Stage Whispers March/April 2019 edition

In this issue

The Disco Inferno ...................................................................................... 8 We talk to the stars of the new production of Saturday Night Fever Todd Joins The Circus .............................................................................. 12 Todd McKenney to sing, dance and walk the high-wire in Barnum

8

Geraldine’s Dream .................................................................................. 16 Geraldine Turner’s great career and her greatest disappointment Paradise Lost ........................................................................................... 20 Sue Smith on her new play about George Johnston and Charmian Clift

14

Love Never Ends For Dad ......................................................................... 23 Raymond Hopkins’ farcical comedies help raise money for medical research Diary Of A Busy Opera Singer .................................................................. 24 Two weeks in the working life of an Opera Australia chorister Something’s Coming .............................................................................. 28 West Side Story on the harbour and in the theatre

19

School Performing Arts Resource Kit ....................................................... 35 New Zealand Musical Theatre Boom ....................................................... 54 Community Theatres in New Zealand band together to stage Blockbusters

29 39 70 82 89 4 Stage Whispers March - April 2019

Regular Features Stage Briefs

6

Broadway Buzz

32

London Calling

33

Stage On Page

50

Stage On Disc

52

On Stage - What’s On

58

Auditions

69

Reviews

70

Choosing A Show

90

Musical Spice

92

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Editorial Dear theatre-goers and theatre-doers, What happens when a production is cancelled, mere days before our print deadline, and an interview with the star is one of our major features?

I’m far from alone in my bewilderment that one of musical theatre’s most obvious perfect matches has failed to reach the stage - again (now for the fifth time).

The pairing of Geraldine Turner and the role of Mama Rose, the ultimate stage mother, in the musical Gypsy seems like a no-brainer, yet once again everything failed to come up roses.

With Geraldine’s blessing, we’ve re-worked the article which sprang from our interview with her ahead of this ill-fated production to look at broader aspects of her stellar career.

I vividly recall standing on the stage of one of Sydney’s multitude of now-lost theatres in 1992, Her Majesty’s, mingling with a fabulous Gypsy cast which also included TV host Tony Barber and Georgie Parker, at the launch to promote the unrealised production which began this sad tale. It was the same stage where I was dazzled by the legendary Gloria Dawn, bringing the house down as Mama Rose, the final role of her brilliant career.

Sadly, that stage is now just someone’s apartment, another victim of the developers who have decimated Sydney’s theatres.

On a more positive note, also reflecting my experiences, this time as a drama teacher, this edition features our School Performing Arts Resource Kit. It’s full of features highlighting the wealth of theatrical opportunities for young people, both as audience members and performers.

Yours in Theatre,

Neil Litchfield Editor

Cover image: Euan Doidge as Tony Manero in the musical Saturday Night Fever, playing at Sydney Lyric Theatre from March 27.

See David Spicer’s feature story on page 8.

Photo: Daniel Boud.

CONNECT www.stagewhispers.com.au Stage Whispers 5

 Anthony Warlow and Gina Riley will join forces in a reimagined concert version of the musical thriller Sweeney Todd: The Demon Barber of Fleet Street. Warlow Australia’s original Phantom - is set to play the ‘demon barber’ Sweeney Todd, while Gina Riley plays landlady and pie-shop owner Mrs. Lovett in Stephen Sondheim and Hugh Wheeler’s 1979 musical masterpiece, playing Sydney and Melbourne in June for six performances only per city.

Photo: Colin Page. lifelikecompany.com

 Blake Bowden, Nyk Bielak and the company of The Book Of Mormon. Following a season at QPAC from March 16, the show will tour to Adelaide beginning June 27.

Photo: Jeff Busby. bookofmormonmusical.com.au

Online extras!

The Mormons will shortly be saying “Hello!” to Brisbane and Adelaide. https://youtu.be/OKkLV1zE8M0

6 Stage Whispers March - April 2019

Stage Briefs

Online extras!

Anthony Warlow reveals why playing Sweeney Todd is his dream role. https://vimeo.com/316545530 www.stagewhispers.com.au Stage Whispers 7

Euan Doidge and Melanie Hawkins in Saturday Night Fever.

Photo: Daniel Boud.

Online extras!

Feel the night fever coming to Sydney by scanning the QR code or visiting https://youtu.be/D0gBvMvcvmw 8 Stage Whispers March - April 2019

Cover Story

Saturday Night Fever is returning to Australia, promising to burn the disco floor with a new interpretation of the musical that features the hottest music and dancing of the 1970’s. Based on the movie which shot John Travolta to stardom, it centres on the relationship between 19-year-old Tony and his older dance partner Stephanie. David Spicer reflects on that original movie and asks the actors playing the roles (Euan Doidge and Melanie Hawkins) how they can relate to it.

The original Saturday Night Fever movie came so close to disaster that its incredible success, both at the box office and in defining a whole era, is extraordinary.

It was the brainchild of swashbuckling Australian producer Robert Stigwood. He had the vision to bring together the talent of John Travolta, with a story he read in a magazine, married to the music of the Bee Gees - which he managed.

But just weeks before the movie was scheduled to be filmed, the Director John G. Avildsen (whose previous film was Rocky) told Stigwood he didn’t like the Bee Gees and wanted to drop their music.

Stigwood promptly sacked him and had to scramble to find a replacement.

The problems didn’t end there. Filming in Brooklyn was chaotic as crowds swarmed Travolta. The cast and crew pushed their luck by rather lax safety procedures in the movie’s famous scene on the Brooklyn Bridge.

Filming had to be halted when John Travolta’s partner died. The money almost ran out.

Then when it was finished, the distributor declined to release the movie because of the amount of swearing in it.

Finally it was released in 1977, when the music and dazzling dancing helped propel the movie to define a whole era.

Travolta famously opens the movie to the song ‘Stayin’ Alive’ as he walks stylishly into his dead-beat job in a paint shop. The teenage heart-throb Tony Manero lived for Saturday night, when he showed off his dance skills on the disco floor.

In Travolta’s shoes for the new Australian production is Euan Doidge, most recently seen in high heels as Felicia in Priscilla Queen of the Desert and before that in Kinky Boots.

“High heels are seven inches off the ground (whereas) the Cuban (dance heels) are only one and a half. It will definitely be nice to be closer to the earth,” he said.

More comfortable, yes, but can he relate to the character of Tony Manero?

“Yes and No,” was his response.

Doidge was born in the New Zealand town of Rotorua. His family moved to Mount Gambier, South Australia. At the age of ten he decided that instead of sport he should be dancing (yeah).

“I was given an absolute hard time. It was not the normal thing for a young man in a country town, where everyone was playing football.

“They laughed at me and pointed at me in the corridor, which was awful, and it was much worse than that.

“But I knew it was exactly what I wanted to do. It made me stronger and more determined.”

By contrast, in the world of Saturday Night Fever dancing is celebrated as the height of masculinity.

“I love that. When I moved into the arts world I lost a lot of friends, which was not nice feeling as a teenager growing up.”

Some aspects of the world depicted in the original film he can’t relate to.

“It was a rough upbringing, the way they speak to each other. That Italian New York culture, and how physical they are to each other, is not something I am used to seeing.”

Euan says the character of Tony is a product of that environment. At first, he is both abrupt and rude to women.

“He goes on a journey where we get to see a different side of him. What I love about the character is that he has that persona of that classic male, but when that wall is broken and he finds love in full, his whole mannerisms change. You do get to see that through dance.”

Melanie Hawkins says she was quite young when she saw the movie.

(Continued on page 10) www.stagewhispers.com.au Stage Whispers 9

This version of Saturday Night Fever is going to have a different approach than the one staged in Australia in the Cover Story early 2000’s.

That West End replica was more of a traditional (Continued from page 9) musical, requiring the leads to sing, dance and act.

“My mum might have let me watch it and not realised Producers have called this production Saturday Night quite how adult it is. The perception is that it was a movie Fever: You Should Be Dancing. It will be closer to the about dancing, but there is so much more to it. She got movie, where all the singing was done by the Bee Gees half way through it when she realised there are some and other pop singers. Likewise, this time the leads will serious topics being covered, which I am sure has concentrate on acting and dancing. Vocal grunt will be happened to many people. That’s what makes it a great provided by an ensemble that includes Bobby Fox and snapshot into that time.”

Paulini.

Melanie scored her first major lead in a musical after a New scenes have also been written to incorporate decade of mainly chorus work. Stephanie is a 20-year-old Australia’s own 1970’s Disco Queen - Marcia Hines. She is office worker and dancer from Manhattan. playing a new role as The Diva, who performs at Disco “She is ballsy. She is multi-layered and tries to hide Odyssey 2001. behind a façade. That’s what makes her interesting as a This is a nod to Marcia’s own successful career character. She is trying to shed that skin of being a renaissance in the circus burlesque production Velvet, teenager but deep down there is play and joy and where she makes almost a cameo appearance surrounded goofiness which she tries to cover up. Tony brings out that by a lavish spectacle. side in her, which is cool.”

A key ingredient will be the choreography.

Melanie says she has gone on a similar journey, “I think the dancing will probably be one of the most recalling the big decision as a young woman to drive out demanding roles I have done to date,” said Melanie. of her hometown with not much money to her name.

“For Euan and I it will be very high impact, high cardio “I admire Stephanie’s ability to take risks. I was and full on style. You think it’s just disco but when you are originally from Adelaide and made a big decision to move doing the musical version it’s going to be detailed to Melbourne on my own to have a career.” technical dancing.”

Both Melanie and Euan studied dance at Patrick What does she like about disco dancing?

Studios in Melbourne. As friends, they were pleased to be “It feels special. Like something exciting is about to paired together at the audition. happen. A lot of songs in Disco music are like a ballad “It helps when you already know someone. We drove with a beat. There are beautiful vocals, almost ethereal, straight in, there was no mucking around,” she said. then there is this bass undertone. You can’t not tap your Euan recalls that “we did a routine together. Ten foot (to the beat).” minutes afterwards a scene. That was it. I guess the Euan says although Disco is a style not taught at dance chemistry is so important and (we were lucky) to have schools anymore, you need a lot of strength to do it well. known each other for years.”

“It is a social dance. It is a groove that forms into this artform. It is so upbeat that it requires a lot of stamina.

And it is very fast.

Saturday Night Fever plays at Sydney Lyric “It has got a mix of classic disco style that everyone loves but also this new modern contemporary feel that a Theatre from 27 March. lot of young people are going to love about the show.”

John Travolta didn’t have to pull it off eight times a week. Euan admits that this energetic version of the show will be taxing.

“I know my body; when it needs a rest, when I can push a little bit harder. For me it is about staying fit and being healthy. To sustain a show like SNF eight times a week is going to be pretty tough on the body.”

Even little things can be hard. Travolta came up with his famous pose in the white suit at the end of a 15-hour day when he was asked by the director if he had anything up his sleeve.

“He jumped into that position and boom, that was it.

“I wish it was a little bit lower. Yesterday when I was doing that photo shoot. I decided to put my arm up and had a dead arm by the end of the day. I can’t imagine how he was feeling.”

David Spicer manages the non-professional rights to Saturday Night Fever in Australia and New Zealand.

10 Stage Whispers March - April 2019

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TODD JOINS THE

CIRCUS It’s Todd McKenney’s toughest challenge yet - singing whilst walking and keeping balance on a high wire. He’s been training for months for the role of the legendary circus showman P.T. Barnum in the musical Barnum, which opens in Melbourne in late April ahead of an expected national tour. Todd spoke with David Spicer about his passion for the role and the big balancing act.

David Spicer: Why Barnum now?

Todd McKenney: It is the perfect timing because of the success of the movie The Greatest Showman starring Hugh Jackman. It has piqued everyone’s interest in P.T. Barnum as a person again.

Hugh, like me, has always wanted to play the role.

He launched it in a cinematic way. This is the original Broadway musical.

DS: What is your connection to the musical?

TM: Mark Bramble, who wrote it, directed me in a production of 42nd Street in 1989. Mark said to me then, you should play Barnum one day. I just started in the business when Reg Livermore finished his (Australian) season of Barnum. It has always sat in my psyche.

So I got the album and listened to every version there is. I thought it would pass me by. Recently I mentioned at a performance (of Bosom Buddies with Nancye Hayes) that it was the only musical on my bucket list. Then weeks later (I was booked).

DS: How does the music and story of The Greatest Showman compare to Barnum?

TM: They are completely different. This is pure Broadway. The thing I like about him is that he is not a nice character. He is a charlatan. He sold old swamp land (hence the song ‘There Is A Sucker Born Every 12 Stage Whispers March - April 2019

Minute’). Both are theatrical licences of the same story.

The movie glorified Barnum a lot and touched on the darker stuff. The stage show does the same thing in a different style.

DS: Do you like playing the villain?

TM: Yes, I love roles that are the furthest away from me the better, whether it be the foppish British character in Anything Goes, the MC in Cabaret or Frank N Furter in The Rocky Horror Show.

I am not a (Barnum like) bastard charlatan.

He was the first person to charge people to come and look at other people. Whether it was Tom Thumb, who was just a little kid, or a bearded woman or the elephant man. The bearded woman was just a woman with a beard stuck on her.

Barnum made the exit out the front door so the paying customers could never complain. They stood there saying, that is a woman with a beard stuck on her! He said, “doesn’t matter, got their money.” He did that with everyone.

General Tom Thumb was a six-year-old. He gave the kid a cigar and a bottle of brandy. So when people said that is a kid with a cigar (he replied) “doesn’t matter, get them out the door.”

(Continued on page 14)

Todd McKenney as P.T. Barnum.

Photo: Jeff Busby.

www.stagewhispers.com.au Stage Whispers 13

Todd McKenney and Rachael Beck in Barnum The Circus Musical.

Photo: Jeff Busby.

(Continued from page 12)

Online extras!

Get a taste of Barnum by scanning the QR code or visiting https://youtu.be/vTPA2L-dMWo 14 Stage Whispers March - April 2019

DS: What surprised you in your research?

TM: He invented matinees.

Barnum was the first person to attempt to get families to see a show. He put on a show at 2pm and matinees were invented. He was the vision man. He built his fortune.

Lost his fortune. Built his fortune. Lost his fortune.

Went into politics. Lost his politics.

DS: What sort of training are you undergoing to prepare for the tightrope scene?

TM: I now own a pair of tightrope walking shoes (for training at home). I can juggle anyway. But the tightrope walking I want to nail. The guys who have done it before tended to go up on the tightrope, do the trick, do a lunge in the middle and get off.

To me it always stops the production, whilst we watch this guy do a trick. I said to (the director) Tyran Parke, and Mark Bramble, is there a way we can use the tightrope as a device to move the story forward? So we have come up with this plan to get Charity Barnum (his wife) to back me up.

Barnum brought out this Swedish singer Jenny Lind, who he had an affair with. She was an opera singer filling opera houses in Europe (and later in the US). Charity, his wife, said you need to decide what you are doing?

In our version of it, when Charity is asking about it, she pushes him up on the tightrope. On the other side is the lady he is having an affair with. So Charity is standing on one end. I must sing somewhere out (in the middle) deciding whether I will go to the Swedish Nightingale or my wife? It will bring the house down.

Michael Crawford sometimes took three goes to get across. It is three metres (off the ground) - the highest you can go without a harness.

DS: You could still twist your ankle?

TM: Yes, you could, and you have got your battery pack, and a spotlight and an audience and a song. The wire is as wide as my index finger.

DS: Are the skills you need to be a great tightrope walker and dancer similar?

TM: They are. You have to know your core. It is all about balance. It is a weird sensation. You have got to be able to isolate your body, which you do in dance. When you throw your arms out you don’t fall over to the right or left. You must always know where your centre is.

As you walk onto the tightrope, the leg on the rope has to be slightly bent. But the pendulum foot has to be absolutely straight - otherwise you turn into a wobbly mess. Your arms have got to be relaxed. When you put the other foot forward you swap.

That one has to be straight and the other bent. You are busy adjusting the whole time.

DS: And you are using different parts of your brain to sing and keep balance?

TM: And there is an audience.

Then you are wearing battery packs. I also wear an inner ear monitor. I wear three battery packs (altogether) which add a couple of kilos. I have been rehearsing with a backpack to give me extra weight. It is hard but I am looking forward to it.

Broadway musical Barnum returns to Australia in an allnew production playing at the Comedy Theatre, Melbourne, from April 27.

Rachael Beck will play P.T. Barnum’s devoted wife Charity while Akina Edmonds will play Joice Heth.

The new Australian production is produced by StoreyBoard Entertainment, in collaboration with the National Institute of Circus Arts (NICA). barnumthemusical.com.au

www.stagewhispers.com.au Stage Whispers 15

Geraldine’s Dream “I Had a Dream” Rose tells her hapless admirer, Herbie, as she launches into ‘Everything’s Coming Up Roses’ in the Arthur Laurents / Jule Styne / Stephen Sondheim musical Gypsy. Geraldine Turner has a dream too.

It’s to tackle the role of Rose in that musical. Bill Stephens has the story.

Photo: Kurt Sneddon.

16 Stage Whispers March - April 2019

In spite of her illustrious career spanning more than 40 years, headlining in major musical theatre productions, theatre, cabaret and television, the role of Rose in Gypsy, considered by many to be the Everest of musical theatre roles, has so far eluded Geraldine Turner. Incredibly, Turner has been cast as Rose in no fewer than five productions of Gypsy, none of which have come to fruition.

The first was the infamous 1992 production, which was to have been directed by the late Richard Wherrett.

Despite strong ticket sales, and an excellent cast and creative team, this production was suddenly cancelled at the end of the first week of rehearsals when the finances fell through.

Showbiz legend has it that Turner’s response to the cancellation of the 1992 production of Gypsy was to trash the producer’s office.

“Never happened!” she laughs when I repeat the gossip. “I certainly gave him a piece of my mind, but of course I never trashed his office.”

In the intervening years Turner has been cast in four other productions of

Gypsy, all of which, for various reasons, were cancelled before they hit the stage.

In April, Turner was poised to fulfil her dream when she was scheduled to star in a four week season of Gypsy being produced by The Queanbeyan Performing Arts Centre (The Q).

However, on the 15th of February, just one week before the production was due to start rehearsals, Turner’s dream unbelievably came crashing down when The Q issued a brief press release advising “that, with regret, the Q and the production team announce the decision to cancel the show, Gypsy...those who have already purchased tickets will be contacted directly.”

No reason was given for the cancellation, but once again it had nothing to do with Geraldine Turner.

Indeed, when I contacted a shocked Turner she described the decision as “Unfathomable! People had booked from Melbourne, Brisbane and Sydney. It’s difficult to reconcile.”

She then went on to describe the moment a representative of the Q called to advise her of the cancellation.

Rep: I am sorry to have to tell you this but we have decided to cancel Gypsy.

Geraldine: (silence…can’t speak) long pause.

Rep: I really want to tell you something. You are a lovely lady and I’ve enjoyed meeting you. (Hangs up).

“That makes five times. How can people keep doing this?” she asked uncomprehendingly.

It has since emerged that the original director, Rodney Delaney, was informed by the same representative, only the day before, that he had been removed from the production, ostensibly because of friction between himself and the Production Manager.

While confirming this, Delaney reiterated that he had been thrilled with the supremely gifted cast of local players that had been assembled for the production, and disappointed for (Continued on page 18)

www.stagewhispers.com.au Stage Whispers 17

(Continued from page 17)

the Q, and for local audiences, that they would now miss out on the opportunity to work with Ms. Turner to bring Gypsy to life.

I asked Turner why this role was so important to her. “She’s my mother.

My mother was the quintessential stage mother. It’s a play about mothers and daughters. Rose had a sad upbringing herself. She’s such a fierce woman in many ways and yet she has great humanity. That’s a great thing for an actor to play. If I don’t do it soon, I’ll be too long in the tooth to do it,” she explains. “It’s a huge part, and a huge thing to do. You’ve got to be young in spirit enough to be able to do it.”

Turner has actually written her own musical, based on her relationship with her mother, called Drama Queen. She wrote the book and lyrics and Greg Crease wrote the music. Drama Queen was workshopped at The Street in Canberra in 2017 but is still awaiting production.

Turner was born to play the indomitable Rose. Her brassy chutzpah in such roles as Velma Kelly, opposite Nancye Hayes’ Roxie Hart, in the original Australian production of Chicago, directed by Wherrett, endeared her to generations of Australian audiences. That performance is captured on the Australian cast recording, which is now a collector’s item, as is her multi-

18 Stage Whispers March - April 2019

award winning performance as Reno Sweeney in Jerry Zaks’ hit Broadway production of Cole Porter’s Anything Goes, which toured Australia and New Zealand for two and a half years.

Brisbane born and raised, Turner trained in classical ballet and singing.

As a child she appeared in productions of Aladdin (Tibor Rudas) and The Sleeping Princess (The Borovansky Ballet), and was soon a regular on the local television variety program Cottee’s Happy Hour.

During the early 1970’s, she appeared with the Queensland Theatre Company in the musicals Lock Up Your Daughters, A Rum Do! and Oh, What a Lovely War! In 1971 she participated in an extensive tour of The Legend of King O’Malley, before being cast as Betty From Boston in J.C.Williamsons’ tour of No No Nanette.

However it was the role of Petra in the 1973 original Australian production of A Little Night Music (J.C.W.) that brought her to national attention. Critics hailed her as a major new star. Turner subsequently played Desiree in a 1992 revival of A Little Night Music for the STC, and again in New Zealand for Canterbury Opera.

Turner has a particular affection for the works of Stephen Sondheim and over the years has played Mrs. Lovett in Sweeney Todd (Melbourne Theatre Company), and The Baker’s Wife in Into the Woods and Joanne in Company, both for the Sydney Theatre Company. She famously

became the first person to record an all-Sondheim album.

She certainly hasn’t confined herself to Sondheim however. Turner has excelled in roles as varied as Nancy in Oliver! (Adelaide Festival Trust), Lalume in Kismet (Victoria State Opera), Frauline Schneider in Cabaret, Sally Adams in Call Me Madam (The Production Company) and Madame Morrible in Wicked.

She’s triumphed in the title role of Offenbach’s La Belle Helene (Victoria Opera), and in 2017 made her first appearances with Opera Australia in Robert Greene’s pastiche operetta Two Weddings, One Bride, which returns to Melbourne in November.

Turner has enjoyed performing Gilbert and Sullivan as a fearsome Katisha in The Mikado (Essgee), a dainty Buttercup in H.M.S. Pinafore (V.S.O) and even Captain Corcoran and Nanki Poo in school productions of H.M.S. Pinafore and The Mikado.

She’s appeared in several notable Australian musicals, playing Ruby in Summer Rain (QTC) for which the writers, Terence Clarke and Nick Enright, wrote an additional song for her, ‘Abracadabra Man’. She created the roles of Mrs. Yabsley in Jonah Jones (STC), Ma Kelly in Reg Livermore’s Ned Kelly, Rosie Shaw in Peter Stannard’s musical Rosie, and Philomena in Somewhere, a musical

by Tim Minchin and Kate Mulvany.

She’s also played Nellie Melba in Jack Hibberd’s A Toast to Melba (QTC).

Since her initial 1980 cabaret Geraldine Turner Sings, at the Nimrod Theatre, she has established herself as a major artist on the International cabaret scene. Critics and audiences alike have heaped praise on her most recent cabaret, Turner’s Turn, which, co-incidentally, commences with her excoriating version of ‘Rose’s Turn’.

Away from the stage, Turner is very proud of the achievements of her husband, Opera Australia conductor Brian Castles-Onion, with their record company, Desiree Records. CastlesOnion has produced 8 multi-CD sets under the umbrella title ‘Great Australian Voices’. These recordings preserve performances, mainly of opera singers, including Joan Sutherland, Jennifer Eddy, June Bronhill, Marie Collier, Nance Grant and Robert Allman. Accompanying each set is a booklet, written by Castles-Onion, giving a comprehensive description of each singer’s career. The latest recording in the series, entitled The Golden Years, 1948-1973, features rare recordings of 39 Australian singers from that period.

As Turner explains, “The recordings are to preserve their performances for future generations.

We don’t make any money out of these things, but we send them to the archives. We send them to the Performing Arts Museum in Melbourne. They’re there for future students.

“Brian’s got so much stuff, we’ll never be able to move house,” she laughs. “But I’m proud of him. He’s a great archivist.”

Turner’s is the first musical theatre voice to be featured in the series.

“It’s a sort of archive of my career from 1975 to 2018,” she volunteers proudly. “I recorded three tracks at the end of last year so that people would realise I was still singing.

“The second disc is my Sondheim album. The first is a whole lot of demos and previously unreleased tracks of different things from my career. The third is basically a live album of my performances over the years.”

She doesn’t mention that the album also contains her stunning

Online extras!

Geraldine Turner shines as Reno Sweeney in Anything Goes. Scan or visit https://youtu.be/M2t7IKcuHg0 Call Me Madam.

Sweeney Todd.

Anything Goes.

A Little Night Music.

Stage Whispers would like to issue a call to arms. Can someone stage Gypsy in 2020? That way everything can finally come up roses. renditions ‘Rose’s Turn’ and ‘Everything’s Coming Up Roses’.

In 1988 Geraldine Turner was awarded an Order of Australia Medal (OAM) in recognition of her services to the arts. She was the Federal President of Actors Equity (MEAA) in Australia for seven years, and is currently the Patron of Miranda Musical Society, for which she directed a production of Jacques Brel is Alive and Well and Living in Paris in 2017, and is scheduled to direct Les Misérables for them later this year. “I

find directing really interesting and creative,” she tells me.

Despite all her other accomplishments, she is still tantalised by her unfulfilled dream of conquering that Everest of roles, Rose in Gypsy. But, although the abrupt cancellation of this latest production, and particularly the way she learned about it, is a bitter disappointment, Turner remains philosophical, remarking ruefully, “It seems Geraldine Turner and Gypsy don’t belong in the same sentence.” www.stagewhispers.com.au Stage Whispers 19

George Johnston and Charmian Clift at their typewriters.

Below: Charmian Clift, George Johnston, Marianne Ihlen, Leonard Cohen, and Jason Johnston (foreground), at Spilia Beach, Hydra, September 1960. Photo courtesy: James Burke.

Paradise Lost In the 1950’s, the Greek Island of Hydra became a paradise for Australian writers George Johnston and Charmian Clift. Until Johnston’s novel My Brother Jack became a success, the couple eked out a living there with other literary figures. This remarkable time has inspired a new play, Hydra, a co-production by the Queensland Theatre Company and State Theatre Company of South Australia.

Peter Pinne: What made you decide to write a play about George Johnston and Charmian Clift? Was it My Brother Jack?

Sue Smith: Yes. When John (Alsop) and I were adapting the book for the 10 Network TV miniseries, I naturally researched everything George had written and I found that it was mostly autobiographical. And as Charmian had co-written some books, I read all of her work too and I realised there was a story there - a story that hadn’t been written. I was amazed no one had done it before.

They’re like Australia’s Scott (Fitzgerald) and Zelda.”

Peter Pinne: That’s a good analogy.

Was it hard to find the books? I think most of them except My Brother Jack are out-of-print.

Sue Smith: You can find them in collections, but Charmian’s two Greek memoirs are no longer in print. Thank heaven there are still second-hand book shops around.

Peter Pinne: So what’s the play about?

Sue Smith: It’s a re-imaging of their love story, their rejection of Western consumerism and their dream of creating a life on Hydra as real novelists.

Peter Pinne: What period does it cover?

Sue Smith: 1954-1964 - basically the Hydra years and a little bit in Australia after they return. They went to live on the island from London, where George had been a successful journalist, and didn’t leave until the success of My Brother Jack.

20 Stage Whispers March - April 2019

Award winning writer Sue Smith spoke with Peter Pinne over coffee about her new play Hydra, which explores the love affair between Australian literary icons George Johnston and Charmian Clift.

Hydra was a haven for expatriates in those days and they became the King and Queen of them. You could live a bohemian lifestyle there and exist on practically nothing. The weather was warm and there was freedom from outside distractions. They could write all day, which they did, working very hard from 7am until lunchtime and then spending the afternoon eating and drinking cheap local wine. Retsina. It was their daily ritual. They were dirt poor because none of the books they wrote made any money. And they always owed money to the shopkeepers. Whenever a cheque came in they would pay off what debt they could but it was a hand to mouth existence.

Peter Pinne: Their marriage fractured.

What do you think were the reasons?

Sue Smith: Their drunken alcoholic fights and George contracting TB didn’t help, nor did Charmian’s infidelity.

She had a French lover.

Peter Pinne: Is he in the play?

Sue Smith: Yes. Peter Pinne: Are any other famous Hydra residents represented? I know Leonard Cohen lived there for a while.

Sue Smith: He did, and Sidney Nolan and his wife used to visit and stay for months on end. There’s a character called Vic who’s an amalgam of all these people.

Peter Pinne: Is the play based on any book?

Sue Smith: No. There’s lots of research about (Continued on page 22)

Online extras!

Artistic Director Sam Strong dives into Queensland Theatre Company’s Hydra. https://youtu.be/o2iD-_DSaEc www.stagewhispers.com.au Stage Whispers 21

Hydra rehearsals.

Hydra opens 9 March 2019 at the Bille Brown Theatre, West End, Brisbane, and plays until 30 March, followed by a season at the State Theatre Company of South Australia, Adelaide, at the Dunstan Playhouse from 1 - 19 May 2019. www.queenslandtheatre.com.au/Shows/19-Hydra on the book paid off their debts in Hydra and George’s publisher paid for his air fare back home. Charmian and them in public domain but the drama the kids returned as 10-pound is drawn from their own work. I’ve migrants. used lots of their material - slabs of it Peter Pinne: How long have you in fact. been working on the project?

Peter Pinne: Are their children in the Sue Smith: The first draft was play? completed in May 2016 and since then Sue Smith: Only the eldest child, we’ve done two workshops.

