Stage Whispers May/June 2019 edition by Stage Whispers Magazine

In this issue

All The World’s A Circus ............................................................................ 8 Barnum, Russian Circus ZIRK! and Cirque Du Soleil’s KURIOS Muriel’s Wedding The Musical ................................................................ 14 Behind the scenes at Her Majesty’s Theatre, Melbourne Eddie Perfect On Broadway ..................................................................... 20 Aussie composer represented on Broadway by Beetlejuice and King Kong Festival City Performance Venues ............................................................ 26 A look at some of Adelaide’s diverse theatres

Making Dreams Reality............................................................................ 30 Broadway and West End star Ruthie Henshall Lighting And Sound Spotlight ................................................................. 33 Technical features Black Is The New White ........................................................................... 40 An extract from Nakkiah Lui’s smash comedy

23 34

A Golden Age Of Student Drama ............................................................ 50 An extract from a new book on Drama at the University of Sydney 1957-63 Adelaide Fringe 2019 .............................................................................. 89 A massive box office hit, will the Adelaide Fringe ever peak?

Regular Features Stage Briefs

83 85 4 Stage Whispers May - June 2019

Choosing A Show

Broadway Buzz

London Calling

Stage On Page

Stage On Disc

Stage Heritage

On Stage - What’s On

Auditions

Reviews

Musical Spice

Get the most out of our magazine’s online interactions on your mobile device with a QR code scanner. If your device doesn’t have one installed, http://bit.ly/gYbnAN browse your app store, or try one of these free options. http://bit.ly/2NcB9r5

THE NEXT ISSUE OF STAGE WHISPERS IS OUR EDUCATION SHOWCASE DISTRIBUTED TO 2,000 SCHOOLS PLACE YOUR AD BY JUNE 3 CONTACT (03) 9758 4522 OR stagews@stagewhispers.com.au

Editorial

Euan Doidge, who plays Tony in Saturday Night Fever, checks out his article in the latest issue of Stage Whispers magazine.

Dear theatre-goers and theatre-doers, I’d like to use my space this edition to say thank you to our little army of volunteer reviewers from all across the country. A look at the reviews section of the magazine tells only a small part of the story. When I became editor in 2008, we were able to publish virtually every review our contributors wrote in the print magazine, albeit sometimes in trimmed form. Now the rear section of the magazine is just a sampler - the tip of our reviewing iceberg, if you will - even though the size of this section of the magazine hasn’t reduced over time. With the introduction of our website, demand for immediately accessible reviews led to a steep increase in invitations. Now the collection of trimmed reviews we publish in these pages represents, at most, between a quarter and a third of the reviews we publish online.

Online extras!

Saturday Night Fever’s Euan Doidge and ensemble burn up the dancefloor. https://youtu.be/gu_0zKkfoWY

You’ll find that a visit to www.stagewhispers.com.au/reviews can easily fill the gaps. Something else that has grown exponentially over the years is Stage Whispers’ Facebook following, which is now approaching 20,000 likes. Our Facebook (www.facebook.com/stagewhispers) and Twitter (www.twitter.com/stage_whispers) pages are great places to be able to keep up with all of our latest reviews and so many other features at Stage Whispers. Yours in Theatre,

Neil Litchfield Editor

CONNECT

Cover image: Kirby Burgess as the Ringmaster in Barnum The Circus Musical, playing at Comedy Theatre, Melbourne until June 2. Read Coral Drouyn’s feature story, All The World’s A Circus on page 8. Photo: Ben Symons. www.stagewhispers.com.au Stage Whispers 5

 Natalie Bassingthwaighte (Roxie Hart) Alinta Chidzey (Velma Kelly) and Casey Donovan (Matron ‘Mama’ Morton) will star in Chicago, premiering from August 20 at Sydney’s Capitol Theatre. chicagothemusical.com.au Get the full story on our website http://bit.ly/2IBhNvq Photo: Peter Brew Bevan.

Online extras!

Chicago is coming to Sydney, bringing all that jazz with it. Scan or visit https://youtu.be/CbaN-tkx6Jo

 Broadway favourite and television star Megan Hilty (Smash, Wicked) will perform in concert at the Sydney Opera House Concert Hall on June 17 (sydneyoperahouse.com) and the QPAC Concert Hall on June 20 (qpac.com.au), accompanied by 40-piece orchestras. Get the details on our website http://bit.ly/2IDI4ZR Photo: Jenny Anderson. 6 Stage Whispers May - June 2019

ď&#x192;¨ German chanteuse Ute Lemper headlines the 2019 Adelaide Cabaret Festival with her show Rendezvous With Marlene. www.utelemper.com

Stage Briefs

Read more about the festival lineup on the Stage Whispers website https://bit.ly/2V3dhfP Photo: Lucas Allen.

Online extras!

Watch the promo video for Rendezvous With Marlene. Scan the QR code or visit https://youtu.be/B_nKeK9skc8 www.stagewhispers.com.au Stage Whispers 7

All The World’s A Circus With Barnum having just opened its limited season, Coral Drouyn looks at how Circus affects our lives and theatre - from Big Tops to stages here in Australia, and around the world.

“And away went the lions and the tigers so wild And away went my beautiful clown; And away went my very last day as a child The day that the circus left town.”

-Written by Harold Spina and Carlyn Leigh.

The inimitable Eartha Kitt sang those words in 1955, and they remain evocative today. Is there anyone on the planet who hasn’t been to a circus? Years ago, children (and some adults) dreamed of running away to join the circus, long before even more glamorous options (like being a pop star) raised their heads. The circus had a mystique that wasn’t replicated anywhere else, and the phrase “The smell of the greasepaint, the roar of the crowd” was coined to signify the very special entertainment that elevated spangles and sawdust to every child’s wish-list. Yet, remarkably, children were not part of the audience for the first circus, Phillip Astley’s horseriding spectacular in 1768. It was an adult form of entertainment that gradually grew to include wild animals and speciality acts from Variety theatres, an innovative move by a man who was only 25 years old when he conceived it, foreshadowing the greatest showman of them all, P.T Barnum - who (coincidentally) was 25 when he was bitten by the circus bug. For audiences, the chance to see wild animals interacting with humans up close and personal was nothing short of a miracle. Though we think of the tent as being an integral part of our circus experience, most circuses had a permanent venue in major cities, and regional towns were left to wonder what all the fuss was about. This only increased the mystique. All of that changed when “The Big Top” started life in 1825, with enormous tents never seen before in public. Touring circuses became the norm for the next 150 years. Sometimes

8 Stage Whispers May - June 2019

the entire circus had its own railway train; more often a huge convoy of trucks and caravans would roll into town, the crowds turning out to watch the procession of wild animals, while the performers, in their costumes, walked alongside, waving to the wide-eyed children, and spruiking tickets to their parents. The tent, the circus ring, the seating, was all portable and took a full twenty-four hours to erect. The sawdust was a way of controlling any “accidents” the horses and other animals might leave in the circus ring, though, as kids, would we really have cared about a bit of lion poo as the clown was making us laugh? The crossovers between circus and other forms of entertainment became more frequent and less obvious as the years rolled on. One of the most famous international circus acts of the first half of last century was an Indigenous Australian family, The Flying Colleanos. Pioneers in trapeze work, the family, whose name was actually Sullivan, managed to pass as exotic Spaniards at a time when an Indigenous heritage was, sadly, seen as a disadvantage. From a family of ten children, brought up around sideshows, six or more formed part of the act. Con Colleano became the most famous, but brother Maurice was a noted clown and comedian. Con was (and still is) the world’s most famous tightrope walker, being the first to complete a foot to foot somersault on the high wire. Though Con would work the Tivoli Circuit as a solo act, it was inevitable that Ringling Bros and Barnum and Bailey circus would hear of him and that by 1924 The Colleanos were the undisputed stars of ‘The Greatest Show on Earth’, earning a staggering $1,000 a week, and even taking a break to appear at the London Palladium for the Royal Family. (Continued on page 11)

Cover Story

Online extras!

For the first time ever, ZIRK! is coming to Australia. Scan the QR code or visit https://youtu.be/bjkrDpP9sZk ZIRK!

www.stagewhispers.com.au Stage Whispers 9

Cover Story

Barnum The Circus Musical plays at Melbourneâ&#x20AC;&#x2122;s Comedy Theatre until June 8. barnumthemusical.com.au ZIRK! - Russiaâ&#x20AC;&#x2122;s Big Top Circus Spectacular plays at Majura Park Showgrounds, Canberra from June 14, then The Showring, the Entertainment Quarter, Moore Park, from July 5, with dates in other capital cities to be announced shortly. zirk.com.au KURIOS - Cabinet of Curiosities commences its tour at Entertainment Quarter, Moore Park, Sydney on October 2, then plays at Northshore Hamilton, Brisbane from January 10 2020, and Flemington Racecourse, Melbourne from March 12, with Adelaide and Perth to follow. www.cirquedusoleil.com/kurios

Photo: Jim Lee.

Online extras! Todd McKenney as P.T. Barnum. Photo: Jeff Busby.

10 Stage Whispers May - June 2019

Todd McKenney admits to the difficulty in becoming a circus performer https://youtu.be/xMOcbsf-AuU

the expense of the relationship with his wife. It will be great to physicalise that. What if that metaphor is that It was inevitable that the life of Phineas T Barnum circus thing that people chase?” Parke knew that it was would make it to the Musical Theatre stage, even if the something he had to explore. Colleanos weren’t part of it, and when Barnum the He decided that Barnum’s weakness for gratification, musical opened on Broadway in 1980, it was a hit and whether through women or the Circus, could be tied together. This led to him re-imagining the Ringmaster as a ran for two years. British ex pop star Jim Dale played the role on Broadway, while Michael Crawford stunned West woman, the brilliant Kirby Burgess, who also plays all bar End audiences with his agility. In Australia the great Reg two of the male roles. It’s as if the circus itself is a third female temptation in his life, and wife Charity (the everLivermore brought his own special twist to Barnum in 1982, and the newly opened production stars Todd charming Rachael Beck) has not one, but two rivals to McKenney, who (perhaps as homage to Con Colleano), fight, rivals with greater attraction than she has. walks the tight wire between the two women in his life. “We haven’t updated it. It is still set in the time period This new production has been updated to have more that it was set in. But, it gives us a lot of tension in the piece. That this thing he is chasing is a person on stage depth and to smooth some of the corniness from the original book. Director Tyran Parke explains how he who can be a bit devilish,” Parke says. examined the mystique of Barnum’s life. So why has Circus survived for so long, I wonder? Tyran answers immediately. “I reckon it is because of “Barnum is telling his life through a Circus act. So you get to the theatre and Barnum is telling you what spectacle, a bit like magic. It has much more artistry to it. happened in his life as a Circus Troupe and they act it out. It used to be special tricks and hand up your sleeve The clearest suggestion of that is that he walks a moments. I can remember going to see Cirque du Soleil a tightrope from his wife to his lover not knowing who he few years ago, and just marvelling what athletes they should be with. That is a great metaphor and we wanted need to be, dedicating their lives to doing these things. I to make sure that all of the circus work had a metaphor think you can’t help but find something impressive about to it - all of it had something that connected to Barnum’s that.” Parke acknowledges Cirque du Soleil, and it’s fair to story and a way of telling it through Circus,” Parke says. “Once we did that, we thought, who is the ringmaster say that without their incredible productions, circus as an in all this? Who is that person? The piece is about (Continued on page 12) someone who is so in love with pursuing the applause at (Continued from page 8)

www.stagewhispers.com.au Stage Whispers 11

(Continued from page 11)

art form might not have survived the Animal Rights movement, which saw virtually all animal acts disappear from touring circuses. No-one could have foreseen that a group of street performers - including stilt walkers, jugglers and acrobats - busking for spare change in a small town near Quebec in Canada in the early 1980s would go on to become the greatest circus of all time. Perhaps, even, the greatest entertainment success story of all time; and all without a single animal in sight. Cirque du Soleil re-defined the very meaning of circus, and the constant quest for excellence always leaves audiences salivating for their next production. With more than forty huge productions behind them, and five more in the development stages, Cirque is about to land on our shores once more with KURIOS - Cabinet of Curiosities. In KURIOS we meet a mysterious inventor with a world of curiosities to unravel. Defying the laws of time and space, he re-invents the world around him, literally turning it upside down. It promises to be another Cirque triumph. But if Cirque is a sophisticated hallucinatory trip into the unknown, the traditional circus format which made us gasp with delight at The Great Moscow Circus all those years ago is still alive and well and about to tour Australia in the form of ZIRK! - bringing all those elements that kids of all ages have loved for two hundred years. ZIRK! is The Great Moscow Circus without the animals, but with all its acts honed to new performance levels that arguably make it the greatest traditional touring circus in the world. Producer Andrew Guild has been a circus fanatic since childhood and worked with the legendary Michael Edgley in bringing the Russian circus to Australia when both men were still in their early twenties. “I wanted to keep the tradition of circus being something special for the entire family,” he tells me. “Yes, technology changes, our entertainment habits are different, but at the heart of it all is the thrill of sitting wide-eyed at the ringside, oldies and kids alike, dropping

12 Stage Whispers May - June 2019

Col Colleano.

the popcorn into our laps, with our mouths wide-open in excitement.” Guild has tried to retire twice, but the pull of the circus, and his other love, Russian classical ballet, keep him from enjoying a rest. “I get bored very quickly” he tells me, “so a life of leisure is not for me. And I truly want to keep the idea of traditional circus alive. The Russians have been doing that now for more than 140 years. It’s fast paced, family friendly and includes some of the most electrifying acts you will see under the Big Top Chapiteau. For children it is a show they will never forget - even more so for adults!” Instead of a mere double wheel spinning in the air, there will be a double double wheel, four acrobats delicately balanced in four spinning wheels. There is the traditional Globe of Death, but with a twist, and Australia will get to enjoy Russian master clown Dmitry Shindov. In his eight month search to source the very best acts in their field, Andrew has also signed talent from Cuba, Germany and the USA, all top artists in their field. “You’re never too young for a great traditional circus,” he says, “and you’re never too old either.” Circus is here to stay, and we mustn’t ignore all the many wonderful circuses that grace our towns for just a few weeks each year to keep the magic alive. Hats off to Stardust Circus, Circus Oz, Lennon’s, Silver’s Magic Circus, The Flying Fruit Fly Circus, Ashton’s, Sole Brothers, Circa and all the other wonderful performers who spend their lives reassuring us that All The World’s a Circus.

Cover Story

Online extras!

Step inside the cabinet of curiosities that is Cirque Du Soleil’s KURIOS. https://youtu.be/RXSpuKlWeVs Cirque Du Soleil’s KURIOS. Photo: Martin Girard / shootstudio.ca Costumes: Philippe Guillotel. © 2014 Cirque Du Soleil.

www.stagewhispers.com.au Stage Whispers 13

14 Stage Whispers May - June 2019

A visit behind the scenes of hit musical Muriel’s Wedding reveals a massive number of wigs, a costume so huge it must be hung high overhead and a way that audience members can join the cast onstage. Simon Parris reports. Premiering back in 2017, the sold out, award-winning Sydney season of Muriel’s Wedding The Musical paved the way for the current, long-awaited Australian tour. Melbourne’s Her Majesty’s Theatre is bedecked in festive yellow, flecked with pink confetti, reflecting the joyful spirit of the acclaimed Australian musical gracing its storied stage. While the audience see 28 cast members play a wild variety of roles on stage, an even bigger team works backstage so that the musical version can include the myriad scenes and characters first seen in the iconic 1994 movie. Before the performance, the backstage area is a hive of activity, with crew members

checking and testing sets, repairing props and styling wigs. Three of the wig stylists are at hand, and they proudly state the number of wigs as totaling more than 160. Apart from a few scenes with male cast members, almost no actor is seen with their own hair during the show. Wigs and costumes are all preset at stage level, ready for fast changes during the show. There are so many fast changes, in fact, that hardly any costumes are actually stored in the actors’ dressing rooms. Special areas include the bridal boutique, which houses the wedding dresses, and there is an entire room that is solely assigned to the costumes, wigs and

accessories of Muriel, played by newcomer Natalie Abbott. A team of six dressers is employed to assist the cast during the show. The fastest changes have to take place right in the wings, with portable black partitions available to create a degree of privacy. Ms Abbott took a moment from her pre-show preparation to talk about those lightning fast costume changes. After Muriel reconnects with Rhonda, the pair dons ABBA outfits for the cruise ship’s ‘The Unicorn’s Got Talent’ show. Ms Abbott described this change as the one that was trickiest to master during stage rehearsals: “the one that was (Continued on page 16)

Online extras!

Melbourne’s opening night audience raved about Muriel’s Wedding. https://youtu.be/t8c9PMFxmfk

www.stagewhispers.com.au Stage Whispers 15

(Continued from page 15)

This image: The cast during warm-ups. Below: Props, costumes and wigs back stage at Muriel’s Wedding The Musical. Photos: Simon Parris.

16 Stage Whispers May - June 2019

hardest to get was probably the “Waterloo” quick change. But we nail it now; now we’ve got it, I could almost have a cup of tea!” On a giddy high from the talent show victory, Muriel and Rhonda sit on the beach and cement their friendship in the song ‘Amazing’. Seconds later, Muriel is home from the cruise and back in Porpoise Spit. Ms Abbot explains, “going from ‘Amazing’ back into the Heslops right before ‘Sydney’, that’s my quickest change.” As with costumes, set pieces are close at hand, with act one items standing by before the show. It takes the entire interval to change over the standby sets, bringing pieces such as the bridal shop trucks forward in preparation for their use in act two. Muriel’s Wedding features brightly coloured backdrops by master designer Gabriela Tylesova. The original Sydney season played at the Roslyn Packer Theatre, a venue which is a mere 15 years young, and the

scenic design was fully automated. At Her Majesty’s Theatre, three men work in the fly tower, raising and lowering backdrops with split second precision as the show unfolds. Looking overhead, most of the backdrops are clearly identifiable, but there is one odd item, hanging high overhead, slightly to the side of stage. For the climactic wedding of Muriel and Olympic swimmer Alexander Shkuratov, Ms Tylesova designed a dress so grand that the only place it can be stored is overhead. When the time comes, the dress is lowered to stage level, with its calico bag spreading out on the floor to protect the pristine gown. Nightly variation is part of the excitement of staging a live musical, particularly one with a long season. At this performance, ensemble member Josh Robson is playing the featured role of ABBA member Björn Alveus. The modification actually involves three changes of cast, with swings Jan di Pietro and David Ouch joining the ensemble on stage tonight.

With so many characters to be portrayed, almost all of the cast members in Muriel’s Wedding play multiple roles. The primary character played by versatile stage actress Chelsea Lumley is vapid beauty consultant Deidre Chambers. Ms. Plumley took a moment out of preshow preparations to discuss the favourite role she plays in the show besides Deidre: “Oh the Bridal Manager! Act two bridal manager is fun to play.” Ms Plumley has worked on distinguishing the two roles: “They have different psychological gestures. Well, I don’t think there are any small roles. I treat every small role as if I’m a leading lady.” Ms Plumley also described the differing vocal requirements: “One’s up in the gods. Deidre’s very high, with C sharps. And I think I’m G or F with low down notes as the Bridal Manager. It’s a nice challenge to sing over two and a half octaves in one night.” Preparations for the cast intensify as the curtain time draws closer. With the stage in use for induction of a

Muriel’s Wedding plays at Her Majesty’s Theatre, Melbourne until June 16, then at Sydney Lyric Theatre from June 28, and Lyric Theatre, QPAC from September 19. Specially priced Onstage Wedding Guest tickets are available from the regular ticketing agency for the season in each city. murielsweddingthemusical.com couple of new technical crew members, warm-up is held in the rehearsal room, which is off the cast green room up two flights of stairs. As dance captain Jan di Pietro takes physical warm up, company manager Victoria Wildie points out the stored table tennis table, noting that there is currently a fierce tournament running. Many of the male cast members appear shirtless in the beach or pool scenes, so it is no surprise that some (Continued on page 18)

www.stagewhispers.com.au Stage Whispers 17

The 2019 cast of Muriel’s Wedding. Photo: Jeff Busby.

Online extras!

Writer and Director PJ Hogan discusses writing his beloved Muriel for the stage. https://youtu.be/T5nQBrsjC6Q (Continued from page 17)

of the men take the chance to do some extra sit-ups as part of warmup. There is a positive, relaxed yet focused vibe amongst the cast, and the physical warm-up ends with applause before segueing straight on to vocal warm up. Musical director Daniel Puckey pops into the rehearsal room to check that all is well. Another pre-show duty of Ms Wildie and stage manager Elise Stewart is to brief the audience members who will come on stage as wedding guests. This unique aspect offers the thrilling opportunity for ticket buyers to come backstage during the show and then to sit on stage during Muriel’s wedding. Having been allocated a pew, the guests are briefed on stage by Ms Stewart, who describes where to stand backstage, when to enter and how to avoid dizziness as the set revolves. To add to the social media angle, the guests will be given fake mobile phones, and Ms Stewart warns not to be alarmed when the confetti cannons are fired. One last piece of advice is relevant to the theatrical leanings of the guests, as 18 Stage Whispers May - June 2019

Ms Stewart firmly tells the guests: “Don’t sing!”. Isolated from the backstage action is Brendon Gardner, who singlehandedly operates the elaborate sound desk, which has six screens, dozens of multi-coloured knobs and dials, plus a small monitor showing Mr Puckey. Conducting the performance, Mr Puckey often plays the keyboard, at which time he simply conducts with a smile. Sitting in the back two rows of the theatre, the wedding guests are collected during the swimming training scene, where Muriel meets Russian Olympic hopeful, Shkuratov. Heading backstage for the big moment, the cast members are seen in high spirits as the evening’s performance is proceeding smoothly and successfully. Playing father of the bride Bill Heslop, David James beams as he shakes hands with some of the guests. Almost all cast members have a fast change into the wedding, none more so than resident mean girls turned bridesmaids Tania (Christie Whelan Browne), Cheryl (Catty Hamilton) and Janine (Imogen Moore). Dressers have employed the

black partitions in the wings as the girls come off from social media homage “Shared, Viral, Linked, Liked”, changing from breezy summer wear into outrageous hot pink confections that are designed to make a splash at Muriel’s insta-wedding. Muriel’s big dress has been winched down to stage, and Ms Abbott has changed and entered the scene, smiling as Muriel is photographed by the guests with their prop phones. The crew can catch their breath for just a second, but soon the dressers are repositioning the partitions for the next quick change, the confetti cannons fire and it is time for the guests to depart. Returning to the auditorium for the final portion of the show, the guests are given a wedding favour to take home as a souvenir of the experience. Having been onstage for almost the entire show, Ms Abbott has been taken into the hearts of the audience. Entering for her curtain call, Ms Abbott wears one last Gabriela Tylesova creation, which is reserved for Muriel to wear in the bows. The evening ends with an enthusiastic standing ovation, which is centred around Ms Abbott’s curtain call.

Subscribe now!

Subscription Form

Subscribe to Stage Whispers print edition for one year or more and receive one of the following prizes or take your chances in our lucky dip. Please nominate three choices, as supplies of some gifts are limited.  ZIRK! - Two double passes each in Canberra (June 20 at 19:30) and Sydney (July 6 at 12 noon).  Muriel’s Wedding - Two double passes each in Sydney and Brisbane.  The Last Tycoon - The Complete Series - DVD Set.  La Bamba - Blu-Ray.  Secret Diary of Adrian Mole aged 13 3⁄ 4 - DVD.  Seven Ages of Elvis - DVD.  Lucky Dip.

SUBSCRIBE NOW!

SUBSCRIBE AT stagewhispers.com.au Name: .................................................................. Address: ............................................................... Phone: ................................................................. Email:...................................................................

Please nominate your 1st, 2nd and 3rd free gift choices below:

.............................................................................................

Send your money order, cheque, credit card details, or request for invoice to:

Stage Whispers, PO Box 2274, Rose Bay North, NSW, 2030. ABN 71 129 358 710

 Visa  MasterCard  American Express Expiry:......./........ Credit Card Number: .............................................................. CCV Number .......................................................................... Signature: .............................................................................. Sign me up for (tick applicable box):

6 issues  Print and e-mag for $39.50AUD / $49NZ OR  E-mag only for $24.95AUD 12 issues  Print and e-mag for $70AUD / $90NZ OR  E-mag only for $39AUD 18 issues  Print and e-mag for $95AUD / $120NZ OR  E-mag only for $55AUD (GST inclusive where applicable) ($NZ cheques address to David Spicer Productions)

“My wife said buy a ticket to New York and stick around. I didn’t know anybody in New York, then Tim Minchin introduced me to his theatre writing agent. I gave him a copy of Shane Warne The Musical. He liked it Eddie Perfect is having the time of has a lot of heart and guts and soul to even though he didn’t know anything his life. it. about cricket.” “I have never been in such a “We are doing 15-hour days. I start But how would he get a big New glorious creative position,” he tells me rehearsals with the orchestra in the York writer to work with him? on the phone, on a dinner break from morning. We come to the theatre in “I heard about Beetlejuice and a rehearsal of Beetlejuice at the Winter the middle of the day, then we tech asked my agent if I could pitch for it. It Garden Theatre, Broadway. The last until midnight. Seven days a week.” had heavy duty Broadway producers time we spoke Eddie was sitting in a How did it happen that an who didn’t know my stuff - which was gutter on a cigarette break, outside the unknown Australian composer/writer Australian. ABC studio in Sydney. How the world with a few local credits was “So I said, what if I wrote two has changed. commissioned to write the lyrics and songs for them for free? It wouldn’t music to a Broadway musical “I’ve been working on Beetlejuice cost them anything.” for four years now. It is right up my adaptation of a Hollywood film, The offer was accepted. alley. It is funny. It is dark. It is absurd. backed by a movie studio? Well...he “I looked at the script and wrote a It walks a funny and dangerous line. It decided to have a crack! song for (the characters of) Lydia and Beetlejuice. The first songs you write for a musical are the hardest, when all the decisions are made. What do these characters sound like vocally and what is the sonic world of that? “The Beetlejuice song drove me crazy writing it. It is now the opening number. He cycles through ten different styles of music, like a demented split personality version of Genie and Aladdin. It goes from banjo folk, to swing to dance hall to ska. It is kind of like bonkers. “Then I wrote a song for Lydia called ‘Dead Mom’. It is much more like an indie rock tune.

He’s done what no other Australian has before - composed songs for two musicals on Broadway at the same time. What’s more, those musicals - Beetlejuice and King Kong - are in theatres literally a stone’s throw away from each other. David Spicer has the story.

Alex Brightman and Sophia Anne Caruso in Beetlejuice. Photo: Matthew Murphy.

20 Stage Whispers May - June 2019

“I didn’t hear anything for a couple of months, then I got a phone call from my agent saying you got the gig! “I was like, this was insane. I honestly thought I would have to do something Off Broadway, then maybe drag myself into town. So it was incredible. This is my chance to present

my style of composing and lyric writing on Broadway. I have worked harder on this piece than anything in my life. “I made a promise no matter what time America wanted to do the phone call in a group conference call, I would be there. I would get up at 4AM and skateboard down to my local park in the dark and sit at the picnic table so that I could talk without waking the kids up. “I would do meetings as the sun came up or in the middle of the night. I flew back and forth continuously over four years. It was hard being away from my wife and kids, so now I have moved here.” Eddie says getting his teeth into Beetlejuice is much more satisfying than his previous two projects. He composed songs for the latest edition of Baz Luhrmann’s Strictly Ballroom The Musical. “It wasn’t really my score. Baz Luhrmann would say, ‘Hey we need a song’, then I would write the song, send off a demo, take notes then I would re-write, and it would go into the show. That was put together with at least five or six writers plus pre-

existing music from the film. I was writing it at arm’s length. “That wasn’t as satisfying. Music theatre is a collaborative art form. It requires a book writer, composer and lyricist.” Likewise, he was a small cog in King Kong, which is produced by the Australian company Global Creatures. “Right from the very beginning our director/choreographer didn’t want to create a traditional musical. He wanted to create a hybrid between dance, puppetry, physical theatre and song. There are huge passages where it is just like life action, music and puppetry. Beetlejuice has a score of 24 musical numbers. King Kong has maybe eight songs in it.” King Kong did not receive positive reviews from many critics, but Eddie says mainstream audiences embrace it. “There is an element of - who the eff are these people, coming in with their giant thing, putting on a musical which doesn’t conform to our ideas? “It feels like an unusual show. I don’t know if there is any way of (Continued on page 22)

www.stagewhispers.com.au Stage Whispers 21

Online extras!

Featuring songs by Eddie Perfect, King Kong has roared to life on Broadway. https://youtu.be/rT3omqgy-Vc King Kong. Photo: Matthew Murphy.

What Eddie relishes most about his time working on Beetlejuice is the putting a giant gorilla on stage and resources that are available to him. have it not to be unusual. “When I put on Shane Warne The “Audiences are less worried about Musical, I did everything myself. That is where things sit in the genre. They all the musical arrangements, I wrote come along and take it at face value. all the charts, hired the band, ran the Audiences are loving it.” band rehearsals, I wrote the book, the On Broadway every week the exact score and the lyrics.” box office grosses for all musicals and He forgets to mention that he also plays are published. During the colder played the lead. months King Kong has been hanging “I was working with (director) Neil on by his finger nails with lower ticket Armfield but in terms of the creation of prices. The musical, with (rumoured) the show it was just me.” high running costs, has been selling a Eddie drools about the resources respectable 10,000 tickets a week. and creative team he has in New York, That is half the business of Wicked where there is a whole lot more money and a third of the business of and a much more extensive Hamilton. However, its sales are similar development period. to My Fair Lady and Kinky Boots and “We did an out of town tryout in bookings are open until August. Washington DC, which you never get to do in Australia. You get to do a Eddie can easily keep an eye on both musicals. world class premiere season of your “If I walked out the front of the own show, take it away to fix things, re -workshop it and do it all again for Winter Garden and I threw a rock, I could probably hit the marquee (above Broadway. the Broadway Theatre where King “I have a Musical Director who has written underscore. I have a dance Kong is on). “I don’t think you could have two arranger. I have a team of copyists and theatres closer together. That is pretty an 18-piece orchestra.” weird.” (Continued from page 21)

22 Stage Whispers May - June 2019

This allows him to devote all his energies to crafting the musical. Eddie says he loves the “completely absurd and darkly funny” qualities of the original film, released in 1988. He expects fans to relish the spectacular illusions, magic and pyrotechnics that are being replicated on stage. However, he admits the movie did not have an emotional core to sustain a two-act musical. So what is the new emotional core he has been crafting away at? The central theme, he says, is the difficulty in dealing with grief alone, “feeling isolated and not having a sense of home. Lydia is stuck in grief and can’t move out of it. She is obsessed with the macabre and the nonphysical world. She happens to meet the previous owners of the house and there she meets Beetlejuice.” The ghosts give Lydia the sense of family and home she has been missing. Eddie refuses to label the musical style of the production as like Hamilton or Dear Evan Hansen, which one reviewer of the out of town try-out alluded to. (Continued on page 24)

Eddie Perfect. Photo: Emilio Madrid-Kuser.

Online extras!

Watch Eddie discuss what inspired his writing of the music for Beetlejuice. https://youtu.be/z4PXCryXK7s www.stagewhispers.com.au Stage Whispers 23

Eddie Perfect in Shane Warne The Musical (2013). Photo: Meredith O’Shea.

Online extras!

Christie Whelan Browne and Eddie muse over Shane Warne The Musical. https://youtu.be/qCVGKiPt0eM “suspiciously” beginning to leak into his children’s dialect. “I think I would not be here in New He’s fighting back. In Beetlejuice York if my Dad hadn’t put on a he has snuck in one bit of Aussie cassette of the 1984 production of lingo. Sweeney Todd in the family Kombi “Beetlejuice says, ‘right now you Van. I have never stopped listening to couldn’t frighten a fly or scare a cast recordings.” seagull off a fry.’ Everyone goes why He describes Beetlejuice as a fusion would a seagull eat a fry? A seagull on a chip is the most Australian thing of different music. “I come from Melbourne, which ever. That lyric is staying!” has one of the best live music scenes. I have been playing live music for a long time.” His influences range from South African folk to Greek music, to soul, jazz and hip hop. “We have a song (in Beetlejuice) that goes from reggae to rock and another that is half tango, half salsa. “What I have going for me, and going against me, is that I write in a different way to other writers. I haven’t grown up inside a bubble of one particular style of theatre music.” Eddie’s distinctly Australian accent is undiluted by the experience of working in New York - but he admits that a few American vowels are (Continued from page 22)

24 Stage Whispers May - June 2019

Beetlejuice The Musical opened at the Winter Garden Theatre on April 27. beetlejuicebroadway.com David Spicer represents the rights to Eddie Perfect’s Shane Warne The Musical and his play The Beast. The cast of Beetlejuice. Photo: Matthew Murphy.

