there’s another show cancelled and it’s awful. So, this show has been medicine for me.

This is such a beautiful book - and musically, with the score, I’ve tried not to shy away from sentiment without being sentimental - I think there’s a beauty in that. So, I’ve been able to make some music I’m proud of. In some shows, you don’t have the opportunity to flex your muscles - for this one Sam encouraged me to go

the full Hans Zimmer (Academy award winning film composer) when necessary! Craig goes the ‘full floral’; I go the ‘full Hans Zimmer!’

BK: Steve, there are various music pieces and pop songs in the story how do you choose specific tracks?

And how did your composing progress?

Steve: I’m an instinctive creator - I can’t plan much - I just sort of faff around until I find something that resonates with me for the story. When you pick songs, different people have different associations with them. Sam and I work on things and Tim’s been

The Boy Swallows Universe season in QPAC’s Playhouse began with previews on August 30 and runs throughout Brisbane Festival until October 3. qpac.com.au great too - we’ve used some of the tracks that are mentioned in the script - I think we’ve got a really good collection.

then take through the entire day. So, for me it’s about the energy that we’ve created in the space while we are building the show.

Movement Direction Nerida Matthaei Eli Bell and his best mate, Slim Halliday, toy with time - slowing time down or speeding it up to cope with reality, to control and connect in life or a dreamlike state. This aspect of the novel could not exist on the stage without Nerida Matthaei’s work on movement with the performers, adding just the right balletic or animated feel to vital scenes.

BK: Nerida, tell us about the work you’ve been doing.

Nerida: It’s a multidisciplinary piece, so everything is kind of woven together. I’ve been working closely with the team - we’ve embedded a movement language across the entire piece. Then we find ways to tell the story through very specific movement pieces that speak to Eli’s story on a psychological level and the situation that he’s in.

Steve and I have created beautiful movement pieces. For something that’s considered more of a drama (rather than a movement) piece, I’ve been involved more than you normally expect movement to be. We’ve been able to weave our styles together.

BK: What has been a highlight of the process for you?

Nerida: Something I’ve enjoyed the most is the generosity of the performers. We’ve been setting up a training session in the morning where we improvise. We’ve created this language together as a group, and everybody trusts each other - it’s based in instinct, and everybody starts the day with creative play that they

Lighting Design Ben Hughes Ben Hughes has designed a lighting palette that works in synch with all the other elements on stage to caress the story out of the shadows, but let it linger there when needed.

BK: Have there been any surprise moments?

Ben: Something unexpected is just how incredible some of the movement sequences are. I also do a lot of work with contemporary dance companies, and it’s quite different to see how people move across the genres. Often when you do movement with actors in a drama, it doesn’t work because they are not necessarily trained to do that - but I think that Sam and Nerida have managed to get that movement happening in a way that feels seamless. And it can change some of how I think about lighting the piece.

Because you’re pulling in from the dance world and other genres, I can use some of the techniques that come from that world too.

BK: Ben, is there a key aspect of the work for you?

Ben: For me it’s about the overall show. But the big thing is getting the audience to come on the journey with us. It’s such a big show and potentially has such an array of styles and forms that people might not have seen before. For a play of this scale, with so much going on, part of my role is being functional and making sure we keep the play flowing, keep the speed up - and guide an audience through the journey.

Boy Swallows Universe.

Photo: Brett Boardman.

stagewhispers.com.au Stage Whispers 27

Choosing A Show

Online extras!

For more listings, check out the Stage Whispers’ directory on our website. bit.ly/2nEEIxv Will Manukia and cast of Kinky Boots.

Photo: Grant Leslie.

28 Stage Whispers Let’s Put On A Show 2022

Featured Businesses See more listings online at bit.ly/2nEEIxv

Australian Plays Australian Plays is a national organisation based in Hobart, a not-forprofit incorporated association providing services to playwrights by publishing and licensing plays and by promoting and supporting their work with producers and educators nationally and internationally.

Founded in 1979, we constantly seek ways to maximise our resources and find innovative ways to promote, curate, connect and champion Australian plays and playwrights.

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PO Box 2280, Rose Bay North, NSW 2030 +61 2 9371 8458 david@davidspicer.com davidspicer.com.au Judith Prior Comedy Scripts Australian Comedy Writer, Director and Producer of Musical Theatre, Theatre Restaurant, Dinner Theatre, School and Youth Theatre Musicals for over forty years.

A collection of hilarious comedy scripts, successfully performed in Australia, New Zealand, USA, Ireland and the United Kingdom. Judith’s earthy, sometimes slightly naughty sense of the ridiculous, guarantee her scripts will appeal to all ages.

Dinner Shows have suggested music titles, or choose your own music. Juke Box Musicals include sheet music arrangements for band, rehearsal CD, and backing track.

All of Judith’s work is managed and distributed by David Spicer Productions of Sydney. davidspicer.com.au Sample scripts available at davidspicer.com.au/author/judith-prior 6 Ryan Street, Bundaberg, QLD 4670 +61 4 2752 7003 judith@judithprior.com Maverick Musicals From theatrical classics to exciting originals and award-winners, Australia’s longest-running theatre publishing company, Maverick Musicals and Plays is thrilled to share with you our vast array of productions from musicals, plays, theatre restaurants and drama resources. Browse our collection to find popular shows such as Alice in Wonderland, The Jungle Book and Man of Steel, and wonderful originals like Shifty Crooner, Creepytown and Kill Jill. We welcome you to download complimentary perusal kits to help you choose the perfect production for your needs.

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Music Theatre International (MTI) Music Theatre International (MTI) is one of the world's leading theatrical licensing agencies, granting the rights to perform the greatest selection of musicals from Broadway and beyond.

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Suite 2, Ground Floor, 20-22 Albert Road, South Melbourne, VIC 3205 +61 3 9581 2222 enquiries@mtishows.com.au mtishows.com.au OneMusic Australia OneMusic Australia is a joint initiative between APRA AMCOS and PPCA, just like a duet. The two Australian music bodies have come together to give you easy legal access to all their works, sound recordings and music videos. Now you’ll pay one licence, in one place Locked bag 5000, Strawberry Hills, NSW 2012 1300 162 162 hello@onemusic.com.au onemusic.com.au Origin Theatrical ORiGiN™ Theatrical manages the theatrical rights to many of the greatest musicals and plays in the world drawing on the rich catalogues of Concord Theatricals (R&H Theatricals, Samuel French, Tams-Witmark), The Really Useful Group, Theatrical Rights Worldwide, Dramatic Publishing, Nick Hern Books, Playscripts, Broadway Licensing, Cressrelles Publishing, Playstage Senior and Warner/Chappell Music Australia.

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Our collection includes comedies, dramas, short plays, musicals and plays for children and youth performers and audiences. They also have an online bookshop selling a comprehensive collection of manuscripts and published books.

Suite 4, Level 1, 35 Cambridge Terrace, Te Aro, Wellington, NZ 6011 +64 4 382 8462 nathan@playmarket.org.nz info@playmarket.org.nz playmarket.org.nz 30 Stage Whispers Let’s Put On A Show 2022

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

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Choosing A Show directory: bit.ly/2nEEIxv

stagewhispers.com.au Stage Whispers 31

32 Stage Whispers Let’s Put On A Show 2022

Let’s Put On A School Musical Ten top tips from Maverick Musicals and Plays for your next school musical.

rehearsals - no matter how good they are.

Rehearsals Give cast your rehearsal/ Rope others in! performance schedule before starting Rule One - do not try to do it rehearsals. alone. Beg, plead, cajole or blackmail Send the schedule home to others to be involved. parents as soon as you can, with a Your ideal production team should note asking for their co-operation. consist of a producer to pull your Design the rehearsal schedule so team together, director, musical that only those required attend director, set designers, sound/lights specific rehearsals. tech team, set builder, costume It is a good strategy to call the person and advertising/media whiz. chorus first and work on the music.

Always make rehearsals fun for chorus Apply for the rights early and give them plenty to do.

Aim to have approval from the representatives of the musical six Costume months prior to your first rehearsal.

Supply forms (with the rehearsal Carefully note the legal obligations in schedules) that require the character/s the contract. All contracts will have measurements asap and pass on to rules about respecting the author’s your costume department as soon as intentions (sticking to the script), how rehearsals begin. you can promote the work both onParents are more inclined to help line and in print, videography and use make the costumes if you send of production materials. material home that is cut out ready for sewing.

Selecting the right school musical

Encourage cast blogs.

Flood the area with posters and try for coverage on local radio.

Constantly remind the school of the forthcoming production via your social media pages, websites and newsletters.

Offer a prize to the student who sells the most tickets.

Performance Always have a ‘preview’ afternoon which is, in fact, another valuable dress rehearsal; this time with an audience. Primary schools are usually happy to see your High School production.

Post performance No matter how amiable you are feeling towards the cast, never attend a cast party if held at the home of a student! What you may see there, you may later be required to explain.

Have a thank-you meeting for the cast and everyone involved, including front-of-house and back-stage workers. This can be a special lunch.

Have a short break, then start Don’t pick a musical solely because Sets and props looking for a suitable show for next you like it. Make sure it can be done Make sure that the cast know the year. well by your students.

Putting on the school musical is a Commonly five or six girls for each positioning of each set and give them an improvised stage set so they are bit like child-birth, and when you get boy will be the audition ratio, so used to moving around it. it right, you forget the pain and recall choose material that will give girls Get actors used to using any handonly the joy - and find yourself doing something worthwhile to do. props in the show. Improvise it all over again. if they not yet constructed.

Auditioning Select relevant scenes Advertising that will give an indication Create an ‘event’ on social of the student’s ability. media and encourage the Avoid choosing students cast and crew to like and who have other share upload fun rehearsal commitments that will shots, but not too many! prevent them from attending

Origin Theatrical recommends the highly entertaining podcast Afternoon Tea With Miss Patrice. misspatrice.podbean.com

Choosing A Show directory: bit.ly/2nEEIxv

stagewhispers.com.au Stage Whispers 33

Smithy.

Simon Denver is represented by Maverick Musicals.

This year the company, founded by Simon’s family, was proudly taken over by new owners Rachel Fentiman and Howard Tamplin. Between them they have over 50 years of theatrical experience.

“We believe we have the best job in the industry: helping you, your school or theatre group discover the best play for your needs,” they told Stage Whispers.

“It’s our privilege to guide teachers, directors, producers and everyone in-between, all over the globe, to find that perfect play. We will help you narrow down plays that have the right cast size, theme, genre and whatever else you’re looking for to make your play a roaring success.”

For samples and online rights applications visit maverickmusicals.com

The Benefits Of Youth Theatre Simon Denver, the writer of Man of Years ago, I read the results of an international survey on fear. The greatest fear facing an individual was not Thermo-Global Nuclear War. Neither was it cancer, terminal illness or extinction-level events such as asteroids, volcanoes, tsunamis or climate change. The eventual winner left them all in its wake. Divorce, losing your job and the aforementioned fears were all in the shadow of the undisputed number one: the fear of public speaking. No wonder the rest of society looks upon performers in a strange way. It's not that we don't have this fear - it's because we have learned to rise above it. And how? Here is a recap of what belonging to a youth theatre, or being in a school musical or play, should teach you.

Trust All theatre is a huge trust exercise.

And just as you are trusting everyone will get their bits right, they trust that you will get your bit right. When working to a deadline you don't have time to develop your "relationship" with everyone; certain shortcuts must

34 Stage Whispers Let’s Put On A Show 2022

seemed like an impossible journey over a frighteningly short time frame.

Pride You soon learn to take a pride in your work. No matter whether you are chorus, lead or backstage you Steel, shares his trade secrets. should take pride in your work and be taken. You have to learn to trust strive to constantly be better. A chain your co-workers from the get-go. You is only as good as its weakest link. forge an effective working Your pride in yourself and your relationship with people, whether you project should make sure that this is like them or not. You must learn to not you. trust early and completely.

Confidence Teamwork Any show is a monumental The more disciplined and achievement in its own right. This rehearsed any theatre team or achievement gives you confidence in ensemble is, the better the result. yourself. I recently went to a youth Getting something right is never easy. theatre reunion. Dozens turned up.

If it was easy then everyone would One of the common topics discussed always get everything right. It sounds over a few refreshing ales was strange but the more disciplined the confidence. Many claimed youth rehearsals, the more the team has fun theatre had given them skill sets, led and finds solidarity. It's never a case of by confidence, to guarantee they'd learning your place in the team, it's never fail a job interview. about realising that the team actually needs you and it isn't quite the same Adaptability without you, and vice versa.

A great skill set to hone. The more theatre you do, especially Camaraderie improvisation, the more you learn to The friendships you make in youth think laterally. Theatre tends to theatre stay with you for life. Why? present us with almost inconceivable Because you share that special time problems that need us to come up that "outsiders" just don’t understand. with some incredible solutions. It You were part of a highly emotionally teaches us how to explore a situation charged project which had what from more than one viewpoint. In short - it keeps you on your toes.

stagewhispers.com.au Stage Whispers 35

Much Revue About Nothing Writers and performers Jonathan Biggins, Drew Forsythe and Phillip Scott, from the Wharf Revue, have released a new book with 40 of their funniest and most timeless sketches. Much Revue About Nothing includes photo highlights from their 20 years of performances with The Sydney Theatre Company and is available as a performance text for community theatres or schools. Published by David Spicer Press, it can be purchased from Stage Whispers Books and from booknook.com.au.

ANH’S BRUSH WITH PETER DUTTON Based on the ABC program “Anh’s Brush With Fame”. An easel, facing away from the audience, a table with large containers of paint. During the dialogue, ANH paints with a palette knife.

ANH: Hi. I’m Anh Do: the Happiest Refugee. Not that there’s much competition. And tonight my guest is a man whose political career has influenced tens of people. The Federal Member for Dickson, Minister for Immigration and Border Rejection, Peter Dutton.

I really want to capture the inner man under the tough façade, the “soul” of Peter Dutton. I’ll be starting with a completely blank canvas, and this time - I might just end up with one! Peter, welcome.

[DUTTON enters with a stocking over his head.]

DUTTON: What’s your name again?

ANH: Anh Do. DUTTON: Arabic, is it?

36 Stage Whispers Let’s Put On A Show 2022

ANH: Vietnamese.

DUTTON: Not far off.

ANH: The show’s called Anh’s Brush With Fame. Bit of a stretch tonight!

DUTTON: Everyone’s a comedian.

ANH: I am, actually. Oh, you can take the stocking off.

DUTTON: What stocking?

ANH: Right. So. You’re a bit of a comic yourself, Peter.

DUTTON: How do you figure that?

ANH: You know, your joke about climate change flooding Pacific Islands?

DUTTON: That was on open mike night.

ANH: I’m interested in your background. You started off as a cop.

DUTTON: One of Queensland’s finest.

ANH: You were in the Drug Squad?

DUTTON: Yes. We had a simple motto: Guilty until proven innocent.

ANH: Isn’t that backward?

DUTTON: Well, it was Queensland.

ANH: You were Health Minister for ages. When was it? Uh, 2013 to 2014. And I believe the bowel

cancer screening kits started under you.

DUTTON: Cops don’t mind getting their hands dirty.

[ANH paints a bit.]

ANH: Look, I might just change the angle a bit. Can you turn and face me?

DUTTON: I am.

ANH: Oh. Right. You know, Peter, you’re not an easy subject to paint.

DUTTON: No need to lay it on with a trowel.

ANH: And so, then you became the Minister for Immigration and Border Protection. Must have been a tough job.

DUTTON: Not really. Guilty until proven innocent still works for me.

ANH: But what I don’t understand, if a family is fleeing their home to get away from terrorists, how can they be terrorists too?

DUTTON: Well, imagine you’re a boat person.

ANH: I was!

DUTTON: You on a 457 visa?

ANH: No, I’m a citizen.

Script Excerpt DUTTON: Yeah. We’re working on that particular scam. Happy Michaelmas.

ANH: What?

DUTTON: I see you don’t speak English to a University level. Are you contributing to the economy?

ANH: I work for the ABC. DUTTON: You won’t by the time I’m finished with it.

ANH: But come on, refugees as terrorists? Seriously?

DUTTON: Look, you arrive on a boat, you’re detained, demonised and seriously mistreated. If that doesn’t radicalise you, you’re an idiot.

Either way, we don’t want people like that in Australia.

ANH: So, you protect all our borders, right?

DUTTON: That’s my job, and I do it.

ANH: Even the one between Albury and Wodonga?

DUTTON: That is a classified inland water matter.

ANH: Wouldn’t want any radicalised fruit getting through, would you!

DUTTON: Watch it, sunshine.

ANH: OK, I’ve just about finished. Can you wait outside for 15 minutes while I add a few finishing touches?

DUTTON: I’m a busy man.

ANH: It’s OK. That’s just something I say so the viewers think the painting happens in real time. You actually come back in two weeks.

DUTTON: I can’t.

ANH: OK, well, I’ve got a potato in the kitchen. I’ll work off that. Thanks so much, Peter.

DUTTON: If this doesn’t make the Archibald, I’ll deport you.

[DUTTON leaves.]

ANH: Next week, I’m going to take a big step forward and paint something three dimensional. But I think I’ve caught Peter Dutton pretty well...

[ANH turns the easel around to reveal Mr Potato Head in style of Anh Do.]

Buy Much Revue About Nothing from Stage Whispers Books bit.ly/3x7eao8

Phillip Scott in STC’s The Wharf Revue, 2017, The Patriotic Rag. Photo: Brett Boardman.

stagewhispers.com.au Stage Whispers 37

Choosing A Show

Melba The Musical

Book and lyrics by Nicholas Christo, score by Johannes Luebbers. Based on the biography I Am Melba by Ann Blainey.

A young mother, with a will of iron and voice of gold, sails from the cane fields of Queensland with an unshakable dream of becoming a world class soprano. Arriving in Europe, Nellie Armstrong is soon accepted into one of the most prestigious vocal academies in Paris - L’cole Marchesi. An uneasy bargain must, therefore, be struck with Nellie’s controlling husband, Charlie, over the custody of their son. Working as a single mother, the self-crowned ‘Nellie Melba’ performs tirelessly to rise as opera’s greatest star.

The show blends new music with a stunning selection of arias from La Traviata, Carmen, Tosca, La Traviata, and Marriage of Figaro.

First staged at the Hayes Theatre in 2017, rights are now available from David Spicer Productions. davidspicer.com

Spotlight On Kate Hamill Wall Street Journal’s Playwright of the Year, 2017, Kate Hamill is a celebrated actor and playwright and is one of the top 20 most-produced playwrights in the United States.

Little Women Adapted from the novel by Louisa May Alcott.

Four dreamers are destined to be imperfect little women during the civil war.

“Ms. Hamill’s feminist-friendly spin on the classics never fail to sound an engagingly original note.” Wall Street Journal.

(3M, 6F) Pride and Prejudice Based on the novel by Jane Austen This isn’t your grandmother’s Austen! Bold, surprising, boisterous, and timely, this P&P for a new era explores the absurdities and thrills of finding your perfect (or imperfect) match in life. (2M, 3F, 3N/S) Sense and Sensibility Based on the novel by Jane Austen A playful new adaptation of Jane Austen’s beloved novel follows the fortunes (and misfortunes) of the Dashwood sisters. (3-8M, 4-9F) Vanity Fair Based on the novel by William Makepeace Thackeray Two women - one born into privilege, another straight from the streets - attempt to navigate a society that punishes them for every misstep. (5M, 2F)

Kate Hamill’s plays are available From Music Theatre International Australasia representing Dramatists Play Services. mtishows.com.au

38 Stage Whispers Let’s Put On A Show 2022

Short Plays From Maverick Musicals And Plays Birth Mother by Mark Wheeller Based on a true story, this drama follows Linda, who has a secret daughter she was forced to adopt out. When her child, now an adult, comes into her life it turns her world upside down. (2M, 4F and ensemble.)

Circus by Mark Langham Welcome to The Lion Tamers, Magician’s Assistants and Human Cannonball Lighters Retirement Village.

Geoffrey, a retired Lion Tamer, finds settling into his new life hasn’t been as smooth as he’d hoped. (2M, 2F).

One Starry Night by Kevin Nemeth Set towards the end of World War II, the play is an almost-love-story of two people whose connection is undeniably strong, but is it strong enough to last after war? (1M, 1F).

The Pram by Hugh O’Brien Can a determined woman and a DNA test solve the 100-year-old mystery of a missing baby? A modern mystery interwoven with events from the past such as Gallipoli, the 1919 Spanish Flu, and the Vietnam War. (1M, 5F).

