Stage Whispers November/December 2014 by Stage Whispers Magazine

In this issue

Dancing Up A Storm ....................................................................... 8 The leads of the new production of Dirty Dancing Cirque’s Towering Totem ............................................................... 12 Behind the scenes of Cirque du Soleil’s latest tour

Why Men Keep Frocking Up .......................................................... 18 Australian Performing Arts’ ongoing passion for drag

Hot Plays In 2015 .......................................................................... 20 Major theatre seasons around Australia Musicals In 2015 And Beyond ....................................................... 29 From Candy Bar To Thriller Star...................................................... 34 MiG Ayesa returns to star in West End Michael Jackson hit Australian Musical Theatre’s New Guard ........................................ 36 Triple threat performers, writers and composers Chiarella, Tripolino, Hedger and Nicholson

Rising From The Rubble ................................................................. 40 Christchurch’s Isaac Theatre Royal opens How Phones Are Ruining Live Entertainment .................................. 42

Regular Features Stage Briefs

52 55

London Calling

Broadway Buzz

Stage On Disc

Stage To Page

Stage Briefs

On Stage - What’s On

Auditions

Reviews

Choosing A Show

Musical Spice

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61 4 Stage Whispers November - December 2014

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Editorial

Jemma Rix as Wicked’s Elpheba catches up on the latest theatre news in Stage Whispers. Photo: Lightbox Photography.

Dear theatre-goers and theatre-doers, In the last few weeks, as Stage Whispers’ Facebook page zoomed past 10,000 likes, I thought back to when I began writing for Stage Whispers in the mid 1990s. I recalled having to save my copy for the magazine to floppy discs, and post it off by snail mail to my then-editor. No digital photos then either. Hard copy photographs or transparencies had to be mailed off to the editor. Breaking news was faxed through if it arrived on deadline. Instant gratification via email and the web; Science Fiction. What fun now to be able to share the latest news, images and videos with you instantly via social media at the press of a button. It’s the start of my every working day. Still, here I sit, every two months compiling and editing a print magazine. Am I a bit of an anachronism? I don’t know about you, but because I spend so much time working at a screen, when I relax to read, I don’t curl up in bed, or sit on the balcony, with a kindle. Squeezing all our content into just 92 pages in this age of interminable, spur-of the-moment, error-laden un-proofed blogs is sometimes a challenge, but there’s the accompanying, sometimes vanishing, joy of writing with economy of language and considered turn of phrase. I guess if you’re reading this, you may well be a bit like me, so wherever you are, hopefully relaxing, I hope you enjoy planning your theatre-going in 2015 with the current edition of Stage Whispers. Yours in Theatre,

Neil Litchfield Editor

Cover image: Kirby Burgess (“Baby” Houseman) and Kurt Phelan (Johnny Castle), the leads in the new Australian production of Dirty Dancing. Read our interview with them on page 8. Photo: Kurt Sneddon.

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Stage Briefs

Josh Piterman

in the 2012 W

est Side Story Australian To ur Photo: Branco Gaica.

Musical theatre leading man Josh Piterman (Tony in West Side Story, The Ten Tenors, An Officer and a Gentleman and The Drowsy Chaperone) has opened PITFIT, Australiaâ&#x20AC;&#x2122;s first fitness centre specialising in creative functional fitness for performers, dancers and actors. Everyday Australians wanting to achieve great results in an energized and fun environment can also get involved and visit the studio at 2/82 St Kilda Road, St Kilda on PITFIT Open Day from 8am - 1pm, Saturday 15 November, 2014. Visit pitfit.com.au.

Josh Piterman Photo: Chris Parker.

6 Stage Whispers November - December 2014

Actor, dancer, director, author, activist and legend Shirley MacLaine will tour Australia and New Zealand in December 2014 in her show If They Could See Me Now - Shirley MacLaine. Her career spans seven decades and countless indelible performances, from Irma La Douce and Sweet Charity to Terms of Endearment, Steel Magnolias and Downton Abbey. 4 Dec, Hamer Hall, Melbourne; 6 Dec, Festival Theatre, Adelaide; 8 Dec, Lyric Theatre, QPAC, 10 Dec, State Theatre, Sydney. Grumpy Old Women Lynda Milligan, Jude Gibson and Geraldine Brophy return to Australia with their new show Fifty Shades of Beige, touring to Warrnambool, Wendouree, Warragul, Latrobe, Shepparton, Sydney, Cessnock, Taree, Tamworth, Newcastle and Port Macquarie from 10 to 23 November.

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Dancing Up A Storm The two hot new talents who will dance up a storm in the leads of the new production of Dirty Dancing have a lot in common. Both are recent understudies, who were raised in small country towns where they cut their teeth at dance schools, community theatre and watching Dirty Dancing on video. Neil Litchfield spoke to Kurt Phelan, playing charismatic dance teacher Johnny Castle, and Kirby Burgess, the new “Baby” Houseman.

Online extras! Go behind the scenes of the Dirty Dancing rehearsals. Scan or visit http://youtu.be/Snl_mUoQdSc

Kirby Burgess as Baby and Kurt Phelan as Johnny Castle in Dirty Dancing. Photo: Kurt Sneddon.

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Kirby Burgess grew up in the small country town of Batemans Bay on the NSW South Coast. “We moved to Batemans Bay when I was three and we joined the theatre because we didn’t know anyone. My mum took us to the Bay Theatre Players and told my father, ‘If you want to see us you’ll have to join too, because we’re going to spend all our time there. So my debut role was a mouse in Cinderella. I fell asleep on stage.” “My parents put me into dance classes when I was three, but I spent the whole time staring at myself in the mirror, so my mum took me out of dance class, put me back in when I was five, and I’ve been dancing ever since.” Kurt Phelan hails from North Queensland, where he had danced and sung all his life. “Straight up I told my mum, probably when I was about four, that I wanted to be Gene Kelly, because of Singin’ in the Rain.” “I’m from Ayr, an hour south of Townsville. I moved to Townsville when I was 12. I always danced and sang. I performed with the Townsville Choral Society and North Queensland Opera and Music Theatre Company. I’ve actually gone back and done shows with them as a professional.” Kirby also caught the stage bug in community theatre. “Twenty years ago we did Annie; I played Molly, my sister played Annie, my father played Daddy Warbucks and my mum directed it. I’m so thankful for having grown up in amateur theatre. It’s a beautiful world to be part of when you’re a kid. It taught me how to be social; my sister and I were the first youth members so I was constantly around adults or teenagers that were a lot older than me, and having to associate and have a conversation with them. It’s the same old story too, that the kids might start, then the mum might join in, then by the end the dad, the mum, the grandparents, the dogs -they’re all part of it - it sucks them in.” At 17 Kurt left for the big smoke, Sydney, where it all started happening with his first musical, appropriately Singin’ in the Rain. “I went overseas, worked for Disney for two years, and lived in New York, then came home and did Saturday Night Fever and lots of old-fashioned tours. Then I found myself part of the original cast of Priscilla Queen of the Desert. It was fantastic, but I was an

understudy again, and we worked very hard, and in heels, and carrying very heavy costumes. “I felt like something was missing. I applied for Architecture, Psychology and NIDA, and I ended up at NIDA, which is the best crossroad I could have ever taken.” Straight out of high school, Kirby left home for Sydney too, where she did a one-year Performing Arts course at Urban Dance Centre. “During that I got my first show. It started as soon as I finished. I got a scholarship to study in New York, which was bizarre and crazy, because my musical theatre knowledge was not great. I was lucky enough to be invited back to perform on Broadway in a concert called ‘Rising Stars of Broadway’. I was 18, and I was singing with all the top graduates of performing arts universities like Juilliard. It was crazy and daunting, and I wonder what I would do now if I had that opportunity.” Kirby returned to Australia and went straight into her first show, High School Musical, subsequently working consistently in musical theatre, including the acclaimed production of Sweet Charity at the Hayes Theatre earlier in 2014. “I understudied Charity, and because there was such a small cast and so much hype around the Hayes Theatre and being its first production, I was somehow noticed. Probably the fact that I wasn’t wearing many clothes helped a little bit, but it’s funny how many people saw me, and it opened up a lot of doors.”

During rehearsals for Sweet Charity Kirby learned that she would be taking over the role of Rizzo for the Perth season of Grease. Both she and Kurt, who was in a production for the Melbourne Theatre Company, flew from in from interstate several times on their weekly day off for the Dirty Dancing auditions, meeting for the first time at their final audition. “At the last audition they said, ‘We’ve seen you act enough, we don’t need to see it again,’ and then they changed their minds, so I had 10 minutes to prepare,” Kurt explained. “I looked around. I scanned the room saying, ‘Who is auditioning for Baby?’ and I saw Kirby. I just said, ‘Hi, I’m Kurt, are you auditioning for Baby?’ (Kirby, ‘Yes.’) Can we just run these lines? We did it maybe twice, and then they called out Kurt, and I did the audition.” “Straight away after that they called people into a dance call and they partnered us up,” Kirby added. “In this industry you hear about everyone, but I’d never actually met Kurt, and so it was funny, because you’re doing this dance, and you do have to find instant chemistry with someone you’ve never met before.” “And I’d just had lunch and I was scared that I didn’t have gum or mints,” Kurt said. “I don’t know if my breath smells …” “You were fine - for the record,” Kirby assured us. “Kurt’s breath did not smell - feel free to put that in the article. It was just bizarre that you asked me to do that scene, and then they partnered us up in the dance call.” (Continued on page 10)

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(Continued from page 9)

Now they have both been given their biggest breaks, cast as the leads in the musical adaptation of the iconic film Dirty Dancing. “It’s a kind of Catch 22,” Kirby explained, “because there is so much pressure, but it’s also exciting that people want to see this story being told in a new light. Then there’s the pressure of doing that eight times a week, and giving the audience Jennifer Grey and Patrick Swayze, but we will be us.” “There’s no doubt it’s going to be very physically demanding, especially for me,” Kurt added. “In the first 20 minutes of the show there’s three dance numbers - Bang! Bang! Bang! - mambo, lifting, throwing, and then it gets sexy …” “… and then you just don’t have a shirt on for pretty much the rest of the show,” Kirby quipped. “Which is good, because you get to press a bit, and lift someone, so you’d be pumped up,” Kurt continued. “But then there’s quite a big break in our dancing until the end, and that last six or seven minute routine, culminating in a big lift, so keeping physically there during all that time when our relationship is blossoming, then with that big dance routine at the end, will be a challenge physically, but that’s part of what makes it fantastic to watch. “The whole Jennifer / Patrick thing is daunting, because you don’t want to do a disservice to the original, but you don’t want to be those people either, because the reason why we were cast is because we have attributes which are correct for the characters, and when we’re being true to ourselves, that’s when these attributes shine the most. So if you try to be someone else, you’re squashing who you are …” “… and it will never be right,” Kirby added. What personal attributes will Kurt and Kirby bring to their roles? “Well I’m very cheeky,” Kurt admits. “He’s the quintessential bad guy from the wrong side of the tracks, and I’m the good boy from the right side of the tracks who really

Dirty Dancing will play at the Sydney Lyric Theatre from 28 November 2014, followed by Melbourne’s Princess Theatre from 4 March 2015 and the Lyric Theatre, QPAC from 27 May. 10 Stage Whispers November - December 2014

pretends that he was bad. I’ve always been getting in a lot of trouble, as a kid and an adult, for being quite cheeky. I’m looking forward to bringing a little bit of that to the role. “In film and TV I’m always cast as the bad guy. Once I was a killer in an independent horror film, and I don’t really think I look like a killer. The bad boy side is something I really love doing as an actor, so that’s really going to take care of itself. And in the end Johnny is really not the bad boy; it’s just that he’s been dealt a few bad hands along the way. So it’s bringing that little touch of Kurt to Johnny and just a little bit of Patrick’s hips, and I think that’s the perfect balance.” “Baby is such a brilliant

This page and opposite: Kirby Burgess as Baby and Kurt Phelan as Johnny Castle. All photos: Kurt Sneddon.

When did Kurt and Kirby first see the film Get to know Kirby Burgess by scanning of Dirty Dancing, and the QR code or visiting did they ever envisage http://youtu.be/OPbvYghr2zs themselves in the roles of Johnny and Baby? character because she’s “My sister was eight years older than me, and the both what you expect dancer in the family,” Kurt said, “so she was mad keen, and and what you don’t watched the film a lot, while I pretended I wasn’t expect,” Kirby said. “I interested, because I was pretending I was a cool young kid think what I have in who … I like to dance, but I’m not into those girly movies. common with her is “Then I would watch it and go, ‘Hey, this is pretty cool, my eagerness to learn quite excellent.’ Then for a while I would pretend I’d never from any experience. At seen it, but actually I’d watched it about 18,000 times.” the start of the show “The video was in our video drawer for years and years, she wants to feed and because it was called Dirty Dancing, I thought it was a the hungry, and naughty movie that I wasn’t supposed to watch.” Kirby world peace, and confessed, “when my parents were at work one day, I all that kind of stuff, watched it without them knowing, and just fell in love with and obviously finds it. this relationship. She’s “I was about seven at the time, so I always been around was in dance classes every people who are so afternoon, and what I loved about aware of the world the film, and Baby in particular, is around them, and that she’s discovering dance, and in Johnny is probably more the first scene she’s going into this focussing on his life, and restricted area where only staff his survival. It is so are allowed, and that’s the daunting to her that he first time you see all that dirty doesn’t know about dancing happening. these things, so she “It’s the first time she sees wants to teach him Johnny, and he ends up that, but she also wants finding her and teaching her to learn.” how to do this style of Returning to Kurt’s love dance, which blows her of Gene Kelly, I mind. She has never, never suggested that the been in that world, never dancing in Dirty Dancing seen people move or interact is very much along the like that, and all of a sudden lines of Kelly and Astaire’s she’s like, ‘OK, I’ll give it a go,’ classic seductions through dance. and just how awkward she is. “Absolutely,” Kurt agreed. “There’s interviews with You can tell that she doesn’t Patrick Swayze, about what drives him to be the know whether she’s falling in dancer he is, and he cites lots of Gene Kelly love instantly with this and Fred Astaire, and Cyd Charisse, and person, or whether she’s just it’s seduction through dance. Long before so out to her depth. there was twirling and crimping, there “It’s so bizarre to be playing was actual dancing. That’s what the film is this character, from a film about - people back then thought it was that I’ve been obsessed with. dirty and taboo, but actually it’s all just Also I never play the nice girl, about seduction, and two bodies in space I always play the bad girl. having to move together, expressing Baby gets both sides - she themselves.” gets her little naughty moment, I guess, but essentially she’s such a Online extras! sweet girl, and so this is Meet the man behind Johnny Castle: Kurt such a different world Phelan. Simply scan the QR code or visit for me, to be playing http://youtu.be/IZKAXsa4fGQ that.”

Online extras!

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Online extras! Check out the trailer for Totem by scanning the QR code or visiting http://youtu.be/TsOzYup2_3Y 12 Stage Whispers November - December 2014

Totem costumes by Kym Barrett. Photo: OSA Images / Cirque du Soleil.

The evolution of mankind, no less, is the mighty canvas for Cirque du Soleil’s latest touring extravaganza. But is it Theatre? Frank Hatherley peeks under the big top. What should we call Cirque du Soleil? Is it Theatre or Circus or Big Top Cabaret or Massive Musical or what? New York’s Drama Desk has no doubt. This respected posse of Broadway critics and reporters gave its 2013 Drama Desk Award for Unique Theatrical Experience to Totem, the latest themed entertainment from Cirque du Soleil. The show was written and directed by Canadian theatre giant Robert Lepage in 2010, the same year he directed (“extravagantly”) the first opera of Wagner’s Ring Cycle for the Metropolitan Opera of New York. So it’s definitely Theatre: but BIG Theatre, right? And it’s coming your way, trailing reviews to die for. “What’s the next level after impressed?” asked The New York Times critic. “Amazed? Awestruck? Whatever it is, that emotion arrives often in Totem.” The grand theme this time is nothing less than “the evolution of mankind”, from murky swamps to outer space, acknowledging the totem pole of species to which we inevitably belong. Phew! Following a season in Auckland, the Totem company pitches its distinctive, giant blue-and-orange tent in Moore Park, Sydney, first stop in a ten-month Australian tour. The company has toured Australia seven times since 2001. If you’ve seen them live - or one of their filmed shows - you’re unlikely to forget their terrific sets, cutting-edge lighting and projections, glittering costumes, spectacular choreography and gravitychallenging acrobatics. Cirque du Soleil is a rags-to-riches, fairy tale story from the humblest Street Theatre beginnings. _______ Once upon a time in Baie-SaintPaul, one of French-speaking Quebec’s oldest towns, there roamed a band of strolling entertainers. They called

Totem costumes by Kym Barrett. Photo: OSA Images / Cirque du Soleil.

themselves Les Echassiers, The Stiltwalkers. It was 1979. One of the band, Gilles Ste-Croix, had originally taught himself to walk on stilts in order to more easily pick apples. Another, Guy Laliberte, played the accordion, ‘breathed fire’ and nursed a fierce ambition to form a new kind of animal -free circus. By 1984 the two visionaries had created Cirque du Soleil (Circus of the Sun). Three formative years of local touring were tough going but their big breakthrough came in 1987 when the young company was invited to the Los Angeles Festival. They were a hit. How did they label themselves? “First we were street players trying to be a circus,” Laliberte told a US magazine in 2009, “and then we were a circus trying to be a theatrical troupe, then we were a theatre with circus performances, and then we became a musical theatrical event with circus performers.” Laliberte, 55 and one of the richest men in Canada, remains CEO. Ste-Croix is Senior Vice President of Creative Content. The entertainment juggernaut that these ex-stilt-walkers co-founded is now perhaps the world’s largest theatrical company, employing over 4,000 in its global operations. Half are based at the Headquarters in Montreal. Astonishingly, Totem is just one of 19 mega-shows they have currently running worldwide. Ten are under

travelling Big Tops or touring to big arenas, two are resident shows (in Florida and Mexico) and seven are in residence at various ritzy Las Vegas showrooms. That’s seven major shows running in Las Vegas at the same time! _______ Francis Jalbert is fulltime Publicist with the Totem company. When we speak he’s in Auckland where the company is preparing for the big move to Sydney. “All our equipment is packed into 85 containers,” he tells me. “We’ll ship them to Sydney and they will travel by train in Australia from one city to the other. When we leave Australia they will go on a boat towards our next destinations, to Asia, Japan...” Jalbert is from Quebec and has a rich French accent. “Cirque du Soleil makes my region shine around the world,” he says. He’s been “living and breathing Totem for the past three years”. “There are 120 people working on the show, including 46 performers. We come from 21 different countries and speak 11 languages. It’s like a little United Nations travelling around.” With 19 Cirque productions worldwide, I suggest there must be almost continuous auditions and recruiting. “Our casting department has 26 Casting Scouts. They are constantly (Continued on page 14) www.stagewhispers.com.au Stage Whispers 13

Sydney - From October 28 Entertainment Quarter, Moore Park Melbourne - From January 21 Flemington Racecourse Brisbane - From April 10 Northshore Hamilton Adelaide - From June 11 The Plateau in Tampawardli Perth - From July 31 Belmont Racecourse Kym Barrett

ation by Costume illustr z he nc Felipe Sa

(Continued from page 13)

Online extras! Costume designer Kym Barrett talks about her inspiration. Scan or visit http://youtu.be/59hKA3bhjlY 14 Stage Whispers November - December 2014

looking around the world for the best performers out there - gymnasts, singers, divers, synchronised swimmers, etc. “40% of our artists come from a gymnastic background. They might have been competing at national or international levels. We have a strong relationship with the various Gymnastic Federations and we never try to steal an athlete from competition. We let them know that we are a possible career opportunity after they’ve done with competing. “If we select them we invite them to our Headquarters for what we call General Formation. Over four months we transform athletes into artists. “They will continue their various disciplines and skills but in a whole new way. And they will learn how to sing, how to dance, how to play a character, how to connect with the audience.” Arriving in a new city it takes eight days to assemble and prepare the Big

Top and the entire Totem set and rigging - plus reintroducing a dynamically fit and rested cast. “Robert Lepage, our director, is always interested in the latest technology that can be integrated with human performance. He wanted to bring a technological element to this show that had never been seen inside a Big Top before. “There’s a moving platform in the centre that opens up, is raised, moves forward, moves backward. “Our set looks like a marsh, but instead of water we have video projections. Throughout the whole show we project images that were specially shot all round the world - for instance, a waterfall that was shot in Iceland, lava that was shot in Guatemala. “We create interaction in real time with the projections. As the performers walk on the platform the projected water moves under their feet. As they walk on projected sand their steps appear behind them in the sand. It really gives the impression that we are all in this environment.”