West End Musical Agent

Choosing A Show

International Theatre & Music (IT&M) is the London-based publisher and licensor of musicals by Piers Chater Robinson. He is best known for Peter Pan the British Musical, created in 1985. After a successful run in the West End, directed by Piers, the show has become an international best-seller amongst community theatres, amateur theatre groups, youth theatres and schools. The libretto has been translated into seven languages. IT&M also have A Christmas Carol, Through the Looking Glass, The Adventures of Mr Toad, Around the

as PDFs. IT&M’s professional quality backing tracks can be supplied as MP3s or on CD. IT&M also supply World In 80 Days and Tails Of logos, cast recordings and video Hamelin (based on The Pied Piper) - all licences. Everything is designed to be superclassic family musicals. As IT&M only licence the shows of fast and efficient to get your show up one composer, their knowledge of his and running quickly. You could ask musicals is unrivalled. IT&M are for a show quotation on a Monday; always able to offer help and support once agreed, IT&M could send you a contract and invoice on the Tuesday; to theatre companies and schools, and Piers is very willing to advise on if you pay via PayPal, you could have all your show materials on the production issues. Wednesday and start rehearsals on All scripts, scores and band parts the Thursday. are delivered digitally, over the web,

Visit IT&M’s website now where you can browse the shows, listen to all of the songs and request your Free Perusal Script: www.itmshows.com

Priscilla Drives Onto Community Stages Priscilla Queen of the Desert the musical is now available for amateur licensing in Australia for performances from 2020 through ORiGiN™ Theatrical. Following a glittering tour of Broadway, the West End, Europe, Asia and it’s return to Australia, Priscilla Queen of the Desert the musical is now available to perform. Based on the smash-hit movie, Priscilla is the adventure of three friends who hop aboard a battered old bus searching for love and friendship and end up finding more than they had ever dreamed of. With a dazzling array of outrageous costumes and a hit parade of dancefloor favourites, this wildly fresh and funny musical is a journey to the heart of fabulous. For info, check out origintheatrical.com.au/work/8639. www.stagewhispers.com.au Stage Whispers 25

Venue Spotlight

Festival City Performance Venues

Known worldwide as an Arts hub, one might think Adelaide is well served by theatre venues, but like every city in Australia, it seems there are never enough. Lesley Reed reports on theatres, halls and Arts hubs that are home to the history and vibe of the city’s innovative theatre and festival scene. Theatre lovers and producers treasure all venues, both old and new, because many such places are sadly disappearing, victims of either decay, reduced funding or changing entertainment tastes. Adelaide’s Arts scene, with its rich tapestry of festivals, professional, independent and community theatre productions, is very adaptive when it comes to venues, but also always ready to speak out when funds for theatre restoration or preservation are needed. In a quiet corner of Playhouse Lane in the heart of the city stands heritage-listed Queen’s Theatre, constructed almost 179 years ago. Still with its 1850s facade, the theatre includes heritage features such as exposed bricks, wooden roof beams and even wall-attached hitching rings from its time as a horse stable. Queen’s Theatre hosts theatre performances, events, markets and festivals. GWB McFarlane Theatres has managed the venue for the past year. “To take on the management of the oldest purpose built theatre on mainland Australia is a fantastic

26 Stage Whispers May - June 2019

Queens Theatre.

Online extras!

Watch a time lapse of Her Majesty’s Theatre redevelopment works. https://youtu.be/RUswJ8QpEu0

Adelaide Festival Centre.

opportunity,” Tim McFarlane, the company’s Executive Chairman said. Accommodating up to 1000 people when the theatre opened to the public in 1841, its first production was Shakespeare’s Othello. Within a few years it underwent a makeover, reopening in 1850 as the Royal Victoria Theatre. An exodus of South Australians to the Victorian goldfields meant the theatre closed again until the late 1860s. For more than 100 subsequent years the theatre was adapted for many uses-a City Mission, sale yards, stables, a forge, horse bazaar and more. The word ‘Bazaar’ is still visible at the top of the building’s facade. The 1980s resulted in heritage listing, when an archaeological excavation uncovered remnants of the former Queen’s Theatre. A dressing room and orchestra pit were found sub-surface, along with objects such as clay pipes, buttons, costumes, shoes, candlesticks and a pair of gold and ruby earrings, now in a History SA collection. ‘The Maj’ (Her Majesty’s Theatre) might not be as old as Queen’s Theatre but it is the oldest continually working theatre in Adelaide. It has survived wars, recessions and fierce competition from other means of entertainment. The theatre was the venue for the welcome home celebrations of Sir Ross and Keith Smith, following the first flight from the United Kingdom to Australia in 1919. Previously known as the Tivoli Theatre, much of the cultural heritage of the original was lost in earlier redevelopments, but at the start of the current Her Majesty’s upgrade an original, 100 year-old theatre program was found below floorboards. The folded program, dated Saturday May 11th 1918, contains details of that night’s performance of Robbery Under Arms. Tickets in the Tivoli’s Dress Circle were 3 shillings, with a seat in the Gallery for just 1 shilling (only 6 pence on weeknights). A hundred years after that production ‘The Maj’ is being completely redeveloped, creating a bigger, better, accessible theatre, within two walls of the original facade and with respect to heritage. In the years from 1913 until its latest upgrade, notable performers at the theatre included WC Fields, Rudolph (Continued on page 28)

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

www.stagewhispers.com.au/directory-central www.stagewhispers.com.au Stage Whispers 27

Venue Spotlight

Waterside Workers Hall.

its busiest-ever year with 980,000 attendances. Currently undergoing an upgrade of its Festival Plaza, the Centre is Nureyev, Whoopi Goldberg, Pavarotti, Spike Milligan, a hub for musicals, theatre, dance, music and exhibitions. Maggie Smith, Slim Dusty and Robyn Archer. It is Barry It hosts festivals year-round. Humphries’ favourite theatre. The Bakehouse Theatre was first used as a Adelaide Festival Centre Chief Executive Officer and performance space in 1976 and is one of the busiest small Artistic Director, Douglas Gautier AM, said, “The venues in the Adelaide city area, providing just the right redeveloped Her Majesty’s Theatre will help bring more atmospherics for intimate theatre. Popular with shows to Adelaide. By bringing back a Grand Circle we are independent theatre companies in particular, it is also respecting the original grand design and creating a home to its own amateur company, Unseen Theatre stunning theatre of which all South Australians can be Company. proud.” “The building seems to have absorbed the aspirations There will be a new 1,472-seat, three-level auditorium of everyone who has ever worked here,” said Artistic with high specification acoustics and spacious backstage Director Pamela Munt. “Their experiences here resonate facilities, auditorium and foyer designs inspired by the original interior, plus full accessibility, with lifts and The Bakehouse Theatre. wheelchair seating on all levels. The theatre’s upgraded footprint will extend further west, with accessible facilities, bars and lifts in a new wing with a dramatic glass facade, plus a restored central entrance on the Edwardian Grote Street facade. Increased backstage space allows for rehearsal and performance space equal in size to the stage, an important factor in attracting bigger shows to Adelaide. More than a dozen popular musicals have toured Australia since 2014 but not played in Adelaide, testament to the need for a new, large and modern venue additional to the 2,000-seat Festival Theatre. When it reopens next year, Her Majesty’s Theatre will be capable of hosting at least 50 additional annual performances. Adelaide Festival Centre was the country’s first capital city Arts venue and contributed to Adelaide being known worldwide as ‘The Festival City’. In 2015, the Centre had (Continued from page 27)

28 Stage Whispers May - June 2019

within its very walls. Much of the appeal is the size of the stage and its proximity to the audience. This helps make performances very real. There is no proscenium arch or raised stage here for actors to hide behind.” The Bakehouse started out around 1890 as the Lovell family’s bakery. In the 1950s it became Farmer’s Radio, was the Communist Party Headquarters in the 1970s and in 1979 it became an official theatre space, with the launch of The Red Shed Theatre Company. Later, The Red Shed merged with The Troupe. This collaboration lasted about 10 years. In 1998 the theatre was renamed The Bakehouse, in line with its origins, and was refurbished with real seats instead of wooden crates, with modern sound and lighting equipment also introduced. The Studio Theatre space was built in 2009 and became the start of The Bakehouse Fringe programme, which offered 6 shows per night during the Adelaide Fringe. Co-founder and Artistic Director of Hindmarsh’s Holden Street Theatres Martha Lott must truly love theatre, to have developed it from a rundown building with much history into a busy and popular venue that houses more than 36 productions per year, featuring 880 performances. “When we signed the lease in November 2002 the buildings were rat-infested, filthy and full of rubbish,” Lott said. “The Arch only had a floor of dirt and floor joists. Some say The Arch is home to several ghosts who regularly sit along the back row of the venue watching the shows.” Holden Street Theatres have been involved with scores of shows from the Edinburgh Fringe and created the Holden Street Theatres’ Edinburgh Fringe Award. “One of the most hair-raising situations we experienced with touring shows was when a set was stuck in a storm, on a ship, near Singapore,” said Lott. “It arrived in Australia the night before the first day of the season and landed at Holden Street one hour before the show went up.”

Home of Vitalstatistix Theatre, Port Adelaide’s Waterside Workers Hall has a very different history to all others in the state. “It was once the union hall for the Waterside Workers Federation, and the local hub for meetings and events,” said the company’s Director Emma Webb. “Port Adelaide was viewed as a Unionist/Socialist hub, and that continues even to this day. The building is heritage listed, very beautiful and even has a bullet hole in one of the upstairs windows, apparently resulting from a Union dispute. We, the occupants of the building, have a strong history of social justice. It feels like we are continuing on with the fight through our work. “Although the hall has a proscenium stage, we rarely use it in that way, and create a stage as best fits each piece,” Webb said. “The theatre is often hired out, too. There have been weddings and even pro-wrestling in the hall.” Vitalstatistix Theatre, which has some major partnerships, also hosts residencies in the hall and its surrounds and frequently stages works across Port Adelaide. Events include an annual hothouse development festival (Adhocracy), a intensive development for single projects (Incubator), social issuebased projects that develop new works (Creative Communities) and more. Venues come in all incarnations across Adelaide, its suburbs and in country South Australia, including the historic Arts Theatre in the city and the Domain Theatre at suburban Marion. Eclectic alternatives include pop up Fringe venues, sheds, riverbanks, rivers, grand gardens and whatever imagination can drive. Importantly, the enduring venues survive out of the sheer passion of people such as the indomitable Malcolm Harslett of Star Theatres and many others. They secure funds, work long hours and infuse their love for the Arts into preserving the bricks and mortar, as well as the history, of places where the magic of theatre happens.

www.stagewhispers.com.au Stage Whispers 29

Broadway and West End star Ruthie Henshall talks to Coral Drouyn about her fabulous life on stage and her upcoming Australian tour. It’s 7.30 on a Tuesday morning and the mellow voiced woman who answers the phone is trying to get her teenage daughters ready for school, just like millions of mums all over the world. The difference is that the multi -tasking woman on the phone is Ruthie Henshall - triple threat musical theatre Diva, television actress, author, recording and concert artist, multiple award winner and, of course, mum of two. She is tentative at first; she’s not so well known in Australia and seems steeled for the usual questions. But we both relax as we talk about her life, her career, and her all-consuming passion for musical theatre. Fate is a strange companion, and for leggy tomboy Val (Valentine Ruth is her middle name) it was a chance encounter in the school playground that determined the path of her future before she hit her teens. “I don’t have any history or ancestry in theatre,” she says, “and I can’t honestly say I had a stage mother or any of the usual reasons performers give. If anything, I owe it to a girl from Primary School; I can’t even think of her name right now. I was into climbing trees, sports, anything physical. But there was this girl, about the same age but quite tiny compared to me, and she used to practise her ballet exercises during school breaks and lunchtime. I wasn’t backwards in coming forwards, and I jeered at her for being a cissy.” She pauses to chuckle, before resuming the story. “I think she was quite hurt, or maybe indignant, because she stood up to me and said, ‘It’s hard, I bet you couldn’t do it.’ Well, I’m an absolute pushover for a challenge, always have been 30 Stage Whispers May - June 2019

competitive, so I tried. And you know what? She was right!” Ruthie pestered her mother for ballet lessons, and didn’t let up until she agreed. “That was it,” she says. “I knew I just wanted to dance for the rest of my life. I was going to be a ballerina,

Ruthie Henshall. Photo: Joseph Sinclair.

and no-one was going to stop me. From that very first dance class I knew I was going to be a dancer. I never had a fall-back plan; I never even contemplated another career. I was driven, and it may have been more bloody-mindedness than vocation.” Perhaps, but Ruthie has said that, to her, the theatre is a church, and it’s there she knows God exists - that sounds an awful lot like a vocation. It was nature that put paid to that first ambition. Ruthie was the right height but not the body shape for a ballerina. It was impossible for her to give up dancing, so she switched to jazz, and enrolled in the Laine Theatre Arts School in Epsom. It was there that she discovered she had a voice. “So now I had two outlets - through my feet and body, and my mouth and heart,” she explains. It was a way of creating a world for her that didn’t include the pain of childhood abuse from a family friend. “I didn’t just live in theatre, I lived for it. And as long as I could dance I was happy. But I was always fiercely ambitious, always determined to be something more than anyone’s preconceived idea of me. There’s that word ‘driven’ again. I suppose I was out to re-invent myself.” At 19 Ruthie was touring the UK, playing Maggie in A Chorus Line, and the following year she joined the West End company of Cats. “It’s a big dance show as you know, and I adored it,” she says. “I played Jemima, Demeter, Jellylorum and Griddlebone. But the real test came when I got to play Grizabella. You have to be a singer, you can’t fake those top notes. It was my first leading role, and ‘Memory’ is the stand-out number of the entire score. I don’t remember being nervous, though I suppose I must have been, but I do remember being incredibly elated. That level of applause, when it’s for you, is highly addictive.” By the time she was 21 she was part of the original cast of Miss Saigon, following it with Stephen Schwartz’s much-under-rated Children of Eden. She went on to play Fantine in Les Misérables and also perform for the 10th anniversary concert and recording of the show.

But it was Crazy For You which earned her the first Olivier Award nomination of five. ‘Star’ is one of those over-worked words which can sometimes seem meaningless, but when your name is over the title on the marquee of a West End Theatre, you can rightly claim the title, and the following year she nailed that status, winning the Olivier Award for Best Actress in a Musical for the London revival of She Loves Me. Was it daunting being so highly acclaimed and winning the award while still in her twenties, I asked her. She laughs with delight. “It should have been,” she answers, “but I was so supremely full of myself that I was convinced I was going to win at least 10. It just never occurred to me it might be a one off. I’m still waiting for the others.” It may have been that the glitter was dimmed somehow by an even bigger prize. Ruthie was seriously dating the Queen’s youngest son, Prince Edward, for five years, and recalls fondly being smuggled into Buckingham Palace in the boot of a Royal car. Ultimately, though, the romance faltered because there was no way Ruthie could bring herself to walk away from theatre. “Of course I thought about it, what girl wouldn’t?” she explains. “We cared so much for each other, but theatre was my first and, in the end, my most important love. Now I have my daughters, and they are my priority.”

Ruthie Henshall - Live and Intimate. Playing at The Studio, Sydney Opera House, June 13; Cremorne Theatre, QPAC, June 18 & 19; Adelaide Cabaret Festival, June 21 & 22. www.ruthiehenshall.com Despite not wearing a tiara, Ruthie went on to conquer Broadway, spending the next 20 years dividing her time between New York and London. She is the only actress to play all three major roles in Chicago, adding Mama Morton in the 2018 revival to her huge success as Roxie (twice) and Velma. Roxie is one of those roles that truly defines the triple threat, but the chances of those roles get slimmer with each passing year. “I guess these days I’d describe myself as a singer foremost,” she says with a twinge of regret, “but, you know, once a dancer … I can’t see myself ever giving up dancing completely. It’s in my blood.” We talk about the new age of theatre schools, and how technique is taking over from individuality. “There’s no doubt that they are brilliant training grounds,” Ruthie explains, “but there is a danger of them becoming assembly lines, with everyone having the same sound, the same persona. I think part - or maybe most - of the reason for the success (Continued on page 32)

www.stagewhispers.com.au Stage Whispers 31

Online extras!

Savour Ruthie Henshall’s rendition of “I Dreamed A Dream”. Scan or visit https://youtu.be/9rbA3PSFhEw

Ruthie Henshall. Photo: James Appleton.

(Continued from page 31)

I’ve had is that I wasn’t like anyone else, nor did I ever try to be. What is the point of trying to be like Julie Andrews, or Chita Rivera, when they do it better. Individuality, something unique, is the key to being noticed in the first place.” So, having appeared in 40 shows, is there a role she didn’t get to play, that she would have loved to. I know she was attracted to Next to Normal,

32 Stage Whispers May - June 2019

but surely Mama Rose in Gypsy is calling to her?” “Aaah yes, I would have loved to play Mama Rose, but Imelda (Staunton) has recently had such a huge success with it that, by the time another revival comes around, I will too old,” she says. “If it could be any role at all, it would be Mary Poppins. I desperately wanted to do that, and a had a bagful of justifications as to how and why Mary could have aged, but I couldn’t convince anyone.”

Not that Ruthie is ever short of work. Before this last outing in Chicago, she had two years playing Mrs Wilkinson in Billy Elliot, and concert and cabaret roles in Britain and the USA. These days she generates her own concert tour through her production company in association with her Musical Director Paul Schofield and Producer Enda Markey. Her new show is called Ruthie Henshall - Live and Intimate. “And it will be both,” she tells me. “I love being in an intimate theatre when I can really connect with the audience; that’s as exciting for me as it hopefully is for them.” The show will consist of the songs she is known for - and yes, ‘I Dreamed a Dream’ will be there - as well as Sondheim and even her favourite pop composers. “They’re all songs I love to sing or have wanted to sing but never had the chance. It’s a show for audience expectations, but also for me too. I have to love it and want to step on that stage and make those song real.” Ruthie may sing “I Dreamed a Dream”, but her life has been a success story of making that dream into her reality.

www.stagewhispers.com.au Stage Whispers 33

Lighting & Sound Feature

Kosky’s Animated Magic Flute Audiences in Perth, Adelaide and New Zealand enjoyed a lavish production of Mozart’s The Magic Flute earlier this year. The production from Australian director Barrie Kosky, for the Komish Oper Berlin and the UK theatre company 1927, captures the vaudeville anarchy of the original opera.

“The entire set is only a couple of metres deep. It is basically a screen for projected animation with a few revolving platforms at various levels resembling statue plinths for the singers. The whole effect is mind blowing. Anything is possible - pink elephants lounging in giant martini glasses, forests of flowers, mechanicals and clocks, anything of whimsy and fantasy can be conjured and disappeared in a blink.” -Barefoot Review. “The white wall set allows the kaleidoscope of “He turns “Flute” into a dazzling live-action cartoon. A colourful animations to create scenes around the large screen on which animation is projected has various characters - the fluidity of these and precision of timing by cut out doors and platforms for the characters to pop in the actors, create a mesmerising dreamscape.” -Shelley and out. Rather than projected opera, Met style, Kosky’s Hampton, Stage Whispers. idea is projected animation as living theatre.” -Los Angeles Times. This image and above: The Magic Flute. Photos: Tony Lewis.

34 Stage Whispers May - June 2019

Clearlight Shows News Clearlight Shows’ Hire Manager Martin Bowman is celebrating 25 years in the job. He’s pictured here at the Entech Roadshow giving the company’s latest product - a Swefog haze machine - a work out. Martin says the industry has changed radically since he started, nominating the introduction of LED fixtures in the early 2000s as the most exciting new development of his career. He says the job of Hire Manager requires a good problem-solving brain. Martin says the most common mistake that customers make is that they focus so hard on their lighting rig that they forget to order necessary extras: cabling leads, spare bulbs and colour filter. Clearlight Shows offers one of Australia’s largest range of theatrical lighting equipment for hire. “It’s ultimately my client relationships that I enjoy the most. Hearing about their families and what they do in their spare time etc. I love solving problems, like when a certain piece of gear is needed and then being able to work out what would suit them best,” Martin said. “Hearing that a hire (especially a long term one) was flawless is the ultimate feeling.” Clearlight Shows Pty Ltd has now been trading for 40 years under Director John McKissock. It carries a large range of the latest LED fixtures and moving lights, through to consoles and followspots. The company prides itself on meticulously maintained and competitively priced equipment, backed by a well-stocked sales department offering gels, gobos and tapes.

Clearlight Shows has a special offer exclusively for Stage Whispers readers. See the 20% discount code (and terms and conditions) in the ad below. Call (03) 9553 1688 today to claim your hire gear discount. Check out Clearlight Shows’ 2019 Hire List at https://bit.ly/2Knd6rB or contact Martin in their Hire Department at hire@clearlight.com.au

Online extras!

Find out more about the Swefog 1K8 haze machine available from Clearlight Shows. https://youtu.be/l36TO5C5kXg

www.stagewhispers.com.au Stage Whispers 35

Lighting designer Aron Murray, a NIDA student in the MFA Design for Performance degree, explains the lighting design for Roberto Zucco, an upcoming production. Guest Director Robert Schuster, from the Ernst Busch Academy of Dramatic Art in Berlin, will stage French playwright Bernard Marie Koltes’ last play, which focuses on the life and crimes of the notorious 1980s Italian serial killer, Roberto Zucco. Asking where does evil come from, the play explores excess, social violence and alienation, with Zucco the image of a depressive world searching for meaning. Challenging the actors to abandon their own moral determination and inhibition, the piece exposes Zucco as an angel of death that everyone seeks, yet no one understands. The design is a three-story structure that sits on a revolving stage in the NIDA Parade Theatre. The scenes take place within that structure, at different heights or rooms. The lighting is projections and light sources that emanate out from it and within it. “What we are interested in with Roberto Zucco is exploring how

36 Stage Whispers May - June 2019

lighting and video can be brought together to create a more dynamic, living space than is traditionally possible with lighting or video alone,” says Aron. “In the work we are making use of projection technologies to cast textures onto the set that simulate reflections and light wash from the world beyond the play. In this way, we are trying to add detail back to the image onstage that is usually lost through lighting’s process of approximation. “The set is a multifaceted, multistorey building that sits on a ten metre wide revolve. As the set rotates it reveals different rooms and scenes

to the audience. There are a number of practical lights within the revolve to light the scenes locally and give the feeling of living, and in some cases lived-in, space. In some instances these practicals are directly interacted with by the actors on stage and in others instances their operation is cued from the lighting console. The lighting rig is still being developed but consists mainly of conventional fixtures with a complementary assortment of moving lights, all controlled from a front-of-house console. “There are obvious challenges with lighting and projecting onto a revolving set, especially with the degree of localisation and accuracy that the work requires. We are looking to explore different approaches for tracking the revolve’s position and ways that this data could then be used to aid or augment the lighting and video systems.”

Lighting & Sound Feature Cisterne is particularly proud of his work as the lead lighting design consultant on the upgrade to the First World War galleries at the Australian War Memorial in Canberra, including new lighting designs to the dioramas. Cisterne describes how diverse his working day can be, taking him from discussing an upcoming production with a choreographer in a dance studio, to running through cues with a director of a theatre work that’s Spartacus. bumping in, to meeting with a Photo: Jeff Busby. construction manager on a building site to pass on instructions for the electrical contractor. Cisterne’s advice to budding lighting designers is to become a part of the industry by taking in everything A passion for Lighting Design has propelled 2002 WAAPA graduate that’s available. Benjamin Cisterne into a successful career. “See every performance you can. Benjamin Cisterne has worked as a field I found myself often referring Go to every art gallery and museum, lighting designer for 20 years with back to those basic principles taught and see every film you can. Start numerous major companies. at WAAPA when beginning a building a library of ‘intel’ in your “When I was a kid, I really enjoyed project.” head and start collecting imagery that pulling things apart and working out Cisterne now runs his own lighting interests you for any reason,” he how to put them back together,” design and consultancy business, recommends. explains Cisterne. “I was really working as a designer and design “If you can, go to university. Once interested in the mechanics and manager for Performing Arts out of uni, take some time to travel. technology of how something companies, museums, exhibitions and There are so many opportunities to go worked. on architectural projects throughout on tour and spend time in Europe, “By the time I was 14, I was doing Australia and the world. Asia or the US. It will enable you to the lighting at school for the drama His most recent work with the see more of the world. Your career productions, so it all really started by Australian Ballet on Spartacus was his will naturally unfold if you’re me following what I was naturally sixth collaboration with the national interested in the industry and become interested in doing.” company. a part of it.” After working as a general technician, doing lights and sound for independent theatre companies in Sydney, Cisterne was encouraged by lighting designer and former WAAPA lecturer Joe Mercurio to study lighting design at a tertiary level. Cisterne was accepted into WAAPA where he trained under Mark Howett and Efterpi Soropos. “The WAAPA course was well rounded and I entered the industry with a solid base knowledge of the roles I could fulfil,” he says. “When I graduated, I spent my first five years in the industry as a junior, building on that learning and increasing my knowledge and skill set. Later with my move into the design

A Love Of Lighting

www.stagewhispers.com.au Stage Whispers 37

“I also got to sit alongside Ivan Sen, the Director, and his Assistant Lighting & Sound Feature Director, which was really exciting just to be in that environment and watch them in their element.” Ms Johnson said she came into the Diploma of Screen and Media course expecting to learn the theory based side of productions, but never imagined she would gain real world experience on a movie set. “Being on a real-life movie set so early on in my course has far exceeded my expectations of what I thought I would be doing during my TAFE course here on the Gold Coast. “I didn’t comprehend the vast amount of work involved in bringing a movie to life and now I have a new found respect for every single member Movie magic has made its way to the TAFE Queensland Coomera Creative campus with a full production team onsite filming Australia’s of a production crew because every element, big or small, is extremely next big romantic sci-fi film, Loveland, supported by the Queensland important and vital to the film’s Government through Screen Queensland. success. The campus is buzzing with actors TV) course, has already had once in a “The experience has inspired me to such as Hugo Weaving, Ryan Kwanten lifetime opportunities to work with be proactive about getting into the and Jillian Nguyen as well as the film crew. industry and to create my own work producers, cameramen, sound “Clapping the movie slate for a and be that person who is sitting in technicians, hair and makeup artists, scene of Loveland was by far the most the Director’s chair.” costume stylists and set designers unreal experience to date,” said Miss A purpose built set to simulate a from Bunya Productions, which is Chinese influenced mega-city has Johnson. headed by Director Ivan Sen. “To step foot on a real movie set been created at the Coomera Creative Kiana Johnson, who is just seven and to be able to not only see behind campus with other portions of the weeks into her TAFE Queensland the scenes but to be actively involved movie being filmed in Hong Kong, Diploma of Screen and Media (Film & is a dream come true. Brisbane and parts of the Gold Coast.

Lights, Camera, Action!

38 Stage Whispers May - June 2019

Advanced Wireless Tips Artie Jones from Factory Sound follows up his Sound Advice from last issue, where Rule #1 was ‘Scan, Scan, Scan’, this time focussing on the successful, hassle-free integration of multiple wireless systems. (Missed the first instalment? Visit http://bit.ly/2VUkuMq.) Antenna Splitter When using a good quality wireless microphone system, it will have True Diversity technology, meaning that the receiver will determine which of the antennas is receiving RF (radio frequency) the best, and instantly switch to that antenna. True diversity provides a constant signal, no matter where a performer moves on the stage. The problem with multiple wireless is, with two antennas per system the abundance of antennas can cause extra cases of Intermodulation (interference between radio frequencies). A good quality antenna splitter will allow you to use just two antennas to pick up all the wireless RF signals on stage, and then feed those signals to the relevant receiver in the rack of RF goodies. Not only is it neater, it also improves RF performance. Types of Antennas Generally, there are two kinds of antennas to choose from - Directional or Omnidirectional. In a smaller theatre (especially relevant in a multipurpose auditorium), omnidirectional antennas may seem easier to use, because their performance it is not dependent on specific orientation. Unfortunately, you may also end up getting interference from sources that aren’t relevant to your audio, including nearby LED panels or LED lighting. Directional antennas have the advantage of being able to focus on an area, thus rejecting sources of interference. They are also able to reach (pick up signals) farther in the direction they’re pointing than what is possible with an omnidirectional antenna.

ensure overlap of the ‘lobes’ of your antenna pickup patterns, helping to maintain the true diversity of your wireless system. They can either be positioned both at the front of stage, or both at the back of stage. Get them up high, but not too high. Somewhere between 2m to 3m is ideal, and remember, mounting them on some lighting truss could cause unwanted RF interference. To Boost, Or Not To Boost? This is one of those “a little bit of knowledge can be dangerous” situations. Products that come under the Antenna Booster category do not help ‘boost’ the effective reach distance of your receiving antennas. Correct

placement is the best way to cover your stage area. Antenna boosters are very useful to counter the detrimental effects of having a long cable run. Boosting helps negate the attenuation of your signal that occurs between your antenna and splitter, when a long cable run exists. However, for most smaller stages, where 15m of good quality antenna cable (stranded, solid core, low loss, 50 ohm) is adequate, using any Antenna Booster will adversely affect the signal, causing your audio signal to be degraded, and losing some of the ‘top end’ brilliance. As always, get in touch with RF specialists when it’s time to expand or refine your system.

Antenna Placement Best practice for theatrical stage settings is to place your two directional antennas 3 metres apart, pointing in towards the talent hot spots. This will

Contact Factory Sound for advice, sales and hire for your next project www.factorysound.com www.stagewhispers.com.au Stage Whispers 39

Black Is The New White (2018). Photo: Prudence Upton.

Playwright Nakkiah Lui’s smash hit comedy turns perceptions of black and white Australia on their head. When the daughter of a very middle-class Aboriginal family falls in a love with a white boy, all hell breaks loose when they meet for Christmas. Newly published by Allen and Unwin, it’s set for seasons in Adelaide, Melbourne and Perth after two sell out Sydney Theatre Company seasons. Scene 2

JOAN:

[Lounge room. Joan and Ray enter. Joan struggling to hold numerous presents and bags. Ray tapping away at his phone. Joan drops everything.]

RAY:

JOAN: RAY:

Ray! Get off the phone. Wait there…Get this - old mate sack-awhack Dennison Smith just tweeted that rocket is better than iceberg. What a tosser! Just when you think this man can’t be any more of an idiot turns out he’s even more stupid when it comes to lettuce. Get off the bloody phone and help with the bags. Alright, alright. But first, what should I say to him? “Lettuce pray for tossers like you” Hmm. No good. Joan, what should I reply? Joan? You know, I hadn’t wanted a cigarette for a good twenty years until you joined Twitter now I want one every day. What is a good reply? Joan, what should I say?

40 Stage Whispers May - June 2019

Tell him that “Iceberg brought down the Titanic down” or something. I really don’t care. Yes that’s it brilliant.

[Ray leaves and brings in more bags. Joan starts unpacking presents.] NARRATOR: Joan met Ray at a Deaths in Custody March in 1980 in Redfern, Sydney. It was love at first sight. She had just returned from working on Thursday Island as a remote area nurse. She loved it there: the soft harshness of isolated island life, the sea water and the sun. She was from the heart of the bush and grew up in a tent by the river. But by the sea she felt at home. And up on the islands, as a RAN, she had a lot of responsibility. She helped people. People trusted her. And she trusted them. [Later this scene] [Ray pulls a very agreeable pose. They start kissing. They start to undress each other whilst the narrator speaks. JOAN takes more control until Ray is pretty close to nude.]

NARRATOR: Francis met Charlotte three months ago on a night when he was particularly poor and particularly cold in London. He is no longer cold. Or in London. But he is still very poor. Something that was never an issue for him, until he fell in love with Charlotte. You see, Francis is an experimental classical composer, which in our day and age there is not too much demand for. It is an antiquated profession. Much like ballet shoe makers, butter churners and playwrights. Now, the fact that there is not much money to be made in the world of modern experimental classical composition is something Francis thinks about often. In fact, he thinks about this right now, as he ventures out nude to get a snack. [FRANCIS ventures out nude to get a snack. He sees RAY (semi-nude) and JOAN kissing and screams. JOAN spots him and screams. FRANCIS screams more. RAY screams. It’s a festival of hands covering penises and yelling.] RAY:

WHO ARE YOU?

[FRANCIS grabs a pillow to cover up his bits.] FRANCIS: RAY:

I am so sorry! Oh, God! I should have put on pants. I knew I should have put pants on. I just had this feeling, you know... WHO ARE YOU?