These shows and many more are available to licence from Maverick Musicals. maverickmusicals.com

stagewhispers.com.au Stage Whispers 39

40 Stage Whispers Let’s Put On A Show 2022

New Releases For Community Theatres & Schools Much Revue About Nothing

By Jonathan Biggins, Drew Forsythe and Phillip Scott The writers of the smash hit Wharf Revue, staged for the last 20 years by the Sydney Theatre Company, are preparing a compilation of their best sketches.

Over the years their revues have plundered all other forms of theatrical entertainment - from broad slapstick to high drama, from farce to Shakespeare, from Gilbert and Sullivan to Rodgers and Hammerstein.

Forty of their sketches will be published later this year by David Spicer Productions with a recommended selection to make up a ninety minute show.

Monologues and duologues will be suitable for performance by students.

Reserve your copy by emailing david@davidspicer.com

The team behind Wharf Revue.

Breathe Written as the COVID-19 pandemic unfolded, Breathe follows five couples grappling with the virus’s impact on their lives, families, relationships, society, and health. Ranging from light-hearted to heartbreaking, unbelievable and all-too-real, these vignettes tackle everything from parenting in COVID-19, to Black Lives Matter protests, to saying goodbye to a spouse via Zoom.

Conceived and written by New York Times best-selling novelist Jodi Picoult and playwright Timothy Allen McDonald (James and The Giant Peach, The Big OneOh!), Breathe consists of five interlocking suites, with music and lyrics from five song writing teams. By turns funny and heartbreaking, unbelievable and all-too-real, Breathe is a musical chronicling an unprecedented time.

Read a free perusal at mtishows.com.au/breathe

stagewhispers.com.au Stage Whispers 41

Costumes, Props, Sets And SFX

Online extras!

For more listings, check out the Stage Whispers’ directory on our website. bit.ly/2ma7wNZ WAAPA’s student production of Strictly Ballroom (2019).

Photo: Jon Green.

42 Stage Whispers Let’s Put On A Show 2022

Featured Businesses

See more listings online at bit.ly/2ma7wNZ Ballarat Lyric Theatre Ballarat Lyric Theatre has over the years compiled an extensive range of costumes. Their costume hire offers a wide range of individual costumes, or sets of costumes from many shows.

882 Humffray Street South, Mt Pleasant, Ballarat, VIC 3350 +61 4 3970 0219 hire@ballaratlyrictheatre.com.au ballaratlyrictheatre.com.au Bankstown Theatre Company Hire Bankstown Theatre Company have an extensive range of costumes, from complete productions to something one-off. Check out pictures of the costumes in the Past Productions section of the website.

They also have a large range of backdrops, furniture and properties that might be just right for your next production including many specialty props such as razors and barber chair for Sweeney Todd, or a cow and chicken for Into The Woods.

PO Box 502, Bankstown, NSW 1885 +61 4 8186 9858 costumes@bankstowntheatrecompany.com edward@bankstowntheatrecompany.com bankstowntheatrecompany.com Centrestage Costumes Centrestage Costumes has been dressing and providing props and makeup for the creative industries since 1985. Our Brunswick store provides 1000s of costumes and props to choose from as well as a fully stocked theatrical makeup department. Our team has 50 years of combined experience in the industry. We arrange hire and sales across Australia.

788 Sydney Road, Brunswick, VIC, 3056 +61 4 1810 1860 +61 3 9384 6957 centrestagecostumes@gmail.com centrestagecostumes.com CLOC Musical Theatre Costumes are available for hire to any company, school or individual anywhere in Australia, from individual costumes right through to complete production sets.

CLOC also has a large selection of back cloths available for hire at very reasonable rates. To see the backcloths in stock, go to cloc.org.au and click on the tab ‘Hire’.

The following full stage sets are also available for hire - Mamma Mia!, Kinky Boots, Strictly Ballroom, Les Misérables, A Chorus Line, Mary Poppins, 42nd Street, The Phantom of the Opera and Jekyll & Hyde.

CLOC is one of Victoria's largest and most successful non-professional music theatre companies. Over the years, the organisation has developed into a vigorous, community based, arts provider. More recently CLOC has developed a prominent role as a hirer of costume sets and stage scenery throughout Australia.

PO Box 3250, Mentone East, VIC 3194 1300 826 788 cloc.org.au Costumes, Props, Sets And SFX directory: bit.ly/2ma7wNZ

stagewhispers.com.au Stage Whispers 43

Taking It To The Next Stage Stage School Australia’s The Staging Dept in Melbourne is a treasure trove of theatrical sets and props, many produced specially for the company, with others purchased from other productions.

Popular items include sets and props from the Australian premiere of The Addams Family, full sets and props for Wicked, Les Misérables and Spring Awakening, Professor Marvel’s caravan and Emerald City Gates from The Wizard of Oz, the Chitty Chitty Bang Bang car, props and hand-props from The Little Mermaid, Aladdin, The Secret Garden, Alice in Wonderland, Honk, and many more.

Similarly, The Costume Dept is a veritable Aladdin’s cave of costumes from a range of shows and eras.

Responsible for costuming all of the performances and production seasons of Stage School Australia, the Costume Dept has sets of costumes for casts as young as four years, all the way up to adult sized costume sets for shows such as 44 Stage Whispers Let’s Put On A Show 2022

Wicked, Les Misérables, Hairspray, Grease, Mary Poppins, Shrek, Babe, Thoroughly Modern Millie, Madagascar Jr, Joseph and lots more.

“We’ve been making our costumes available for school and production hire for about ten years,” said Artistic Director Robert Coates. “In that time we’ve gone from costuming about 10 external shows per year, to over one hundred this year. Most days a team of five or more costume staff are working on production, maintenance and assisting hirers with their requirements. Plus, each semester we’re adding hundreds of new costumes to the collection - so even if you’ve come and had a look before, it’s always worth another visit.”

To get help bringing your production to life, visit: costumedept.com.au stagingdept.com.au

Costumes Without Drama Costumes Without Drama make and hire costumes mostly for school productions. With in excess of 12,000 barcoded and inventoried items, Costumes without Drama provide a unique costuming experience for teachers. Where possible teachers have access to the costumes up to two weeks in advance of the performance. We launder on return. You are welcome to come in and browse, see samples on the website, or email Tracey Nuthall for more information and/or pictures of available costumes.

Unit 6, 13 Molan Street, Ringwood, VIC 3134 +61 4 1143 1430 info@costumeswithoutdrama.com.au costumeswithoutdrama.com.au Drama Queen Graphics Drama Queen Graphics specializes in theater branding and graphics.

Need a design for a specific show?

Browse our Existing Collection of Plays/Musicals for your title - or order up a brand new Custom Design.

Is it time for a brand makeover?

We’ll rebrand your theater’s visual identity to better communicate who you are and what sets you apart.

We create digital graphics, websites, logos, brochures and more…all the marketing materials you will need to engage your audience.

Demand attention! jimg@dramaqueengraphics.com dramaqueengraphics.com Geelong Fireworks For 20 years Geelong Fireworks have been providing theatrical effects to Theatres in Victoria, using traditional indoor pyrotechnics and now the new genuine Sparkular E-Firework Machines.

They ship Australia-wide their custom fill confetti cannons along with an extensive range flash and fire gimmicks. Their flash items are currently being used in one of the largest productions in Melbourne They also have a range of items for haunted effects, such as turning candelabras, devices to throw books off shelves, Flaming chalices and more. Their Hollywood-style electronic actor cigarettes are very popular and easy to use.

Contact Steve Lawrence at Geelong Fireworks to discuss what you would like to do on your next production.

PO Box 6176, Highton, VIC 3216 +61 3 4210 9113 steve@geelongfireworks.com.au geelongfireworks.com.au GMS Costumes GMS Costumes cater to other Musical Societies, Theatre groups and schools and are able to hire complete show costumes for many productions.

The shop has operated successfully with approximately 10,000 costumes to choose from for hire. New costumes are continually being made for each new production and added to our selection. The shop offers a wide variety of costumes for all occasions.

Mon - Fri: 10.00am - 4.00pm - Costume Hire is by Appointment only 262 Henry Parry Drive, North Gosford, NSW 2250 +61 2 4324 1305 gosfordmusical@bigpond.com gmscostumes.com.au

Costumes, Props, Sets And SFX directory: bit.ly/2ma7wNZ

stagewhispers.com.au Stage Whispers 45

Miola Theatre’s Begotten.

Chester The Suitcase With His Own Baggage Suitcases conjure up so much symbolism - travel, escape, journey. Brisbane-based independent company Minola Theatre is a collaboration between Kat Dekker and Bianca Butler Reynolds, branded after their famous namesakes, Shakespeare’s Minola sisters in Taming of the Shrew. Bianca tells Beth Keehn all about Chester, their beloved red suitcase and star of all their major productions to date.

“Chester is kind of a third party in Minola Theatre. In 2019 we were preparing for two productions, Highway of Lost Hearts by Mary Anne Butler, and my own onewoman show, Begotten. Both plays required a central suitcase prop. We set about casting a standout piece of luggage that would be versatile enough to suit both parts.

“We found Chester at the Camp Hill Antiques Centre.

He was a bit bland and brown and in need of surgery, but we fixed him up, painted him red and, with transformed confidence, he was ready for a life on the stage! He’s already starred in four Minola Theatre productions. And when he’s not on stage, he’s usually multi-tasking as our props storage, or acting as a bookcase at Kat’s flat.

“We love Chester because he is larger than life, certainly bigger than today’s average-sized suitcases, and he’s quite sturdy as a supporting player. He has solid wood and steel reinforcements which make him more stable than most suitcases. He can carry weight - we can 46 Stage Whispers Let’s Put On A Show 2022

sit on him; we can stand on him - he’s always reliable.

“Because he was an old suitcase, we have had to perform surgery on him a few times. His latches sometimes give out and his lid gets a bit squeaky, so he’s definitely had some remodelling in the last two years.

“As well as Highway of Lost Hearts and Begotten, Chester starred in our evening of three one-act plays, Love Triangle, including Half an Hour by JM Barrie. Chester was outstanding as an item of luggage belonging to one of the characters.

“When we were planning Begotten as a live show (after performing it as a radio play during lockdown), we used a big pile of clothes as a set piece, which we were going to store in a laundry hamper, but when we started blocking we realised that the laundry hamper just wasn’t as versatile.

“Chester has so much more to offer our group and I’m sure he will return for other roles in the future.”

NIDA 3rd year costume student Avril Bradbury-Hoath dedicated her research project to women who lost their lives making watches and costumes.

What is the theme of the costume?

The theme of the costume is invisible poisons in textiles with a specific focus on the tragic story of the 1920s “Radium Girls” who painted watch dials, with radium paint, for the Radium Dial Company.

Why did it interest you?

The topic of poisons in fabric throughout history and the health effects on the people who wore them fascinated me. Examples of this include arsenic used to dye dresses in the Victorian era and mercury used to stiffen hats leading to the term the “mad hatter”.

It was when I was listening to the podcast “My Favourite Murder”, which covered the story of the 1920s Radium Girls who painted watch dials with poisonous radium paint, that I decided to create a costume to draw attention to their tragic story.

In summary, the girls who were employed to paint watches in the 1920s were being poisoned. The watches, used by soldiers in dark trenches, were painted by the girls using radium paint for its night-time glow. They were instructed to use a technique called “lip pointing”, which required the painter to place the tip of their brush in their mouth before dipping the brush in the paint, to produce a finer brush stroke.

After their shifts working at the factory, the girls’ clothes would glow in the dark when they were walking home, due to the radium paint particles coming in to contact with their clothing. They became known as “the ghost girls”.

Essentially, the girls were slowly poisoned by the radium in the paint, became ill and eventually died.

What is the dress made of?

The under layer is made up of a black linen, cupro and tencal blend. The outer layer is made from 100% polyester taffeta, which has newspaper articles from that period of time printed on it and which glows in the dark. I chose this fabric as it was commonly used in the 1920s for the robe de style and it is also suitable to run through the

sublimation printer which heat sets the newspaper articles onto the fabric.

The dress is finished with UV paint (non -poisonous) to create the glowing effects of the radium.

print from a special paper onto textiles.

To ensure that the underdress aligned with the overdress and to also fasten the cape, I used magnets, which I covered with fabric to fasten them in the perfect position.

When painting the fabric with the UV paint, I used the lighting studio. NIDA Technical Theatre students assisted me by rigging UV lights so that I could see the paint I was applying.

How long did it take to make it?

I spent approximately 67 hours on my

Applications to study at NIDA in 2021 close on October 31 apply.nida.edu.au Any unusual processes to create it?

To create my newspaper fabric, I had to produce my pattern to fit the newspaper articles into the exact shape of the garment. I then used Photoshop to edit and adapt the articles I found in the archives of the New York Times and the Chicago Tribune to ensure their best position on my pattern pieces.

The newspaper articles need to be warped slightly in order to create a visually straight line on a 3-dimensional body. I created my very own newspaper fabric by using the process of heat setting, which transfers the sublimation

Costumes, Props, Sets And SFX directory: bit.ly/2ma7wNZ

project. This included 40 hours on pattern making, cutting, fitting and construction, 24 hours creating my newspaper print using Photoshop, and three hours spent in the lighting studio painting.

How do you look after glow in the dark costumes?

Glow in the dark costumes created with UV paint need to be heat set at 160 degrees for 2 to 3 minutes to lock the paint into the fabric permanently. I would choose to hand wash the costume delicately and let it dry naturally.

stagewhispers.com.au Stage Whispers 47

Masks & Puppets Plus Masks & Puppets Plus supplies theatre companies, drama in education, masquerade parties and promotions. Inspired by a trip to Venice, proprietor Tessa Wallis has designed and constructed masks and puppets in this specialised field for over 20 years. Each mask is individually handcrafted using quality materials.

Masks have a strong theatrical tradition. Mythological Masks like those worn in early Greek amphitheatres or Commedia dell’Arte masks worn in the streets of Verona are available as well as Neutral, kabuki, animals, witches, masquerade and fantasy masks. +61 4 8824 6840 tessa@masksandpuppets.com.au masksandpuppets.com.au NJW Designs NJW Designs is a multifaceted design and fabrication hub specializing in the event and entertainment industry. From professional theatre houses to local musical productions and everything in between.

NJW Designs has a multi talented team with skills in design, drafting, fabrication, automation, installation and technical management.

Taking a project from concept right through to market is where they excel. Limited only by imagination, NJW Designs make creative visions a reality.

15 Caravan Street, Wendouree, VIC 3355 +61 3 5338 1431 njwdesigns.com.au Packemin Productions Packemin Productions are the leading producers of quality Pro/Am Musical Theatre in Sydney, Australia. We are known for our huge sellout shows at Riverside Theatres in Parramatta and The Concourse in Chatswood. Over the years, Packemin has compiled a range of costumes and sets from our shows which are hired to productions across Australia.

Our range includes Shrek (sets and costumes), Mamma Mia! (sets and costumes), Jesus Christ Superstar (costumes) as well as costumes for numerous productions including Annie and Oliver!

PO BOX 80, Northmead, NSW 2152 +61 2 8005 1154 +61 410 502 110 info@packemin.com.au packemin.com.au Scenic Studios Scenic Studios specialise in theatrical painting of scenic backdrops and theatre scenery. They also hire backdrops and drapes for theatre productions and sell scenic paints designed for painting soft and hard scenery. Contact Pavla to discuss how they can help with your next production.

1B Fink Street, Preston, VIC 3072 +61 3 9484 3422 scenicstudios@scenicstudios.com.au scenicstudios.com.au

48 Stage Whispers Let’s Put On A Show 2022

stagewhispers.com.au/directory-central LOOKING FOR A COSTUME? WE’VE GOT HEAPS!

Check out our Costume Classifieds: stagewhispers.com.au/costumes

stagewhispers.com.au Stage Whispers 49

On The Buses Community Theatres are facing their biggest technical challenge yet building their own buses for productions of Priscilla, Queen Of The Desert.

CLOC in Melbourne, Willoughby Theatre Company in Sydney and Platinum Entertainment in Perth take us for a peek under the bonnet.

CLOC’s Priscilla Is Pure 1960s

including the iconic bus Priscilla were well on the way.

“And then - well, we all know what happened. Rehearsals, costumes, sets, the bus and the Karen Greenwood reports that Priscilla, the most expensive set piece production all came to a grinding ever constructed by the company, is a halt.

“As community restrictions eased replica of a 1960s Leyland bus. this year, CLOC decided to resume “In early 2019, which now seems Priscilla rehearsals and preparations for an extended season in April-May like ‘a long time ago, in a galaxy far, far away’, Melbourne’s CLOC Musical 2021. With excitement, enthusiasm, Theatre started preparing for a visually masks and sanitisers, all departments and aurally spectacular production of - cast, crew, costume team, set builders, props makers - reconvened.

Priscilla, Queen of the Desert, “Amongst the tasks to be scheduled for May 2020. Rehearsals completed was the construction of began in February, and by March, Priscilla, the titular bus and, in her costume making and set building own way, leading lady and co-star of

50 Stage Whispers Let’s Put On A Show 2022

the show. The bus, the most expensive single set item ever constructed in a CLOC show, is designed by the co-director Chris White.

“Our Technical Director Grant Alley and his assistants Justin Karakai and Peter Turley translated Chris’ design into a life-sized steel framework. They solved all the mechanical challenges in making the bus sturdy whilst being able to fit under the gantry that spans the width of the stage. It also moves upstage, downstage and revolves on cue, as well as being totally portable and transportable for future hire.

“Chris, a petrol-head from way back, emphasises that from the outset that his aim was to make a life-size

CLOC. Photos: Ben Fon.

Online extras!

CLOC takes their custom-built “Priscilla” for a quick spin. Scan or visit youtu.be/D481rvPdLfE

CLOC’s production of Priscilla, Queen Of The Desert played from April 30 to May 22 at the National Theatre Melbourne. cloc.org.au bus with accurate proportions comparable to an old Leyland bus from the 1960s/70s.

“Amongst the features on the bus are real air horns, working headlights and indicators, an actual steering wheel from an old tramway bus, a cocktail bar, beaded curtains, clothes racks - all the kitsch decorative comforts of home - and of course, the famous stiletto shoe perched on top of the bus, recreated from the memorable opera scene in the Priscilla movie.

“The bus remains onstage during the show, masked by onstage cloths and projections, and will be operated remotely by a crew member.

“Audiences will also be treated to spectacular costumes, headdresses, lights, sets, choreography, a parade of famous 80s disco hits - and of course Priscilla herself, who will be her own special star of the show. With great excitement, CLOC cannot wait to welcome audiences back to rediscover the joy of live musical theatre.”

(Continued on page 52)

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Willoughby Theatre Company.

Catching The Bus To Willoughby

Peter O’Sullivan reports that Sydney’s Willoughby Theatre Company has included secret entrances on their Priscilla.

“The Willoughby Theatre Company was set to put on the spectacular show last year, but like all groups was forced to postpone due to COVID-19 restrictions.

“As the first community group to put the show on in New South Wales, the company has spared no expense to bring this larger-than-life adventure of three friends aboard a battered old bus bound for Alice Springs onto the stage. Their epic journey is a heartwarming story of self-discovery, sassiness and acceptance, and features some of the biggest pop hits of all time.

“At the heart of the show’s design is the big pink bus. It is a showstopping set piece that has had audiences internationally cheering as it makes its grand entrance in act one.

“To bring the overall vision of show’s director Adam Haynes to life, Willoughby engaged multi-award winning Queensland designer Josh

52 Stage Whispers Let’s Put On A Show 2022

McIntosh to develop and construct the bus.

“Using 200 metres of steel in the frame, Josh has had to build the bus as lightweight as possible to ensure it can be moved easily and quickly by cast during and between scenes. The final bus only weighs approximately 350kg.

“Unique touches have also been added by Josh, and the bus comes

complete with working head and taillights, conventional bi-fold bus doors and removable side panels to create its different looks throughout the show.

“There are even secret entrances at the rear to hide the dressers for those impressive 20 second onstage quick changes for the three leads as they take the audience on their journey across the outback.

Willoughby Theatre Company’s production of Priscilla, Queen Of The Desert plays at The Concourse, Chatswood (NSW) from May 15 to 30. willoughbytheatreco.com.au

Willoughby Theatre Company.

impact from the moment it arrives on the Concourse stage.

“We’re also looking forward to seeing the bus tour the country after our production has finished.”

For theatre companies interested in Priscilla set hire, including the bus, email Nikole Music nikolemusic@hotmail.com

“All of the external lights are being changed to LED fixtures controlled by wireless DMX. Our bus sits permanently on a revolving stage, which has power running to the bus via a slip ring.