Martin, and I use him as a narrator Peter Pinne: You’ve written for all when he’s an adult. He brings us into mediums - film, television and stage. the play. It was a life of poverty until Which do you prefer?

My Brother Jack’s success. The advance Sue Smith: Definitely stage. You have more control over your script. In TV and film you’re locked out and basically have no say.

Peter Pinne: Are you ever consulted on casting?

Sue Smith: Only on Bastard Boys (ABC mini-series) and Hydra. I was there for the auditions of Hydra. I must say what a thrill it was to hear Bryan Probets read George. He was an actor I didn’t know because he mainly works in Queensland but his reading was spot -on. He immediately locked into the character. I know Anna McGahan’s work from television and she’ll be great as Charmian, and so will Nathan O’Keefe as Martin. I wasn’t in Adelaide for the auditions, but I do know him as an actor and he’s perfect. It’s a joy to be working with Sam Strong. We’ve (Continued from page 21)

22 Stage Whispers March - April 2019

known each other for a few years but this is the first time we’ve ever worked together. He’s very talented. He’s pulled together a terrific cast.

Peter Pinne: You must be one of the most awarded Australian female screenwriters, with an amazing list of credits: a BFI (British Film Institute) Outstanding Newcomer for British Feature Film Writing for Disney’s Saving Mr Banks, Mabo, Brides of Christ, and the recipient of the 2018 Australian Writers’ Guild Lifetime Achievement Award. How does that make you feel?

Sue Smith: Very, very chuffed and honoured. I was very nervous having to stand up in front of my peers and give an acceptance speech, especially with my mother in the audience. It was a bit nerve wracking.

Peter Pinne: Last year you also received the Sydney Theatre Company Patrick White Playhouse Fellowship for 2018. Did it come with cash? I ask this because Stephen Sondheim once said “the only awards that have significant value are the ones that come with cash.”

Sue Smith: (laughing) It came with $25,000, but $15,000 of that was a commission for a new play and to mentor budding playwrights.

Peter Pinne: Have you written it yet?

Sue Smith: I’ve just delivered the first draft.

Peter Pinne: What’s it about?

Sue Smith: Australian aid work in the developing world. It’s set in East Africa and called Mzungu. It means, roughly, white person or foreigner. Did you know there are more Australian mining companies there than anywhere else?

Peter Pinne: No I didn’t know that.

It’s not the first time you’ve written about the mining industry is it?

Sue Smith: My first play, Strange Attractor, was set in a mining camp and my last play, Kryptonite, had a glancing reference to mining.

Peter Pinne: East Africa is a long way from the Greek islands. But I suppose concept-wise it’s not so very far. You’re still writing about expatriates in a foreign culture. What is it about the expat experience that provides such good drama?

Sue Smith: It’s about people searching for identity and a place to belong. Who they are and where they fit.

Love Never Ends For Dad Raymond Hopkins explains how his farcical comedies raise money for medical research.

Twenty-six years ago, at the age of nineteen, my daughter, Katy was diagnosed with Multiple Sclerosis.

This life changing news hit my family hard and made me realise that I needed to raise some money for research. It’s a fairly simple equation; the more raised, the sooner a cure will be found.

For some unknown reason, I decided that my way of fund-raising would be to write a stage play, get it published, and give the proceeds to M. S. research. Being a complete novice in this field, I naively thought everything would fall into place and the money would soon start flowing in!

After eighteen months I had completed my first manuscript and called it Love Begins at Fifty. I then proceeded to telephone publishers, who I assumed would be eager to take on my work. Following many frustrating phone calls I was soon brought back down to earth. I realized that getting people interested in an unknown playwright was challenging to say the least. However, with much

Raymond Hopkins with his daughter Katy.

perseverance, I finally found myself a publisher.

My faith in the play proved to be justified, because the following year it ran for the summer season at the TOADS Theatre in Torquay - United Kingdom. The play went down well,

giving it the credence it needed, and more importantly, raising funds for MS research.

I have now written a total of ten full-length farcical comedies, all with the word love in the title. I am pleased to say that the plays are doing well and have had over one thousand productions in the U. K. They have also proved to be very popular in Australia, New Zealand and Europe.

Ending on a happy note, Katy keeps well. So far, over forty-five thousand pounds has been sent for Multiple Sclerosis Research.

As for me, I will continue writing until I can hear those wonderful words: ‘A cure for M.S. has been found.’

To find out more about Raymond’s efforts please visit www.raymondhopkins.com www.stagewhispers.com.au Stage Whispers 23

Diary of a Busy Opera Singer Being in one major production at a time is more than enough for most performers. Imagine juggling three at once. This is the typical week of Jonathan McCauley, an Opera Australia chorister and minor principal. For an insight into his complicated life, he compiled a diary during two weeks in January when he was concurrently performing or rehearsing La Bohème, Turandot and Wozzeck.

Monday 7th January Turandot Piano Technical Rehearsal, Act 1 The working week commenced at 6.30 pm with a Piano Technical rehearsal of Turandot by Puccini. Tonight was our first rehearsal on the Joan Sutherland Theatre stage under the guidance of both the production team and music staff, with the rehearsal piano in the orchestra pit.

After a safety ‘walk-over’, we began the rehearsal of Act 1 scene by scene. The assistant director Kim Walker encouraged us to give ourselves over to the dramatic intention of the music, whilst ensuring personal safety and respecting the concept of the director Graeme Murphy. The evening progressed smoothly, with some adjustments to the positioning of chorus, soloists, actors and dancers by the rehearsal director.

Tuesday 8th January Turandot Piano Dress Rehearsal (10:30am) La Bohème Performance No. 6 (7:30pm) As well as covering (understudying) and performing principal roles, choristers are often required to cover other choristers and their specific ‘plots’ (direction). As a cover ‘Sapiente’ (wise old man) I was required to rehearse this ‘role’ this morning for an indisposed colleague. I had to re-familiarise myself with the plot, together with the costume and makeup requirements of this ‘character’.

The challenge for the Sapiente is to sit cross legged on the extreme downstage and remain motionless for a great deal of Act 2, whilst singing some of the more difficult music from the opera. After the rehearsal I took myself to the gym for some weight training and deserved time out in the sauna. Back to the theatre for a light meal, followed by the evening’s performance of Puccini’s La Bohème.

The Opera Australia Chorus are responsible for the application of their own makeup. Though the chorus in La Bohème only appear in Acts 2 and 3, the makeup and costume requirements are nevertheless considerable. I give myself a good half-hour for makeup, hair styling, application of facial hair and costume.

Wednesday 9th January Turandot Piano Dress Act 3 (10:30 am) La Bohème Performance No. 7 (7:30pm) For the first time in many years of singing in this production of Turandot I’ve been allocated the position of a ‘Courtier’. The morning’s rehearsal showed up some problems with my costume, specifically ill-fitting slippers and a hat that kept slipping forward obscuring my face whenever I was required to bow. After some trial and error these issues were resolved with the assistance of my dresser, who sourced several alternative slippers and hats from the costume department.

24 Stage Whispers March - April 2019

Thursday 10th January Turandot Stage Orchestral Acts 1 and 2 (10:30am) La Bohème Performance No. 8 (7:30pm) A stage orchestral is a rehearsal led by the conductor with the full orchestra in the pit (and backstage as required) with soloists, chorus, actors and dancers. Just as the Piano Dress rehearsals are very much the director’s rehearsals, the stage orchestrals belong to the conductor and he or she relies upon the input of music staff seated throughout the auditorium as well as working in the wings and backstage area. This morning we rehearsed Act 1 and part of Act 2, each musical section/scene being performed twice with notes given during the rehearsal. During the afternoon I undertook some shopping and housework before returning to the theatre for the evening performance.

Friday 11th January Turandot stage orchestral Acts 2 and 3 (10:30am) La Bohème Performance No. 9 (7:30pm) This morning’s 2nd stage orchestral ran smoothly and to the satisfaction of the chorus master Anthony Hunt and Maestro Christian Badea. We’re in good shape for the open general rehearsal tomorrow and anticipate a positive response from our audience members, who will largely consist of family and friends.

La Bohème.

Photo: Keith Saunders.

Saturday 12th January Turandot Open General Rehearsal (10:30am) La Bohème Performance No. 9 (7:30pm) From every aspect this morning’s General Rehearsal of Turandot, given before a large and enthusiastic invited audience, was an unqualified success. We look forward to Opening Night!

This evening’s La Bohème was the final performance for conductor Benjamin Northey. A new conductor, Nicholas Milton, will take over on Thursday night. We’ll need to use every opportunity to observe Maestro Milton should there be any changes in tempo or musical phrasing. The next two free days (Sunday and Monday) will provide a much needed break for the chorus.

Tuesday 15th January Wozzeck Production Call (10:30 am) Turandot Opening Night (7:30pm) This morning’s production call at The Opera Centre included a revision of the chorus scenes followed by a complete run of the opera for the entire cast including the onstage banda, six orchestral players incorporated into the production. Usually a good approximation of sets and props are available to rehearse with, though there are always surprises when we’re all finally on stage.

This evening Turandot opened to an ovation from our audience. A lovely party in the Northern Foyer after the show was a chance to unwind with colleagues.

Online extras!

Discover Turandot, as explained by Opera Australia’s Tahu Matheson https://youtu.be/EQTJXlcHkvw Turandot.

Photo: Keith Saunders.

www.stagewhispers.com.au Stage Whispers 25

Wednesday 16th January Wozzeck Sitzprobe (10:30) A Sitzprobe is a rehearsal for orchestra, soloists and chorus, led by the conductor and attended by music staff including the chorus master and assistant chorus master. It is an opportunity to sit and ‘probe’ the orchestral score in detail and is usually the final rehearsal before stage rehearsals commence. The second of two such rehearsals for Wozzeck, Maestro Andrea Molino concentrated on the latter half of the opera which includes all the chorus scenes. Hearing the beauty and complexity of the score inspired me to spend my free afternoon listening to the famous Pierre Boulez recording in its entirety while following the libretto. Much overdue and invaluable.

Thursday 17th January Wozzeck Piano Dress (10:30am) La Bohème Performance No. 10 (7:30am) In this first Piano Dress for Wozzeck the main task for the chorus was to adapt our direction, as rehearsed in the studio, to the stage with its far more extensive and complicated set design incorporating many more pieces of furniture and other obstacles. The changed levels of the set design and steeper ramps between these levels necessitated consideration of changed sightlines and safety issues.

Following a discussion between the production team and the wardrobe department it was decided my chorus character should have a broken leg, which will be incorporated in my costume design from tomorrow. Having never had a broken leg, or any other broken limb for that matter, I look forward to the novelty and theatricality of it.

Our La Bohème performance this evening was the first from our new conductor Maestro Nicholas Milton. One or two tempi surprises and the occasional unexpected rallentando but all went very well and Maestro delivered a beautiful performance.

26 Stage Whispers March - April 2019

Wozzeck.

Photo: Keith Saunders.

Friday 18th January 2nd Wozzeck Piano Dress (12:00pm) Turandot Performance 2 (7:30pm) The men’s chorus were given a late sign-on time this morning and the ladies chorus were not required. From 12.00pm we ran the opera and I’m pleased to report our entrances and exits were much improved even with the addition of broken legs!

Home for lunch, at 4.00 pm I received a call from the company office letting me know I would be performing as a Sapiente in this evening’s Turandot. All went well and I even managed to sit squarely on my Sapiente cushion. My reward this evening, however, was my proximity to both Amber Wagner and Andeka Gorrotxategi for their Act 2 exchanges and in particular Turandot’s magnificent aria ‘In questa reggia’ superbly sung directly to me and only to me (at least it felt that way) by Ms Wagner. Superb! This was the best seat in the house.

Saturday 19th January Wozzeck Stage Orchestral (10:30am) La Bohème Performance No. 11 (7:30pm) Our stage orchestral rehearsal of Wozzeck this morning covered Acts One and Two with notes sessions and will be completed next Tuesday morning and a full run undertaken on Tuesday afternoon. I am intrigued and entranced by the orchestration in this remarkable work and enjoyed every moment of this morning’s rehearsal.

This evening’s La Bohème was sadly the last performance for both Joyce El-Khoury and Ivan Magri (Mimi and Rodolfo). Long will I remember the artistry of all of these fine singers. In the weeks ahead, the chorus will be involved in many more performances of La Bohème and Turandot and of course our entire season of Wozzeck awaits us. There will be cast changes, wonderful new singers, and eventually the chorus will commence music calls and soon after production calls for the operas to be performed in the Melbourne Autumn and Sydney Winter Seasons as the process of producing an opera begins again.

Do I ever get my operas mixed up asks Stage Whispers? No, each opera is its own little world. The music, costumes and set remind you of what to do. However I do occasionally forget some words -but not often.

www.stagewhispers.com.au Stage Whispers 27

Something’s Coming years ago, proving that great storytelling is both timeless and universal.

A new production is set to hit Broadway before the end of the year families, adapted easily from 14th and Stephen Spielberg is directing a century Verona to 20th century New remake of the movie, starring the York, and the Montagues and amazingly talented Ansel Elgort as Capulets morphed seamlessly into The Tony. Since Elgort is a graduate of the Jets and The Sharks. It was the perfect School of American Ballet, and is transition. already a recording artist and singer, Back in 1960, when the show as well as a much-lauded actor, the opened in Melbourne, the leads were role of Tony will take on new all imported from America - with Bob dimensions.

Kole (Broadway understudy and Australia plays a massive part in perhaps a decade too old for the role) keeping the musical alive, and Opera as Tony, Rita Tanno as Anita and Australia is involved in two Wendy Waring as Maria. They haven’t exactly become legends in the years Choreographer Julio Monge with female dancers for West Side Story on Sydney Harbour auditions. since, but it was simply the way Photo: Rhiannon Hopley.

Australian theatre was back then. For many years we endured American second-stringers in leading roles.

We’ve seen many productions since then, including some stunning community theatre offerings, and Australian talent has featured in all of them. You would think that the show itself would be a tired cliché by now, but its greatness seems to grow with every decade. So here we are, at the end of the second decade of the 21st century, facing new imaginings of the story Shakespeare created some 500

Coral Drouyn looks at our lasting love affair with West Side Story and two new spectacular productions hitting Australia this autumn.

“Could be, Who knows?

There’s something due any day, I will know right away, Soon as it shows.”

When a young Stephen Sondheim wrote those lyrics more than sixty years ago, he couldn’t have known the profound effect they would have on generations of Music Theatre tragics - myself included. West Side Story has been called “the greatest musical ever written” and while there may be other serious contenders, who would seriously want to argue with that accolade? With Arthur Laurents’ book, Leonard Bernstein’s music and Jerome Robbins’ extraordinary vision (he conceived, choreographed and directed the original 1957 Broadway production) and William Shakespeare’s Romeo and Juliet as inspiration, Sondheim - at the start of his career - was in his artistic element.

These four giants of theatre set the bar for every musical that followed.

The universal story of star-crossed lovers, at the mercy of their feuding

28 Stage Whispers March - April 2019

productions this year. The most unusual happens in March, when Opera Australia, under the banner of Handa Opera on Sydney Harbour (HOSH), presents its open-air production. This is the first time HOSH has presented a musical and it comes fraught with difficulties that need a stellar crew to overcome.

The doyen of Australian set designers, Brian Thomson (with a team of 150), has the mammoth task of creating a backdrop which transports us to 1950s New York whilst integrating 21st century Sydney Harbour. The result, for a stage that is 2½ times bigger than the largest theatre stage on dry land, is a fabulous, almost surreal, melange of New York’s iconic images, including a (Continued on page 30)

West Side Story on Sydney Harbour cast members Dayton Tavares, Kristina McNamara, Chiara Assetta, Olivia Vasquez, and Oliver Lacey.

Photo: Phillip Booth.

Online extras!

Choreographer Julio Monge talks about his time working with Jerome Robbins. https://youtu.be/RB6GK53o2jQ www.stagewhispers.com.au Stage Whispers 29

‘The Jets’ from West Side Story.

Photo: Matthew Murphy.

Online extras!

See why West Side Story is acclaimed as the greatest Broadway Musical ever. https://youtu.be/7zja7xUOFA4 there are fireworks at every performance. subway overpass and the Statue of Equally exciting, especially for Liberty’s torch. These will blend with musical theatre purists, and far less the lights of Sydney’s own skyscrapers complicated, is a new theatre in a way that will expand the set, production. Director and rather than fighting it, as with more choreographer Joey McKneely brings conventional operas. Thomson has his much acclaimed production to the described his vision as “a place where State Theatre at Arts Centre old subway trains go to die,” and Melbourne in April, before Sydney those trains are brilliantly and and Canberra seasons later in the dazzlingly covered with graffiti. year. McKneely is considered the Jennifer Irwin has designed new master of interpreting Jerome costumes in sizzling colours, and Robbins’ vision, and that’s not director Francesca Zambello and surprising since he actually worked choreographer Julio Monge (currently with Robbins back in late 1980’s, working on the new film version) will recreate Robbins’ vision with a new sense of spectacle, still maintaining intimacy even on such a vast stage.

Opera Australia’s two rising stars, Julie Lea Goodwin and Alexander Lewis, show their “cross-over skills” as the star-crossed lovers Maria and Tony. You can drink champagne while you watch the magic unfold and yes, (Continued from page 29)

West Side Story On Sydney Harbour runs from March 22 April 21. opera.org.au 30 Stage Whispers March - April 2019

when Joey was starting his career and Robbins was ending his. From that time on, McKneely’s star has been tethered to the show and to the Robbins legend, despite his many other Broadway credits.

There are strict rules when licensing the show, about adhering to Jerome Robbins’ original choreography, but McKneely doesn’t have a problem with that.

“I respect Mr. Robbins’ choreography as if it’s my own. I honour it every minute of the day. My duty is to recreate, not change or ‘update’ it. However, with any sort of

Todd Jacobsson (Tony) and Sophie Salvesani (Maria) in West Side Story.

Photo: Matthew Murphy.

restaging, there is more of an emphasis on some dynamic levels. The kicks are higher, the jumps are higher, the tempos are faster - this is all in keeping with the emotional integrity of his choreography,” the director says.

But such is the reputation of the show that some followers believe changing even one move is messing with God. McKneely doesn’t subscribe to that theory.

“It’s definitely not messing with God, it’s only a musical for Pete’s sake!” he says.

“I knew if I just keep remembering how it felt to do the choreography, I could not go wrong with passing it on to the next generation.”

This time round he has cast 33 young Australians in this new production - all of them Australian with Todd Jacobsson as Tony and new face Sophie Salvesani as Maria. But is there a need for yet another production, when McKneely’s last production is still considered by many as definitive?

“I wanted to bring it into the new millennium. Give it a modern look,

more minimalistic,” he explains. “By making the lighting more dynamic and giving the costumes a sexier look by showing more skin, the show immediately felt more like today.

Without changing a word, suddenly it felt more real. With this, the acting needed to be more realistic. Raising the violence level and emotion, much like in today’s naturalistic acting approach, the show can reach today’s audience more intensely.”

Some of this is so subtle that the audience doesn’t notice it, nor are they meant to. A closed fist instead of an open hand, a turn upstage rather than down, the force behind a gesture; these are the subtext that McKneely brings to the work, not just the ability to recreate what Robbins set in motion all those years ago.

“It takes a lot of pieces to come into place to make a show like WSS come to life,” he says. “It’s not easy to create a musical which speaks to people on the level that WSS does.

Maybe once every eight years one comes along. We just had Hamilton.

Timely, powerful, ground-breaking in many ways.”

West Side Story plays Melbourne Arts Centre from 6 - 28 April, Sydney Opera House 16 August - 6 October and Canberra Theatre Centre from October 10 - 27. opera.org.au But he does concede that the days of huge dance-based musicals might be a thing of the past.

“I can’t predict what the evolution of musical theatre will be, but we will always have WSS, so that’s why it’s important to keep bringing it to new audiences,” McKneely explains earnestly.

“The new generation of choreographers is all around us.

However, there will never be a Jerome Robbins again. Not possible. The times are different, the theatre is different, the process is different. He was a master and was there really for the birth of the modern Broadway musical. We need to know the history in order to reach into the future.”

And that’s why we need to keep seeing West Side Story.

www.stagewhispers.com.au Stage Whispers 31

B

roadway uzz

By Peter Pinne

Already a hit in Las Vegas and at London’s Hippodrome Casino, Channing Tatum is now bringing his Magic Mike franchise to Broadway. Trying out at Boston’s Emerson Colonial Theatre, the dance and strip-tease spectacle based on the hit movies Magic Mike and Magic Mike XXL will play 30 November 2019 - 5 January 2020. According to the press release, the musical “will offer a backstory of Mike Lane, the college student-turned-stripper, before earning his title moniker. As he enters the world of male entertainment and exclusive night clubs, he fights to juggle his relationships with his family and girlfriend alongside his newfound talents.” Producers are Tatum and the movie’s director Steven Soderbergh, with a score by Tom Kitt and Brian Yorkey, and a book by Roberto Aguirre-Sacasa, direction by Trip Cullman and choreography by Camille A. Brown. No casting has been announced for Boston or Broadway, but previous developmental presentations have featured Derek Klena as Mike alongside Benjamin Walker, Curt Hansen, Will Swenson, Cheyenne Jackson and Nick Adams.

Anastasia ends its “Journey to the Past” on Broadway on 31 March 2019, where it has run for two years. The musical originally began previews 23 March 2017 and officially opened on 24 April. By the time of its closing it will have played 34 previews and 808 regular performances. Christy Altomare has played the title role throughout the run.

Current cast members include Cody Simpson (Dmitry), Constantine Germanacos (Glebe), Penny Fuller (Dowager Empress), Vicki Lewis (Countess Lily) and John Bolton (Vlad).

With a score by Stephen Flaherty and Lynn Ahrens, the musical featured songs from the animated film, including the Oscar nominated “Journey to the Past”, and new original numbers. But Ahrens and Flaherty won’t be absent from Broadway for long as the World Premiere of their new musical Knoxville has just been announced for spring of 2020 at Asolo Repertory Theatre in Sarasota. Based on James Agee’s Pulitzer-winning autobiographical novel A Death In The Family, as well as being based in part on the play All the Way Home by Tad Mosel, the musical centres on Jay Follett’s son Rufus in 1915 Knoxville, Tennessee. When an unexpected turn of events leaves Rufus’ family spinning, he and his mother embark on a journey through the mysteries of life and death, faith and doubt.

Full casting has been announced for the Broadway premiere of Beetlejuice, which is scheduled to begin previews at the Winter Garden Theatre on 28 March and officially open 25 April. Alex Brightman stars in the title role, with Sophia Anne Caruso (Lydia), Kerry Butler (Barbara), Rob McClure (Adam), Leslie Kritzer (Delia) and Adam Dannheisser (Charles). Based on the 1988 Tim Burton movie, it features a book by Anthony King and Scott Brown, music and lyrics by Eddie Perfect, direction by Alex Timbers, choreography by Connor Gallagher and musical direction by Kris Kukul. When 32 Stage Whispers March - April 2019

Samantha Baines and the cast of Magic Mike Live.

Photo: Trevor Leighton.

Online extras!

Check out a scorching preview of Magic Mike Live. Scan the QR code or visit https://youtu.be/K5E16IQ8_ZM it opens it will join King Kong as Perfect’s second musical playing on Broadway. And while we’re on King Kong, it has just been announced the musical will open a new Hard Rock entertainment resort in Hokkaido, Japan. According to Robert Nederlander Jr, president of Nederlander Worldwide,”King Kong is a well-known brand with its own successful track record in film. That combination makes it ideally suited for a mixed-use development centre in Japan.”

Smart Blonde, a new off-Broadway play about the life of Judy Holliday, is set to begin previews Off-Broadway 16 March ahead of a 26 March opening. The play charts Holliday’s experiences from Greenwich Village to Broadway and beyond with notable show-business alums including Leonard Bernstein and Marilyn Monroe. Andréa Burns is to play the stage-and-screen icon, with Andrea Bianchis, Mark Lolito and Jonathan Spivey. Tony winner Annaleigh Ashford will star as Holliday in an upcoming film adaptation of the play.

Disney’s latest movie-to-stage adaptation is Hercules, based on the 1997 animated feature, with a score by Alan Menken and David Zippel. Programmed to play at the Public Theater’s Delacorte Theatre in Central Park from 31 August through 8 September, the musical will include the film’s hit “Go the Distance” plus new material and an adapted book

by Pulitzer Prize finalist Kristoffer Diaz. Menken has been working on the project since 2017. Director Lear deBessonet, who will direct, said, “Hercules’ particular hybrid of traditional mythology and a gospel-driven score is especially appropriate for Public Works’ mission of bringing theatre to the masses. We’re excited to see how the production will uncover the deeper meaning of what it means to be a hero and how true strength is derived, not from the greatness of one person, but the transformative power of community.”

Adrienne Warren, currently starring as Tina Turner in London in the bio-musical Tina, is to reprise her performance on Broadway when it crosses the pond in the fall. According to Warren, “Working on this show has been a life-changing experience for me. I am honoured to have had the opportunity. Returning home to Broadway, in this show and this role, is a dream come true.” Warren’s credits include Dreamgirls at the Apollo Theatre and The Wiz at City Center.

London Calling

By Peter Pinne Michael Ball and Alfie Boe, whose tours of their duo shows Together and Together Again have broken boxoffice records in the UK and Australia, are both set to star in a sixteen-week fully-staged concert version of Les Misérables at the Gielgud Theatre, 10 August to 30 November. The production, previously seen in London in 2010 at the Royal Albert Hall and later at the O2 Arena, will run at the Gielguld while the musical’s long-time home, the Queens, is being refurbished. Ball originated the role of Marius in the 1985 West End premiere and will return to the show playing Javert, whilst Boe will reprise his Broadway and West End turn as Jean Valjean. Others in the star-studded cast include Matt Lucas as Thénardier, Katy Secombe as Madame Thénardier and Carrie Hope Fletcher, a former Eponine, appearing as Fantine. She is the only British actor to have played both the younger and older versions of Eponine. The concert will be accompanied by an orchestra of 65. John Owen-Jones will appear as Jean Valjean at three performances per week.

After three years at the Adelphi Theatre, Kinky Boots closed on 12 January after playing over 1,400 performances in the West End to an audience of 1.4 million people. A UK regional and Ireland tour plays 22 cities throughout the year, ending in Hull in November. The musical is still playing on Broadway, where the part of Lola is being taken by Callum Francis, who previously played the part in the West End and on the Australian tour.

They might be box-office royalty, but Gillian Anderson and Lily James’ new stage version of All About Eve by wunderkind Ivo van Hove had a decidedly frosty response from the critics. Michael Billington’s Guardian review said, “This is a show that reeks of chic” and “I found myself admiring its cleverness more than relishing its drama.”

Quentin Letts in the Daily Mail called it “event theatre”, claimed it’s as “cool as chilblains” and “I’m not sure I cared remotely about the characters”, while Dominic Maxwell in The Times went for a play on one of the film’s famous lines, “fasten your seat belts, it’s going to be a boring night.” Hove’s trademarks are in evidence, including the integral use of video to tell the story. But as Letts also noted, “it will be the talk of the chi-chi set” and “it will probably make a mint for its fashion-driven producers.”

Maggie Smith will return to the stage for the first time in 12 years to star in a new one-woman play by Christopher Hampton at the Bridge Theatre. A German Life will tell the story of Brunhilde Pomsel, the personal secretary to Joseph Goebbels, the Reich Minister for Propaganda of Nazi Germany. The work is drawn from testimonies given by Pomsel after she spoke to Austrian filmmakers in the 2016 documentary of the same name.

Smith most recently played Professor Minerva McGonagall

Les Misérables.

Photo: Michael Le Poer Trench.

Online extras!

Watch Alfie Boe’s performance as Jean Valjean in Les Misérables. Scan or visit https://youtu.be/Sm6Y_hGM_ww in the Harry Potter film series, and Lady Violet Crawley, Dowager Countess of Grantham, in Downton Abbey.

Hampton’s credits include Sunset Boulevard, Stephen Ward the Musical and The Philanthropist. Direction will be by Jonathan Kent. It previews from 6 April, opening on 12 April.

Parisian playwright Florian Zeller, who the Guardian called “the most exciting new theatre writer of our time”, is to have his latest play The Height of the Storm play Broadway with the original London cast. When it opened in London in October 2018, critics were salivating about not only the play but the performances of Eileen Atkins and Jonathan Pryce. “A deeply moving study of love, loss and the unbearable pain of absence,” said the Guardian.

Translated by Christopher Hampton and directed by Jonathan Kent, The Height of the Storm is akin to Zeller’s The Father in that it “puzzles the brain while touching the heart”. It opens on Broadway at the Samuel J. Friedman Theatre in a production by Manhattan Theatre Club, where Zeller’s The Father played in 2016, earning a Tony nomination for Best Play and winning Frank Langella his fourth acting Tony Award. The Height of the Storm centres on the lives of Andre (Pryce) and Madeleine (Atkins), who have been filled with the everyday pleasures and unfathomable mysteries of a 50-year-long marriage. When suddenly their life together begins to unravel, a loving relationship is faced with the inevitability of change.

Michel Legrande’s 2002 musical Amour is to get its long-awaited UK premiere at the Charing Cross Theatre, 2 May - 20 July 2019. The composer, who passed away on 26 January at 86, wrote the ravishing score, with Jeremy Sams providing English lyrics. Didier Van Cauwelaert wrote the original French lyrics and book, based on a 1943 short story La Passe-Muraille by Marcel Ayme. Set in Paris in 1950, the plot follows Dusoleil, who daydreams about Isabella, a woman kept locked away by her husband. When Dusoleil gains the ability to walk through walls he begins to lead a double life. The Broadway production starred Melissa Errico (Isabella) and Malcolm Gets (Dusoleil). The UK premiere is to be directed by Hannah Chissick, with choreography by Matt Cole.

www.stagewhispers.com.au Stage Whispers 33

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

Troubleshooting Wireless No matter how big or small the stage may be, wireless microphones are the essential first ingredient to help bring an intimate and detailed sound to the audience.

