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2 Stage Whispers March 2021 - April 2021
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In this issue 12
Coming Back From Away .......................................................................... 8 A chat with Come From Away’s company members as its tour resumes Politics & Broadway................................................................................. 14 With Hamilton opening in Sydney we look at politics in Broadway musicals Meet The Fangirl Of Theatre .................................................................... 18 Writer and composer Yve Blake on her hit musical Fangirls Musical On The Menu ............................................................................. 21 Impresario John Frost talks theatre post COVID-19 Rob Mills: Pawn Star ............................................................................... 24 From Australian Idol to stage heartthrob, to Chess’s wheeler-dealer
15 19
StageCenta: Swipe For A Show ............................................................... 29 The launch of a new theatre app for every show, everywhere, every day In The Director’s Chair ............................................................................. 30 Speaking with Roger Hodgman, Neil Gooding and Jason Langley
28
Comfy Bums On Seats ............................................................................. 40 Sitting through uncomfortable performances becoming a thing of the past 2021 School Performing Arts Resource Kit .............................................. 41 Resources and news about theatre performed for, and by, school students Selling Your Show ................................................................................... 52 Advice from a marketing guru on how to spend your advertising budget
Regular Features Director’s Diary: Lee Lewis directs Queensland Theatre’s Our Town 26
46 50 65
Stage Heritage: A treasure trove of programmes
34
Stage On Page
36
Stage On Disc
38
What’s On
53
Reviews
61
Musical Spice: A post COVID-19 musical
76
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THE NEXT ISSUE OF STAGE WHISPERS IS FOCUSSING ON SOUND & LIGHTING.
69 6 Stage Whispers March 2021 - April 2021
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Editorial Dear theatre-goers and theatre-doers, In my previous life as a high school Drama and English teacher, my greatest joys were the response I received from students when I organised excursions to theatre productions and in-school theatre visits for them, or directed them in school musicals. I take great pleasure revisiting that world each year as we prepare our SPARK edition of Stage Whispers. Thrilling as it always was to share those experiences with students, sometimes the logistics were insane. Imagine organising as many as four or five packed buses to transport students to major musicals like Cats, Les Misérables and Beauty and the Beast. After a great afternoon, you’re doing the final roll call across those buses, then discover two students are missing. After feverishly double checking, two young ladies waltz obliviously through the theatre doors 15 minutes after everyone else. You guessed it - a bathroom visit! I took three different groups to see the original Sydney production of Cats at the Theatre Royal, and thanks to the group bookings person, always snagged the seats next to the pipe where cats suddenly emerged into the audience. I always placed students in those seats who I thought would get the greatest buzz out of that moment. While endorsing Simon Parris’s top 10 tips for staging a school musical in this edition, having worked in state schools, his mention of the school footing the bill for the gap between the box office and the cost of the production was alien to my experience. The shows I staged were always expected to break even or better. For me, the top rules were to watch every dollar, keep things simple, and beg or borrow everything I could through my connections in community theatre. That certainly paid off the year we staged Grease, the biggest school musical hit I was ever associated with. We had to schedule an extra performance, sold out five shows and made a substantial profit. Once the balance sheet was complete, we had enough surplus funds to call a meeting of the staff members involved (and there was at least one teacher from each faculty), as well as student representatives, so we could decide on a list of resources which the production could buy for the school. My best wishes to all the teachers who continue to bring the joy of theatre to their students. I hope you enjoy this edition of Stage Whispers. Yours in Theatre,
Neil Litchfield Editor
CONNECT
Cover image: Zoe Gertz as Beverley Bass with the ensemble members of Come From Away. Read our interview on page 8 with the show’s cast as they become the first show to return to Melbourne’s stages after a nearly year-long lockdown. Photo: Jeff Busby. stagewhispers.com.au Stage Whispers 7
“It’s sort of surreal,” said musical director Luke Hunter. “Rehearsals felt normal and then you look out, you sit down at the piano and there’s a lot of people here. We’re having that Melbourne endured the longest communal experience again.” and darkest absence of live Cast member Emma Powell initially entertainment across Australia, so didn’t believe they would get back to when Come From Away re-opened ten the stage in January. “We were in months after the doors closed, the lockdown (in September) and I was company shared a sense of joy, relief, like, ‘That is not going to happen, see and gratitude at being back on stage. you in Brisbane!’
After hit musical Come From Away landed back at Melbourne’s Comedy Theatre following its COVID-19 hiatus, Simon Parris spoke to company members ahead of their Sydney and Brisbane transfers. Just like the passengers on board North American flights in 2001, after their planes and lives were diverted when the terrorists attacked, so too cast members of the Australian production of Come from Away have learnt to cope with major disruptions.
Online extras!
“Welcome To The Rock” implores Come From Away’s Melbourne encore cast. youtu.be/sq-TNimj9bE 8 Stage Whispers March 2021 - April 2021
“And then I was thinking, ‘Will people actually come? Will people feel confident to come to the theatre?’ And now they’re coming. I look out there and see all the masks. It’s just wonderful.” Zoe Gertz, who plays the key role of Beverley, the American Airlines pilot, expressed her joy, saying, “It’s just the best feeling. There’s very much a sense in every industry, but especially ours, that things can turn on a dime. Talk about practising daily gratitude at the moment.” Things did again turn on a dime when Melbourne was plunged into a third lockdown, interrupting the encore season. Before the Australian premiere of Come From Away, Zoe had the chance ask the real Beverley Bass to remember what it was that she liked about what other actresses have brought to the role.
“She said she really liked when the women were in business mode, where they’re unashamedly strong,” said Zoe. “I really liked that because I am someone who has gotten a lot of notes throughout my career, especially in covering roles like Fantine, saying ‘Don’t be too strong. I need you to be softer and weaker.’ To go into that space that I sit in naturally and really run with it for this was just fantastic. “I know I’m like that in work mode. It’s funny actually, my husband Phillip tells people when we first met, he was terrified of me. We met on an audition reading opposite each other and I was like ‘head in the game, got my business face on’ kind of thing. Beverley and I definitely have that in common.” Broadway director Christopher Ashley came to Australia for rehearsals in 2019. Zoe said, “Initially it was intimidating because this is a Tony
Cover Story Award-winning director and his journey with the show has been since those early days. He’s crafted the musical in a way that’s unique. There’s such a marriage between the direction and the movement throughout the entire show.” Zoe compared the feedback she receives, especially from younger audience members, to that when she played Elphaba in Wicked. “Last season, there were also members of the trans community that would come to stage door and would say how affected they were by Beverley’s story and the song ‘Me and the Sky’, because it’s such an anthem of ‘this is who I am, and this is what I love, and this is what I’m going to do’.” (Continued on page 10)
Nicholas Brown, Douglas Hansell and the original Australian company of Come From Away. Photo: Jeff Busby.
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Cover Story
(Continued from page 9)
In this encore Melbourne season, Zoe is joined by her husband Phillip Lowe, who has taken on the role of awkward Englishman Nick. Phillip shared his delight with the experience, saying, “It’s the best thing that could ever have happened. To work on a really good show with your partner is a life goal.” Phillip was well prepared to join the cast, having seen the show five or six times in its initial Melbourne run. Replacing another actor was not without its challenges: “I thought (original cast member) Nathan Carter was absolutely sublime; to fill his shoes was daunting.” The process was made easier by the creative team’s dedicated work with the new cast members. Phillip
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Original Australian cast member Sarah Morrison didn’t initially feel the hype for Come From Away. She had auditioned for the original, for novice reporter Janice, but was not too bothered to see the role go to another actress. That changed one homesick night in London when she caught up with a friend and saw the West End production. “I sat down, and I just ate my words, because I think it’s one of those shows you have to experience. I wasn’t aware of what the show is and that’s why I think it’s so tricky to explain to people what it is.” Two weeks before rehearsals started, Sarah received a call described this process, saying, “We asking her to join the cast - she started from scratch. We did all of the enthusiastically said yes. table work and research together. We Sarah’s role as Janice Mosher is watched the documentaries and based on Janice Goudie and Brian footage and had discussions. We did a Mosher. “It became very clear to me lot of floor rehearsal work with the after having spent time with them standby cast and then when original which parts have come from verbatim cast came back, they also had to do a interviews. Brian is incredibly bit of revisiting.” charismatic, just full of life. The story Phillip has played lead roles in about (meeting) Oprah Winfrey - that’s jukebox musicals Mamma Mia! and him. He played me her voice message Georgy Girl. he still has it. Janice is much more salt “With this show, you get a of the earth. She’s the one that’s different rush from it. A really sick boy saying, Can I do this?” came up after the show. He was In her alternate role as a Texan flight attendant, Sarah must enact a obviously undergoing chemotherapy and the prognosis was not great, so to sharply judgemental moment, when have something like this which is fear leads to racism. The flight genuinely life affirming rather than just attendant expresses her fear at having rather feel-good entertainment - that a Muslim man on the flight out of is a completely different reward.”
(Continued on page 12)
Each of the twelve cast members of Come From Away plays multiple additional roles. Simon asked the performers to share their choice of their favourite “other” moment in the show. Zoe enthused, “I love all of the moments I get to play with Emma when she’s Beulah and I’m (fellow teacher) Annette. We have a lovely rapport. We’ve known each other for a long time, so I get to play with her on stage.” Douglas picked a moment when his alternate character Garth, the stubborn bus driver, starts to soften. Garth uses an African couple’s bible to help break the communication barrier. Newcomer Phillip enjoys watching Kolby Kindle, who plays native New Yorker Bob. “There’s a small scene with Kolby and I where he’s stealing barbecues and I call him and say, “Hey you, you’re stealing my barbecue.” I get to see the result of him doing his magic and that’s possibly my favourite at this point.” Emma also enjoys Kolby, saying, “I love watching Kolby’s stuff. He’s so consistent; he’s so funny. He’s not trying to be funny - that’s what I love.” Sarah picked an early moment when she plays a flight attendant trying to cope with the change in flight destination, saying, “We see her poker face and then we have that moment when we come back and she’s trying to hold it together.” On stage and in view for the full show, musical director Luke enjoys being part of the Gander initiation ceremony, when the musicians come forward from their usual positions to become part of the crowd at the bar. “It’s an enjoyable part of the night, because the show doesn’t stop. There’s something delightful about getting up from the keyboard and doing that bit in the middle. It’s a chapter mark in the show.” Nathan Carter and Katrina Retallick in Come From Away. Photo: Jeff Busby.
Online extras!
Melbourne audiences couldn’t get enough of Come From Away’s return. youtu.be/B08RZwHCyn0
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Cover Story
The original Australian company of Come From Away. Photo: Jeff Busby.
Come From Away’s encore Melbourne season closes on March 21 before opening at the Lyric Theatre, QPAC on March 26, and then the Capitol Theatre, Sydney on June 3. comefromaway.com.au (Continued from page 10)
Gander, saying that she will not stay on the plane if he is not removed. Sarah spoke about her background preparation to performing this scene. “Back in the rehearsal period we all spoke about our experiences of 9/11. We spent a couple of hours going around the whole table talking about where we were. Original cast member Nick Brown told us that he had grown up in Australia but, after 9/11, that was the first time he’d ever been racially profiled for the way that he looked. We still definitely have Islamophobia in this country. Hopefully, it’s a moment where people in the audience check in with themselves to have a think about their behaviour or the way they think.” Emma Powell explained that her main character, primary school teacher Beulah Davis, is based on two women: Beulah Cooper and Dianne Davis. “They both came out, so I got to meet both my girls. Everything kind of clicked in a way. It added another layer. I mean, how often do you get to perform a real person - and be a real person who’s still actually alive - and they come?” 12 Stage Whispers March 2021 - April 2021
Emma had praise for director Christopher Ashley, “When we were first doing this, a lot of (the direction) was incredibly specific. But within and around that we had we had a lot of freedom. So, as an actor, it’s a dream.” Emma evidently shares the audience’s fondness for her character Beulah, saying, “She’s that person that we all want in our life when we’re feeling vulnerable. It’s a very vulnerable story, and people think ‘Oh, that’s that person who’ll go ‘sit down, I’ll get you some soup or make you a sandwich. I’ve got you.’ I think she’s the heart of the piece.” Emma’s previous role was Trish in the Australian tour of Kinky Boots. She commented on the changing visibility of mature female characters. “The reason I started my show Busting Out was because I was coming up to 40 and there was just nothing it was like a desert for women of that age. Over the last decade, things have started to change and there are more roles, though still not enough!” An accomplished piano player, musical director Luke Hunter had to learn the push-button accordion for the show. “It’s an Irish traditional instrument. I play a German accordion that was
gutted and rebuilt by a Japanese accordion-maker in Florida. So, it’s truly a world instrument in its own right.” The push-button accordion is part of the distinctive sound of Newfoundland, where Come From Away is set. The show opens to the unique sound of the Bodhrán drum, played by Ben Smart. Matthew Horsley plays 16 whistles, two Irish flutes and the Uillean Pipes. Luke has appreciated working with new musicians for the show, saying “It’s been delightful - there are musicians in the band who have never done a theatre gig and so we’ve really had to learn about each other’s worlds.” Douglas Hansell was working in London during auditions for Come From Away. Fortunately, he was back in Australia for a show at Sydney Theatre Company when a friend told him that there was one role that the producers were having trouble casting. Douglas had two auditions in one day and was soon calling his London agent to let them know he been offered the role of Kevin T, the businessman who is travelling with his partner, who is also named Kevin. Douglas and new cast member Joseph Naim play the two Kevins, who discuss whether they should hide their relationship while in Gander. This caution around homophobia seems somewhat jarring for a show set less than 20 years ago. Douglas compared the progress in society to the example of the cast of the new television series It’s A Sin, saying “When I was 22, the thought of playing a gay role so explicitly would have almost been, not career ending but there would have been that concern about what that’s going to do my career. It’s not a long time, but I think what has happened in the past 18 years is quite substantial. “It’s important today as well that there are a few private moments where the Kevins sort of just brush each other’s hands or stuff like that, moments of intimacy that they would have had at that time. If you’re going to have a gay couple on stage, you have to play them as they are, not a sort of sanitised version.”
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Coral Drouyn looks at how the political scene has shaped Broadway musicals. Sherman Edwards and Peter Stone. This time it focussed on John Adams and Thomas Jefferson, with Howard da Silva stealing the reviews as Benjamin Franklin. The Tony Award winner as Best Musical opened in London in 1970 with Australian actor Lewis Fiander playing Adams. He returned to Melbourne the following year for the Australian production, which didn’t have the same success. Perhaps it was difficult for an Aussie audience to relate to politics before the Whitlam years. But several decades before that, the revolutionary war provided the backdrop for two other musicals with very similar storylines. Dearest Enemy was the first collaboration between Richard Rodgers and Lorenz (Larry) Hart, who were struggling young songwriters at the time. I’m joining the rebellion ‘cause I know it’s my chance It was Hart who got the idea from a plaque on a building To socially advance, instead of sewin’ some pants (woo) telling the story of an American Revolutionary War I’m gonna take a shot incident in September 1776 when Mary Lindley Murray, Miranda makes the King, George III, a complete under orders from General George Washington, detained buffoon, with the hilarious song “You’ll Be Back”, but General William Howe and his British troops by serving gives him insidious lyrics like: them cake, wine and conversation in her Kips Bay, Manhattan home long enough for some 4,000 American ‘Cause when push comes to shove soldiers, fleeing their loss in the Battle of Brooklyn, to I will kill your friends and family to remind you of my love. reassemble in Washington Heights and join reinforcements Though the music of Hamilton is innovative and to make a successful counterattack. It’s a love story of contemporary, there’s a timeless dark underbelly and sorts but very political. Still, it’s fair to say that it’s the serious moral question at the heart of the show, and it’s Rodgers and Hart melodies that are responsible for the politics and battle for power that provides it. And, numerous revivals. after all, what could be more exciting for a Broadway The same love story was echoed in 1950 in Arms and audience than a story about the country’s struggle for The Girl, which starred Nanette Fabray, Pearl Bailey and independence and nationhood? Hamilton has characters French heart-throb Georges Gueteray. Despite a great cast, that changed the western world, and even if we don’t fully witty lyrics and a book by the great Dorothy Fields, it was a understand the politics, we understand the ambitions and flop and is now best remembered for General Washington power struggles behind them. Hamilton’s power on stage riding on a white stallion in the last scene. I wonder who is so strong that it saved Alexander Hamilton’s image from cleaned the stage. being booted off the US ten-dollar note - now that’s Though Benjamin Franklin never got the presidency, he impressive. did get a musical - and some would say that’s the better However, Miranda isn’t the first to chronicle the early deal. 1964’s Ben Franklin in Paris starred Robert Preston, struggles of the Founding Fathers on the Broadway stage. who had been a smash in The Music Man. Despite Jerry The Declaration of Independence was signed in 1776 and (Continued on page 16) that proved to be the perfect title for the 1969 musical by Hamilton is about to take Australia by storm, having won every award on offer (including the Pulitzer Prize). Will we like this slice of American political history? We’ll love it. Lin-Manuel Miranda may have revolutionised the Broadway musical, but the ingredients for success have been around since Shakespeare’s time: a love story, intrigue, comic relief, murder, ambition and politics. But hang on. Doesn’t everyone hate politics? Perhaps it’s more a case that we love to hate politics, even if it seems incomprehensible, or heavy going, a lot of the time. That’s the genius of Miranda. While Hamilton declaims dramatically in his proclamation of his own ambition, “My Shot”:
14 Stage Whispers March 2021 - April 2021
Austin Scott and the U.S. tour cast of Hamilton. Photo: Joan Marcus.
Online extras!
Lin-Manuel Miranda leads a crash course on Alexander Hamilton. youtu.be/37M2cQNzqX8
stagewhispers.com.au Stage Whispers 15
It seems finding clever titles is not one of composer Frank Wildhorn’s strengths. His musical about Jekyll and Herman being credited as the composer, he only Hyde is called … er … Jekyll and Hyde and his musical on contributed two songs. The show wasn’t a success, with The Civil War is called … wait for it …The Civil War. It told the critic from the NY Times writing, “NEITHER the wig nor the story through the eyes of Union and Confederate the fine 18th‐century coat, waistcoat, breeches and boots soldiers and slaves, in a variety of musical genres, but with can fool us. That genial, light-footed, resourceful salesman a cast of just 15 in its touring version, the battle scenes who answers to the name of Ben Franklin is really our old must have looked more like seven-a-side rugby. It lasted friend selling band instruments in Iowa.” just eight weeks on Broadway. Even the Gershwins had their own jibe at American Sondheim’s Assassins fared better - with Booth’s killing politics in the highly satirical “Of Thee I Sing”. When you of Abraham Lincoln right up front. Strangely, if you read have a Vice President named Throttlebottom, you know the hate-speech in the lyrics, it bears a strong resemblance you’re in for laughs. George S Kauffman and Morrie to the rationale of recent events in Washington’s Capitol Ryskind wrote the book, which avoided naming the Building. Only Sondheim could make a musical about political parties, as they believed that absurdity was deranged people killing for political reasons work on any bipartisan in Depression-era politics. Some things never level. It’s a marvel. change! 1975’s Shenandoah fared much better. Winning two Andrew Jackson, who founded the Democratic Party Tony Awards and running a respectable 1050 and became America’s seventh president, got his own performances. But one can’t help but think that’s because musical, Bloody, Bloody Andrew Jackson - but not until it is more about the family life, with the war as a 2006. By that time the audience had to be reminded that background and catalyst. Wouldn’t we all have loved The the symbol of the Democratic Party is a donkey because Waltons even more if it had been set to music and taken Jackson was known as a Jackass. The show was a smash place in the Civil War? hit OFF Broadway but failed miserably on The Great White Perhaps the biggest story of the Civil War is Margaret Way. Mitchell’s Gone With The Wind. It would seem a natural For all the material Independence provided, it was for a large-scale musical and yet, though it has been matched, but not with such great success, by the attempted twice, it has never made it to Broadway. One American Civil War. After all, it’s hard to sing and dance version, based on a nine-hour Japanese adaptation called your way through carnage - even on Broadway. Scarlett, ran for a year in London’s West End as Gone with (Continued from page 14)
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William Daniels as John Adams (seated) with Howard Da Silva as Benjamin Franklin in 1776 (1969).
Pearl Bailey and Nanette Fabray in Arms And The Girl (1950).
Hamilton’s much vaunted Sydney season opens at the Lyric Theatre on March 17. hamiltonmusical.com.au the Wind, but plans for Broadway, and even Australia, were cancelled before it opened. The second version, which had the Mitchell Trust’s blessing, had an entirely new book and score by Margaret Martin (MM has a certain synchronity) yet, directed by Trevor Nunn, ran just 79 performances. But it doesn’t need a war, civil or otherwise, for politics to worm its way into theatre. Politics, like death and taxes, is one of the great inevitabilities of life. So it’s not surprising that the anti-War 1967 musical Hair is still relevant, or that George Gershwin’s Porgy and Bess, about the plight of black Americans, was so politically charged that the very people it featured were not allowed into Carnegie Hall to see it. It shocked socialites, and there’s a story that one NY socialite swallowed her pearls in horror at the intimacy. And if you’ve seen James Cagney in Yankee Doodle Dandy you’ll know that Rogers and Hart wrote the fabulous I’d Rather Be Right with George M Cohan in mind to play FDR. The lasting song is the haunting “Have you met Miss Jones?”, still sung some 84 years later, but Cohan had the showstopper with the President’s song “Off the Record”, which boasts political gems like: “My speeches on the radio have made me quite a hero I only have to say ‘My friends’ and stocks go down to zero Don’t print it - It’s strictly off the record” The musical was a smash hit and even had Cohan, as FDR, dancing down a staircase, perhaps a little surreal for
a president in a wheelchair, though he did get his wheelchair back for Annie. Irving Berlin dipped his creative hat to politics in Call Me Madam - written for the great Ethel Merman about an ambassador to Lichtenburg, while Cole Porter in 1938 put politics up front in Leave It To Me, when an American Ambassador to Russia has his political espionage plans go astray. But the 1959 musical Fiorello! - about Mayor La Guardia of New York city - provides some of the best political barbs. It won, like Hamilton, the Tony for Best Musical and the Pulitzer Prize for Drama. In one song, “Politics and Poker”, a group of back-room political operators are trying to pick a candidate for Congress who will do their bidding, whilst playing politics and playing poker. Politics and Poker Politics and Poker Playing for a pot that’s mediocre Politics and Poker Running neck and neck If politics seems more predictable That’s because usually You can stack the deck So what next for politics on Broadway? There’s plenty of material. Will it be a drama Impeachment - The Musical or the comedy The Big Orange. Either one would be Trumps. stagewhispers.com.au Stage Whispers 17
The writer and composer of hit Australian musical Fangirls, Yve Blake, spoke to Peter Eyers for his Stages podcast. In high school Yve Blake was discouraged from choosing music as a subject because she could not play an instrument. Now she’s penned a hit musical, after learning how to use music composition software on YouTube. Her musical Fangirls is based on a teenager whose crush on a pop star gets out of control. The career of the writer/composer/actor is now on a star trajectory with a string of movie and TV commissions.
said, ‘Sure, who is he?’ And then she they’re at a concert at several points said, ‘Harry Styles.’ I laughed at her with lasers and smoke machines. even harder, because at the time he PE: You’re obviously a fan of was a big pop star in the world’s musical theatre. Why is it such a great biggest boy band. And then she said, form? ‘Don’t laugh at me, I’m serious, I YB: Sometimes people see it as a would slit someone’s throat to be genre, and they see it as capable of a with him.’ I was just arrested by her sort of narrow set of things, like tits conviction. From a place of morbid and teeth or singing or dancing, but I curiosity, I was, like, I must write think there is so much more to about this. explore. If you see a play and it I became obsessed with touches you, it’s ephemeral and you researching fangirls. I assumed it was remember it. But it’s slightly out of Peter Eyers: What were you like as going to be super aggressive and your grasp, and something that’s so competitive, and all about young girls a 14-year-old? Yve Blake: Very ostentatious. competing for the attention of a boy Fangirls is sort of a love letter to my and attacking each other, but I was wrong. There were so many stories 14-year-old self. I just had no idea how to be in my body. I’d walk to about fangirls that were these high school and not know where to extraordinary reflections of young put my arms. I remember running my female enthusiasm and its capacity for thumb nail down the sides of my nose good. It felt unfair that fangirls were and I was a disgusting, smelly grease described as hysterical, but the image ball. But around me, the whole world of young men screaming at a football was telling me that to be a teenage match was described as passionate girl, and to do it right, was to be like and loyal. (For young men) that’s the young and hot and sexy. I was love of the game, whereas women watching TV shows where 30-yearscreaming at a pop concert was olds who looked like models were minimalized and ridiculed. playing teenagers, and all had PE: So, I guess you could quite possibly have grandmothers taking boyfriends. And I just remember constantly feeling I could never get their grandchildren to the musical, anything right. with the Nannas having experienced the same thing with The Beatles that PE: Did you have any crushes yourself? their grandchildren experienced with YB: The reason I wrote this show is One Direction. that, as a teenager, I was not a YB: It’s fun that people of all “Fangirl”. I felt above it all. Was that generations are going. I loved to see an internalised misogyny? That being so many teenage faces and glinting expressive is too feminine and being braces in the audience. The clever feminine is weak and uncool? thing about the show, too, I think, is the production concept is very Privately I was obsessed with theatre and playwrights. immersive. The audience feels like PE: What then drove you to write about this obsession that (other) teenage girls had? Online extras! YB: I met a 13-year-old girl who Pick up a copy of Fangirls from Stage told me she met the man she was Whispers books. Scan or visit going to marry. I laughed at her and I bit.ly/3qyffBv 18 Stage Whispers March 2021 - April 2021
Belvoir’s Fangirls (2021). Photo: Brett Boardman.
powerful to me about musicals is you can go home and smash the cast album and continuously relive it. And so, the lyrics in these shows can be like spells and handrails that you reach for in tough moments of your life. I certainly have felt that way with musicals. PE: Did you learn an instrument as a child? YB: I got assigned the euphonium in Year Four, and then after a year of piano I could only play “Twinkle, Twinkle, Little Star”. Year Nine music (Continued on page 20)
Belvoir’s Fangirls (2021). Photo: Brett Boardman.