“The LED screens are also controlled via wireless network, as indeed are PA monitors, so the singers can hear the music whilst inside. So, as you can see it’s a technical wonderland.

“Instead of strengthening the roof, we completely removed it and replaced it with staging deck on Trevor Patient from Platinum Entertainment in Perth is recycling an ‘scaffold’ poles. Access is via a set of steps that roll on and off from the old school bus to create his Priscilla. side.

“When I went to pick it up, I “When I commenced planning for the musical, I had to decide whether noticed that it had a familiar logo.

“I started chatting to our cast to build, hire or buy a set from about the bus and discovered that another company. this very vehicle was driven by a cast “I hunted around on Facebook member Chris Gerrish when he taught Market Place and found a bus at a at Newman College, the school where wrecker’s yard.

“Our resident bus mechanic gutted it was from.

“Further investigation has revealed the vehicle, and our crew is refitting it that certain cast and crew members for use on stage.

“We’re putting LED screens in the would have ridden on the bus as students, so they will be very bus windows along one side so we comfortable with the familiar can change the colour and add text. surroundings.”

Priscilla Goes West

“Before even hitting the stage for the first time, the bus for the Willoughby Theatre Company production is already in high demand by other community groups.”

Willoughby Theatre Company director of Priscilla, Adam Haynes, said, “We can’t wait for audiences to see his spectacular designs, including the bus which we know will create

Platinum Entertainment’s production of Priscilla, Queen Of The Desert plays at the Crown Theatre, Perth from May 7 to 30. crownperth.com.au Platinum Entertainment.

stagewhispers.com.au Stage Whispers 53

Alice In Wonderland.

GMS Costumes

Gosford Musical Society has been staging musical productions for over 75 years, earning a reputation for beautiful costumes and props.

The company - on the NSW Central Coast - has its own rehearsal floor/ costume and prop building facility, connected to their home, the Laycock Street Theatre. The ‘shed’ is a veritable trove of costumes, props and sets.

A team of costume makers has assembled an extensive catalogue of stunning and historically accurate costumes and accessories, for hire as full sets or just for a few leads.

The company’s full show sets include The Sound of Music, Shrek, Jekyll & Hyde, My Fair Lady, Young Frankenstein, Grease, The Boy from Oz and Madagascar.

The last two GMS productions were Alice in Wonderland and Mamma Mia! The Alice set comprises over 110 costumes, suited to a junior production with cast aged between 8 and 18. The Mamma Mia! show set includes the classic ‘Abba’ style costumes for the

54 Stage Whispers Let’s Put On A Show 2022

leads, a unique set of wedding dresses for the whole cast and quirky swimsuits for the boys.

Although musicals are the company’s speciality, their extensive stock of historical and modern costumes allows them to help costume plays and drama productions such as The Importance of Being Ernest and The 39 Steps.

GMS staff are experienced costumiers and designers who can assist theatres and schools in planning their productions. The company not only wants its clients’ productions to look amazing, but also to come at an affordable price.

Gosford Musical Society also has a large range of props for hire, including Freddie Mercury (We Will Rock You), mobile TV cameras from the 60s (SHOUT!), the Wardrobe, Teapot, Lumiere, Cutlery (Beauty and the Beast), and ensemble supporting

Visit the GMS website to view costume galleries and to make an appointment. gmscostumes.com.au pieces. In addition, there’s a period organ (The Phantom of The Opera), grand pianos (not in working order) and books of all types. The company also has a banquet of prop food including turkeys, suckling pigs, fruit and vegetables, bread and buns, sausages and a large range of cakes.

Shine Trimmings & Fabrics Shine Trimmings & Fabrics are leading retailers and wholesalers of quality fabrics and trimmings specifically for Dance, Calisthenics, Ballet, Ballroom, Swimwear & Activewear, Fashion, Ice Skating, Festival Wear, Fancy Dress, Burlesque, Circus, Costumes, Cosplay, Millinery, Set Design, Shows & Productions.

They ship nationwide across Australia and beyond. The team at Shine have backgrounds that span costume making, fashion design, dance and cosplay and are extremely talented, dedicated and passionate for this industry. Making your creation shine!

421 Graham Street, Port Melbourne, VIC 3207 +61 3 9646 0072 +61 3 9646 7288 info@shinetrimmingsfabrics.com.au shinetrimmingsfabrics.com.au The Costume Dept & The Staging Dept Stage School Australia has a proud 30+ year performing arts history.

During this time we have developed a huge inventory of over 12,000 high quality costumes, sets and props for our own productions, which are now available to schools and theatre companies.

23 Allen Street, Moreland, VIC 3058 +61 3 8199 8344 admin@costumedept.com.au costumedept.com.au Theatre Star Theatre Star specialise in the manufacture and supply of curtains, backdrops, screens and associated products for the entertainment and event industries. We are a committed team of creatives and our whole focus is to provide the highest quality theatre and studio curtains, manufactured from the best available fabrics available in the quickest turnaround time.

Theatre Star are proudly Australian owned. Contact Rod Paton for more information on their products and services.

Factory 3, 10 Industry Circuit, Kilsyth South, VIC 3137 +61 3 8761 6927 sales@theatrestar.com.au www.theatrestar.com.au Transtage Transtage are able to supply the highest quality stages that are safe and robust, all while being lightweight, user-friendly and transportable.

Whatever size your project, you can rest assured that we will find a staging system to suit your requirements.

In addition, we are always mindful of our clients’ budgets. We work hard to find the most cost-effective solution for your event.

14B/8 Gladstone Road, Castle Hill, NSW, 2154 1300 712 066 info@transtage.com.au transtage.com.au

Costumes, Props, Sets And SFX directory: bit.ly/2ma7wNZ

stagewhispers.com.au Stage Whispers 55

Tracy Nuthall from Costumes Without Drama explains how to think locally and act globally in costuming your next theatre production.

The world currently has more clothing than our population could ever need. On average each Australian consumes 27 kilograms of new clothing and disposes 23 kilograms of clothing to landfill each year. Over the years, the costume industry has become mass-produced and disposable. While cheap online options may be tempting, these purchases don’t last and are often quickly discarded.

Since 2001, Costumes Without Drama has been saving teachers time, energy and resources by providing affordable, sustainable, quality costume hires for school productions.

I have always believed it’s much more environmentally friendly to hire and reuse costumes than to buy, import or make new costumes from scratch.

Costume hire can help minimise landfill and promote the benefits of sharing and borrowing with young people.

If sustainable practices are important to you, it’s worth asking a

56 Stage Whispers Let’s Put On A Show 2022

few questions before you sign your hire agreement. How are your costumes sourced or made? How do you take care of your costume collection? What is the laundering process for your costumes?

Our warehouse has more than 12,000 inventoried items, with over 95% of our stock made on location in Melbourne to original designs.

When it comes to materials, we use a mix of discontinued stock, repurposed fabrics and new fabrics.

We’re always looking for the best, most durable fabric for the job at an affordable price. Choosing materials in this way increases the longevity of costumes, as they hold their colour longer and wash and wear more robustly. We also love to upcycle and modify fabrics, costumes and clothing items to give them a new life.

We don’t subscribe to a glitzy, impractical look or loads of sequins.

Instead, we offer costumes we know

students will feel comfortable in and that look great on stage (and on film) with professional lighting.

Lots of school shows have a specific theme or requirements. It can be expensive and wasteful to buy brand new costumes for every performance. That’s not to mention the issue of storage. We take lots of care with all our costumes, handling them minimally and hanging or folding each item as close to laundering as possible.

Once you’ve finished with your Costumes Without Drama costumes, simply pack them back into our reusable boxes and bags and return them. We launder all costumes on-site using locally made, low impact cleaning products. We favour natural, chemical-free products to treat stains and frequently air dry to reduce power consumption.

You don’t need a team of parents working around the clock to sew, or teachers trying their luck in op shops

Popular Perfect Props

or chain stores. To ease the pressure on school resources we offer:  Extended hire periods for extra dress rehearsals  A detailed inventory with barcode labels  Pick up, courier or delivery options  Costumes that arrive in reuseable bags, individually packaged and labelled for students  No laundering - simply pack back into boxes and bags and return.

The world doesn’t need any more loose sequins or once-worn costumes that end up in landfill. Our approach to school costuming is a holistic one, with sustainable practices and the enjoyment of young people at its heart.

For more details visit costumeswithoutdrama.com.au

Over the years I assembled a collection of chairs for all types of settings. A set of rustic timber chairs for a rough tavern scene has been used often. I picked up a set of 16 bentwood chairs in fibreglass resin from IKEA, which has become an instant café on many occasions. I made a big investment in a suite of reproduction Louis furniture. I found Veteran set and prop builder Bob a supplier of reproduction furniture Peet describes some treasures, and frames, and then I made them strong and suitable for the wear and tear of trash that he’s converted to the stage. These pieces live in special treasures, for community theatre road-cases and are still in excellent stages. condition, having been used on many During my years running the hire occasions.

It must be said, however, that the department at Sydney’s Miranda most used props, used in so many Musical Society, we had special props shows, are the dreaded picnic which were in high demand. The baskets.

How many of the older most requested was an antique musicals have a picnic, a market looking French style telephone that scene, or a street scene with was used for Daddy Warbucks’ shoppers? mansion in Annie, and a lot of other Good props will continue to be classy looking shows. used over and over again, and can Another was the magic rose from make an enormous difference to a Beauty and the Beast. Our first rose show. was operated with fishing line I have always been a collector of attached to the petals, but this meant roadside “treasures “, finding threading the fishing line for each unwanted pieces which can be use. Later we changed the operation rejuvenated for a new life on stage. to electromagnets attached to the I have to admit that in my recent petals. Press a button and the petal move to South Australia, I still look falls. for and find stuff.

I needed a nice I have always been very particular bedside table for The Hypochondriac. about correct chairs for the stage.

Then one evening after rehearsal I Often productions are spoiled by an spotted a suitable table in a pile ordinary chair looking so wrong. waiting to be taken to the tip. A bit Recently in Adelaide I saw a of paint, a new shelf and wheels, and production of a classic operetta. The $30 later I had a faux period table. beautiful period piece was ruined by Words alone don’t do the results the odd bentwood chair and a justice; the pictures (below) tell the lounge from someone’s home, all story. meaning to portray the dressing of a wealthy merchant’s mansion.

Before.

After.

stagewhispers.com.au Stage Whispers 57

Forgotten Fabrics Get Chance To Shine

sewing rooms, waiting for that ‘ah ha’ moment when its time came to shine. I personally know each of the 13,000 inventoried items, and could probably tell you the source of the fabric.

Providing costumes for school productions is a privilege Costumes costume pieces which are likely to be without Drama honours by providing Tracey Nuthall from Costumes used in the ‘dress up’ box at home. without Drama shares her a full inventory of items supplied, with Right from the start we chose not everything packaged and labeled. philosophy, after running her to buy cheap imported garments, or It was not trendy or even ‘cool’ to company for almost 19 years. garments made by cheap labour send costumes out to schools in overseas. Most costumes are made on recycled bags when we started. I have Costumes without Drama was site or locally. noticed progressively over the years started primarily as a reaction to the We always used reusable bags, that there is finally an understanding waste produced by making costumes for a single use (sometimes even out mostly cloth bags made from fabrics that we do not have to re-invent the saved from landfill, dumped due to wheel for every production. We do of paper, and other materials which being unfashionable designs etc. not have to spend a lot of money, are not able to be laundered) and Many fabrics used have originated and it is OK to use something which ending up either taking up storage has been used by someone else room, never to be used again, or sent from sources other than fabric wholesalers. Garments have been before. to landfill. There are only so many lovingly created from fabric unearthed Finally, as I approach 20 years in items a school can use on multiple business, I am in fashion! occasions, and there are only so many languishing in friends’ and family’s

costumeswithoutdrama.com.au

58 Stage Whispers Let’s Put On A Show 2022

Anthony Phillips Costume Exhibition Launceston’s Encore Theatre Company hit the jackpot when acclaimed costume maker Anthony Phillips retired to their town.

Highlights of his 40-year career in Sydney included making costumes for The Phantom of the Opera over several decades and for Star Wars movies.

The company leapt at the opportunity to have him create sets of costumes for their musical theatre productions.

An exhibition of some of his recent creations for Les Misérables, Mamma Mia!, We Will Rock You and The Sound of Music was on display during the Australian Musical Theatre Festival and was the subject of an episode of Stage Whispers TV. Encore have several sets and key set pieces from their past productions available for sale or hire, along with an evergrowing wardrobe of costumes and a vast array of props.

Discover the range for hire at encoretheatre.org.au/hire

Other Goods And Services directory: bit.ly/3iPWYL7

Online extras!

Stage Whispers TV visits the Anthony Phillips costume exhibition. Scan or visit youtu.be/VubNpM4_iDs

stagewhispers.com.au Stage Whispers 59

Caring For Costumes Tracey Nuthall from Costumes Without Drama makes a priority of caring for costumes after a performance.

“We are fanatical about sorting. After scanning costumes back in, they are thrown straight into tubs. There will be a tub for hand washing, one for whites, blacks, reds, blues, greens, etc.

“Please be kind to our planet. Choose environmentally friendly detergents and avoid tumble drying.

“We hang wet costumes directly onto coat hangers, trying to straighten and shake out creases then leave them to air dry on racks.

“But, if you wish to save yourself all this work, you can always hire costumes from Costumes Without Drama.

“Our costumes are all barcode labeled. The costumes are picked out and chosen specifically for your students, with respect and sensitivity to your student’s specific sizes.

Where possible, you receive costumes approximately two weeks before the concert, and, best of all, we do all the laundering on return.”

Contact Tracey by phone on (03) 8838 2616 or email info@costumeswithoutdrama.com.au

60 Stage Whispers Let’s Put On A Show 2022

The Brief History Of A Fake Cigarette Can one prop alter the mood of a play? Director and writer Jacinta Sciusco believes it can, in the right hands.

providing the queen with ease and calm.

The first time I saw it, I was freshly Stagecraft is a vital thing. It can adapted and directed by Cole graduated, in my first year of Uni, and add to or detract from a play. The McKenna. astonished at the props, sets, and messy, untameable wig; the fake but The old, forgotten Facebook event costumes stored away in the Union delicious looking burger; the reads: “A party in the 1920s is our Building of La Trobe University. The unbalanced theatre flat; props aim to window into the lives of New Yorkers drama department of my small-town bring realism to the stage. and newlyweds Roland and Claire. high school, great as it was, couldn’t A favourite prop of mine made its The play delves into a world of compare. The array of painted set debut on the stage of a University decadence and ruptured mundanity, designs, props from sunglasses to theatre, where the seats were slightly exploring strained relationships and plastic flowers, costume pieces uncomfortable, but the performance the pain that comes with having to belonging to clowns and made up for it. hide who you are.” businessmen; they all waited there, The fake red glow of a cigarette Like many plays at La Trobe perched in their places, as if standing prop captures the eyes of the Student Theatre, The Drag explored silent in the wings of a theatre for the audience under the stage lights. It’s a serious topics, centred around moment they could finally take a step quiet moment. Even the audience, LGBTQ+ rights in the 1920s. It’s no into the light. sitting shoulder to shoulder in the question then that Menzies Theatre In a comedic play about a crashsmall black space, feel the frozen housed a meaningful exploration of landed plane, where three vacationers energy of the scene. The actor holds hiding and emerging, and smoking and a pilot get stranded on an island, the prop between their fingers. This was a way for characters in The Drag the cigarette was passed between has been rehearsed so many times to support conflict and conversations Elliot and Corbin, childhood friends that even the cigarette knows its cues. with one another. who never quite grew up. Under the Stay still, get picked up, dialogue, Rolly, a married and closeted warm lights of the Menzies Theatre, it dialogue response, someone takes a homosexual man finds a place where brought laughter to a crowd of drag. A beat is taken as the character he is accepted and free to be himself strangers who would, in the years to sucks in a quiet breath, lips pursed amongst his gay friends. The cigarette follow, become dear friends. and ready to bring the cigarette to is held by a beautifully dressed drag Next, my first time directing one of their waiting mouth. queen, who holds it up towards her my plays. Any working creative knows It was easy for this cigarette to lips throughout the heated discussion. how it usually goes; doubt while rocket to fame. It enjoyed a stunning The sequinned glow of her red dress writing it, crippling doubt while role in the Moat Festival (2019) and her bright red lipstick rehearsing it, and at the end of production of The Drag - inspired by complement the fake flame. She takes (Continued on page 62) the life and plays of Mae West, a drag. The cigarette plays its role, Costumes, Props, Sets And SFX directory: bit.ly/2ma7wNZ

stagewhispers.com.au Stage Whispers 61

(Continued from page 61)

closing night, the embarrassment of your dear work being perceived. It was an intergenerational commentary on society, culture, and the state of the world, called X and Above. The cigarette was in each rehearsal, each bump in and bump out, always waiting but always ready. Picture a nine to five bank employee, drained to the point of exhaustion, desperately huffing a cigarette during break time.

From opening to closing night, the cigarette had registered the warmth of lights on its surface at the same hour for a week. It had known what it was like to be held, to be placed at arm’s length, and greeted warmly when needed. And as it rested in the still storage room, it began to collect dust. It’s foil flame no longer shone so brightly. It didn’t move in months.

Unbeknownst to the cigarette, it had many siblings scattered under chairs, behind theatre flats, stuck in tiny crevices, long forgotten, and misplaced between bump ins and bump outs. They sit, to this day, waiting to be found, amongst the growing dust of a vacant and distant life.

Passed from fingertips to fingertips, characters take drags to feel like they can breathe. Sometimes they take puffs to look cool at a party.

Sometimes they light up before dropping life-changing news onto those they love. But mostly, they pass the prop between friends, bonding, and they enjoy their time together with one another. And though these cigarettes get misplaced, forever lost, and badly broken, it is in these moments that the audience will remember the shining red glow crystallised in the scene, until the next performance.

Jacinta Sciusco is a third-year creative arts student at La Trobe University, where she studies theatre and writing.

She’s a long-time member of the student theatre community where she writes, directs, and acts in plays and performances.

62 Stage Whispers Let’s Put On A Show 2022

Digital Scenery For All Scenic projections are becoming more affordable for community and school theatre, bridging the gap between cinema and live performance.

Working with a tight budget? Has your rehearsal and production time been significantly reduced due to COVID-19 shutdowns? Music Theatre International, Australasia (MTIA) and Broadway Media are offering digital scenery for MTI’s top titles in Australasia.

Scenic ProjectionsTM are full-show digital scenery packages that can be projected onto a screen or surface behind onstage performers as a backdrop.

The product follows the official licensed script. Harnessing the growing utilization of projection design as a core element of theatrical design, Scenic ProjectionsTM is projected digital art and animation that moves seamlessly with - and enhances - the action onstage.

A popular title is The Little Mermaid Junior. Product manager Brianna Spicer describes the style as

“cartoonised realism”.

“We show visible paint strokes with simplified shapes and softened background elements, garnering inspiration from various concept art pieces of underwater scenes and ships.

“The Little Mermaid JR package helps make the musical more immersive. The ocean surface changes from calm to stormy depending on what is happening. In the palace hall scene, the sunset and colour change help to indicate that Ariel has run out of time. Any opportunity to help make the story clearer is taken advantage of.”

Broadway Media combine their projection cueing software with beautiful artwork that includes all the scenes, settings and special effects in the script. Scenic Projections will be available in animated or still image variants for MTIA’s most popular full-

For more information about Scenic Projection Show Packages, visit broadwaymedia.com/shows/music-theatre-international-australasia For additional information on MTI and licensing, please visit mtishows.com.au

Let’s Put On A Show

length and Broadway JuniorTM titles.

“Scenic Projections is the tool you need to elevate your production values, all from the touch of a button and at an affordable price. We are excited to keep offering you new resources to bring the magic of theatre to your school or community,” says Stuart Hendricks, Managing Director of MTI Australasia.

Broadway Media says there is no steep learning curve to use its digital scenery as the product is supported by free how-to resources and customer support.

“We are a mission-driven company, serving a global theatre community. Our decision-making centres around one simple question, ‘does it make participation in the performing arts more accessible?’” says Quentin Sanford, President, Broadway Media. “Through our products, our partnerships and advocacy, Broadway Media is dedicated to the universal access to the joy of theatre-making, regardless of space, place, or budget.”

Easily project scenic backgrounds like these from your laptop.

stagewhispers.com.au Stage Whispers 63

Revolt. She Said. Revolt Again.

Falling Ceilings And Revolving Audiences NIDA scenic construction students push creativity to a new level in live productions

NIDA’s June Student Productions Season sent audiences on a spin with innovative scenic construction.