A well-designed system will always make the complex appear simple, and reputable wireless manufacturers have done huge amounts of ‘heavy lifting’ to make the set-up of a clear channel as easy as touching a button (or two).

Online extras!

Factory Sound can keep up to date with all of the latest in pro audio gear.

Dreaded Dropouts www.youtube.com/FactorySound There’s nothing worse than an unexpected ‘drop out’ of the wireless signal. It leaves the audience disappointed, while often proving to be unsettling for the performers.

More Antennas = More Headaches For inexperienced operators, there is nothing An unfortunate side-effect of having multiple channels surprising about wireless interference and drop-outs, if of RF running concurrently for a performance is that not the golden rules of wireless tech haven’t been followed only will the active channels have their own frequency before every show. signature taking up space in the RF spectrum, but extra nodes in between those frequencies will appear - kind of Rule #1 - Scan, Scan, Scan like a reflection - and this effect of intermodulation will It is the most basic rule to follow, and it costs cause, in some cases, interference to your wireless nothing!

With the maturing of wireless microphone technology channels.

Reducing the amount of antennas around the stage over the past decade, the process is simple. It involves area will actually decrease the amount of intermodulation, pressing a button on the wireless receiver (which will and so a well-designed Antenna Splitter is a great way to normally be placed at side of stage, or at the mixing desk maximise the efficiency and effectiveness of any multiposition), allowing it to find the most clear frequency channel wireless system. available. Then you simply sync the wireless microphone (or bodypack) to the same frequency, and voila, the system is ready for soundcheck, and the show.

The number one cause of wireless interference is failure to follow Rule #1. It doesn’t matter if the wireless system, or systems (more on that later) worked perfectly when you first pulled them out of the box, the fact remains that a scan will be the best way to avoid any problems.

Managing Multiples Sophisticated productions usually involve more than just one wireless system, which introduces a whole range of potential Radio Frequency (RF) concerns.

Adhering to Rule #1 when you are dealing with many wireless systems will involve a little more concentration, and large-scale set ups will usually involve a laptop with some kind of Wireless System Manager on-board, to assist with frequency scanning, channel allocation, and monitoring of RF integrity.

34 Stage Whispers March - April 2019

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.

www.stagewhispers.com.au Stage Whispers 35

Storm Boy.

SPARK 2019

Online extras!

Watch Director Sam Strong discuss Storm Boy by scanning the QR code or visiting https://youtu.be/FrFRBaWKe9E

Storm Boy On Stage

dunes into a theatrical playground.

This stage play will evoke the spectacle of War Horse and The Lion King with a uniquely Australian feel.

Among the puppets appearing on The iconic Australian story Storm Boy is set to inspire a new generation stage will be the charming Mr of theatre-lovers in a new co-production from the Melbourne Theatre Percival, a pelican rescued by Storm Company (June-July) and Queensland Theatre (August).

Boy. David Morton, Puppet Designer and Associate Director, says Storm Boy is an amazing opportunity to 11-year-old Storm Boy lives a create an ecosystem of puppets on simple and secluded life, combing Southbank Theatre stage. “They’re designed to be played, the beaches with his reclusive father Monday 22 July 10am just like a musical instrument,” says along the wild coastline of South Monday 22 July 1.30pm Morton.

Australia’s Coorong. One summer Tuesday 23 July 10am This landmark new production he discovers new friendships that Tuesday 23 July 1.30pm sees Colin Thiele’s heart-warming will shepherd him from childhood story adapted for the stage by Tom into adulthood: a local Ngarrindjeri Book at mtc.com.au/education Holloway (Double Indemnity) and man and an orphaned pelican schools@mtc.com.au brought to life by the creative team prepare Storm Boy for the wider (03) 8688 0963 behind the sold-out season of Jasper world with poignant lessons about Jones, including director Sam Strong love, loss and letting go.

Queensland Theatre Alongside a cast including muchand designer Anna Cordingley.

29 July - 17 August loved actors Tony Briggs (Cleverman) Storm Boy will be a highlight of Playhouse, QPAC the year and the perfect first theatre and John Batchelor (Red Dog), this queenslandtheatre.com.au/ experience. In Melbourne there are production is made extra-special by shows/19-storm-boy the menagerie of captivating four dedicated schools matinees at 1800 355 528 the start of Term 3. creatures by Dead Puppet Society transforming the sun-soaked sand 36 Stage Whispers March - April 2019

Book Nook’s Play Tips Mary Sutherland from the Australia’s Performing Arts retailer Book Nook offers her tips to directors and teachers of Drama and Theatre Studies. All are for sale at www.booknook.com.au Hell’s Canyon by Emily Sheehan.

Celebrates everything magical about being a young person, the tenacity of teenage friendship, and our ability to transcend tragedy by reaching for the sublime.

The Almighty Sometimes by Kendall Feaver. It’s a quick-witted and bracingly honest take on the difficult choices you make in your child’s best interests, and what happens when you no longer have a say.

Motor-Mouth Loves Suck-Face (an apocalyptic musical) by Anthony Crowley. A musical comedy about hope, for the young and the young at heart.

Did we mention the Bollywood diversion?

The Feather in the Web by Nick Coyle. From engagement parties to team -building weekends to improv comedy, this is an unpredictable take on infatuation and self-discovery.

The Incredible Here and Now by Felicity Castagna. A play about cars and boys and having to grow up too soon.

Good with Maps/Teacup in a Storm

by Noëlle Janaczewska. With the current Royal Commission on Aged Care taking place, these are two very timely plays taking different approaches to very significant issues confronting our society today - aging, disability and caring.

The Harp in The South by Kate Mulvany. Follows the trials and tribulations of the Darcy family over thirty years, from country New South Wales in the 1920s to the inner-city slums of Surry Hills in the 1950s. Kate Mulvany brings her trademark humour and tenderness to bear on Ruth Park’s much-loved novels in this epic adaptation.

Where the Streets Had A Name by Eva Di Cesare. ‘What does home mean to a community that cannot return to

their homeland? When your home is occupied and you have no right of return, you hold on to what you can; the key to the front door, the title deeds to your land, a jar of soil.’

Long Tan. Verity Laughton’s intense and moving semi-verbatim play is composed from interviews with the surviving Australian soldiers, Vietnamese contributors, and the family and friends of those who died.

Elenore & Mary Alice by Peta Tait.

Explores the relationship between Eleanor Roosevelt, wife of the American President, and Australian Modernist artist Mary Alice Evatt, and Mary’s husband Doc Herbert Evatt, and their associated roles in the development of Universal Declaration of Human Rights at the United Nations, as Doc Evatt becomes the first elected President of the General Assembly.

Charlie Pilgrim (Or A Beginner’s Guide To Time Travel) by Sam O’Sullivan.

Have you ever wanted to change the past? Charlie Pilgrim has. And her prototype time machine - The Mobius is ready for a test run. Unfortunately, starting up the machine has accidentally created a closed time loop that adds a new Charlie every twenty-four hours.

www.stagewhispers.com.au Stage Whispers 37

The Cunning Little Vixen Australian rising star Desiree Frahn as the Vixen.

The Cunning Little Vixen is suitable for upper primary to Set in an idyllic forest, Janáček’s complete with a chorus of chooks secondary audiences and has a opera follows a Vixen’s journey from and children, The Cunning Little focus on the exploration of the youth to adulthood, where, with bridge between the industrial and Vixen is a unique experience for the help of her forest friends and a young audiences and a wonderful natural worlds and how we exist in handsome Fox, Vixen faces growing introduction to opera. those together. It is performed in up and the excitement and Nominated for four Helpmann English with English surtitles. uncertainty that a changing world Awards, Stuart Maunder’s evocative Czech composer Leoš Janáček brings. production was premiered by The wrote this unique animal opera in A magical allegory about life 1921-3 when he was approaching Victorian Opera in 2017 and cycles, global citizenship and selfpresented by West Australian Opera 70, to his own libretto. It was based discovery, Janáček’s opera is in 2018. The Adelaide season sees on a popular serialised novel of the considered one of the great modern the return of award-winning time that appeared in a local works. Accompanied by a full soprano Antoinette Halloran to the newspaper. symphony orchestra (the ASO) and role of Fox and stars South “The Cunning Little Vixen was Janáček’s personal valentine to the human condition in all its Four performances 18 - 25 May 2019, including a special schools inexplicable, maddening, fierce and matinee on Tuesday 21 May with a Q&A session afterwards. beautiful inconsistency,” says adelaidefestivalcentre.com.au/events/sosa19-cunning-little-vixen director Stuart Maunder.

The forest comes alive this May at the Adelaide Showground.

The Cunning Little Vixen is a musical celebration of nature and the cycle of life.

38 Stage Whispers March - April 2019

Rachelle Durkin (Fox) and Emma Pearson (Vixen) in West Australian Opera’s 2018 production of The Cunning Little Vixen.

Photo: Jeff Busby.

SPARK 2019

Online extras!

Watch highlights from The Cunning Little Vixen. Scan the QR code or visit https://youtu.be/V8Z99ez68MY

Creative Film And Theatre Solutions

As the exclusive distributor in Australia and New Zealand for Rosco Laboratories, a global leader in the lighting equipment, live entertainment and film and broadcast markets, Creative Film and Theatre Solutions is committed to being the one stop shop for schools when it comes to their next production.

The company’s cutting edge range of LED Effects Projectors creates dynamic lighting effects for a wide range of indoor or outdoor venues. Capable of throws up to 33-ft (10m) with four available lens options, the Rosco XEffects LED Projector is engineered to create stunning illumination effects.

Other products include Rosco’s range of paints that feature a flexible binder, single-sourced pigments and an ultra-flat finish, scenic paint for scenery and props, and digital compositing paint for blue and green screens.

One of the most popular products is Tough Prime, a unique water-based primer with special properties that allow it to bond to the hard-to-prime materials found in every scene shop.

The unique Foamcoat product is a non-toxic, water-based coating which provides a hard, durable finish for Styrofoam, polystyrene foam, primed wood, concrete block, primed fiberglass, papier mâché, muslin and many other materials.

The company also has a full range of flooring, including Rosco’s Chroma Floor which solves the long-standing problem of repainting your 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, so when it comes to your next school performance, with experienced staff in all facets of the business, why not give them a call? Phone (02) 9906 6262, email sales@creativefilmandtheatresolutions.com.au or visit au.rosco.com/en. www.stagewhispers.com.au Stage Whispers 39

SPARK 2019

The Tempest.

Photo: Phil Erbacher.

Sydney School Shakespeare The Sport For Jove Theatre Company is having its largest ever school Shakespeare program in 2019.

The season is designed by theatre and education professionals, encompassing full-scale productions, symposiums for HSC students and The Shakespeare Carnival for both primary and secondary schools.

40 Stage Whispers March - April 2019

Six full-scale productions will be presented: Arthur Miller’s The Crucible and the classic Shakespearean works Othello, The Merchant of Venice, The Tempest, Macbeth and A Midsummer Night’s Dream. On stage these texts leap off the page and into vivid life, taking students’ understanding of the texts to new depths.

Sport for Jove’s HSC Symposiums are opportunities to deepen students’ practical understanding through

More information on Sport For Jove’s extensive education program can be found at sportforjove.com.au experiencing and analysing key scenes and characters in performance.

Presented as a lecture, interspersed with scene work and expert commentary from Artistic Director Damien Ryan and his team, these symposiums explore famous scenes and speeches in multiple ways. This opens diverse critical reading and unlocks language and character.

Professional actors also discuss the ambiguities and challenges of each of the plays.

It’s aimed at helping students extract the key ingredients and critical thinking required to write on the plays under exam conditions.

The Shakespeare Carnival is a unique opportunity for students from primary and secondary schools to put their skills in music, dance and drama to the test with a state-wide competition that culminates in grand final performances at the Seymour Centre.

Students develop their own pieces in a range of categories and perform at School, Regional and State levels, improving confidence and literacy, building their ability to collaborate, and introducing them to Shakespeare’s stories and language in a fun and playful program that develops skills and abilities that are artistic, academic and personal.

Choosing Australian Plays [Bringing Our Stories To Life]

Within the Theatre for Young People category there are twenty-nine plays that feature characters 16-18 years, exploring themes of migration, natural progression of what is being resilience, love, identity, culture and programmed on our stages. journey. Several have large casts, many offer an ensemble approach, and the Australian Plays is dedicated to publishing, promoting, licensing and theatrical or performance styles offer showcasing Australian playwrights great scope for page to stage and for and plays. There are over 2,000 scripts literary analysis. By subscribing to the by over 950 playwrights available E-News you receive regular updates online as well as a series of focused about new publications, and collections, monologues, and critical recommended scripts. essays from current theatre makers and writers. Eight new plays have Australian Plays is offering you a been added to the catalogue in free three month subscription!

January alone.

A glimpse at the most popular To gain access simply email titles on the front-page reveals Stolen, admin@australianplays.org Black Diggers, Picnic at Hanging Rock, with the subject line STAGE Neighbourhood Watch, Away, Cosi, WHISPERS. The Book of Everything, Ruby Moon Dr Meg Upton is the Consultant and Extinction. Many of these titles Education Curator at Australian appear on state based curricula and are powerful plays offering stories of Plays. She is also a drama Australia’s Indigenous history, the education lecturer at Deakin mythology of the Australian bush and University. the suburbs, the migrant journey, and www.australianplays.org the Vietnam War. But what else?

What other plays are possible?

Becoming a subscriber allows you Teachers and students have access to dig more deeply, to read plays to a powerful search application on online, to access resources for shows the Australian Plays site, one that including the newly created Malthouse enables them to explore and select plays that respond to some of the key Theatre Education Collection - 20 questions posed above. Click on Find-a years of Playbox/Malthouse scripts with their accompanying education -Play and you can search for a title, resource - and explore the other author, a keyword, as well as a collections in more detail. Many scripts category. There are forty categories are available to purchase online as a currently in the collection including: Australian History, Children’s Theatre, downloadable PDF, giving you Comedy, Gender Themes, Indigenous immediate access to the script you are seeking. Australian Plays also licenses a Themes, Verbatim, Plays by Women, and Political and Social Themes. There large range of scripts for production.

In selecting, studying and staging is also an option to select the target Australian plays we can bring to life a audience, length, cast age and cast myriad of Australian stories, and the size. Further, there is a monologue search application for finding a text to voices of those who comprise this complex, diverse country, to which our suit individual students interested in, students make an important or required to, explore a monologue contribution. for their drama studies.

Stage Whispers readers are being offered a three-month free subscription to www.australianplays.org.

Meg Upton explains why it is such a valuable resource.

Each year Drama, English and Literature educators encounter the dilemma of selecting a play to study or produce in collaboration with their students. Which play? Which playwright? What’s good? How long?

How many students? What age? What about the school’s culture and broader community standards?

Importantly, will it engage them, will it challenge them, and will it enhance their learning?

Why study Australian plays?

Playwright Andrew Bovell told the Daily Review that “Australian audiences are not satisfied with a repertoire only of Noel Coward, Anton Chekhov, Henrik Ibsen and William Shakespeare. They want new plays that tell their stories and reflect their lives … a theatre that prioritises the work of Australian playwrights, in all their diversity. I know that through such writing it is possible to read the pulse of the nation.” (Daily Review August 1, 2017).

In essence, if theatre is concerned with stories and stories are concerned with what it means to be human, then studying Australian plays enables teachers and young people to collaboratively explore Australian stories and feel “the pulse” of what it means to be Australian in a multifaith, multi-cultural society with a complex Indigenous history.

The 2019 seasons of nine major theatre companies indicate at least half of programmed work is Australian, and in many cases new works. Significantly, many are new Indigenous works, and in some instances work written by other culturally diverse playwrights. This is incredibly exciting. More students have the opportunity to experience diverse Australian stories in performance.

Studying Australian plays in class is a

www.stagewhispers.com.au Stage Whispers 41

SPARK 2019

Songs From Australian Musicals for a home grown Australian musical came in 1988 with the musical of Australia’s classic story Seven Little Australians. Funded by sponsor James Hardie Industries, following development between Sydney composer and organist David Reeves and theatre legend turned minor hit. Quite something in entrepreneur Noel Ferrier (of the Australia in the fifties when nearly Australian Elizabethan Theatre Trust), everything on the ‘hit parade’ it played to just under 500,000 as it emanated from America. toured Melbourne, Launceston, 1978 saw Reg Livermore’s Ned Hobart, Adelaide, Sydney and then Kelly and in the 1980s there was Brisbane, produced by the Royal clearly a belief locally that if America Queensland Theatre Company. The and England can do it, then so can creators were David Reeves (Composer we. The Venetian Twins (with iconic & Producer), John Palmer (lyrics) and John Palmer & Peter Yeldham (book).

Ten years later, in 1998, The Boy from Oz began its journey to become the most successful Australian musical to date. A ‘jukebox’ musical compilation of local showbiz star Peter Allen’s hit songs, it premiered in Australia, playing to 1.2 million people in a tour covering Sydney, Brisbane, Melbourne, Adelaide and Perth. Opening on Broadway in 2003 it also played a truly strong season, something never achieved before by an Australian show. The brainchild of producer Ben Gannon, it went all the way with a book by Nick Enright and Australian performer Hugh Jackman, the Broadway star in the truest sense of the word. Peter’s songs are well number ‘Jindyworoback’, included in represented in these pages. this volume) premiered in 1979. A There are many Australian musicals further production transferred to and many musicals with ties to commercial theatre in 1981.

Australian creators. Most remain not Jon English and David McKay’s produced in any meaningful way, long journey with the rock opera Paris which beggars the question, ‘Why?’ began in 1990 and its number ‘Oh Surely in this age of the silicon chip it Paris’ can also be found in these is now possible to engineer and build pages. That year also witnessed Reg musical theatre audiences whose boxoffice resources can finance Livermore’s musical Big Sister.

The first major box office success productions in reverse.

Composer David Reeves has compiled and arranged a new song book featuring fifteen songs from Australian composed musicals.

They include Matilda, The Venetian Twins, The Boy From Oz and Seven Little Australians (which he composed). In a forward to the songbook he reflected on the writers that inspired him, and notable local productions.

I will never forget the impact the new My Fair Lady musical made locally when I was growing up in Sydney. It premiered on Broadway in 1956 and its journey thereafter is the stuff of legends. I didn’t realise it at the time but without doubt Lerner and Loewe came as close as anyone to creating the perfect musical. The show’s success, its mystique, remains the result of the genius and magic created between a trio that included George Bernard Shaw and his play, Pygmalion.

Richard Rodgers and Oscar Hammerstein II (who had also tried adapting Pygmalion and given up) are in the same league. Writers hoping to emulate such towering figures truly need to have something unique to bring to the stage. But we all keep writing, composing, and dreaming up new ideas.

J C Williamsons produced what must surely be regarded as the first Australian musical box-office success with The Sentimental Bloke, based on Songs of a Sentimental Bloke by C J Dennis. It played a six-week season that was extended to five months in 1961.

The Australian Elizabethan Theatre Trust had been established in 1950 and in 1958 took up its option to launch a professional production of Lola Montez. Created by Peter Stannard (music), Peter Benjamin (lyrics) and Alan Burke (book), the show opened in Sydney on 22nd October 1958 after a short trial in Brisbane. The popular number ‘Saturday Girl’ is included in this volume and Michael Cole’s single recording of the number became a 42 Stage Whispers March - April 2019

“Stage Door Songbook: Songs from Australian Musicals” is published by Origin Theatrical and distributed by Hal Leonard Music. www.origintheatrical.com.au/work/10801

New Zealand Plays and Musicals Playmarket New Zealand’s top recommendations for schools.

Musicals The Invisibles by Dan Bain and Luke Di Somma At the beginning of her final year at rugby obsessed Riverhole High School, Lauren, a budding singer-songwriter, meets new arrival, rugby star and former dancer Scott, and attempts to enlist him in the annual nationwide music competition BandSmash.

Checkout Chicks by Rachel Callinan and Julia Truscott A fast paced, high-energy musical comedy that celebrates loving your job. In her bid to save her locally owned struggling supermarket, Tashandra enters into the Checkout Operator of the Year Award.

Plays Wheeler’s Luck by Nigel Collins, Toby Leach and Damon Andrews How will the people of Bell End decide what to do when a local personality dies, leaving her prime coastal property to them? It seems a bareback horse race will be the decider.

The Next Big Thing and Auckland Theatre Company’s co-production of Checkout Chicks.

Photo: Michael Smith.

Ophelia Thinks Harder by Jean Betts A riotous reworking of Shakespeare’s Hamlet that puts Ophelia centrestage.

they have forgotten how to have fun, so they reawaken their playfulness by having teenager Hugo fall in love with Verona, a young Italian girl.

Heavenly Bodies by Kerry Lynch Ziggy’s Tribe by Gary Henderson A group of lost orphans flee south to In an allusion to Greek and Elizabethan theatre, three Fates realise escape bulldozers causing destruction and desolation, but are their assumptions about what is going on in the world correct?

Whole School Primary School Productions Emma Rose and the Enchanted Forest

by Jon Gadsby Emma Rose and her horse Smuggler head into the Enchanted Forest on a quest to heal Smuggler’s sore tummy.

The Wonderful Wizard of Oz and The Snow Queen by Jenny Wake.

Written for casts of 100-300 and 64154 respectively.

Space Circus by Holly Gooch.

Featuring scientists, astronauts, aliens, moon people, stars and planets, this play combines science education with dance, music and circus spectacle.

www.stagewhispers.com.au Stage Whispers 43

SPARK 2019

Online extras!

Elizabeth Avery Scott has tips to help choose the right drama school for you. https://youtu.be/zkyHsWwFtAc Hamlet. On A Boat (2018).

How To De-role

techniques that help retain an actor’s sense of self; actor training of this kind is valuable to expand your emotional repertoire as part of your professional skill set. But even with good training, the day may come when you must play a more grueling So you get cast in an amazing role - think Heath Ledger playing The role with an emotional weight that character role - a bad boy from the Joker in the Batman franchise. While it stays with you after the theatre door wrong side of the tracks, a murderess, makes for great publicity to hear of is locked. a psychopath, a victim of crime, or the extreme lengths to which some So on the opposite page you’ll even a Hamlet or Macbeth. It’s not actors go to capture a character for find a few tips on how to ‘de-role’: who you really are - but you immerse their next blockbuster movie, it’s clear yourself in the role: you learn your that some actors are causing

By Elizabeth Avery Scott lines, research your character, themselves psychological damage in rehearse your scenes. the process.

Elizabeth Avery Scott is CEO Exploring the dark emotions of a To be a great actor it’s not and co-founder of Perform character can be fun and challenging, necessary to adopt “method acting” Australia. She is also a but… how do you shake off that role techniques that require you to lose playwright and an actor’s so it’s not with you 24/7? yourself inside a fictional person. guidance counsellor.

There are some high-profile There are many less-troublesome For course information visit examples of actors who have been techniques that are just as effective. unable to release themselves from a At Perform Australia, we teach acting www.perform.edu.au

(And Why It’s Important)

44 Stage Whispers March - April 2019

1.

Conduct a ‘warm down’. Every actor should be doing a vocal and physical warm-up before a performance, but sometimes it’s necessary to warm down. Stretch and release all the major muscle groups in your body, and as you release the tension, be conscious of breathing out any emotion you’ve retained.

2.

Choose a physical activity. Physical exercise, particularly something like skipping with a rope, is an immediate way of releasing tension. Just a couple of minutes of skipping may be enough to get rid of emotional negativity and set off the endorphins. You could also consider jogging, aerobics, dance, swimming, or other full-body activities.

3.

4.

5.

Create a ritual. Many actors say that it helps to create a ritual for stepping into a difficult character and then out of it again. This may be as simple as applying conscious thought while putting on your costume for a role, and again while you are taking it off after your role is played. You may like to create some gestures associated with entering the character and some associated with leaving it. You can even add music to this process - a theme song to signal to your subconscious that this latest performance is coming to an end.

Debrief with colleagues. Is there someone in your ensemble you need to debrief with?

Perhaps another actor impacted by your character’s actions, or the director. Make opportunities to talk things through.

Have counselling. If you are having significant difficulties with what your role requires of you emotionally, never hesitate to get counselling support. Chances are, there is something about the character, their context or their experience which is tapping into something of your own. It may highlight something you have yet to resolve personally. So it always pays to work it through with an expert.

www.stagewhispers.com.au Stage Whispers 45

Conference Of The Birds (2014).

Photo: A&R Coates Event Photography.

SPARK 2019

Setting The Stage Melbourne-based performing arts academy Stage School Australia has this year launched a new initiative to assist in the talent development of young performers as they move into tertiary level education.

First Year Performance Intensive is a full-time, year-long course where performers work on an abridged Broadway musical, an abridged Shakespeare, a cabaret evening, a musical revue, a pantomime, a naturalistic drama and a nonnaturalistic drama.

Seussical (2013).

Photo: Timothy Burgess.

46 Stage Whispers March - April 2019

The course is designed for small groups of students to have maximum contact time with tutors.

For over twenty years, Stage School Australia augmented their weekly ongoing classes with intensive opportunities to rehearse and perform a full production, whether on tour with Seussical, Joseph and Once on this Island, or in Melbourne-based productions such as Spring Awakening, Wicked or the most recent sell-out season of Les Misérables at the National Theatre.

The progression seen in technique, creativity and energy when performers are working towards onstage performance seasons is dramatic, and far exceeds the progression the company has experienced from simply studio-based training.

This is what led Stage School to devise this year long programme, where performers alternate between intensive studio based ‘bootcamp’ training, rehearsals for performance seasons, and actual performance seasons in front of live audiences.

This group of performers then becomes a repertory company as part

For more information about auditioning to join the First Year Performance Intensive Course or the performances please visit firstyearperformance.com.au of their training, visiting schools and performing a range of plays and musicals for young audiences.

Performers also have the thrill of taking a show ‘on the road’ as part of a regional Victorian tour in the September school holidays.

The teaching staff includes James Simpson (Associate Musical Director of the Australian tour of Disney’s Aladdin and Disney’s The Lion King), Andrew Strano (Improvisation Fulbright Scholarship award winner), Cara Dinley (Course Director & Dance artistic director, director, choreographer and producer), Emily Wilkinson (Voice Studies - performer and vocal coach), Jacqui Green (Jazz & Musical Theatre - choreographer, dancer and dance teacher) and Tony Nikolakopoulos (Drama - leading Australian actor and director).

Les Misérables (2019).

Photo: Kit Haselden.

Online extras!

Get a sneak peek at the sitzprobe rehearsal of Les Misérables. Scan or visit https://youtu.be/0iQb7EwjSoU

www.stagewhispers.com.au Stage Whispers 47

SPARK 2019

Young Aussies On Broadway

Young Aussie musical theatre stars from all over the nation embarked on the performance tour of a lifetime in January, which took them to New York City, to the Junior Theater Festival in Atlanta, Georgia, and ended in Hollywood.

The intrepid team of 41 “Aussie All -Stars” participated in theatrical performance workshops in New York, saw Broadway shows, represented Australia at the Junior Theater Festival in Atlanta and took part in the Disney Performing Arts program in California.

The ensemble was comprised of individually selected students who auditioned as part of the Junior Theatre Celebration Australia.

In New York City, the Aussie AllStars collaborated on a 15-minute performance piece featuring selections from the musical Madagascar: A Musical Adventure Jr.,

under the creative direction of Australian Daniel Stoddart, along with New York-based Australian choreographer Scott Morris. They gave a preview performance of their 15-minute excerpt for an exclusive audience including MTI Co-Chairman, Freddie Gershon and MTI Australasia’s Managing Director, Stuart Hendricks.

The students joined 7,000 likeminded young performers in Atlanta at the massive Junior Theater Festival, described by the New York Times as a “rousing celebration of theatre”.

The Aussie All-Stars performed their Madagascar: A Musical

Aussie All Stars Amelia Carpenter and Luke Barker, both award-winners for excellent performance at Junior Theatre Festival 2019.

Adventure Jr. excerpt for adjudication and received wonderful feedback.

They watched performances by their peers and were privileged to meet some of Broadway’s best, including composing duo Benj Pasek and Justin Paul (Dear Evan Hansen, La La Land & The Greatest Showman).

A mini-documentary following the journey of the Aussie All-Stars is expected to be released in March.

Online extras!

The Aussie All-Stars on their US tour to the Junior Theater Festival 2019.

48 Stage Whispers March - April 2019

Find out more about Junior Theatre Celebration Australia. Scan or visit https://youtu.be/D3sqO_ijhg4

Creative Development

The 25th Annual Putnam County Spelling Bee. Photo: George Popov.

Australian Performing Arts Grammar School is an independent school unlike any other in Sydney.

Students are offered direct contact with industry specialists in a timetable that fits the NSW curriculum, alongside a day and a half of Performing Arts subjects.

Students are able to indulge their passions and enrich their learning in areas that inspire them. By scheduling these specialist Performing Arts courses during school hours, APGS students still have their afternoons and weekends free for their own training, extra-curricular activities and professional productions.

The Performing Arts curriculum is divided into Drama, Dance, Music and Visual Arts. Students can specialise or work across all four streams.

Senior students are extended through APGS’ creative partnership with the Academy of Music and Performing Arts (AMPA), where they can engage creatively at a renowned tertiary institution. The Performing Arts tutors are a rotating staff of industry specialists who are all active and well respected in their field of expertise, giving students the opportunity to gain an invaluable insight into these industries, and build connections.

Online extras!

Watch The 25th Annual Putnam County Spelling Bee at AGPS’ 2019 Showcase. https://youtu.be/pSRp3TwjVIg The school celebrates their students at numerous showcases throughout the year.

