Stage Whispers March/April 2012

In this issue 6

11

Australia Day: The Play ................................................................ 6 Interview with Jonathan Biggins and script excerpt La Traviata on Sydney Harbour .................................................... 9 Magical props in Opera Australia’s mega productions Julie Goodwin ........................................................................... 12 Shining in Annie’s galaxy of stars David Campbell ......................................................................... 16 Life is more than a cabaret, as he goes back to the 80s Voice Care for Stage Performers ................................................ 20

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Saraton Theatre, Grafton ........................................................... 24 Fire, flood and demolition plan can’t kill theatre Theatrica ................................................................................... 30 A taste of Broadway for teachers and students

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20 When I’m 64 ............................................................................. 38 Brisbane’s Villanova Players

Festival of Sound ....................................................................... 44 Coda Audio delivering sound at the Sydney Festival Short + Sweet .......................................................................... 46 Funding boost for regional 10-minute play festivals

30

Death of a Salesman ................................................................. 86 Director’s diary of VDL award winning drama

Regular Features

34 44 70 82

2 Stage Whispers March - April 2012

CDs and DVDs

26

Broadway and West End

28

On Stage - What’s On

53

Reviews

60

Choosing a Show

87

Showbiz Puzzles

91

Musical Spice

92

Subscribe to Stage Whispers Now! Great Prizes to be Won See Page 23

THE NEXT ISSUE OF STAGE WHISPERS IS FOCUSSING ON SOUND & LIGHTING

Editorial

Christie Whelan

Dear theatre-goers and theatredoers, The Australian Performing Arts community has had great cause to celebrate since I penned my last editorial.

What a thrilling moment it Geoffrey Rush was when Geoffrey Rush was named Australian of the Year, and what fabulous recognition of Performing Arts in Australia.

Stage Whispers has always found our internationally acclaimed actor extremely approachable, and as our picture (taken after he received his Helpmann Award in 2011) reveals, a great sport.

We look forward to his stage and screen performances, and his contributions to Australian society generally, throughout 2012.

Political drama in Canberra has meant the sudden loss of one story for this edition, with the casting announcement of major production postponed beyond our deadline due to a clash with a ballot for the leadership of the country. As you read this editorial, though, happily you’ll be able to find the story on our website.

Speaking of our website, www.stagewhispers.com.au has had consecutive record months for visits in January and February, passing 40,000 visits in January, and surpassing that record before we go to print in late February, with several days to spare.

When next I write in this space, the website will be celebrating its third birthday, and we’re incredibly proud of the growth we’ve achieved online in that short time.

Meanwhile, in print we’re continuing proudly into our 21st year of publication, ‘coming of age’ when so many other theatre publications have faltered in comparative infancy.

I hope you get out and enjoy some great theatre before next we meet.

Yours in Theatre,

Neil Litchfield Editor

Cover image: David Campbell, touring Australia in his latest show Let's Go, inspired by his new eighties album of the same title. Read our interview on page 19.

PLACE YOUR AD BY APRIL 3 CONTACT (03) 9758 4522 OR stagews@stagewhispers.com.au

PERFORMING ARTS MAGAZINE MARCH/APRIL 2012. VOLUME 21, NUMBER 2 ABN 71 129 358 710 ISSN 1321 5965

All correspondence to: The Editor, Stage Whispers, P.O. Box 2274, Rose Bay North 2030, New South Wales.

Telephone/Fax: (03) 9758 4522 Advertising: stagews@stagewhispers.com.au Editorial: neil@stagewhispers.com.au PRINTED BY: Spotpress Pty Ltd, 24-26 Lilian Fowler Place, Marrickville, 2204 PUBLISHED BY: Stage Whispers PRE-PRESS PRODUCTION & DESIGN BY: PJTonline Solutions, email: pjtonline@pjtonline.com DISTRIBUTED BY: Gordon & Gotch, 25-37 Huntingdale Road, Burwood, 3125 DEADLINES For inclusion in the next edition, please submit articles, company notes and advertisements to Stage Whispers by April 3rd, 2012.

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DISCLAIMER All expressions of opinion in Stage Whispers are published on the basis that they reflect the personal opinion of the authors and as such are not to be taken as expressing the official opinion of The Publishers unless expressly so stated. Stage Whispers accepts no responsibility for the accuracy of any opinion or information contained in this magazine.

LIMITED BACK COPIES AVAILABLE ADVERTISERS We accept no responsibility for material submitted that does not comply with the Trade Practices Act. CAST & CREW Editor: Neil Litchfield 0438 938 064 Sub-editor: David Spicer Advertising: Angela Thompson 03 9758 4522 Digital production: Phillip Tyson 0414 781 008 Contributors: Merlene Abbott, Sara Bannister, Cathy Bannister, Jessica Carrascalao Heard, Matt Caton, Melinda Ceresoli, Karen Coombs, Ken Cotterill, Ray Dickson, Coral Drouyn, Whitney Fitzsimmons, Graham Ford, Lucy Graham, Frank Hatherley, John P. Harvey, Peter Kemp, Neil Litchfield, Ken Longworth, Rachel McGrath-Kerr, Daniel McInnes, Jay McKee, Roger McKenzie, Peter Pinne, Martin Portus, Leann Richards, Paul Rodda, Nicole Russo, Suzanne Sandow, Kimberley Shaw, David Spicer, Daniel G. Taylor, Kevin Trask, Aaron Ware and Carol Wimmer. www.stagewhispers.com.au Stage Whispers 3

Stage Briefs

Cirque du Soleil returns to Australia in 2012 with its critically-acclaimed and family-friendly big top production OVO, described as ‘A teeming world of insects’, with a national tour that will include Brisbane (from July 14), Sydney (from Sept 13), Adelaide (from Dec 6), Melbourne (from Jan 17, 2013) and Perth (from Ap 14, 2013). cirquedusoleil.com/ovo

Side By Side By Sondheim: Special Charity Event Side By Side By Sondheim, starring Rachael Beck, Margi de Ferranti and Enda Markey, with narration by Jessica Rowe, is about to embark on a regional tour of Australia, opening in Dubbo on March 17, with performances scheduled in Bathurst, Orange, Canberra and Geelong, and more venues to be announced.

On Friday April 20, some of Australia’s most popular stage performers will join the touring company for a one-off charity performance at Sydney’s Theatre Royal, in aid of the White Ribbon Foundation, Australia’s campaign to stop violence against women.

Making her Australian debut, Olivier Award winning West End and Broadway star, Ruthie Henshall (Les Misérables, Chicago, Miss Saigon and Crazy For You) will headline an all-star cast also featuring Peter Cousens, Michael Falzon, Ben Lewis, Stephen Mahy, Maria Mercedes, Amanda Muggleton; Anna O’Byrne and Geraldine Turner. www.sidebyside.com.au Ruthie Henshall 4 Stage Whispers March - April 2012

Leon Krasenstein's designs for Victorian Opera's production of The Rake's Progress by Igor Stravinsky. John Bell directs the production, conducted by Richard Gill, which plays at Arts Centre Melbourne, Playhouse, from March 17 to 27.

www.stagewhispers.com.au Stage Whispers 5

Australia Day: The Play Robert: We can’t serve satay, there’s the Funny man Jonathan Biggins is going issue of nut allergies. ‘straight’. The star of the highly successful Brian: Fried rice?

Wharf Revue has penned a play about Chester: Why does everyone look at me Australia’s national day. The Melbourne as soon as we start talking Theatre Company premieres the about minorities? No offence, production in April before it touches down Marie, but you’re the in Canberra and Sydney later this year. endangered species.

Marie: What do you mean?

Frank Hatherley shared a coffee with Chester: Well they’re not smuggling Mr Biggins. But first here’s a sneak boatloads of CWA ladies onto preview. The setting is an Australia Day Christmas Island, are they?

Committee meeting in a small coastal Helen’s right – the demographic town... is changing.

Wally: And if the demographic doesn’t Brian: Item six. The sausage sizzle. like a sausage they can piss off Wally: What about it? home.

Brian: Councillor McInnes has a few queries.

Jonathan Biggins is one-third of a 21st Wally: Now there’s a surprise. century Australian theatre tradition. Along Helen: I was just thinking that a with Drew Forsythe and Phillip Scott, he sausage sizzle is a bit has co-written and co-performed the monocultural.

Sydney Theatre Company’s hugely Wally: Mono-what? successful annual Wharf Revue since Helen: Are we reflecting the cultural 2000. diversity of the shire?

Now he’s written his first ‘straight’ Wally: What’s more Australian than snags on a barbecue? You think play. Well, not too straight — it’s certainly a comedy, but there are no songs and no in China on Chairman bloody Mao Day they serve up pavlova? tag lines. A co-production between the STC and the MTC, it’s directed by the Helen: This is a country of many esteemed Richard Cottrell. cultures, Wally – not everyone, We meet at The Bean, most venerable thank God, looks and thinks like of the string of coffee bars along (inner you. We should be serving city Sydney) Rozelle’s Darling Street. It’s his kosher food, vegetarian, ‘local’ and the tattooed waitress Asian ...

Marie: (to Chester) Would you like us to immediately delivers his espresso. do some satay sticks?

6 Stage Whispers March - April 2012

Tall and greying, Biggins is cheerful behind his trademark round spectacles.

“It’s very exciting,” he says about his Australia Day, soon to begin Melbourne rehearsals, “if a little nerve-wracking.”

Where had he got the idea for the play?

“The Australia Day Council of NSW has this programme where they send out ‘ambassadors’ to all the regional centres.

I’ve spent several years being an Ambassador. You assist the local organising committee, give a speech at the Citizenship Ceremony, and attend events.

“My attitude towards Australia Day was always fairly ambivalent. But then when I actually went out and did it I was very taken by how committed they are. My play emerged out of these organising committees.

“I do find committees a good source for comedy. There’s great dynamics in a committee. It’s a bit difficult for a director to make it visually interesting but that’s his problem.

“The citizenship ceremonies are very moving, too. You met all these people who really want to come here. They obviously see something in being Australian we might be cynical about.

We’re always whinging. That’s another thing I was trying to get over in the play: don’t forget how bloody lucky we all are.”

He’s warming to it. “When did Australia turn into a nation of whingers?

When is enough going to be enough for you? Really, get over yourself!” Other coffee sippers look towards us.

“Once you move beyond metropolitan passport control you realise how veneerthin the layers of civilisation can be — advances against racism and that sort of stuff. Why did they vote for Pauline Hanson? Not that they’re red necks, it’s just a very different kind of Australia from the inner-city, bleeding-heart liberal ‘elite’.

“I think the whole political debate in the country, the civic debate, has deteriorated, followed the American path, and I don’t think it’s very healthy for democracy. The media are often to blame.

“I actually had a letter in the Herald today.” And, indeed, on the Opinion Page a ‘Jonathan Biggins, Rozelle’ complains that the calendar of the press gallery ‘is permanently set to Groundhog Day’.

“The press gallery in Canberra is dysfunctional and should be removed,” he says hotly. “They’re too tightly wound up with the politicians – the contacts, the anonymous leaks. They set the agenda,

not the government – I didn’t vote for the press gallery, I voted for the government.” He smiles, a little sheepishly. “So there’s a bit about that in the play, too...”

He won’t have a second coffee. “That one will keep me going all day,” he assures me. I change tack, ask about his first contact with theatre.

“I come from Newcastle,” he says, “which was a great place to grow up. I would have been about 11 when I started at the Young People’s Theatre.

This was an independent company run

by Bill and Betty Ford, a couple of oldstyle theatre practitioners. Bill Ford wrote and pinched children’s shows — fairy stories, pantomimes, The Wizard of Oz. “They taught drama on Saturday morning and put on shows at the local theatre. They built their own theatre, and it grew and grew, then it burnt down and they built it again, and it’s still going.

They’ve had hundreds of kids.

“Kids do everything with adult supervision. You build the shows, stage manage them, help with costumes, you do the lighting –– it’s a fantastic introduction to theatre. Every weekend you have to turn up.

“I went to uni in Newcastle [studying Drama and English]. They brought in a professional director to do a main stage show. The first one was Aarne Neeme and he said ‘if you’re ever thinking about making a career of it give me a call’. A year later he became the Artistic Director of the Hunter Valley Theatre Company, so I joined as a full time actor.

“It was the first regional professional company in Australia [formed in 1976], an ensemble of six or seven actors. We worked our butts off for two years. We’d do a three or four week season of a play and as soon as it opened we’d immediately start rehearsing the next one. That really was my drama school.”

(Continued on page 8)

Season Details Arts Centre, Melbourne: April 21 to May 26, 2012.

Riverside Theatres, Parramatta: August 22 – 25, 2012.

Canberra Theatre Centre: August 29 to September 1, 2012.

Drama Theatre, Sydney Opera House: September 7 to October 27, 2012.

www.stagewhispers.com.au Stage Whispers 7

Theatre in Sydney, and the Melbourne, Sydney and Queensland Were you writing anything at all?

Theatre Companies. He played Gilbert and Sullivan for “Not really. But I was in a band with Steve Abbott [The Queensland Opera, the State Opera of South Australia, Victoria Sandman]. He went on to form the Castanet Club. There were State Opera and Opera Australia. always things happening in Newcastle: the rents are cheaper, Recently he toured 180 performances as Peter Sellers in Ying there’s a bit more space and you’re away from Sydney. When the Castanets came to Sydney they had this worked-up full show Tong – A Walk with the Goons (2007-8) and played the lead in that seemed to burst out of nowhere. People said ‘where the hell Tom Stoppard’s Travesties (2009) for the STC. But, there were years when acting would not have paid the bills. have these people been?!’.

Biggins left Newcastle to become an actor with jobs at the “It’s only been my ability to write stuff that has kept me going,” he says. “If I’d been waiting by the phone as just an State Theatre of South Australia, the Belvoir, Griffin and Q actor I’d still be waiting.” In 2000, Robert Alexander & Jonathan Biggins in Sydney Theatre Company’s Travesties. Photo: Heidrun Löhr. the first Wharf Revue changed everything. He was part of a team that soon cornered the market in theatre sketches.

“We’ve tried to find other people but it’s difficult. There are plenty of sketch writers for TV. There’s a stable of people who write for Good News Week, and there’s the Chaser boys, I suppose...” He doesn’t sound too convinced.

“Look, you can only do a television sketch once. We write theatre sketches that have to last three or four months, that you can do over and over again. TV chews things up voraciously.

“The hardest thing about writing a sketch is the last line, the tag. That can be our nightmare. But on television you don’t really need tags.

Monty Python wanted to end the tyranny of the tag so they went to ‘something completely different’.

We often end with a song. That’s always good. Music gives it a natural conclusion.

“I think sketch writing is very good discipline, as is lyric writing. It makes you realise the importance of every single word. Most plays by young playwrights suffer from being overwritten. The best skill, particularly in comedy, is to make it as succinct as possible, taut and sharp. I look at our old sketches: we’re much more ruthless with the blue pen now.”

And now he’s moving from sketches to full-length plays, a whole different world of comedy.

“I said to Richard Cottrell, ‘it’s a comedy, so let’s have a short rehearsal period, it needs an audience, let’s get it up quickly’.

Richard said, ‘oh no, we need the extra weeks to uncover the psychological depths’. I said, ‘I don’t think there are any’. He said, ‘I think you could be surprised’.

“So maybe I will be.”

8 Stage Whispers March - April 2012

DS: What are the logistics?

BT: It’s 9 metres by 9 metres. Wider than the Big Pineapple. It will be hung on a crane over the stage. It will start off sitting on an angle on a stage all covered up under a big shroud, then it rises as a late night party occurs?

DS: How difficult is it to get this together?

BT: This is an extension of things we have done at the Olympic Games (Opening Ceremony in 2000). Except we They’ve billed it as they greatest show on water. In March/ don’t have the facilities of a theatre or stadium – we just have a harbour. The chandelier is being built in Melbourne, April Opera Australia is staging La Traviata on a massive trucked to Sydney and put on a barge from another part of stage on Sydney Harbour. For Brian Thomson, Australia’s the harbour. It's made of steel and a vacuum formed most successful set designer, it’s another milestone. David structure that includes 10000 real crystals. Fingers crossed it Spicer asked him to compare this project with other does not sink. acclaimed sets he’s built in Australia and on Broadway.

DS: What else is bigger than Ben Hur? BT: There is a ten metre long table in the first act, and a David Spicer: What is the budget for La Traviata and how does it compare to other productions you have worked on? nine metre long stretched Chesterfield sofa. Everything has to be put in big gestures. All the colours will be Brian Thomson: The whole thing will cost $11.2 million, bold…great big visual whereas I had $15 million US to spend Stage Whispers also hears that many tricks of on the Broadway production of Priscilla the trade will be employed. While Opera Queen of the Desert.

Australia traditionally makes props such as DS: How big is it? glassware from plastic, in this case everything BT: The stage is 32 by 24 metres. The on the dinner table will be sturdy and frame floats on pylons drilled into magnetised. They will literally be attached to harbour (floor). It is not far from the the dinner table in case the barge tilts or the shore so there’s a linking pontoon tablecloth is lifted by strong wind. walkway for the cast to get there. We will DS: What gives you the biggest kick, big also have an arrival by boat for Flora’s projects like this or doing something party. It will be a Grace Kelly style arrival by amazing on a modest budget? launch.

BT: What excites me most is ideas. I find DS: How appropriate is the concept on the the process completely intuitive. To pluck Harbour? ideas from the air and taken them BT: The opera is not harbour specific, but the further. As soon as the idea of chandeliers came up, music is sensational and its rhythm and everyone wanted to make it happen. Likewise when I texture will give people something sensual, like they are floating on water. We are also using fireworks, and the aria designed La Boheme last year with Gale Edwards, she came up with the idea of setting it in the Weimar Republic and I Semper Libera will be sung in a giant chandelier, just like thought of setting it in the Speigeltent. So we married both the spectacle of the songs sung on top of the bus in ideas together.

Priscilla.

DS: Can you explain how you start with a model box and DS: Tell us about the chandelier.

BT: Whenever I think of the music, I always think of crystal build on it? chandeliers. It is suitable to grand locations. It is designed like a giant flower.

(Continued on page 10)

It’s All Over If The Fat Chandelier Sinks

www.stagewhispers.com.au Stage Whispers 9

BT: When I first came into theatre I had zero knowledge of performing arts. I was an architect who was really good of making models. I will start with a few scribbles. I then make a white cardboard model. Then I photograph it and use Photoshop to put colour through it. I always build the first rough model to see how it works. When I did the design for the play Stuff Happens on the ruins of 9/11, I worked on it 18 hours straight to make and test the model.

DS: Looking at some of your other recent projects, where did the money go in the Broadway production of Priscilla?

BT: It always costs three times as much in the US. There is a massive backstage crew because of the strength of the Unions. There is no multitasking.

DS: You also tried out new tricks?

BT: The bus now has LED images on it. The daggy old silver bus has become more of a character. When they paint it you see their brush strokes. When they sing Girls just want to have fun, you see yellow rubber ducks float around it. It took a hell of a lot of work on the producers to go for it.

DS: I noticed you used this ‘trick’ in the Opera Bliss. Shapes of characters or images were painted in small lights on a wall covered in lights. How did you do this?

BT: Technically we broke a lot of ground. LED festoon bulbs were hard wired to a computer program which controlled

10 Stage Whispers March - April 2012

Will Swenson as Tick, Tony Sheldon as Bernadette and Nick Adams as Adam in Priscilla. Photo: Joan Marcus

whether they were on, off or dimmed, or what colour they were.

DS: Where are you off to next?

BT: I am going to the opening of Priscilla in Sao Paulo. Then there are plans for a cut down tour and maybe down the track a production in Las Vegas. Each step is hard and precarious, but we think it has ten years of touring left in it.

The Chandeliers are less mobile than the bus. You can only see La Traviata on the Harbour in Sydney from March 24 until April 15.

Magic Props in the Magic Flute Sydney and Melbourne audiences are being treated to the spectacle of Opera Australia’s new production of The Magic Flute, replicated from The New York Met production under the original direction of Julie Taymor. Head of Props at Opera Australia Mat Lawrence explains how it was stitched together.

We pretty much followed the New York Met design but had to scale it back 25% as the stage of The Sydney Opera House is smaller than the Met. It was one of the most elaborate and technical productions I have been involved in, especially as we have to get everything off stage with very little wing space.

We built the props to last at least ten years. The challenge is to make something that looks ethereal but is very strong. The Bears were made from silk, hand painted and sown up.

I chose spring steel because it is The Magic Flute.

All photos: Lightbox Photography incredibly strong and can bounce back. But the downside is that it is initially hard to work with. They took a team of up to four aluminium, a foam sheet was sculptured for the neck and people a couple of months to build. We made a prototype head with carbon fibre over the top of that. All the feathers first for use in rehearsal before we went into ‘mass’ were made from silk. production.

The little birds and the headpiece for Papegano were There is also a large goose with a span of about four made from piano wire, silks and hand painted. The big and half metres that needs two operators to get the wings serpent also had to be incredibly durable as well as being to flap. It has to be manoeuvred around to look graceful. At lightweight. It was made from carbon fibre with silk on the first it was top heavy and needed a lot of refinement. I used outside backed up by fibreglass mesh, so it looked delicate a saddle we had from another production. To make it but was very strong. incredibly lightweight we made the framework out of What tips do you have for prop makers?

You get the best understanding about what a creative team wants by waiting until the rehearsal period starts. Most wastage occurs by making something you believe will be needed but they end up using something else. For instance, we have a stock of stand-in props that can be used in rehearsal.

This allows them to work through the creative process. I usually start work on the larger pieces and leave the smaller ones until later on.

(Mat Lawrence has been Head of Props at Opera Australia for three years. He trained at the Welsh College of Theatre and Drama and has been in work ever since). www.stagewhispers.com.au Stage Whispers 11

Julie Goodwin

Shining in a Galaxy of Stars The current revival of Annie has more stars that you can poke a telescope at. But Julie Goodwin, who plays Grace Farrell – the secretary to Daddy Warbucks (Anthony Warlow), more than holds her own. She’s only appeared in three musicals and one opera to date, but already she’s a rising star. Neil Litchfield reports.

Julie Goodwin was plucked from her studies at the Conservatorium, after being spotted in a telecast of the Schools Spectacular, and invited to audition for Christine in The Phantom of the Opera.

Since that debut she has played Maria in the Australian tour of West Side Story, and appeared in her first opera, The Cunning Little Vixen.

As we sat in the stalls of Sydney’s Lyric Theatre just prior to the opening of Annie, I asked how she came to be hooked on performing?

“I loved ballet and singing when I was a child. I adored Julie Andrews and watched a lot of the Rodgers and Hammerstein movies. I didn’t go to a lot of live theatre, but I did see a lot of the old movie musicals. I always knew I wanted to be on the stage in some form, so it’s pretty amazing to be up there performing in this show.”

What were your early performing experiences?

“I did a lot of Eisteddfods and a lot of technical work, and that was enough for me – taking the exams and getting an achievement at each level.”

I notice you were also a graduate of the Talent Development project in NSW. “Yes, and I also did Schools Spectacular.”

How important to you was the TDP? “At the time I don’t think you realize what you’re being given, until later when you look back on it. Just to be able to perform regularly and have professionals from the industry give you advice is not something the average person gets given, especially looking back on it now. I think they’ve grown since I was there – they have a music theatre ensemble now. And of course the Schools Spectacular is probably still the biggest audience I’ve ever performed to. It’s an amazing opportunity for 12 Stage Whispers March - April 2012

young people. So, both programs are something I’ll hold dear.”

Is there a particular piece of advice from your time in the TDP that sticks in your mind?

“The biggest thing wasn’t about what someone said, but it was about strength and believing in yourself. Sometimes people come in and don’t like you as an artist, but just being true to who you are, and what you believe in, and keeping going with it.”

You’ve only had a brief musical theatre career, but it’s already proving quite diverse.

“I feel like I’ve done quite a bit in the few years I’ve been involved.

“My first show was Phantom of the Opera. I finished school and went to the Conservatorium for my first year of university, and got tracked down. I later found out that the conductor of the show saw me in the Schools Spectacular on the ABC. They tracked me down, I auditioned and got the alternate lead, which was an amazing start.

“Christine in The Phantom was a dream role. I think it is for every young soprano, as was Maria in West Side Story.

Christine sings, she dances, and she acts. The range is huge, from top C right down to low A, and dramatically there is so much happening. Then of course I had to go back en pointe at the beginning of the show, and there was so much dancing. It’s just a beautiful role, and the costumes, and everything, and of course it was with Anthony Warlow, so it was just incredible.

“West Side was a completely different production in terms of the size of it and everything, but a beautiful sing, and beautiful music. That was wonderful. For Photo: Jeff Busby

me, the accent was a new challenge. I’d never had to do an Josh Piterman and Julie Goodwin in West Side Story.

Photo: Branco Gaica accent of any kind before, so to learn the Puerto Rican accent was quite good fun, and we got right into it. The cast really bonded, which was also lovely.”

I read that you recently made your operatic debut in The Cunning Little Vixen with the Sydney Chamber Opera.

“That was wonderful but it stretched me out a little.

That was a Janáček opera, and quite demanding. It took a lot to really learn, with all the music.”

And now you’re playing Grace Farrell, again a very different role.

“She’s a little more mature than the others I’ve played.

She’s delightful. She runs the household, so she has that assertiveness, but she’s very loving as well. She has a couple of flighty moments as well, which are quite fun.”

What do you enjoy most about the part?

“In many ways she’s an idyllic woman. She’s a business woman, she’s got a lot of strengths to her to deal with Hannigan and all those things, but then she’s this loving, almost mother figure with Annie. She’s lovely.”

And, of course, you’re working with Anthony Warlow again.

“The thing about Anthony is he is such a hoot backstage – he’s a kind of character, which is a lot of fun, but then he’s so dedicated to his art, and such a fine actor, that I just try to learn what I can from him really. “ What have you learned from him?

“Quite a lot of things. Stylistically, in the way that he delivers things, and that it’s real for him when he delivers it, even though it’s in a 2,000 seat auditorium. Also the amount of research he does into his characters. And he has extraordinary, diverse and talented group of people who so much fun every day, which is what it’s all about.” have come together for this show.

I know it’s early in your career to be asking this, but do “The thing for me with Phantom and West Side, and you have a highlight to date?

The Cunning Little Vixen to a certain extent, was that they “It’s one of those things, where every show you do is do have darker elements to them, while this one is just so the new highlight. much fun. It is based on a cartoon, and I found with “It’s the next thing you’re doing with a new group of rehearsals that every day you came in and you would be people. Of course Phantom was a highlight because it was smiling. That’s good for the soul, and a great way to spend my first show, and it’s one of my favourites, and it was with every day.”

Anthony Warlow, but then again, this cast is an

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From my past experiences of Annie on stage and screen, there has been a hint of romance between Grace and Warbucks. Will we see that?

“There’s a little bit of a tease that the audience might get, but nothing’s for certain. I like to think with my character that it starts off quite businesslike, and Anthony’s character is very business-minded. He says that’s all I’ve ever given a damn about. I like to think of Grace as this bridge between him and Annie. Warbucks softens and Annie finds a home, and then because he’s softening and she’s seeing this other side of him, that Grace falls in love with him.

That’s what I think is the back story, but it doesn’t really come out being crystal clear in the production.”

Photo: Jeff Busby

14 Stage Whispers March - April 2012

Julie Goodwin in Sydney Chamber Opera's The Cunning Little Vixen

New Musicals on Show in Melbourne: Carnegie 18

By Jessica Carrascalão Heard In February, Arts Centre Melbourne’s Carnegie 18 program ran to packed houses each night in the Fairfax Studio. In its second year of operation, this year audiences were given a taster of these three very different musicals followed by a 10-minute Q&A with the company afterwards.

Each of the shows, handpicked from an abundance of entries, had its own musical flavour. The New Black’s different colours of emotion were set by the differing styles of the songs, which ranged from gospel choral, to funk, to soul.

After a brief introduction by writer Stephen Helper the lights went up and we were launched headlong into the first number, sung by the cast in Sister Act style.

It follows the story of Jim (Leeroy Bilney), young indigenous lawyer who reconnects with his cultural roots after rejecting them in order to succeed in the corporate world. Through music and cheeky humour the show draws the audience in to explore issues of racism and cultural heritage in a way that kept them on their toes but put a smile on their faces.

In Cautionary Tales for Children, a musical pantomime, the style of music followed the simplicity of melody over piano accompaniment reminiscent of Playschool. It added a hint of nostalgic pleasure and allowed everyone to get in touch with their inner child.

Out of a cardboard-box time machine tumbled a crew who told stories of horrific (and humorous) consequences of bad behaviour, which they did through fine singing and plain silliness.

A minor drawback was the Britain-central setting of some of the poems, which an Australian audience may not identify with, but this drawback was far outweighed by the absurd nature of the verses. The audience participation was especially popular,

Different again was DreamSong’s more typical mainstream Broadway style mixed with the hype and glamour found in television churches. It had power ballads, lots of twang, and a little of the boy-band feel.

Set in a fictional US television church called “DreamSong”, the show is based on the premise that blind faith can be manipulated for financial and political gain. The story follows April Sunday, the daughter of the DreamSong Church’s Pastor Richard Sunday, as she deals with confusion and disillusionment with her church.

It opened with a bang of heartfelt part-gospel, partBroadway singing with tight harmonies, stretched to cheesy limits. With the cast closing their eyes and raising their arms heavenwards, it left the audience in no doubt that they’d been catapulted into a US television church experience.

Arts Centre Melbourne’s Head of Programming Rob Gerbert said that the varied nature of the program this year showed the diverse nature of music theatre.

“I think there’s a recognition that music theatre covers a really wide range of styles and approaches,” he said.

Each show was staged in an abridged form.

DreamSong’s author and lyricist Hugo Chiarella said that the cutting down of the script “forced [them] to find the key bits of the story”, which allowed them to streamline the show. It also “helped with finding the journey of each character”.

It was evident with all the shows that tightening of the scripts had been essential to their quality. Each show had snappy and realistic dialogue which was never stilted and the stories easy to follow.

Mr Gerbert said, “It’s about letting the work, projects, go on to the next phase of their development, to give them then the platform to jump off to final presentation.”

Full reviews can be found at www.stagewhispers.com.au www.stagewhispers.com.au Stage Whispers 15

Life is more than a Cabaret Fresh from three years running the Adelaide Cabaret Festival, David Campbell is now on tour singing classic hits from the 1980s. He’s also co-hosting Channel Nine’s Morning Show and producing other cabaret artists across the country.

On the eve of his latest tour, inspired by his new 80s album Let’s Go, he caught up with Neil Litchfield.

To what extent are your album choices driven by the fact that it’s also going to be a live performance?

“Working on the Adelaide Cabaret Festival, I thought I really need to get a Broadway album out of my system, so I did that.

“After doing the Broadway tour, I thought, ‘I just want to go out there and have fun.’ I needed to put on a fun, really high-energy show again.

“It was about what would be a great show for that, and what haven’t I covered? It occurred to me recently that each album I’ve done is reflective of a singing style that’s influenced me.”

“This time it was, ‘I’ve got one more thing to do David and Lisa Campbell. Photo: Kurt Sneddon. emotionally if I’ve got the opportunity, about what influences me as an artist.’ A lot of people have been saying to me for Blues Brothers-esque in its influence. There’s 80 vocal tracks on that; it’s like Frankenstein’s monster. How we’re going to years, do an 80s album – you’re always making 80s references, you’re an 80s kid, why don’t you just get it out of perform it live I have no idea, but we’ll get there.” the way and do it?”