A production of the play Perfect Stranger placed the audience on the revolving stage, while Revolt. She Said. Revolt Again collapsed the full set during each performance, including the ceiling.

Perfect Stranger was written by Hilary Bell and directed by guest director Kate Champion.

“The challenge was to stage this play with 35 characters and 34 locations as a live theatrical experience,” said Kate.

“I was drawn into the visceral effect of its sense of perpetual movement. Even when reading it you sense it swirl about you with its intrigue and mystery. Intoxicating stuff but how do you stage such a play?”

Set Designer Hayden Relf and Costume Designer Hannah Taylor (both BFA Design for Performance year 3) met with Kate to tussle over how to bring this story to the stage.

“We wanted to avoid the

64 Stage Whispers Let’s Put On A Show 2022

audience witnessing the many changes of scenery. We wanted the various scenes to seem to appear out of nowhere. We landed on the exciting idea of putting the audience on a revolve to create the spinning perspective from within!” said Kate.

The audience capacity was limited due to the maximum weight that the revolve could take.

“It was an incredible feat for the whole team, from the very demanding build of the set to lighting and sound design, quick changes and agile prop requirements.

We also made the actor Ebony Tucker disappear in a puff of smoke and had Amy Joyce enter through a waterfall.

“My favourite moment was at the beginning of the play - the lights go down - Harrison Quast (BFA Acting year 3) enters as the old man, slowly walking in from the left of our vision then very gradually something unnerving happens - are the walls moving? Collectively the audience realises that the seating bank is turning - priceless. I even heard one woman quite audibly say ‘what’s

happening!’. It was like being at the start of a ghost train ride and that was just the beginning!”

Heather Fairbairn directed Alice Birch’s exposure of patriarchy in Revolt. She Said. Revolt Again. The play disrupts accepted models of storytelling by deconstructing language, character and form. The production was designed by Angelina Meany (BFA Design for Performance year 3).

Assistant Director Alexei YmerWelsby explained that “the concept behind the stage construction was to have the performers deconstruct the set by literally ripping it apart - a metaphor for their ‘deconstruction’ of patriarchal norms at the centre of the play.

“In rehearsals, we used a full-scale mark-up of the scenography so we could choreograph in a detailed and controlled way how the actors would go about pulling off cabinets, inverting tables and smashing plates.

In the performances, this precision enabled the actors to safely go about ‘destroying’ the set while giving the

audience the impression that it was entirely spontaneous and anarchic.”

Matthew Hinton, in his final year of the BFA (Scenic Construction and Technologies), worked as the Constructions Supervisor. He explains that “the set was a dollhouse aesthetic pink room. It looked pristine from the start, but by the end of the show, most of the walls were stripped, cupboards were tipped, and a ceiling section had caved in.

“Working on a set that has to be pulled apart twice a day had unique challenges!” said Matthew.

“I learned a vast amount about prototyping and the ongoing development of ideas. I worked with a designer and our props supervisor Rachel Hallett (BFA Properties and Objects year 3) to ensure that each aspect of the set moved and fitted together as seamlessly as possible. A clear highlight was the first time that we dropped the ceiling in the space.

Weeks of planning, building and installing all culminated in one moment of a test and justified the hundreds of hours the team had put into the production.”

Revolt. She Said. Revolt Again.

Perfect Stranger’s revolving set.

stagewhispers.com.au Stage Whispers 65

CLOC’s Priscilla, Queen Of The Desert: The Musical.

Photo: Ben Fon.

CLOC’s Bumpy Priscilla Triumph Karen Greenwood reports on how CLOC Musical Theatre dodged the COVID-19 potholes to get its production of Priscilla Queen of the Desert to the stage.

During the doom and gloom of Victoria’s interminable 112-day Lockdown #2, Melbourne’s CLOC Musical Theatre made the brave decision to resurrect its production of Priscilla, Queen of the Desert, deferred from May 2020 to April/May 2021.

Every aspect of rehearsals, set building, costumemaking and theatre performances had to be reworked and revised to meet COVID-19 safe protocols.

And just when the company thought they had everything set to go, a snap five-day mini lockdown was called in February, which meant that the first week of rehearsals was lost.

Through all the difficulties that the company faced, what was ever-present was the determination and passion of everyone - committee, cast, crew, production and creative teams, theatre staff - to put on a first-class show.

For most of CLOC’s loyal audiences, it was their first live theatre experience in over a year, which they lapped up gratefully and joyfully.

“A spectacle! There was the added emotion this year for many of a release valve - being able to come 66 Stage Whispers Let’s Put On A Show 2022

to the theatre again, mingle and see live theatre whilst in many parts of the world they are in lockdown and friends and family are dying,” commented one audience member.

Critics raved about the costumes, which are available for hire.

“It was great to see the inclusion of the iconic pieces we know and love like the thong dress and the frill necked lizards, (but costume designer) Victoria Horne’s reinterpretation of the Sydney

Encore Costumes Who needs a new costume when you can refashion an old one?

The Brisbane Arts Theatre is especially adept at keeping their costumes in pristine condition for re-use. It also helps that the company stages plays in a series.

Each year, the company stages an adaptation of Sir Terry Pratchett’s Discworld stories, written for the stage by Stephen Briggs.

Tallulah Grey, actor/director and President of the Board at Brisbane Arts Theatre said, “My father, John Grey, has been wearing his robe as the character of Vetinari since 2010.

The robe has also made many appearances on stage in other shows, and Dad has worn it for at least five productions!

“The Commander Vimes uniform worn by my brother Daniel Grey - has

been in many different Discworld productions - [ranging from] Ancient Rome to Greece! Daniel wore it many years ago at the Nash Theatre at New Farm in a production of Oedipus, and the costume has been following him ever since!”

Tallulah tells us of a red dress that she wore as Rosie Palm in the group’s productions of Men at Arms. “That red dress has starred in productions in 2016, 2018 and 2020. It has also been worn by many other performers in various productions over the years.

It has had so many edits!”

Above: Feet Of Clay. Photo: Nick O’Sullivan.

Below: Men At Arms: Photo: Tallulah M.E. Grey.

Discover the company’s collection of costumes and accessories available for hire at artstheatre.com.au/about/wardrobe Opera House costumes was pure class and poise also, loved those Union Jack boots!” wrote Theatre People.

Simon Parris lauded the “extraordinary cavalcade of costumes. Headpieces are a particular highlight, beautifully complemented by pristine wigs and hairstyles by David Wisken. Riffing on the iconic designs of the professional version of Priscilla, Horne has put her own glossy spin on cupcakes and paint brushes, showgirls and camp funeral attire.”

With incredible luck, CLOC managed a full, successful and joyous season without having to cancel any performances during the three-week run.

In hindsight, this was even more fortuitous, given that four days after the Priscilla season ended Lockdown #4 was called and since then, no other community musical theatre production has managed to be staged in Melbourne.

Yes, the Theatre Gods were smiling down on CLOC during the first half of 2021.

CLOC’s Priscilla, Queen Of The Desert: The Musical.

Photo: Ben Fon.

stagewhispers.com.au Stage Whispers 67

Public Relations

68 Stage Whispers Let’s Put On A Show 2022

Featured Businesses AB Publicity AB Publicity is a dynamic public relations agency specialising in the arts/entertainment industry. We pride ourselves on having a hands-on approach. We go that extra mile, we love a challenge, we provide comprehensive reporting, and, above all, we provide results – ‘spreading the word’ to ensure our clients sell tickets.

PO BOX 1658, Lane Cove, NSW 1595 +61 4 1394 9140 amanda@abpublicity.com.au abpublicity.com.au IP Publicity IP Publicity specialises in publicity and promotions for the performing arts and other entertainment events, a small and highly skilled team based in Sydney and led by Ian Phipps. From large scale productions and high profile artists where the media communication needs to be managed strategically, to smaller productions which require a niche, targeted approach, IP Publicity has strategies and the experience to ensure that entertainment events are well promoted to media and the general public across Australia.

IP Publicity provides strategic media placement in all media outlets, promotional activity and a substantial media and celebrity database for opening night red carpet coverage. +61 2 9368 1474 ian@ippublicity.com.au ippublicity.com.au Neil Ward Publicity Neil Ward Publicity Pty Ltd (NWP) is one of Adelaide’s leading arts and entertainment publicity companies, specialising in publicising high end, film, arts and entertainment events in Adelaide since 1994.

93 George Street, Norwood, SA 5067 +61 4 3809 5580 +61 8 8361 3577 neil@neilwardpublicity.com.au neilwardpublicity.com.au Promotix Promotix is an Australia wide papering service for the theatre and entertainment industry.

Their team has an extensive history in theatre and event production, and a passion for encouraging people to explore and experience new and exciting Australian shows and performances.

What they provide: * Distribution of your complimentary tickets to our enthusiastic and reliable member database. * Word of mouth publicity * Honest and unbiased feedback from our members who attend your show * Our service is completely free for you to use * Office hours are 7 days a week between 8am - 10pm Contact Catherine Hutchison to discuss your ticketing needs.

Suite 13, Level 4, 150 Albert Road, South Melbourne, VIC 3205 +61 3 9376 4933 catherine@promotix.com.au promotix.com.au

stagewhispers.com.au Stage Whispers 69

The Art of Publicity Sydney Publicist Geoff Sirmai provides his top ten tips for gaining media coverage.

what’s-on listings and feature articles.

They invite and liaise with opening night guests including reviewers, VIPs, and celebrities you might want involved.

You’ve done your flyers, Advertising is still transparently bombarded your friends and family, spammed your network and flooded yourself blowing your own trumpet and social media like Facebook, all the usual suspects, yet your sales Instagram or Twitter will only reach are stalling. What are you doing to those - at most - a few degrees of reach new audience? separation away. Remember, as the In my view the number one Bard might have said, “A Facebook priority on your list should be public ‘like’ doth not a ticket sale make!” relations (‘PR’) or media publicity.

Media coverage through publicity Just as marketing (paid advertising, reaches new audiences. Press and banners, posters, flyers and direct mail) and social media networking are electronic media coverage carry the weight of editorial approval or ‘third important in promoting a show, party endorsement’, complementing media publicity - which involves, your more transparent selfessentially, free editorial - is promotion. indispensable in getting known in a Your creative team also appreciate crowded arts and media world. coverage which rewards them for A publicist arranges free editorial: press articles, radio and TV interviews,

Geoff Sirmai is director of Geoff Sirmai Arts Publicity.

Read more and download the free booklet ‘You And Your Publicist’ (which includes a comprehensive guide to timing, photos, reviews, writing a media release and much more) at www.sirmai.com.au 70 Stage Whispers Let’s Put On A Show 2022

their efforts and gains them wider recognition.

Ideally you should engage a professional publicist: they have the skills, the comprehensive, up-to-date contacts and the dedicated time to cut through the competition.

Plus the regular, close relationships with media associates that will make all the difference. That will leave you the time and space to get on with your main business... that’s show business!

However, whichever way you decide to handle your media editorial publicity efforts - whether with a dedicated company/committee member or a professional - don’t forget about it! It’s a vital part of your promotional toolkit.

Top Ten Tips Start early: Give yourself and your publicist time to place the stories Vary your approach to suit the medium: One style doesn’t fit all. Match the ‘angle’ with the outlet - is it a local paper, radio, ethnic or arts specialist? Give your publicist ideas and angles, Make your release newsworthy: Try and ‘hang’ your release on a hot current issue or feature interest beyond the play’s obvious theme.

Remember: what you think is interesting may not be so to every journalist or editor, who is second-guessing their reader’s agenda, not yours. It’s a competition for space.

Great photos: Quality promotional and production shots will double your coverage. Not cheesy posed shots, but dramatic, powerful or funny ‘moments’. High resolution (300dpi) for the press and low res web versions (72dpi) to preview.

Don’t over-hype: Passion and ingenuity and originality, yes… absurd hyperbole, no. No-one likes a rip-off.

Invite opening night guests and the press: Make a buzz, make a splash.

Give away tickets judiciously: Don’t look desperate but do give away a few ‘comps’ (say on radio or through competitions) in exchange for coverage. A full opening night will set you on your way.

Don’t be afraid to invite reviewers: But be ready on opening night if you do.

Cross-promote: Do complementary offers to another company’s audience in exchange for access to theirs. Negotiate mutual leaflet drops. Remember: a theatregoer at any other show (but especially at the same venue) is your best target audience.

Measure your success: Do you poll your audiences? It’s worth slipping a short survey in the program to see how they found out about the show. Offer an inducement to maximise returns - a prize, a discount voucher etc.

stagewhispers.com.au Stage Whispers 71

Sirmai Arts Marketing Sirmai Arts Marketing delivers elegant, economical, effective publicity.

Plus a whole lot more... because publicity, after all, is only one piece of the marketing pie.Our approach is built on strategy, not whim. It embraces all platforms, all media, on a horses-for-courses basis.

Managing director Geoff Sirmai is a communications guru with 30 years' media experience as print journalist, radio presenter, TV producer & reporter. He also comes from a professional performing arts background - with degrees in music and Australian drama. How many publicists can offer all that?

Sirmai Arts Marketing: publicity plus!

964 Anzac Parade, Maroubra, NSW 2035 +61 2 9345 0360 +61 4 1266 9272 geoff@sirmai.com.au sirmai.com.au

stagewhispers.com.au/directory-central

SPARK 2021 OUR SCHOOLS RESOURCE KIT IS A MUSTREAD FOR EDUCATORS IN THE PERFORMING ARTS stagewhispers.com.au/spark 72 Stage Whispers Let’s Put On A Show 2022

Theatre companies big and small wrestle with the dilemma of where to put their marketing dollars. Lyndell Pond, newly appointed Managing Director of advertising agency ACMN, speaks to David Spicer and offers some advice.

Lyndell Pond has worked with some of the world’s best-known musical theatre producers including four years as Marketing Manager for impresario Cameron Mackintosh. In London, she worked on various long-running West End shows, including Les Misérables, as well as tours of Miss Saigon and My Fair Lady.

are behind us. Strong waitlist/databases are a helpful yardstick now, but if COVID-19 has taught us anything, it’s that there are lot of variables - such as unpredictable clashes with other events - that contribute to the success of a show, so it’s never a lay down misère.

You can never become complacent in marketing - every day there is something more you can do, review, or tweak.

LP: It depends on the budget and the show. TV is a great medium for live theatre if you have the luxury of having impactful creative, however the way broadcast is consumed these days, you don’t have to buy Free To Air, when there is Broadcast Video on Demand, YouTube and social platforms to convey your message to targeted audiences through video. Radio is also a great medium, particularly in Australia, but David Spicer: In Australia, for a major production, what are the key again, you need good creative.

Lyndell Pond. tools to marketing a show?

DS: What shows are ACMN promoting in 2021?

Lyndell Pond: It all starts with some solid research and data, which enables LP: We are so proud to be involved in taking Come From Away to a much you to put together a strategy for your broader audience of Australia. Moulin placement, creative and messaging.

Once you nail those things, the Rouge! The Musical is beyond exciting application of that thinking, through all with the new and different approach to the channels - be it on- and off-line music, I think we are going to see new media, social, direct marketing - should and different audiences in the Regent always be anchored in that overall Theatre. And speaking of different strategy. audiences, how could I forget Magic DS: How do you recommend clients Mike Live? We love working for GFO split their spending - direct mail, digital and Opera Australia on their or print? commercial musicals and this year we LP: If I had to choose out of these are thrilled to have been appointed to three, it would be digital and direct look after the Tony Award winning email, over print. The purchase funnel musical Rodgers and Hammerstein’s DS: What are some examples of the Cinderella. has become very important in recent variables? years and the power of digital in both DS: Do you only work with clients on awareness and conversion is critical. But LP: Broadway and the West End large-scale productions? have been great indicators for us, but it a highly qualified database will also LP: Not at all, we are involved with is never a given. Finding out how the deliver you very, very strong results big tours, smaller/quicker tours, events when a show has specific campaign show is going to resonate with that are one-nighters in multiple Australian audiences is key. We have messages to share. markets and long-running musicals or DS: How much does it cost to sell a great options now in digital to test exhibitions and everything in between. big musical in Sydney or Melbourne? creative and messaging, not to mention Our digital offering means that we have the power of research and data, which marketing and advertising options to LP: Like any retail brand, owning a marketplace requires a significant can all help to get an early indication on suit any budget. investment. I think the most important the success of a show, or at least how DS: What is your favourite show? we should tackle it from a marketing element to any campaign is less about LP: I always waver on this one as we spend and more about full integration perspective. are spoilt for choice, but today I am where owned, earned and paid media DS: For very small theatres - say going to choose Come From Away. community or independent in a major are all working in harmony. That way, When it opened in Melbourne recently, the actual advertising dollar is not city - where do you recommend they it was an inspired celebration of the spend their marketing dollars? responsible for all the heavy lifting. reopening of a show, a theatre and a LP: Always digital advertising, and a city and I am still buzzing with DS: Do you know very early if a show is going to be a hit or miss? strong PR and social strategy. excitement. Live theatre is back. Please, DS: What about a regional city LP: We used to know when we come out, Australian theatre lovers, counted the pencils at the end of a where TV and Radio is cheaper. Should there is a lot to love about live groups launch, but I think those days they spend their money on them? entertainment!

stagewhispers.com.au Stage Whispers 73

The pandemic has driven a stampede of eyeballs onto digital platforms. What tools do theatres need to get this growing audience back into theatres when they reopen? Julie Nemitz from Playhouse Marketing in the United States shares her tips, alongside local digital theatre professionals.

Digital marketing feels overwhelming and many people are uncertain where to start. They also want to know what is affordable or free.

In these times, 80% of the job of theatre marketers should be digital, as that is where the audience is. Even my elderly father is online watching content.

During 2020, consumption of social media has boomed. Time spent on Facebook is up 84% and there has been a similar increase in Instagram (in people aged over 30) and arts content on YouTube.

Near the beginning of the epidemic, good theatre companies focussed on keeping their audience’s attention with their online content.

So, in the future when theatres need them to act, they are ready.

Memory lane content is working very well. Post a photo or video with a tag - remember when we staged this show.

websites of theatres where nothing has been updated for many months.

A lot of websites are like encyclopaedias with information dating back 30 or 40 years. Websites need to engage, with audience tightly linked to analytics (which are tools that measure how many readers each article receives and can capture their details). So, when the time comes, you have collected all the information and are able to access it.

patrons regularly. Data informs decisions and that information is critical.

Advertising on Social Media The big social media platforms are fuelled by advertising. An average of about 5% of your ‘likes’ get to see that info. Facebook does not want organic material to succeed and you must spend money or work hard to get that number up.

If you are spending money on Email is the most powerful digital Facebook then stop clicking on the marketing you have. Work it hard, as Boost ad prompts. You must evolve to it is not used enough. It is so the Facebook Business Manager important that your email service platform. It is more affordable and provider is easy and flexible. allows you to use your own data. The Communications must be consistent email addresses of clients (who have and segmented. Also, talk to your agreed to receive your newsletters) theatre patrons and volunteers in can be inputted into Facebook so your different ways. ads will reach them on social media.

It is important to get email list Another excellent tool is Facebook building tactics integrated into your Creator Studio. This allows you to website and social media. A rule of update and schedule posts, so they thumb is that every dollar spent on go out at the right time. email gets $42 back.

Cultivating influencers is a way of The critical trifecta of digital Create a nurture sequence for new beating the algorithm. An influencer marketing is website, email, and list members. A welcome email has an is someone who recommends a social media. A fluid and flexible open rate of 80%. Make it rock. I also product or service and has a website is essential. It pains me seeing suggest you poll and survey your following. Let them know when a

74 Stage Whispers Let’s Put On A Show 2022

Marketer Michele Lansdown works for several Sydney theatre companies, including Miranda Musical Society.

“Our choice for email is Mailchimp. We do not bombard people with emails and look very closely at open rates. I often do a test campaign to a segment of our database.

“Before a show we send five or six emails. The biggest mistakes in emails are terrible images, formatting and how many clicks it takes to buy a ticket. You lose people very easily if they can’t click quickly to buy a ticket.

“For every campaign I work in tandem with a graphic designer. We are very strict about the look for a show and don’t let anyone else post anything to social media or send an email, as the look has to be very consistent.”

If you can’t afford a graphic designer, Julie Nemitz highly recommends setting up a Do-It-Yourself graphic design program. She recommends Canva - which has a free option. In a few minutes you can make one design and resize it for Facebook or Instagram. major event is happening, such as ‘going live’ for an announcement, and encourage them to start a watch party.

When theatres create content in partnership with local organisations they grow awareness. For instance, you could partner with a first responder organisation or a seniors living group to develop future audiences.