A dedicated Music showcase is held in the first term and Drama and Art showcases follow in terms two and three. Musical Theatre and Dance classes work towards large showcases at the end of each semester. These performances offer students safe and supportive place to creatively express themselves and foster resilience and selfconfidence.

For more details visit www.apgs.nsw.edu.au

www.stagewhispers.com.au Stage Whispers 49

Stage on Page

By Peter Pinne

DRAMATIC EXCHANGES –The Lives & Letters of the National Theatre Selected & Edited by Daniel Rosenthal (Profile Books $49.99) Britain’s venerable National Theatre comes under scrutiny in this superb book by Daniel Rosenthal of 800 letters exchanged between actors, directors, playwrights, critics and more who have worked there throughout its history. Pithy, personal and totally engrossing, it paints a thrilling behind-the-scenes portrait of the institution from a practitioner’s point-of-view. Culled from over 12,000 archival riches, the book gives voice to their frustrations, fears, humiliation, and untold successes.

Judi Dench in an exchange to playwright David Hare after the opening of Racing Demon (1990): ‘Can’t you write me a musical so that I can sit on a chair in a fur coat and nothing else and sing RUDE songs?’

Or Maggie Smith to Laurence Olivier when being turned down for the promised role of Millamant in Congreve’s The Way of the World (1969): ‘What on Earth do you expect me to say? I am absolutely heartbroken by your decision but what can I do? You must know that I have now no chance to play the one part you have always told me I should.’

And James Corden to playwright Richard Bean on One Man, Two Guvnors (2011): ‘I’m loving it Richard every single night. I will never be able to thank you enough for this part. The only time it isn’t fun is five minutes before and 20 minutes after!’

The genesis of the National Theatre began in 1904 when William Archer and Harley Granville Barker launched a ‘Scheme & Estimates for a National Theatre’, but the theatre didn’t come into being until 1963 when Laurence Olivier was appointed head of the NT and its first artistic director.

Working out of the Old Vic, near Waterloo Station, from October 1963 they began performances in the 880seat proscenium theatre, with Olivier directing Peter O’Toole in Hamlet. His decade at the helm produced lots of classics: Michael Redgrave in Uncle Vanya, Edith Evans and Maggie Smith in Noel Coward’s Hay Fever and Ian McKellen as Claudio in Much Ado About Nothing, but there was also much that was fresh and invigorating thanks to Olivier’s appointment of enfant terrible and former critic Kenneth Tynan, who became Olivier’s right-hand-man - Peter Nicholls’ Black Comedy and The National Health, Tom Stoppard’s Rosencrantz and Guildenstern are Dead, and an all-

Stage Whispers Books Visit our on-line book shop for back issues and stage craft books www.stagewhispers.com.au/books 50 Stage Whispers March - April 2019

male As You Like It with Ronald Pickup as Rosalind.

Peter Hall followed Olivier as artistic director and had to oversee the frequently delayed move from the Old Vic to the new building on South Bank, a period of ‘tortuous limbo’ according to Rosenthal. The three theatre complex finally opened in 1973 but only one of the theatres, the Lyttelton, was ready for performances.

The others, the Olivier and the Dorfman (formerly the Cottosloe) came later.

Hall had the longest tenure (15 years) of any NT director and his reign saw the introduction to the NT of playwright Alan Ayckbourn’s work with Bedroom Farce (1975), which became a huge international and financial hit for the company. Robert Bolt’s State of Revolution, about the Russian Revolution, saw Christopher Morahan join Hall’s team after years producing and directing plays for BBC television.

‘I am honoured to play Susan Traherne in the play Plenty. Life will never be so good again,’ wrote Kate Nelligan to author David Hare, whilst Mike Nicholls enthused to Harold Pinter, ‘I can’t stop thinking about Betrayal. I think it’s as good as anything you’ve written’ and went on to direct it on Broadway, his final stage production before he died.

Amadeus, Another Country and Antony and Cleopatra with Anthony Hopkins and Judi Dench were other successes of the Hall years, which also saw the first production of a Broadway musical, Guys and Dolls, kick up its heels at the National.

There was a restructuring of the production departments when Richard Eyre followed Hall.

Shakespeare, as always, featured in the repertoire with Daniel Day-Lewis and Judi Dench (Gertrude) in Hamlet (1989), and Ian McKellan as Richard III in 1991, but the era was dominated by new and relevant work, Alan Bennett’s The Madness of George III (1991) with Nigel Hawthorne, Tony Kushner’s Angels in America (199192), and David Hare’s Skylight, which severely strained the relationship between Eyre and Hare.

‘Maybe it’s sensible if you direct Skylight,’ Eyre wrote. ‘I could have fooled myself up till Friday that I was fulfilling some sort of useful function, but when you phoned John [Gunter] without even talking to me about the design, then I realised I was at best the butler and at worst the skivvy.’

It was also the period of the controversial Carousel, when Clive Rowe (an actor of colour) was given the role of Mr Snow. Dorothy Rodgers, the 83-year-old widow of the composer, insisted it would be ‘inappropriate’ casting, partly because the name Snow would appear ‘a joke’ to the audience.

Sense prevailed and Rowe won plaudits for the role.

The Hall era closed with one of the most corrosive plays of the 90s, Patrick Marber’s Closer. Tom Stoppard wrote a fan letter to Marber calling it ‘brilliant’, as did Mike Nichols, who thought it was ‘playing even better than it read’ and went on to direct the film version with Jude Law and Julia Roberts.

Trevor Nunn’s tenure was the shortest but also one of the most critical and commercial successes in the theatre’s history, with new plays

by David Edgar and Tom Stoppard and musical revivals of Oklahoma!, South Pacific, My Fair Lady and Anything Goes.

1999 was the year Harry Potter and the Philosopher’s Stone was first mooted as a stage production. It never saw the light of day at the National but Harry Potter and the Cursed Child became a West End hit in 2016.

Nicholas Hytner’s years saw the sweeping introduction of 10 pound seats for two-thirds of the seats in its largest theatre for six months of the year. It was a huge success, as was the product: Alan Bennett’s The History Boys (2001), Marianne Elliott’s groundbreaking productions of War Horse (2007) and The Curious Incident of the Dog in the Night-Time (2012), the musical London Road (2011) and One Man, Two Guvnors (2011), which made a late-night American TV star of James Corden.

In October 2013 as the National celebrated its 50th anniversary, Rufus Norris, a former director, became the Director Designate, a position he still holds.

last 55 years, not for the money but for the prestige. And with the introduction of NT Live with Helen Mirren as Phedre, millions of people around the world are now exposed to NT product.

The National Theatre has always been controversial, never satisfying everybody and at times satisfying no one, yet they do get it right more often than not as these pages testify.

The ones that never made it are as fascinating as those that did Rex Harrison wanting to do The Rape of the Sabine Women; a Crucible that almost starred Sean Connery; Frankie Howard as a possible for The National Health; and Kenneth Tynan begging Paul McCartney to write music for As You Like It, and the Beatle blowing him off saying he didn’t like Shakespeare’s words but offering to write the ‘National Theatre Stomp’ or the ‘Ballad of Larry O’.

The book is a revelation, and, at times, touching. Secretary of the board Kenneth Rae’s letter to Michael Redgrave, ‘I have now seen The book ends in your performance of Uncle Vanya 2016, so there’s little of Norris’s work four times and can truthfully say to analyse except for a production of nothing in the theatre has moved me Everyman with Chiwetel Ejiofor, more. Were I to tell you in person all I Bartlett Sher’s production of Oslo and felt, I should merely stammer and Norris directing Kurt Weill and Bertolt blub.’ It’s the honesty of these notes, Brecht’s The Threepenny Opera. letters and emails that give a Most of Britain’s top actors have passionate texture to the book, which trod the National boards during the is an absolute must read.

www.stagewhispers.com.au Stage Whispers 51

Pretty Woman (Bryan Adams/Jim Vallance) (Atlantic 573906-2) It’s a pity some of The Greatest Showman’s music and lyrical originality wasn’t present in Bryan Adams and Jim Vallance’s score for Pretty Woman. Good

By Peter Pinne performances from Samantha Barks (Vivian) and Andy Karl (Edward) can’t elevate this material, which comes The Greatest Showman - Reimagined (Benj Pasek/ across as pretty generic. Banks does best with the Justin Paul) (Atlantic 7567865679) Pink’s ‘A Million empowering anthem ‘I Can’t Go Back’ and the countryDreams’ and Kelly Clarkson’s ‘Never Enough’ are the standout tracks on this Reimagined album of The Greatest flavoured ‘Luckiest Girl in the World’, in which she’s assisted by the always wonderful Orfeh. Karl sings the Showman movie soundtrack, sung by pop artists. heart out of ‘Freedom’, and almost makes you believe Produced by the composer and lyricist, the songs are that ‘You and I’ is a showstopper, especially given a commercial spin which has a distinctly different in the bonus track edit of it. feel to their soundtrack versions. The a cappella group Eric Anderson tries valiantly to Pentatonix deliver rich vocals on one of two versions of inject some Latin charm into a ‘The Greatest Show’, whilst Panic! At the Disco’s fairly standard tango, ‘On a treatment of the same song sticks more to the funky original, with soaring vocals by lead singer Brendon Urie. Night Like This’, but does better dueting with Anna The Oscar nominated ‘This is Me’ also gets two bites of Eilinsfeld with the swing ‘Don’t the cherry, a remix of the movie track with Keala Settle, Forget To Dance’.  Kesha and Missy Elliott, and the heavy-rotation airplay solo take by Kesha. Sara Bareilles’ ‘Tightrope’ slows the number down for a more Online extras! introspective version but Amazon has your copy of Pretty Years and Years and Jess Woman ready and waiting.

Glynne’s ‘Come Alive’ has a https://amzn.to/2S6uxuU great disco sound that almost walks away with the Brigadoon (Alan Jay Lerner/Frederick Loewe) disc.  (Ghostlight Records 791558455021) New York City Center’s ‘Encore’ series has spawned many albums but this is their first Brigadoon and with Broadway royalty Online extras! heading the cast, Lerner and Loewe’s magnificent score Get your hands on The Greatest has never sounded better. The album springs from a seven Showman Reimagined at JB Hi-Fi. performance 2017 season with Kelli O’Hara as Fiona and http://bit.ly/2S3lwmp Patrick Wilson as Tommy. They’re the perfect leads.

O’Hara’s sweet soprano soars on ‘Waitin’ For My Dearie’ and blends magically with Wilson on ‘The Heather on the The Greatest Showman - Andy Brown (MP3 Digital Hill’. Wilson’s light baritone sounds wonderfully young Download) British singer/songwriter Andy Brown’s cover and excited on ‘Almost like Being In Love’ and the album of the movie’s nine song score is acoustic guitar heavy with a country feel that enhances the material. He’s heartfelt ‘There But For You Go I’. Together they bring stripped back the original arrangements and rebuilt them tears to the finale ‘From This Day On’, making it a highly in such a way that they are still familiar but leave enough emotional experience. Stephanie J. Block is a great Meg Brockie, boisterous with ‘The Love of My Life’ and scoring room for him to infuse them with his own big-time with ‘My Mother’s personality. Beautifully Weddin’ Day’. The choral recorded, his vocals have singing is beautiful, Ted Royal’s warmth and poignancy, original orchestrations feel like especially on ‘Never Enough’ they’re had a fresh coat of and ‘A Million Dreams’. It’s paint under the baton of Rob an outstanding album from a Berman’s 27-piece orchestra, performer who gets it right and the recording has great every time.  presence. 

Stage On Disc

Online extras!

Download Andy Brown’s cover of The Greatest Showman from Apple Music. https://apple.co/2S5p6g7 52 Stage Whispers March - April 2019

Online extras!

Get your hands on Lerner & Lowe’s Brigadoon from Ghostlight Records. http://bit.ly/2S6rTFM

The Beast In The Jungle (John Kander) (Broadway Records/Yellow Sound Label BRYSL-CD006) One of the most unusual show music releases of late has been the score for this Dance Play by veteran John Kander. Inspired by the novella by Henry James, the work premiered at the Vineyard Theatre, New York City, May 28, 2018 in a production directed and choreographed by Susan Stroman. The plot centred on a man who misses his entire life out of fear of commitment. David Thompson, who collaborated with Kander on Steel Pier and The Scottsboro Boys, wrote the book, which moves between New York, Italy and England over various time-periods. Kander’s score, all variations of waltz time, sounds mellow, melancholic and very European, as played by a chamber orchestra conducted

by Greg Jarrett. The bucolic ‘The Cotswold Waltz’ and the Neopolitan ‘Pizzica’ are arresting, but it’s the carefree ‘Seashore Waltz’ that charms. 

the African sounds so familiar from The Lion King and at others of Harold Arlen’s St Louis Woman. It has the raw earthy sound of early rhythm-and-blues and is at times infectious. 

Jan Clayton Sings Carousel/Ella Logan Sings Finian’s Rainbow (Rodgers & Hammerstein/Burton Lane/E.Y. Harburg) (Stage Door STAGE 2480) We’re back in the era of classic Broadway with this reissue of two scores sung by their leading ladies. Jan Clayton starred as the original Julie Jordan in Carousel in 1945 but returned to the role for the 1958 Brussels World Fair. Disneyland Records preserved her performance of the score which includes a unique reading of Soliloquy’s ‘My Little Girl’. The orchestra is conducted by Tutti Camarata and there’s accompaniment by the Gloria Wood Chorus, who add heft to ‘June is Bustin’ Out All Over’ and ‘This Was a Real Nice Clambake’. It might be vintage, but Clayton’s vocals are ravishing. Ella Logan was the definitive Sharon McLonergan in the original cast of Finian’s Rainbow and this eight track selection was originally released in 1955.

With accompaniment by George Greeley, Logan wraps her voice around Harburg’s clever but tongue-twisting lyrics and captures the insouciant rhythm of Lane’s folksy Online extras! and endearing melodies. The hits were ‘How Are Things in Stream The Beast In The Jungle on Tidal Glocca Morra’ and ‘Old Devil Moon’, and now. Scan the QR code or visit they’re still the best songs in http://bit.ly/2S8YElP the score, but the bluesy ‘Necessity’ and the gospel ‘The King Kong (Todd Matshikiza/Pat Williams) (Stage Door Begat’ also sparkle with STAGE 9057) In 1961 the South African musical King musical invention. There’s also Kong played London’s Princes Theatre and became the a gender-bending take of first musical from that country to appear in the West End. ‘When I’m Not Near the Girl I Called a ‘Jazz-Opera’, it was inspired by the life and death Love’, which is rare in of the heavyweight boxing champion Ezekiel Dlamini, recordings of the fifties.  known as ‘King Kong’. In South Africa the title role was played by Nathan Mdledle, who also played it in the West Online extras!

End. This recording features the original London cast Get your copy of the album from Stage recording plus selections from the original South African Door Records. Scan or visit cast. The music is catchy, especially the title song which is http://bit.ly/2S5rseX featured as a bonus track in a great Dixieland version by Terry Lightfoot’s New Orleans Jazzmen. Other songs to Rating register include ‘Back of the Moon’ and ‘The Earth Turns  Only for the enthusiast  Borderline Over’, which on the South African original cast recording  Worth buying  Must have  Kill for it is sung by jazz singer and civil -rights activist Miriam Makeba. The musical helped launch her career. The South African cast recording includes ‘Strange Things Happen’, ‘Better Than New’ and ‘Mad’, that were dropped for London.

At times there are touches of

Online extras!

Purchase the cast recording of King Kong on Amazon now. Scan or visit https://amzn.to/2S4QB9p

Stage Whispers Directory Premium listing: $20 Get noticed on the Stage Whispers website with a premium listing

www.stagewhispers.com.au/directory-central www.stagewhispers.com.au Stage Whispers 53

New Zealand Musical Theatre Boom The musical theatre scene in New Zealand is a unique one, with the combined factors of a strong economy and some beautiful regional theatres, but a relatively small and geographically spread population.

Of the big touring Australian mega musical productions, only a small number make the trip across the Tasman, and when they do, usually only stop in Auckland at the Civic Theatre, bringing with them

Miss Saigon (2009).

54 Stage Whispers March - April 2019

their Australian-based cast and crew.

New Zealand professional theatre companies - including Auckland Theatre Company, Circa in Wellington and the Court Theatre in Christchurch - rarely stage more than one musical per season. This leaves a major gap in the New Zealand market.

Enter the community theatre scene and the NZ Musical Theatre Consortium. The consortium is a group of volunteer driven

community theatre groups from various cities around New Zealand, working together to secure the performing rights to major musicals and pool their resources to build the set, props and costumes.

Each society then uses the production resources in their own city with a local cast, orchestra and production team. “The consortium concept has enabled all of us to operate at a much higher level of production quality than we would be able to

Musical Theatre in New Zealand is experiencing a ‘golden era’, with record attendances, profile and audition interest. The growth is not in professional theatre, but community theatres which ship professionally built sets and costumes around the country.

do when producing shows on our own,” says New Plymouth Operatic’s Patrick Landrigan, who manages a number of the tours.

While the consortium concept is now 25 years old, it’s been since 2012 that the combined group has really grown. Initially only one consortium production operated at a time. Now there are multiple shows on the go, with 17 different productions having been built over 25 years.

This group approach has seen the New Zealand theatre companies granted rights to new musicals well in advance of their Australian cousins - with a five-year tour of Mamma Mia! just concluding, and tours of Priscilla, Queen of the Desert and Sister Act still ‘on the road’. Currently there are 10 musicals traversing New Zealand under the Consortium banner (The Phantom of the Opera, Wicked, Les Misérables, Mamma Mia!, Miss Saigon, Wicked, Priscilla, Queen of

the Desert, Sister Act, Mary Poppins and Avenue Q).

The consortium production of We Will Rock You opens in Christchurch, March 2019, while five other musicals are currently ‘in development’ to open between 2020 and 2023.

The set, props and costume designs for the New Zealand premiere production of Kinky Boots have been completed, with construction soon to start ahead of (Continued on page 56)

www.stagewhispers.com.au Stage Whispers 55

Avenue Q (2013).

Photo: Kirsty Macdonald.

Landrigan. “The biggest thing is to understand your audience, and what the premiere season in early 2020. they are wanting to come and see.

Full sets, props and costumes for Cats, “Community theatre groups are Evita and Hairspray are now sitting in each run by their own hard-working storage, waiting to be revived in the committees, and those committees may sometimes choose to stage a future.

“The bigger tours can run for five production because someone ‘loves’ a years and can have up to 200,000 particular show, or has a personal desire to perform, direct or be patrons attend the show,” says Mr Landrigan. involved in it. This can be a reason To build a set, props and costumes why some community theatre groups for any Consortium show, the design struggle. and build costs can range from Sister Act (2017). $300,000-$500,000. As they are built Photo: Chris Hill. to fit in multiple major theatres, travel in containers for several years, and have hundreds of performance nights, they must be built to last.

The consortium has also purchased professional sets, securing those for We Will Rock You direct from Queen in London. Three shipping containers arrived in New Zealand in 2018. The consortium also purchased a professional set for Priscilla Queen of the Desert.

“The most important part of our success is show selection,” says Mr (Continued from page 55)

The consortium tour of We Will Rock You opens in Christchurch at the Isaac Theatre Royal in April, then heads to Auckland in August the first 2 stops of an extensive 4 year tour of New Zealand for the show - with many more stops confirmed and due to be announced soon. queenonline.com/wwry 56 Stage Whispers March - April 2019

“Take Mary Poppins for example,” says Mr Landrigan. “Personally, I am not a big fan of the show, but that doesn’t mean we didn’t stage it. For my local society in New Plymouth it was a huge success, one of the best attended shows our society has ever done. I accept that my tastes may diverge from that of the general theatre going public.

“The second most important thing is quality,” says Mr Landrigan. “The audience love being able to say their

Online extras!

Be taken to heaven with the powerful gospel of Sister Act. Scan or visit https://youtu.be/COXiRbnvVzg

Phantom Of The Opera (2016).

local theatre company production was as good as any others around the world, and a top-quality set, props and costumes are a very important part of that total theatre experience.

“Here in New Plymouth we get around 10,000-12,000 attendees to our local show season each year, and our total city population is only 70,000. That’s a huge portion of the population who turns out to see a community society’s annual musical.”

Les Misérables (2018).

Photo: Chris Hill.

The mega musical consortium productions are not, however, for everyone. “We operate on an ‘out of the box solution’ model; everything that you need for a show arrives for the local society,” says Mr Landrigan.

“A few people struggle to embrace this, particularly some directors who want to create ‘their own show’. This consortium model brings its small compromises but creates the opportunity for a successful and

sustainable future for the whole musical theatre community.

“Even though we have been going for 25 years, every production we learn, improve and get better,” says Mr Landrigan. “We’ve built the same Les Misérables set three times now!” he jokes. “It’s fair to say there won’t be a fourth rebuild, as this current version will be kept, maintained and treasured.”

www.stagewhispers.com.au Stage Whispers 57

On Stage A.C.T. Disney’s Beauty and the Beast.

Music by Alan Menken. Lyrics

by Howard Ashman and Tim Rice. Book by Linda Woolverton. Canberra Philharmonic Society (Philo).

Mar 7 - 23. Erindale Theatre Wanniassa ACT. (02) 6257 1950. philo.org.au Senior Moments by Angus FitzSimons & Kevin Brumpton.

Mar 8 & 9. The Playhouse, Canberra Theatre Centre. (02) 6275 2700. seniormomentsshow.com.au The Full Monty. Book by Terrence McNally, Music and Lyrics by David Yazbek. Supa Productions. The Q Performing Arts Centre, Queanbeyan. Mar 9 to 23. (02) 6285 6290. www.theq.net.au The Gospel According to Paul

by Jonathan Biggins. Mar 26 30. The Playhouse, Canberra Theatre Centre. (02) 6275

58 Stage Whispers

A.C.T. & New South Wales 2700. canberratheatrecentre.com.au To Kill a Mockingbird by Christopher Sergel, based on the novel by Harper Lee. Canberra Rep. Mar 28 - Apr 13. Theatre 3. (02) 6257 1950. canberrarep.org.au How to Rule the World by Nakkiah Lui. Sydney Theatre Company. Apr 3 - 6. The Playhouse, Canberra Theatre Centre. (02) 6275 2700. canberratheatrecentre.com.au Potted Potter by Daniel Clarkson and Jefferson Turner.

Apr 4 - 7. Canberra Theatre.

(02) 6275 2700. canberratheatrecentre.com.au The Miser by Molière. Bell Shakespeare. Apr 11 - 20. The Playhouse, Canberra Theatre Centre. (02) 6275 2700. canberratheatrecentre.com.au New South Wales Charlie and the Chocolate Factory. Music by Marc Shaiman, lyrics by Scott

Wittman and Marc Shaiman, book by David Greig, with additional songs by Leslie Bricusse and Anthony Newley from the 1971 Warner Bros motion picture. Capitol Theatre, Campbell Street, Haymarket. Ongoing. 1300 795 267 ticketmaster.com.au La Bohème by Puccini. Opera Australia. Until Mar 28. Sydney Opera House. (02) 9318 8200. opera.org.au Blanc de Blanc Encore. Strut & Fret. Until Mar 9. Studio, Sydney Opera House. www.sydneyoperahouse.com Turandot by Puccini. Opera Australia. Until Mar 20. Sydney Opera House. (02) 9318 8200. opera.org.au The Life and Death of King John and The Comedy of Errors. Bard on the Beach. Until Mar 17. Various venues. www.bardonthebeach.net

FreshWorks. Until Mar 16. Old 505 Theatre, Newtown. old505theatre.com A Room With a View by E. M. Forster, adapted by Roger Parsley and Andy Graham.

Genesian Theatre Company.

Until Mar 9. Genesian Theatre, Sydney. 1300 237 217 www.genesiantheatre.com.au How to Rule the World by Nakkiah Lui. Sydney Theatre Company. World Premiere.

Until Mar 30. Drama Theatre, Sydney Opera House. (02) 9250 1777.

Embers by Campion Decent.

Pymble Players, cnr Mona Vale Rd and Bromley Ave, Pymble.

Until Mar 9. (02) 9144 1523 taz@taztix.com.au A Bunch of Amateurs by Ian Hislop & Nick Newman. Arts Theatre Cronulla. Until Mar 23. artstheatrecronulla.com.au Angels in America Parts 1 & 2

by Tony Kushner. Apocalypse Theatre Company. Until Mar

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

On Stage

Online extras!

The Choir Of Man is guaranteed to get your toes tapping. Scan or visit https://youtu.be/9-tqLIcNhwo 16. Old Fitz Theatre. redlineproductions.com.au Daylight Saving by Nick Enright. The Guild Theatre, Rockdale. Until Mar 9. (02) 9521 6358 www.guildtheatre.com.au Lieutenant of Inishmore by Martin McDonagh.

Wollongong Workshop Theatre. Until Mar 9. WWT Theatre, Gwynneville. 0431 875 721.

South Pacific by Rodgers and Hammerstein. Gosford Musical Society. Until Mar 16. Laycock Street Community Theatre, North Gosford. gosfordmusicalsociety.com.au Werther by Massenet. Opera Australia. Until Mar 11. Sydney Opera House. (02) 9318 8200. opera.org.au Dead Cat Bounce by Mary Rachel Brown. Griffin Theatre Company. Until Apr 6. SBW Stables Theatre. griffintheatre.com.au Dinkum Assorted by Linda Aronson. Henry Lawson Theatre. Until Mar 9. Henry Sports Club, Werrington. www.hltheatre.com.au

Footloose. Book by Dean Pitchford. Music by Kenny Loggins, Jim Steinman, Tom Snow & Dean Pitchford. Until Mar 9. The Harbour Theatre, Shellharbour. (02) 4297 2891 www.roo-theatre.com.au Private Lives by Noël Coward.

Woy Woy Little Theatre. Until Mar 10. www.woywoylt.com Dance March. Mar 1 - 31. Over 65 events in 31 days. marchdance.com South Pacific by Rodgers and Hammerstein. Gosford Musical Society. Mar 1 - 16. Laycock Street Community Theatre, North Gosford. gosfordmusicalsociety.com.au Dinner by Moira Buffini. Mar 1 - 17. The Players Theatre Inc., Port Macquarie. (02) 6584 6663. playerstheatre.org.au The Miser by Molière, adapted

by Justin Fleming. Bell Shakespeare. Mar 2 - Apr 6.

Sydney Opera House. www.sydneyoperahouse.com The Crucible by Arthur Miller.

Sport for Jove. Mar 6 - 9, Seymour Centre. (02) 9351 7940 & Mar 15 - 23, Bella Vista

New South Wales

Edinburgh Fringe Festival hit and the Adelaide Fringe Festival “Pick of the Fringe 2018” winner, The Choir Of Man, will play at the Sydney Opera House March 20 to April 7. Set in a cosy British pub called “The Jungle”, The Choir of Man combines vocals, high energy dance, live percussion and foot stomping choreography.

Photo: Chris Cann. www.sydneyoperahouse.com

Farm, (02) 8839 3399. www.sportforjove.com.au The Three Musketeers by Ken Ludwig. Lieder Theatre. Mar 6 23. Lieder Theatre, Goulburn. www.liedertheatre.com Hermit Crabs and Meteors by Tyler Atcheson (premiere).

Bearfoot Theatre. Mar 7 - 10.

Royal Exchange, Newcastle.

(02) 4929 4969. trybooking.com/BAJJB The Wizard of Oz. By L. Frank Baum, with music and lyrics by Harold Arlen and E. Y. Harburg and background music by Herbert Stothart. Adapted by John Kane for the Royal Shakespeare Company.

Rockdale Musical Society. Mar 8 - 17. Rockdale Town Hall. rockdalemusicalsociety.com The Gospel According to Paul.

Written and performed by Jonathan Biggins. A Soft Tread production. Mar 7, Civic Theatre, Newcastle, (02) 4929 1977; Mar 8 & 9, Q Theatre, The Joan, Penrith. www.thejoan.com.au & Apr 2, Cessnock Performing Arts Centre. (02) 4993 4266. cessnockperformingartscentre.com.au

Advertise your show on the front page of www.stagewhispers.com.au

Russian Transport by Erika Sheffer. Fishy Productions. Mar 8 - 31. Eternity Playhouse, Darlinghurst. www.darlinghursttheatre.com I Love You, You’re Perfect, Now Change. Book & Lyrics by Joe Di Pietro. Music by Jimmy Roberts. Arcadians Theatre Group. Mar 8 - 16. The Arcadians’ Miners Lamp Theatre. arcadians.org.au Eddie Izzard Wunderbar World Tour. Written and performed

by Eddie Izzard. Adrian Bohm & Mick Perrin. Mar 8. Civic Theatre, Newcastle. (02) 4929 1977. civictheatrenewcastle.com.au Wrath by Liam Maguire.

Jackrabbit Theatre. Mar 8 - 22.

Kings Cross Theatre. www.jackrabbittheatre.com Dogfight The Musical by Benj Pasek & Justin Paul. Newcastle Theatre Company. Mar 9 - 23.

NTC Theatre, Lambton. (02) 4952 4958 (Mon-Fri 3pm6pm). newcastletheatrecompany.com.au Billionaire Boy by Maryann Masters, based on the book by David Walliams. CDP Kids. Mar Stage Whispers 59

On Stage 9, Riverside Theatres, Parramatta, (02) 8839 3399; Mar 12 - 14, The Concourse, Chatswood, (02) 8075 8111 & Mar 15 - 17, Seymour Centre, Chippendale, (02) 9351 7940. www.cdp.com.au Every Brilliant Thing by Duncan Macmillan with Jonny Donahoe. Belvoir. Mar 9 - 31.

Upstairs Theatre. (02) 9699 3444. belvoir.com.au Music of the Guns. Musical show with canon firing. Fort Scratchley Historical Society.