[CHARLOTTE comes wandering in wearing a silk dressing robe.] CHARLOTTE: Francis - can you make me one of those goat cheese things - Oh, God. Mum. Dad. Why are you - oh no - oh, gross. JOAN: Charlotte! My darling girl! Come here! [JOAN scoops CHARLOTTE into a hug while she looks on, mortified.] CHARLOTTE: Please tell me I didn’t interrupt anything. Please tell me that. I beg you. Please. RAY: We tell you?! How about you tell us! Under my roof, in my... JOAN: Oh, Ray, shut up, she’s a grown woman. Charlotte! I should have realised you would arrive before us! RAY: Who is this...naked White boy?! CHARLOTTE: Dad, this is Francis. My partner, Francis. [FRANCIS holds out one hand] RAY:

Partner? You mean boyfriend.

[RAY doesn’t shake his hand, so JOAN does.] CHARLOTTE: I mean partner, Dad. JOAN: I would hug you, but let’s save that for when you have some clothes on. Ray, shake his hand.

www.stagewhispers.com.au Stage Whispers 41

Online extras!

Script Extract

Watch a preview of Black Is The New White. Scan the QR code or visit https://youtu.be/ifg-DXG-WTQ

Black Is The New White (2018). Photo: Prudence Upton.

(Continued from page 41)

RAY: JOAN: FRANCIS: RAY: JOAN:

I’m not shaking a naked White boy’s hand. It’s not right. Shake it. Look, it’s fine. Thank you, but it’s fine. It’s not fine. It’s disrespectful. How dare he be nude...and White...under my roof. Raymond! Shake his fucking hand.

[RAY gives in and shakes FRANCIS’s hand.] FRANCIS:

I promise I’ll try and keep the nudity limited to showers. Unless you don’t want me to shower nude. It’s up to you. How I shower. Or not. That’s weird. Uh, well, I’m going to excuse myself now. To uh...put on some clothes.

[JOAN admires FRANCIS’s bum as he walks away.] JOAN:

He is very handsome for a Whitefella, isn’t he? CHARLOTTE: Very. [RAY fixes himself a drink.] JOAN: RAY: JOAN: RAY:

You’re drinking. Scotch. I didn’t ask, I observed. I need it.

42 Stage Whispers May - June 2019

JOAN: RAY: CHARLOTTE: JOAN: RAY: JOAN: RAY: JOAN: CHARLOTTE: JOAN: CHARLOTTE: JOAN: CHARLOTTE: RAY: JOAN: CHARLOTTE: RAY:

It’s barely 10 am. I just saw my daughter and a White... you know... I’m sorry you had to see that. He’s not usually naked. I mean, most of the time he’s quite clothed. Ignore your father. Ignore me? I’m not the one who was naked! You know what the fair thing would be to do? Swapsies. You’ve seen his, now show him yours. I am not showing the White boy my budhoo, Joan! I was joking, Ray. Stop taking everything so seriously. I’m really sorry. We didn’t think you were arriving so early. How long have you been here? A few days. And you didn’t tell us sooner? I just needed some time to think. That last case was really . . . hard. That was a great case, daught! It was very public. I was worried about you. No, not hard because it was public. It just felt that maybe . . . At certain points . . . I was out of my depth. Rubbish. You’re a leader.

CHARLOTTE: Oh, Dad, I’m really not. RAY: You won. The agreements with the mining companies will be made. The communities will be paid. You have made a difference, Charlotte. It was a brilliant case, you won and should be very proud. CHARLOTTE: I mean, from the outside it looks that way. RAY: This was the kind of thing I dreamt about when I was working. JOAN: You mean we dreamt about when we were both working. [JOAN’S phone rings.] JOAN:

That’ll be your sister. I better take it. So good to see my baby again.

[JOAN gives CHARLOTTE a kiss and hug and leaves.] RAY: CHARLOTTE: RAY: CHARLOTTE: RAY:

Drink? Bit early, don’t you reckon? It’s always 12 o’clock somewhere. Then yes. A big yes. Is it really always 12 o’clock somewhere?

[RAY fixes CHARLOTTE a drink.] RAY: CHARLOTTE: RAY: CHARLOTTE: RAY: CHARLOTTE: RAY: CHARLOTTE: RAY: CHARLOTTE: RAY: CHARLOTTE: RAY: CHARLOTTE: RAY:

CHARLOTTE: RAY:

CHARLOTTE:

This scotch is 22 years old. Did you know that? No, I did not know that. See how it’s not young and White? Means it’s good. Makes all the difference. Please don’t be hard on him, Dad. Who? Francis. The naked White boy? The naked boyfriend. My naked partner. If he’s a decent bloke I won’t be hard on him. I’m serious about him. If you were so serious, why did we only hear about him a few weeks ago? It’s been fast. Is this really the time to get serious about anyone, Charlotte? I heard about the job offer. How? The head of the network told me at golf. This is huge, Charlotte. You could be the Aboriginal female version of Waleed Aly. This could help massively if you ever decide to go into politics. I told you I’m never going into politics. Yes, but you can be political without going into politics. Look, I’ve been watching that House of Cards show, and these days you probably have more power in politics without going into politics. That’s why I joined Twitter. Dad, about Twitter, you really need to stop fighting with people.

Black Is The New White

Black Swan State Theatre Company From September 11 to 22 at Heath Ledger Theatre, Perth. www.bsstc.com.au Melbourne Theatre Company From October 2 to November 3 at Southbank Theatre. www.mtc.com.au State Theatre Company SA From November 13 to December 1 at Dunstan Playhouse, Adelaide. statetheatrecompany.com.au This is an edited extract from Black is the New White by Nakkiah Lui (Allen & Unwin). www.stagewhispers.com.au Stage Whispers 43

roadway uzz

Moulin Rouge! The Musical. Photo: Matthew Murphy.

By Peter Pinne

Late night TV host James Corden is set to host the 2019 Tony Awards. It will be the second time the actor has appeared in the role. He previously emceed them in 2016. Corden has a history with Broadway, having originally appeared there in 2006 in The History Boys and he later won a Tony for Best Actor in 2012 for One Man, Two Guvnors. A feature of Corden’s Late Late Show is his hysterically funny sequences of Crosswalk the Musical, where he and a bunch of Broadway actors rush out and take over a street crosswalk and perform a Broadway musical while the traffic light is on red. He’s constantly giving exposure to Broadway, so it’s entirely appropriate he get to host the award night. The 73rd annual Tony Award ceremony will be held at Radio City Music Hall on June 9, 2019. Hugh Jackman is to return to Broadway in a revival of Meredith Willson’s The Music Man, playing the role of conman Harold Hill made famous on screen and stage by the late Robert Preston. The musical follows the adventures of Hill as he poses as the head of a boys’ marching band and includes the standards ‘Seventy Six Trombones’ and ‘Till There Was You’. Starring opposite him will be Sutton Foster as librarian Marian. Jackman previously won a Tony as Peter Allen in The Boy From Oz, whilst Foster’s two Tony wins have been for Anything Goes and Thoroughly Modern Millie. Jerry Zaks will direct, with Warren Carlyle handling choreography. It’s due to open as a Shubert Theatre in October 2020. The Music Man last appeared on Broadway in 2000, with Craig Bierko as Harold Hill and Rebecca Luker as Marian. Critics have been salivating over the new, reimagined Oklahoma! - ‘A revelation you might almost mistake for a new work’, ‘A stunning radical theatrical experience’ and ‘How is it that the coolest new show on Broadway is a 1943 musical?’ With new orchestrations for a plaid-dressed seven-piece group that sounds almost country and bluegrass, Rodgers and Hammerstein’s theatrical jewel has indeed had a new coat of paint, with Daniel Fish’s revelatory reinterpretation that has Curly strumming a guitar as he sings ‘Oh, What a Beautiful Mornin’, the walls of the theatre covered with plywood and plastered with rifles, and Mary Testa as Aunt Eller cooking chilli and cornbread during the show to serve to the audience at interval. It’s been called the most ‘thrilling musical on Broadway this season’. The success of the production has inspired television interest, with the announcement that Skydance Television is readying a present-day series based on the musical to shop to cable and streaming platforms. It will include music by Rodgers and Hammerstein as well as new tunes. John Lee Hancock (The Blindside) and Bekah Brunstetter (This Is Us) are set to write the adaptation. 44 Stage Whispers May - June 2019

Online extras!

Enter the magical world of Moulin Rouge! The Musical. Scan or visit https://youtu.be/_PGeiVBV_QQ In 1937 Marc Blitzstein’s The Cradle Will Rock was just as revolutionary as Oklahoma! was six years later. A legendary agitprop musical, whose backstory has taken over the piece in popular culture, gets the John Doyle stripped-down treatment in a production with his Classic Stage Company. In 1937 the musical was funded by the Federal Theatre Project and was shut-down by its government agency on the eve of opening night. The director Orson Welles, producer John Houseman and Blitzstein led the company and audience to a vacant theatre 20 blocks away and proceeded to give the performance with Blitzstein on solo piano as accompaniment. Since then it’s had four Broadway incarnations: with Alfred Drake (1949), Jerry Orbach (1964), Patti LuPone (1983) and Raul Esparza in a 2013 Encores! Off-Center production. Today, according to the reviewers, the satire seems very heavy-handed and laboured in the story’s fight between unionism and big business, but the performances have been praised - West End performer Sally Ann Triplett as Mrs Mister, the wife of the capitalist, Lara Pulver (Louise in London’s Gypsy) as the prostitute Moll and Tony Yazbeck (On the Town) as the union leader Larry Foreman. Critic Steven Suskin claims that ‘Doyle and CSC do not reveal The Cradle Will Rock to be an all-time masterwork, but it is a compelling production of a compelling piece of writing.’ After its sold-out pre-Broadway run in Boston, Baz Luhrmann’s Moulin Rouge! The Musical begins previews 28 June 2019 at Broadway’s Al Hirschfeld Theatre. Aaron Tveit (Next To Normal/Grease Live) and Karen Olivo (West Side Story) are still attached as the ambitious American-born writer Christian and Satine, the nightclub’s bewitching chanteuse, played in the movie by Ewan McGregor and Nicole Kidman. The colourful cast of characters at the Moulin Rouge include artist Toulouse-Lautrec, his bohemian friends, and a wealthy duke who becomes a rival for Satine’s affections. Direction is by Alex Timbers, choreography by Sonya Tayeh and design by Derek McLane. The first act concludes with a medley of love songs that encompass more than 20 Top 40 tunes from multiple eras, sung by Tveit and Olivo.

London Calling

Jay McGuiness as Josh Baskin in Big. Photo: Matt Crockett.

By Peter Pinne Renée Fleming (Carousel) and Dove Cameron (Liv and Maddie) are to star in Adam Guettel’s The Light in the Piazza, which is to get its first London showing at Southbank Centre’s Royal Festival Hall commencing June 14, 2019. Fleming will play the mother, Margaret, opposite Cameron as the daughter Clara. Other cast members include three-time Olivier Award winner Alex Jennings (My Fair Lady/The Queen) as Signor Naccarelli, and Rob Houchen (Les Misérables) as Fabrizio. The musical will be accompanied by Opera North’s 40-piece orchestra. Based on Elizabeth Spencer’s 1960 novel about a mentally challenged young woman who finds love in Florence while vacationing with her mother, the musical was a multiple Tony Award-Winning hit on Broadway in 2005 with Victoria Clark, Kelli O’Hara and Matthew Morrison. Fleming is also booked to reprise her performance for L.A. Opera and Chicago’s Lyric Opera later this year. Cameron will join her for the L.A. season. Amanda Muggleton is to star in the UK premiere of Coral Browne: This F***ing Lady, which plays the King’s Head Theatre, 19 May - 3 June, 2019. Written and directed by Maureen Sherlock, the one-woman play looks at the life of the Australian actress Coral Browne, who was born in Footscray and arrived in London in 1934 at 20 with 50 pounds in her pocket. With driving ambition, she conquered the West End and became a brilliant classical actor with the Old Vic and The National. She starred in the movies Auntie Mame as Vera Charles and The Killing of Sister George as Mercy Croft. She was also known for her flamboyance, biting wit and ribald sense of humour. The play premiered last year with Genevieve Mooy at fortyfivedownstairs, Melbourne. Muggleton most recently has appeared in Hairspray - The Arena Spectacular and Annie. Her TV credits include series regular Chrissie Latham in Prisoner. Disney Theatrical Productions and Cameron Mackintosh have announced that Petula Clark will be part of a revival production of Mary Poppins, which will also star Zizi Strallen as Mary Poppins and Charlie Stemp (Half a Sixpence/Hello Dolly!) as Bert. Strallen recently played the role in a sell-out international tour. Clark was last seen in the West End in The Sound of Music and Sunset Boulevard. The production will play its original London home, the Prince Edward Theatre, following the run off Disney’s Aladdin which closes late August. Mary Poppins begins previews 23 October prior to an official opening 13 November, 2019.

Online extras!

Something Big is coming to London’s West End. Scan the QR code or visit https://youtu.be/jhVOJdNv6vs

Lynn Nottage’s 2017 Pulitzer-Prize winner Sweat, which had an acclaimed run at Donmar Warehouse from December 2018 to the end of January 2019, is to play a West End season at the Gielgud Theatre, 7 June through 20 July. Martha Plimpton from the original cast will reprise her performance, directed by Lynette Linton. The play originally premiered at the Oregon Shakespeare Festival in 2015 and was produced OffBroadway in 2016 and on Broadway in 2017. It examines the industrial working-class inhabitants of Reading, Pennsylvania, one of America’s poorest cities at the turn of the millennium and what happens when a heavily unionised factory shuts out its workers when some of its machines are relocated to Mexico and its workers are offered a take-or-leave-it offer of a 60% pay cut to remain in work. According to London Theatre ‘though the action long predates Trump - and he’s never mentioned - this play helps to contextualise with astounding clarity just how his rise happened. And it is both chastening and bruising to watch.’ Twenty-three years after its Broadway opening Richard Maltby and David Shire’s Big is to open in the West End. Jay McGuiness will star as Josh Baskin, the 12 -year-old whose wish to be ‘big’ is granted and he finds himself trapped inside an adult’s body and forced to live and work in a grown up world. McGuiness, who was part of the boy-band The Wanted, originated the role in 2016 at the Theatre Royal, Plymouth. Jason Donovan is to star as Pharaoh alongside Sheridan Smith (Legally Blonde/Funny Girl) as the narrator in an eleven week limited season of Andrew Lloyd Webber and Tim Rice’s Joseph and the Amazing Technicolor Dreamcoat. It plays the London Palladium from 27 June, 2019. Jac Yarrow will make his professional stage debut in the title role. It will be directed by Laurence Connor, whose most recent musical theatres credits include Miss Saigon and School of Rock. www.stagewhispers.com.au Stage Whispers 45

Stage on Page

Scottish company based in Paisley which operated extensively in Europe. For the duration of the war her father By Peter Pinne was interred but in 1915 the family managed to get to Paris and finally I Have A Song To Sing - Viola Tait (1942) and The Dancing Years (1946) back to Paisley. In Scotland the family (Theatre Heritage Australia/Tate had to deal with persecution because in Australia. But another important Memorial Trust) role was being wife and sounding they spoke German and later because (avenuebookstore.com.au $39.99) board to Frank Tait, the youngest of of her mother’s health they moved to Viola Tait’s memoirs languished in the theatrical family of Tait brothers Largs, by the sea. her ‘theatrical basket’ for years before who managed J.C. Williamsons Music was always in the house she finally began in earnest to write Theatres. and Viola learned to play simple tunes them, but ill health got in the way Viola Tait was born in 1911 in by ear on the piano. But it was in and the manuscript was only partly Pressburg (now called Bratislava, the Largs that Viola got the stage bug completed at her death in 2002. capitol of Slovakia), a city on the River when she saw the variety troupe, Elisabeth Kumm, who had assisted Danube near Vienna. Her parents Alvin Sawyer and his Smart Sea her on her previous book Dames, were Scottish and her father managed Cadets, and at 17 was enrolled at the a branch of J. & P. Coats’ Mills, a Principal Boys … and all That: A Glasgow Athenaeum School of Music History of Pantomime in Australia to study piano and voice. (2001) came to the rescue and In 1935 the Royal Carl Rosa Opera Company came to Glasgow and it completed it. Bravo to Elisabeth for doing so because it’s a marvellous was pure chance that Viola met the evocation of a theatrical era long owner of the company Mr H.B. Phillips, who asked her to audition for passed and an enlightening look at life behind and in front of the the forthcoming six week London footlights. season. She did and so began her Viola Tait’s career saw her singing professional career in Die Fledermaus. principal roles with the Royal Carl She later became a permanent Rosa Opera Company in London and member of the company and South Africa, playing principal roles appeared in Carmen, Tales of with the D’Oyly Carte Opera Company Hoffman, Faust and Rigoletto. She in London and New York, appearing toured South Africa as Nedda in in Gilbert and Sullivan for J.C. Pagliacci and The Gypsy Baron, later Williamson, and starring in Lilac Time premiering the English version in Nottingham in 1938. It was during this period her salary was increased Online extras! from 6 pounds to 8 pounds per week. Get your copy of I Have A Song To Sing from Avenue The Carl Rosa Company was also Bookstore. Scan the QR code or visit where for the first time she met Ivan http://bit.ly/2ItaOo5 Menzies, who would later head the JCW Gilbert and Sullivan Company which brought her to Australia in 1940. Viola appeared in The Gondoliers with matinee idol Max Oldaker, but it was Menzies who was the audience favourite. When the company decamped to New Zealand, it was on the tour that she married her ‘boss’ Frank Tait. Viola continued to perform after her marriage, in Lilac Time (1942) and Visit our on-line book Nightbirds (1942), but after The Dancing Years (1946) she quit to shop for back issues devote her time to her family. During time as Mrs Frank Tait, Viola saw and stage craft books her many successes for “the Firm” including the 1948 Italian Grand season with Rina Malatrasi in www.stagewhispers.com.au/books Opera Madame Butterfly and La Boheme,

Stage Whispers Books

46 Stage Whispers May - June 2019

the 1955 Old Vic Company’s Shakespeare season with Robert Helpmann and Katherine Hepburn in The Merchant of Venice, The Taming of the Shrew and Measure for Measure, Margot Fonteyn’s appearance with the Borovansky Ballet, a co-production with Garnet H. Carroll in 1957, My Fair Lady, which saw Williamsons mount two companies with one touring New Zealand and South Africa, and the Sutherland/Williamson Grand Opera Company in 1965 with the then reigning opera diva in the world, Joan Sutherland, and a young Luciano Pavarotti. It’s a wonderful memoir which evokes the heady smell of greasepaint on every page and comes with B&W and colour photos and an index.

Dalton and Ginters sketch in a brief history of Australian University drama before they get to the period in question, when there were two theatrical groups on campus: Sydney University Dramatic Society (SUDS) and Sydney University Players (Players). At the time in Sydney, apart from the big commercial entrepreneurs like Williamsons and Carrolls who produced West End and Broadway hits, there was no one presenting alternative drama except Doris Fitton’s Independent Theatre. The University groups filled a gap. SUDS and Players were the first to perform any plays by the existential playwrights Samuel Beckett, Eugene Ionesco and Jean-Paul Sartre. The work of Bertolt Brecht was first seen in Australia at the University, where a memorable production of Mother The Ripples Before The New Wave Courage (1962) featured Germaine Greer in the title role. Drama at the University of Sydney 1957-63 by Robyn Dalton and Laura Shakespeare provided the Ginters (Currency Press $39.99) launching pad for John Bell in an acclaimed Twelfth Night (1960) This book also documents an important snapshot of Australian directed by Ken Horler, and for John theatrical history that has never been Gaden in Coriolanus (1962), also in print before. At the head of an directed by Horler, only its second early chapter Mungo McCallum is production ever in Australia. quoted, “The years 1957 - 1963 have Leo Schofield was a jack-of-allgone down in folklore as a sort of trades with Gilbert and Sullivan’s HMS golden age at Sydney University: an Pinafore (1959), handling direction, outpouring of creative talent production, promotion, and costume unmatched since the Athens of and set design. In fact the workload Pericles or the Florence of the Medicis. was so big he had to take annual Even I, as one who was there, am prepared to admit that this is probably something of an exaggeration.” Inflated it may be, but Robyn Dalton and Laura Ginters’ book certainly makes a case for it. With a cast list that includes: Clive James, Germaine Greer, Bruce Beresford, Robert Hughes, Madeleine St John, Les Murray, Bob Ellis, Richard Brennan, Jill Kitson, Ron Blair, John Bell, Richard Wherrett and Leo Schofield, it was a busy hive of creative energy.

Online extras!

You can pick up The Ripples Before The New Wave from Currency Press. Scan the QR code or visit http://bit.ly/2IpiBmY

leave from his day job as a cadet reporter from the Sydney Morning Herald to handle it. A big success, he followed it with an even more ambitious production of Henry Purcell’s masque The Fairy Queen (1960), with Jill Cameron (Kitson) as Titania and John Bell as Oberon. But there were other landmark productions. The Sydney University Dramatic Society staged the first performance anywhere in the world since antiquity of Menander’s Dyscolas (1959), and the German Department’s production of Ludus de Resurrectione, featuring Andrew McLennan as Jesus and poet Les Murray as Satan, was the first time this Easter play had been presented since 1473. Revue was a feature of University drama, which in the early fifties produced the Phillip Street trio of wits, Lance Mulcahy, John McKellar and Gerry Donovan. Peter Stannard and Peter Benjamin also wrote for revue long before they created Lola Montez. In fact the icy pen of satire was pointed at that show in Dead Centre (1959), in which Lola Montez and Lolita were mangled to become “The True Story of Lolita Montez”, with the two stories contrasting Lolita’s extreme youth and seductive traits with Lola’s age. Performed by Madeleine St John in red hair, cape and a whip, she was described by Honi Soit as a “roly poly barrel of fun”. Revue was where Ken Done and Martin Sharp had their first experience designing program covers. Victoriana was a popular and lucrative entertainment which the groups enthusiastically presented each year. Although Arthur Dignam, Malcolm Robertson and Peter Carroll all went on to do major work in the theatre, University drama was their school. When Bell was told by Robin Lovejoy there was no place for him at the Old Tote Theatre following the success of The Legend of King O’Malley (1970), he, Horler and Wherrett founded Nimrod, which ironically became the cutting edge of the ‘New Wave’. Dalton and Ginters book is an engaging read and comes with B&W and colour images and an index. www.stagewhispers.com.au Stage Whispers 47

As Emma, the girl at the centre of the storm, Caitlin Kinnumen is sweet and appealing and scores big-time on the pop ballads “Just Breathe”, “Unruly Heart”, and the show’s theme song “Dance With You”, a duet with her By Peter Pinne girl-friend Alyssa (Isabelle McCalla). Beth Leavel has a great Evie May - Highlights from the Live Australian Cast time as the narcissistic Broadway diva Dee Dee and scores with “It’s Not About Me” and “The Lady’s Improving”, Recording (Hugo Chiarella/Naomi Livingston) (iTunes). A high profile cast, headed by Amanda Harrison and while Brooks Ashmanskas has his flamboyant centre-stage Tim Draxl, features on this recording which springs from moment with “Barry is Going to the Prom”. There’s a Bob the World Premiere production of the musical at the Hayes Fosse send-up called “Zazz”, the school principal Michael Theatre, Sydney, in 2018. It’s the story of a young girl Potts sings an anthem to Dee Dee, which could be the from regional W.A. who becomes a variety star on the anthem for all show tune Tivoli circuit, her life and her loves, and has a score by devotees, called “We Look To Hugo Chiarella (DreamSong) and newcomer tunesmith You”, while McCalla has a lovely tender moment with “Alyssa Naomi Livingston, which is a varied mix of vaudeville and contemporary. It’s also well sung, with excellent Greene”. orchestrations by Steven Kreamer, with an emphasis on Beguelin’s lyrics are witty and Sklar’s tunes continually hit acoustic guitar for the contemporary songs. Amanda Harrison as Evie and Loren Hunter as Evelyn, the mark. Most enjoyable!  her younger self, dominate throughout, with Harrison opening with the haunting “Here I Am” and Hunter later finding pathos in “From This Day”. Bishanyia Vincent Online extras! brings a raunchy burlesque vibe to “Life of a Woman”, Amazon has the Broadway cast while the three girls (Harrison, Hunter, Vincent) punch recording of The Prom ready for you. “They Say I Am Too Young” across in Andrews Sisters close https://amzn.to/2Iu6Iwe -harmony style. Harrison, in a broad Aussie accent, gets terrific comedy mileage out of the vaudeville routine “Forgetful Sod”, a song that pays off with a brilliant punch Summer - The Donna Summer Musical (Songs by Donna Summer, Giorgio Moroder, Paul Jabara & others) (Republic line, while the “Fever” flavoured “The Great Australian B0028917-02) Digger” is an impressive showcase for Hunter. Tim Draxl This jukebox musical tells the life of Disco Queen solos on the reflective “How the World Happened”, Jo Donna Summer using three actresses to portray the star, Turner couples nicely with Hunter on a bouncy “The Only La Chanze, Adriana DeBose and Storm Lever. Directed by You”, “As It Turns” is a reflective waltz on the demise of Des McAnuff, who’s no stranger to jukebox musicals variety and the coming of TV for the company, but it is having created the phenomenal Jersey Boys, the show Keegan Joyce’s mum and son piece, “One Last follows the trajectory of that show but without the mob Chance”, which is the connection spine. poignant cut. This track also All women have their spotlight moment. La Chanze includes the unlisted finale eats up “The Queen Is Back” and “I Feel Love”, which was “Show Me Where To Stand”. the beginning of the electronic dance craze. De Bose lights The album, only available up “Bad Girls” with Lever doing likewise on “On My on iTunes, is a classy addition Honor”. “Pandora’s Box” is tenderly used in a sequence to the burgeoning collection when Summer, as a young girl, is molested by her Pastor, of Australian cast recordings. while “White Boys” from Hair salutes her time in musicals  in Munich. The arrangements by Ron Online extras! Melrose are good, while the Download the album available orchestrations mirror the exclusively on Apple Music. Scan or visit originals (and era) with lots of https://apple.co/2IqIPWk synth sounds. La Chanze’s penultimate “Friends The Prom (Matthew Sklar/Chad Beguelin) (Masterworks Unknown” is a nice emotional Broadway 19075895742). thank you to the audience, and The Prom deliciously skewers ‘celebrity activism’, when a group of self-obsessed actors descend on a middle Online extras! American town to help a lesbian teen take her girlfriend to Stream Summer: The Donna Summer the prom. It’s wildly infectious and irresistibly catchy, with Musical on Spotify. Scan or visit a poppy score that also references Latin, gospel, country https://spoti.fi/2Ity8SI and a whole lot of Broadway.

Stage On Disc

48 Stage Whispers May - June 2019

Something for the Boys (Cole Porter) (PS-1837) PS Classics have been gearing up to record Cole Porter’s 1943 big band swing musical for many years and Mary Poppins Returns (Marc Shaiman/Scott Wittman) now that it’s finally here, it’s time to rejoice. (Disney 8740472) The original orchestrations had been thought lost until Disney’s trip back to Cherry Tree Lane in this Mary they were discovered in a Chelsea, Manhattan warehouse Poppins sequel, with music and lyrics by Marc Shaiman in 1987. Originally written for Ethel Merman, it’s the show and Scott Wittman (Hairspray), cleverly captures the charm with the daffy plot where she receives radio signals of the Sherman Brothers’ original score, which we’re through her teeth. occasionally reminded of with seamlessly integrated Porter’s score is filled with smart numbers - the swing musical quotes. “The Leader of a Big-Time Band”, the eleven-o’clock showEmily Blunt as Mary Poppins delivers a good vocal on stopping comedy duet “By the Mississinewah” and one of “Can You Imagine That” but lacks the warmth of Julie Porter’s most beguiling beguines, the title tune. The Andrews in the role. Lin-Manuel Miranda’s opening Prologue’s “Announcement of Inheritance” is a clever “(Underneath the) Lovely London Sky” is a terrific waltz establishing number that brilliantly condenses the plot, that builds nicely, as is the finale, “Nowhere To Go But “I’m in Love with a Soldier Boy” encapsulates the pop Up”, with a guest appearance by Angela Lansbury. The songs of the period, the rhumba-based “He’s the Right standout tracks are the Cockney knees-up numbers, “A Guy” has some spectacular charts for the woodwinds, and Cover is Not the Book” and the marvellous “Trip a Little while “When My Baby Goes to Town” is a frankly ordinary Light Fantastic” which includes a rhyming slang sequence. number, it becomes extraordinary because of the “The Place Where Lost Things arrangement. In fact the orchestrations and orchestrators, Go” is a lilting ballad sung by four of Broadway’s best, Hans Spialek, Don Walker, Robert Blunt, and other guest Russell Bennett and Ted Royal, are the stars of the appearances feature Meryl recording as it features their dance arrangements for most Streep doing a very Jewish of the songs. “Turning Turtle” and Dick Van Elizabeth Stanley sings the Dyke in a reprise of “Trip a Merman role, sings it well and Little Light Fantastic”. hits all the notes, but the voice  lacks personality. Still, that’s a minor quibble in a first-class recording, handsomely Online extras! packaged, of one of Porter’s Buy the CD soundtrack of Mary Poppins long-lost scores.  Returns on Amazon. Scan or visit https://amzn.to/2It2uVF the disc closes with a frenzied, all-stops-out disco version of “Last Dance”. 

Freaky Friday (Tom Kitt/Brian Yorkey) (Disney D002913002) This telemovie soundtrack loses quite a few numbers from the stage version, but is still an entertaining romp about the mother who magically changes places with her teenage daughter for one day. It opens with a new song, “What It’s Like To Be Me”, which introduces the teenager Ellie. Second track is “Just One Day”, a good opening number with the company. “Parents Lie” is still the most insightful ballad in the score, with “Today and Ev’ry Day” a good finale. Some laughs are missed with the dropping of “Women and Sandwiches” but it’s still a fun and poppy score. 

Online extras!

Purchase the soundtrack from the Freaky Friday telemovie on iTunes. https://apple.co/2Izvnj5

Online extras!

Get your copy of Cole Porter’s Something For The Boys. Scan or visit https://amzn.to/2Iskj71 Rating  Only for the enthusiast  Borderline  Worth buying  Must have  Kill for it

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

www.stagewhispers.com.au/directory-central www.stagewhispers.com.au Stage Whispers 49

A Golden Age Of Student Drama Nineteen year old actor John Bell stamped himself as a star of the future in a student production in 1960 at the University of Sydney. He was just one of an extraordinary group of young student thespians who became leaders in the arts world for decades. Robyn Dalton and Laura Ginters take us back to that golden age in their new book The Ripples before the New Wave: Drama at the University of Sydney 1957-63.

production to wider Sydney audiences. Sydney University theatre, revues and music hall at this time always drew in thirsty audiences in those days, given the few options beyond the Independent and commercial shows. John (‘Sir Toby Belch Steak’) Gaden, and various ladies from the cast provided recipes Mungo MacCallum, the well extraordinarily thin’, as John reminds and a photo op cooking known political journalist and us. Ken’s casting was astute: both demonstration for the cooking pages commentator, has mused that the were outstanding and, as he later of The Sunday Telegraph, while Leo years 1957 to 1963 have gone down mused, “it was an early dry run for talked up his Regency-style costume in folklore as a “Golden Age” of the Johns” who subsequently both designs on the women’s pages of The performing arts at the University of became so successful on the Mirror. Sydney - and 1960 was certainly a professional stage’. While the production attracted high point. Ken also lined up Andrew uneven reviews, focussing on the Young Ken Horler and Leo McLennan (later an esteemed ABC young actors’ vocal inadequacies, the Schofield, the driving forces behind drama producer) to play Sir Andrew critics were unanimous in their the Sydney University Players, had big Aguecheek and he and John Gaden response to John Bell’s performance plans for that year. They had to come aided and abetted one another in as Malvolio. Even his fellow students up with something to compete with uninhibited and drunken buffoonery. were rather stunned. Ron Blair (later their rivals, the prolific Sydney Bruce Beresford and Bob Ellis played acclaimed for his play, The Christian University Dramatic Society the First and Second Officers - Leo Brothers) tells us that ‘I thought “Oh, Australia’s oldest theatre company. lamenting that despite his beautiful they’ve hired a professional person to Riding high on the success of their costume (made by Anne O’Neill, later act Malvolio”, because he was just so recent productions of The Country Schofield), Ellis looked ‘dreadful ... like much better than everyone else, and Wife and HMS Pinafore, they decided a walking question mark’, due to his then, of course, it was John Bell’. to mount an ambitious season of terrible posture. Richard Walsh (who Those in the cast with him were three plays - and donate the profits to would go on to found OZ magazine) aware that this was something the building fund of the planned kept an overseeing eye on the special, as Bruce Beresford recalls: ‘I Sydney Opera House. Aristophanes’ production as business manager, and thought he was absolutely Lysistrata (sure to draw the attention Mungo as Stage Manager made sure phenomenal. I remember I thought it was right on the night. of the State Censor for its “no sex” that that guy is as good an actor as theme, and gain valuable publicity) The cast and crew went all out to anybody, ever; he was really would start them off, and then Leo drum up business and publicise the incredible.’ Actor John Gaden claimed would direct Brecht’s The Good Woman of Setzuan in an Australian premiere. Ken would round things off with Twelfth Night - a production that arguably would set off the later New Wave of Australian theatre. Twelfth Night was on the school syllabus which guaranteed audiences, and the season’s profits. Ken wanted John Bell for Malvolio, even though as a student Bell had only acted in one other university production - the lead in Robert Hughes’ first (and only) outing as a playwright, Dead Men Walking. And after seeing John Gaden in a university production Troilus and Cressida, Horler asked him to play Sir Toby Belch -’despite my being John Bell and Arthur Dignam in Coriolanus.