So what would he now call Totem Circus or Theatre? “It smells like Circus, but not completely,” says Francis Jalbert. “It smells like Theatre, but not completely. It smells like a Musical because of all the live music, but it isn’t. And if you go backstage, with all the artists training in the gym, you’d say it’s a mix of Sport and Theatre.” _______

After 20 years in major Hollywood movies, “I really wanted to go back to Theatre, and Totem was a way for me to do that”. She joined the Totem creative team under Robert Lepage “about 18 months before we opened. We were all working on lots of individual projects in other parts of the world. “It’s very organic at the beginning. There are so many unknowns. How many performers? What are they going A notable Australian in Totem’s to be doing? international production team is “Each time we got back together Costume Designer Kym Barrett. She there’d be new sets or props or they’d categorises the show, when have chosen some new acrobatic acts challenged, as “Theatrical Circus”. or a script had been formatted to After a Theatre Studies degree at include a special performer. Over six the University of New England, months we came up with the Armidale, Barrett did the three-year Set framework for the show and then we and Costume Design course at NIDA. could start the illustrations. Now she’s regarded as one of “We were all very well connected Hollywood’s leading costume via the internet. I’d send pictures to the designers, with a string of credits that set people, and they’d send pictures to began with Baz Luhrmann’s 1996 me. So then we could put all our small-budget masterpiece Romeo + presentations together.” Juliet. The costumes in that were Her Totem designs are based on remarkable, as were her contributions extensive research. She has mixed the to the three Matrix movies. (Continued on page 16)

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(Continued from page 15)

documentary reality of evolving animals, birds and plants with traditional and tribal designs. It’s a dazzling mix of colours and textures. The stretch velvet leotard worn by The Crystal Man, for instance, is a glittering mosaic of 4,500 reflective components. “I was inventing my own reality but there’s a definite documentary patina.” Kym Barrett’s return to Theatre was invigorating for her. “Now after a couple of movies I do a theatre show.” She’s already on board for a 2015 Cirque du Soleil super-production inspired by blockbuster movie Avatar. She says she’s up for theatre work in Australia, but I reckon the STC/MTC would have to book her well ahead. _______ There’s only one Aussie among the large cast and crew on the tour. He’s Daniel Fulloon, a Swing Technician, and he couldn’t be happier. “In Cirque du Soleil’s world a Swing Tech is a ‘Jack of all trades’,” he explains. “I can work on eight of the 13 technical tracks it takes to run the show. “A track is a set of cues that each department is responsible for. These cues could be operating the lighting or sound console, making sure all the artists have the correct props, opening trap doors for artists to enter or exit from, and running the automation system. “On a daily basis my job is to make sure that if any technician was to get sick or injured, I would be able to fill the position without affecting the show quality.” How did this young man from Toowoomba get into such international company? With an American mother, Daniel’s a dual Australian/US citizen. After High School, where he had got involved in the technicalities of end-of-year shows, he headed for a summer school at the Stagecraft Institute of Las Vegas. This led to contacts with the Cirque du Soleil recruiting team and an eventual job as carpenter/stagehand on The Beatles LOVE at The Mirage, Las Vegas. 16 Stage Whispers November - December 2014

Daniel Fulloon. Photo: Matt Logan.

“I really didn’t have all the technical knowledge required,” he admits. “But the Cirque team were willing to overlook that for someone who was passionate and driven in the technical realm. “I was called into the office in my first week and told to ‘stop acting like a kid in a candy shop’. There are so many amazing toys to play with, but now I’ve learnt to do it in a more professional way.” After a while he asked to be transferred to a touring show.

“The best days for me,” says Daniel, “are when something goes a little different than planed but the audience never knows. In Ottawa, Canada, we had a rainstorm that really flooded our site. I’m talking ‘up to our knees in water’. “We were all called into work early. Could we get it ready for the show that night? Every single technician responded quickly and efficiently, doing what needed to be done. Within 6 hours the only things that showed signs of what had happened were our sopping wet boots.”

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appropriately mainstream drag partnership, working with the remarkable Ash Flanders, fresh from his own controversial role at Belvoir playing Hedda Gabler. While most critics have praised Calpurnia Descending, most were critical of Flanders’ Hedda. This critic described him in the role as “cold and moody ...adding a male aggression to Hedda’s feministic frustrations, and perhaps a queer petulance.” Paul Capsis begs to differ from almost all the critics. “I thought it was very interesting, and not as terrible as people carried on about. I realised that having a man play her added weight to the woman in the production, to her isolation and the abuse she is suffering.” Aside from broad comedy, Paul has a keen eye for the pathos which the right man can bring to a female role. He has little interest in men just passing themselves off as pretty women and is uncomfortable with even the word, drag. He sees however no female disparagement in the drag portrayal, even as he dramatises such fiercely competitive divas. “But there is real competition between women, and especially in the theatre as women get to a particular age. I know that at my age of 50. But why can’t we have new interpretations of women by men, and also of men by women? I thought Robyn Nevin as Lear at the MTC was amazing - one of the Ash Flanders in Belvoir’s Hedda Gabler. best I’ve ever seen.” Photo: Ellis Parrinder. He became a fan of Sisters Grimm last year after seeing their audacious Men in dresses have been strolling with career of this unique shape-shifting STC production of Little Mercy starring performer mixes cabaret with female us for centuries, but it seems that our Flanders in true Barbara Stanwyck appetite for it in Australia’s Performing appearances in a surprising number of mode. Arts is inexhaustible. Martin Portus classical dramas. Sure, he’s done the “Ash was the first person on an explores the phenomena with one of Rocky Horror Show and sung his way Australian stage who reminded me of our most stylish exponents - Paul through Boulevard Delirium but he’s me. When I met him afterwards, he Capsis. Paul is spending much of also been dressed up for Thyestes and said he’d seen me as Marlene Dietrich November slipping into a dress for his Volpone, Barry Kosky’s classical epic in my first glamorous role for Simon appearances in Sydney and Melbourne The Lost Echo and for heaps of Brecht. Phillips’ big MTC production of Arturo Now for the Sydney Theatre in Calpurnia Descending. Uri. It was for me a complete makeover Company and Malthouse Theatre, he’s as Marlene. Ash said it was the first From the Greeks to the working with Sisters Grimm thing he saw as teenager at high Elizabethans, from Georgian mollies to channelling divas in Calpurnia school that changed his life; he could Eurovision winner Conchita Wurst, Descending. It is a witty take on film see many possibilities for himself.” stars past. Capsis channels the ghosts from Betty Blokk Buster to the Footy As for Capsis, he’s come a long way of many divas, with perhaps Gloria Show, drag is a constant star but a since singing Sundays to gay drinkers Swanson and Bette Midler winning the new wave appears to be sweeping in the Albury Hotel’s piano bar in the though this century’s teens. race. late 80s. I remember seeing him later Riding the wave is Paul Capsis. The It seems a perfect and now

Why Men Keep Frocking Up

18 Stage Whispers November - December 2014

with his long thick hair being an In cinema in 1970, the now iconic effeminate ethnic schoolboy in Nick film The Set featured drag queen Ken Enright's play about bullying, “Kindy'" Johnson, while The Naked Playground. It was 1996; Capsis stood Bunyip included both Carlotta and the out but I wondered how easily such an irrepressible Edna Everage. The matey actor would find roles on our stages. It national silence on what was really was hard then to imagine that he’d be under Edna’s dress continued through plucked out for roles like Pamela Rabe’s the Barry McKenzie movies, even to the mother in the STC’s Tales from the point of then Prime Minister Whitlam Vienna Woods. And all the more having a cameo in which he knighted surprising perhaps, since he was the housewife and created the ever brought up a working class Maltese after monstrous Dame Edna. Greek boy in inner Sydney suburb of Men in dresses make interesting Surry Hills. appearances in Australian cinema, even “I was a very effeminate child at from its beginnings, but the climax school and I had problems because of certainly came with The Adventures of that, and suffered. I lived with my Priscilla, Queen of the Desert. Priscilla grandmother who didn’t make me stands reasonably alone in the 1990s much aware of it but my father did period of more cautious politics and that men were to behave in a less theatricality around sexual particular way.” difference and human rights - other “And in Surry Hills then I remember than the Gay and Lesbian Mardi Gras passing Nimrod Theatre (now Belvoir) of course. The more recent stage and becoming version of Paul Capsis in STC’s Calpurnia Descending. aware of these Priscilla - and Photo: Brett Boardman. men on allied TV reality billboards, and show taking then on the drag-clad covers of punters up magazines and north to build newspapers. a “wave of And glam rock acceptance” as well. These heralds a more men were dragplaying with interested gender - the chapter today. lipstick, eyelashes, the mascara - but The telemovie Carlotta this year was with the stance of toughness as well. landmark if romanticised storytelling And I realised later that these tough about the life of Australia’s most divas were drawing in turn on the famous drag queen - even if she was great divas of the Hollywood past, played by a woman. Geoffrey Rush has reinterpreted for the 1970’s.” already elevated the traditional panto Undoubtedly, forty years ago, drag dame to new heights with his dressed up a new outrageousness, an extravagantly dressed Lady Bracknell in assertion of sexual identity, and a sheer Melbourne. In Brisbane Gerry Connolly, liberation from sexual stereotypes. beloved for his Queen Elizabeth II, has Their taste may have been dubious but just left the stage after rather leaders were Reg Livermore as Betty inexplicably playing the female Blokk Buster and then Wonder housekeeper in a version of Bronte’s Woman, and Grahame Bond and the Wuthering Heights. Aunty Jack Show. And new plays And so the parade continues - with emerged like Steve Spears’ TV, film and big theatre stories around international hit, The Elocution of names such as Courtney Act, Trevor Benjamin Franklin, with Gordon Chater, Ashley and Vanessa Wagner. and Peter Kenna’s Mates, while in For Paul Capsis though, it’s all part other spaces gender-bending theatre- of being a jobbing actor, working with makers like Lindsay Kemp, Michael character and voice to perfect the role, Matou, Doris Fish and Cabaret no matter what you’re wearing. He’s Conspiracy flashed brightly. got his eye on Richard III. www.stagewhispers.com.au Stage Whispers 19

Hot Plays In 2015

Online extras! Check out MTC’s 2015 season launch by scanning the QR code or visiting http://bit.ly/1wvAe7o Stage Whispers correspondents cast I can’t think of any theatre lover their eyes over the best drama on offer who doesn’t want to see Susie Porter next year. in Ariel Dorfman’s Death and The Maiden. Ostensibly a political thriller, Melbourne Theatre Company Dorfman will delve much deeper into Coral Drouyn says it’s been a long the human psyche. It’s a fabulous play while since she has been as excited by and a co-production with the STC. This an MTC season as she is about 2015, really promises theatrical magic. Those are my three top picks for the third season under Artistic Director MTC 2015, but I have to add the family Brett Sheehy. show The Boy At the Edge of There’s something for everyone, including a couple of world premieres. Everything, written by the astonishing For me it’s a veritable feast but there young Australian playwright Finegan are certain must-sees that I have Kruckemeyer. I’ve promised my inner already got in the diary. child an outing to that one. http://bit.ly/1ta9ycq I’m excited by the idea of North by Northwest, an iconic Hitchcock movie, as a stage play. It will be directed by Sydney Theatre Company Simon Phillips and adapted by his wife The Sydney Theatre Company’s Carolyn Burns. 2015 program features many of Australia’s top performers and Then there’s Ash Flanders, a directors in a season that combines charismatic performer who is beyond new Australian and international plays, gender, who will bring us Buyer and Cellar by Jonathan Tollins, another fresh explorations of classics and stage Australian Premiere of a play which adaptations of literary masterworks by Virginia Woolf and James Joyce. took Broadway by storm. He will Highlights include Geoffrey Rush undoubtedly channel his inner Barbra Streisand and I wouldn’t miss it for the and Neil Armfield’s King Lear; Cate Blanchett and Richard Roxburgh in a world. new adaptation of Chekhov’s first play; 20 Stage Whispers November - December 2014

Melbourne Theatre Company’s Last Man Standing

Hugo Weaving and Andrew Upton teaming up for more Beckett in Endgame; Robyn Nevin’s return to STC for the first time since 2010, in two roles; Susie Porter in a revival of heartstopping thriller Death and the Maiden; and the season-beginning revival of Andrew Bovell’s first play After Dinner. Alongside classics of drama and literature, the season features new writing by playwrights Melissa Bubnic, Caryl Churchill, Kylie Coolwell, April De Angelis and Sarah Ruhl. Andrew Upton said: “STC’s 2015 program has some great alignments including: Armfield, Rush and Shakespeare; Hugo Weaving and Sam Beckett; Roxburgh, Blanchett and Chekhov; Robyn Nevin and Tennessee Williams. “A number of works kept coming to the fore that presented fresh angles on familiar material, or that used language in ways that suggest more experimental theatrical form. This presented itself as an opportunity to set up a great juxtaposition between works of the canon that comprise half (Continued on page 22)

www.stagewhispers.com.au Stage Whispers 21

2015 Seasons

Sydney Theatre Company’s 2015 season launch day. Photo: Grant Sparkes-Carroll

eyes of a young boy, and Country Song, focusing on Indigenous country and western legend Jimmy Little, with lots of great songs. “There are also three iconic plays: Neil Simon's The Odd Couple, Chekhov's The Seagull and Samuel La Boite Beckett's Happy Days. For its 90th birthday year, La Boite “In addition to the mainstage, there Theatre Company has unveiled what it is a special celebration of amazingly describes as ‘the most culturally diverse Queensland Theatre Company talented Queensland women in a suite 2015 season to grace any stage in the Queensland Theatre Company’s of works called DIVA.” country’. 2015 season will feature four world In DIVA, Chenoa Deemal tells It ranges from star-studded classics premieres, a mainstage program of touching, funny stories of tears and to a story of a Congolese child soldier. eight major works and a DIVA program reconciliation in a celebration of Next year will be Artistic Director celebrating women on stage. Indigenous survival in The 7 Stages of and CEO Chris Kohn’s first program at The year starts with David Mamet's Grieving by Wesley Enoch and Deborah the helm. Boston Marriage and ends with the Mailman; Libby Munro is a deadly Air “I am very excited about Prize Fighter World Premiere of a new musical called Force pilot brought back to earth with by a Congolese-Australian playwright, Ladies in Black (see our musicals a bump when she falls pregnant in featuring an African cast and inspired feature). Grounded; Margi Brown Ash shares by real-life stories from war-torn Artistic Director Wesley Enoch said: her life story in Home, bouncing across Congo,” he said. “2015 stands as our most ambitious several continents as actor, therapist, Written and conceived by current La and wide-ranging in terms of content, schoolgirl, soapie starlet, wife and Boite Artist-in-Residence, Future D. actors and delivery. mother; and Naomi Price transforms Fidel, Prize Fighter follows a boy who is “There’s the very funny stage into pop star Adele in Rumour Has it orphaned by war and forced to adaptation of the hit TV show Mother a Grammy goddess ready to spill her become a child soldier before building & Son; two more world premieres guts about the man who wronged her. a new life as a professional boxer in Brisbane, about the infamous Battle of http://bit.ly/1ta9KIB Brisbane. Brisbane during WWII told through the (Continued on page 24) (Continued from page 20)

the program (nearly) and newer works with a particular emphasis on female voices that constitute the other half (almost).” http://bit.ly/1ta9FEU

22 Stage Whispers November - December 2014

In another World Premiere, Ashleigh Cummings will make her La Boite debut in Samson, a brutally honest and poignant coming-of-age story by 2013 Playwright-in-Residence Julia-Rose Lewis which tells the story of four teenagers grappling with the death of a friend in an Australian country town.

www.stagewhispers.com.au Stage Whispers 23

2015 Seasons Queensland Theatre Company’s Mother & Son.

Eloise Winestock and Brian Lipson in Bell Shakespeare’s The Tempest. Photo: Pierre Toussaint.