Mar 9. Fort Scratchley, Newcastle. (02) 4929 1977. www.fortscratchley.org.au Nashville Live. A look at how country music developed in the USA. Mellen Events. Mar 9.

Civic Theatre, Newcastle. (02) 4929 1977. civictheatrenewcastle.com.au Senior Moments by Angus FitzSimons and Kevin Brumpton. Comedy revue looking at ageing. Return Fire Productions. Mar 12 - 13, Civic Theatre, Newcastle, (02) 4929 1977; Mar 20 - 23, Riverside Theatre Parramatta, 8839 3399; Mar 29 & 30, Richard Bonynge Concert Hall, The Joan, Penrith, seniormomentsshow.com.au Murder on the Nile by Agatha Christie. Hunters Hill Theatre.

Mar 15 - 24. Hunters Hill Town Hall, 22 Alexandra Street, Hunters Hill. (02) 9879 7765. huntershilltheatre.com.au Gratitude & Grief: Katie Noonan’s Elixir & Michael Leunig. The title singer and cartoonist in a show with live on-the-spot drawings. Kin Music, Sum Management and The Harbour Agency. Mar 15.

Civic Theatre, Newcastle. (02) 4929 1977. civictheatrenewcastle.com.au The Vicar of Dibley by Richard Curtis and Paul MayhewArcher, adapted for the stage

by Ian Gower and Paul Carpenter. Theatre on Brunker.

Mar 15 - Apr 6. St Stephen’s Hall, Adamstown (Newcastle).

60 Stage Whispers

New South Wales In The Last Five Years, two young and ambitious New Yorkers, Cathy (Elise McCann), an actor, and Jamie (Christian Charisiou), a writer, fall in love. The musical chronicles the couple’s romance from both perspectives: Jamie from the beginning, looking to the future; Cathy with the hurt and disappointment of its end, looking backwards. Somewhere in between their story overlaps. Written and composed

by Tony Award-winner Jason Robert Brown, The Last Five Years plays at Sydney’s Ensemble Theatre from March 29. ensemble.com.au

Online extras!

Elise McCann is thrilled to be a part of The Last Five Years. Scan or visit https://youtu.be/ExA7Ohncpx8 (02) 4957 1895. theatreonbrunker.com Marina Prior & David Hobson: The 2 of Us - Up Close and Personal. Entertainment Consulting. Mar 15, Orange Civic Theatre; Mar 16, Dubbo Regional Theatre; Apr 11, Cessnock Performing Arts Centre; Apr 12, Manning Entertainment Centre, Taree; Apr 13, The Glasshouse, Port Macquarie, May 4, Shoalhaven Entertainment Centre. marinaprioranddavidhobson.com So Much to Tell You by John Marsden. Nowra Players, Bombaderry. Mar 16 - 30.

1300 788 503. nowraplayers.com.au Two by Jim Cartwright.

Ensemble Theatre. Mar 16.

Cessnock Performing Arts Centre. (02) 4993 4266. cessnockperformingartscentre.com.au Once in Royal David’s City by Michael Gow. New Theatre.

Mar 19 - Apr 13. www.newtheatre.org.au Jesus Christ Superstar by Andrew Lloyd Webber and Tim Rice. Miranda Musical Society.

Mar 20 - 24. Sutherland Entertainment Centre, Sutherland. (02) 8814 5827.

Newcastle 2019 Fringe Festival.

23 theatre, music, cabaret, and comedy acts by Newcastle, Australian and overseas companies, presented at seven Newcastle venues. Mar 20 - 24. www.newcastlefringe.com.au Rattus by Elias Jamieson Brown. Mar 20 - Apr 5. Old 505 Theatre, Newtown. old505theatre.com The Choir of Man. Sydney Opera House. Mar 20 - Apr 7.

The Studio, Sydney Opera House. www.sydneyoperahouse.com Fierce by Jane e Thompson. Old Fitz Theatre. Mar 20 - Apr 13. oldfitztheatre.com God of Carnage by Yasmina Reza. Maitland Repertory Theatre, Maitland. Mar 22 30. (02) 4931 2800.

The Three Musketeers by Ken Ludwig. Tamworth Dramatic Society. Mar 22 - 30. Capitol Theatre, Tamworth. (02) 6766 2028 Disney’s High School Musical.

Shire Music Theatre. Mar 22 31. Sutherland Memorial School of Arts, Sutherland. www.shiremusictheatre.org.au You’re a Good Man Charlie Brown. Music by Clark Gesner.

Book by John Gordon.

Bankstown Theatre Company.

Mar 22 - 31. Bankstown Arts Centre. bankstowntheatrecompany.com I Want To Know What Love Is. Long-buried romantic memories, put together from anonymous submissions by Queenslanders. Critical Stages and The Goodroom. Mar 22.

Civic Theatre, Newcastle. (02) 4929 1977.

It Could Be Any One Of Us by Alan Ayckbourn. Ballina Players. Mar 22 - 31. Ballina Players Theatre. www.ballinaplayers.com.au The Appleton Ladies’ Potato Race by Melanie Tait. Ensemble Theatre. Mar 22 - Apr 27.

World premiere. (02) 9929 0644 www.ensemble.com.au Enright on the Night. Devised

by David Mitchell and Melvyn Morrow. Genesian Theatre Company. Mar 23 - Apr 13.

Genesian Theatre, Sydney. www.genesiantheatre.com.au Leopardskin by Michael Mcstay. Jackrabbit Theatre.

Mar 26 - Apr 6. Kings Cross Theatre. www.jackrabbittheatre.com Saturday Night Fever. Based on the Paramount/RSO movie and the story by Nik Cohn, adapted

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

On Stage for the stage by Robert Stigwood and Bill Oakes, new version arranged and edited by Ryan McBryde. Music and lyrics by artists including the Bee Gees. From Mar 27. Sydney Lyric Theatre. 1300 795 267.

Potted Potter. Adaptation by Daniel Clarkson and Jefferson Turner of the seven Harry Potter books into one story.

Lunchbox Theatrical Productions and Potted Productions. Mar 27 - 31, Seymour Centre, Sydney, www.pottedpotter.com.au & Apr 11- 14. Civic Theatre, Newcastle. (02) 4929 1977.

Hello, Beautiful! by Hannie Rayson. Performing Lines / Malthouse. Mar 28 - 30. Glen Street Theatre. (02) 9975 1455.

Suicide, Incorporated by Andrew Hinderaker. Knock and Run Theatre. Mar 28 - 30. NTC Theatre, Lambton (Newcastle).

(02) 4952 4958.

Noli Me Tangere. Book and lyrics by Peter Fleming. Music and lyrics by Allan McFadden.

McFadden Music in association with Redland Events. Mar 29 Apr 6. Riverside Theatre Parramatta. (02) 8839 3399. riversideparramatta.com.au The Female of the Species by Joanna Murray-Smith.

Murwillumbah Theatre Company. Mar 29 - Apr 14.

Murwillumbah Civic Centre. murwillumbahtheatrecompany.com.au Caravan by Donald McDonald.

Theatre on Chester, Epping.

Mar 29 - Apr 20. Corner of Chester and Oxford Streets, North Epping. www.theatreonchester.com.au The Last Five Years. Written and composed by Jason Robert Brown. Ensemble Theatre. Mar 29 - Apr 27. (02) 9929 0644. www.ensemble.com.au Les Divas: An all-male revue. A journey through the lives and songs of renowned female

New South Wales singers. Sydney Drag Queen.

Mar 30. Cessnock Performing Arts Centre. (02) 4993 4266.

Punch Me in the Stomach Again by Deb Filler & Alison Summers. Darlinghurst Theatre Company. Apr 3 - 14. Eternity Playhouse, Darlinghurst. www.darlinghursttheatre.com Possum Magic. Based on the book by Mem Fox & Julie Vivas.

Adapted for the stage by Eva Di Cesare & Sandra Eldridge.

Monkey Baa. Apr 3 - 6, Glen Street Theatre, 9975 1455; Apr 9 & 10. Q Theatre, The Joan, Penrith. www.thejoan.com.au Barbara and the Camp Dogs by Ursula Yovich and Alana Valentine. Belvoir. Apr 4 - 28.

Upstairs Theatre. (02) 9699 3444. belvoir.com.au The ABBA Show. A bright look, through Abba songs, at how the team developed. Showtime Australia. Apr 4. Civic Theatre, Newcastle. (02) 4929 1977. civictheatrenewcastle.com.au Heathers The Musical. Book, music & lyrics by Kevin Murphy & Laurence O’Keefe. Based on the film written by Daniel Waters. CHATS Productions.

Apr 4 - 14. Jetty Memorial Theatre, Coffs Harbour. (02) 6648 4930 www.jettytheatre.com A Funny Thing Happened On The Way To The Forum. Book

Advertise your show on the front page of www.stagewhispers.com.au

by Burt Shevelove & Larry Gelbart. Music & lyrics by Stephen Sondheim. Wyong Musical Theatre Company. Apr 5 - 14. Grove Theatre, Wyong.

1300 366 470. wmtc.com.au Dark Voyager by John Misto.

Castle Hill Players. Apr 5 - 27.

Pavilion Theatre, Castle Hill Showgrounds. (02) 9634 2929 www.paviliontheatre.org.au Anne of Green Gables. Book by Don Harron, music by Norman Campbell & lyrics by Don Harron, Norman Campbell & Mavor Moore. Based on the novel by Lucy Maud Montgomery. Parkes Musical & Dramatic Society. Apr 5 - 28.

Parkes Little Theatre. www.parkesmandd.com.au Mosquitoes by Lucy Kirkwood.

Sydney Theatre Company.

Australian Premiere. Apr 8 May 18. Drama Theatre, Sydney Opera House. (02) 9250 1777. www.sydneytheatre.com.au Rapid Reads. Apocalypse Theatre Company and Old 505 Theatre. Apr 8 - 20. Old 505 Theatre, Newtown. old505theatre.com Exhale by Ayeesha Ash and Emele Ugavule. Black Birds. Apr 9 - 13. SBW Stables Theatre. griffintheatre.com.au Othello by William Shakespeare. Sport for Jove.

Stage Whispers 61

On Stage Apr 10 - 13. Seymour Centre.

(02) 9351 7940. www.seymourcentre.com Howie the Rookie by Mark O’Rowe. Redline Productions.

Apr 10 - 13. Civic Playhouse, Newcastle. (02) 4929 1977. redlineproductions.com.au Rodgers and Hammerstein’s Cinderella. Hornsby Musical Society. Apr 11-14. Hornsby RSL. hornsbymusicalsociety.com.au The Lion, The Witch and The Wardrobe by C. S. Lewis, dramatized by Joseph Robinette. Roo Theatre Company. Apr 12 - 20. The Harbour Theatre, Shellharbour.

(02) 4297 2891. www.roo-theatre.com.au A Little Piece of Ash by Megan Wilding. Jackrabbit Theatre.

Apr 12 - 27. Kings Cross Theatre. www.jackrabbittheatre.com Madagascar: A Musical Adventure Jr. Adaptation of an animal-featured film musical for young performers. Hunter Drama. Apr 12-13. Singleton Civic Centre. (02) 6578 7295. hunterdrama.com.au Cabaret: Reflections of Opera in Cinema. Rockdale Opera Company. Apr 13 at 2pm and 7.30pm. Rockdale Town Hall, Rockdale. (02) 8197 1796. www.rockdaleopera.com.au Madagascar Jnr. Book by Kevin Del Aguila. Original music and lyrics by George Noriega and Joel Someillan. Based on the 2005 Dreamworks film. Young People’s Theatre Newcastle Inc., Hamilton. Apr 15 - May 18. (02) 4961 4895 (Sat 9am1pm). ypt.org.au/bookings Les Misérables. Music by Claude-Michel Schönberg.

Lyrics by Herbert Kretzmer.

Original French text by Alain Boublil and Jean-Marc Natel.

Additional Material by James Fenton. Manly Musical Society.

Apr 19 - 27. Glen Street Theatre, Belrose. www.manlymusicalsociety.com

62 Stage Whispers

New South Wales & Queensland Pygmalion by George Bernard Shaw. New Theatre. Apr 23 May 25. www.newtheatre.org.au The Gruffalo. Musical adaptation of a popular children’s book about a mouse meeting unusual characters.

CDP and Tall Stories. Apr 23.

Cessnock Performing Arts Centre. (02) 4993 4266.

Roald Dahl’s Fantastic Mr Fox. A trio of awkward poultry farmers try hard to get rid of a fox they see as a threat to their businesses; amusing comedy for all ages. Hunter Drama. Apr 25 - 28. Civic Playhouse, Newcastle. (02) 4929 1977. hunterdrama.com.au Blackadder by Richard Curtis, Rowan Atkinson and Ben Elton.

Wollongong Workshop Theatre. WWT Theatre, Gwynneville. Apr 26 - May 11.

0431 875 721.

Avenue Q. Music & Lyrics by Robert Lopez & Jeff Mark. Book

by Jeff Whitty. North Shore Theatre Company. Apr 26 May 4. The Independent Theatre, North Sydney. northshoretheatrecompany.org The Wizard of Oz - Arena Spectacular. Classic musical story of a girl determined to defeat a wicked witch performed with a large chorus of local young performers.

Harvest Rain Theatre Company.

Apr 26 - 27. Newcastle Entertainment Centre, Broadmeadow. (02) 4921 2121. wizardofozarena.com Kid Stakes by Ray Lawler.

Newcastle Theatre Company.

Apr 27 - May 11. Newcastle Theatre, Lambton. (02) 4952 4958 (Mon-Fri 3pm-6pm).

Alice in Wonderland by Anne Coulter Martins (Pantomime).

Tweed Theatre Company. Apr 27 - May 12. Tweed Civic & Cultural Centre, Tweed Heads.

1800 674 414.

Sherlock Holmes and the Ripper Murders by Brian Clemens. Genesian Theatre Company. Apr 27 - Jun 15.

Genesian Theatre, Sydney. www.genesiantheatre.com.au Cat on a Hot Tin Roof by Tennessee Williams. Sydney Theatre Company. Apr 29 - Jun 8. Roslyn Packer Theatre. (02) 9250 1777.

The Gospel According to Paul

by Jonathan Biggins. A Soft Tread production. Apr 29 May 4. Glen Street Theatre.

(02) 9975 1455.

Mom’s Gift by Phil Olsen. The Sutherland Theatre Company.

May 1 - 10. The Sutherland Memorial School of Arts. (02) 9150 7574 thesutherlandtheatrecompany.com.au Speaking in Tongues by Andrew Bovell. Maitland Repertory Theatre. May 1 - 19.

(02) 4931 2800 The Peach Season by Debra Oswald. Pymble Players. May 1 - 25. (02) 9144 1523. www.pymbleplayers.com.au Queensland Single Asian Female by Michelle Law. La Boite, Roundhouse Theatre, Kelvin Grove. Until Mar 9. 136 246. laboite.com.au Brisbane Comedy Festival.

Brisbane Powerhouse. Until Mar 24. (07) 3358 8613. brisbanecomedyfestival.com Next To Normal by Tom Kitt and Brian Yorkey. Brisbane Arts. Until Mar 23. (07) 3369 2344.

Radio Plays by Agatha Christie and Arthur Conan Doyle. Nash Theatre. Until Mar 16. (07) 3379 4775. nashtheatre.com Quartet by Ronald Harwood.

Ipswich Little Theatre. Until 16 Mar. (07) 3812 2389. ilt.org.au Don’t Dress For Dinner by Marc Camoletti. Mousetrap Theatre, Redcliffe. Until Mar 10. (07) 3888 3493.

The Day My Bum Went Psycho

by Andy Griffiths, adapted by David Lowe. Brisbane Arts.

Until Mar 9. (07) 3369 2344. www.artstheatre.com.au We Will Rock You by Ben Elton and Queen. Redcliffe Musical

Theatre. Mar 1 - 3. Redcliffe Cultural Centre. 0488 103 759. redcliffemusicaltheatre.com Emma by Jane Austen, adapted

by Sandra Fenichel Asher.

Villanova Players, Morningside.

Mar 2 - 17. (07) 3395 5168.

Jazz at Lincoln Centre with Wynton Marsalis. Mar 4 - 6.

Concert Hall, QPAC. 136 246.

Heroes by Tom Stoppard.

Centenary Theatre Group. Mar 9 - 30. Chelmer Community Centre. 0435 591 720. centenarytheatre.com.au Hydra by Sue Smith.

Queensland Theatre. Bille Brown Studio. Mar 9 - Apr 6.

1800 355 528. queenslandtheatre.com.au The Gruffalo. Based on the picture book by Julia Donaldson and Alex Scheffler.

CDP Kids / Tall Stories. Mar 10 17. Gardens Theatre, Brisbane.

(07) 3138 7750 Festival of Folk. Queensland Symphony Orchestra. Mar 10.

Concert Hall, QPAC. 136 246. www.qso.com.au Personals by Marta Kauffman, David Crane and Seth Friedman. Music: Various.

Griffith Musical Theatre, Burke St Studio, Woolloongabba, Mar 12 - 16. (07) 3735 3224.

Twelfth Night by William Shakespeare. St Luke’s Theatre Society, Tarragindi. Mar 15 23. (07) 3398 9032.

The Book of Mormon by Trey Parker, Robert Lopez and Matt Stone. Lyric Theatre, QPAC. From Mar 16. 136 246 BFG (Big Friendly Giant) by Roald Dahl, adapted by David Wood. Brisbane Arts. Mar 16 Jun 1. (07) 3369 2344 Romeo and Juliet. Queensland Symphony Orchestra. Mar 15 16. Concert Hall, QPAC. 136 246. www.qso.com.au Songs of Hope and Healing.

Concert Hall, QPAC. Mar 18.

136 246 Kinky Boots. Book by Harvey Fierstein. Music and Lyrics by Cyndi Lauper. Based on the motion picture written by

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

On Stage Geoff Deane and Tim Firth.

Empire Theatre, Toowoomba.

Mar 22 - 31. 1300 655 299. empiretheatre.com.au/kinkyboots Murder’s in the Heir by Billy St John. Coolum Players. Mar 22 31. (07) 5446 2500.

A Slice of Saturday Night by The Heather Brothers. Spotlight Theatre Company, Gold Coast.

Mar 22 - Apr 7. (07) 5539 4255. spotlighttheatre.com.au Dangerous Liaisons. Ballet by Liam Scarlett. Queensland Ballet. Playhouse, QPAC. Mar 22 - Apr 6. 136 246. www.queenslandballet.com.au Sound of Musicals. The Gold Coast Little Theatre. Mar 29 Apr 14. (07) 5532 3224.

Blood Brothers by Willy Russell.

Javeenbah Theatre Company, Gold Coast. Mar 29 - Apr 13.

(07) 5596 0300.

Complete History of Comedy (Abridged) by Reed Martin and Austin Tichenor. Brisbane Arts.

Mar 30 - May 4. (07) 3369 2344.

A Flowering Tree by John Adams. Opera Q. Concert Hall, QPAC. Apr 2 - 6. 136 246. www.qpac.com.au Orphans by Lyle Kessler.

Brisbane Arts. Apr 7 - May 7.

(07) 3369 2344.

Tim Minchin ‘Back’. Concert Hall, QPAC. Apr 9 - 12. 136 246. www.qpac.com.au Roald Dahl’s Fantastic Mr Fox. Adapted for the stage by shake & stir theatre co. Apr 11 - 20.

Playhouse, QPAC. 136 246. www.qpac.com.au Dreamscapes. Queensland Symphony Orchestra. Concert Hall, QPAC. Apr 13. 136 246. www.qpac.com.au Charley Pride. Concert Hall, QPAC. Apr 14. 136 246. www.qpac.com.au Air Supply. Concert Hall, QPAC. Apr 23. 136 246. www.qpac.com.au

Queensland & Victoria Greatest Love of All. Whitney Houston Tribute. Concert Hall, QPAC. Apr 24. 136 246.

Third Year Musicale. Griffith Musical Theatre, Burke St Studio, Woolloongabba. Apr 24 - 27. (07) 3735 3224.

One-Act Play Season 2019.

Gold Coast Little Theatre. Apr 25 - 28. (07) 5532 3224.

Daylight Saving by Nick Enright. Noosa Arts Theatre.

Apr 25 - May 4. (07) 5449 9343 The Chatroom by Reg Cribb.

Cairns Little Theatre. Apr 26 May 4. 1300 855 835.

Done To Death by Fred Carmichael. Sunnybank Theatre. Apr 26 - May 11. (07) 3345 3964.

Cinderella by Matthew Whittet.

Cremorne Theatre, QPAC. Apr 26 - May 5. 136 246. www.qpac.com.au One Flew Over the Cuckoo’s Nest by Ken Kesey. Mousetrap

Advertise your show on the front page of www.stagewhispers.com.au

Theatre, Redcliffe. Apr 27 May 12. (07) 3888 3493.

Alice in Wonderland by Lewis Carroll, adapted by Anne Coulter Martens. Tweed Theatre Company. Apr 27 May 12. 1800 674 414.

Victoria Harry Potter and the Cursed Child. Based on an original new story by J.K. Rowling, Jack Thorne and John Tiffany.

Continuing. Princess Theatre, Melbourne. harrypottertheplay.com/au Jersey Boys. Regent Theatre Melbourne. Book by Marshall Brickman and Rick Elice. Music

by Bob Gaudio. Lyrics by Bob Crewe. Dodger Theatricals, Rodney Rigby and TEG-Dainty.

Continuing. jerseyboys.com.au The Lady In The Van by Alan Bennett. Melbourne Theatre Company. Until Mar 6. Arts Centre Melbourne, Playhouse.

1300 182 183. mtc.com.au

Stage Whispers 63

On Stage Mr Burns, a post-electric play

by Anne Washburn, score by Michael Friedman. Lightning Jar Theatre. Until Mar 10. fortyfivedownstairs Murder by Natural Causes.

Adapted by Tim Kelly from the TV play by Richard Levinson and William Link. The Basin Theatre Group. Until Mar 9.

The Basin Theatre. 1300 784 668. thebasintheatre.org.au Breaking the Code by Hugh Whitemore. The 1812 Theatre.

Until Mar 16. www.1812theatre.com.au Arbus & West by Stephen Sewell. Melbourne Theatre Company. Until Mar 30. Arts Centre Melbourne, Fairfax Studio. 1300 182 183. www.mtc.com.au Strictly Ballroom The Musical.

Book by Baz Luhrmann and Craig Pearce, adapted by Terry Johnson. Cardinia Performing Arts Co. Until Mar 8. cardiniaperformingarts.com

64 Stage Whispers

Victoria Jekyll & Hyde The Musical by Leslie Bricusse and Frank Wildhorn. Until Mar 10.

Wendouree Centre for Performing Arts. (03) 5338 0980. www.wcpa.com.au Outside Edge by Richard Harris.

Strathmore Theatrical Arts Group. Until Mar 9. Strathmore Community Hall. (03) 9382 6284. www.stagtheatre.org The Vicar of Dibley by Ian Gower and Paul Carpenter (adapted from the original TV series by Richard Curtis and Paul Mayhew-Archer). FAMDA. Mar 1 - 15. Foster War Memorial Arts Centre. famda.org.au Seminar by Theresa Rebeck.

Beaumaris Theatre. Mar 1 - 15. www.beaumaristheatre.com.au Maidenhead. The Butterfly Club. Mar 4 - 9. thebutterflyclub.com Romeo and Juliet by William Shakespeare. Australian Shakespeare Company. Mar 4 -

21. Rippon Lea House & Gardens, Elsternwick. (03) 8676 7511. shakespeareaustralia.com.au The Global Citizen. Norbury Productions. The Butterfly Club.

Mar 4 - 9. thebutterflyclub.com Wellness. The Butterfly Club.

Mar 4 - 9. thebutterflyclub.com Kiss. The Butterfly Club. Mar 4 9. thebutterflyclub.com Lifeboat. The Butterfly Club.

Mar 5 - 9. thebutterflyclub.com Sudan by Christine Davey. SooT Productions. The Butterfly Club.

Mar 6 - 9. thebutterflyclub.com Quartet by Ronald Harwood.

Lilydale Athenæum Theatre Company Inc. Mar 7 - 23. (03) 9735 1777. lilydaleatc.com The Yellow Wallpaper. Text by Charlotte Perkins Gilman.

Adapted & devised by Laurence Strangio and Annie Thorold.

Mar 6 - 17. La Mama Courthouse, Carlton. (03) 9347 6948. lamama.com.au

Unsolicited Male by Ron Elisha.

Q44 Theatre. Mar 7 - 10.

Abbotsford Convent, Sacred Heart Building. www.q44.com.au Extinction by Hannie Rayson.

Gemco Players. Mar 8 - 23.

Gemco Theatre, Emerald. www.gemcoplayers.org A View From The Bridge by Arthur Miller. Melbourne Theatre Company. Mar 9 - Apr 18. Southbank Theatre, The Sumner. (03) 8688 0800. www.mtc.com.au Hear Me Roar. Hamer Hall, Arts Centre Melbourne. Mar 9. artscentremelbourne.com.au El Vito! A one woman show.

The Butterfly Club. Mar 11 16. thebutterflyclub.com Yo, Carmen. María Pagés Compañía. Arts Centre Melbourne and Arts Projects Australia. Mar 11 & 12. Arts Centre Melbourne, Hamer Hall. artscentremelbourne.com.au

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

On Stage People Suck: A Musical Airing of Grievances. The Butterfly Club. Mar 11 - 16. thebutterflyclub.com Dance Nation by Clare Barron.

Red Stitch Actors Theatre. Mar 12 - Apr 14. (03) 9533 8083.

Muriel’s Wedding The Musical.

Book by PJ Hogan. Music and lyrics by Australian Kate MillerHeidke and Keir Nuttall with additional songs by Benny Andersson and Björn Ulvæus, and Stig Anderson written for ABBA. From Mar 12. Her Majesty’s Theatre, Melbourne. www.ticketek.com.au World Problems by Emma Mary Hall. Mar 12 - 24. fortyfivedownstairs. (03) 9662 9966.

Musical Sprouts - A Day in the Life of You. Mar 14 - 30.

Chapel off Chapel. (03) 8290 7000.

Lear by William Shakespeare.

Skin Of Our Teeth Productions.

Mar 14 - 29. Old Geelong Gaol - Myers Street, Geelong. 0409 389 461.

Manwatching. The Butterfly Club. Mar 18 - 23.

The Empire Digs Deeper. The Butterfly Club. Mar 18 - 23.

The Happy Prince. Composer Christopher Gordon. Director: Kim Carpenter. The Australian Ballet. Mar 19 - 28. State Theatre, Arts Centre Melbourne. 1300 182 183.

Briefs: Close Encounters. Briefs Factory. Mar 20 - 24.

Playhouse, Arts Centre Melbourne. 1300 182 183.

The Girl Green As Elderflower.

Adapted for the stage by Richard Davies from the novel

by Randolph Stow. Lyrics and Music by Richard Davies. Mar 20 - 31. La Mama Courthouse, Carlton. (03) 9347 6948. lamama.com.au The Other Side of 25. The Butterfly Club. Mar 20 - 23. thebutterflyclub.com Personals by Marta Kauffman, David Crane and Seth Friedman. Music: Various.

Queensland Conservatorium

Victoria John Bell makes his return to Bell Shakespeare to take on the title character of Molière’s wickedly funny satire The Miser - his first role back with the company he founded in 1990 since stepping away at the end of 2015. This new adaptation by Australian playwright Justin Fleming will explore the depths of human greed, lust and manipulation.

The Miser will play at Sydney Opera House from March 2 - April 6; Canberra Theatre Centre from April 11 - 20; and Arts Centre Melbourne from April 25 - May 12.

Photo: Pierre Toussaint. bellshakespeare.com.au

Online extras!

Watch the preview for The Miser. Scan the QR code or visit https://youtu.be/SH0brPV1ui0 Griffith University Musical Theatre. Mar 21 - 23. Chapel off Chapel. (03) 8290 7000. chapeloffchapel.com.au All Shook Up. Book by Joe DiPietro. Featuring the songs of Elvis Presley. SLAMS Music Theatre Company. Mar 22 - 30.

The Alan Ross Centre (Billanook College), Mooroolbark. www.slams.org.au 50 Shades! The Musical Parody. David Venn Enterprises.

Mar 22 - Apr 7. The Alex Theatre, St Kilda. www.ticketek.com.au Neighbourhood Watch by Alan Ayckbourn. Sherbrooke Theatre Company. Mar 22 - 30.

Doncaster Playhouse. sherbrooketc.org.au Rodgers and Hammerstein’s Cinderella. CenterStage Geelong. Mar 22 - 30. Geelong Performing Arts Centre. www.centerstage.com.au Marina Prior & David Hobson: The 2 of Us - Up Close and Personal. Entertainment Consulting. Mar 22, Kernot Hall, Morwell; Mar 23, Forge Theatre, Bairnsdale; Mar 24, The Wedge, Sale Entertainment

Centre; Apr 6, Lighthouse Theatre Warrnambool; Apr 26, Mildura Arts Centre; Apr 27, Horsham Town Hall. marinaprioranddavidhobson.com Animal Farm by George Orwell, adapted by Shake & Stir.

Warrandyte Theatre Company.

Mar 22 - Apr 6. Warrandyte Mechanics Institute Hall. warrandytehallarts.asn.au/theatre Picasso and His Dog. Lemony S Puppet Theatre. Mar 23 & 24.

Playhouse Rehearsal Room, Arts Centre Melbourne. 1300 182 183.

Robot Song by Jolyon James.

Arena Theatre and Theatre Works. Mar 25 - Apr 13.

Theatre Works, St Kilda. www.theatreworks.org.au Melbourne International Comedy Festival. Mar 27 - Apr 21. comedyfestival.com.au Suite Surrender by Michael McKeever. Essendon Theatre Company. Mar 28 - Apr 6. essendontheatrecompany.com.au Judith Lucy V Men. Mar 28 Apr 14. Playhouse, Arts Centre Melbourne. 1300 182 183.