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(Continued from page 19)
rolled around, and they were like ‘Listen, um, you can’t play any instruments, so you can’t do this subject.’ I had a couple of singing lessons in high school because I wanted to get into the school musicals, but I could not read or write music. PE: How then did you end up composing a musical? YB: I had always made up songs and sung them into my phone. But it had felt like I was a computer with no printer. There was no way to get them out. So, when I was 20, I started on a music composition software called Ableton Live. I watched a lot of YouTube videos of sweaty teenage boys giving me tutorials on how to use it, and I taught myself how to use it to compose songs. Then somebody takes that and arranges it (for musical instruments). PE: When you’re writing a musical, what comes first, the music or the lyrics? YB: (Sometimes) I meditate on a certain theme- say the theme was the feeling of being a teenager and not feeling at home in your body. I would just write mad sentences and then I would cherry pick which ones seemed interesting. And then I would say them and try and notice if there were any rhythms and if I wanted to say them with pauses in them. (Then I explored) how those words work with melody. Another way in is I would spit out these little sections (of music) that were maybe four bars long and just go on a walk and repeat and hum them to myself. I came up with drafts of songs that were way too long, and then I would work with my dramaturg on Fangirls - Johnathan Ware - and he would help me condense it down. PE: What’s the most difficult thing that you had to write about? YB: Oh, whoa, that’s such a good question. The thing that maybe was the most painful is a ballad, from the perspective of (the lead character) Edna’s mother. She’s trying to get through to her daughter but there’s 20 Stage Whispers March 2021 - April 2021
PE: What wisdom did you gain from playing the lead role? YB: Being in the show humbled me. As a writer it gave me so much appreciation of what actors put their bodies through. Doing that show eight times a week for two and half hours, and this show has stunts, is very physical. PE: Were you a zombie after hours? YB: Completely. It was challenging to also have a full-time job as a writer. The energy or blood you need to flow to your brain to come up with writing are spent on big dance numbers. It was a complete privilege. I am so Peter Eyers spoke to Yve delighted to hand it over. I finally get Blake for his Stages podcast to watch the show. PE: What is the future for Fangirls? stagespodcast.com.au YB: I have been lucky enough to kind of nothing she can say. Every have been offered a (screen deal). For time she tries to appeal to Edna to a couple of years, I’ve been working look out for her best interests, she just on it with some really cool people. I’m can’t get in. In this moment she just interested in a kind of a new way to tries to explain that it is just because I go about it. (As a stage production love you. This was the fastest song I overseas) we’ve had a lot of nibbles. A wrote in the show. The unbelievable producer came from New York to see Sharon Millerchip played my mother it but that is on hold with COVID-19. in the (original season) and sang that PE: What else are you working on? song, and every night we would both YB: All of my commissions are for just be sobbing. screen. I am co-writing a feature PE: Can only young people tell about the Rock Eisteddfod for stories about young people? Aquarius Film - they did Lion. I am YB: I don’t think that’s necessarily writing a movie musical I can’t talk true, but it’s something I reflect on a about for a company in the States. I lot. I am in my late twenties and I’m am also co-writing a podcast musical writing about teenagers, but I don’t for Playful Productions (on feminist) know what it’s like to grow up with Mary Wollstonecraft. the Internet at the scale that an actual PE: Where would you like to see 15-year-old does now. There are yourself in five years? some things that will never change YB: Oh, wow. I love these about being a teenager. questions. I hope in five years I’m PE: For the first season in Sydney making checks in my pyjamas. I hope and Brisbane you were in the lead I’m having a really good time working role. What was it like in the rehearsal with legends. Big opportunities can room when you were the writer, and come knocking but my manager leading player? Did you have always says to me like, if I get a big arguments with yourself? offer, what’s it worth in grief? Like, YB: The director Paige Rattray are you working with people who you really supported me. She was like, we want to be on the phone with till two can meet before rehearsals and you AM? can have your writer’s hat on, but I (also) want Fangirls to be in high then as soon as the clock strikes 10 schools as I wrote it for teenagers. I and everyone shows up, you are an won’t rest until the day that I see the actor. Just be an actor until six, when tallest girl in Year 11 play the mum we’ve finished, and then you can put and that’s my dream. your writer’s hat back on. Yve Blake.
Musical On The Menu Leading theatre producer John Frost has sold his company to U.S. juggernaut Crossroads Live. But the impresario is not retiring. In an exclusive interview with David Spicer, he revealed the musicals - and a play - that he will produce across Australia. When the pandemic hit, producer John Frost had no less than five major musicals on the go and he told me that he expected to stay on the sidelines until the middle of this year. Yet just six months later he surprised the industry with the announcement that a new production of Pippin would be staged in Sydney. True to form, he created waves with the casting. A Broadway star was imported as the Leading Player upsetting some local creatives - and conservative TV personality Kerri-Anne Kennerley was given a cameo role, as the character Berthe, which required her to swing upside down on a trapeze. Sadly, the 67-year-old fell and broke her collarbone. John Frost is not about to change his style. He wants the whole cast back “including our import” in a future national tour of Pippin. Whether Kerri-Anne Kennerley is game to get back on the swing is unknown - perhaps with a safety line next time. A future tour of Pippin is only part of the plans for the prolific producer, known around the traps as “Frosty the Showman”, who commenced his career at the age of 16 as a dresser with the JC Williamson production of Mame. “I am optimistic about the future of the industry. People are scared to go out (but) the vaccines will instil confidence.” The impact on live entertainment caused by state lockdowns has been severe. Pippin was just a few weeks into its Sydney run when the northern beaches lockdown forced it to close for a week. “The minute the north shore lockdown happened it took the wind out of every show in town. “It’s hard to claw back momentum. It’s a slow crawl back. Pippin was always going to close in late
January so by the time we got back to doing cracker business it was time to close.” A similar fate affected the GFO production of Shrek in Brisbane. “We were just in previews when Annastacia Palaszczuk pulled the plug. It sent ticket sales down to 300 a day later it bounced back to 1000 or 1500 a day. This thing of closing down states because of one person is madness.” In Melbourne, the five-day lockdown knocked the stuffing out of theatre’s slow comeback in Victoria. Performances of Come from Away were postponed and the outbreak threatened the much-delayed resumption of Harry Potter and the Cursed Child, scheduled to re-open on February 25, after a 49 week hiatus. The big news for John Frost personally is the sale of his business to US entertainment company Crossroads Live, which also acquired UK based David Ian Productions. It (Continued on page 22)
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Pippin (2020). Photo: David Hooley.
stagewhispers.com.au Stage Whispers 21
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The cast of Shrek take you backstage to where the magic happens. youtu.be/s97jw_IuuW0
Shrek (2020). Photo: Brian Geach.
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was a big step for a company that has dominated the commercial theatre scene in Australia for decades. At first blush it sounded like John was stepping back from the industry, but it’s quite the opposite. He will stay as Managing Director of GFO and run the show for five years, then he can retire or “haunt people when I am 80”. “I suppose I do (now) have a boss, but nothing seems to have changed,” he said. The merged entity now has more resources to produce shows and GFO will have first access to productions that other divisions stage. Every fortnight, producers in Los Angeles, London and Sydney join for a video hook-up to plot their next step. One of the projects in development by Crossroads Live is a musical adaptation of the film Mrs Doubtfire. It was in preview on Broadway when Covid-19 closed the industry. Crossroads Live is also producing a musical adaptation of Almost Famous. John Frost says he has big plans for the next few years. At one end of the entertainment spectrum is Magic Mike Live, a risqué male dance extravaganza which opened in Sydney and will tour around Australia. The production 22 Stage Whispers March 2021 - April 2021
Magic Mike Live (2020). Photo: Peter Brew-Bevan.
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Discover what it took to bring Magic Mike Live to Australia. Scan or visit youtu.be/L-B13liEdhQ
John Frost. Photo: Peter Rae.
is staged in its own bespoke tent which features a fancy bar that sells cocktails to the mainly female clientele. At the other end of the cultural spectrum, GFO is producing a one woman play about Nazi Germany which stars Robyn Nevin and is directed by Neil Armfield, both darlings of the subsidised theatre world. “People really don’t know me,” said John, when I expressed my surprise at this choice of production. The play, A German Life, opened at the Adelaide Festival. It’s based on the life of Brunhilde Pomsel, who emerged from the rubble near Hitler’s bunker waving a white pillowcase to the approaching Russian troops in April 1945. She was a secretary to Nazi propaganda chief Joseph Goebbels. “She lived to 106 and was interviewed (for a documentary) when she was 103. I’d like to think we could tour this play,” he said. Another new production waiting in the wings is Rodgers and Hammerstein’s Cinderella, which GFO will produce with Opera Australia when the time is right. “I was just playing the music in the car. This score is so beautiful and fun. It is a glossy looking production. I think the time is right. It has an adult slant to it, with a brand-new script that was on Broadway and did two US tours.” Also on the menu for GFO is completing national tours of Charlie and the Chocolate Factory, Shrek and Chicago, which means they could be seen in cities which missed out the first time. Of the productions cancelled due to COVID-19, John Frost said he “definitely” plans to bring back The Secret Garden - which was to star Anthony Warlow. He’d just got off the phone to Anthony when I spoke to him and teased the star about how much theatre he had seen lately. The musical production of Dolly Parton’s Nine-to-Five the Musical is also likely to get back to work. John also told me how much he enjoyed the workshop of the new Australian musical The Dismissal - which is rumoured to be opening late this year. However, Fiddler on the Roof in Yiddish - that was scheduled for Sydney and Melbourne last year -appears to be off the schedule. And in news that is sure to stir up the “Twitterverse” when it is confirmed, GFO plans to bring back old favourites Grease and Annie, but not for at least two years. “I will just give the sets a lick of paint.” John Frost noted that bringing back old favourites never upsets the public or “my back pocket”. stagewhispers.com.au Stage Whispers 23
Rob Mills: Pawn Star Music Theatre star and Neighbours TV villain Rob Mills is best known for his heartthrob roles on the stage. He’s relishing a switch to a more cerebral part, as a scheming agent, in a national concert tour of Chess The Musical. David Spicer reports. Early last decade Rob Mills was such a shoo-in for male leads that he was in Stage Whispers every second edition. His reputation was for portraying the smouldering lead, not the bright spark. My first question to him was, do you even know how to play Chess? “Oh yes,” he said with a sheepish giggle. “Pawn to C3, you have sunk my battleship.” Jokes aside, he admits to being “pretty sure” how the game works and how the pieces move in different directions. “Do I know the
million moves that I can make? No, I do not know how to play it well. But I watched The Queen’s Gambit during lockdown.” Of course you don’t need to be able to play Chess to be in the musical Chess, any more than someone playing Curley in Oklahoma! has to be a skilled cowboy. What Rob Mills is skilled at is being a multi-faceted entertainer. He rode the wave of fame from being a finalist on the original season of Australian Idol, and a famous public dalliance with Paris Hilton, to scoring lead roles in musicals such as Grease and Wicked. He gets annoyed that reviewers would often write that “Rob Mills was surprisingly good” in their summations of his performances. It is no longer surprising that he is good. Now, a few years off 40, the type of roles he is playing are changing. In the concert production of Chess he will play the role of the Walter, a smarmy, sly American who manages Chess players. “Walter is the guy who puts it all together - the match between the Russian and American grandmasters. I am the puppeteer, a bit of a shyster, a salesman and also a CIA operative who wants to make sure an American comes out on top. “I am looking forward to getting away from being a romantic lead, and not having Rob as Walter De Courcey to dance. in Chess The Musical.
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Meet the cast of Chess The Musical. Scan the QR code or visit fb.watch/3FIWUMsfN9 24 Stage Whispers March 2021 - April 2021
Rob as Danny Zuko in Grease (2013) (above) and as Sam in Ghost (2016) (right). Photos: Jeff Busby.
“It is a different sort of role - more Machiavellian. I like that. I spent the last three years on Neighbours playing the bad guy (teacher Finn Kelly) trying to kill off some of the other characters.” Rob says he relishes grittier roles. “I am hoping intellect is becoming sexier. That is what The Queen’s Gambit is about. Nerds are sexy. “I am not that clever. I know my partner is very clever. I find her sexy because she is very clever.” Rob’s partner is ABC News breakfast sports presenter Georgie Tunny. They famously met when Rob saw her on TV and introduced himself over social media. Before COVID-19 they had plans to fly to London, where a career in the West End beckoned. The combination of his music theatre talent and recent status as a star on Neighbours would have made Rob a hot property on the pantomime circuit. He was all geared up to frock up. “I love wearing a dress and think pantos are super fun. “I did a trip London and got myself an agent. It was all going ahead, with Georgie becoming a European correspondent or working for the BBC.” All that is now on hold. Rob spent the long lockdown in Melbourne working on a new show that he is writing with performer Bobby Fox, worked on a ‘start-up’ in creative consulting and did lots of reading, after years of intense commitments.
StoreyBoard Entertainment presents Chess The Musical Melbourne: Regent Theatre - April 22 to 24. Adelaide: Her Majesty’s Theatre - May 27 to 29. Perth: Perth Concert Hall - June 3 to 5. Brisbane: QPAC - June 8 to 10. chessmusical.info As for 2022 and the possibility of heading back to the UK, “it depends on Boris. It feels like they are going for full herd immunity. Watch this space. I feel super grateful to live here. We have a pretty good Government, the majority of punters do the right thing and we are super blessed to have theatres opening up.” Filming for his role on Neighbours ended in 2019. “Any entertainment gig I love. With theatre you create a family and tour around the country. You put together a wonderful production and get that instant gratification every night. “With TV you are constantly learning something new. You have the weekend back, but on the weekend you are learning lines for the following week.” Some of the attention he has received for being on TV was not always welcome. “I got abused on the street for being (a villain) in London. Sometimes they are aggressive about it. ‘Fin Kelly you are a bastard.’ I responded with ‘My name is Rob. Thanks for the hospitality in England.’” The concert production of Chess will be his first extended tour for a
number of years. It opens in Melbourne in April, then travels to Adelaide, Perth and Brisbane. It’s directed by Tyran Parke and other leads include Natalie Bassingthwaighte, Paulini, Alexander Lewis, Mark Furze and Brittanie Shipway. Why should people see the concert rendition of the musical? Rob, ever the salesman, has his pitch ready. “We have not seen the show (professionally) for such a long time. The writer, Tim Rice, is phenomenal. This was his first musical away from Andrew Lloyd Webber. Combined with the music of Benny Andersson and Björn Ulvaeus (ABBA), the concept album was number one for months. “What you have not seen often is the old school 24-piece orchestra on the stage. The enormity of the soundtrack will be fully realised.” Rob says audiences understand that a concert presentation lacks a big set and choreography. “It is sung though, which lends itself to the rock opera style. With clever lighting, the calibre of actors and direction of Tyran Parke, you know you are going to get something thought-provoking.” stagewhispers.com.au Stage Whispers 25
Staging Our Town Lee Lewis - the new Artistic Director of the Queensland Theatre - opened the company’s 2021 season with the Thornton Wilder play Our Town. She describes why the play is a classic that transcends time. I had just taken up my new role as Artistic Director at Queensland Theatre when the theatres closed in early 2020. But by June, I was daring to think about the possibility of a 2021 season. What stories would people want to see? Something in my heart told me to look to Thornton Wilder’s Our Town - and not just because it is my favourite play in the world!
values, be kind and cherish the people they love. The story focuses on two neighbouring families and a range of townsfolk. Young George Gibbs and Emily Webb are the quintessential young lovers. We follow their families over about 10 years and experience their happiness and sadness. The central role is a ‘stage manager’ who talks directly to the audience. The final act of the play is quite confronting. Wilder was a form-breaker and, for some, it What was Wilder thinking when he wrote Our Town? was just too different. Today, of course, all the technical Thornton Wilder first conceived the idea for Our Town stage rules have been broken and we’ve seen it all before. But Wilder’s script is deceptively simple and poetic; its when he was a 23-year-old student at the American Academy in Rome. Working at a local archaeology dig, he succinctness paints small portraits of everyday characters. saw paintings of an ancient Roman family and had the Why I chose an 83-year-old play epiphany that the lives of people separated by centuries were not so different. More than 15 years later Wilder With Our Town, Wilder reminds us that life is short, so if there’s something you want to do, you’d better do it wrote Our Town after a residency at the MacDowell Colony - a New Hampshire artistic community. Our Town today - that’s something we can all relate to after 2020. was first staged on Broadway 83 years ago in what is now So, taking that on board, I wanted to bring theatre back in a big way in 2021. Our Town is full of characters, and the Stephen Sondheim Theatre - the anniversary was exactly to the day for our opening night in Brisbane. Our provides the opportunity for some extraordinary performances - and part of my mission was to get as Town won the Pulitzer Prize for Drama in 1938, and would go on to become America’s most-performed play. I many performers back on the stage as possible. Our cast, with 14 actors on stage each production, playing 17 was honoured to receive a letter from Wilder’s family characters, was the largest to ever perform on the Bille thanking us for choosing his play to stage in 2021. Brown Theatre stage. Our Town allowed us to do that because, famously, it has no extravagant sets or expensive Our Town reminds us to cherish the people we love props. The play’s backdrop is small-town life in the fictional I also wanted to present a play that reinforced our small town of Grover’s Corners between 1901 and 1913. humanity at a time when we need it most. I always felt Because it was written between the two world wars, that Wilder was writing for everyone. I grew up in Wilder was reminding his audience to hold onto their Rehearsals for Our Town. Photo: Dylan Evans.
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Our Town. Photo: Pia Johnson.
regional New South Wales, but I lived in New York for 10 years after studying acting at Columbia University. The small-town America of Our Town may now be lost in its home country, but I have always found its humanity here in Australia in our small towns. I’m from Goulburn - yes, home of the Big Merino! For me, it’s my Grover’s Corners - I don’t hear American voices in this, so I decided to retain our local voices.
Director’s Diary Our Town. Photo: Pia Johnson.
Putting it together: Production elements and team While Our Town has no described stage sets, that doesn’t mean an empty stage. Working with our Costume Designer, Nathalie Ryner; Lighting Designer, Paul Jackson; and Sound Designer and Composer, THE SWEATS, we tried to carve a vivid imaginary world out of subtle suggestions. Following Thornton Wilder’s lead, where upstairs is just up on top of ladders, we tried to evoke the feelings of spaces with light and sound and a few significant costume pieces. The play goes from being a bare, fluoro-lit world, to a warm community, to an austere and darker clarity at the end. We tried to sculpt Grover’s Corners out of people’s memories rather than build a new world for them. Nat’s costumes take us from today’s contemporary streetwear all the way back in time to an Edwardian bustle, but she does this almost invisibly. THE SWEATS’ sound world grows from the hands-on efforts of the cast making sounds of chickens, to old recordings of hymns, to Aaron Copland (composer for the 1940 screen version of Our Town), to an original piano score that will break your heart. But this is all very subtle and works to lift up the imaginary world rather than be too literal. The cast all played with ideas for mimed props a little tentatively at first but with growing enjoyment. Jayden Popik (who plays George) started to enjoy throwing an imaginary baseball around - you can throw an imaginary ball way higher than a real ball! And Egan Sun-Bin’s horse Bessie came from a fun offer he made in the rehearsal room that evolved into him puppeteering a milk crate! Shared imaginary props need a lot of practice so that a tap is always in the right place and a cup of coffee put down by one person can be picked up by another actor, so the Gibbs and Webb families had to literally design their own kitchens! It was a lot of fun. Casting Our Town I started casting late in 2020. One of the only positives from the pandemic is that a group of talented actors in Queensland were all here, whereas usually they would be pursuing (or being pursued for) roles in films, TV, and interstate theatre productions! We were lucky to find seasoned performers available alongside our young emerging talents at a critical stage of their careers. The pivotal role of Stage Manager just had to be played by Jimi Bani. He certainly has the gravitas and warmth that (Continued on page 28)
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Director’s Diary
Our Town. Photo: Pia Johnson.
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Hear the cast and creatives discuss the staging of Our Town. Scan or visit youtu.be/sJGK3adJqs4 (Continued from page 27)
Our Town by Thornton Wilder ran at QT from January 30 to February 20 2021. PRODUCTION TEAM Director: Lee Lewis Costume Designer: Nathalie Ryner Lighting Designer: Paul Jackson Composer/Sound Designer: THE SWEATS Stage Manager: Pete Sutherland Assistant Stage Manager: Margaret Burrows Cast: Jimi Bani, Andrew Buchanan, Mia Foley, Angus Freer, Lucy Heathcote, Luca Klarwein, Amy Lehpamer, Roxanne McDonald, Libby Munro, Hugh Parker, Jayden Popik, Silvan Rus, Ava Ryan, Colin Smith, Anthony Standish & Egan Sun-Bin.
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draws people into the play - as well as an incredible sense of humour which it was a pleasure to showcase during his multiple roles in the play. Our extraordinary cast collective included some of the best actors in the country - stage stars Colin Smith and Libby Munro, Hugh Parker and Amy Lehpamer. We had to have the legendary Roxanne McDonald for the standout comic cameo of Mrs Soames. And who better for dramatic and comic reliability than our regular collaborators, Anthony Standish and Andrew Buchanan? We cast four artists in their Queensland Theatre debut roles, and four of our Young Artists’ Ensemble. As for the young lovers - I kind of see the roles of George and Emily as the original ‘Ross and Rachel’ of Friends sitcom fame - so, how do you cast such key roles? I had just worked with Jayden Popik in last year’s Mouthpiece. He was perfect as George - and making her company debut as Emily was Lucy Heathcote. Yes, this could be a typical teen romance, but Jayden and Lucy bring a fresh edge that makes their falling in love seem both contemporary and timeless. Rehearsing after more than a year - How do I watch 16 people again? At the end of the year, it was a joy being back together in a rehearsal room. In the first week, we spent a lot of time talking about where we find our own Grover’s Corners: Ipswich, Grafton, Tewantin, Thursday Island were just a few communities we recognised. After more than a year away for most of us, there was a tinge of rustiness - everyone was exhausted in the first week, just by working full days. For myself, I had to figure out ‘How do I watch 16 people again?’ But it was wonderful, and almost as if, through his characters, Wilder was saying to all of us - ‘It’s OK, you know these people, you can do this - it’s easy’. The play is also set in a theatre so that brings its own emotional layer too. I’m sure there were times when the crew saw me being quite overwhelmed by how wonderful it was to be back in rehearsals. Our costume designer Nathalie Ryner noticed it too. She said she could see the joy in the costume department - and we agreed that when people are enjoying working at their craft, there’s a love that comes through in the work - the cast, the crew see it, and the audience sees it too. Would I recommend Our Town to other directors? Absolutely! This play is about people and, as a director, they are your ingredients - the actors and the audience. More than any other, this play brings the two together in a wonderful mix. That connection is ultimately rewarding for me - and, most importantly, for the audience.