You mentioned choosing from the songs that didn’t make the album for the concerts.

How different is performing these songs on stage to recording them?

“It’s a fairly up-tempo album. I deliberately set limits for it.

“This was a big album for us to do. The 80s is really the Like an 80s album, it was going to have about 12 songs. I wanted it to be different from the Broadway album in that it last great era of popular songwriting before computers started writing songs for you. Bands like Spandau Ballet, and had more up-tempo numbers than ballads.

“We cut a lot of the songs live in the studio, with the George Michael and Wham still used to go out there and tour, and they wrote songs. And they would sing really well – rhythm, then added the brass, so it already feels like a live there was no auto-tune, so they would sing the way they sang album to me. It was about what are we going to add live on the tour that’s not going to sound like we’re just doing, ‘Oh live.

“It is actually a very challenging sing. It’s probably about as here’s a couple of other 80s songs as well, that we like.’ It’s challenging as the Broadway stuff was, just using a different like what reason do we do this song for. Even though it’s a side of my muscles. It’s the same sort of challenge – it’s really tour, I do hark back on my theatre and cabaret days; why am I physical, and I’m very aware of keeping my voice in good nick singing this song, what’s the reason for having it in there. It for this. You do for most tours, but for Swing you can afford a may sound good, but so what. I’m challenging myself with bit of crack and bobble here and there. For this stuff you have that all the time. to be really quite pure.

“That’s how we structure the show – it’s not just hey, “About two weeks into making the record, the band and I throw some more songs in so we can go on tour. Joe Accaria, looked at each other and said, ‘Oh yeah, we’re making a pop my musical director, and I have spent two months together album here.’ That’s what the sound is. So for the tour it was now culling even more songs than we had for the album to get the show right. It’s a long process. We really try to get our about finding songs that didn’t make the album, which are shows right. Even though it’s a concert experience, we try to similar to what we’ve got.”

Do you have a favourite song in the show and on the put on a theatrical concert experience, so that people can see a through line, and there’s highs and lows. I’ve learnt a lot album?

“I really like I’m Your Man at the moment. It was such an from directors lashing me in the theatre over the years.”

What else can you tell me about the show? epic. I’m a big George Michael fan, I was a huge Wham fan, “This is my biggest production yet. We’ve got an amazing and ‘Faith’ is one of my favourite albums of all time. To actually tackle one of George Michael’s songs was quite tiered set, which is like a futuristic Countdown thing with daunting, but I’ve had this idea for about three years now of LEDs on it. We’ve got lighting effects and costume changes.

My boys who tour with me regularly don’t know what’s hit doing I’m Your Man like it’s a big Gospel pop track, almost 16 Stage Whispers March - April 2012

them – they’re getting costume fittings, they’re getting measured, and shoes. They think they’re in seventh heaven, while I’m thinking, we’re putting on a mini theatre tour, how are we going to do this?

“For people who’ve seen my shows before, they’ve not seen anything like this. This is a completely new ball game, but hopefully a fun night in the theatre.”

After three years as Artistic Director of the Adelaide Cabaret Festival, how do you plan to use the time that’s been freed up?

“It hasn’t exactly freed us up too much. (My wife) Lisa is still producing shows here and there.

Our company is producing Britney Spears: The Cabaret with Christie Whelan, When I Fall in Love, the Nat King Cole show, and she’s also producing Trevor Ashley’s show for the Mardi Gras, Diamonds are for Trevor. We’ve started up a label and are producing for Gillian Cosgriff, and we’re going to tour her extensively here, and hopefully internationally, at comedy festivals this year. On top of that, I’m also starting Mornings with Sonia Kruger on Channel 9, so while we say, yeah, we’ve got more time because we’re not doing the festival this year, we’ve really just filled that up.”

So while you’re continuing a heavy schedule as a performer, you’ve become an entrepreneur for other performers?

“One thing we learned with the cabaret festival was that the big acts like Bernadette Peters and Olivia Newton John pay for the younger acts that people don’t know. So we would go to Christie Whelan or Bert LaBonte and say create a show, you are very talented, and people know you in the theatre world, but you can do something really interesting or commercial. That’s as well as going for the established artists like Paul Capsis or Meow Meow. We really believe in that, and it’s an ethos that we’ve tried to transfer into Luckiest Productions outside of that.

“We’ve set up a label, not for me, but for Gillian Cosgriff, and done her first CD. That feels like what we should be doing, whether it’s mentoring Toby Francis, or Lisa working very closely with Christie

Whelan. We really believe in giving that to artists, because at the end of the day people did that for me and Lisa as well. We feel what this industry needs is people supporting and mentoring each other.”

Will we see David Campbell back on stage in a musical soon?

“I’d love to. It almost happened last year; the stars almost aligned but it didn’t quite come off for multiple reasons. It’s difficult knowing which show is going to become available. I’ve been lucky enough to be a part of a lot of quality shows, so I don’t want to jump into a theatre role for the sake of doing it.

Part of that was also because the last show I did was Company, for Kookaburra, so there’s a bit of hesitation there. I really would love to get back and do something, it’s just about the right piece – a few things have been coming up that would be interesting, but gee they’re a long way off.

“I thought the Broadway disc was the biggest hint / audition I could give to a lot of casting people, but nobody took me up on it.”

Are there roles you’d love to play?

“I’ve always liked to play roles like Billy Bigelow, or maybe go back to Les Miz when I get older, but for now, it would be great to create something again, like I did with Shout! It would be great to work from the ground up again. www.stagewhispers.com.au Stage Whispers 17

Jonathan Lynn (seated) pictured with cast members of Yes, Prime Minister

Yes, PM Writer Comes Out Swinging Actor, director and writer Jonathan Lynn has a keen eye for comedy.

He’s best known as the co-writer of Yes Minister and Yes, Prime Minister.

In Melbourne for the premiere, ahead of a national tour of the play, he caught up with David Spicer.

David Spicer: How has the play been updated from the TV series, which was first broadcast 30 years ago?

Johnathan Lynn: The changes are superficial; we’ve only added things like references to Blackberries. We consulted some experts and they could not see much difference to the way Government and bureaucracy work. We have contemporised some of the issues confronting Jim Hacker.

The play is set against the background of a collapsing Euro.

DS: You wrote that in before the Euro was collapsing?

JL: We sort of thought it was a matter of time.

DS: Although you say nothing has changed…hasn’t the nature of spin-doctors and bureaucracies 18 Stage Whispers March - April 2012

become more encompassing? Aren’t there now scores of media minders instead of one?

JL: They’ve always had scores who worked for the one. Sir Humphrey may have been Permanent Secretary of Department of Administrative Affairs but there were 300 people working for him.

The chief civil servant, head politician and private secretary represented a dramatic distillation of several hundred people. That is still true today. (Former British PM) Harold Wilson had a special advisor and head of policy. Margaret Thatcher had a “Bernard” - Bernard Ingram. Tony Blair had Alistair Campbell, who made the job famous by being so loud and obscene.

People say it goes back to Sir Francis Bacon, the chief advisor to Queen Elizabeth the First.

DS: There was a similar dynamic even then?

JL: Yes. He had a favourite quotation. “He that would keep a secret, must keep it secret as he has a secret to keep.”

DS: How does that work in practise?

JL: If you have a secret to keep you don’t let people know you have a secret to keep. Otherwise they will find it out somehow.

DS: Yes Minister and Yes, Prime Minister have been shown in 84 countries. Are there some which make you scratch your head in surprise?

JL: The Soviet Union, Red China…when it was Red China. It was shown in Jordan and Israel and was very popular in both. It hit the same universal chord.

DS: Which is?

JL: Everybody is fed up with politicians lying to them and with the bureaucracy manipulating them in their own interest. It seems to be a worldwide phenomenon, even though the detail is different. I was very lucky I wrote this in Britain. In many countries I would have been arrested or shot.

DS: I must raise with you the stinker of a review Yes, Prime Minister received on opening night.

The Melbourne Age critic gave it one on acting or writing or any other star. aspect of theatre. Their obligation JL: I don’t read reviews. I couldn’t should be to report on how much the care less. An artist’s attitude to a critic audience liked it. is more or less the same attitude that DS: But what if The Age had given a lamp post should have to a dog. you a good review?

DS: So if you get pissed on you JL: If it was glowing I would have just put up with it? welcomed it because it would have JL: There is nothing you can do sold us some more tickets. about it. The public is turning out in DS: Was writing Yes Minister and force and they are loving it. Adam Yes, Prime Minister the most Hills, who has audience of 1.6 million successful project in your career? (compared to a readership of JL: It was one of a number. I have 100,000), really loves the show…and also had a number of productions on already said so in public. Critics are a at the National Theatre and Royal few self-important people who think Shakespeare Company and written a that because their opinion is printed it number of movies. But I did not have is more important that anybody else’s. much success until I was in my 40’s.

I had never heard of The Age and am DS: Do you think writers are more sure I won’t be reading it when I leave successful if they start on projects here. when they are more mature?

DS: Don’t critics have a role in JL: There are no general rules. informing people whether they should DS: You could have a prodigy like buy a ticket?

Shakespeare or Mozart or otherwise?

JL: Critics have a role to report on JL: Yes. Like George Bernard Shaw the event. They are reporters. They did not have a play on stage until he don’t have time to consider content. was in his late 50’s. Prior to that he There is no element of literary was a critic! criticism. They are very seldom experts DS: Touché!

Jonathan Lynn

www.stagewhispers.com.au Stage Whispers 19

Melinda Ceresoli

Voice Care For Stage Performers

voice problems. Singers, actors and performing arts teachers are also in this category. Dance teachers (and aerobics instructors) sometimes experience voice difficulties as a result of sustained periods of yelling over loud music.

It is important to note that it is not just vocal use that can lead to vocal problems.

External issues can also affect the voice, such as; medical conditions, medication, lifestyle, diet, hydration, environment and stress.

Common symptoms.

A sore throat once in a while does not mean that you have vocal problems, but if you are experiencing any of the following on a regular or ongoing basis, reflect upon your vocal habits.  loss of voice  loss of vocal quality (change in timbre)  significant loss of volume  reduced range (particularly higher notes)  huskiness/breathiness  vocal fatigue  more than usual effort required in speech or singing  sore or achy throat  increased coughing and/or throat clearing  waking up with a sore throat or hoarse voice What if I have one or more of the listed symptoms?

If you regularly experience any of the symptoms listed above, try to determine whether the cause stems from general voice use, or lifestyle issues or both.

Take this quick quiz. Answer ‘yes’ or ‘no’.  Do you speak for long periods throughout the day, with little vocal rest?  Do you sing a lot during the week?

A few common scenarios…  Does your stage role require you to use your voice Daniel has been participating in long days of rehearsals continuously throughout the show? in the lead up to the opening night. Of late his voice has  Or produce a different vocal sound? become hoarse and lacks the usual clarity and power.  Or require lots of belting, yelling, screaming or Sarah has won a lead role in a touring production of a ‘aggressive’ tone? rock musical, and after a week of performances is finding  Do you smoke (or have smoked)? that her voice is tiring by the end of Act 1, making singing  Do you suffer from high levels of stress, anxiety or an effort. Her high belt notes have become unstable, which depression? is causing performance anxiety.  Are you on any medication for conditions such as Chris, an expert in character voices, has been cast in a asthma, allergies, anxiety or depression? play that requires him to deliver all of his lines in a husky  Do you experience physical tension in the neck or jaw, quality. His voice was fine initially, but long rehearsals leave or other postural issues? him with a very sore throat. Does any of this sound  Do you drink less than 1.5 litre of water each day? familiar?  Do you often lack sleep?

The human voice is quite resilient but has limitations,  Do you sometimes eat late at night? unique to each individual.  Do you live or work near chemicals, fumes or dust?

Singers, actors and voice teachers often unintentionally If you answered ‘yes’ to any of these questions, you push these limits through excessive use. Long days of might have found the potential cause of your vocal rehearsals, practising, performing night after night or irritation.

If you answered ‘yes’ to more than one of these having a busy voice studio can make for long and tiring problems, then it might be a little harder to pinpoint the days of voice use. This kind of voice use can lead to exact cause. Consider consulting an Ear Nose and Throat problems.

(ENT) doctor. ENTs who specialise in voice are called Speech language pathologists have placed school teachers in the high-risk category of professions that suffer “laryngologists”.

Melinda Ceresoli explains the need for looking after your voice to ensure a happy larynx and healthy career.

20 Stage Whispers March - April 2012

Vocal Health Tips

reflux most damaging is called Laryngopharyngeal Reflux (LPR).

It is sometimes referred to as ‘silent reflux’ because the Here are some practical tips to help maximise your vocal health. symptoms are less obvious than Gastroesophageal Reflux (GERD), where one experiences that ‘chucky’ feeling.

LPR occurs when the acid travels onwards and into the Vocal load throat, causing irritation and swelling around the vocal Your “vocal load” refers to overall amount of voice during the day, involving all voice usage, not just rehearsing folds, making the voice hoarse and sometimes sore.

If you wake up with a hoarse voice and find yourself or singing. Talking on the phone, talking with colleagues at work and yelling at the kids are just a few examples of voice regularly clearing your throat, you might have LPR. Don’t be alarmed! It is very common and can usually be treated by a use whereby fatigue can set in.

Singers and actors place great demands on their voice. change of diet, lifestyle changes and medication.

Many singers also teach voice, and this can be very tiring on Women’s business the vocal folds (or chords ). Simply put, voice rest is Many females experience slight vocal change just prior essential. Rest means absolute silence. to (or during) menstruation.

When a voice starts to sound hoarse this signifies that Some women might notice that their voice becomes vocal folds are swollen. This is commonly due to vocal hoarse or fatigues easily. “overloading”. It’s important to minimise speaking or Temporary vocal fold swelling, due to hormones, is best singing when the voice is hoarse or the throat is sore.

Although sometimes difficult, find times throughout the treated with careful voice use and rest. day where you can be silent.

Smoking State Opera South Australia’s Carmen.

There is no shortage of Stage role Photo: Photografeo Pty Ltd information on the harmful Consider each role affects of smoking. carefully. Does your character Smoking irritates the require a lot of voice use membranes of the nose, throughout the show? Are you producing a vocal timbre mouth and throat, and can cause hoarseness and that is not your natural reflux. sound? For example, is your character voice loud, throaty, Hydration breathy, squeaky, edgy quality The “8-glasses a day” rule is or require a significantly not only beneficial for higher or lower pitch (for general health but also example, portraying the opposite sex)? If your vocal necessary for efficient vocal fold function – ie: we sing better when we are hydrated! quality is causing discomfort, you will need to find an alternative way of producing the sound. A voice coach will Studies have shown that ‘dry’ vocal folds are more prone to injuries, such as nodules and swelling. There’s an old be able to assist you with safe voice production. saying… “sing wet, pee pale” (sorry!). Drinks containing caffeine are diuretics and will cause the body to expel fluid, Medication Some medications affect the throat by causing swelling, contributing to dehydration. So, 8 cups of tea won’t do! coughing, dryness and even increased risk of vocal fold Dryness haemorrhage. The side effects of many medications are Air conditioners, heaters and dry climates are not great available online or in the printed material inside the for voices. If you work or live in a particularly dry medication. There may be alternative medications that do environment, consider the option of using a humidifier. not affect the voice. When given a prescription always ask And don’t forget to drink, drink, drink! your healthcare provider about the affects on the vocal folds or voice. The National Centre for Voice and Speech in Lack of sleep Salt Lake City, USA has a great website that lists 200 of the Sufficient sleep is essential for maintaining a healthy most commonly prescribed medications and the effects on voice. A tired voice may present itself as a hoarse sound voice and speech. with increased “vocal fry” (which is that croaky sound often http://www.ncvs.org/e-learning/rx2.html#source heard at the bottom of the vocal range). When we are tired Reflux we are less inclined to speak or sing with energy.

Reflux occurs when stomach acids travel up the oesophagus (food pipe) and cause heartburn. The type of

www.stagewhispers.com.au Stage Whispers 21

Stress and other worries The life of a performer is sometimes a stressful one.

Stress and anxiety can lead to muscle tension, particularly around the neck–where our larynx is housed! Muscle tension restricts vocal function, making singing effortful.

High levels of stress have also been linked to reflux. Take a few deep breaths, meditate or exercise and don’t forget to chill out…!

Who should I see for voice help?

If you are experiencing ongoing symptoms–that is for 2 or more weeks, then it’s best to get assessed by a specialist, not just a GP. Ask your GP for a referral to see a voice specialist ENT or ‘laryngologist’. Many states in Australia have voice clinics with diagnostic equipment.

Melinda Ceresoli MMusSt, BMus(Jazz Voice), GradDipEd, GradCertArts (Mus), ADipA, CertVocology(NCVS, USA) Melinda is a contemporary vocalist, with many years of live and studio singing experience. She is an undergraduate lecturer of voice and aural studies at the Centre for Creative Industries at Box Hill Institute in Melbourne.

In 2010-2011, she completed “vocology” studies with Dr Ingo Titze, world leading voice scientist, at the National Centre for Voice and Speech in Salt Lake City. Vocology is the science and practice of vocal injury prevention and voice rehabilitation. She is the first Australian to receive the Certificate in Vocology.

22 Stage Whispers March - April 2012

Vocal Checklist  Ensure some voice rest during the day  Drink lots of water  Get good sleep  Ensure that you sing/talk with good posture to encourage good “support”  Don’t underestimate the importance of a good warm-up  Steam tired or sore throats (place your head over a steaming bowl of hot water).

Only use hot tap water, not boiling water from the kettle. Don’t add anything to the water, such as oils as they can have a drying effect. Inhale the steam or about 10 minutes. This is the best way to get direct moisture to the vocal folds.  Take some lessons in speech production or singing  If after making positive changes to your voice-use and lifestyle, your voice does not improve, seek a voice specialist ENT Vocal Problems if Neglected If you are experiencing a vocal problem, don’t ignore it!

It might be that you simply need to cut back a little on your voice use or make a few lifestyle changes. However the problem could require medical attention. Common vocal disorders include reflux, nodules, polyps, cysts, vocal fold hemmorhage, and muscle tension dysphonia.

If a vocal disorder is neglected it can become a permanent problem.

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touring producers to stage live performances in the two tier 1250 seat venue, which has now been reduced to 950 seats for added comfort.

To give it flexibility, the venue now has a roll up/roll down screen, dressing rooms, and the capacity for future stage extensions.

The Saraton has already hosted The McClymonts, with a capacity crowd of 950, as well as successful nights with John Williamson, Leo Sayer, Sydney Youth Orchestra, The Watoto Choir from South Africa, school functions and other entertainments.

Forthcoming attractions include Troy Casser Daley, Mick Flavin, The Comedy Company and many more.

The theatre might easily not have made it.

In 1932 the Saraton experienced the first of three fires. The damage to the screen, curtain, roof and flooring was so extensive the building was shut during the depression years. It was renovated and re-opened in 1940.

The auditorium was described at the time as having "a rectangular proscenium opening, crowned by stepped fluted panelling in gold, decorated with modern mouldings.

There were large wall friezes along the auditorium walls, featuring oval patterns.”

The newly refurbished cinema even had a visit from the Prime Minister of the day, On the north coast of New South Wales an historic theatre has who applauded the venture as a means of keeping up the spirit of Australians in war time. been restored to its former glory despite many brushes with The Saraton had its own dark time during World War 2 death. The Saraton Theatre in Grafton has been lovingly when it was damaged by fire in 1944. This time it bounced refurbished and is now available for hire for live theatre or back in a few months. concerts.

More challenging was the great Grafton flood of 1950. The If only the walls could talk. The Saraton Theatre would have building was inundated, completely covering the lower level of seating. many yarns to spin. Work on building the theatre began in 1925 by two young Greek immigrant brothers Ionnis and Anthony Notaras. Even building the theatre was a drama.

“There were no cranes available so they used the same technology as building the 2500-year-old Parthenon in Athens,” Angelo Notaras (son of Anthony) recounts.

“Lifting and moving the huge steel beams in those days was a hell of a job,” he said.

But despite the challenges of sourcing material as far away in Sydney it opened in July 1926 and has remained in the same family ever since.

Indeed the name Saraton is the family surname spelt backwards.

The theatre’s main function has always been as a cinema, but the owners have now upgraded facilities to allow

Fire, Flood and Demolition Plan Can’t Kill Theatre

24 Stage Whispers March - April 2012

to accept and we had no choice then but to think about how Over the following decades the Saraton opened and shut several times. An employee was charged with lighting the third to redevelop it."

The family paced the development of the theatre with the fire in 1989, which started in the projection box. introduction and arrival of digital cinema and spent more than It was during this era that the pattern emerged of tearing $4 million on the revamp, down these types of buildings. including the addition of two Indeed of the hundreds of new ‘state of the art’ cinemas. historic cinemas built in the 20th Now the family is delighted century, in country towns only a they were ‘forced’ to keep the handful have survived, with the theatre, and heritage officials Saraton being the largest and are delighted with the result. oldest to survive in original Last year the Notaras brothers condition. were honoured at the National In 1999 the Notaras family Trust (Aust) NSW Section decided it was time to sell up. A Awards, taking out the best plan was developed to turn the heritage restoration award in a land into a car park. But their building over one million timing was ordinary. dollars. "(The news) that the Saraton "We're very happy we did the was to be demolished was job, it was a huge job," Mr published in the local Notaras said. newspaper on a Tuesday during Instead of a carpark, the good heritage week in Grafton when folk of Grafton can enjoy Hazel Hawke (the ex-wife of watching films or live former Labor prime minister The Notaras Family honoured by the National Trust entertainment in what has Bob Hawke) was the been described as one of the most decorative and chairwoman of the heritage council visiting Grafton," said architecturally handsome theatres in NSW. Angelo Notaras."

Land has been set aside at the rear of the stage for By 1.30pm that afternoon there was a permanent heritage extensions when funds become available. A 300+ council car order placed on the theatre.” park adjoins the rear of the theatre, which is strategically "We were stuck with it. We tried to sell it to the local council for $1, including four shops and land and they refused located in the centre of the city of Grafton.

www.stagewhispers.com.au Stage Whispers 25

Stage on Disc

By Peter Pinne

A Minister’s Wife (Schmidt/ Tranen) (PS Classics PS1102) is what I call an “art-house” musical. If you think the idea of a musical based on George Bernard Shaw’s Candida sounds heavy-going, it is. Tracks of dialogue are interspersed with themes that are repeated and repeated and repeated. It’s by the same composer who wrote The Adding Machine. The waltz “Enchantment” momentarily lifts the piece and the finale “Into the Night” is stirring, but otherwise it’s dull. 

Elf (Sklar/Beguelin) (Ghostlight 84453) is a toe-tapping, oldfashioned but fun Broadway musical, based on the 2003 Will Ferrell movie of the same name.

Composed by the guys who wrote The Wedding Singer, it’s a very dancy show with witty lyrics and lots A Little Princess (Lippa/Crawley) of hummable tunes. “A Christmas (Ghostlight 8-4451). Andrew Lippa’s Song” and “The Story of Buddy the musicalisation of Frances Hodgson Elf” are both catchy, likewise “SparkleJollyTwinkleJingly.”

Beth Leavel and Sebastian Arcelus have a super duet, “There Burnett’s novel is charming. Originally staged by TheatreWorks, California, is a Santa Claus,” with “All the Way” and “Just Like Him” in 2004, this recording features some registering strongly.  cast members of that production Death Takes a Holiday (Yeston) (PS plus Sierra Boggess, Julia Murney and Laura Benanti. Boggess, who Classics PS1104) is a beautiful plays the title character Sara, is the prize here. recording of an intriguing melodyrich score by Maury Yeston. Like She’s excellent, especially on the Act Two opening “Another World.” “Soon My Love” and “Isn’t That Always the Way,” Nine it’s also set in Italy and based both in three-four, and the chorus number “Almost on Alberto Casella’s 1924 play of the same name about Death, who Christmas” are standouts, as is the exuberant “Timbuktu,” which even includes a touch of G&S in the middle.  decides to become mortal after being captivated by the dazzling The Music Man (Sepia 1173). The beauty of a young woman. “Life’s a original London cast of The Music Joy” is particularly lively, as is “Shimmy Like They Do In Paree,” which could be a second-cousin to Grand Hotel’s “I Man, which starred MGM movie star Van Johnson as Harold Hill, Patricia Want To Go To Hollywood.” Yeston’s lyrics are at best Lambert as Marian and Denis functional, but no one can fault the writing of his vocal Waterman as Winthrop, has just been lines, especially in the trio “Finally To Know.” Kevin Early reissued on Sepia. Johnson was an (Death) and Michael Siberry (Duke Vittorio) have a perceptive duet “Why Do All Men?” whilst Rebecca Luker’s agreeable Hill, and Lambert, with her clear soprano, sings beautifully as “Losing Roberto” is touching.  Marian. Bonus tracks include Johnson’s audition track for Soho Cinders (Styles/Drewe) (SIMGR the role “Ya Got Trouble” plus eight cut songs sung by CD09), the new musical from the composer Meredith Willson.  pens of George Styles and Anthony Sweet Bye and Bye (PS Classics PSDrewe, puts a contemporary gay spin on Cinderella. Recorded live at 1198) is the world premiere recording of a 1946 musical that closed out-ofthe Queens Theatre, London, 9 town, with a score by Vernon Duke October 2011, a top-heavy-with(“April In Paris”/”Autumn In New talent cast literally have a ball with York”), lyrics by Ogden Nash and a this enjoyable, engaging piece of book by humorists S.J. Perelman and musical theatre. Hero Robbie (Jos Al Hirschfeld. A strong cast, headed Slovick), a rent boy, sings to his latest hook-up on his iPad

by Marin Mazzie and Danny (“Gypsies of the Ether”), goes to the ball in a rickshaw Burstein, do their best with a score that’s (“You Shall Go to the Ball”), and shares a sweet moment obviously second-rate. It’s well-produced and beautifully with his fag-hag girlfriend Velcroe (Amy Lennox) on “It’s packaged, but it’s easy to see why it never reached Hard to Tell” (whether guys are gay or straight). Hannah Broadway.  Waddingham and Lennox score with the memorable “Let Him Go,” with Slovick appealingly tender on his solo “They Rating Don’t Make Glass Slippers.” The lyrics are witty and the  Only for the enthusiast  Borderline score has its musical roots in British rock. 

26 Stage Whispers March - April 2012

 Worth buying  Must have  Kill for it

Lloyd Webber DVDs Hit the Right Note Australian Musical Theatre talent has been showcased in spectacular fashion for international screens, thanks to the filmed version of the Australian production of Andrew Lloyd Webber’s Love Never Dies, filmed at Melbourne’s Regent Theatre in 2011.

I was fortunate enough to attend a preview screening ahead of the Sydney opening night and the February release of the DVD and Blu-ray.

While the musical, a sequel to The Phantom of the Opera, itself met with mixed responses in the West End, the brand new Australian production met with widespread acclaim. Sir Andrew Lloyd Webber describes it as “one of the finest productions I’ve seen of my work, anywhere.”

Impressive technical production values have been lavished on this filmed version. I’ve never seen a live stage musical production given a more impressive video representation.

The disc captures and preserves the live theatrical performance, filmed at Melbourne’s Regent Theatre, with multiple cameras, and close-ups usually impossible in a proscenium arch theatre. It combines a live filmed performance, and several days of additional shooting in the theatre. The presentation extends way beyond its theatrical roots into the genuinely filmic.

This is a huge coup for Australian performing and creative talent. As I watched, I felt immense pride in our local talent. Gabriela Tylesova’s designs look magnificent, while I couldn’t help wondering if this video mighn’t provide the springboard for an international career or two.

Love Never Dies stars Ben Lewis (The Phantom), Anna O’Byrne (Christine), young Jack Lyall as Christine’s son Gustave, Maria Mercedes, Simon Gleeson and Sharon Millerchip.

Love Never Dies was released in Australia on Blu-ray and DVD on February 8.

Neil Litchfield

The Phantom of the Opera – The 25th Anniversary Celebration at the Royal Albert Hall (Universal/Polydor DVD 8286792) is one of the most spectacular stagings of the ‘world’s most popular musical’ you will ever see. Short of sitting front row centre in a theatre, this is by far the most breathtakingly beautiful and emotional version of Andrew Lloyd Webber’s gothic musical. The vocal performances are thrilling, especially from the two leads. Ramin Karimloo plays the Phantom. He’s very familiar Night.” Michael Crawford, the original with the role having played it in the ‘Phantom,’ makes an appearance as West End and in the recent original London production of Love Never Dies. does Andrew Lloyd Webber and producer Cameron Macintosh. It’s a Sierra Boggess is Christine. She also very emotional end to a very emotional played the role in the Las Vegas production. Together they’re superb. performance. Musical theatre doesn’t come better than this.

Every moment, every nuance, every Peter Pinne note, is perfect. Hadley Fraser is also great as Raoul, with Liz Robertson effective as Madam Giry. The Albert Hall, with its sumptuous Victorian interior, couldn’t be a better venue. The lavish, fully-staged production, based on Hal Prince and Gillian Lynne’s original, feels perfectly at home in this London institution, and with a cast of over 160, and a 40-piece orchestra under the baton of Anthony Inglis, it gives a new meaning to the word spectacular. When the show ends, members of the original London cast appear including Sarah Brightman.

She sings the title song, accompanied by four performers who have played the ‘Phantom’ around the world; Peter Jobeck, John Owen-Jones, Colm Wilkinson and Australia’s Anthony Warlow. The four ‘Phantoms’ are then joined BUY LOVE NEVER DIES ON DVD

by Ramin Karimloo and they at www.stagewhispers.com.au/books all sing “The Music of the www.stagewhispers.com.au Stage Whispers 27

B

roadway uzz

Alan Menken

By Peter Pinne

City Center Encores have announced Megan Hilty will star in Gentlemen Prefer Blondes, the first in their 2012 series which plays 9-13 May. Hilty made her Broadway debut as Glinda in Wicked, and played Doralee, the Dolly Parton role, in 9 to 5: The Musical. She’s also one of the stars on NBC’s upcoming musical series about hopefuls auditioning for a Broadway musical, called Smash. Blondes has a score by Jule Styne (music) and Leo Robin (lyrics), and is based on Anita Loos’ best-selling novel set in the 20s about a ditzy blonde and her gal pal Dorothy who embark on a liner bound for Europe in search of a husband. It’s to be directed by John Rando, with choreography by Randy Skinner, and musical direction by Rob Berman.

On March 4th, composer Alan Menken takes to the stage of the Lillian Weber School at P.S. 84 for a special solo Richard Adler’s 1976 adaptation of Shakespeare’s concert performance called Part of his World: An Evening Twelfth Night, called Music Is, has been exhumed by the with Alan Menken. The Academy Award, Grammy and theatre school at Western Carolina University, Great Smoky Golden Globe winner will perform and discuss his songs Mountains, in a production directed by original cast which include “Under the Sea” (The Little Mermaid), “A member Catherine Cox, who was Viola. It played a short Whole New World” (Aladdin), “Colors of the Wind” season in February.

The musical was originally a flop on (Pocahontas) and the title tune from Beauty and the Beast.

Broadway, playing only 8 performances before closing.

He’s currently represented on Broadway with Sister Act and WCU associate professor of piano Bradley Martin is preparing for the opening of Newsies, a stage adaptation painstakingly restored the work by listening to a pirated of the movie. There’s also to be a one-night-only benefit recording of the original Broadway performance and performance of his Off-Broadway hit Little Shop of Horrors notated it.

