Let's Put On A Show 2023 edition

A Touchy Subject

The #MeToo movement has shone a spotlight on some of the power imbalances and fraught territory that, until recent times, had coexisted between actors and creatives for decades in Australia. Debora Krizak explores the new world of intimacy coordination.

Most people remember their first kiss. I have two memories. One was a high school crush at 16 and the other is buried beneath a murky surface. You see, my first kiss happened on stage. I was 13 and my scene partner was almost triple my age.

I still recall the nerves and feelings of nausea. But I was Cinderella, and he was Prince Charming, and that’s what you did in fairy tales. It was on that stage that I experienced what I later confessed to my mother as my first “French kiss”. It wasn’t mutual. I’ll leave it there.

Fast forward to 2022 and we are no longer permitted to fumble our way

around in the dark. Intimacy coordinators are employed in theatre and on film and TV sets, with consent and boundaries openly discussed amongst cast, crew, and creatives.

Looking back over the last five years in our industry, a lot has changed as seen by recent high profile court cases surrounding actors and alleged sexual misconduct charges.

Having worked for years in musical theatre, I recognise that the culture needed improving. I’m also acutely aware of the “touchy, feely” nature of our industry and how it struggles to fit into the standard code of ethics.

One thing I’ve always loved about

my profession is our openness. Performing eight shows a week, we refer to our colleagues as “our tribe”. We mourn each other when the show closes and some of the “showmances” lead to either lifelong partnerships or are abandoned at stage door as quickly as they began.

Theatre folk used to greet each other with a warm, lingering hug or a peck on the lips or cheek but not any more. Intimate scenes were often navigated on the spot and the degree of detail surrounding them was often determined by which side an actor’s mic was positioned so it didn’t interfere with the sound quality when locking lips.

There were discussions about stay fast lipstick and an assumption that one would be courteous enough to avoid strong garlic between shows and

keep a supply of breath mints on hand. Anything other than these factors were done on the fly.

I’ve had my fair share of romantic scene partners and stage kisses. I’ve played a femme fatale and have had various intimate scenes with actors one of whom also happened to be my best mate’s husband. Awkward.

Then there’s the moral dilemma of being cast in roles where my character’s object of affection is a man half my age. We don’t often see the older woman/younger man scenario play out in theatre and I shudder at the thought of all the innuendo and inappropriate banter that were infused into all these roles.

Enter Chloe Dallimore: intimacy coordinator, business owner and a star in her own right. Former president of Actor’s Equity, she’s been described as

“a fearless leader and a champion of performers”.

During her time at MEAA, Chloe helped develop the Sexual Harassment and Bullying Code which then led to her starting her own intimacy coordination business, appropriately titled ‘Head Over Heals’.

“The Sexual Harassment and Bullying Code was developed when we asked actors to participate in a survey around their experiences with harassment and bullying in the workplace. This enabled us to qualify and quantify what was occurring in our industry. There was a very clear issue. After Weinstein, people had the confidence that they could speak up and be heard. But this wasn’t just about women. We had every gender and sexual orientation take part in the survey and this started the conversation

about what we could actively do to bring about positive change in the industry”

Having worked professionally on stage in musical theatre and as a trained dancer since she can remember, Chloe’s own experience in the industry helped shape her role as an intimacy coordinator.

“As a dancer, I was very conscious that we bypassed conversations around how we were touching one another and where we were touching one another. It was something I became aware of from a very young age. I have always been very tall which would make me appear somewhat older for my age and it was often assumed that I was OK with language and conversations that I really shouldn’t have been exposed to. I think as I

Chloe Dallimore on the set of Netflix’s Heartbreak High.

Features

became a professional, I realised that dancers and actors are so used to saying yes and doing what we’re told that we are never really encouraged to have a voice around what our character choices are when referring to touch and how these choices infiltrate into what the actor or dancer, as a human, is comfortable with”.

Chloe first noticed the benefits of clear communication regarding touch when she began her own business as a Pilates instructor at Xtend Barre.

“I became very aware of what touch does and how the intention of touch can change how someone responds to you when I’m tactile correcting a client. If you tell them why you are doing something or what you are going to do, they are instantly open to what you’re suggesting, both mentally and physically. I’ve seen this power of language in relation to touch for many years. Being able to formalise it and create a platform to professionalise how we interact in the intimate landscape has been a no brainer for me”.

Having done her initial training with Ita O’Brien from the UK’s ‘Intimacy on Set’, Chloe’s love of talking with people and finding out what makes them feel good when they move and connect with each other has led to an unexpected career path that she says is one of the most fulfilling and

rewarding jobs of her life.

She has worked on George Miller’s 3000 Years of Longing, in children’s TV for the ABC, on Wakefield, on stage for Belvoir, Opera Australia and GFO and is currently working on the feature film Blacksnow

Her role as an intimacy coordinator on these productions has involved consulting with actors and creatives, initiating consent sessions with actors, and sculpting or choreographing simulated sex scenes. Chloe liaises with legal teams to create nudity riders, talks with child actors and their guardians about the best way to approach intimate content, as well as working with psychologists, sexologists, disability experts and even

costume departments to make sure that the physicality within each scene can be achieved effectively.

“I feel all the experience I have had in the industry feeds into my role. There was an assumption when it comes to intimate content that we should all know how to do it with a complete stranger. That’s where we come in. Every awkward conversation that might need to be had, is had, and I can be there to advocate for everyone.”

It all seems like a lot to consider and negotiate, especially when none of these discussions were implemented in the past.

“I always ask people to come to work with a curiosity as opposed to a knowing, because then we can continue that learning and growth. Four years ago I would need to explain my role as an intimacy coordinator at length. Now I’m offered work on recommendation and am involved in conversations much earlier in the creative process. My work is about facilitating the writer and director’s vision to create a space for everyone to feel comfortable. Where we were once considered the ‘exception’ to the rule in terms of crew members on set, we are now considered the norm”.

Being an intimacy coordinator has certainly informed and changed Chloe as a person, performer, and business owner.

“Consent is a human issue and intimacy coordinators in the workplace help us all to become better humans overall. Having these conversations inspires us to become consciously kinder, more patient and more understanding of one another. The entertainment industry is a business and a workplace, and we should all be able to go to and from work, always feeling physically and mentally safe”.

Chloe is currently working on the new season of The Bachelor. It’s the first reality show in Australia to engage an intimacy coordinator

work with the crew, contestants and the bachelors themselves!

Chloe spear headed the creation of the Australia Performing Arts industry’s first intimacy guidelines, which are now the foundation of best practice in Arts workplaces. They are an important resource for producers and performers covering everything from the very first audition brief, to audition practises, to contracting, to

on the day. meaa.org/campaigns/intimacy guidelines

(Continued from page 7)

Debora Krizak can next be seen on stage with Darren Mapes in The Carpenters from Kempsey. The Paddo RSL in Sydney will host their unconventional Christmas comedy extravaganza on July 29. carpentersfromkempsey.com

to

filming

Chloe Dallimore with the director and cast of Channel Seven’s Between Two Worlds.

Re-staging A Masterpiece

Behind the scenes with Debora Krizak, as she speaks to Opera Australia’s Wardrobe Production Co ordinator Hannah Lobelson.

Opera Australia is famous for its lavish costumes, with those used for La Traviata so revered that the company has been reusing them since they were originally designed by Peter Hall in 1994.

Debora Krizak: How do the costumes of La Traviata reflect the period the opera was set in?

Hannah Lobelson: La Traviata is an opera by Verdi, based on the book Lady of the Camelias written in 1848 by Alexandre Dumas. Verdi wanted it to be set in a contemporary setting, and Opera Australia’s production fulfils this by setting it in the opulence of the 19th century. The story hinges around the courtesan Violetta, and her occupation is suggested very beautifully by her red velvet costume worn in Act 1.

DK: What are the colour palettes of the costumes and are these designed to reflect the various character traits for Violetta?

HL: The colour palette starts off very warm and welcoming and as the story and the tragedy continues, the colours cool, and the production ends visually pared back to show all that has been lost.

DK: La Traviata is a very lavish production. How have the costumes been re used and stored over 30 years.

HL: The costumes, accessories and spare fabrics are stored together and when it is remounted the production is refitted, as close as possible to the original intention of the designer.

This can be challenging when you have artists who are different sizes to the original singers so the costumes may be altered, or made new. Another challenge is the age and wear and tear. Silk and lace that was once robust and vibrant, is often now, almost 30 years later, fragile and

limp, and can need replacing to keep up the demands of constant performance.

DK: How are the costumes designed to help support the singers while remaining true to the period? Are they as heavy and restricting as they appear?

HL: There are always compromises made between the aesthetic of the design and the requirements of the performing artist. Every woman on stage in La Traviata is wearing a boned and laced corset and a long petticoat and padded bustle under her costume. Some singers like the additional support and structure the boning gives their diaphragm, and some don’t. Similarly, all the men are wearing high stiff collars on their shirts, which was common fashion among that class in society in the 19th Century but is tolerated in this modern age of active wear.

Again, some artists like this reminder of their posture and some find it restrictive. And so, it is a conversation and a compromise to give the artist the physical space they need to do their job, while serving the story.

DK: What are some of the most intricate pieces in the show?

HL: There are intricate layers of silk and lace fabrics with trim and fringing, beading and braids. The designer Peter Hall wanted to bring in as many period elements as possible. The challenge for re mounting this production is maintaining this when the fabrics are not always available. It is my responsibility to choose alternatives that visually work with the design, and will last the distance.

DK: Are there any quick changes? How are these actioned in the show?

HL: There is an important and involved quick change for Violetta from her beautiful black velvet costume,

Online extras!

La Traviata puts a life we couldn’t possibly dream of on stage. Scan or visit youtu.be/rwpbQid0jBI

emeralds, and elaborate wig that she wears for Flora’s party into the final scene wearing a demure nightgown and robe, a change of wig with long unkept hair and the addition of deathly makeup. The wardrobe, wigs and makeup up teams would be standing by backstage for this costume change, and it is rehearsed and perfected just as the action is on stage until it is seamless.

DK: What does a typical day look like for the wardrobe department of La Traviata?

HL: Once the costumes are allocated, fitted, altered, packed and worn on stage for the dress rehearsals, I sit in the auditorium and write notes. Usually by this stage it is only small things to improve, something as simple as a hat being worn on the wrong angle, or as involved as a quick change being too late, or something being damaged and needing repair. After opening night, the responsibility for maintaining them is handed to the performing wardrobe department at the theatre. My role fades away except in the case of replacements or costume emergencies.

The performing wardrobe department working on La Traviata would have many shirts to iron for each performance, shoes to polish and costumes to repair daily. The costumes are hung in the dressing rooms, in the order they are worn, along with underwear, shoes, accessories.

The artists arrive, are given an hour or so to get ready and the dressers assist them getting into costume, then manage all costume changes through the evening. At the

La Traviata

Played at Sydney Opera House until November 4, 2022. opera.org.au/productions/la traviata sydney

end of the performance, everything is hung up and tidied, any repairs needed written down to do the next day and laundry washed.

DK: How did you become interested in working behind the scenes on costuming?

HL: I have always been interested in history and storytelling. Combining that with a love of beautiful things, of historical costume, and a fascination with why people wear what they do, gave me a path from studying fashion design in Sydney, to then working in theatre and opera in London.

DK: Have there been any malfunctions or tricky things to manoeuvre along the way?

HL: Of course there have been challenges with costumes not fitting or the designer not being happy. What I enjoy is the search for the balance between the desired aesthetic and the practical application. It is when you find this solution, the designer’s vision is satisfied, the artist confident and the wardrobe team feeling capable, that I can sit back and feel, job well done.

DK: What happens to all the costumes at the conclusion of the opera?

HL: When the curtain closes on the final performance of La Traviata in 2022, everything will come back to The Opera Centre Things will be laundered and dry cleaned. The costumes are packed up, documentation completed, and sent back to storage to be brought out again in all their beauty another day for a new audience to love it all over again.

Opera Australia’s La Traviata (2022)

Photo: Jeff Busby.

Features

One Flew Over The Cuckoo’s Nest An Australian Adaptation

The concept of adapting something regarded as a classic is often considered either brave or foolish. The pressure to ‘get it right’ is immense as stories, characters and legacy are things held dear to many a heart. Secondly, the reasoning behind adapting a piece of text also comes to the fore. Why adapt a text that has already stood the test of time? All of these questions were prevalent as I took the reins for the first ever Australian adaptation of Dale Wassermann’s stage version of Ken Kesey’s iconic novel One Flew Over The Cuckoo’s Nest

The play struck a chord with the Darlington Theatre Players, based out of Marloo Theatre in Perth, as a challenging strong ensemble driven piece which had a cult following alongside the novel and 1975 Jack Nicholson film. In the back of my head from the beginning was, just how is this production going to be something unique?

It became clear that cultural appropriation and respect would need to be at the forefront of our minds. In the original text, the character of Chief Bromden is an imposing Native American Indian character, and, although deaf and mute, acts as the

play’s narrator in an almost spiritual manner, linking his context in the institution to the concept of the ‘Combine’ and its control over humankind. A deep connection to country and the North American landscape ties his story together.