StageCenta: Swipe For A Show Canberra Theatre enthusiast Richard Block is launching a free national theatre app in 2021, featuring a comprehensive show guide with aggregated reviews and features. David Spicer reports.
The first musical that Richard Block directed in 2012 was How to Succeed in Business Without Really Trying. Since then, he has been succeeding in show business, but the truth is he’s been trying really hard. After he became hooked on theatre, he set up his own company - Dramatic Productions. Its last production in 2019 was a pro-am season of The Producers starring TV personality Daryl Somers, and directed by Rachael Beck (pictured). “I fell in love with theatre late in life. I was 30 at the time. I loved working with the people and creating this positive experience for people to enjoy. And it’s a very rewarding field to be in,” he said. For the first musical he directed, he set up a mobile phone website for patrons. “It had a welcome video and showed how we did magic tricks and how we did the costumes,” he said. The template attracted the interest of licensing agent Hal Leonard, who asked Richard if other theatre companies could use it. The next step was to found StageCenta, a ticketing service for other performing arts groups. Richard runs a family publishing business with a focus in the racing and sporting industries. He has five employees who multi-task their publishing duties with his theatrical enterprises. “We offer boutique ticketing services for small to medium companies or schools who do not have time to answer calls from the public,” he said. “The majority of our clients are schools (putting on a musical or play). We take all the problems from them.”
Rachael Beck and Richard Block with Daryl Somers, who played Max Bialystock in Dramatic Productions’ The Producers (2019). Photo: Janelle McMenamin.
For more information or to register, visit stagecenta.com The StageCenta website then expanded to artist profiles. Richard got the attention of the industry when he set up a competition in 2020, which saw actors eligible for prizes of up to $500 for loading their profiles on his website. His big project for 2021 is the StageCenta App, which is scheduled to launch in March. He promises that audiences will be able to locate “every show, everywhere, every day with a swipe of the finger.” The app will have show details and times, a geographic location function to reveal what shows are nearby, directions to the theatre, cast bios, links to ticket purchases, reviews and features. StageCentra will not be sending out its own reviewers, rather it will aggregate content from existing media - such as Stage Whispers Magazine. “We will list hundreds, if not thousands, of productions.” Initially StageCenta will load the majority of shows on behalf of companies, but will encourage companies and venues to list and edit their own info via the website. Actors and creatives who have registered their profiles at stagecenta.com will appear on the StageCenta App. Richard is itching to get back into producing his own musicals. Dramatic Productions’ next season is the musical Dogfight. Across the A.C.T., community theatres are coming back with seasons of The Sound of Music, Mamma Mia! and Jersey Boys in the first half of the year. “This year is looking invigorating. We are all finding ways of making it work with restrictions on capacity.” stagewhispers.com.au Stage Whispers 29
Coral Drouyn continues her interviews with three of our major theatre Directors, as they discuss the highs and lows of the theatre industry. As audience members, we tend to leave the theatre raving about performances or the music (in the case of musicals). But the truth is that what we see on the stage is the result of the Director’s vision. That’s where a production triumphs or fails. So, I was happy to revisit my time with Roger Hodgman, Neil Gooding and Jason Langley and get their take on how the process works for them. Coral: What’s the advantage of having come from another associated discipline - writer/actor/dancer/ musician etc? Is it easier to wear several hats or to have one singular vision that requires commitment from everyone? Jason: Early in my career, I would take on one or two directing projects a year and fill the rest of the year with acting gigs. Once I started directing, I felt I became a much better actor. I also feel what makes me successful as a director can be attributed to having been an actor, because I have lived that experience.
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I was trained in lighting in high school (as I was told I couldn’t be in the school musical because I had no talent). Many of my after-school jobs were in lighting also. This has greatly informed my directing. Lighting design is very much in the back of my mind when I direct - I create images, often based on the lamp stock available or knowing that the lighting designer can have fun with those stage images. Understanding associated disciplines, whether thorough or fleeting, can only enhance your practice as a director. Neil: I have always thought that cross-pollination of skills helps. Certainly, studying music at an early age helps in all areas. Having some acting background may not help a director technically, but I think it does help with understanding the psychology of being an actor, and of knowing ways to communicate effectively, and to help manage the various emotions that come as part of a creative process. I have always been comfortable producing and directing
on the same project. On certain projects, being able to dream of what you want creatively, and then also be able to facilitate that dream from the financial and logistical side does allow you to get closer to what you had imagined without as many compromises. But, of course, if it doesn’t work - there is also nobody to blame. Roger: I think having had some acting experience is useful, if not essential, for a director. I learned a lot from teaching acting in drama schools. I was already a director, but I learned more each time I worked with students. I also think my continuing interest in history, literature, and politics (the subjects I studied at University) is also useful. I love the research I do around the play in the preparation stage. I believe it is better to be collaborative and to welcome input from designers, composers, actors etc. But in the end, one has to marshal all that input into a coherent vision. Sometimes I have a very clear idea of the production when we start - at other times, the vision develops through the preparation period, collaboration and rehearsals. Coral: Were you ever in a situation where you felt you had lost the plot and had to fight your own demons to find your way back to the truth in a production? Neil: To me, this is a part of absolutely every production. There always comes a point during the rehearsal process where you start to question a lot of your choices and have to remember all of the reasons that you chose the show. With experience you get used to the idea that these moments are going to rise on every project, and just to trust in the show, and the team around you, and the process. Roger: A degree of self-belief can be helpful to a director and too much uncertainty can be harmful to the performers. But I don’t think it’s a weakness to admit you’re not sure how something should go or that the production needs to change direction. I go through a period of
self-doubt in every production - not always seen by my colleagues. I’ve learned that the times when you feel the most confident can be with shows that fail and vice versa. There are productions I look back on with horror, but I often didn’t realise they were going off the rails at the time. Sometimes it was a result of a play I had no real affinity with or, on a very few occasions, because I chose actors or other colleagues that I didn’t enjoy working with. Jason: Only as an actor. Not as a director. The text is always the road map of clues, truth and knowledge for me. I’m always very aware that it’s never about me, it’s about the work, the story, the text, so armed with that I tend not to lose my way. I have found scripts impenetrable or misogynist/racist, but both situations required diligent examination and research to discover a way to negotiate them. (Continued on page 32)
Dirty Rotten Scoundrels (2013). Directed by: Roger Hodgman. Photo: Kurt Sneddon.
Online extras!
Tony Sheldon and Matt Hetherington perform “Dirty Rotten Number”. youtu.be/AN8xs0zHSf4
The Life Of Us (2020). Directed by: Neil Gooding. Photo: Grant Leslie.
Online extras!
The Life Of Us explores what it means to be connected. Scan or visit youtu.be/Ja_jAN6CdCk stagewhispers.com.au Stage Whispers 31
Online extras!
Relive the vibrant, sassy and swinging Dusty The Musical. Scan or visit youtu.be/frPiTRY8F-s
what they say? And if one believes all the good reviews one receives, one Coral: Do you read reviews? must believe the bad ones. Jason: I like reading them. I’d Jason: It can be disappointing, rather know how the show is being however, I’m fatalistic about it. I’m received - if the critic has jumped usually more worried for the morale onboard with or understood our of the cast and company. particular conceit for the production. There are so many extenuating Roger: I don’t read reviews circumstances with a critical appraisal immediately but ask someone to tell that are out of your control: any me the general tenor and if any of prejudices the reviewer may have, the cast have been attacked in case what kind of day they have had. In some pastoral work is required. the end, a review is one person’s Neil: Yes, for me, it is important to opinion. know what is being said, and to see if There are also often things out of there are any consistent messages your control as a director on a that other people are seeing that may production and critics might be in my creative blind-spot. None of observantly pick up on that. this means that I would change the Neil: Critcism is never easy to take. show based on the reviews. But I Everybody wants to hear that their would rather know than not know. work is amazing, and it is the best Coral: How do you respond to thing that anybody has ever seen. The criticism? hardest thing is that you usually pour Roger: If I become aware of it, it as much of your heart, soul and time rarely worries me. There are few into a show that is not loved, as you reviewers whose work I always agree do with the shows that are loved. with, so why worry too much about And usually, it is very hard to tell (Continued from page 31)
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Dusty (2016). Directed by: Jason Langley. Photo: Jeff Busby.
what the reaction is going to be. It is important for me to read all reviews as passively as possible, not get personally offended by them and to just keep some perspective. Sometimes it makes life harder because you suddenly have to start managing the cast’s disappointment from reading the bad reviews as well. Coral: Following on from that - do you alter or “tweak” a show once it has opened or is the production set in stone by then? Roger: Yes, I often tweak throughout the run, though I don’t go and see it too often - I feel the performers need to be left alone for a while to discover their version. And I love re-rehearsing a piece when it transfers or is remounted. A chance to make it better and fix things that weren’t working. I hate the concept of a show set in stone, which is why I so much dislike the cookie cutter approach of remounting overseas shows when the directors (usually assistants from the original
production) see it as their job to precisely reproduce what was done before. Without some creative input from everyone involved, the show is inevitably sterile. Neil: It is always possible to make tweaks after opening night, but usually these are in small, nuanced ways with the actors. It is far less likely that you could re -stage an entire sequence. Jason: I’m always open to Neil Gooding. suggestions from my fellow creatives and actors. How a designer, a choreographer, a musical director and an actor can take your idea, interpret it, expand it and elevate it to places you may not have thought of, is breathtaking for me. Sometimes I get a trusted director, choreographer, or musical director friend to cast a fresh eye over a rehearsal run to get their thoughts
on clarity, but I rarely tweak after opening night and I’ve not tampered with a show after reading what a critic has written. Ultimately you must trust your vision. Coral: What about when the show is good (and you know it) but the seats are empty? How does a box
(and that’s often been the company I was running). But in the end what’s important is that the show is good. Sometimes finding the audience which would like it does not happen and that’s sad. Neil: There are not many things more soul destroying than walking
office ”flop” affect you emotionally? Jason: I’m more disappointed for the entire company that their efforts aren’t being rewarded with larger audiences. I don’t let it affect me emotionally. I learned many years ago to not stress about things that are out of my control. Roger: That’s hard to take. I’m sorry for whoever is paying the bills
into a theatre that is largely empty when it is your work. That is even harder when you feel like the show and the work is good. But that is one of the factors of working in theatre, and just something that you have to deal with. There is no neat answer to that! Coral: Thank you gentlemen and, as the saying goes, “That’s showbiz!”
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A Treasure Trove Of Programmes Theatre programmes have provided an invaluable historical record in Australia for just on 225 years. Susan Mills, the archivist at the Seaborn, Broughton & Walford Foundation in Sydney, looks at their history. At the heart of the Seaborn, Broughton & Walford Foundation’s performing arts archive collection is a treasure trove of more than 18,000 theatre programmes. It’s a remarkable resource for research into Australian theatre and one that fulfills the vision of the organisation’s founder - Dr Rodney Seaborn AO OBE - to preserve and promote Australian performing arts. Friends of the S,B&W Foundation have been donating programmes since 1986, while a large transfer took place in 2006, from the Dennis Wolanski Library of the Performing Arts at the Sydney Opera House. Foundation archivists and volunteers have painstakingly sorted through each of the thousands of programmes in the collection, categorising and indexing by venue, company and location. These programmes are now held in archival standard environmental conditions for preservation in the archive’s compactus shelves, available for researchers to access
sell in the theatre, with pages of information, illustrations, and embellishment, and also advertisements!
Australia’s Earliest Programme Australia’s earliest surviving printed document is a theatre playbill. It was for a performance of Jane Shore on the 30th of July in 1796 at Sidaway’s Theatre in Sydney (also known as ‘The Theatre’) which was opened in 1796 by pardoned First Fleet convict and baker Robert Sidaway. The main play was followed by two short comedies. It was discovered in a scrapbook in Canada (there are no details as to how and why it travelled so far) by a Library and Archives Canada bibliographer. This small playbill was printed by Government Printer and sometime-actor George Hughes, who indeed acted in one of the comedies listed on the playbill, The Wapping Playbills vs Programmes Landlady. George printed playbills and Generally speaking, a ‘playbill’ is a government orders on a small press single-sheet poster, usually printed on brought over on the First Fleet. one side, while a ‘programme’ The Jane Shore playbill tells us contains more than one page and is something about early European printed on both sides. colonial life in Australia. It shows that Simple playbills have been around life in the early colony mirrored the since the Middle Ages. In addition to social conventions of Britain - such as broadcasting processions of actors ticket prices and seating and town criers, early playbills were arrangements. Gifted in 2007 by the usually a small sheet to advertise the Government of Canada to the name, location and cast of a show, Australian people, it is now preserved and given out or posted nearby the in the National Library of Australia theatre. By the 19th century, more and was added to the UNESCO elaborate magazine-like ‘programmes’ Australian Memory of the World began to be produced to give away or Register in 2011. 34 Stage Whispers March 2021 - April 2021
Jane Shore playbill (1796). nla.gov.au/nla.obj-1419486
Some Programmes from our Collection Not quite Australia’s first, but the oldest programme in the S,B&W Foundation archive collection is from 1860. The programme is for a performance of Verdi’s Il Trovatore at the Prince of Wales Opera House in Sydney. As programmes range from the simple to the grandiose, due in part to costs and advances in technology, the Foundation’s collection contains many beautiful programmes. The souvenir and magazine programmes of productions by the J.C. Williamson Ltd company which dominated Australian theatre from the late 1800s to 1976 are such an example. With the funds to produce costly programmes, these were often very decorative. From the 1920s to the 1950s, the J.C. Williamson Magazine was a jam-packed form of a theatre programme. The Foundation will be arranging an exhibition of these programmes later in the year.
Stage Heritage
The first performance by Doris Fitton’s Independent Theatre company at the Independent Theatre in North Sydney was French Without Tears, which opened on the 2nd September 1939, just as the Second World War broke out. In 2019, the Foundation organised an 80th Anniversary play reading of the play at the Independent Theatre. The programme included a mock-up of the original 1939 programme inside. The programmes of the Independent Theatre have also been added to a Facebook history group dedicated to the theatre. Another exciting project just begun is the listing of programmes in the Foundation’s collection onto the online AusStage performing arts database. Making the Foundation’s programmes collection more widely known helps share the valuable stories of our performing arts heritage. Theatre programmes furnish both evidence and colour to the story of actors, productions, stage technology, companies, buildings, social themes, and advances in printing technology.
Clockwise from above: J.C. Williamson Magazine (1938). Il Trovatore (1860). French Without Tears (1939). J.C. Williamson Magazine (1928).
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Stage on Page By Peter Pinne
Judith Anderson - Australian Star, First Lady of the American Stage by Desley Deacon (Kerr) Desley Deacon has frequently written about Judith Anderson (she authored Anderson’s biography for the Australian Dictionary of Biography 2016), so she’s the perfect person to pen a biography of the star. Most Australians are unaware that Anderson was born in Australia, and most Americans don’t know she’s not American. Deacon’s superbly written and illustrated book redresses the situation. Anderson (originally named Frances), the youngest of four children, was born in Adelaide in 1897 to Jessie Margaret (nee Saltmarsh), a former nurse, and Scottish-born James Anderson, a sharebroker and pioneering prospector. Her father made and lost fortunes and left the family to try his luck on the Kalgoorlie goldfields when Frances was six. Her mother, no wilting violet, took control of the family and Frances’ destiny. She saw the flame of ambition in Frances and encouraged it. Frances studied singing and elocution. In 1909 at age 12 she won an elocution award at Ballarat’s Royal South Street Eisteddfod, and at 15 made her professional stage debut (as Francee Anderson), playing the ingénue role in A Royal Divorce
opposite popular Scottish actor Julius Knight. Later in life she acknowledged that Knight gave her the foundation of her acting skills. With the support of her mother, she left Australia to go to America when she was 19 and never returned to live in Australia again. She sought fame in Hollywood, but, not being a ‘typical Hollywood beauty’, failed. She tried New York and after constant rejection found work appearing as Joanna Trout in a tour of Dear Brutus. The role had previously been played by Helen Hayes. She changed her name to ‘Judith’ and had her first Broadway success playing a vamp in Cobra, where she had to wear her own clothes. The dress she wore, by New York designer Milgram, caused a sensation and from that moment on Anderson became a fashion icon, frequently appearing in the pages of Vogue. She made her name when she took over from Lynne Fontanne in Eugene O’Neill’s nine-act Strange Interlude for the Theatre Guild. It was a marathon role which she played for two years eighteen months on Broadway and six months on the road. It proved she was a serious emotional actress. She played Gertrude to John Gielgud’s Hamlet (1936) and they received fifteen curtain-calls on opening night (‘the best Queen in Hamlet anyone in this
L-R: Joan Fontaine and Judith Anderson in Alfred Hitchcock’s Rebecca (1940).
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This title is available as an e-book from bit.ly/2ZnVFeY or in paperback from Booktopia at bit.ly/2Zj43g7 generation has seen’) and joined London’s Old Vic, where she starred opposite Laurence Olivier as Lady Macbeth (‘she takes the stage with authority’). In 1947 she triumphed, winning a Tony in the title role of Euripides’ Medea in a version written by Californian poet Robinson Jeffers, produced by John Gielgud who played Jason (‘a landmark in the theatre … Perhaps Medea was never fully created until Miss Anderson breathed immortal fire into last evening.’ Brooks Atkinson, New York Times). She later returned to Medea in 1992, playing the Nurse opposite fellow Australian Zoe Caldwell (who had a small part in the production she toured to Australia in 1955-56) in the title role. In 1952 Anderson suffered a personal setback when her lawyer and financial advisor, T.H. Canfield, committed suicide amidst revelations of large-scale embezzlement. It almost destroyed Anderson, who lost all her savings. Her first film success was in Blood Money (1933), which featured crossdressing women, rough sex and elegant clothes. Her greatest film success was as Mrs Danvers in Alfred Hitchcock’s screen adaptation of Rebecca, with Joan Fontaine and Laurence Olivier. She is still
to Australia in 1975 to appear in Terry Bourke’s western-horror movie Inn of the Damned, and also filmed an episode of Crawford Productions’ Matlock Police.) Although she had numerous affairs throughout her life, she only married twice. The first time was to Benjamin Harrison Lehmann, an English professor at the University of California, which expired after two years, while the second, to Luther Greene, a theatre producer, lasted on and off for five years. She quipped ‘neither experience was a jolly holiday’. She was made a Dame Commander of the British Empire in 1960, and just prior to her death received the Companion Order of Australia in 1992. Deacon’s chronicling of her career is masterful. She vividly brings to life the eras in which Anderson worked, her social set, her lovers, and her friends. It’s a loving tribute.
Thistle Anderson was sending up the establishment with her outrageous satirical swipes. Arcadian Adelaide is a delightful, articulate and witty expose of Adelaide and citizens which Anderson, who was an actress, and whose real name was Mrs Herbert Fisher, called ‘The City of Juvenile Depravity’. Published just a few years after women’s suffrage in Australia (which was led by South Australia in 1894), Thistle boldly went where few women went back in those times. She was outspoken and her bite was fierce. She revealed the City of Churches was ‘less holy than might be supposed’, with more opium dens and prostitutes per capita than Melbourne, and wines that are ‘the worst ever made’. She referred Pick up a paperback copy of to the local men as ‘caricatures with “Arcadian Adelaide” for just inferior facial hair’ and local women as $19.95 from Wakefield Press ‘cats’. bit.ly/3ao1D63 According to Katie Spain’s remembered today for her role of the foreword, the closest we get these housekeeper who is the personification Arcadian Adelaide by Thistle days to Thistle’s ‘deprecating drivel’ is of evil. Because of this role she’s Anderson. (Wakefield Press) ‘ABC Radio’s Peter Goers during one of become something of a poster-girl for his anti-Burnside rants or Barry Satire has always had a home in lesbians in the movies, although in real Adelaide, from James McAuley and Humphries in full Dame Edna Everage -life her sexual persuasion was Harold Stewart’s greatest literary hoax flight.’ decidedly straight. The book also comes with an essay of the twentieth century, the Ern Other notable movies included Malley Affair, which they wrote in one on Edwardian Adelaide by Derek Kings Row (1942), Laura (1944), The day in 1943, skewering the modernist Whitlock, which helps bring Anderson Strange Loves of Martha Ives (1946) and her era into perspective. It’s a art and literary movement, to the and Cat on a Hot Tin Roof (1958). Adelaide Fringe in the 60s when funny and fascinating slice of our Later, at the age of 87, she appeared around every corner there was a revue literary history which was first rein Star Trek III: The Search for Spock, published by Wakefield in 1985. A big with Lois Ramsay, to the present-day as the Vulcan High Priestess T’Lar. Adelaide Cabaret Festival, with Trevor hearty welcome for its return to our Her many television credits include Ashley displaying his diva bag of tricks. bookshelves. The Moon and Sixpence (1959) with But who knew that as early as 1905, Laurence Olivier, an Emmy winning Lady Macbeth in the TV movie Macbeth (1960), and three years as matriarch Minx Lockridge on the daytime soap Santa Barbara (19841987), where she received a salary of $5,000 an episode. At the time she was 90. She returned to Australia for J.C. Williamson’s in 1927 with three plays Cobra, The Green Hat and Noël Coward’s Easy Virtue. They were not a success. The critics thought Cobra was ‘sordid’. She again toured Australia in 1955 with Medea. This time she received accolades, and later, in 1966, more high praise for The Oresteia at the Adelaide Festival of Arts. (Not in the book is the fact that she returned
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Stage On Disc
in their Lost British Musicals series, have now reissued a lively studio cast recording of Jorrocks and coupled it with By Peter Pinne the original demo recordings. They prove that Wright was right. It is a forgotten gem and well worth a listen. The Prom (Matthew Sklar/Chad Beguelin) Based on the novels of R.S. Surtees, it followed the (Masterworks) career of John Jorrocks, a Falstaffian tea merchant, who in Once upon a time Hollywood bought the rights to a 1845 takes up the Mastership of the Old Handley Cross Broadway musical and then proceeded to emasculate it in Hunt. Fox hunting, and all its attributes, was at the heart its screen adaptation. I’m happy to say that’s not the case of the show which ran for 181 performances amid much with Ryan Murphy’s frenetic Netflix version of The Prom, controversy from the pro and anti fox hunt brigade. which is almost a direct stage-to-screen transfer, with all Barry Kent, London’s Lancelot in Camelot, sings the the songs intact. Matthew Sklar and Chad Beguelin’s title role - being particularly stirring and bumptious on score was a key element in the success of the show on ‘Love Your Neighbour’ and the title song. As his wife Mrs Broadway, which slyly riffed on Broadway clichés, here Jorrocks, Rita Williams is to the fore on ‘Toasts of the presented in ripe (perhaps overripe) versions, by one of Town’ and ‘I Well Recall the Day’, whilst Pat Whitmore’s ‘I the best casts assembled for a musical. Don’t Want to Behave Like a Lady’ has wit. The Rita Meryl Streep is simply dazzling as the self-adoring Dee Williams Singers bring bounce to the jaunty ‘Belinda’, one Dee Allen, the star who’s just a little way past her prime, of the best songs in the score. This release includes an as she belts ‘It’s Not About Me’ to the gym rafters. James ‘Overture’ (released for the first time), several Corden’s late in the show ‘Barry is Going to the Prom’ is cut songs, the best of one of those solo manic numbers he does so well, whilst which is ‘Where You Nicole Kidman is sinuously sexy with ‘Zazz’, the Fosse Are’, plus a BBC radio homage. version (found on e-bay) As the two lesbian teens, not allowed to attend the of the duet ‘You Can prom at the centre of this middle-American morality Depend on Me’ by Cheryl charade, Jo Ellen Pellman as Emma and Ariana DeBose as Kennedy (the original Alyssa Green have the pop vocal chops to deliver and belt Belinda), and Barry Kent with passion. ‘Dance With You’ is particularly good, as is singing some lyrics not ‘You Happened’. heard on the Original Andrew Rannells makes a meal of ‘Love Thy Neighbor’, Cast Recording. which cleverly uses bible quotes to prove the townsfolk are nowhere near holier than thou, whilst Keegan-Michael Online extras! Key’s headmaster is sincerely good on ‘We Look To You’, Pick up a copy of Jorrocks from Stage the anthem that’s Door Records. Scan or visit destined to become every bit.ly/2NnleKz show-queen’s mantra. A new dance track, ‘Wear Your Crown’, written for John Williams in Vienna (Deutsche Grammaphon) the movie’s finale when According to John Williams it was the greatest thrill of the bigots have been his life when the Vienna Philharmonic asked him to come usurped by the to Vienna and make his debut with the famed orchestra, Broadway do-gooders, conducting his own music. Recorded on 18 and 19 closes the album on a January, 2020, at the Musikverein, the concerts have now high. been released on audio and video, and include music from Raiders Of the Lost Ark, Jaws, E.T., Close Encounters of the Third Kind, Jurassic Park, War Horse and Star Wars. Online extras! Violin soloist Anne-Sophie Mutter accompanies on the lively ‘Devil’s Dance’ from The Witches of Eastwick. Get your copy of The Prom on CD, vinyl Norwegian classical composer Marcus Paus claims or streaming from Amazon. Williams has a ‘satisfying way of embodying dissonance amzn.to/2ODYR4f and avant-garde techniques within a larger tonal Jorrocks (David Heneker) (Stage Door) framework. It makes him one of the great composers of According to Adrian Wright (Must Close Saturday) the century.’ Williams is the most successful film ‘Jorrocks was the finest British musical flop of 1966. David composer ever, with eight of the highest grossing films at Heneker considered it his best score. It was cleverer, more stylish and witty than his greatest successes Half a Rating Only for the enthusiast Borderline Sixpence and Charlie Girl, and vastly superior to the Worth buying Must have Kill for it Heneker show that followed, Phil the Fluter.’ Stage Door, 38 Stage Whispers March 2021 - April 2021
the U.S. box-office featuring his soundtracks. Everyone will have their favourite Williams score, but there are enough delights here to satisfy even the most ardent admirer.