50 Stage Whispers May - June 2019

John Gaden in the student revue Jump.

The cast of Twelfth Night.

Stage Heritage

Germaine Greer and the cast of Mother Courage.

Twelfth Night ‘was a bit of a revelation, knowing that it wasn’t just fun. Twelfth Night was “proper” with some good people in it and I saw that this was what theatre could be.’ Critics singled out the scene when Malvolio declaims those well-known lines: ‘Be not afraid of greatness: some men are born great, some achieve greatness, and some have greatness thrust upon them.’ This was the moment when an untrained, inexperienced 19-year-old student achieved acting greatness. John Bell’s Malvolio was - according to mainstream press reviewers now flocking to see these university productions - ‘wonderfully entertaining … clever’, ‘triumphant’. Kevon Kemp in The Observer wrote of the ‘quite remarkable playing of Mr John Bell as Malvolio. Here is a young actor whom it is sheer joy to watch; not yet perfected, his realisations do not invariably come off, but even his mistakes are interesting. What he has managed to do is to make every part of his body responsive and active; a remarkable feat in itself. This Malvolio was a creature of the air, toying with space and time, dreaming of grandeurs, the gestures so airborne that the dreams almost took the actor off into the cloudy cuckoo-land he talked of.’ There was now a growing consensus, from both inside and outside the university, that standards of university drama were rapidly improving, due in no small measure to the healthy rivalry between SUDS, dominated by former professional actress, Pamela Trethowan, and the

This is an edited extract by Robyn Dalton and Laura Ginters from The Ripples before the New Wave, recently published by Currency Press. Read Peter Pinne’s review on page 45 and find details to pick up your copy. Players, led by Schofield and Horler. In June 1960 The Sydney Morning Herald wrote that ‘Performances to parallel the qualities of the recent SUP productions of [Leo Schofield’s] The Good Woman of Setzuan and Twelfth Night could decisively send Sydney away out in front to other Australian universities in theatrical achievement, after far too many years among the bedraggled tailenders’. It was no surprise that Twelfth Night was the show that scored the prized gig of representing Sydney University at the annual Australian Universities’ Drama Festival (AUDF) in Adelaide later that year. In Adelaide, however, the production garnered an ambivalent review from Max Harris in The Nation, accusing Horler ‘of hepping up the play with the desperate, twee gimmickry which has so often bedevilled modern English Shakespearian production’. Harris did concede that, ‘While the production was long-winded and effete, it was the result of some kind of intellectual work… In sophistication, intelligence, and professionalism the Sydney group were in a class clearly higher than the other Universities.’ The ‘prestige success’ of this festival, according to Harris, was Michael Boddy’s

production of Brecht’s The Caucasian Chalk Circle from the University of Tasmania. But this festival signified much more than just the best of student drama for 1960. Ten years before Nimrod Theatre was even founded in Sydney’s King Cross, we find gathered in Adelaide the architects of the New Wave of Australian theatre: John Bell and Ken Horler who founded Nimrod, Michael Boddy and Bob Ellis who wrote its first hit show, The Legend of King O’Malley - a play Bell directed and Rex Cramphorn (who represented Queensland Uni at the AUDF and later was a highly influential director) would perform in. Marcus Cooney, acting in The Caucasian Chalk Circle in Adelaide, would team up again with Boddy, and Ron Blair to write Biggles, that opened Nimrod in December 1970. Leo Schofield was there too designing Nimrod’s early productions with Andrew McLennan on stage. Energetic, creative and inventive; this group of young men (no young women, alas) came together in a happy coincidence at the AUDF and the repercussions for Australian theatre would be long-lasting. Here in Adelaide, mostly from that Golden Age at Sydney University, were the first ripples before the New Wave. www.stagewhispers.com.au Stage Whispers 51

Edythe Brook Cooper Playwriting Competition 2020

Edythe Brook Cooper was a member of BATS Theatre Co. Inc. from the late 1980’s until her death in 2003. Her first play to be produced by BATS was Kisses In The Sky, set in Milton, Brisbane behind the Castlemaine brewery, the name referring to the four Xs on the roof. This was followed by many others over the next 20 years. Writing was Edythe’s passion. Many of her plays have been published by The Australian Script Centre. Prior to her passing, Edythe made provision in her will for the Edythe Brook Cooper Trust, established to sponsor a local playwriting competition. Considering Edythe’s affiliation with BATS Theatre Co. Inc., they were chosen by the Trustees to act as administrators of this competition under Edythe’s specific guidelines. The competition is to be run biennially, alternating between one-act plays and full length plays. The 2020 competition is for one act plays. It is the objective of this competition to foster and encourage playwrights, whether amateur or professional. The top three plays will be produced for a 5 performance season at BATS Theatre Co. Inc. in Buderim, Queensland in 2020. Entry forms and information can be found at www.batstheatre.com

52 Stage Whispers May - June 2019

National One Act Playwriting Competition

Noosa Arts Theatre has been running the National One Act Playwriting Competition since 1978, fostering new playwriting talent and showcasing aspiring and established writers. With a total cash prize pool of $8,000, it attracts entries from playwrights from all around Australia and many other countries. The Nimmo Prize for Best Play brings with it a cash prize of $5,000. Scripts are judged anonymously by a panel of professional industry experts. The three finalists are selected on the quality of writing, not on the subject matter, and the winning play is decided before the plays are presented in the annual Noosa Alive! Festival, held in July each year. During this Festival, the audience is asked at each performance to vote for the ‘Nancy Cato Audience Choice Award’, in honour of the first winner of the competition. Presentation of all awards takes place after the final performance. Entry forms and information can be downloaded at www.noosaartstheatre.org.au

On Stage A.C.T. The World Goes ‘Round. The Songs of Kander and Ebb. Canberra Rep. May 16 - Jun 1. Theatre 3. (02) 6257 1950. Towards Zero by Agatha Christie. Tempo Theatre Inc. May 17 - 25. Belconnen Community Theatre, Swanson Court, Belconnen. (02) 6275 2700. www.canberraticketing.com.au Hello, Dolly! Music and lyrics by Jerry Herman. Book by Michael Stewart. Based on The Matchmaker by Thornton Wilder. Queanbeyan Players. May 30 - Jun 9. Queanbeyan Performing Arts Centre (The Q). (02) 6285 6290. Barbara and the Camp Dogs by Ursula Yovich and Alana Valentine. Songs by Alana Valentine, Ursula Yovich and Adam Ventoura. Belvoir. May 30 - Jun 1. The Playhouse, Canberra Theatre Centre. (02) 6275 2700.

The Tap Pack. SK Entertainment. Jun 13. Queanbeyan Performing Arts Centre (The Q). (02) 6285 6290. ZIRK! - Russia’s Big Top Circus Spectacular. Russian State Circus Company and Moscow’s Nikulin Circus, Andrew Guild and Simon Bryce (Theatre Tours International). From Jun 14. Majura Park, Showgrounds. www.zirk.com.au The Dinner Party. Expressions Dance Company and QPAC. Jun 21 & 22. Queanbeyan Performing Arts Centre (The Q). (02) 6285 6290. Prima Facie by Suzie Miller. Jun 26 - 29. The Playhouse, Canberra Theatre Centre. 6275 2700. New South Wales Charlie and the Chocolate Factory. Music by Marc Shaiman, lyrics by Scott Wittman and Marc Shaiman, book by David Greig, with

A.C.T. & New South Wales additional songs by Leslie Bricusse and Anthony Newley from the 1971 Warner Bros motion picture. Capitol Theatre, Campbell Street, Haymarket. Ongoing. 1300 795 267. charliethemusical.com.au Saturday Night Fever. Based on the Paramount/RSO movie and the story by Nik Cohn, adapted for the stage by Robert Stigwood and Bill Oakes, new version arranged and edited by Ryan McBryde. Music and lyrics by artists including the Bee Gees. Until Jun 2. Sydney Lyric Theatre. 1300 795 267. Madagascar Jnr. Book by Kevin Del Aguila. Original music and lyrics by George Noriega and Joel Someillan. Based on the 2005 Dreamworks film. Young People’s Theatre Newcastle Inc., Hamilton. Until May 18. ypt.org.au or (02) 4961 4895 (Sat 9am-1pm).

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

Pygmalion by George Bernard Shaw. New Theatre. Until May 25. www.newtheatre.org.au Blackadder by Richard Curtis, Rowan Atkinson and Ben Elton. Wollongong Workshop Theatre. WWT Theatre, Gwynneville. Until May 11. 0431 875 721. Avenue Q. Music & Lyrics by Robert Lopez & Jeff Mark. Book by Jeff Whitty. North Shore Theatre Company. Until May 4. The Independent Theatre, North Sydney. northshoretheatrecompany.org Kid Stakes by Ray Lawler. Newcastle Theatre Company. Until May 11. Newcastle Theatre, Lambton. (02) 4952 4958 (Mon-Fri 3pm-6pm). Alice in Wonderland by Anne Coulter Martins (Pantomime). Tweed Theatre Company. Until May 12. Tweed Civic & Cultural Centre, Tweed Heads. 1800 674 414.

Stage Whispers 53

On Stage Sherlock Holmes and the Ripper Murders by Brian Clemens. Genesian Theatre Company. Until Jun 15. Genesian Theatre, Sydney. www.genesiantheatre.com.au Cat on a Hot Tin Roof by Tennessee Williams. Sydney Theatre Company. Until Jun 8. Roslyn Packer Theatre. (02) 9250 1777. Mom’s Gift by Phil Olsen. The Sutherland Theatre Company. May 1 - 10. The Sutherland Memorial School of Arts. (02) 9150 7574. thesutherlandtheatrecompany.com.au

New South Wales

Memorial Entertainment Centre. (02) 6331 6161. Festival UnWrapped. Sydney Opera House. May 3 - 19. www.sydneyoperahouse.com The Tempest by William Shakespeare. Wyong Drama Group. May 3 - 11. Wyong Grove Theatre, Wyong. 1300 665 600. Be More Chill. Music and Lyrics by Joe Iconos. Book by Joe Tracz. Based on the novel by Ned Vizzini. Penrith Musical Comedy Company. May 3 - 11. The Q Theatre, Joan Sutherland Performing Arts Centre, Menopause The Musical. Book Penrith. penrithmusical.org and lyrics by Jeanie Linders, Fiddler on the Roof. Music by with parodies of popular 1960s Jerry Stein, lyrics by Sheldon -1980s songs. SK Harnick & book by Joseph Entertainment and GFour Stein. Holroyd Musical and Productions. May 1. Cessnock Dramatic Society. May 3 - 12. Performing Arts Centre. (02) Red Gum Theatre, 4993 4266. Wentworthville. hmds.org.au Speaking in Tongues by Joseph and the Amazing Andrew Bovell. Maitland Technicolour Dreamcoat by Repertory Theatre. May 1 - 19. Andrew Lloyd Webber and Tim (02) 4931 2800. Rice. Blackout Theatre Company. May 3 - 12. Pioneer The Peach Season by Debra Oswald. Pymble Players. May 1 Theatre, Castle Hill. www.blackouttheatre.com.au - 25. (02) 9144 1523. Whistle Down The Wind by The Addams Family - a New Andrew Lloyd Webber and Jim Musical. Music and Lyrics by Steinman. Campbelltown Andrew Lippa. Book by Theatre Group. May 3 - 18. Marshall Brickman and Rick Town Hall Theatre, Elice. Carillon Theatrical Society. May 3 - 11. Bathurst

54 Stage Whispers

Campbelltown. 0426 285 287. www.ctgi.org.au Company by Stephen Sondheim and George Furth. Pigs Fly Productions Inc. May 3 - 18. Mittagong Playhouse. pigsflyproductionsinc.com Suddenly Last Summer by Tennessee Williams. Young People’s Theatre. May 3 - 26. Young People’s Theatre, Hamilton (Newcastle). (02) 4961 4895. Folk by Tom Wells. Ensemble Theatre. May 3 - Jun 1. Australian premiere. (02) 9929 0644. www.ensemble.com.au Small Mouth Sounds by Bess Wohl. Darlinghurst Theatre Company. May 3 - 26. Eternity Playhouse, Darlinghurst. www.darlinghursttheatre.com The Wireless Chronicles 2 Bottoms Up! Musical comedy written and staged by Maureen O’Brien. May 3 - 5. Maureen O’Brien, at the Royal Exchange, Newcastle. (02) 4929 4969. Winyanboga Yurringa by Andrea James. Belvoir. May 4 26. (02) 9699 3444. Marina Prior & David Hobson: The 2 of Us - Up Close and Personal. May 4. Shoalhaven Entertainment Centre. marinaprioranddavidhobson.com Sing Along to the Shows, Song and Dance. A celebration of

the songs and dances of stage and film performer Fred Astaire. Adamstown Arts. May 4. The Dungeon, Adamstown Uniting Church (Newcastle). (02) 4943 5316. Shrek The Musical. Book & lyrics by David Lindsay-Abaire. Music by Jeanine Tesori. Coffs Harbour Musical Comedy Company. May 4 - 26. Jetty Memorial Theatre, Coffs Harbour. (02) 6648 4980. www.jettytheatre.com Two by Jim Cartwright. Ensemble Theatre production. May 7 - 12. Glen Street Theatre. (02) 9975 1455. Summer of the Seventeenth Doll by Ray Lawler. Atwea College Creative Arts and Music. May 9 - 17. The Creative Arts Space Theatre, Hamilton (Newcastle). (02) 4925 4200. Anh Do: The Happiest Refugee Live! The stand-up comedian mixes amusement with his real life stories. A-List Entertainment. May 9, Cessnock Performing Arts Centre, (02) 4993 4266 & May 10, Civic Theatre, Newcastle, (02) 4929 1977. Disney’s Beauty and The Beast. Music by Alan Menken, Lyrics by Howard Ashman & Tim Rice. Book by Linda Woolverton.

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

On Stage

New South Wales

Jonathan Biggins as Paul Keating in The Gospel According To Paul, at The Playhouse, Sydney Opera House from May 13 to 18, Frankston Arts Centre on May 21, Whitehorse Centre, Nunawading on May 24 & 25 and The Seymour Centre, Sydney from July 15 to 20. artsontour.com.au/tours/gospel-according-paul Photo: Brett Boardman.

Online extras!

Jonathan Bigginsâ&#x20AC;&#x2122; is uncanny as Paul Keating. Scan the QR code or visit https://youtu.be/AHKyN4Vpv-8

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

Stage Whispers 55

On Stage Tamworth Musical Society. May 10 - 25. Capitol Theatre, Tamworth. www.tms.org.au Bare. Book by John Hartmere & Damon Intrabartolo, music by Damon Intrabartolo, lyrics by John Hartmere. Lane Cove Theatre Company. May 10 25. The Performance Space at St Aidan’s, Longueville. lanecovetheatrecompany.com American Psycho. Book by Roberto Aguirre-Sacasa, Music and Lyrics by Duncan Sheik. BBArts Entertainment & Two Doors Productions in association with Hayes Theatre Co. From May 10. Hayes Theatre Co., Potts Point. (02) 8065 7337. The Sound of Music. Book by Howard Lindsay & Russel Crouse. Music by Richard Rodgers. Lyrics by Oscar Hammerstein ll. Roo Theatre Company. May 10-25. The Harbour Theatre, Shellharbour. (02) 4297 2891.

56 Stage Whispers

New South Wales ‘Allo ‘Allo by David Croft and Jeremy Lloyd. Dural Musical Society. May 10 - 25. Dural Soldiers Memorial Hall, 604 Old Northern Road, Dural. www.duralmusicalsociety.org God of Carnage by Yasmina Reza. Arts Theatre, Cronulla. May 10 - Jun 15. 6 Surf Road, Cronulla. artstheatrecronulla.com.au The Believers are But Brothers by Javaad Alipoor. May 10 & 11. Riverside Theatres, Parramatta. (02) 8839 3399. One Man, Two Guvnors by Richard Bean. Richmond Players. May 11 - 25. Richmond School of Arts. www.richmondplayers.com.au The Gospel According to Paul by Jonathan Biggins. Soft Tread Productions. May 13 - 18. Sydney Opera House. www.sydneyoperahouse.com Made to Measure by Alana Valentine. May 16 - Jun 1.

Seymour Centre. (02) 9351 7940. Oklahoma! by Richard Rodgers and Oscar Hammerstein II. EUCMS Inc. May 17 - Jun 1. Eastwood Uniting Church, Eastwood. (02) 8061 7195. Managing Carmen by David Williamson. The Guild Theatre, Rockdale. May 17 - Jun 8. (02) 9521 6358. Rodgers and Hammerstein’s Cinderella. Engadine Musical Society. May 17-26. Engadine Community Centre. 1300 616 063. The Addams Family. Book by Marshall Brickman & Rick Elice. Music & lyrics by Andrew Lippa. May 17 - Jun 2. The Players Theatre Inc., Port Macquarie. (02) 6584 6663. An Inspector Calls by JB Priestly. Woy Woy Little Theatre. May 17 - Jun 2. The Peninsula Theatre, Woy Woy. www.woywoylt.com

Ladies in Black. Book by Carolyn Burns. Music & Lyrics by Tim Finn. Adapted from the book ‘The Women in Black’ by Madeleine St John. Strathfield Musical Society. May 17 - 25. The Latvian Theatre, Strathfield. strathfieldmusicalsociety.com.au Prima Facie by Suzie Miller. Griffin Theatre Company. May 17 - Jun 22. SBW Stables Theatre. (02) 9361 3817. The Merchant of Venice by William Shakespeare. Sport for Jove. May 17 & 18, Riverside Theatres Parramatta, (02) 8839 3399 & May 22 - 25, Seymour Centre, (02) 9351 7940. The Wedding Singer. Music by Matthew Sklar, lyrics by Chad Beguelin, and book by Beguelin and Tim Herlihy. Blue Mountains Musical Society. May 18 - Jun 2. Blue Mountains Theatre, Springwood. www.bmms.org.au

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

On Stage

New South Wales John Bell and John Gaden in Ensemble Theatre’s Diplomacy playing from June 21 to July 14. www.ensemble.com.au Photo: Christian Trinder.

Online extras!

The two Johns discuss their roles in Diplomacy. Scan the QR code or visit https://youtu.be/o49b7mKZw4w Jump First, Ask Later. Performing Lines, PYT Fairfield and Force Majeure. May 22 24. Riverside Theatres, Parramatta. (02) 8839 3399. Othello by William Shakespeare. Sport for Jove. May 22 - 25. Riverside Theatres Parramatta. (02) 8839 3399. Rent by Jonathan Larson. Orange Theatre Company. May 23 - 26. Orange Civic Centre. www.orangetheatreco.com.au Newcastle Comedy Festival 2019. Inaugural event, with 17 shows featuring Australian and overseas comedy performers at five CBD venues. May 23 - 26. Civic Theatre, The Happy Wombat, Clarendon Hotel, 5 Sawyers, Family Hotel. www.newycomedyfest.com The Spiegeltent Newcastle. Twelve circus, cabaret, musical and comedy events, with daily performances of adult circus cabaret Deluxe Deluxe. Strut and Fret Production House. May 23 - Jun 16. Civic Park,

Newcastle. spiegeltentnewcastle.com 2019 Micro Theatre Festival. Twelve short new plays by Newcastle writers and staging teams. May 23 - Jun 1. The Press Bookhouse Cafe, Newcastle; Bolton Street Pantry, Newcastle; Birdy’s, Tighes Hill (Newcastle). www.microtheatre.com.au Cats Abridged Edition. Music by Andrew Lloyd Webber. Based on “Old Possum’s Book of Practical Cats” by T.S. Eliot. The Regals Musical Society Inc. May 24 - June 1. Rockdale Town Hall. 0466 069 973. Leaving Jackson: The Johnny Cash & June Carter Show. A look at the history of country music. Jeff Carter Music. May 24. Cessnock Performing Arts Centre. (02) 4993 4266. Disney’s The Little Mermaid. Music by Alan Menken. Lyrics by Howard Ashman and Glenn Slater. Book by Doug Wright. Hills Musical Theatre Company - Junior Production. May 24 -

Jun 1. Model Farms High School Auditorium, Baulkham Hills. www.hillsmtc.com Disenchanted. The Junior musical adaptation of the Broadway production. Wyong Musical Theatre Company. May 24 - Jun 2. Grove Theatre, Wyong. 1300 366 470. Legally Blonde The Musical. Book by Heather Hach, Music & Lyrics by Lawrence O’Keefe & Nell Benjamin. Ashfield Musical Society. May 24 - Jun 2. Concord RSL, Concord West. (02) 9793 1331. Catch Me If You Can. Book by Terrance McNally. Lyrics by Marc Shaiman. Music by Scott Whittman and Marc Shaiman. Berowra Musical Society. May 25 - Jun 1. Berowra Community Centre. www.bmsi.org.au Suddenly Last Summer by Tennessee Williams. Young People’s Theatre Newcastle Inc., Hamilton. May 25 - Jun 1. (02) 4961 4895 (Sat 9am1pm).

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

Sweet Charity. Book by Neil Simon. Music by Cy Coleman. Lyrics by Dorothy Fields. Willoughby Theatre Company. May 25 - Jun 2. The Concourse Theatre, Chatswood. (02) 8075 8111. Follow Me Home. ATYP. May 29 - 31. Riverside Theatres Parramatta. (02) 8839 3399. Goori Dooki by Ray Kelly and Brian Joyce (Premiere). Ngarrama Productions. May 29 - Jun 1. Civic Playhouse, Newcastle. (02) 4929 1977. Beyond the Neck by Tom Holloway. Atwea College Creative Arts and Music. May 30 - Jun 7. The Creative Arts Space Theatre, Hamilton (Newcastle). (02) 4925 4200. Leading Ladies by Ken Ludwig. Castle Hill Players. May 31 - Jun 22. Pavilion Theatre, Doran Drive, Castle Hill (enter via lights on Showground Road, between Gilbert and Carrington Roads). (02) 9634 2929. Stage Whispers 57

On Stage

New South Wales

Online extras!

Check out a preview of Barbara And The Camp Dogs. Scan or visit https://youtu.be/qnmEm8RjDnM

Sense and Sensibility by Kate Hamil. Nowra Players, Bomaderry. Jun 1 - 15. 1300 788 503. Postcards from Kafka by Carl Caufield. Newcastle Theatre Company. Jun 1 - 15. Newcastle Theatre, Lambton. (02) 4952 4958 (Mon-Fri 3pm6pm). Hairspray Jr. Music: Marc Shaiman. Lyrics: Scott Wittman, Marc Shaiman. Book: Mark O’Donnell, Thomas Meehan. Bling Productions. Jun 1 - 2. Lake Macquarie Performing Arts Centre, Warners Bay. (02) 4961 0490. Puttin’ On the Ritz. Song and dance from the golden age of Hollywood musicals. Mellen Events. Jun 2. Civic Theatre, Newcastle. (02) 4929 1977.61 Sharp Short Theatre. Jun 3 14. Riverside Theatres Parramatta. (02) 8839 3399. Collaborators by John Hodge. New Theatre. Jun 4 - Jul 6. www.newtheatre.org.au 58 Stage Whispers

Gloria by Brandon JakobsJenkins. Outhouse Theatre Co. Jun 6 - 29. Seymour Centre. (02) 9351 7940. Sammy J’s Major Party. ABC TV characters brought to life by the title comedian. Laughing Stock. Jun 6. Newcastle City Hall. (02) 4929 1977. Melbourne International Comedy Festival Roadshow. Jun 6, Cessnock Performing Arts Centre, (02) 4993 4266 & Jun 7 - 9, Civic Theatre, Newcastle, (02) 4929 1977. A Midsummer Night’s Dream by William Shakespeare. Sport for Jove. Jun 7 & 8. Seymour Centre. (02) 9351 7940. Play On! by Rick Abbott. Hunters Hill Theatre. Jun 7 16. Hunters Hill Town Hall. (02) 9879 7765. Ladies in Black by Carolyn Burns and Tim Finn. Highlands Theatre Group. Jun 7 - 23. Mittagong Playhouse. www.htg.org.au

Belvoir’s production of Barbara And The Camp Dogs, at the Bille Brown Theatre, Queensland Theatre from May 1 to 25 (queenslandtheatre.com.au), Canberra Theatre Centre from May 30 to June 1 (canberratheatrecentre.com.au) and Illawarra Performing Arts Centre from June 5 to 8 (merrigong.com.au). Photo: Brett Boardman.

Shrek Jr. Book and Lyrics by David Lindsay-Abaire. Music by Jeanine Tesori. Parkes Musical & Dramatic Society. Jun 7 - 16. Parkes Little Theatre. www.parkesmandd.com.au Murder On The Wireless by Arthur Conan Doyle & Mark Kilmurry. Ensemble Theatre. Jun 7 - Jul 13. World premiere. (02) 9929 0644. www.ensemble.com.au Things I Know to be True by Andrew Bovell. Belvoir. Jun 8 Jul 21. Upstairs Theatre. (02) 9699 3444. Josh Piterman In Concert. Jun 8. Eternity Playhouse, Sydney. darlinghursttheatre.com The Pirates of Penzance by Gilbert and Sullivan. NUCMS (Normanhurst Uniting Church Musical Society). Jun 14 -22. Normanhurst Uniting Church. www.nucms.org Ruthie Henshall: Live & Intimate. The Studio, Sydney Opera House. Jun 13. sydneyoperahouse.com

The Dinner Party by Natalie Weir. Expressions Dance Company. Jun 13 - 15. Riverside Theatres Parramatta. (02) 8839 3399. Blood Brothers by Willy Russell. Miranda Musical Society. Jun 14 - 23. Sutherland Memorial School of Arts. (02) 8814 5827. Star Struck 2019: No Limits. Music, dance and comedy by students at NSW Education Department Hunter schools. Jun 14 - 15. Newcastle Entertainment Centre, Broadmeadow. (02) 4921 2121. The Pirates Of Penzance (Essgee Version) by Gilbert and Sullivan. Ballina Players. Jun 14 - Jul 7. Ballina Players Theatre. www.ballinaplayers.com.au This Is The Moment. Arcadians Theatre Company. Jun 14 - 16. The Miner’s Lamp Theatre, Corrimal. arcadians.org.au Urzila Carlson: Loser. Comedy show. Live Nation. Jun 14. Civic

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

On Stage Theatre, Newcastle. (02) 4929 1977. Wait Until Dark by Frederick Knott. Novocastrian Players and Theatre on Brunker. Jun 14 29. St. Stephen’s Hall, Adamstown (Newcastle). (02) 4956 1263. Woman in Mind by Alan Ayckbourn. Valley Artists. Jun 14 - 22. Laguna Hall, Laguna. (02) 4998 8244. A Property of the Clan by Nick Enright. Seated Ovation and Newcastle Theatre Company. Jun 19 - 22. NTC Theatre, Lambton (Newcastle). (02) 4952 4958. Strictly Ballroom: The Musical. Book by Baz Luhrmann and Craig Pearce, adapted by Terry Johnson, with well-known songs. St Phillip’s Christian College, Waratah. Jun 20 - 22. Civic Theatre, Newcastle. (02) 4929 1977. Girl in the Machine by Stef Smith. National Theatre of Parramatta. Jun 20 - 29. Riverside Theatres Parramatta. (02) 8839 3399. Diplomacy by Cyril Gély. Translated and adapted by Julie Rose. Ensemble Theatre. Jun 21 - Jul 13. (02) 9929 0644. www.ensemble.com.au Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean by Ed Graczyk. Tweed Theatre Company. Jun 21 - Jul 7. Tweed Civic & Cultural Centre. 1800 674 414. The Crucible by Arthur Miller. Campbelltown Theatre Group. Jun 21 - Jul 6. Town Hall Theatre, Campbelltown. 0426 285 287. www.ctgi.org.au The Mikado by Gilbert and Sullivan. Rockdale Opera. June 22 - 30. Rockdale Town Hall, Bryant St, Rockdale. (02) 8197 1796. rockdaleopera.com.au Ladies In Black. Book by Carolyn Burns. Music and Lyrics by Tim Finn. Spectrum Theatre Group, Merimbula. Jun 22 - Jul 6. Bega Civic Centre. spectrumtheatregroup.com.au

SeussFest. Characters from Dr Seuss stories in scenes developed by drama students. Hunter Drama. Jun 24 - 29. Civic Playhouse, Newcastle. (02) 4929 1977. July 3. Cessnock Performing Arts Centre. (02) 4993 4266. The Happy Prince. Little Ones Theatre. Jun 25 - Jul 6. SBW Stables Theatre. (02) 9361 3817. Roald Dahl’s Revolting Rhymes & Dirty Beasts. Writer Dahl took some of the world’s best-loved fairy tales and rearranged them with surprising and hilarious twists. Shake & Stir Theatre Co. Jun 25 - 26. Civic Theatre, Newcastle. (02) 4929 1977. Once. Book by Enda Walsh. Music & Lyrics by Glen Hansard and Markéta Irglová. Darlinghurst Theatre Company. Jun 26 - Jul 21. Eternity Playhouse, Darlinghurst. www.darlinghursttheatre.com Madama Butterfly by Puccini. Opera Australia. Jun 28 - Aug 10. Joan Sutherland Theatre, Sydney Opera House. opera.org.au Persuasion by Jane Austen, adapted by Tim Luscombe. Genesian Theatre Company. Jun 29 - Aug 17. Genesian Theatre, Sydney. 1300 237 217. Judith Lucy Vs Men. A woman’s amusing look at her relationships with the opposite sex. Token Events. Jun 29. Civic Theatre, Newcastle. (02) 4929 1977. Aida by Tim Rice, Elton John, David Henry Hwang, Linda Woolverton and Robert Falls. Gosford Musical Society Juniors. Jul 2 - 6. Laycock Street Community Theatre, North Gosford. gosfordmusicalsociety.com.au Anna Bolena by Donizetti. Opera Australia. Jul 2 - 26. Joan Sutherland Theatre, Sydney Opera House. opera.org.au

New South Wales & Queensland Queensland The Book of Mormon by Trey Parker, Robert Lopez and Matt Stone. Lyric Theatre, QPAC. Until May 31. 136 246. bookofmormonmusical.com.au BFG (Big Friendly Giant) by Roald Dahl, adapted by David Wood. Brisbane Arts. Until Jun 1. (07) 3369 2344. Orphans by Lyle Kessler. Brisbane Arts. Until May 7. (07) 3369 2344. Daylight Saving by Nick Enright. Noosa Arts Theatre. Until May 4. (07) 5449 9343. The Chatroom by Reg Cribb. Cairns Little Theatre. Until May 4. 1300 855 835. Done To Death by Fred Carmichael. Sunnybank Theatre. Until May 11. (07) 3345 3964. Cinderella by Matthew Whittet. Cremorne Theatre, QPAC. Until May 5. 136 246. One Flew Over the Cuckoo’s Nest by Ken Kesey. Mousetrap Theatre, Redcliffe. Until May 12. (07) 3888 3493. Alice in Wonderland by Lewis Carroll, adapted by Anne Coulter Martens. Tweed Theatre Company. Until May 12. 1800 674 414. The Caucasian Chalk Circle by Bertolt Brecht, translation by Eric Bentley. Brisbane Arts. May 1 - 11. (07) 3369 2344. Barbara and the Camp Dogs by Ursula Yovich and Alana Valentine. Queensland Theatre. Bille Brown Theatre, South Brisbane. May 1 - 25. 1800 355 528. Challenges (One Act Plays). Bubbles by Tara Routley, All By Myself by Robert Scott and Farmer Will Swap Combine Harvester For Wife by Hugh O’Brien. Ipswich Little Theatre. May 2 - 28. (07) 3812 2389. Beauty And The Beast by Alan Menken, Howard Ashman and Tim Rice. Phoenix Ensemble, Beenleigh. May 3 - 25. (07) 3103 1546.