We considered reaching out to performers of Native American background, however we realised that with the American Indians (or Cherokee Nation) being the original custodians of much of the land in the United States (including residents in Oregon in the Pacific Northwest, the setting of the original play), this gave us the perfect link to our own heritage and First Nations culture in Australia.

The character of Chief Bromden was re imagined as an Aboriginal man, which then gave us the logical progression to adapt the remainder of the play to an Australian setting. Once we had a skeleton concept of the changes we applied for the rights and adaptation permissions, which were granted immediately.

We found many similarities between the cultures. Chief Tee Ah Millatoona (translating to the Pine that Stands Tallest on the Mountain) became Kumba Balga (Big Blackboy) in our own Noongar language. We

analysed the script with a fine toothed comb, bringing the language and cultural geography of the Noongar people of the Whadjuk Nation to this already rich script.

Over the next couple of months, we trawled through the script for ‘Americanisms’ and this eventually became an organic process. Once the show was cast, members of the creative team, and the eventual cast, picked slang, colloquialisms and fine details which were given the Australian touch.

When auditions rolled around, the performers who stepped through the door were excited about the concept. Outside of the Australian decontextualisation, my vision was always to create an immersive experience in which the performers dived deep into the intricacies of these complex characters to bring a sense of rising tension and unnerving humour to the plight of their characters and their situation.

Casting iconic characters such as Randle McMurphy (Luke Miller), Nurse Ratched (Kate O’Sullivan) and Chief Bromden (Andre Victor) was something I wanted to get right. However, I really wanted to approach this play as an ensemble piece, and all the pieces of the puzzle fell into perfect place with an incredible array of performers being cast in the show.

Director Chris McRae explains how he got permission to substitute an indigenous Australian for a native American character.

One Flew Over The Cuckoo’s Nest

Photo: Sean Breadsell.

Like all productions and industries at the moment, COVID 19 always loomed as a threat and we had several cast in isolation from the first read through. However, even with a hybrid read through, we had absolute confidence that this was going to be the cast that would be able to do justice to, and work in beautiful collaboration on, such an ambitious project.

With the play having a one location setting (that of the mental hospital day room), I envisioned something that was both detailed but also symbolic in nature, creating a beautifully constructed day room with cracked and breaking walls to represent the slow breaking and deterioration of the mind.

The word ‘distressed’ was used frequently during the set design process, with the eventual wall and floor colours being modelled off the 1960’s photos of Graylands Psychiatric Hospital in Perth. The detailed nurses’ station, external walls and the naming of the ward as ‘Riverton House’, another reference to the original 1960’s Graylands ward, all tied together to create a brilliantly executed environment which was packed with symbolism and authenticity.

Like all stage performances, music, soundscapes and effects bring the action to life, enhancing character, setting and context. We wanted the

soundscape and music to represent the descent into madness, tension, violence. Then came the question, “Why don’t we do it live?”.

The idea of recording original music was one which I was in love with, but the concept of bringing in a live band took this to the next level.

In what felt like a very elaborate and rewarding puppet act, I had the absolute privilege of latching onto the strings of all the creative elements of this show. The cast and crew grew so close, with every single member of the team committed to making this the most special experience for all involved. In almost an unseen move for a play rehearsal process, we held a ‘Sitzprobe’ at a Sunday rehearsal day with a five piece musical ensemble.

The score was an incredible mix of thematic material, character motifs and brilliantly executed sounds including the breathtaking addition of Didgeridoo, Didgeribone and rare percussive instruments such as the Jaw Harp and Rain Stick. The music embodied every vision I had for this show, giving it a distinctly Australian sound.

I had several moments of solitude in the weeks leading up to opening night in which I had to take a step back and look at what we had achieved as a team with a sense of awe and pride, the likes of which I hadn’t experienced before. I have done many theatre

shows as both a secondary school Drama teacher and a community theatre participant, but this felt different.

We reached opening weekend, and our first review came out with phrases such as “an exceptional adaptation” and “perfectly rehearsed” as well as stellar audience feedback. It was clear that we had achieved our vision of creating a truly unique and culturally relevant adaptation of this classic.

However, the beast that is COVID 19 struck once more. Come the Monday after opening weekend, we had a positive case confirmed within the cast. This number climbed to twelve cast and crew members by the end of Tuesday and the move was made to postpone the season by one week. This did not dampen the spirits of the dedicated cast and creative team, catching up via Zoom, and the administration team at Marloo, conquering the mountain of a job that involved reallocating hundreds of tickets to the new shows. Despite this speed bump, the show came back stronger than ever, and although I found myself onstage for the second week of the run due to cast illness, we had a fully healthy and enthusiastic team back on deck for our closing week.

The reception and momentum One Flew Over The Cuckoo’s Nest received over the three week run was exceptional, with audiences raving and Stage Whispers’ Kimberley Shaw describing the production as “a show that leaves its audience stunned” as well as “clever, innovative and superbly performed”.

Rarely does an opportunity like this one come along, and as a fitting final act for their director, whose second hobby outside theatre is in fact Lego building, the cast presented me with a Lego model of our incredible set complete with all characters in mini figure form … a truly beautiful gift which demonstrated just how special this cast were and will remain to me.

Until next time….

Three Cockatoos In A Flock

One Flew East

One Flew West And One Flew Over The Cuckoo’s Nest

Wire Brier Limber Lock

CREDITS

Playwright: Dale Wasserman, based on the Novel by Ken Kesey

Script Adaptation: Samuel Yombich Pilot Kickett, Luke Miller and Chris McRae

Composer and Conductor: Kieran Ridgway Set Design: Gary Wetherilt

One Flew Over The Cuckoo’s Nest Photo: Sean Breadsell.

Lucy Durack.

‘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 anti vaxxers, 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 problem solving 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.

(Continued from page 15)

“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

Debora Krizak and LuLu.

everyone’s pet. Every day, every interaction, every time they are exposed to something in their environment we are shaping their response to it.”

So, how is an animal selected for a career in the entertainment industry? Surely, they’re not subjected to hours of unpaid auditions and self tapes from the doghouse? I recently discovered that LuLu’s father is, in fact, a performing toy poodle. Clearly the universe thought we needed another locked down performer in our house. When it comes to choosing the right animal for the job, Peta considers the overly confident and enthusiastic character traits perfect opportunities to cast the right animal. Sometimes the best trained dog isn’t the best performer because they are ‘over trained’.

“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 Woods. I asked Peta what it is like for animals to work with actors’ eight show a week schedule.

“The dogs know the difference between a rehearsal and an actual show. It’s as obvious to them as it is to us. We make sure all the training work gets done before and during rehearsals so that we can maintain consistency on stage. Things can fall apart very easily. The repetition of the same thing can be a massive help, but if things do go wrong, or something changes, it can be a huge hindrance. One of the funniest things that happened was when my little Chihuahua, who played Bruiser in Legally Blonde, had a cameo at the end of a scene and had to walk on set and cock his leg on a tin can and walk out. He was listed in the credits as the Pissing Dog.”

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.

Features 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

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

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.

The Stirling Players’ Into The Woods

Features

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

Floodwater at Stirling Theatre.

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

when I had arrived and reassured me that it was watertight. Suddenly we heard a familiar dripping.

Rushing to find something to catch the drips, there was flooding under the doors once more. Within seconds the band room was flooded and although I attempted to get everything off the floor, this time it was simply too fast, especially with only two of us in the building. We managed to build walls to stop the water entering the auditorium, but the band room flooding was deeper, extending through the foyer and toilets. I had sent an urgent message to the group chat I think it was simply “Help, flood!” and within a short time we were being inundated by cast, Stirling Players members and their friends.

Despite the efforts of many, we were unable to open that night. We couldn’t guarantee that we wouldn’t flood again, the foyer carpet was completely sodden, we needed to make arrangements to ensure that our orchestra would remain dry and we had managed to drown (and kill) the power source to one of the keyboards.

Thanks to the generosity of others, we were able to open, albeit a day

late. Stirling Council found us two large industrial driers to dry the foyer and sent a magic machine that sucked the bulk of the water from the carpet. The orchestra was kind enough to squeeze into what was essentially a large cupboard on the other side of the auditorium (not at all comfortable), and the Roleystone Theatre (whose own temporary theatre space had flooded that weekend) lent us curtaining to dampen the echo in that space. Having spent the day on an unsuccessful search for a new power source, a plethora of Perth theatre people offered us keyboards, with Taui Pinker driving his beautiful and precious keyboard to us an hour before curtain.

While we remained nervous for the rest of the run, and a team of actors led by our Cinderella, Grace, flood barricaded the theatre between every show, we were lucky enough to enjoy a successful, well received and completely sold out run.

I am very thankful to have had a cast and team who smiled through adversity, laughed instead of cried and remained kind to each other through a very stressful last couple of weeks. To miss multiple rehearsals and face such major upheavals would break many shows, but this team was simply awesome.

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

Choosing A Show

Will Manukia and cast of Kinky Boots.

Photo: Grant Leslie.

Featured Businesses

See more listings online at bit.ly/2nEEIxv

Australian Plays

Australian Plays is a national organisation based in Hobart, a not for profit 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.

77 Salamanca Place, Hobart, TAS 7000 +61 3 6223 4675 australianplays.org

David Spicer Productions

David Spicer Productions manages the rights to Musicals and Plays in Australia and New Zealand suitable for small or large cast. Genres include Australian musicals, Rock Musicals, Juke Box Musicals, Operetta, Farce, Dinner Theatre, Drama, Comedy, Pantomime and Youth theatre.

The company’s most popular shows in 2019 were We Will Rock You, Back to the 80’s, Ladies in Black, Masquerade, Popstars, The Boy From Oz, Disco Inferno, Australia Day, Essgee’s Pirates and Song Contest.

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.

PO Box 516, Maleny, QLD 4552 +61 4 2747 7338 maverickmusicals.com

directory: bit.ly/2nEEIxv stagewhispers.com.au

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.

MTI is particularly dedicated to educational theatre, and has created special collections to meet the needs of various types of performers and audiences. MTI’s Broadway Junior™ shows are 30 and 60 minute musicals for performance by elementary and middle school aged performers, while MTI’s School Editions are musicals annotated for performance by high school students.

MTI maintains its global headquarters in New York City with additional offices in London (MTI Europe) and Melbourne (MTI Australasia).

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. ORiGiN™ represents Australian written hits Shout! The Legend of the Wild One, Dusty The Original Pop Diva, Priscilla Queen of the Desert, Strictly Ballroom The Musical, Atomic The New Rock Musical, Seven Little Australians and many more. ORiGiN™ also represents a diverse concert library catalogue.

Level 1, 213 Clarence Street, Sydney, NSW 2000 +61 2 8514 5201 enquiries@originmusic.com.au origintheatrical.com.au oztheatrical.com

Playmarket

Playmarket represents over 2000 plays by New Zealand playwrights. 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

Atomic Launch In Germany

Australian creator and librettist Danny Ginges had the thrill of watching his musical, Atomic, performed in a picturesque German town.

After four years preparation, including two cancellations due to COVID 19, Atomic the Musical has just enjoyed its European premiere in Wetzlar, Germany. In German.

So, what does the story of the first Atomic Bomb have to do with Germany? Quite a lot, it turns out. In the 1930s, Germany led the world in atomic physics. When Hitler became Chancellor in 1933, many of Germany’s leading scientists, being Jewish, were forced to leave. Among them Leo Szilard, the protagonist of Atomic Szilard was the physicist who first conceived, and patented, the concept of an atomic chain reaction in 1934. In 1939 he also penned the letter, signed by Albert Einstein, that alerted the US Government to the real threat of a Nazi atom bomb. As a founding scientist on the subsequent Manhattan Project, Szilard led America’s effort to beat Germany to the bomb, co designing the first

nuclear reactor in the process. Once Hitler had been defeated, Szilard rallied his fellow scientists to stop the bomb’s use against Japan, an action that cost him his career in nuclear physics, and his place in the history books. The fact that most people have never heard of Leo Szilard was the reason I began writing Atomic in the first place.

While events portrayed in Atomic are ‘ancient’ history, their ramifications have never been more present, with António Guterres, Secretary General of the U.N., recently warning that humanity is “just one misunderstanding, one miscalculation, away from nuclear annihilation”. Wetzlar, where Atomic was staged, is very close to the Fulda Gap the front line of the Cold War. Since its Off Broadway Premiere in 2014, Philip Foxman and I have visited every one of Atomic’s productions in Sydney, New York, Detroit, St Louis, Denver, Perth and Adelaide. With

each production we’ve learned something new, and those learnings have been incorporated into the libretto and score. Because the Wetzlar production was in German, we didn’t expect to learn much this time, and I went on my own. How wrong we were. You never stop learning.

With four years to hone the work, the German production team, Musicalgruppe Der Goetheschule Wetzlar (The Goethe School Musical Group Wetzlar), did a remarkable job.

The attention to detail was phenomenal. For example, the tempo of the opening song, ‘The Atom Bomb is Here’, was changed to 119.5bpm. 119.5 is half of 239, the atomic weight of Plutonium.

Video projection was also included for the first time, with great effect. The falling bomb’s eye view of Hiroshima was chilling. But the real highlight, for me anyway, was the language. Atomic is full of heated

dialogue, and no language does that better than German. It took the drama to another level, even if I didn’t understand a word.