Online extras!
Stream John Williams In Vienna on Apple Music. Scan or visit apple.co/3qowR2w Harmony - Josh Groban (Reprise) If you’re looking for a belated Valentine’s gift then you can’t go past this album by Josh Groban, which has romance dripping all over it. He opens with the 60s Sinatra tune ‘The World We Knew (Over and Over)’, which has a very James Bond feel, and follows with Robbie Williams’ biggest hit ‘Angels’. Nina Simone’s ‘The First Time I Ever Saw Your Face’ and Bonnie Raitt’s ‘I Can’t Make You Love Me’ are a comfortable fit in this playlist, as is ‘Both Sides Now’, which he duets with Sara Bareilles. There are only two show songs on the album, a very short version of Man of La Mancha’s ‘The Impossible Dream’ and ‘She’, the popular theme from the BBC’s Seven Faces of Women, written by Charles Aznavor and Les Miz lyricist Herbert Kretzmer. The most romantic number however is probably ‘It’s Now or Never’ (‘O Sole Mio’), which is swathed in Latin beats and sounds like it’s accompanied by a million guitars.
whilst ‘Christmas (Baby Please Come Home)’ is a do-wop from the sixties complete with wailing saxophones and a backing trio. Also included, apart from ‘I’ll Be Home for Christmas’ and ‘It’s Beginning To Look a Lot Like Christmas’, is the anthemic sixties hit ‘I Believe.’
Online extras!
Buy Together At Christmas from Classics Direct. Scan the QR code or visit bit.ly/3piTtQH Disney Goes Classical (Disney) This album, recorded at London’s Abbey Road Studios, features the famed Royal Philharmonic Orchestra in a collection of Disney favourites from their Golden Age, to their 90s renaissance and into the modern era of CGI animation. The album features songs from Mary Poppins, Aladdin, Hercules, Beauty and the Beast, Toy Story, Tangled, Mulan, Pocahontas, Moana and The Lion King. Best tracks are Frozen’s ‘Let it Go’ and soprano Renee Fleming gloriously adding some heart to Pinocchio’s ‘When You Wish Upon a Star’.
Online extras!
Listen to Disney Goes Classical on Spotify today. Scan or visit spoti.fi/3qnvqBp
Online extras!
Pick up a copy of Josh Groban’s Harmony from JB Hi-Fi. Scan or visit bit.ly/3qk8sLy Together At Christmas - Michael Ball & Alfie Boe (Decca) Released one year prior to their tour to promote the album, Michael Ball and Alfie Boe’s new yuletide offering is more of the same from these two powerhouse tenors, who are shaping up to be the oldest boy band in the world. It’s a good selection of familiar favourites, plus a couple of unexpected entries - Anastasia’s lilting and pretty ‘Once Upon a December’ is wistfully nostalgic,
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Comfy Bums On Seats How recently have you wriggled your way through a theatrical performance? Roger Pratt from Hadley Australia explains how that can become a thing of the past. “Seating technology has changed tremendously over the last 10 to 15 years,” says Roger Pratt. “A theatre chair is now designed ergonomically to support you. It’s not like a cinema chair, where you’ve got lots of wriggle room. The theatre chair has to hold you so that you don’t wriggle, and you don’t fall asleep. “We specialise in manufacturing and installing high quality theatre chairs for the major theatres and performing arts centres around the country. We also have the ability to custom design and make for a theatre that requires a certain look such as Edwardian or Art Deco.” Recently Hadley re-seated Her Majesty’s Theatre, Adelaide. “We did the installation there four years ago, then recently they decided to add another gallery. We had to take out all the chairs while they did the complete interior re-build, then put the old chairs back into the high gallery and provided new chairs for the stalls and part of the dress circle, and they all had to match.” Her Majesty’s Theatre, Adelaide.
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That was a fairly straightforward installation. “They wanted to have a red upholstery - a garnet upholstery and a stained timber component to match other timberwork within the theatre.” But Hadley also customises seating to match the ambience of the theatre, and the specific performance needs of the venue. “Every job is a little bit different. We work with the architects, the interior designers and the acoustic consultants. “For Her Majesty’s Theatre at Ballarat we designed the arm of the chair and the aisle panel of the chair to suit the period of the theatre, so that design theme went through the whole venue. “For the Palais at St Kilda, which is on hold at the moment because of Covid, they wanted to retain the lovely, sculpted aisle and chair stanchions. In the old days they were done in cast iron. For that theatre we’re going to replicate those in
aluminium. So, we put modern seats and backs into the theatre between replicated support stanchions.” The seating may look classic, but the seats themselves will be modern and designed for comfort. “With old theatre chairs they used to have just foam seat cushions, but with our chairs we have what we call Elastomeric Suspension - more like a Pirelli webbing - which gives you extra comfort. “We also specialise in air conditioned chairs, where air is delivered through the pedestal of the chair, so all you are doing is air conditioning the area around the person rather than having to air condition the whole of the void. That’s called displacement air pedestals. The cost of air conditioning a theatre is much less using that system.” The type of chair will also vary based on the acoustics required. “If you’re working in a Concert Hall they want to have reverberation, so we use timber on the backs of the seats and the outer seat shell, but for spoken word, they want absorption, so we don’t have exposed timber.”
Got seating questions? Contact Roger Pratt from Hadley Australia on 0412 435 089 or visit hadleyaustralia.com.au
stagewhispers.com.au Stage Whispers 41
TOP TEN TIPS
real life students have a wide range of interests competing for their time. Taking part in a school production involves a large time commitment and students need to be sold that this show is for them. Rather than a simple poster with the show’s logo, a poster showing a large photo of a professional version of the show on stage is a great way to Simon Parris, who has directed 15 school musicals, shares his top ten help students visualise themselves in a tips for the process to run as smoothly as possible. particular show. Set up a portal or intranet page Taking part in a school production Secure the rights well in with further photos, links to YouTube can be one of the most joyful and advance. Performance rights for clips and a detailed list of characters memorable times in a student’s life. plays are relatively along with the usual audition details. While some school leaders may well straightforward to organise, whereas A full list of rehearsal and performance attend opening nights and think that rights for musicals can take a long dates and times should also be productions just appear of their own time. This is worth doing the year included to ensure that the time accord, the workload for staff is before the production is staged. Start commitment is clear. immense - but it doesn’t have to be. as early as August to ensure that the contracts and deposits are secured Create a detailed schedule. The Select the show with care. One before the end of the school year. fastest way to turn off students of the most dangerous traps for Do not mention the chosen show is to take the easy route and call teachers is to choose a show until the rights are locked in. Shows all cast members to every rehearsal. because they like it or are familiar with are regularly pulled from circulation for Students have many demands on their it, rather than its suitability for a range of reasons, the main one time, not the least of which is students and the parent audience. being the possibility of a professional homework, and their goodwill is Establish a brief set of criteria to production. quickly lost if they sit around at help decide. Is a big chorus important? Final approval by school leaders can rehearsal. Are there strong dancers available? Is also derail plans. Starting work on a Working out a detailed schedule the staging within your technical show only to find that it is not pays off. When students see their time capabilities? available or not permitted is a waste of is valued, it elevates the importance of Tonal guidelines must be followed, time and energy. attending rehearsals punctually and as the school is ultimately footing the regularly. bill for the generally unavoidable Pre-plan the production with A schedule also maps out the time shortfall between production costs and the creative team. School staff available to colleagues on the creative ticket sales. One school where I bring a range of skills and team. A clear timeline can help ensure worked would only do recent, cutting knowledge to a production, but it that expectations of planning ahead edge shows; another was only willing cannot be assumed that they all know and utilising rehearsal time efficiently to do traditional, old fashioned shows. your play or musical. Nothing slows are clear to all involved. Perusal copies of librettos and the process down like team members music are available from rights holders, who do not know the characters, the Involve all cast in the first read and YouTube clips are very useful. story or the songs. Buy advance copies through. A full read through of Also assess the availability of of the script and music for colleagues the script is common practice at particular students with skills to suit before the hire materials arrive. the first rehearsal. While the lead cast specialised lead roles. No point doing Buy tickets for the team to attend a will feel important to be out the front The Music Man, Evita or King Lear if local staging of the show if there is reading their lines, it is important to continue to sell the show to the full you do not have a potential student to one available. This sort of outing is play the lead. This does not mean that also a great chance for the production cast. the show is pre-cast - other students team to bond. For a musical, have the music ready may well surprise the panel at to play an excerpt from each song as auditions - but a degree of confidence Sell the show to auditionees. they come up throughout the read in knowing that the lead role can be While television series often through. A focus on chorus songs can filled is a necessity. depict a simple list being help the ensemble members to see pinned on a noticeboard leading to an their importance in the show as they abundance of suitable auditionees, in visualise their friends and family
For Staging A Successful
School Production 2
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42 Stage Whispers March 2021 - April 2021
SPARK 2021 watching them sing and dance. For a play, involvement of the ensemble can be similarly highlighted. In both cases, single lines from smaller characters can be assigned to members of the ensemble. Presentation of design elements and introductory speeches from colleagues on the creative team builds excitement and deepens confidence that a production of high quality is being produced.
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Make a visual record of choreography and blocking. Advances in technology make it easier to record segments of rehearsal for later reference. A higher expectation can be placed on students knowing their steps at the next rehearsal when this record is available. This also helps where a student is absent from rehearsal. Such footage should only be shared on a closed system such as a school portal or intranet. Google Drive is also a perfect way to share the material, presuming that it is only visible to invited members. Before spending a large amount of time recording vocal lines for the cast of a musical to use for home practice, be sure to check if such material is already for hire with the librettos and scores. Computer programs, such as MTI’s RehearScore are becoming more prevalent.
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to share contacts and use the same technicians and hire companies. Other schools are also a great resource. Liaise with other local schools to share and hire resources. Use state or national drama associations to seek items to hire or to share equipment or contacts. The final step in maintaining strong connections is to acknowledge all suppliers in the program. Even though they are being paid a fee, suppliers appreciate the additional acknowledgement and thanks.
Duties should be transcribed, with simple lists posted on backstage walls. Unlike professional productions, a stage manager may be a staff member who is joining the production for the last few stage rehearsals. The greater the knowledge of the show held by the stage manager the better, so encourage some earlier attendance at full runs, and meet with the colleague away from rehearsal to make design elements as clear as possible.
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Thank your colleagues. Even when staff are paid to be Hold a special crew rehearsal. involved in a production, it The inherent tension of final is quite likely that the time involved stage rehearsals can be will outweigh any financial benefit. unnecessarily elevated by trying to Encourage students to make suddenly include the backstage crew. presentations on the final night. On Ideally, all members of the backstage top of this, it is ideal for the director to and technical crew should be invited give a simple yet heartfelt message of to watch a full run of the show so that thanks to each key member of the they can absorb the characters and creative team. I have often made some storyline of the show. small purchases of theatre-related Following this full run, but before items and cards while overseas. These they work with the cast, a rehearsal are relatively inexpensive gifts, and yet that is solely for the backstage crew is the forethought adds its own special the best way to plan which students value over and above a simple bottle will be responsible for the movement of champagne. and supervision of which sets and props. Doing this in full light without Working with students is a special the cast in the way facilitates a smooth way to pass on the love of performing process and allows the crew to begin as well as the love of theatre in to bond. general. They may be somewhat An experienced stage manager will exhausting, but school productions not expect students to remember every create cherished memories for many duty and position from one rehearsal. years to come.
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Build up a network of suppliers. Depending on time, budget and skills, it can be difficult for school staff to craft all the production elements required for a spectacular show. Fortunately, there are a plethora of companies that provide services and hire costumes and props, sets and backdrops, and lights and microphones. In the rush to opening night, there is a temptation to source items from wherever possible but taking a longterm view is valuable. Get to know staff at supply companies. Plan ahead to reserve sets of items, especially for design-heavy shows such as Disney musicals. In schools where more than one annual production is held, be sure stagewhispers.com.au Stage Whispers 43
drying to keep them entertained for those four appalling minutes. The only thing that surpasses the closing song in lack of coordination is the final bow. What the hell was that. I’ve told you a thousand times, you have to wait for the leader in the Playwright Kirsty Budding’s latest collection of monologues covers centre to bow, which is [pick on everything from comedy, to teen life, to Greek and Norse mythology. someone in the audience] Sebastian. Here’s a monologue all thespians can relate to. Sebastian, you were only given this role because you’re tall, not because Man Number Three? I don’t want to you have any talent. The Director hear excuses; just get your act [Sincerely] Finally, I’d like to give a So, this is it. Opening Night. We’ve together. warm thank you… to the cleaners. rehearsed for three months and, uh, [Refers to list] The closing song. I Rob and Wendy. You’ve done a well - we can’t do much about it don’t know where to begin. You wonderful job cleaning up after now. How do you all feel? ...Good? seem to have all forgotten how to rehearsals. If only the performers were Really? After that dress rehearsal? move, how to smile, and how to sing. as thorough with their lines, as you I just wanted to chat to you before ENERGY! If you don’t seriously lift are with your vacuum cleaners. [claps] the show because a lot of work has your game, I will make an Clap everyone! Show your gone into this. A lot of blood, sweat announcement over the PA telling the appreciation for the cleaners! and tears. And I wanted to tell you audience to Google a video of paint [Drops smile] Now, get backstage. that, whatever happens on stage Your parents will be arriving soon. tonight, even if the production is a complete disaster… it will not be my fault. With this in mind, here are my notes from the dress rehearsal. [Refers to clipboard] Joseph, you missed your Kirsty Budding is a writer, cue. Again. How hard is it to producer, and actress. Her first remember that when the Angel monologue collection, Paper Cuts: Gabriel - [pick on someone in the Comedic & Satirical Monologues audience] looking at you, Billy - I’ve for Audition or Performance, won never seen such a bland interpretation the 2018 ACT Writing and of an angel - when the Angel Gabriel Publishing Award for Fiction. exits, that’s your cue to kneel down The 100 is her second book. and look up at the sky. And when you Kirsty is currently developing kneel, can you please remember to screen content through her kneel in profile rather than with your production company, BE. back to the audience? You can find her work on And that goes for all of you. If Facebook or Instagram by you’re speaking to the back of the following @BuddingEntertainment stage or the floor [pick on someone in the audience] or your hand, for some reason, Wise Man Number One, then The 100: New and Classic the audience can’t hear you. Monologues for Children & [Refers to list] Props. I don’t recall Young Adults is available the baby Jesus receiving the gifts of from Amazon, local retailers gold, frankincense and a hand full of and Stage Whispers books. nothing! [Pick on someone in the Find links at audience] Where is your myrrh, Wise
100 New And Classic Monologues
About Kirsty Budding
kirstybudding.com
Online extras!
Watch as Canberra teens perform excerpts from Kirsty Budding’s new book of monologues, The 100. fb.watch/3MyWVda-1j 44 Stage Whispers March 2021 - April 2021
All’s Well That End’s Well
SPARK 2021 Bell Shakespeare Players. Photo: Clare Hawley.
Joanna Erskine, the Head of Education at Bell Shakespeare, explains how the company transformed during 2020 and what they have in store this year. Stage Whispers: How did Bell Shakespeare navigate around state roadblocks to tour to schools last year? Joanne Erskine: Our Players program tours to every state and territory each year, so an entire year of planned activity had to be pulled apart. We turned our focus to digitising content, streaming education programs online, creating new digital content and making archive recordings of previous productions available. As the year progressed and interstate touring remained uncertain, we decided to scale back to a limited tour of the A.C.T., Sydney and some regional NSW. We had to adapt the scripts and performances to fit the new restrictions, enhance the distance of the playing space between audience and performers, and remove any direct student interaction. We delivered about 80 performances instead of 500+. However, we were thrilled to at least deliver this program to some schools and provide employment to our artists. SW: What reaction did you get from schools when you arrived during this pandemic? JE: Our Players received quite a rapturous response from schools. Both teachers and students had been so deprived of live performance that it made for a very special experience. Teachers often gave a speech before The Players performed, about the value of live performances and the arts, particularly in such uncertain times. SW: What school productions are you taking on the road in 2021? JE: The Players will tour three of our most popular shows nationally for primary and secondary schools - Just Romeo and Juliet! in collaboration with the hilarious Andy Griffiths, Such Sweet Sorrow, and Macbeth: The Rehearsal. The Players deliver dynamic, entertaining and enriching 50minute performances interspersing Shakespeare’s original text with modern commentary and new narratives. Each show ends with a 10-minute Q&A and teachers are supported with pre- and post-show classroom resources. SW: For those schools you can’t get to, what digital resources are you offering? JE: In 2020 we set up a digital studio in our rehearsal room to create new content and deliver live-streamed student workshops and Shakespeare seminars for senior students, teacher Professional Learning and more. We even delivered large-scale Artist In Residence programs lasting one week over Zoom, in collaboration with teachers in the schools. We’ll continue to offer these to schools we can’t physically reach this year. Macbeth: The (Socially Distanced) Rehearsal is a new video resource available on demand. It celebrates theatre-
Discover the Bell Shakespeare 2021 Learning Program at bellshakespeare.com.au making, great storytelling, and the power of the imagination. We’re also bringing back the Bell Shakespeare Shorts Festival, where we ask students to submit short films reimagining Shakespeare, which is open to schools and households across Australia. SW: How did you rehearse Macbeth socially distanced? JE: Our popular Players show, Macbeth: The Rehearsal, is the story of one director and two actors rehearsing Macbeth with hilarious and illuminating results. We could have filmed the performance, however trying to capture the magic of a live show on film is near-on impossible, so we decided to embrace the Zoom medium. We adapted the Macbeth: The Rehearsal script as if the rehearsal was taking place during quarantine. The Director and two actors were each in a simulated Zoom-esque screen, meaning we could film the piece safely. Soliloquies over Zoom translate quite easily, but how about a scene between Lady Macbeth and Macbeth? How do you show Banquo’s ghost appearing on Zoom? The final battle between Macbeth and Macduff? The witches’ prophecies? We had a great deal of fun finding ways to make it possible. SW: Do they mention the name which can’t be mentioned during the rehearsal? JE: Well, given they were rehearsing from home quarantine and not in a theatre, yes they said the ‘M’ word! SW: Tell us about your national teachers’ conference? JE: In 2020 we had teachers tuning in from Phillip Island to Rockhampton, Darwin and even Christmas Island to our masterclasses. It was such a positive outcome that the idea for a weekend teacher conference online was born. Our inaugural National Teacher Conference will be delivered via Zoom on May 15 - 16. It will be a weekend of talks, masterclasses, speakers, discussions and strategies about the teaching of Shakespeare in Australian schools. Incredible speakers are lined up, from industry leaders to Bell Shakespeare artists. It’s going to be packed with practical classroom strategies, as well as big meaty discussions about the way we teach Shakespeare. We want teachers to come away with real techniques to test out with their students straight away. stagewhispers.com.au Stage Whispers 45
SPARK 2021
The Crucible. Photo: Ben Hudson.
Complete Works Goes Global Stage Whispers asked Andrew Blackman, founder of Melbourne based theatre company Complete Works, about all things theatre, going digital and surviving the pandemic. Complete Works has been delivering live incursions to schools around Victoria for 21 years. Challenged by the changing demand and delivery that last year’s lockdown introduced, the company created online resources to support remote learning, allowing it to reach interstate and international schools for the first time.
happening in the space between performers and the audience was somehow an integral part of the human experience; that learning through drama was valuable and necessary. Thus began my dream of having my own theatre company, and years later Complete Works was born. Our first season in 2000 was a compilation of Shakespeare scenes based around the theme of love, but Stage Whispers: Tell us a bit about we quickly learnt that schools really Complete Works. wanted performances of texts they Andrew Blackman: In my later were studying. Since then, we have years of high school a team of players been producing programs that do just from the Queensland Arts Council that. arrived to perform - three actors, SW: What is the appeal for schools minimal set and props, with the to book theatre-in-education audience gathered around on the incursions? carpeted space. The storytelling was AB: It’s vital that students get to simple and inventive, it was see a play performed. It’s one thing to entertaining and engaging, and we read the play in class, but it’s a very were completely enthralled. It was a different experience seeing the action transformative experience for me. I unfold in real time. The dynamic of realised even then that what was performers in the space, the 46 Stage Whispers March 2021 - April 2021
interaction between characters, supported by a design aesthetic, can make interrogating a text far more enriching. Post-show Q&As, with the actors’ reflections, also offer students the opportunity for deeper discovery. SW: How did you survive the intense restrictions COVID-19 placed on metro Victoria? AB: The pivot was immediate for us. Coming off tour, we immediately went into one of the darkened theatres to film our shows. JobKeeper provided support to take all our major programs online, create new content and broaden our reach to students in remote and regional areas. Stage Four restrictions in particular were a great reminder of the importance of art to help us through dark times. SW: What does Complete Works look like in the digital space? AB: Going digital means that our programs can now be accessed by remote, regional, interstate and even international schools. A school in East Timor utilised our programs. Students
Head to completeworkstheatre.com.au for more information, or phone Sarah directly on (03) 9417 6166. working remotely can access our programs any time of the day, anywhere in the world. With the goal of being engaging, entertaining and accessible, our programs range from large scale theatre productions with full design elements to shortened versions focusing on the ideas, themes and issues being studied. In addition to our recorded live performances, we’ve also developed a series of filmed resources with a specific focus on education, including interviews, mini workshops and podcasts with the actors. SW: Do you have any advice for teachers who are tackling plays in their classes? AB: It can greatly help students’ understanding of the action if they have a go at putting the text into their own words, or even acting it out in class. Although there really is no
substitute for experiencing the play, whether that’s live, recorded or even a film version, it is so useful to lift the words from the page. SW: How can schools go about booking an incursion with you? AB: Our 2021 season is available on our website. Full productions of The Women of Troy and Medea are available exclusively online, as well as
Much Ado About Nothing. Photo: Jack Dixon-Gunn.