Abandonman - AKA Rob Broderick. Melbourne

Advertise your show on the front page of www.stagewhispers.com.au

International Comedy Festival.

Mar 28 - Apr 21. The Famous Spiegeltent, Arts Centre Melbourne. 1300 182 183. comedyfestival.com.au Paul Foot - Image Conscious.

Melbourne International Comedy Festival. Mar 28 - Apr 21. The Famous Spiegeltent, Arts Centre Melbourne. 1300 182 183. comedyfestival.com.au Damien Power - Man Puts His Dreams in a Sock. Melbourne International Comedy Festival.

Mar 28 - Apr 21. Playhouse Rehearsal Room, Arts Centre Melbourne. 1300 182 183.

Stark and Dormy. Bunk Puppets / Melbourne International Comedy Festival.

Mar 28 - Apr 21. Malthouse Theatre, The Tower. (03) 9685 5111. comedyfestival.com.au The Shadow Box by Michael Christofer. Encore Theatre Company Inc. Mar 29 - Apr 13.

1300 739 099. www.encoretheatre.com.au Seussical The Musical by Lynn Ahrens, Stephen Flaherty, and Eric Idle, based on the works of Dr Seuss. Eltham Little Theatre.

Stage Whispers 65

On Stage Mar 29 - Apr 14. www.elthamlittletheatre.org.au Little Miss Sunshine. Book by James Lapine. Music and lyrics

by William Finn. Fab Nobs Theatre Inc. Mar 29 - Apr 13. www.fabnobstheatre.com.au The 36th Green Room Awards.

Green Room Awards Association (GRAA). Apr 1 at 7pm. Comedy Theatre, Melbourne. 136 100 www.greenroom.org.au Sideways by Rex Pickett. The 1812 Theatre. Apr 4 - May 4. www.1812theatre.com.au The Producers by Mel Brooks and Thomas Meehan.

Panorama Theatre Co. Apr 5 14. Frankston Arts Centre. panoramatheatre.com.au The Beast by Eddie Perfect.

Powderkeg Players. Apr 5 - 13.

Dempster Park Hall, North Sunshine. 0407 806 165. powderkegplayers.com Anti-biotic by Keith Passmore.

Moartz Inc. Apr 5 - 14.

Monash Hall, Yallourn North.

0438 579 987.

Caravan by Donald MacDonald.

Frankston Theatre Group. Apr 5 - 14. Mount Eliza Community Centre, Canada Bay Road, Mount Eliza. 1300 665 377. frankstontheatregroup.org.au Nightshades by Jeannie Haughton. Off The Leash Theatre Inc. Apr 5 - 14. offtheleashtheatre.com.au Visiting Mr Green by Jeff Baron. Ark Theatre. Apr 5 - 14.

Lilydale Heights College, Performance Arts Centre. www.arktheatremelb.com Billionaire Boy by Maryam Master, based on a book by David Walliams. Apr 6 - 14.

Playhouse, Arts Centre Melbourne. 1300 182 183. www.ticketmaster.com.au West Side Story. Music by Leonard Bernstein, book by Arthur Laurents and lyrics by Stephen Sondheim. Opera Australia and GWB Entertainment. Apr 6 - 28.

State Theatre, Arts Centre

66 Stage Whispers

Victoria, Tasmania & South Australia Australia. 1300 182 183. opera.org.au Alphabet Soup by Holly Austin.

Apr 6 - 20. Theatre Works, St Kilda. www.theatreworks.org.au Craig Hill - C’mon The Lads.

Apr 10 - 21. Chapel off Chapel.

(03) 8290 7000.

Love/Sick by John Cariani. The Hartwell Players. Apr 11 - 14.

Ashwood High School Performing Arts Centre. 0422 010 830. hartwellplayers.org.au Walk Through Waterdale. Apr 13. Rivergum Theatre, Parade College Bundoora. www.waterdale.org.au The Exorcism by Don Taylor.

Williamstown Little Theatre.

Apr 17 - May 4. 0447 340 665. www.wlt.org.au In The Solitude of Cotton Fields

by Bernard Maria Koltes.

Translator: Lenora Champagne.

Apr 17 - 28. La Mama Courthouse, Carlton. (03) 9347 6948.

Slaughterhouse Five by Kurt Vonnegut, adapted by Fleur Kilpatrick. Theatre Works and Must Present. Apr 22 - May 5.

Theatre Works, St Kilda. www.theatreworks.org.au Wakey Wakey by Will Eno. Red Stitch Actors Theatre. Apr 23 May 19. (03) 9533 8083.

Dirty Sexy Opera. BK Opera.

The Butterfly Club. Apr 24 - 27. thebutterflyclub.com Westerley. Written, directed and performed by graduates of the Howard Fine Acting Studio Australia. The Butterfly Club.

Apr 24 - 27. thebutterflyclub.com Kirk Dangerous Kills the Prime Minister. The Butterfly Club.

Apr 25 - 27. thebutterflyclub.com The Miser by Molière. Bell Shakespeare. Apr 25 - May 12.

Fairfax Studio, Arts Centre Melbourne. 1300 182 183.

Buying The Moose by Michael Wilmot (Aust Premiere).

Mordialloc Theatre Company.

Apr 26 - May 11. Shirley Burke

Theatre, Parkdale. (03) 9587 5141. mordialloctheatre.com Strangers on a Train by Craig Warner. Malvern Theatre Co. Apr 26 - May 11. 1300 131 552. malverntheatre.com.au Così by Louis Nowra.

Melbourne Theatre Company.

Apr 30 - Jun 8. Southbank Theatre, The Sumner. (03) 8688 0800.

Tasmania The Importance of Being Ernest

by Oscar Wilde. Hobart Repertory Theatre Society. Mar 1 - 16. The Playhouse Theatre, Hobart. playhouse.org.au Out of Chaos. Gravity and Other Myths. Mar 9 - 11.

Burnie Arts and Function Centre. (03) 6430 5850.

Strictly Ballroom The Musical.

Book by Baz Luhrmann & Craig Pearce. Adapted by Terry Johnson. Encore Theatre Company. Mar 14 - 30.

Princess Theatre, Launceston.

(03) 6331 0052. encoretheatre.org.au Baba Yaga. Windmill Theatre Company & Imaginate. Ten Days on the Island. Mar 16 & 17. Earl Arts Centre, Launceston. tendays.org.au Children’s Party. Alex Walker (House of Muchness) & Ben Landau. Ten Days on the Island. Mar 16 & 17. City of Launceston Town Hall. tendays.org.au The Mares by Kate Mulvany.

Tasmanian Theatre Company and Ten Days on the Island.

Mar 22 - 28. Peacock Theatre, Salmanca Arts Centre. tendays.org.au Dust. Dancenorth with Liminal Spaces. Ten Days on the Island.

Mar 22 - 24. Don Bosco Creative Arts Centre, Glenorchy. tendays.org.au Annie. Music by Charles Strouse. Lyrics by Martin Charnin. Book by Thomas Meehan. Burnie Musical Society. Apr 4 - 13. Burnie Arts and Function Centre. (03) 6430 5850. fb.me/burniemusicalsociety

Charles Dickens Closes The Book by Michael Edgar. Apr 26 & 27. Earl Arts Centre, Launceston. (03) 6331 0052.

South Australia Married At First Fight. Matt Byrne Media. Until Mar 16.

Maxim’s Wine Bar. www.adelaidefringe.com.au Nell Gwynn by Jessica Swale.

The Stirling Players. Until Mar 9. Stirling Community Theatre.

(08) 7481 6152 or www.stirlingplayers.sct.org.au Adelaide Festival. Mar 1 - 17.

Multiple Events. Various venues including Adelaide Festival Centre. www.adelaidefestival.com.au Bad Auditions by Bad Actors by Ian McWethy. Wings2Fly Theatre. Mar 16. Stirling Community Theatre. trybooking.com/463145 The Little Mermaid by Doug Wright, Alan Menken, Howard Ashman and Glenn Slater. Mar 22 - 24. Pelican Productions.

Arts Theatre. pelicanproductions.com.au The Prisoner’s Dilemma by Matthew Lynch. Venture Theatre Company. Mar 29 Apr 6. Trinity Uniting Hall. venturetheatreco@gmail.com Dusty The Original Pop Diva.

Songs recorded by Dusty Springfield, book by JohnMichael Howson, David Mitchell and Melvyn Morrow.

Northern Light Theatre Company. Mar 29 - Apr 13.

Shedley Theatre. (08) 8281 5026. www.northernlighttheatre.com Groping for Words by Sue Townsend. Tea Tree Players.

Apr 3 - 13. Tea Tree Players Theatre. (08) 8289 5266 or www.teatreeplayers.com The Miracle Worker by William Gibson. Adelaide Repertory Theatre. Apr 4-13. Arts Theatre. (08) 8212 5777 or www.adelaiderep.com I’ll Be Back Before Midnight by Peter Colley. St Jude’s Players.

Apr 4 - 13. St Jude’s Hall. www.stjudesplayers.asn.au

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

On Stage The Club by David Williamson.

State Theatre SA. Apr 5 - 20.

Space Theatre. BASS 131 246.

Round and Round the Garden

by Alan Ayckbourn. Apr 12 14. Noarlunga Theatre Company. (08) 8326 5577 or trybooking.com/BAKRR The Gypsy Princess by Emmerich Kalman. SALOS. Apr 25 - 28. Tower Arts Centre.

(08) 8294 6582.

Western Australia Salonika by Louise Page.

Garrick Theatre. Until Mar 16.

Drama directed by Ray Omedei.

Garrick Theatre, Guildford. (08) 9378 1990. bookings@garricktheatre.asn.au A Ghost in My Suitcase by Gabrielle Wang, adapted by Vanessa Bates. Barking Gecko Theatre Company and Perth Festival. Until Mar 8. The spirits you carry, they carry you too.

Heath Ledger Theatre, State Theatre Centre of WA. www.ptt.wa.gov.au Ladies in Black. Book by Carolyn Burns, music and lyrics

by Tim Finn. Playlovers. Mar 1 16. Australian musical based on the book The Women in Black by Madeleine St John.

Stirling Theatre, Innaloo. 0415 777 173. www.playlovers.org.au Picnic at Hanging Rock by Tom Wright. Darlington Theatre Players. Mar 1 - 16. From the novel by Joan Lindsay. Marloo Theatre, Greenmount. www.trybooking.com/YZDU The Merchant of Venice by William Shakespeare. Graduate Dramatic Society. Mar 4 - 11.

New Fortune Theatre, University of Western Australia, Nedlands. www.ticketswa.com Keeping Up Appearances by Ray Clarke. KADS. Mar 6 - 23.

Based on the TV show. KADS Town Square Theatre, Kalamunda. www.kadstheatre.com.au Peter Pan Goes Wrong by Henry Lewis, Jonathan Sayer & Henry Shields. Lunchbox

South Australia & Western Australia

Adelaide-based theatre collective isthisyours? partners with State Theatre Company South Australia to take on one of Australian theatre’s most infamous boys clubs in its allfemale reimagining of David Williamson’s 1977 classic The Club at the Space Theatre from April 5 - 20.

Photo: Sven Kovac. statetheatrecompany.com.au

Online extras!

Lousia Mignone says it is important for live theatre to develop new voices. https://vimeo.com/302366351 Theatrical Productions. Mar 7 17. A triumphant disaster.

Heath Ledger Theatre, State Theatre Centre of WA. www.ptt.wa.gov.au Snow White by Doreen Moger.

Primadonna Productions. Mar 8 - 10. Family fantasy entertainment. Mandurah Performing Arts Centre. (08) 9550 3900.

Lucy Durack Sings the Musicals.

WA Symphony Orchestra. Mar 8 - 9. Also features Simon Gleeson. Perth Concert Hall. www.perthconcerthall.com.au

Silas Marner by John Taylor.

Midnite Youth Theatre Company. Mar 13 - 16.

Musical based on the novel by George Eliot. Drama Centre, Christ Church Grammar School. www.trybooking.com/YOUL Atomic The New Rock Musical

by Danny Ginges and Gregory Bonsignore. Blak Yak Theatre.

Mar 14 - 23. Musical about the Manhattan Project.

Hamilton Hill Memorial Hall. trybooking.com/443597 Real Housewives of Perth - The Musical. Book music and lyrics

Advertise your show on the front page of www.stagewhispers.com.au

by Molly Bell. Wanneroo Repertory. Mar 14 - 24.

Musical. Limelight Theatre, Wanneroo. 0499 954 016 / www.limelightheatre.com.au On Our Selection by Steele Rudd. ARENA Arts. Mar 14 30. Australian play. Roxy Lane Theatre, Maylands. (08) 9255 3336. www.taztix.com.au Romeo and Juliet by William Shakespeare. WAAPA 3rd Year Acting. Mar 15 - 21. Classic directed by Michael Jenn. State Theatre Centre of WA - Studio Stage Whispers 67

On Stage Underground. www.ptt.wa.gov.au The Cherry Orchard by Anton Chekov. WAAPA 2nd Year Acting. Mar 15 - 20. Russian classic directed by Michael Abercromby. Judith Cottier Theatre, Perth College, Mt Lawley. (08) 9370 6895. www.waapa.ecu.au The Wonderful World of Dissocia by Anthony Nielson.

WAAPA 2nd Year Music Theatre. Mar 15-21. Weird and magical play. Enright Studio, WAAPA, Edith Cowan University, Mt Lawley. (08) 9370 6895. www.waapa.ecu.au Company by Stephen Sondheim and George Furth.

WAAPA 3rd Year Music Theatre.

Mar 16 - 23. Multi award winning musical. Roundhouse Theatre, WAAPA, Edith Cowan University, Mt Lawley. (08) 9370 6895. www.waapa.ecu.au

68 Stage Whispers

Western Australia & New Zealand Pop To Rock. Tivoli Youth Theatre. Mar 19 - 31. Musical variety show. Tivoli Club of WA, Applecross. www.tivoli.org.au You Know We Belong Together

by Julia Hales with Finn O’Branagain and Clare Watson.

Black Swan State Theatre Company. Perth Festival and DADAA. Mar 20 - 31. Joyful celebration of community spirit. Heath Ledger Theatre, State Theatre Centre of WA. www.ptt.wa.gov.au The Kildeer by Tay Bradley.

Murdoch Theatre Company.

Mar 21 - 30. World premiere musical. Nexus Theatre, Murdoch University. trybooking.com/466403 Hairspray Jnr by Marc Shaiman, Scott Wittman, Mark O’Donnell and Thomas Meehan. Luminary Entertainment. Mar 22 - Apr 6.

Youth musical. Phoenix Theatre, Hamilton Hill. luminaryentertainment.org

Managing Carmen by David Williamson. Harbour Theatre.

Mar 22 - 31. Australian play.

Camelot, Mosman Park. (08) 9253 3336. www.taztix.com.au Legally Blonde the Musical by Laurence O’Keefe, Neil Benjamin and Heather Hach.

Iona Presentation College. Mar 22 - 24. Musical based on the film. Regal Theatre, Subiaco. www.ticketek.com.au Animal Farm by Nelson Bond.

Mar 27 - Apr 12. Based on George Orwell’s political allegory. Victoria Park Hotel. www.whatson.com.au Wife After Death by Eric Chappell, Rockingham Theatre Company. Mar 29 - Apr 13.

Comedy. The Castle, Rockingham. www.rockinghamtheatre.com Band Geeks by Tommy Newman, Gaby Alter, Mark Allen and Gordon Greenberg.

Black Box Productions. Apr 5 7. Youth Musical. Old Mill Theatre, South Perth. fb.me/blackboxperformingarts The Waltz of the Toreadors by Jean Anouilh. New Lyric Theatre, Bunbury. Apr 5 - 14. trybooking.com/451523 The Boy From Oz by Nick Enright with music by Peter Allen. Koorliny Arts Centre, Apr 5 - 20. Musical biography of Peter Allen. Koorliny Arts Centre. (08) 9467 7118. www.koorliny.com.au Mimma by Ronald Siemiginowski and Giles Watson. Apr 9 - 21. A World Premiere musical of love and friendship. Regal Theatre. www.ticketek.com.au Senior Moments by Angus Fitzsimmons and Kevin Brumpton. Return Fire Productions. Apr 10 - 17. A comedy revue about senior citizens. State Theatre Centre of WA. (08) 6212 9292. www.ptt.wa.gov.au Chicago by Fred Ebb, Bob Fosse and John Kander.

Capener Productions. Apr 11 14. Popular musical. Mandurah

Performing Arts Centre. (08) 9550 3900. www.manpac.com.au Room on the Broom. CDP Kids.

Apr 23 - 28. Based on the popular children’s book. Heath Ledger Theatre, State Theatre Centre of WA. www.ticketek.com.au Billionaire Boy by Maryam Master. CDP Kids. Apr 24 - 27.

Based on the book by David Walliams. State Theatre Centre of WA. www.ticketek.com.au Ten Quid by John Grimshaw.

Stirling Players. Apr 26 - May 12. Australian play about a boy with a dream. Stirling Theatre, Innaloo. (08) 9446 9120. www.stirlingplayers.sct.org.au New Zealand Measure for Measure by William Shakespeare. Pop-up Globe Nottingham’s Company.

Until Mar 31. Pop-up Globe Theatre, The Shakespeare Gardens, Ellerslie Racecourse, Auckland. 0800 BUY TIX (289 849). popupglobe.co.nz Hamlet by William Shakespeare. Pop-up Globe Nottingham’s Company. Until Mar 31. Pop-up Globe Theatre, The Shakespeare Gardens, Ellerslie Racecourse, Auckland.

0800 BUY TIX (289 849). popupglobe.co.nz Side By Side By Sondheim Music and Lyrics by Stephen Sondheim and music by Leonard Bernstein, Mary Rodgers, Richard Rodgers, Jule Styne. Until Mar 22. Circa Theatre, Wellington. (04) 0801 7992. www.circa.co.nz California Suite by Neil Simon.

Howick Little Theatre. Until Mar 16. (09) 361 1000. hlt.org.nz Elling. Adapted for the stage

by Simon Bent, based on the novel by Ingvar Ambjørnsen.

Court Theatre, Christchurch.

Until Mar 16. (03) 963 0870. courttheatre.org.nz Melancholy Play by Sarah Ruhl.

Stagecraft Theatre (Wellington). Until Mar 9. www.stagecraft.co.nz

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

On Stage New Zealand Fringe Festival.

Wellington. Mar 1 - 23. www.fringe.co.nz Arsenic and Old Lace by Joseph Kesselring. Dolphin Theatre (Auckland). Mar 1 - 16. dolphintheatre.org.nz As You Like It by William Shakespeare. A Bard in the Yard outdoor production.

Butterfly Creek Theatre Troupe.

Mar 5 - 9. bctt.org.nz Wild Dogs Under My Skirt by Tusiata Avia. Auckland Arts Festival. Silo Theatre. Mar 5 11. Q Rangatira, Auckland. aucklandfestival.co.nz Auckland Arts Festival. Mar 7 24. aucklandfestival.co.nz The Last 5 Years by Jason Robert Brown. North Shore Music Theatre. Mar 8 - 23.

NSMT Clubrooms. www.nsmt.co.nz A Bunch of Amateurs by Nick Newman and Ian Hislop.

Titirangi Theatre. Mar 12 - 23. www.titirangitheatre.co.nz

By Heart by Tiago Rodrigues.

Auckland Arts Festival. A production of Teatro Nacional D. Maria II after an original creation by the company Mundo Perfeito. Mar 13 - 16.

Q Loft. aucklandfestival.co.nz The Bach by Stephen Sinclair.

Ellerslie Theatrical Society. Mar 14 - 23. www.ellerslietheatre.co.nz A Man of Good Hope. Based on the book by Jonny Steinberg. A Young Vic and

Isango Ensemble Production.

Auckland Arts Festival. Mar 14 - 18. ASB Waterfront Theatre. aucklandfestival.co.nz Gravity. Backbone & Other Myths. Auckland Arts Festival.

Mar 14 - 17. ASB Theatre. aucklandfestival.co.nz Astroman by Albert Belz.

Auckland Theatre Company.

Mar 16 - Apr 6. Q Theatre.

0800 ATC TIX (282 849).

Ma Kuia. Breaking Boundaries.

Mar 19 - 30. The Basement, Auckland. breakingboundaries.org.nz Ulster American by David Ireland. Auckland Arts Festival.

Traverse Theatre Company.

Mar 20 - 24. ASB Waterfront Theatre. aucklandfestival.co.nz The Dreamer. Inspired by A Midsummer Night’s Dream and Tang Xianzu’s mythical romance The Peony Pavilion.

Auckland Arts Festival.

Shanghai Dramatic Arts Centre in association with Gecko Theatre Company. Mar 21 - 24.

The Civic. aucklandfestival.co.nz The Bookbinder by Ralph McCubbin Howell. Auckland Arts Festival. Trick of the Light Theatre. Mar 21 - 24. Q Loft, Auckland. aucklandfestival.co.nz Two One Act Plays - Does Your Mother Know That She’s Dead and The Terrible Fate of Humpty Dumpty. Whangarei Theatre Company. Mar 22 -

Auditions Place your audition notice in the next edition of Stage Whispers magazine.

Email stagews@stagewhispers.com.au or call (03) 9758 4522

Online extras!

Check out all the auditions that didn’t make it to print. Scan or visit www.stagewhispers.com.au/auditions

New Zealand Apr 6. whangareitheatrecompany.org.nz Closure by Ron Bliqu.

Cambridge Repertory. Mar 23 Apr 6. cambridgerepertory.org.nz Avenue Q. Book by Jeff Whitty.

Music and Lyrics by Robert Lopez and Jeff Marx. Abbey Musical Theatre. Mar 28 - Apr 13. Wallace Development Company Theatre, Palmerston North. abbeymusicaltheatre.co.nz Murder on the Menu. Detour Theatre, Tauranga. Mar 28 Apr 13. 0508 iTICKET (484253). www.detour.co.nz We Will Rock You by Queen and Ben Elton. Showbiz Christchurch. From Mar 29.

Isaac Theatre Royal, Christchurch. 0800 842 538. www.showbiz.org.nz On Golden Pond by Ernest Thompson. Fielding Little Theatre Players Inc. Mar 29 Apr 13. 0800 BUY TIX (289 849). feildingtheatre.org.nz The Children by Lucy Kirkwood.

Circa Theatre, Wellington. Mar 29 - Apr 27. (04) 0801 7992. www.circa.co.nz EQ F@#%ING C by Christina Stachurski. Mar 30 - Apr 27.

The Court Theatre, Christchurch. (03) 963 0870 / 0800 333 100. courttheatre.org.nz The Mousetrap by Agatha Christie. Lunchbox Theatrical Productions in association with Pieter Toerien. Apr 2 - 7, ASB Waterfront Theatre, Auckland, (09) 309 0390; Apr 24 - 28, Isaac Theatre Royal, Christchurch & May 8 - 12, The Opera House, Wellington, 0800 111 999. lunchbox-productions.com Festival of Colour. Wanaka. Apr 2 - 7. festivalofcolour.co.nz Nevermore. The Imaginary Life and Mysterious Death of Edgar Allan Poe. By Jonathan Christenson. Nelson Music Theatre. Apr 4 - 13. nelsonmusicaltheatre.com

Advertise your show on the front page of www.stagewhispers.com.au

Accomodations by Nick Hall.

Mairangi Players. Apr 5 - 13.

Theatreworks Birkenhead. www.mairangiplayers.co.nz God of Carnage by Yasmina Reza. Apr 5 - 13. The Meteor Theatre, Hamilton. themeteor.co.nz The Man Whose Mother Was a Pirate by Margaret Mahy. Tim Bray Productions. Apr 6 - 28.

The PumpHouse Theatre, Auckland. (09) 489 8360.

Time Machine by Andrew Todd. Apr 13 - 27. The Court Theatre, Christchurch. (03) 963 0870 / 0800 333 100.

The Road That Wasn’t There.

Tour-Makers with Trick of the Light Theatre and Zanetti Productions. Apr 13 - 15, ASB Theatre Marlborough, 0800 TICKETEK (842 538); Apr 17 20, Paper Hou, Christchurch, 800 TICKETEK (842 538); Apr 23 & 24, Oamaru Opera House, North Otago, 03-4330770; Apr 27, SIT Centrestage Theatre, Invercargill, 0800 224 224; May 4, Baycourt Community and Arts Centre, Tauranga, 0800 TICKETEK (842 538) & May 7, Gisborne War Memorial Theatre, (06) 868 8288. trickofthelight.co.nz Calendar Girls by Tim Firth.

Elmwood Players. Apr 17 - 27.

Elmwood Auditiorium. www.elmwood-players.org.nz Miss Jean Batten. Apr 18 - 21.

ASB Theatre Marlborough.

0800 TICKETEK (842 538) How to Succeed in Business Without Really Trying. Music & Lyrics: Frank Loesser. Book: Abe Burrows, Jack Weinstock and Willie Gilbert. Manukau Performing Arts. Apr 20 - May 4. www.mpatheatre.co.nz Time Stands Still by Donald Margulies. Dolphin Theatre (Auckland). Apr 26 - May 11. dolphintheatre.org.nz Next to Normal. Book and Lyrics by Brian Yorkey and Music by Tom Kitt. Stagecraft Theatre (Wellington). May 1 11. www.stagecraft.co.nz

Stage Whispers 69

Paul Slade Smith (Willy Wonka), Xion Jarvis (Charlie), Tony Sheldon (Grandpa Joe) and the cast of Charlie And The Chocolate Factory.

Photo: Jeff Busby.

Reviews: Premieres

Online extras!

Charlie And The Chocolate Factory must be believed to be seen. https://youtu.be/Fdhstn1iRgw Charlie And The Chocolate Factory Based on the novel by Roald Dahl. Book by David Greig.

Music by Marc Shaiman. Lyrics by Scott Wittman and Marc Shaiman. John Frost, Craig Donnell, Warner Bros Theatre Ventures, Langley Park Productions and Neal Street Productions. Capitol Theatre, Sydney. Opening Night: Jan 11.

CHARLIE And The Chocolate Factory has all the ingredients to delight a family audience. The musical begins with the well-cast Willy Wonka (Paul Slade Smith) singing ‘The Candy Man’, introducing the world-wide quest to find not just five winners of a competition, but a successor to run his chocolate factory.

Charlie Bucket - the final winner - is an Australian with a sweet mother, Lucy Maunder, and a charismatic Grandpa called Joe, played with aplomb by Tony Sheldon.

The occasional sprinkle of Australian humour was a nice touch. Grandpa Joe miraculously gets out of bed to don a military uniform (used at the Eureka Stockade) to go on the quest to the factory. The song ‘I’ve Got a Golden Ticket’ was very beautifully choreographed.

In the second act a chocolate box of tricks and special effects unfolds. The stage is framed with large LED screens which splash with technicolour patterns.

In the factory the winners and their parents get wrapped in a fiendishly complicated contract, a foreboding of the dangers that lie around the corner.

Then a beautiful garden of sweets is revealed in a candysoaked utopia, accompanied by the original movie tune ‘Pure Imagination’.

70 Stage Whispers

The four other child Golden Ticket winners are played by adults. The brats meet the dark endings dreamt up by Roald Dahl with delicious efficiency.

Sadly, the gluttonous Augustus Gloop (Jake Fehily) ventures too close to the chocolate stream. American brat Violet Beauregard (Monette Mckay) is hilariously inflated into a blueberry. Spoilt Russian brat Veruca Salt (Karina Russell) dances spectacularly before getting her just desserts, whilst TV addict Mike Teavea (Harrison Riley) miraculously shrinks in the best trick of the night.

The theatrical highlight of the musical is a golden oldie, first mastered in the days of vaudeville. The Oompa Loompas appear on stage as part human, part puppets. It has to be believed to be seen.

David Spicer The Illiad - Out Loud Adapted by William Zappa. Sydney Festival. Belvoir Street Theatre. Jan 23 - 27.

CELEBRATED Greek Australian actor William Zappa has been fashioning this nine hour marathon storytelling event for years.

He’s ploughed through multiple translations of Homer’s ancient epic poem about the Trojan War, the oldest surviving work of Western literature, and delivers it in three three-hour parts with just four actors.

Zappa, Heather Mitchell, Socratis Otto and Blazey Best share the narration and constantly swap roles, pacing a circle of sand, scripts in hand and backed by percussionist Michael Askill and Hamed Sadeghi on oud. It’s compelling

Longer versions of many reviews can now be found at www.stagewhispers.com.au

storytelling and speaks to us in the same oral tradition that first relayed this mighty yarn.

The genius is in Zappa’s gently rhythmic, occasionally vernacular adaptation, its descriptions of nature and landscape, the sharp eye for human and seemingly irrelevant detail and mad tangential metaphors and, most especially, Zappa’s ear for humour and ironies.

The growing camaraderie with the audience is a delight to share. With the actors, all with glasses and always reading, all that’s missing, from that true oral tradition, is the power of eyeball to eyeball storytelling.

But what a spectacular and brutal war, now in its tenth and final year, is described!

And a key delight are the dozen Gods of Olympus who look on and scheme for their favourite side, despite the perhaps not all mighty Zeus who’s for the Trojans.

Zappa helpfully bookmarks each new section. I saw just the second part, Books 6 to 14. My loss!

Martin Portus

fit doors, install, furnish and equip a bathroom, kitchen, bedroom, study and living room. They then transform into a myriad of characters who make the house their home.

Their stories are told in non-verbal, visual, physical theatre in a carefully planned on-going narrative that runs seamlessly from one scene to another, chronicling passing years and changing inhabitants and relationships.