I saw the first three shows. All full houses. All with prolonged standing ovations. And I hear subsequent performances did just as well. But the show almost didn’t happen. The pandemic that had delayed the opening took its toll on the cast and band. Most roles were played by two actors in rotation. But both of the actors playing Robert Oppenheimer were ill, so a new actor was asked. At two in the morning. The day before opening night. Then the second keyboard was ill, so the piano/ conductor played both keyboards. By closing night, half the cast had been ill.

But watching the performances, you wouldn’t guess there had been any difficulties at all. They just rolled up their sleeves and got on with it. There’s a lesson in that for everyone.

Musicalgruppe der Goetheschule Wetzlar’s Atomic (2022)

Photo: Svenja Kugler.

Musicalgruppe der Goetheschule Wetzlar’s Atomic (2022)

Photo: Svenja Kugler.

Mother And Son

The rights to the latest

Living Room. Another day. MAGGIE has a grill tray and a packet of fish fingers which she empties onto the grill tray. MAGGIE exits to the kitchen. We hear the sound of the griller being lit. Whoomp! You could get the idea that the gas has been on for a while. And that it’s on a high heat. The house landline phone starts to ring.

MAGGIE enters in a bit of a state as she hunts for the phone. It’s not on its base. She checks her pockets. She listens for the direction of the ring. It’s on the couch. No it’s not. It’s on the drinks trolley. No. There it is, on the table. MAGGIE picks it up and presses to answer.

MAGGIE: Hello? Yes, speaking. Very well thank you. And how are you. Who did you say? Rita. Hello, Rita.

[MAGGIE settles for a nice long chat.]

My day? I’ve been looking for children’s books. I’m going to be reading to children down at the library Pardon? Ah yes, I like the sound of saving money. Plan? Ah… well, my plan is to go down to the library and… Oh, for the telephone. My plan is to use it as little as possible. That’s how I save money. The most recent bill? Where would I find that?

[MAGGIE starts to look around but doesn’t get up.]

edition

Atherden’s Mother and Son are newly available for community theatres through David Spicer Productions. The script is a contemporary adaptation of the beloved ABC TV series. In this extract we publish scene four.

[MAGGIE picks the phone up again.]

MAGGIE: [into the phone] I’m not hanging up. I’m just putting the phone down for a minute. I’ll be back.

[MAGGIE puts the phone down and crosses to look in at ARTHUR.]

MAGGIE: Dear me, Arthur, looks like you’re trying to send smoke signals.

ARTHUR: [off] Dear me, Mum, looks like you’re trying to burn the bloody house down.

What? Yes, yes, I haven’t forgotten. Still looking. [Now MAGGIE gets and sorts through some papers behind the sofa. From the kitchen, the smoke alarm switches to full on. MAGGIE reacts to the noise.]

MAGGIE: [raising her voice] Hello, Rita, can you hear me? There’s a terrible noise going on here. That’s a shame because I found a very nice postcard. From Robbie. What’s that Rita? Yes I can hear the noise. Dreadful. Some people have no consideration.

[MAGGIE’S attention is taken by the front door which opens and ARTHUR enters.]

ARTHUR: Mum! What’s that noise?

MAGGIE: Yes, dreadful, go and see what it is. I’m on the phone.

[ARTHUR hurries to the kitchen.]

MAGGIE: Don’t be a silly.

[ARTHUR enters holding the grill tray with a tea towel wrapped around the handle. On the grill tray are some charred fish fingers.]

ARTHUR: What’s was this?

MAGGIE: It was going to be your dinner. I think it might be spoiled unfortunately.

ARTHUR: Slightly.

MAGGIE: Never mind. We can scrape off the burnt bits.

ARTHUR: We’re throwing it out.

MAGGIE: I’ll have it. I don’t mind a bit of whatsaname.

ARTHUR: No, we’re throwing it out. [ARTHUR locates a waste bin.]

MAGGIE: If your father saw you doing that…

Sorry, what bill was that? Phone bill. Not the gas bill? Gas was last week. That was a very nice man. Do you know him? Oh I see. Yes, completely different.

[From the kitchen, the sound of the smoke alarm starts intermittently.]

Now, Rita, while I’m looking, have you seen any good movies lately? What about television? I’ll tell you the one I like, that gardening one, but wouldn’t you think they’d do something about his hair!

MAGGIE: [into the phone] Can you hang on for just a minute?

ARTHUR: [off] Mum! There are flames coming out of the griller!

MAGGIE: [into the phone] I think the house might be on fire. Won’t be long.

[MAGGIE puts the phone down. From the kitchen, the sounds of Arthur clattering at the stove and then dropping the grill tray.]

ARTHUR: [off] Ow! Shit! God! Mum!

ARTHUR: You can’t do this, Mum. You can’t start something and then forget all about it. Next time you’ll burn the house down and I don’t want to come home and find you like one of those.

[ARTHUR holds up one of the charred fish fingers before dropping it and the others into the bin. MAGGIE looks disapproving.]

ARTHUR: What were you doing that you forgot about this anyway?

MAGGIE: Nothing.

ARTHUR: When I came in, you were on the phone.

touring

of Geoffrey

MAGGIE: No, I was… Oh! Yes, yes. I was...

[ARTHUR puts the grill tray into the sink. MAGGIE looks for the telephone.]

MAGGIE: Where did I put it, did you see?

ARTHUR: No.

MAGGIE: Big help you are. Never mind, here it is.

[MAGGIE picks up the TV remote and holds it like a telephone.]

MAGGIE: Hello.

ARTHUR: Mum, that’s the TV remote.

MAGGIE: Is it? Oh yes.

[MAGGIE finds two more remotes.]

ARTHUR: And that’s the DVD. And that’s the Pay TV.

MAGGIE: All these things we’ve got, I don’t like all these things.

[MAGGIE puts the remotes down and then spots the telephone.]

MAGGIE: Here it is.

[MAGGIE picks up the phone and speaks into it.]

MAGGIE: Hello. Sorry to keep you, Miss…. Hello? Hello! Huh. Hung up.

[MAGGIE puts the phone down again.]

ARTHUR: Don’t put it there. Put it back on the base.

MAGGIE: [mimicking] Don’t put it there. Put it back on the base.

ARTHUR: Who was it?

MAGGIE: I didn’t get her name. A very nice young girl and we were having a lovely chat about… [MAGGIE remembers something important and changes her mind.]

MAGGIE: Nothing.

[ARTHUR crosses to her.]

ARTHUR: You were having a lovely chat.

MAGGIE: Yes, very nice.

ARTHUR: About nothing.

MAGGIE: Yes.

ARTHUR: I can believe that. But this chat about nothing, was it anything to do with our gas account?

MAGGIE: No, nothing to do with gas.

ARTHUR: Or telephone or electricity?

MAGGIE: No, no, nothing like that.

ARTHUR: Because I know you took down the sign to remind you but we have a strict rule.

[ARTHUR retrieves a sign he’s had made which reads:

IF ANYONE RINGS ABOUT GAS ELECTRICITY OR TELEPHONE HANG UP

He reads it out to her.]

ARTHUR: If anyone rings about gas

ARTHUR/MAGGIE: electricity

ARTHUR: or the ARTHUR/MAGGIE: telephone ARTHUR: Hang up!

MAGGIE: I don’t like to be rude.

ARTHUR: You don’t have to be rude. You say, No thank you, very politely, and then you hang up.

MAGGIE: That’s rude.

ARTHUR: That’s it. I’m going to ring up and put you on the Do Not Call register.

MAGGIE: No, don’t do that. Then no one will ring and I’ll be here all day on my own and I won’t have anyone to talk to.

Script Extract

Garry McDonald and Ruth Cracknell in the ABC TV series.

Choosing A Show

Bingle Jells by Tim Tuck

Working Localised version

songs from the animated film, plus five new songs written for the Broadway production. Available to schools in New Zealand, NSW, Victoria and Tasmania.

West Side Story School Edition

Add local worker interviews to personalise Stephen Schwartz’s musical Working to create a special production honouring your own community. Updated for a modern age, this new version features songs by Lin Manuel Miranda, Stephen Schwartz, James Taylor, Micki Grant and more. Live Stream rights available.

Godspell

Recreating Jerome Robbins’ innovative choreography and playing Bernstein’s gorgeous score has been a consistent challenge for high school performers. This School Edition removes these obstacles by providing an official Choreography Manual and videos featuring easy to follow instructions for the show’s iconic dance numbers.

A Killer Party: A Murder Mystery Musical

The impulsive Andy Clapper has little hope of finishing his bell making apprenticeship when a mysterious customer seeks his help to stop the Snow Queen and Jack Frost from stealing the world’s bells.

Rocktopus by Mark Bourgeois and Craig Chambers

An undersea adventure set to a fun 1950’s rock n roll score. When Rocktopus and his band of squishy invertebrates try to make it big in the undersea music business, they find that fame, fortune and stardom ain’t all they’re cut out to be.

Wasteland by Chris Schuman

The three versions of Godspell the original off Broadway 1971 version, the revised 2012 version and the Broadway JR version are now available for licensing by schools, amateur groups and professional theatres across the Australia and New Zealand.

Pippin

This 90 minute online, performance ready show sends up classic murder mysteries. Created by 50 Broadway professionals during 2020, the production is available to stream in your community.

Almost, Maine (School version)

Environmental musical featuring a child named Zeeco, who tries to turn around a dystopian community by starting a simple allotment. It’s an uphill struggle at first but with the help of some nearby talking animals and plants their plan comes to fruition. There is opposition from Baron von Slick, who learns that there is oil under the allotment.

Pippin is the story of one young man’s journey to be extraordinary. The 2013 Broadway revival, with an updated book and orchestrations, is available for school performances.

Frozen JR. Bringing Elsa, Anna and the magical land of Arendelle to life onstage, Frozen JR. features all of the

A version of John Cariani’s Almost, Maine about the small town’s residents falling in and out of love in unexpected and hilarious ways with language appropriate for conservative middle schools.

King Arthur (All Shook Up) by Mark

Wheeller

and Paul Ibbott

A comic mini musical suitable for use in either a concert or staged version. It retells the Sword in the Stone story in a lively, up to date manner, fully sung by the large cast.

Music Theatre International Australasia’s picks mtishows.com.au

Maverick Musicals & Plays’ picks maverickmusicals.com

David Spicer Productions’ picks davidspicer.com.au

The 2022/23 catalogue of plays and musicals is out now. To order a copy email david@davidspicer.com

We Will Rock You Young@Part

There are now three editions of the blockbuster by Queen and Ben Elton the Global edition, the School edition, which has a few of the adult themes removed from the West End production, and the new Young@Part version, which is a 60 minute edition for youth theatres and primary schools.

Peter Pan’s Treasure

Adapted by Helen Dickson. A fresh take on J.M Barrie’s classic sees Wendy, John and Michael Darling return from their adventures in Neverland to find the world changed.

Peter Pan comes to the rescue, having fun with a band of clumsy pirates before facing Hook in a chilling showdown. This play with music has opportunities for young actors, dancers and gymnasts. Cast: 10 to 40.

The Time Machine

H.G. Wells’ classic tale, adapted by Mark Scharf, about a Victorian inventor who builds a time machine and visits the far future is beautifully adapted into a ninety minute play. It explores how individuals fit into society and asks whether technology always leads to progress and where it is taking humanity. Cast: 11 and ensemble.

The Jungle Book

Adapted by Briandaniel Oglesby. Mowgli struggles to fit in with the wolves, monkeys, and even the humans on his journey to discover where he belongs, in this new imagining of Rudyard Kipling’s classic.

Masks, puppets, and a trip to the Starbucks in the cell phone obsessed city make this new adaptation of The Jungle Book a delight. Cast: 11 and ensemble.

Rockin’ Robin Judith Prior’s most popular high school musical has had almost 40 productions since she staged it in 2009.

A drama group (or school) is rehearsing a number for the Rock Eisteddfod when an electrical fault in the special effects department causes two of the cast, Maddie and William, to be transported back through time to medieval Sherwood Forest.

The swashbuckling Robin Hood adventure is set to songs from the 1950’s, 1960’s and 1970’s, including “Horror Move” and “Locomotion”.

Let’s Put On A School Musical

Ten top tips from Maverick Musicals and Plays for your next school musical.

Rope others in!

Rule One do not try to do it alone. Beg, plead, cajole or blackmail others to be involved.

Your ideal production team should consist of a producer to pull your team together, director, musical director, set designers, sound/lights tech team, set builder, costume person and advertising/media whiz.

Apply for the rights early Aim to have approval from the representatives of the musical six months prior to your first rehearsal.

Carefully note the legal obligations in the contract. All contracts will have rules about respecting the author’s intentions (sticking to the script), how you can promote the work both on line and in print, videography and use of production materials.

Selecting the right school musical Don’t pick a musical solely because you like it. Make sure it can be done well by your students.

Commonly five or six girls for each boy will be the audition ratio, so choose material that will give girls something worthwhile to do.

Auditioning

Select relevant scenes that will give an indication of the student’s ability.

Avoid choosing students who have other commitments that will prevent them from attending

rehearsals no matter how good they are.

Rehearsals

Give cast your rehearsal/ performance schedule before starting rehearsals.

Send the schedule home to parents as soon as you can, with a note asking for their co operation.