24 Stage Whispers November - December 2014

(Continued from page 22)

Bell Shakespeare Coral Drouyn reflects on a landmark season for Bell Shakespeare. It doesn’t seem possible that 2015 marks the 25th anniversary of the Bell Shakespeare Company, with John Bell recently announcing his retirement from the company that bears his name at the end of the year. The year begins with As You Like It, directed by Bell Shakespeare’s Co-Artistic Director Peter Evans. John Bell is taking on the melancholy role of Jaques and one of Shakespeare’s most famous passages; All the world's a stage, and all the men and women merely players. Damien Ryan, off the back of directing the critically acclaimed Henry V for Bell Shakespeare in 2014, will deliver a new production of Hamlet, infused with the passion, contemplation and emotion that Shakespeare’s compelling poetry cries out for. Rounding out the season, John Bell, having performed in The Tempest

three times, will for the first time direct this enchanting tale. A superb cast led by Brian Lipson, along with Julie Lynch’s design, will capture the lightness and beauty of one of Shakespeare’s last and greatest works. In an exciting new collaboration, Bell Shakespeare will share the stage with The Sydney Symphony Orchestra, presenting a new arrangement of words and music. John Bell will direct excerpts from the play, Romeo And Juliet, as renowned conductor Simone Young weaves music from Prokofiev’s thrilling ballet score through the performance. http://bit.ly/1ta9OIx State Theatre Company of South Australia Lesley Reed reports from Adelaide. According to State Theatre Company Artistic Director Geordie Brookman, 2015 “will see some of our finest artists evoke a fascinating range of worlds, characters and stories.” It starts with the Beckett Triptych, featuring Paul Blackwell, Peter Carroll and Pamela Rabe, brought

together especially for the 2015 Adelaide Festival. Ray Lawler’s Summer of the Seventeenth Doll returns to the Dunstan Playhouse in a 60th Anniversary production. UK author Kit Williams’ iconic children’s book Masquerade will be adapted for the stage by awardwinning Australian playwright Kate Mulvany. Adelaide’s Nathan O’Keefe stars as the bumbling Jack Hare, alongside Helen Dallimore, in a production that will also play at the Sydney and Melbourne Festivals. Harold Pinter’s ruthless exploration of the complexity of the human heart, Betrayal, will premiere in Adelaide before seasons in Canberra and at Melbourne Theatre Company. In a new adaptation by Adelaide writer Emily Steel, Paul Blackwell swindles his way through the corrupt city of Venice in Ben Jonson’s satirical 1605 comedy Volpone. A modern crime thriller, Mortido, is a World Premiere co-production with Belvoir Theatre, starring Colin

Friels (read more in our Belvoir preview). Silliness completes the 2015 season, with a new production of The Popular Mechanicals. The play follows the back-story of the Rude Mechanicals from Shakespeare’s A Midsummer Night’s Dream. In its first international tour in six years, State Theatre Company’s coproduction with Windmill Theatre of the multi award-winning Pinocchio will play New York’s famous New Victory Theatre, the only Broadway Theatre devoted to work for young audiences. http://bit.ly/1ta9vNY Black Swan State Theatre Company Black Swan State Theatre Company’s 2015 season contains a mix of classics, comedies, a new Australian work, a musical and a family production. The year begins with Venus In Fur by David Ives as part of the FRINGE WORLD Festival, followed by Dinner by Moira Buffini, Glengarry Glen Ross by (Continued on page 26)

State Theatre Company of South Australia’s Beckett Triptych. Photo: Kris Washusen.

www.stagewhispers.com.au Stage Whispers 25

Tasma Walton in Black Swan’s Dinner. Photo: Robert Frith

(Continued from page 25)

Colin Friels in Belvoir’s Mortido. Photo: Ellis Parrinder

fruits of that labour for many years to come on stages here and around the world,” says Myers. Angela Betzien was commissioned to write Mortido - a crime thriller that travels from Sydney’s Western suburbs, to Berlin, through Bolivia, and back to leafy Woollahra, following a trail of cocaine. It stars Colin Friels as a hardbitten detective looking for one big scalp before his imminent retirement. Seventeen by Matthew Whittet is a whimsical comedy about the last night before a bunch of 17 year olds step out into post-school adulthood, but Belvoir these teenagers will be played by Ralph Myers’ fifth and final season actors well past their teens. Nakkiah Lui will play herself in Kill at Belvoir prioritises new Australian the Messenger, a funny and shocking plays, alongside a renewed commitment to Indigenous-led theatre play about institutionalised racism. and inventive interpretations of the Other highlights include Robyn classics. Nevin in Brecht’s Mother Courage and The season includes seven new Her Children, as well as Ewen Leslie in Australian plays. “I feel a new Chekov’s Ivanov. Resident Director generation of artists has really Adena Jacobs creates a modern fable blossomed and that we’ll be seeing the David Mamet and Noël Coward’s Blithe Spirit. The World Premiere of Extinction by Hannie Rayson follows, with a first in family theatre for the company with Albert Lamorisse’s The Red Balloon, adapted by Hilary Bell and featured as part of the AWESOME Festival. The year concludes with the Pulitzer Prize winning rock musical Next To Normal with book and lyrics by Brian Yorkey and music by Tom Kitt. http://bit.ly/1ta9sBA

26 Stage Whispers November - December 2014

based on L. Frank Baum’s The Wizard of Oz. The Downstairs Theatre will be home to four new Australian plays. Sisters Grimm will take Verdi’s La Traviata as a leaping off point for an entirely new operatic extravaganza on the smallest of scales. Also Downstairs, Ralph Myers will direct a new play that’s actually two plays -The Dog / The Cat; two interlinked romantic comedies about pet ownership and serial monogamy. The Dog is by Brendan Cowell, while The Cat is by Lally Katz. http://bit.ly/1ta9VUu Ensemble Theatre Frank Hatherley reflects on Sandra Bates’ final season at the Ensemble. There are juicy plums in this the final season under long-serving Artistic Director Sandra Bates. Of course there’s a new play from David Williamson - Dream Home is about buying property in Sydney; there’s a

premiere production of Blood Bank by rising young writer/composer Christopher Harley; and a double bill of new plays (one each from Geoffrey Atherden and Vanessa Bates) commemorating the 2015 Anzac Day centenary. This season’s Broadway treat is Mothers and Sons by Terrence McNally; otherwise there’s a more British flavour, though, to be fair, Educating Rita has been “updated and transported to Australia”. My Zinc Bed, written in 2000 by always-brilliant David Hare, is a must-see. The Book Club “by Roger Hall, adapted by Rodney Fisher” is presumably a new production of the one-person play that HIT Productions toured widely in 2013, though that one was billed “by Rodney Fisher from the play by Roger Hall”. The departing Sandra Bates gets to direct Neil Simon’s 1973 classic The Good Doctor; and, as an actor, she revives (alongside fellow Ensemble star Lorraine Bayly) John Misto’s award-winning WW2 drama The Shoe-Horn Sonata, which started life with the same two actors at the Ensemble 20 years ago. http://bit.ly/1x6VsXa

Griffin Theatre Company Artistic Director Lee Lewis’s second season for Griffin Theatre Company, in its Main and Independent seasons, will present or co-present six world premieres of new Australian plays. “The stories in 2015 will take you to magical lands, journey into suburbs, pull apart minds, give in to revenge and travel around the world to find answers to questions we wrestle with today,” Lewis said. The year begins with Masquerade, at the Sydney Opera House (see State Theatre Company of South Australia). The World Premiere of Caress/Ache by Suzie Miller will attack the complex issue of human frailty and need on a global scale. Psychological thriller The House on the Lake, a twisting labyrinth of playwright Aidan Fennessy’s devising, follows. Angus Cerini’s 2014 Griffin Award winning play The Bleeding

2015 Seasons Guy Edmonds and Haiha Le in Ensemble Theatre’s Dream Home.

(Continued on page 28)

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(Continued from page 27)

Tree, a darkly macabre comedy about revenge and violence, will receive its World Premiere. The final work of the year will be Kit Brookman’s new work A Rabbit For Kim Jong-iI, a comic espionage about betrayal, forgiveness and regret that is unbelievably based on a true story. In addition to its Main Stage Season, Griffin will again support the work of Australian independent theatre makers - The Unspoken Word is ‘Joe’ by Zoey Dawson; Nicholas Hope’s Five Properties of Chainmale; Mary Rachel Brown’s The Dapto Chaser; Anna Barnes’s MinusOneSister; and Benito di Fonzo’s A Riff on Keef: The Human Myth. http://bit.ly/1x6W27e Malthouse Theatre Season 2015 Season 2015 marks a major new era in the life of Malthouse Theatre with the program offered to audiences as three ‘chapters’. The result is three acts, involving shows, panel discussions and extra events occurring in all the theatres, as well as the courtyard. Each chapter will include a special event. One involves participation with personal trainers, another a quiz and the last a banquet. The first chapter is Body // Language, which asks questions about the relationship between our bodies and our identity. Artists including Kate Champion, Anouk van Dijk and Victoria Chiu will bring very different perspectives to this question. Next is Post // Love. Love and Information by Caryl Churchill, is an Australian Premiere, as Churchill offers her latest provocation about life and love in a post-digital era. Continuing the conversation is Lally Katz on post-culture and Ash Flanders on postgender in the YouTube age. Ritual // Extinction explores the things that unite societies - ancient rites of passage and modern-day rituals. There’s a young Antigone looking for a way to honour her dead brother in a new adaptation of Sophocles’ play by Jane Montgomery Griffiths, along with ancient rites of passage and modern-day rituals are investigated by artists including Matthew Lutton, Declan Greene and Nicola Gunn with David Woods. An irreverent epilogue is provided by The Listies, who, with their particular brand of unadulterated silliness, will ruin Christmas for everyone. http://bit.ly/1x6W4MH 28 Stage Whispers November - December 2014

Helen Dallimore in Griffin Theatre Company’s Masquerade. Pic Brett Boardman

Emily Milledge in Antigone, part of Malthouse Theatre’s Ritual // Extinction

Online extras! Tim Minchin at the Sydney launch of Matilda. Photo: James Morgan

Hear Tim Minchin sing ’Quiet’ simply by scanning the QR code or visiting http://youtu.be/kvHl1YgDjfY

Musicals in 2015 and Beyond Stage Whispers correspondents preview another exciting year of Musical Theatre. The biggest musical theatre news of 2015 is the arrival of Tim Minchin's West End and Broadway smash hit Matilda The Musical at Sydney’s Lyric Theatre in July, at the start of a national tour. At the launch Tim recalled that it wasn’t so long ago that he was a struggling artist - once earning the princely sum of $7.50 for four months work in a co-op production. These days Matilda, written by Minchin and Dennis Kelly, is seen by 20,000 people a week. But he says, “it was not made to be a huge commercial hit,” rather “to honour Roald Dahl …and tell a great story.” Tim Minchin believes he is on the same wave length as Dahl - Matilda “is almost indiscernible from some of my

comedy,” as it is “laced with criticism of anti-intellectualism.” He cites the lyrics of a song called ‘Loud’ sung by Matilda’s mother. “What you know matters less than the volume with which what you don’t know is expressed.” Minchin describes the production as a “double miracle”. “It is the story of a kid who is miraculously smart and moral and strong and eventually magic. Yet you are watching an actual 9 or 10 year old girl spend two and half hours on stage doing stuff that is indiscernible from magic in itself.” As for the music he relishes the fact that many of the songs break all the rules. “Half way through the second act, where you are meant to have your biggest ballad with soaring strings and three key changes, we chose to place a tiny girl on a pile of books and have her sing a song about relativity, which resolves into a chorus where it

dissolves into five bars of near silence. That song is called ‘Quiet’. Although it is not the one you go away humming, I like it. “I admit it is a little weird sung by a hairy man.” Follow the links above and judge for yourself. Musical Theatre Producer John Frost again dominates the landscape in 2015. He admitted recently that if he were to produce his favourite musical, it would be the rarely performed classic 1776. But he said not many people would come to see it. Musicals with wide public appeal are chosen for production. Fitting the bill perfectly is Dirty Dancing. It plays at the Sydney Lyric Theatre from 28 November, at Melbourne’s Princess Theatre from 4 March and the Lyric Theatre, QPAC from 27 May. (Continued on page 30) www.stagewhispers.com.au Stage Whispers 29

2015 Seasons Grease: The Musical. Photo: Jeff Busby.

(Continued from page 29)

The production promises “heartpounding music, passionate romance and sensationally sexy dancing.” Originally produced by Kevin Jacobsen and Col Joye in Australia, Dirty Dancing subsequently conquered the West End and is still touring regional USA. The coming of age drama is sure to bring back memories of the original movie starring Patrick Swayze.

Online extras! Check out our video from Grease by scanning the QR code or visiting http://youtu.be/DuMwqIgcWGU

to attract publicity and appeal to his followers. The real news is the strong cast. Caroline O'Connor will be a joy as Reno Sweeney. Also on board will be Todd McKenney as Lord Evelyn Oakleigh, Wayne Scott Kermond as Moonface Martin, Debora Krizak as Erma, Alex Rathgeber as Billy Crocker, Claire Lyon as Hope Harcourt and Carmen Duncan as Evangeline Harcourt.

choreography, and a remarkable 360degree scenic and video environment, which goes beyond Imelda’s nearmythic obsession with shoes to explore the tragic consequences of the abuse of power.

Wicked continues at Sydney’s Capitol Theatre until the end of January, before travelling to Brisbane where it opens at QPAC’s Lyric Theatre on 15 February. The Australian Premiere of the David Spicer wrote, “The second John Frost is partnering with Opera interactive stage musical Here Lies time round Wicked feels more Australia to produce the Cole Porter Love, the award-winning New York comfortable in its green skin. All the classic Anything Goes, which will dock production, will open in Sydney in May elements which make it a terrific night in Melbourne in May, Brisbane in July as the theatrical centrepiece of the of musical theatre remain. and Sydney in September. Vivid Festival. “There is the clever book which Broadcaster Alan Jones stole the Penned by Talking Heads founding neatly dovetails the fable of The Wizard headlines with news that he will play member David Byrne and Fatboy Slim, of Oz and the spectacular sets, set to the Captain of the S.S. American, the Here Lies Love retraces the journey of the universal themes of friendship and ocean liner on which Cole Porter's Filipina First Lady Imelda Marcos from acceptance in the face of intolerance. madcap tale of love, disguise, her meteoric rise to power to her “Giving it the edge over last time is misadventure and frisky sailors takes descent into infamy after the People the soaring performance of Jemma Rix place. Power Revolution. as the green witch and Reg Livermore’s Overlooked in the fuss which Here Lies Love is an immersive style and panache as The Wizard.” followed in some quarters was the fact theatrical event combining songs that Alan Jones is only making a cameo influenced by four decades of dance Thriller Live, celebrating the career appearance. His casting was designed music, adrenaline-fueled of Michael Jackson and the Jackson 30 Stage Whispers November - December 2014

Strictly Ballroom: The Musical.

Online extras! Go backstage at Strictly Ballroom The Musical. Scan the QR code or visit http://youtu.be/EgVERyMbzE0

Five, tours Australia, opening in Perth on December 10, 2014 with seasons in Adelaide (from December 30), Brisbane (from January 14, 2015), Melbourne (from January 28) and Sydney (from February 26). The show, now in its sixth year in London’s West End, contains all of Jackson’s favourite songs including: I Want You Back, ABC, Can You Feel It, Off The Wall, The Way You Make Me Feel, Smooth Criminal, Beat It, Billie Jean, Dirty Diana, Bad, Rock With You, They Don’t care About Us, Dangerous, Heal The World, and Thriller. Grease begins a return Melbourne season on December 11, 2014 at the Regent Theatre. Peter Pinne described it as “the best production of Grease I have ever seen fast, funny, and massively entertaining. “Despite the satire of the piece being blunted by years of overfamiliarization, it still works. Australia’s love affair with the Grease phenomenon has not abated.”

The West End revival of The Rocky Horror Show is finally making it to Sydney for a season in April at the Lyric Theatre after entertaining Australian audiences over the last year. Craig McLachlan has proved he is bullet proof as Dr Frank n Furter.

prior to seasons in Perth (Jan) and Sydney (March). Coral Droyun wrote, “It is simply splendid on all levels. Beautifully mounted with a remarkable set and projections, astonishingly lit, wonderfully evocative projection and magnificent sound design. The show is Baz Luhrmann’s adaptation of his a triumph before we even mention the hit movie Strictly Ballroom The Musical actors. “This Les Mis gives us a Valjean, in will have a Melbourne season at Her Majesty’s Theatre from January. the form of Simon Gleeson, who may Stage Whispers nominated it as the well be the quintessential casting in the prospective highlight of 2014, and role.” while it was an extraordinary spectacle “Hayden Tee has staked his claim on Javert forever. His magnificent and a very entertaining night out, it had to be said that the musical still rendition of ‘Stars’ in Act One had the needed some development. audience cheering and screaming for a The creative team is working to iron good 30 seconds. out some of the creases including the “Trevor Ashley and Lara Mulcahy at challenge of blending songs from last deliver the perfect Thenardiers.” different genres. We’re hoping it can be polished like The Lion King became the most a ballroom dancer’s shoes during the successful stage show of all time off season workshops. during 2014 - when it overtook the previous record holder The Phantom of Les Misérables winds up its run at the Opera. Her Majesty’s Theatre, Melbourne, (Continued on page 32) www.stagewhispers.com.au Stage Whispers 31

Hayes Theatre Company’s Sweet Charity.

2015 Seasons

Online extras! Watch a clip from Sweet Charity simply by scanning the QR code or visiting http://youtu.be/3S6O_zNUxCU (Continued from page 31)

Worldwide productions of the show, including the long-running Broadway production, surpassed the $US6.2 billion box office mark. This Australian production is the 10th production running concurrently around the world. It continues at QPAC until the end of the year, then opens at The Regent Theatre in Melbourne from February. Peter Pinne wrote in Brisbane, “This salad bowl of theatrical magic overwhelms with its vision and deserves every accolade it has ever received.” “I first saw The Lion King just after it opened on Broadway in 1997 and was amazed by the sheer theatricality of Julie Taymor’s ground-breaking production. 17 years later I’m still amazed.”

novel by Madeleine St John, starring Christen O’Leary. The story is seen through the eyes of a bookish school leaver in the 1950’s in Sydney’s most glamorous and stuffy department store. Expect to see many fabulous frocks and a peek into the liberating 1960’s. The Melbourne Theatre Company’s 2015 season includes the World Premiere of What Rhymes with Cars and Girls, with music and lyrics by Tim Rodgers and a book by Aidan Fenessy, in February. The ‘boutique’ musical threads songs from Tim Rogers' first solo album into a tale of love across the class divide in contemporary Australia.

Black Swan State Theatre Company in Perth has also included a musical in its 2015 season. Rachel Beck will star in The Queensland Theatre Company the Pulitzer Prize and Tony Award is marking a welcome return to musical winning musical Next to Normal, to be theatre with the World Premiere of seen for the first time in Western Ladies in Black in November 2015. Australia in November. Simon Phillips directs the musical, with original music from Tim Finn, The Hayes Theatre Co in Sydney adapted by Carolyn Burns from the opened in spectacular fashion in 2014 32 Stage Whispers November - December 2014

with the sell-out hit production of Sweet Charity. Now that co-production from Luckiest Productions & Neil Gooding Productions will tour in 2015, beginning at the Sydney Opera House on January 15, with Canberra (from Feb 11), Wollongong (from Mar 11) and Melbourne (dates to be announced) to follow. The winner of three 2014 Helpmann Awards, Sweet Charity is directed Dean Bryant, and boasts an outstanding list of musical theatre stars led by dual Helpmann Award winner Verity Hunt-Ballard in her award winning performance in the title role, along with other original cast members including Martin Crewes and Debora Krizak. Continuing at the Hayes Theatre in Sydney until November 17 is the long overdue revival of Miracle City by Nick Enright and Max Lambert. The World Premiere of the Edwardian musical Beyond Desire by Neil Rutherford and Kieran Drury opens on November 21, 2014. This production includes the delicious

prospect of seeing Nancye Hayes perform in the theatre named after her. In January 2015 Doorstep Arts (Geelong, Victoria) will bring their acclaimed production of Next to Normal to the Hayes. Natalie O’Donnell, who will reprise her acclaimed portrayal of Diana, is joined by Anthony Harkin, Alex Rathgeber, Brent Trotter, Kiane O’Farrell and Clay Roberts. Coral Drouyn said of the Geelong season: “It is more than a show, it is an emotional experience if it is done well. Doorstep Arts do it so well that it could be renamed Next to Perfect.”