By embracing people outside your bubble, you will reach new audiences and can invite them to follow your page.

Video Tools and Broadcast Platforms If anyone comes to me with an idea how to promote a show, I say how can we make that into a video?

It’s estimated that within a few years 82% of content viewed online will be video, and more than half will be viewed on a phone or tablet.

A good idea is to survey your staff or volunteers to find unknown skills. Is there someone who can host and produce your show? Is someone savvy at editing video?

(Continued on page 76)

Luke Joslin as Lord Farquaad in Packemin Productions’ Shrek (2018).

Photo: Grant Leslie.

Georgia Putt from Packemin Productions in Sydney posts a flashback photo every day.

“It gets engagement - we get comments like ‘I loved that one’, or ‘that was one of the best Miss Saigon performances I have ever seen’. Often members of the cast tag each other.

“I set up the posts for the whole week in one hour on a Monday. I use an email scheduling tool called Hootsuite. I make the posts as topical as I can. On National Bath Day I published a photo of Lord Farquaad from the musical Shrek in a bath. On National Dog Day I used a photo of our dog in Legally Blonde.”

Georgina tags the posts heavily. That is, she writes in topics with # such as #theatre and #musicaltheatre - which means they appear in Facebook and Instagram searches. stagewhispers.com.au Stage Whispers 75

(Continued from page 75)

Lift the professionalism of your smartphone videography with simple accessories.

There are many DIY video solutions. The basic equipment needed is portable lighting, and a smartphone or camera. For editing, iMovie is free and Filmora is very affordable.

Once you have made your video you need to consider the platform to broadcast it.

It made sense during the height of the coronavirus to broadcast direct into Facebook and YouTube.

However, at the end of the day they are crowded and disrupted experiences.

Different platforms can help you create online communities. This can be for in-house communications for your members, or external communications for your audiences.

Zoom is popular for meetings and Vimeo is an alternative to YouTube.

Choosing Options On and Off Crowded Social Media Networks I love Crowdcast, as you can make it your own platform. Its features include interactive Q&As, chat, and polls. Its high quality streaming allows you to invite attendees on screen, and it broadcasts to other platforms like Facebook Live, Periscope and YouTube Live.

TikTok has excellent video editing tools and is a huge opportunity for younger actors and youth programs.

Patreon is good for paid content.

Julie Nemitz is an award-winning digital content marketer who teaches arts organisations and artists to make, market and monetise content online.

To learn more, join the Playhouse Theatre Academy for free at playhousetheatremarketingacademy.com It allows artists to receive monthly income from subscribers and offers perks for members.

Streamyard facilitates the broadcast of a TV show onto a website. You can interview guests,

Stage Craft

booknook.com.au 76 Stage Whispers Let’s Put On A Show 2022

share your screen, and stream directly onto other platforms.

Production Management A great way to save time is to adopt a cloud-based production management platform. If you have a project, organise it online with everything in a cloud. You can assign people to duties and review content.

The two best known platforms are Asana and Monday.com Having that platform from the beginning can reduce the need for staff meetings.

Use that time you have saved on digital media. I recommend 15 minutes, three times a day, to grow your digital and, ultimately, your theatre patron audience.

This article is based on a webinar hosted by American Association of Community Theatre.

Woftam Productions’ Mamma Mia!.

Community Theatre Insurance The Association of Community Theatre, in partnership with Marsh’s Entertainment & Leisure Insurance broking team, have developed a tailored and affordable insurance program for the industry.

The core insurance policies are: Public Liability Insurance ($750 stand alone, or $540 if purchased with Voluntary Workers Insurance for a combined cost of $990) This covers the activities of rehearsal and staging of theatrical or musical performances including theatrebased workshops and promotion of performances ($20 million limit with market leading extensions and sublimits).

Volunteer Workers Personal Accident Insurance ($450) This policy provides significant lump sum payments, weekly benefits and other compensation outlined in the policy in the event of accidental death, permanent disability and temporary disability for all board members, committee members and unpaid individuals engaging in activities on behalf of the insured theatre group.

Money Insurance ($140) This provides cover for loss of up to $3,000 of the theatre group’s money whilst in the possession of an authorised person or at the box office.

All policies are renewed annually on December 31 each year and premiums payable are pro-rated up to 6 months to the renewal date.

As part of the partnership, Marsh rebates a portion of all premiums back to the association every year. The funds are used to promote theatre company performances, professional development and advocacy.

By buying insurance as part of the Association of Community Theatre group, theatre companies enjoy stable premiums and consistent coverage over a long period, thereby avoiding fluctuations in pricing and coverage compared to a purchase on a standalone basis.

The partnership fosters collaboration, with the Association of Community Theatre working with Marsh to constantly improve the coverage and address any emerging needs of its members.

Theatre companies must be a member of ACT to participate or be a member of an affiliated umbrella organisation in states outside of NSW.

You can find more information at jltentertainment.com.au/act stagewhispers.com.au Stage Whispers 77

Comfy Bums On Seats How recently have you wriggled your way through a theatrical performance? Roger Pratt from Hadley Australia explains how that can become a thing of the past.

“Seating technology has changed tremendously over the last 10 to 15 years,” says Roger Pratt.

“A theatre chair is now designed ergonomically to support you. It’s not like a cinema chair, where you’ve got lots of wriggle room. The theatre chair has to hold you so that you don’t wriggle, and you don’t fall asleep.

“We specialise in manufacturing and installing high quality theatre chairs for the major theatres and performing arts centres around the country. We also have the ability to custom design and make for a theatre that requires a certain look such as Edwardian or Art Deco.”

Recently Hadley re-seated Her Majesty’s Theatre, Adelaide.

“We did the installation there four years ago, then recently they decided to add another gallery. We had to take out all the chairs while they did the complete interior re-build, then put the old chairs back into the high gallery and provided new chairs for the stalls and part of the dress circle, and they all had to match.”

Her Majesty’s Theatre, Adelaide.

78 Stage Whispers Let’s Put On A Show 2022

That was a fairly straightforward installation. “They wanted to have a red upholstery - a garnet upholstery and a stained timber component to match other timberwork within the theatre.”

But Hadley also customises seating to match the ambience of the theatre, and the specific performance needs of the venue.

“Every job is a little bit different.

We work with the architects, the interior designers and the acoustic consultants.

“For Her Majesty’s Theatre at Ballarat we designed the arm of the chair and the aisle panel of the chair to suit the period of the theatre, so that design theme went through the whole venue.

“For the Palais at St Kilda, which is on hold at the moment because of Covid, they wanted to retain the lovely, sculpted aisle and chair stanchions. In the old days they were done in cast iron. For that theatre we’re going to replicate those in

aluminium. So, we put modern seats and backs into the theatre between replicated support stanchions.”

The seating may look classic, but the seats themselves will be modern and designed for comfort.

“With old theatre chairs they used to have just foam seat cushions, but with our chairs we have what we call Elastomeric Suspension - more like a Pirelli webbing - which gives you extra comfort.

“We also specialise in air conditioned chairs, where air is delivered through the pedestal of the chair, so all you are doing is air conditioning the area around the person rather than having to air condition the whole of the void.

That’s called displacement air pedestals. The cost of air conditioning a theatre is much less using that system.”

The type of chair will also vary based on the acoustics required.

“If you’re working in a Concert Hall they want to have reverberation, so we use timber on the backs of the seats and the outer seat shell, but for spoken word, they want absorption, so we don’t have exposed timber.”

Got seating questions? Contact Roger Pratt from Hadley Australia on 0412 435 089 or visit hadleyaustralia.com.au

Other Goods And Services See more listings online at bit.ly/3iPWYL7

Book Nook Book Nook is Australia’s oldest performing arts specialist bookshop, stocking play scripts, drama theory and teachers’ resources, speech and arts texts / biographies. They supply drama teachers and speech & drama teachers (from schools and private studios), as well as actors and students (especially seeking monologues for audition pieces), etc.

They have specialist knowledge and are available for consulting. A client can describe the qualities of the text they need and be given a number of options to choose from that fill their need, or that are compatible with their requirements.

PO Box 2274, Rose Bay North, NSW 2030 +61 3 9758 4522 stagews@stagewhispers.com.au booknook.com.au Easy Stagecraft Easy Stagecraft offers practical in-school technical theatre workshops tailored around lighting, lighting design, sound and stage management, with all resources needed brought to your door!

You don’t need a theatre to be able to enjoy the practical learnings of technical theatre. Everything is completely customisable for varied class sizes and teacher involvement. When fused with the custom-built e-learning platform for remote teaching, the program can now be offered to students in a self-guided capacity, from any device, anywhere.

Training for teachers as professional development on technical tools, equipment and resources is also available.

PO Box 6115, Wantirna, VIC 3152 +61 4 2297 220 daniel@easystagecraft.com.au easystagecraft.com.au Gosling Productions Gosling Productions specialises in schools and amateur theatre production management, live streaming services and technical solutions. This is perfect for schools, dance companies, theatre companies or anyone who wants to live stream a production, and have everything looked after for you. With over 20 years’ experience in technical production, you are in safe hands.

Gosling Productions also specialises in theatrical consultations for new builds, refurbishments or “spruce ups” of theatrical or dramatic venues in both schools and commercial environments. Architects, principals & builders - call today to avoid costly mistakes seen all too many times!

PO Box 6115, Wantirna, VIC 3152 +61 4 2297 220 daniel@goslingproductions.com goslingproductions.com Hadley/Series Australia Hadley/Series Australia is the leading manufacturer of high quality theatre seating. Amongst many Performing Arts installations and major theatres are Cairns Performing Arts Centre, His Majesty’ Theatre Perth, Her Majesty’s Theatre Adelaide, Theatre Royal Hobart, Pilbeam Theatre Rockhampton. Please contact us for an obligation free quote and discussion 68 Salamander Way, Salamander Bay, NSW 2317 +61 4 1243 5089 hadley@hadleyaustralia.com.au hadleyaustralia.com.au stagewhispers.com.au Stage Whispers 79

Online extras!

Discover Riedel’s Bolero wireless intercom system. Scan or visit youtu.be/NMjsp9OvSLA

Paris Fit-Out

Riedel Communications has announced that the landmark Théâtre du Châtelet in Paris has adopted a full suite of Riedel’s awardwinning communications and video signal routing solutions.

Riedel’s Artist digital matrix intercom, SmartPanel user interface, Bolero wireless intercom, and MediorNet real-time network ensure crystal-clear crew communications and video distribution during Théâtre du Châtelet performances.

Located in the 1st Arrondissement on the banks of the Seine, the Théâtre du Châtelet was built on the site of a small fortress and opened in 1862. In its current configuration, the auditorium seats 2,038 people and plays host to a broad range of opera and theatre performances, concerts, and events such as galas and award ceremonies. The Théâtre du Châtelet recently underwent a major renovation, including an update of the entire networking and communications infrastructure, and settled on the Riedel solutions after its evaluation process.

“For this upgrade, future-proof systems were extremely important.

That’s why we took our time with testing; we were looking for solutions

Riedel has numerous theatre customers in Australia and their team in Sydney is available to consult on any solution query. Contact them on (02) 9669 1199 or via riedel.net

80 Stage Whispers Let’s Put On A Show 2022

that can accompany us for the next 20 years,” said Stéphane Oskeritzian, Head of Sound, Théâtre du Châtelet.

“We chose Riedel not only because their solutions performed the best in our tests, but also because we were searching for a solid partner.”

The DECT-based Bolero wireless intercom system provides the ideal crew communications solution for a historic facility such as the Théâtre du Châtelet, in which traditional UHF intercoms are no longer practical.

With only 8 antennas serving 35 belt packs, Bolero delivers clear, reliable communications and maximum

coverage throughout the five-story theatre, including the auditorium, studios, and rehearsal spaces.

Oskeritzian added, “We wanted to cover our entire facility - a lot of space - with a minimum of antennas. After our extensive testing of the leading wireless solutions on the market, Bolero was far and away the best at meeting that challenge. We also tested and reviewed every other aspect of these systems, such as haptics, feature set, and the belt packs’ ease of use. The verdict: Bolero is outstanding!”

Read more at riedel.net/news Riedel’s all-new SmartPanel RSP1216HL sits atop the Théâtre du Châtelet’s mixing console.

stagewhispers.com.au Stage Whispers 81

Sound And Lighting

Online extras!

For more listings, check out the Stage Whispers’ directory on our website. bit.ly/2nEHzGK Lighting Design at WAAPA. Photo: Stephen Heath.

82 Stage Whispers Let’s Put On A Show 2022

Featured Businesses

See more listings online at bit.ly/2nEHzGK Artlux Artlux provides high quality custom and standards, gobos and projectors made in Italy by Goboservice, for multiple applications such as advertising, events, weddings, architecture and safety projections.

Artlux is an Australian lighting service supplier of high quality gobos and projectors.

Contact Daniela Galante for information about Artlux products.

Botany, NSW 2019 +61 4 5027 9460 artlux.com.au B.S. Sound PA Hire B.S. Sound PA Hire can provide hire of Headset mics, Lapel mics and other cordless mics and wireless audio links.

Shotgun microphones. Digital mixers up to 32 channels, delayed speakers, low profile fold-back monitors, etc. LED Lighting; flat par, ground row and follow spots. Projectors & screens also available.

All hires need to be booked in advance. Hires can be picked up if you have your own crew. We can also deliver, set up and operate if required. Technicians have Working With Children Check cards. All electrical equipment is Test & Tagged. Contact Mark Barry for all enquiries.

25 Cromwell Street, Glen Iris, VIC 3146 +61 3 9889 1999 +61 4 1999 3966 bssound@bigpond.com bssound.com.au Clearlight Shows Specialising in theatrical lighting hire and sale, Clearlight Shows is well known for being a one stop theatrical lighting shop. Their staff have years of practical experience and are able to assist you with any queries you have.

The products imported are known internationally for their quality, reliability and value for money.

All products they sell are supported by in-house technical staff. They also offer equipment training and maintenance.

Clearlight Shows aim is to assist you in purchasing or hiring theatrical or architectural lighting equipment and accessories.

They also stock gel filter, lamps and spare parts. Contact John McKissock for all your lighting hire and sale needs.

5 Horscroft Place, Moorabbin, VIC 3189 +61 3 9553 1688 sales@clearlight.com.au hire@clearlight.com.au clearlight.com.au Creative Film and Theatre Solutions Creative Film and Theatre Solutions are the Exclusive Wholesale Distributors for Australia and New Zealand for Rosco Inc products.

Products include Lighting Filters , LED Fixtures , Dichroic Glass Filters , Lighting effects equipment , Fog and Haze Machines , Flooring , Scenic Paint , Green and Blue Screen Paint , Fire Retartants and backdrops for film,television and broadcast Unit 2 , 42 Sawyer Lane, Artarmon, NSW 2064 +61 2 9906 6262 sales@cfats.com.au

Sound And Lighting directory: bit.ly/2nEHzGK

stagewhispers.com.au Stage Whispers 83

Factory Sound Factory Sound is Australia’s leading supplier of professional audio equipment. For school productions, amateur theatre and professional acts, our range covers microphones, speakers, mixing consoles and all the bits in between. With a large showroom in South Melbourne and experienced, knowledgeable staff on hand to answer questions, you can be assured of swift solutions and the best price available. After 25 years serving the pro audio needs of Australia’s entertainment industry, it’s no wonder so many people say “go to Factory Sound, you’ll get looked after.''

Contact Artie Jones for audio sales, project design and installation, and first-class advice.

75-85 York Street, South Melbourne, VIC 3205 +61 3 9922 1000 +61 3 9690 7077 sales@factorysound.com factorysound.com Gobotech Gobotech Pty Ltd have been manufacturing gobos in QLD since 1996. Today a world leader in their field they can work with you to take your custom design to projection success.

You can also select from a massive range of stock images for a great result on a budget. Gobos are manufactured in stainless steel, black and white glass or full colour glass. The latest 2019 stock gobo catalogue is now available to download from their website.

3/4 Northward Street, Upper Coomera, QLD 4209 +61 7 5573 3177 sales@gobotech.com.au gobotech.com.au grandlighting.com.au HME Services “Engineered Solutions for a Creative World”, HME Services is a mechanical and control engineering company that designs and automates machinery for the entertainment industry.

With locations in Sydney and Brisbane we also have a high level capabilities for Audio Visual/Light design and venue integration which enables HME to be the one stop shop for many of our clients.

Our strength is designing and building our own products to safely solve unique hoisting, rotation and translation challenges presented by our clients. Resulting in a large product range that we have proudly supplied and installed into venues throughout Australia and New Zealand.

64 Harley Crescent, Condell Park, NSW 2200 1300 USE HME (873 463) sales@hmeservices.com.au hmeservices.com.au

1/17 Blue Eagle Drive, Meadowbrook, QLD 4131 1300 USE HME (873 463) sales@hmeservices.com.au hmeservices.com.au

LifeLike Atmospheres LifeLike Atmospheres mission is to be the industry leader and ultimate provider for sound, lighting and audio/visual solutions Unit 2/46 Mitchell Road, Cardiff, NSW 2285 +61 2 4915 9615 info@lifelike.com.au lifelikegroup.com.au

84 Stage Whispers Let’s Put On A Show 2022

5 Pope Street, Ryde, NSW 2112 +61 2 8880 6766 info@lifelike.com.au lifelikegroup.com.au

A custom-made gobo.

Gobo Light Magic

For 25 years Gobotech has remained the only Australian manufacturer supplying a full range of custom gobos.

At their Gold Coast factory, the company employs a mix of time-proven methods of photo lithographic production, as well as world-leading laser technology, to produce gobos which can transform the stage.

Uses range from setting the scene in a play or musical to projecting a school crest in vivid colour.

At Gobotech you can speak directly with technicians and graphic designers to turn your ideas into reality and achieve a fast turnaround.

In theatre, gobos can be used to instantly and cheaply change a backdrop. A production could switch from a busy streetscape to a walk in the woods or change the mood of the stage with dappled light. All changes can be done with the flick of a switch using a gobo in a theatrical lantern.

The COVID-19 disaster has decimated the arts and events industries. To help companies get back on their feet Gobotech is offering a $99 arts package to Stage Whispers readers to help school and small venue productions incorporate gobos.

The company wishes everyone in the industry a brighter end to 2021 and an awesome 2022.

Contact Gobotech via sales@gobotech.com.au or call them on (07) 5573 3177 for more details. gobotech.com.au

stagewhispers.com.au Stage Whispers 85

It Keeps On DASHin’ Ross Hopkins from Creative Film and TV highly recommends a new hand held LED light, the Rosco DMG DASH. Don’t let its size fool you, the batteryoperated DMG DASH can produce up to an incredible 500 lumens of output - all from a fixture that’s small enough to fit in the palm of your hand.

DMG DASH features Rosco’s patented six-chip MIX® Technology enabling it to produce the same colour-quality and True Rosco Color™ gel matches that other MIX lights do!

Each DMG DASH Kit ships with a set of beam-shaping accessories, including a flat diffuser panel, dome diffuser, eggcrate, and a gel holder for adding any Rosco gel or diffusion material desired DMG DASH is controlled from its onboard 1.3” OLED user interface, via the free myMIX® mobile app, or through optional wireless DMX by LumenRadio to provide CRMX and W -DMX control. It charges using a standard USB type-C connector and lasts three hours at 100% intensity.

The DMG DASH Quad Kit includes four fixtures and four sets of accessories. The kit also includes a DMG DASH LINK that can connect all four lights together into one unit!

DMG DASH is constructed from a lightweight aluminium alloy with an IP54 rating to provide a shockresistant and weatherproof housing.

It takes a thrashin’ and keeps on DASHin’!

For more information visit dash.rosco.com 86 Stage Whispers Let’s Put On A Show 2022

Online extras!

Find out more about the versatile and portable DMG DASH. Scan or visit youtu.be/WkqZuZkimPs

1,300 Scripts

booknook.com.au

Loud And Clear Loud And Clear’s specialty is providing professional audio solutions for theatre and corporate events.

They provide a complete service including production design, hire and operation of all equipment for any production. From the simple hire of a single radio microphone, to a full scale sound system for a musical with 40 radio mics and an orchestra of 38 players in an 800 seat auditorium. Their staff are passionate about theatre and customer service. Contact David Betterridge to discuss your audio needs.