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

Last Night Of The Proms. Queensland Symphony Orchestra. Concert Hall, QPAC. May 4. 136 246. Petula Clark. Concert Hall, QPAC. May 5. 136 246. Unmissable - James Morrison and Kurt Elling. Concert Hall, QPAC. May 7. 136 246. A Bowie Celebration. Concert Hall, QPAC. May 8. 136 246. Three Weddings From Sarajevo. Concert Hall, QPAC. May 9. 136 246. Cathedral of Sound. QSO. Concert Hall, QPAC. May 10 11. 136 246 The Dinner Party by Natalie Weir. Expressions Dance Co. Cremorne Theatre, QPAC. May 10 - 18. 136 246. Silver Linings by Sandi Toksvig. Centenary Theatre Group. Chelmer Community Centre. May 11 - Jun 1. 0435 591 720. Billionaire Boy by David Walliams, adapted by Maryann Master. Gardens Theatre. May 11 - 17. (07) 3138 7750. Happy Days by Paul Williams. Nash Theatre, New Farm. May 11 - Jun 1. (07) 3379 4775. Yiruma Live In Australia. Concert Hall, QPAC. May 12. 136 246. Bradford Marsalis. Concert Hall, QPAC. May 13. 136 246. Urzila Carlson - Loser. Concert Hall, QPAC. May 15 - 16. 136 246. The Proclaimers. Concert Hall, QPAC. May 17. 136 246. Catch Me If You Can. Book by Terrence McNally. Lyrics by Marc Shaiman. Music by Scott Whittman and Marc Shaiman. Spotlight Theatre Company. May 17 - Jun 8. (07) 5539 4255. The Masters Series (Serenade/ Soldier’s Mass/New Work). Qld Ballet. Playhouse, QPAC. May 17 - 25. 136 246. The Pillowman by Martin McDonagh. Brisbane Arts. May 18 - Jun 8. (07) 3369 2344.

Stage Whispers 59

On Stage Shadowlands by William Nicholson. Villanova Players, Morningside. May 18 - Jun 2. (07) 3395 5168 Celtic Mist. Queensland Pops Orchestra. Concert Hall, QPAC. May 18. (07) 3278 1913. Kings and Queens. QSO. Concert Hall, QPAC. May 19. 136 246. English Baroque With Circa. Concert Hall, QPAC. May 21. 136 246. Romeo and Juliet by William Shakespeare. La Boite. Roundhouse Theatre, Kelvin Grove. May 25 - Jun 15. (07) 3007 8600. Young and Restless. Cremorne Theatre, QPAC. May 23 - 25. 136 246. The Ten Tenors. Concert Hall, QPAC. May 23. 136 246. The Penelopied by Margaret Atwood. Javeenbah Theatre, Gold Coast. May 24 - Jun 8. (07) 5596 0300.

60 Stage Whispers

Queensland Titan. Queensland Youth Orchestra. Concert Hall, QPAC. May 25. 136 246. The Further Adventures of Hedda Gabler by Jeff Whitty. Brisbane Arts. May 26 - Jul 2. (07) 3369 2344. Rhapsody in Red, White & Blue. University of Qld. Concert Hall, QPAC. May 26. 136 246. Dahlesque by Elise McCann & Richard Carroll. Playhouse, QPAC. May 30. 136 246. Apia Good Times Tour. Concert Hall, QPAC. May 31. 136 246. Class of 59 Rock & Roll Circus Tour. Playhouse, QPAC. May 31. 136 246. Opera Gala. QSO. Concert Hall, QPAC. Jun 1. 136 246. Daniel Thompson’s Johnny Cash Live. Playhouse, QPAC. Jun 1. 136 246. Herbie Hancock. Concert Hall, QPAC. Jun 2. 136 246 Duck. Cremorne Theatre, QPAC. Jun 4 - 8. 136 246.

Annie by Charles Strouse, Martin Charnin and Thomas Meehan. Qld Musical Theatre, Schonell Theatre. Jun 5 - 9. 136 246 Madagascar by Kevin Del Aguila, George Noriega and Joel Someillan. Brisbane Arts. Jun 8 - Jul 13. (07) 3369 2344. Soulful Journeys. QSO. Concert Hall, QPAC. Jun 8. 136 246. Away by Michael Gow. Gold Coast Little Theatre. Jun 8 - 29. (07) 5532 3224. Rock Choir. QPAC Choir. Concert Hall, QPAC. Jun 11. 136 246. The Monkees. Concert Hall, QAC. Jun 12. 136 246. Tenori - Timeless. Gardens Theatre. Jun 13. (07) 3138 7750. Tosca by Giacomo Puccini. Opera Q. Lyric Theatre, QPAC. Jun 13 - 22. 136 246. The Mousetrap by Agatha Christie. St Luke’s Theatre

Society, Taragindi. Jun 14 - 22. (07) 3343 1457. Cosi by Louis Nowra. Growl Theatre. Jun 14 - 29. boxoffice@growltheatre.org.au Chapter Two by Neil Simon. Sunnybank Theatre. Jun 14 29. (07) 3345 3964. Just a Couple of Song and Dance Men. Cremorne Theatre, QPAC. Jun 15. 136 246. Billy Ocean. Concert Hall, QPAC. Jun 15. 136 246. Ruthie Henshall Live. Cremorne Theatre, QPAC. Jun 18 - 19. 136 246. Megan Mullally. Concert Hall, QPAC. Jun 19. 136 246. Come Back to the Five and Dime Jimmy Dean, Jimmy Dean by Ed Graczyk. Tweed Theatre Company, Tweed Heads. Jun 21 - Jul 7. 1800 674 414. Melt: Festival of Queer Arts & Culture. Brisbane Powerhouse. Jun 22 - Jul 7. (07) 3358 8613.

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

On Stage Oliver! by Lionel Bart. Brisbane Arts. Jun 22 - Aug 3. (07) 3369 2344. Oklahoma! by Rodgers & Hammerstein. Savoyards. Iona Performing Arts Centre, Wynnum. Jun 22 - Jul 6. (07) 3893 4321. Spartacus by Khachaturian. Bolshoi Ballet. Lyric Theatre, QPAC. Jun 26 - 28. 136 246. L’Amante Anglaise by Margaret Duras. Gardens Theatre. Jun 28 - 29. (07) 3138 7750. City of Gold by Meyne Wyatt. Queensland Theatre. Bille Brown Theatre. Jun 29 - Jul 20. 1800 355 528. Victoria Harry Potter and the Cursed Child. Based on an original new story by J.K. Rowling, Jack Thorne and John Tiffany. Continuing. Princess Theatre, Melbourne. www.harrypottertheplay.com

Barnum The Circus Musical. Music by Cy Coleman. Lyrics by Michael Stewart. Book by Mark Bramble. StoreyBoard Entertainment. Until Jun 2. Comedy Theatre, Melbourne. 1300 11 10 11. Sideways by Rex Pickett. The 1812 Theatre. Until May 4. www.1812theatre.com.au The Exorcism by Don Taylor. Williamstown Little Theatre. Until May 4. 0447 340 665. www.wlt.org.au Slaughterhouse Five by Kurt Vonnegut, adapted by Fleur Kilpatrick. Theatre Works and Must Present. Until May 5. Theatre Works, St Kilda. www.theatreworks.org.au Wakey Wakey by Will Eno. Red Stitch Actors Theatre. Until May 19. (03) 9533 8083. The Miser by Molière. Bell Shakespeare. Until May 12. Fairfax Studio, Arts Centre Melbourne. 1300 182 183.

Queensland & Victoria Buying The Moose by Michael Wilmot (Aust Premiere). Mordialloc Theatre Company. Until May 11. Shirley Burke Theatre, Parkdale. (03) 9587 5141. Strangers on a Train by Craig Warner. Malvern Theatre Co. Until May 11. 1300 131 552. Così by Louis Nowra. Melbourne Theatre Company. Until Jun 8. Southbank Theatre, The Sumner. (03) 8688 0800. Mr Burns, A Post-Electric Play by Anne Washburn, score by Michael Friedman. Lightning Jar Theatre. May 1 - 19. fortyfivedownstairs. (03) 9662 9966. Yirrramboi Festival. May 2 - 12. Various venues. yirramboi.net.au The Violent Outburst That Drew Me To You by Finegan Kruckemeyer. Melbourne Theatre Company. May 2 - 18. Southbank Theatre, The Lawler. (03) 8688 0800.

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

The Motherf**ker With The Hat by Stephen Adly Guirgis. Lab Theatre in association with Aleksander Vass and Vass Productions. May 2 - 11. Alex Theatre St Kilda. alextheatrestk.com.au A View from the Bridge by Arthur Miller. Heidelberg Theatre Company. May 3 - 18. (03) 9457 4117. Mr Bailey’s Minder by Debra Oswald. Geelong Repertory Theatre Company. May 3 - 18. www.geelongrep.com Rock of Ages by Chris D’Arienzo. Williamstown Musical Theatre Company. May 3 - 11. Centenary Theatre, Williamstown. wmtc.org.au Twelve Angry Men by Reginald Rose. The Mount Players. May 3 - 26. The Mountview Theatre, Macedon. www.themountplayers.com The Temple. Created by Gavin Quinn and the ensemble. May

Stage Whispers 61

On Stage 3 - 26. Malthouse Theatre. (03) 9685 5111. The Sound of Music. Music by Richard Rodgers. Lyrics by Oscar Hammerstein II. Book by Howard Lindsay and Russel Crouse. Bairnsdale Production Line Theatre Co. May 3 - 20. Forge Theatre, Bairnsdale. (03) 5152 1482. Beauty and the Beast. Music by Alan Menken. Lyrics by Howard Ashman and Tim Rice. Book by Linda Woolverton. NOVA Music Theatre. May 4 - 19. Whitehorse Centre. 1300 304 433.

Victoria

Bonachela / Nankivell / Lane. Sydney Dance Company. May 8 - 11. Playhouse, Arts Centre Melbourne. 1300 182 183. Bitch on Heat by Leah Shelton. May 8 - 19. Theatre Works. (03) 9534 3388. Green Day’s American Idiot. Music by Green Day. Lyrics by Billie Joe Armstrong. Book by Billie Joe Armstrong and Michael Mayer. Phoenix Theatre Company. May 10 18. Doncaster Playhouse. phoenixtheatrecompany.org Stepping Out by Richard Harris. Wyndham Theatre Company. Matriarch by Sandy May 10 - 25. Crosssroads Greenwood. Jinga Theatre, Werribee. 0401 932 Productions / Yirramboi 893. Festival. May 6 - 11. The Stop Kiss by Diana Son. Act II Butterfly Club. (03) 9663 8107. (Frankston Theatre Group’s Cloudstreet. Adapted by Nick Youth Arm). May 11 - 19. The Enright and Justin Monjo from Frankston Mechanics Institute. the novel by Tim Winton. May 1300 665 377. 6 - Jun 16. Malthouse Theatre. Rigoletto by Verdi. Opera (03) 9685 5111. Australia. May 11 - 29. State Theatre, Arts Centre

62 Stage Whispers

Melbourne. 1300 182 183. Julie and Julia by Ellie Nunan and Marcia Penman. The Butterfly Club. May 13 - 18. (03) 9663 8107. Trevor’s Comet by Nick Seymour. Scapegrace Productions. May 13 - 18. The Butterfly Club. (03) 9663 8107. Cosi fan tutte by Mozart. Opera Australia. May 14 - 25. State Theatre, Arts Centre Melbourne. 1300 182 183. Swansong by Comnnor McDermottroe. May 15 - 18. Theatre Works. (03) 9534 3388.

Heisenberg by Simon Stephens. Melbourne Theatre Company. May 17 - Jun 29. Arts Centre Melbourne, Fairfax Studio. 1300 182 183. Kinky Boots. Music & Lyrics: Cyndi Lauper. Book: Harvey Fierstein. CLOC Musical Theatre. May 17 - Jun 1. The National Theatre, Melbourne, St Kilda. 1300 362 547. A Man for All Seasons by Robert Bolt. The Basin Theatre Group. May 17 - Jun 8. The Basin Theatre. 1300 784 668. Lazarus by David Bowie and Enda Walsh. The Production Pinocchio. Created by Christian Company. May 18 - Jun 9. Playhouse, Arts Centre Bagin, Rosa Campagnaro and Melbourne. 1300 182 183. Jasper Foley. Make A Scene Theatre Arts Education. May 15 It’s Not Me, It’s Definitely You. - 26. La Mama Courthouse. Songs of Amy Winehouse and (03) 9347 6948. Lily Allen. The Butterfly Club. May 20 - 25. (03) 9663 8107. I Hate Hamlet by Paul Rudnik. Brighton Theatre Company. The Three Graces by Laura May 17 - Jun 1. Brighton Arts Lethlean. The Anchor. May 22 & Cultural Centre. 1300 752 Jun 2. Theatre Works. (03) 126. 9534 3388.

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

On Stage Love by Patricia Cornelius. May 23 - Jun 9. fortyfivedownstairs. (03) 9662 9966. The Wisdom of Eve by Mary Orr. Lilydale Athenæum Theatre Company Inc. May 23 Jun 8. (03) 9735 1777. The Tin Woman by Shaun Greunan. Strathmore Theatrical Arts Group. May 23 - Jun 1. Strathmore Community Hall. (03) 9382 6284. The Mousetrap by Agatha Christie. The 1812 Theatre. May 23 - Jun 15. www.1812theatre.com.au Il Viaggio a Reims by Rossini. Opera Australia. May 24 - Jun 1. State Theatre, Arts Centre Melbourne. 1300 182 183. Company. Music and lyrics by Stephen Sondheim. Book by George Furth. Beaumaris Theatre. May 24 - Jun 8. www.beaumaristheatre.com.au How to Succeed in Business Without Really Trying. Music & Lyrics: Frank Loesser. Book: Abe

Burrows, Jack Weinstock and Willie Gilbert. MLOC Productions. May 24 - Jun 1. Shirley Burke Theatre, Parkdale. mloc.org.au Blackadder Goes Fourth by Ben Elton and Richard Curtis. MMuDS. May 25 - Jun 1. Mansfield Performing Arts Centre. www.mmuds.org.au Les Misérables. Music by Claude-Michel Schönberg. Lyrics by Herbert Kretzmer. Original French text by Alain Boublil and Jean-Marc Natel. Additional Material by James Fenton. Wonthaggi Theatrical Group. May 25 - Jun 9. Wonthaggi Union Community Arts Centre. (03) 5671 2178. Love is in the Air. The Ten Tenors. May 27. Hamer Hall. 1300 182 183. The Sisters; or Galileo’s Penance. 24 Carrot Productions. May 27 - Jun 1. The Butterfly Club. (03) 9663 8107.

Victoria Them by Samah Sabawi. May 29 - Jun 9. La Mama Courthouse. (03) 9347 6948. Shit by Patricia Cornelius. May 29 - Jun 9. fortyfivedownstairs. (03) 9662 9966. The Sound of Music. Music by Richard Rodgers. Lyrics by Oscar Hammerstein II. Book by Howard Lindsay and Russel Crouse. Babirra Music Theatre. May 31 - Jun 15. Whitehorse Centre, Nunawading. (03) 9262 6555. Escaped Alone by Caryl Churchill. Red Stitch Actors Theatre. Jun 2 - 30. (03) 9533 8083.

Jun 14 - 22. Doncaster Playhouse. sherbrooketc.org.au Alice Through the Opera Glass by Bizet, Delibes, Handel and Mozart. Victorian Opera. Jun 14 - 17. Playhouse, Arts Centre, Melbourne. 1300 182 183. Wintersong, A Musical. Music by Scott Cameron. Libretto & lyrics by Kathleen McLennan. New Australian Musical. Kyneton Theatre Company. Jun 14 - 23. trybooking.com/484934 Storm Boy by Colin Thiele, adapted for the stage by Tom Holloway. Melbourne Theatre Company. Jun 17 - Jul 20. Southbank Theatre, The High Tea Live: Lady Be Good. Sumner. (03) 8688 0800. The Songs of Ella Fitzgerald starring Nina Ferro. Jun 2. The Melbourne Cabaret Festival. Pavilion, Arts Centre Jun 19 - 30. Chapel Off Chapel. Melbourne. 1300 182 183. chapeloffchapel.com.au Pretence. Dramatic Pause. Jun Wunderage. A collaboration 3 - 8. The Butterfly Club. (03) between Circus Oz and 9663 8107. Company 2. Jun 20 - 30. Meat Market, North Melbourne. Drive by Rebecca Meston. Jun circusoz.com/wunderage 6 - 15. Theatre Works. (03) 9534 3388. The Mystery of Irma Vep by Charles Ludlam. Malvern All My Sons by Arthur Miller. Warrandyte Theatre Co. Jun 7 - Theatre Co. Jun 21 - Jul 6. 1300 131 552. 22. Mechanics Institute, Warrandyte. warrandytehallarts.asn.au/theatre Crimes of the Heart by Beth Henley. Peridot Theatre. Jun 7 22. The Unicorn Theatre, Mt Waverley. 0429 115 334. Beauty and the Beast. Music by Alan Menken. Lyrics by Howard Ashman and Tim Rice. Book by Linda Woolverton. Windmill Theatre Company. Jun 8 - 23. Bunjil Place Theatre . Chameleon. Karen Lee Roberts Creative. Jun 10 - 15. The Butterfly Club. (03) 9663 8107. When The Light Leaves by Rory Godbold. High Line Theatre in collaboration with Citizen Theatre. Jun 12 - 23. La Mama Courthouse. (03) 9347 6948. Travesties by Tom Stoppard. Bloomsday in Melbourne. Jun 12 - 23. fortyfivedownstairs. (03) 9662 9966. After Dinner by Andrew Bovell. Sherbrooke Theatre Company.

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

Josh Piterman In Concert. Jun 22. Alex Theatre, St Kilda. alextheatrestk.com.au The Club by David Williamson. Allegro Theatre Inc. Jun 21 29. www.allegrotheatreco.com Mr Bailey’s Minder by Debra Oswald. Mordialloc Theatre Company. Jun 21 - Jul 6. Shirley Burke Theatre. Parkdale. (03) 9587 5141. Wake in Fright. Adapted from Kenneth Cook’s novel by Declan Greene. Jun 21 - Jul 14. Malthouse Theatre. (03) 9685 5111.

ABBA-solutely Fabulous. Rhonda Burchmore and Lara Mulcahy. Morning Melodies. Jun 24. Hamer Hall. 1300 182 183. The Piano Men. Emma Knights. Melbourne Cabaret Fringe Festival. Jun 24 - 29. The Butterfly Club. (03) 9663 8107.

Stage Whispers 63

On Stage Therapy. Ashton Turner. Melbourne Cabaret Fringe Festival. Jun 24 - 29. The Butterfly Club. (03) 9663 8107. A Man of No Importance by Terence McNally, music by Lynn Ahrens and Stephen Flaherty. Williamstown Little Theatre. Jun 26 - Jul 13. www.wlt.org.au A Little Night Music by Stephen Sondheim and Hugh Wheeler. Victorian Opera. Jun 27 - Jul 6. Playhouse, Arts Centre Melbourne. 1300 182 183. Hercules - The Pantomime by Julia Banks. GSODA. Jun 28 30. Geelong Arena, 110 Victoria St, North Geelong. geelongarena@geelongcity.vic.gov.au Tasmania When I Grow Up. Encore Performing Arts Studio. May 9 - 11. Burnie Arts and Function Centre. (03) 6430 5850. www.burniearts.net 1984 by George Orwell, adapted by Matthew Dunster. The Launceston Players. May 16 - 25. The Earl Arts Centre. 0439 498 119. Dad’s Army by David Croft and Jimmy Perry. Hobart Repertory Theatre Society. May 17 - Jun 1. The Playhouse Theatre, Hobart. playhouse.org.au Downtown! The Mod Musical. Devonport Choral Society. May 17 - Jun 1. Paranaple Arts Centre, Devonport. (03) 6420 2900. The Great Debate. Australian Music Theatre Festival. May 24. Princess Theatre Launceston. (03) 6331 0052. The Sound of Musicals. Rob Mills and Jemma Rix. Australian Music Theatre Festival. May 25. Princess Theatre Launceston. (03) 6331 0052. Rob Mills and Jemma Rix: In Their Own Words. Australian Music Theatre Festival. May 26. Princess Theatre Launceston. (03) 6331 0052. Senior Moments by Angus FitzSimons and Kevin Brumpton. Return Fire 64 Stage Whispers

Victoria, Tasmania, South Australia & W.A. Production. May 30 - Jun 1. Theatre Royal, Hobart. (03) 6146 3300. The Violent Outburst That Drew Me To You by Finegan Kruckemeyer. Melbourne Theatre Company. Jun 5. Theatre Royal, Hobart, (03) 6146 3300. Ladies in Black. Book by Carolyn Burns. Music and Lyrics by Tim Finn. Bijou Creative. Jun 6 - 15. The Playhouse Theatre, Hobart. www.centertainment.com.au Treasure Island by Ken Ludwig. Hobart Repertory Theatre Society. Jun 28 - Jul 20. The Playhouse Theatre, Hobart. playhouse.org.au Cinderella. Music: Prokofiev. Choreographer: Michelle Sierra. Victorian State Ballet. Jun 27, Princess Theatre Launceston, (03) 6331 0052 & Jun 29 & 30, Theatre Royal, Hobart, (03) 6146 3300. South Australia Hydra by Sue Smith. May 1 19. The State Theatre Company of SA. Dunstan Playhouse.131 246. www.bass.net.au

University of Adelaide Theatre Guild. Little Theatre. trybooking.com/ZMCJ Moon Over Buffalo by Ken Ludwig. May 22 - Jun 1. Tea Tree Players. Tea Tree Players Theatre. (08) 8289 5266. www.teatreeplayers.com A Bunch of Amateurs by Ian Hislop and Nick Newman. May 23 - Jun 1. Red Phoenix Theatre. Holden Street Theatres. www.holdenstreettheatres.com Nerve by Adam Symkowicz. Jun 5 - 15. IKAG. The Elephant British Pub. ikagproductions.com/nerve

Theatre, Guildford. trybooking.com/479502 The Mikado by Gilbert and Sullivan. Gilbert and Sullivan Society of WA. May 2 - 11. Classic operetta set in Japan. Dolphin Theatre, University of WA. www.ticketswa.com The 25th Annual Putnam County Spelling Bee. Music and lyrics by William Finn, book by Rachel Sheinkin. Roleystone Theatre. May 3 - 11. Comic musical. Armadale District Hall. trybooking.com/482544 When The Rain Stops Falling by Andrew Bovell. WAAPA 3rd Year Acting. May 3 - 9. Pirates of Penzance (Broadway Roundhouse Theatre, WAAPA, version). By Gilbert & Sullivan. Edith Cowan University. (08) 9370 6895. Jun 6 - 15. Therry Dramatic www.waapa.ecu.edu.au Society. The Arts Theatre. trybooking.com/453489 Arsenic and Old Lace by Joseph Adelaide Cabaret Festival. Jun 7 Kesserling. Darlington Theatre Players. May 3 - 25. Classic - 22. adelaidecabaretfestival.com.au murder comedy. Marloo Theatre, Greenmount. 0490 Well Shut My Mouth by 098 552 or Brenton Whittle. Jun 20-29. www.marlootheatre.com.au Adelaide Repertory Theatre. Sense and Sensibility by Kate The Arts Theatre. Hamill, Melville Theatre www.adelaiderep.com Company. May 3 - 18. Based Western Australia on the Jane Austen novel. HMS Pinafore by Gilbert & Ten Quid by John Grimshaw. Melville Theatre. Sullivan. May 1 - 4. Gilbert & Stirling Players. Until May 12. www.meltheco.org.au Sullivan Society of SA. The Arts Australian play about a boy Machinal by Sophie Treadwell. Theatre. (08) 8447 7239. with a dream. Stirling Theatre, WAAPA 2nd Year Acting. May www.gandssa.com.au Innaloo. (08) 9446 9120. 3 - 9. Expressionist play. The Addams Family the www.stirlingplayers.com.au Enright Studio, WAAPA, Edith Broadway Musical. Music and The Double by Clare Testoni. Cowan University. (08) 9370 Lyrics by Andrew Lippa. Book Bow and Dagger Theatre 6895. www.waapa.ecu.edu.au by Marshall Brickman and Rick Company. Until May 11. New Jesus Christ Superstar by Elice. May 4 - 18. SCCAS. Cyber-Gothic play. The Blue Andrew Lloyd Webber and Tim Victor Harbor Town Hall. Room Theatre, James St, Rice. Stray Cats Theatre www.sccas.org.au Northbridge. Company. May 9 - 12. Rock Moving Mountains by www.blueroom.org.au Musical. Mandurah Performing Lawrence Roman. May 8 - 18. Death Throes by Harriet Gillies Arts Centre. (08) 9550 3900. Galleon Theatre Group. and Matthew Predny, Julia www.manpac.com.au Domain Theatre Marion. (08) Croft and Joe Lui. Presented by Cracked by Barbara Hostalek. 8375 6855. galleon.org.au Gillies, Croft and Lui. Until May Yirra Yaakin Theatre Company. Miss Saigon. Music: Claude18. Musical about the first Miss May 7 - 18. Features Bobbi Michel Schönberg. Lyrics: Alain Australia. The Blue Room Henry, Bruce Denny and Luke Boublil & Richard Maltby Jnr. Theatre, James St, Northbridge. Hewiit. Subiaco Arts Centre. May 9 - 18. The Metropolitan www.blueroom.org.au tickets.ptt.wa.gov.au/events/2639 Musical Company of SA. The Star Quality by Noël Coward. Delius by Carl Promfret. KADS. Arts Theatre. 0407 457 821. Garrick Theatre. May 2 - 19. May 8 - 25. Intense drama set www.metmusicals.com.au Set behind the scenes of a in France. KADS Town Square Don Juan in Soho by Patrick West End production. Garrick Theatre, Kalamunda. Marber. May 11 - 25. kadstheatre.com.au/buy-tickets Just $50 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage A Picture of Betrayal by Noel O’Neil. May 8 - 18. Maverick Productions. Locally written premiere. Old Mill Theatre, South Perth. oldmilltheatre.com.au Kinetics by Sue Wylie. Natalie Burbage and MANPAC Community Partnership. May 9 - 12. True story of coming to terms with Parkinson’s disease. FishTrap Theatre, Mandurah Performing Arts Centre. www.manpac.com.au La Bayadere - the Temple Dance. WA Ballet. May 9 - 25. Re-imagined classical work. His Majesty’s Theatre, Perth. (08) 6212 9292. www.waballet.com.au Water by Jane Bodie. Black Swan State Theatre Company. May 9 - 26. World Premiere following the journeys of families. Studio Underground, State Theatre Centre of WA. tickets.ptt.wa.gov.au/events/2319 Natural Causes by Ian Chappel. Wanneroo Repertory. May 9 18. Black comedy. Limelight Theatre, Wanneroo. www.limelighttheatre.com.au Calamity Jane by Ronald Hanmer and Phil Park from the stage play by Charles K. Freeman. Music by Sammy Fain. Lyrics by Paul Francis Webster. Murray Music and Drama. May 10 - 25. Classic Musical. Pinjarra Civic Centre. 0458 046 414. www.mmdc.com.au/tickets. Present Laughter by Noël Coward. PAANDA. May 14 25. Classic comedy. University of Notre Dame, Fremantle Campus. trybooking.com/484764 Stalking Matilda by Tee O’Neil. midnite youth theatre company. May 15 - 18. Futuristic film noir drama. Drama Centre, Christ Church Grammar School. trybooking.com/431849 Twelve Angry Jurors by Sherman L. Sergel. Arena Arts and Entertainment. May 16 26. A female take on Twelve

Angry Men. Roxy Lane Theatre, Maylands. TAZTix (08) 9255 3336. www.whatson.com.au/arena Miss Westralia by Madeline Clouston. Blonde Moment Theatre Company. May 21 Jun 8. New Cyber-Gothic play. The Blue Room Theatre, James St, Northbridge. www.blueroom.org.au Unrule by Michelle Aitken. Presented by Hey! Precious. May 28 - Jun 15. Horror, werewolves and women’s health. The Blue Room Theatre, Northbridge. www.blueroom.org.au Solo Stage: Here Now. WAAPA 2nd Year Performance Making. May 29 - Jun 1. Devised work. PICA, Perth Cultural Centre. (08) 9370 6895. www.waapa.ecu.edu.au The Gruffalo. Tall Stories / CDP. Jun 4 - 9. Based on the book by Julia Donaldson and Axel Scheffler. Heath Ledger Theatre, State Theatre Centre of WA. tickets.ptt.wa.gov.au/events/3085 Terry Pratchett’s Lords and Ladies. Adapted for the stage by Irana Brown. Roleystone Theatre. Jun 4 - 14. Based on the novel. Roleystone Hall. www.roleystonetheatre.com.au Love Me Tender by Tom Holloway. WAAPA 2nd Year Acting. Jun 14 - 20. Australian play inspired by Euripides’ Iphigenia. Enright Studio, WAAPA, Edith Cowan University. (08) 9370 6895. www.waapa.ecu.edu.au Driving Miss Daisy by Alfred Uhry. Koorliny Arts Centre. Jun 14 - 22. Based on the film. Koorliny Arts Centre. www.koorliny.com.au The Misanthrope by Moliere. WAAPA 3rd Year Acting. Jun 14 - 20. Classic French comedy of manners. Roundhouse Theatre, WAAPA, Edith Cowan University. (08) 9370 6895. www.waapa.ecu.edu.au The Torrents by Oriel Gray. Black Swan State Theatre

Western Australia & New Zealand Company. Jun 15 - 30. A woman’s place is in the newsroom. Heath Ledger Theatre, State Theatre Centre of WA. tickets.ptt.wa.gov.au/events/2336 Strictly Ballroom. Created by Baz Lurhman. Book by Baz Lurhman and Craig Pearce, adapted by Terry Johnson. WAAPA 2nd and 3rd Year Music Theatre. Jun 15 - 22. Love is in the air. Regal Theatre. 1300 795 012. ticketek.com.au Lawyers and Other Communicable Diseases by James Marzec and John McPherson. Jun 17 - 29. Showroom Theatre. Musical comedy. Old Mill Theatre, South Perth. oldmilltheatre.com.au See You Next Tuesday by Samantha Nerida. Static Drive Company. Jun 18 - Jul 6. Unsupervised and out past curfew. The Blue Room Theatre, James St, Northbridge. www.blueroom.org.au August Osage County by Tracy Letts. Playlovers. Jun 21 - Jul 6. Pulitzer Prize winning drama. Hackett Hall, Floreat. www.playlovers.org.au Floor Thirteen by Elise Wilson. Presented by Marshall Stay. Jun 25 - Jul 1. How real are our memories? The Blue Room Theatre, James St, Northbridge. www.blueroom.org.au Genesis. WA Ballet. Jun 27 - Jul 6. Mini season of short works. West Australian Ballet Centre, Maylands. www.waballet.com.au New Zealand How to Succeed in Business Without Really Trying. Music & Lyrics: Frank Loesser. Book: Abe Burrows, Jack Weinstock and Willie Gilbert. Manukau Performing Arts. Until May 4. www.mpatheatre.co.nz Time Stands Still by Donald Margulies. Dolphin Theatre (Auckland). Until May 11. dolphintheatre.org.nz

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

Next to Normal. Book and Lyrics by Brian Yorkey and Music by Tom Kitt. Stagecraft Theatre (Wellington). May 1 11. www.stagecraft.co.nz Welcome To Our Village, Please Invade Carefully by Eddie Robson. Rotorua Little Theatre. May 1 - 11. 0800 BUY TIX (289 849). Conversations With Dead Relatives by Phil Ormsby and Alex Ellis. Flaxworks Theatre Company. May 1 - 11. Circa Theatre, Wellington. (04) 801 7992. Waiting for Godot by Samuel Beckett. Circa Theatre, Wellington. May 3 - Jun 1. (04) 801 7992. The Road That Wasn’t There. Tour-Makers with Trick of the Light Theatre and Zanetti Productions. May 4, Baycourt Community and Arts Centre, Tauranga, 0800 TICKETEK (842 538); May 7, Gisborne War Memorial Theatre, (06) 868 8288; May 10, MTG Century Theatre, Napier, 0800 TICKETEK (842 538); May 14, Globe Theatre, Palmerston Nth, (06) 351 4409; May 16, Royal Whanganui Opera House, 0800 842 538; May 22, The Meteor, Hamilton. The Spirit of Annie Ross by Bernard Farrell. Howick Little Theatre. May 4 - 25. (09) 361 1000. The Addams Family. Music and Lyrics by Andrew Lippa. Book by Marshall Brickman and Rick Elice. East Otago Musical Theatre. May 7 - 11. East Otago Events Centre, Waikouaiti. (03) 465 7117. The Mousetrap by Agatha Christie. Lunchbox Theatrical Productions in association with Pieter Toerien. May 8 - 12, The Opera House, Wellington. 0800 111 999. The Phantom of the Opera by Andrew Lloyd Webber, Charles Hart and Richard Stilgoe. Blenheim Musical Theatre. May 8 - 18. ASB Theatre, Marlborough. Ticketek. Stage Whispers 65

On Stage The Audience by Peter Morgan. Auckland Theatre Company. May 8 - 23. ASB Waterfront Theatre. 0800 ATC TIX (282 849) Hedwig and the Angry Inch by John Cameron Mitchell and Stephen Trask. May 11 - Jun 1. The Court Theatre, Christchurch. (03) 963 0870 / 0800 333 100. Wicked. Music and Lyrics by Stephen Schwartz. Book by Winnie Holzman. Musical Theatre Dunedin. May 16 - 25. Regent Theatre Dunedin. www.wickeddunedin.co.nz Les Misérables. Music by Claude-Michel Schönberg. Lyrics by Herbert Kretzmer. Original French text by Alain Boublil and Jean-Marc Natel. Additional Material by James Fenton. Adaptation by Trevor Nunn and John Caird. Napier Operatic. May 16 - Jun 1. Napier Municipal Theatre. www.napieroperatic.org.nz ‘Allo ‘Allo by Jeremy Lloyd and David Croft. Warkworth Theatre. May 16 - 24. Warkworth Town Hall. www.wwtheatre.co.nz Sister Act. Music by Alan Menken, lyrics by Glenn Slater, book by Bill and Cheri Steinkellner, and additional book material by Douglas

New Zealand Carter Beane. Variety Theatre Ashburton. May 24 - Jun 1. varietytheatreashburton.co.nz Room on the Broom. Adapted from the book by Julia Donaldson & Axel Scheffler. CDP / Tall Stories. Jun 2 - 6, Isaac Theatre Royal, 0800 842 538; Jun 7, Civic Theatre, Invercargill, 0800 224 224; Jun 11 & 12, Regent Theatre, Dunedin, 0800 224 224; Jun 15, Ashburton Trust Event Centre, 0800 224 224; Jun 17 & 18, Theatre Royal, Nelson, 0800 224 224; Jun 20, ASB Theatre Marlborough, 0800 842 538; Jun 25 & 26, Theatre Royal, New Plymouth, 0800 842 538; Jun 28, Regent on Broadway, Palmerston North, 0800 224 224; Jun 30, Napier Municipal Theatre, 0800 842 538; Jul 3 & 4, Baycourt Theatre, Tauranga, 0800 842 538; Jul 8 & 9, Clarence St Theatre, Hamilton, 0800 842 538; Jul 12 - 14, Opera House, Wellington, 0800 111 999; Jul 17 - 21, Bruce Mason Centre, Auckland, 0800 111 999. Array 19. Short Plays. Elmwood Players. Jun 5 - 8. www.elmwood-players.org.nz The Lion in Winter by James Goldman. Foolish With Theatre. Jun 5 - 9. The Rose

Centre, Belmont, Auckland. 0800 BUY TIX (289 849). The Phantom of the Opera by Andrew Lloyd Webber, Charles Hart and Richard Stilgoe. Whangarei Theatre Company. Jun 6 - 22. Forum North. whangareitheatrecompany.org.nz Annie. Music by Charles Strouse. Lyrics by Martin Charnin. Book by Thomas Meehan. Hawera Repertory Society. Jun 6 - 15. Hawera Memorial Theatre. TicketDirect Things I Know to be True by Andrew Bovell. Ellerslie Theatrical Society. Jun 6 - 15. www.ellerslietheatre.co.nz First Date. Book by Austin Winsberg. Music & Lyrics by Alan Zachary & Michael Weiner. Dolphin Theatre (Auckland). Jun 14 - 29. dolphintheatre.org.nz A Fine Balance. Adapted by Sudha Bhuchar and Christine Landon-Smith. Based on the novel by Rohinton Mistry. Auckland Theatre Company / Prayas Theatre. June 14 - Jul 6. Q Theatre. 0800 ATC TIX (282 849). The Music of Andrew Lloyd Webber in Concert. Showbiz Christchurch. Jun 14 - 16. 0800 842 538.