The performance then becomes interactive. While party lights are erected across the theatre, other members of the audience are invited into the house, and, via whispered instructions and gestures, become part of ritual celebrations that are intrinsic to family life.

Eventually, two of them remain as narrators, talking, unprepared, into a microphone about their memories of their first home. As their voices play over each other, the remaining ‘cast’ begin the process of moving-house and deconstruction.

These final interactive scenes are an incredible piece of planning - and trust. It is a credit to the poise of the actors that so many realistic characters and so much Home action can be inspired by so few words and such brief

By Geoff Sobelle. Sydney Festival. Roslyn Packer Theatre, directions.

This production is awe-inspiring in so many ways: the Walsh Bay. Jan 9 - 18.

HOME is a ‘grand scale’ theatrical experience that both construction itself, the co-ordination of fitting the pieces astonishes and amuses. Whilst it makes one think about together, the stability of the structure, the timing and concentrated pace, the very real-ness of family life that is what makes a home, it also makes one think about just what makes theatre. depicted.

On a bare stage, a house is precisely constructed by Carol Wimmer seven actors as builders and tradesmen. They erect walls,

Home.

Photo: Victor Frankowski.

Online extras!

Get a taste of family life in the very real Home. Scan the QR code or visit https://youtu.be/cGvn9TEAi4c Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 71

Become The One

By Adam Fawcett. Lab Kelpie & Gasworks Arts Park.

Midsumma Festival. Jan 31 - Feb 9.

BECOME the One is a slow-burn love story between top AFL star Tom (Chris Asimos) and Noah (Henry Strand), a young cleaner, that is absorbing, touching and credible but never sentimental. Adam Fawcett’s text is spikey and smart, opening up all the issues that stand between each becoming The One for the other. The play has a straightforward, surface simplicity - a seventy-minute twohander, all set in Tom’s apartment - but sensitivity and intelligence are woven all through it and it resonates beyond these characters.

Lyall Brooks’ direction is well-paced, edgy and nuanced. Mr Asimos’ Tom is bluff and buff, macho, inarticulate about himself and his feelings - by choice. He knows football is the one thing he’s good at - so it’s all he’s got. At one point, he shouts, ‘I am not gay!’ Mr Strand’s Noah - an example of fine stagecraft - is a complete contrast: younger, scarred by life experiences, wary but wryly witty, quick and articulate - and zero interest in footy. We want Tom and Noah to be - simply together and happy. But it will take great courage and sacrifice to fight the world outside.

Design, credited to ‘The Team’, is deceptively simple and suggestive. Tom’s luxury living room, complete with knock-off Eames chair, has a ‘couch’, steps and floor carpeted in astro-turf suggesting the gladiatorial arena

Become The One. Photo: Jodie Hutchinson.

that is Tom’s outside world. Benjamin Morris’ lighting handles transitions smoothly.

Become the One is, remarkably, Mr Fawcett’s first play.

But it’s no surprise that it won the 2018 Midsumma Playtime Award for new queer writing.

Michael Brindley Mary Stuart

By Friedrich Schiller, adapted by Kate Mulvany. Sydney Theatre Company. Roslyn Packer Theatre. Feb 5 - Mar 2.

FRIEDRICH Schiller’s classic play from 1800 has Mary Queen of Scots and her cousin Elizabeth I actually meeting each other and scratching at their veneers. Kate Mulvany’s remarkable translation, with its modern, feminist and often comic eye, goes a lot further.

The queens repeatedly complain they are pawns and victims in a man’s world.

Supreme actor Helen Thomson really lets it rip with Elizabeth. She may start in her all male court as a diplomatic if wittily sharp-tongued dissembler, but midway is on all fours, drunken, broad and foul-mouthed.

The laughs keep coming even if the inner soul and strategizing of Elizabeth is muffled. But Mulvany’s world, stretched between 1587 and 2019, certainly takes us new places.

Mel Page dresses all the male courtiers in foreboding Puritan black with white ruffs, except for the spivvy-suited assassin Mortimer (Fayssal Bassi). Imprisoning both queens are Elizabeth Gatsby’s effective platforms,

Online extras!

Become The One asks “What would you do for love?”. Scan or visit https://vimeo.com/314081887

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Longer versions of many reviews can now be found at www.stagewhispers.com.au

Online extras!

Kate Mulvany believes that women in power should support one another. https://youtu.be/BHhDaBMvU7Y Mary Stuart.

Photo: Brett Boardman.

enclosed by tall walls with high windows, and sublime lighting by Paul Jackson.

Caroline Brazier as the eponymous Mary plays true to a saintly engaging veneer which just occasionally cracks to show a vile hate and frustration - her final confession before the execution is riveting.

And the men are all good - Tony Cogin, Andrew McFarlane, Peter Carroll, Simon Burke, Rahel Romahn and Matthew Whittet.

It’s a compelling production from the artful Lee Lewis and Mulvany, a striking 21stC take on a familiar but majestic old story about female leadership.

Martin Portus The Butch Monologues Collected, collated and edited by Laura Bridgeman.

Directed by Julie McNamara. Hot Pencil Press, Vital Xposure & Theatre Works. Theatre Works, St Kilda. Jan 29 - Feb 3.

FIVE performers line up on stage and step forward, one by one in turns, to tell us stories of butch beginnings, desire, desirability, bravado, vulnerability, butch-onfemme sex and butch-on-butch sex, ‘switches’ and ‘stones’, butch heroes and butch clothing, tales of butches, masculine women, transmen and gender rebels.

If you’re not exactly sure what ‘butch’ means, this show will tell you. There are fifty-four stories in the show’s one hour running time. Inevitably, some are sad but told in a matter-of-fact manner with the irony and humour of distance. This is no ‘poor me’ show.

The butch cast has been recruited locally and all are wonderfully confident, engaging and clear. One - relaxed and natural Anne ‘Dan’ Harris - hails from Brooklyn, NY, but the others are clearly Australian. It’s Fiona Jones’ first time on stage, but we wouldn’t know if we hadn’t been told. Quinn Eades has a rainbow of tattoos and a warm, confiding manner that compels attention. Soft-voiced Jax Jacki Brown is in a wheelchair and speaks with a definite assertion as she tells her stories. Big, tall Jacques de Vere has a slight awkwardness - strangely touching - coupled with a sly, dry wit.

The stories, arranged by subject and theme, and clearly edited by Laura Bridgeman, come from interviews in Europe, the UK, the USA and beyond. There are - as yet no Australian stories, but Laura Bridgeman tells us to stay tuned.

Michael Brindley Brett And Wendy...A Love Story Bound By Art Kim Carpenter’s Theatre of Image. Sydney Festival.

Riverside Theatres Parramatta. Jan 18 - 27.

USING music, dance, projections and snatches of dialogue, Kim Carpenter’s Theatre of Image explores the story of artist Brett Whiteley and Wendy Julius, who embraced a new era of excitement and risk-taking - in life and art.

Carpenter reveals brief images of Whiteley as curious child, mischievous brother, lover, husband, father, artist that made an impact on the world and was lost too soon through an addiction that he found too hard to conquer.

Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 73

Counting And Cracking.

Photo: Brett Boardman.

Online extras!

The creatives discuss their unwavering vision to stage Counting And Cracking. https://youtu.be/VbhfDvYqiIE Dancer Dean Elliott and actor Paul Gleeson, together, suggest the intelligent wonder and innate creativity that drove the man and the artist. Both performers are lithe and agile, nimbly expressing Whiteley’s mercurial nature.

Leeanna Walsman shines as Wendy Whiteley. With sinuous movement and mellow voice, she finds the intricacy of a woman who could love, inspire and empathise, offer wisdom and strength, and reluctantly admit the need to walk away.

Jeanette Cronin captures the naïve sibling admiration of Whiteley’s sister Frannie Hopkirk. Yasmin Polley appears in brief moments as a young Arkie Whitely.

Dancers Elliot, Robbie Curtis and Naomi Hibberd gracefully weave through and around the actors, linking segments and implying added dimensions of the characters.

The production is short, teasing with glimpses of narrative that are whipped away too quickly. It is sad that this legendary story is reduced to such fragmented images.

Carol Wimmer Counting And Cracking

By S. Shakthidharan. Belvoir and Co-Curious. Sydney Festival. Sydney Town Hall. Jan 11 - Feb 2.

SYDNEY Town Hall is transformed into a long, thrust stage surrounded by wooden tiered seating for Belvoir and Co-Curious’ mammoth undertaking of S. Shakthidharan’s family saga, Counting and Cracking.

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Sixteen actors depict 50 characters in a new Australian play that traces four generations of a family from Colombo in Sri Lanka to Pendle Hill in suburban Sydney.

It’s a story about reconciliation, tradition, change and adaptation.

Ten years of reading, travelling and listening led Shakthidharan to a “story that had the power to help my mother reconcile with her homeland. To connect people across deep divides … to collapse time and join continents.”

I lean on Shakthidharan’s words because their clarity and translucence are mirrored in his script and the complex characters that people the many scenes that connect past and present, in a chronicle that could be about any of the families who have sought refuge in Australia.

Director Eamon Flack describes the production as “an almighty effort by a great coalition of people” over almost six years of travel, discussion and organisation.

Shakthidharan, Flack and their enormous imaginative team have envisaged and realised a production that is vibrant and innovative.

As well as their many changes in role, the actors translate the five languages that intersperse the script.

Male elders argue political differences and the havoc that is wrought. Women fight it with the power of family and love. Gradually, though a past of division and terror is revealed, this production affirms that we can reconnect across historical rifts and boundaries.

Longer versions of many reviews can now be found at www.stagewhispers.com.au

This is a theatrical marathon that tells a story that will ring true for many Australians.

Carol Wimmer The Big Time

By David Williamson. Ensemble Theatre. Directed by Mark Kilmurry. Jan 18 - Mar 16.

DAVID Williamson’s 54th play was one of his best in recent years, much to delight the Ensemble’s traditional audience.

The jokes bounced off the walls from the unique scenario of actors playing actors and other creatives.

It’s a field that Williamson (now aged 76) has intimately lived in for decades and it felt very comfortable for him to write about. For those in the Performing Arts, however, the play is at times uncomfortable viewing, as several of those characters were penned caustically.

The central conflict is between Celia Constanti (Aileen Huynh) and Vicki Fielding (Claudia Barrie), who attended NIDA together. Williamson’s message appears to be that in industries with ruthless competition, true friendship is not possible.

Celia is coasting along as a star in a soapie which she prefers to call an on-going drama series. Vicki has been doing her time in independent theatre and challenges her friend to stretch herself. The rivalry between the two spills over into fireworks which have jaw-dropping intensity.

Apart from the poisonous NIDA alumni, the other characters are very likable. Rohan Black (Jeremy Waters) is

a struggling writer who hilariously blows a chance to pitch a script to a producer because he is insulted at the venue for the meeting. Nate Macklin (Matt Minto) adroitly moves from asshole producer to wise counsel.

The agent Nelli Browne (Zoe Carides) seemed so authentic it felt like she had just walked out of Shanahan’s management.

But the most likable character is the only one not in the industry. Rolly Pierce (Ben Wood) is a middle-aged man who has suffered every conceivable calamity when he pitches his friend a script idea. Williamson’s surgical knowledge of the writing industry shines through as does the warmth of Wood’s acting.

Director Mark Kilmurry achieved his ambitions to cast the play well and let the words fly.

David Spicer Party Snake Written and directed by Kotryna Gesait. UMad Productions.

Hare Hole @ Hares & Hyenas, Fitzroy. Feb 5 - 7.

A DRAG queen narrator teeters on stage. The voluminous red wig, the sweeping false eyelashes, the dramatic make-up with a slash of lipstick are all the classic drag signs - complicated by a beard. The evening dress is undercut by the near cliché challenging aggression intended to shock, to forestall criticism and delivered full throttle in a whiskey-and-cigarettes snarl - of booze, drugs and lots of sex.

The Big Time.

Photo: Brett Boardman.

Online extras!

Aileen Huynh and Claudia Barrie discuss being actors playing the roles of actors. https://youtu.be/YzwV8MaOOsw

Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 75

But as she/he peels off the wig, mimes (deliberately badly) to Edith Piaf’s ‘Non, Je Regrette Rien’ and slowly removes all the other accoutrements, a different person or persona emerges. It is a metamorphosis.

She/he is shedding a skin - hence the ‘snake’ of the title - a skin to cover and defend her/his essential being in one world. By the end she/he will have assumed another skin - appropriate for the day job. It is the exploration psychological, philosophical, autobiographical - of this concept that is the subject of this intelligent, insightful and moving hour of theatre.

The performer is Lachlan Martin - tall, graceful, unhurried and very good looking - and he makes a finely modulated series of transitions from brassy, self-pitying drag queen to… someone else entirely. Perhaps not quite.

There is someone irreducible there within the skins and Lachlan Martin gives us a glimpse.

Kotryna Gesait’s text varies constantly in light and shade, and Lachlan Martin keeps us rivetted. As he ends, totally unrecognisable from where he began, he gives us a wry, ironic smile that says, ‘Well, that’s me (or this me, now), but that’s my life - and I will survive.’

Michael Brindley Underground Railroad Game Created by Jennifer Kidwell and Scott R. Sheppard with Lighting Rod Special. Malthouse, Beckett Theatre. Jan 30 Feb 17.

UNDERGROUND Railroad Game is full of twists and turns and shocking surprises.

Set behind an ironically conventional proscenium arch, the opening scene is of a desperate African American female slave escaping pursuit and being assisted by a mild mannered Quaker. We are in the era of the American Civil War and she is apparently travelling along the Underground Railroad Route of safe houses set up by abolitionists to assist slaves in escaping persecution.

Then the two intrepid and completely fearless cocreators and exceptional performers, Jennifer Kidwell and Scott R Sheppard, position the audience as grade 5 school

students. This duo - Afro-American woman and white male - take on the role of contemporary teachers to engage us in an educational game directed at assisting the emancipation of slaves. The slaves take the form of small brown rag dolls.

Unsettlingly the bottom falls out as the two teachers engage in some very explicit sexual activities of a particularly libidinous kind. In these sequences the show becomes a smooth sensational and in-your-face adults only romp that plays with gender relations - in a way that could be seen - to subvert race relations. The personal is political.

This is provocative theatre, without easy answers, that is well worth catching.

Suzanne Sandow Matador The Melba Spielegtent, Collingwood. Feb 14 - Mar 2.

FIERY love equals the bloody sport of a Spanish bullfight!

Matador is written, directed and produced by Bass G Fam, who has developed a passionate fusion of dance, burlesque and circus acts that circumnavigate the emotional roller coaster of raging love.

This is a torrid romance between a female Matador (Kelly Byrne) and the male Bull (Ned Zania). Along with a talented cast of performers, Matador brings zesty high energy, modern and Latino choreographed dance to blazing life.

Matador is divided into two acts and is defined by a series of love actions that begin with love at first sight, through to many tumultuous emotional forays and ending in a heartfelt union. Thirteen dance routines embrace tempestuous, unruly and hot blooded emotions and, together with circus and burlesque performers, contribute a flawless edginess adding an alluring celebration of torrid sexuality.

Contortionist and aerialist Tro Griffiths hangs high in a tangled, awe-inspiring performance. Indigo Hunt is queen of the whip, as Edson Garcia bows down to his mistress.

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Longer versions of many reviews can now be found at www.stagewhispers.com.au

How To Rule The World.

Photo: Prudence Upton.

Online extras!

Playwright Nakkiah Lui talks about How To Rule The World. Scan or visit https://youtu.be/DjZMBXoe-Xs Love cuts deep and emotions run wild in dance-like vignettes that cover the whole gamut of love.

The seductive hoop aerial duet performed by Byrne and Zoe Marshall is elegant and sensual.

The popular music soundtrack which booms across the Melba Spigeltent includes Destiny’s Child, Michael Jackson and Eurythmics. The vibrant lighting streams from sharp reds to diffused fuchsia pinks and purples. This is a fun and entertaining show that will appeal to the lusty senses.

Flora Georgiou

Lui’s comic capacity to spin 360 degrees in presenting competing rhetoric and home truths about our race myths, multicultural self-congratulations and the real paths to power makes this stimulating hilarious theatre.

But How to Rule the World is over-written, often on the cliff edge of corny student revues and, playing for laughs, abandons any empathy we might feel for these three. Lui’s own short speech about the inherited trauma coming from identifying within Aboriginal culture is a moving exception.

Her play is sustained by impressive production How To Rule The World surprises from Paige Rattray (better here directing than

By Nakkiah Lui. Sydney Theatre Company. Drama Theatre, script editing!) and a flexible use of Marg Horwell’s chilly Sydney Opera House. Feb 11 - Mar 30. recreation of a corridor in Federal Parliament. As our three NAKKIAH Lui’s madcap satire begins with the heroes recount their voyage, it leaps between all sorts of promising premise of three well-educated, ambitious if places and remembered scenes. marginalised Australians - an Aboriginal, Korean and a Michelle Lim Davidson, Anthony Taufa and the gay Tongan - trying to snatch power in the Senate by charismatic Lui herself are all strong. Rhys Muldoon is getting elected their own carefully selected bland white perfect as the matey testosterone-fuelled PM and as the male. created pollie, the unemployed actor transformed by suit, Direct to audience, they share their need for a puppet haircut and meaningless lines, Hamish Michael excels. pollie to defeat a draconian Sovereign Territory Bill, driven And Gareth Davies and Vanessa Downing bring truth by a desperate Prime Minister threatened with another and great comic flair to a variety of roles. leadership spill. But their puppet turns into a powerPaul Mac and Steve Francis’ urgent score/sound helps hungry monster, their own methods begin defying their drive the pace and somehow we happily last two hours of principles and, worse, they start scheming against each big laughter, silliness and provocative thought. It’s a other in a hopeless war of minorities. welcome third play by Lui to be staged by the STC. Martin Portus Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 77

Reviews: Plays

Sweet Phoebe.

Photo: Teresa Noble.

Sweet Phoebe

By Michael Gow. Red Stitch. East St Kilda, VIC. Feb 3 Mar 3.

MICHAEL Gow’s comedy, first produced twenty-five years ago, hasn’t dated. Helen (Olivia Monticciolo) and Frazer (Marcus McKenzie) are just as ‘now’ - as is their ‘supportive’, structured relationship. Frazer backs Helen’s (rather silly) interior design ideas, and Helen is thrilled at Frazer’s elevation to financial manager of a new start-up.

Laura Jean Hawkins’ set design - a windowless box of what might be black marble - strikes an ominous note somewhere to be escaped.

When Helen - to Frazer’s chagrin - agrees to mind Phoebe, another couple’s dog, the differences between them appear and the cracks open up.

Dog owners - and dog-sitters - in the audience chuckle with recognition - as Phoebe (no, never on stage) beguiles Frazer and both he and Helen begin to enjoy the dog walks to the park and beyond. But the real meat of the play comes when Phoebe disappears…

Mr McKenzie’s Frazer throws himself into the search, but it’s in the nature of the text that he virtually becomes Helen’s audience. Ms Monticciolo - no doubt with the skilled guidance of director Mark Wilson - comes into her own. Her Helen is varied, meticulously detailed, very funny and vastly entertaining. She vividly describes, she does voices, she sings, she transforms, she is frightened, she is amazed, she is enthralled. At times it is as if she goes into

78 Stage Whispers

a trance. It is a great performance - and, really, the strength of the play and worth the price of admission.

As the search continues, the play moves more and more into the absurd - and even surreal. The reported ‘sightings’ of Phoebe are so widely spread that it is impossible that the dog could be there. And yet Helen goes to every single one - and it is her account of what she finds and whom she meets that carries the play on… until… Well, sometimes the best place is where you shouldn’t be.

Michael Brindley Last Of The Red Hot Lovers

By Neil Simon. STARC Productions. The Bakehouse Theatre. Jan 23 - Feb 2.

NEIL Simon’s The Last of the Red Hot Lovers is presented by STARC Productions. Their philosophy embraces presenting plays where theatre design is secondary, and the actor is central.

The play was originally written for one male and three different female actors. Director Tony Knight* made the decision to give the three female roles to one actor.

Knight has cast Marc Clement as Barney for all three of the approximately 30 minute acts, and has given Stefanie Rossi the challenge of playing three very different women, one in each act. Rossi is a tour-de-force.

Clement’s character Barney grows and matures across the three acts and Rossi introduces smart mouthed Elaine, a sexpot who likes cigarettes, whiskey, and other

Longer versions of many reviews can now be found at www.stagewhispers.com.au

women’s husbands; Bobbi, an actress he met in the park, who he discovers is a crazy pot smoking chameleon, and Jeannette, his wife’s best friend, whose faith in human goodness has reached rock bottom.

Stephen Dean’s lighting showcases the era and ensures that the audience at all times can see every action, and every nuance that accompanies the lightning fast dialogue.

Rossi’s intonation and mastery and use of three subtly different accents encourages the audience to watch her closely and connect with every word. She postures and struts as Elaine, is both frenetic and languid as Bobbi and is repressed, physically self-contained and inaccessible as Jeanette.

Attention to details including the unique pacing of Simon’s comedies is evident. So too is Simon’s skill in being at the vanguard of writing roles for strong and interesting women at a time when women, and their relationships with men, were evolving.

Jude Hines *Tony Knight is also a Stage Whispers reviewer.

The Rise And Fall Of Little Voice

By Jim Cartwright. Darlinghurst Theatre Company, Sydney.

Directed by Shaun Rennie. Feb 1 - 24.

ONE of Australia’s greatest musical theatre stars, Caroline O’Connor, is the drawcard for this intimate production of the British play The Rise and Fall of Little

Voice. O’Connor is a force on stage, so is perfect to play the overbearing and often-drunk Mari Hoff, mother to the wondrous Little Voice.

LV, as Mari’s daughter is also called, rarely leaves her bedroom, turning up the volume on her records to drown out her mother’s anything-but-little voice. Those records also expose her talent - LV has a soaring singing voice, mimicking the likes of Shirley Bassey, Judy Garland and Marilyn Monroe.

The role of Little Voice was made famous by Jane Horrocks, best known from Absolutely Fabulous. Here she’s played by Geraldine Hakewill, who gets more impressive as the show develops.

Director Shaun Rennie gets the most from his strong cast in a production that highlights the darkness of the play. With designer Isabel Hudson, Rennie has conceived of a mind box of a room for LV. It’s like we’re trapped with her, walled in by charcoal portraits of her favourite singers.

The play is long and this production needs more light to brighten the mood. But it’s powerful, particularly when Hakewill hits her stride.

Peter Gotting Secret Bridesmaids’ Business

By Elizabeth Coleman. Gold Coast Little Theatre, Southport. Director: Amy-Louise Anderson. Feb 2 - 23 WELL! The cat is out of the bag! GCLT’s first show of the year is all about what women want and how they

The Rise And Fall Of Little Voice.

Photo: Robert Catto.

Online extras!

Go behind the scenes of rehearsals for The Rise And Fall Of Little Voice. https://youtu.be/4OdztMn0K_c Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 79

justify the means to that end! Elizabeth Coleman hilariously reveals the psyche of the female of the species and Amy-Louise Armstrong has undertaken to share it with us in a bright, frothy production.

Set in a hotel room on the eve of the nuptials, the cast - Meg, the bride-to-be (or not to be?) Michelle Macwhirter; Mother of the Bride, Virginia Leaver; long time friend and bridesmaid Angela, Kate McNair; would be bridesmaids Lucy, Kate Learmonth and Naomi, Susannah Kwan and the prospective groom, David Law all work well to present this amusing piece of Aussie Theatre.

And the strong language used by the women when retelling past experiences surprised a few in the audience, who (like me) thought ladies would never say THOSE words, but it fitted well into the telling of the tale to which the audience responded with encouragement on numerous occasions!

All in all, this is a great show and one not to be missed!

Roger McKenzie

Quartet

By Ronald Harwood. Newcastle Theatre Company. NTC Theatre, Lambton. Jan 19 - Feb 2.

THIS production was a great start to a theatre year, with the actors and production team led by director Brian Wark making an unusual subject and characters very engrossing and moving.

The quartet of the title has two meanings. There are four people, former opera singers who worked together but are now aged and residents of a retirement home for musicians. And they are asked by the people who run the home to perform a quartet song from a Verdi opera at a fund-raising concert.

From the outset it was clear that the four didn’t always get along, with amusing references to their pasts. And their behaviour also showed their responses to life in a retirement home, again raising laughs among watchers.

The more the audience saw of the quartet’s interactions, the more engaging they were. I was certainly reminded of elderly people I have known over the years.

Quartet.

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Longer versions of many reviews can now be found at www.stagewhispers.com.au

The Moors.

Photo: Clare Hawley.

Cissy (Lynda Rennie) spends much of her time wearing earphones and listening to operatic songs the quartet recorded. She ignores and fortunately cannot hear Wilf (Noel Grivas), who makes would-be amusing sexual references to her in the hope that she will agree to have sex with him. Reggie (Lindsay Carr) is unsmiling and intent on reading serious books. And when Cissy, who moves around listening to what the staff are saying, reveals that a new resident is about to arrive, Reggie is horrified to find it is Jean (Claire Williams), a diva to whom he was briefly married.

The four actors held the audience’s attention for more than two hours, with the action set mainly in the retirement home’s elegant music room. Their amusing references to staff members who are never seen certainly brought out the natures of those people, such as a woman handing out the residents’ meals who ignores Reggie’s requests to be given marmalade at breakfast.

And the various costumes they wore, especially Wilf’s court jester attire for the quartet performance, very much reflected their personalities.

Ken Longworth

Brontes’. Jen Silverman’s American take on such a strong part of the English literary cannon should be interesting.

To the gloomy 19th-century parsonage inhabited by stern Agatha (forbiddingly played by Romy Bartz), her diary-obsessed younger sister Huldey (Enya Daly) and their distinctly batty scullery/parlour maid Marjory/Mallory (oneeyebrowed Diana Popovska), comes wide-eyed, red-haired Emilie (Brielle Flynn) to act as governess to... whom?

There’s no child to be seen.

There are two characters to be added to the cast and neither of them is human. One is a huge dog named Mastiff, treated by Agatha with utter contempt and played expertly with seething restraint by the only man in the cast, Thomas Campbell. The other is a Moor-Hen, wounded in the leg, forever on guard, touchingly played

by Alex Francis.

Before very long the action has speeded up, Agatha and Emilie are showing signs of togetherness and Huldey has sharpened her diary pencil and found a dirty great axe. What all this has to do with the ‘kinky’ Brontes or ‘hyper-theatrical’ life on the moors I’m not sure, but it’s all red meat to the Seymour crowd and they laugh and splutter throughout.

The Moors Kate Gaul, Director, has maintained a tight grip on

By Jen Silverman. Siren Theatre Company and Seymour proceedings, ably assisted by Kate Gaul, Set Designer, Centre. Director: Kate Gaul. The Seymour Centre, Sydney. who sets the whole affair on a quiet revolve under a high Feb 6 - Mar 1. chandelier.

THE poster outside the Seymour Centre says I’m about Frank Hatherley to see ‘a hyper-theatrical and kinky homage to the Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 81

Picnic At Hanging Rock.

Picnic At Hanging Rock Written by Laura Annawyn Shamas. Based on the novel by Joan Lindsay. Directed by Claire Argent. Brisbane Arts Theatre. Jan 12 - Feb 16.

EVER since the novel Picnic at Hanging Rock was published in 1967, the story has intrigued readers and viewers as it has been both a movie and TV mini-series.

Apparently Lindsay wrote the novel in two weeks, based on mystic dreams she had. The main action is centred around Mrs Appleyard, her girls’ school and students, and what happens following the disappearances. The period is from Valentine’s Day, 1900.

The set was very functional for free movement, while the towering Picnic Rock dominated the back and helped the audience keep the mystery of the disappearances in

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mind. Frances Foo, costume designer, has dressed everyone excellently for the period. The girl students stand out for their appearance and the way in which the uniform takes away their personalities.

Clare Argent, director, uses the stage to the full extent, particularly when the many students are there together.

The young performers in the student roles showed good stage presence and characterization but at times needed better clarity in delivery. Greg Scurr, Constable Bumpher, was the outstanding questioner seeking answers. His strong, clear delivery enhanced his role. Mrs Appleyard, the principal, had to be a bossy, pig-headed nasty piece of goods and was, for the most part, as portrayed by Sandra Harman, but needed a little more flexibility.

Noteworthy too was Emma Kate Reynolds as Dianne De Poitiers.

This was a solid production with many highlights but at times the interplay of characters was too slow and staid. With a bit more pace, this will be well worth the visit.

William Davies A Doll’s House

By Henrik Ibsen, adapted by Miriam Fietz and Nathan Quadrio. IpSkip Productions. Bakehouse Theatre, Adelaide. Jan 16 - 19.

A DOLL’S House could not be more contemporary, as it presents a woman’s dilemma as a human one, relevant to both sexes, when so often women’s stories are treated as a special subject of concern only to women.

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Originally set in 1879 in a middle-class house in Norway, director Nathan Quadrio has wisely decided to remove the set and period altogether. A door frame, two chairs and a coffee table together with the stark black walls of the theatre provide the setting, ensuring the intimacy is enhanced and our attention focussed on the acting.

As well as the set and time period, Quadrio and fellow adapter Miriam Fietz have trimmed the play to run for two acts, with the action spanning 24 hours instead of several days. Quadrio’s direction is tight and characters well-drawn. As an audience member I was immediately drawn in to the story and felt the characters’ joys and pain.

Allison Scharber’s Nora is mesmerising. Barely off the stage, she nails every nuance and is the driving force that keeps the play flowing.

Matt Houston’s Torvald gives us humanity in his love for Nora, however misguided his way of showing love may be.

Georgia Stockham’s Mrs Linde is a fragile woman, ‘broken’ by her circumstances and looking to make a new start at any cost.

Anthony Vawser’s Krogstad has the menace and desperation required but seemed uncertain of some of his lines on opening night.