Composer Adler was best known for The Pajama on March 19 at the Lucille Lortel Theatre. It features Tom Game and Damn Yankees.

The original orchestrations by Deckman as Seymour and Kenita Miller as Audrey.

Hershy Kay were uncovered and heard for the first time February 28 saw the premiere cinema screening in the since 1976.

The score did not contain any hits, but U.S. of the Australian production of Andrew Lloyd according to Martin, “Should I Speak of Loving You” was Webber’s Love Never Dies with Ben Lewis (Phantom) and ‘beautifully melodic’ and the song that inspired him to Anna O’Byrne (Christine). A second screening follows on begin researching the musical.

March 7. The DVD and Blu-ray is to be released in the U.S. Bruce Norris’ play Clybourne Park, which was to have May 29, following the UK release on March 12. opened 12 April at the Walter Kerr Theatre, is now in limbo following the departure of two high-profile producers, Scott Rudin and Stuart Thompson. The production is currently playing at the Mark Taper Forum, Los Angeles.

The play had its world premiere in 2010 Off-Broadway and in spring 2011 won the Pulitzer Prize for Drama. It has since been seen in London, where it won an Olivier Award for Best New Play, and had its Australian premiere at the MTC. Norris dissects race relations and middle class hypocrisies in America through the history of a house in Chicago, which is located in a white neighborhood, when it is sold to a black family in 1959. Then in 2009 after the neighborhood has changed into an African-American community, the house is sold to a white couple. The house, at 406 Clybourne Street, was a focal point in Lorraine Hansberry’s classic A Raisin in the Sun, and Norris used the younger family in that play as his jumping off point for Clybourne Park.

28 Stage Whispers March - April 2012

London Calling

For the fifth time Andrew Lloyd Webber will use the power of television to find a star, this time to head the new arena production of his rock-opera Jesus Christ Superstar.

Previous TV talent shows How do you solve a problem like Maria, Any Dream Will Do, I’d Do Anything and Over the Rainbow have found performers who have gone on to star in The Sound of Music (Connie Fisher), Joseph and his

By Peter Pinne Technicolor Raincoat (Lee Mead), Oliver (Jodie Prenger), and The Wizard of Oz (Danielle Hope).

For the eighth year in a row the Society of London Green Day’s award-winning rock musical American Idiot Theatres has announced gross box-office revenues reached will run for an additional week in London due to an record levels. Topping 599 million pounds ($900,000,000) overwhelming demand for tickets. It premieres in in 2011, West End theatres just went from strength to Southampton in October and then embarks on a tour of the strength in trying economic times. It proves the old adage UK and Ireland before reaching London in December. that bad times are good times for the entertainment Closing notices have been posted for the Regent’s Park industry. While Matilda The Musical, The Wizard of Oz, Open Air Theatre’s production of the Gershwin’s Crazy for Shrek The Musical, Ghost The Musical and Rock of Ages You, which transferred to the Novello Theatre last October. were the musical newcomers which generated lots of buzz, It will end its West End run 17 March. A few weeks later on it was the play revenues which helped push the numbers up. 7 April, Legally Blonde vacates the Savoy Theatre after a They rose by 10%. The productions included Frankenstein, highly successful three year run which saw original star Much Ado About Nothing, Noises Off, One Man Two Sheridan Smith picking up a Best Actress in a Musical Olivier Guvnors and Jerusalem.

Award for her role as Elle Woods.

The National Theatre has revealed its line-up for 2012 Movie star Danny DeVito is to make his West End debut will include adaptations of The Curious Incident of the Dog opposite Richard Griffiths in a new production of Neil in the Night-Time and The Count of Monte Cristo, new plays Simon’s The Sunshine Boys directed by Thea Sharrock. It The Last of the Haussmans and This House, and a follows Legally Blonde into the Savoy and will play for a production of Othello which will star Adrian Lester in the strictly limited three month season. It’s not DeVito’s first title role and Rory Kinnear as Iago. The Last of the time on stage. He appeared Off-Broadway in One Flew Over Haussmans, by Stephen Beresford, will star Julie Walters and The Cuckoo Nest in the 1970s. will be directed by Olivier Award-winning director Howard We Will Rock You has a new Galileo. Former Hear’Say Davies. Other stars to tread the boards at the National will singer Noel Sullivan took over the role on 20 February. He’s be Cillian Murphy in Enda Walsh’s Misterman, a one-man no stranger to the show, having played the part on tour show which opens at the Lyttelton on 19 April before throughout the UK for over 300 performances. The show transferring to the National. The show has already played celebrates its tenth birthday on 14 May. New York and Ireland, where it was critically acclaimed.

www.stagewhispers.com.au Stage Whispers 29

Schools on Stage

A Taste of Broadway for Teachers and Students Charles Slucki has a job many show business tragics would kill for. Each year he leads teachers and students on a backstage and front stage tour of Broadway and the West End. Meeting stars is part of the fun.

institutions such as Julliard and Alvin Alley. We also introduce our people to New York City from a different perspective than they may get as tourists. The range of people that they meet, from Broadway and Hollywood performers including some of the major big name stars, to How long have you been running these tours? producers, directors and in fact people from all aspects of I began these trips to the USA and the UK when I was what makes these Performing Arts centres function so still teaching in schools (1992) and when I left full time successfully. teaching in 2007 a former colleague of mine from What are some of your favourite back stage tours?

Sandringham College (Megan Searle) and I formed Any of the theatres that we tour, especially those with a Theatrica. Before the international tours to the UK, USA, rich history, Ziegfeld, Radio City Music Hall, Madison Square and Japan, I had developed programmes to attend and Gardens and of course the Lincoln Center, possibly the most perform at festivals in Australia (25 festivals in Adelaide and amazing Performing Arts centre in the world. some in Sydney).

Who have you met recently that made your jaw drop?

Who are the tours open to?

Angela Lansbury, Sean Hayes, Keanu Reeves and Henry Theatrica is open to anyone who is seriously interested Winkler. in the Performing Arts. This is for school groups Year 10 What shows did you see on your recent trip? and up, University students, teachers, performing artists of Jerusalem, Anything Goes, A funny thing happened on all persuasions and also any adults who want a NY/ the way to the forum, How to Succeed in Business Without Hollywood etc. performing arts experience which they Really Trying with Daniel Radcliffe and 4 others. cannot organize themselves.

Which was the highlight and why?

Describe a typical day?

Jerusalem - to see a performance by one of the great There is no typical day. Each day has a number of events actors of our time, Mark Rylance (he was the recipient of a including lectures, workshops, and seminars, meet and Tony Award for this performance). greets, tours of major Performing Arts educational Also to see Joel Grey, who is a legend of both Broadway Theatrica In NY - Charles & Mich Slucki Tour Guides

30 Stage Whispers March - April 2012

and Hollywood. As a young actor I tried to learn so much from his journey and to see him live at his age working so hard was great.

In your assessment what is the state of Broadway in terms of the entertainment on offer compared to recent years?

I believe that the gap between outstanding and not so good is wider and I believe that has to do with Reality Television performers and film actors getting major roles in order to sell tickets. But I believe that there is great offBroadway and off-off-Broadway theatre happening throughout the city. Sometimes it is hard to find, but it is worth spending time to seek some of these shows out which we definitely do.

When you see big Australian musicals, how does the standard compare?

We have a terrific industry here, but you would be surprised at the number of Australians who are involved in theatre and film in the USA. It is an ambition of many performing artists from Australia to pit yourself against the volume of artists competing for roles. To get any role, even smaller roles, is very competitive. So the depth of quality of performers is more obvious.

What tours do you have on offer for the next 12 months?

We have tour going to NY/Hollywood at the end of June 2012, then we are offering a tour for Performing Arts teachers and performers and in fact any adults who love the Arts in September 2012. Then in 2013 we have tours going in March/April, June, July and September to NY/ Hollywood. Also we are offering a West End tour at the end of May 2012 and May 2013. We are also always open to creating a customised tour for any particular Performing Arts group ie: school, theatre group, theatre lovers group, etc.

Bernadette Peters & Mary Tyler Moore

Jay Leno with one of the group

www.stagewhispers.com.au Stage Whispers 31

Awards

Ryan Taaffe in The Boy from Oz.

This image: Nanacye Hayes at GLUG Awards. Inset: Sandra Bates and Christine Dunstan

32 Stage Whispers March - April 2012

Sydney Theatre Awards David Williamson has been given a rave review by Sydney Theatre critics.

Australia’s most famous playwright was awarded the Sydney Theatre Lifetime Achievement Award, judged by local critics, in January.

While accepting his award he noted that his new home for premieres is the Ensemble Theatre because it only stages ‘plays that people want to see’.

(Ouch! Was that a dig at The Sydney Theatre Company?)

The biggest winner of the night was Belvoir's production of The Wild Duck, with four awards including Best Mainstage Production.

Best Musical went to Hairspray.

GLUG Awards Sandra Bates, the Artistic Director of the Ensemble Theatre, was also busy handing out awards.

She’s pictured here giving Producer Christine Dunstan a Glug Award (bestowed by a Sydney theatre lunch club).

Nancye Hayes was also honoured.

The Sydney Theatre Company got a gong for Cate Blanchett for best Actress in Gross and Klein.

The trophy was misplaced, but later turned up.

Lyrebird Awards The 2011 Lyrebird Awards, recognising and celebrating theatre in the outer Eastern region of Melbourne, were held at Karralyka Theatre on Saturday February 11, 2012. Lilydale Athenaeum Theatre Company’s production of The 39 Steps took out the

Breeahn Jones and Claire Taylor at Finley Awards

Jordan Kelly at CAT Awards

ITA President Ryan Taaffe said, "Apart Best Comedy award, among its total of seven awards, and a company total of 13. from the heat it was a fantastic night. It Best Musical, Sweeney Todd, produced by was an extremely positive night and the Old Scotch Music & Drama Club, took out talent of WA was on show. Whilst there can be only one winner, all nominees six awards. Encore Theatre’s Life After were of a high level and should be proud George took out Best Production – of their shows and themselves."

Drama, while the SLAMS Music Theatre Ryan himself was Musical Theatre Company production of The Last Five Performer – Male for Playlovers Years took out the Best Production – production of The Boy From Oz which he Variety. also directed.

Finley Awards Playlovers were the big winners The night of nights for Western elsewhere pictured also are co-winners of Australian amateur theatre, the 37th Annual Robert Finley Awards, took place the award for Musical Theatre Performer – Female, Breeahn Jones and Claire Taylor on Saturday 21st January, 2012. The in Side Show at Playlovers Independent Theatre Association of WA CAT Awards manages the awards and their adjudicators saw over 55 productions in The Canberra Area Theatre Awards 2011. were a spectacular success in 2012. It was a night filled with tight and terrific David Williamson at Sydney Theatre Awards

entertainment. And this year everyone got out by 11pm – bravo!

The Canberra Repertory Theatre was the big winner, taking out five awards. Its most celebrated production was The Pig Iron People.

One of the actors said in his acceptance speech that it was so good he wished he’d seen it.

The Orange Theatre Company was honoured for its productions of both plays and musicals.

Pictured here are Peter Young and Scot Halls taking out the Stage Whispers Best Director of a Musical Award for their production of Witches of Eastwick.

The Gold Cat went to Jordan Kelly, for his contribution to choreography and performances in three different companies.

Peter Young and Scot Halls at CAT Awards

www.stagewhispers.com.au Stage Whispers 33

Stage Briefs

Anything Goes. Photo: Andre Moonen

Miranda Musical Society presents Anything Goes at Sutherland Entertainment Centre from March 21 to 25.

Playing the role of Reno is Roslyn Howell (centre of picture), a professional make-up artist who joined MMS to play Sheila in A Chorus Line last September after helping the cast with make-up for the production of Cats.

Roslyn’s professional career took off at 17 in shows such as the Winfield Spectacular 1984 with David Atkins, National Tour of Sugar Babies, Australasian Tour of Starlight Express, original cast of Starlight Express in Germany, Cats in Paris, Grease – UK Tour and numerous film and TV appearances in Australia and Europe.

Living in Paris for 10 years, Roslyn had a successful recording career. As “Rozlyne Clarke” she recorded 2 Albums, 12 Singles, and several No# 1 hits in Europe. She supported Boy George (Tour of France).

The room was a buzz of theatrical repartee at the inaugural Sunshine Coast Theatre Alliance Soiree on Saturday 11th February. It was a special cocktail evening for local playwrights, directors, actors and members of the seven Alliance theatre groups: BATS Theatre Company, Caloundra Chorale & Theatre Company, Coolum Theatre Players, Independent Theatre at Eumundi, Jally Productions, Nambour Lind Lane Theatre and Noosa Arts Theatre, to preview their 2012 seasons to the media.

The evening was hosted by Rosanna Natoli from Seven Sunshine Coast News, who recalled vivid memories of “treading the boards” at BATS some years ago.

Sam Coward, President of the Alliance, told the gathering, “Such is the magic of theatre where the audience witnesses the wonderful creative cocktail that has brought everyone together, to share their talents and wholly entertain.”

Invitees had been asked to “dress to impress” to win 2 tickets to see “Boy Girl Wall” at Nambour Civic Centre with chauffeur limousine transfers. Zoe Champion, Style Director for the Sunshine Coast Fashion Festival selected Marilyn Davies as the winner.

With the formalities over, many lingered well into the night. The inaugural Sunshine Coast Theatre Alliance Soiree was a memorable occasion.

34 Stage Whispers March - April 2012

L-R: Sam Coward, Rosanna Natoli and Member for Buderim, Steve Dickson.

Flying Feathers

Feathers will fly on Queensland’s Sunshine Coast as Coolum Theatre Players present Derek Benfield’s risqué farce Flying Feathers, directed by the Sunshine Coast’s award winning Nancy Kinmond, from March 23 to 31.

Nancy Kinmond started out in theatre in 1938 as a dancer in Britain. Arriving in Australia in 1958, she was involved Morwell Light Opera Company in Victoria, continuing to perform in musicals when she moved to Shepparton in 1962.

She is a life member of Shepparton Arts Theatre Group, where she began directing in the 1970s. Moving to the Sunshine Coast in 1999, she has continued directing musicals and plays. She received a Star Award for Best Director for Nambour Lind Lane’s Mack and Mabel in 2006.

Pictured (right) are Jesse Hana Ellison, Claire Sawyer, Chris McMahon and Kathryn Rose as the “girls”- Polly, Sally, Jackie and Debbie respectively. www.coolum.com.au/theatre

John O'May and David Rogers-Smith as Georges and Albin in La Cage aux Folles, to be presented by Quirky Productions at the National Theatre, St Kilda (Vic) from March 16 - 24. Photographer: Gavin D Andrew.

www.stagewhispers.com.au Stage Whispers 35

Stage Briefs

New Zealand’s Musical Theatre Companies are preparing for their annual shindig. The 52nd Annual Musical Theatre New Zealand conference will be held from March 16 – 18 in the river town of Wanganui. Part AGM, part seminar weekend and part Party Party Party, this year will be no exception. The Saturday night entertainment features grits and corn bread, accompanied by old Dixieland jazz in the grand saloon of a Mississippi Showboat.

The town, just a few hours north of Wellington (population 40,000), has its very own Opera House.

What’s more it was built in 1899. At the time it cost a

Jessica Burns takes delivery of her brand new roller skates in preparation for her roles as Kira/Clio in Mosman Musical Society’s Xanadu, rolling into the Zenith Theatre Chatswood (NSW) from April 20 to 28. Bookings: (02) 9777 7547

36 Stage Whispers March - April 2012

bargain £5,200. The Opera House was the first theatre in the Southern Hemisphere, and the fourth in the world, to utilize electric lighting. Opened in February 1900, the first performance featured the Bland Holt Company with Sporting Life.

Amdram (the local ‘Amdram’ company) staged The Mikado in the Opera House in 1900 and has continued to stage shows there most years to the present day. The theatre’s acoustics are acknowledged by experts to be of outstanding quality and the Opera House is one of very few wooden theatres of its size left in the world.

For more details visit www.mtnz.co.nz Pearl Verses the World What happens when you’re told your poems have to rhyme? What happens when three becomes two? What happens if you accidentally steal someone’s boyfriend without knowing they had a boyfriend to steal?

Jigsaw Theatre Company in association with Canberra Theatre Centre brings to life the critically acclaimed and delightful Australian children's book, Pearl Verses the World

by Sally Murphy from May 19 – June 2..

Pearl is eight years old and lives with Mum and Gran. It takes three to make Pearl's warm safe family. Pearl finds school a lonely frustrating place where, in her group of one, she rebels against her teacher's insistence that all poetry must rhyme.

VCA graduate Justine Campbell returns to Canberra to direct this production. Her directing credits include A Donkey and a Parrot for the Melbourne, Adelaide and Edinburgh Fringe Festivals, Simone de Beauvoir for The Stork Theatre, Back From The Dead Red for the 2010 Melbourne Fringe, and The Possibilities for Sydney’s Sidetrack Theatre.

head: what happens when the miscarriages keep on happening? Or if you're already at an age at which conceiving and carrying a child becomes much more difficult?

How long has the play taken to write?

One morning I got up at 4am and started writing the opening scene. The issues were suddenly brimming in my head and I followed them and the characters started to be formed.

The initial writing was surprisingly quick - perhaps 30-40 hours in total spent over a few months in between other aspects of my life. But after it was workshopped, the editing, refining and developing was longer, and harder, but infinitely worthwhile What process has the play gone through in reaching the stage?

An excellent work-shopping process took place over seven nights mid last year. Six local actors/directors read and discussed the play scene by scene. I took some ideas from their discussion and went off to refine and develop a new opening scene.

How involved have you been in the rehearsal process?

I have attended quite a few rehearsals, though I have When Emma Wood lost a child though miscarriage she deliberately not been to most, as I wanted (the Director) and wrote a play about her experience. A drama with comic touches, the play examines issues surrounding one couple’s the cast to feel complete ownership of the script. But I think desire to start a family later in life. Water Child premieres at they have found it useful to be able to clarify some parts, and ask what interpretation I would give in particular scenes.

Newcastle Theatre Company from March 3.

Since the first draft 3 years ago I went on to suffer two Stage Whispers asked Emma Wood where the inspiration to more miscarriages in mid term, which were much more write Water Child sprang from. traumatic than my first. The only good thing that came of I experienced my first miscarriage about three years ago, this was it helped me deepen the play.

What sort of role can community companies like and although it was a shock and a huge disappointment, I Newcastle Theatre Company play in fostering local didn't suffer any lingering sense of trauma. But a sadness playwrights? remained, and always will.

I have found NTC to be incredibly generous and Grief for a little unborn person is not equated with other supportive. NTC holds a fairly new but annual event called forms of grief in our community. I would never wish to compare the loss of a foetus early in a pregnancy to the loss Play in a Day where in a 24 hour period writers write, then directors and actors come and put together a short play on of child who has been born, and been lost. But the grief of miscarriage is in many cases quite profound, and can cast a stage.

I have been in the audience each year, and seen that this pall over a relationship and even the rest of your life. has given many people the confidence to develop their skills So how does a couple respond when there are no and confidence as writers, and receive public feedback. I accepted forms or rituals to give shape to their grief? And how do friends and family respond when they really have no hope Water Child is successful for many reasons, but one idea what to say or suggest? There is no funeral (usually), no would be that it may develop a more regular culture of writing at NTC. ceremony, and no ongoing way of paying respects to the grieving couple or the memory of the baby.

For most people it is not a 'baby' at all - it was a pregnancy and became a miscarriage. Those clinical words belie the grief the couple feels. It was their baby, and they loved it from the moment they knew it was alive. In most cases they longed for it, only to suddenly discover it has died.

But one thing I think all couples who have suffered this kind of loss notice is how spectacularly hurtful and unhelpful well meant comments can be - ranging from the classic 'never mind, you can try again', to 'it wasn't meant to be'.

Happily, in many cases women go on to easily give birth to other healthy children. But a seed was planted in my

Water Child

Water Child premieres at Newcastle Theatre Company from March 3-17. www.stagewhispers.com.au Stage Whispers 37

When I’m 64…..

Brisbane’s Villanova Players In Brisbane’s suburbs a remarkable community theatre is marking its 64th year of continuous production. In that time the Villanova Players has helped train many stars of the future and staged at least 20 premieres of plays by Queenslanders. Peter Pinne reports it was once even a stepping stone to Broadway.

production of her own play Dark Heritage (1964), they presented The Shifting Heart (1965), The Night of the Ding Dong (1967), The One Day of the Year (1969), Summer of the Seventeenth Doll (1972) and Slaughter of St Theresa’s Day (1979).

Sandwiched in between all of these Australian classics were premiere productions of plays by Queensland Villanova Players was originally set-up by Irish priest playwrights, to date over 20. Stellmach created eleven titles John Louis Hanrahan of the Order of St. Augustin’s. He was including From the 14th Floor You Can See the Harbour Bridge (1979), Jill Shearer, who went on to have her play one of four Irish priests sent to Australia in 1948 with the Shimada produced on Broadway in 1992, premiered Who purpose of creating a boys school in Brisbane. Hanrahan was assisted by his friend Gabriel Fallon, an actor from the the Hell Needs Whipbirds (1974) and Ships That Pass Abbey Theatre in Dublin, Donagh (1981), while Ian Austin’s Change McDonagh, editor of the Brisbane Marvin's Room (2011). Photo: Ian Colley Photography of Heart turned up in 1988, and Catholic Leader newspaper, and Lorna Bol’s The Big 50 in 2003.

Pat and Vince Fogerty.

Errol O’Neil’s Faces in the Street Hanrahan was a teacher at was a 2000 entry, with Margery Villanova College, which in those Forde’s Snapshots from Home days was situated in an upmarket appearing in 2002. area in north-east Brisbane. The Villanova’s first musical Little Me group was attached to the (1983) was followed a year later College, and when the College with the musical ‘whodunit’ moved in 1953 to Cooporoo, Something’s Afoot (1984), the Villanova Players moved with melodrama The Furtive Fortunes them. Their base today is in of Fickle Fate (1987), the Aussie Morningside. folk tale Reedy River (1995), Dan Their first play was Chekov’s Goggin’s Nunsense (2001), the Creche and Burn (2011) Photo: Ian Colley Photography The Proposal. Classics were local Live at the Trocadero (2009), always part of Villanova’s early and the popular stage adaptation seasons. J.B. Priestly’s An of Hugh Lunn’s book Over the Inspector Calls appeared in 1949, Top With Jim (2006).

Arms and the Man and Juno and In 2005 the group ambitiously the Paycock in 1950, and premiered Lottie – The Musical, a Journey’s End in 1952. work about the Australian silent In the early years they played film actress Lottie Lyell and her in the Albert Hall, Brisbane City romance with film. It was a bold (where the Suncorp building production with strong characters stands today), and St James’s and a good book, and has since Hall, Cooporoo, a Parish Hall that been presented as part of had originally been a silent movie Magnormos’s OzMade Musicals house.

2010, in Melbourne.

Popular plays presented during the 50s were Our Hearts In 1970 the group moved to the recently vacated St Were Young and Gay (1954), Cheaper by the Dozen Luke’s school building in Buranda, where they converted (1955), You Can’t Take It With You (1956), Father of the the ground floor into a 120 seat theatre. Then in 2000 Bride (1957) and Heaven Can Wait (1958).

Villanova moved their productions to the McElligott The 1960s offered My Three Angels (1960), Teahouse of Theatre, South Brisbane, with another move in 2004 to the August Moon (1962), Sailor Beware (1964), A Man for “The Theatre” at Seven Hills TAFE, Morningside, where they All Seasons (1966), The Glass Menagerie (1967) and The remain today.

Diary of Anne Frank (1968).

Up until the 1990s the group had always operated out of church venues. The church has never influenced the Playwright Barbara Stellmach joined the group in the 1960s and that was the beginning of Villanova’s long content or plays presented by the group, but their charter association with Australian plays. Starting with a does contain a clause that says they “may present anything 38 Stage Whispers March - April 2012

Lottie – The Musical

Heaven Can Wait (1958)

so long as it is not inconsistent with Catholic thought.” This was never enforced.

According to President Leo Bradley, “there was a period in the mid to late 90s when the group was going backwards both financially and culturally. In early 20012002 we went through a very engaging strategic planning exercise to refocus our efforts on what was important. It helped us enormously to build audience, membership and a more solid financial plan.”

Well-known performers who started their careers at Villanova include1960s and 70s TV personality Bernard King; Murray Foy, who went on to NIDA, QTC, and later ran the New England Theatre Company; Margery Forde, who worked in Theatre Restaurant with David Bermingham and for QTC (A Rum Do - 1970); Lawrence Hodge, who also worked for QTC and in movies, and musical theatre star Judi Connelli, whose first show with the group was Brush With a Body (1966). Connelli, most recently seen in Mary Poppins, is still a patron of the group.

Today Father Hanrahan’s name lives on as the name of the theatre at Villanova College. It is dedicated to him.

Gabriel Fallon, one of the other founders, returned to Ireland and became a drama critic.

Villanova’s most successful production in recent years was Hugh Lunn’s Over the Top With Jim in 2006, which sold almost 2,000 tickets. To Kill a Mockingbird in 2005 was very popular (audience 1,450), as was Shakespeare’s As You Like It in 2004. The locally written musicals Live at the Trocadero (2009) (audience 900), and Lottie: The Musical (2005) (audience 1,250) have been very successful artistically and financially.

According to Leo Bradley, “It is one reason we are not shy of promoting locally written plays and musicals, as we find they are every bit as good as modern European or American theatre and just as challenging and rewarding for audiences and performers. They make money for Villanova and the playwrights, and people come to see locally written pieces.”

Their 2012 season begins with David Williamson’s Money and Friends, The second play is Steve Martin’s Picasso at the Lapin Agile, to be followed by Joe O’Byrne’s En Suite, and Alexander Ostrovsky’s Diary of a Scoundrel.

The lyric to the old Beatles song “When I’m Sixty Four” asks the question “will you still need me, when I’m sixty four?” The answer in the case of Villanova Players is a resounding yes. Since its inception, Brisbane theatergoers have not only benefited from their eclectic mix of plays, but with their dedication to Australian plays, the group has been an important outlet for local playwrights to have their work produced. Long may they continue.

Thanks in the preparation of this article to Leo Wockner, Leo Bradley, and Andrew Heron.

My Three Angels (1960)

www.stagewhispers.com.au Stage Whispers 39

Stage Heritage

she take to the stage. Maesmore interviewed theatrical manager J C Williamson and gave his approval when Gertrude signed a contract with the famous entrepreneur.

She took the professional name ‘Mrs Maesmore Morris’ and first appeared on stage at the Princess Theatre in Melbourne in 1897, taking a small part in a company led by Julius Knight. Her husband waited for her after every performance for a few weeks and escorted her home.

However, he soon stopped meeting her and his alcoholism began to take a violent turn. One night when Gertrude was at her father’s house, a man called Richardson offered to escort her home.

Believing that her husband was at the house, Gertrude asked Richardson if he wanted refreshment. Maesmore was furious when he realized another man was present. He screamed at Gertrude, accusing her of infidelity and struck her viciously across the face, drawing blood.

The violence escalated quickly. One night Maesmore came home whilst Gertrude was sleeping, he flung her from the bed so violently that she struck her head against the baby’s cot.

Her brother was summoned and took Gertrude from the house.

Soon afterwards, Maesmore sent Gertrude a letter forbidding her return to the family home.

At the same time Gertrude was performing and rehearsing for J C Williamson, appearing in plays including Two Little Vagabonds and The Prisoner of Zenda.

One night during a performance of Two Little Vagabonds, Maesmore appeared in the stalls. When Gertrude entered the stage, he began screaming The marriage was successful for The beautiful dramatic actress Gertrude obscenities over the footlights. two years, and Gertrude had a son, Maesmore Morris overcame violent Creating a major disturbance, he was Colin. However, after his birth, domestic abuse to find international forcibly ejected from the theatre.

Maesmore turned to drink and with success. Leann Richards reports.

The harassment continued whilst drunkenness came violence, which she continued to play, and she must Born in England in March 1872 to increased after he suffered a major have been terrified, particularly when professional setback. In 1896 he was Hannah Elliot and Dr John Willmot, publicly accused of misusing the funds he began waiting for her outside the Gertrude came to Australia with her stage door. One night the stage door father in 1882, settling in Melbourne. of an estate of which he was the manager told Gertrude that Maesmore Ten years later, Gertrude had grown trustee. The case came to court and had threatened to shoot her, and she was reported in the papers. The into a beautiful young woman and at 20 made a very good match, marrying shameful scandal accelerated his abuse had to find an alternative exit.

Divorce in 1897 was a complicated of alcohol and he lost his job. a prosperous gentleman some years business, which favored the husband.

The family had no means of her senior, Mr Maesmore Morris, an Gertrude had to prove that her support, so Gertrude suggested that accountant.

Mrs Maesmore Morris

40 Stage Whispers March - April 2012

husband had been a drunkard for 3 years and left her without means of support. The scandal attached to such a petition and the problems it would cause her son in terms of his inheritance stopped Gertrude from divorce.

1897 was a horror year for Gertrude, and it was compounded when her father Dr Willmot died late in the year. However, showing strength of character and determination Gertrude continued her acting career.

She stayed with the Julius Knight Company for two years and appeared in plays such as a Royal Divorce, The Cough Drop and the Working Girl. She toured widely, receiving good notices in all capital cities. She was highly praised for her beauty, always mentioned in reviews, but also had good dramatic skills, which were more than adequate for the supporting roles she played.

In August 1899, Gertrude was offered a role as understudy in George Alexander’s London Company. Later that year she travelled to England to take up the role, using her stage name, Mrs Maesmore Morris.

She took letters of introduction from J C Williamson with her and they ensured continued work. She began with Alexander in small parts and as an understudy. One day the leading lady missed the train and the manager of her abuse were publicised in the introduced Gertrude as the new newspapers and she was granted a American actress. The mistake was divorce, not on the grounds of abuse, corrected the next day, when but on the grounds of desertion.

Alexander contacted the newspapers Maesmore had moved to South Africa to ensure they correctly described her to pursue the family occupation of as Australian. mining. She was also able to divorce She continued working steadily and because her 11-year-old son’s toured the provinces in supporting inheritance was secure. His grandfather roles - staying for five years, earning had died in 1902, leaving him a good notices along the way. substantial sum.

In 1904 she returned to Australia in Gertrude had need of the divorce a company headed by Nellie Stewart. because she was planning to remarry.

In October, in Melbourne, she The lucky man was Lieutenant R M appeared with Nellie and Harcourt Suttor of the Naval Reserve and officer Beatty in Pretty Peggy. As she took the on the RMS Ophir. The pair was stage the audience applauded her married in September 1906 and warmly and the critics commented on Gertrude gave up her career and stage her improved acting skills and her ever name to retire to private life. luminous beauty.

Her son Colin became a tea planter Gertrude continued to tour with the in Ceylon, and in the late 1920s he and Nellie Stewart Company and in 1905 his wife made a long visit to Australia, finally petitioned for divorce from which thrilled social circles.

Maesmore Morris. All the sordid details Gertrude died in 1951 in London. www.stagewhispers.com.au Stage Whispers 41

Ticketing Woes Answered Kadok Press (a division of House of Tickets) provides pre-printed ticketing solutions for every need and every budget. From roll tickets to thermal tickets, wristbands and any other printed medium, Kadok Press has been synonymous with delivering low cost solutions to the market for over 25 years.