Glide Time by Roger Hall. Cambridge Repertory. Jun 15 29. cambridgerepertory.org.nz Priscilla Queen of the Desert. Music & Lyrics: Various. Book: Stephan Elliott & Alan Scott. New Plymouth Operatic Society. Jun 20 - Jul 6. TSB Showplace. npos.co.nz War Horse. Nick Stafford’s adaptation of Michael Morpurgo’s novel. National Theatre. Jun 21 - Jul 7. Civic Theatre, Auckland. 0800 111 999. Les Liaisons Dangereuses by Christopher Hampton. Jun 22 Jul 20. The Court Theatre, Christchurch. (03) 963 0870 / 0800 333 100. The Threepenny Opera by Bertolt Brecht & Kurt Weill based on Elisabeth Hauptmann’s translation of John Gay’s The Beggar’s Opera. Jun 22 - 29. Hannah Playhouse, Wellington. (04) 894 7419. See How They Run by Philip King. Stagecraft Theatre (Wellington). Jun 26 - Jul 6. Gryphon Theatre. www.stagecraft.co.nz We’re Going On a Bear Hunt. Tim Bray Productions. Jun 29 Jul 20. The PumpHouse Theatre, Auckland. (09) 489 8360.

Auditions Place your audition notice in the next edition of Stage Whispers magazine. Email stagews@stagewhispers.com.au or call (03) 9758 4522

Online extras!

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

66 Stage Whispers

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

Reviews: Premieres

Online extras!

The opening night crowd unanimously agreed Saturday Night Fever is a hit! https://youtu.be/yZMqnaYNTkc

Saturday Night Fever. Photo: Heidi Victoria.

Saturday Night Fever Based on the Paramount/RSO movie and the story by Nik Cohn, adapted for the stage by Robert Stigwood and Bill Oakes, new version arranged and edited by Ryan McBryde. Music and lyrics are by artists including the Bee Gees. John Frost. Sydney Lyric Theatre. Opening Night Apr 2. IT’S a turbocharged disco leap back to the funky 70’s with this show, fuelled by an inferno of lights, beams into the audience and deep 3D projections. With the language sanitised and the sexual violence less explicit in this latest stage version, we could well have overshot and reached the 50’s. Most of the actors are kept so busy with fast dance moves, actually singing the Bee Gees hits is left to four vocalists (including standout Natalie Conway). Oh, and Marcia Hines drops by for a boogie in Brooklyn’s disco palace, and to add real class to the classics, “You” and “Your Love Still Brings Me To My Knees”. Tony is so ambitious to win he drops his smitten partner, Annette, to team with a better, classier one. It’s a smart move. As Stephani, Melanie Hawkins is a sublimely beautiful dancer. Thankfully she has a few lyrical moments to stretch into, beyond the choreographic repetitions inherent in disco pattern movement and its army of arm gestures (from choreographer Malik Le Nost). Meanwhile, Angelique Cassimatis as the rejected Annette at least gets to sing her own song, and poignantly, “If I Can’t Have You”.

As a charismatic but sensitive Tony, the mercurial Euan Doidge is also a superb dancer and he looks good, despite now having a beefcake figure nothing like the slim lines of John Travolta in the 1976 film. Tony shares low selfesteem with one of his mates Bobby, an able young Ryan Morgan (who sings his own “Tragedy”); it’s darker subplot welcome in the rush of disco to the finale. There’s also Tony’s battling parents, played by Denise Drysdale and Mark Mitchell, but filmed as kitchen table scenes dropped in on a screen. It adds to the sometimes clutter and wandering focus of this originally French production from director Stephane Jarry. But whatever, “You Should Be Dancing” and “Night Fever” and “How Deep is your Love” all make you want to dance to the joy. Musical Director David Skelton and his seven musicians pump it out from the pit. Everyone is super-miked and the show super-sized. It’s giddy fun. Martin Portus Harry Potter And The Cursed Child By Jack Thorne. Based on an original new story by J.K. Rowling, Jack Thorne and John Tiffany. Direction: John Tiffany. Movement Direction: Steven Hoggett. Composer and arranger: Imogen Heap. Lighting Design: Neil Austin. Princess Theatre Melbourne from Feb 23. IN only its third production, following London and New York, the gargantuan that is Harry Potter and the Cursed Child has finally arrived in Melbourne in an extraordinary production which certainly lives up to the hype.

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

Stage Whispers 67

Harry Potter And The Cursed Child. Photo: Matt Murphy.

Online extras!

Seen Harry Potter And The Cursed Child in Melbourne? #KeepTheSecret. https://youtu.be/Mo4GicCLo6Y With a total running time in excess of five hours, the show never drags. In fact it doesn’t seem long enough as it grabs you by the short and curlies from the very opening scene on Platform Nine of Kings Cross Station, where the now adult Harry Potter (Gareth Reeves) and his wife, Ginny (Lucy Goleby) are farewelling their son Albus Potter (Sean Rees-Wemyss) on his way to Hogwarts. Also farewelling their daughter, Rose Granger-Weasley (Manali Datar), who’s also heading for Hogwarts, are Ron Weasley (Gyton Grantley) and Hermione Granger (Paula Arundell). Although Harry has cautioned Albus to avoid contact with Scorpius Malfoy (William McKenna), the son of his arch-enemy Draco Malfoy (Tom Wren), the pair meet up and soon become best friends. The flashbacks and time travel refer to incidents from the Harry Potter books, while Imogen Heap’s atmospheric score sets the mood for each scene as staircases, suitcases, furniture and assorted props swirl around the stage. Nobody walks. Everybody hurries. The actors swirl capes and deliver their dialogue in heightened tones, bringing a sense of urgency to every scene. John Tiffany’s direction is masterly, carefully focusing the audience’s attention on the complex storyline which he punctuates with jaw-dropping illusions while disguising set and costume changes with dazzling movement, as meticulously choreographed as any ballet. In a very strong cast, Sean Rees-Wemyss as Albus Potter, William McKenna as his unlikely bestie, Scorpius Malfoy and Manali Datar as the effervescent Rose Granger 68 Stage Whispers

-Weasley, all give star-making performances, supported by stylish playing from Gareth Reeves and Lucy Goleby. Gyton Grantley captures most of the laughs as Ron Weasley, while Paula Arundell and white-haired Tom Wren bring gravitas to a not-to-be missed production. Bill Stephens Dance Nation By Clare Barron. Red Stitch Actor’s Theatre. Directed by Maude Davey. Mar 17 - Apr 14. DANCE Nation is centered on a provincial dance school run by an obsessive compulsive and rather foolish male dance teacher Pat, who is played with levity by Brett Cousins. He is not particularly perceptive or insightful and therefore less than emotionally supportive for the girls. Dangerously, he winds his charges up into a frenzy of ambition to be idolized as fetishized stars. As audience we are caught up in the adolescents’ exuberance, passion, neurosis, vulnerabilities, competitive impulses and disappointments. All adult actors shine and capture moments of glistening essence of that strange twisted period in life that is a weird, sometimes progressive and sometimes recessive, bridge between being a child and an adult. Director Maude Davies has a lovely warm light touch. There is so much joy in the strangeness of the various and changing realities of the developing characters. The evening transpires smoothly and joyfully. Sound by Peter Farnan is at times unexpectedly fashioned and choreography by Holly Durant skillfully and

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

smoothly integrated. Set and costumes (Adrienne Chisholm) have a sense of transience about them. There is the tacky, shiny brightly lit dance studio with a mysterious curtain and even a hint of the Greek Chorus in the costuming. It is great being in a position to laugh at the craziness of it all. Suzanne Sandow Icarus Created and performed by Christopher Samuel Carroll. The Street Theatre in association with Bare Witness Theatre. The Street Theatre, Canberra. Feb 27 - Mar 3. CHRISTOPHER Samuel Carroll’s latest piece Icarus is a marvellously human, surreal, wordless fable about a young refugee and the terrible choices he has to make. Not strictly speaking mime, dance or physical comedy, it is a form of highly stylised constant movement to create a strong and clear narrative but with enough ambiguity and mystery to keep the audience thinking. Without a set, props or even a costume to speak of, this characterisation rests on Carroll’s remarkable ability to work an audience without speaking. What compels is Carroll’s extraordinary physical storytelling, pacing and timing with tension and release, humour interspersed with fear, to create a relatable empathic character. Watching is a visceral experience as the audience feels the character’s humanity and increasing desperation. The performance involves an incredible degree of sheer muscular effort and sweat. While the team has tried to make the story as clear as possible, sometimes it can be difficult to follow what is happening as the character slips into dream sequences or delirium, but this adds to the surreal effect. The other vital element here is the remarkable collaboration with the sound designer/operator Kimmo Vennonen and lighting designer/operator Jed Buchanan, who between them flesh out a vibrant, detailed world in sound and light.

Icarus is a beautiful, tragic fairy tale made compelling by the sheer talent of the cast and crew. Cathy Bannister The Kill Deer Music and Lyrics by The Cinnamon Line (Taylor Broadley, Lincoln Tapping, Wei Chong, Liam Rock and Zac Bennett). Orchestrations by Paul Olsen. Murdoch Theatre Company. Directed by Taylor Broadley. The Nexus Theatre, Murdoch University, WA. Mar 21 - 30. THE Kill Deer was the World Premiere of a locally written musical, attracting great audiences for Murdoch Theatre Company. Teenaged Elliot has been missing for five years. When he unexpectedly re-appears, there is cause for celebration. But things begin to not add up. Is Elliot really Elliot? Harley Dasey was impressive in the central role, bringing outstanding vocals and a compelling performance. Elliot’s sister River is played well by Tannah Pridmore. Journalist Amy was capably played by Tashlin Church, working well with Jefferson Hoan playing Henry, a case worker from the National Centre for Missing and Exploited Children. It was difficult to tell how Amy fit into the story for a while - unfortunate as she is a pivotal role. Cathy Woodhouse brought depth to Bernadette, Elliot’s mother, in an emotive well-sung performance, nicely paired with Rigel Paciente as ex-husband Roger. The song “O My Water” is a highlight. A seven-piece ensemble, led by Musical Director Paul Olsen, is strong and clean, and vocals are well delivered. This is a show that deserves future development and a further life. Congratulations on presenting a brand new show that was exciting to see and showcased loads of developing talent, both in the cast and the production team. Kimberley Shaw

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

Stage Whispers 69

The Appleton Ladies’ Potato Race By Melanie Tait. Ensemble Theatre, Sydney. Director: Priscilla Jackman. Mar 22 - Apr 27. THIS 90-minute, five-female play is a real winner. It’s set in the small (fictional) country town of Appleton in the Southern Highlands of NSW, where the annual show includes the humping of large sacks of potatoes round a racetrack. The winner of the men’s race gets $1000, while the winner of the women’s wins a paltry $200. New doctor and returning resident Penny Anderson (Sharon Millerchip) sees this as completely unfair and sets out to right the wrong. How writer Melanie Tait manages to invoke a whole town on a no-set, all-woman stage is one of the wonders of the evening. But she does. The official body that runs the show consists of Bev (Valerie Bader, plump, exactly the type of townswoman we all know) and Barb (Merridy Eastman, tall and rangy). When Penny announces that she proposes to raise the women’s winnings, they are gobsmacked. Completing an outstanding cast are Amber McMahon as Nikki, an out-there hairdresser, and Sapidah Kian, a newcomer from Syria and first to see things Penny’s way. There is plenty of online abuse and rejection ahead for Penny and, on top of that, her sexuality is called into question. Sharon Millerchip expertly negotiates these challenges: ‘I’m not scared anymore.’ A flashback visit to the 1988 Appleton Show is a hilarious highlight in this very funny, and ultimately very moving, new play. Frank Hatherley

Opera singers Suzanne Kompass (Ada Marini) and Jason Barry-Smith (Aldo Marini) were excellent as Mimma’s mother and brother, with expertly sung and heartfelt performances. Igor Sas delighted as ‘Uncle’ Lorenzo Perona. Brendan Hanson was strong as Gino. Ian Toyne was powerful as Senior Constable Talbot, a smalltime despot. Geoff Kelso and Caroline McKenzie played gardeners, in an interesting plot device that offered a change of pace. Core ensemble members played multiple roles throughout. Particularly memorable were Mimma’s sisters, created by Christina Odam and Amy Fortnum, Jess Clancy’s wonderfully British Camp Guard and Joel Horwood’s sailor Johnny. The ensemble is joined by a dozen dancers, who boost the chorus in larger production scenes, including a strong tap number. Mimma is a fascinating and intriguing production with a huge amount of potential. A new Australian musical that tells a beautiful story. Kimberley Shaw

Viagara Falls - Sweeten Up! By Janet Findlay and Alan Youngson. Directed by Alan Youngson. Presented by Studio 188 and Red Ticket Comedy Theatre. Studio 188. Feb 23 - Mar 2. THERE were plenty of laugh-out-loud moments in this bawdy, yet safe-for-nan farce. The narrative had recognisable and relatable characters. It was well-paced, with never a dull moment. The story was set in ‘Serenity Gardens’ retirement Mimma village a week out from the wedding of two of the By Ron Sieminginowski and Giles Watson. Directed by residents. Eric (Laurie Webb) having never married, or Adam Mitchell. The Regal Theatre, Subiaco, WA. Apr 9 been with a woman before, obtains some unisex Viagra 21. from his doctor for the ‘big night’. All hell breaks loose MIMMA, a musical of war and friendship, a lavish when the residents mistake the tablets for artificial professional production with beautiful production values, sweeteners and Eric tries and fails to get his Viagra back. had its World Premiere at The Regal Theatre. The cast worked well together, even more impressive Set against the rise of fascism in Italy, and the Second given they’d had two last-minute replacements step in. Any hesitations were quickly improvised around, with World War in London, Mimma touches on many issues, but focuses on the friendship between Mimma, an Italian everyone working to keep the story on track. All actors journalist, and Sarah, an aspiring jazz singer. The music, were committed to the farcical style the script demanded. The set design by David Finn was effective and the composed by Ron Sieminginowski and musically directed and orchestrated by Sean O’Boyle, runs from soaring direction from Alan Youngson made great use of the set and the Studio 188 space. Noel Payne’s lighting design operatic arias, through to smoky jazz, and tap numbers. The Perth Symphony Orchestra provided strong kept everyone focussed on the action. accompaniment to some amazing singers. Janet Findlay as Kitty delivered the most impressive acting of the evening. She had great charisma and comic The production looked spectacular. Brian Woltjen’s stunning multi-storey set serves as the basis for many timing. Richard Edwards as Dr. Sadhu delivered the most locales and there were wonderful moments - especially realistic performance, which was a nice counterpoint to the rest of the cast’s farcical style. the opening shipwreck scene - expertly created with lighting designer Trent Suidgeest and sound designer Ben While the younger members of the audience were enjoying the show, it was the seniors who loved it best. Collins. Moving image design by Michael Carmody was particularly impressive. They were laughing their heads off from the pre-show Star billed Mirusia Louwerse, as Mimma Marini, sang announcement all the way through to the curtain call. gorgeously and anchored the show with grace, forming a Kiesten McCauley wonderful relationship with Holly Meegan, stunning as * To find out more about this play, contact Alan Sarah Parker. Youngson: alan@redticketcomedy.com.au or 0499 089 998. 70 Stage Whispers

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

Hydra. Photo: Jeff Busby.

Online extras!

Audiences described Hydra as “epic” and “gut-wrenching”. Scan or visit https://youtu.be/mgorotWp8Bs Squad Goals Written by Alex Bayliss. Directed by Emma Black and Alexander Bayliss. Share House Theatre Company. Metro Arts, Brisbane. Feb 28 - Mar 9. HOW far would you go to win? That’s the question asked by Squad Goals, a new black comedy written by Brisbane creative, Alex Bayliss. It’s an excellent example of a gripping thriller crossed with a comedic horror. The narrative focusses on a netball team that’s hellbent on winning and making it to the A grade. Team captain Michelle (Lisa Davidson) will stop at nothing to achieve her goals. She convinces others in the team that weak player Jess (Karli Rae) has been possessed by a demon and they must exorcise her. The acting is A-grade and the cast works very well as a team. Lisa Davidson is focussed and suitably psychopathic in the role of Michelle. Aimee Duroux as Alison delivers a fearless performance. Most outstanding is Bek Schmidt as Becca, whose acting is believable and powerful. Design by Anna Straker sets the mood before any actor steps onstage. It enhances the horrific, dangerous feeling. So too does the amazing sound design by Mike Willmett. Spooky night-time bird sounds, cicadas and at times a low, unnerving hum sit in the peripherals of your hearing, building the tension. Direction by Alexander Bayliss and Emma Black is tight and well balanced. Squad Goals is entertaining and different to the usual fare. Squeamish viewers might wince at the blood, but for

fans of dark comedy and thrilling horror, this is an exciting new production. Kiesten McCauley Hydra By Sue Smith. Director: Sam Strong. Queensland Theatre & State Theatre Company of South Australia coproduction. Bille Brown Studio, South Brisbane. Mar 9 Apr 6. GEORGE Johnston and Charmian Clift were the Australian literary darlings of the 50s: authors who rejected Western consumerism and decamped to a remote Greek island to become ‘real’ novelists. That they eked out a hand-to-mouth living for ten years before the success of Johnston’s My Brother Jack becomes the background to Sue Smith’s Hydra, a play that explores their intense love for each other, and their fractured marriage with its infidelity, alcoholism, illness and jealousy. With its white stucco set, ambient sounds of waves crashing over rocks, and an occasional touch of bouzouki, Sam Strong’s production reeked of an island paradise in the Mediterranean. It was the ideal setting for Smith’s poetic journey into the existential bohemian world the authors created. Anna McGahan’s Clift was willful, seductive and determined, willingly subsuming her own career to advance her husband’s. Bryan Proberts’ George had a touch of the larrikin, was fiercely possessive, and raged when he discovered he was being cuckolded. Together

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

Stage Whispers 71

33 Variations. Photo: Lachlan Woods.

Online extras!

Audiences shared our love for 33 Variations. Scan the QR code or visit https://youtu.be/_CLgRar39-g they created sparks. In fact at times during their drunken fights we could have been watching George and Martha in Who’s Afraid of Virginia Woolf? At others their loneliness and isolation was palpable. As Ursula, Tiffany Lyndall-Knight brought the outside world to this viperous conclave, with a good deal of common-sense that fell on deaf ears, whilst Hugh Parker’s Vic, an amalgam of Sidney Nolan, Leonard Cohen and others was quietly supportive of their Aegean dream. Ray Chong Nee, in multiple roles, but mainly as Frenchman Jean-Claude, Clift’s lover, lacked a sensuous appeal for the Gallic swain, but Nathan O’Keefe as the eldest child Martin was an ingratiating narrator. Nigel Levings’ lighting was top of the range, and at times created magic, especially the ceiling of pin-lights that descended mid-play. The finale with Clift’s suicide was handled with restraint. I can’t say I felt empathy for either Johnston or Clift, but Smith at least helped us to understand their choices. Peter Pinne

Variations”. Burstyn’s presence is elegant and unassuming and makes this somewhat stubborn and determined character incredibly captivating and charming. Burstyn is supported by an outstanding Australian cast. Lisa McCune plays Clara Brant, Katherine’s young and somewhat fickle daughter. The tensions in their relationship become exacerbated as they negotiate Katherine’s illness. McCune is able to strike a fine balance between vulnerability and determination. William McInnes plays Beethoven with grandeur, irony and a magnificent physicality. Helen Morse interprets Dr Gertrude Ladenburger, a Beethoven archivist who assists Katherine in both her professional and personal ambitions. Morse delivers a luminescent performance which shows all of the complexities of this decisive persona. Francis Greenslade brings Anton Diabelli to life in an amusing yet solemn manner. Toby Truslove (Mike Clark) and Andre De Vanny (Anton Schindler) equally provide delightfully nuanced performances. The production features a superb live musical accompaniment by renowned pianist Andrea Katz. Her presence on stage is delicately woven into the 33 Variations play and is an integral part of the performance. The detailed set captures the historic atmosphere of By Moisés Kaufman. Presented by Cameron Lukey, Neil Gooding & Ellis Productions. Comedy Theatre, Melbourne. the city of Bonn but also has a wonderful lightness which Mar 7 - 24. easily lends itself to the more contemporary elements of the story. This is a witty and profound text by an THIS is an exquisite production featuring Hollywood legend Ellen Burstyn, who plays Dr Katherine Brandt, a accomplished author who renders classical music history musicologist diagnosed with a debilitating disease. She fascinating and engrossing. has limited time to uncover the motives behind Patricia Di Risio Beethoven’s mysterious obsession with the “Diabelli 72 Stage Whispers

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

Possum Magic Based on the book by Mem Fox and Julie Vivas, adapted by Eva Di Cesare and Sandra Eldridge. monkey baa theatre company. Touring nationally. MONKEY Baa is committed to introducing kids to good theatre by bringing the Australian books they love to stage. It continues that commitment with this delightful interpretation of Mem Fox and Julie Vivas’ treasured story about faith and identity. Mixing movement, mime, puppetry, humour and, of course, magic, director Sandra Eldridge brings together a cast of creative theatre makers to breathe life into the characters, and the illusion that weaves through the story. Magician/illusionists Adam Mada and Bruce Glen make Grandma Poss’s tricks possible. Designer Emma Vini emulates Vivas’ illustrations. Trees frame the full moon that provides a screen for shadow puppets and projections - night-time clouds, a quirky map of Australia and cartoons depicting the capital cities that Grandma Poss and Hush visit in their quest. Backed by the creative sounds of composer Nate Edmondson, theatre and dance maker Sam Chester uses a combination of mime and expressive movement to bring the possums and their bush friends to life. Claudette Clarke (Grandma Poss) and Sarah Greenwood (Hush) personalise the characters with shiny, wide-eyed wonder and awe, re-telling Fox’s story in a way with which children can identify. They are very ably supported by Alex Packard and Michael Yore who, as well as assisting with the magic and puppetry, play a wombat, a snake, and supply the different Australian ‘people food’ Hush needs to eat to become visible. Carol Wimmer

waddled effortlessly to steal laughs. Tim Dashwood’s Bean was delightfully officious, the supposed ‘brains’ of the trio whose schemes always failed, whilst Nelle Lee (unrecognisable) as the goose-pate obsessed Bunce was a knockout, especially when her farts were shown as cartoon bubbles to wild comic effect. Gemma Willing was a motherly but spunky Mrs Fox, while Nick Skubij was a nimble and speedy Mr Fox. Memorable doubles were Dashwood’s cider-guzzling Rat, Lee’s lovable Badger and a pop trio with both girls being joined by a dragged up (but still in fat-suit) Cain as Mabel, doing a riotous dance routine. Jason Glenwright’s lighting and Guy Webster’s sound all added to the cartoon style, which overall was brilliantly realised by director Ross Balbuziente. Fantastic Mr Fox is a fantastic piece of theatre and at just under an hour the perfect length to hold any child or adult’s interest. Peter Pinne

Hermit Crabs And Meteors By Tyler Atcheson. Bearfoot Theatre. The Royal Exchange, Newcastle. Mar 7 - 10. THIS charming new play, by 18-year-old Tyler Atcheson, continues the success of the Newcastle young actors company that staged it in developing new works. A lot of amusing and intriguing words and actions were packed into its 50-minute running time, as Eugene (Harry Lyddiard), who lives alone in a beachside house, wakes up to find that a small glowing meteor has crashed through the roof and landed on his coffee table. Neighbours, most of whom he has never met, come to find out what happened, with one, surly Mr Codsfish (Phil McGrath), blaming the meteor for the disappearance of his pet hermit crab. Watchers got to see a variety of Fantastic Mr Fox different hermit crabs (but are they real?) and the meteor Adaptation: Nick Skubij. Based on the book by Roald led to unusual voices being heard. McGrath and Allison Dahl. Director: Ross Balbuziente. Choreography: Andrea Van Gaal, who was initially seen as a grim roof repairer, Arena. Shake & Stir Theatre Company and QPAC. amusingly delivered those voices, which included those of Playhouse, QPAC. Apr 13 - 20. Eugene’s childhood pet snake and rat. FOR the third time, Shake & Stir have raided the library Director Riley McLean also ensured that Annie of Roald Dahl and come up with the most clever, McLoughlin’s energetic young schoolgirl, Emilio, and imaginative and eye-popping adaptation of his 1970 Savannah Geddes’s wide-eyed and eccentric woman, Gill, children’s book Fantastic Mr Fox. Written for a company were engaging. Emilio, for example, had deliberately of six who comically play multiple roles, the stars of the missed her school bus to go to Eugene’s house and, while production are Jon Weber’s cartoon drawings and Craig showing her happy side, also had annoying moments as Wilkinson’s video projection of them, played out on Josh she bickered with Eugene. Gill, likewise, revealed a McIntosh’s triple ramp set. The synchronisation of the passionate nature, through her comments about images with what is happening on stage is jawremoving rubbish from beaches to make them more droppingly brilliant. welcoming. The simple story finds three dim-witted farmers trying Writer Atcheson, who lives near one of Newcastle’s to protect their livestock from the nightly marauding Mr most popular beaches, has revealed that he was scared of Fox. Johnny Balbuziente, as the son Chase Fox, leads us hermit crabs when growing up. But researching their into the tale as a narrator and storyteller, often stopping nature while putting the play together has led him to be the plot in a freeze-frame to give the audience a true more appreciative of them. And that certainly came out in ‘fact’. He’s relatable and playful and the kids loved him. this production. But it’s the three farmers who steal the show, with Ken Longworth Leon Cain outstanding in an outrageous fat-suit as Boggis, the chicken farmer, an audience delight as he Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 73

Reviews: Plays

Romeo And Juliet. Photo: Jon Green.

Online extras!

Check out a highlight reel of Romeo & Juliet. Scan the QR code or visit http://bit.ly/2KCPQ8X Romeo And Juliet By William Shakespeare. WAAPA Third Year Acting Students. Directed by Michael Jenn. Studio Underground, State Theatre Centre of WA, Perth. Mar 15 - 21. WAAPA’s Third Year Acting Students used the State Theatre Centre’s Studio Underground to present this large scale production of Romeo and Juliet. Set in Verona, but in the 1950s, it was a passionate, gorgeous looking show, that sat nicely in its new time period. The multi-level set, which allowed balcony scenes, a sunken tomb and the scaling of orchard walls, also showed us Italian graffiti and provided great atmosphere a lovely design by Kara Rousseau and an excellent demonstration of the skill of Production and Design students. Peter Young’s Lighting Design was strong and emotive, while sound designer Patrick Middleton evoked the era. Gabrielle Clarke’s costume designs are beautiful from the elegance of Lady Capulet, through the flamboyance of Mercutio to the innocent whites of Juliet. Poppy Lynch gave us a very teenaged Juliet on a journey of discovery, with Saskia Archer beautifully elegant as Lady Capulet and Bryn Chapman Parish a frightening, controlling Lord Capulet. Camilla PonteAlvarez crossed gender nicely as a passionate Tybalt, Kaya Jarrett was a likeable, motherly Nurse, while Hamish White provided welcome comic relief as Peter. Jonathan Lagudi was a likeable, decidedly Italian incarnation of Romeo. Lucinda Howes was lovely as cousin and confidant Benvolio, as was Peter Thurnwald as 74 Stage Whispers

Mercutio. Lachlan Stevenson was a convincing Lord Montague. Ruby Maishman stood out as Friar Laurence, whose care for the young lovers felt genuine and heartfelt. Jessica Veitch had poise and authority as Prince Escalus. Alexander Dilley was a most sympathetic and nuanced Paris, while Julia Kok made the most of her cameos. Playing to an almost full house, including several school groups, the cast kept the audience entranced, with a lovely understanding and clear love of the language. An enjoyable, easy to watch production Kimberley Shaw Wrath By Liam Maguire. Hi-Jacked Rabbit Theatre Company. Directed by Liam Maguire. King Cross Theatre, Sydney. Feb 26 - Mar 18. WRATH is a speedy, indeed lightning-paced, sixhander about the high-stakes business world, about the powers that influence us all. Though we never discover what actual business is involved, when newcomer Henry (Adam Sollis) joins the firm he’s got no idea what’s in store for him. The bickering and backstabbing between all members of the firm, under dread CEO Ms. Stockwood (Madeleine Vizard), is set to the highest level, and Henry soon finds himself overwhelmed. “This is not a jungle,” says Ms. Stockwood in a fleeting moment of normality, but then she finds a single pubic hair on an office phone and major irrationality descends.