Design the rehearsal schedule so that only those required attend specific rehearsals.

It is a good strategy to call the chorus first and work on the music. Always make rehearsals fun for chorus and give them plenty to do.

Costume

Supply forms (with the rehearsal schedules) that require the character/s measurements asap and pass on to your costume department as soon as rehearsals begin.

Parents are more inclined to help make the costumes if you send material home that is cut out ready for sewing.

Sets and props

Make sure that the cast know the positioning of each set and give them an improvised stage set so they are used to moving around it.

Get actors used to using any hand props in the show. Improvise if they not yet constructed.

Advertising

Create an ‘event’ on social media and encourage the cast and crew to like and share upload fun rehearsal shots, but not too many!

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 looking for a suitable show for next year.

Putting on the school musical is a bit like child birth, and when you get it right, you forget the pain and recall only the joy and find yourself doing it all over again.

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 Steel, shares his trade secrets.

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

be taken. You have to learn to trust your co workers from the get go. You forge an effective working relationship with people, whether you like them or not. You must learn to trust early and completely.

Teamwork

The more disciplined and rehearsed any theatre team or ensemble is, the better the result. Getting something right is never easy. If it was easy then everyone would always get everything right. It sounds strange but the more disciplined the rehearsals, the more the team has fun and finds solidarity. It's never a case of learning your place in the team, it's about realising that the team actually needs you and it isn't quite the same without you, and vice versa.

Camaraderie

The friendships you make in youth theatre stay with you for life. Why? Because you share that special time that "outsiders" just don’t understand. You were part of a highly emotionally charged project which had what

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 should take pride in your work and strive to constantly be better. A chain is only as good as its weakest link. Your pride in yourself and your project should make sure that this is not you.

Confidence

Any show is a monumental achievement in its own right. This achievement gives you confidence in yourself. I recently went to a youth theatre reunion. Dozens turned up. One of the common topics discussed over a few refreshing ales was confidence. Many claimed youth theatre had given them skill sets, led by confidence, to guarantee they'd never fail a job interview.

Adaptability

A great skill set to hone. The more theatre you do, especially improvisation, the more you learn to think laterally. Theatre tends to present us with almost inconceivable problems that need us to come up with some incredible solutions. It teaches us how to explore a situation from more than one viewpoint. In short it keeps you on your toes.

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?

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.

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.

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

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)

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.

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

Short Plays From Maverick Musicals And Plays

Birth

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.)

One

Mother by Mark Wheeller

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).

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

Costumes, Props, Sets And SFX

WAAPA’s student production of Strictly Ballroom (2019).

Photo: Jon Green.

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 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

Cyclorama Projects

Cyclorama Projects design, build and install cyclorama walls for a range of industries and businesses. The company specialises in creating the perfect seamless background for clients around Australia.

Cyclorama has spent years perfecting cyclorama walls with design, integration, and functionality in mind.

+61 4 2284 8880 info@cycloramaprojects.com.au cycloramaprojects.com.au

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

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 sell out 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),

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

Jesus Christ Superstar (costumes) as

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

The Party Warehouse

The Party Warehouse is a passionate business, with an extensive range of costume accessories, costume kits and props to suit a wide array of themes. They are constantly adding new products to their range and offer prompt and friendly service. With Australia wide shipping and fast dispatch, The Party Warehouse is the perfect choice for making any character come to life.

PO Box 1372, Thuringowa Central, QLD 4817 +61 4 1984 8880 sales@thepartywarehouse.net.au thepartywarehouse.net.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

Setting The Scene

A show stopping backdrop is a great way to set the scene in a stage production.

Backdrops Fantastic supports theatres and schools staging a play, musical or a dance recital. The company has hundreds of unique and exclusively themed backdrop designs for hire, including popular musicals and drapery.

The available stock is displayed on the company’s website backdrop gallery with new musical and theatre backdrop designs launched in September.

Their latest series of scenic hand painted backdrops are inspired by scenes from Aladdin, Shrek, Frozen, Mary Poppins, Charlie and the Chocolate Factory, Grease, South Pacific and The Nutcracker.

The musical and theatre series allows the option of hiring one scenic backdrop or multiple scenes from the story line, that can be interchanged by production crews between scenes.

Backdrops Fantastic Australia specialises in transforming venues large and small into fully immersive themed environments. They proudly deliver their unique backdrops across Australia and New Zealand.

Give the team a call on (07) 5520 2311, email sales@backdrops.com.au or visit backdrops.com.au

Charlie And The Chocolate Factory. Shrek.

Aladdin.

Mary Poppins.

Oh, What A Season…

When Melbourne’s CLOC Musical Theatre decided in 2019 to mount what would be a community theatre premiere production of Jersey Boys in October 2020, little did they realise that they were beginning a three year saga fraught with delays, changes, holdups, offstage dramas and yet, ultimately, triumph.

The first delay was a twelve month postponement until October 2021, when almost all theatre in Australia closed. In what was a portent of things to come, auditions, scheduled for June, had to be delayed due to yet another lockdown. Casting took place and rehearsals began (under COVID 19 rules of masks, QR codes and social distancing) with much excitement and anticipation.

After two weeks of rehearsals, lockdown rules changed yet again, and the company continued rehearsals via Zoom. Two weeks later, the company was forced to make the painful decision to postpone the production until 2022.

Rehearsals recommenced in February 2022, and the show finally opened on May 13. Policies and protective measures in

place throughout the theatre included COVID 19 marshals both backstage and front of house. Despite this, the company was decimated by COVID 19, which ripped through the cast and backstage team.

After a successful opening weekend with a full cast and crew, which was rapturously received by audiences and critics, COVID 19 found its way into the company.

Ultimately five cast members (out of 17) were affected and had to be covered. This was manageable with the professionalism of all remaining cast members, who supported each other and adapted to circumstances that changed daily.

CLOC also lost many regular crew members, so that backstage was frequently filled with helpers who were brought in at short notice from far and wide. In a twelve performance season, two shows had to be cancelled (when one of the Four Seasons tested positive three hours before the scheduled start of the show), which caused consternation and distress to both CLOC and audiences, and of course was a major headache for CLOC’s ticketing team, which itself had been felled by COVID 19.

It is a testament to the efforts of everyone involved in this saga that the feedback received from CLOC audiences was equally as ecstatic after the COVID 19 losses as before. Despite all the challenges, CLOC still managed a first rate show which did not short change their patrons and gave joy, delight and pleasure to so many.

At the end of it all, everyone involved with the production agreed that what made it so difficult and challenging also made it an extraordinary and (hopefully) once in a lifetime experience that they will never forget.

Karen Greenwood reports on the drama faced by Melbourne’s largest community theatre company.

Chicago will play at the National Theatre, St Kilda from October 7 to 22. cloc.org.au

CLOC’s Jersey Boys.

Photo: Ben Fon.

An Aladdin’s Cave Of Costumes

Stage School Australia’s Costume Department and Staging Department teams run two large warehouses side by side with props, staging and more than 10,000 costumes and accessories for hire.

Ranging from adorable prep aged kids costumes to adult size period dress, the company is a one stop shop for teachers and parents.

Stage School Australia offers everything from full staging and costume packages for 100+ students, to intimate studio plays, with discounts for government schools. Customers can tour both warehouses in Melbourne, with options for adding small, beautiful props to accentuate costume selection, or go the full kit and kaboodle with packages such as The Addams Family, Les Misérables, Wizard of Oz and Beauty and The Beast

The range of sizes, quality and scope of costumes is extensive.

Stage School Australia has Disney and animated classics including Beauty and The Beast, Shrek, Aladdin and Madagascar, as well as Broadway favourites such as Les Misérables and Singin’ In the Rain

The company also has an extensive selection of vintage and period costuming for plays and films, from medieval costuming for

VCE Shakespeare to 1920s jazz age costumes for Chicago, plus contemporary shows including Bring It On and Legally Blonde Managed by a small but passionate team, many of the company’s staff have worked professionally in the performing arts industry, from large scale commercial musicals to The Australian Ballet. Costumes are mostly hired by schools, but they also hire to film &

TV productions, independent theatre and corporate events. Clients include The Wiggles, Channel 10 and Theatre Works.

One of the company’s most popular sets of props and costumes is from The Addams Family production staged professionally as a Broadway replica in Australia. The attention to details in the spooky historical ancestors and the eccentric Addams Family members is incredible!

Get in touch with Stage School Australia’s friendly team today to discuss your options on (03) 8199 8344. stagingdept.com.au

Roadside Rubbish Becomes Stage Treasures

Veteran theatre creatives Bob and Col Peet featured in a recent episode of Stage Whispers TV on mastering prop and set building.

The brothers, now based in Adelaide and Sydney, warned that it is very dangerous driving behind them on council clean up days.

One of their favourite habits is picking up some roadside trash to save it for a time when they can make it into a stage prop.

“We have made pot stands into a buffet, and very ordinary chairs into glamorous pieces,” said Col.

Bob described how he found beautiful chairs in a clean up.

“I stopped and picked one up. I then got an email from someone who wanted four chairs. The next morning I went back. There were the other three chairs under the rubbish. I was able to rebirth them with black upholstery. Later we turned one into the wheelchair in Wicked. It all comes apart.”

Another time Bob found a gold couch on Facebook Marketplace at the home of a drag queen.

“So, it was appropriate that it became purple, which I

got from a bedspread. That ended up being a lovely piece for The Producers,” he said.

The brothers are big fans of giving community theatre casts a look at set model boxes early in the rehearsal process.

In the video they showed off their latest masterpieces. “I do a model box at a ratio of 1: 25. When we build it, the cast say the set looks just like the model,” said Col.

The Stage Whispers TV Live Broadcast is sponsored by the Association of Community Theatre, which partners with Marsh Insurance to offer non professional companies public liability insurance policies.

For more information visit communitytheatre.com.au

Stage Whispers TV

Watch Bob and Col Peet’s full interview with David Spicer. Scan or visit youtu.be/amsozdVVq1s stagewhispers.com.au/training

Spectacular School Sets

My first gigs were with regional theatre companies and designing for conferences and dinners.

Whilst I got a creative kick out of corporate events, the pressure was immense. I remember one huge corporate event staged over two days at the then Telstra Dome in Melbourne. The venue notified us that all the elements had to be rated for exterior wind loading, even though the roof was to be closed. Suddenly my construction cost blew out by $150,000.

I took a punt, showed my portfolio to a few private schools and got a job staging a season of Two Weeks with the Queen at Shore School in Sydney.

The studio theatre where we mounted the show was a brilliant space. Shore’s Creative Arts department was vibrant and motivated to stage professional level productions. I realised there was a market in education for a good designer who could also construct sets. With Christopher Reynolds and his successor David MacSwan we did some fantastic productions and made some brave decisions.

You can give concepts a try within schools that would not be attempted in the professional world. One of my favourite designs was our 2002

production of West Side Story, featuring a dynamic six metre metal see saw. The whole production was staged around the set piece as it rotated 360 degrees and tilted up and down, at times with actors riding it as

working in the industry, but they have decided to work in schools.

In 2007 I committed to drama in education and accepted the role as Production Manager at Cranbrook School in Sydney’s Eastern Suburbs.

it moved. The production was also fortunate enough to feature a sweeping and almost filmic lighting design by renowned artist John Rayment.

Maintaining creative relationships within education has been the

I work full time as a Production Manager on their Creative Arts program, managing venues, logistics and a student production crew, as well as designing and realising lighting, sets and other technical aspects of the productions. In my holidays I design and construct sets for other clients. I am always looking for new challenges within the education sector.

A current challenge is the increase in cost for materials. The base materials such as plywood and pine cost 200% more than last year, and up to 300% if supply shortages force you to use a higher grade than you need.

foundation that has kept my company, Adam Lindberg Design, going for almost 30 years.

I have been fortunate to create productions with passionate and committed drama educators who could easily be professional directors

In response to increasing costs, and to inspire teachers to continue to provide their students with amazing sets to perform on, I am promoting a staging product called Multi Set. The package is a modular product that can be assembled in multiple configurations and is suitable for a range of projects. I conceived and constructed Multi Set in response to my most frequently received request over the last 20 years … “Can I have levels?”

Adam Lindberg has designed and built sets for over 150 school productions since he graduated from the NIDA design course in 1996. He explains why he enjoys working in the education sector. For details please visit adamlindbergdesign.com.au

Into The Woods.

Daughters Of Venice.

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 one woman 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

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.”

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

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.

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

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

Karen Greenwood reports that Priscilla, the most expensive set piece ever constructed by the company, is a replica of a 1960s Leyland bus.

“In early 2019, which now seems like ‘a long time ago, in a galaxy far, far away’, Melbourne’s CLOC Musical Theatre started preparing for a visually and aurally spectacular production of Priscilla, Queen of the Desert, scheduled for May 2020. Rehearsals began in February, and by March, costume making and set building

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 production all came to a grinding halt.

“As community restrictions eased this year, CLOC decided to resume Priscilla rehearsals and preparations for an extended season in April May 2021. With excitement, enthusiasm, masks and sanitisers, all departments cast, crew, costume team, set builders, props makers reconvened.

“Amongst the tasks to be completed was the construction of Priscilla, the titular bus and, in her own way, leading lady and co star of

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

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 56)

CLOC.