Nathan Simonds (Managing Director of House of Tickets) believes that venues, promoters and sporting organisations have yet to fully explore the potential of creating value by producing enhanced ticket stock. ’Real’ tickets can carry an emotion with the patron and this can be developed to add value by including rewards and offers along with carrying information from sponsors. These types of tickets also have value as souvenirs and memorabilia.

Pictured are some samples of admission products: Full colour tickets, preprinted thermal tickets, Admit One style tickets, wristbands, etc.

42 Stage Whispers March - April 2012

takes on Big Ticket Guns

by the current ticketing agencies, and too little support from ticketing software providers,” he said.

“Key to our success is how we approached the competitive ticketing market. A lot of research was done to determine what our point of difference was going to be in order to really help venue managers and promoters connect with their audiences.”

In 2010, News Limited launched Foxtix with three main Social media is one area where Foxtix is making big goals. 1. Break up what the company described as the cosy inroads. Targeted email campaigns are another. Members duopoly in ticketing in Australia between Ticketek and of the public are encouraged to sign in for tailored e Ticketmaster. 2. Give consumers access to lower booking newsletters and special offers. fees, and 3. Give producers access to promotional He said Foxtix was created to ensure it could provide opportunities across News Limited, which is Australia’s venues and promoters the flexibility to have more control largest media company. and access to customer data, progress and sales reporting The Chief Executive of Foxtix, Adam McArthur, says front and protection of their brand. of house logistics are being slowly transformed.

“We regularly survey consumers about their ticket In the arts industry, where venues and promoters like to purchasing experience and one thing that continually have more control over their ticketing, Foxtix combines the comes up is the rising cost of delivering tickets,” said Mr benefits of a self-service and full service agency style McArthur ticketing model.

“We saw this as an opportunity to work with the Beyond this, with Foxtix, venues and promoters still industry on re-shaping the way the entire experience is receive all the benefits of a full service model including the costed. We made it a priority to understand how various marketing support the company can provide through its ticketing systems operate and then work with the client to parent company, Australia’s largest media publisher, News minimise costs. We aren’t encumbered by legacy fee Limited. They provide a team of experts and multiple sales structures and infrastructure like many of our competitors, channels to drive ticket sales and reduce staff requirements. which allows us to establish fee structures that work for Mr McArthur continued: “What we’re most excited clients and their customers.” about is that our venues and promoters can utilise a full “We’ve been pleased with the reception we’ve received service ticketing model without incurring the higher costs from the industry.” traditionally associated with this kind of agency style Since launch, Foxtix has secured the ticketing rights to ticketing service.” two of Australia’s largest events – The Australian Grand Prix The company recently announced that it has and The Sydney Royal Easter Show. implemented PayPal as a payment option for customers Brock Gilmour from the Sydney Royal Easter Show said who prefer to pay without a credit card and is the first “The team at Foxtix has demonstrated its understanding of mainstream ticketing agency to offer gift certificates our ticketing requirements, been flexible in their approach redeemable online. and brought strong marketing initiatives to the table.”

Mr McArthur concluded: “This wasn’t a short run Mr McArthur said for a long time Australia has missed experiment, we intend to be here for the long haul, and I out on the innovation and flexibility in ticketing that other am really looking forward to building on the great parts of the world are seeing. momentum we have created and continue to be a force in “We felt the industry wasn’t being serviced properly as the Australian market.” there seemed to be a lack of high level service and flexibility

Biggest Gripes from Consumers A Foxtix survey of 2000 consumers uncovered the biggest complaints from ticket buyers.

1. Website crashes 2. Missing out on a ticket 3. Booking and transaction fees Only 9.5 per cent of respondents feel they receive good value for money when purchasing tickets  78.1 per cent of survey respondents want some sort of Government involvement in regulating the ticketing industry  38.8 per cent would love to have a lay-by ticketing option  The most commonly attractive ticketing package identified was friends discounts (61.7 per cent) ie. buy two, get one free. www.stagewhispers.com.au Stage Whispers 43

Festival of Sound If you think setting up audio for one production is a challenge, imagine having to do dozens in the same week, some involving hundreds of thousands of people outdoors. Matt Caton speaks to CODA Audio, the company installing the sound for the Sydney Festival.

The Sydney Festival has become one of the premier events on the Australian Summer Festival calendar. The threeweek festival caters to the whole family, with live bands, DJ’s, theatre, performances and cabaret acts all taking place alongside children’s performers and street performers. The 2012 festival proved to be the biggest yet, with the addition of events in western Sydney.

44 Stage Whispers March - April 2012

The program opens with the massive ‘Festival First Night’ event.

Hundreds of thousands of people attend events across the CBD. There is also a huge concert in the The Domain, which this year saw the likes of Manu Chao La Ventura, Washington, Gurrumul, Trocadero Dance Palace, Norman Jay and The Jolly Boys entertaining the masses.

Since 1996, Coda Audio has been providing the Audio Design, equipment and logistics for the majority of the festival. With a myriad of different events happening right across the city and in many cases, right next to each other, the planning and design period for Coda is imperative.

Coming into his sixth year on the event is Project Manager Luke Hutchins. “I officially start working on

the designs about 6 weeks out, but the Also working as the FOH engineer reality is that the planning process on the Norman Jay Double-decker begins well before that.”

Good Times Bus, which played an epic Coda supplies the full audio 8 hour set, Dan explains some of the package, from speaker stacks, to the challenges the team faced when trying mixing desks, stage microphones and to make audio work in an outdoor technical staff. With so many events situation, especially when the weather happening simultaneously and straight didn’t play fair. after each other, Nicholas provides a “Poor weather definitely had an carefully planned ‘handbook’ for each impact to the overall turnout of people event. for the Parramatta Opening Party.

“I found that providing a full Although at our end, this did give handbook that is specific to each event Norman Jay an excuse to play 'Singing and its requirements is the most in the Rain,’ and it did make the efficient way to communicate across a lighting look even better.” festival of this size.” Each handbook The other major challenge with contains all the relevant roles and being outdoors, and having many contacts, a full equipment list, bump- different events happening in / out schedules and scale drawings simultaneously, is a real chance of one of the stage or venue being used. system drowning out other systems in The biggest event in the Domain the local area. “In Hyde Park during required up to 50 speakers – typically Festival First Night the very large, and Milo Boxes provided by Meyer Sound. potentially very loud, 'Norman Jay The smallest in the Festival bar used Good Times Bus' system was spilling just four. towards the Kids Stage and the 'Tangle' While Coda is renowned for its stage.” impressive stock levels, the festival does There were moments where the stretch the availability to the max. smaller stages had acoustic acts that Hire Manager Daniel Ricketts said. were struggling to be heard. This was “We had situations where we were compensated for as much as possible bumping out an event, racing it back by attenuating the top elements of the to the factory for check-in and testing, line array of the larger system, in an and racing it straight back out the door attempt to localise the sound. within a matter of hours. With the When the other stages finished, at addition of Parramatta this year, the around 8pm, the top elements were turnaround was very difficult. turned up, by which time the crowd Essentially, everything was out the within the park had grown door.” substantially. Some punters who obviously wanted some space and

didn't feel like battling the crowds decided that they would listen to the music as they danced in the Hyde Park fountain. At that time the Norman Jay system could be clearly heard all the way to Macquarie St.” However, aside from a few of the typical minor problems that haunt an outdoor festival, the 2012 Sydney Festival was a success for both the festival organisers and for Coda Audio, and both will be back again next year to do it all again.

www.stagewhispers.com.au Stage Whispers 45

Mark Cleary

How $hort and $weet it is “I am only on a modest wage – my first for ten years Mark Cleary pioneered his Short + Sweet short play festival and my organisation is being transformed into a not-forjust over ten years ago – now he’s scored a $1.5 million profit organisation with a board of directors.” dollar grant over four years from the New South Wales The official word from Arts Ministry is thus: Government to take his brand to the bush. David Spicer The funding is being used to roll out the Short + Sweet reports. performing arts model to regional areas. The program will Many people are scratching their heads. How did Sydney forge partnerships with regional arts organisations, support the professional development of emerging and established Producer Mark Cleary convince taxpayers to fork out what artists, showcase new and original short works of theatre, sounds like a fortune to expand his short play festival? music and dance, and develop new audiences.

When you look at the funding grants made in NSW in Mark Cleary says there are loads of people in the bush 2011, the Sydney Theatre Company is receiving $360,000 for its main stage program but Short and Sweet is getting a who want to have a go, but it is not viable to hold his festivals in most regional centres. tad more… $375,000 (the STC also receives from the “There is a volume of talent, a powerful audience and Federal Government mind you). plenty of stories out there.”

The publicity blurb for the company states that in just The secret to a good short play is timing, and likewise 10 years the Short+Sweet short play festival has grown to Mark Cleary’s timing was excellent. He secured the funding be the biggest on the planet, taking over the world ‘ten promise from the Coalition in NSW just months before they minutes at a time’. It has produced thousands of new Australian plays and showcased the talents of thousands of were elected into Government.

“They were after fresh ideas…but we weren’t the only artists.

Festivals now also include dance, cabaret and musicals. ones knocking on their door.”

In Mark Cleary’s favour, Short + Sweet is about Events are held in most capital cities, regional centres as participation in the arts. At Stage Whispers we have often well as New Zealand, Malaysia, The Philippines, Singapore focussed on how Government funding is spent on touring and India. productions to the bush which are not attended by many If that is the case why do taxpayers need to help it? people.

Mark Cleary says it is not a bonanza.

“Participation is the broadest solution to developing “Nothing is for nothing. The Government is worse than audiences. If they don’t get involved they won’t care,” he Shylock, they want a pound of flesh,” he said. said.

46 Stage Whispers March - April 2012

An Arts consultant Justin Macdonnell into the musical competition in gave Short + Sweet a big leg up when 2008 under the title of Little he wrote a report describing it as “open Mirrors. The writer and composer access and culturally inclusive, and with Joanna Weinberg was encouraged its ten minute format in all genres, seeks to expand the musical into a fullto return ownership of that vital story length production. telling ability to the community.

The musical had a short professional “As such, it is a highly democratic run in February in Sydney and approach to the making and presenting surrounds after being spotted at of art. It does not distinguish between NIDA. the amateur and the professional, Likewise Christopher Johnston's play welcoming both to its ranks and using Borys the Rottweiler became part of the skills and experience of one to the full length play The Dog Logs and inform the enthusiasm of the other, has gone on to be produced in 17 while harnessing the passion of both.” towns.

Mark Cleary founded the festival A small circuit is developing, allowing when was scratching around for ideas writers and actors to showcase the to fill a venue he took over managing best plays and be paid – but to date in Sydney’s inner city in the early tours have been dependent on grants.

Winton Cooper as Borys the Rottweile noughties.

In time no doubt Mark Cleary would r.

Photo by: Christop her Johnston Because he started with few love Short + Sweet to be as popular resources he’s relied on volunteers, and lucrative as 20/20 cricket. sponsorship, entry fees and ticket sales to keep going.

For now though he confesses that There is a people’s choice element in the judging of many of the festivals he runs make a loss, though he hopes some of the festivals, which means producers who sell that will change. more tickets get a bit of a leg up in the early rounds.

The fact that he had success getting a substantial grant, For writers of short plays or musicals it can be an and the popularity of some of the festivals, has led to what invaluable way of getting exposure and developing their Mark describes as ‘snooty comments’ from industry types. works.

“I say you should never apologise for being popular. If A much-celebrated example is that of Every Single you don’t have an audience don’t ask the Government for Saturday, a musical about soccer parents. It was entered any money.”

Little Mirrors

www.stagewhispers.com.au Stage Whispers 47

A New Zealand opera for all New Zealanders

The NBR New Zealand Opera opens its 2012 season with Jenny McLeod’s new opera, Hōhepa. Premièring at the New Zealand International Arts Festival in Wellington from March 15 - 18, Hōhepa is the true story of the friendship between Maori chief Hōhepa and Pakeha settler Thomas Mason during the New Zealand Wars.

Jenny McLeod took up the task of writing the libretto and music of Hōhepa in the late ’90s, and since then her research has been extensive, based on recorded, personal and oral histories.

The NBR New Zealand Opera has been connected with Hōhepa since its inception. Aidan Lang, General Director of the company, says “The true story of Hōhepa Te Umuroa is remarkable and inspiring. It is crammed with interesting characters and is an ideal topic to shape an opera around.”

Director Sara Brodie says, “Jenny’s writing doesn’t linger at any point and is cinematic in its cuts to changes of space. A combination of elegant design, transformative costuming and performers changing the environment are my means towards a production of slick transitions.”

New Zealand director Sara Brodie heads the creative team and an almost entirely New Zealand cast. Returning from the UK to sing the title role is The NBR New Zealand Opera’s PwC Dame Malvina Major Young Artist, Phillip Rhodes.

Alongside him are fellow New Zealanders Jonathan Lemalu, Jenny Wollerman, Martin Snell, Deborah Wai Kapohe, Eddie Muliaumaseali'i and Robert Tucker. www.nzopera.com

Coming To A School Near You Pantalone's Inn Presented by Make A Scene. A Commedia dell'Arte Performance by Rosa Campagnaro As soon as this performance commenced my heart lifted with the joy and confidence that I could suspend disbelief, like a child, and thoroughly enjoy myself. If nothing else this work is a beautiful introduction to theatre and performance for children. However it is much, much more.........

Pantalone's Inn is a well structured and very entertaining Commedia dell'Arte narrative with a strong framework that can be varied and adapted for Theatre-In-Education purposes for Primary School Italian students to VCE Drama Students.

This complimentary introductory show was particularly geared to Italian students. The audience was engaged with cultural questions and dialogue was presented in Italian then English. I can think of no better way for a classroom of kids to be engaged and educated.

Both performers make clear sense of the traditions of Commedia dell'Arte by expressing them with infectious vitality in sparkling performance. They have the confidence, flexibility and wit to improvise with impressive spontaneity and abundant humour.

Even the most unruly Secondary Students would be seduced into engaging with this work, through its references to contemporary culture.

In the Q and A session after the performance, Ms Campagnaro made it clear that her company is flexible and adaptable to individual requirements. She is approachable, charming and very helpful.

As a qualified Secondary School Drama/English Teacher I would highly recommend Pantalone's Inn along with the workshops this enthusiastic young company present.

Suzanne Sandow http://makeascene.com.au 48 Stage Whispers March - April 2012

On Stage Company. Mar 28 – 31. The Playhouse, Canberra Theatre Pride and Prejudice by Jane Centre.

(02) 6275 2700.

Austen, adapted by John Spicer.

Canberra Repertory. To Mar 17. Naked Boys Singing. April 13Theatre 3. (02) 6257 1950 (10- 14. Canberra Theatre Centre.

(02) 6275 2700.

4 Monday to Friday).

ACT

Fiddler on the Roof by Jerry Bock, Sheldon Harnick and Joseph Stein. Canberra Philharmonic. Until Mar 16.

ANU Arts Centre. (02) 6257 1950 (10-4 Monday to Friday).

Doubt by John Patrick Shanley.

Free Rain Theatre Company. Ap 13 – 29. The Courtyard Studio.

(02) 6275 2700.

Titanic the Musical by Maury Yeston and Peter Stone. SUPA Summer of the Seventeenth Doll Productions. Ap 14 to May 5.

by Ray Lawler. Belvoir. Mar 14 – ANU Arts Centre. (02) 6257 1950. (02) 6257 2718 (Dinner 17. The Playhouse, Canberra Theatre Centre. (02) 6275 2700. and show).

New South Wales Yes, Prime Minister by Jonathan Lynn and Antony Jay. Mar 21 – Annie by Thomas Meehan, 31. Canberra Theatre. (02) 6275 Charles Strouse and Martin 2700.

Charnin. John Frost, Power Arts, Breaker Morant by Kenneth G. QPAC and Two Left Feet Ross. Everyman Theatre. Mar 21 Productions. Until Mar 25. Lyric – 31. The Courtyard Studio. (02) Theatre, Sydney. 1300 795 267.

6275 2700.

Love Never Dies by Andrew Midsummer (a play with songs)

by David Grieg and Gordon McIntyre. Traverse Theatre

Lloyd Webber, Glen Slater, Ben Elton, Frederick Forsyth and Charles Hart. Capitol Theatre,

A.C.T. & New South Wales Sydney. Until April 1. 1300 723 038.

Theatre, Hamilton (Newcastle).

(02) 4962 3270.

The Magic Flute by Wolfgang Amadeus Mozart. Opera Australia. Until Mar 23. Opera Theatre, Sydney Opera House.

(02) 9318 8200.

The Mousetrap by Agatha Christie. Pymble Players. Until Mar 10. 1300 306 776.

Turandot by Giacomo Puccini.

Opera Australia. Until Mar 19.

Opera Theatre, Sydney Opera House. (02) 9318 8200

The Sound of Music by Rodgers and Hammerstein. Players Theatre, Port Macquarie. Until Mar 11. (02) 6584 6663.

It Was a Dark and Stormy Night

by Tim Kelly. Guild Theatre, Rockdale. Until Mar 10. (02) 9521 6358 (9-5, Mon-Sat).

Midsummer (A Play With Songs) by David Greig & Gordon McIntyre. Until Mar 10. The Full Monty by Terrence Drama Theatre, Sydney Opera McNally and David Yazbek. Roo House. (02) 9250 1777.

Theatre Company, Shellharbour.

Babyteeth by Rita Kalnejais.

Until Mar 10. (02) 4297 2891.

Belvoir. Until Mar 18. Belvoir Sandcastles by Bob Larbey.

Street Theatre. (02) 9699 3444. Sutherland Theatre Company.

The Full Monty by Terrence McNally and score by David Yazbek. Roo Theatre Co. Until Mar 10. Harbour Theatre. (02) 4225 9407.

Until Mar 10. (02) 95881517.

The Merchant of Venice by William Shakespeare. Genesian Theatre. Until Mar 31. (02) 8019 0276 (10am to 6pm, Mon Sex Please, We’re 60 by Michael – Fri). and Susan Parker. DAPA Natural Causes by Eric Chappell.

Theatre. Until Mar 11. DAPA Woy Woy Little Theatre. Until

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

Stage Whispers 49

On Stage

New South Wales The New Electric Ballroom by Enda Walsh. Griffin Independent. Mar 7 – 31. SBW Stables Theatre. (02) 9361 3817.

The Return by Reg Cribb.

Stooged Theatre. Mar 7 – 10.

The Playhouse, Newcastle. (02) 4929 1977.

The Weir by Conor McPherson.

New Theatre. Mar 7 – 31. 1300 131 188.

Naked Boys Singing - Seymour Centre, Sydney, Bruce Gordon Theatre, IPAC, Canberra Theatre Centre, Newcastle Civic Theatre, Malthouse Theatre, Melbourne and Judith Wright Centre of Performing Arts, Brisbane.

Mar 11. The Peninsula Theatre.

(02) 43 233 233.

The Paris Letter by Jon Robin Baitz. Darlinghurst Theatre Company. Until Mar 25.

Darlinghurst Theatre. (02) 8356 9987.

Laycock Street Theatre, Gosford.

(02) 4323 3233 (9am to 5pm, Monday to Saturday) & Mar 29 – 31, Riverside Theatre, Parramatta, (02) 8839 3399.

Barefoot in the Park by Neil Simon. Theatre on Brunker.

Every Single Saturday by Joanna March 2 – 24. Theatre on Brunker, Adamstown Weinberg. Les Currie (Newcastle). (02) 4956 1263.

Presentations. Mar 26 – 28.

50 Stage Whispers

Water Child by Emma Wood.

Newcastle Theatre Company.

Mar 3 – 17. Newcastle Theatre Company, Lambton (Newcastle).

(02) 4952 4958. (3-6pm Mon Fri) An Evening with John Cleese.

Adrian Bohm. Mar 5 – 7. Civic Theatre, Newcastle. (02) 4929 1977.

The Last Five Years by Jason Robert Brown. Mar 8 – 10.

Young People’s Theatre, Hamilton (Newcastle). (02) 4952 8805.

A Chorus Line by Marvin Hamlisch, Edward Kleban, James Kirkwood and Nicholas Dante. Gosford Musical Society.

Mar 9 – 24. Laycock Street Theatre. (02) 4323 3233 (9am to 5pm, Monday to Saturday).

Namatjira by Scott Rankin. Big Hart Productions. Mar 13 – 14.

Just $40 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage Civic Theatre, Newcastle. (02) 4929 1977.

Naked Boys Singing! Musical revue. Mar 13 – 17, Seymour Centre, Sydney, (02) 9351 7940; Mar 22-24, Bruce Gordon Theatre, IPAC & Ap 19 – 21, Civic Theatre, Newcastle, (02) 4929 1977.

This Is Our Youth by Kenneth Lonergan. Mar 14 – 25. Sydney Opera House, Drama Theatre.

(02) 9250 7777.

The Gingerbread Lady by Neil Simon. Ensemble Theatre. Mar 15 – Ap 29. (02) 9929 0644.

Wish I’d Said That. Written and performed by Henri Szeps.

Wildie Creative Enterprises. Mar 15 - 17, The Playhouse, Newcastle, (02) 4929 1977; Mar 29, Cessnock Performing Arts Centre, (02) 4990 7134 & Mar 30 – 31, Laycock Street Theatre, Gosford, (02) 4323 3233.

New South Wales

Footloose by Dean Pitchfiord.

Arcadians Theatre Group. Mar 16 – 31. The Arcadians' Miners Lamp Theatre. (02) 4284 8348.

21 – 31. Pavilion Theatre, Castle Newcastle Theatre Company.

Mar 24. Newcastle Theatre Hill. (02) 9634 2929.

Company, Lambton (Newcastle).

Rosencrantz and Guildenstern (02) 4952 4958. are Dead by Tom Stoppard.

Songs For a New World by Jason Robert Brown. Rockdale Musical Society. Mar 16 – 24.

Bexley RSL and Community Club. (02) 8093 6562.

Hunter TAFE. Mar 22 – 25. The Doris – So Much More than the Playhouse, Newcastle. (02) 4929 Girl Next Door. Written and performed by Melinda 1977.

Schneider. Mar 24. Civic Nuns by Robert Luxford. Blind Penguin Productions. Mar 22 – Theatre, Newcastle. (02) 4929 1977.

Ap 15. The imperial Hotel,

The Shoe Horn Sonata by John Misto. Murwillumbah Theatre Company. Mar 16 – 31.

Erskineville. 1300 438 849.

13 A New Musical by Jason Move Over Mrs Markham by Robert Brown. Shire Music Ray Cooney. Ballina Players. Mar Theatre. Mar 23 – Ap 1.

16 – 31.

Sutherland Memorial Arts Theatre. (02) 8230 0668.

That’s Entertainment. Charity Concert. Players Theatre, Port Macquarie. Mar 17 & 18. (02) 6584 6663.

Cosi by Louis Nowra. Holroyd Musical and Dramatic Society.

Mar 20 – 24. Lennox Theatre, Parramatta Riverside Theatres.

(02) 8839 3399.

Five Females and a Fella by Julie Harriot. Castle Hill Players. Mar

Time Stands Still by Donald Margulies. Darlinghurst Theatre Company. Mar 25 – Ap 22.

Darlinghurst Theatre. (02) 8356 9987

Les Liaisons Dangereuses by Cosi by Louis Nowra. Epicentre Christopher Hampton, from the Theatre Company. Mar 23 – 31. novel by Choderlos De Laclos.

Zenith Theatre, Chatswood. (02) Sydney Theatre Company. Mar 31 – Jun 10. Wharf 1 Theatre.

9777 7547.

Every Breath by Benedict Andrews. Belvoir. Mar 24 – Ap 29. Belvoir Street Theatre. (02) 9699 3444.

Play in a Day 2012. Writers, directors and actors create and perform new plays in 24 hours.

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

The Gruffalo’s Child from the book by Julia Donaldson and Axel Scheffler. CDP and Tall Stories. Mar 31. Cessnock Performing Arts Centre. (02) 4990 7134..

Stage Whispers 51

On Stage

New South Wales

Kate Mulvany and Dan Spielman star in Bell Shakespeare’s production of Macbeth, playing at the Drama Theatre Sydney Opera House (March 30 – May 12), Canberra Theatre Centre (May 17 – June 4) and Arts Centre Melbourne, Playhouse (June 7 – 23).

52 Stage Whispers

Just $40 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage

New South Wales & Queensland

Crown Matrimonial by Royce Ryton. Genesian Theatre. Ap 14 – May 12. (02) 8019 0276 Ruby Moon by Matt Cameron.

Castle Hill Players. Ap 13 - May (10am to 6pm, Mon – Fri).

Summer of the Seventeenth Doll 5. Pavilion Theatre, Castle Hill.

by Ray Lawler. Maitland (02) 9634 2929.

Repertory Theatre. Ap 18 – May Seussical: The Musical by Move Over, Mrs Markham by 5. Maitland Repertory Theatre, Stephen Flaherty and Lynn Ray Cooney and John Chapman. Maitland. (02) 4931 2800.

Ahrens. Young People’s Theatre. Newcastle Gilbert and Sullivan Ap 9 - May 26. Young People’s Players. Ap 13 - 28. Wesley Hall, Xanadu by Douglas Carter Theatre, Hamilton (Newcastle). Hamilton (Newcastle). 0405 590 Beane, Jeff Lynne and John (02) 4961 4895.

Farrar. Mosman Musical Society.

026.

We’re Going on a Bear Hunt by Love Song by John Kolvenbach. Ap 20-28. Zenith Theatre, Chatswood.

Michael Rosen. Ensemble Theatre on Chester (Epping). Ap Theatre. From Ap 10.

Educating Rita by Willy Rusell.

13 – May 5.

Players Theatre, Port Macquarie.

My Imaginary Family. Written Star Wars Burlesque: The Empire Ap 20 – May 6. (02) 6584 and performed by Grahame Strips Back. Jaded Vanities. Ap 6663.

Bond. The Street Theatre. April 13. Civic Theatre, Newcastle.

11 - 14. The Playhouse, The Pirates of Penzance by W.S. (02) 4929 1977 Newcastle. (02) 4929 1977.

Gilbert and Arthur Sullivan.

Fiddler on the Roof by Joseph Tomaree Musical Theatre Jekyll and Hyde by Frank Stein, Jerry Bock and Sheldon Company. Ap 20 – 29. St Wildhorn and Leslie Bricusse.

Harnick. Opera Hunter. Ap 13 – Philip's Christian College Willoughby Theatre Company.

22, Hunter Theatre, Performing Arts Centre, April 13 – 21. The Concourse, Broadmeadow (Newcastle), (02) Salamander Bay. 0468 898 073.

Chatswood.

4952 3355 and Ap 28 – 29, Enemy of the People by Henrik The Sound of Music by Rodgers Cessnock Performing Arts Ibsen. Roo Theatre Company, and Hammerstein. Hornsby Centre, (02) 4990 7134.

Shellharbour. Ap 20 – May 5.

(02) 4297 2891.

The Story of Mary Maclane by Herself by Bojana Novakovic, after the writings of Mary MacLane. Griffin Theatre Company. Ap 4 – May 12. SBW Stables Theatre.

Musical Society. Ap 13 – 21.

Hornsby RSL.

Secret Bridesmaids Business by Elizabeth Coleman. Henry Lawson Theatre, Werrington.

Ap 20 – May 11. (02) 4729 1555 (9-5).

Andrew McKinnon. Ap 28. Civic Theatre, Newcastle. (02) 4929 1977.

Queensland Summer of the Seventeenth Doll

by Ray Lawler. QTC. Playhouse, QPAC. Until Mar 11. 1800 355 528.

Mary Poppins by Robert & Richard Sherman, Anthony Drewe, George Stiles, Disney/ Cameron Macintosh. Lyric Theatre, QPAC. Until Mar 17 136 246.

The Wizard of Wonderland by Joseph Robinette. Arts Theatre, Brisbane. Until Ap 5. 3369 2344.

As You Like It by William Shakespeare, La Boite.

Roundhouse Theatre. Until Mar 24. 30078600 Seussical the Musical by Stephen Flaherty and Lynn Ahrens. The Spotlight Theatrical Company. Until Mar 10. (07) 5539 4255.

Wish I’d Said That by Henri Szeps. Gardens Theatre. Mar 2 – 3. 31384456.

I’m too sexy for the 90s.

Phoenix Ensemble. Mar 2 – 31.

Pavillion Theatre, Beenleigh. (07) 3103 1546.

The Accused by Jeffrey Archer.

Newcastle Theatre Company.

Ap 21 - May 5. Newcastle Theatre Company, Lambton (Newcastle). (02) 4952 4958. (3 -6pm Mon - Fri)

Suckers by Andrew Cory, Cameron Hurry, Pippa Moore, Harvest Rain. Mina Parade Warehouse. Mar 7-10.

31611042.

Food by Kate Champion.

Belvoir / Force Majeure. Ap 26 – May 20. Belvoir Street Downstairs Theatre. (02) 9699 3444.

Money and Friends by David Williamson. Villanova Players.

The Theatre, Morningside Campus TAFE. Mar 9-24.

33955168

The Next Big Thing. Arts and Entertainment Gosford. Ap 26 – 29. The Peninsula Theatre. (02) 4323 3233 (9am to 5pm, Monday to Saturday).

The Laramie Project by Moises Kaufman and members of The Tectonic Theatre Project. Nash Theatre, Merthyr Road Uniting Church. March 10-31.

33794775.

Much Ado About Nothing by William Shakespeare. Essential Theatre. Ap 28. The Small Winemakers Centre, Pokolbin.

(02) 4998 7668.

Dickens’ Women by Miriam Margolyes and Sonia Fraser.

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

The Boys Next Door by Tom Griffith Arts Theatre, Brisbane.

Mar 10 – Ap 7. 33692344.

Bloodland by Stephen Page QTC. Playhouse, QPAC. Mar 1418. 1800 355 528.

Stage Whispers 53

On Stage Happy Birthday Mr President.

Independent Theatre at Eumundi. Mar 15 – 24. 5472 8200.

Nunsense by Dan Goggin.

Javeenbah Theatre Company.

Mar 16 – 31. (07) 5596 0300.

Queensland

A Bad Year for Tomatoes.

Nambour Lind Lane Theatre.

Mar 16 – 24. 54411814

You’re a Good Man Charlie Brown by Clark Gesner. Harvest Rain. Mina Parade Warehouse.

Mar 21-31. 31611042

Bombshells by Joanna MurraySmith. QTC. Cremore Theatre, Sweeney Todd by Stephen QPAC. Mar 17 – Apr 21. 1-800- Sondheim and Hugh Wheeler, Ignations @ Schonell Theatre.

355-528 Mar 22 – Ap 13. 3371 2751

Romeo and Juliet. Australian Ballet. Lyric Theatre, QPAC. Mar 23-28. 136-246.

Flying Feathers by Derek Benfield. Coolum Theatre Players. Mar 23 – Ap 1. Coolum Civic Centre. 5446 2500.

The Wizard of Oz by Frank L Baum, adapted by Frank Gabrielson. Music and lyrics by Harold Arlen and EY Harburg.

Empire Theatres, Toowoomba.

Mar 23 – Ap 1. 1300 655 299.

Into the Woods by Stephen Sonheim and James Lapine.

Ipswich Musical Theatre Company. Mar 24 – 31. Old Courthouse. 3294 8830 or 0419 665 049 Hair by James Rado, Gerome Ragni and Galt MacDermot.

North Queensland Opera & Music Theatre. Mar 28 – 31.

Townsville Civic Theatre. (07) 4727 9797 Alice in Wonderland.