PO Box 334, Mosman, NSW 2088 +61 2 9439 9723 info@loudandclear.com.au loudandclear.com.au LSC Lighting Systems LSC Lighting Systems has an extensive network of distributors and dealers. The LSC product range is extensive and covers diverse market sectors, such as live performances, traditional theatre, corporate theatre, worship, educational, television, film, exhibition and architectural lighting. Equally, the customer profile for LSC products is quite diverse, encompassing some of the world's best known Opera Houses and Theatres, major Touring Production companies, National television studios to local community theatres, schools and churches. Where you require good, reliable lighting control for your show - you will find the name LSC. 65-67 Discovery Road, Dandenong, VIC 3175 +61 3 9702 8000 info@lsclighting.com.au lsclighting.com Moving Light Productions Moving Light Productions (MLP) is one of the leading production companies in Victoria and now Australia. Moving Light Productions has provided lighting designs for shows and companies such as London’s West End International Touring show Peter Pan Goes Wrong, The Play That Goes Wrong (Australian Tour 2017), Les Misérables (Launceston, Tasmania), Avenue Q (Her Majesty’s Theatre Melbourne & Crown Theatre, Perth), Wicked (Launceston Tasmania), In The Heights (Australiasian Premiere), Jon English’s Paris - A Rock Odyssey (2017).

With many years of experience in professional theatre and independent theatre, Moving Light can design a light show to suit your needs whether its using the in-house standard rig through to a LED and Moving Light Rig incorporated with LED Screens. They can customise package lighting with designers that will suit your school production or concert. With the innovation of LED Screens Moving Light Productions has access to the highest quality of high resolution LED Screens that can be used for any type of production.

They are passionate about what they do and their staff will be on board with your production all the way through to the bump out. All staff at MLP are willing and wanting to work closely with your staff and school giving you the most professional result. Contact Jason Bovaird to discuss your next production.

Factory 10, 22 Makland Drive, Derrimutt, VIC 3030 +61 4 0955 2936 jasonmovinglights@gmail.com movinglight.com.au

Sound And Lighting directory: bit.ly/2nEHzGK

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Pelican Productions’ Chicago - High School Edition.

Scenery Magic For Local Productions Australia’s largest commercial set building facility has been acquired by Theatre Safe Australia (TSA) and is open for business for theatre companies and schools of all sizes.

Since the Scenery Workshop’s launch in Adelaide in 1979, the facility has been the set manufacturing powerhouse behind a massive range of productions, from The Phantom of the Opera, Cats and Matilda to Moulin Rouge! The Musical.

TSA took over management from the Adelaide Festival Build your vision with the TSA Workshop Centre in August of the facilities, described as a hub for theatresafe.com.au/scenery-workshop the fine art of scenic building, painting, construction and electrics.

The company is offering its services for major touring productions and smaller companies on a budget.

In a recent project, the workshop team created a visually stunning set which they hired to Pelican Productions for their stage show Chicago - High School Edition.

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Pelican Productions is a vital part of the performing arts community in South Australia, with a dedicated team of professional vocal tutors and choreographers who foster young up-and-coming talent in musical theatre.

The set is also being adapted for their latest production, School of Rock, which is financially beneficial for the company, enabling it to spread the hire cost across different shows.

Kylie Green, Director of Pelican Productions said, “The visual effects of the scenic elements that were added to the stage helped to bring our production to life. Our budding young performers were immersed in the magic of theatre, along with the vibrant and enthusiastic audience.”

Now part of TSA, Duncan Barton, Workshop Production Development Officer, explains how it’s opened the workshop to new channels to reach local schools and community theatre.

“Our passion for creating magnificent scenery does not stop in the workshop.

We want to assist creating pathways for young people and aim to inspire the future of performing arts in Australia. Our skilled team work closely with schools, colleges and universities to build and maintain stage sets that bring local productions to life.”

Under one roof the TSA Workshop offers carpentry, engineering, sculpture and props, scenic painting, set electrics, rigging and automation, theatre maintenance, drapes, scenery hire, workshop tours and educators’ professional learning events.

For the schools and local community theatre, the workshop can now offer set building and hire, rigging and automation and maintenance programmes.

Rosco Celebrates 30 Years Creative Film and Theatre Solutions is the exclusive agent for Rosco Products in Australia and New Zealand - supplying to the performing arts and entertainment industries for 30 years.

The company has kept its business ticking over under trying circumstances in 2020 but is excited about the year ahead.

Rosco Laboratories - a lighting equipment, live entertainment, film and broadcast equipment supplier - is committed to being a one stop shop for producers.

Products include paint for scenery and props, and digital compositing paint for blue and green screens - formulated with the assistance of video technicians.

The company has what they describe as world's largest catalogue of gobo templates, created by lighting designers.

They also have LED Effects Projectors capable of throws of up to 33-ft (10m) engineered to create “stunning” illumination effects.

Other products include a full range of flooring. A popular line is Rosco's Chroma Floor, which solves the long-standing problem of repainting a studio floor for every shoot.

Creative Film and Theatre Solutions ship to all areas via their Sydney warehouse and have dealers in most capital cities.

Check out the product range at au.rosco.com/en, or get in touch with them on (02) 9906 6262 or by emailing sales@cfats.com.au.

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Behind The Scenes With Debora Krizak Acclaimed performer Debora Krizak is writing a special series on the unsung heroes of live theatre. For this edition she is focussing on sound designers and operators.

When it comes to performing, that age old saying is true - “you’re only as good as your soundie”. Over many years touring the country in rock bands, major musicals and cabaret, my overall experience on stage has often been dictated by whether I can hear myself clearly - as well as my fellow actors and musicians.

It’s a delicate balance that takes great skill to get right. What the audience hears and what a performer hears are often vastly different.

Having just completed a season in Packemin’s We Will Rock You at Riverside Theatres in western Sydney, I spoke to sound designers Chris Neal (We Will Rock You/Eclipse Lighting and Sound) and David Grigg (Pippin/ Sydney Opera House).

Chris operates his own audio/visual company and has produced We Will Rock You in an arena. David - a working musician - has emerged as one of Sydney’s most in demand sound designers.

Chris says, “On stage, I’m acutely aware of the challenges performers have hearing themselves. We now have in-ear monitoring which eliminates the need for bulky fold back wedges on stage and helps to control the spill of sound from the stage to auditorium.”

In WWRY, where we had a live rock band on stage, hearing myself and being able to pitch a tune was paramount. Initially there were some challenges, but by our first preview, Chris had our voices equalised, effects were programmed and by incorporating some vocal into the side -of-stage speakers, we were able to sing comfortably, without the risk of blowing out our vocal cords.

When a performer can’t get enough volume to sing over a loud

Debora Krizak.

Photo: Claudio Raschella.

band or orchestra the audience notices big time.

In a rock band, this is commonly overcome with the use of on-stage fold back monitors and a corded or cordless handheld mic. The performer can directly hear themselves in the foldback wedge and the sound engineer has control of the volume of the monitor. In-ear monitors are an added technical innovation as the singer can control the exact mix of voice and instruments they require in their fold back.

While the consensus is that they’re great, I’ve never been a fan of in-ear monitors as they create a slightly more superficial environment. There is something about being connected to the audience, and being able to hear what is happening around me.

“Not everybody understands the craft of what we do as sound designers - they just expect the end result to be good,” says Chris Neal. He adds that to achieve the right sound

balance, it’s important to consider the positioning of the speakers in relation to the performer.

“You never want speakers positioned behind a performer. If we have the capacity to place a lot of speakers throughout the theatre at a low volume, we can achieve the same natural aesthetic without losing any energy or clarity.”

Often this must happen in careful negotiation with directors and choreographers, as speaker positioning can impact sightlines.

Audiences need to see the performers from every angle and no choreographer wants to set a ten minute tap routine where feet are obscured. So, who and what wins out in the end?

“It’s a negotiation process between us all and ultimately we have to decide what’s best for the show,” states Chris.

I’d love to be a fly on the curtain for that debate, however Chris and I do agree on amplification. Too often I see a musical and the first thing that lets it down is the sound balance.

Different styles of musicals can require more conservative sound mixing but I still like to hear the singers ringing straight through the middle of a swelling orchestra.

Perhaps it’s the former rock chick in me.

A musical requires designing a system for amplifying a live orchestra or band, usually in an orchestra pit beneath the stage, with live vocals from the cast moving around a stage.

David adds that this means every instrument has one or multiple microphones positioned in front of them, and each cast member has a wireless microphone positioned on (Continued on page 92)

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technicians that there’s a problem with a particular mic. their head somewhere. Whereas a live During my stint in Cabaret, we lost band may use a handheld mic, microphones in the thick of the show theatre performers have radio on opening night. With many sound microphones carefully positioned in desks now being digital, it can take wigs at the top of the hairline or time to reboot. In this case they what’s referred to as a ‘Madonna mic’ stopped the show. The lead at the side of the mouth. performers left the stage, to pick up Often there are several mics for where they left off ten minutes later. each lead performer in case one David adds that there are plenty of becomes redundant (malfunctions) other challenges that sound designers due to sweat, loss of battery or even face. physical damage. When this happens “You’re trying to get the show it’s the sound operator’s job to switch sounding the same from every seat in mics and communicate to mic the theatre, with the music having plenty of impact, yet having clear and easy to understand vocals. At the (Continued from page 91)

same time, you also want to avoid feedback which is caused by amplifying microphones too loudly into poorly positioned speakers. Once you have that designed, next comes the creativity of vocal and music effects, triggered sound effects, and programming.”

David recently made the transition from musicals to straight theatre which he says requires more creativity.

There are no live instruments, so most of the design is in the sourcing of music, atmospheres and sound effects that help support the storyline. With a play the sound bed is pre-recorded or pre-programmed. The potential for error or last-minute changes is real.

“During the final rehearsals you may have to record sounds, shorten a piece of transition music, or even change the location of a scene. All of these are time consuming, and you become particularly good at letting your creations go if things get cut.”

Well, getting “cut” goes hand in hand with our profession. It’s good to know that putting yourself out there doesn’t just resonate with performers.

“Sound is incredibly personal. You have got to have a thick skin. What one person says sounds fantastic, another may say is too loud.

Achieving optimal sound balance is ultimately a collaborative effort and it’s our job to manage all of that.

When a show settles and everyone is working at their peak, that’s when we achieve the perfect balance.” said Chris Neal.

Mic Drop What’s it like working with stage and musical performers?

David: “For the most part it’s a joy. You’re working with passionate people to achieve their vision and when you have mutual trust, it’s an absolute ball.”

Any advice for up-and-coming soundies?

David: “Networking. Say hello to everyone and be a good energy to be around. Get to know everyone you work with and be kind because I promise you, you will see them again.”

Chris: “Get yourself involved in live theatre. Find a theatre group - watch, help get involved. Break down the things you like and don’t like. Watch and learn.”

Most valuable personality trait?

David: “Patience. Remember you’re making art. Art takes time and patience.”

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Hearing The People Sing Again What does an audio event company do when it goes from expecting its busiest year ever to zero bookings? David Betteridge from Loud and Clear Audio in Sydney explains that kindness and Government policy saved his business.

When asked to reflect on the impact of COVID-19 on our industry, as technical suppliers to the arts sector, it struck me how important the mantra is, that a business is defined by its people.

Building the right team and sustaining them leads to passion and growth, and loyalty to your brand and one another.

We have a core staff of five in the office here in Sydney, and like many in our industry, have a huge list of freelancers. Our primary source of work is musical theatre, both full production and hire, with a small amount of corporate event work, and a growing pro audio sales division.

On paper 2020 was looking like the busiest year in our history by a big margin - and we were suitably hyped and preparing ourselves, about to invest in more equipment, staff and training.

Then came those crazy few weeks at the beginning of March when the news was of nothing but the rising pandemic, and the phones started ringing and ringing. Within two weeks our planner was completely empty. Not a single job on the books.

As a business owner the first thing that comes into your mind is how to protect your staff. And to this end I congratulate the Federal Government for their response. I know many will disagree with me - but for us, it was tailored correctly and implemented quickly.

Yes, we were one of the first industries to shut down completely, purely based on the nature of what we do, and will likely be one of the last to fully open again. Yes, it would be nice if there was some additional means testing specific to our game to extend it further. Yes, it was a bit glitchy at the very start - but without it, we would no longer be trading. JobKeeper provided just the right amount of wages support to reflect the work we found to do.

(Continued on page 94)

Notable Theatre Company’s Les Misérables.

Photo: Grant Leslie Photography.

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(Continued from page 93)

We did what nearly all in the biz did - reduced hours, talked with banks and suppliers, and learned to manage a world of uncertainty.

The warehouse team cleaned everything we owned, at least twice. The accounts managers spent their days rebooking and cancelling and re-booking work. Suppliers were amazing, extending deadlines. But what about the banks? Ours was bloody useless! It managed to screw up just about everything it promised to do.

Looking forward it would be helpful if JobKeeper was extended, and we would most likely still qualify but (and I speak only for myself here) eventually someone, and that someone is each and every one of us, has to repay that debt.

And as much as we love our industry, just like sound is one department of many in a full-blown musical production, we are just one industry in a nation of many working towards the same goal.

I think we can survive from here, now that things are beginning to slowly open again. I do want to thank many of my colleagues with small businesses that we collaborate with, who throughout the whole period would call to see how we were, or drop in for a chat and a coffee. They supported us with solidarity, encouragement, and friendship.

Another significant factor in our survival was the loyalty and kindness shown by our customers. “What can we do?” many of them asked. I suggested to some that they look at replacing old and worn-out equipment, and sales increased dramatically in some months.

We also collaborated with companies to live stream events, all within the social distancing restrictions in place.

A select few schools were determined to produce their shows, no matter what. How do you produce and perform a full-blown musical production when you can only have five singers, all spread apart from each other, and when musicians cannot play together?

Well, you record the whole thing, piece by piece, master it down, and then mix the entire thing with whatever live portions the rules allow! Pre-production took two or three weeks alone for each show, but the results were amazing and allowed some of our customers to give their casts the opportunity to stage shows that looked impossible on first pass.

We are blessed in having a lot of diversity within our customer base. Between professional, community, school

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PLC Sydney’s Virtual Choir Project - an online concert facilitated by the team at Loud And Clear. youtu.be/t9VXttFhse4

and corporate there was always a sector that needed a solution. Early in 2021 a lot of work continued to play the cancellation game, but in equal measure a whole raft of new work sprang from nowhere.

Also encouraging is the speed and efficiency of the health system in identifying new outbreaks of the virus and containing them within very short windows.

And so, to today. The cancellations have (almost) stopped.

I am still fearful for so many of our community theatre groups - some faced with even more issues than just COVID-19, such as losing their venues at the same time.

I do know that their customers, the theatre-going public, are desperate to get out and see their work again.

I hope that all the suppliers who contribute to making their work a reality (venues, rights holders, tech suppliers like us to name but a few) will stand by them and help them all to recover as quickly as possible. If ticket sales to Notable Theatre Company’s production of Les Misérables a few weeks back (our first community show since it all began) are anything to go by, then I already see the public are there in force to support them.

2021 is going to be a hard slog for us. But I believe that it will pave the way to 2022 being our biggest year ever. Everything that 2020 promised, just 24 months late.

Loud And Clear’s warehouse staff were kept busy on cleaning duty.

Notable Theatre Company’s Les Misérables.

Photo: Grant Leslie Photography.

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Beth Keehn speaks to four of our award-winning sound designers.

Sound design is like an invisible character in a stage play - it can tell so much of the story, yet you might only notice it when it makes a fumble, staggers into a performer, or hits a bad note on the piano!

A fascinating role, sound design is tackled by intrepid practitioners who often have to compose music as well.

Interestingly, the four sound designers I spoke to recently came to the role in different ways - but all share a passion for sound and music, and working with directors, cast and crew to help them use the unique sonic palette to bring a play to life in engaging and innovative ways.

Steve Francis has worked for Australia’s leading State and independent theatre companies including Bangarra Dance Theatre, as well as in film and television.

“The key to theatre sound and music is knowing when to stay out of the way,” he said.

As a guitarist and sound designer,

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Steve has an innate understanding of how sound can complement other storytelling elements.

“When I’m composing for a film, I always chat to the sound team because it’s good to know what they’re bringing to a particular scene.

You don’t want to be telling the same story or stepping on each other’s areas. The key to theatre sound and music is knowing when to stay out of the way.

“Sometimes the playwright will have a distinctive idea for sound. In his play Appropriate, Branden JacobsJenkins mentions cicadas, and Director Wesley Enoch (Sydney Theatre Company) had specific ideas about using them as a prevalent noise throughout the play. To add dynamic, I incorporated music into the sound effect.”

For Bangarra Dance Theatre’s SandSong, Steve worked in the opposite way - adding sound to music.

“We took a trip to the Kimberley

to document some traditional songs, but I also recorded atmospheres and natural sounds to add to the score sometimes the non-musical aspects can ground you in the play’s particular world.”

Steve is starting work soon with Director Sam Strong on Boy Swallows Universe for Queensland Theatre (QT).

“I will set up my studio in a friend’s garage space and I’ll stay for the 5-week rehearsal. I usually take in some schematic ideas - a mood board version of the music - but then I’ll respond to what Sam’s doing with the actors. I love being around rehearsals. Hearing the actors perform is an inspiration.

“Also, we’ll chat about the design - the set design by Renée Mulder is extraordinary, with a large video element. That informs my world. Boy Swallows Universe has some very bold moments and I imagine that we’ll have some very bold storytelling within the sound design as well.”

Where to hear Anna’s work: Fertile Ground Metro Arts. May 25 to 29. metroarts.com.au

Anna Whitaker at the Home Of The Arts (HOTA) Gallery.

Photo: Daniel Kassulke.

Caesar La Boite. July 17 to August 7. laboite.com.au Anna Whitaker works as a composer, sound designer and audio engineer.

“There are so many different elements - that’s what I love about the role!” she said.

Anna thrives on collaboration and her work is multi-faceted across composition and sound. Her background was in classical music and violin, but it was while studying a Bachelor of Music Technology at the Queensland Conservatorium that she learned about studio production, mixing and live sound.

“As a composer and musician, it has been so useful having developed those skills for sound design in theatre. Having that understanding of the technical side has been incredibly

helpful in workflow and efficiency, especially when you often have short periods to write a lot of music, or a client wants an orchestral piece recorded.

“Sometimes you wear a lot of hats - you have the creative process with writing the music, and then you have to mix it and master it all, as well as the sound design, making sure it all

Where to hear Steve’s work SandSong: Stories from the Great Sandy Desert Bangarra at Sydney Opera House. June 10 to July 10, then country-wide until September. bangarra.com.au

sounds unified and together, and then programming it all in QLab. I love getting in the space early, meeting the director and the cast, talking with the artists about the emotions, the feeling of the world that we are creating and get an idea of what that sounds like.

(Continued on page 98) Steve Francis at work on Bangarra Dance Theatre’s Dark Emu (2018).

Photos: Daniel Boud.

Boy Swallows Universe Queensland Theatre. August 30 to September 18. queenslandtheatre.com.au

stagewhispers.com.au Stage Whispers 97

Julian Starr.

Photo: Courtesy NIDA.

Staging & Theatre Tech

(Continued from page 97)

“I love the variety of doing technical work, sound design, composition and installations.”

In 2019 Anna shared a Matilda Award for Best Sound Design/ Composition as Associate Designer with Luke Smiles for Throttle - an immersive ‘B-Grade Horror’ dancetheatre piece by The Farm, set in a drive-in theatre space. “(For) Throttle the audience sat in their own cars and watched it in a field. The sound was all heard through the car stereo system via a dedicated radio station. There was dialogue, atmos, sound effects - it was quite intense.

“I love collaboration and the variety of technical work, sound design, composition and installations because I want to be open to all areas of sound. I enjoy the constant stimulation and getting to work on so many different types of projects.”

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Where to hear Julian’s work: Late Night Staring At High Res Pixels Finborough Theatre online. finboroughtheatre.co.uk Hyperdream The Old Fitz Theatre. May 15 to June 5. redlineproductions.com.au Julian Starr works in Australia and London as a sound designer and composer in venues ranging from the West End to castles.

“My role is to collaborate with the director and creative team to deliver the best utilisation of sound and music,” he said.

“When I decided to work in the theatre, I wanted to become a stage manager. But, while working with Sarah Goodes at NIDA I realised I wanted to get more involved in music and sound. At the end of my third year I was awarded a scholarship that took me to the UK, where I worked with sound designer Paul Arditti at the National Theatre, and on the Royal Edinburgh Military Tattoo, and Mel Brooks’ Young Frankenstein.

“My role is to collaborate with the director and creative team to ensure

creative problem-solving and deliver the best utilisation of sound and music to support the show’s narrative, character development and other design elements as a whole. In 2019, I designed and composed for 25 shows. Then - like so many others - I lost a whole year of work in one day.

Back in Australia, director Heather Fairbairn reached out as she’d just started the Hive Collective at Metro Arts. When she gave me the script for Elektra/Orestes, I jumped at the opportunity.