Much Ado About Nothing. Live and Online programs include Extinction by Hannie Rayson, Macbeth, Romeo & Juliet and an Australian Poetry program. Our comparative series for VCE includes Photograph 51 & The Penelopiad, The Crucible & The Dressmaker, The 7 Stages of Grieving & The Longest Memory.
stagewhispers.com.au Stage Whispers 47
The Midnight Gang. Photo: Heidrun Lohr.
School Holidays At Drum Theatre Dandenong’s iconic Drum Theatre is ready to welcome audiences for two book-inspired, family friendly shows these school holidays presented by CDP Kids Productions.
The 91-Storey Treehouse. Photo: Heidrun Lohr.
The Midnight Gang brings to life British comedian David Walliams’ best-selling book. When the clock strikes midnight most children are fast asleep, but for the Midnight Gang the journey is just beginning. A story of friendship, love and the power of the imagination, this show is perfect for children aged 6+ and their families. There will be three shows, on Wednesday April 7 at 6pm, and Thursday April 8 at 10am and 12pm. Australian favourite The 91-Storey Treehouse joins Andy and Terry as their treehouse reaches amazing new heights. It’s now more fantastically dangerous than ever, with a deserted desert island, a whirlpool and a giant spider. A wild adventure for children aged 6-12 and their adults. Join the fun on Thursday April 15 at 6pm, or on Friday April 16 at 11am. Special prices apply for family and school bookings.
Visit drum.greaterdandenong.vic.gov.au or phone the Box Office on (03) 8571 1666 to secure your tickets.
48 Stage Whispers March 2021 - April 2021
Shows For Schools
SPARK 2021
School productions are back on stage in 2021, with major companies launching their incursion and excursion programs. See extended listings at stagewhispers.com.au/spark Sydney’s Sport for Jove is offering three mainstage productions in 2021. All are 100 minutes long with no interval and will be followed by a Q+A session. Performances will take place for school audiences at The Seymour Centre (Sydney) and Riverside Theatres (Parramatta). The company offers detailed Student Resource Kits for all works in the season. The Tempest: A symphonic vision of forgiveness, discovery and self discovery - famous for its language, context, enchanting characters and breathtaking theatricality. Macbeth: A deeply atmospheric, faithful and exciting introduction to the play for young audiences. Shakespeare’s most immersive and haunting play tells of the murderous ascent to greatness of a husband and wife who believe they can control time and destiny. Othello: Easily Shakespeare’s most relentless and tightly compressed drama - a dark, brooding thriller. Sport For Jove also offers HSC Symposiums which involve lecture and scene work on HSC texts including The Crucible, The Merchant of Venice, The Tempest, Waiting for Godot, Henry IV, Hamlet, Summer of the Seventeenth Doll, Richard III and A Doll’s House. Sport For Jove’s Shakespeare Carnival has Sydney and Regional dates throughout April and May. sportforjove.com.au Brisbane’s Shake & Stir theatre company is touring a range of productions through Queensland in terms 1 - 4 and NSW in term 3. Revolting Rhymes: A frighteningly funny and seriously silly adaptation of Dahl’s Revolting Rhymes. 1984: Cameras watch every move; Thought Police roam the streets and Big Brother rules. Macbeth: Murder, corruption and manipulation. Is Macbeth a brave soldier or a cowardly slave to evil? Hamlet: He was excelling at uni, had the girlfriend of his dreams and a future fit for a King - but that’s all in the past. Romeo and Juliet: In this reimagining, live action is contrasted against retrospective on-screen interviews with the play’s minor characters, allowing them to consider what they would have done differently, had they their time again. Other productions include Terrortorial, Prankster, In the Cauldron and Fractured Fables. shakeandstir.com.au
Macbeth.
Magic Beach. Photo: James Morgan.
CDP productions is touring Magic Beach to NSW, QLD, Victoria and South Australia. This isn’t just any beach. It’s Magic Beach, where everything you can imagine becomes real. But this year is different. As the eldest child begins to grow up, does she have to leave the magic behind? Alison Lester’s classic book is adapted for the stage by Finegan Kruckemeyer. The text, song, light, shadow and movement production is recommended for children aged 3-12 and their adults. cdp.com.au stagewhispers.com.au Stage Whispers 49
Western Australian senior drama students attend a NIDA workshop.
NIDA Creative Schools Programs
opportunities can range in length from a one hour visit to artist in residence programs lasting up to a year. Working in collaboration with classroom teachers, NIDA customises the workshops to address state The National Institute of Dramatic Art (NIDA) offers performing arts curriculums. The program is ideal for educational activities to support learning for both school students schools looking to access specialist and school teachers. skills in performance styles, rehearse Reflective of NIDA’s worldprofessionals, guest artists, teacher scenes from a prescribed text, develop renowned approach to education and resources and workshops. practical skills in devised performance training, developed over 60 years, the NIDA’s customised workshops are or use drama as pedagogy to enhance schools programs are carefully available for preschool, primary and literacy outcomes. designed to provide dynamic and secondary school students. The NIDA’s teaching resources include engaging skills development to workshops integrate creativity into notes on acting, creative voice, and enhance the early childhood, primary student learning, and are based on a movement as well as a suggested and secondary syllabuses. collaborative approach that reading list for students. Their online It reflects NIDA’s practice-based recognises the expertise of teachers in program NIDA Devised: Group conservatoire training model and creating programs that best meet the Performance, which follows emphasises the importance of needs of their school community. professional actors as they collaboration and communication. Customised courses can take place brainstorm, develop and showcase The schools programs include at NIDA (in Sydney or Melbourne) or work is now free to all Australian specialist training, access to industry onsite at a school. Learning secondary school teachers.
For more information or to discuss creative learning programs for school students, go to nida.edu.au/schools-and-teachers or call 1300 450 417. 50 Stage Whispers March 2021 - April 2021
Online extras!
See what NIDA’s student improvisation and playbuilding workshops entail youtu.be/hmLYV2q4wD4
Scenic Projections
SPARK 2021
Music Theatre International (MTI) and Broadway Media are set to offer digital scenery for MTI’s top 20 titles in their Australasia theatrical licensing region from mid-March. Scenic Projections are full-show digital scenery packages that can be projected onto a screen or surface behind onstage performers as a backdrop. The product notably follows the official licensed script. Designed to make great production values simple and more affordable than traditional set design, Broadway Media’s offering combines their free, projection cueing software with beautiful artwork that includes all the scenes, settings and special effects in the script. At launch, Scenic Projections will be available in animated or still image variants for Music Theatre International (Australasia)’s 20 most popular full-length and Broadway Junior titles. “Our customers in the U.S. have really embraced Scenic Projections as a resource. We’ve heard countless
testimonials from the theatres we serve about how easy and effective the Scenic Projections are to use and how they have greatly enhanced their productions,” said John Prignano, MTI’s Chief Operating Officer and Director of Development and Education. “MTIA are thrilled to be able to offer our valued schools and community theatres across Australia and New Zealand this outstanding resource to assist our clients with staging their productions,” continues Stuart Hendricks, Managing Director of MTI Australasia.
“Scenic Projections is the tool you need to elevate your production values, all from the touch of a button, at an affordable price. We are excited to keep offering you new resources to bring the magic of theatre to your school or community.” MTI says the program is designed for straightforward integration into amateur theatre and schools. It states that a combination of simple, intuitive software, free how-to resources, and customer support from like-minded theatre makers makes it easy to take the first step into projections for theatre.
For more information about Scenic Projection Show Packages visit broadwaymedia.com For additional information on MTI and licensing please visit mtishows.com.au
stagewhispers.com.au Stage Whispers 51
Theatre companies big and small wrestle with the dilemma of where to put their marketing dollars. Lyndell Pond, newly appointed Managing Director of advertising agency ACMN, speaks to David Spicer and offers some advice. Lyndell Pond has worked with some of the world’s best-known musical theatre producers including four years as Marketing Manager for impresario Cameron Mackintosh. In London, she worked on various long-running West End shows, including Les Misérables, as well as tours of Miss Saigon and My Fair Lady.
LP: It depends on the budget and the show. TV is a great medium for live theatre if you have the luxury of having impactful creative, however the way broadcast is consumed these days, you don’t have to buy Free To Air, when there is Broadcast Video on Demand, YouTube and social platforms to convey your message to targeted audiences through video. Radio is also a great medium, particularly in Australia, but David Spicer: In Australia, for a major production, what are the key again, you need good creative. Lyndell Pond. tools to marketing a show? DS: What shows are ACMN promoting in 2021? Lyndell Pond: It all starts with some solid research and data, which enables LP: We are so proud to be involved in taking Come From Away to a much you to put together a strategy for your broader audience of Australia. Moulin placement, creative and messaging. Once you nail those things, the Rouge! The Musical is beyond exciting application of that thinking, through all with the new and different approach to the channels - be it on- and off-line music, I think we are going to see new media, social, direct marketing - should and different audiences in the Regent always be anchored in that overall Theatre. And speaking of different strategy. audiences, how could I forget Magic DS: How do you recommend clients Mike Live? We love working for GFO split their spending - direct mail, digital and Opera Australia on their or print? commercial musicals and this year we LP: If I had to choose out of these are thrilled to have been appointed to three, it would be digital and direct look after the Tony Award winning email, over print. The purchase funnel musical Rodgers and Hammerstein’s DS: What are some examples of the Cinderella. has become very important in recent variables? years and the power of digital in both DS: Do you only work with clients on awareness and conversion is critical. But LP: Broadway and the West End large-scale productions? have been great indicators for us, but it a highly qualified database will also LP: Not at all, we are involved with is never a given. Finding out how the deliver you very, very strong results big tours, smaller/quicker tours, events when a show has specific campaign show is going to resonate with that are one-nighters in multiple Australian audiences is key. We have messages to share. markets and long-running musicals or DS: How much does it cost to sell a great options now in digital to test exhibitions and everything in between. big musical in Sydney or Melbourne? creative and messaging, not to mention Our digital offering means that we have the power of research and data, which marketing and advertising options to LP: Like any retail brand, owning a marketplace requires a significant can all help to get an early indication on suit any budget. investment. I think the most important the success of a show, or at least how DS: What is your favourite show? we should tackle it from a marketing element to any campaign is less about LP: I always waver on this one as we spend and more about full integration perspective. are spoilt for choice, but today I am where owned, earned and paid media DS: For very small theatres - say going to choose Come From Away. community or independent in a major are all working in harmony. That way, When it opened in Melbourne recently, the actual advertising dollar is not city - where do you recommend they it was an inspired celebration of the spend their marketing dollars? responsible for all the heavy lifting. reopening of a show, a theatre and a LP: Always digital advertising, and a city and I am still buzzing with DS: Do you know very early if a show is going to be a hit or miss? strong PR and social strategy. excitement. Live theatre is back. Please, DS: What about a regional city LP: We used to know when we come out, Australian theatre lovers, counted the pencils at the end of a where TV and Radio is cheaper. Should there is a lot to love about live groups launch, but I think those days they spend their money on them? entertainment! 52 Stage Whispers March 2021 - April 2021
are behind us. Strong waitlist/databases are a helpful yardstick now, but if COVID-19 has taught us anything, it’s that there are lot of variables - such as unpredictable clashes with other events - that contribute to the success of a show, so it’s never a lay down misère. You can never become complacent in marketing - every day there is something more you can do, review, or tweak.
On Stage
A.C.T. & New South Wales
Directed by Wesley Enoch and starring Sam Worthington, Sydney Theatre Company’s Appropriate will play at the Roslyn Packer Theatre from March 15 to April 10. Photo: Rene Vaile. sydneytheatre.com.au
A.C.T. Lamb by Jane Bodie and Mark Seymour. Red Stitch / Critical Stages. Mar 4 - 6. The Q Queanbeyan Performing Arts Centre. theq.net.au Jersey Boys. Book by Marshall Brickman and Rick Elice. Music and lyrics by Bob Gaudio and Bob Crewe. Canberra Philharmonic Society. Mar 4 20. Erindale Theatre. philo.org.au The Sound of Music by Rodgers and Hammerstein. Queanbeyan Players. Mar 12 21. The Q - Queanbeyan Performing Arts Centre. theq.net.au The Gruffalo’s Child. Adapted from the picture book by Julia Donaldson and Axel Scheffler. CDP / Tall Stories. Mar 19 - 20. Canberra Theatre. canberratheatrecentre.com.au or (02) 6275 2700.
Margaret Fulton The Musical by Doug McLeod and Yuri Worontschak. Jally Entertainment. Mar 23 - 27. The Q - Queanbeyan Performing Arts Centre. theq.net.au Fangirls by Yve Blake. Belvoir, Queensland Theatre Brisbane Festival and ATYP. Mar 24 - 28. The Playhouse, Canberra Theatre Centre. canberratheatrecentre.com.au or (02) 6275 2700. You’re Safe ‘Til 2024. Deep History. Apr 8 - 10. The Courtyard Studio, Canberra Theatre Centre. canberratheatrecentre.com.au or (02) 6275 2700. Cosi by Louis Nowra. Canberra Rep. Apr 8 - 24. Theatre 3, Acton. canberrarep.org.au Mamma Mia! Music and Lyrics by Benny Andersson and Björn Ulvaeus, and some songs by
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Stig Anderson. Book by Catherine Johnson. Free-Rain Theatre Company. Apr 13 May 8. The Q - Queanbeyan Performing Arts Centre. theq.net.au
Travelling North by David Williamson. Arts Theatre Cronulla. Until Mar 20. Arts Theatre, 6 Surf Road, Cronulla. Bookings from Jan 30 at artstheatrecronulla.com.au
One Man In His Time. John Bell. Bell Shakespeare. Apr 15. The Playhouse, Canberra Theatre Centre. canberratheatrecentre.com.au or (02) 6275 2700.
Pack of Lies by Hugh Whitemore. Pymble Players. Until Mar 14. pymbleplayers.com.au
New South Wales Frozen. Music and lyrics by Kristen Anderson-Lopez and Robert Lopez. Book by Jennifer Lee. Disney Theatrical Productions. Ongoing. Capitol Theatre, Sydney. 1300 558 878. frozenthemusical.com.au Magic Mike Live. Conceived and Directed by Channing Tatum. From Dec 17. The Arcadia, The Entertainment Quarter, Moore Park. magicmikelive.com.au
The Choir of Man. Andrew Kay & Nic Doodson. Until Apr 4. Studio, Sydney Opera House. (02) 9250 7777. sydneyoperahouse.com Playing Beatie Bow by Ruth Park, adapted for the stage by Kate Mulvany. Sydney Theatre Company. Until May 1. Wharf 1 Theatre. sydneytheatre.com.au Tosca by Puccini. Opera Australia. Until Mar 13. Joan Sutherland Theatre, Sydney Opera House. (02) 9318 8200. opera.org.au Stage Whispers 53
On Stage Bluebeard’s Castle by Béla Bartók. Opera Australia. Mar 1 - 10. Joan Sutherland Theatre, Sydney Opera House. (02) 9318 8200. opera.org.au Les Misérables. Music by Claude-Michel Schönberg. Lyrics by Herbert Kretzmer. Original French text by Alain Boublil and Jean-Marc Natel. Noteable Theatre Company. Mar 4 - 14. Concourse Theatre, Chatswood. noteabletheatrecompany.com Annie. Book by Thomas Meehan. Music by Charles Strouse. Lyrics by Martin Charnin. Rockdale Musical Society. Mar 5 - 14. Rockdale Town Hall. rockdalemusicalsociety.com Outdated by Mark Kilmurry. Ensemble Theatre. Mar 5 - Apr 17. ensemble.com.au You’re Not Special by Sam O’Sullivan. Rogue Projects in association with Bakehouse Theatre Co. Mar 5 - 20. KXT -
New South Wales
Kings Cross Theatre. rogueprojects.com.au Mamma Mia! Music and Lyrics by Benny Andersson and Björn Ulvaeus and some songs by Stig Anderson. Book by Catherine Johnson. Tamworth Musical Society. Mar 5 - 20. Capitol Theatre, Tamworth. tms.org.au Allo, Allo! Book by Jeremy Lloyd and David Croft. Comedy. Richmond Players. Mar 6 - 27. Richmond School of Arts. richmondplayers.com.au
Wicked. Music and lyrics by Stephen Schwartz, book by Winnie Holzman. Newcastle Grammar School. Mar 10 - 13. Civic Theatre, Newcastle. (02) 4929 1977. civictheatrenewcastle.com.au One Man In His Time: John Bell and Shakespeare. Bell Shakespeare. Mar 11 - 14. Playhouse, Sydney Opera House. sydneyoperahouse.com
The Road to Tinooburra. Newcastle Theatre Company. Mar 11 - 14. NTC Theatre, Lambton (Newcastle). (02) The Midnight Gang by Maryam 4952 4958. newcastletheatrecompany.com.au Master, based on the bestselling book. CDP Kids. Mar Letters to Lindy by Alana 8 & 9, Riverside Parramatta, Valentine. The Nowra Players. riversideparramatta.com.au; Mar 12 - 26. The Nowra Players Mar 18 & 19, Q Theatre, The Theatre, Bomaderry. (02) 4429 Joan, Penrith. thejoan.com.au 5757. nowraplayers.com.au The Unseen by Craig Wright. Knock and Run Theatre. Mar 10 - 13. The Civic Playhouse, Newcastle. knockandruntheatre.com
Chicago. Book by Bob Fosse. Music by John Kander. Based on the play by Maurine Dallas Watkins. Book and Lyrics by Fred Ebb. Campbelltown Theatre Group. Mar 12 - 27. Campbelltown Town Hall Theatre. 0426 285 287. ctgi.org.au Lamb by Jane Bodie, with original music by Mark Seymour. Red Stitch and Critical Stages. Mar 12 & 13. Q Theatre, The Joan, Penrith. thejoan.com.au
Stables Theatre. griffintheatre.com.au Newcastle Fringe Festival 2021. 34 Shows Across Nine Venues. Mar 17 - 21. newcastlefringe.com.au The Woman in Black. Thriller. Adapted by Stephen Mallatratt from the novel by Susan Hill. Metropolitan Players. Mar 18 27. Civic Playhouse, Newcastle. metropolitanplayers.com.au The Theory of Relativity. Music and lyrics by Paul Bartram. Book by Brian Hill. Whimsical Productions. Mar 18 - 27. PACT. whimsicalproductions.com.au Hamilton. Book, music and lyrics by Lin-Manuel Miranda. Michael Cassel Group. From March 17. Sydney Lyric Theatre. hamiltonmusical.com.au Make America Great Again: The Musical. Premiere of a locally developed Newcastle show written by Andrew Wu. Wu-Hoo Entertainment. Mar 19 - 20. Carrington Bowling Club. newcastlefringe.com.au Disenchanted: A Cabaret of Twisted Fairy Tales. Mar 19 21. The Base, Newcastle West. newcastlefringe.com.au
Girls’ Weekend by Karen Schaeffer. Ballina Players. Mar 19 - 28. Players Theatre, Appropriate by Brandon Jacobs Ballina. ballinaplayers.com.au -Jenkins. Sydney Theatre Steel Magnolias by Robert Company. Mar 15 - Apr 10. Harling. CHATS Productions Inc Roslyn Packer Theatre. (Coffs Harbour). Mar 19 - 28. sydneytheatre.com.au Jetty Memorial Theatre, Coffs Piaf and Aznavour - Back In Harbour. chats.org.au Time. Corinne Andrew & Milko Foucault-Larche. Mar 15. Glen Stop Girl by Sally Sara. Belvoir. Mar 20 - Apr 25. Upstairs Street Theatre. Theatre, Belvoir Street. glenstreet.com.au belvoir.com.au Eireborne. Dancers from Faulty Towers The Dining international Irish shows in a Experience. Mar 23 - 27. Utzon fusion of Irish dance, tap Room, Sydney Opera House. rhythms and beats. Mellen sydneyoperahouse.com Events. Mar 15. Civic Theatre, Newcastle. (02) 4929 1977. Mono: A Three Person Onecivictheatrenewcastle.com.au Man Show. Max Gillies, Jean Jali by Oliver Twist. Griffin Theatre Co. Mar 16 - 27. SBW 54 Stage Whispers
Kittson and John Wood. Mar 23, The Joan, Penrith,
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On Stage
New South Wales
The Australian professional premiere of The Wedding Singer plays in Adelaide from April 9, Melbourne from April 30, on the Gold Coast from June 16 and in Sydney from July 1. Photo: Nicole Cleary Photography. Read our article at bit.ly/2Zh00AN weddingsingermusical.com.au
thejoan.com.au; Mar 27, Glen Street Theatre, glenstreet.com.au The 91-Storey Treehouse. By Richard Tulloch, adapted from the book by Andy Griffiths and Terry Denton. CDP Kids. Mar 24 - 26, Riverside Parramatta, riversideparramatta.com.au & Apr 7 - 11, Seymour Centre, seymourcentre.com La Traviata by Verdi. Handa Opera on Sydney Harbour. Opera Australia. Mar 26 - Apr 25. Fleet Steps, Mrs Macquarie’s Point. opera.org.au The Twins by Sarah Butler, Ian Darling & Greg Fleet. Shark Island Institute and ArtsLab Kangaroo Valley. Mar 30 - Apr 17. Reginald Theatre, Seymour Centre. seymourcentre.com Margaret Fulton The Musical. Jally Entertainment. Apr 1.
Civic Theatre, Newcastle. civictheatrenewcastle.com.au
Theatre, Hamilton (Newcastle). (02) 4961 4895. ypt.org.au
Dead Skin by Laneikka Denne. White Box Theatre. Apr 2 - 17. KXT - Kings Cross Theatre. kingsxtheatre.com
Bombshells by Joanna MurraySmith. Bare Productions. The Royal Exchange Theatre, Newcastle. Apr 9 - 17. (02) 4929 4969.