Queensland Ballet QPAC. Mar 31 – Ap14. 136-246

Peter Pan the Musical by Piers Chater-Robinson. Tweed Theatre Company. Ap 4 – 22.

Tweed Heads Civic Centre.

Travelling North by David Williamson. Noosa Arts Theatre.

Ap 4 – 21. 54499343.

Annie by Charles Strouse, Martin Charnin and Thomas Meehan. GFO Entertainment.

Lyric Theatre, QPAC. From Ap 7.

136 246 Flying Feathers by Derek Banfield. Townsville Little Theatre. Ap 11 - 14. Pimlico Performing Arts Complex.

Macbeth In Concert by Guiseppe Verdi, Opera Queensland, Concert Hall, QPAC. Ap 13-14. 136 246 Forever Plaid by Stuart Ross. The Spotlight Theatrical Company.

Ap 13 – 28. (07) 5539 4255.

Midsummer (a play with songs)

by David Greig and Gordon McIntyre. Traverse Theatre Production & La Boite.

Roundhouse Theatre. April 10 – 28. 3007 8600.

Daughter of Heaven by Michellane Forster. Gold Coast Little Theatre. Ap 14 – May 5.

5532 2096.

Romeo and Juliet by William Shakespeare. QTC. Playhouse, QPAC. Ap 21–May 13. 1800 355528.

Pinocchio by Sue & Arch Dyer.

Arts Theatre, Brisbane, Ap 21 – June 16. 33692344.

Short Season of Short Plays.

Townsville Little Theatre. Ap 26 – 28. St Margaret Mary's Hall, Crowle Street, Hermit Park.

Tickets at the door.

The Neverending Story by Tim O’Connor. Harvest Rain.

Cremorne Theatre, QPAC. Ap 27 – May 12. 136 246.

Duets by Peter Quilter. Cairns Little Theatre. Ap 27 – May 5.

Rondo Theatre. 1300 855 835.

That Scottish Play by Simon Denver. Nambour Lind Lane Theatre / SRT Productions. Ap 27 – May 5. 54411814.

54 Stage Whispers

Just $40 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage Victoria The Wild Duck by Simon Stone with Chris Ryan after Henrik Ibsen. Belvoir / Malthouse. Until Mar 17. Merlyn Theatre, Malthouse. (03) 9685 5111.

The Famous Spiegel Season.

Various Cabaret Performances.

Until April 22. Arts Centre Melbourne. 1300 182 183

Victoria

Tuesdays With Morrie by Mitch Albom and Jeffrey Hatcher. The Basin Theatre Group. Until Mar 10. 1300 784 668.

Glorious by Peter Quilter.

Lilydale Athenæum Theatre Company Inc. Mar 7 – 24. (03) 9735 1777.

Albert Nobbs by Gordon Steel.

Brighton Theatre Co. Until Mar 10. 1300 752 126.

Round and Round The Garden

by Alan Ayckbourn. The 1812 Theatre. Mar 8 – 31. (03) 9758 3964.

Tribes by Nina Raine. Melbourne Theatre Company. Until Mar 14. Stripped by Caroline Lee and The MTC Theatre, Sumner. (03) Laurence Strangio. La Mama Theatre. Mar 7 – 17. (03) 9347 8688 0800.

Little Shop of Horrors by 6142.

The Seed by Kate Mulvaney.

Howard Ashman and Alan Menken. Cardinia Performing The Shoe-Horn Sonata by John Melbourne Theatre Company.

Arts Company (CPAC). Until Mar Until April 4. Arts Centre Misto. Sherbrooke Theatre Co. Melbourne, Fairfax Studio. (03) Inc. Mar 9 – 24. Doncaster 9. Cardinia Cultural Centre, Pakenham. 0407090354 or A/H 8688 0800.

Playhouse.1300 650 209.

(03) 95871750.

The Mousetrap by Agatha Art by Yasmina Reza. Mount Christie. STAG (Strathmore The Most Excellent and Players. Mar 9 – 31. Mount Theatre Arts Group). Mar 1 - 10. View Theatre. 1300 463 224 Lamentable Tragedy of Romeo Strathmore Community Hall. and Juliet by William Beyond the Neck by Tom (03) 9382 6284.

Shakespeare, adapted and Holloway. Red Stitch Actors directed by Zoey Dawson. The Parade The Musical by Alfred Theatre, St Kilda. Mar 14 – Ap Zoey Louise Moonbeam Dawson Uhry and Jason Robert Brown.

14. (03) 9533 8083.

Shakespeare Company. Until SPX Waterdale Players. Mar 2 – Caravan by Donald McDonald.

March 11. fortyfivrdownstairs.

10. Rivergum Theatre, Essendon Theatre Company.

(03) 9662 9966 Bundoora.

Mar 15 – 24. Bradshaw Street Henry IV, Part 1 by William Wait Until Dark by Frederick Shakespeare, adapted by Rob Knott. GEMCO. Mar 2 – 17. The Conkie. Nothing But Roaring.

Gem Community Arts Centre, Until March 11.

Emerald. 0411 723 530 fortyfivrdownstairs. (03) 9662 Wait Until Dark by Frederick 9966 Knott. Frankston Theatre Group.

The Lion in Winter by James Mar 2 – 10. George Jenkins Goldman. Heidelberg Theatre Theatre, Frankston. (03) 9905 Company. Until Mar 10. (03) 1111.

9457 4117

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

Community Hall, West Essendon. 0422 029 483.

A Little Room. The Living Room Theatre. Mar 15 – 24. fortyfivedownstairs. (03) 9662 9966.

Don’t Dress For Dinner by Marc Camoletti. Eltham Little Theatre Inc. Mar 15 – 31. Eltham Performing Arts Centre. (03) 9437 1574.

Who’s Afraid of Virginia Woolf

by Edward Albee. Wangaratta Players. Mar 16 – 24.

La Cage aux Folles by Jerry Herman and Harvey Fierstein.

Mar 16 – 24. Quirky Productions. National Theatre, St Kilda. www.lacage.com.au Avenue Q by Robert Lopez, Jeff Marx and Jeff Whitty. Fab Nobs Theatre Inc. Mar 16 – 31. The Fab Factory, Bayswater. 0401 018 846.

Rumours by Neil Simon. Encore Theatre Inc. Mar 16 – 31.

Stage Whispers 55

On Stage

Victoria, Tasmania & South Australia

Sara Gleeson and Max Gillies in The Seed. Melbourne Theatre Company. Photo: Jeff Busby .

The Wave by David Buchanan.

CentrStage. Mar 7 - 10. The Annexe, Launceston. (03) 6323 3666.

Dickens Women by Miriam Margoyles. Andrew McKinnon and AMcK Fine Entertainment.

Mar 15, Albert Hall, Launceston, (03) 6323 3666 and Mar 16 & 17, Theatre Royal, Hobart, (03) 6233 2299.

Ruben Guthrie by Brendan Cowell. Blue Cow Theatre. Mar 22 – 31. Theatre Royal, Backspace, Hobart. (03) 6234 5998.

Jesus Christ Superstar by Andrew Lloyd Webber and Tim Rice. Encore Theatre Company.

Mar 16 - 24. With Jon English as Pilate. Princess Theatre, Launceston. (03) 6323 3666.

Clayton Community Centre Theatrette. 1300 739 099.

– 31. Mesley Hall, Leongatha.

(03) 5662 3940.

To Kill A Mockingbird by Christopher Sergel, adapted from the novel by Harper Lee. Beaumaris Theatre Inc. Mar 16 – 31. (03) 9583 6896

26th Melbourne International Comedy Festival. Various Artists and Venues. Mar 28 – Apr 22. www.comedyfestival.com.au

The Rake’s Progress by Igor Stravinsky. Victorian Opera.

Directed by John Bell. Mar 17 – 27. Arts Centre Melbourne, Playhouse. 1300 182 183.

Sorry Seems to be the Hardest Word by Christopher Green.

Malthouse / Melbourne International Comedy Festival.

Mar 21 – Ap 14. Beckett Theatre, Malthouse. (03) 9685 5111.

Red by John Logan. Melbourne Theatre Company. Mar 22 – May 5. The MTC Theatre, Sumner. (03) 8688 0800.

Breathing Corpses by Laura Wade. Sunshine Community Theatre. Mar 22 – 31. 0407 802 165.

Hairspray – The Musical by Marc Shaiman, Scott Wittman, Mark O'Donnell and Thomas Meehan.

SLAMS Music Theatre. Mar 23 – 31. Mahon Theatre, Ringwood.

Habeas Corpus by Alan Bennett.

Leongatha Lyric Theatre. Mar 23 56 Stage Whispers

Company. Ap 20 - May 5. 1300 131 552.

Cabaret by Kander and Ebb. Hobart Repertory Theatre Society. Ap 13 - 28. The Playhouse Theatre. (03) 6234 5998.

Australia Day by Jonathan Biggins. Melbourne Theatre Company. Ap 21 – May 26. Arts Namatjira by Scott Rankin. Big Centre Melbourne, Playhouse. hart. Ap 13 & 14. Princess (03) 8688 0800.

Plus One by Mike McLeish. Mar Theatre, Launceston, (03) 6323 29 – Ap 22. Trades Hall, Cnr Ruddigore – The Witch’s Curse 3666 & Ap 18 & 19, Theatre Lygon & Victoria St, Carlton.

by W S Gilbert and Arthur Royal, Hobart, (03) 6233 2299.

Sullivan. Gilbert and Sullivan The Histrionic by Thomas Terminus by Mark O’Rowe.

Opera Victoria. Ap 21 – 28.

Bernhard, translated by Tom CentrStage. Ap 18 – 21. The Alexander Theatre, Monash Wright. Malthouse / STC. Ap 2 – Annexe, Launceston. (03) 6323 University, Clayton. (03) 9905 May 5. Merlyn Theatre, 3666.

1111 Malthouse. (03) 9685 5111.

Amadeus by Peter Shaffer.

The Peppercorn Tree by Alison The Plague Dances. Malthouse Campbell Rate. Peridot Theatre Launceston Players. Ap 19 - 28.

Theatre / Four Larks. Ap 14 – Earl Arts Centre, Launceston.

Inc. Ap 27 – May 3. Unicorn 29. Tower Theatre, Malthouse.

Theatre, Mt Waverley. 1300 138 (03) 6323 3666.

(03) 9685 5111.

645 (toll free - landlines) 03 Shout! The Legend of the Wild Dancing at Lughnasa by Brian 9898 9090 (mobiles) Office One by John-Michael Howson, Friel. Geelong Repertory Theatre Hours 10.00am - 5.00pm David Mitchell, Melvyn Morrow.

Company. Ap 13 – 28.

Monday to Friday.

G String Productions. Ap 20 – Woodbin Theatre (03) 52 25 28. Longford Town Hall Theatre.

The Who’s Tommy. UMMTA 1200 (University of Melbourne Music (03) 6323 3666.

Who’s Afraid of Virginia Theatre Association). Ap 27 – South Australia Woolf? by Edward Albee. 1812 May 5. Union House Theatre, Adelaide Festival. March 2 – 18.

Theatre. Ap 18 - May 5. (03) University of Melbourne. www.adelaidefestival.com.au 9758 3964.

Tasmania Adelaide Fringe Festival. Until Compleat Female Stage Beauty The Flint Street Nativity by Tim March 18.

by Jeffrey Hatcher.

Firth. Hobart Repertory Theatre www.adelaidefringe.com.au Williamstown Little Theatre Inc. Society. Mar 2 - 17. The Ap 19 – May 5. (03) 9885 9678 Aladdin and his Magic I-Pod by Playhouse Theatre. (03) 6234 A.J.Bailey. Jally Entertainment.

Never The Sinner by John 5998.

Until Mar 3. Holden Street Logan. Malvern Theatre Theatre.

Just $40 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage The Ham Funeral by Patrick White. State Theatre Company of SA / Adelaide Festival. Until Mar 18. Odeon Theatre. 131 246.

Big Bite-Size Soirée. Bakehouse Theatre. Until Mar 18. (08) 8227 0505 Raoul. La Compagnie du Hanneton / Adelaide Festival.

Mar 1 – 6. Festival Theatre, Adelaide Festival Centre. 131 246.

School Dance by Matthew Whittet. Windmill Theatre / Adelaide Festival. Mar 3 – 10.

Space Theatre, Adelaide Festival Centre. 131 246.

The Caretaker by Harold Pinter.

Liverpool Everyman / Adelaide Festival. Mar 8 – 23. Her Majesty’s Theatre, Adelaide.

131 246.

Bloodland. Sydney Theatre Company / Bangarra Dance Theatre / Adelaide Festival. Mar

8 – 11. Dunstan Playhouse. 131 246 Bernstein’s Mass by Leobnard Bernsetin. Adelaide Festival / State Opera of South Australia.

Mar 9 & 10. Festival Theatre, Adelaide Festival Centre. 131 246.

Mr & Mrs by Aaron Counter & Liz Stephens. Bakehouse Theatre. Mar 12 – 18. 1300 FRINGE. Iolanthe by Gilbert and Sullivan.

Gilbert and Sullivan Society of SA. Mar 13 – 24. State Opera Studio. 8447 7239.

Blind Tasting by Paul Gilchrist.

Subtlenuance / Adelaide Fringe.

Mar 13 – 17. Medina Treasury Tunnels.

Cosi by Louis Nowra. Heartspace Theatre Company / Adelaide Fringe. Mar 13 – 17. Adelaide College of the Arts – Main Theatre.

South Australia Adelaide Festival. Mar 14 – 17.

Space Theatre, Adelaide Festival Centre. 131 246.

Autobahn by Neil LaBute.

Pantsguys Productions / Adelaide Fringe. Mar 14 – 18.

Adelaide Town Hall.

A Streetcar. Based on A Streetcar Named Desire by Tennessee Williams. OdeonThéåtre de L’Europe / Adelaide Festival. Starring Isabelle Huppert. Mar 14 – 18. Festival Theatre, Adelaide Festival Centre. 131 246 Compleat Female Stage Beauty

by Jeffrey Hatcher. Stirling Players. Mar 16 – 31. Stirling Community Theatre. (08) 83393931 (10am-5pm).

Death By Chocolate by Paul Freed. Therry Dramatic Society.

Mar 21 – 31. Arts Theatre. 8296 3477 (10 am to 5 pm weekdays).

The Pumpkin by Beau-Daniel Never Did Me Any Harm by Kate Loumeau. Curly-Top Champion. Force Majeure / STC/

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

Productions. Ap 10 – 14. Star Theatres, Hilton.

Summer End by Eric Chappell.

Tea Tree Players. Ap 11 – 21.

Tea Tree Players Theatre. (08) 82895266.

Pardon Me, Prime Minister by Edward Taylor and Jon Graham.

Noarlunga Theatre Company.

Ap 13 – 21. Arts Centre, Noarlunga. (08) 8322 5845.

The Pirates of Penzance by Gilbert and Sullivan. Northern Light Theatre Company. Ap 13 – 28. Shedley Theatre. 131 246.

Becket by Jean Anouilh translated by Lucienne Hill.

Independent Theatre Company.

Ap 20 – 28. Odeon Theatre, Norwood. 131246.

Kiss of the Spiderwoman by John Kander, Fred Ebb and Joe Masteroff. The Hills Musical Company. Ap 27 – May 12.

Stirling Community Centre. (08) 8339 3931

Stage Whispers 57

On Stage Western Australia Almost Oklahoma by Laverne Kirton. Darlington Theatre Players. Until Mar 10. World premiere youth musical. Marloo Theatre, Greenmount. 9255 1783.

Summer of the Aliens by Louis Nowra. Blak Yak Theatre and KADS. Until Mar 17. Australian play set in 1962. Town Square Theatre, Kalamunda. 9293 1412.

Love’s Labour’s Lost by William Shakespeare. GRADS and UDS. Until Mar 24. 18th consecutive year of Shakespeare in the New Fortune. New Fortune Theatre, University of Western Australia.

BOCS 9484 1133.

Virgin Warrior by Zig Byfield & Peter Perchard. Phoenix Theatre. Mar 1-7. Rock Opera about Joan of Arc. Phoenix Theatre, Spearwood & Supreme Crt Gardens at the Medieval Fayre. BOCS 9484 1133.

Onqoto and Parabelo by Paulo Pederneiras. Grup Corpo and Perth International Arts Festival.

Mar 1-3. Brazilian Dance. His Majesty’s Theatre, Perth. BOCS 9484 1133.

Steel Magnolias by Robert Harling. Stirling Players. Mar 217. Stirling Theatre, Innaloo.

9440 1040.

Mind Game by Anthony Horowitz. Playlovers. Mar 2-17.

Psychological thriller with black comedy. Hackett Hall, Floreat.

0415 777 173.

The Mousetrap by Agatha Christie. Spectrum Theatre. Mar 2-17. Murder mystery. Spectrum Theatre, Albany. BOCS 9484 1133 Whose Wives are They Anyway

by Michael Parker. Busselton Repertory Club. Mar 5-21.

American Farce. Weld Theatre, Busselton. 9751 4562.

Performing Arts Perspectives. His Majesty’s Theatre. Mar 7-8.

Showcase of student performance in dance, drama and music. His Majesty’s Theatre, Perth. BOCS 9484 1133.

58 Stage Whispers

Western Australia & New Zealand

The Goat or Who is Sylvia by Edward Albee. Melville Theatre Company. Mar 8-17. Adults only, strong language and adult themes. Roy Edinger Theatre, Melville. 9330 4565.

Motherhood the Musical by Sue Fabisch HIT Productions. Mar 15 -21, Subiaco Arts Centre, BOCS 9484 1133; Mar 24. Don Russell Performing Arts Centre, Thornlie.

9493 4577.

The 39 Steps by John Buchan.

Harbour Theatre. Mar 8-24.

Farce adapted from the book and film. Harbour Theatre, Port Cineaste Building, Fremantle.

BOCS 9484 1133.

Mary Poppins. Based on the books by P. L. Travers and the Disney Film. Disney & Cameron Mackintosh. From Mar 29. The supercalafragalistic musical.

Burswood Theatre, Perth. 1300 795 012

Flesh Wounds by Jessica Messenger. Old Mill Theatre.

Mar 9-24. World Premiere Drama. Old Mill Theatre, South Perth. 9367 8719.

Dickens’ Women by Miriam Margoyles. Andrew McKinnon Presentations Mar 30-31.

Celebrates Dickens' 200th anniversary. His Majesty’s Blackbird by David Harrower.

Perth Theatre Company. Mar 10- Theatre, Perth. BOCS 9484 1133.

21. Studio Underground in the State Theatre Centre, Perth.

The Deep. Based on the book by BOCS 9484 1133 Tim Winton. Spare Parts Puppet Theatre. Apr 10-21. The feeling Mississippi Minstrels. Murray that you could do anything.

Music and Drama Mar 16-17.

Variety Pinjarra Town Hall. 0458 Spare Parts Puppet Theatre, Fremantle. 9335 5044.

046 414.

Arcadia by Tom Stoppard. Black Swan State Theatre Company.

Mar 17- Apr 1. Heath Ledger Theatre in the State Theatre Centre, Perth. BOCS 9484 1133.

You’ve Got That Thing by Izaak Lim and Nick Maclaine. Morning Melodies. Mar 21. New musical about Cole Porter. His Majesty’s Theatre, Perth. BOCS 9484 1133.

Medea by Euripedes. Class Act Theatre. Mar 21 – 31. Greek Classic. Subiaco Arts Centre Studio. BOCS 9484 1133 One Flew Over the Cuckoo’s Nest by Dale Wasserman.

Bunbury Repertory Club. Mar 23-31. New Lyric Theatre, Bunbury Bookings at Central News, Victoria St.

Boston Marriage by David Mamet. Roleystone Theatre. Ap 11 -21. 9397 5730.

Oliver! by Lionel Bart. Remregal Pty Ltd. Ap 12-14. Regal Theatre, Subiaco. Ticketek.

Talking Heads by Alan Bennett.

Wanneroo Repertory. Ap 12-28.

Limelight Theatre, Wanneroo.

9571 8591.

A Light Shining on Buckinghamshire by Caryl Churchill. Garrick Theatre. Ap 13 - May15. Garrick Theatre, Guildford. 9378 1990.

Dinner at Murder Mansion.

Climbing Vine Theatre. Ap 1315. Whodunnit farce. Belmont City College Amphitheatre. BOCS 9484 1133.

The 39 Steps by John Buchan.

Theatre One. Mar 23-31.

Koorliny Arts Centre, Kwinana, 9467 7118.

Seussical the Musical by Lyn Ahrens and Stephen Flaherty. Koorliny Arts Centre.

Ap 13-21. Based on the stories of Dr Seuss. Koorliny Arts Centre, Kwinana. 9467 7118.

Jason Byrne People’s Puppeteer

by Jason Byrne Fox in the Snow.

Mar 23-24. Anarchic, acrobatic puppetry. Astor Theatre, Mt Lawley. BOCS 9484 1133.

Rookery Nook by Ben Travers, Darlington Theatre Players. Ap 13-28. Farce set in 1926.

Marloo Theatre, Greenmount.

9255 1783.

Feast of Favourites by WAAPA Classical Voice Students.

Morning Melodies. Ap 18.

Operetta, torch songs and musical theatre. His Majesty’s Theatre, Perth. BOCS 9484 1133.

Red Sails In the Sunset. Tivoli Club of WA. Ap 27-Jun10.

Singing, dancing and comedy.

Tivoli Club of WA, Applecross.

9364 5463.

Hobson’s Choice by Harold Brighouse. Playlovers. Ap 27 – May 12. Classic comedy set in 19th century. Hackett Hall, Floreat. 0415 777 173 Smarter Than Smoking Opera In Education Performance. West Australian Opera’s Education Team Ap 28. Learn about opera in a fun, interactive way. Don Russell Performing Arts Centre, Thornlie. 9493 4577.

Swan River Saga by Dame Mary Durack. Agelink Theatre. Apr 29.

Solo play about WA pioneer.

Don Russell Performing Arts Centre, Thornlie. 9493 4577.

New Zealand In the Next Room (or The Vibrator Play) by Sarah Ruhl.

Auckland Theatre Company.

Mar 15 – Ap 7. Maidment Theatre. 09 309 3395 An Inspector Calls by J.B. Priestley. Canterbury Repertory Theatre Society. Mar 23 - 31. St Michaels and All Angels Church, Christchurch.

Barnum by Mark Bramble, Michael Stewart and Cy Coleman. Centrestage Theatre Company, Orewa. Mar 17 – 31.

ITICKET The Wife Who Spoke Japanese in Her Sleep by Vivienne Plumb.

Stagecraft, Wellington. Mar 21 – 31. 0508 484 253 / (04) 974 4111.

Les Liaisons Dangereuses by Christopher Hampton. Mar 15 – 24. Stables Theatre, Auckland.

ITICKET. Are You Being Served by Jeremy Lloyd and David Croft.

Playhouse Theatre, West Auckland. Ap 14 – 28. (09) 361

Just $40 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage 1000.Joseph and the Amazing Technicolor Dreamcoat by Andrew Lloyd Webber and Tim Rice. Harlequin Musical Theatre, Howick. From Ap 21. ITICKET. Oliver! by Lionel Bart. Manukau Performing Arts. Ap 28 – May 12.

Sweet Charity by Cy Coleman, Dorothy Fields and Neil Simon.

Abbey Musical Theatre,

Palmerston North. Ap 12 – 28.

(06) 355 0499 A Midsummer Night’s Dream

by William Shakespeare.

Auckland Theatre Company.

May 3 – 26. Maidment Theatre.

09 309 3395 Death & Taxe$ by April Phillips.

Whangarei Theatre Company.

Mar 2 – 17. 09 438 8135.

New Zealand Stepping Out by Richard Harris.

Rotorua Musical Theatre. Mar 9 - 24. Casa Blanca Theatre.

Shirley Valentine by Willy Russell. Porirua Little Theatre.

Mar 8 – 24. ITICKET. Monty Python’s Spamalot by Eric Idle and John Du Prez.

Napier Operatic Society. Ap 19 – May 5. Tabard Theatre.

TicketDirect.

Some Enchanted Evening – The Music of Rodgers and Hammerstein. Musical Theatre Dunedin. Ap 19 – May 5.

Black Adder 3 by Richard Curtis and Ben Elton. Wellington Repertory Theatre. May 1 – 12.

Gryphon Theatre, Wellington.

By Degrees by Roger Hall.

Theatre Hawke’s Bay. Mar 22 – 31. Play House Theatre, Hastings. TicketDirect.

The Lonesome West by Martin McDonagh. The 1812 Theatre. Mar 25. 0432 129 660.

No Chocolates By Request by Chris Hodson. Peridot Theatre Inc. VIC. Mar 26. One Act Play. 0410 567 834.

Queensland The Waiting Room by John Bowen. Peridot Theatre Inc. Ap 2.

One Act Play Festival. Noosa Arts Theatre Inc. Showcasing the 9551 9084 3 finalists in the Noosa Arts Theatre National One-Act Playwriting Calendar Girls by Tim Firth. Brighton Theatre Company. Ap Competition. Mar 13. 5449 9343 10 & 12. 0412 077 761.

The Fantasticks by Harvey Schmidt and Tom Jones. Noosa Rabbit Hole by John Misto, Sherbrooke Theatre Co. Inc. May Arts Theatre Inc. Mar 17. Musical. 5449 9343 6 & 7. (03) 9808 8438 Victoria New South Wwales Scrubbers by Cenarth Fox. Strathmore Theatre Arts Group.

Great Expectations

by Charles Dickens. Genesian Theatre Mar 4 & 5. (03) 9429 3004.

Wuthering Heights by Charles Vance-adapted from the novel Company. Mar 10 & 11. Drama (02) 9211 0459.

Peter Pan – A British Musical. Wyong Musical Theatre

by Emily Bronte. The Mount Players. Mar 4 – 11. 0397409718 / Company.

May. 0422033090 0447199665 Best Little Whorehouse in Texas. Canterbury Theatre Guild.

Brilliant Lies by David Williamson. The 1812 Theatre. Mar 11 June. 0466883677 & 12. 0408 001 667.

Nunsense by Dan Goggin. Dural Musical Society. July. 0412 Urinetown. Players Theatre. Mar 11 – 14. Musical. 0403 581 080803 380 South Australia Three Days of Rain by Richard Greenberg. Brighton Theatre A Party to Murder by Marcia Kash and Douglas Hughes. Tea Company. Mar 11 & 12. Drama. 0418 364 128 Tree Players.

May 14 – 16.

Murder Mystery. 0402 283 089 The Mousetrap by Agatha Christie. Frankston Theatre Group The Wreckers of Red Rock by Fraser Charlton, based on the Inc. Mar 22 – 24. (03) 9775 2189 songs of Gilbert and Sullivan. SA Light Opera Society. Mar 26.

The Shell Seekers by Terence Brady and Charlotte Bingham, Operetta.

8294 6582 from the novel by Rosamunde Pilcher. Mar 25. 0400 300 762 Mr Bailey’s Minder by Debra Oswald. The Stirling Players. Mar 29. 0438 275 814.

Who's Afraid of Virginia Woolf? by Edward Albee. Burnside Players Inc. Ap 14 & 15. Drama. 0400 827 634 The Unexpected Guest by Agatha Christie. Therry Dramatic Society. Ap 14. 8365 4446.

Who Killed Santa by Terrence Feely. Tea Tree Players. Jun 25 – 7. 0412 060 989.

Western Australia The Last Days of Judas Iscariot by Stephen Adly Guirgis.

Upstart Theatre Company. Mar 10 & 11. 0404 257 993 Hedda Gabler by Henrik Ibsen (Christopher Hampton translation). Melville Theatre Company. Ap 21. 0423 738 921.

Note: The role of Hedda has been cast.

New Zealand Ladies for Hire by Alison Quigan. Stagecraft, Wellington. Mar 24 – 25. (04) 972 1017 (h) or 0273 420 628 Miss Saigon by Claude-Michel Schonberg, Alain Boublil and Richard Maltby, Jr. (Musical). 13 – 14 Apr. Rotorua Musical Theatre. http://www.rotoruamusicaltheatre.co.nz/shows/ misssaigon For more auditions, visit www.stagewhispers.com.au/auditions

Auditions

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Stage Whispers 59

Reviews: Premieres

Cora Bissett and Matthew Pidgeon in Midsummer. Photo: Lisa Tomasetti

Midsummer (a play with songs) a musical. But rather the songs serve as a kind of

By David Greig. STC - A Traverse Theatre Company soundtrack, sparking memories of the past. And Gordon Production. Drama Theatre, Sydney Opera House. Feb 6 – McIntyre, who describes Midsummer as “romantically Mar 10. Canberra Theatre Centre, Mar 28 – 31; Illawarra bruised”, has created a score that is just that.

Performing Arts Centre, Ap 3 – 7 & La Boite, Brisbane Ap 10 Midsummer is for anyone who has ever fallen in love, – 28. fallen out of love or felt the need to be loved. It’s about AT first glance Midsummer appears to fall into that having optimism and being open to love despite perhaps category of a typical delightful romantic comedy which tells being wounded by it in the past. a tale of two people stumbling upon one another at a pub, Whitney Fitzsimmons falling drunkenly into the sack, shagging like there’s no tomorrow and then in the cold hard light of day realising Two by Two that they don’t really have “chemistry‘” but that they really By Dan Giovannoni. Little Ones Theatre (VIC). “like” each other. fortyfivedownstairs. Director: Stephen Nicolazzo. Feb 9 – However, the story of Helena and Bob is much more 19. complex than that. Sure there is a lot of sex, profanity and NOAH’S Ark is a biblical story that at times is depicted as drinking, but underneath this are two 30 somethings who a charming tale of God’s creatures walking two by two into carry the scars of unfulfilled dreams, lost and broken the safety of an enormous ark. At its crux, though, is an hearted love and uncertainty over what the future may apocalyptic event of a grieving God about to destroy his hold. This is a subtle and tender love story full of humour, creation with a world-wide deluge – only one family, and bittersweet longing and a dose of reality that smacks you in one male and female of every living creature are saved. the face.

Two by Two, the winner of the Malcolm Robertson Prize Both Cora Bissett (Helena) and Matthew Pidgeon (Bob) in 2011, transports this ancient story into the 21st century, deliver performances so lovely, sexy and truthful that they a futuristic Melbourne that is facing the potential end-ofwould make you turn no matter what side of the fence the-world due to torrential rain and the threat of the dams you’re on. about to rupture.

The structure of David Greig’s script is particularly fresh Against this cataclysmic backdrop is a domestic setting and appealing. The dialogue is slick, intelligent and very of a contented married couple, Jack and Carl (yes, this is set funny and the use of breaking the fourth wall is particularly in the future), who, because they are unable to procreate as effective as it allows for commentary and a deeper insight a couple, are rejected for a place on the boat by the powers into each character. This is a play with songs - note it is not -that-be.

60 Stage Whispers

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

The boat, the flood: who is chosen to live or die, is used as an allegory to make a comment on modern-day society and its politics. The play gives a nod to the present polite tolerance of minorities, but when the rubber hits the road, quiet prejudice still pervades.

As Jack and Carl act on the innate human will to survive and dream up all sorts of futile plans to fight their way onto the boat, their real fight is to keep believing in their own worth, even though the circumstances spell-out the contrary. At its heart this is a love story, a love that wins in the end though tested to the extreme.

Despite the weighty themes, there is plenty of timely comic relief. A female character called Duckie, and the baby she has found, brings the necessary layers and complexity to the narrative.