Sydney Indee musical theatre company Squabbalogic’s 2014 / 2015 season at the Reginald Theatre, Seymour Centre will continue with Man of La Mancha Feb 25 - Mar 21, and the Australian Premiere of Triassic Parq from June 17 - July 4. First news from Melbourne’s lively Indee musical theatre scene is that StageArt has announced three productions at Chapel off Chapel in the first half of 2015, In The Heights (Feb/ March), Dreamgirls (May/June) and A Super Brady Cabaret (June)

Following their first fully professional season in 2015, Brisbane’s Enda Markey produces Willy Harvest Rain will kick off their 2015 Russell’s long-running West End hit season with an all-new production of Blood Brothers at the Hayes Theatre Co The Pirates of Penzance at QPAC. for a four week season from February Television host Andrew O’Keefe will 6, 2015. The talented cast includes lead the cast as the Pirate King. Helen Dallimore as Mrs Johnstone, Bobby Fox as Mickey, Blake Bowden as The Production Company in Edward and Michael Cormick as Melbourne completes its 2014 season Narrator. with La Cage aux Folles, starring Todd McKenney, Simon Burke and Rhonda Neil Gooding Productions will stage Burchmore. The production plays an the Australian premiere of the Lucille extended season of 20 performances, Lortel Award winning Off-Broadway from 21 November to 7 December, in musical Dogfight at the Hayes in May the Playhouse at Arts Centre 2015. Melbourne. No news yet on the company’s 2015 season.

Stephen Sondheim and James Lapine’s Tony Award winning Passion will be produced by Life Like Company at Arts Centre Melbourne from 5 - 8 November, 2014. Neil Gooding directs the production, featuring Silvie Paladino, Kane Alexander, Theresa Borg and John O’May. Patrick Edgeworth is writing the book for a jukebox musical of 60s folk group, The Seekers. Tentatively titled Georgie Girl, after their big hit of the same name, the musical is expected to premiere in 2015. Edgeworth is related to lead female singer of the group Judith Durham. Also getting closer to a premiere is Dream Lover, written by Frank Howson and John-Michael Howson. To be produced by John Frost, the musical that tells the story of Bobby Darin, the singer, songwriter, actor and entertainer whose sensational career spanned the 1950’s and 60’s has had its second workshop. But who’s that knocking at Stage Whispers’ front door? Elder Price and Elder Cunningham? Surely Broadway and West End hit The Book of Mormon will soon be headed down under.

www.stagewhispers.com.au Stage Whispers 33

From Candy Bar To Thriller Star

MiG Ayesa is one of five featured singers in the upcoming tour of Australia and New Zealand of Thriller: Live, the celebration of Michael Jackson. He told Sally Alrich-Smythe that as a child he’d always wanted to be a rock star but it was a stutter which helped him break into show business. MiG Ayesa is living his childhood dreams. He’s sung and danced in the West End and around the world in Buddy, We Will Rock You, Rent and Grease. He came third in the international competition to be the new front man for INXS and even worked on his own music in collaboration with Queen lead guitarist

34 Stage Whispers November - December 2014

MiG Ayesa

Brian May, who discovered him when he moved to London in 2011. The young Aussie performer inside of me had to ask: How did this all start out? MiG smiled and shrugged, “It was just necessity.” He elaborated. “I always wanted to be a rock star. I did stage productions at school, never

trained as a dancer, singer or actor but I just loved doing it at school. “Why I did it in the first place was because as a kid I was a terrible stutterer and when I sang a song or whenever I spoke lines in a script my stutter actually left me. So the only time I felt normal and real and able to face people was when I was playing someone else…and that actually eventually cured my stutter. That sort of started my love affair with music and performing because that was a way that I could feel I was good at something.” It wasn’t all travelling tunnel-vision though, as MiG had indeed been weeks off finishing a communications degree before the stage-bug pulled him away. “I didn’t think about a career as such until I was trying to earn some money working as a cinema candy bar attendant making popcorn and Choctops down on George St. A friend came back on the weekend from working a Coke commercial. He goes,

‘Oh yeah I made $3000 this week.’ ‘Excuse me …what?!’ “I thought, ‘this is ridiculous… I make six dollars an hour!’ and said ‘RIGHT!’ So I got an agent, and started to go for commercials. For a whole year I went for thousands of screen tests and got not one job and thought, ‘Look I don’t care. I don’t care, I’ll be an extra! I just don’t want to work at the candy bar anymore!’ and then I suddenly got a job with an antispeeding campaign.” Then, well, we know the rest. What we don’t know, simply because I’ve been so wrapped up in the wonderful creation of the performer in MiG Ayesa, is about this upcoming tour. Thriller: Live has enjoyed six years in London’s West End, boasting excellent reviews, a promise for sensational dancing, top-notch voices, and a great night out. The posters and flyers, however dazzling, don’t reveal too much so I had to ask, what kind of entertainment can we expect in a show like this one? “I was sceptical when I first went to see it, but it really is a fantastic tribute to his whole life. There’s no storyline involved. We basically just go chronologically, one hit after another, until by the end of the show no-one can believe that one man was responsible for all of this amazing music.” MiG reassured me it shouldn’t be mistaken as a ‘tribute show’. It’s a spectacular collaboration, utilising five featured vocalists, a live nine-piece band and an eighteen strong dance ensemble. “We don’t try to be imitators. I’m playing me. I’m still MiG on stage, doing my own interpretation of Michael’s music. But you can’t do Michael’s songs without having some of his style - his hiccups and rhythmic phrasing - because that’s indicative of his music and what makes him special. “I’m old enough to remember when Michael Jackson was in the Jackson 5. I remember when Michael went solo and I thought, ‘Oh that’s weird, Michael went solo!’ That was ‘Off The Wall’. It didn’t leave my record player for…well, forever. For a whole two years I’d play it over and over again.

“In 1987 I saw him live at Parramatta Stadium for the ‘Bad’ tour and that was just life changing. I don’t think I blinked for the whole three hours. I was mesmerized … he was just super-human. At the time as well there was no star in the world who was as big as Michael. “He was the biggest thing in the planet, so much so that everyone wanted to work with him. So along Thriller Live will premiere in Perth on December 10, before playing Adelaide, Brisbane, Melbourne, Sydney and New Zealand.

with the best performer, we experienced the best writers, the best producers, the best filmmakers, managers, agents, venues … Everything around Michael was the best. He had everything the world had to offer. That’s why it stands the test of time. That’s why we’re doing this show.” Before I wrap up this piece, I’m obliged to type up a dare of sorts, as passed on from MiG: “I challenge anyone to be on their seat not dancing when the show finishes.” Go on, he dares you.

MiG Ayesa

Online extras! Meet the creative team at the Australian auditions. Scan the QR code or visit http://youtu.be/HaXDacAeQRc www.stagewhispers.com.au Stage Whispers 35

Oz Musical Theatre’s New Guard

Online extras! Nick Hedger, Ben Nicholson, Robert Tripolino and Hugo Chiarella. All photos: Ibrahim Mustafa, Chapel off Chapel.

With local Musical Theatre having an unexpected boom right now, Coral Drouyn talks to four young men who are the future of musicals in Australia

Check out a clip from Hook Up by Nick Hedger & Ben Nicholson. Scan or visit http://youtu.be/EZG1kHnzfnc

At this stage Nick and Ben are ahead in output - with their latest musical revue Hook Up garnering rave reviews and awards. Nick and Ben have Homesick, an Australian musical based They are young, super talented, and in the Victorian Bushfires, as their next on the brink of leading a revolution. project. I’ve heard some of the songs Though all four are under the age of and they are stunning. There’s also a 25, they have written over eight musical based on The Picture of Dorian musicals between them, and hundreds Gray, and Fable - a look at the stories of songs. They are the New Guard; the and rhymes we are drawn to future of musicals, here and throughout our lives- in a way their internationally. As if that’s not enough, take on Into The Woods. They are also they are all triple threats and more the brains behind Hook-Up….a writers; musicians; producers and/or monthly concert series which allows directors; straight actors; all cabaret new composers to showcase their performers and great singers; and all work. spoken about as “The Next Big Thing”. Rob is still gigging as a musician as Remember the names of these two well as doing acting roles, Hugo is in partnerships; Chiarella and Tripolino, the cast of Les Mis and is the star of a and Hedger and Nicholson. In simpler Channel Nine children’s series. Their terms they are Hugo and Rob, and Nick Musical Dreamsong has had a major and Ben. Interestingly they met at production with a stellar cast and Performing Arts academies - Rob and they’re now working on a children’s Hugo at VCA and Nick and Ben at musical for 2015. WAAPA, but at that stage they saw In 20 years, or maybe even 10 with their future as performers. But rather luck on their side, music theatre tragics than progressing slowly, both teams may speak of them in hushed tones as jumped in the deep end and started people once did of Rodgers and writing together almost immediately. Hammerstein or Lerner and Loewe. No, 36 Stage Whispers November - December 2014

I’m not kidding. So here’s the scenario - and forget about hindsight, use foresight and insight instead. We’re sitting drinking coffee in the funky foyer of Chapel off Chapel. In the background the amazing Matthew Lee Robinson is working on his laptop. Matt has his new show Happy People opening the following day. MLR is so close to breaking onto the world scene that everyone in the business can taste it, but to my four young companions he’s already there, he’s made it, a Superstar. He’s what they aspire to in the short term and they’re genuinely delighted that he comes over to chat; and Ben and Nick have already bought their tickets to Happy People. Sure… they’d love to be Stephen Sondheim, but they’d be more than happy to be Matthew Lee Robinson. None of the four is very experienced at giving interviews, and, despite their love for what they do, they think it’s a bit “geeky” to sit around talking about Musical Theatre…”geeky”, but also pretty cool. Being several generations older, I push them to do some written “homework” - and they change their minds three or four times so that the

answers are hard to read through all the scribble. But, with a lot of deciphering, here’s what they had to say. Q: Best Musical you’ve ever seen? Rob chose The Book of Mormon, Hugo went for Sunday in the Park; no arguments there. But Nick and Ben couldn’t settle on one, and while Nick also had The Book of Mormon, he couldn’t split it from Into the Woods or Merrily We Roll Along. Ben chose three, but then changed the order three times and ended up with Next to Normal, A Little Night Music, and The Boy from Oz…in that order. That started our “geek speak” as we argued over the choices…with Ben defending The Boy from Oz because he saw Hugh Jackman do it when he was “just a kid” - Ben, that is … not Hugh! Q: Worst score of a musical you’ve ever heard? Rob chose King Kong - “I mean, they spent all this money on the production, the effects, and Kong….and then the music! It was just random songs, mostly it hadn’t got anything to do with story at all.” Hugo

www.hedgernicholson.com www.chiarellaandtripolino.com was adamant that Stephen Ward is the worst score ever written…ever - not just the worst he’s heard. Ben jumped in with Blood Brothers and Hugo protested that he had initially put it down as his favourite. (It’s true, I could just read it through the scribble.) Ben is only slightly apologetic … “Sorry, I love the book, I really do, but the score? It’s so annoying.” (Must be those endless repeats of ‘Like Marilyn Monroe’). Nick names Brigadoon, though he will concede there are a couple of good songs, but overall it’s so cheesy. We’re all stunned that he even knows it. Q: The BEST song from any musical…eleven o’clock or otherwise? Rob is involved with the forthcoming production of La Cage Aux Folles, so it isn’t surprising that he names ‘I Am What I Am’. Nick and Hugo both name ‘Franklin Shepard Inc’ from Merrily We Roll Along, but Nick also can’t separate ‘Being Alive’ and

‘Meadowlark’….Sondheim is on a roll here. Ben goes for Sondheim too with ‘The Miller’s Son’ from A Little Night Music, but it’s a tie with ‘Make Up Your Mind/Catch Me I’m Falling’ from Next to Normal. We get sidetracked into “geek speak” about what makes a great song, not just the emotional connection, but songs that tell a story. Rob and Hugo have just written the score for Josh Robson’s Guilty Pleasures (every song tells a story) and Josh has just won the Rob Guest endowment singing ‘Soliloquy’ from Carousel, surely the ultimate story song? We all get excited as we bandy around the great story songs from musicals new and old, and that’s a cue for more coffee, although it’s apparent we don’t need any more caffeine. Q: And what is the WORST song from a musical? Ben cracks us up by choosing ‘Thank Heavens For Little Girls’ from Gigi, though it makes more sense when he explains. “It’s creepy. I mean, here’s this old man singing about… well little girls. It’s so not right.” Hugo

www.stagewhispers.com.au Stage Whispers 37

has a one track mind. If Stephen Ward is the worst musical ever written, then any song is the worst song, and Rob also takes the collective route by naming “any song from Spiderman”. Nick has been watching his collaborator perform in Carrie and picks ‘You Shine’ and ‘The World According to Chris’ as joint losers. We end up agreeing that there are far more lousy songs around than there are good ones. Q: Who do you think is the best composer/lyricist (one person or collaborators) of all time? No surprises that three of the four pick Stephen Sondheim. Hugo goes for Ahrens and Flaherty, writers of Ragtime, Once on This Island, A Man of No Importance, Seussical and, most recently, Rocky The Musical. We talk story, and the importance of book, of saying something to an audience through their work. While Rob is happy composing and found it interesting working on Josh Robson’s book, Hugo wouldn’t want to repeat it too often. “It’s about saying the things I want to say, telling my own stories. So yes, it was interesting, and we had input into the book while we were writing the songs. But I wouldn’t like to do it too often.” Ben and Nick have a close collaboration - both write music and lyrics, but Ben writes the bulk of the book and directs. “I have trouble letting go,” he says, “and also I have to see the full picture to know whether something is working or not.” He concedes that it’s insecurity too that makes him want to control the process. So where did these luminous talents come from? Surprisingly Rob, who comes from a family full of music, and who was gigging with rock bands from his early teens, wanted to be a classical dancer, after years of dancing school. “That was my passion,” he says. “I wanted to 38 Stage Whispers November - December 2014

get into The Australian Ballet School but I failed the audition… TWICE. It was just horrible. So I decided to try for VCA but I had glandular fever and missed the dance audition. Then someone told me about the Musical Theatre course and really I knew absolutely nothing about Musicals, but at least there was a dance component. So I auditioned and got in, and Ben, who had this great singing voice, was in the same course. So it was like destiny or something.”

to be one of those writers. I didn’t have a fallback plan when I applied to WAAPA, no idea of University or a “proper” career. I’m just lucky it’s worked out this way.” Ben comes from a family of sports nuts, all of them athletic and great at a variety of sports. “That just wasn’t me,” he says. “I’m hopeless at sports, and I grew like a weed. But I’m a terrible show off and so it was a case of ‘Hello…look at me!’ And theatre is the best avenue for that. Although my parents weren’t great theatregoers my mum was a big fan of Hair and used to make me listen to it with her.” Hugo discovered theatre early. “There’s this magic thing when a show transports you and takes you to another place. It’s euphoric in a way that no other form is. I think I was hooked from my first show, and that’s what I want to create for others.” None of them mention fame and fortune when you ask what their ultimate aim is. All say it’s to do good work; to write something that changes someone, and lasts for years; to make Australian musicals known overseas; and neither team has any illusion about the future. Hugo explains “We do so many different things because right now it’s not possible to make a living from royalties in Australia. Online extras! And we write small musicals Nick Hedger performs his song "Playa" because of the budgets and from Crap I Found in My Room. venues we can afford. But http://youtu.be/7gNHU6Tizek hopefully that will change in years to come,” Ben agrees. “There’s no trickle UP effect in Musical Nick Hedger’s parents are stalwarts in Community Theatre and his mum is Theatre here. Broadway productions a singing teacher. “I used to see shows trickle down to Australia and the rest of the world via the West End. But no they were in and think it was both fantastic and weird seeing my parents show originating here is able to trickle UP to Broadway.” on stage. My mum would make me But that won’t stop them trying learn about the composers; the fact that someone had to write those songs and it will be exciting to see whether it’s Chiarella/Tripolino or Hedger/ before they could sing them. I knew once I reached my teens that I wanted Nicholson who get there first.

Arts Management Course Leads To Exciting Careers

WAAPA offers the only full-time undergraduate Arts Management course in Australasia. The course has an international reputation for excellence built on the success of its graduates who have found work as arts managers in Australia and internationally. 2008 Arts Management graduate Simon O’Leary, or Skinny as he is known in Perth’s rock ‘n’ roll scene, has been working consistently since finishing his studies.

After completing a secondment at Bell Shakespeare Company in his final year at WAAPA, O’Leary was snapped up by Country Arts WA where he worked as a Touring Officer until 2010 a job that took him all over the state. Now O’Leary is the Youth Cultural Projects Officer for the City of Swan in Perth’s north-eastern metropolitan region and the Swan Valley. Within this role O’Leary oversees Hyper, a youth arts series best known through its nationally awarded annual music festival, HyperFest.

O’Leary believes that the scope of WAAPA’s Arts Management course gave him the perfect skills set for a career in the arts/ culture industry. “The best thing about the Arts Management course is that you learn a little bit about everything,” he says. “My education has given me practical skills I use everyday in my work, both now at the City of Swan and in my previous role at Country Arts WA.” “The ability to negotiate contracts and sponsorships, an understanding of intellectual property and copyright, budgeting and human resource management, which has come in particularly handy in my coordination of the team of dedicated volunteers at Hyper.” In his limited spare time O’Leary sings and plays guitar in Perth based post-punk band, Sail On! Sail On! The band has developed a fan base both at home and nationally off the back of several self-funded releases and successive tours. Again O’Leary’s Arts Management training has come to the fore in negotiating contracts, coordinating national tours and dealing with the day-to-day management of the band. It has also given him many useful contacts in the Australian music industry that has fed into his work at HyperFest. For more information on WAAPA’s Arts Management course go to www.waapa.ecu.edu.au

READ AUSTRALIA AND NEW ZEALAND’S MOST COMPREHENSIVE 2015 COURSE GUIDE

www.stagewhispers.com.au/training www.stagewhispers.com.au Stage Whispers 39

Christchurchâ&#x20AC;&#x2122;s historic Isaac Theatre Royal will re-open in mid November after being dark for almost four years. Four earthquakes above 6 on the Richter scale forced the theatre trust, which owns the theatre, into an almost complete re-build. But Theatre Manager Neil Cox explained to David Spicer that the new Royal will be even more glorious than the old, built in 1908. We came through the first earthquake in September 2010 pretty well. There was some superficial damage but we were out of action for only a month. Then came the significant aftershocks. One on Boxing Day 2010, then February 2011 was a whole different story. It shook the whole city. The major damage that happened then

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was that the new part of the theatre rebuilt in 2005 (which was the backstage) separated from the old part of the building (at the front). An analogy is if you built an extension on your house, the weakest part is the join between the old and the new. So the two buildings moved independently. A lot of brickwork around the proscenium arch collapsed into the building. Of course there was calamity all over the city and the theatre was in the locked down zone for many months. The building was saved from collapsing entirely by strengthening we did in 1999 when we put a â&#x20AC;&#x2DC;skeletonâ&#x20AC;&#x2122; inside. This secured 100-year-old parts made of masonry, and plaster work constructed out of horse hair, limestone and vegetable fibres.