Photos: Ben Fon.

CLOC’s production of Priscilla, Queen Of The Desert played from April 30 to May 22, 2021 at the National Theatre Melbourne. cloc.org.au

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 heart warming 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 show stopping 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

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.

Willoughby Theatre Company.

“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

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

Priscilla Goes West

Trevor Patient from Platinum Entertainment in Perth is recycling an old school bus to create his Priscilla.

“When I commenced planning for the musical, I had to decide whether to build, hire or buy a set from another company.

“I hunted around on Facebook Market Place and found a bus at a wrecker’s yard.

“Our resident bus mechanic gutted the vehicle, and our crew is refitting it for use on stage.

“We’re putting LED screens in the bus windows along one side so we can change the colour and add text.

“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 ‘scaffold’ poles. Access is via a set of steps that roll on and off from the side.

“When I went to pick it up, I noticed that it had a familiar logo.

“I started chatting to our cast about the bus and discovered that this very vehicle was driven by a cast member Chris Gerrish when he taught at Newman College, the school where it was from.

“Further investigation has revealed that certain cast and crew members would have ridden on the bus as students, so they will be very comfortable with the familiar surroundings.”

Platinum Entertainment.

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

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

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

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 re useable bags, individually packaged and labelled for students

Popular Perfect Props

Veteran set and prop builder Bob Peet describes some treasures, and trash that he’s converted to treasures, for community theatre stages.

During my years running the hire department at Sydney’s Miranda Musical Society, we had special props which were in high demand. The most requested was an antique looking French style telephone that was used for Daddy Warbucks’ mansion in Annie, and a lot of other classy looking shows.

Another was the magic rose from Beauty and the Beast. Our first rose was operated with fishing line attached to the petals, but this meant threading the fishing line for each use. Later we changed the operation to electromagnets attached to the petals. Press a button and the petal falls.

I have always been very particular about correct chairs for the stage. Often productions are spoiled by an ordinary chair looking so wrong. Recently in Adelaide I saw a production of a classic operetta. The beautiful period piece was ruined by the odd bentwood chair and a lounge from someone’s home, all meaning to portray the dressing of a wealthy merchant’s mansion.

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 a supplier of reproduction furniture frames, and then I made them strong and suitable for the wear and tear of the stage. These pieces live in special road cases and are still in excellent condition, having been used on many occasions.

It must be said, however, that the most used props, used in so many shows, are the dreaded picnic baskets. How many of the older musicals have a picnic, a market scene, or a street scene with shoppers?

Good props will continue to be used over and over again, and can make an enormous difference to a show.

I have always been a collector of roadside “treasures “, finding unwanted pieces which can be rejuvenated for a new life on stage.

I have to admit that in my recent move to South Australia, I still look for and find stuff. I needed a nice bedside table for The Hypochondriac Then one evening after rehearsal I spotted a suitable table in a pile waiting to be taken to the tip. A bit of paint, a new shelf and wheels, and $30 later I had a faux period table.

Words alone don’t do the results justice; the pictures (below) tell the story.



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

Before. After.

It’s All About The Students

Tracey Nuthall from Costumes Without Drama explains some of the challenges facing students in the annual school play.

Schools put on productions for many reasons, but basically it is not to create a school full of actors. The school production is a delightful means to an end. Children learn many skills in the process of being part of a school production, and it is these skills which can potentially help them in their future lives.

What does this have to do with the costumes? I say, a lot!

Children are multi tasking the whole time they are performing. They often have so many things to think about their lines, where and how to stand, dance or prance, turn, and take turns. If costumes are uncomfortable, ill fitting, get in the way of walking etc., it can inhibit performance, and give the student way too many distractions.

And then it is also about the parents. Some schools take the ‘easy’ approach,

which is to have parents source costumes individually, which means that in one class of say 25 students, 25 parents need to go out and buy/ borrow or find a costume suitable for their child.

It is fine for the parent who needs to source a t shirt and shorts, but it is a whole new adventure finding an admiral or a horse! In the end, parents potentially spend three hours each, plus fuel, transport costs and the price of the actual costumes. This means that for a class of 25 students, there is a potential effort in excess of 75 hours work by parents (plus time to make alterations!) for the costumes for one class. It is definitely time to re think this approach. Which brings me back to it being all about the students. The costumes need to be suitable for the

children, and in an appropriate size. They need to be relatively comfortable and safe for the children to wear, and most importantly, have enough detail to clearly depict the character they are portraying.

In order to save the environment as well, isn’t it best if the costumes are used and re used?

One email can start the ball rolling, saving time, money, your sanity and, ultimately, the environment.

Contact Tracey at Costumes Without Drama if you would like an obligation free chat. info@costumeswithoutdrama.com.au costumeswithoutdrama.com.au

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.

Stagecraft is a vital thing. It can add to or detract from a play. The messy, untameable wig; the fake but delicious looking burger; the unbalanced theatre flat; props aim to bring realism to the stage.

A favourite prop of mine made its debut on the stage of a University theatre, where the seats were slightly uncomfortable, but the performance made up for it.

The fake red glow of a cigarette prop captures the eyes of the audience under the stage lights. It’s a quiet moment. Even the audience, sitting shoulder to shoulder in the small black space, feel the frozen energy of the scene. The actor holds the prop between their fingers. This has been rehearsed so many times that even the cigarette knows its cues. Stay still, get picked up, dialogue, dialogue response, someone takes a drag. A beat is taken as the character sucks in a quiet breath, lips pursed and ready to bring the cigarette to their waiting mouth.

It was easy for this cigarette to rocket to fame. It enjoyed a stunning role in the Moat Festival (2019) production of The Drag inspired by the life and plays of Mae West,

adapted and directed by Cole McKenna.

The old, forgotten Facebook event reads: “A party in the 1920s is our window into the lives of New Yorkers and newlyweds Roland and Claire. The play delves into a world of decadence and ruptured mundanity, exploring strained relationships and the pain that comes with having to hide who you are.”

Like many plays at La Trobe Student Theatre, The Drag explored serious topics, centred around LGBTQ+ rights in the 1920s. It’s no question then that Menzies Theatre housed a meaningful exploration of hiding and emerging, and smoking was a way for characters in The Drag to support conflict and conversations with one another.

Rolly, a married and closeted homosexual man finds a place where he is accepted and free to be himself amongst his gay friends. The cigarette is held by a beautifully dressed drag queen, who holds it up towards her lips throughout the heated discussion. The sequinned glow of her red dress and her bright red lipstick complement the fake flame. She takes a drag. The cigarette plays its role,

providing the queen with ease and calm.

The first time I saw it, I was freshly graduated, in my first year of Uni, and astonished at the props, sets, and costumes stored away in the Union Building of La Trobe University. The drama department of my small town high school, great as it was, couldn’t compare. The array of painted set designs, props from sunglasses to plastic flowers, costume pieces belonging to clowns and businessmen; they all waited there, perched in their places, as if standing silent in the wings of a theatre for the moment they could finally take a step into the light.

In a comedic play about a crash landed plane, where three vacationers and a pilot get stranded on an island, the cigarette was passed between Elliot and Corbin, childhood friends who never quite grew up. Under the warm lights of the Menzies Theatre, it brought laughter to a crowd of strangers who would, in the years to follow, become dear friends.

Next, my first time directing one of my plays. Any working creative knows how it usually goes; doubt while writing it, crippling doubt while rehearsing it, and at the end of

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.

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

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.”

Let’s Put On

Easily project scenic backgrounds like these from your laptop.

Falling Ceilings And Revolving Audiences

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

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 Ymer Welsby 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

NIDA scenic construction students push creativity to a new level in live productions

Revolt. She Said. Revolt Again.

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

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+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. They can provide distribution of your complimentary tickets to our enthusiastic and reliable member database; word of mouth publicity; and honest and unbiased feedback from our members who attend your show. Their service is completely free for you to use and their office hours are 8am 10pm 7 days a week. 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

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

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

David Spicer: In Australia, for a major production, what are the key tools to marketing a show?

Lyndell Pond: It all starts with some solid research and data, which enables you to put together a strategy for your placement, creative and messaging. Once you nail those things, the application of that thinking, through all the channels be it on and off line media, social, direct marketing should always be anchored in that overall strategy.

DS: How do you recommend clients split their spending direct mail, digital or print?

LP: If I had to choose out of these three, it would be digital and direct email, over print. The purchase funnel has become very important in recent years and the power of digital in both awareness and conversion is critical. But a highly qualified database will also deliver you very, very strong results when a show has specific campaign messages to share.

DS: How much does it cost to sell a big musical in Sydney or Melbourne?

LP: Like any retail brand, owning a marketplace requires a significant investment. I think the most important element to any campaign is less about spend and more about full integration where owned, earned and paid media are all working in harmony. That way, the actual advertising dollar is not responsible for all the heavy lifting.

DS: Do you know very early if a show is going to be a hit or miss?

LP: We used to know when we counted the pencils at the end of a groups launch, but I think those days

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 again, you need good creative.

DS: What shows are ACMN promoting in 2021?

DS: What are some examples of the variables?

LP: Broadway and the West End have been great indicators for us, but it is never a given. Finding out how the show is going to resonate with Australian audiences is key. We have great options now in digital to test creative and messaging, not to mention the power of research and data, which can all help to get an early indication on the success of a show, or at least how we should tackle it from a marketing perspective.

DS: For very small theatres say community or independent in a major city where do you recommend they spend their marketing dollars?

LP: Always digital advertising, and a strong PR and social strategy.

DS: What about a regional city where TV and Radio is cheaper. Should they spend their money on them?

LP: We are so proud to be involved in taking Come From Away to a much broader audience of Australia. Moulin Rouge! The Musical is beyond exciting with the new and different approach to music, I think we are going to see new and different audiences in the Regent Theatre. And speaking of different audiences, how could I forget Magic Mike Live? We love working for GFO and Opera Australia on their commercial musicals and this year we are thrilled to have been appointed to look after the Tony Award winning musical Rodgers and Hammerstein’s Cinderella

DS: Do you only work with clients on large scale productions?

LP: Not at all, we are involved with big tours, smaller/quicker tours, events that are one nighters in multiple markets and long running musicals or exhibitions and everything in between. Our digital offering means that we have marketing and advertising options to suit any budget.

DS: What is your favourite show?

LP: I always waver on this one as we are spoilt for choice, but today I am going to choose Come From Away When it opened in Melbourne recently, it was an inspired celebration of the reopening of a show, a theatre and a city and I am still buzzing with excitement. Live theatre is back. Please, come out, Australian theatre lovers, there is a lot to love about live entertainment!

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.

The Art of Publicity

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, bombarded your friends and family, spammed your network and flooded all the usual suspects, yet your sales are stalling. What are you doing to reach new audience?

In my view the number one priority on your list should be public relations (‘PR’) or media publicity

Just as marketing (paid advertising, banners, posters, flyers and direct mail) and social media networking are important in promoting a show, media publicity which involves, essentially, free editorial is indispensable in getting known in a crowded arts and media world.

A publicist arranges free editorial: press articles, radio and TV interviews,

Advertising is still transparently yourself blowing your own trumpet and social media like Facebook, Instagram or Twitter will only reach those at most a few degrees of separation away. Remember, as the Bard might have said, “A Facebook ‘like’ doth not a ticket sale make!”

Media coverage through publicity reaches new audiences. Press and electronic media coverage carry the weight of editorial approval or ‘third party endorsement’, complementing your more transparent self promotion.

Your creative team also appreciate coverage which rewards them for

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!

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

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.

Sydney Publicist Geoff Sirmai provides his top ten tips for gaining media coverage.

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.

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.

The critical trifecta of digital marketing is website, email, and social media. A fluid and flexible website is essential. It pains me seeing

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.

Email is the most powerful digital marketing you have. Work it hard, as it is not used enough. It is so important that your email service provider is easy and flexible. Communications must be consistent and segmented. Also, talk to your theatre patrons and volunteers in different ways.

It is important to get email list building tactics integrated into your website and social media. A rule of thumb is that every dollar spent on email gets $42 back.

Create a nurture sequence for new list members. A welcome email has an open rate of 80%. Make it rock. I also suggest you poll and survey your

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 Facebook then stop clicking on the Boost ad prompts. You must evolve to the Facebook Business Manager platform. It is more affordable and allows you to use your own data. The email addresses of clients (who have agreed to receive your newsletters) can be inputted into Facebook so your ads will reach them on social media.

Another excellent tool is Facebook Creator Studio. This allows you to update and schedule posts, so they go out at the right time.

Cultivating influencers is a way of beating the algorithm. An influencer is someone who recommends a product or service and has a following. Let them know when a

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.

“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?

“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.

(Continued on page 74)

“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.

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

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

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

Photo: Grant Leslie.

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.

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

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

Julie Nemitz is an award winning digital content marketer who teaches arts organisations and artists to

Lift the professionalism of your smartphone videography with simple accessories.

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 theatre based workshops and promotion of performances ($20 million limit with market leading extensions and sub limits).

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

Comfy Bums On Seats

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

“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.

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

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.”

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

There is no doubting the importance of “visual” content in our daily lives, be it in the form of social media presence, releases of streaming and cinema content, hard copy or online product presentations, product sales and business promotions.