Carl, Jack and Duckie, played by Gary Abrahams, Paul Blenheim and Zahra Newman, are three endearing characters performed by youthful and charming actors, that keep the audience well engaged.

Karen Coombs

The Temperamentals

By Jon Marans. New Theatre (NSW). February 7 – March 3, 2012.

STAGED for Mardi Gras, The Temperamentals traces the founding in the early 1950s in Los Angeles of the gay activist Mattachine Society, long before the better known Stonewall riot.

We meet Harry Hay, a bellicose married gay communist, and his Viennese Jewish designer boyfriend, Rudi Gernreich.

This is a fascinating maelstrom of its time, when gays first dubbed themselves a ”sexual minority”, the House of UnAmerican Activities begins its harassment, the Holocaust nightmare was still fresh, and “negro” rights just emerging.

Most so-called “temperamentals” were just too terrified to leave the closet.

Kevin Jackson’s five actors capture well the paranoia, campery and first confident self-knowledge of these courageous activists, notably in their courtroom win against police entrapment. Dressed in basic black, they move quickly through multiple scenes arranging chrome stools against an artful backdrop of huge differently textured I am Eora triangles (designer Tom Bannerman).

Sydney Festival in association with the Baalnaves Marans' often rambling script does itself fall between Foundation. Director: Wesley Enoch. Writer: Anita Heiss. the stools. It is part insightful doco-drama and part Carriageworks, Everleigh (NSW). Jan 8 – 14. personal narratives, ones left under explored and I AM Eora is a little bit (welcome to) country, a little bit unresolved. Douglas Hansell finds only the noisy anger in rock and roll and a whole lot of other things in between.

Harry; we are left uninvolved in Harry’s remarkable real-life Set on a mammoth stage in Sydney’s Carriageworks, voyage from besuited teacher to drag activist. Daniel Scott director Wesley Enoch’s production traverses the epic is far more convincing as the gently ironic Rudi. history of the Eora nation - the indigenous clans Despite a little arch mugging, there’s also fine work surrounding Sydney Harbour. Starting with a solitary figure, from Ben McIvor, Brett Rogers and Mark Dessaix. a man in a business suit strips to reveal full tribal body The Temperamentals is a complex tapestry of historic paint, inextricably linking him with the past to the here and and personal narratives, unevenly stitched, a compelling now. The story focuses on three central characters: story but – until the end – strangely unmoving.

Pemulwuy (the warrior), Barangaroo (the nurturer) and Martin Portus Bennelong (the interpreter), and from these three, the history of indigenous Australians in Eora unfolds.

This a bold, in your face show, with unflinching force and enthusiasm. It uses a mix of dance, song and rap, along with traditional text, to tell the story and get its message across. The performers are energetic and at times frenetic, but also for the most part are optimistic that historical travesties will not dictate their future.

Interestingly, unlike much of indigenous theatre I am Eora is inclusive. It doesn’t necessarily come from an “us and them” perspective and is seemingly much more interested in finding a working solution to cultural differences.

Whitney Fitzsimmons I am Eora. Photo: Prudence Upton Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 61

James-Moody engages with another off-beat character.

They share many showstealing moments.

I felt a tear well at the emotional peak, notably nailed by Rachael Beck in the powerful ‘I’ll Be Here’, the culmination of her substantial musical and dramatic journey in the show’s latter stages.

James Browne’s design is a simple paneled window wall, while two neutral benches and two stools neatly and effectively supply most of the needs for all locations.

Musical Director / Accompanist Paul Geddes puts in an impressive, nimble-fingered keyboard marathon.

Ordinary Days has plenty of humour, heart, and much to identify with for city dwellers.

Neil Litchfield Buried City

By Raimondo Cortese. A co-production with Urban Theatre Projects and Sydney Festival by Belvoir St Theatre. Upstairs Theatre, Belvoir. January 6 – February 5, 2012.

BURIED City is a raw production. It pulls no punches. It makes no excuses. The characters depict their urban reality in their urban language. They speak of their present, grubby as it is; their hopes, unachievable as they seem; and it’s all viscerally real.

Mirabelle Wouters’ urban set is a section of a closed building site, bounded by scaffolding and littered with detritus – odd chairs, milk crates, buckets and empty bottles.

The dim lighting (Neil Simpson and Sean Bacon) adds to the sense of squalor. Street lights flicker through an open door; dulled spots pinpoint some of the action. Paul Ordinary Days Prestino’s sound design provides the ‘white noise’ of the city.

Ordinary Days In this setting, the actors work hard, as does the

By Adam Gwon. Squabbalogic / Darlinghurst Theatre audience, following their disjointed conversations and Company. January 19 – February 19, 2012. feeling their anger, disappointments, fears.

FOUR strong musical theatre voices are accompanied by Strongest of all is Meyne Wyatt, the young indigenous a grand piano, without a sign of electronic intervention, actor who made such an impact on Sydney theatre in just good projection and diction.

2011. Meyne’s physical stage presence is remarkable. He Unplugged musical theatre. It’s such a refreshing blends the grace of his heritage with the irritable sensory experience. restlessness of city youth. Even when completely still, he Squabbalogic have staged another simply yet effectively gives the impression of constant awareness. produced Off-Broadway musical.

As the dissatisfied, trade unionist, Russell Kiefel is the Ordinary Days is a very Manhattan little musical. Four constant of the production, changing and holding the singles, anxious to find themselves, find love and personal pace, linking the characters, and totally real in his depiction truths in the fast lane existence of New York. of disappointment and hopelessness.

Bright, clear, pacy direction by Grace Barnes leaves little Hazem Shammas is strong as the disillusioned young time to dwell on the odd cliché. Though the sung-through son of a migrant family. His restless physicality sees him score has its pedestrian moments, at the high points you climbing scaffolding, luring Russell to a fist fight, always on recognise why Adam Gwon is a rising musical theatre the move. Valerie Berry, playing the girl he has picked up, is talent. similarly restless, searching for something to fill the night.

Two top-notch, established musical theatre talents, Effie (Effie Nkrumak), as the efficient, self-confident Rachael Beck and Michael Falzon, give credible security guard, is most impressive in a fast, comic, physical performances as Claire and Jason. They get the more scene. serious, sentimental, and sometimes least thankful bits.

Perry Keyes, as the guitar playing, singing taxi driver, Most of the broader, up-front comedy falls to the skirts the edge of everyone’s reality, searching for younger quirkier pair, Deb and Warren. Erica Lovell is an something, quite what we never really know. impressive young talent with a big, big Broadway Belt Program notes from writer Raimondo Cortese and voice, and a bewitching flair for comedy. Co-producer Jay director Alicia Talbot don’t clarify a definite single theme. Is 62 Stage Whispers

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

it change? Disillusion? Fear of economic insecurity?

Isolation? It is all of these?

Direction underpins this. Restless movement, which could be seen as upstaging, is the hub of the action here.

The characters reach out to taunt, threaten, advise, offer help, and then retreat to a dark, personal space.

The ending is strange. It is frenzied and then it stops.

There is no clear resolution. Perhaps that’s what it’s all about.

Carol Wimmer Beautiful Burnout

By Bryony Lavery. Sydney Festival, National Theatre of Scotland and Frantic Assembly. Seymour Centre (NSW). Jan 18 - 29 BEAUTIFUL Burnout, produced in collaboration with the National Theatre of Scotland and Frantic Assembly, is an interesting look in to the world of boxing.

For a sport that has many maligned preconceptions, Bryony Lavery’s script attempts to pull the audience into the boxing ring and show why such a brutal sport has a large and devoted fan-base.

The story focuses on a small clutch of boxing hopefuls who are being trained by the one and only Bobby Burgess (Ewan Stewart). The four are eager to prove themselves and of course there is a pecking order with the top dog Ajay Chopra (Taqi Nazeer) pushing to turn pro.

As expected though, the young Ajay is seen to be too big for his boots and is unceremoniously chucked out of Burgess’s gym, paving the way for young buck Cameron (Kevin Guthrie) to slip into star position.

Meanwhile, Cameron’s mother Carlotta (Blythe Duff) tries to assuage her fears over her son’s choice of career by being overly attentive. However any protests from Carlotta are overshadowed by the glamour of the “ring” and in a creatively executed climax, the big match between Ajay and Cameron plays out with tragic circumstances.

By and large the performances are impressive and each actor obviously studied the sport in preparation. However, the overall story seemed to be a bit two-dimensional because so much emphasis was put on the choreography and movement of the show.

Directors Scott Graham and Steven Hoggett’s vision for this show was strong and had some surprising elements, but overall Beautiful Burnout did not burn as brightly as I hoped it would.

Whitney Fitzsimmons.

Mark Kilmurry and Daniel Mitchell in The Act. Photo: Steve Lunam.

asks ‘where are we?’) and tries to humour Johann by practising routines and being funny. But Johann is apprehensive, bossy, wary.

To go any further would ruin the plot and lose the impact of its final, anticlimactic message. But the writing in this first half is repetitious, almost to the point of tedium, and thus slows the action so that it loses the impetus that is integral to the plotline.

This is a shame as Director Sandra Bates has assembled a fine, experienced cast. Kilmurry and Mitchell inhabit their characters with real understanding and careful control.

Brian Meegan, as Captain Steiner, is handsomely cold, calculating and vicious. Michael Ross, as the valet, makes this role hollowly moving. There is nothing to fault in their acting, nor in the very well-designed set on which they The Act work. The colours and richness herald the empirical

By Richard Langridge. Ensemble Theatre (NSW). Director: ambition of the Third Reich and the eerie music and sound Sandra Bates. Feb 2 – Mar 3, 2012. effects make the symbolism even more chilling.

THIS play is an unusual start to the Ensemble season.

The fault probably lies in the writing, though it is easy to The subject matter is dark. Set in Germany during World see why Bates wanted to give this play an Australian airing.

War II, it sees two vaudeville comedians commissioned to First produced in 1988 in London, but never actually perform at a function. The venue is a secret, as is the published, its message is important, the plot well conceived audience. They have no idea why they have been chosen, or and the characters well drawn. But, the pace of the first act, what is expected of them. Otto (played by Mark Kilmurry) is probably because of some cumbersome writing, does let not fazed by this. Johann (Daniel Mitchell) is not so sure. the production down.

They play off this insecurity. Otto is curious (he constantly Carol Wimmer Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 63

The White Divers of Broome

By Hilary Bell. Black Swan State Theatre Company. Director: Kate Cherry. Heath Ledger Theatre, State Theatre Centre of WA. Jan 28 - Feb 16.

THIS World Premiere play by Hilary Bell explores the pearling industry in Broome around 1912, the effect of the White Experiment - a plan to introduce white pearl divers and the looming introduction of the White Australia Policy and its potential threat to the pearl-shell trade.

Featuring a large cast for a new play, the fourteen performers create an outstanding ensemble with some well drawn performances.

Kylie Farmer (Kaarljilba Kaardn) showed great strength Yes, Prime Minister and charm as Daisy, servant to and illegitimate daughter of, Yes, Prime Minister pearling master Pigott, played with villainous relish by Ian

By Antony Jay and Jonathan Lyn. Director: Tom Gutteridge. Toyne. Jo Morris nicely portrayed Regina, whose not Comedy Theatre Melbourne. Jan 31 - March 4, then unbiased journalistic interest propels and ties together the National tour. narrative. Our sympathy with her was integral to THROUGHOUT the eighties Jay and Lyn ruled the top maintaining our interest in the script. end of British TV comedy with first “Yes Minister”, then The British diving trio was well drawn by Stuart Halusz “Yes, Prime Minister.” The writing was clever, the as the broadly brogued Webber, Sean Hawkins as young performances superb and the entertainment unsurpassable and heroic Beasily and Tom O'Sullivan as hot-headed for 28 minutes every week.

Sanders.

Strangely enough, 28 minutes is about the same time Yatuka Izumihara brought great empathy to the role of this play holds together before it staggers and ultimately supplanted Nishi, while former ballet dancer Miyuki Lotz falls down. What was assured and confident satirical brought both grace and passion to the role of his wife writing, is now a 2 hour mish-mash of hackneyed jokes, Yukiko. Kenneth Moraleda perhaps had most fun, finding and cobbled together minor plots. Satire is replaced by the comic irony playing the crippled Bin Mahomet. vaudeville.

A beautiful looking production that features underwater Philip Quast gives Sir Humphrey a different take, but scenes as well as capturing the colours of multi-cultural lacks the posturing, patronising pomposity of the foppish Broome, the lighting by Trent Suidgeest brings intense public school boy. Despite his handling of the tricky colour to Bruce McKinven's masculine and evocative canvas. loquacious monologues, one can’t help but feel that THIS Alicia Clements has created beautiful costumes, with Sir Humphrey is essentially middle class… and the character stunning contrasts between the white ladies in their Pearl interaction, as in the TV series, truly only works if the British coloured gowns and the bright shades of Yukiko's kimono. class system is firmly in place.

The period details appeared accurate and revealing.

Mark Owen-Taylor is an endearing Jim Hacker who owes While I don't believe that White Divers of Broome will more to Richard Briers than Paul Eddington. He’s totally become a classic, it was a story worth telling and an believable up to the embarrassing “talking to God” interesting and little known aspect of Australian history. thunderstorm sequence which is neither funny nor credible.

Kimberley Shaw John Lloyd Fillingham gives a classic comedic performance, Alex Menglet shines by playing the drama with total commitment, but Caroline Craig seems miscast. Her English accent and diction are poor and not helped by the fact that so many of her lines are directed upstage.

What made the TV series so special was that it wasn’t about “gags”. It was about the DRAMA and power struggle of three men’s working lives. That is satire. For some reason the director didn’t “get it” or was railroaded by the authors.

Amidst mostly disappointed murmurings on the way out, my partner said “Iconoclasm reduced to slapstick”, a much more succinct phrase than this review.

Coral Drouyn Ian Toyne, Kenneth Moraleda, Sean Hawkins, Yutaka Izumihara and Nick Candy in The White Divers of Broome. Photo: Gary Marsh and Fiona Hoy, Gary Marsh Photography.

64 Stage Whispers

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

Reviews: Cabaret

Britney Spears: The Cabaret

Britney Spears: The Cabaret Written and Directed by Dean Bryant. Starring Christie Whelan. Musical Arrangements: Mathew Frank. Chapel off Chapel (Vic), Jan 18 – 29; then Brisbane and Sydney.

EVEN those who aren’t fans of Britney’s music will be won over by Christie Whelan’s tragi-comic turn as the scandalous pop diva in Britney Spears: The Cabaret. The show weaves details of Britney’s life – her early relationship with Justin Timberlake, marriage to Kevin Federline, her stints in rehab and meltdowns – through her catalogue of pop hits.

Whelan’s bravura performance has Britney as a cheerfully unhinged all-American blonde who is part homecoming queen, part mallrat. Whelan first appears on stage crooning “Circus”, letting the audience know that when it comes to all this singing and dancing stuff “I call the shots”. As Whelan continues the song, we see flashes of panic or something else in Britney’s eyes, and we wonder who exactly is calling the shots: Britney, her family, the paparazzi or the ‘industry’?

In true cabaret style, Whelan pulls up a stool or perches atop a shiny piano in her minidress and heels to give her version of events. Her slow-burn rendition of “Toxic”, sung atop the piano, was sexy and knowing, and shows that Britney has been blessed with some terrific songs. Whelan’s version of “Piece of Me” – Britney’s challenge to the paparazzi – had the snooty attitude and humour. “Slave” was another inspired arrangement, with Whelan singing it in the guise of Britney, the child star. Little Britney taps and twirls a baton, with a beauty pageant smile, eager to please, singing the words “I’m a slave 4 U ...” It’s one of the many examples in the show where Whelan, together with writer/director Bryant and music arranger Mathew Frank, give Britney’s songs a depth and poignancy missing from the real girl’s music clips.

Britney fans will emerge from the show still loving Britney, and those who weren’t fans will find themselves seeking out her music. Who knew “Womaniser” could be so blistering on stage? Britney Spears: The Cabaret manages to be both satirical and redemptive.

Sara Bannister Cry Me A River Writers: Rhonda Burchmore & Gary Young. Director: Gary Young. Musical Director: Ray Alldridge. Bold Jack. Brisbane Powerhouse. Feb 1 - Mar 1.

AFTER premiering at the Adelaide Cabaret Festival last year, Rhonda Burchmore’s concert-bio show of Julie London arrived in Brisbane at the Powerhouse. With the venue set up in cabaret mode, with tables and chairs and smoky lighting effects by David Murray, it was the right atmosphere for a walk down the 1950s jazz memory lane.

Burchmore’s own personality swamps the show and there’s little of London in her performance but the songs. But what great songs! “Give Me the Simple Life,” “Blues in the Night” and “Black Coffee,” rub shoulders with “Feeling Good,” “Light My Fire,” and of course London’s biggest hit, “Cry Me a River.” “Guess Who I Saw Today” was used for the break-up of her marriage, with “The End of the World” signifying the end of her era. Gary Young’s script was at the most perfunctory, but Ray Alldridge and his six-piece combo were brilliant. After a while, though, there was a sameness to the arrangements; a vocal chorus followed by a band break and then a vocal wrap-up. There were no surprises! But, the capacity audience didn’t seem to mind one little bit. They reveled in the nostalgia, and Burchmore, with her obligatory audience walk-through, had them eating out of her gloved and bejeweled hands.

Peter Pinne

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

Stage Whispers 65

Ella Nicol (Annie) and Anthony Warlow (Daddy Warbucks) in Annie. Photo: Jeff Busby

Reviews: Musicals Annie Book: Thomas Meehan. Music: Charles Strouse. Lyrics: Martin Charnin. Producers: John Frost, Power Arts, QPAC and Two Left Feet Productions. Director: Karen Johnson Mortimer. Choreographer: Kelly Aykers. Musical Director: Peter Casey. Lyric Theatre, The Star, Sydney. Jan 5 to Mar 25. Brisbane, Melbourne and Perth seasons to follow.

DESPITE the old theatrical adage ‘never work with kids and animals’, from a GP audience point of view few theatrical experiences are more appealing than Annie.

And with Anthony Warlow, Nancye Hayes and Todd McKenney for starpower, and controversial radio host Alan Jones as celebrity casting, Annie was off to a flying start at the box office.

Those three stars are in fine form, while what seemed like a bizarre piece of celebrity casting at first glance, with Jones playing President Roosevelt, comes off acceptably.

A cast of talented, exuberant kids, and a scene-stealing dog, though, temporarily upstage these stars on many occasions.

Anthony Warlow’s warm, likeable, alternately gruff and vulnerable Warbucks is performed with great joie de vivre.

Julie Goodwin positively glows as Grace Farrell, bringing depth, warmth, nuance and whimsy, beyond anything actually scripted, to the role. Leggy Chloe Dallimore nails the high-kicking dumb blonde Lily St Regis and veteran hoofer Jack Webster is delightfully showcased as the butler, Drake. Hayes, McKenney and Dallimore dance up a storm, and time their vaudeville-style punch-lines smartly.

66 Stage Whispers

Ella Nicol gave an engaging, vocally assured performance as Annie. All the orphans’ songs are crowdpleasers, sung and danced with vivacious energy, with the high-kicking reprise of ‘You’re Never Fully Dressed Without a Smile’ easily the biggest audience-pleaser.

Mechanised design elements, integrated with effective use of projections, ensure a smooth, fluid production, and integrate with costuming to move between the grey tones denoting downtrodden depression New York and the brighter colours signifying Warbucks’ wealth.

The evening’s disappointing moment is an attempt to go darker, with a discordant arrangement of Hooverville caught uncomfortably between the Broadway original and dark reinvention. It’s a brief disappointment.

Annie is bright, escapist family entertainment.

Neil Litchfield Mary Poppins Music & Lyrics: Richard M. Sherman, Robert B. Sherman, George Stiles, Anthony Drewe. Book: Julian Fellowes.

Director: Richard Eyre adapted by James Powell.

Choreography: Mathew Bourne adapted by Geoffrey Garratt. Disney & Cameron Macintosh. Lyric Theatre, QPAC, Brisbane. Jan 5.

MARY Poppins not only sings, dances and flies, but she is totally captivating in this stage-musical version. Verity Hunt-Ballard sings she’s “Practically Perfect” but in my view she couldn’t be more perfect in the role. Feisty, endearing and with a voice like an angel, she stands head-andshoulders above everybody else on stage. Since the

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production opened in Melbourne eighteen months ago there have been four major cast changes: Simon Burke as George Banks goes for a softer take on the stern disciplinarian role; Pippa Grandison is a lively and appealing Mrs. Banks, making more of the character than is in the script; Delia Hannah is an excellent Bird Woman and her “Feed the Birds” is memorable; Natalie Gamsu as the “Brimstone and Treacle” horror Miss Andrew was unfortunately hampered somewhat by muddy sound. Matt Lee’s strength as Bert the chimney-sweep is dance and he does well on the showstoppers, “Jolly Holiday,” “Supercalifragilisticexpialidocious” and “Step In Time.”

Kurtis Papadinis and Rose Shannon-Duhigg as Michael and Jane are good little actors, vocally strong and a big plus in making the show work. George Stiles and Anthony Drewe’s new songs are also a big plus and help give the musical some much needed depth. Disney’s first ever production to reach Brisbane is excellent family entertainment.

Peter Pinne Every Single Saturday

By Joanna Weinberg. Director: Lisa Freshwater. Glen Street Theatre, Feb 15 – Mar 3; Laycock Street Theatre, North Gosford, Mar 26 – 28; Riverside Theatre, Parramatta, Mar 29 – 31.

AT first blush the challenge to create a musical about sideline parents at a soccer match with a cast of just four would seem a huge challenge.

Yet from a ten-minute seed of a musical, a full length production has evolved with some nice tunes, more than a few laughs and the odd tug on the heart strings.

The obvious gags are ably exploited; getting lost finding this week’s match, parents behaving badly and complaints about bad refereeing.

If that was all there was, then the audience would have blown the whistle very quickly on this production.

What makes Every Single Saturday a delight is the spark caused by the introduction of a father with no interest in soccer at all.

Scott Irwin portrayed Neil, an opera conductor with no knowledge of the game, but ironically he is the father of the star player.

With great sweetness, he reads Soccer for Dummies and practises some referee signals on his orchestra.

His pairing with another single parent, Katrina Retallick as Liz, worked a treat.

Christopher Horsey, as Carlo the soccer coach, whose son is into dancing, and Maria de Marco as Sandy, complete the polished quartet.

The musical has a slow opening, which could be strengthened with a song.

But it’s not how a game starts but how it finishes that matters.

Some cute choreography, a simple but effective set comprising mainly artificial grass and a magpie, and a small but lively band, soon hook you in.

The musical began as a ten-minute excerpt in Short and Sweet and has developed greatly since its follow up workshop at NIDA. A few more tweaks and it could roll on and on, to more fields of dreams.

David Spicer

Maria De Marco, Christopher Horsey, Katrina Retallick and Scott Irwin in Every Single Saturday. Photo: Cam Feast.

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Stage Whispers 67

Hannah Ley and ensemble, in Chicago. Photo: Craig Burgess

Chicago Urban Display Suite Music by John Kander. Lyrics by Fred Ebb. Book by Fred Ebb Written by Michael Dalley. Lawler Studio – MTC. Until and Bob Fosse. Free Rain Theatre. Queanbeyan Performing January 21, 2012.

Arts Centre. Director: Anne Somes. Musical Director: Leisa WHILE most of us are worrying about how to pay our Keen. Feb 10 to 27. mortgage, the talented Michael Dalley chooses the property CLASSY staging, imaginative lighting, and subtle boom as his latest satirical target. With biting lyrics set to direction combine with the most adroit handling of albeit simplistic vaudevillian type melodies, Dalley and sophisticated vocal harmonies and truly outstanding company tear down the bogan middle class and show us instrumental musicianship to create a musical that, though our real selves in such cutting numbers as “Shit Art Of the it won't have you on the edge of your seat, will have you Mornington Peninsula” and “McMansion Façade”. tapping along with a smile throughout. In Chicago we have But whilst there is abundant lampooning of pretension, the stage realisation of true-to-life characters from the there is little real satirical depth exploring the indecent 1920s, principally two women accused of murder who exploitation of the real estate market, and perhaps the must use their charms to escape the threat of execution. opportunity has been missed to actually say something of The band, conducted by Ian McLean, well deserved the meaning. Urban Display Suite made me long for the standing applause it got, with masterful playing and careful cabaret and theatre restaurant offerings of the 70s and 80s timing. Equally outstanding were the sophisticated vocals – when satirists like Max Gillies could destroy our political that Leisa Keen obtained from the many performers system with wicked caricatures and not a single four letter frequently singing against each other with admirable word. exactness. Ironically, only a couple of the principals missed Lyall Brooks shows his professionalism throughout, and occasional notes, and only because they couldn't hear steals the show with “One Day,” as he eagerly awaits his themselves properly (unsurprisingly, as sometimes the elderly parents’ death to get their real estate. Dalley himself audience couldn't hear them either). Slight glitches such as is personable throughout and never once tries to upstage. these and occasionally leaving front-stage performers With 16 songs, and no book at all to speak of, it’s a pity unilluminated, no doubt simply opening-performance bugs, the two female performers aren’t stronger vocally. won't mar your enjoyment of this tale told in musical However, Emily Barrie’s simple set of 3 dimensional letters numbers. and back projection works a treat. It’s not musical theatre, Performances were consistently impressive in wordeven of the non-narrative kind (as suggested), but it’s good perfect delivery, and Mathew Chardon O'Dea, Adrian Flor, cabaret that would work better in a club where we could all Steve Galinec, and Sarah Hull were outstanding. spill our merlot as we chuckled.

See it if you'd enjoy a night of light-hearted risqué music Coral Drouyn with sauce.

John P. Harvey 68 Stage Whispers

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The Jinglists This musical began life in 2008 and since has earned

By Warwick Allsopp & Tamlyn Henderson. Garnet kudos at the Edinburgh Festival.

Productions in association with Tamarama Rock Surfers.

David Spicer Bondi Pavilion Theatre (NSW). Jan 31 – Feb 18.

THE star of much of this show was dangling between Oliver! the legs of Warwick Allsopp and made unexpected

By Lionel Bart. Packemin Productions. Director: Neil appearances out of his fly.

Gooding. Parramatta Riverside Theatre. Feb 3 – 18.

Fear not – it wasn’t what first comes to mind. But when PACKEMIN Productions gives children and many familiar it was revealed by his brother, played by Tamlyn Henderson, faces from Sydney’s community theatre scene the it prompted the biggest laugh of the night. opportunity to perform on stage with three professionals.

The Jinglists is a hoot which skates close to the edge of It’s a great model. bad taste but steps back just in time.

Wayne Scott Kermond played Fagin. The whole The characters, Leigh and Loman, are described by production lifted as soon as he stepped on stage. He director Jo Turner as grotesque musical clowns. played the role with great affection and made us like the They suffer from agoraphobia, but this hasn’t stopped old crook. them from having a successful career as jingle writers.

Todd Keys as Bill Sikes had the opposite effect. He is a Under pressure they dish up the sweetest melody to terrifying on-stage villain, enough to give anyone a spruik the most unpleasant medical remedy. nightmare, while Katie McKee played Nancy with passion The jingle about keeping your sphincter open is still and sincerity. spinning around my head.

Of the non-professionals, Damien Hempstead, who They use a number of cute instruments, from the ukulele played Oliver, was splendid playing his first ever role on to electronic drum to xylophone, with great aplomb. stage and gave a sweet rendition of Where is Love.

The set is fabulous. They live in a cramped apartment Jake Woodhead as The Artful Dodger was the stand out, with dirty sheet music on the floor, piles of boxes and a while Graham Bone as Mr Sowerberry, Paul Holmes as Mr tube for sending their cassette demos to the outside world. Brownlow and jack-of-all-trades Andrew Davis gave the Emotionally stunted, as they have lived together without production the benefit of their decades of experience. going outside for decades, their lives are up-ended when The Producer/Director Neil Gooding likes to ‘packemin’ they spot an attractive woman through the peep-hole. on stage. The very large cast was well drilled, with excellent After spending years making catchy music they get the choreography by Camilla Jakimowicz. opportunity to catch a bit of life.

The set was built by Bob Peet, who directed the Australian amateur premiere of Oliver! in the 1970’s. His The Jinglists

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Stage Whispers 69

Wayne Scott Kermond as Fagin and the gang in Oliver!. Photo: Grant Leslie.

attention to detail, clever use of dark corners and the use of sleek flys gave the whole production a boost.

Aided by a bright as a button band under the baton of Peter Hayward, Oliver! had the audience asking for more.

David Spicer

A Chorus Line

By Marvin Hamlisch, Edward Kleban, James Kirkwood and Nicholas Dante. Producer: Tim Lawson. Festival Theatre, Adelaide, Jan 3 – 28 & Her Majesty’s Theatre, Melbourne, Feb 4 to Mar 3.

COULD a 70s-era musical with leotards and sparkly gold Avenue Q costumes thrill audiences in Melbourne in 2012? You bet.

By Robert Lopez, Jeff Marx and Jeff Whitty. Townsville Australian producer Tim Lawson was right when he Choral Society. Director: Sandra Neal. Vocal Director: Rachel believed audiences who love So You Think You Can Dance Cairns. Choreographer: Jeremy Poi. Orchestral Director: would embrace A Chorus Line.

Ryan Christoffersen. Jan 27 – Feb 4.

A Chorus Line opens with an eye-popping audition TOWNSVILLE’s Choral Society took something of a scene involving 28 dancers. We relate to the ones who gamble with their January production of Avenue Q; will stumble, and are in awe of those who keep going. From a audiences take to a cast of puppets, people and monsters? whirlwind of legs and arms, 17 dancers remain.

Is Townsville ready for live “puppet-sex” on stage? You bet, Some of the stories told by the dancers have lost their and the gamble paid off. impact over the decades. But this show is all about singing The cast of ten humans and numerous “people with and dancing, and this is where A Chorus Line soars. fur” was tightly directed and the end result was an Michael Bennett’s award-winning choreography has been undoubted hit. restaged here by Baayork Lee, who performed in the It is difficult to single out individual cast members, but original Broadway production, and the results are Tyler Chin’s cross-dressing performance as Christmas Eve is spectacular. The choreography is sharp and clean, and the most worthy of mention. There would have been many in dancers so strong and precise with their timing and the audience who wouldn’t have had an idea of the real togetherness, especially in the big group numbers. The identity of the actor. layering of stories with dance is also very effective. When Finn Buckle and Jodie Bell made Princeton and Kate choreographer Zach confronts dancer Cassie (Anita Louise Monster come to life. Their sensitive and yet hilarious antics Combe) over why she left him many years ago, we see the had the audience in various stages of sympathetic clucking dancers rehearsing the show-stopper, “One”, in the through to side-splitting laughter. background. Their hushed singing, and tilting of top hats Avenue Q is basically a story of self-discovery, love and hints at the final spectacle that is to come. friendship and this tight ensemble presented it in an Other highlights include a feature song and dance by hilarious but sympathetic interpretation.

Richie (an astounding Kurt Douglas), which brings the Ray Dickson show’s funky, disco influence to the fore. Diana (Karlee 70 Stage Whispers

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Misipeka) is another standout, providing a lot of the show’s heart when she sings the beautiful “What I Did For Love’.

A real crowd-pleaser, and you won't forget or regret seeing it this time around.

Sara Bannister

in Daniel Loves Me was shown in word- and role-playing games initiated by Patrick to be fictional.