Australia Day by Jonathan Biggins. Hunters Hill Theatre. Apr 14 - May 2. Hunters Hill Town Hall. huntershilltheatre.com.au
The Witches by Roald Dahl. Hunter Drama. Mar 18 - 27. Home, I’m Darling by Laura Civic Playhouse, Newcastle. Wade. Sydney Theatre Always a Bridesmaid by Jessie (02) 4929 1977. Company. Apr 6 - May 15. Jones, Nicholas Hope & Jamie Drama Theatre, Sydney Opera Wooten. Castle Hill Players. Apr civictheatrenewcastle.com.au House. sydneytheatre.com.au 9 - May 1. The Pavilion Theatre, An Anzac Tribute. A One Act Play ‘War Stories’ by Si Erth’s Prehistoric World. Apr 6 Doran Drive, Castle Hill. (02) 9634 2929. Townsend. Wyong Drama - 18. The Studio, Sydney Opera paviliontheatre.org.au Group. Apr 16, 17 & 18. Red House. sydneyoperahouse.com Tree Theatre, Tuggerah. Glorious by Peter Quilter. Charlie and the War Against wyongdramagroup.com.au Newcastle Theatre Company. Grannies by Alan Brough and Apr 10 - May 1. NTC Theatre, The Gospel According to Paul Sarah Kriegler. Apr 6 - 9. Lambton (Newcastle). (02) by Jonathan Biggins. Soft Playhouse, Sydney Opera Tread. Apr 16 & 17. Riverside 4952 4958. House. sydneyoperahouse.com newcastletheatrecompany.com.au Parramatta. The Addams Family: Young @ riversideparramatta.com.au Is There Something Wrong Part. Music and Lyrics by With That Lady? By Debra Magic Beach by Finegan Andrew Lippa. Book by Oswald. Griffin Theatre Co. Apr Kruckemeyer, based on the Marshall Brickman and Rick 13 24. SBW Stables Theatre. book by Alison Lester. CDP Elice. Young People’s Theatre. Kids. Apr 20 - 22. Riverside griffintheatre.com.au Apr 7 - 24. Young People’s
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Stage Whispers 55
On Stage Parramatta. riversideparramatta.com.au The Wiggles - We’re All Fruit Salad Tour. Apr 21. Newcastle Entertainment Centre. nec.net.au 2.0 (Two Point Oh) by Jeffrey Jackson. Knock & Run Theatre. Apr 21 - 24. Civic Playhouse, Newcastle. (02) 4929 1977. The 25th Annual Putnam County Spelling Bee. Music and Lyrics by William Flynn. Book by Rachael Sheinkin. Additional material by Jay Reiss. North Shore Theatre Company. April 23 - May 1. Zenith Theatre, Chatswood. northshoretheatrecompany.org Honour by Joanna MurraySmith. Ensemble Theatre. Apr 23 - Jun 5. ensemble.com.au Yellow Face by David Henry Wang. Dinosaurus Productions. Apr 23 - May 8. KXT - Kings Cross Theatre. kingsxtheatre.com
56 Stage Whispers
New South Wales & Queensland
Pete The Sheep. Adapted for the stage by Eva Di Cesare, Sandra Eldridge & Tim McGarry. Based on the book by Jackie French and Bruce Whatley. Monkey Baa Theatre Company. Apr 21 - 24, Glen Street Theatre, glenstreet.com.au; Apr 26 - 28, Riverside Parramatta, riversideparramatta.com.au Fun Home. Music by Jeanine Tesori; Book and Lyrics by Lisa Kron. Based on the novel by Alison Bechdel. Sydney Theatre Company. Apr 27 - May 29. Roslyn Packer Theatre. sydneytheatre.com.au
Theatre. 0426 285 287 or ctgi.org.au Dogged by Andrea James and Catherine Ryan. Griffin Theatre Co. Apr 30 - Jun 5. SBW Stables Theatre. griffintheatre.com.au Queensland The 39 Steps by Patrick Barlow. Brisbane Arts Theatre. Until Mar 20. (07) 3369 2344. artstheatre.com.au Goldie! The Untold Story of Goldilocks by David Lowe. Brisbane Arts Theatre. Until Mar 27. (07) 3369 2344. artstheatre.com.au
Mystery Musical Vol. 2. The Very Popular Theatre Company. Apr 30 - May 8. Civic Playhouse, Newcastle. (02) 4929 1977.
The Producers. By Mel Brooks and Thomas Meehan. Altitude Theatre. Mar 4 -13. Brisbane Powerhouse Theatre. (07) 3358 8622. brisbanepowerhouse.org
Macbeth by William Shakespeare. Campbelltown Theatre Group. Apr 30 - May 19. Campbelltown Town Hall
Yes, Prime Minister by Antony Jay and Jonathan Lynn. Centenary Theatre Group. Mar 6 - 27. 0435 591 720. centenarytheatre.com.au
Triple X by Glace Chase. Queensland Theatre. Mar 6 Apr 1. 1800 355 528. queenslandtheatre.com.au The Snow Queen by Natalie Trengrove. Tweed Theatre Company. Mar 6 - 21. 1800 674 414. tweedtheatre.com.au 60th Anniversary Gala. Queensland Ballet. Mar 5 - 20. Playhouse, QPAC. 136 246. qpac.com.au Lorelei by Julian Langdon, Casey Bennetto and Gillian Cosgrove. Opera Q. Mar 6 - 13. Concert Hall, QPAC. 136 246. qpac.com.au An Ideal Husband by Oscar Wilde. Villanova Players. Mar 6 - 21. (07) 3395 5168. villanovaplayers.com Bigger and Blacker. Cabaret. La Boite. Mar 8 - 27. (07) 3007 8600. laboite.com.au Caroline O’Connor - From Broadway With Love. Mar 10 -
Just $50 a month to reach thousands of theatre goers. Contact Stage Whispers for details.
On Stage 13. Cremorne Theatre, QPAC. 136 246. qpac.com.au
Theatre, QPAC. From Mar 26. 136 246. qpac.com.au
Footloose. By Dean Pitchford and Walter Bobbie. Music by Tom Snow (and others), lyrics by Dean Pitchford. BAMT. Mar 17 - 28. Hayward Street Studios. bamt.com.au
Marty Rhone - Sir Cliff & I. Concert Hall, QPAC. Mar 31. 136 246. qpac.com.au
Alice In Wonderland by Lewis Carroll. SK Entertainment and Tim Lawson in association with Eireborne. Irish Dance. Mar 18. Ethan Walker. Apr 7 - 8. QPAC. 136 246. qpac.com.au Concert Hall, QPAC. 136 246. qpac.com.au Firebird. QSO Maestro Series. Mar 19 - 20. Concert Hall, Celebrating Nina Simone - Lisa QPAC. 136 246. qpac.com.au Simone. Apr 13. Concert Hall, QPAC. 136 246. qpac.com.au One Act Wonders. Javeenbah
Queensland & Victoria The Best of British. Qld Pops. Apr 17. Concert Hall, QPAC. 136 246. qpac.com.au The Tap Pack. Apr 18 - 24. Cremorne Theatre, QPAC. 136 246. qpac.com.au Umbilical Brothers - The Distraction. Apr 27 - May 2. Playhouse, QPAC. 136 246. qpac.com.au Cinematic. QSO. Apr 24. Concert Hall, QPAC. 136 246. qpac.com.au
Melbourne. harrypottertheplay.com/au Single Ladies by Michele Lee. Red Stitch Actors’ Theatre. Until Mar 14. redstitch.net Come From Away. Book, music and lyrics by David Hein and Irene Sankoff. Junkyard Dogs Productions and Rodney Rigby. Until Mar 21. Comedy Theatre, Melbourne. comefromaway.com.au
The Songs of a Sentimental Bloke by C.J. Dennis. Eltham Carole King’s Tapestry - 50 Theatre Co. Mar 19 - 27. (07) World of Musicals. Concert Anniversary In Concert. Apr 25. Little Theatre. Until Mar 14. Eltham Performing Arts Centre, 5596 0300. javeenbah.org.au Hall, QPAC. Apr 15. 136 246. Concert Hall, QPAC. 136 246. Research. qpac.com.au qpac.com.au The Importance of Being elthamlittletheatre.org.au Earnest by Oscar Wilde. St Xanadu by Jeff Lynne and John Lights, Camera, Action. QSO. War of the Worlds. Based on Lukes Players. Mar 19 - 27. (07) Farrar. Coolum Players. Apr 16 Apr 27. Concert Hall, QPAC the novel by H.G. Wells. The - 25. (07) 5446 2500. 136 246. qpac.com.au 3343 1457. 1812 Theatre. Until Mar 13. stlukestheatre.asn.au coolumtheatre.com.au Victoria bakery@1812. Sing-A-Long Sound Of Music. No Sex Please, We’re British by Harry Potter and the Cursed 1812theatre.com.au Mar 21. Concert Hall, QPAC. Alistair Foot and Anthony Child. Based on an original Runt. Dee & Cornelius & Wlkes. 136 246. qpac.com.au Marriott. Gold Coast Little new story by J.K. Rowling, Jack Until Mar 7. Theatre. Apr 16 - May 9. (07) Come From Away by Irene Thorne and John Tiffany. fortyfivedownstairs. 5532 3224. gclt.com.au Ongoing. Princess Theatre Sankoff and David Hein. Lyric fortyfivedownstairs.com
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th
Stage Whispers 57
On Stage
Victoria
Online extras!
Cast and creatives reflect on lockdown and being able to return to the stage youtu.be/mWt7Vhy0eQ0
Productions and No Mates Productions. Apr 6 - 17. Theatreworks. theatreworks.org.au Flipside by Ken Duncum. Drama. Brighton Theatre Company Inc. Apr 9 - 24. Brighton Theatre. 1300 752 126. brightontheatre.com.au The 91-Storey Treehouse. By Richard Tulloch, adapted from the book by Andy Griffiths and Terry Denton. CDP Kids. Apr 15 & 16. Drum Theatre, Dandenong. (03) 8571 1666. drum.greaterdandenong.vic.gov.au Looped by Matthew Lombardo. Geelong Rep Theatre. Apr 16 - May 1. Woodbin Theatre, Geelong West. geelongrep.com
Melbourne audiences can once again experience the magic of Harry Potter And The Cursed Child. Following a near year-long closure, the show returned to the Princess Theatre on February 25 - the first of its global productions to reopen. Photo: Evan Zimmerman. harrypottertheplay.com/au Sexual Misconduct of the Middle Classes by Hannah Moscovitch. Melbourne Theatre Company. Mar 6 - Apr 1. Southbank Theatre, The Sumner. (03) 8688 0800. mtc.com.au
Encore Theatre Company Inc. Mar 12 - 27. Clayton Community Centre. 1300 739 099. encoretheatre.com.au
Voldemort and the Teenage Hogwarts by Fiona Landers, Richie Root and Zach Reino. Theatre Works, Red Hot Productions and Salty Theatre. Mar 5 - Apr 1. Theatre Works. theatreworks.org.au
The Trauma Project by Elizabeth Walley. fortyfivedownstairs. Mar 17 28. fortyfivedownstairs.com
Toby by Abe Pogos. ReAction Theatre. Mar 9 - 14. La Mama Courthouse. lamama.com.au The Flowers that Bloom in the Spring. Gilbert and Sullivan Opera Victoria. Mar 13 - 21. The Knowe, Sassafras. gsov.org.au Lord Arthur Savile’s Crime by Constance Cox, based on the short story by Oscar Wilde. 58 Stage Whispers
Breeders by Vanessa Di Natale. Mar 16 - 21. La Mama Courthouse. lamama.com.au
Psycho Beach Party by Charles Busch. Essendon Theatre Company. Mar 18 - 27. Bradshaw Street Theatre Company. 0406 448 368 or essendontheatrecompany.com.au The History Boys by Alan Bennett. Frankston Theatre Group. Mar 19 - 28. Mt.Eliza Community Hall. 1300 665 377. frankstontheatregroup.org.au Big Fish. Music & Lyrics by Andrew Lippa. Book by John
August. Fab Nobs Theatre Company. Mar 20 - Apr 3. fabnobstheatre.com.au Andrew McClelland: The Very Model of a Modern Major Musical. The Butterfly Club. Mar 22 - 28. thebutterflyclub.com Zombie. Jordan Barr. The Butterfly Club. Mar 22 - 28. thebutterflyclub.com Scary Goats Tour by Chloe Towan and Nathan Fernandez. The Butterfly Club. Mar 22 Apr 4. thebutterflyclub.com
I’ll Be Back Before Midnight by Peter Colley. Eltham Little Theatre. Apr 16 - May 1. Eltham Performing Arts Centre, Research. elthamlittletheatre.org.au Berlin by Joanna Murray-Smith. Melbourne Theatre Company. Apr 17 - May 22. Southbank Theatre, The Sumner. (03) 8688 0800. mtc.com.au Midsumma Festval. Apr 19 May 5. midsumma.org.au Bent by Reuben James. Theatre Works & Variation Three. Midsumma. Apr 19 - 22. Theatreworks. theatreworks.org.au Love You Bitch by Alberto Di Troia. Theatre Works & Stage Mom. Midsumma. Apr 22 - 28. Theatreworks. theatreworks.org.au
Chess The Musical. Music by Benny Andersson & Björn Ulvaeus (ABBA) with book & Because The Night. Immersive lyrics by Tim Rice. StoreyBoard Theatre Adventure. Malthouse. Entertainment. Apr 22 - 24. From Mar 23. Regent Theatre, Melbourne. malthousetheatre.com.au chessmusical.info Melbourne International Comedy Festival. Mar 24 - Apr 18. comedyfestival.com.au/2021
Things I Know to be True by Andrew Bovell. Mordialloc Theatre Co. Apr 23 - May 8. Shirley Burke Theatre, Parkdale. Jungle Bungle by Craig Christie. (03) 9587 5141. mordialloctheatre.com Theatre Works, VTM
Just $50 a month to reach thousands of theatre goers. Contact Stage Whispers for details.
On Stage The Gospel According to Jesus, Queen of Heaven by Jo Clifford. Theatre Works. Midsumma. Apr 30 - May 8. Theatreworks. theatreworks.org.au Priscilla Queen of the Desert The Musical by Allan Scott and Stephan Elliott. CLOC Musical Theatre. Apr 30 - May 22. The National Theatre Melbourne. 1300 362 547. cloc.org.au The Wedding Singer. Music by Matthew Sklar, lyrics by Chad Beguelin, and a book by Beguelin and Tim Herlihy. David Venn Enterprises. From Apr 30. Athenaeum Theaatre, Melbourne. weddingsingermusical.com.au Tasmania The Marvellous Corricks. Ten Days on the Island, the National Film and Sound Archive and Queen Victoria Museum and Art Gallery. Mar 14. Princess Theatre, Launceston. (03) 6331 0052. theatrenorth.com.au
Victoria, Tasmania, South Australia & W.A.
The Boy Who Talked to Dogs. Slingsby and State Theatre Company South Australia in association with Adelaide Festival. Until Mar 14. Thomas Edmonds Opera Studio, Adelaide Showground. adelaidefestival.com.au Nancy Wake - The White Mouse. Adelaide Fringe. Until Mar 14. Star Theatres. adelaidefringe.com.au
Theatre Company South Drinking Habits by Tom Smith. Australia. Apr 19 - May 1. Murray Music and Drama. Mar Dunstan Playhouse. bass.net.au 5 - 13. Pinjarra Civic Centre. 0458 056 414. mmdc.com.au Bluey’s Big Play - the Stage Show. BBCS, Andrew Kay and QPAC. Apr 21 & 22. Hopgood Theatre, Noarlunga. (08) 7009 4400.
Disney’s The Little Mermaid Jr. by Doug Wright, Alan Menken, Howard Ashman and Glenn Slater. Parks Youth Theatre. Adelaide Festival. Until Mar 14. Mar 21 - 23. Parks Theatres. adelaidefestival.com.au trybooking.com/701031 Dracula by Isaac Gates, based on Bram Stoker’s original. Black Cat Theatre. Mar 4 - 13. Star Theatres. adelaidefringe.com.au
Next Fall by Geoffrey Nauffts. Boyslikeme. Apr 24 - May 8. Holden Street Theatres. holdenstreettheatres.com
Sole Mates. TwoLeftFeet Theatre. Mar 4 - 13. Star Theatres. adelaidefringe.com.au
Managing Carmen by David Williamson. Garrick Theatre. Until Mar 13. Garrick Theatre, Guildford. (08) 9378 1990. trybooking.com/BNNJK
Cosi by Louis Nowra. The Stirling Players. Mar 12 - 27. Stirling Community Theatre. trybooking.com/BOIID
Western Australia
Robin Hood by Tracey Rogers. Darlington Theatre Players. Until Mar 20. Marloo Theatre, The Little Mermaid. SA Greenmount. trybooking.com/ Children’s Ballet Company. Mar BHMGM One Crowded Hour: Neil Davis, 19 - 21. Star Theatres. The Cherry Orchard by Anton Combat Cameraman by adelaidefringe.com.au Chekhov, adapted by Adriane Terence O’Connell, basd on the Daff and Katherine Tonkin. biography by Tim Bowden. Ten 13 The Musical. Music and Black Swan State Theatre Days on the Island / Tasmanian lyrics by Jason Robert Brown Company. Until Mar 14. Sunset Theatre Company. Mar 17 - 27. and book by Dan Elish and Robert Horn. Adelaide Youth Heritage Precinct. bsstc.com.au Peacock Theatre, Hobart. Theatre. Mar 19 - 21. Star tastheatre.com Ordinary Days by Adam Gwon. Theatres. Playlovers. Mar 3 - 13. Stirling The Gospel According to Paul adelaidefringe.com.au Theatre, Morris Place, Innaloo. by Jonathan Biggins. Mar 26 & trybooking.com/BOSQG Happy Birthday by Marc 27. Theatre Royal, Hobart. Camoletti, adapted by Beverley Murders at the Maj - Murders theatreroyal.com.au Cross. Tea Tree Players. Apr 7 - on the Nile. Cluedunnit. Mar 4 The World of Musicals. Rockitz 24. Tea Tree Players Theatre. - 6. His Majesty’s Theatre, Entertainment. Mar 29, Theatre teatreeplayers.com Perth. ptt.wa.gov.au or (08) Royal, Hobart 6212 9292. theatreroyal.com.au & Mar 30, Crimes of the Heart by Beth Henley. Adelaide Rep. Apr 8 Princess Theatre, Launceston. The Gruffalo’s Child by Julia 17. Arts Theatre. (03) 6331 0052. Donaldson and Alex Schleffer. adelaiderep.com theatrenorth.com.au CDP and Tall Stories. Mar 4 - 7. Hamlet: Prince of Skidmark - A Mamma Mia! Music and Lyrics Heath Ledger Theatre, State Badaptation of The Bard by The by Benny Andersson and Björn Theatre Centre of WA. ptt.wa.gov.au or (08) 6212 Listies. Critical Stages. Apr 23 & Ulvaeus. Book by Catherine Johnson. Northern Light 9292. 24. Theatre Royal, Hobart. Theatre Company. Apr 9 - May My Friend Miss Flint by Donald theatreroyal.com.au 1. Shedley Theatre, Elizabeth. Churchill and Peter Yeldham. South Australia northernlight.org.au KADS. Mar 5 - 20. KADS Town Adelaide Fringe. Until Mar 21. The Gospel According to Paul Square Theatre, Kalamunda. adelaidefringe.com.au kadstheatre.com.au by Jonathan Biggins. State Advertise your show on the front page of stagewhispers.com.au
Last of the Red Hot Lovers by Neil Simon. Old Mill Theatre. Mar 5 - 23. Old Mill Theatre, South Perth. trybooking.com/BNRES
The Comedy of Errors by William Shakespeare. Graduate Dramatic Society. Mar 10 - 20. New Fortune Theatre, University of Western Australia. ticketswa.com The Ladies Foursome by Norm Foster. Harbour Theatre. Mar 12 - 28. Camelot Theatre, Mosman Park. taztix.com.au or (08) 9255 3336. Mamma Mia! Music and Lyrics by Benny Andersson and Björn Ulvaeus. Book by Catherine Johnson. Koorliny Arts Centre. Mar 12 - 27. Koorliny Arts Centre, Kwinana. koorliny.com.au Steel Magnolias by Robert Harling. Laughing Horse Inc. Mar 13 - 20. Don Russell Performing Arts Centre, Thornlie. drpac.sales.ticketsearch.com At Any Cost by David Williamson and Mohamed Khadia. Bunbury Repertory. Mar 19 - 27. Little Theatre, Eaton. bunburyrepertory.org.au Ellida by May-Brit Akerholt. WAAPA 3rd Year Acting Students. Mar 25 - 31. Roundhouse Theatre, WAAPA, Mt Lawley. (08) 9304 6895. waapa.ecu.edu.au The Caucasian Chalk Circle by Bertolt Brecht. WAAPA 3rd Year Performance Making Students. Mar 25 - 31. Enright Studio, WAAPA, Mt Lawler. (08) 9304 6895. waapa.ecu.edu.au Disney’s Beauty and the Beast by Alan Menken, Howard Ashman and Tim Rice. Iona Presentation College. Mar 26 28. Regal Theatre, Subiaco. ticketek.com.au Stage Whispers 59
On Stage
Western Australia & New Zealand
Into the Woods by Stephen Sondheim and James Lapine. WAAPA 3rd Year Musical Theatre Students. Mar 26 - 31. Studio Underground, State Theatre Centre of WA. waapa.ecu.edu.au
I Love You, You’re Perfect, Now Change by Joe DiPietro and Jimmy Roberts. Pristine Entertainment. Apr 29 - May 1. Downstairs at the Maj, His Majesty’s Theatre, Perth. ptt.wa.gov.au
One for the Road by Willy Russell. Wanneroo Repertory. Apr 1 - 17. Limelight Theatre, Wanneroo. limelighttheatre.com.au
Clue by Sandy Rustin, based on the works by Johnathon Lynn, Hunter Foster, Eric Price and David Abbinati. Garrick Theatre. Apr 29 - May 15. Garrick Theatre, Guildford. (08) 9378 1990. garricktheatre.asn.au
Miss Lily’s Feather Boa by Margaret Wild and Kerry Argent. Spare Parts Puppet Theatre, Fremantle. Apr 3 - 17. An Unspeakable Triumph of sppt.asn.au Supreme Brilliance by Dan Zolidas. Darlington Theatre The Producers by Mel Brooks Players. Apr 30 - May 15. and Thomas Meehan. Marloo Theatre, Greenmount. Alexandra Theatre. Apr 8 - 10. trybooking.com/716714 Regal Theatre, Subiaco. New Zealand ticketek.com.au Natural Causes by Eric Chappell. Bridgetown Repertory. Apr 8 - 18. Bridgetown Repertory Theatre. 0417 174 103. bridgetownrepertoryclub.com.au Monty Python’s Spamalot by Eric Idle. Primadonna Productions. Apr 9 - 11. Mandurah Performing Arts Centre. manpac.com.au
Wellington Fringe Festival 2021. Until Mar 20. fringe.co.nz Winding Up by Roger Hall. The Court Theatre, Christchurch. Until Mar 13. 0800 333 100.
Tropical Love Birds by Vela Manusaute. Auckland Arts Festival. Mar 10 - 20. Māngere Arts Centre - Ngā Tohu o Uenuku, Auckland. 0800 BUY TIX (289 849). eventfinda.co.nz My Inlaws Are Outlaws! by Devon Williamson. Detour Theatre, Tauranga. Mar 10 27. 0508 iTICKET (484 253). iticket.co.nz Sister Act. Music by Alan Menken, lyrics by Glenn Slater, book by Bill and Cheri Steinkellner, and additional book material by Douglas Carter Beane. Napier Operatic Society. Mar 12 - 27. Tabard Theatre. napieroperatic.org.nz Grease by Jim Jacobs and Warren Casey. Harlequin Musical Theatre, Howick. Mar 13 - 27. harlequintheatre.co.nz Things I Know to be True by Andrew Bovell. Court Theatre / Circa Theatre. Mar 20 - Apr 17. The Court Theatre, Christchurch. 0800 333 100. courttheatre.org.nz
The House by Brian Parks. Yes Yes Yes. Created by Eleanor Howick Little Theatre. Until Mar Bishop & Karin McCracken. 20. hlt.org.nz Circa Theatre, Wellington. Mar Standard Acts. Created by 23 - 27. Circa Two. circa.co.nz Karin McCracken and Meg The Trappe Family by Seamus Strasbourg 1518. Borderline Rollandi with Arlo Gibson. O’Rourke. Irish Theatre Players. Arts Ensemble. Mar 23 - 28. Auckland Fringe. Until Mar 20. Apr 8 - 17. Townshend Circa One, Circa Theatre, Basement Theatre, Auckland. Theatre, Subiaco. 0466 347 Wellington. circa.co.nz iticket.co.nz 434. irishtheatreplayers.com.au Digging To Cambodia by Sarita The Haka Party Incident by To Kill a Mockingbird by So. Mar 23 - 27. Basement Katie Wolfe. Auckland Theatre Christopher Sergel. Stirling Theatre, Auckland. Company / Auckland Arts Players. Apr 23 - May 8. Stirling basementtheatre.co.nz Festival. Mar 5 - 13. ASB Theatre, Innaloo. Waterfront Theatre. atc.co.nz Winding Up by Roger Hall. trybooking.com/699286 Centrepoint Theatre, Evita by Andrew Lloyd Webber James and the Giant Peach by Palmerston North. Mar 26 and Tim Rice. Centrestage Benj Pasek, Justin Paul and May 2. (06) 354 5740. Theatre Company. Mar 5 - 20. Timothy Allen McDonald. AIM centrepoint.co.nz Centrestage Theatre, Orewa. - Art in Motion. Apr 15 - 17. centrestagetheatre.co.nz The Artist. Circo Aereo. Mar 31 Don Russell Performing Arts - Apr 10. Circa One, Circa D&D Live: Don’t Dream It’s Centre, Thornlie. fb.me/ Theatre, Wellington. Ogre. BATS Theatre, aimtheatreco circa.co.nz Wellington. Mar 6 - 20. Legally Blonde the Musical by bats.co.nz Chicago by John Kander, Fred Laurence O’Keefe, Neil Ebb and Bob Fosse. Act Three Dr Drama Makes a Show With Benjamin and Heather Hach. Productions. Apr 9 - 24. You by James Wenley. BATS HAMA Productions. Apr 16 Wallace Development Theatre, Wellington. Mar 7 25. Crown Theatre, Perth. Company Theatre, Palmerston 11. bats.co.nz crownperth.com.au North. actthree.co.nz 60 Stage Whispers
A Lion in the Meadow and Other Stories. By Margaret Mahy, adapted for the stage by Tim Bray. Tim Bray Theatre Company. Apr 10 - May 2. The PumpHouse Theatre, Auckland. (09) 486 2261. pumphouse.co.nz The Addams Family. Book: Marshall Brickman and Rick Elice. Music and Lyrics: Andrew Lippa. Manukau Performing Arts. Apr 10 - 24. Spotlight Theatre. mpatheatre.co.nz Change Your Own Life by Jean Sergent. Apr 13 - 17. Basement Theatre, Auckland. basementtheatre.co.nz First World Problems 3.0. Prayas Theatre and Agarum Productions. Apr 13 - 24. Basement Theatre, Auckland. basementtheatre.co.nz Jersey Boys. Book by Marshall Brickman and Rick Elice. Music and lyrics by Bob Gaudio and Bob Crewe. G & T Productions. Apr 17 - May 9. Civic Theatre, Auckland. Ticketmaster. gntproductions.co.nz Seasons. Capital E National Theatre for Children. Apr 19 24. Circa One, Circa Theatre, Wellington. circa.co.nz Up Down Girl. Adapted from ‘Up Down Boy’ by Sue Shields with Myrtle Theatre Company. The Up Down Project. Apr 20 May 1. Circa Two, Circa Theatre, Wellington. circa.co.nz Shortland Street The Musical. Music and Lyrics by Guy Langford. Book by Guy Langford and Simon Bennett. Kauri Theatre Company. Apr 19 - 24. Gryphon Theatre, Wellington. iticket.co.nz Single Asian Female by Michelle Law. Auckland Theatre Company. Apr 27 May 15. ASB Waterfront Theatre. atc.co.nz
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Naked & Screaming. Photo: Morgan Roberts.