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

Daphne (Elle Mickel) and Eric (Jonny Hawkins) swear blind it doesn’t come from them, and Rick (Amy Hack in a fine gender-bending performance) is equally passionate. Soon the boss has everyone running in circles right through the night, before her boss appears. Wrath is directed to the last jot and nerve by its author Liam Maguire. They rip up the all-red set, designed by Anastassia Poppenberg, and scatter it energetically about. There’s some expert lighting by John Collopy and brilliant, if repetitive, sound by Sam Maguire. Frank Hatherley

Dressed in a grey flying suit, she performs on a brown tiled stage, empty but for a chair. Behind her, a curved cyclorama that symbolises the sky, the ‘blue’ that is her prized horizon, the job that she has earned through ‘sweat, and brains and guts”. Things change when she meets Eric and falls pregnant. When she returns to the air force after the birth, it’s not to her beloved ‘Tiger’ but to the “chair force” as a drone operator, sitting for hours waiting to strike, then watching again as the smoke settles and the bodies stop moving. Havea meets the challenge of this absorbing script in a performance that is rich and hungry. Short bursts of Two By Jim Cartwright. Directed by Mark Killmurry. Ensemble words and unfinished phrases are perceptively descriptive, intuitively personal. Havea delivers them with discerning Theatre. QUT Gardens Theatre. Mar 1 - 2 and touring. THERE are few actors who could rise to the challenges pauses, tight control, wry humour, subtle gestures, of Jim Cartwright’s Two as well as Brian Meegan and Kate perfect timing. This is a formidable performance that in Mercer’s words “may haunt” audiences for some time. Raison. Under the directorial guidance of Mark Kilmurry, Carol Wimmer the duo seamlessly flits between over a dozen recognisable characters in this engaging play. The action occurs in a busy pub run by a landlord and Wellness landlady who, in between pouring pints and spirits, jab at By Ella Arendelle. The Butterfly Club, Melbourne. Mar 4 each other with barbed tongues. Meegan and Raison are 9. ELLA Arendelle (along with her fellow cast members) choreographed beautifully as they mime making and serving drinks. Quick costume changes occur offstage and offers a series of comical vignettes that explore body new characters emerge to share their stories. Each one is image. The stories centre on fragments of daily life where polite people are confronted by situations that cause marked by physical and vocal changes in the cast members. All are expertly acted, recognisable, relatable them to behave in ways, so as to not appear offensive. Arendelle is the central figure and is clearly a fulland beautifully flawed humans. Alicia Clements’ set design is picture perfect - the bodied woman; comfortable in her own skin, she uses familiar green tiles and mirror behind the bar, the wellperformance as a personal cathartic exploration. Along with her collaborators Kashmira, Ryan Stewart and worn barstools, a little table and chairs and eye-searing ugly carpet - all scream ‘80s pub. So too does the Brendan McFarlane, she addresses and scrutinizes issues soundtrack, which is packed with ‘70s and ‘80s jukebox of mindful eating, overeating, food and eating as a means of communicating and together they attempt to mock favourites. Sound designer Neil Mclean should also be commended for the perfectly timed sound effects. Alicia human behaviour. The everyday eating scenarios connect with audience, Clements’ costume designs tell you so much about each new character before they even have a chance to speak. whether it be the thin girl describing her eating habits to Lighting Design by Matthew Marshall enhances the an overweight friend, a guy on a lunch break eating his sandwich texting appeasing messages to his girlfriend greens in the set design, with lighting state changes timed as perfectly as the sound effects. about her weight, or the annoying friend who keeps Cartwright’s script, when performed this well, tugs at shoving popcorn in your face at the cinema. A low-key production directed by George Lazaris, your heartstrings, makes you laugh out loud and ultimately reminds you of the importance of love, Wellness can at times be confronting but is an honest connection and our stories. tackling of issues related to eating behaviours and the stigma associated with being overweight. Kiesten McCauley Flora Georgiou Grounded Ding Dong By George Brand. National Theatre of Parramatta. Riverside Theatres, Parramatta. Mar 14 - 23. By Marc Camoletti. Cairns Little Theatre. Directed by Frank AMERICAN playwright George Brand found his Joel. Feb 22 - Mar 2. concern about drones being used in warfare shifted to the CAIRNS Little Theatre’s production of the comedy Ding ‘pilots’ who manoeuvred them from bases in the US. This, Dong was beset by a real life situation when one of the and a photo of a pregnant fighter pilot, lit the spark for lead actors was suddenly taken ill days before opening the incredibly powerful one-and-a-half-hour monologue night. Fortunately, experienced actor Peter Merrill bravely that is Grounded. took to the stage, script in hand, to fill the void. Peter Director Dom Mercer describes the play as “urgent and gave as good a performance as is possible with the short immediate”, and Mercer’s production, with Emily Havea space three days that he was given to play the difficult firmly in the pilot’s seat, is one that few will forget. lead role of George. The rest of the cast adjusted Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 75

themselves to the changed circumstances as best they could and carried on with energy and enthusiasm on a well-designed set. The plot revolved around wife swapping, mistaken identities and general mass confusion as doors open and close with rapidity. These types of productions are not easy to do as timing is all important. Thankfully, Paul Hynes as Robert was in excellent form, keeping the fastpaced action on track and subtly helping Peter with the many difficult stage movements. Amara Ennis as the maid gave a good performance as did Mara Turner as Jacqueline, Ellis Neil as Barbara and Alice Bredhauer as Juliette. The plot, however, was totally and utterly unbelievable with the mistaken identity scenarios pushed to the extreme. The climax of stupidity with the ‘mistaken identity syndrome’ was when Juliette pretended she was not Robert’s wife, despite her everyday appearance, and Robert believing her. Total nonsense even for this type of production. Nevertheless, there were plenty of laughs as the characters somehow blundered on and complicated the plot right up to the final curtain. Ken Cotterill

Shrine By Tim Winton. Directed by Kayti Murphy. Melville Theatre, WA. Feb 15 - Mar 2. A SUCCESSFUL directorial debut for Kayti Murphy, as she steers this beloved Western Australian play to a successful production at Melville Theatre with obvious passion and drive. A rather dark story, director and cast manage to find moments of light in a production that showcases some strong performances. The audience do find that they need to listen carefully, as voices can be a little soft or “filmic”, especially when competing with the air conditioning. A challenge, as it is often a very reflective show. Phil Barnett, always a strong reliable performer, leads the cast as bereaved dad Adam, unable to cope with the loss of son Jack at the wheel of a car. He is nicely matched, albeit rarely interacting, with Suzannah Churchman as wife Mary, in a harrowing, emotionally raw performance. Jessica Brooke makes a very impressive stage debut as June, an outsider with a lack of confidence, whom unbeknown to his parents had developed a relationship with Jack. Jack is played by Christopher Colley, who has a Twelfth Night remarkable ability to be centred. His unlikeable companions are played with strong camaraderie by Alec By William Shakespeare. Directed by Matthew Hobbs. St Luke’s Theatre Society (Qld). Mar 15 - 23. Federer (Will) and Jacob Lane (Ben). SHAKESPEARE’S comedy of mistaken identity, gender The set handles the tricky multiple locales required swapping and love marks the first Shakespearean well, and strong lighting choices by Ginny Moore Price production to be presented in St Luke’s 62-year history. add atmosphere and emotion. Kayti Murphy’s sound design is appropriate and well chosen. The community theatre group is enthusiastic and passionate in this offering, directed by Matthew Hobbs. Not an easy show to watch, as it deals with strong Hobbs has done a fine job in encouraging comedic risk emotions, grief, sexual assault and betrayal, but if you appreciate being emotionally moved and enjoy good West -taking in his cast. The blocking makes good use of the clever, versatile set designs by Brett Simpson and David Australian storytelling, this is a great choice. Lang. Kimberley Shaw Emily McCormick delivers a splendid performance as Viola. She has a gift for interpreting Shakespeare for a Lend Me A Tenor modern ear. Jason Nash steals the show comedically as Sir By Ken Ludwig. Directed by June Tretheway. Mousetrap Andrew Aguecheek. He is fearlessly funny and has some Theatre Redcliffe. Feb 22 - Mar 10. lovely physical moments. Sharon White is a believable, THIS comedy, bordering on farce, is set in an elegant likable Maria and Chris Carroll as Sir Toby has you hotel suite in Cleveland, Ohio in 1934. Tito Merelli, a imagining he might actually be drunk as he plays the famous opera singer, is to arrive with his wife to perform dishevelled part. in the city. Unfortunately, he is famous for other things and reliability is not one of them. We follow what The other players, while making great effort, each suffered from some technical difficulties. All performers happens over the next few hours from his arrival, finally, could also work on convincing the audience of their in Cleveland until just after the performance of the opera. A heck of a lot can happen in a short period of time. In attraction to their love interests in this production. Community theatre is the nursery from which this play, nearly everything possible does hilariously professional performers spring. It’s thanks to groups such happen. as St Luke’s that these performers have a chance to work For a comedy of this nature to succeed, it has to be on these technical aspects and improve their craft. well directed with a uniformly strong cast performing in a This production gives the audience plenty of practical set. Lend Me A Tenor ticks all those boxes. June opportunities to laugh out loud. The musical numbers Tretheway, director, succeeded very well with her strong composed by Jayden Hobbs are especially fun. They really casting and tight interpretation. The essential timing was capture the spirit of the play. You leave the theatre at the there. Craig Longoria, as Saunders the stressed out end with the songs still playing in your mind and a smile producer of the opera, was good in showing the tension, on your face. while John Da Criz displayed good acting and singing talent. He and Oliver Gatton, the opera singer Tito Merelli, Kiesten McCauley 76 Stage Whispers

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

Every Brilliant Thing. Photo: Brett Boardman.

looked identical when in the opera costume. The other cast members - Angela Shadwell, John Sayles, Sandy Adsett, Sandra Ivanovic and Shannon Bownds - were all good with fine timing and interplay. I really must congratulate Sandra Ivanovic who was excellent as Maria the wife. The set was clear - functional with the many necessary doorways, which were used to the full extent - and did not shimmer or shake. I believe this is one of Mousetrap Theatre’s best productions. William Davies Every Brilliant Thing By Duncan Macmillan with Jonny Donahoe. Directed by Kate Champion. Belvoir St Theatre, Sydney. Mar 8 - 31. A ONE-WOMAN play dealing with depression and suicide doesn’t sound like fun. But Every Brilliant Thing is one of the most entertaining - and touching - solo performances in years. Thanks, in no small part, to the performance from the acclaimed actor (and playwright) Kate Mulvany. She makes her own a play that earned praise around the world for its co-writer, the British comedian Jonny Donahoe. The play is structured around a list of life’s little joys (or “every brilliant thing”). Number 1 is ice cream, 2 water fights, 7 people falling over, 994 “hairdressers who listen to what you want”. The protagonist began compiling the list when she was six and her mother tried to take her own life. The purpose was to highlight the good things

for someone struggling to see them. The narrator soon needs them for her own reasons too. Audience members are asked to call out these various brilliant things and to help tell the story in other, captivating ways too. The engagement factor here is high. Mulvany is expertly directed by Kate Champion. She improvises with what the audience gives her but never gets off track. It’s wonderful theatre, starring one of our best theatre -makers. Two more things for any list of brilliant things: this play and Kate Mulvany. Peter Gotting Reagan Kelly Written by Lewis Treston. Directed by David Hill. Presented by Rocket Boy Ensemble. Sue Benner Theatre (Qld). Mar 20 - 30. REAGAN Kelly is a fresh, Brisbane-based comedy. Lewis Treston’s clever script is packed with witty oneliners, ‘so funny because it’s true’ moments and surprises. Reagan is a bit of train wreck; partying herself to oblivion. Her brother Oliver appears on the surface to have it all together, but he is supressing something. Their parents look as if they’re headed for a divorce. The only character who even seems remotely together is Reagan’s gay best friend Hugh, until he falls for the wrong person. The characters are well-written and recognisable. Themes of love, family and loyalty prevail. It’s an existential work with a punk twist. Reagan rages against

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

Stage Whispers 77

Reagan Kelly. Photo: Nick Bleeker.

From the opening sounds of Debussy’s Claire de Lune, Margaret Bell’s production verbally takes flight and is light, frothy and charming, with three highly accomplished community theatre stalwarts giving three highly accomplished performances. Although Cam Castles’ Gustave was overtly pompous, he found the pathos within the bluster. Gary Kliger’s Henri landed laughs and deftly kept his sexual fantasies of the village schoolgirls and teacher to a naughty twinkle, whilst Andrew Wallace’s Phillipe was continuously uproarious, collapsing in a heap at the drop of a hat. Peter Pinne

the pressure to ‘settle down’, regarding a partner, mortgage and job as a form of Sisyphean entrapment. Strongest acting is delivered by Elise Grieg as mum Kristy. Her comedic form is matched by Chris Kellet as dad, Ewan. Jason McGovern is charismatic as Hugh. He’s fearless and shows some lovely complexity of emotion. Direction by Tim Hill is outstanding. He hooks you in right from the start. The all-white set is also used as the backdrop for projected videography by Nick John Bleeker. Videos serve as backdrops for nightclubs, bathrooms and city locations, but also show the characters in action in between on-stage scenes. This directorial choice makes for a very well-paced show. It’s a pleasure to see such well-made work from a dedicated, local team. Reagan Kelly is packed full of humour and great characters. Kiesten McCauley

To Kill A Mockingbird Adapted by Christopher Sergel from the novel by Harper Lee. Canberra Repertory, directed by Anne Somes. Theatre 3, Acton, Canberra. Mar 28 - Apr 13. A YOUNG, hardworking, negro family man has been accused of raping a 19-year-old white woman, and the trial judge has specially asked Atticus Finch, a highly principled, experienced, and capable lawyer, to defend the accused. Through the trial and the weeks leading up to it, Atticus’s young daughter, (nicknamed) Scout, comes to examine her own ideas and their implications with a degree of honesty and self-awareness that we hope will be infectious. Harper Lee’s iconic novel’s focus on the ability of even a child to stand up for what is right has lost little of its power in adaptation to the stage. In REP’s production, the ideas and values that the novel’s characters wrestle with, which include conformity with and refusal of convenient Heroes prejudices, and the emotive power of physical conflict are By Tom Stoppard. Adapted from Le Vent des Peupliers by as present on stage as they are in the imagination of the reader, thanks largely to the dedication of actors who, Gerald Sibleyras. Director: Margaret Bell. Centenary Theatre Group. Chelmer Community Centre, Brisbane. with a combination of direction and vocal coaching, Mar 9 - 30. became American Southerners. Several actors in fact acquired thick Southern accents with such fluency that at TOM Stoppard’s 2005 comedy Heroes is as fragile as the wounded egos of its three protagonists. Set in a times no word of their speeches was discernible. Even French veterans home in 1959, and based on the original then, though, their tone and manner usually made their play by Gerald Sibleyas, three World War I vets plan a meaning clear enough. fanciful escape from their restricted environment: first to The play was consistently fast-paced. It could in fact Indo China, then to a picnic outside, and finally to a copse afford a degree of relaxation in scenes of lesser intensity in of poplars on the far horizon. That it’ll never happen is in order to allow the actors to better communicate and the no doubt, but their daily cantankerous musings about it audience to absorb their meaning, but the action on the porch of the retirement home are the basis of the generally conveyed a sense of immediacy and naturalness play. that was otherwise absorbing. Lighting designed mostly Long time resident Henri is missing half a leg, Phillipe to be unobtrusive and occasionally to represent a scene suffers from blackouts caused by a piece of shrapnel change worked very well, and the 1930s costuming (with lodged in his brain, whilst the recently arrived Gustave, accompanying makeup) stood out as seeming realistic for the depression-era southern United States. the bully of the trio, is agoraphobic. 78 Stage Whispers

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

REP’s production highlights feeling and principle in characters we can appreciate. With slight retardation of the fastest articulation, and even relaxation of some of the studied accents, it will become simply arresting. John P. Harvey Love’s Labour’s Lost By William Shakespeare. Melbourne Shakespeare Company. Central Park, Malvern. Mar 2 - 17. LOVE’S Labour’s Lost is another truly delightful production by the fabulously talented Melbourne Shakespeare Company, performing rain or shine in the lush garden surrounds of Central Park, Malvern. Love’s Labour’s Lost is one of The Bard’s early comedies, dealing with the politics of love. Set in Melbourne and driven by popular song, King Ferdinand (Tref Gare) and his two lords swear off the company of women for three years and plan to use their time diligently for the sole purpose of ‘brain nourishment’. But the cross fire of love over-rules, when the Princess of Perth (Rebecca Morton) and her two ladies meddle with their fickle abstinence, creating hilarious amorous havoc within the entire court. While the men foolishly blubber on with their erudite nonsense, the women confidently sway their love interests into romantic traps with disguise and wily performance. There are plays within plays and King Ferdinand performs his “You Sexy Thing” with lusty frustration. Lord Biron (Callum Mackay) is a fixture of romantic comical vexations, as hilarious as Dull (Gareth Isaac), the constable who rallies around everyone like a bumbling force of absurd reckoning. Holofernes (Jennifer Piper) loosely centres the entire show, while the madcap Spaniard Don Adriano (Alexander Lloyd) is positively frantic in the scene of Nine Worthies. A fine cast of dedicated performers who all shine in their moments of fame and glory, with attention to choreography (John Reed) and such admirable direction by Jennifer Sarah Dean. Melbourne Shakespeare Company have created yet another imaginative, dynamic Shakespearean production. Flora Georgiou It Could Be Any One Of Us By Alan Ayckbourn. Players Theatre, Ballina. Directors: Fran Legge and Michael Sheehan. Mar 22 - 30. ALAN Ayckbourn is one of Britain’s most accomplished comedy playwrights and this script is full of surprises - he has even written three alternate endings as to “who done it”! Ballina’s production is a lot of fun, with a cast of five dysfunctional, eccentric family members and one sane outsider. The cast is: Carl Moore as Mortimer, the over inflated under achiever musician; Julieanne Basham as Jocelyn, his failed writer sister; Peter Harding as Brinton, his simpleminded painting brother; Hillary Goodsell as Amy, his food obsessed niece; Mick Webb as Norris, Jocelyn’s livein partner and want-to-be Private Detective and the sane

outsider Wendy, a former piano student of Mortimer’s to who (he informs the family) will inherit the house and all his other possessions on his demise: and as such she is the victim in the many attempts to prevent her from claiming the prize. At the performance I saw, the pace was a little slow but will tighten up as the show progresses. Roger McKenzie Emma By Jane Austen, adapted by Sandra Fenichel Asher. Villanova Players (Qld). Director: Mary Woodall. Ron Hurley Theatre, Seven Hills. Mar 1 - 9. EMMA is a comedic story of a young woman with too much time on her hands and a penchant to match-make and gossip with disastrous results. Period costumes and bonnets were the order of the day in Mary Woodall’s pacy production on an evocative set dominated by two lounge chairs upholstered in Laura Ashley prints. Hannah Martin played the title character with a twinkle in her eye and a brazen manipulation. You couldn’t help but admire her determination to get the results she wanted. It was amusing, with no hint of meanspiritedness. A staunch and righteous reading of the man she’s destined to marry, Mr Knightly, was portrayed with rural accuracy by Robert Gettons, whilst Rod Thompson nicely characterised Emma’s father Henry, whose obsession with the inclement weather raised chuckles. Lillian Dowdell looked perfect as Harriett Smith, the girl with an unknown parentage, but it was an introverted performance that lacked projection, which was no problem for old-stager Liz Morris whose Miss Bates fussed with aplomb. Pretty Cecilia Girard had the unenviable job of sitting at a desk all night playing Jane Austen, and although the director used her to distribute props at times, she was stuck delivering reams of exposition. This was the problem with Asher’s clunky adaptation. Still, the large cast brought Austen’s milieu lovingly to life and even managed a dainty English reel (twice) in the process. Peter Pinne Groping For Words By Sue Townsend. Tea Tree Players (SA). Tea Tree Players Theatre. Apr 3 - 13. IN a small crèche within an old school building, Joyce, a doctor’s wife in a stale marriage, teaches an Adult Literacy class. Initially, just two students turn up, Thelma, a young nanny, and George, who is living in a hostel, but the acting school caretaker, Kevin, is also taking an interest in what’s happening in the classroom. Danni Fulcher’s Joyce is a careful, stable woman, initially frustrated by the differences in others’ attitudes and behaviours, but patiently accepting - even exploring how others live. Keyarra Maur plays Thelma, bringing the right combination of streetwise and innocence to the role. Her

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

Stage Whispers 79

lurid Lycra and legwarmers are for the aerobics class that her employers think she’s attending and also an indication of the 1980s setting. George Humphries is George (!) who turns up at the school hoping to find someone to read the letter his daughter sent him from Australia. Humphries is strongest when he’s funny - the poignancy comes through the context. Kevin (Samuel Creighton) bluffs and brags his way through his job. Creighton shows us Kevin’s ingrained roughness, yet with subtleties in his struggle that keep the audience on-side. Silvia Bolingbroke brings these four together and directs them sympathetically, positioning all of them effectively on stage, and her set design is great, with three distinct areas effectively divided using a little scenery and Robert Andrews’ lighting design. The stage itself is wonderfully dressed, full of detail on the shelves and cupboards, a magnificent Wendy house and children’s pictures hanging on the back wall. English playwright Sue Townsend wrote this story during a time of significant change and unrest in the UK, and it’s now showing its age a little, particularly in its language and how it deals with a sexual assault, but the challenges of adult illiteracy remain, so this still stands as an exploration of their struggles, frustrations and societyimposed limitations. Mark Wickett

Tommy (Ned Keogh, the new actor in the play). This was again a memorable work. Knock&Run is looking at touring the show and has been approached by regional NSW companies and groups which see it as helping desperate people to realise that there are ways of making their lives less troubled. Ken Longworth

Dark Voyager By John Misto. Castle Hill Players. Pavilion Theatre, Castle Hill. Apr 5 - 27. THIS is the premiere community theatre production of John Misto’s play, set in Hollywood in 1962, in the home of gossip columnist Hedda Hopper. It’s the opening night of Whatever Happened to Baby Jane? and Hopper has invited its warring stars, Bette Davis and Joan Crawford, for drinks. When Marilyn Monroe arrives, ‘pigeon among the cats’ might best describe the possibilities that ensue. For this play Misto has immersed himself in the fact and fiction of post-war movie stars - and the politicians who lusted after them - a theme that sits very securely in 2019 amid the many revelations of #Me Too. Recreating famous screen stars on stage demands research and hard work - a challenge that fastidious director Annette van Roden and her cast have met head on. Annette Emerton takes on the role of the formidable Hedda Hopper, relishing the manipulative deviousness of the character and her calculating cunning. Suicide, Incorporated Bette Davis is played with spirited conviction by Faith By Andrew Hinderaker. Knock&Run Theatre, at Newcastle Jessel, who makes excellent use of the space and the Theatre Company, Lambton (Newcastle). Mar 28 - 30. lighting as she fires insult after insult with comedic flair. SETTING a play largely in the office of a company Leigh Scanlon as Joan Crawford is tall and elegant. called Legacy Letters, whose staff members help people Emulating the chic sophistication of Crawford, she faces planning to commit suicide to write moving goodbye Davis’ insults with taut restraint and calculated scorn. letters to those they leave behind, would initially seem to Monroe, arriving in a pill-induced fug, is played by be hurtful for many watchers. Jacqui Wilson who finds the artless grace and naivety of But as this new production by Newcastle’s Knock&Run the character. Theatre, which staged the 2016 Australian premiere of US Adam Garden is Skip, Hopper’s toy-boy butler, whom writer Andrew Hinderaker’s play, showed, its mix of dark Misto has cleverly woven into the back stories of the comedy and the down-to-earth nature of the people has women. He is cheekily subservient and mischievously audiences sitting on the edge of their seats and, at play’s disrespectful. end, in discussion as they leave the performance venue. Carol Wimmer Four of the five actors were in the original production, and, again under the direction of Patrick Campbell, The Dapto Chaser. movingly brought out the impacts that issues the By Mary Rachel Brown. Pencil Case Productions, at the characters had experienced had on their lives and of those Creator Incubator, Hamilton North (Newcastle). Feb 28 around them. Mar 2. Phillip Ross’s officious company founder, Scott, clearly MARY Rachel Brown’s darkly comic The Dapto Chaser saw it as a way to make money from people who had has engrossed audiences since it premiered in experienced what they saw as unresolvable problems, Wollongong in 2011, and this production, which put with his bullying of Perry (Cooper McDonald), the watchers close to the performance space, certainly had company’s initial letter writer, increasingly having them on the edge of their seats for much of the time. watchers changing from laughter to grim looks. And The central characters are members of a greyhoundJames Chapman, as a new writer appointed in the racing family at Dapto, a Wollongong suburb that has opening scene, gradually brought out a more caring side long been one of Australia’s major dog-racing centres. in his relationships with initial client Norm (Carl Gregory), Crotchety father Errol (Timothy Blundell), whose wife has who had simultaneously lost his job and suffered a long been gone, is dying from lung cancer, but ignores marriage break-up, and ever-drinking younger brother the oxygen pipe he has hanging from his neck while he 80 Stage Whispers

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

Online extras!

A View From The Bridge. Photo: Pia Johnson.

The cast and creatives discuss A View From The Bridge. Scan or visit https://youtu.be/DEvokJBPB1U

fiddles with an old radio trying to get it to work so that he can listen to greyhound races. And when his younger son, Jimmy (Michael Byrne) brings him the tablets he needs, he lights and smokes a cigarette instead. Jimmy works for his dad’s long-time dog racing rival, Arnold (Phillip Ross), and doesn’t get on all that well with his older brother, Cess (Carl Gregory). When Errol unexpectedly drops dead, the pair face the challenge of paying for his burial, and place their hopes on their last dog, A Boy Named Sue. Can the dog, who is unseen but whose movements are shown through the brothers patting and leading him, win the Dapto race he’s entered in and give them the money they need? Directed by Amy Wilde, this was an attention-holding production, with Paul Sansom as the race caller making his delivery very grabby. Blundell, despite only being on stage for a short time, brought out his dog-racing passion, and the very different natures of the brothers had audience members wondering whether their relationship would deteriorate further or improve. Ken Longworth

(Andrew Coshan) appear as jovial and innocuous but they soon intrude on the family dynamics in ways that are disturbing. The events are narrated by the cool and eventempered family lawyer, Alfieri (Marco Chiappi). The ensemble cast showcases great Australian talent. The accuracy of the gestures and the accents subtlety elicits the era and avoids stereotypes. The tone is set by Bastoni, who plays Eddie with a combination of affability and aggression. He is portrayed as an alluring but unpredictable presence. Zoe Terakes is outstanding as a teenager on the brink of voluptuous womanhood. Her naivety in relation to the power this has over the men who dote on her is conveyed with a disarming naturalness and charm. The sparse stage makes ingenious use of lighting, costuming and different stage areas. There is almost no set to speak of, but this foregrounds the characters in a way that echoes the intensity of the performances. However, this production is less daring in its development of the darker themes of the play. Eddie’s motives remain somewhat ambiguous, despite textual references to the issues which underpin the violence that erupts in the latter part of the play. A View From The Bridge By Arthur Miller. Melbourne Theatre Company. Directed Much of the tension is produced in the quasi-stylised by Iain Sinclair. The Sumner Theatre, Southbank. Mar 9 - nature of the positioning of the characters and a deliberate heaviness in the delivery of lines. This exhibits a Apr 18. Arthur Miller explores the inner workings of Italianself-consciousness that makes interesting demands on the American post-war immigration. Eddie (Steve Bastoni) and audience both visually and aurally. There are moments in Beatrice (Daniela Farinacci) create a humble home and which the characters emerge from or disappear into provide Catherine (Zoe Terakes) with a better life. But the darkness which gives them a spectral quality and this highlights the innovative thought that has driven this family harbours dark secrets and these lurking issues are exposed when Beatrice’s two cousins arrive from southern intriguing approach to this masterpiece. Italy. As illegal immigrants they must take refuge with the Patricia Di Risio family. Marco (Damian Walsh-Howling) and Rodolph Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 81

Opera Australia’s 2019 Handa Opera on Sydney Harbour West Side Story. Photo: Hamilton Lund.

Reviews: Musicals

Online extras!

Be part of the opening night of West Side Story. Scan the QR code or visit https://youtu.be/pJmzHlPQShg West Side Story Book by Arthur Laurents. Music by Leonard Bernstein. Lyrics by Stephen Sondheim. Handa Opera on Sydney Harbour / Opera Australia. Director: Francesca Zambello. Fleet Steps, Mrs Macquaries Point, Sydney Harbour. Mar 22 - Apr 21. THE rain started a couple of minutes before the opening bars of stirring music. It grew worse as the Jets and the Sharks circled each other menacingly, even worse as Maria met and fancied Tony, and bucketed down when Anita sang of the glories and follies of ‘America’. But the cast sang and danced with sure-footed ease, a tribute to their non-slip footwear. The weather was expected: it’s Sydney in late March. After about an hour the rain cleared away and we could concentrate fully on an open-air production by Francesca Zambello that absolutely blew your socks off. The marvel of this great production, with the Sydney skylight as a magnificent ground row, is the music, the songs. One after the other they came, either sung or danced to: an outpouring of Bernstein brilliance. And then there was the writer of the lyrics: Stephen Sondheim, at 25 on his first big-time assignment. On a setting by Brian Thomson that swung and pivoted all over the place, young Maria (Julie Lea Goodwin in great voice) fell instantly in love with handsome Tony (Alexander Lewis). Finely played also is Anita (Karli Dinardo), torn between loyalty to her best friend Maria and her Puerto Rican family. 82 Stage Whispers

The gang kids are well differentiated, you dig me, buddy boy, daddy-o; and there’s excellent support from the adults in the cast: David Whitney as the supportive Doc, Scott Irwin as the tired detective Shrank and Jay James-Moody as the camp Glad Hand. With an unseen orchestra of nearly 30, Conductor Guy Simpson leads a company of over 40 on an intense journey. Frank Hatherley Spring Awakening By Steven Sater and Duncan Sheik. Old Nick Co, Tasmania. The Peacock Theatre. Directors: Jack Lark and Finn Carter. Musical Direction: Andrew Morrisby. Feb 21 - Mar 2. SPRING Awakening has all the disparate parts of a gawky adolescent. This enraged and piteous monster is stitched together from Frank Wedekind’s 1891 play, with a C21st folk-rock score. It is costumed for the C19th, yet actors use hand microphones as props. Despite the anachronisms, this show still has something significant to communicate. Spring Awakening is still “a children’s tragedy”. Finn Carter and Jack Lark are extraordinary new directors. There are many excellent vocal performances and the ensemble is powerful. This is no more evident than in “All That’s Known”. Over an ostinato of chanted Latin, the received wisdom of the age is questioned. Of the many memorable songs, most of which portray emotion rather than advance the narrative, “Totally F@#ked” is a show stopper. Brandon Chilcott awes with

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

control over a wide range of colours. Jazmin Garrard is mesmerising. Sam Apted balances a quirky character with heavy vocal work. A tendency to sing with American inflection jars against the spoken dialogue with some accents neutral, some broadly Australian and some stereotypically German. It is never quite clear where the comedy sits but Samantha Sangston and Rowan Harris create numerous differentiated adult roles and Kip Phillips handles the toilet scene with aplomb. The band is excellent, with strings providing interesting timbres. The space is used well, the set evoking the school room/display cabinet, made versatile through lighting. This is not a typical Summer School Production. Whilst confronting it is never offensive. Anne Blythe-Cooper West Side Story Book by Arthur Laurents. Music by Leonard Bernstein. Lyrics by Stephen Sondheim. Opera Australia / GWB Entertainment / BB Group. State Theatre, Arts Centre Melbourne, Apr 6 - 28, and touring. LEONARD Bernstein’s modern retelling of Romeo and Juliet is a compelling piece of theatre set in the Upper West Side of 1950s New York. The rival “houses” are transformed into rival gangs the Jets and Sharks, locked in a turf war. Paul Gallis’s set design of two tenements facing each other, a series of projected backdrops shifting the scene as required, combined with Peter Halbsgut’s lighting design produces a gorgeous effect, particularly with Renate Schmitzer’s colourful costumes. The show opens with a fully-danced prologue that shows the simmering tension between the Jets and the Sharks. The dancing throughout West Side Story is remarkable - athletic, precise, and joyous, with undeniable ensemble - and in movement and pacing at least the production is faultless. However, singing Bernstein’s music had both Todd Jacobsson (Tony) and Noah Watts (Riff) struggling with

vocal production and tuning. Jacobsson turned in an otherwise charming performance. Watts was all angular energy as Riff, particularly in the song “Cool”. Lyndon Watts was an excellent foil to them as the fiery Bernardo, with a thoroughly grounded performance. As Maria, Sophie Salvesani’s clear soprano soared in her duets with Tony, and in the particularly moving “Somewhere”. Salvesani imbues Maria with wit, charm and warmth, allowing her to grow through love to the tragedy of the final scene. Chloe Zuel as Anita was a standout, in an assured characterisation brimming with sass as she stole not a few scenes. Her performance of “America” was a complete show-stopper. Zuel also flexed her dramatic muscle in Act Two. Ritchie Singer, Dean Vince, Paul Dawber and Paul Hanlon gave solid support as the only adults in the hothouse world of teenage gangs. Orchestra Victoria, under the baton of Donald Chan, displayed grace and precision and finely-shaded orchestral colour in fulfilling both the balletic and operatic demands of the score. Alex Armstrong Personals Music: Alan Menken, Stephen Schwartz, William Dreskin, Joel Philip Friedman, Seth Friedman, Michael Skloff. Book & Lyrics: David Crane, Seth Friedman, Marta Kauffman. Griffith University 3rd Year Musical Theatre Students. Director: Jason Langley. Musical Director: Heidi Loveland. Choreographer: Joseph Simons. Burke Street Studio, Brisbane, Mar 12 - 16 & Chapel Off Chapel, Melbourne, Mar 21 - 23. PERSONALS was written in 1985, back when people placed ads looking for partners in the free street press of the day. 34 years on, Jason Langley has given the dating concept of Personals a clever IT spin with the use of mobile phones and computers. Opera Australia’s Melbourne production of West Side Story. Photo: Jeff Busby.