“A month before rehearsals, Heather visited my studio and gave me three words: ‘dark, distorted and twisted’. ‘I can do that!’ I said. The play is in two settings and the second half goes back in time - we used sound to set up the tension for what is about to happen. I like to bring

Tony Brumpton.

Photo: Queensland Theatre.

Where to hear Tony’s work: Taming Of The Shrew Queensland Theatre. May 8 to June 5. queenslandtheatre.com.au The Time Is Now La Boite. May 24 to June 5. laboite.com.au Ishmael Dead Puppet Society at QPAC for the Brisbane Festival. August 30 to September 11. qpac.com.au

something new and interesting to a show, and I had just received a custom-made synth from Resonant Garden in LA, so many of the sounds and musical textures I created for Elektra/Orestes were heard by Brisbane audiences for the first time.

“You do have to be flexible because if the show’s changing, you have to adapt with the show and other creators. For example, I worked on a devised show called Scrounger at the Finborough in early 2020 and the director, Lily McLeish, played me a film soundtrack that sent me in a new direction. When that happens and a director likes a key element, then I know how to do the show. I usually lock myself away for 72 hours and complete the score - the ideas - you just have to work hard and fast to deliver.”

Tony Brumpton has regularly worked for Queensland Theatre (QT), Black Swan and Dead Puppet Society (The Wider Earth, Laser Beak Man).

“I am actually thinking of the audience and what their sonic journey is going to be,” he said.

Some sound designers start from a musical background, but it was Tony’s technical skills that got him his first gig. It was for QT - Absurd Person Singular by Alan Ayckbourn an FX-laden script. Tony stepped up and found his route to sound design.

He is currently back at QT and in rehearsals for Taming of the Shrew.

“Shrew is an unusual sound design because director Damien Ryan has reimagined Shakespeare’s play in a new time period - so we’ve been looking at music and sound that fits.

We had meetings a couple of months ago about what the concepts were.

On other shows, we can start years in advance. We’ve been working on Dead Puppet Society’s Ishmael for nearly three years - partly due to the lockdown, but also because it’s incredibly complex and we have to build the sounds from scratch.”

In 2017 Tony flew to London to

help premiere Wider Earth as the first theatrical show to grace the heritagelisted Natural History Museum. The team had to build a new space to host the show in just six weeks.

“With puppets, it’s a more intensive process because you have to develop the sound design as the script is being developed - coming up with an ‘aural stenography’ - the whole world, rather than just separate sound and music. I am actually thinking of the audience and what their sonic journey is going to be.

“For Dead Puppets, the musicians are usually recorded first and then I come in. For other shows I tend to take on the whole thing - writing music, finding soundscapes. And, in theatre (unlike film) I am often designing the speaker system, making sure it suits the venue and is immersing the audience in the right way.”

Tony juggles his time between hands-on theatre work and lecturing at QUT. “I choose theatre projects that have something technically or acoustically challenging, or that support culturally important stories for example, City of Gold or Black Diggers. Academics should have some idea of practice - getting hands-on and being active and involved - so they can inform the next generation about the issues they will be working with.

“With every project, I try to pick one new thing to try. I also value the people you get to meet - it’s never like showing up to an office job - you still spend a lot of time looking at spreadsheets, but different ones each gig!” stagewhispers.com.au Stage Whispers 99

Tony Award-winning lighting designer Howell Binkley (1956 - 2020) discussed his work on Hamilton during a 2018 webcast at livedesignonline.com. David Spicer has selected some of the highlights, illustrated here with images from the Australian production.

The show starts with a warm white sepia look. There is no blackout during either the first or second act - the machine starts and does not stop. There’s a lot of storytelling ground to cover - ballads, love stories, battles - so every song has a unique signature to avoid repetition.

It is not until Hamilton goes to war that some colour is integrated.

There is a lot of isolation in the course of the action. The leads are broken up in different settings. The wood in the set has a major impact. It takes colour beautifully.

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Online extras!

The Australian cast of Hamilton.

Photos: Daniel Boud.

Watch the full Howell Binkley webcast at Live Design Online. Scan or visit bit.ly/3vdNSyv

King George has his own motif. It is a vibrant off-the-chart look that is comic relief after a battle to break all the tension. The director came up with the idea that when he says “blue” the lights switch accordingly.

The fabric of the girls’ dresses works favourably. They take colour well and are vibrant. Low side lighting is used to drive the sculpting of the dancers. The cream colour of their costumes take the light beautifully.

stagewhispers.com.au Stage Whispers 101

Blending Screen And Stage Video is becoming more popular as a tool in live theatre. In an adaptation of Kafka’s novella The Metamorphosis, NIDA Technical Theatre and Stage Management Student Joel Mallett designed cinematic effects to extend the audience’s experience.

The original novella follows the story of Gregor Samsa waking up as a monstrous insect. The concept of the project was to combine the best elements of cinema and stage to allow the audience to get perspectives, reactions, and views of the play to elevate and extend their experience.

The screen started in front of the set and then moved up as seen in the photos. The reveal created a line between stage and screen to amplify and connect the cinematic aspect of the show from the moment the audience first entered the theatre.

We decided to mimic a 1912 horror film and contrast the colours in the set below to the black and white screen above. The cinematic experience for the audience was with a 35mm grain over the whole image, aiding in the

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motif and concept of the show, while also helping to ground the production in time.

With a permanent wide shot of the set and live action below, the screen above allowed the audience to view close-up shots and delve into the characters’ journeys. The choice of shots, and their strategic use in scenes, allowed the screen to almost become a 6th character or the play’s narrator.

This production was technically ambitious. Using seven cameras, over 500 metres of cabling, a vision mixer, a media server, and a wireless video transmitter, the team of five in the video department had their work cut out for them. While looking visually simplistic, the amount of work that occurred backstage was astronomical from all departments. With additional

details not usually seen in theatre added to the set, props, costume, lighting, and sound elements, everyone on the production was a key collaborator to pull off the combination of live cinema and theatre.

I am incredibly proud of this production as my third-year design role as the Director of Photography and Video Designer at NIDA. My time in the Technical Theatre and Stage Management course has made me excited to see the implementation of video in future productions and the evolution of live cinema. When I graduate from this course next year, I want to become a Stage Manager for any genre of theatre as well as a video designer for independent theatre productions and video installations.

Showcase “This is one of my favourite moments of the play and highlights the benefit of the production being live cinema. As the family are still unsure what has happened to Gregor, someone unfamiliar to the family appears at the door. The haunting shadow aims to heighten the fright of the family and give another perspective to the audience.”

“This shot of the father aims to capture his attempts to return to a life of normality after discovering his son is now a bug. Despite Gregor, in the other room, roaming around under his bed and moving across the room, Father chooses to ignore this and starts isolating and alienating Gregor from his own family.”

“At the end of the play, Grete and the family try to make themselves more presentable for a possible tenant in their home. This would be the family’s first chance to elevate their status and earn more money since Gregor is unable to work. Capturing Grete applying makeup in the reflection of a window allows for the audience to see all the family members at once.”

“By showing the family from a different angle through the living room window, this shot aims to replicate their alienation of Gregor. This slanted shot mimics the chaos going on inside. By capturing the silhouettes of the family, it draws parallels to Gregor’s appearance in his room, and the loss of light and hope in him as also presented in the lighting design.”

Applications to study at NIDA in 2022 are now open. Visit apply.nida.edu.au stagewhispers.com.au Stage Whispers 103

Multi-award-winning Nick Schlieper talks to Martin Portus about the rigour and magic of lighting our landmark operas, plays and dance works for four decades.

STC’s Saint Joan (2018).

Photo: Brett Boardman.

104 Stage Whispers Let’s Put On A Show 2022

Nineteen-year-old Nick Schlieper first plugged into his craft alone backstage at Doris Fitton’s old Independent Theatre in North Sydney in 1977.

It was a time in Australian theatre when the lighting guy was usually one of the mechs. Nick was the Independent’s resident stage manager; restless, he began experimenting every night during the show by shifting around the lights.

Actors learnt to just work around it.

Schlieper has been playing with light ever since, earning - and demanding - a respect for the precision, invention and storytelling role of his craft, and his very distinctive signature in lights.

It’s no surprise that painters are his first inspiration - think Turner and Edward Hopper and Nick’s own late brother. Michael Schlieper, Nick’s senior by 11 years, would work on his canvases through the night at the family home in Chatswood. Every morning, getting ready for school, Nick would observe the added layers, the depths appearing from new light and colours.

“I think I learnt most about lighting design and light from that exposure, watching him painting and then, growing up, talking to him about it, and watching his style change radically over a few decades,” says Nick.

“He started out as a wildly abstract painter, went through a very figurative, so-called Teutonic, social commentary period and then ended up painting landscapes but with a great facility for technique, which I learnt from him.”

Nick’s start in stage management also added a practical insight into the logistics of theatre - and the required diplomacy. He was soon responsible for casts and crews far older than he, calling shows, later operas, with the big companies in Sydney, Brisbane and Adelaide. Finally as a production manager, young Schlieper always had work …until, that is, he put out his shingle as a freelance lighting designer.

The jobs were few but, somehow, he scored the lighting gig on the STC’s Summer of the Seventh Doll and

Away, both of which went to New York in 1988. He remembers Roger Kemp’s three model houses signifying the three families intersecting in Away.

“It was played in tight areas and was the first time I had to create a naturalistic pool of light in an abstracted stylised space yet evoking a sense of place. And I approached it from an incredibly simple point of view - of standing under a light bulb, but expanded.”

German director Harald Clemen commissioned Nick to light a show at the prestigious Schillertheater/ Berlin just before the Wall came down,

angles, very cold light, all things very unfashionable then.”

Home he may be, but Nick was also staggered at the absence in Germany of expressive techniques in lighting design. Images of German theatre may look stunning, but the lighting was fixed.

The idea of leading the audience’s eye, lighting the actor and expanding on the emotion was becoming essential to Nick’s story-telling toolkit back in Australia but, then at least, it was foreign in Germany.

“Germans called it dramaturgical lighting, and actors even said to me that they resented me doing their job

Bangarra’s Bennelong (2017).

Photo: Daniel Boud.

which was, he says, like “dancing on a volcano “ with the arts integral to everyone’s fervent conversation, and part of the arsenal between East and West.

“And at the theatres I suddenly understood where my aesthetic had come from - it was like coming home,” says Nick, whose family immigrated from Germany.

“In Australia I was jokingly criticised for my work being very Teutonic, very stark, without much colour. I spent a lot of time making people look right, not nice - which is not the same thing. I do use very steep

for them. It was best to do it under fluoros and with the house lights on!

It was a Brechtian hangover.”

Times have changed. Nick went on to work regularly across Germany, and notably at the Salzburg Festival: he’s just returned from there, lighting a brilliantly urbane contemporary version of Médée. For more than a decade he’s taught lighting design in Munich and he went on to see WAAPA in Perth establish Australia’s one major lighting course.

But ‘dramaturgical’ remains his best descriptor. He rejects all jobs (Continued on page 106)

stagewhispers.com.au Stage Whispers 105

half hours.

And it was all the harder, given his block about Wagner, one he suggests is common in many Germans.

“It just makes me very uncomfortable, to the base of my spine, since it’s so laden with his vile thoughts…. so learning what I find fairly repugnant music was a challenge.”

Still, five years out, he joined the creative team, all of them leaving behind their phones and locking themselves away in a Blue Mountains retreat.

“But at the end of that week at “Camp Wagner”, we’d only got as far as the first five minutes of the first opera, and most of that was the prelude! time and place, then they’d all look “Still, all that time we were (Continued from page 105) the same. And once you answer that addressing the whole framework with unless he’s included from the start in question, you find the environment in the same question - why are we doing that first collaborative planning with which you’ll do it.” this work yet again and why in the director and other designers. He All this was well tested when Nick Adelaide?” reads the script or score over and over and his frequent collaborators, This landmark Ring had massive, again and, he says, he eschews tricks director Elke Neidhardt, and set and strikingly lit set pieces, but here again and focuses his lights only on costume designers Michael Scott for the lighting designer the priority advancing the meaning of the work.

Mitchell and Stephen Curtis, started was story-telling, of not losing sight of “We start with that simple planning what was Australia’s first full the human stories over time. question - why are we doing this production of Wagner’s Ring Cycle. It “We always made sure that after work? It’s all the more vital a question was premiered by the modest sized fabulous visuals we came back to a when it’s a classic. I’ve done five State Opera Company of SA in 2004, permeable box with no scenery in it, productions of Macbeth; if you don’t but years earlier Nick was getting his just lots of light and that light in those ask why you’re doing it here at this head around a score lasting 16 and a interludes, even more than usual, with Nick Schlieper at the lighting desk for Love Never Dies (2012).

Photo: Jeff Busby.

Médée (2019).

Photo: Thomas Aurin.

106 Stage Whispers Let’s Put On A Show 2022

a focus all about the singers.”

With a set that filled 38 shipping containers (an average opera may fill three) and a lighting rig with a thousand lamps, this was the biggest theatre show ever staged in the country. Oddly for the celebrated designers, the job offers then dried up.

“You’re so easily pigeon-holed by this industry. I think we were branded as, they only do huge now!”

Nick however did join another trusted collaborator, director Simon Phillips, in 2006 to create the stage version of the film hit, Priscilla, Queen of the Desert.

“I’m not drawn to musicals but I was keen to get over my prejudice that they’re all flash and giggle and not much craft.”

With a colour palette beginning with hot pink, he was also repainting his reputation as a master of stark white light. Nick’s starting point with Priscilla was that every scene have the sparkle, the heightened colours, as though viewed through the lens of a drag show - just like back then at the famed Imperial Hotel in Newtown,

MTC’s North By Northwest (2016).

Photo: Jeff Busby.

Sydney. He admits that the lighting took a leap elsewhere, especially with the introduction of Brian Thomson’s magically inventive bus and a huge tech budget. And Nick finished up with a lighting plot of 2,500 cues.

The arc of Nick Schlieper’s career has seen an ever-growing respect from audiences, critics and industry colleagues - for the craft of a lighting

designer, and an astonishing shift in the technology at their fingertips.

“I’ve seen manually operated desks replaced by computer boards; football -sized globes replaced by ones golfball -sized; and colour temperature and heat emissions have changed so much we can have an expanded palette of (Continued on page 108)

stagewhispers.com.au Stage Whispers 107

Ring (2004).

(Continued from page 107)

colour gels. And importantly we can now have a whiter, less yellow light.

“At first with computers doing a lighting fade we missed the skill of a good operator, but now these have a control which is incredibly sensitive.

You can virtually move a host of lights throughout a show without the audience being aware of what you’re doing.”

A negative for Nick is LED technology. He argues it reduces the colour ring spectrum to just 70%; with the missing 30% so critical because that’s the light most sympathetic to skin tones, to lighting the actors and telling the story.

It didn’t stop him, however, employing a huge back wall of white light in the STC’s Cat on a Hot Tin Roof. The lighting bank initially simmered and then blasted direct into the audience, suggesting the fireworks - and raw emotions - that climaxed at the end of the play.

Nick has the perfect collaborator in STC artistic director Kip Williams, whose own stage signature often 108 Stage Whispers Let’s Put On A Show 2022

Nick Schlieper spoke to Martin Portus for a State Library of NSW oral history project on leaders in the performing arts; the full interview is now available on amplify.gov.au strips everything to an empty space, often with a revolve, defined with little set or clutter, and so often dramatised by cross lighting.

Their recent credits also include Chinamerica, with its complex storytelling across countries and decades; the epic dramatisation of Ruth Park’s Harp in the South; Brecht’s Arturo Uri with Hugo Weaving; White’s ghoulishly vaudevillian A Cheery Soul; and Shaw’s St Joan. He just finished lighting Simon Phillips’ STC production of Stoppard’s The Real Thing.

He remains a big fan of white light and cross-lighting, and his reasoning, of course, comes back to what’s true to the performers.

“It solves the age-old problem of people standing next to each other talking as we do in real life, by lighting along the axis they’re speaking to each other.

“And it gives such a sculptural

impact to dancers. It makes bodies look fantastic and faces so much more interesting and more present.”

Nick has lit six notable shows by Bangarra. With Patyegarang and the most recent, Bennelong, he’s lit Stephen Page’s significant shift to a dance theatre storytelling involving points of view both indigenous and colonial.

“In terms of the practical, it’s about being very careful about colour and choosing the optimum angle for dancers … but with the episodic story of Bennelong I also had to be wary about leaving the audience with a clear dramatic structure.”

He’s getting over being what he describes as “the whitest thing possible in that context, yes Aryan even!

“It’s a very useful reminder - as if it’s needed - of how strongly you can feel being the ‘other’, and useful to have the boot on the other foot.”

Riedel Riedel Communications designs and manufactures the most pioneering communications solutions for a theatre environment.

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We Will Rock You A Lighting Designer’s Diary

Jason Bovaird from Moving Light Productions and Daniel Jow designed the lighting for We Will Rock You, staged by Centrestage Productions in Geelong, using 800 lighting and vision cues in a combination of state of the art and old school rock lighting. Jason explains how they achieved this combination.

My first question to the production team was whether they wanted to replicate the professional production or do something new.

The director Paul Watson created a wonderful new set design that evoked the feeling of Wembley Stadium. It comprised a semi-circular row of seats that gave the feeling of the last remains of the stadium. This allowed us to have four 3-metre lengths of hanging truss to create the feeling of light towers. These pieces of truss had ray-cans hanging off them to also create the old school rock feel that Queen had in its earlier days.

I wanted to add a design element to the rig that had never been used before in a musical of this size and researched ways to incorporate revolving truss and moving lights. The problem was that most of the revolving 110 Stage Whispers Let’s Put On A Show 2022

trusses were way too big or only moved at one speed.

After months of investigation I found the perfect design from a company in Melbourne - Lighting Lab. The company had been testing a prototype from China - 1.5 metres in diameter with variable DMX speeds. It was perfect for the show, given that it required a “laser cage” to rotate regularly.

We put 230 beam “sharpies” on the truss as they would give a strong thin beam like a laser and also had some great gobos that would be used for many other scenes.

The most impressive moment that the truss was used for was the opening scene when director Paul Watson wanted to create the feeling of the cast member being chased by helicopters.

This moment had the rotating truss

revolving fast, with the sharpies in an open white to create the feeling of helicopter blades rotating.

A show of this size - with over 800 lighting and vison cues over 60 moving lights along with 150 generic fixtures - cannot be plotted in a normal production week due to the time in the theatre and the experience of the cast and crew.

It was decided to pre-visualise the show in a vison suite a week beforehand. Moving Light Productions engaged the services of Nathan Aveling from Starlight Productions and their factory. Nathan spent two weeks drawing up the scaled venue plan. He then created the lighting design in Vectorworks, which allowed the creative team to sit in virtual mode and begin plotting the cues of the show.

Being able to design the show in the visualisation suite with the director allowed us to be able to spend extra time on each of the cues and get the show almost perfect before we bumped into the theatre.

This allowed us to spend more time

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Jason has just returned from London having taken over Lighting Design of the hit West End show Peter Pan Goes Wrong, produced by Lunchbox Theatrical Productions, which opens in New Zealand before its Australian Premiere in Melbourne in December. His team will also design the lighting for Melbourne Luna Park’s “Luna Dark” Halloween event. www.movinglight.com.au

incorporating three LED screens: two thin 4-metre LED screens and a centre 8 metre x 4 metre large central screen into the production.

These screens provided all the story -telling content, ranging from “live feeds” through to moving images, still images and text. The screens were able to provide wonderful images during the show that also added the extra design element.

Putting all this together created powerful imagery that allowed the creative team to provide the audience with a strong, visually entertaining production.

Technical details: The story has an element of the old world and new world of Rock and Roll which needed to be shown through the use of parcans, moving lights, LED cans and lasers. The lighting rig consisted of 24 x Bumble Bee 330 spots, 12 x 230 Beam Sharpies, 12 x 60 watt LED Profiles, 30 x 8 watt LED Cans, 64 x Par VNSP Cans, 15 x 1500 watt Blinders, and 12 x Ray Cans.

stagewhispers.com.au Stage Whispers 111

112 Stage Whispers Let’s Put On A Show 2022

Taking Charge Artie Jones from Factory Sound estimates that more than a quarter of a million disposable batteries could end up in landfill after being used in productions each year in Australia. He says there is a better alternative.

Batteries, maths and landfill When it comes to the best way to power your wireless systems - alkaline battery or rechargeable - there are many factors to consider. The saying “Less is More” is the key.

A wireless microphone system that’s used for three performances, then put back in the cupboard until next year, equates to fewer performances, but a greater risk of battery leakage inside the wireless transmitter.