Did you consider gluing the old and new part of the theatre together? We did, but there were two more significant quakes in June 2011 and finally 23rd December 2011, the last working day before Christmas. That was a game changer as it came from a different direction. It put pressure on two side walls of the auditorium. The trusses that were supporting our famous dome and ceiling work were suddenly under threat. Certain parts of the building became unsafe to go into. That was the end of the line for the old theatre. It was pointless trying to save it or repair it. We did a big salvage operation in the first part of 2012 and emergency work to pin the facade to the building. Deconstruction was a huge engineering process. The most valuable part of the heritage of the theatre was

the ceiling which has an original 1908 hand painted canvass on a 12 metre dome. There are scenes from A Midsummer Night’s Dream hand painted on canvas and sheets glued onto the dome. When you walk into the theatre it is awe inspiring. To have lost that was not an option. There are gold gildings all around it and is the most the most significant piece of art of that size in Australasia. It was quite a spectacle to bring it down safely then wrap it in plastic and store it in the fly tower. We also decided to salvage the sweeping marble staircase, doors, lead light windows and the façade whilst we re-created a lot of the plasterwork. A big crane came and ate the theatre away. The auditorium was deconstructed first. It was sawn down vertically. We propped up the facade with shipping containers. It left a huge gap between the stage and the front of the building. We had to excavate under the façade to shore up the foundations to meet stringent new earthquake building codes. The team who worked on it say it was one of the most challenging projects they have ever

worked on to knit the old and new fabric. All up it cost $40 million New Zealand. We were insured for 25, raised another 13 and borrowed two million. There are also a lot of enhancements. We now have an elevator, a hydraulic stage extension for symphony orchestras, a whole new rehearsal or performance space and a new foyer for the Grand Circle. Where before we had quite a poky foyer, now the movement of people is so much improved. We started taking bookings a year back and now have six weeks of ballet, school, symphony and local productions commencing from midNovember to test the new facilities. We also sold 2000 tickets for next year’s season of The Phantom of the Opera just a few days after they were released.

Next year is the busiest period we have ever had and we are struggling to find three or four consecutive days for producers. We now also have bookings until 2020 and as we have made it cinema capable this includes New Zealand international Film Festival every August. We still need to continue fundraising to minimise the loan but we are much better off than a lot of council buildings, which were under insured. So how safe is the theatre now if the big one comes again? It is now 100 % earthquake proof. Seven and above is no problem. There is so much steel and concrete wedding each floor to each other. In fact the engineers say if there is another earthquake in Christchurch the Isaac Theatre is the place they would want to be.

www.stagewhispers.com.au Stage Whispers 41

How Phones Are Ruining Live Entertainment

Itâ&#x20AC;&#x2122;s enough to make Joseph Ting scream. He argues that the ebb and glow of flickering screens is spoiling theatre. The essence of the cultural experience is a direct, personal and revelatory encounter with an event or artwork. The joy of seeing a play or visiting an art installation is in the physical live experience. Our attention must be directed to the subject matter in front of us. Audience members that stare at their iPhones and continually take pictures or videos to post on YouTube are annoying and are probably seeing, hearing and even living vicariously

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without engaging in "real-life" experiences. Smart web connected gadgets have radically changed the way that we live our lives, how we view the outside world and the way we interact with it. However, the more time that we spend in the cyber world, the less capable we are of appreciating the real world. A provoking, complex, multifaceted product of the creative imagination becomes just another series of moving images captured on a miniature recorder whose currency is founded on being shared as widely as possible on social networks. The recording is frequently a fragmented portrayal of the production and a dumbed-down replica of the original cultural product. Unrepresentative and misleading, they devalue and misrepresent the original product.

For the audience member unfortunate enough to be seated close by, the frenetic distractions from smartphone and video recording device use trumps just about every other annoyance. It impairs thoughtful immersion in events unfolding on the stage. The use of smart phones to take videos and photos hinders, and in one highly publicised instance even halted, the actorsâ&#x20AC;&#x2122; performance. James McAvoy stopped midstride at a recent Macbeth at Trafalgar Studios in London to ask a member of the audience to stop filming it. Disseminating poor quality or incomplete smartphone captured videos and photos of concerts and other events could debase their cultural currency and infringe copyright. What ruins a show for those of us who are compelled to sit or stand still, is the distraction caused by selfish busy posturing and maneuverings to gain better vantage points for recordings. The ebb and glow of a flickering screen, restless tapping fingers updating web-commentary and the constant clicking of cameras and whirring of video recorders add insult to injury. No one dares to live in the elusive moment anymore. Increasingly theatre audiences canâ&#x20AC;&#x2122;t resist the compulsion

to memorialise a cultural event to webcast to their social tribe. For some, the fleeting theatre experience gains traction only if scenes are recorded for posterity or cached to web archives. Credible claims of attendance at prestige events are bolstered by live commentary disseminated into the websphere. There is no argument that webconnected devices have improved contemporary life-you can stay in touch with more people and keep up with current events in an instant. However, people filming and recording aren’t really paying full attention to the drama that is unfolding on stage or the screen. Smartphones, tablets and recorders disconnect the observer from the culture or art on display. Worryingly, habit-forming social media technology could lead to neuronal rewiring that impedes the human mind from directly engaging in a visceral experience without the mediation of an electronic device. An addictive mindset fosters rude self-absorbed behaviour. I recall Michelle Obama’s annoyance at her husband’s distracting childlike antics orchestrating a group selfie at Nelson Mandela's Memorial Service, which set a bad example to a world preoccupied with itself. I accept that YouTube can assist art forms. Posts of performances can help lesser known performers reach out to a broader audience by tapping into their fans’ social media activity. Social networks can generate hype for a new show. Being able to locate clips of plays and concerts on YouTube can stimulate interest and encourage viewers to go out and seek the real thing. In this sense YouTube is a positive educative catalyst towards a more direct experience. Ultimately however, uploading selfreferenced photos and clips onto social media sites underscores the more profound problem of escalating selfregard among the smartphone generation. The mind's eye shifts from the stage to the selfie us. In trying to capture a grainy YouTube video, the recorder’s attention is diverted from meaningful engagement with events unfolding live in front of them.

Hall Of Fame Awards David Spicer reports on how Community Theatre’s hardest workers were honoured in Sydney. What do you do when the man who deserves to get an award is the person who picks them up from the trophy maker? That was the dilemma facing some on the committee of The Association of Community Theatre in New South Wales. Every two years ACT welcomes new inductees into its Hall of Fame, recognising individuals who have clocked up decades of outstanding service, often behind the scenes, to community theatre. ACT’s Chief Executive is Martin Mitchell. He has been working tirelessly behind the scenes as Stage Manager for the Waverley Lugar Brae Players since 1977 and has kept ACT going since 1995. At recent award ceremonies the founding CEO of ACT, Col Peet, kept mentioning how it screamed out that the person who was organising the awards was the ideal candidate himself. So this year we on the committee hatched a plan. We asked Martin subtly where he got the trophies made up and after he ordered the first batch Col paid a visit and asked the trophy maker to make one extra with Martin’s name on it. The trophy maker was sworn to secrecy and kept confidentiality when Martin picked up

the awards for the other inductees. And so it came to pass that during the award ceremony Martin wandered off when it came time for him to be presented with the award, but hurried back looking puzzled when he heard his name mentioned, as you can see from the Stage Whispers video of the event. Other inductees into the Hall of Fame also received pleasant surprises. Hunters Hill Theatre nominated Lynn Trainor. Her award was the culmination of 57 years in community theatre which has included acting, stage management, costume and set making, directing, front of house managing and more besides. Bankstown Theatre Company nominated Vince and Betty Cairncross. The couple has been involved in over 75 productions since 1981 - making sets, costumes and appearing on stage. Vince is famous for being able to make remarkable sets painted whilst crawling on his hands and knees. Betty is famous for her glamorous appearance as the Queen of Transylvania in My Fair Lady. Bankstown’s Di Crease became emotional when she made the citation. “Family isn’t always about people who are blood relations. It’s the people in your life who love you, respect you and who you can depend on. Now that’s family and Betty and Vince epitomise all those values.”

Online extras! Watch the Hall Of Fame Awards and ACT Conference simply by scanning the QR code or visiting http://youtu.be/bIbQHPle_NM www.stagewhispers.com.au Stage Whispers 43

London Calling

joins actors Mark Bautista as Ferdinand Marcos, and Dean John-Wilson as Ninoy Aquino. The musical traces the meteoric rise to power of Imelda Marcos, First Lady of the Philippines, to her descent into infamy and disgrace. Here Lies Love, which is currently playing an open-ended run OffBroadway, has concept and lyrics by David Byrne (Talking Heads) with music by Byrne and Fatboy Slim (also known as By Peter Pinne Norman Cook). It will be directed by Alex Timbers (Rocky), with choreography by Anni-B Parson. The season opened Ronan Keating is set to make his West End debut in 13 October and plays until 8 January 2015. Once. The ex Boyzone star and judge on the Australian X Aaron Tveit, who played the role of Enjolras in the Factor will take over the leading role of “Guy” from 17 screen adaptation of Les Misérables, has joined the cast of November and will continue in the part until the production the Menier Chocolate Factory’s production of Stephen closes its two-year West End run 21 March 2015, ahead of Sondheim’s 1990 musical Assassins to play the role of John a European tour. Rumour has it that Keating may later join Wilkes Booth. Tveit’s Broadway credits include Next To the cast of the Australian production. Once has also Normal, Catch Me If You Can, Wicked and Hairspray. The announced its closing 4 January 2015 on Broadway after a cast also includes Catherine Tate, Jamie Parker, Harry three-year run at the Bernard B. Jacobs Theatre. The Morrison and Stewart Clarke. Direction is by Jamie Lloyd, musical, based on the 2007 movie written by John Carney, with musical direction by Alan Williams and design by has music and lyrics by Glen Hansard and Markéta Irglová Soutra Gilmour. It previews from 21 November and opens 1 and a book by Enda Walsh. December 2014. Truth, Lies, Diana, a ‘factional’ drama by Jon Conway The recently opened production of Urinetown, which about the death of Princess Diana, is to play a limited has taken 15 years to reach the West End, received a engagement from 9 January to 14 February 2015 at the barrage of criticism from the popular press with Dominic Charing Cross Theatre. The play is based on a series of Cavendish in the Telegraph saying, “The show suffers from books by investigative journalist John Morgan and uses a strange condition of only getting interesting right at the actual words spoken by a cast of characters including the end” and went on to call it “forgettable froth”, while Fiona British Royal Family, Piers Morgan, Paul Burrell, James Mountford in the Evening Standard said, “I felt no Hewitt, Mohamed Al Fayed and members of MI5. Told as a emotional connection to the material. That’s a big problem ‘play within a play’ format, it will be directed by Jeremy for a big-ticket show.” The musical plays the Apollo Theatre Scott and the cast includes the author. Truth, Lies, Diana with a cast headed by Jenna Russell, Jonathan Slinger and was originally produced Off-Broadway at the Snapple Matthew Seadon-Young. Theater, Times Square in 2013 for an embargoed press The Finborough Theatre’s Winter 2014/2015 season audience. which has just commenced includes original works, Charles Dickens takes centre stage in a double bill of European premieres and a musical. First cab off the rank is Miss Haversham’s Expectations and Sikes and Nancy which Coolatully by Fiona Doyle, a World Premiere which shines a begins previews at the Trafalgar Studios 2 on 9 December light on modern rural Ireland where suicide rates among for an opening on 12 December. It plays until 3 January young men are the fourth highest in the world. The Cold 2015. Linda Marlowe dons Miss Haversham’s tattered War drama Silent Planet by first-time playwright Eve Leigh wedding dress in a one-woman show, Miss Haverhsam’s follows, with a story about Gavrill, a dissident writer Expectations, which mixes episodes from the novel Great detained in a Soviet mental prison as a punishment for Expectations, biographical material from Dickens’ own life, protesting against the government. The season concludes and original material by the writer-director Di Sherlock. with the European premiere of Jerry Herman’s 1979 Sikes and Nancy is adapted and performed by James Broadway musical The Grand Tour, which was based on the Swanton and is based on legendary readings Dickens play Jacobowsky and the Colonel by Franz Werfel. The himself used to give, which led women to faint in shock. It season also includes Obama-ology by African-American tells the story of Dickens’ most famous murder with the playwright Aurin Squire, and Pig Girl by former Canadian narration switching between Bill Sykes, Nancy, Mr Playwright-in-residence at the Finborough Theatre, Colleen Brownlow and Fagin. Murphy. Australian TV, movie and stage Kim Tiddy in Truth, Lies, Diana. performer Natalie Mendoza plays the role of Imelda Marcos in the National Theatre London premiere of Here Lies Love. Mendoza, whose credits include Eponine in the 10th Anniversary Online extras! Australasian Tour of Les Misérables, Meet the man behind Truth, Lies, Diana the movie Moulin Rouge and the by scanning the QR code or visiting British drama series Hotel Babylon, http://youtu.be/Pc1J55_AKbg 44 Stage Whispers November - December 2014

roadway uzz

By Peter Pinne

Stephen Sondheim revealed to Adam Gopnik of the New York Times recently that he is working on a new musical with Venus In Fur playwright David Ives. The work is anticipated to be of one act duration and is based on two movies, The Discreet Charm of the Bourgeoisie and The Exterminating Angel, by the Spanish surrealist filmmaker Luis Bunuel. The Exterminating Angel was released in 1962 and tells the story of a formal dinner party where guests are unable to leave, begin to starve, and die after several days. The Discreet Charm of the Bourgeoisie, which won a Best Foreign Film Oscar in 1972, is about a group of uppermiddle-class friends attempting to dine together. It will be Sondheim’s first original musical theatre work since 2003’s Bounce which later played Off-Broadway as Road Show in 2009. Doctor Zhivago will make its long-awaited Broadway premiere with previews beginning at the Broadway Theatre 27 March, 2015 for an opening on 21 April. Inspired by the Boris Pasternak novel, the story follows political idealist Yuri Andreyevich Zhivago and his love for the captivating Lara Guishar. The musical, which has a book by Michael Weller, music by Lucy Simon, and lyrics by Michael Korie and Amy Powers, was produced in Australia by John Frost in 2011 with a cast that included Anthony Warlow (Zhivago) and Lucy Maunder (Lara). Des McAnuff, who directed the Australian version, will again direct on Broadway. Others repeating their Australian creative roles include Kelly Devine (choreography), and Michael Scott-Mitchell (scenic design). John Waters and Stewart D’Arrietta’s salute to John Lennon’s words and music Looking Through A Glass Onion is currently in residence at Off-Broadway’s Union Square Theatre. It’s booked for a 20-week limited engagement until the end of February 2015. The show was originally created in 1992 and since then has toured Australia several times and played a three-month engagement in London’s West End. Kelli O’Hara, recently seen in The Bridges of Madison County, will play Mrs Darling in NBC’s Peter Pan Live! which will be telecast 4 December 2014. O’Hara joins Allison Williams (Peter Pan), Christopher Walken (Captain Hook), and Christian Borle (Mr Darling/ Smee). Peter Pan has music by Jule Styne and Mark (Moose) Charlap, with lyrics by Betty Comden, Adolph Green and Carolyn Leigh. This version of the classic J.M. Barrie story first played Broadway in 1954 with Mary Martin as Peter and Cyril Ritchard as Captain Hook. The production was later televised live on NBC 7 March 1954. Kelli O’Hara is one busy actor, having also signed to star as Anna Leonowens in Lincoln Center’s revival of Rodgers

and Hammerstein’s The King and I which will preview from 12 March 2015 and open 16 April. Starring as The King will be Japanese actor Ken Watanabe, making his American stage debut. The production reunites the creative team responsible for Lincoln Center’s South Pacific, Bartlett Sher (director), Michael Yeargan (sets), Catherine Zuber (costumes), Donald Holder (lighting), Scott Lehrer (sound) and Ted Sperling (musical direction). It will also feature the original Jerome Robbins choreography, the original Robert Russell Bennett orchestrations, and the cast will number 50. Watanabe’s credits include the movies The Last Samurai, Memoirs of a Geisha, and Batman Begins, with Japanese theatre credits for Hamlet, The Lion in Winter and The Royal Hunt of the Sun. In a recent radio interview Barbra Streisand confirmed that work is still proceeding on the planned film remake of the Broadway musical Gypsy. The movie, which Streisand will reportedly direct and star in as Mama Rose, has been long in development. In 2012 Academy-Award winning screenwriter Julian Fellowes (Downton Abbey/Mary Poppins) wrote a draft of the musical, but new reports state that Richard LaGravenese (The Mirror Has Two Faces/The Last Five Years) has been inked by Universal Pictures to write a new adaptation of the musical for the screen. Gypsy has a score by Jule Styne, lyrics by Stephen Sondheim and a book by Arthur Laurents. It’s based on the memoirs of stripper Gypsy Rose Lee. Gypsy is not the only Broadway musical having a movie remake. Columbia Pictures Annie, with a cast that includes Jamie Foxx, and Cameron Diaz as Miss Hannigan, will be released just in time for the Christmas trade 19 December 2014. Other upcoming musical movie adaptations include Walt Disney’s Into the Woods with Meryl Streep as the Witch which opens Christmas Day, while The Last Five Years with Jeremy Jordan and Anna Kendrick bows 14 February 2015. Awaiting distribution is BBC Films’ London Road with Olivia Coleman and Anita Dobson, and a cinema version of Ahrens and Flaherty’ s 1988 Off-Off-Broadway entry Lucky Stiff with Jason Alexander. London Road is an adaptation of Alecky Blythe and Adam Cork’s musical about a series of murders in Ipswich in 2006, whilst Lucky Stiff’s plot revolves around a shoe salesman who takes his dead uncle on a trip to Monte Carlo. Tony Sheldon has joined the cast of The Band Wagon, an Encores! Special Event, which will star Brian Stokes Mitchell. Sheldon replaces Roger Rees (who is no longer available) in the role of Jeffrey Cordova, an egotistical British director played in the movie by Jack Buchanan. The musical has music by Arthur Schwartz, lyrics by Howard Dietz, and a book by Douglas Carter Beane, adapted from Betty Comden and Adolph Green’s screenplay for the 1953 MGM film which starred Fred Astaire, Jack Buchanan and Cyd Charisse. It plays City Center 6-16 November 2014. The cast also includes Tracey Ullman, Michael McKean, Laura Osnes, Michael Berresse and Don Stephenson. Songs include “That’s Entertainment,” “Dancing in the Dark,” “By Myself,” and “I Guess I’ll Have to Change my Plan.”