James McCluskey-Garcia’s Doctor Rank is compassionate and heart breaking, particularly his last scene.

A Doll’s House is a study of relationships and the secrets that we are all guilty of keeping from those we love.

This is an excellent adaption of a classic!

Barry Hill Death of a Salesman

By Arthur Miller. Queensland Theatre. Director: Jason Klarwein. Playhouse, QPAC. Feb 9 - Mar 2.

AUDIENCES have been recognising themselves in Arthur Miller’s Death of a Salesman for the past 70 years.

A Pulitzer Prize winner and widely regarded as one of the greatest plays of the 20th century, Willy Loman’s travelling salesman still resonates in the IT age in this wonderful production by Jason Klarwein.

An exemplary cast do Miller proud in a production that has pace, resonance, and heart. Peter Kowitz’s Willy stands grandly above all in his slightly crumpled threepiece suit, a patriarch with bluster, pride, and vulnerability. It was a rich and satisfying performance of a controlling but broken man. Opposite him as Linda, Angie Milliken gave as good as she got, being assertive with Willy when he was raging and calling out her sons when they mistreated their father. She ruled the household with a quiet strength.

Thomas Larkin played Biff with a restless adolescent streak, whilst Jackson McGovern as Happy, had the right swagger for a skirt-chaser. In the smaller roles Kevin Hides brought presence to Uncle Ben, Charles Allen had tons of empathy as Charley, with Ilai Swindells’s Bernard a master

Online extras!

Death Of A Salesman.

The team behind Death Of A Salesman discuss the production’s design choices. https://youtu.be/bZbC3ZoZJ6U

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Stage Whispers 83

of understatement, especially in his and Willy’s late pivotal scene.

Richard Roberts’ set-design of a frame-house with sliding facia-boards reeked of upstate New York, with Verity Hampson’s lighting and Justin Harrison’s music and sound design, moody, expressive, and filmic. It was a great play, a great cast, and a great night of theatre.

Peter Pinne

Marjorie Prime

By Jordan Harrison. Directed by Paul Marshall. Presented

by Sunnybank Theatre Group. Sunnybank Theatre. Feb 15 - Mar 2.

JORDAN Harrison poses big questions in this tale of a near future, in which lifelike human replicas of our loved ones provide company and solace to the bereaved. It explores how memories and stories are shared, and examines dark themes such as suicide, euthanasia, and The Tempest mortality without becoming too depressing.

By William Shakespeare. Oz Act. Loch Ard Gorge, Port Director Paul Marshall delivers a show that’s Campbell National Park. Jan 19 - 27. confidently executed. The players are all well-cast in this THE return of Oz Act to Loch Ard Gorge for a four-hander. They’re comfortable enough on stage to let performance of The Tempest is a fantastic opportunity their characters sit in uncomfortable silences. This gives the audience moments to think about the big themes in to enjoy the more mystical elements of this play. The surroundings create a perfect backdrop for the themes the script. of isolation and being subject to the force of nature.

Gail Payne shines as Marjorie. Her characterisation, The play is approached in a very traditional manner physicality and phrasing of dialogue is excellent. David allowing the narrative to flow smoothly. The lively Richardson’s portrayal of Walter shows outstanding performances delight the audience and bring forth the physical discipline. Before it’s revealed in the script, he characters with striking clarity. Bruce Widdop exudes shows you there’s something not entirely human about the wisdom and dignity of Prospero and this contrasts him.

Tess, played by Jane Rapley, has the difficult task of well with the impetuous and sometimes reckless behaviour of the other characters. Caliban (Kyle having to muster up tears on more than one occasion, McDonald) is interpreted with great gusto. His which she does so convincingly, while Steve Tanks as Jon oppression and frustration are well defined through the provides a gentle counterpoint to Tess’ angst, making his tortured nature of his gestures. Ariel (Ryan Ireland) has harrowing breakdown at the end feel more profound. a lightness in his demeanour which adds to his magical Chris O’Leary’s lighting design for the final scene in presence, and his singing also adds a great live musical which the primes converse with one another is quite element. magical. Just like Marshall’s direction, the sound and lighting design doesn’t seek to steal the spotlight from The use of a national park naturally presents challenges and the play is confined to a limited area. the amazing script. Everything is done in service of the While the setting is wonderfully evocative and the text.

This play comes highly recommended and is sure to production makes awesome use of the location, ways of overcoming these challenges could have been stimulate conversation with your companions afterward explored further. When the characters appear in be they AI or real humans. unexpected places this provides some of the more Kiesten McCauley dramatic moments in the performance. Finding more innovative ways to achieve this would enhance the The Sum Of Us magnificence of the experience.

By David Stephens. Bare Productions. Royal Exchange, Patricia Di Risio Newcastle. Feb 1 - 9.

A PLAY that focuses on the relationship of a middleThe Tempest. aged father and his 24-year-old son and never moves away from the sitting room of the dad’s house could seem to be an unlikely candidate for a gripping, moving and often funny stage work.

But The Sum of Us, by David Stevens, had audience members riveted from the first moments.

The father, Harry (Alan Glover), has had a lonely life since his wife died when son Jeff (Roderick Sinnamon) was just 10. And he’s also had to live with the knowledge that Jeff is gay. At the same time, Harry protectingly looks after Jeff, even though his comments about things such as the garb Jeff wears when heading off to a pub to meet a male can be pointedly critical.

The staging team, headed by director Annette Rowlison, made the play engagingly down-to-earth. There are many scenes, for example, where Harry and Jeff step forward and reveal their thoughts and beliefs to the 84 Stage Whispers

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The Maids.

audience, and then return to their arguments and discussions. Audience members can relate to these words because everyone has personal views that they don’t disclose, knowing those around them would be offended.

While Harry and Jeff are virtually on stage the whole time, watchers get to see people each is hopeful of having a relationship with. Greg (Benjamin Louttit), a young man who has been ordered out of his home by his father when he is revealed to be gay, wants a relationship to be established the way he sees it. And Joyce (Robyn Blackwell), a divorcee Harry meets through a dating service, has no time for gay people. The final scenes were very moving, with something unexpected happening to Harry.

Ken Longworth The Maids

By Jean Genet. Directed by Sam Russo & Adam Ibrahim.

Brunswick Mechanics Institute, VIC. Jan 31 - Feb 9.

JEAN Genet’s play is about oppression and the sadomasochistic fantasies it gives rise to. Here the eponymous maids are male. Since it’s a play about role playing, the two men, who play it more bitchy queen than butch, suggest that gender too is performance.

Claire (Adam Ibrahim) and Solonge (Sam Russo), spend their evenings, when Madame (Artemis Ioannides)

is out, on ‘The Ceremony’. They switch roles - one plays ‘Madame’, in Madame’s clothes, and the other a maid ‘Claire’ or ‘Solonge’ - in fantasies of dominance and submission, abuse and resentment, obedience and plans of murder.

The maids’ costumes - or uniforms - designed by Anastassia Poppenberg - reinforce their slave-like status ‘gay’ but infantilised. Doug McDowell’s sound nicely reminds us where we are - a luxury Paris apartment - and Jason Crick’s lighting emphasises psychic states and drama rather than reality.

Madame is not exempt, as a woman, from role-playing herself, with her cliché fantasy of fleeing the country with her criminal lover. Ms Ioannides subtly invests her role with a kind of banality and ordinariness in sharp contrast to her maids’ intense if bitter imaginations. Mr Russo and Mr Ibrahim, however, direct themselves and while the physicality of their performances is excellent, there are some diction difficulties, particularly frustrating when Mr Russo speeds through Solonge’s final, dizzying monologue where clarity is essential.

Fair or not, we understand why the maids hate Madame. This is a vivid and imaginative revival of a seventy-two-year-old play in which the ‘oppressed’ are defined - without even knowing it - by the oppressor.

Michael Brindley

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Stage Whispers 85

Reviews: Musicals

Sweet Charity.

Online extras!

Naomi Price thinks that Charity is a quintessential role for actresses. https://vimeo.com/298324795 Sweet Charity Music: Cy Coleman. Lyrics: Dorothy Fields. Book: Neil Simon based on Federico’s Fellini’s Nights of Cabiria.

Understudy Productions. Co-Directors: Kris Stewart and Maureen Bowra. Music Director: Shanon Whitelock.

Choreography: Dan Venz. Brisbane Powerhouse. Jan 24 Feb 10.

BRAVO Naomi Price. As Charity Hope Valentine you had us eating out of your hand with your funny, streetwise but vulnerable portrayal of the dance-hall hostess who keeps falling for the wrong guy and ends up with pie all over her face. With clarion-call vocals you lit up the stage time and time again.

The other standout performance of the night was Andy Cook as the suave Italian film star Vittorio Vidal. It was excessively Latin and very comic and his snappy dialogue routine with Lizzie Moore as girlfriend Ursula (channelling Penelope Cruz) was a riot of fun.

As the neurotic Oscar, Stephen Hirst projected buckets of insecurity and was an endearing foil for the star act.

Charity’s dance-hall pals Nicky and Helene were in good hard-bitten and whip-smart hands with Hayley Winch and Lizzie Moore, whilst Elliot Baker was a strong Fandango Ballroom boss Herman and an even stronger Daddy Brubeck, leading the ensemble in a dazzling “Rhythm of Life”.

The musical is a product of its time and in this production has aged nicely with the help of astute direction (and I suspect some script tweaks) by Kris 86 Stage Whispers

Stewart and Maureen Bowra. Cy Coleman’s score keeps this seedy look at New York’s hooker habitat buoyant, but it’s Price’s show. She’s fantastic. It was a five star performance in a five star show!

Peter Pinne Hot Mikado Adapted by Rob Bowman and David H. Bell from Gilbert and Sullivan’s The Mikado. Young People’s Theatre. YPT, Hamilton (Newcastle). Feb 8 - 23.

THIS lively adaptation of Gilbert and Sullivan’s popular The Mikado is set in a 1940s nightclub, borrowing the name of the original work’s Titipu township, and with the club’s seven-member band in this staging at the back of the venue providing jazz versions of the bright songs. And the club’s patrons were in elegant garb, as they swung their way across the floor, with many of the young males and females hoping that members of the opposite sex would be attracted to them.

They also didn’t show fear when their national ruler, the Mikado, made an entrance in a stylish white suit and tapped swiftly towards them. And, while the Mikado made the remark “If Gilbert and Sullivan could see me now,” there could be no doubt that the pair would be laughing as loudly as audience members.

The pair, with their tongues firmly in cheeks when writing The Mikado in the early 1880s, made the title character very much a Brit of that period who was determined to show just good he was as a boss. Rob

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Bowman and David H. Bell, who adapted the music, book and lyrics, certainly followed the G and S pattern, letting the Mikado declare at one point that “Virtue is triumphant in musical comedies”, and having Ko-Ko, who has taken on the job of Lord High Executioner to save himself from a death threat, brightly declaring in contemporary style that he has “a little list” of names of people who could let him meet the Mikado’s demand for an almost immediate execution.

The cast of this production, mainly YPT members in their late teens, made this an engaging show under the direction of Amber Lewis, musical direction by Brent Hanson and Freya Meredith, and choreography by Chelsea Willis and Renae Youman (the latter providing the brisk tapping routines). And the set and costumes certainly made the 1940s come to life, with one of the show’s most engaging songs, Three Little Maids, delivered by the trio of central female characters from a balcony above the club’s main floor, showing how determined they were to get what they want.

Ken Longworth

The Little Mermaid Music: Alan Menken. Lyrics: Howard Ashman & Glenn Slater. Book: Doug Wright. Spotlight Theatre, Benowa, Gold Coast. Directors: William Pulley and Rodrigo Medina Noel. Feb 8 - Mar 2.

STAGING a Disney production is a daunting prospect at the best of times, but as their first directorship, directors William Pulley and Rodrigo Medina Noel, together with Choreographer Erin Brummage, have recreated the magic of Disney’s The Little Mermaid with great success. William also directed the music With a cast of over 30, for some it was their first experience on stage. As Ariel, Tymyka Wines was well cast in her first major musical and was complemented by the dashing Clay Carlaw as Prince Eric. Both these artists were at ease with their characterisations and lead a strong line up which included Nicola Barrett as Ursula, Alan Chang as Sebastian and Chris Drummond as Scuttle.

With colourful costumes and a minimised, well planned scenic plot, the show had pace and was fully supported by Leonnie Jones’ effective lighting plot.

This is a great introduction to live theatre for “the Madagascar: A Musical Adventure Jr. young and the young at heart”.

Based on the DreamWorks Animation Motion Picture. Book Roger McKenzie

By Kevin Del Aguila. Original Music and Lyrics by George Noriega and Joel Someillan. Gosford Musical Society Jnrs.

Beauty And The Beast Laycock Street Community Theatre. Jan 15 - 19.

Music: Alan Menken. Lyrics: Howard Ashman and Tim GOSFORD Musical Society Juniors never cease to Rice. Book: Linda Woolverton. Ballina Players. Players amaze their audiences with well produced shows, and Theatre. Director: Jacquie McCalman. Jan 11 - 20.

Madagascar Jr is no different. A musical based on the BALLINA Players never cease to entertain their 2005 animated film may seem like a strange choice for a audiences and their first production of the year, Disney’s stage adaption, but in an era where every second Disney Beauty and the Beast, has set a very high standard for the movie is hitting Broadway, it hardly comes as a surprise - 2019 season. it’s sure to be a hit with both young and old.

With a cast of around 50, the stage sprang to life and Director Matty Johnston has assembled a highly there wasn’t one dull spot in the whole performance. energetic cast of 50 young emerging artists. Matty’s As is the practice at Ballina, the January show is their direction keeps the show moving along at a brilliant pace, youth production and with the majority of the cast and aided by the dynamic vocals under the baton of Vivienne their five piece band under 25 it was an exhilarating McLaren, and sensational choreography created by Jess experience.

Sillince.

With a large line up of principals, all of whom gave Tom Kelly as Alex, Erin Hobden as Gloria, Scotia great performances - each complimenting the other - it Emmett as Marty and Liam Barbeler as Melman carry the was difficult to single out any one performer. However show with professionalism and skill well beyond their mention must be made of Daniel Pereira (Gaston’s years. Allegra Hall as King Julien has perfect comic timing. sidekick Le Fou) who, in his first time on stage, more than Keegan Morley leads what appears to be a never-ending held his own against the “more seasoned” members of raft of adorable Penguins. the cast.

Madagascar is as colourful as it is energetic. Costumes The use of projected scenery combined with traditional

by Kerrie Fuller, lighting by Damien Rice, and set and sets and props worked well and, as usual, the technical projection by Beck Johnston provide a rich and vivid world aspects of the show were up to the high standard in which these young people can shine. expected of a Players production.

The Broadway Jr shows often sacrifice the concept of It was no wonder that the season sold out within ‘the ensemble’ in favour of making sure everyone gets a hours of the bookings opening, as did the additional moment in the spotlight within the 60(ish) minute run performance. time, but that’s not noticeable in this production, even if Jacqui McCalman together with her production team there are many bit parts throughout the script. Gosford of Musical Director Riley O’Shannessy and CoMusical Society Juniors has once again done what it does Choreographers Anna Jaques and Sher Manu certainly best: staged a family friendly show, created by a tightknit “came up trumps” delivering a fantastic production. family.

Roger McKenzie Joshua Maxwell Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 87

Trial By Jury

By W.S. Gibert and Arthur Sullivan. The Gilbert and Sullivan Society Tasmania. Hobart Supreme Court.

Director: Patricia Robinson. Jan 4 - 18.

TRIAL by Jury has been a summer tradition in Hobart for more than a decade. It is often difficult to attract performers in the warmer months, and director Patricia Robinson has achieved this with fluid casting options.

It was a privilege to see accomplished performer Darren Sangwell in the role of the Judge. There were echoes of Hamilton’s King George in his excellent characterisation. In the following session (there are two every Friday and Saturday evening) Kieren Slicer took the same role and did not disappoint.

The diction of the ensemble was excellent and the men’s chorus particularly strong. There was a weakness in the women’s section and acapella moments did not quite come off. Louise Stubs sang well as the principal bridesmaid, exhibiting lovely tone and excellent pitch.

Nick Paine was strong in the role of defendant as was Tony Johnson as Foreman of the Jury. The cast is completed by experienced performer Eleanor Webster and newcomer Yvonne Kerklan.

For the first time in the Supreme Court venue, the visual monitors were used. The audience responded well to the images which, although not necessary (not to the plot) did illuminate such archaic phrases as “a la Wattau”.

Costumes by Robyn Rheinburger suited this traditional rendition of Trial by Jury.

Anne Blythe-Cooper Shrek The Musical Music by Jeanine Tesori. Book and lyrics by David LindsayAbaire. Directed by Lindsay Nobile. Townsville Choral Society, Townsville Entertainment Centre. Jan 18 - 27.

AS far as the music itself is concerned, Shrek the Musical may not be the best-written musical in the world,

but if the affection for the 2001 animated classic that was displayed by the enormous company - a principal cast of seven and ensemble of 81 - is a yardstick by which to measure, then this latest Townsville Choral Society production has it in quids.

Amidst the colour and organised chaos, contemporary jokes, plenty of good humour, colourful costumes, oblique references to Broadway musicals and a creative contemporary set, this production by first time director Lindsay Nobile was delivered with an infectious joie de vivre. Everyone looked as if they were having so much fun that it would have been difficult not to be caught up in the spirit of it all.

Hats off to Richard Brown for his Shrek. Hampered with a green latex mask that was a challenge for any actor, and more so when Mike Myers had created such a definitive Scottish character, this was an Irish version, but it also worked.

An impressive, confident vocal range from Madison Tomarchio as Princess Fiona, evidently relishing the feistiness that one expects of a 21st century princess. Of course, the garrulous Donkey is indelibly Eddie Murphy.

Charlie Nicholas not only evoked memories of Murphy, but also managed to make the role his own. Outstanding with a great sense of timing.

Lord Farquaad has got to be the actor’s role in this musical, and David Lequerica took advantage of every fun opportunity as the vertically-challenged son of one of the seven dwarfs.

But exceptional vocal performance of the night must be reserved for the bluesy, gutsy Deborah O’Toole as the Dragon.

My final advice? Grab the kids and take them along (probably most suitable for 8 +) so you can go along and become a kid all over again!

Trevor Keeling Shrek The Musical.

Photo: Sonia Warrell.

88 Stage Whispers

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Jesus Christ Superstar.

Photo: Grant Leslie.

Online extras!

Director Neil Gooding takes us backstage at Jesus Christ Superstar. http://bit.ly/2GA7GXm Jesus Christ Superstar Music by Andrew Lloyd Webber. Lyrics by Tim Rice.

Packemin Productions. Feb 8 - 23.

I HAVE seen almost all the Packemin Productions musicals since the company was founded in 2011, and I think this was the company’s best one yet. It was a complete package of technical and performance excellence.

Director Neil Gooding follows closely Tim Rice’s intention that Jesus Christ Superstar is the Gospel according to Judas. It is the wayward disciple’s perspective on the last days of Jesus.

As Judas, Toby Francis was in fine singing form, soaring brilliantly to high falsetto notes. Overall the sound quality and band were crystal clear, devoid of any trace of opening night crackles.

The second male lead is Jesus (Joe Kalou). For the first twenty minutes or so of the musical we don’t hear much from him, spending much of this time waving to his adoring disciples. He looked every inch a superstar, particularly when stripped down for a Roman whipping.

Did all Rabbis at the time look this good?

Other principals were also strong. Brittanie Shipway was sweet as Mary, Gavin Brightwell commanding as Pilate and Haji Myrteza had an outstanding booming voice as Caiaphas.

There was also a touch of pantomime in Herod’s big dance number, with the chorus allowed some leeway for a bit of Razza Matazz.

It was a striking looking production. The stage was framed by multi-level scaffolding. The lighting design by Sean Clarke was big and juicy. Heavenly rays of white and red pierced the stage with perfect timing.

A few tricks, including water turning into wine, a dove flying across the stage and a frightening looking (but safe) hanging added to the spectacle.

Outside of a full multi-million dollar pro production, you wouldn’t find a better realised performance of this rock opera.

David Spicer Disney’s Aladdin Jnr Music by Alan Menken. Lyrics by Howard Ashman and Tim Rice. Directed by Sharyn Donoghue. Roar Academy, Theatre 102, Redcliffe. Jan 11 - 13.

IT was amazing how much of the original Disney film came back to mind when watching this musical version written for, and performed by, such a cast of young people - and I mean very young with some cast members.

As expected, the set was minimal to allow for the many changes needed while also giving the freedom of movement which was so essential. Director Sharyn Donoghue managed the large young cast quite well. The costuming was good across the cast. Some young performers need to stay more in character but the little guards were great little meanies.

Madie Beckle as Aladdin, Sienna Randal as Princess Jasmine and Sarina Brener as the Sultan carried the main roles well. However, outstanding was Eli Ball as the genie as he danced, sang and acted his way into the minds of the audience. Others with speaking/singing roles were solid and inter-reacted well.

As an exercise to introduce young performers to actually being on stage, this Aladdin worked. I do feel that a little more polish is needed in future as it would boost their confidence even more and keep the audience, other that parents, happier. This was an entertaining and mainly successful experiment with the young. We will see some of these performers for years to come.

William Davies

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Stage Whispers 89

Choosing A Show

New Releases And School Tips

Origin Theatrical www.origintheatrical.com.au The Bodyguard The Musical

Based on the 1992 blockbuster movie, the musical includes the hit song I Will Always Love You. When a famous singer realizes a stalker is focused on her, she hires a disciplined bodyguard. With their relationship escalating, danger and romance ensue as the time for the Oscar awards draws near.

Cast: 2F, 6M + large ensemble.

The Battle Of Boat

Maverick Musicals www.maverickmusicals.com The Black Hole

By Mark Bourgeois and Craig Chambers When an intergalactic portal is opened between the galaxy Andromeda and the Milky Way, a lowly team of satellite repairmen must battle black holes, aliens and asteroid fields to overcome a menacing threat to planet Earth. When the dreaded Cyborgs enter the portal to claim the Milky Way for themselves, the fate of planet Earth is placed in the hands of the most unlikely of heroes, an engineer named Sparkie, a day-dreamer who loves to gaze longingly into space.

Bonsai Samurai

By Tim Tuck Facing a bleak future in the family rice-fields, Hiroki, a short, self-centred Japanese boy with aspirations of A new musical from The National Youth Music Theatre becoming a Samurai, is London. humiliated by treacherous “A world where adults are relegated to shadowy, soldiers intent on taking the authoritarian nuisances, and children reign supreme.”

Chrysanthemum Throne and A courageous tale of a group of children trying to find teams up with an unlikely band of ancient spirits to their place in a world at war in 1916. Frustrated by their inability to join the soldiers in battle, the children do defeat them. Perfect for a large cast, ages 10-15 years. whatever it takes to help in the war effort.

Cast: All characters are aged from 10 - 18. 6F, 8M plus David Spicer Productions Ensemble www.davidspicer.com.au 57th National Mathlete Sum-It

DSP has released its 2020 catalogue.

Order your free copy now.

Paris – A Rock Odyssey : New Edition.

The late Jon English’s masterwork based on the epic tale of the Trojan Prince who steals the hand of the wife of a The almost all-girl high school math team from Waukesha, Wisconsin, are off to compete in the National Greek King (Helen) sparking a Math SUM-IT. This is the story of girls becoming women ten-year war is released in a – conquering anxiety and rivalry, finding a way to affirm new performance edition.

Includes sparkling reduced themselves as individuals and as team-members, orchestration by Isaac learning to win at math...and at life!

Cast: 5F, 1M + optional large ensemble of additional Hayward and additional material used for the 2017 characters. professional concert.

90 Stage Whispers March - April 2019

Music Theatre International Australasia www.mtishows.com.au Mamma Mia! MTIA’s phones went into meltdown in January when it was announced that the community theatre rights to Mamma Mia! would be available in Australia for the first time.

“A large cast, non-stop laughs and explosive dance numbers combine to make Mamma Mia! a guaranteed smash hit for any theatre. A mother. A daughter. Three possible dads. And a trip down the aisle you’ll never forget!”

For Schools, MTIA recommends the following.

Wicked

PERFORMING ARTS MAGAZINE MARCH/APRIL 2019. VOLUME 28, NUMBER 2 ABN 71 129 358 710 ISSN 1321 5965

All correspondence to: The Editor, Stage Whispers, P.O. Box 2274, Rose Bay North 2030, New South Wales.

Telephone: (03) 9758 4522 Advertising: stagews@stagewhispers.com.au Editorial: neil@stagewhispers.com.au PRINTED BY: Spotpress Pty Ltd, 24-26 Lilian Fowler Place, Marrickville, 2204 PUBLISHED BY: Stage Whispers PRE-PRESS PRODUCTION & DESIGN BY: PJTonline Solutions, email: pjtonline@pjtonline.com DISTRIBUTED BY: Gordon & Gotch, 25-37 Huntingdale Road, Burwood, 3125 DEADLINES For inclusion in the next edition, please submit articles, company notes and advertisements to Stage Whispers by April 8th, 2019.

Available for schools for the first time, Wicked tells the untold story of an unlikely but profound friendship between two girls who first meet as sorcery students at Shiz University: the blonde and very popular Glinda and a misunderstood green girl named Elphaba.

Oliver!

SUBSCRIPTION Prices are $39.50 for 6 editions in Australia and $60AUD elsewhere. Overseas Surface Mail (Airmail by special arrangement). Overseas subscribers please send bank draft in Australian currency. Maximum suggested retail is $6.95 including GST. Address of all subscription correspondence to above address. When moving, advise us immediately of your old and new address in order to avoid lost or delayed copies.

FREELANCE CONTRIBUTORS Are welcomed by this magazine and all articles should be addressed to Stage Whispers at the above address. The Publisher accepts no responsibility for unsolicited material. Black and white or colour photographs are suitable for production.

New updated edition based on the 2009 West End production. Consider yourself at home with Lionel Bart’s classic musical based on Charles Dickens’ novel, Oliver Twist.

Matilda

Available for Australian High Schools only. Inspired by the twisted genius of Roald Dahl, with book by Dennis Kelly and original songs by Tim Minchin, Matilda has won 47 international awards.

DISCLAIMER All expressions of opinion in Stage Whispers are published on the basis that they reflect the personal opinion of the authors and as such are not to be taken as expressing the official opinion of The Publishers unless expressly so stated. Stage Whispers accepts no responsibility for the accuracy of any opinion or information contained in this magazine.

LIMITED BACK COPIES AVAILABLE ADVERTISERS We accept no responsibility for material submitted that does not comply with the Trade Practices Act. CAST & CREW Editor: Neil Litchfield 0438 938 064 Sub-editor: David Spicer Advertising: Angela Thompson 03 9758 4522 Digital production: Phillip Tyson 0414 781 008 Contributors: Cathy Bannister, Anne Blythe-Cooper, Mel Bobbermien, Michael Brindley, Rose Cooper, Kerry Cooper, Ken Cotterill, Bill Davies, Coral Drouyn, Jenny Fewster, Graham Ford, Peter Gotting, Frank Hatherley, Jude Hines, John P. Harvey, Barry Hill, Tony Knight, Neil Litchfield, Ken Longworth, Kiesten Mcauley, Rachel McGrath-Kerr, Roger McKenzie, Peter Novakovich, Shannon O’Connell, Peter Pinne, Martin Portus, Sally Putnam, Lesley Reed, Lisa Romeo, Suzanne Sandow, Kimberley Shaw, David Spicer, Penelope Thomas, Anthony Vawser, Carol Wimmer and Mark Wickett. www.stagewhispers.com.au Stage Whispers 91

Musical Spice

George Spitzer on the violin

in Vienna. She lives in an apartment complex called Spitzer House, which was built by my great-greatgrandfather Simon Spitzer.

Sabine soon found out that on Thursday the 2nd of February 1933 there were up to three operas being performed in Vienna. We know of the details of only two.

At the Staatsoper was the second performance of an opera called Spuk in Schloss (Böse Zeiten für Gespenster). This translates into Haunted is the Castle (Evil Times for Ghosts). Sadly this opera disappeared into obscurity. But there was a character named George in it (the same as my father), so maybe the appearance of that character on stage prompted the birth.

Across town at the Volksopera on the same night was another new work, Rosen im Schnee (Roses in the Snow). This operetta was never performed again after 1933. However the librettist, Fritz Löhner-Beda, had an illustrious career. He wrote the words to Lehar’s hit operetta The Land of Smiles.

At my wedding I embarrassed my bride by plonking her on a grand which prompted kicking inside the piano and singing an aria from The womb and brought on the birth? Was Land of Smiles - “You are my heart’s it a High F during the Queen of the delight”. As both my father and Night aria in Mozart’s Magic Flute grandmother were at my wedding, that led to the contractions? my hunch is that Roses in the Snow So I decided to do a little was George’s opening night. investigation. I enlisted my third cousin, Sabine Spitzer, who still lives David Spitzer

Musical Spitz My father was almost born at the Opera. On the second of February 1933 my grandmother, Therese Spitzer, went into labour whilst attending a performance in Vienna.

(My father later changed his name from Spitzer to Spicer, during WWII, after emigrating to Australia.)

“Mutti” as we called her (Mother in German) would love telling us the story that my father George was in such a hurry that she had no time to go home to collect nappies, and instead arrived at the hospital equipped only with a set of opera glasses.

At his funeral, three years ago, I retold this story and expressed regret that I never found out which opera it was. Was it a moment of sublime beauty in La Boheme “Che gelida manina (Your tiny hand is frozen)” which caused my grandmother’s water to break from high emotion?

Was it the shock of Madam Butterfly plunging the sword into her belly? Could it have been the loud beat of the rousing chorus in Carmen 92 Stage Whispers March - April 2019

Dr George Spicer graduates from Sydney University.

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