Our link to the “visual and media” world via the progress of technology has resulted in a broad spectrum of options as to how we deliver information to the public.

Career opportunities in the field of Media have increased so much so that training and mentoring in the discipline has become more dynamic, be it in theatre production, still photography, sales and marketing, or production of promotional content.

Computer generated imagery (CGI) is now used as a primary tool for media content production that combines the individual disciplines of Technology and Art.

So how do we prepare the next generation of photographers, video

and movie producers, marketing gurus, and content creators, so that they are empowered to express their creativity?

One answer may be that future directors, photographic artists, marketing executives etc. become confident to tap into the “tools of the trade” to further nurture their creativity.

There has been a noted increase in number of installations being used to deliver course content in CGI, video, theatre and marketing etc. that is now being provided by training and educational institutions such as universities, colleges, secondary and primary schools.

CycPro has for a number of years delivered what is termed in the industry as “Infinity Walls, White Walls, and Green Walls”, for photographic and video production, theatre production and marketing entities throughout Australia.

CycPro’s design and construct service

enables access to flexible, affordable and packaged “ready to use” installations. With the application of CycPro’s patented modular and prefabricated system of coved floor/ wall and wall/wall treatment, CycPro is able to deliver installations of seamless transition within the often tight time frames that scholastic term breaks provide.

In addition to the larger “fixed format” cyclorama installations, CycPro also has an affordable range of “table top”, mobile or demountable infinity wall solutions to cater for backdrops used in the training process for still photography for the production of commercials and marketing purposes.

CycPro prides itself in committing to the Media and Visual Arts educational and training domain’s needs for today and into the future, and would welcome any obligation free enquiries regarding the potential of installing a Cyclorama Infinity wall in your school, training rooms or existing facility.

Green room installation.

Photo courtesy: Wyndham Tech School.

Online extras!

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

Paris Fit-Out

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

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 RSP 1216HL sits atop the Théâtre du Châtelet’s mixing console.

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

Sound And Lighting

Lighting Design at WAAPA.

Photo: Stephen Heath.

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

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 1/17 Blue Eagle Drive, Meadowbrook, QLD 4131 1300 USE HME (873 463) 1300 USE HME (873 463) sales@hmeservices.com.au sales@hmeservices.com.au 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 5 Pope Street, Ryde, NSW 2112 +61 2 4915 9615 +61 2 8880 6766 info@lifelike.com.au info@lifelike.com.au lifelikegroup.com.au lifelikegroup.com.au

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

Lighting Up The Stage

For over 30 years, the Stage Light crew have been supporting Performing Arts in schools & colleges. Brian

Involvement in performing arts promotes self confidence, communication, creativity and team skills, as well as emotional wellbeing. Student participation is linked to positive academic, social and emotional outcomes later in life.

So, the job of creating wonderful stage experiences is one that’s taken very seriously. Igniting a love of performance in young people is something they care deeply about.

The devastating impacts of the COVID 19 pandemic on the performing arts sector, and on the mental health of individuals, makes it more important than ever to get it right, now we are returning to live performances.

To give back to the community, each year the Stage Light crew collect, assess and repair used stage lighting & audio equipment, before donating them to low SES schools and fire/ flood effected venues throughout NSW. If your performance space has lost, damaged, unsafe or no lighting

and sound equipment, reach out to Stage Light.

The Stage Light crew also undertake annual volunteering at the REELise Film Festival an initiative to support youth mental health.

So, what are the key ingredients to getting it right and supporting a great show?

Production design can support the story and evolving moods of the performance. Stage Light provides lighting, audio and staging design, technical drawing and 3D concepts.

Once the design is finalised, Stage Light can help with equipment hire. They can supply lighting, audio, projection, LED walls, media servers, special effects machines, lasers, communications, rigging, ground support, scaffold, staging and inflatable decor.

Additionally, their crew provide on site training for staff and students in most aspects of technical production.

Student participation in show production at all levels, where

practicable, is encouraged.

shine.

Professional crew work with staff and students to bump in, focus, program and operate the equipment, providing on site training and supporting “guide to” documents.

The crew ensure your venue is safe and compliant. Student crew members complete an online safety induction.

Stage Light believes that staging a great show can make a positive difference in the lives of the students involved as well as their audience.

Stage Light provides a full range of technical production services to schools for performances of all kinds at generously discounted rates, and currently services more than 300 Schools in New South Wales.

For more information email info@stagelight.com.au, call (02) 9533 5152 or visit stagelight.com.au

Walsh, Senior Production Designer, explains how his company is helping young people

School Of Rock.

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 battery operated 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 on board 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 shock resistant and weatherproof housing. It takes a thrashin’ and keeps on DASHin’!

For more information visit dash.rosco.com

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

Behind The Scenes

With Debora Krizak

Alinta Chidzey as Satine with the cast of Moulin Rouge! The Musical

Photo: Michelle Grace Hunder.

As Sydney prepares to welcome Global Creatures’ Moulin Rouge! The Musical to the Capitol Theatre (with other cities to follow), I had the opportunity to interview Associate Lighting Designer Gavan Swift about the design elements that went into creating the theatrical masterpiece.

It’s a smorgasbord of sensory delights with the mantra of such a production being ‘more is more’. The set, lighting, sound, and direction are all designed to captivate and overwhelm the senses. From the moment the audience walk into the venue, they are presented with a vision that encompasses the entire theatre.

Moulin Rouge! is unlike any show that Gavan has worked on.

With a show of this magnitude, the first challenge was how to fit all the scenery and equipment into Melbourne’s Regent Theatre.

“It was tight,” Gavan states. “As for rehearsing the show and bringing it to life onstage, I wouldn’t say it was challenging; it was exciting. We were in the middle of another extended Melbourne lockdown. While theatres and businesses all around us were

closed, Global Creatures managed to keep the production moving ahead and we rehearsed, documented, and honed the show up until the point when we were meant to have an audience. There are occasions when the mixture of circumstance and personnel combine to create something special, and the tech process was like catching lightning in a bottle. Luckily, when we were able to open, the audience response was testament to this process.”

Lighting designers are storytellers. It’s their job to craft atmosphere, direct the audience’s attention, follow and enhance the emotion of a scene, and provide the basic illumination to assist the performers to tell the story. The brilliance behind Justin Townsend’s original lighting design is that it beautifully crafts and supports this story and can provide the spectacle and energy that elevates the production to the next level.

I asked Gavan to describe how some of those design elements are captured in this pair of production stills from Melbourne’s beautiful Regent Theatre.

Inside The Elephant

“The opulence of Satine’s boudoir inside the elephant is a great piece of theatrical design. The over the top décor evokes a place of seduction, where men of means are enticed and bewitched.

“It’s a challenging set to light as, working from downstage to upstage, the elephant cloth needs to be seen, and lit in a way which emulates the large elephant on stage left, without drawing focus away from the performers. Inside the elephant the atmosphere is warm and decadent. Beyond the elephant, the garrets of Paris can be seen, bathed in a midnight blue light with the Eiffel Tower twinkling in the background a sky of stars with a romantic moon, dominated by the instantly recognisable ‘Lamour’ sign.

“Within this set there are scenes, romantic songs, a comedic song selling the new show to The Duke and then the transformation that carries the show towards the Act 1 finale. All needed different lighting treatment.”

on page 92)

Alinta Chidzey as Satine and Des Flanagan as Christian in Moulin Rouge! The Musical Photo: Michelle Grace Hunder.

Behind The Scenes

Welcome To The Moulin Rouge

“When the audience enters, they are met with Derek McLane’s incredible set that consumes the entire theatre. Every part of the theatre is touched by scenic detail, big and small, and is therefore also treated with light.

“The swags of red drapes are followed by swags of LED festoon, which also continue along the walls of the theatre right up into the dress circle. The faces of the proscenium, passerelle and access runways have individually circuited festoon bulbs, ready to explode with energy in the opening number. The stage and auditorium are bathed in red light. The venue houselights are red. On stage right is the iconic Moulin Rouge windmill, and on stage left is a large blue elephant, an icon repeated above the proscenium arch.

“Throughout the swags of red drape is an assortment of chandeliers and even the FOH speakers have design treatment to make them blend into the scenery.

“The gold columns and frescoes of

the Regent Theatre’s architecture were all up lit with LED wash units to make the theatre itself part of the scenic design. There’s practically no part of the auditorium untouched by scenery and lighting on Moulin Rouge!”

Ahead of transferring Moulin Rouge! into Sydney’s Capitol Theatre, Gavan was halfway through tech week for Harry Potter Part One. I asked him what he loves the most about the industry and his contribution to the theatre.

“Personally, I love the variety of being a theatrical lighting designer. Whether it’s the fun and flashy nature of productions like Saturday Night Fever and Mamma Mia!, or the drama of plays like Patrick White’s The Aunt’s Story & The Ham Funeral, every show is different.

“I have been very fortunate to have had an extensive career covering all forms of live theatre and performance. I’ve designed in venues as small as the Hayes Theatre, right up to Marvel Stadium in Melbourne.

“As the musical theatre industry in Australia has evolved to a model that largely imports productions from

overseas, I have been fortunate to have the trust of several Broadway and West End lighting designers who have asked me to recreate their lighting for production in the Australia, New Zealand and Asian markets.

“As the industry rebounds after COVID 19, and starts to settle after the boost provided by RISE funding, it’s going to be interesting to see how the theatrical landscape looks in the next couple of years”.

(Continued from page 91)

With Debora Krizak

Gavan Swift Associate Lighting Designer, Moulin Rouge! The Musical.

Moulin Rouge! The Musical

Playing at the Capitol Theatre, Sydney from May 28 with a return season to Regent Theatre, Melbourne from August 2023. moulinrougemusical.com/australia

Moulin Rouge! The Musical at Regent Theatre, Melbourne.

Photo: Michelle Grace Hunder.

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 Centre in August of the facilities, described as a hub for the fine art of scenic building, painting, construction and electrics.

Build your vision with the TSA Workshop theatresafe.com.au/scenery workshop

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.

Pelican Productions’ Chicago High School Edition

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.

Lighting Up Stages For 50 Years

From a small company established in Wellington, Theatrelight NZ has moved with the times to supply LED lights to the world.

Phillip Dexter turns the spotlight onto Theatrelight NZ.

In 1972, Rex Gilfillan established Theatrelight NZ with his first commission to supply stage lighting control, dimmers and sound mixers to the (then under construction) Hannah Playhouse, also to be known as ‘Downstage’ in Wellington. Opening night in 1973 was a huge success, with considerable interest shown in these innovative, high quality locally made products.

In 1977, as demand outstripped the company’s Wellington factory capacity, Theatrelight moved to larger premises in Auckland.

Theatrelight has gone on to provide dimmers and control boards to most of New Zealand’s iconic performance venues from concert halls, theatres and Television New Zealand and TV3 studios, through to amateur theatres, school halls and drama rooms.

In the 1980s Theatrelight began its first exports to Australia and quickly opened up markets throughout South East Asia and beyond.

Today, Theatrelight equipment is sold around the world, and although this success has required ongoing expansion in manufacturing internationally, no compromise has been made to the quality and value of the products.

Theatrelight wireless and wired DMX 512 and Ethernet distribution nodes and splitters have also become firm favorites with the film industry. Most major international and local films employ TL DMX distribution within New Zealand’s outstanding film industry.

In 2015 Theatrelight designers turned their expertise to the evolving revolution of stage lighting through the application of LED light technology. The current range of single and multi colour stage Fresnel and Profile spotlights are cleverly designed with high end optic control, while being affordable to all from drama rooms to large scale theatres. These luminaires have also become favorites in TV studios, from TV3’s The Project to the recent season of Lego Masters.

These lanterns are designed for ‘lighting not landfill’, so have replaceable LED light engines for when the expected

20,000 hours are exceeded. Like all Theatrelight products, the lights are designed to be serviceable with spare parts locally available if ever needed.

Due to their competitive pricing and high output, these lanterns have proved very popular in theatres and schools. To arrange a demo, talk to your local Theatrelight agent in New Zealand or Show Technology in Australia.

In the field of dimmers, Theatrelight’s new RackPack Switch 12 channel dimmer pack helps theatres make the transition from tungsten stage lighting to LED over time. Each dimming channel has an associate switch to lock out the dimmer and provide mains power. Because the switching of the dimmer channel from dim to mains power is carried out at the rack rather than at the lighting board, there is no chance of accidentally setting a mains power channel to dim and damaging expensive equipment via the control board.

Recent major installs included 40 units in the Theatre Royal, Christchurch and 20 units to the Life Church Auckland. RackPack Switch has proved one our most popular dimmers ever made, with sales outstripping all other models currently available.

There will be very few technical users who have not encountered Theatrelight dimmers, control boards or lights and we thank you for your support over the past 50 years. Here’s to the next 50!

Phillip Dexter is a lighting designer, and a member of the sales team at Theatrelight NZ.

For all sales and service enquiries please contact theatrelight.co.nz

Behind The Scenes

With Debora Krizak

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

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 102)

Debora Krizak.

Photo: Claudio Raschella.

their head somewhere. Whereas a live band may use a handheld mic, theatre performers have radio microphones carefully positioned in wigs at the top of the hairline or what’s referred to as a ‘Madonna mic’ at the side of the mouth.