www.stagewhispers.com.au Stage Whispers 45

“Hollywood”, or as a tall-poppy victim in “Shine Like Shane”, he’s on the money. Co-starring with Perfect are four brilliant musical theatre divas, Lisa McCune, Verity Hunt-Ballard, Amy Lehpamer and Christie Whelan-Browne, By Peter Pinne who play a succession of Warne’s conquests. McCune is ROCKY - Broadway (Stephen first-rate as Warne’s first wife Simone and brings a nice Flaherty/LynnAhrens) (UM tenderness to “What About That?”, Lehpamer’s a hoot as B0020601)/ROCKY DAS Donna Wright, the nurse who received lewd texts, and Whelan-Browne expertly fields the press as Liz Hurley in the MUSICAL - Fight From the jazzy “It’s Love”. Gospel rears its head on “The Ashes”, Heart (Stage 0208338SAE). which is led by the incredibly versatile Hunt-Ballard. Best Stephen Flaherty and Lynn performance however comes from Shane Jacobson as Terry Ahrens’ musical theatre craftsmanship is evident in their Jenner. His “Pick Up Shane” is an emotional knockout. 70s tinged score for Rocky, the  blockbuster Broadway musical KING OF THE AIR (Gavin based on Sylvester Stallone’s Lockley/Ann Blainey). award-winning movie. Strong melodies with character-perfect Australian hero Charles Kingsford Smith (Smithy) is the lyrics, it’s a score with heart subject of King of the Air, a which the Broadway cast concept album for a musical capture at every turn. Andy Andrew Beale and Kelvin Harman about the highly-decorated airKarl is charismatic as the title character, with Margo Siebert ace, his historic flight across the massively appealing as the shy Pacific and his life. It’s a big story and composer Gavin Adrian. Their duets “The Flip Side”, sung at the ice-skating rink, Lockley has written some big and “Happiness”, are two of the best numbers in the score, melodic themes for it which are all present in King of the along with Karl’s opening solo, “My Nose Ain’t Broken” and Air “Piano Concerto” which kicks off the disc. Played by the his anthemic “Fight from the Heart”. Siebert also does well Metropolitan Orchestra with soloist Simon Tedeschi on piano, it’s grand, sweeping, at times has a period flavour, with “Raining” and “I’m Done”, while Terence Archie, as and includes a swing version of “Waltzing Matilda”. the reigning champ Apollo Creed, drips with braggadocio Tedeschi, Australia’s Gershwin maestro, is at home here throughout “Patriotic” and “Undefeated Man”. Flaherty with the work having a Gershwin-esque flavour which he and Ahrens’ score has been augmented by Bill Conti’s interprets with robust but sensitive playing. Lockley’s Rocky theme “Gonna Fly Now” and “Eye of the Tiger”, which was written for Rocky 3. The 2012 pre-Broadway try- orchestrations are exciting and impressive. The songs however are bogged down by banal and pedestrian lyrics, out version in Hamburg, Germany (still running), also the best of which are “There’s Magic In the Air Tonight”, a spawned a German cast recording which contains three duet for Smithy (Daniel Belle) and his wife (Renae Martin), songs dropped for Broadway; “Philly Pie” and “Feiertag”, both trios and sung by Adrian’s work colleagues at the pet- and the finale “Down the Sweep of Ages”, with Martin and the Rum Corps Choir.  store, and “Ich hab Ideen” a hard-driving rock song for Paulie, Adrian’s brother. On Broadway these were replaced BULLETS OVER BROADWAY by a new song “Wanna Know Why”, sung in the gym by Rocky and the boxers, and “Eye of the Tiger”, used during a (Various) (Masterworks Broadway 8884307534-2). The original training sequence.  Broadway cast recording of SHANE WARNE THE MUSICAL Woody Allen’s Bullets Over (Eddie Perfect) (Live 2 CD Set). Broadway works too hard for its living and misses all the fun of Eddie Perfect’s score for his the movie. Top musical theatre irreverent romp about cricketing legend Shane Warne talent Marin Mazzie and Karen Ziemba try to infuse life into a mixes bossa-nova (“The Away Game”), jazz (“What An S.M.S. jukebox score of 1920s songs to indifferent effect. Best of the bunch is Hoagy Carmichael’s (Mess) I’m In”), rap (“Dancing “Up a Lazy River”, crooned nicely by Nick Cordero (Cheech), with the Stars”), vaudeville Cole Porter’s “Let’s Misbehave”, a fun duet for Brooks (“Never Cross the Line”), and Bollywood (“My Name is John”). Ashmankas (Warner) and Helene York (Olive), with Richard It’s Non-PC, coarse and vulgar, but massively funny. Perfect Whiting’s “She’s Funny That Way” used as the wrap-up is perfect as Warnie, whether leading the man in a 70s style song for lovers Zack Braff (David) and Betsy Wolfe (Ellen). anthem to beer, “We’re Going There”, debunking myths in 

Stage On Disc

46 Stage Whispers November - December 2014

QUEENIE VAN DE ZANDT - LIVE IN CABARET (Various). This album springs from Queenie Van De Zandt’s Cabaret - In 12 Easy Steps show and was recorded at Brisbane’s Judith Wright Centre in February 2011. It’s a mix of songs by Tim Minchin and Eddie Perfect, with classics by Harold Arlen, Stephen Schwartz and Cyndi Lauper. Van de Zandt is a funny and warm performer with a selfdeprecating brand of humour and a fabulous voice. She delivers a powerhouse vocal of “Defying Gravity” (Wicked), a nice version of “Over the Rainbow” (The Wizard of Oz), and gets maximum laugh-mileage out of Peter J. Casey’s paean to the 80s “Before the Crash.”  BILLY PORTER - BILLY’S BACK ON BROADWAY (Various) (Concord CRE-35242-02). Billy Porter, currently playing Lola in Kinky Boots on Broadway, sings a collection of diva songs by Liza, Barbra, Merman and others on his latest album, with big band backing. He leads off with “But the World Goes ‘Round”, “Everything’s Coming Up Roses” and “Don’t Rain On My Parade”, follows with Kinky Boots’ “I’m Not my Father’s Son”, and is joined by Cyndi Lauper for a great slow but insistent-beat version of the Streisand/ Garland duet “Happy Days Are Here Again”/“Get Happy”. 

TESS (OF THE D’URBERVILLES) (Stephen Edwards/Justin Fleming) (Stage Door STAGE 9036). If you like Celtic folk songs then you will love this brooding, melodramatic treatment of Thomas Hardy’s classic novel. A hit on its preLondon tour, it lasted just 77 performances in the West End. Composer Stephen Edwards and Australian playwright

Justin Fleming’s sung-through score feels like it belongs in an opera house more than on a musical stage, which is not surprising as Edwards and Fleming both have credits in that genre. This is the first complete recording of the score and couples six tracks from the original 1999 London cast with 15 from a 1998 studio cast recording. Fleming’s lyrics are prosaic and Edwards’ music frequently feels like underscore to a BBC period drama, but it does capture nicely the milieu of Hardy’s book. Australian performer Martin Crewes stands out as the licentious Alec, giving the role major vocal heft, especially on “Threshing Field”.  JARROD SPECTOR - MINOR FALL, MAJOR LIFT (Various). Jarrod Spector played the role of Frankie Valli over 1400 times in Jersey Boys, and has essayed the part of Barry Mann in Beautiful since it opened, so he’s been stuck in a 60s time-warp for the past five years. He’s still stuck in it. During his time in Jersey Boys he created a cabaret concert of songs that were his musical influences growing up, which he performed on the nights when the show was dark. Minor Fall, Major Lift is a lyric from Leonard Cohen’s “Hallelujah” which just happens to be the best vocal on the disc. Other songs by Barry Manilow (“Even Now”), Lennon and McCartney (“Oh! Darling”) and Billy Joel (“River of Dreams”) make up a good collection of 60s tunes which he sings in his distinctive high-falsetto with “Since I Don’t have You” running a close second for best track.  Rating

 Only for the enthusiast  Borderline  Worth buying  Must have  Kill for it

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Stage on Page By Peter Pinne ANYTHING GOES: A History of the American Musical Theatre by Ethan Mordden (Oxford $30.00). BROADWAY MUSICALS: Show By Show (Seventh Edition) by Stanley Green revised and updated by Cary Ginell (Applause $20.00) AMERICAN MUSICAL THEATRE: A Chronicle (Fourth Edition) by Gerald Bordman with updates by Richard Norton (Oxford $135.00). Books on the American Musical Theatre of late seem to be in growth mode and one has to ask at what point does it become overkill. Ethan Mordden, who has contributed more than his fair share on the subject, spends a lot of his new book Anything Goes proving that “musical comedy” is dead. He claims that as the frivolous boy-gets-girl shows of the 1920s gave way to musical dramas in the 40s and concept musicals in the 70s, musicals have become darker, and of course he’s right. But he doesn’t mention, or chooses to ignore that recent mainstem musicals like Avenue Q and Hairspray and Off-Broadway entries such as Nunsense, Menopause and Altar Boys have kept the genre alive. Mordden breaks the history up into four ages; the first before 1900 which covers early minstrel shows, operabouffe and Gilbert and Sullivan; the second covering 1900 to 1920 which basically brings into focus operetta and

48 Stage Whispers November - December 2014

Jerome Kern’s Princess Theatre shows; 1920 to 1980, which covers Rodgers and Hart, Gershwin, Porter, Rodgers and Hammerstein, Lerner and Loewe, and Sondheim; and finally the fourth age which is everything since 1980. Not every show is discussed in depth, but it’s surprising how many he does cover in the book’s 280 pages, which take in works up until 2011. Jukebox musicals get short shrift as do Disney and pop-operas, despite the fact that The Phantom of the Opera, Les Misérables, and Cats, which according to Mordden all fall into the latter category, are three of the top five longest running shows on Broadway. Musicals on and off Broadway are discussed, along with large-scale Ziegfeld-type revues and ones of a more intimate kind. Not everyone cares for Mordden’s writing style, which is opinionated and at times pretentious, but one thing he definitely is, is accurate. He does not fall into the trap of claiming The Black Crook (1866) was the first musical. It wasn’t. As he says, John Gay’s The Beggar’s Opera was the first, opening in London in 1728. But The Black Crook was a smash hit of such vast proportion that most historians use it as the jumping off point. Also Oklahoma! in 1943 was not the first musical with an integrated score. Many musicals had integrated scores long before 1943 including the works of Gilbert and Sullivan, Offenbach, and many operettas

including Robin Hood, El Capitan and The Red Mill. Finally he debunks the myth of Broadway having a ‘golden age.’ There was no ‘golden age’ and certainly not one as short as 1943 to 1964. The book includes a useful listing (in smaller-print) of bibliographies on the subject, a selected discography, and an extensive index. Ethan Mordden may not have started with The Black Crook but Stanley Green does in Broadway Musicals - Show by Show, which is now up to its seventh edition and moves the content forward to 2010 with an entry for Rain -A Tribute to the Beatles on Broadway. Green first published his comprehensive reference work in 1985 and when Green died his wife Kay updated it in 1993. Subsequent updates have been by Ian MacBey in 2008 and this current volume by Cary Ginell in 2011. The format is unchanged from earlier editions. There are 421 entries for the most important musicals which opened in each year from 1866 until 2010 including revivals. Some of the recent titles include Billy Elliot: The Musical, Memphis, Next To Normal, Rock of Ages, The Addams Family, American Idiot, Shrek: The Musical and Fela! Each entry includes a listing of credits, major cast and songs, critical reception, synopsis, plus any pertinent details in its production. Some of the shows are accompanied by a photograph in black and white. It’s a very selective list but, every show that should be there is on it. Ginell’s prose is similar to Green’s and if anything his comments are a little more inclusive. He’s done a fine update. The book comes with indexes for the shows, composer, lyricist, librettist, director, choreographer, major cast members, and theatre. A fine update is also what Richard Norton has done with Gerald Bordman’s indispensable American Musical Theatre - A Chronicle. When it was first published in 1978 it was regarded as the definitive work on the subject, and four editions later, it is still one of the essential reference works. Starting with Flora, or Hob in the Well (1703), a ballad-opera that opened in Charleston, and following

Like Mordden, Bordman is also opinionated. A devotee of Jerome Kern and operetta, he classifies most of the Rodgers and Hammerstein oeuvre, Lerner and Loewe and even Lloyd Webber’s The Phantom of the Opera as modern day equivalents of the latter. He is also an avid critic of amplification and does not fail to include a derogatory critical quote which mentions it. Whenever an important contributor first appears they are given a special box which details their birth, birthplace and previous show credits, hence the recent inclusion of Nathan Lane and Susan Stroman. Norton tempers Bordman’s views somewhat, especially in regard to amplification and pop music, penning with an overview of the erudite, but still pithy, commentary in origins of American musical theatre until The Black Crook (1866), the book reader-friendly prose. The indexes are vast; a listing of the lists every musical production that shows, sources, songs and people. The opened on Broadway up until 2011. Some works are only given a sentence, song listings are worth the price of the book alone. How many times have you whilst others are discussed in great heard a song and wondered what detail giving a synopsis, composer, lyricist, director, cast, and hit songs. In show it was from. Well, this volume gives all the answers. It’s a wonderful more recent years important Offread, and no library should be without Broadway entries are included. Bordman also on occasions indulges in it. Norton is a worthy successor to pithy folk-lore and gossip (Ira Gershwin Bordman, having written an even more exhaustive work on the subject, the was “lazy,” and his wife Leonore was three volume A Chronology of “notoriously greedy and bitchy”), which help give the book some added American Musical Theatre (2002) which is still in print and available from colour. the publisher Oxford for $475.00.

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Stage Briefs

 Melville Theatre (WA) presents Wife After Death, by Eric Chappell, from Nov. 21 to Dec. 6. Set at the funeral of successful television comedian Dave Thursby, his friends and family - played by Tatiana Dalin, Andrew O’Connell, Jennifer McGrath, Sharon Menzies and Peter Bloor - are in for a shock when the mysterious Kay (Andrea von Bertouch) arrives.

 A powerful story of lust, murder, love, retribution, part macbre melodrama, part Grand Guignol blood-fest - and some remarkably tasty pies! Justin Cotta (Sweeney Todd) and Lucy Miller (Mrs Lovett) appear in New Theatre’s final production of the year, Stephen Sondheim and Hugh Wheeler’s Sweeney Todd, from Nov. 18 to Dec. 20.

50 Stage Whispers November - December 2014

Dear Stage Whispers Reader, Spread the joy of Stage Whispers by giving a special person the gift of a Stage Whispers Subscription this Christmas for the special introductory price of $29.95 (NZ$35.00) for one year (GST inclusive where applicable). In return we will be delighted to give you the gift of extending your subscription by one issue. Also both you and your recipient will go into the draw for our fabulous prizes - which you can see on Page 17 - comprising tickets to Thriller: Live, Strictly Ballroom The Musical, Dirty Dancing The Musical and Rupert. Please complete the form below or visit www.stagewhispers.com.au/subscribe if you are an Australian reader to purchase online. All the Best, The Stage Whispers Team.

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www.stagewhispers.com.au Stage Whispers 51

companies have tight budgets and tight times to bump in. “You can bump in our five metre revolve in 2 hours and it is child’s play. For over ten years Tim Hawkins has production of Hairspray. The show been bringing together his love of called for multiple scene changes that They are modular and are put together musical theatre and passion for had to blend seamlessly from one from curved pieces that can be stored engineering, industrial automation and setting to the next. easily.” robotics. Tim is no slouch on the stage. He This means they can be transported says he loves to sing, dance and direct. in a small van. A highlight for him was playing Javert “Companies can purchase or rent He’s now custom built a range of in Les Misérables. them. A lot of our competitors’ modular revolves which he says are child’s play to put together and give He says this experience gives him an revolves have reliability problems. directors extra scope for far more edge in designing revolves that are People always complain about it. Our revolve is extremely reliable. polished productions. custom built for theatre companies. “Owing to our background in In 2001 he was awarded the Best They range in size from 0.75m to 10.8m and beyond. industrial automation and robotics, we Set Designer for a Musical by the Canberra Area Theatre Awards for his “In Dubai we have been asked to have no problem in providing multiple innovative production of Joseph and design a 30 metre revolve to move the revolve systems and operator interfaces so that a vast array of scene changes the Amazing Technicolour Dreamcoat, audience,” he says with a nervous can be made for large professional staged by the Orange Theatre giggle. But his background in community productions.” Company. “It was when I first used automated theatre makes him acutely aware that driving systems to make sets revolve,” www.rotation.net.au he said. www.facebook.com/pages/Rotation/100808589963385 “Eight 6 metre high columns Feel free to contact Tim Hawkins on 1300 886 187 rotated around the stage from Joseph’s family’s Jewish architecture, to that of Pharaoh’s throne room. “Not one stage hand was required to move anything. It was perfectly timed, every time, without fail.” Last year Tim’s company Rotation put together his latest model called Revolve5000, which uses German engineering technology. It comprises three driving wheels that power the larger wheel of the revolve, all powered from a standard power point. In Newcastle the Metropolitan Players used the Revolve5000 for their

Put Your Cast Into A Spin

52 Stage Whispers November - December 2014

On Stage A.C.T. August: Osage County by Tracey Letts. Free-Rain Theatre Company. Until Nov 2. The Courtyard Studio. (02) 6275 2700. The Sound of Music by Richard Rodgers, Oscar Hammerstein II, Howard Lindsay and Russell Crouse. Queanbeyan Players. Nov 1 15. The Q, Queanbeyan. 6285 6290.

A.C.T. & New South Wales

Nov 20 - Dec 6. Theatre 3. 6257 1950.

Malthouse Theatre. Wharf 2. Until Nov 8. 9250 1777.

New South Wales

The Phantom of the Opera by Andrew Lloyd Webber, Wicked. Music and lyrics by Stephen Schwartz and a book Charles Hart and Richard by Winnie Holzman. Based on Stilgoe. Gosford Musical Society. Until Nov 25. Laycock the Gregory Maguire novel. Theatre, Gosford. (02) 4323 Continuing. Capitol Theatre, 3233. Sydney. Ticketmaster.

Emerald City by David TOTEM. Cirque du Soleil. Williamson. Griffin Theatre Continuing. Under the Big Company. SBW Stables Top at the Entertainment Theatre. Until Dec 6. (02) Quarter, Moore Park. La Cage Aux Folles. Book by www.cirquedusoleil.com/totem 9361 3817. Harvey Fierstein, with lyrics Henry V by William Jack and the Beanstalk by and music by Jerry Herman. William Ford. Young Peoples Shakespeare. Bell SUPA Productions. Nov 7 - 22. Theatre Newcastle Inc. Until Shakespeare. Until Nov 15. ANU Arts Centre. 62474442. Nov 15. Young Peoples Sydney Opera House, Playhouse. (02) 9250 7777. Scandalous Boy by David Theatre Newcastle Inc., Atfield. The Street Theatre / 2014 Spring Out Festival. Nov 14 - 23. The Street Theatre, Canberra City West. 6247 1223. Blithe Spirit by Noël Coward. Canberra Repertory Society.

Hamilton. 0249 615340 (Fridays 4pm to 6pm and Saturdays 9am to 1pm)

The Wharf Revue 2014. Written and created by Jonathan Biggins, Drew Forsythe and Phillip Scott. Calpurnia Descending by Sisters Grimm. Created by Ash Until Dec 20. Wharf 1. 9250 1777. Flanders and Declan Greene. Sydney Theatre Company and

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RolePlay by Alan Ayckbourn. Club ’71 Dinner Theatre. Until Nov 8. St Peter’s Hall, Hamilton (Newcastle). 4942 6015. Blue / Orange by Joe Penhall. Ensemble Theatre. Until Nov 29. (02) 9929 0644 My Fair Lady by Lerner and Loewe. Tamworth Musical Society. Until Nov 8. Capitol Theatre, Tamworth. Thoroughly Modern Millie. Music by Jeanine Tesori, lyrics by Dick Scanlan, and a book by Richard Morris and Scanlan based on the 1967 Julie Andrews film. Eastwood Uniting Church Musical Society Inc. Until Nov 8. Eastwood Uniting Church. (02) 8061 7195. A Horror Musical by Jenny Tibbits. Ruby Productions. Until Nov 8. Emu Sports Club,

Stage Whispers 53

On Stage

New South Wales

Leonay Parade, Leonay. (02) 47355422.

95216358 Mon-Sat 9am to 5pm.

Twelve Angry Men by Reginald Rose (adapted from his 1954 teleplay). Epicentre Theatre Company. Zenith Theatre, Chatswood. Until Nov 8.

Switzerland by Joanna Murray -Smith. STC. Drama Theatre, Sydney Opera House. Nov 3 to Dec 20. 9250 1777.