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Check out the moving trailer for Naked & Screaming. Scan the QR code or visit youtu.be/OHa25eUWJ04 Naked & Screaming By Mark Rogers. La Boite, Brisbane. Feb 6 - 27. LA BOITE’S first production for 2021 is a world premiere of a new Australian work by Mark Rogers. Inspired in part by his own parenthood journey, Naked & Screaming chronicles a year in the life of Emily and Simon - a vaguely hipster-ish couple who have added a new baby to their lifestyle mix. What ensues is not all sitcom and smiling selfies - although there is much laughter of recognition from the audience at some of the situations, the stress, the lack of sleep. Parenthood encroaches on the couple’s life like the washing baskets that keep piling up in their home - a starkly simple stage set with a central motif designed by Chloe Greaves and lit by Lighting Designer Ben Hughes to constantly remind us that these parents are also not far from childhood themselves. And then something happens to sleep-deprived Emily that will bring the relationship to breaking point - the warm comedy washes off the stage like an ocean rip, leaving our couple all out to sea. Guy Webster’s sound design and music help to shift our mindset as things take a U-turn. Naked & Screaming is distinguished by Rogers’ intelligent, witty dialogue and an unexpected story trajectory, bolstered by director Sanja Simić’s confident pace. While the abrupt ending may leave some viewers wondering at the writer’s key message, we need more conversation-starting stage stories like this. The fast pace and sudden turns certainly pack in some acting punches for its performers - Emily Burton and Jackson McGovern -
and this is the perfect chance to catch these two excellent performers flexing their ‘rom-dram’ muscles. Beth Keehn Burn This By Lanford Wilson. 16th Street Actors Studio. fortyfivedownstairs, Melbourne. Jan 28 - Feb 7. BURN This, a psychodrama by esteemed American playwright Lanford Wilson, is given a powerful and engrossing production here, with insightful direction by Ian Sinclair. Anna (Jessica Clarke), dancer turned choreographer, and flatmate ad man Larry (Dushan Philips) mourn the death of their friend, dancer Robbie. Ann’s boyfriend, Burton (Jacob Collins Levy), is sympathetic but in a halfhearted way. Into this grey stasis comes the explosive disruption of Pale (Mark Diaco), Robbie’s elder brother - a torrent of abuse and sexual innuendo - and, in Mr Diaco’s performance, sexual energy - a powerhouse performance gradually revealing depths of vulnerability, guilt and regret. Mr Philips, in another seemingly effortless, graceful performance, is the insightful, caring and protective observer and ‘helper’ - despite the stream of bitchy - and funny - commentary on anything and everything. As for Anna, Jessica Clarke makes Anna’s misery palpable: the audience cannot help but be deeply affected by it. She resists Pale, rejects him, rages at him - but it is not his violence that wears her down. Thus, text and performance build an escalating tension: what will happen next?
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Mis en scène is greatly aided by director Ian Sinclair’s and designers Jacob Battista’s and Sofie Battista’s risky decision to make their set - a Lower Manhattan loft apartment - the whole of the fortyfivedownstairs bare boards space. Clare Springett’s lighting is inspired, defying naturalism with expressionist reflections of characters’ emotional states, isolating them in pools of light or subtly changing the colour register. What we witness in Burn This is the inexorable force of desire - or ‘need’ - that draws people together against the odds, against their better judgement and against even a hope for the future. Michael Brindley
worthy work. It’s Ted-style Talk complete with power point photos. Steve Rodgers’ adaptation is just as funny and clever as the Jacobsons’ movie, at times even a little more philosophical. Rodgers is an innovative writer who uses a diverse range of theatrical techniques to bring vitality and dimension to this one-man show, interspersing the narrative with humour, tension, audience participation and a little pathos - enough in the hands of a clever actor to keep the audience attentive, entertained and on side. Who better to do this than the versatile, very amiable Ben Wood. Padded up a little in overalls that don’t meet across the middle, a company polo shirt and cap, Wood brings Shane Jacobson’s original Kenny’s discerning charm to the live theatre stage. Wood creates a Kenny Kenny By Shane and Clayton Jacobson, adapted for the stage by whose latent energy and charisma has immediate appeal, Steve Rodgers. Ensemble Theatre (NSW). Jan 15 - Feb 27. grabbing the audience with his lively self-deprecation and THERE was a special air of anticipation at the opening old-world honesty, holding them captive for ninety night of Kenny at the Ensemble, because this opening minutes of toilet tales, poo patter and philosophy. night was more than just an opening, it was an “opening Director Mark Kilmurry moves Wood deftly around the stage and up and down stairs, where he stops him for a up” after almost a year in “the COVID dark”. Designer Simone Romaniuk has transformed the moment to speak more directly to audience members, before discretely moving him on. It is carefully theatre into an event centre hosting the International Portable Sanitation Convention, where key-note speaker is orchestrated to sustain interest and anticipation. In the Kenny Smythe from SPLASHdown Bathroom Rentals, last talented hands of Ben Wood it is particularly effective, and it brings the Ensemble out of the dark days with a featured in the much-awarded film Kenny, written by bright and entertaining ‘bang’. Clayton and Shane Jacobson. Tonight, Kenny is here to promote the plucky importance of plumbers and their Carol Wimmer Ben Wood in Kenny. Photo: Prudence Upton.
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Come From Away. Photo: Jeff Busby.
Watch the cast perform “Somewhere In The Middle Of Nowhere”. youtu.be/-xmeu0qBqyk
Come From Away Book, Music & Lyrics by Irene Sankoff & David Hein. Junkyard Dog Productions & NewTheatricals. The Comedy Theatre, Melbourne. Jan 26 - Mar 21. THERE are two reasons to see (or see again) Come From Away: the amazing ‘true story’, and the dazzling production itself. On ‘9/11’, US airspace was closed, and 38 passenger planes were diverted to a semi-mothballed airfield on Newfoundland. The town of Gander, population 9,651, became host to 6,597 folks who had ‘come from away’. The hospitality of the town was astonishing. When the planes were cleared to fly, many passengers didn’t want to leave. It’s emotional and very funny - often both at the same time. It’s what we’d all love to believe about our fellow humans and ourselves. Irene Sankoff and David Hein, with director Christopher Ashley and choreographer Kelly Devine, refined and honed myriad ‘true stories’ down to a tight 100-minute musical or ‘music theatre’ show. The cast of just twelve play at least two if not three characters via a change of accent, posture and a hat or jacket. And using just three tables and twelve hardback chairs, they create a multitude of characters and locations. There must be people who go away dissatisfied, but I’ve yet to meet any. Michael Brindley
The Laramie Project By Moises Kaufman and members of the Tectonic Theatre Project. Ad Astra, Brisbane Feb 5 - 20. IN AD Astra’s production of The Laramie Project, nine actors play more than 60 characters in a great example of ‘verbatim’ theatre, based on interviews with residents of Laramie, Wyoming in the wake of Matthew Shepard’s murder in the cold October of 1998. In the two years that followed, Moises Kaufmann and members of his New York-based Tectonic Theatre Project took six trips to Laramie and interviewed townsfolk to start the research that shapes The Laramie Project. It feels wrong to be innervated by performances in a piece with such a tragedy at its centre. But it takes heart and soul to present this story and that certainly stands out with Michelle Carey’s casting choices. It is impossible to single out any one of this excellent cast who work as a true ensemble, supporting one another with the difficult material. Tomer Dimanstein, Andrew Fraser, Eleonora Ginardi, Elyse Johnston, Chris Nguyen, Kirsty Pickering, Chad Terry, Charlotte Trevaskes and Sam Webb play regular townspeople, Matthew’s fellow students, teachers, priests, police officers, news reporters, and finally the accused, as well as the victim’s parents, handling the range of accents. Michelle Carey’s direction focuses on the humanity of each character, avoiding the temptation to caricature or P.S. Read about the development of Come From Away fall into stereotypes of ‘good’ and ‘evil’. Carey places the in our article “Come From Away - The musical that began action in a simple set. The scene of the crime is a wooden with 16,000 true stories” bit.ly/37chP8G Longer versions of many reviews can now be found at stagewhispers.com.au
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fence that dominates the small space - a constant reminder that hate can take hold anywhere. Beth Keehn The Last Season Text by Tom Wright. Music by Kelly Ryall. Choreography by Danielle Micich. Force Majeure / Sydney Festival. Carriageworks. Jan 6 - 10. FORCE Majeure has an impressive record of working with non-dancers representative of different communities and current issues. With the so-called Youth Company, the dance theatre troupe here reconstructs Vivaldi’s optimistic Four Seasons cycle into nature’s last gasp of The Last Season - not that you hear Vivaldi’s symphony, or would even get the connection without being told. Summer arrives first with the commanding actor Pamela Rabe as a schoolmistress type in period dress, drilling her young creatures to make beautiful things. The 13 youngsters had just fallen from illuminated cocoons hanging in the sky and emerged from their larvae, in the most striking of openings. Autumn takes over with Paul Capsis playing an aging cabaret star, narcissistic and comically malevolent about a younger generation which now snubs him. Summer/Rabe too is concerned at a new unpredictability amongst her brood; indeed, they finally bash her senseless.
The Last Season. Photo: Yaya Stempler.
Winter, in the guise of the white-maned Irish actor Olwen Fouere, heralds environmental collapse, and an over-extended ending has the kids running around perplexed and epileptic. Throughout, their choreography (by Force Majeure’s AD Danielle Micich) is similarly generalised and unremarkable. And Spring never arrives. Tom Wright’s text may be heavy-handed about this looming dystopia but the production still entertains with wit, colourful invention and metaphors. It’s dramatically lit by Damien Cooper and costumed by Marg Howell and driven by Kelly Ryall’s initially minimalist score that ends soaring and urgent. I enjoyed it. Martin Portus The Pass By John Donnelly. Fixed Foot Productions. Reginald Theatre, Seymour Centre. Feb 11 - Mar 6. THE Pass offers more than the now familiar tale of the elite gay footballer too terrified to come out. Over 12 years, through three hotel rooms, we follow young Jason from the verge of international selection, later a hero manipulating others to quell gay rumours and finally, arrogant and narcissistic, a loveless puppet of his wealth and celebrity. Ben Chapple is outstanding playing into our shifting sympathies for Jason. Crucial too is African-Australian actor Deng Deng as Ade, Jason’s mate but also his competitor for a final place on the British team.
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Step into the rehearsal room for The Last Season. Scan the QR code or visit youtu.be/iCRj90aA3gM
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The night before the game the boys’ excited horseplay and bantering disguises an attraction which is finally consummated. The die is cast, Jason’s ascendancy is assured and Ade is left behind only to return at the end when Jason wants some craven support. The two actors lack a sexual tension together but Ed Wightman’s direction carries the play’s high jinks and charades with pace and care. Cassie Howarth is spirited as the resourceful table dancer caught up in Jason’s sexual deception and Tom Rodgers hilarious as the star struck hotel staffer lost in Jason’s drugged party games. The varied British accents are all true, as is writer John Donnelly’s focus, beyond just sexuality, on issues of celebrity, class and race, all played out in Hamish Elliot’s suitably anonymous hotel rooms. Donnelly overwrites but this provocative witty production holds us to the end. Martin Portus
stage is flanked by side screens offering closeup views of the dancers - and the intensity on their faces. Torres Strait Islander elder dancer Elma Kris brings a singular gravitas, often as the healer brandishing smoking sticks and bush potions. She anchors the two longest works, from Brolga, around a young woman lost in two conflicting flocks of spirits, and the last, from Nyapanyapa, choregraphed by Stephen Page in tribute to the death in 2016 of his brother, David. David’s compositions, often in collaboration with Steve Francis, link all the other works - a glorious soundscape of didgeridoo, violins, keyboards, bird calls, chants, abuzz with bush sounds and often driving melody. Voice comes too from East Arnhem Land traditional dancer Djakapurra Munyarryun. Almost all extracts are from works around traditional cultures, notably three dynamic parts from Ochres, choreographed by Page and Bernadette Walong-Sene. Spirit: A Retrospective 2021 Page’s other work with urban or post-1788 stories Bangarra Dance Theatre. Sydney Festival. The Headland at aren’t included, except for a part from Spear in which Barangaroo Reserve. Jan 20 - 24. men, in jeans, turn aggressively on an outsider. Why? NATURE and Indigenous spirits are powerfully invoked Such dramatic details of storytelling are unsaid in this in this Bangarra dance retrospective staged for the Sydney wash of snippets. But still magic and feeling rises from the Festival so rightly on the Headland in the Barangaroo stage, so well conjured by Jennifer Irwin’s astonishing Reserve. costumes, weaved it seems from the very leaves and bush Against Jacob Nash’s beautiful forest and landscape of country. backdrops, etched against blazes of colour, 20 dancers Martin Portus perform snippets from nine works. The vast headland Spirit: A Retrospective 2021. Photo: Daniel Boud.
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Spirit: A Retrospective 2021 is a powerful collection of dance stories. youtu.be/vc-O43VPj6k Longer versions of many reviews can now be found at stagewhispers.com.au
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Magic Mike Live. Photo: Peter Brew-Bevan.
rises and plunges over one of the cast’s two women. And the suspended water table is very hot with Varga and nymphette Max Francisco stripped near naked, awash in simulated hyper-sex. Women in the audience are also happily coaxed on stage to be enwrapped by these pulsating love machines. Yes, it’s repetitive choreography and (for me) only slowly builds real excitement, but the super agility, spunk and energy of a generous cast carries it for two hours, and the production values, the incandescent lighting and costuming - before each inevitable strip down - is awesome. Sometime teenage stripper Channing Tatum is the leading producer; fashioned from the Magic Mike film, he developed this stage show four years ago. Starting, of course, in Los Vegas! Martin Portus
Macbeth By William Shakespeare. Shakespeare Under the Stars. Australian Shakespeare Company. Royal Botanic Gardens, Melbourne. Jan 30 - Mar 6. DIRECTOR Glen Elston plays it straight: thus, we don’t have any diminution of the enormity of Macbeth’s crime: killing Duncan, the anointed king, is worse than murder; it is a crime against Nature, against God. The drama plays out on a multifunctional stage designed by Mr Elston and the lighting, again by Mr Elston I assume, heightens the sense of impending doom. The costumes by Karla Erenbots are medieval with sweeping, swirling cloaks and tufts of fur, more suggestive (c.f. Game of Thrones) than real. Online extras! Hugh Sexton, as Macbeth, manages the paradox of Stage Whispers TV visited the pulsating, the character: despite the magnificent poetry of gyrating, toe-tapping Magic Mike Live. Macbeth’s soliloquies, he is a man of limited imagination, youtu.be/qDBmfDKRIec credulous, all too easily led, whose ambition stopped at being king - and then no more than staying king - and Magic Mike Live thus one foul deed leads inexorably to the next. And The Arcadia, The Showring, Entertainment Quarter, Alison Whyte is a forceful, sensual Lady Macbeth, urging Moore Park. Sydney season resumed Jan. Melbourne from him on. Jun. There’s gender blind casting in Anna Burgess as WELCOME to the latest raunchy male show for hen Malcolm. But she has a long stride and a most regal don’t nights. -mess-with-me air which verges on dangerous. Dion Mills Touring Australia in its own Spiegeltent, Magic Mike is a stately and gentle Duncan and, later, the wary Doctor Live sports 16 gym-perfect American boys speeding unable to explain Lady Macbeth’s madness. Lady Macduff through a kaleidoscope of dance styles, but all hip has one scene, but Elisabeth Brennan’s sprightly playing thrusting and humping, an endless sea of swivel snake makes her so adorable that her murder is all the more spines. And coaxed by our girl-next-door MC Amy horrific. Tony Rive’s Banquo is completely convincing as Ingham, still the hens cry for more. Macbeth’s best mate - and Syd Brisbane is heartbreaking There’s a story of sorts, as Amy coaches cutie Mike when Macduff learns of the murder of his wife and (Blake Varga) on how to satisfy her more than just with children. his tongue. He’s an eager learner, super dancer and with The Australian Shakespeare Company give this his mates, in an authentic ethnically varied cast, pounds Macbeth a fine run, with its clarity and its unashamed through blues, jazz, Latin, disco and rap. accent on emotion. I’ve seen a number of plays The boys also swing through the sky, hoover up tent performed in Melbourne’s Royal Botanic Gardens; this poles and gyrate through cabaret tables and from Macbeth is easily the best. podiums around us. Top aerialist Nadia Zaina excels as he Michael Brindley 66 Stage Whispers
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Fangirls. Photo: Brett Boardman.
Edna’s close friends, and James Majoos, playing another obsessive who writes fan fiction with Edna, is remarkable. In the second act, as Edna’s actions to attract Harry’s attentions go too far, we get the true heart of the show. These may be teenage girls overly worried about being fat or ugly - but do we ever really grow out of that as adults? But ultimately this sparkling show is about celebrating the fanatic in all of us. With strong songs, witty writing and wondrous performances, this “Fangirls 2.0”, as Blake dubs it, will continue to wow audiences as it embarks on a national tour. Peter Gotting
Frozen Music & Lyrics by Kristen Anderson-Lopez and Robert Lopez. Book by Jennifer Lee. Disney Theatrical Productions. Capitol Theatre Sydney. Opening night - Dec 10, 2020. WHEN the original movie swept the world like an outof-control blizzard, Disney raced to adapt the hugely popular film into a musical, from script to stage, in just 18 months. On the technical side it has done wonders - turning animation into theatrical alchemy. It begins with sparks flying across the stage, when the sisters Elsa and Anna (as children) come to terms with the Elsa’s supernatural powers to turn things into ice. When the sisters are cast out in the wilderness, all manner of visual tricks adorn the stage. The proscenium (frame) changes colour - gorgeously ice spears are thrust into the space from all corners, and in one scene an eye-popping number of crystals fill the Online extras! space. Get your boy band fix with the trailer Perhaps the most stunning moment was a lighting for Fangirls. Scan the QR code or visit effect which saw the characters appear to be frozen youtu.be/5vnYTofo_TU stone. But underneath the technical wizardry, at times Frozen Fangirls feels two dimensional. The central characters Courtney Book, music, and lyrics by Yve Blake. Belvoir. Directed by Monsma (Anna) and Jemma Rix (Elsa) sing impeccably. Paige Rattray. Seymour Centre. Jan 30 - Feb 20 and However, there is something missing in the book and touring. music to make us warm to their relationship. TEENAGE girls are so misunderstood. That’s the theme The male characters have more fun. Matt Lee is of Yve Blake’s electrifying musical that became a smash delightful as the snowman Olaf, masterfully interacting hit at the Queensland Theatre and Sydney’s Belvoir with his puppet shadow. Thomas McGuane looks every Theatre in 2019. It’s back, with a bigger cast and at a bit the handsome Disney Prince gone wrong. Sean bigger venue. Sinclair, as the ice carver Kristoff, and particularly his There’s no doubt Fangirls resonates particularly with trusty sidekick reindeer Sven (Jonathan MacMillan) are young women. But if you’ve ever been a teenage girl or irresistible. indeed a teenager at all, you’re likely to enjoy it, thanks to The music, under the direction of David Young was the brilliant writing and smashing performances. sumptuous, with the song “Do you Want to Build a Fangirls feels like a musical for the next generation. Snowman” coming close to dislodging that other ear The young characters are obsessed with how they - and worm “Let it Go”, closely followed by “For the First Time others - appear but they’re also self-deprecating and in Forever”. often make you laugh. However, the most entertaining song and dance Karis Oka plays Edna, a 14-year-old girl obsessed with routine was by the chorus, in a rendition by a group of Harry, a member of the world’s biggest boy band “True Norwegian nude bathers (suitably covered). Connection”. Oka brings spunk and energy to this leading Onto the stage after the production slipped Disney role. Chika Ikogwe is also a standout as Jules, one of Theatrical Producer Thomas Schumacher. How lucky we Longer versions of many reviews can now be found at stagewhispers.com.au
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are - he noted - to live in a country which has a anatomical demonstration of the wondrous capability of “functioning Government”. Perhaps that was the best line the human brain to hit a tennis ball at an elite level. of the night. The actors had lots of roles to sink their teeth into. David Spicer Luke Carroll shone as Evonne’s brother Larry and her coach Mr Edwards. Kyle Shilling swung between the Sunshine Super Girl characters of her father and husband Roger. Jax Compton was gorgeous as Evonne’s mother and hilarious as Newk Written and directed by Andrea James. Performing Lines and Sydney Festival. Sydney Town Hall. Jan 8 - 17. and Martina Navratilova. THIS was a magical night in the theatre, fusing an In the lead was Tuuli Narkle. The most memorable part extraordinary Australian story with beautiful stagecraft. of her portrayal was Evonne’s innocent joy of discovery. At its core is the spirit of Evonne Goolagong, and her The first time she uses a tennis racquet (instead of a transformation from a seven-year-old Aboriginal girl wooden bat) and later when she gets into a plane to fly peering longingly onto a tennis court, with not enough from her country town to Sydney were special. money for a racquet or sandshoes, into a world This sparkling production deserves another run in Sydney - without audience restrictions - and will be a champion. The set (what an apt word) for the production was smash when it finally makes it to Melbourne, which was (naturally) a tennis court. Members of the audience were its original premiere destination. on either side in the grandstands. David Spicer Onto the court were projected videos (designed by Mic Grunchy) of various surfaces - from the lush green of Dinner Wimbledon, to the red clay of Roland Garros, fluorescent By Moira Buffini. Stirling Players. Directed by Virginia sidelines of the US indoor circuit, to disco floors in Moore Price. Stirling Theatre, Innaloo WA. Feb 6 - 20. London and even an outback fishing spot. AFTER a slightly delayed opening due to Perth’s COVID The tennis action was elegantly and crisply portrayed -19 shutdown, Stirling Players’ very black comedy, Dinner, through dance. The choreographer was the impressive played to reduced audiences. Beautifully presented, this lead on-stage dancer, Katrina Olsen, whose roles included show is very nicely cooked - unlike the meals in the story. Margaret Court. A highlight was an extraordinary Sunshine Super Girl. Photo: Yaya Stempler.