Often there are several mics for each lead performer in case one becomes redundant (malfunctions) due to sweat, loss of battery or even physical damage. When this happens it’s the sound operator’s job to switch mics and communicate to mic

technicians that there’s a problem with a particular mic.

During my stint in Cabaret, we lost microphones in the thick of the show on opening night. With many sound desks now being digital, it can take time to reboot. In this case they stopped the show. The lead performers left the stage, to pick up where they left off ten minutes later.

David adds that there are plenty of other challenges that sound designers face.

“You’re trying to get the show sounding the same from every seat in the theatre, with the music having plenty of impact, yet having clear and easy to understand vocals. At the

Mic Drop

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.

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

“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.”

Taking Charge

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 to medium 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 ear monitoring 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.

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.

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.

Online extras!

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.

The Australian cast of Hamilton

Photos: Daniel Boud.

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.

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

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

Bangarra’s Bennelong (2017)

Photo: Daniel Boud.

unless he’s included from the start in that first collaborative planning with the director and other designers. He reads the script or score over and over again and, he says, he eschews tricks and focuses his lights only on advancing the meaning of the work.

“We start with that simple question why are we doing this work? It’s all the more vital a question when it’s a classic. I’ve done five productions of Macbeth; if you don’t ask why you’re doing it here at this

time and place, then they’d all look the same. And once you answer that question, you find the environment in which you’ll do it.”

All this was well tested when Nick and his frequent collaborators, director Elke Neidhardt, and set and costume designers Michael Scott Mitchell and Stephen Curtis, started planning what was Australia’s first full production of Wagner’s Ring Cycle. It was premiered by the modest sized State Opera Company of SA in 2004, but years earlier Nick was getting his head around a score lasting 16 and a

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!

“Still, all that time we were addressing the whole framework with the same question why are we doing this work yet again and why in Adelaide?”

This landmark Ring had massive, strikingly lit set pieces, but here again for the lighting designer the priority was story telling, of not losing sight of the human stories over time.

“We always made sure that after fabulous visuals we came back to a permeable box with no scenery in it, just lots of light and that light in those interludes, even more than usual, with

(Continued from page 107)

Nick Schlieper at the lighting desk for Love Never Dies (2012).

Photo: Jeff Busby.

Médée (2019)

Photo: Thomas Aurin.

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,

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 110)

MTC’s North By Northwest (2016). Photo: Jeff Busby.

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

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.”

(Continued from page 109)

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

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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

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

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 par cans, 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.

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

Lighting Rig’s Quick Change

NIDA’s Festival of Emerging Artists is always frantic, and to make it more challenging I was working on two spectacular shows that were complete opposites. One was a contemporary take on Caryl Churchill’s Hotel, a piece of largely physical work which had a cast of 10, and the other, Burning, a new indigenous work that explored the struggles and trauma indigenous Australians have endured over hundreds of years, told through young eyes.

Each piece had obvious lighting needs, such as having a general wash state as well as some face light, but both shows also needed to be able to interact with the lighting, letting it be a part of their stories and not just a complementary factor. Given that the two shows were performed each night, only 40 minutes apart, I had to make the overhead grid as universal as possible. I was lucky enough to have a mixture of tungsten fixtures as well as some LED and moving light fixtures. This allowed me to leave room for experimenting with different colour combinations and shapes when designing the grid.

Hotel explored themes of loneliness and escape. It had ten characters, each of them with their own storylines and motivations. My lighting would need to support them as well as act as a clutch the audience could hold onto throughout the performance.

The first image (above right) was shot during the opening sequence. Each character enters the one hotel room, one by one, with their own motivations. The woman in the image immediately walked into ‘the bathroom’ where the bright light comes on. It mimicked a real bathroom light, but also, because of how bright the light was, the audience was almost blinded for a moment. When the human eye became used to its surroundings, audience members were able to look

Creating one lighting design and rig is a tricky enough challenge, but Pip Morey, a NIDA Third Year Technical Theatre Stage Management student, had to create one universal grid for two shows.

Hotel. Photo: Lisa Maree Williams. Hotel. Photo: Lisa Maree Williams.

into the mirror and see the woman’s reflection. A cold stare, one of questioning and doubt, which set up her character for the entirety of the production.

The second image (opposite page below) shows the scene we called TV, and I like to call it the calm before the storm. It is the last moment before we would explore some of the characters’ own personal hardships and struggles. Although this scene was set late at night, I still wanted the audience to be able to see the characters’ faces and reactions, their interactions with their respective ‘partner’ or the reactions they feel alone in a hotel room, whether it be a positive or negative experience.

The final image (above right) is from one of the final moments of the play. All the characters but one have left the hotel and we are left with a single woman who has been the most mysterious character thus far. The lights chosen drained all the colour from the stage. I thought that these (Continued on page 116)

Hotel Director: Eve Beck Set and Costume Designer: Hayden Relf Sound Designer: Jessica Pizzinga Production Manager: Madeline Picard Stage Manager: Zoe Davis Head Electrician: Cameron Russell

Hotel. Photo: Lisa Maree Williams.

(Continued from page 115)

would be perfect for the last act, as the character begins to explain her reason for being in the hotel, exploring themes of depression, loneliness and desire to disappear. Colour is so full of emotion and as a lighting designer so much of my job is displaying how the characters are feeling onstage through the lighting. As show ends, essentially all the colour is stripped from the stage, the costumes and even the actor, and we are left with this yellow monochromatic state which just displays different tones of the same yellow.

Both shows had completely different approaches to the script. Hotel relied heavily on a sense of realism, whilst Burning existed in a blurred world, between real and metaphorical. The transition between the two shows was only 40 minutes. We had to completely bump out one set and get in the new one, also allowing the cast warm up time within that time frame. Within the lighting changeover, we would remove the set electrics from Hotel, add a floor

lighting fixture for Burning, do a gel change in the boom lights and a focus change in some of the overhead lighting.

Burning is a new First Nations piece which confronts the pain afflicted on First Nations people. It plays with the highs and lows of human emotion, going between happiness, sadness,

anger and fear constantly. I knew that through my lighting choices I could enhance these feelings, both for the audience and for the cast onstage.

This scene (above) was set in the heart of country. Three women of indigenous descent are in their own personal ‘happy place’ safe to do and act as they please. They danced

Burning. Photo: Lisa Maree Williams.

Burning. Photo: Lisa Maree Williams.

and played with each other, interacting where there was no sense of danger or threat. It was a joyous scene which marked the calm before the storm. I wanted both the audience and the cast to feel safe in this scene. That’s why I chose really warm side lighting which complemented the purple and pink tones of the overhead wash, in turn creating this almost imaginary world where the characters can be truly comfortable with themselves and each other.

This scene (opposite page below) was the peak of terror of the piece, depicting the rape and murder of one of the women. I chose to make it as cold and dead as possible. With the stark white lighting, there is no place for the women to hide no safety, no shelter they are truly exposed to their tormentor and eventual murderer. The main lighting choice was a bright light coming from the back of the stage; this acted as an almost blinding light for the audience and through that they saw the man enter.

This scene (right), which followed immediately, was a monologue spoken by our ‘woman’ character, describing how sick and tired black Australians are of the pain and discrimination they have faced for hundreds of years. The text was so powerful that I wanted the audience to be solely focused on our women and what they were saying. Each had their own spotlight, with our main women having two tones of blue and purple. Blue correlated with sadness and depression but also accentuated facial features and expressions. The audience could see every emotion shown and every pause they made throughout the monologue.

Lighting is a tool that can enhance a space and bring an audience into the space and the story. Doing one show at a time can be hard enough, but doing two shows in the same venue, at the same time, brought way more challenges than expected. By creating a universal grid that could work for both shows, I was able to focus more directly on the shape of the light and the story it creates.

Burning

Author and Director: Amy Sole

Set and Costume Designer: Angeline Meany

Sound Designer: Jordan Magnus McCarthy

Production Manager: Madeline Picard

Stage Manager: Grace Sackman Head Electrician: Cameron Russell

Burning. Photo: Lisa Maree Williams.

Queensland Lights Shine Bright

Speaking to Queensland’s top lighting designers, Beth Keehn puts the spotlight backstage in a new occasional series on the magic of stage lighting. This edition she speaks to Matilda Award winner Jason Glenwright.

The Little Red Company’s Your Song

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To illuminate means to make something visible, bright, but also to clarify. Lighting designers do all of that on stage and more. They can plan lighting rigs for a play, a dance performance, ballet, circus, puppetry, or an opera that can enthral and guide an audience through a dramatic story. They can also create spectacular light shows for an event, a performance space, building or landmark structure; and they collaborate closely with other members of the creative team to devise shows, create concepts and fill spaces with wonder.

Those who work in lighting design create magic. To learn more, I have been speaking to the best of Queensland’s professional practitioners, recognised at the 2022 Matilda Awards for excellence in their craft.

Matilda Awards Chair, Jan Irvine, explained: “Audiences will not necessarily be aware of what the lighting design does, but they will feel it. Lighting is not just throwing light on stage; it is creating magical moments defining time space and place. Lighting can draw attention to what we see in a moment and help us understand how it should be interpreted. Matilda Award judges look for lighting design that helps drive the progression of the story. We also consider the degree of difficulty and how the lighting works together with other design elements of a production.”

Jason Glenwright was this year’s winner for Best Lighting Design for his work on The Little Red Company’s Your Song, a tribute to Elton John. But he also made the shortlist for lighting Queensland Theatre’s production of David Megarrity’s The Holidays two very different shows.

Jason said: “Your Song is a very flamboyant lighting design when you think of Elton John, it’s colourful, it’s rock and roll! And The Holidays is almost the opposite a play about a family going to a beach shack. But for both, I come back to the same way of lighting a show stick to the

narrative and the conceptual idea behind it.”

Coping with evolving technology is a big part of the lighting design role. Jason pointed out: “Technology has increased vastly over the last 10 years it feels like a new piece of lighting comes out every two weeks! But I have great relationships with some lighting hire companies so I can see what new tools are available. It is fantastic that we have LED lights and are able to create theatre that conserves energy and power. Automation can also give us more flexibility to create more. In the past, the choice was more limited. These days we can create something like Roald Dahl’s The Twits (shake & stir) which is lit with a full LED and moving light show which means we can shape everything and link lighting and sound cues with much more precision.”

On working with the other creative team members, Jason said: “Collaboration is the key in creating great theatre. While I am generally the last person to enter the rehearsal process, I will be a part of the initial discussions with the director, cast and crew, so the collaboration starts early. The lighting and sound works hand in hand and we can use the technology to support the other creative elements.

“On Your Song, the lighting worked well for the style of the show but also with the blocking, and with the music it lit the costumes, it lit the actors beautifully and was well timed to the music. But also, importantly, the 250 lighting cues were well called by Rebecca Easterman, an amazing stage manager.”

Jason was an Emerging Artist with Queensland Theatre Company and has a Bachelor of Fine Arts (Technical production) degree from Brisbane’s Queensland University of Technology (QUT). But the first time he saw theatrical lights was at high school when he went with his mates to see the Rock Eisteddfod at Brisbane’s Entertainment Centre. He still believes

that supporting theatre at high school is important.

“I still go and work on high school shows to work with the kids and the lighting at the moment I’m doing Singin’ in the Rain at Anglican Church Grammar School and Lord of the Flies at Brisbane Grammar School.”

Does he have any advice for young people interested in pursuing lighting design?

“No one in my family was ever in a theatre show or had a link to the theatre but my Nanna owned a light shop that sold fittings for home interiors and Dad owned a light shop too. So, while they are completely different, something I learned from my Dad that I take to my theatre work is Only put light where you need it!”

Shake & Stir’s The Twits.

Photo: Morgan Roberts.

Queensland Theatre’s The Holidays. Photo: Morgan Roberts.

The Little Red Company’s Skyfall.

Sound Advice

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).

Dreaded Dropouts

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.

For inexperienced operators, there is nothing surprising about wireless interference and drop outs, if the golden rules of wireless tech haven’t been followed before every show.

Rule #1 Scan, Scan, Scan

It is the most basic rule to follow, and it costs nothing!

With the maturing of wireless microphone technology over the past decade, the process is simple. It involves pressing a button on the wireless receiver (which will normally be placed at side of stage, or at the mixing desk position), allowing it to find the most clear frequency 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.

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Factory Sound can keep up to date with all of the latest in pro audio gear. www.youtube.com/FactorySound

More Antennas = More Headaches

An unfortunate side effect of having multiple channels of RF running concurrently for a performance is that not only will the active channels have their own frequency signature taking up space in the RF spectrum, but extra nodes in between those frequencies will appear kind of like a reflection and this effect of intermodulation will cause, in some cases, interference to your wireless channels.

Reducing the amount of antennas around the stage area will actually decrease the amount of intermodulation, and so a well designed Antenna Splitter is a great way to maximise the efficiency and effectiveness of any multi channel wireless system.

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.

Artie Jones from Factory Sound shares his tips for trouble free use of wireless microphones.

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.

Keeping Mics Hidden

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.

Shrinking Graduation

In Primary School performances, lead roles often pass a handheld wireless microphone to each other when there is a line to deliver or a song to sing, while many Secondary School productions will feature headset microphones.