The “games” became verbal and physical battles between the participants: Ainslie Cunliffe-Jones’s embittered teacher Jean, who laments the romantic success of Other Women; the terrifyingly threatening Barbara Have a Nice Life (Tarah Quayle), whose rage comes out in Hate Mail; bullied Book by Conor Mitchell and Matthew Hurt, music and lyrics mother’s-boy Chris (Phil Olson) who longs for An Oldby Conor Mitchell. Hunter TAFE Performing Arts. The Fashioned Romance; mother of three Jackie (Mandy Fung), Playhouse, Newcastle (NSW). Dec 15 to 18. whose anger at not being told the truth by Amy comes out HAVE a Nice Life has the most unlikely subject for a in You Should Have Told Me; womanising postman Frank musical – a 90-minute group therapy session – and Conor (Cherie Mackinnon), who boasts that I Came Here to Score, Mitchell’s music blends the lushly lyrical with dissonant and Son; and Chris’s quiet offsider, Michael (Casey Poolman). atonal sounds in the virtually wholly sung tale.

And the full ensemble numbers, including the title song, This production, featuring Hunter TAFE second-year were exuberant. acting students and directed by David Brown, was the Ken Longworth musical’s Australian premiere and it justified the praise Irish composer-lyricist Mitchell has received as a new writer of Grease musicals.

By Jim Jacobs and Warren Casey. Ballina Players Youth The therapy session is the 24th weekly meeting of the Theatre. Director: Mike Sheehan. Jan 13 to 22. participants and it was clear from the early moments that BALLINA Players Youth Theatre’s annual production is little had been achieved in their time together. But things always eagerly awaited. are stirred up by a newcomer who has been invited by one Under the guidance of Director Mike Sheehan, Musical of the participants and arrives expecting to be part of a Director Paul Belsham and Choreographer Jaime social networking group.

Whittingham, the talented youngsters presented a fastThe therapist, Patrick, and his wordless assistant - played moving, toe-tapping production worthy of any adult by acting graduates Seth Drury and Anna Lambert - are company. ineffectual. Newcomer Amy (Michelle Lawrence) is a sweet young thing whose lyrical declaration of her domestic bliss Have a Nice Life (L-R) Mandy Fung, Michelle Lawrence, Tarah Quayle and Ainslie Cunliffe-Jones

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Stage Whispers 71

As Sandy, Taya Orchard seemed right at home and Danny, played by Lachlan Copeland, was a real smooth walker and talker.

The Pink Ladies and T-Birds were individually and collectively strong and true to character while the adults tried their best to keep the teenagers in line.

The thirty plus members of the chorus worked hard and their routines were full of life.

Bright and colourful full skirts, bobby sox and white tees and leather jackets helped to create the era along with the mandatory cigarette packs in their sleeves for the boys and chewing gum and lipstick for the girls Under Paul’s baton the orchestra was well controlled and never overpowered the singing.

The set worked well and the technical support was of the usual high standard.

Due to popular demand, the season was extended and the packed audience appreciated the effort and commitment of the entire company.

Roger McKenzie The Producers

By Mel Brooks and Thomas Meehan. Cairns Choral Society.

Director: Wayne Rees. Jan 6 – 21.

THE show is an energy-packed performance that brought a fabulous night of Broadway to Cairns. The Producers is about two Broadway theatre producers who deliberately set about producing a flop in order to steal the original investment money. The play they chose to produce is an obscure piece of drivel called Springtime for Hitler, which unexpectedly becomes a big hit. Michael Newman played fast-talking, street-wise Max Bialystock with energy and skill. David Graham, as Max’s bumbling, nervous coproducer, Leo Bloom, was equally as talented. Dale Shultz as Roger DeBris, the director chosen deliberately for his incompetence, had good timing and stage presence and Alanna Rees, as the glamorous Ulla, also gave a strong performance. The many scene changes were deftly executed, while the choreography was all Broadway.

Although not blessed with great songs, The Producers did have its musical moments with Michael Newman’s brilliant rendition of the song Betrayed. Director Wayne Rees assembled a talented cast that delivered a highly entertaining, professional production.

Ken Cotterill The Wizard of Oz Music: Harold Arlen. Lyrics: E.Y. Harburg. Background Music: Herbert Stothart. Book: Adaption by John Kane based on the original book by L. Frank Baum. Director: Tim O’Connor. Musical Director: Maitlohn John. Choreography: Callum Mansfield. Harvest Rain. Playhouse, QPAC. Feb 9 – 19.

HARVEST Rain’s new production of The Wizard of Oz is the most enjoyable version of the story I have ever seen on stage. It’s bright, zippy and has a freshness that belies the age of the material. Dana Musil was a believable Dorothy and sang the role’s signature tune “Over the Rainbow” well, despite a little too much ‘pop’ inflection. Shaun 72 Stage Whispers

Kohlman (Scarecrow), Dan Venz (Tinman) and Matty Johnston (Lion) made an appealing trio of misfits who delineated their characters with an ‘aw shucks” charm and sang and danced with style. Angela Harding, with the best voice in the show, was a glittering Glinda, the good Witch, and Penny Farrow as her counterpart, the Wicked Witch of the West, was deliciously vile and horrible. Steven Tandy, always good value, had a grand time as the Professor and the Wizard, and Grant Couchman and Kathryn Dunstan were spot on with Uncle Henry and Aunt Em. Top marks also to the Munchkins, who were a delight. Their “Ding Dong the Witch is Dead” was one of the highlights. Josh McIntosh’s set and costume designs were imaginative and grand (except for the opening scene, which looked like amateur-ville in Kansas) and Callum Mansfield’s dance routines were executed with snap. Maitlohn John’s 18-piece orchestra sounded as it was, big! Tim O’Connor has proved time and time again that he can handle a big cast and keep a show moving. He was on top of his game with this one.

The Wizard of Oz is without doubt the best Harvest Rain production in recent times.

Peter Pinne Falsettos

By William Finn. Director: John Milson. Old Mill Theatre, South Perth (WA). Feb 3-18.

I MUST confess that this is not one of my favourite musicals. While William Finn has created some captivating music and lyrics, the story, while once groundbreaking, has dated quickly and lacks both punch and humour for a modern audience. Having said that, I was glad that I attended Old Mill's production.

Most of the performances are simply stunning. It is very rare to be able to assemble a cast of this caliber and they worked beautifully together.

Matthew Kiely sang well in the difficult central role of Marvin. Real life fiancé Sharon Wisniewski played Trina, his estranged wife, and was an absolute stand-out, with her rendition of I'm Breaking Down being a show-stopper.

Marvin's lover Whizzer was sensitively portrayed by Tyler Jones, whose performance was excellent throughout. It was interesting to see David Bowyer, who is perhaps best known for much darker roles, playing the highly-strung Mendel.

Carolyn Latter and Breeahn Jones brought charm to the 'lesbians from next door’. Holding his own among formidable talent was Year Seven student Welland Joyce, in his first major role in community theatre, bringing genuine humanity to the role of Jason.

The set, a product of The Brothers Carr, was simple and generally well used, with the red couch being a prominent and interesting prop. Costumes (un-credited), were true to the period and well selected for each character. Lighting was sensitive and unobtrusive, while sound was well balanced.

Falsettos was one of the first musicals of the year, but one that I expect will be fondly recalled for performance nominations at the year's end.

Kimberley Shaw

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Glenn Sprague (Johnny Carr), Brett Sprague (Josh McConville) and Stevie Sprague (Anthony Gee) in The Boys.

Photo: Brett Boardman

Reviews: Plays The Boys The Taming of the Shrew

By Gordon Graham. Griffin Theatre Company. SBW Stables By William Shakespeare. Sydney Shakespeare Festival.

Theatre (NSW). Jan 6 – Mar 3.

Bicentennial Park, Glebe Foreshore. Jan 5 - Feb 12.

TWENTY years on from its debut on the same stage, PICTURESQUE views of the city skyline, Glebe Island Gordon Graham’s play The Boys is still fresh, relevant and Bridge and Sydney Harbour create a stunning backdrop for terrifying. This production is vivid, unrelenting and Sydney Shakespeare Festival, a must-see on a balmy inescapable in its nature, but at the same time is compelling summers eve. and completely consuming.

Unfortunately for me, Saturday night didn’t just have a Sam Strong’s direction is fierce and pushes the actors to breeze that kissed your cheeks, instead, it was something the extreme. He has the confidence in the script and the akin to a gale-force wind (slight exaggeration) and my cast to put them both to the test and they certainly deliver. flimsy summer dress was definitely the wrong choice of The cast is simply superb. Josh McConville as the violent attire. and menacing Brett is the embodiment of pent up anger Director Julie Baz has put a modern twist on the play ready to rage against anything or anyone who gets in his and has directed the actors in such a way that their actions, way. He is the lynch-pin and motivating force for his physical movements and tone are all modern. Costumes younger brothers, Glenn (Johnny Carr) and Stevie (Anthony and styling are also modern, so modern in fact that at one Gee), which leads to such a tragic and horrific violent crime. stage I thought a person from the general public was Although “the boys” are seemingly the focus of the walking onto the set! The only thing that wasn’t show, it is the plight of the women in this story that modernised was the script. emerges as the most interesting aspect. Jeanette Cronin’s John Michael Burdon was the stand out performer, Sandra is an interesting mix between a devoted and caring playing Petruchio. He was quick, his delivery was fantastic mother and a woman who has an insidiously manipulative and he seemed to be completely in character. The rest of streak. Cheree Cassidy as Brett’s girlfriend Michelle is the the cast were very good but not outstanding. David Jeffrey definition of misplaced loyalty. But it is the brief exchange as Gremio and Emily Elise, playing three different roles at the end of the play between Jackie and Nola that sparks Grumio, Pedant and Widow, performed tight, believable a glimmer of hope that perhaps history will not repeat itself characters that generated lots of laughs. for Nola and Stevie’s infant son - that a line has been Apart from being a little too long, it was an enjoyable drawn in the sand and the violence stops here. One can evening. only hope.

Emma Bell Whitney Fitzsimmons Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 73

Dickens' Women. Photo: Prudence Upton.

Dickens’ Women

By Miriam Magolyes and Sonia Fraser. Glen Street Theatre (NSW). Feb 3 – 12, 2012, then touring nationally.

MIRIAM Magolyes does not disappoint in this new tour of the production she, and co-writer and director Sonia Fraser, first developed for the Edinburgh Festival in 1989.

She is as effervescent and professional as ever. A ‘one hander’ is not easy. And this, which requires so many changes of character, could become confusing, but in her very experienced hands, it is never that.

Re-vamped for another world tour (this is the second time it has toured Australia and New Zealand), it is celebrating the bi-centenary of the birth of Charles Dickens.

Through very careful selection of material, Fraser and Margolyes have chosen characters that portray the man, his family, his failings and his great and lasting talent. They have linked these with clever transitions which are informative yet entertaining, and show tight writing and redrafting. Never does the audience get an opportunity to lose interest. Humour and drama are inextricably mixed – and in the hands of such an experienced and vivacious performer, the characters and Dickens himself come to vibrant life.

For so diminutive a figure, Margolyes’ stage presence is consuming, as both raconteur and performer. Through the 74 Stage Whispers

many colourful characters she embodies, male and female, her twinkling eyes, expressive face, carefully controlled gesture, pace and timing are immaculate.

The production itself, obviously well-tried following several international tours, is tight and ready to travel! A portrait of the author himself overlooks the simple set.

Australian pianist John Martin provides unobtrusive musical links, and Mark Hammer’s lighting is carefully and cleverly designed.

Carol Wimmer Cosi

By Louis Nowra. Gold Coast Little Theatre, Southport (Qld).

Director: Stuart Lumsden. Jan 28 to Feb 18.

THIS popular Aussie comedy has attracted a cult following since the release of the movie in the mid ‘90s.

Stuart Lumsden’s directing debut is a bright start to the Gold Coast Community Theatre Season.

Strong characterisations had the audience wondering if the actors were type cast.

The inmates at the asylum: John Arthars – Roy, Kate McNair – Cherry, Noel Thompson – Doug, Del Halpin – Ruth, Carmen Trevino – Julie, Barry Gibson - Henry and Sasha Cuha – Zac all made the most of their rolesz with their behaviours finely honed!

The hapless director Lewis, played by Jack Harbour, was wonderfully out of control, as was the social worker, Trevor Love. The moratorium organising Nick and Lucy were played by Jordan Schiele and Carmen Trevino.

The sound design made good use of both Mozart and 70’s era music to subtly add to the mood of the play and the great lighting created the atmosphere.

Michael Sutton’s set design of the fire-damaged theatre was an excellent basis for a fun-filled evening.

I only want to say that I felt that the “f” word could have been used less often with similar effect.

Roger McKenzie Hamlet

By William Shakespeare. Sydney Shakespeare Festival.

Bicentennial Park in Glebe. Jan 5 – Feb 12.

NOW in its fifth season, the Sydney Shakespeare Festival has already staged outdoors some of the more obviously suitable pastoral or elemental plays by the Bard. They’re back in their favourite spot in Bicentennial Park, Glebe, with Sydney’s skyline as a backdrop, but this time with the normally claustrophobic, internalised tragedy of Hamlet.

Julie Baz’s production is a conventional telling, staged on a tiered series of narrow courtly platforms, and making full use of the grass in front and the wide aisle between the audience of picnickers. Her actors are also well coached to beat the elements and project forward. None however have discovered the full power of their chest register so, while we hear the shouted words, their delivery lacks the artful deceits and quicksilver nuance that makes this script so compelling.

As Hamlet, Richard Hilliar is engagingly dorky and pained, always real, at times commanding but also short on vocal variety.

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Baz’s production does deliver a clear and pacy storytelling of a great plot, and a sometimes thrilling urgency, well-driven with musical punctuation booming out from behind us.

Designer David Jeffrey dresses everyone in a sophisticated 1930-40s world of smart dresses and blackcoated military officialdom. It’s a setting left under-explored but this Hamlet remains well-staged entertainment ripe for summer nights.

Martin Portus ‘Tis Pity She’s a Whore

By John Ford. Cheek by Jowl / Sydney 'Tis Pity She's a Whore. Photo: Prudence Upton.

Festival. Director: Declan Donnellan.

Sydney Theatre. Jan 17-21.

BY inviting the great European company Cheek by Jowl When they are alone, Lucy tells Angela she has heard to present their sensational version of this Jacobean blood- that groom James has been having an affair. Angela is and-guts epic, the Sydney Festival offered a rich, fresh reluctant to comply with Lucy’s call for Meg to be told. transfusion to local actors and directors. Let’s hope they Another complication is that the woman involved in James’ caught one of the 5 performances. possible two-timing could be a friend of Meg, Naomi.

Stripping away all unnecessary clutter — in sets, The night’s revelations and their outcomes spill into the costumes, ‘classical’ acting, intervals, etc — director Declan wedding morn, with James (Craig Lindeman) and Naomi Donnellan and designer Nick Ormerod, founder/leaders of (Kaysia Dowie) both making an appearance. the company since 1981, give a pounding, non-stop and Director Luke Yager and the actors brought out the utterly comprehensible version of Ford’s lusty 1630 play’s humour and the underlying seriousness well, with a ‘revenge tragedy’. scene in which the bride and bridesmaids play a game of The action all happens in Annabella’s modern-day truth-or-dare being sharply funny as the answers bedroom. Marvellously played by Lydia Wilson, she’s the increasingly point to the dilemma that Meg could be about young, tattooed, much admired daughter of a rich Italian to face. businessman. All the local eligibles are after her hand but Each character delivers a short monologue to the she — alas for all concerned! — is hot only for her brother, audience at a crucial point in the events that helps to Giovanni (Jack Gordon). The siblings see their actions on explain the reasons for their behaviour. For two of the the red central bed as pure and simply wonderful: the rest characters, Yager took the unusual but successful step of of society soon sees her as the ‘whore’ of the famous title. presenting the monologues on film, so that brief glimpses Wilson and Gordon speak the complex language with of life-shaping incidents in their backgrounds could be great simplicity and truth. There’s excellence from the shown. surrounding cast, especially Laurence Spellman as Soranzo’s Ken Longworth lurking man-servant and Lizzie Hopley as Annabella’s ditsy maid who spills the beans and so has her tongue bitten off Thyestes and her eyes coat-hangered out by a strip-o-gram Co-written by Thomas Henning, Chris Ryan, Simon Stone murderer. The blood flows free and the gripped audience and Mark Winter after Seneca. The Hayloft Project / Belvoir / duly gasps, laughs and shudders.

Sydney Festival. Director: Simon Stone. Bay 20, Frank Hatherley Carriageworks, Redfern. Jan 15 – Feb 19.

DIRECTOR Simon Stone’s astonishing take on Seneca’s Secret Bridesmaids’ Business Thyestes – co-written with three actors from The Hayloft

By Elizabeth Coleman. Maitland Repertory Theatre, Project for a Melbourne premiere in 2010 – goes even Maitland (NSW). Feb 8 to 25. further in discarding the original than Stone did with Ibsen ELIZABETH Coleman’s play skilfully blends comedy in his recent multi-awarded Belvoir production of The Wild surrounding pre-nuptial rituals with a serious look at Duck. whether enough thought is given to the relationships of Walls roll up on a luminous box set, the audience couples beyond the wedding day. flanking both sides, with Seneca’s words reduced to just Bride-to-be Meg (Ashley Wyatt) is spending the night pithy plot headings. before the wedding in an upmarket hotel suite with her It’s still the story of two feuding brothers, Thyestes ever-fussing mother Colleen (Karin Dowie) and bridesmaids (Thomas Henning) and Atreus (Mark Winter); still with the Angela (Melissah Comber) and Lucy (Tricia Morosin). final horror of Thyestes unwittingly eating his own children.

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Stage Whispers 75

Scott, but expeditions following in the steps of Douglas Mawson, Genesians have tapped into the theme with the dark but fascinating Terra Nova.

The story of ‘Scott of the Antarctic’, as told, is a relentlessly grim tale, with a known ending of failure and death, critical of the folly of the gentlemanly British tradition of exploration.

Personally, the well-written drama roused genuine feelings of anger and frustration.

Roger Gimblett portrayed the flawed but heroic Captain Robert Scott on a somewhat classic tragic scale, with both very human and elevated poetic elements.

Scott is haunted throughout by his polar rival and antithesis in exploration philosophy. Tom Massey is strong and unerring as his nemesis, Roald Amundsen. Amundsen becomes an everpresent spectral figure in Scott’s living nightmare; more than his rival, he also represents his conscience or alter-ego.

A well-focused supporting cast credibly portrays the members of the doomed party, my occasional reservation being hard-to-understand accents. Flora Milne’s Kathleen Scott is an engaging counterbalance to her earnest husband.

Co-director Owen Gimblett, also technical and set designer, established an evocative polar setting using polystyrene, while costumes effectively evoked the protective outfits of the era.

Terra Nova is intriguingly written, powerful theatre, and Genesians’ production tells its story effectively and movingly.

Neil Litchfield

Thyestes. Photo: Jamie Williams.

But these brothers are cool coke snorting, I-tech, Gen Y dudes chatting (very funny) banalities about travel, sex, music and childhood memories. Their violence and obscenity is chillingly incidental. Stone has perfectly succeeded at “humanising” Seneca’s mythological horrors into the commonplace.

Chris Ryan plays other Seneca characters, most women, all victims of incestuous rape, murder and sexual abuse, some initially trapped by the erotic charms of the psychopathic Atreus. The result is an almost unremarkable “queering” of Seneca’s relationships, a modern, even fashionable paradigm through which we focus on how these blokes do sex and violence (and less on “female” victims).

The three outstanding actors are so familiar with their own script that the delivery seems almost improvised, and the atrocities all the more natural, even logical.

This is compelling international festival theatre.

Martin Portus Terra Nova

By Ted Tally. Genesian Theatre Company (NSW). Directors: Mark Langham and Owen Gimblett. Jan 14 – Feb 4.

WITH so much recent attention on the Antarctic, not just the anniversary of the final fatal expedition of Captain Terra Nova

76 Stage Whispers

Schism

By Melanie Bainbridge. La Mama (Vic). La Mama Courthouse. Director: Suzie Hardgrave. Set design: CaseyScott Corless. Sound design: Skye Klein. Lighting design: Rebecca Etchell with John McKissock. Feb 9 – 19.

When you walk into a theatre and the floor is littered with Petrie dishes and a single row of seats line the stage on four sides, you know you're in for innovative, edgy theatre.

Schism is a cerebral science-fiction thriller that tells the story of two twins separated at birth, with opposite psychological profiles, drawn together on their quest to end the world in the same way.

Writer Melanie Bainbridge is the older sister of performer Pippa Bainbridge and although not twins themselves, they sync with each other in ways that twins are known for: finishing each other's sentences and swapping ideas in collaborative chaos.

This is a dense play and the audience needs to adjust to how the story is being told. Casey-Scott Corless's clinical, laboratory-inspired set points to how to read the play and while Rebecca Etchell and John McKissock's lighting and

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Skye Klein's sound design reinforce the atmosphere, more work is needed to make Pippa Bainbridge's switches from one twin to the next clear.

Some options would be using different lighting or music for each twin, or keeping one character to one place on the stage.

Pippa Bainbridge does give a sturdy performance that shows a level of technical mastery and confidence with the material.

It's not lighthearted fare, but it is worthy of a night on the town to see something fresh.

Daniel G Taylor A Midsummer Night's Dream - Pyramus and Thisbe A Midsummer Night’s Dream

By William Shakespeare. Newcastle Theatre Company (NSW). Jan 14 to 28.

Patrick Marber’s darkly comic look at love in today’s THIS Dream opened with Athenian ruler, Theseus, and urban world, showing the ever-changing relationships over Hippolyta, the Amazon queen he has conquered in battle, five years of two women – a stripper and a photographer – barefoot, dressed in pyjamas and clearly just out of bed. and two men – a journalist and a dermatologist – in AS Theseus talked of the love he has for her and their London needs four strong performers and sharp direction forthcoming wedding, the wordless but smiling Hippolyta given its challenging structure. Some scenes switch moved seductively around him, waving a small giftbackwards and forwards in time to show meetings in the wrapped box and quickly pulling her arm away each time same setting or have simultaneous events in two he tried to take the article. households side by side.

Her message was clear. Theseus might have defeated Director Allon Silove cast as the childlike and sensuous her in battle, and she might have affection for him, but he stripper, Alice, a performer making her first stage was going to have to work hard to win her love. appearance. She looked the part but couldn’t handle the With this scene, director Stewart McGowan masterfully dialogue. The performances of two of the experienced brought together William Shakespeare’s text and the actors, Carl Young (as journalist Dan) and Giverny Lewis present time. And subsequent scenes, with two pairs of (photographer Anna), were affected as a result in scenes young lovers in chic 1980s clothes and hairstyles battling in with her. a night-time forest, while power-dressed fairy king Oberon The fourth actor, Glen Waterhouse, however, gave a tried to embarrass wife Titania into giving into his standout performance as dermatologist Larry, his voice, demands, showed that the battle of the sexes, and the expressions and actions making very believable and all too tactics used, never change. human the respected surgeon who has no problems in The director set up the artisans’ would-be acting troupe having a bit on the side while happily married. His was amusingly. Self-styled director Peter Quince (Howard acting at its finest.

Rawlinson), a kilt-wearing Scot, tried to allocate roles to While Silove’s direction lacked the needed pace, the fellow workers Flute (Michael McCarthy), Snug (John lighting design by Theresa Sawert and Jamie Sims helped to McFadden) and Snout (Ian Lucas) while they were fishing establish the many different locations, with the shimmering on a river bank. Their lack of interest was more than blue water in an aquarium very much the real thing. countered by the over-enthusiasm of Bottom (Brian Ken Longworth Randell). And the climactic performance by the workmen of the hilarious “tragedy” Pyramus and Thisbe, with its overPygmalion the-top costumes by Robyn Greenwell and Rebecca

By George Bernard Shaw. Sydney Theatre Company. Sydney Mychael, offered comment on the nature of much of Theatre. Director: Peter Evens. Feb 4 – Mar 3. today’s theatre.

After 50 years of the comfortable, tuneful, overdressed Ken Longworth My Fair Lady who would have thought there’d still be such energy, laughter and stinging relevance in Shaw’s mighty Closer original? Peter Evens’ STC production is a revelation, and

By Patrick Marber. IF Theatre, at the Civic Playhouse, the packed opening night audience rattled the rafters in Newcastle (NSW). Feb 8 – 18. appreciation.

THE Civic Theatre commendably gave the opening slot With virtually no set — the huge stage is open to the of its 2012 Inspirations subscription program to a local wings and flies — and modern-dress costumes and props production. It’s a pity the show wasn’t a better one. that deliberately clash with Shaw’s unchanged 1912 text,

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Stage Whispers 77

Essential's productions are known for their well-placed and sympathetic modernisations, and these were particularly understated in Much Ado. The 20s inspired costumes and few modern references could have passed you by. Their rotating cast saw lots of familiar and well-loved faces on the afternoon, with the appearances of Grant Foulkes (Claudio), Amanda Labonte (Beatrice) and Sophie Lampel (Leonata/ Dogberry) always a sign of wonderful things to come.

Of particular excellence was the partnership between Lampel and Andrea Demetriades and Marco Chiappi in STC’s Pygmalion.

Madeleine Harding (Hero/Verges) as Photo: Brett Boardman.

Dogberry and Verges, the two idiotic nightwatchmen, who play these dolts Evens and his actors triumphantly reclaim the wise old brilliantly and with perfect comedic timing, easily bird’s comic theatricality. The first half, in particular, gets capturing the most laughs and applause for the night. huge laughs: the new-look, new-sounding Eliza’s first Yet another superb and thoroughly enjoyable afternoon tea party with confused Mrs Eynsford Hill and performance from this wonderfully talented group. her two upper-class-twit children is marvellously funny.

Nicole Russo Deprogramming our inbuilt memories of Julie Andrews and Rex Harrison in the leading roles, the Eliza of Andrea Summer of the Aliens Demetriades and the Higgins of Marco Chiappi are

By Louis Nowra. Brisbane Arts Theatre. Director: Susan splendidly fresh and believable. She starts drenched and O’Toole Cridland. Feb 4 – Mar 3. bedraggled and is convincingly moulded into high-class An unwieldy play structure diminishes the impact of respectability. He prowls the stage eccentrically, a GBSthis touching ‘memory’ play. substitute who must speak the truth no matter what the Set against the big events of 1962 (Cold War, Cuban cost. Unlike in the musical, this couple are doomed to Missiles crisis, Snowy Mountains scheme, flying saucers remain at war. and aliens) Nowra cobbles together his own angst as he The acres of empty stage bring some sound problems moves from childhood to adulthood. when the actors move too far upstage, and there’s some Originally written as a radio play, it had over 20 scenes hardly necessary video input on a flown-in screen. But this and a large cast. That success inspired Nowra to adapt it is a terrific production that reclaims Shaw’s great comic for the stage. However, the retained radio play structure is masterpiece from its long Broadway kidnap. cumbersome, episodic and difficult to pull off.

Frank Hatherley That said, the commitment of the players to their characters redeems this production: Much Ado About Nothing Regan Lynch (young Lewis) combined gangly

By William Shakespeare. Essential Theatre. Coriole awkwardness with fear of his sexual feelings; Sarah Vineyards (SA). Jan 29. Other wineries to follow.

Greenwood was a rebellious and precocious Dulcie, his ON a balmy evening in the McLaren Vale, an best friend; James Dyke gave us a brash and hormoneappreciative audience set up shop on a grassy driven Brian (Lewis’s best mate). Together, they focussed amphitheatre in the grounds of Coriole Winery to enjoy the plot. the nomadic Essential Theatre's 2012 Shakespeare Grant Morrison was convincing as adult Lewis, and production. narrator. As Lewis’s mother, Alison Telfer McDonald Treating us to Much Ado About Nothing, this is the captured the period and her plight in a housing company’s tenth year of entertaining Australia’s (and now commission suburb on Melbourne’s outskirts. Elodie Boal New Zealand's) vino-sipping theatre tragics. (playing Lewis’s sister and a one-armed Dutch immigrant) The actors use their open-air stage from edge to edge, showed great versatility. And Ben Dyson’s eccentric often positioning themselves amongst the audience and postman was a gem. including them in the proceedings.

Lindi Milbourne was more impressive as Dulcie’s mum One imagines this is how the great man's comedies than as Lewis’s grandmother (but her Scottish accent were meant to be enjoyed - up close and interactive with worked well). hilariously overdone characterisations, cheeky musical Despite its episodic nature, the actors capture the interludes, dramatic highs and tragic lows. essence of the piece, the universal agonies of adolescence.

Jay McKee 78 Stage Whispers

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Never Did Me Any Harm Force Majeure / Sydney Theatre Company / Sydney Festival. Wharf 1.

Jan 6 – Feb 12.

NEVER Did Me Any Harm has all the right ingredients - a great cast, and fantastic director in Kate Champion and of course the production firepower of the STC. But this show - so full of promise, misses the mark and quickly descends into cliché and repetitive questions regarding that hot-button issue of “over parenting” and the “bubble generation“.

Never Did Me Any Harm takes its cue from The Slap and although it is Alan Flower, Heather Mitchell, Vincent Crowley, Kirstie McCracken, Sarah Jayne Howard in Never Did Me Any Harm. Photo: Lisa Tomasetti. highly derivative it doesn’t take the issues of parenting kids today any further. What it does is show example after example of their way steadily through this hand picked selection of quirky, semi-humorous scenarios of bad parenting. clever and off beat scenarios concocted from the mind While this is mildly entertaining, as a viewer it really of the prolific English writer Pratchett. Moments where does leave you hankering for more depth. It’s the players particularly seemed to relax into indulging disappointing because throughout the show there is and enjoying the big broad possibilities of the characters ample opportunity for a fresh direction to be taken, to on offer were also the most enjoyable for the audience. pose news questions and perhaps offer interesting In particular, moustached co-director David Dyte's bit answers. parts are a delight.

Despite the lack of sparkle to the show’s central It is both an assured homage for Pratchett fans, and a themes, there are times when they are presented in an varied showbag of introduction for Pratchett novice intriguing way. Kate Champion’s movement direction is audiences. at times very interesting and the cast does perform at a Daniel McInnes high level. It also must be said that Geoff Cobham’s lighting design and Max Lyandvert’s sound are both Same Time Next Year fabulous and tend to be the stars of the show.

By Bernard Slade. Peridot Theatre (Vic). Director: Nick But the overall way that this production just flirts with Walter. Feb 3 – 18. and never really gets down to the nub of the issue makes AFTER meeting by chance, a couple hit it off and it about as irritating as a misbehaving child at a meet on the same weekend each year for the next 25 barbeque. years, through the death of President Kennedy, the Whitney Fitzsimmons Vietnam War, hippies and, for Doris, a change from a small time happily married young lady to an efficient and Pratchett Pieces Three successful businesswoman, and George, from an

By Terry Pratchett. Unseen Theatre Company. Bakehouse accountant in the New York area, to a business manager Theatre (SA). Producer/Director: Pamela Munt. Feb 10in Los Angeles, to a piano player in a night club.

24.

Peridot had a magnificently set stage, showing the THE Bakehouse Theatre is like a box of chocolates … interior of the cottage in which the couple met. The and you never know what Pratchett you'll get. main decorations remained constant throughout, but In a quantum universe of endless possible parallel the phone was updated and some small changes were realities, we are fortunate to be in one which offers such made to show the passing of time. a tasty sample of bite size Terry Pratchett flavoured fun.