The Importance of Being Earnest by Oscar Wilde. (Comedy). Pigs Fly Productions. Until Nov 15. Mittagong Playhouse Cnr Old Hume Highway & Bowral Road. The Odd Couple by Neil Simon. Woy Woy Little Theatre. Until Nov 16. Peninsula Theatre, Woy Woy. 4344 4737. The Hallelujah Girls by Jesse Jones, Nicholas Hope and Jamie Wood. Guild Theatre. Until Nov 29. Guild Theatre, Walz St. Rockdale. (02)

54 Stage Whispers

Theatre. Nov 7 - 9. (02) 4225 9407.

Scrooge - The Musical. Book, Music and Lyrics by Leslie Bricusse, from ‘A Christmas Carol’ by Charles Dickens. Hissyfest 2014. Short plays by NUCMS. Nov 7 - 22. young writers. Tantrum Youth Normanhurst Uniting Church. www.nucms.org Arts. Nov 7 - 8. Civic Playhouse, Newcastle. (02) 4929 1977.

Tartuffe by Moliere, translated by David Nicholson. Nov 7 22. Hunters Hill Theatre. Bookings (after October 13). 9879 7765

Hairspray. Book by Mark O’Donnell & Thomas Meehan, A Happy and Holy Occasion Music by Marc Shaiman, lyrics by John O’Donoghue. by Scott Wittman. Coffs Campbelltown Theatre Group. Harbour Musical Comedy Nov 7 - 22. Town Hall Company. Nov 7 - 30. Jetty Theatre, Campbelltown. 4628 Memorial Theatre, Coffs 5287. Harbour. 02 6652 8088.

Fox on the Fairway by Ken Ludwig. Sutherland Theatre Company. Nov 7 - 16. The Sutherland Memorial School of Arts. 9150 7574 / Are You Being Served by www.thesutherlandtheatrecompany.com.au David Croft and Jeremy Lloyd. Henry Lawson Theatre. Nov 7 Moustache Monologues. A - 28. Henry Lawson Theatre, collection of monologues Henry Lawson Drive, from stage and screen Werrington. (02) 4729 1555. celebrating men, coinciding with Movemeber and raising awareness for Prostate Cancer and Male Depression. Wollongong Workshop

Church Hall, Adamstown (Newcastle). (02) 4956 1263.

Nuncrackers: The Nunsense Christmas Musical by Dan Goggins. Theatre on Brunker. Nov 7 - 28. St Stephen’s

Monty Python’s Spamalot. Book & lyrics by Eric Idle. Music by John Du Prez & Eric Idle. Roo Theatre. Nov 7 - 22. Roo Theatre, Cnr Wentworth & Addison Sts, Shellharbour. 4297 2891. Money and Friends by David Williamson. The Theatre on Chester (Epping). Nov 7 - 29. The Theatre on Chester,

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

On Stage corner of Chester and Oxford Streets, Epping.

Company. Book by George Furth with music and lyrics by Stephen Sondheim. Manly Annie. Music by Charles Musical Society. Nov 21-29. Strouse, lyrics by Martin Charnin and book by Thomas Star of the Sea Theatre, Stella Meehan. Roo Theatre Co. Nov Maris College, Manly. 7 - 22. Harbour Theatre. (02) Just Macbeth by Andy 4297 2891. Griffiths. Castle Hill Players. A Christmas Carol by Charles Nov 21 - Dec 13. Pavilion Theatre, Castle Hill Dickens. Nov 8 - Dec 24. Showground. 9634 2929. Belvoir. Belvoir St Theatre, Upstairs. (02) 9699 3444.

Thoroughly Modern Millie by Jeanine Tesori, lyrics by Dick Cyrano de Bergerac by Edmond Rostand. Adapted by Scanlan, and a book by Richard Morris and Scanlan. Andrew Upton. Original Arcadians Theatre Group. Nov translation by Marion Potts. STC. Sydney Theatre. Nov 11 21 - Dec 6. Miners Lamp Theatre. 4284 8348. to Dec 20. 9250 1777. The Legend of King O’Malley Cinderella by Matthew Whittet. Belvoir. Nov 13 - Dec by Bob Ellis and Michael Boddy. Don’t Look Away. Nov 7. Belvoir St Theatre | Downstairs. (02) 9699 3444. 26 - Dec 13. Reginald Theatre, Seymour Centre. (02) 9351 Upstairz/Downstairz. Book, 7940 music and lyrics by Maureen The Man from Mukinupkin by O’Brien. Nov 14 - 29. New Lambton South Public School Dorothy Hewett. Regional Institute of Performing Arts. Hall (Newcastle). 0421 072 Nov 27 - 29. Civic Playhouse, 444. Newcastle. 4929 1977. Singleton Tales. Developed by Coal Trains and Candy Canes. the performers. Tantrum Topical revue. Footlice Theatre Youth Arts, with ABC Open Company. Nov 28 - Dec 13. and Arts Upper Hunter. Nov Newcastle Community Arts 14 - 15. Singleton Youth Centre, Hamilton East Venue. (02) 6541 4776. (Newcastle). Sherlock Holmes and the Case Death by Fatal Murder by of the Jersey Lily by Kate Peter Gordon. Wollongong Forgette. Newcastle Theatre Workshop Theatre. Nov 28 Company. Nov 15 - 29. Dec 13. (02) 4225 9407. Newcastle Theatre Company Theatre, 90 De Vitre St, The Butler Did It by Tim Kelly. Lambton. 4952 4958 (3-6pm Maitland Repertory Theatre. Mon - Fri). Nov 28 - Dec 13. Maitland Repertory Theatre. (02) 4931 Annie. Book by Thomas 2800. Meehan, Music by Charles Strouse, lyrics by Martin Charnin. Lithgow Musical Society. Nov 16-29. Union Theatre Lithgow.

36th City of Newcastle Drama Awards. CONDA Inc. Nov 29. Starlight Room, Wests, New Lambton.

Sweeney Todd by Stephen Sondheim and Hugh Wheeler. New Theatre. Nov 18 - Dec 20. New Theatre, King Street, Newtown.

Absent Friends by Alan Ayckbourn. Ensemble Theatre. From Dec 4. (02) 9929 0644.

New South Wales & Queensland Newcastle Theatre Company Theatre, 90 De Vitre St, Lambton. 4952 4958 (3-6pm Mon - Fri)

Queensland

Bubble Boy: The Musical. Music and lyrics by Cinco Paul, book by Cinco Paul and Ken Daurio. Regional Institute of Performing Arts. Dec 11 13. Civic Playhouse, Newcastle. (02) 4929 1977.

Angel Gear by Sven Swenson. La Boite Indie. Roundhouse Theatre. Until Nov 8. 3007 8600.

The Lion King by Roger Allers, Irene Mecchi, Elton John, Tim Rice Mark Mancina. Lebo M, ‘Twas The Week After Julie Taymor, Jay Rifkin and Christmas. An original Hans Zimmer. Disney pantomime by Narelle Adams. Production. Lyric Theatre, Holroyd Musical & Dramatic QPAC. Continuing. 136 246. Society Inc. Dec 5 - 13. St. The Amazing Maurice and his Stephens Presbyterian Church Educated Rodents by Terry Hall, Cnr. Merrylands Road Pratchett. Arts Theatre, and Monitor Street, Brisbane. Until Nov 8. 3369 Merrylands. 0497 051 798 2344.

The Pymble Players Christmas Show by Ivy Walker-Smith. Pymble Players. Dec 12 - 20. Cnr Bromley Ave & Mona Vale Rd, Pymble. MCA Ticketing 1300 306 776

One Flew Over the Cuckoo’s Nest by Dale Wasserman. Arts Theatre, Brisbane. Until Nov 4. 3369 2344. Jesus Christ Superstar by Andrew Lloyd Webber and Tim Rice. Phoenix Ensemble, Pavilion Theatre, Beenleigh. Until Nov 15. 3103 1546.

Season’s Greetings by Alan Ayckbourn. Newcastle Theatre Company. Dec 6 - 21.

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Stage Whispers 55

On Stage

Queensland Nov 5-9. Schonell Theatre, St Lucia. 0413 488 398 Journey Through the Cosmos. Qld Symphony Orchestra. Nov 6-9. Concert Hall, QPAC. 136 246. Three Tall Women by Edward Albee. Cairns Little Theatre. Nov 7. 1 300 855 835 Money From Heaven / The Innkeeper, The Writer, The Pirate and The Detective by Deb Chalmers. Centenary Theatre Group. Nov 8-29. Chelmer Community Centre. 0435 591 720 The Pajama Game by Richard Adler & Jerry Ross. Gold Coast Little Theatre. Nov 8 - Dec 6. 5532 2096. Or Forever Hold Your Peace from Euripides’ Iphigenia. La Boite Indie. Nov 12-29. Roundhouse Theatre. 3007 8600. The Eight Reindeer Monologues by Jeff Goode. Lind Lane Theatre, Nambour. Nov 15-22. 5441 1814 Gasp! by Ben Elton. QTC. Nov 17 - Dec 7. Playhouse, QPAC. 1 800 355 528

What happened when C.S. Lewis met Sigmund Freud? Brisbane will find out when Freud’s Last Session plays at QPAC’s Cremorne Theatre from 26 November to 7 December. William Zappa plays Sigmund Freud, the legendary psychoanalyst, who invites a young little-known professor, C.S. Lewis (Andrew Henry), to his home in London. On the day England enters World War II, Freud and Lewis engage in a mesmerising duel that is both dramatic and surprisingly funny. Dangerfield Park by Sven Swenson. La Boite Indie. Roundhouse Theatre. Until Nov 3. 3007 8600.

Gold Coast. Until Nov 15. 5539 4255.

Godspell by Stephen Schwartz. Griffith University Musical Theatre. Nov 4-8. Once Upon a Midnight - An Evening with Edgar Alan Poe. Burke Street Studio Theatre, Nash Theatre. Merthyr Uniting Woolloongabba. 3735 3224 Hay Fever by Noel Coward. Kay & McLean & Theatre Royal Church, New Farm. Until Nov Blak Electric by Aboriginal Bath Production. Playhouse, 22. 3379 4775. Centre for Performing Arts. QPAC. Until Nov 8. 136 246 Nov 5-8. Cremorne Theatre, Dance 14 by Dance Sweeney Todd by Stephen Performing Students. Nov 4-8. QPAC. 136 246. Sondheim and Hugh Wheeler. Gardens Theatre, Brisbane. The Mikado by Gilbert & Spotlight Theatre Company, 3138 4455 Sullivan. Qld Music Theatre. 56 Stage Whispers

The Dead by James Joyce. Villanova Players. Nov 21-Dec 6. The Theatre TAFE Morningside, Brisbane. 3395 5168 Five Women Wearing the Same Dress by Alan Bell. Javeenbah Theatre, Nerang. Nov 21-Dec 6. 5596 0300 London Symphony Orchestra. QPAC Presentation. Nov 22. Concert Hall, QPAC. 136 246 Freud’s Last Session by Mark St Germain. Strange Duck Production. Nov 26 - Dec 7. Cremorne Theatre. 136 246. Camp Elsewhere by Peter Morrissey & Charlotte Morrissey. Marsh Spotlight Theatre Company, Gold Coast. Nov 27-29. 5539 4255.

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

On Stage Nunsense by Dan Goggin. Coolum Theatre Players. Nov 28-29, Dec 5-6. 5446 2500 Musical Christmas. Griffith University Musical Theatre. Dec 3-4. St John’s Cathedral, Brisbane. 3735 3224 The Nutcracker by Tchaikovsky. Queensland Ballet. Dec 12-23. Playhouse, QPAC. 136 246

Passion. Music and lyrics by Stephen Sondheim. Book by James Lapine. Life Like Company. Nov 5 - 8. Playhouse, Arts Centre Melbourne. 1300 111 011. But Why Bump Off Barnaby by Rick Abbot. Mooroolbark Theatre Group. Nov 6 - 15. Mooroolbark Community Centre. (03) 9726 4282.

The Spirit of Christmas. QPAC Dreamers by Daniel Keene, directed by Ariette Taylor. Presentation. Dec 19-20. Concert Hall, QPAC. 136 246. fortyfivedownstairs. Nov 6 30. fortyfivedownstairs, 45 Queensland Pops New Year’s Flinders Lane, Melbourne. (03) Eve Gala. Qld Pops Orchestra. 9662 9966. Dec 30-31. Concert Hall, Charlie and the Chocolate QPAC. 136 246. Factory by Roald Dahl. Victoria Sunshine Community Theatre. Les Misérables by ClaudeNov 7 - 16. 0407802165. Michel Schonberg, Alain Frankenstein: A New Musical Boublil and Herbert Kretzmer. by Mark Baron, Jeffrey Her Majesty’s Theatre, Jackson, and Gary P. Cohen. Melbourne. Ticketek. Williamstown Musical Theatre The Mesh by Elise Hearst. Company. Nov 7 - 22. ARTHUR and Red Stitch. Until Williamstown Mechanics Nov 10. 9533 8083. Institute Theatre. Once by Enda Walsh, Glen Bullshot Crummond by Ron Hansard and Markéta Irglová. House, Diz White, Alan John Frost / Melbourne Shearman, John NevilleTheatre Company. Until Nov Andrew & Derek 9. Princess Theatre, Cunningham. Mordialloc Melbourne. Theatre Company Inc. Nov 7 22. Shirley Burke Theatre, I’ll Eat You Last by John Parkdale. 9587 5141. Logan. MTC. Australian Premiere. Arts Centre Pennsylvania Avenue by Melbourne, Fairfax Studio. Joanna Murray-Smith. MTC. Until Dec 20. (03) 8688 0800. World Premiere. Nov 8 - Dec 20. Southbank Theatre, The Dracula by Bram Stoker, adapted by William McNulty. Sumner. (03) 8688 0800. Malvern Theatre Company Calpurnia Descending by Ash Inc. Until Nov 15. 1300 131 Flanders & Declan Greene. 552. Sisters Grimm, Malthouse & Sydney Theatre Company. Nov Cats by Andrew Lloyd 12 - 30. Merlyn Theatre. (03) Webber. NOVA Music 9685 5111 (select 2). Theatre. Until Nov 9. Whitehorse Centre. 1300 304 Tosca by Puccini. Opera 433. Australia. Nov 12 - Dec 13. Fawlty Towers by John Cleese State Theatre, Arts Centre Melbourne. 1300 111 011. and Connie Booth. Lilydale Athenæum Theatre Company The Eradication of Inc. Nov 5 - 22. (03) 9735 Schizophrenia in Western 1777. Lapland. Arts House. Nov 12 16. Arts House, Meat Market,

Queensland & Victoria North Melbourne. (03) 9322 3713.

Over The River and Through The Woods by Joe DiPietro. The 1812 Theatre. Nov 20 And This Was Odd by Kenneth Horne. STAG. Nov 13 Dec 13. 9758 3964. - 23. Strathmore Community The Kitchen Sink by Tom Hall. 9382 6284 Wells. Williamstown Little Cosi by Louis Nowra. Torquay Theatre. Nov 20 - Dec 6. (03) Theatre Troupe. Nov 13 - 22. 9885 9678. (03) 5261 3335.

Murdered to Death by Peter Gordon. Eltham Little Theatre Inc. Nov 13 - 29. Eltham Performing Arts Centre. 0411 713 095.

The Complete Works of William Shakespeare (abridged) by Adam Long, Daniel Singer and Jess Winfield. Geelong Repertory Theatre Company. Nov 21 Dec 6. Woodbin Theatre. (03) 5225 1200.

Bloody Murder by Ed Sala. Brighton Theatre Co. Nov 13 Atlantic Crossing. Cathouse 29. Brighton Arts & Cultural Players Inc. Nov 21 - 29. Centre. 1300 752 126. Masonic Hall, Kyneto. 0448 Key For Two by John 371 623. Chapman and Dave Freeman. Peridot Theatre Inc. Nov 14 - La Cage Aux Folles. Book by Harvey Fierstein. Music and 29. Unicorn Theatre, Mt Lyrics by Jerry Herman. Based Waverley. 9898 9090. on the play by Jean Poiret. The The 39 Steps. By John Production Company. Nov 21 Buchan, Alfred Hitchcock. - Dec 7. Playhouse, Arts Adapted by Patrick Barlow Centre Melbourne. 1300 182 from an original concept by 183. Simon Corble and Nobby The House of Yes by Wendy Dimon. Beaumaris Theatre MacLeod. Little Ones Theatre. Inc. Nov 14 - 29. (03) Theatre Works. Nov 27 - Dec 95836896. 14. (03) 9534 3388. Stepping Out by Richard Whose Wives Are They Harris. Sherbrooke Theatre Anyway by Michael Parker. Co. Inc. Nov 14 - 29. Frankston Theatre Group Inc. Doncaster Playhouse. 1300 Nov 21 - Dec 7. Mt Eliza 650 209 Community Centre. 1300 665 Santa’s Magical Kingdom. 377. Nov 15 - Dec 23. Caulfield Falstaff by Verdi. Opera Racecourse. 1300 307 740. Australia. Dec 1 - 11. State Don Pasquale by Donizetti. Theatre, Arts Centre Opera Australia. Nov 19 - Dec Melbourne. 1300 111 011. 12. State Theatre, Arts Centre Devine - The Sarah Vaughan Melbourne. 1300 111 011. Story. Art Events Australia. God of Carnage by Yasmina Dec 3 - 19. Chapel off Chapel. Reza. Next Step Productions. (03) 8290 7000. Nov 19 - 29. Chapel off The Collected Works of Victor Chapel. (03) 8290 7000. Bergman. Conceived by Aaron Jumpers for Goalposts by Tom Orzech, Romanie Harper, Zoey Wells. Red Stitch. Nov 19 Dawson, James Paul, Katie Dec 20. 9533 8083. Sfetkidis and Brian Lipson. The True Minds by Joanna Murray- Family. Dec 4 - 14. Smith. Heidelberg Theatre Co. fortyfivdownstairs, 45 Flinders Nov 20 - Dec 6. (03) Lane, Melbourne. (03) 9662 94574117. 9966.

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Stage Whispers 57

On Stage

Victoria Silvie Paladino as Clara, Kane Alexander as Georgio and Theresa Borg as Fosca in Stephen Sondheim and James Lapine's Passion, playing at Arts Centre Melbourne from 5-8 November, the first production launching new music theatre company Life Like Company. Neil Gooding directs, with musical direction from Guy Simpson. Photo: Matt Deller.

58 Stage Whispers

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

On Stage Australian DanceSport Championship. Dec 5 - 7. Hisense Arena. Ticketek 132 849. Grease by Jim Jacobs and Warren Casey. John Frost Production. From Dec 6. Regent Theatre, Melbourne. 1300 111 011. Elaine Paige. With the Broadway Orchestra and Special Guest Tommy Fleming. Artist Network and Bluehawk. Dec 6. Hamer Hall, Arts Centre Melbourne. 1300 111 011. Other People’s Money by Jerry Sterner. Tangled Web Theatre Productions. Dec 10 - 14. Doncaster Playhouse. (03) 9748 1468 or 0404 942 143. Close to the Bone. Circus Oz. Dec 11 - 21. The Melba Spiegeltent, 35 Johnston Street, Collingwood.

Victoria, South Australia, Tasmania & W.A.