More sophisticated productions will ‘feature’ microphones totally hidden from the audience, but what is the best way to do this?

Invisible,

Not Impossible

Moving to miniature microphones, often called lavalier microphones, is a step in the invisibility direction, but this usually comes at a cost. A high performance microphone capsule smaller than your pinky fingernail is not only often priced higher than the other

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).

Other places include elsewhere around the hairline, such as above the ear. Underneath clothing is an option for some actors and costumes, but the horrible sound of clothing rustle on a microphone capsule (which can sound like wireless microphone interference) may then arise.

Tale Of The Tape

Essential in the theatre audio toolkit is tape, and lots of it. Gaffer Tape (the 510 matte variety), Hypoallergenic surgical tape, Lav tape, and specially prepared Undercovers and Stickies are all useful in making sure the capsule stays put, and the actor is comfortable.

Should a microphone need placing under clothing, the UNDERCOVER range of adhesives makes sure that the apparel does not rub against the

capsule. In an emergency, try the triangle tape technique, to secure and surround a lavalier capsule.

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.

Artie Jones from Factory Sound shares his tips for schools and amateur theatre companies on discreet and crackle free use of microphones.

Microphones In The Pit

It’s not just about the audience

From a full 2,000 seat theatre, right back to a small school production held in the multipurpose hall, it’s not ‘just’ the audience who needs to hear the right balance of music and singing. In fact, the performers on stage are the first ones who need to get a clear feed of the music, to ensure pitch and timing of their singing is perfect.

When the music is provided by (gasp) a CD or laptop, it’s even more important to have a speaker on the side of stage, pointing at the performers. This ‘foldback’ speaker makes it much easier for the singers to have the best chance of singing in time, and in pitch. Waiting for the sound to travel from the Front of House (audience) speakers, back to the stage can be problematic.

Microphones for the band

Having actual musicians perform the score is easier than playback in many ways, but it’s not without its own set of concerns.

Depending on where the musicians are positioned, there may be no need for the abovementioned ‘foldback speaker’, as playback is now generated acoustically, with no CD or laptop involved.

At the very least though, a couple of microphones picking up the ‘overall’ sound of the orchestra allows

the mixing engineer to blend the music with the cast’s wireless microphones. Once this is blended nicely, it’s all sent out of the speakers for the audience, which has the effect of the sound ‘making sense’ all coming out of the same place (even if the audience doesn’t realise it’s happening).

Getting the right balance

Having a great conductor is the best way to ensure a nice balance between all the instruments. However, if you’re doing West Side Story, it’s hard for the percussionists playing finger cymbals, small maracas and claves to keep up with the volume generated from seven brass players. Equally, the flute may struggle to heard over the 12 string players.

This is where ‘spot’ microphones in combination with ‘orchestra’ microphones become important. Setting up a pair of microphones (large diaphragm condenser mics work very well for this application) to record the overall sound of the orchestra are essential. This will allow a ‘feed’ to the foldback monitor on stage (if needed), and also a feed to the backstage/green room area.

The ‘spot’ microphones that work best are usually a small diaphragm ‘pencil’ condenser mic. Use one of these for each of the sections that may need a little extra tickle of volume to be heard when the whips are really cracking like the smaller hand percussion, or flutes.

Limitations of the mixing console

Unless you’re involved with a big Broadway show, with 180+ channels worth of microphones and a sophisticated mixing system, there will be a point where you’ve reached the maximum number of microphone channels available on the mixing console.

For smaller shows, it may be 5 or 6 wireless packs, 2 or 3 hanging microphones for the stage, a couple of ‘floor’ microphones for the stage and the ‘orchestra pair’ plus 3 spot microphones for your musicians. Very quickly, that has already added up to 16 channels (which is the size of a small digital mixing console).

We’ll take a closer look at different microphones for specific instruments, along with hanging and floor microphones for stage in the next edition of Tech Tips.

As always, get in touch with microphone specialists if you need more immediate information.

Royal Opera House Covent Gardens

Photo: Sim Canetty Clarke.

Factory Sound have the skills and expertise to help guide your next microphone purchase. Call 1800 816 244 or visit factorysound.com

Artie Jones from Factory Sound dives into the orchestra pit to help ensure your magnificent musicians can be heard with clarity.

Going Wireless

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 of the 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

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 hard wired 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

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.

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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StageCenta: Swipe For A Show

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 musical or play). We take all the problems from them.”

For more information or to register, visit stagecenta.com

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.”

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.

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.

Rachael Beck and Richard Block with Daryl Somers, who played Max Bialystock in Dramatic Productions’ The Producers (2019)

Photo: Janelle McMenamin.

Theatre Ticketing Made Easy

Australian based ticketing platform TryBooking is growing in popularity within the theatre industry and has expanded its services to allow event organisers to sell tickets in person at their Box Office, to complement their online platform.

“It’s time to start selling tickets online! Get rid of the admin and paperwork from manually booking and printing tickets, not to mention chasing up on payments before the show,” said TryBooking’s Managing Director Jeff McAlister

“Simply create a customisable event page for your show and have patrons conveniently book tickets online or add our Box Office via an EFTPOS terminal to manage in person ticket sales. Use the check in app to scan in ticket buyers as they arrive, monitor sales and check ins in real time,” he said.

TryBooking recognises that theatres exist through the support of their communities and offers fundraising pages. It provides an option for venues or performers to

run registrations, create fundraising campaigns or just take donations. They’re still free for free events.

Fees remain at 2.5% and a $0.50 fee per ticket. There is no tiered pricing or subscriptions. The option exists to pass all these fees on to patrons or to ‘absorb’ them all within the ticket price.

TryBooking is trusted by 1,500+ local theatres and performers. It supports theatres across Australia and New Zealand like Forge Theatre, La Mama, Signet Theatre, MC Showroom, Camden Civic Centre and the Theatre Guild.

The events page at TryBooking.com receives a significant volume of potential ticket buyers looking for theatre events. Having a theatre event appear on the “Events Near Me” section helps drive additional sales.

One venue which switched to TryBooking is the Ararat Performing Arts Centre in Victoria. The Assistant Director Russel Potter said theatre goers love the convenience of the service.

“With our online seating plans they tend to purchase earlier to choose the best seats. We have a link on our website, so as soon as a show is listed, people can click the link and book their tickets,” he said.

“TryBooking has provided exceptional service and support and a first rate product that improves both our ticketing process and our customer communication.”

Jeff McAlister says with 15+ years’ experience working with local theatre groups, performers, and venues “we have the knowledge and expertise to assist your business and take your operations to the next level.”

Head to TryBooking today and sign up to try out the system.

My Opera Australia Debut

What is it like to be in a grand production at the Sydney Opera House?

David Spicer reports on the drama and excitement behind the scenes.

Walking through the stage door of the Sydney Opera House, I was issued with a photo pass which stated David Spicer, Opera Australia Performer. How cool was that? It felt a bit like being presented with a Baggy Green cap at the beginning of a Test career, except that sadly I had to relinquish it after my short stint as a non singing actor was over.

Over six weeks I experienced exhilaration from the stage experience, had many close shaves with COVID 19 and also felt great sadness acting out a death march, in a scene which resembled the fate of five of my great grandparents.

The opera was La Juive, a grand French opera not performed in Australia for over a century.

La Juive (The Jewess) has sumptuous music, but the story is a little dusty. At our first rehearsal the revival director Constantine Costa gave the ten actors in the cast a summary of the plot. He rolled his eyes at the more implausible stretches of the work, which is about the forbidden love between a Christian and Jewess. Originally set in the Middle Ages in

Switzerland, this production shifted the story to 1930s France.

Even though we were extra actors, sometimes known in the trade as supernumeraries, Con encouraged us to invent a back story for our ‘characters’. When I was portraying an antisemitic Christian militia member, I chose the persona of a senior intelligence officer, keeping an eye on my colleagues. In my alternative role as a Jew, I suggested that my character be a complainer.

At the rehearsal we were asked to march around in grids, keeping a distance from each other and slowing or speeding up as he commanded, from number 1 to 10.

The next rehearsal saw the principals turn up and, being from an amateur theatre background, I was immediately impressed that they knew all their (French) lines perfectly. We were brought in three weeks before opening night, so they had a head start.

Sometimes we were excused early from a rehearsal, which made me feel awkward when a big star was singing, as I wanted to stay listen and applaud.

The large chorus joined next, and their thunderous dulcet tones swirled around us.

The set and costumes were imported from a production in France. Darned into my coat were the names of the French actors who were wore it before.

We cursed the set’s steep stairs at the front of the stage, but enjoyed the ride on the slow moving tracks downstage.

Bits of forest, or a bookcase or a tower were wheeled around and rotated in pieces on trucks by a team of no less than 15 stage crew hands.

I was told that the Opera Theatre requires a large crew because the side stage is one of smallest around for a company of this scale, and the set has to be bumped out after every performance to make way for other operas. It is so squeezy that the tops of the trees were tickling the innards of the Opera House’s iconic shells, a bit like those rapid antigen tests up your nostril, which we were required to poke before every rehearsal or performance.

To get an early look at the set I put my hand up for an extra shift. They needed ‘light walkers’ to stand on the stairs whilst the lighting

Musical Spice

designer and director tweaked the lamps.

As this was my debut on the stage of the Dame Joan Sutherland Theatre

I sang several arias albeit very quietly under my breath to avoid aggravating the production team.

Backstage is a bit of rabbit warren of corridors and stairs up and down to the theatre surrounding the Green Room which took time to get the hang of.

The chorus and actors share common dressing rooms, whilst the stars have their own private rooms with windows out to Sydney Harbour.

Generally, the chorus and principals were friendly to the non singing actors. Some of the stars who were aloof at first, ended up sharing practical jokes with us by the end of the season.

Some of the leading lights arrive at the Opera House dressed modestly. Patrons walk up in their finery not knowing that the person walking alongside them in stubbies and T shirt is a superstar.

Overall, the organisation from Opera Australia was impeccable. From the dulcet tones of the stage (Continued on page 134)

manager reminding everyone exactly when they were due on stage, to our names being darned into every piece of costume including socks (washed after every performance), to backstage crew guiding us off stage when the light was in our face, it felt that no box was left unticked.

I was assigned various roles. My first appearance on stage was in a black shirt as part of a French militia. We had to control the crowd and hand out bribes on behalf of our antisemitic leader. Then I had a quick change to become a Jew who was forced up a tower to watch in horror at a book burning demonstration. Then I was dragged down and beaten up alongside two others.

Next was my favourite scene as part of a Passover seder which is ceremonial meal to mark the Jewish exodus from Egypt. Being so close to the lead tenor Diego Torre as he projected his velvet trumpet like voice was thrilling.

In the second act, I was part of a background scene of prison officials coldly administering, in slow motion, the paperwork of executions.

As opening night approached, I wondered if that was it? Would I appear at the end of the opera, which reaches a grisly conclusion?

The looming holocaust was symbolised in a jarring drop of shoes into the stage.

At the second last rehearsal word came that the actors would be part of a solemn march to take off our hats and coats, and walk to the back of the

stage, to step down into a forest, symbolically to our deaths.

The music was grim and to approach this in an appropriate mood I imagined how my five great grandparents would have felt when they were murdered during the Holocaust. To honour them, I visualised their black and white photos and repeated their names.

Being asked to act in this scene at the end of the opera meant we were available to take part in the curtain call.

The ten actors marched on first to soak up the applause. I felt like a bit of an imposter, as it was the singers and musicians who deserved the ovation.

After opening night, the reviews which came out were largely very positive. A slice of my face appeared in one of the pictures on the far right. Whilst no critics mentioned the actors, our Assistant Director gave us regular notes.

I was told to move a bit less, to go from point A to point B a bit quicker, to not pull focus from the chorus, and not to wave at my friends and family during the bows. (Oops!) Almost all instructions were strictly followed.

Younger relatives dragged along to watch the opera were entertained at the implausible sight of myself on this stage, and, to be truthful, a bit bored, as it was not the ideal opera for someone who has not been before.

As COVID 19 swirled around the cast and community, I was nervous about missing part of the season. The actor who beat me up on stage tested positive, as did several other people who I had been near. I fled the family

home to isolate.

My goal was to do everything I could to be there for the final performance, when my frail and elderly mother was attending.

Recently she had to give up her lifelong subscription to the opera. Anxiety grew as the final performance approached, when my brother and my mother’s carer tested positive or were close contacts.

This meant I had to pick her up at the nursing home and gather an entourage of helpers to get her to her seat.

In the morning my rapid antigen test was negative. I did a fist pump. I arrived early at my mother’s room, then eased her into a wheelchair and pushed her to my car.

I deposited the entourage at the front gate of the Opera House, where she was given another wheelchair which was pushed onto a buggy that took her under the steps.

It was a wheelchair all the way to her seat which was in the step free second row.

Now to focus on one member of the audience is not professional, but given that I was on stage with dozens and this was (probably) my mother’s last trip to the opera, I did steal the odd glance.

At the curtain call she waved to me. Don’t wave, I thought we were instructed to only wave as the curtain came down.

She waved again. What else could I do? I gave her a modest wave back using only my hand and wrist. She signalled back. I could clearly see her excellent symbol.

Musical Spice

David Spicer and Diego Torre.