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Tuulie Narkle and Andrea James discuss Sunshine Super Girl. Scan or visit youtu.be/jJPvBcMPYi4 68 Stage Whispers
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The Boy From Oz. Photo: Stephen Heath.
The most unlikely dinner party you are likely to witness, Dinner is set in the conservatory dining room in Paige and Lars’ expensive home. Virginia Moore Price’s set design was beautifully realised - including an excellent backdrop by Kate Elder and Virginia Moore Price, beautifully evoking the evening and heavy fog outside. Lighting was suburb, with designer John Woolrych creating outstanding atmosphere. Sound design by Ian Wilson was also strong. The central role was superbly created by Suzannah Churchman, outstanding as the very glamorous, beautiful and very unhinged Paige. She works beautifully against husband Lars, given depth and strength by Malcolm Douglas. The dinner guests were very nicely played - forming a formidable ensemble and working well as a team. Kate Elder was excellent as artistic Wynne. Warring couple, scientist Hal and trophy wife, TV presenter Sian, are very nicely played by Peter Neaves and Laura Brunini. Unexpected guest, Mike, was given great character by Jacob Lane. The mysterious waiter, seemingly the perfect employee, was played to perfection by Sean Bullock, expertly completing this strong cast. Dinner, though not to everyone’s taste, was a sumptuously presented, expertly prepared production that those who appreciate solid direction and good acting found very satisfying. Kimberley Shaw
The Boy From Oz By Nick Enright, featuring the music of Peter Allen. Platinum Entertainment. Directed by Drew Anthony. Crown Theatre, Perth, WA. Jan 22 - Feb 21. THE Boy From Oz is a huge, exciting celebration of the life of Peter Allen. Highly polished, expertly and excitingly performed, Platinum Entertainment’s production is a treat. Ethan Jones is an amazing Peter Allen, owning this show with a stunning portrayal. A consummate performer, Jones works the audience with style, sings superbly and finds depth of character, giving us an exhilarating focus. Wonderful performances from the women in Peter’s life. Casey Edwards is a gorgeous Marion Woolnough, her beautifully layered performance touching hearts. Lucy Williamson lights up the stage as Judy Garland, with a stunning look-alike, sound-alike performance. Elethea Sartorelli’s Liza Minnelli is brilliant, filling the space with amazing pizzaz. Young Peter was given sparkle and cheeky charm by Lucky Farrell. Peter Cumins is wonderful as Peter’s partner Greg, and the Angels - Carrie Pereira, Melissa Erpen and Sophie Foster - sing gorgeous harmonies while adding glamour and glitz. Lots of top-notch performances in smaller roles. The ensemble is strong, with great voices and some stunning dances. Highlights include the Rockettes scene with a fabulous kick-line - but all musical numbers are strong, with dynamic choreography from Para Isido and
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strong musical direction by Joe Louis Robinson. Lovely work also from the children’s choir - whose brief appearance is very moving. Robinson leads a ten-piece band, almost visible on stage. Sound is great, with beautiful balance throughout. Technically tight, this is visually excellent. A multi-level set, dominated by an amazing white grand piano, transforms to a multitude of locations with the help of outstanding projections, lit to perfection by designer/ producer Trevor Patient. Costumes, supervised by Dani Paxton, are dazzling. The Boy From Oz is a show that benefits from “bigger is better”. This big, bold production is packed with talent, and would shine in any field. Kimberley Shaw Heathers The Musical By Lawrence O’Keefe and Kevin Murphy based on the film by Daniel Walters. Wanneroo Repertory. Directed by Elinor King. Limelight Theatre, Wanneroo, WA. Jan 21 - Feb 6. HEATHERS kicked off WA Community Theatre’s year with a bang. A strong production that burst with life and colour thrilled Wanneroo Repertory’s audiences. Musically strong, under musical direction from Madeleine Innes and Taui Pinker, singing was superb, with great harmonies, and beautiful full sound. The musical directors alternated conducting an impressive band. Mics were a little uneven, but strong voices ensured that nothing was missed. Heroine Veronica Sawyer was gorgeously played by Jennifer Gadeke, convincing and genuine, beautifully sung and acted with depth. She worked well with Charlie Darlington, who brought brooding talent and an element of danger to anti-hero JD. Fabulous teamwork from the Heathers. Picture perfect, they moved as a posse, with formidable presence. Grace Johnson looked and sounded beautiful, but was quite terrifying as queen-bee Heather Chandler, Erin Craddock was a joy to watch as the very complex Heather McNamara, with Charlotte Louise charting an excellent journey as Heather Duke. Caitlin Easton was a lovely Martha Dunstock, with a warm, likeable presence, embodying this awkward teen nicely. Ellie Hart-Peterson delivered two very different but impressive performances as Ms Fleming and Veronica’s Mum. Riley Merigan and Matthew Walford worked together well, in strong performances, as bullies Ram and Kurt. Their fathers were nicely played by Jason Pearce and Matthew Winter. A strong ensemble provided colour and verve, sang well and executed Aleisha Archer’s high energy choreography with precision. The show moved swiftly thanks to the stage crew - dressed as custodial staff - a fun, effective touch. The single set, suggesting Westerburg High, used trucks and lighting (design by Ashlee Torrens and Emily Smith) to suggest multiple locales. Kimberley Shaw 70 Stage Whispers
With Fire In Her Heart: The Edith Cowan Story By Trevor Todd. Directed by Gabrielle Metcalf. Fringe World. The Girls School, East Perth, WA. Jan 27 - Feb 7. EDITH Cowan was the first woman elected to any Australian Parliament - 100 years ago this year. She is remembered on the $50 note, by Edith Cowan University and the seat of Cowan, and now with this new play, presented by Gabrielle Metcalf for Fringe World. Cleverly directed with beautiful style and Brechtian influences, With Fire in Her Heart: The Edith Cowan Story uses twelve actors to play 47 characters, with some stunning movement sequences and excellent use of a small space. Trevor Todd’s writing is excellent, but some of the most shocking moments are re-enactments of parliamentary discussions using the original transcripts. Edith Cowan is played with power, passion and pathos by Mikayla Merks, who portrays her from a very young girl until nearly 60 years of age - with a beautiful depth of character. The production is topped and tailed with Edith as a very mature woman, played by Lis Hoffman. James Cowan is well portrayed by Danen Engelenberg. Excellent work also from Alexander Kirwan as grandson Peter Cowan, who serves as narrator and observer. There’s fabulous ensemble work throughout from Jen Bagg (lovely as best friend Ettie), Georgia Rogers (a moving brief portrayal of Edith’s mother), Usman Bray (compelling as Edith’s father Kenneth Brown), Vickie Billingham, Jessica Brooke, Liam Hickey and Lillian Alejandra. A moving sound design from Christian Peterson, with simple but strong design choices from Tyler Hill. Ultimately Trevor Todd’s script is intended to be a feature film - a very exciting possibility. A beautiful, worthy and important piece of theatre that deserves a wider audience. Kimberley Shaw Skylight By David Hare. Presented by Verendus Theatrical supported by Red Phoenix Theatre and Holden Street Theatres. Holden Street Theatres, Adelaide SA. Jan 14 23. UNDERLYING themes and layers in Skylight explore and highlight the gulf that exists between success, wealth and privilege and the other societal extremes. Also raised are issues of poverty, political earnestness, and differences in ethical perception. On a freezing London night Kyra’s dingy, neon-lit council flat sets a scene for turbulent meetings with two men from her previous life. The status shifts continually between the three characters as tempers flare and layers of damage and the repercussions of choice are exposed. We also perceive the evolution of the two older characters through reference to the past and the ways loss and life choices affect them. Edward (Jackson Barnard) is a counterpoint to the older characters and still affected by the past events. Barnard lends Edward a gentle guilelessness which is
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Skylight. Photo: Richard Parkhill.
highlighted at the end of the second act through a kind and thoughtful gesture that somewhat ameliorates the tension that prevailed beforehand. The actors portraying Kyra and Tom sit amongst Adelaide’s elite performers on the independent scene and ably took on the dense dialogue in Skylight. Alicia Zorkovic gives a masterful performance and handles the demands of the set and props (including on stage cooking) with ease. At first, Brant Eustice imbues the wealthy and successful Tom with a brutal swagger and confidence that is tempered with an underlying, slightly forlorn hope. As the play unfolds, Tom imbibes most of a bottle of whiskey and becomes more provocative and argumentative but Eustice manages the resultant physicality with subtlety. Lisa Lanzi The Butler Did It By Walter and Peter Marks. Tugun Theatre Co., Gold Coast. Feb 17 - 27. SIX-HANDER The Butler Did It has the audience on the edge of their seats with a show that is overflowing with laughs and full of well-executed slapstick. The scene: the set of Anthony J. Lefcourt’s (Dave Fraser) latest Broadway production, The Butler Did It. In an effort to recreate his past successes, he has decided to withhold the final scene from the cast to bring an element of suspense and surprise. He has assembled an odd assortment of personnel to bring his latest gem to life: Natalie (a “past her prime” actress) played by Jennifer
Baker, Robert (whose “love affair with alcohol” is his greatest achievement) played by Noel Thompson, Claudia (an ingénue, determined to make it at all costs) played by Samantha McClurg, Michael (the over-zealous Equity rep. looking after the cast’s interests - especially his own) played by Oliver Childs and Sam (a “seasoned” actor who has had a “run-in” with Natalie in a previous production) played by Lachlan Mitcherson. Despite this odd assortment of characters, Lefcourt persists in bringing his “baby” to life. The cast work well as a team and “bounce” off each other brilliantly both individually and collectively. Michael’s loudly beeping watch lets everyone know exactly when the rehearsal starts and stops. Lighting and sound along with a well-dressed cast and striking set make this production another feather in the cap of Rihanna Hartley-Smith and Tugun Theatre Company. Roger McKenzie Tale Of Tales By Clare Testoni. Bow and Dagger Theatre Company / Fringe World. Directed by Clare Testoni and Paul Grabovac. Rehearsal Room One, State Theatre Centre of WA, Perth. Jan 15 - 19. TALE of Tales was a gorgeously presented, beautiful story, playing as part of State of Play for the Fringe World Festival. Based on a true story, and set during World War II, Antionetta, a known communist, flees Italy for Australia,
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Stage Whispers 71
Tale Of Tales. Photo: David Cox.
Online extras!
Tale Of Tales storytelling takes you into a world of intricate shadow puppetry. youtu.be/pLO9LE2hgpE
where she and her young sons are interned as ‘enemy aliens’. Antionetta’s husband, Sante, remains in Italy, as part of the Italian resistance. They remain linked through the stories Antionetta tells - linking them spiritually. A beautiful blend of historical narrative and fairytale, Tale of Tales is so well written and narrated by performers Clare Testoni and Paul Grabovac that it would probably work as a simple spoken piece - but it is brought to life through exquisitely crafted, beautifully executed shadow art and projections, and a soundtrack so organically created by Joe Lui it feels like it is coming from within. Clare Testoni trained extensively in puppetry, and Tale of Tales uses forward projection shadow art, body puppetry, crystal refraction, family photos and historical documents - manipulated by Clare and Paul with finesse, care and perfect timing. Some of the best storytelling at Fringe World. Wonderful art with important things to say. Kimberley Shaw
perfect. With these she draws a complex, confusing character - at times pitifully terrified, at others sly and deceptive. But even at her most dangerous, she’s just a kid. Ms Pengilly’s Lizzie is intelligent enough to come up with an almost believable story, but emotionally immature, and how culpable she is for her actions is left open. The supporting performances are exceptional. Natasha Vickery as the mother Angela is torn between warring emotions, pulled on one hand by the wish to comply with the law and what is right, and on the other with her need to love and protect her child. Lizzie’s father Warren (Joel Horwood) however is on a different trajectory. Starting with disbelief and denial, Warren can’t bring himself to accept what has clearly happened and slowly withdraws from the family. Craig Alexander as the policeman Ray is initially terrifying and arguably abusive but later shows unexpected warmth and empathy towards the young murderess. This production handles a difficult subject with Wolf Lullaby nuance, never resorting to lazy assumptions and raising By Hillary Bell. ECHO Theatre. Directed by Jordan Best. The questions for which there are no simple answers. Cathy Bannister Q - Queanbeyan Performing Arts Centre. Feb 18 - 27. DRAWING from the true-life UK cases of young murderer Mary Bell and victim Jamie Bulger, Wolf Lullaby Love Letters By A.R. Gurney. IpSkip Productions. Parks Theatre, SA. Jan explores how people battle to make sense of the utterly inexplicable - a child murdering another child. 28. WRITTEN in 1988, and a finalist for the Pulitzer Prize This production hinges on the astonishing for Drama, Love Letters appears deceptively simple. performance of Rachel Pengilly as 9-year-old Lizzie. Her posture and movement, voice and expression were Presented by one of Adelaide’s newer companies, IpSkip, 72 Stage Whispers
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the play was performed at The Parks Theatre, a somewhat underestimated and very audience friendly theatre. The audience was appreciative and engaged, seeming to enjoy the irony, witty dialogue and double entendres carefully and strategically woven through the script. The pace reflected the fact that the style, whilst an exchange of letters, ultimately aims to be heard like a seamless conversation between two lovers and dear old friends. Directed by Nathan Quadrio, Rose Vallen as Melissa and Lindsay Dunn as Andrew portray childhood friends who start writing to each other as an experiment. Spanning decades, a series of letters, written throughout their lives, explore love, adulthood, addiction and betrayal. The play was a good fit for the pair, who imbued their performances not only with passion, palpable spark and developing emotional depth, but also with an aura of a winsome nostalgic couple. The understated costuming was apt and lighting was simple and uncomplicated. The flow was good, but the balance of delivery between the two actors was, at times inconsistent. Vallen ‘drove’ the performance and relished the humour and passion, her face and controlled gestures reflecting the demands of mood, dialogue and different ages as the story progressed, whilst Dunn’s performance was more measured and gently delivered. An excellent choice to start IpSkip’s 2021 season. Jude Hines
The House of the title is almost a character of its own a magical being that rescues the loneliest children in the world and whisks them into the sky until they have had time to heal. Beautifully created by designer Charlotte Lane, with magic contraptions by Philip Millar, the House provides frequent surprises and has a distinct personality. More magic comes from Rachael Dease’s sound design and score and Richard Vabre’s exciting lighting design. Wonderful performances from this tight ensemble cast. Chanella Macri is outstanding as Cathelijn, a very large little girl, rejected, abandoned and down-trodden by her family. A gorgeous performance that demands we love this character, even when she doesn’t love herself. Nicola Bartlett gives depth to Elka, grey-haired captain of the Rescue House, fantastically flawed and very interesting. Isaac Diamond is a dynamic and awesomely awkward Piotr, another lonely child whose anxieties are beautifully portrayed. It was great to hear this young audience in awe of and loving this well constructed, beautifully written show. It covers some tough themes, but is uplifting and positive in its message. A wonderful choice for families and anyone young at heart. Kimberley Shaw
Club Cremorne Cremorne Theatre, Queensland Performing Arts Centre (QPAC), Brisbane. Jan 28 - Mar 6. House CONCEIVED by QPAC in 2020 to reunite eager artists By Dan Giovannoni. Barking Gecko. Directed by Luke and enthusiastic audiences after the closure of theatres, Kerridge. Heath Ledger Theatre, State Theatre Centre of Club Cremorne is back by popular demand. Programming WA, Perth, WA. Feb 14 - 20. Director, John Glenn, and the QPAC team have put THE World Premiere of Barking Gecko’s House was together an exceptional group of performers who might delayed slightly by COVID-19, but was well worth waiting normally be experienced through multiple shows over for. This warm hug of a family show is from the same many months. This snazzy showcase of local, world-class writer / director team who created the brilliant Bambert’s talent is a unique theatrical experience that you won’t find Book of Lost Stories, and has a similar combination of anywhere else - a chance to catch some of our locally based talent before they all hit the road or head back wonder, charm and surprise.
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Stage Whispers 73
Impermanence. Photo: Pedro Greig.
Online extras!
Watch the trailer for Sydney Dance Company’s Impermanence. Scan or visit youtu.be/CWPyFjanypE overseas to the festival circuits that usually keep them away from Queensland. From the opening poem and gorgeous ‘Back to the Motherland’ song by rapper and singer Sachém, the mood is welcoming - and each of the performers are showstoppers with extraordinary skillsets. Accomplished MC, and accolade-attracting Melbourne Comedy Festival stalwart, Damien Power is your host - his worldly wisdom targets human traits like a hornet buzzing a picnic. Asseen-on-TV comic, Mel Buttle, continues the observational comedy with a refreshing stand-up set. You will need to catch your breath before gasping in amazement at the superb acrobatic skills of internationally accomplished artists, Mayu Muto on the hanging rope, Phoebe Armstrong on the trapeze, and Chelsea McGuffin on the high wire. And get ready for entrancing modern burlesque with a twist - presented by the stunning Jacqueline Furey, who combines comedy, striptease and sword-swallowing. The Beat Boxing brilliant Tom Thum provides an astounding closer. Beth Keehn Impermanence Sydney Dance Company. Roslyn Packer Theatre, Walsh Bay, Feb 16 - 27; Adelaide Festival, Mar 10 - 11, followed by a national tour. RAFAEL Bonachela’s new SDC work was cancelled a year ago when COVID-19 closed our theatres just days before its opening. No wonder it’s called Impermanence. 74 Stage Whispers
Bonachela then reforged it into a full one-hour work with his frequent musical collaborator, Bryce Dessner, founder of the rock band The National. Ashes of fire and destruction are suggested by David Fleischer’s abstract set as his back wall cracks open with shards of light. To one side the Australian String Quartet energetically play Dessner’s minimalist but epic score. It’s outstanding music, churning, driving, percussive and, played as it is live beside on stage, so artfully extended into Bonachela’s choreography. Music and dance merge completely, in small expressive bodily detail and great waves of physical movement. Across 12 musical chapters, 17 precision dancers constantly rush in, leap, spin and fall away, whether in solo, pairs or small groups. The kinetics rarely cease but Bonachela also finds a close focus, pathos and human connection, once not obvious in frenetic early works. The waves of physical reaction, blowing from one dancer through the group, are keenly meditative. And the final movement, danced to the aching beauty of Anohini’s song Another World, is rapturously sad. Damien Cooper shifts it all through palettes of colourful light, with the dancers either ablaze or in silhouette, and costumed simply in the soft earthy tones of Aleisa Jelbart’s design. Impermanence is anything but; it’s a must-see landmark work. Martin Portus
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Sailing South By Judith Prior. Mates Theatre Genesis. The Redland Museum. Jan 25 - Feb 7. SAILING South is a comical tale of an inexperienced captain and a crew of prisoners bound for Botany Bay in the 1850s. The Redland Museum makes for an ideal backdrop. Director Kath Kunde cleverly uses this to her advantage. The first act, set in an English courthouse, is staged in the museum itself. The audience is then moved to the theatre at the back of the museum for the remainder of the play, which takes place aboard the good ship Venus. Sailing South has some fun moments of audience interaction. The passionate amateurs are having a ball with their depictions of petty criminals and landed gentry headed to an uncertain life in Australia. Stand out performers are Roy Nunn as Toby, Darsha Hockings as Polly, Barbara Wyatt as Lavinia and Stuart Fisher as Eustace. Judith Prior’s script is packed with puns, giving the cast plenty of opportunities to get a laugh. There are also some solid visual gags. Audiences shouldn’t expect historical accuracy. A lot of modern language and references are included for comical effect. Costuming by Donna Preston is effectively evocative of the era. Lee-Ann Smith’s set design for the ship is successful at setting the scene while giving the performers plenty of scope to play. Sailing South is light entertainment with an Aussie flavour that can be enjoyed by audiences young and old. Kitty Goodall What Of It By Rebecca Fingher. Fringe WorldDirected by Mitchell Whelan. State Theatre Centre of WA. Jan 25 - 30. THIS World Premiere, part of the Fringe World Festival, examines women, violence and the end of the world. WHAT OF IT subverts expectations of feminist theatre, in this gender swapped drama where “Girls will be girls aye bruv”. In Northern England, three young women, who call themselves ‘dogs’, live their lives in what may well be the last few days on earth. Bully Cory, and ‘friends’ Daks and Lucky are an interesting twist on the “angry young man” trope, and plan to make sure that they take drugs, drink heavily and get a shag before the world comes to an end. Cleverly written with beautifully executed shared narration and expert use of overlaid dialogue, WHAT OF IT also has a slam poetry feel and uses dance and movement to great effect. High impact, dynamic choreography by Samantha Horton is well executed. Writer Rebecca Fingher brings a brash exterior, power and a huge presence to dominant Cory. Anna Lindstedt gives depth to the conflicted and interesting Daks, with Courtney Cavallaro impressive as the ironically named Lucky. A great performance of a compelling new work. Kimberley Shaw
PERFORMING ARTS MAGAZINE MAR/APR 2021. VOLUME 30, NUMBER 1 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. 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 12th, 2021. 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. 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 Layout, design & 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, Peter Pinne, Martin Portus, Sally Putnam, Suzanne Sandow, Kimberley Shaw, David Spicer, Anthony Vawser, Carol Wimmer, Mark Wickett and Beth Keehn.
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Stage Whispers 75
Musical Spice
A Post COVID-19 Musical
A few years ago, a writing team pitched a musical to me called Price Check that was set in a supermarket. The musical had been in the workshop phase for ten years when Stage Whispers reviewer Kerry Cooper saw it in Adelaide. “Consumerism turned into cabaret - what an innovative concept,” she wrote. “Warmly received by its Adelaide audience, this musical taps into the lives of four employees at a local supermarket and one annoying regular patron. “This quirky tale is hilarious. I could see it being picked up by secondary schools across the country.” Being an agent for musicals, that is the sort of reference I like to hear. But then COVID-19 hit and I had to say to the writers - Sean Weatherly
and Cerise de Gelder - that their musical was now out of date. The most exciting event in supermarket history was not in their show - the great toilet paper scramble of 2020. Another weakness in the commercial appeal of the musical was the size of the cast. For their outings at fringe festivals, a cast of five and ensemble was very manageable. For high schools and amateur theatres it was too small. So my request to the writers was can you re-write the musical to make the cast larger and include a toilet paper scramble? They were well within their rights to flush my ideas down the proverbial as interference in their creativity! The second act of the musical is set in October, at the start of the “Christmas” period, so my request was for a wholesale rewrite. In our previous edition I reported on the remarkable turn of events which saw a Perth producer stage the largest selling musical in the world last November. Following on from the success of We Will Rock You, Platinum Entertainment staged The Boy From Oz. They let me in and afterwards I met the star Ethan Jones and We Will Rock You writer Ben Elton.
76 Stage Whispers March 2021 - April 2021
We came up with a compromise instead of setting the musical during COVID-19, we would set it the year after in September 2022. A character called Kevin, a customer banned from the supermarket for hoarding toilet paper the year before, was written into the piece. That way the whole structure of the musical could stay largely the same. The writers also included four new minor characters and additional chorus opportunities. Work to prepare the musical for wider performance did not end there. The writers got a grant to properly prepare band parts for the musical and created a CD backing track. Then we had to come up with a logo. Sean and I went through about a dozen drafts before we settled on a trolley with toilet paper rolls as the wheels. All of this effort is because the competition in the music theatre world is ferocious. Schools and amateur theatres picking musicals to put on have the choice of staging the best musicals ever written. Now for the blatant plug: to order a free perusal of Price Check: The Supermarket Musical visit bit.ly/3behXW5 David Spicer
Read scripts, listen to music and order free catalogue at: davidspicer.com.au david@davidspicer.com (02) 9371 8458
The Australian Junior Musical Collection
Superb locally adapted musicals for young performers with CD backing tracks.
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