Melanie Rowe (Doris) projected well and handled the 5 candies are presented. A deathbed quantum passing of the years with aplomb, appearing very philosophical verbal stoush with death himself, a witch comfortable and particularly expressive in the more trying to fight the perception that her intentions are moving moments. intrinsically evil, death showing up at a disco in no mood Peter Noble (George) also handled the change from a for dancing, a saga of chicken endeavours, and a fantasy young man to an older one, over the 25 years of the parody of academic bureaucracy. Director Pamela Munt play, well, in a great portrayal. weaves this all together by use of an incarned 'footnote' The performers shared a positive rapport, adding to character of batman villain appearance as narrator. the audience’s enjoyment of the production.

A seasoned ensemble cast, many of whom have Peter Kemp played their characters, or very similar, before, launch Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 79

Opera Australia's The Marriage of Figaro. Photo: Branco Gaica

Reviews: Opera

The Marriage of Figaro

By Wolfgang Amadeus Mozart. Opera Australia. Opera Theatre, Sydney Opera House. Feb 6 – Mar 24.

DIRECTOR Benedict Andrews writes of this production: “Simon Hewitt (conductor) and I have refused to portray the characters of the opera as either costumed ghosts or buffoons (but as) contemporary people in states of emotional emergency”. As such, it has been translated into English and set in a wealthy contemporary community.

This production may be controversial, but its fast paced, and almost-but-not-quite farcical physicality, certainly excited its opening night audience.

Mozart’s music lends itself to this interpretation. Hewitt: “The true miracle of Mozart is that he manages to counterbalance extremes of human feeling so perfectly”.

The performers seem to relish this! There is a sense of urgency in their voices that matches the pace of the music, the plot and the action.

The overture takes us into the very white, antiseptic staff quarters of a villa (set design, Ralph Myers). The domestic staff enter and change into pale green uniforms (costume design, Alice Babidge). Susanna arrives with her wedding veil, and the opera begins.

The stark white set is relieved by small contrasts – shocking pink bridesmaids’ dresses, a bright yellow service trolley, a pot of red geraniums, yellow flowers on the wedding tables, silver balloons.

There are, of course, some very ‘Andrews’ moments: the Count hiding in a washing machine; the carcass of a deer; the forest in Act Four depicted by coloured paper ‘leaves’ that drift (interminably) from above.

80 Stage Whispers

Performers sing as they lie on the ground or pop out from behind racks of costumes.

This production is modern and very slick and certainly takes the opera vividly into the 21st century.

Carol Wimmer The Magic Flute

By Wolfgang Amadeus Mozart. Libretto by Emanuel Schikaneder. Opera Australia. Director: Matthew Barclay.

Based on the original production by Julie Taymor. Opera Theatre, Sydney Opera House. Jan 6 to Mar 23. Melbourne season follows.

THE New York Metropolitan Opera has a fabled reputation for the most extravagant of productions.

Australian audiences can now feast on the visual banquet cooked up by Julie Taymor, of Lion King fame and Spiderman infamy, in this replica performance.

The Magic Flute.

Photo: Lightbox Photography

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Opera Australia's Turandot. Photo: Lindsay Kearney, Lightbox Photography.

The Magic Flute gives plenty of scope for an imagination WHEN the chorus entered the stage as the proud people to run wild. In this one The Queen of the Night descends to of Peking, they were so jam-packed you felt if someone the stage in shimmering butterfly like wings. Giant bears pushed in the wrong direction they might all tumble into light up in lanterns and birds squawk around in a the orchestra pit. kaleidoscope of colours.

We know China is crowded, so it was apt that the stage The frame for this is a giant clear box that revolves, splits was as well. and turns depending on the scene.

More than sixty members of the children’s and adult To add to the commercial appeal, the Opera is chorus swayed, marched and mocked in bloodthirsty time performed in English and has been cut down. to the music.

There could scarcely be a better way to introduce young It was the highlight of the sweeping night of passion, people to the world of opera, even if they still have to read drama and gore of this opera which Puccini famously died the surtitles at times. before he could finish, allowing the descendants of his But did the performances match the uncompromising much younger collaborators to benefit from royalty cheques artistry of the set? into the 21st century.

The production by Graeme Murphy, although twenty In some cases, but not always.

Only once did the hair stand up on the back of my neck. years old, has many beautiful flourishes of light, sweeping silk and grand Imperial China.

This came during the aria Hell's vengeance boils in my The couple next to me thought it was money well spent. heart, performed by Emma Pearson as the Queen of the Aficionados dissected the performances, compared to Night. If someone was holding a Champagne glass it may the glorious recordings they have feasted on. well have shattered.

Susan Foster as Princess Turandot had a powerful and At the other end of the note spectrum is the Bass Baritone of Sarastro. A good bass can be just as thrilling as imposing voice which could chill the blood in the veins of any tremulous suitor. a soaring soprano. Performed by David Parkin (winner of Rosario La Spina as Calaf looks a little like Pavorotti (on the first Operatunity Oz), it was slightly tarnished by a the trimmer side, mind you), so the inevitable expectation is touch of grind as he descended to the very bottom of the that he will sound like him, especially during Nesun Dorma. scale.

It is a titanic role for a tenor and while he soared to It was the smallest of blemishes on a delightful evening. great heights there was slight disappointment on some of David Spicer the money notes.

Elsewhere Warren Fisher boomed out as the Emperor in Turandot an impossibly large costume and Daria Masiero was sweet

By Giacomo Puccini. Libretto by Giuseppe Adami and at the slave girl Liu. Renato Simoni. Directed and Choreographed by Graeme The audience was well satisfied.

Murphy. Opera Australia. Opera Theatre, Sydney Opera David Spicer House, Jan 17 – Mar 10 and State Theatre, Arts Centre Melbourne, Ap 10 – May 11.

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Stage Whispers 81

Reviews: Youth

Wind in the Willows

The Wind in the Willows Stage Fright!

Adapted by Glen Elston from Kenneth Grahame’s classic.

By Richard Tulloch. Based on the best selling books of Paul The Royal Botanic Gardens Sydney. Jan 5 - 28.

Jennings. New Theatre, Sydney. Director: Ali Kennedy Scott.

THE production of The Wind in the Willows has been Jan 12 to 28. running for 25 years and it is no surprise why.

IT’S spooky, has cute girls and guys and lots of laughs.

You feel in the mood for a good time, having enjoyed a This production of Stage Fright! is nicely tuned for the 7 to picnic in beautiful surrounds, even before the charming 13 year old target market. white rabbit, played in a rich Scottish accent by Owen Little, For the uninitiated, Paul Jennings’ books have lashings begins the adventure. of teenage angst about that first kiss, haunted houses and The action begins around the big pond, used as the odd peculiar maths teacher. stunning stage for the drama on water.

This adaptation dips into a number of his novels, and It must be said that the story is only loosely based on although it does not quite make sense as a complete Kenneth Grahame’s book. narrative, it works well as a best of night.

The show is a platform for the cast to sing, show off, Stage Fright. Photo: Bob Seary. play guitar and flirt with members of the audience.

Just when small behinds are getting restless, the whole cast and audience move to Toad Hall - 200 metres away.

The very green Toad, played with aplomb by Tony Cogin, delights with his passion for different modes of transport before getting into strife at the hands of a bright orange Weasel.

At Toad Hall squawking cockatoos add to the atmosphere. Restless children get another chance to run around and there is a good old-fashioned water fight.

It was a most delightful evening of entertainment, featuring a generous sized cast and effective props that pleased even rather reluctant theatre-goers on my picnic blanket.

David Spicer 82 Stage Whispers

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Most impressive were the high production James and the Giant Peach standards.

The exterior and interior of the house, with its strategically placed wardrobe for ghosts to jump out of, outdoor dunny and magical moving paint tin, set the scene for a night of fun.

The New Theatre, although amateur, is blessed with being able to cherry pick emerging talent and ‘resting’ professionals eager to keep their skills up.

The stars of the night were the boys; Gideon Cordover, just months out of NIDA, and the perfectly named Sebastian Lamour, whose baby blue eyes appear made to measure for an appearance on Neighbours.

What took their performance to another level was when choreography was introduced into the action. Drama suddenly segued into what looked to me (rather ignorant on dance I grant you) as almost ballet.

It was another reminder that young performers are well As regular Spotlight supporters have come to expect, served to develop a range of skills if they want a career on the show was full of action and audience participation the stage. (even yours truly was picked on) with the children booing David Spicer the Queen and cheering the heroes in true theatrical tradition.

James and the Giant Peach The enthusiastic cast included both young (the fairies) Music & Lyrics: Maitlohn Drew. Adapted by David Wood and old (Queen Insomnia) and all worked hard to make this from the book by Roald Dahl. Director: Tim O’Connor. a wonderful theatre experience. With strong performances Harvest Rain. Cremorne Theatre, QPAC, Brisbane. Jan 6 – all round it is hard to single out anyone; however it would 21. be remiss of me not to mention some hilarious moments JAMES and the Giant Peach is a fun show for kids and with the Queen (Kat Lardner), Sir Nigel (Lewis Treston) and perfect entertainment for this holiday time of year. With Gummy (Ashley Tardy – who also assisted with direction plenty of audience participation, bright songs, kooky and choreography). costumes, and a knockout set, Tim O’Connor’s production The costumes were kolourful, the scenery was simple covers all bases. but effective and the sound and lighting were of Spotlight’s Roald Dahl’s slight story about James (Jack Kelly) who usual high standard. owns the giant peach, and a grasshopper (Sandro Colarelli), Spotlight’s annual children’s production has become a ladybird (Belina Heit), spider (Jusy Hainsworth), earthworm highlight of the Gold Coast theatre scene and, once again, (Clare Finlayson), and centipede (Dash Krock), who live in it, the Tardys have produced an enjoyable kids show which and their adventures travelling the world and finally ending was also entertained the adults in the audience. up in Central Park in New York City, has buckets full of Roger McKenzie irresistible charm.

All performers worked well with the young moppet audience who yelled and screamed their enthusiasm with delight. If I had to single out some actors for individual praise I’d go for Sandro Colerelli’s violin playing grasshopper, Judy Hainsworth’s London-accented Miss Spider, and Dash Kruck’s centipede and his array of colored socks.

Peter Pinne Kolourful Kapers Director / writer: Kate Tardy. Spotlight Theatre Company.

Benowa (Qld), Jan 6 to 14.

KATE Tardy has reworked one of her early scripts (about Queen Insomnia stealing all the colours in her domain to break an evil spell which prevents her from sleeping) with great effect.

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Stage Whispers 83

Reviews: Midsumma

have chatted to him via Valvo's sidekick Tom Jaspers, who is doing the talking backstage.

What Valvo presents is a tour of the funniest moments from his two years of adventures on Grindr, and of course the freakier, kinkier men you'll find online.

Tom Jaspers opens the show with his rapid-fire humor that has you laughing at his next joke before you've had time to finish laughing at the first.

Grindr: A Love Story is a mature show, and Valvo's pacing and delivery are on target all the way throughout.

And rather than him standing on stage firing jokes at the occasional audience interactions, he has the audience taking part in quizzes and feeling comfortable enough to interject.

Man Boobs

By J Julian Christopher. VicBears ARTicle II (Vic). Kerynia Café. Director: Jack Chapman. Jan 19 - 21.

BEARS – gay guys with bigger, rounder, furrier bodies – seem so comfortable in their own skin that it can be easy to forget they can struggle with body image.

The Bitter End Man Boobs chronicles a night in the life of the ruggedly handsome Marty Daniel G Taylor was out and about (Raymond Lee) and the highly insecure most people cover up for the sake of during this year's Midsumma Festival in propriety – ah, if only everyone was as but sweet Spence (Phil Webster).

Melbourne. honest as Watkins, the world would be They're up to their third date and for the first time the sex will be naked. more real.

Well, that's what Marty is expecting The Year of Magical Wanking Watkins gives a well-balanced

By Neil Watkins. Director: Phillip emotionally confronting performance, but Spence can't believe that someone McMahon. Designer: Ciarán O'Melia. punctuating the heaviness with humor. that hot is really into him. At school, Spence was traumatized because of his Theatreworks. Jan 17 – 29.

This changes it from a piece of walkIT’S hard to take some of the man boobs and is terrified of removing away-and-slit-your-wrists theatre and his shirt. toughest taboos of gay life – HIV, brings it to a level where it will make drugs, sexual addiction – and make a Under the circumstances, Marty you walk away examining the choices tries to be supportive and help Spence theatre piece that's beautiful. you make.

Fit Irish lad Neil Watkins performs a He matches that emotional pacing through his issues, but insecurity is one poetic monologue, going into the joys with varying levels of energy that keep of the biggest turn-offs (can't you just let people make up their own mind of wanking, the realities of life with the audience engaged throughout. about whether they think you're sexy?).

HIV (you get free food, bless!), an addiction to the kinkiest porn Lee plays Marty with a cocky Grindr: A Love Story? confidence (but not arrogance) that imaginable, and loads of smoking

By Nath Valvo. Gasworks Arts Park — weed. contrasts with the emotional boils Studio Theatre. Jan 19 - Feb 4.

Blonde 33-year-old Watkins has an TO show how easy it is to hook up Webster must bring to the stage as angelic look that contrasts with his with men off Grindr, Nath Valvo picks Spence. subject matter. Take a look at him and a 60-something Grindr virgin from the Despite the heaviness around the you think this is the kind of guy I'd take audience and sets up a profile for him issues of body image and insecurity, home to meet my parents. This works on an iPad 2. He's the kind of guy who the play has so many funny moments because Watkins's honesty exposes the in a club would largely be overlooked, that you'll be woofing with laughter. dark side that's in almost everyone, but but by the end of the show, 25 guys 84 Stage Whispers

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The Pineapple Sorrows

The Pineapple Sorrows By crossditch (Vic). La Mama Theatre.

Director: Felix Preval. Costumes: Chloe Greaves. Set Design: Laura Twomey.

Lighting: Rebecca Etchell. Music composed and performed by Dylan Lardelli. Jan 17 – 29.

CROSS the stage to your seats and you pass three semi-naked actors in gold hot pants, snack food headpieces, and wrapped in Glad Wrap.

The premise is bizarre and fresh: an asparagus, a deviled egg and a Frankfurt are mourning the passing of the much-loved pineapple.

From here, crossditch uses psychologist Elizabeth Kubler-Ross's work on the five stages of grief to look at what goes on in the lives and emotions of those who are left behind.

It's a tragi-comedy with singing, dancing, and a game show with a live studio audience, So You Think You Can Grieve.

Overall, this is a sophisticated production that fires on every level.

Penny Harpham, as the egg, and Sherilee Kahul, as the frankfurter, give the women eye-candy, while Jake Preval as asparagus does the same thing for the guys. Appropriate to

mention, because of their shortage of attire.

You may not have known what to expect when you crossed the stage on the way in, but as you leave you'll have appreciated an outstanding show.

couch to armchair and back, but the movements are natural.

Because of the popularity of Grindr, you can be certain that shows tapping into a well-ground life will abound.

One can only hope they're all as good as this.

Confessions of a Grindr Addict

By Gavin Roach. Director: Luke Rogers. The Bitter End Stories Like These (Vic). Revolt

By Kurt Phelan. Little One Theatre Melbourne. Jan 17 – 28.

(NSW). Downstairs at Alma's. Director: IF there's one ubiquitous constant in Stephen Niccolazo. Jan 22 – 31. the life of gay men today, it's Grindr as ONCE, breaking up was simple. You the tool of choice for meeting guys. parted ways and never spoke to each Gavin Roach is preparing for a date other again. Now Facebook allows you – and for the first time in a year it's to stalk your ex at leisure. with a guy he didn't meet off Grindr.

The Bitter End charts the decline of As such, he's as nervous as anything. a gay relationship that was once so With Grindr you have the chance to beautiful: the kind of couple who refine your thoughts so you sound match like bananas and chocolate. witty and smart, but in real life it's a Sean (Kurt Phelan) and Angus (Matt constant unrehearsed performance Hopkins) meet at a nightclub and find where your warts will show. themselves in a relationship almost as Gavin's confident writing is soon as they meet. It works for a while matched with an assured, well-paced but falters when Sean moves to performance. It's rare to see one-man Melbourne for work. shows and forget that's what you're Sean makes a surprise return to watching.

Sydney to find his boyfriend no longer Part of what makes the show so wants anything to do with him. Except engaging is how well-blocked it is. for the endless, ambiguous Facebook Roach is always on the move, from stalking.

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

Stage Whispers 85

Tom Sharrah

Mother/SON Written/performed by Jeffrey Solomon. Theatre Works, St Kilda (Vic). Jan 11 – 21.

A SON who struggled to accept his homosexuality begins a new struggle to gain the acceptance of his mum in this moving play by New York writer/ performer Jeffrey Solomon.

Solomon’s performance as both the son, Bradley, and his mother is beautifully controlled. He makes her real, lifting her above caricature. He uses simple gestures to switch from Bradley to the mother, most notably placing a hand upon his chest in that delicate, modest manner of certain women. It’s all Solomon needs to get into character, and it’s a gesture that comes to have a deeper meaning at the end of the play.

Solomon has created a straightforward script that allows the audience to feel part of a very personal relationship between two people. He blends humour with genuinely touching and painful moments. A scene where Bradley goes to a doctor for a HIV test, and waits for the result, had me gripping the side of my chair.

This is a tour de force performance. The play never lectures its audiences about politics, preferring to focus on the great, lifelong love between a parent and a child.

Sara Bannister 86 Stage Whispers

Kurt Phelan has created a play that works on all the important levels: the story is instantly relatable as social media is the hot topic of the day. His character Sean is realistic, not a hero or villain.

Matt Hopkins has the task of making an unlikeable character work, which he does as he brings Angus's insecurities bubbling to life.

Catherine Davies gives the playful dildo-obsessed recently-out Katherine the needed spunk.

Kurt Phelan assured me after the show that he won't be writing and performing his own shows again — a loss to the Australian theatre scene.

Tom Sharah in Que Sera, Sharah

By Tom Sharah. Fortyfivedownstairs.

Jan 25 – 28.

TWO things point to the quality you'll find in Que Sera Sharah: for starters, the venue fortyfivedownstairs is known for its high calibre shows: second, the image in the poster of a wistful Tom Sharah with his model looks screams classic.

Sharah leads you on a tour of his musical influences, at least those in his vocal range — Whitney Houston's power ballads are out of the range of most men. These range from classic songs that younger audiences unaware of their musical history won't know to the Spice Girls, which some of the older members of the audience will wish they don't know.

Twice Tom brings his younger brother Oscar onstage for an acoustic duet. They first sing a love song and perform it with so much love in their eyes - directed at each other - that a girl in one audience found it gross. So they added a break-up song to complete the arc.

Sharah's voice deserves comparisons to angels, the heavenly host and all those other divine cliches.

He's also unashamedly very gay (read girly) and proud of his Lebanese/ English heritage, even when it means he's either too dark or too light for some of his dream roles.

To stick with the heavenly metaphor, Tom Sharah is an upcoming cabaret performer who you can expect to soon receive invites to entertain the saints.

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

Cen Fox Signs with DSP

Choosing A Show

For decades Melbourne writer and composer Cen Fox has been writing popular youth musicals and comedies.

Now he’s putting his feet up to allow up David Spicer Productions to licence his best selling productions.

Suburban Circus had its world premiere with the Nova Theatre Company in the mid 1980’s and remains popular. It has 16 skits about suburban life. The garbos juggle your garbage. The school-crossing supervisor is on the highwire. The parking cops are the clowns. The paperboys/girls are trick cyclists.

Scrubbers is a musical about five cleaning women who find happiness when they join a chorus line. Cen Fox will direct a production himself at Melbourne’s STAG Theatre in May / June.

Cen’s most popular musical Germs is set inside a human body. It’s a medical musical which pitches Germs against a human. Over the years it’s been staged in more than a dozen countries.

Perfect for Theatre Restaurant, This is Your Captain Speaking is part comedy, panto, musical, movie and circus. The audience moves around the simple set from the busy terminal through customs and onto the plane.

Other Cen Fox plays on the DSP books are Murder mystery Remain Seated, with a twist which will appeal to all people involved in theatre.

Fogies, a musical comedy set in a retirement home.

And especially for primary schools, Rat Race, is set in a rubbish dump, and Fairytales, written before Into the Woods, is Cen Fox’s take on fairy tale characters trying living in someone else's fairy tale.

Read Scripts and listen to music at http://www.davidspicer.com.au/author/cen-fox

New Releases from Dominie Drama www.dominie.com.au/drama

When John, Susan, Titty and Roger are granted their wish to set sail on their beloved boat Swallow, they know it will be the summer holiday of a lifetime. But their adventure truly begins when they encounter Nancy and Peggy, the self-proclaimed Amazon Pirates, and the dastardly Captain Flint.

Titles available from Nick Hern Books Titles available from Pioneer Drama Services The Haunting by Hugh Janes and Charles In Don’t Stop Believin’ (Book by Dickens – a spine-chilling play by Hugh Craig Sodaro, Music and Lyrics by Janes, based on several original ghost stories Bill Francoeur) it’s time to get your

by Charles Dickens. gleek on! The Ethel Lampert In an ancient, crumbling mansion, sheltering Community Center has seen better from the howling winds that tear across the days and may soon see its final days unless the teens, surrounding desolate moorland, two men volunteers and staff find a way to save it. Some sleazy city stumble across a dark and terrifying secret council members want to bulldoze the place to redevelop that will change both of their lives. and commercialize the neighborhood and bring them gobs Stephen Jeffreys' The Convict's Opera reimagines The Beggar's Opera as a performance on board a creaking convict ship bound for Australia.

To pass the time on their journey to Australia, the convicts put on John Gay's musical satire, The Beggar's Opera, introducing us to treacherous highwayman MacHeath and sweet Polly Peachum as they juggle love and deceit in the dirty underbelly of eighteenth-century London.

of sales tax revenue, but that’s not stopping the teens who frequent the community center. Bursting with large, rock and pop chorus numbers and an anthemic finale, this energetic, contemporary musical will bring out the gleek in everyone!

In Invasion of the Student Body Snatchers by Craig Sodaro, seemingly normal new high school student Orry Constella and his family are actually aliens from the planet Vesperon disguised as humans to see whether Earth would Arthur Ransome's children's classic Swallows and make a suitable all-inclusive resort for Vesperonians. But in Amazons is brought to life for the stage in Helen an all too human way, Orry falls for Aggie, another new Edmundson's theatrical adaptation, with ‘delightfully catchy student at the high school, who’s having a hard time fitting and often witty' (Telegraph) songs by Neil Hannon of The in herself.

Divine Comedy www.stagewhispers.com.au Stage Whispers 87

Director’s Diary

As I left the theatre and walked towards “the tube” in the rain I decided that at some time in my life I would like to direct a production of this classic American play.

Five years later I was approached by the Athenaeum Theatre in Lilydale (Melbourne) to direct the June 2011 production.

Casting

Death Of A Salesman It was Drama of the Year at the Victoria Drama League Awards in 2011. Director Kevin Trask tells the story behind the production.

Death of a Salesman has a cast of fourteen characters from Willy Lowman down to a waiter who does not have lines. I knew that it was unlikely that it would be fully cast after the initial auditions but I was able to cast most of the major characters. I was determined to get the best possible cast. The play itself attracts actors because of the strength of the roles. After many weeks of “ringing around” I was able to cast the remaining roles. I was not only pleased with the strength of the cast but also the fact that they were all proud to be a part of the production and totally dedicated to the success of the play. I am a strong believer that there is no such thing as a small role and I always treat every cast member equally.

Production Team

We were very lucky to have an experienced set designer and the Athenaeum Theatre at Lilydale has a great team of set builders. The cast are able to rehearse on the set as it is being built. The set Death of a Salesman was written by Arthur was on two levels, with the boys’ bedroom upstairs Miller in 1949 and had its Broadway Premiere at and the kitchen and main bedroom on the lower the Morosco Theatre. Over the years many theatre level. The downstage apron was used as an acting groups have staged this play across Australia and area for the various scenes. I designed the sound secondary students study it. I had seen the plot and used a mix of recorded cast dialogue telemovie starring Dustin Hoffman, but in my lines for the scene where Willy breaks down forty years in theatre as an actor and director I towards the end of the play. I wanted the props to had not actually seen the play onstage until 2005 be as authentic as possible - we even had a real when I went to a matinee performance at the operating “Wire Recorder” and an old style 1930’s Lyric Theatre in London’s West End. I sat in “the refrigerator. The wardrobe required more than Gods” to experience this outstanding piece of twenty period costumes. The nucleus of theatre. Brian Dennehy was playing Willy Loman experienced crew and many others involved in and had won the Tony Award on Broadway for the play combined with a fine cast gave me a very his portrayal of this complex character - his “warm feeling” that this was going to be a very performance in London also won him good production of Death of a Salesman. the Laurence Olivier Award. It was like attending a Master Class to watch Brian Dennehy onstage.

88 Stage Whispers March - April 2012

Challenges There are always problems and issues to be resolved in rehearsal and “at the end of the day” the director has full responsibility for the production. One problem we had was that the voices of Biff and Happy, in their major bedroom scene, were being lost into the stage ceiling due to their height and position. I decided to install a microphone in the ceiling and amplify their voices – this worked beautifully. We did hire the original sound effect music used in the 1949 Broadway production but there were no sound cues in any of the scripts I could find or with the CD and I virtually had to make a guess where to set the cues. (Perhaps Arthur Miller had done this intentionally.) But one by one we resolved issues such as these and we were in full “production mode” a week before our final dress rehearsal.

Summary In my forty years in theatre this was one of the highlights for me. I have a passion for this play and the text. I was moved by the final confrontation scene between Willy and Biff and

on some nights moved to tears. The level of performance from all of the actors was consistent every night and I found the play realistic and dynamic. This is a “Time play”, things are happening in “real time” and also in “flashback” in Willy’s mind. Willy’s deceased brother, Uncle Ben, is a great character in the play. Willy asks his older brother questions trying to find answers to things that have troubled him in the past. Willy remembers when Biff discovers him with “The Woman” and the traumatic effect this has on Biff.

These powerful moments have to be played with tremendous feeling and emotion. It is important for directors to make sure that the cast have a complete understanding of the text and that during the flashbacks anything can happen – such as walking through imaginary walls. We spent a lot of time talking about the characters.

There has to be a change of characterisation, costume and energy level during the flashbacks. This attention to detail is vital to the success of the production.

(Continued on page 90) www.stagewhispers.com.au Stage Whispers 89

Director’s Diary

(Continued from page 89)

Audience Reaction This heavy drama was not everyone’s “cup of tea” but for those who appreciate the theatre it was an experience they will never forget. I only missed one performance in the season and I never tired of the play. I remember a lady who sat quietly sobbing in the theatre long after the audience had left; such is the strength of this play. The play is about the “common man” struggling to be successful in his working and family life. Willy Loman is human, optimistic and full of flaws and contradictions. I think we were effective in presenting a quality classic play that

made many of our audience members reflect on their own family relationships and the human spirit.

At the Victorian Drama League Awards Death of a Salesman scooped the pool. In the drama category we won Best Production, Best Director, Best Actor (Barry O’Neill), Best Supporting Actor (Joe Dias), Best Lighting & Best Set (Graham McGuffie). I thank everyone involved in Death of a Salesman right down to the ladies and gentlemen who poured the cups of tea at interval in the foyer. This production did take a lot out of me and it took almost a month to get over it - but I loved every minute of the experience.

Death of a Salesman The Athenaeum Theatre, Lilydale, June 2011

Direction: Kevin Trask Production Management: Alan Burrows Lighting Design: Graham McGuffie Set Design: Graham McGuffie Wardrobe: Sylvia Carr Hair & Makeup: Cate Dowling -Trask Sound Design: Kevin Trask Lighting Operation: Nicholas Ryan Sound Operation: Rebecca Pool Stage Manager: Maria Flemming Featuring: Barry O’Neill, Christine Andrew, Joe Dias, Zoran Babic, Mandy Murray, Laurie Jezard, Fred Barker, Colin Morley, Janet Withers, Stephen Barber, Thomas Barnes, Brooke Hampton, Hope Long & Blake Hadlow.

90 Stage Whispers March - April 2012

Puzzles

Compiled by Aaron Ware

www.thepuzzlehub.com

Solution to last issue’s puzzle

www.stagewhispers.com.au Stage Whispers 91

Alan Jones in Annie.

Photo: Lindsay Kearns - Lightbox Photography

Musical Spice

media. “I might try my hand at heart surgery next.”

On opening night I thought Mr. Jones gave a respectable performance. Although he smirked a little too much, his accent was better than expected.

I would rank him overall as above average amateur theatre. However, it was difficult for me to forget that he was Alan Jones on stage: a conservative radio commentator playing a big spending left wing Democrat President.

Not everyone was as generous as me. Some of my colleagues at the ABC thought he was ghastly. (They would think that wouldn’t they, Mr Jones might say.)

The Daily Telegraph was also scathing. It reported that “Alan Jones made history in his musical theatre debut by introducing us to the first American president to sport a Southern Queensland accent.”

It’s an age-old show business trick. Cast someone “It’s a shame the show’s producers fail to capitalise on famous to help sell tickets. It became popular as far back as the potential of Jones’s first on-stage appearance, wherein the 19th century, when producers of English pantomimes the President and his advisers are seen listening caught on. The latest popular artist would be roped in to become Snow White or Prince Charming. Aussie soap stars despondently to a radio broadcaster savaging (him).

“For a man who has spent much of the past year have been cashing in big time in recent times. Changing attacking our own Prime Minister with no less vigour, it is a the script to suit them is par for the course. scene dripping with irony and yet the script carries on, And if the celebrities aren’t popular enough you can manufacture them. In the West End Andrew Lloyd Webber seemingly oblivious to the parallels.”

Alas, unlike the producers of pantomime, who could cast The Sound of Music from a reality television program. change the script in Snow White, rules forbid making such It was called How do you Solve a Problem like Maria? a drastic change to a musical under copyright.

Members of the public voted on or off their favourite Overall the Jones experiment worked because it was a Maria. relatively small role and he was good enough to get across Broadway followed with the recent revival of Grease.

Sandy and Danny were cast on live television, helping to sell the line. He seemed also to greatly enjoy the experience.

The trick with celebrity casting seems to be to give them millions of dollars in advance ticket sales. Theatre critics only a cameo role. Imagine what an ordeal it would have thought one of the chosen actors was an odd fit, but it didn’t matter, a new ticket-buying audience had voted with been to see Alan Jones cast as Daddy Warbucks.

There have been a number of disappointing examples of their wallets.

In New Zealand even former Prime Ministers have taken celebrities being cast in lead roles. A now defunct theatre to the stage. The late Robert “Piggy” Muldoon made a ham company cast a soap star in a one woman musical a few years back. Yes, she was attractive and popular but she of himself in The Rocky Horror Show.

The latest celebrity casting for Australian audiences is in struggled with the role.

The most satisfying theatre experience is to see a great the musical Annie. Sydney Radio broadcaster Alan Jones is play or musical with a cast that have become celebrities playing Franklin D. Roosevelt. because of their acting or singing skills. People go to a The 70 year old has a very large audience of soccer match to see great soccer players. The same applies ‘mature’ listeners who fit into the music theatre ticket on the great stages – otherwise you compromise your buying demographic. product.

Some actors are grumbling. “Why bother go to acting David Spicer. school if anyone can do it’...was one posting I saw on social

Celebrity Casting: Curse or Cash Cow?

92 Stage Whispers March - April 2012

Third year NIDA actors in the 2011 production of Noises Off!.

Directed by Rodney Fisher

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