Online extras!

Go behind the scenes of West Side Story. Scan the QR code or visit https://youtu.be/734wINLe_5w Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 83

Basically Personals is a series of sketches and songs about looking for Mr or Ms Right with a twist, like the high-school virgin whose post for a person to teach him ‘extra curricular activities’ gets over 100 replies, or the couple who develop a ménage a trois with a dwarf. What’s impressive is the music - highly melodic and show-bizzy, and performed with great flair. Best number of the night was Schwartz’s “Moving in with Linda”, where a guy moving in with a new lover discovers his luggage contains psychological baggage when old girlfriends keep popping up out of boxes and a suitcase. As performed by Jackson Head, Lauren Kingham, Jordanna Moradin and Maddison Price it was a perceptive character study and the highlight of the show. Tom Collins, as an anguished nerd watching a selfhelp video on how to attract partners, was very funny, especially as the video was performed live by Jack Biggs and Gabrielle Parkin. It became even funnier when Collins played it on fast-forward and Biggs and Parkin started spouting gibberish. Joseph Simmons’ choreography was showy and well executed, whilst Heidi Loveland on keyboard added tons of colour. Peter Pinne

reflect on the changes that occurred in the world in general and, more importantly, in us. William Davies

Into The Woods Music and Lyrics by Stephen Sondheim. Book by James Lapine. Bloom Productions. Director: Jordan Vassallo. Musical Director: Peter Hayward. Concourse Concert Hall, Chatswood. Mar 21 - 23. THIS was a spectacular debut for a new theatre company, using the unusual surroundings of a concert hall to present this musical with imagination. From the ceiling dropped the forest, from the balcony dropped Rapunzel’s hair and beautiful use of shadows effected a most satisfying giant. Balancing the sound of the fine orchestra on stage with the cast took a little time to settle in but was soon resolved. There was more than a touch of excitement when it was announced that the Witch - Laura Murphy - had lost her voice. She powered on - but was voiced by Brittanie Shipway - who sat on stage reading and singing for the witch. It was thrilling to watch their almost flawless coordination of voice and movement. There was a fine ensemble of mainly emerging artists Downtown in full voice. Created by Phillip George, David Lowenstein and Peter Highlights included the sparkling duet of “Agony” Charles Morris. Directed by Jean Bowra. Redcliffe Musical performed by the regal looking Haydan Hawkins and Theatre . Feb 22 - 24. Joshua Firman as the Princes. AH, the pop songs of the sixties. This music was the Matthew Predny impressed as Jack with his rendition essence of Downtown and the memories came flashing of “Giants in the Sky”. There was plenty of sass from Daniella Mirels as Little back. The songs ranged from “London Swings” through “Don’t Sleep in the Subway” and “Georgy Girl” to Red. “Downtown”. We follow the close friendships of five Stage veterans Wayne Scott Kermond as the Narrator women as the decade passes and how their approaches and Michele Lansdown as Jack’s mother added dollops of to life change and are reflected in the fast changing charisma. This production has plenty to offer Sondheim tragics music. There was very little dialogue but the message was sent clearly through the songs and movement. Besides the and those who have never seen the musical live before. five women, there was the editor of the magazine David Spicer “Shout” to keep us up to date on what year it was, the lady who gave never changing advice to readers and five Company young dancers to help the flow. By Stephen Sondheim and George Furth. WAAPA Third The end result was due to director Jean Bowra with Year Musical Theatre. Director: Andrew Lewis. Musical much help in choreography and musical direction. They Director: Craig Dalton. Roundhouse Theatre, WAAAPA, obviously worked well together to achieve this result on Edith Cowan University, WA. Mar 16 - 23. such a big stage. What helped enormously was the three WAAPA’s Third Year Musical Theatre students member on-stage band of Helen Drew, Sarah Whiting presented Company in a crisp, clean and clever and Adrian Wilson - well balanced with the singers. production that delighted capacity audiences. The five main roles were distinguished by the colour of A great looking show, it featured a streamlined set by their clothes. They were Orange Girl - Elissa Holswich, designer Ashlea Lansford, evocative, effective lighting Yellow Girl - Louise Swainston, Blue Girl - Caitlin Archer, design by Rhys Pottinger, top notch sound design by Red Girl - Georgia Barnard and Green Girl - Patricia Noah Ivulich and thoughtful costume design by Monique Dearness. They sang and interacted well but a little more Doubleday. projection when speaking would help. They were all very Craig Dalton led a strong student orchestra, managing good, with Patricia Dearness topping the bill. Sharyn to play through being physically assaulted - a unique and Donoghue and Reagan Warner completed the singing/ admirable skill. speaking roles with good performances. Conor Nelson as Robert anchored a strong cast, all This was an entertaining production with good singing delivering distinct, interesting characters. Ciara Taylor and of the music we remember of the sixties, while making us Ethan Jones delighted as Sarah and Harry, with excellent 84 Stage Whispers

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

Company. Photo: Jon Green.

stage fighting, expertly directed by Andy Fraser. Tahra Cannon, dripping honey with her Southern accent, and Alexander Landsberry, worked well together as divorcing couple Susan and Peter, as did Isabelle Davis (Jenny) and Benjamin Barker (David). Annabelle Rosewarn (Amy) gave a stellar performance of “Not Getting Married” and was well matched with Jed McKinney (Paul). Another showstopper was Victoria Graves’ “Ladies Who Lunch”, which enthralled the audience. She worked well with Luke Wilson, lovely as Larry. The trio of “girlfriends” aced “You Could Drive a Person Crazy”, and Grace Collins, Sara Reed and Rose Shannon-Duhigg delivered excellent performances throughout. Choreography by student Caitlin New, also in the ensemble, was fun, striking and quirky - and very nicely executed. A strong opening to their final year from Music Theatre students, as well as the students in creative courses. An impressive production of a challenging and interesting musical. Kimberley Shaw We Will Rock You Music and lyrics by Queen. Story and script by Ben Elton. Directed by Madeleine Johns. Redcliffe Musical Theatre. Mar 1 - 3. QUEEN’S music seems to be the flavour of the times and here it is presented through the rather convoluted story devised by Ben Elton. The play is set in the future where individuality no longer exists. Under the control of the Killer Queen, everyone wears the same style clothing,

while there is no original thinking and no music. However, a group of Bohemians is searching for the music and mysteries of the past from their meeting place, the Hard Rock Café. They have given themselves names of old time rock stars. We follow the search for the past and the clashes of the two worlds, both in reality and thought. Director Madeleine Johns has achieved a high standard with this large cast of 39 in the movement and dancing of the chorus members as well as the performances of the leads with their singing and acting. There was a lift from Redcliffe Musical Theatre’s last production, particularly in the main performers. As usual with this company, costuming was spot on. Timothy Kennedy as Galileo and Kaley Jones as Scaramouche were outstanding in their portrayals, both in singing and the acting interplay between them. What a nasty piece of goods was Naomi Drogemuller, the Killer Queen, with a strong, clear singing voice too. John Chant and Tiffany Payne brought the Bohemians’ cause to life with some great over the top singing and dancing, while Richard Rubendra was solid as the wicked witch’s assistant and underling. James Reid as Buddy brought strength and clarity to his role. There were some very good dancers among the Bohemians, yuppies and gaga girls who made up the chorus. Unfortunately, there was one fault and that was the sound control. At times there was a deep throbbing noise and at other times the volume was such that the singers could hardly be heard. It only occurred now and then. Pity. I left with a smile on my face and the Queen music in my head. William Davies

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

Stage Whispers 85

The Last Five Years. Photo: Phil Erbacher.

The Last Five Years By Jason Robert Brown. Ensemble Theatre (NSW). Mar 29 - Apr 27. CHRISTIAN Charisiou and Elise McCann didn’t so much perform their roles in this musical - more like they drank every last syllable and catchy songs with ecstatic reverence. You could see and feel how much they love the work. In the two handed musical, Jamie Wellerstein is a Jewish writer who becomes smitten with the non-Jewish actress Catherine Hiatt. She starts at the end of their relationship, he at the beginning. Based in part on his own life, Jason Robert Brown makes many observations which feel authentic. Jamie is shopped around on Friday nights to meet Jewish girls but falls for the “Shiksa Goddess”. After he gets married, previously unattainable woman are suddenly attracted to him. He waves his wedding ring at them. Catherine’s stream of consciousness during an audition is hilarious. “Why is the director staring at his crotch? Why is that man staring at my résumé? Don’t stare at my résumé. I made up half my résumé. Look at me. Stop looking at that, look at me. No, not at my shoes. Don’t look at my shoes.” Her inner voice weaves seamlessly into the actual audition song. On the small stage of the Ensemble, Director Elsie Edgerton-Till wove the drama neatly in and out of spotlights with the leads spinning on small revolves. The mind boggles how they squeezed the grand piano into the elevated part of the theatre. 86 Stage Whispers

Elise McCann crafted her character like a master knitter, never missing a stitch, and stayed in character just as meticulously when it was her solo, or Jamie’s turn in the spotlight. Christian Charisiou had just the right balance of lust, humour and despair. This little production was a triumph. David Spicer The Little Mermaid Jnr Music: Alan Menken. Lyrics: Howard Ashman & Glenn Slater. Book: Doug Wright. Pelican Productions. Arts Theatre, Adelaide. Mar 22 - 24. PELICAN Productions continue their high standard with The Little Mermaid Jnr. Jen Firth and Kylie Green founded Pelican Productions in 2004 and have done wonders in nurturing young talent. With such a large number of students they still manage to find a role for everyone. Costume design by Firth is stunning, vibrant and downright adorable; from sequins to chiffon, she has it all covered. A cyclorama is used to project beautiful animations and is topped off with set pieces of coral, waves and a giant ship. Musical Director Green is at the helm of a talented bunch of musicians. With so many students, Firth and Green have divided the production into two casts. I was lucky enough to be entertained by the Flounder cast.

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

Though all were wonderful and energetic in their respective roles, marvellous characterisations were displayed with Flounder (Eliza Brill Reed), Sebastian (Ariel Higgs) and Ursula (Emma Pool). A standout performance of Scuttle was offered up by Neve Sargeant, who showed fantastic comic timing and stage presence. In the leading role was Zara Blight as Ariel, the mermaid who falls for a human (Alex Hasler) and sacrifices her sweet voice for legs. With boundless enthusiasm and flair, this production is a fun night out for all ages. Kerry Cooper The Choir Of Man The Studio, Sydney Opera House. Mar 20 - Apr 7. THE nine cheeky, gifted English ‘lads’ who are The Choir of Man were a runaway hit at the Edinburgh Festival in 2017, and the 2018 Adelaide Fringe festival. They hit NSW running - and dancing and singing - in a rousing production that makes the spirit soar. In their local pub, The Jungle, there is beer on tap, a piano and typically ‘pub worn’ furniture. The guys mix with the audience pre-show, sharing a beer, chatting, answering questions. They are easy-going, welcoming, funny, incredibly personable and, as they soon begin to prove, also incredibly multi-talented. George, the Narrator, in his slightly London-ised northcountry accent, introduces the guys and the “no frills or frippery” pub scene where they meet. Between numbers, in a rhymed and rhythmic script, he skilfully re-sets the changing moods of the production, taking the audience through “the easy casualties of time” and the moving “stories of the here and now that fill my cup”. His own interpretation of Dance With My Father Again is one of the most beautiful moments of the production. Nine men with powerful voices, in flawless harmony, with perfectly timed choreography and playing a range of instruments - piano, violin, guitar, ukulele, trumpet, Irish bodhrán drum, banjo, melodica, electric percussion - use some of the best-known and most-loved songs of our time to take the audience to “scared spaces of all kinds”. Carol Wimmer

Oliver Clare was a compelling Enrico Fermi, Zac Bennett-McPhee was convincing as Arthur Compton and Matthew Arnold was very strong as Robert Oppenheimer, with Mitch Lawrence commanding as General Groves. Matthew Manning delivered a very moving, stellar performance as Enola Gay pilot Paul Tibbets, and was very strong as wunderkind physicist Edward Teller, albeit a little young for the role. Therese Cruise stood out in a lovely performance as Leona Woods. Ariadne WestcottKing (who also choreographed) and Chantel Bell rounded out the cast nicely in ensemble roles. The score is interesting, with some chances for the performers to soar. Musical Director Joshua Haines led a talented six piece band (piano, drums and strings). While the music impressed throughout, there were some balance issues in the big group numbers, which was unfortunate. While not the easiest show to watch, given the subject matter, it was wonderful to see a new show that was performed with passion, polish and panache. Atomic was a production that did not disappoint and packed a punch. Kimberley Shaw

Muriel’s Wedding The Musical Book by PJ Hogan. Music and lyrics by Kate Miller-Heidke and Keir Nuttall. Global Creatures in association with Sydney Theatre Company. Director: Simon Phillips. Her Majesty’s Theatre, 219 Exhibition Street, Melbourne. Mar 12 - Jun 9. THE story of Muriel’s oppressive and dull small-town existence transforming into a tale of the triumph of mateship, individuality and freedom is perfectly adapted for the stage. The music captures the range of emotions explored in the film and the ABBA music is also delicately incorporated into the score. However, more inclusion of their hit songs could have provided more opportunity for foot-stomping fun or participation from the audience. The musical numbers “Waterloo” and “Sydney” were, undoubtedly, highlights of the show. The large-scale cast fills the stage with synchronised movement and is more evocative of historical or traditional versions of the musical genre. There is a great willingness to mock both progressive and conservative Atomic Australian stereotypes that put the often-contradictory aspects of Australian society on equal footing. The Book and lyrics by Danny Ginges. Music and lyrics by costumes and the staging are opulent and outlandish, Philip Foxman. Blak Yak. Directed by Lorna Mackie. Memorial Hall, Spearwood, WA. Mar 14 - 24. although this does not seem to translate into a specific or particularly identifiable aesthetic. The audience can really BLAK Yak’s WA premiere of Atomic, an Australian relate to the scenarios by treating Muriel and Alex’s written musical about the development of the Atomic Bomb, was a well presented, passionate production of wedding as an event and the audience as guests. The story is also updated to include the use of social media in this interesting new work. The plot follows brilliant physicist Leo Szilard (a strong creating a great deal of the hype that overtakes the Tom Hutton) and his girlfriend Gertrude Weiss (a stunning characters. Natalie Abbott is astonishing in her professional debut. Cassie Skinner), as they leave Nazi Germany, via Britain, to seek refuge in the US, where he eventually becomes part She captures the quizzical nature of Muriel, and the way of the Manhattan Project. We are given a snapshot of the she was originally personified in the film, but with her own unique style. The tragicomedy nature of the people involved, the difficulty getting the project to fruition and the repercussions of its success.

(Continued on page 88)

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

Stage Whispers 87

character is perfectly captured, and her vocal abilities make the musical numbers both captivating and moving. Stefanie Jones equally captures the rebellious but genuine nature of Rhonda and the depth of the bond they develop is palpable in their performances. Strong performances are provided by the cast as a whole and this allows the production to deliver on a great deal of its promise as a guaranteed fun-filled experience. Patricia Di Risio South Pacific By Richard Rodgers, Oscar Hammerstein II and Joshua Logan. Based on Tales of the South Pacific by James A. Michener. Gosford Musical Society. Laycock Street Community Theatre. Feb 28 - Mar 16. GOSFORD Musical Society’s latest offering is the now 70-year-old South Pacific, by Rogers and Hammerstein, and the often forgotten third collaborator Joshua Logan. The original Broadway production of South Pacific caused great controversy in 1949 due to its “courageous statement against racial bigotry”. Sadly in 2019 the show’s once powerful message has arguably become lost, with many now questioning its portrayal of Indigenous people and women. The piece is a product of its time, but we are a product of ours and it’s through those glasses we must view the work; it leaves us wondering is it time to retire or perhaps update shows like South Pacific? Pollyanna Forshaw has taken the Director’s chair and has skilfully and carefully guided this production towards beautiful moments of charm and sincerity, aided by Ros English’s lush orchestra. Jissel Toomey and James Bloom’s choreography brings well-timed bursts of energy. The cast of nearly 70 is lead by Sancia West, who brings grace, professionalism and incredible vocal power in her portrayal of the complex Nellie Forbush. Gerard Dunning makes light work of the charming Emile De Becque, enchanting his way through the performance. Tom Kelly and Marlee Carter both give genuine performances as ill-fated lovers Cable and Liat. Tina Leaitua brings Bloody Mary to life in her usual cheeky way.

The show moves fluidly and the overall design is very striking. A few minor technical glitches did little to dampen the familiar atmosphere of an opening night. The ensemble’s energy was solid for the show’s just under 3 hour run time. Fans of the show and the company will leave the theatre entertained. Gosford Musical Society is to be commended for a creating a beautiful, energetic and musically solid production, while carefully handling the uncomfortable text. Joshua Maxwell A Slice Of Saturday Night By The Heather Bros. Spotlight Basement Theatre, Gold Coast. Director / Musical Director: Steven Days. Mar 22 Apr 7. A SLICE of Saturday Night could be called ‘The Baby Boomers Right of Passage’. The story unravels just what one has to endure to survive Saturday Night at the Club A -Go-Go. The cast includes Stephen Morris - Eric “Rubber Legs” Devene, Mitchell Walsh - Gary, Mike Capri - Rick, Nathan French - Eddie, Brooke Edwards - Bridget, Bonnie Woods Sharon, Holly Leeson - Sue and Talitha Glazbrook - Penny. As the Basement Theatre is a compact venue, the sound of the four piece band came from an adjacent dressing room and complemented the performers, adding to the 60’s feel. The songs were unknown but the beat caught the swinging sixties vibe. A simple set with great lighting and sound brought the Club A Go-Go alive as the Baby Boomers went through the well worn rituals of racing hormones in the attempt to score. Steven Day’s production had pace and humour and the audience fell hook, line and sinker for the corny one liners and the ploys used to triumph in pursuing the one of your dreams. A fun night out for all, not just the Baby Boomers. Roger McKenzie

JOIN THE CONVERSATION! Follow us on Twitter: www.twitter.com/stage_whispers Like us on Facebook: www.facebook.com/stagewhispers 88 Stage Whispers

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

Adelaide Fringe 2019

Flight. Photo: Mihaela Bodlovic.

Will the Adelaide Fringe ever peak? Featuring 7,000 artists, the 2019 Fringe was a massive box office success and provided plenty of choice for its diverse audiences. Lesley Reed reports on just a few of the Fringe shows attended by Stage Whispers’ Adelaide reviewers this year. Preparing to celebrate its 60th year in 2020, the Adelaide Fringe Festival still performs like a teenager - it keeps on growing. Yet the festival will be stretched next year to achieve similar success to that of 2019. With 825,000 tickets sold - a 17 percent increase on 2018 - the record-breaking event generated $19.4 million in ticket sales. With such a massive event, Stage Whispers’ Adelaide reviewers substantially increased their Fringe review output this year but it was still only possible to attend a fraction of the 1,326 events on offer. As usual, genres and themes were wide and varied, but one show stood out as being so very different and even potentially overwhelming that Tony Knight was full of nervous anticipation. “Flight was the latest work from the bold UK theatre company Darkside and was an allencompassing experience about what could happen should a disaster occur when flying in a passenger plane,” he said. “Full of trepidation, we entered a shipping container and were separated from our companions as we took seats in a mock-up version of the interior of a commercial passenger plane. After the expected routine seat belts, placing luggage in the overhead compartments, turning off mobile phones and so on, we put on special ear phones attached to each seat, and the nightmare began - in complete darkness. This was a

rather unsettling work of ‘immersive theatre’ that involved sense deprivation.” Tony particularly enjoyed Oedipus Rex - The King The Musical, a simple and straightforward storytelling in the ancient tradition of Homer. “It was complemented by beautiful original songs by Loucas Loizou, who is something of a ‘living legend’ in certain circles,” he said. “A Greek Cypriot refugee who began his performing career in a London restaurant owned by Cat Stevens, he has subsequently performed around the world.” Despite her Scottish ancestry, Shelley Hampton didn’t know what to expect when she attended Scotland! It was a creation of The Latebloomers, a group of young performers from Bristol in the UK. “It was just over an hour of guffawing with tears rolling down my face,” Shelley said. “This was an hilarious, ridiculous ride through Scotland - its idiosyncrasies and history. There were elements of physical comedy, clowning, sound effects and mime as well as body percussion and some beautifully harmonious singing to round it out.” Amelia Ryan is a favourite performer of Shelley’s. “She is a dynamo,” Shelley said. “Her show Simply the Breast was immediately relatable. As she told honest, side splitting stories, she took us from her childhood to the birth of her son Archie in 2017. From her entrance,

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

Stage Whispers 89

individual who was placed in extraordinary and terrifying circumstances and was being interrogated. The fear within Youssef for his wife and child, who were also in custody, was palpable.” Grounded was a play about an American Air Force fighter pilot, now controlling drones from the opposite through to a poignant and heartfelt song dedicated to side of the world. Brought to life by experienced actor him, she had the audience eating out of her hand.” Martha Lott, it told the tale of a woman’s love affair with It wouldn’t be a Fringe without at least one condensed her job and her obsession with the sky. Reviewer Kerry Shakespeare production. Four performers played every Cooper said, “George Brandt’s writing is compelling and it character in The Handlebards’ version of Twelfth Night. was hard to imagine anyone in this role except Lott. Her Stage Whispers’ newest reviewer Mark Wickett loved it. portrayal was commanding and showed an underlying “Colour-coded in knee-high socks and braces, they fragility. Lott was mesmerizing.” engaged the audience with warmth and wit and kept Command of skills was on display in the many circus them there through ninety minutes that passed too acts this Fringe too and Cirque Alphonse’s Tabarnak was quickly,” he said. one of the best there. “Inspired by the village church that Flood, by Chris Isaacs and presented by SA-based was once the gathering place of their small Quebec theatre collective The Cabbages & Kings Collective, tackled community, Cirque Alfonse brought us one of the most privilege, tribalism and cultural issues and impressed exhilarating Fringe acts,” Kerry said. “The audience leapt Mark. “Six young friends reunite for a New Year’s trip to to their feet in appreciation.” the outback, where they find a perfect waterhole, reThe Tiger Lilies present Edgar Allan Poe’s Haunted discover old friendships and desires, and struggle with the Palace explored Poe’s world, his works, his private life and consequences of an impulsive act,” Mark said. “The narrative initially bounced with comedy and expectation but there was a strong subtext about regret - in love, Loucas Loizou in Oedipus Rex - The King The Musical. work and life. Thankfully, the play didn’t offer a neatly Photo: Martin Newland. packaged solution.” One of the weekly Fringe Awards was won by a choir, the Festival Statesman Chorus, with their new jukebox musical, Choir Boys. “Breaking the fourth wall set the scene for audience interaction,” said Stage Whispers’ reviewer Jenny Fewster. “In the hefty annals of jukebox musicals this one ranks highly for me. It would be great to see the group get some backing to expand the show and polish it further. I can see it touring nationally and being embraced by the Glee and Pitch Perfect generation.” When Jude Hines attended Carlotta: Queen of the Cross she was amazed at the resilience of this performer in a tough industry. Jude said, “The inspiration for Australia’s own Priscilla and proudly 75 years of age, with 54 years in entertainment under her sequined rhinestone belt, the Australian icon who only calls herself ‘Carlotta’ (no other labels, darlings), was backed by a three piece band that included Adelaide’s own Michael Griffiths. She vamped, tramped and gossiped shamelessly.” Jude also reviewed Judas, a STARC Productions/ Smokescreen production, which was a cleverly written story of political intrigue. The production supported Amnesty International Australia. “The play’s message is Online extras! as old as the biblical times that inspired it; that of Get a taste of Oedipus Rex - The King individuals whose rights and very being are destroyed in The Musical. Scan the QR code or visit times of war and political unrest,” she said. “Youssef was https://youtu.be/lK34c_OluDE played by Tim Marriott. Youssef was an ordinary

Head to the Stage Whispers website for links to all of our Adelaide Fringe reviews. http://bit.ly/2UZBKCB

90 Stage Whispers May - June 2019

tragic demise. “There were so many incredible areas of this performance, particularly visually,” said Barry Hill. “Against a plain set of drapes, doors and elevated platforms, animations were projected, including streets that folded in on each other, flowers blooming, a slithering dragon and a giant beating heart. We were transported to a Brechtian world with just a touch of punk. The three musicians were masters of their craft. The vocals by Martyn Jacques, also the narrator, ran the gamut of emotion. Peter Caulfield’s Poe developed from a man unsure of his talent and easily led, to a broken shell of a human being with seemingly nowhere to go but death. He was riveting to watch. Lucy Patrick’s assistant was uncannily like a female Igor, Dr Frankenstein’s assistant. She created a character who, with a diet of boiled babies, was repulsive but compelling. Confronting, haunting, compulsive and a feast for the eyes and ears.” “Alexander Wright is a writer to watch out for,” said Sally Putnam. “Orpheus was the perfect example of the power of his words, the storytelling and music. From a sunken garden in Adelaide, we were transported to a raucous night on the town with a group of lads, and from there we time-travelled backwards, remembering our early, fragile and dream-filled childhoods, where the world was full of wonder and colour.” Speaking of childhood, Sally has an interest in children’s theatre and described The Alphabet of Awesome Science as “One of the best children’s shows I have seen.” She added, “Not only was it fun, wellproduced, exciting and educational, it didn’t talk down to children and kept everyone engaged, learning and laughing. David Lampard’s enthusiasm and knowledge, plus drama and entertainment skills, was a highly successful combination.” “In more ways than one, Eclipse Productions’ SEPTEM made for an ideal piece of Fringe Festival theatre,” said Anthony Vawser. “It was short, suspenseful, and carried a sting in its tail to make the experience linger. What lengths will people go to for the sake of money? Can the promise of television fame have a fatal influence on someone’s behaviour? How does the world determine which human beings are worthy of survival over others? These were just some of the provocative questions posed by this outstanding show,” he said. With its brevity, SEPTEM could be described as a tasty ‘shortbread’, but Anthony also tasted some real food as part of his Fringe reviews. Just Desserts - Adults Only Tasting hit the right spot. “Michelle Pearson served sweets that were simply sublime, supplemented by a series of cover songs (some of them clever medleys), tying them in to the food being eaten. It all made for a strongly satisfying mixture, including the best baklava this reviewer has ever enjoyed. A deliciously good time.” “A deliciously good time” could just as easily be the right words to describe the experience Adelaide’s Fringe goers enjoyed during this year’s festival. You can be sure they will flock to the festive delights of next year’s 60th anniversary event with delicious expectation.

PERFORMING ARTS MAGAZINE MAY/JUNE 2019. VOLUME 28, NUMBER 3 ABN 71 129 358 710 ISSN 1321 5965

All correspondence to: The Editor, Stage Whispers, P.O. Box 2274, Rose Bay North 2030, New South Wales. Telephone: (03) 9758 4522 Advertising: stagews@stagewhispers.com.au Editorial: neil@stagewhispers.com.au PRINTED BY: Spotpress Pty Ltd, 24-26 Lilian Fowler Place, Marrickville, 2204 PUBLISHED BY: Stage Whispers PRE-PRESS PRODUCTION & DESIGN BY: PJTonline Solutions, email: pjtonline@pjtonline.com DISTRIBUTED BY: Gordon & Gotch, 25-37 Huntingdale Road, Burwood, 3125 DEADLINES For inclusion in the next edition, please submit articles, company notes and advertisements to Stage Whispers by June 8th, 2019. SUBSCRIPTION Prices are $39.50 for 6 editions in Australia and $60AUD elsewhere. Overseas Surface Mail (Airmail by special arrangement). Overseas subscribers please send bank draft in Australian currency. Maximum suggested retail is $6.95 including GST. Address of all subscription correspondence to above address. When moving, advise us immediately of your old and new address in order to avoid lost or delayed copies. FREELANCE CONTRIBUTORS Are welcomed by this magazine and all articles should be addressed to Stage Whispers at the above address. The Publisher accepts no responsibility for unsolicited material. Black and white or colour photographs are suitable for production. DISCLAIMER All expressions of opinion in Stage Whispers are published on the basis that they reflect the personal opinion of the authors and as such are not to be taken as expressing the official opinion of The Publishers unless expressly so stated. Stage Whispers accepts no responsibility for the accuracy of any opinion or information contained in this magazine. LIMITED BACK COPIES AVAILABLE ADVERTISERS We accept no responsibility for material submitted that does not comply with the Trade Practices Act. CAST & CREW Editor: Neil Litchfield 0438 938 064 Sub-editor: David Spicer Advertising: Angela Thompson 03 9758 4522 Digital production: Phillip Tyson 0414 781 008 Contributors: Cathy Bannister, Anne Blythe-Cooper, Mel Bobbermien, Michael Brindley, Rose Cooper, Kerry Cooper, Ken Cotterill, Bill Davies, Coral Drouyn, Jenny Fewster, Graham Ford, Peter Gotting, Frank Hatherley, Jude Hines, John P. Harvey, Barry Hill, Tony Knight, Neil Litchfield, Ken Longworth, Kiesten Mcauley, Rachel McGrath-Kerr, Roger McKenzie, Peter Novakovich, Shannon O’Connell, Peter Pinne, Martin Portus, Sally Putnam, Lesley Reed, Lisa Romeo, Suzanne Sandow, Kimberley Shaw, David Spicer, Penelope Thomas, Anthony Vawser, Carol Wimmer and Mark Wickett. www.stagewhispers.com.au Stage Whispers 91

Musical Spice

Should The Show Always Go On? I travelled twice to New Zealand in the immediate aftermath of the shooting massacre. Just as I arrived at Auckland airport for the annual New Zealand Musical Theatre conference, there was two minutes’ silence in the Customs Hall. Seven days later, I was scheduled to be in Christchurch for a production of We Will Rock You, the same day that an international commemoration took place. Signs of sadness were everywhere in a town still scarred by the 2010-11 earthquakes. A taxi driver told me that he was praying nearby in the park when the shooting took place and had regularly visited the mosque. There was a sea of flowers at the Botanic Gardens, and nearby in hospital victims were recovering from terrible injuries. It took my breath away seeing police armed with semi-automatic weapons patrolling the airport and guarding the mosque. How did the arts community respond? Every concert and major event was cancelled the weekend immediately after the shooting. In Christchurch the Court Theatre cancelled a whole month-long season of a new play, in part because the subject matter was not suitable. The first major arts event to take place in the city centre was Showbiz Christchurch’s production of We Will Rock You. The company’s General Manager Michael Bayley said the whole city was traumatised. “All schools, public buildings, shopping malls, etc., were locked down for three hours as the event unfolded and tens of thousands of school students and residents found themselves having to hide below the window line in public buildings, or go to safe rooms for fear that multiple armed gunmen were roaming Christchurch.” Should their show go on? “Many people told us it would be a welcome diversion during a time of great apprehension and sorrow in the 92 Stage Whispers May - June 2019

Online extras!

Go behind the scenes of Christchurch’s We Will Rock You. Scan or visit https://youtu.be/BKRN4gXgx7w city. 50 deaths in a city of our size means that no-one is untouched. Every school and business has a connection with ex-students or business associates.” The company decided to give hundreds of tickets away. “We provided complimentary seats to emergency services staff and first responders so that in some small way we could provide a welcome diversion to a few of the people that played a part confronting this horrible event. “Our voluntary cast and crew of 150 were determined to put on the best show that we could, and embrace the messages of love and inclusion written into the lyrics of Queen.” Lead guitar player Brian May told the cast in a private video message that he hoped the production would help cheer up a very sad community. Writer Ben Elton said, “one’s mind reels trying even to comprehend the unimaginable horror of the evil that was visited upon your town by a criminally psychotic terrorist. “I think you are right that a community production of a show which celebrates the power of love, through shared music, can only be a positive thing in the midst of such bleak sorrow. I applaud your decision to continue although would of course entirely understand whatever you decide to do. “Community art is a wonderful way to bring local people together and God knows the world needs people to come together now.” David Spicer