The risk of battery leakage from a nickel metal hydride (NiMH) rechargeable battery, however, is negligible, even if left inside a device for a prolonged period.

How much landfill is acceptable?

Let’s imagine a typical user of wireless microphones - the annual school production. A small-tomedium sized production, with a handful of shows and a couple of tech rehearsals, could consume 140 batteries for a production.

There are around 8000 schools in Australia. If just 15% of these attempt an annual production, 168,000 batteries would be used. Add to that a few end-of-year concerts, and it would be a very conservative estimate of 250,000 batteries heading to landfill annually.

This figure doesn’t include amateur theatre, professional

productions, theatre restaurants, nor the thousands of bands that use the same wireless systems and in-earmonitoring systems.

Brand-specific rechargeable batteries If you are the person responsible for wireless microphones, the very first thing you’ll notice is how quickly alkaline (single use) AA batteries disappear. It might be because the AA batteries have been ‘borrowed’ by students and co-workers, as they fit a variety of other devices.

Generic rechargeable AA batteries offer the ‘double-whammy’ of not only being desirable to the borrower, they also may not deliver the (approximately) 1.2V per cell consistently throughout the charged state.

Once your battery level drops, although the wireless will remain on, the actual RF performance - the quality of the wireless transmission will suffer greatly, leading to dropouts and possible interference.

The safety net and convenience factor With single-use alkaline batteries giving us a landfill concern, and generic rechargeable batteries possibly not performing ‘up to scratch’ , there are great reasons to choose a wireless-specific rechargeable (such as BA2015 for Sennheiser, or SB900A for Shure).

If you load your BA2015 into the Sennheiser bodypack, then drop it into the L2015 charger after the gig, it simply will not over-charge.

Similarly, if you put the bodypack into the charger without the correct BA2015 battery in place, it won’t charge. The safety nets are in place to ensure there is no danger of damage.

With a lifecycle of around 1000 discharge / charge cycles, using the correct NiMH rechargeable battery pack in the wireless transmitter, the battery is highly likely to last for the same number of performances as the wireless itself. Because they’re a unique shape, they are unlikely to be borrowed as well.

Smart RF (wireless) technicians keep a spare rechargeable battery for each wireless device, and they will also find a way to document the life of each battery. Get ready to buy another one after around 800 charges.

If all theatres and performance venues around the world approach battery usage the same way, imagine how much less landfill we would contribute each and every year.

For all your wireless microphone system needs (including spare batteries) get in touch with the friendly staff at Factory Sound at factorysound.com or on 1800 816 244.

stagewhispers.com.au Stage Whispers 113

Sound Advice Artie Jones from Factory Sound shares his tips for trouble-free use of wireless microphones.

Troubleshooting Wireless No matter how big or small the stage may be, wireless microphones are the essential first ingredient to help bring an intimate and detailed sound to the audience.

A well-designed system will always make the complex appear simple, and reputable wireless manufacturers have done huge amounts of ‘heavy lifting’ to make the set-up of a clear channel as easy as touching a button (or two).

Online extras!

Factory Sound can keep up to date with all of the latest in pro audio gear.

Dreaded Dropouts www.youtube.com/FactorySound There’s nothing worse than an unexpected ‘drop out’ of the wireless signal. It leaves the audience disappointed, while often proving to be unsettling for the performers.

More Antennas = More Headaches For inexperienced operators, there is nothing An unfortunate side-effect of having multiple channels surprising about wireless interference and drop-outs, if of RF running concurrently for a performance is that not the golden rules of wireless tech haven’t been followed only will the active channels have their own frequency before every show. signature taking up space in the RF spectrum, but extra nodes in between those frequencies will appear - kind of Rule #1 - Scan, Scan, Scan like a reflection - and this effect of intermodulation will It is the most basic rule to follow, and it costs cause, in some cases, interference to your wireless nothing!

With the maturing of wireless microphone technology channels.

Reducing the amount of antennas around the stage over the past decade, the process is simple. It involves area will actually decrease the amount of intermodulation, pressing a button on the wireless receiver (which will and so a well-designed Antenna Splitter is a great way to normally be placed at side of stage, or at the mixing desk maximise the efficiency and effectiveness of any multiposition), allowing it to find the most clear frequency channel wireless system. available. Then you simply sync the wireless microphone (or bodypack) to the same frequency, and voila, the system is ready for soundcheck, and the show.

The number one cause of wireless interference is failure to follow Rule #1. It doesn’t matter if the wireless system, or systems (more on that later) worked perfectly when you first pulled them out of the box, the fact remains that a scan will be the best way to avoid any problems.

Managing Multiples Sophisticated productions usually involve more than just one wireless system, which introduces a whole range of potential Radio Frequency (RF) concerns.

Adhering to Rule #1 when you are dealing with many wireless systems will involve a little more concentration, and large-scale set ups will usually involve a laptop with some kind of Wireless System Manager on-board, to assist with frequency scanning, channel allocation, and monitoring of RF integrity.

114 Stage Whispers Let’s Put On A Show 2022

Cables And Other Considerations Are you using the right cable for antennas? (50ohm, not 75ohm). Are the antennas in the right position? Can you select frequencies for your area that actually minimise the amount of intermodulation?

Managing wireless microphones can seem complicated, but really, follow Rule #1 and follow it often, and when it’s time to expand or refine your system, get in touch with RF specialists for advice.

Oh, and fresh batteries for every show!

Factory Sound is Australia’s largest supplier of professional audio equipment.

For sales or hire please visit factorysound.com, email sales@factorysound.com, call 1800 816 244 or stop by their showroom located at 75-85 York Street, South Melbourne.

Advanced Wireless Tips Artie Jones from Factory Sound follows up his Sound Advice from last issue, where Rule #1 was ‘Scan, Scan, Scan’, this time focussing on the successful, hassle-free integration of multiple wireless systems.

(Missed the first instalment? Visit bit.ly/2VUkuMq.) Antenna Splitter When using a good quality wireless microphone system, it will have True Diversity technology, meaning that the receiver will determine which of the antennas is receiving RF (radio frequency) the best, and instantly switch to that antenna. True diversity provides a constant signal, no matter where a performer moves on the stage.

The problem with multiple wireless is, with two antennas per system the abundance of antennas can cause extra cases of Intermodulation (interference between radio frequencies). A good quality antenna splitter will allow you to use just two antennas to pick up all the wireless RF signals on stage, and then feed those signals to the relevant receiver in the rack of RF goodies.

Not only is it neater, it also improves RF performance.

Types of Antennas Generally, there are two kinds of antennas to choose from - Directional or Omnidirectional. In a smaller theatre (especially relevant in a multipurpose auditorium), omnidirectional antennas may seem easier to use, because their performance it is not dependent on specific orientation. Unfortunately, you may also end up getting interference from sources that aren’t relevant to your audio, including nearby LED panels or LED lighting.

Directional antennas have the advantage of being able to focus on an area, thus rejecting sources of interference. They are also able to reach (pick up signals) farther in the direction they’re pointing than what is possible with an omnidirectional antenna.

Antenna Placement Best practice for theatrical stage settings is to place your two directional antennas 3 metres apart, pointing in towards the talent hot spots. This will ensure overlap of the ‘lobes’ of your antenna pickup patterns, helping to maintain the true diversity of your wireless system.

They can either be positioned both at the front of stage, or both at the back of stage. Get them up high, but not too high. Somewhere between 2m to 3m is ideal, and remember, mounting them on some lighting truss could cause unwanted RF interference.

To Boost, Or Not To Boost?

This is one of those “a little bit of knowledge can be dangerous” situations. Products that come under the Antenna Booster category do not help ‘boost’ the effective reach distance of your receiving antennas. Correct placement is the best way to cover your stage area.

Antenna boosters are very useful to counter the detrimental effects of having a long cable run. Boosting helps negate the attenuation of your signal that occurs between your antenna and splitter, when a long cable run exists.

However, for most smaller stages, where 15m of good quality antenna cable (stranded, solid core, low loss, 50 ohm) is adequate, using any Antenna Booster will adversely affect the signal, causing your audio signal to be degraded, and losing some of the ‘top end’ brilliance.

As always, get in touch with RF specialists when it’s time to expand or refine your system.

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stagewhispers.com.au Stage Whispers 115

capsule. In an emergency, try the triangle-tape technique, to secure and surround a lavalier capsule.

Keeping Mics Hidden

Artie Jones from Factory Sound shares his tips for schools and amateur theatre companies on discreet and crackle free use of microphones.

An incredible amount of research, design and engineering goes into producing every microphone you can see (and those you can’t see) in use on the stage and in studios around the world.

This won’t guarantee perfect performance every time. There are steps you can take to improve performance - or at the very least, prevent audible interference or physical problems that arise from misuse.

options, but there is no guarantee the sound will be great, unless some careful steps are followed Securing a miniature lavalier microphone right at the hairline, at the top of the actor’s forehead, is a great place to hide the microphone. It also picks up a very natural sound from the singer, without overloading the capsule via a ‘proximity effect’ (the more pronounced bottom end sound which you may get from a handheld mic when it is closest to the source).

Shrinking Graduation Other places include elsewhere In Primary School performances, around the hairline, such as above the lead roles often pass a handheld ear. Underneath clothing is an option wireless microphone to each other for some actors and costumes, but the when there is a line to deliver or a song horrible sound of clothing rustle on a to sing, while many Secondary School microphone capsule (which can sound productions will feature headset like wireless microphone interference) microphones. may then arise.

More sophisticated productions will ‘feature’ microphones totally hidden Tale Of The Tape from the audience, but what is the best Essential in the theatre audio toolkit way to do this? is tape, and lots of it. Gaffer Tape (the 510-matte variety), Hypoallergenic Invisible, Not Impossible surgical tape, Lav tape, and specially Moving to miniature microphones, prepared Undercovers and Stickies are often called lavalier microphones, is a all useful in making sure the capsule step in the invisibility direction, but this stays put, and the actor is comfortable. usually comes at a cost. A highShould a microphone need placing performance microphone capsule under clothing, the UNDERCOVER smaller than your pinky fingernail is not range of adhesives makes sure that the only often priced higher than the other apparel does not rub against the

116 Stage Whispers Let’s Put On A Show 2022

Stashing The Pack For each mini microphone, a wireless transmitter (bodypack) will be required.

It’s easy to imagine simply popping it under some clothing, but steps need to be taken to ensure both the integrity of the wireless signal, and also the longevity of the wireless transmitter.

Sweat from an actor’s skin is the number one enemy of sensitive electronics, so care must be taken to avoid direct skin contact. A protective neoprene pouch is often used to safely strap a pack to the waist area.

Sometimes an extra layer of protection via a latex sheath is used if the actor is “a sweater”. Moisture seeping into the electronics of a bodypack will decrease the functional lifetime and affect the wireless integrity.

Antennas must be clear of any metals to avoid ‘detuning’ the wireless signal and ensure they are allowed to sit in their ‘straight’ position, without an unnatural bend.

Before Moving To Miniatures Both the “Primary” and “Secondary” microphones listed above are not without their charm and benefits. While a handheld microphone has the obvious drawback of taking a performer’s arm away, it does offer the most flexibility for a powerful singer.

We can all visualise the action of a singer being able to control how far away from their mouth the microphone capsule sits, depending on how hard they’re belting out a note.

The headset solution turns fixed distance into a feature, by ensuring the microphone capsule is in exactly the same place for the entire performance.

In effect, the microphone moves with a performer’s mouth, so every time they turn their head for a stage direction or choreography, the microphone capsule is right there ready to capture the sound without missing a beat.

As always, if wireless microphones are causing more headaches than you can handle, get in touch with an RF specialist to make sure you get looked after.

Microphones In The Pit

Royal Opera House Covent Gardens Photo: Sim Canetty-Clarke.

Artie Jones from Factory Sound dives into the orchestra pit to help ensure your magnificent musicians can be heard with clarity.

The ‘spot’ microphones that work best are usually a small diaphragm ‘pencil’ condenser mic. Use one of It’s not just about the audience the mixing engineer to blend the these for each of the sections that From a full 2,000 seat theatre, music with the cast’s wireless may need a little extra tickle of right back to a small school microphones. Once this is blended volume to be heard when the whips production held in the multipurpose nicely, it’s all sent out of the speakers are really cracking - like the smaller hall, it’s not ‘just’ the audience who for the audience, which has the effect hand percussion, or flutes. needs to hear the right balance of of the sound ‘making sense’ all music and singing. In fact, the coming out of the same place (even if Limitations of the mixing console performers on stage are the first ones the audience doesn’t realise it’s Unless you’re involved with a big who need to get a clear feed of the happening).

Broadway show, with 180+ channels music, to ensure pitch and timing of worth of microphones and a their singing is perfect.

Getting the right balance sophisticated mixing system, there will When the music is provided by Having a great conductor is the be a point where you’ve reached the (gasp) a CD or laptop, it’s even more best way to ensure a nice balance maximum number of microphone important to have a speaker on the between all the instruments. channels available on the mixing side of stage, pointing at the However, if you’re doing West Side console. performers. This ‘foldback’ speaker Story, it’s hard for the percussionists For smaller shows, it may be 5 or 6 makes it much easier for the singers playing finger cymbals, small maracas wireless packs, 2 or 3 hanging to have the best chance of singing in and claves to keep up with the microphones for the stage, a couple time, and in pitch. Waiting for the volume generated from seven brass of ‘floor’ microphones for the stage sound to travel from the Front of and the ‘orchestra pair’ plus 3 spot players. Equally, the flute may House (audience) speakers, back to struggle to heard over the 12 string microphones for your musicians. Very the stage can be problematic. players. quickly, that has already added up to 16 channels (which is the size of a This is where ‘spot’ microphones Microphones for the band in combination with ‘orchestra’ small digital mixing console).

Having actual musicians perform microphones become important. the score is easier than playback in Setting up a pair of microphones We’ll take a closer look at different many ways, but it’s not without its (large-diaphragm condenser mics microphones for specific instruments, own set of concerns. work very well for this application) to along with hanging and floor Depending on where the record the overall sound of the microphones for stage in the next musicians are positioned, there may orchestra are essential. This will allow edition of Tech Tips. be no need for the abovementioned As always, get in touch with a ‘feed’ to the foldback monitor on ‘foldback speaker’, as playback is now stage (if needed), and also a feed to microphone specialists if you need generated acoustically, with no CD or the backstage/green room area. more immediate information. laptop involved.

Factory Sound have the skills and expertise to help guide your At the very least though, a couple next microphone purchase. Call 1800 816 244 or visit of microphones picking up the ‘overall’ sound of the orchestra allows factorysound.com

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Going Wireless Using a hard wired intercom system was proving one big headache for students and production staff at the Western Australian Academy of Performing Arts at ECU.

WAAPA is recognised nationally and internationally for the quality of its graduates. It provides the most comprehensive range of performing arts training in Australia. WAAPA’s world-class staff, working in state-ofthe-art performance and teaching facilities, provide rigorous and specialised training of the highest order.

Over the course of its academic year, WAAPA stages around 25 key productions of musicals, plays, dance, jazz and classical concerts. With such a rigorous production schedule, having a reliable communications infrastructure is paramount in the

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successful delivery of each show.

Speaking with Tim Landauer, Venue Services Coordinator of WAAPA, he explained a few of the challenges that WAAPA faced before he found a new wireless system, installed by Riedel Communications.

“The best approach in teaching is with clear concise communication.

However, after using the old hardwired system for production communication between technical crew such as lighting, sound, stage managers and mechanists, we saw around 50 hours of downtime annually.”

Maintenance delays and fault

finding hampered WAAPA’s ability to put on modern productions and the downtime was amplified in all the key departments, leading to hundreds of ineffective student hours as staff triaged the breakdowns in communication.

“It was obvious our systems were at the end of their useful life in terms of supporting multiple productions.

This left us with the choice of investing in reliable, state of the art technology or ultimately a reduction in production capability, which was simply not an option,” said Tim. In May 2018 WAAPA commenced installation of a Riedel Bolero Wireless

System into their venues. The modular system has been used both on and off campus for a major musical production, highlighting several benefits of the portable wireless system, including: Using a modular and integrated design allows for fast setup times and cost efficiency No extra hardware is required, only minimal configuration changes No risk of cable entanglement with machinery - such as fly lines and large moving trucks Safe and reliable communication for stopping elements and calling out hazards.

“Riedel Systems are Industry standard in the broadcast and theatre production/event workspace meaning that our production students receive training on technology they will use in the real world. Riedel can also provide additional equipment when required on a rental basis which keeps our total cost of ownership down,” Tim added.

Publication and recording management is integrated with digital rights management and IP control allowing a neatly edited face to the world backed by well managed campus-wide infrastructure.

Prior to the upgrades WAAPA hired two discreet systems annually, at a substantial cost for the equipment, whilst having to pay the associated support costs on top. With Riedel, WAAPA receives convenient support in a local time zone after setup, training and install.

“It is not impossible to foresee the end of analogue technology’s general use for this purpose within the industry,” explained Tim. “We also found that Riedel’s experience in major performing arts venues, theatres and universities across Australia was invaluable in helping us optimise the system design.”

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Ticketing

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120 Stage Whispers Let’s Put On A Show 2022

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You can choose pick-off-the-plan seating, promo code discounts, merchandise sales, flexible terms of classes and more. There are no lock in contracts or set up fees. 365tix provides clients with free online marketing support which includes access to our own extensive database of customers. Contact Eloise O’Toole for information. +61 4 0016 1125 +61 7 3266 9885 manager@365tix.com.au 365tix.com.au TicketHost Sell your event tickets online, great value, exceptional service.

Reclaim your life and let TicketHost handle the ticket sales for your event. Just register your event details and they will have your online box office up and running in minutes. Their ultra-low fees mean you won't find a more cost-effective option. TicketHost suits all event types from School Productions and Theatre Companies to Sporting Events and Business Conferences. +61 3 9011 3221 info@tickethost.com.au tickethost.com.au

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StageCenta: Swipe For A Show Canberra Theatre enthusiast Richard Block is launching a free national theatre app in 2021, featuring a comprehensive show guide with aggregated reviews and features. David Spicer reports.

The first musical that Richard Block directed in 2012 was How to Succeed in Business Without Really Trying.

Since then, he has been succeeding in show business, but the truth is he’s been trying really hard.

After he became hooked on theatre, he set up his own company - Dramatic Productions. Its last production in 2019 was a pro-am season of The Producers starring TV personality Daryl Somers, and directed by Rachael Beck (pictured).

“I fell in love with theatre late in life. I was 30 at the time. I loved working with the people and creating this positive experience for people to enjoy. And it’s a very rewarding field to be in,” he said.

For the first musical he directed, he set up a mobile phone website for patrons.

“It had a welcome video and showed how we did magic tricks and how we did the costumes,” he said.

The template attracted the interest of licensing agent Hal Leonard, who asked Richard if other theatre companies could use it.

The next step was to found StageCenta, a ticketing service for other performing arts groups.

Richard runs a family publishing business with a focus in the racing and sporting industries. He has five employees who multi-task their publishing duties with his theatrical enterprises.

“We offer boutique ticketing services for small to medium companies or schools who do not have time to answer calls from the public,” he said.

“The majority of our clients are schools (putting on a

Rachael Beck and Richard Block with Daryl Somers, who played Max Bialystock in Dramatic Productions’ The Producers (2019).

Photo: Janelle McMenamin.

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For more information or to register, visit stagecenta.com musical or play). We take all the problems from them.”

The StageCenta website then expanded to artist profiles.

Richard got the attention of the industry when he set up a competition in 2020, which saw actors eligible for prizes of up to $500 for loading their profiles on his website.

His big project for 2021 is the StageCenta App, which is scheduled to launch in March.

He promises that audiences will be able to locate “every show, everywhere, every day with a swipe of the finger.”

The app will have show details and times, a geographic location function to reveal what shows are nearby, directions to the theatre, cast bios, links to ticket purchases, reviews and features.

StageCentra will not be sending out its own reviewers, rather it will aggregate content from existing media - such as Stage Whispers Magazine.

“We will list hundreds, if not thousands, of productions.”

Initially StageCenta will load the majority of shows on behalf of companies, but will encourage companies and venues to list and edit their own info via the website.

Actors and creatives who have registered their profiles at stagecenta.com will appear on the StageCenta App. Richard is itching to get back into producing his own musicals. Dramatic Productions’ next season is the musical Dogfight.

Across the A.C.T., community theatres are coming back with seasons of The Sound of Music, Mamma Mia! and Jersey Boys in the first half of the year.

“This year is looking invigorating. We are all finding ways of making it work with restrictions on capacity.”