Company. Nov 7-22. Stirling Community Theatre. It Could Be Anyone of Us by Alan Ayckbourn. St Jude’s Players. Nov 13-22. St Jude’s Hall. 8270 4205 Smalls Talk by Sue and Clive Read. Top of the Torrens Theatre Group. Nov 14-23. Mt Pleasant Hall until 16/11; Lobethal Centennial Hall thereafter. 8568 2496. Bracken Moor by Alexi Kaye Campbell. Independent Theatre. Nov 14-22. The Odeon Theatre, Norwood.

adapted from the original TV series by Richard Curtis and Paul Mayhew-Archer. Encore Theatre Company. Until Nov 15. Earl Arts Centre, Launceston, (03) 6323 3666. Who’s Afraid of Virginia Woolf by Edward Albee. Tasmanian theatre Company. Nov 18 - 29. Fort Nelson House. (03) 6234 5998. Disney’s The Little Mermaid Jr. Musical Theatre Crew. Nov 21 - 30. Peacock Theatre. (03) 6234 5998.

Throbbin’ Hood. Bawdy Panto. Nov 26 - 29. Theatre Bobby Bruce as Nearly Neil Royal, Hobart. (03) 6233 Diamond Beautiful Noise by Bobby Bruce. Country Arts SA. 2299. Nov 16. Hopgood Theatre. Hamlet by William 8202 3977. Shakespeare. PLoT Theatre Society. Dec 5 - 13. Peacock Tom, Dick and Harry by Theatre. (03) 6234 5998. Michael and Ray Cooney.

Agelink Theatre. Nov 11 - 15. Remembrance Week performances. Subiaco Arts Centre. Ticketek 132 849. Hay Fever by Noel Coward. Kay and McLean Productions and Theatre Royal Bath Productions. From Nov 13. Starring Felicity Kendal.Regal Theatre, Subiaco. Ticketek 132 849. The Best Little Whorehouse in Texas by Larry L. King, Peter Masterton and Carol Hall. Murray Music and Drama. Nov 14-29. Musical directed by Trevor Delaporte. Pinjarra Civic Centre. 0458 046 414. Outward Bound by Sutton Vane. KADS. Nov 14 - Dec 6. Set on an ocean liner. KADS Town Square Theatre, Kalamunda. 9257 2668

Charlie and the Chocolate Factory by Roald Dahl. Gasp by Ben Elton. Black Roleystone Theatre. Nov 21 The Addams Family. Book by Swan State Theatre Company. Dec 6. Family theatre directed Marshall Brickman and Rick ‘Allo ‘Allo! by Jeremy Lloyd Until Nov 9. Revised version. by Lys Tickner. Roleystone Elice. Music and lyrics by and David Croft. Noarlunga State Theatre Centre of WA, Theatre, Brookton Hwy, Andrew Lippa. PLOS Musical Theatre Company. Nov 21-29. Northbridge. Ticketek 132 Roleystone. 9367 5730. Productions. Dec 31, 2014 to Port Noarlunga Arts Centre. 849. Wife After Death by Eric Jan 10, 2015. Frankston Arts 0499 870 929. Il Travotore by Guiseppe Chappell. Melville Theatre. Centre. 9784 1060. South Australian Police Band Verdi. West Australian Opera Nov 21 - Dec 6. Melville South Australia Christmas Concert 2014. and West Australian Theatre, Palmyra. 9330 4565. The Breakfast Club - Live On Country Arts SA. Dec 4. Symphony Orchestra. Until Kiss Me, Kate by Cole Porter, Stage by John Hughes. Matt Hopgood Theatre. 8207 Nov 8. Modern production. Samuel and Bella Spewack. Byrne Media. Until Nov 8. 3977. His Majesty’s Theatre, Perth. Darlington Theatre Players. Holden Street Theatres. 8262 A Holly Jolly Christmas. SA Ticketek 132 849. Nov 21 - Dec 13. Shakespeare 4906 or Venue Tix. Light Opera Society. Dec 4-7. Cinderella by Rogers and inspired musical. Marloo Young Frankenstein- The New Tower Arts Centre. 8294 Hammerstein. Kooliny Arts Theatre, Greenmount. 9255 Mel Brooks Musical. Marie 6582. Centre. Until Nov 15. WA 1783. Clark Musical Theatre. Until For Unto Y’All - The Very First Tony Award winning musical. Snow White and the Seven Nov 8. Goodwood Institute Christmas in the Wild West by Koorliny Arts Centre. 9467 Dwarfs. Choreographed by Theatre. 8251 3926. 7118. Robert Sterling. Soul Factor Gyula Harangozo. West Mummy by Cynthia Dickens. Gospel Choir. Dec 18-21. The Big Casino by Noel O'Neil. Australian Ballet. Nov 21 Butterfly Theatre. Nov 4 - 6. Scott Theatre. 0400 893 739. Irish Theatre Players. Nov 5Dec 14. Family ballet with WA Wheatsheaf Hotel, Thebarton. 15. Black comedy set in 1960s Tasmania Symphony orchestra, His London. The Irish Club of WA, The Darling Buds of May by H In The Next Room (or The Majesty’s Theatre, Hay St, Subiaco. 0406 085620. E Bates. Therry Dramatic Perth. Ticketek 132 849. Vibrator Play) by Sarah Ruhl. Society. Nov 6-15. The Arts Sordid Lives by Del Shores. Hobart Repertory Theatre Anything Goes by Cole Porter, Theatre. BASS or Venuetix and Society. Until Nov 8. The Playlovers. Nov 8-22. Big hair Guy Bolton and PG 8410 5515. and loud mouths. Hackett Playhouse Theatre, Hobart. Wodehouse. Wanneroo Hall, Floreat. 0415 777 173. Legally Blonde The Musical by (03) 6234 5998. Repertory Club. Nov 27 - Dec Laurence O’Keefe and Nell Cis and Barbiche by Jenny 13. Limelight Theatre. 9571 The Vicar of Dibley by Ian Benjamin. Hills Musical Davis. Perth Theatre Trust and 8591. Gower and Paul Carpenter Adelaide Repertory Theatre. Nov 20-29. The Arts Theatre. 8212 5777.

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Western Australia

Stage Whispers 59

On Stage The Wizard of Oz. Old Mill Theatre. Nov 28 - Dec 13. Pantomime. Old Mill Theatre, South Perth. 9367 8719. A Midsummer Night’s Dream by William Shakespeare. Phoenix Theatre. Nov 28-Dec 7. Junior/youth production. Phoenix Theatre, Memorial Hall, Hamilton Hill. 9255 3336.

Western Australia, N.T. & New Zealand

Studio - Darwin Entertainment Centre. 8980 3333. New Zealand Jesus Christ Superstar by Andrew Lloyd Webber and Tim Rice. Auckland Theatre Company. Until Nov 23. Q Auckland. 09 3099771.

Ladies Night by Stephen Sinclair and Anthony McCarten. Fortune Theatre, Dunedin. Nov 15 - Dec 13. 03 477 8323. Noises Off by Michael Frayn. Howick Little Theatre. Nov 15 - Dec 6. iTicket.

Theatre. Nov 21 - Dec 13. Westside Theatre. iTicket. Neville’s Island by Tim Firth. Cambridge Repertory. Nov 22 - Dec 6. The Gaslight Theatre. 0800 827 484.

Scarlet Women: Come Again by Jan Beets. Tauranga Ruthless! The Musical Comedy Repertory Society. Nov 21 by Marvin Laird & Joe Paley. Dec 13. 16th Avenue Theatre, Dusty The Original Pop Diva Dolphin Theatre, Auckland. Tauranga. 07 5777188. by John-Michael Howson, Miranda by Peter Blackmore, Nov 15 - Dec 6. 09 636 7322. David Mitchell and Melvyn Cinderella by Ben Crocker. Garrick Theatre. Dec 4 - 13. Morrow. Upper Hutt Musical The Tempest by William Titirangi Theatre. Nov 26 About a mermaid, Garrick Theatre. Until Nov 15. UPShakespeare. Stagecraft Dec 6. 817 7658. Theatre, Guildford. 9378 STAGE Theatre, Upper Hutt. Theatre, Wellington. Nov 19 Murder at Rutherford House. 1990. 527-2168 29. iTicket. Theatre Hawkes Bay. Nov 27 Synchronocity by Aimee Smith Ladies for Hire by Alison The Opposite Sex by David Dec 6. The Playhouse, and August Bournonville. Quigan. Musical Theatre Tristram. Papakura Theatre Hastings. WAAPA Second and Third Oamaru. Until Nov 8. Oamaru Company. Nov 20 - 29. Off The Santa Claus Show by Year Dance Students. Dec 15Opera House. Broadway Theatre. iTicket. Tim Bray. Tim Bray 22. Diverse dance program. The Curse of the Pearl Productions. Dec 8 - 20. The Geoff Gibb Theatre, WAAPA, Next to Normal by Tom Kitt and Brian Yorkey. Auckland Necklace. Tauranga Musical PumpHouse Theatre, Edith Cowan University, Mt Music Theatre. Until Nov 8. Auckland. 09 489 8360. Lawley. 9370 6895 iTicket. On The First Day of Christmas The Pink Hammer by Michele by various authors. Morning Amas. Centrepoint Theatre, Melodies (Perth Theatre Trust). Dec 17. Featuring West Palmerston North. Nov 1 Dec 13. 06 354 5740. Australian Opera’s Young Artists. His Majesty’s Theatre, Ladies Night by Stephen Online extras! Perth. 132 849. Sinclair and Anthony Check out all the latest auditions online. Charlie and Lola. Live Nation. McCarten. Centrestage Scan the QR code or visit Theatre Company Orewa. Nov Dec 17-21. Puppetry and live www.stagewhispers.com.au/auditions 1 - 15. iTicket. action. State Theatre Centre

Auditions

of WA. Ticketek 132 849.

Disney Live! Three Classic Tales. Feld Entertainment. Dec 27-28. Cinderella, Beauty and the Beast and Snow White and the Seven Dwarfs. Riverside Theatre, Perth Convention and Exhibition Centre. Ticketek 132 849. Northern Territory

Avenue Q. Music & Lyrics: Robert Lopez & Jeff Marx. Book: Jeff Whitty. Manukau Performing Arts. Nov 1 - 22. iTicket. Guys and Dolls. Music and lyrics by Frank Loesser. Book by Jo Swerling and Abe Burrows. Harlequin Musical Theatre. Nov 8 - 22. iTicket.

The Book of Shadows by Timothy Parish. Brown's Mart Productions and The Cicada Collective. Until Nov 8. Brown’s Mart Theatre.

The Vicar of Dibley 2 by Richard Curtis and Paul Mayhew-Archer. Detour Theatre, Tauranga. Nov 12 29. 0800 224 224.

The Dog Logs by C.J. Johnson. Darwin Entertainment Centre and Brown's Mart Productions. Nov 5 - 15. The

All Shook Up. Elvis Presley music and with a book by Joe DiPietro. Porirua Little Theatre. Nov 12 - 29. iTicket.

60 Stage Whispers

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Reviews: Premieres

Once Music and lyrics by Glen Hansard and Marketa Irglova. Book by Enda Walsh. Directed by John Tiffany. Princess Theatre, Melbourne. From Sept 25. ONCE is the perfect musical for people who don’t normally see musicals, or know much about them. Women will adore it, men (and music theatre tragics) might scratch their heads and be reminded of the fairy story The Emperor’s New Clothes. The simple plot, based on the film and the true story of Glen Hansard and Marketa Irglova, is the classic cliché of star-crossed lovers - Boy meets girl, they fall in love, boy loses girl. It’s that simple, that predictable. There’s an air of melancholy in the somewhat dirgey folk/pop music. This is a gentler, less sophisticated version of the musical. It has no big moments, no show stopping songs. But then, for those who fall in love with it, none are needed. John Tiffany’s vision is totally the reason the show is such a success. He has stayed true to the simplicity at the core of the film. Bob Crowley’s design is inspired, with a huge mirror hung at an angle behind the bar that gives us reversed images of a hand on a guitar, the back of a head, the keyboard of a piano. Natasha Katz’s lighting design avoids ultra sophistication, yet beautifully suggests to us other interiors of the city. The show is prefaced with a traditional Ceili in the pub, with rousing and energetic Irish folk songs while the audience wanders amongst the musicians with drinks in hand. Brilliant, dazzling, inspired - and, for me, the highlight of the night. Madeleine Jones is a delight as Girl, balancing romanticism and pragmatism beautifully. Tom Parsons (Guy) is an excellent singer and guitar player, yet there

Once. Photo: Jeff Busby.

seems little emotional connection between him and Girl… or even him and the audience. The perfect comic relief characters are those of Svee (Brent Hill) and Billy (Colin Dean). Both actors are excellent, and just stop short of going totally OTT. Amy Lehpamer (Reza) is marvellous, plus we get the added bonus of her terrific violin playing. The vastly experienced young Keegan Joyce (Andrej) gives a beautiful performance of “The Moon”. Anton Berezin impresses as the Bank Manager, Greg Stone is an effective Da, Jane Patterson finds real dimension as the ex girlfriend, and the rest of the cast are excellent. Remember that ALL of these actors are also the band, and they’ve already done a full set before the show starts. Go with an open mind and heart, and give yourself over to simplicity. Coral Drouyn Calpurnia Descending By Ash Flanders and Declan Greene. Sydney Theatre Company and Malthouse. Wharf 2 Theatre, Oct 9 to Nov 8 and Merlyn Theatre, Malthouse, Melbourne, Nov 13 - 30. MELBOURNE’S outrageous Sisters Grimm teamed last year with the Sydney Theatre Company to bring us Little Mercy, a high camp, highly sophisticated spoof on 1940’s psycho-horror films. Now they’re back with a witty take on film divas past, this time matching the considerable acting and drag talents of Ash Flanders with those of unique cabaret artist/actor Paul Capsis. Fallen 1930’s star Beverly Dumont, now wheelchair bound, reaches again for fame with a chance to film her last stage work. It’s a Roman epic about Julius Caesar, Calpurnia and Cleopatra which on Broadway went the way of the Great Crash.

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Stage Whispers 61

Happy People. Photo: James Terry

Foolishly Beverly gives a minor role to a gorgeously innocent, blonde kitten called Violet St Clair, who transforms into a monster of ego and foul plotting. The divas turn rivals and the film set echoes with murder, fraud and mafia threats. Directed and co-written by Declan Greene, the play moves artfully from Beverly’s reclusive apartment to a film version of the studio shenanigans, shot live with the actors behind a front stage screen. In script and style, the film work is impressive - and deliciously queer-subversive. Capsis channels the ghosts of many divas, with perhaps Gloria Swanson and Bette Midler winning the race. While inconsistent in the first scenes, Capsis hits his stride with a cacophony of wide-eyed stares and feints in the close-ups of the film. Flanders, also a co-writer, is perfectly measured and grounded as the ingénue turned diva. The film slips ultimately into a confusion of plot twists and psychodelic multimedia nightmare. A more balanced integration of stage and film mediums may have helped. Adding gravitas is Sandy Gore who, with authorial voice, delivers a finely tuned Michael Caine version of the butler, Tootles, and, later, the mysterious producer Maximilian. Peter Paltos is also right on type as the young director. Like an old diva, this inventive entertainment will inevitably perfect with age. Martin Portus Happy People in Concert Music, Lyrics and Book by Matthew Lee Robinson. Directed by Chris Parker. Chapel off Chapel (Vic). Oct 18 & 19. IT’S probable that New York City will see a full production of Happy People before Australia does, but we 62 Stage Whispers

can at least gloat a little that the fabulous composer/lyricist/ librettist and his superb cast are Australian. Robinson’s talent and breadth are astonishing. This score is full of highly singable show tunes and gorgeous ballads. The book is well developed from a simple story premise - a top TV “manufactured” group (think Hi-Five) for a kids show, “Happy People”, are told this will be their last season. Behind the scenes all is not “Happy”, as relationships are strained and personal agendas and ambitions take over. The characters are beautifully drawn, the emotional trajectories work a treat, there are enough twists to avoid cliches, and when you add the stunning, witty (and sometimes moving) lyrics, and the stunningly constructed music, you have the perfect boutique musical that is deliciously satisfying. Bobby Fox, scarily channelling Robbie Williams, is the bruised bad boy; Sun Park is his ex-wife and counterpart in the group…looking to move on personally and professionally; Tom Sharah is the jaded gay Jewish boy with ambitions (his performance of the show-stopping “Boyband” is just brilliant) and Gretel Scarlett is the “Nice” girl, trying to please everyone. Add to this the sublime talent of Bert LaBonte as Jeff - a gentle creative soul hidden away in an elephant suit despite being the most creative of the group, and the stellar Robin Arthur as their manager Poppy and you have the complete spectrum of journey and emotions in a cast of six. Chris Parker’s direction is clean and crisp, Tom Willis’s lighting simple but effective, and Marcello Lo Ricco’s sound is beautifully balanced. But it is Robinson’s triumph, and rightly so. Robinson is not Stephen Sondheim…YET. But just give him a little time. Coral Drouyn

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Peter & Alice By John Logan. Independent Theatre. Space Theatre, Adelaide Festival Centre. Aug 21-30. THE Australian Premiere of John Logan’s play Peter & Alice is sublime. Accomplished and absorbing. The story investigates what might have been discussed in a meeting that occurred between 80-year-old Alice Liddell Hargreaves and young man, Peter Llewelyn Davies in 1932. The two had something strangely in common. They’d each been the inspiration for the ‘dream children’ in the most famous children’s books of all time, Alice in Wonderland and Peter Pan. Under the sensitive direction of Rob Croser, Will Cox is controlled and totally believable as the troubled Peter Llewelyn Davies, a young man who, unlike his alter ego Peter Pan, had to grow up far too soon. A superb performance. As Alice Liddell Hargreaves, Pam O’Grady balances elderly Alice and the re-living of Alice’s wide-eyed, imaginative ten-year-old self with great skill. David Roach is very fine as Peter Pan’s author, JM Barrie. Domenic Panuccio is equally good, demonstrating the unsettlingly obsessive attachment to young Alice that Reverend Charles Dodgson (Lewis Carroll) appears to harbour. Ben Francis is fantastic as the forever- young boy of fantasy, Peter Pan. He provides a perfect contrast to adult Peter and epitomises a child’s outlook on life. Emma Bleby is also terrific in her role as Alice from Alice in Wonderland. Laurence Croft demonstrates his great versatility in his multiple roles, as Arthur Llewelyn Davies and Michael Llewelyn Davies, but particularly as Alice Liddell’s besotted suitor Reginald Hargreaves. “All the world is made up of faith, and trust, and pixie dust,” is a memorable line from Peter Pan. The audience leaves John Logan’s latest play with much to contemplate about those words, about the fragile child in us all and that childhood experience can either centre us in life or leave us lost in Neverland. Lesley Reed

Stalin puts a strikingly unusual and risky spin on this notorious figure from history; at times broadly comic in the manner of Alexi Sayle's Mussolini impersonation, at others you are struck with fear and revulsion at what Stalin shows a human being can become. Steve Marvanek's amiable features mask the insidious cruelty and ruthlessness of his character, yet his Vladimir is as nuanced and complex as the two central roles. Collaborators will grip you and involve you; it will make you chuckle and make you think. It is a happy instance of risk-taking in community theatre, one deserving to be rewarded. Anthony Vawser

Calvin Berger Book, Music and lyrics by Barry Wyner. Directed by Casey Gould. Lawler Theatre Southbank (MTC). 4 days only from Sept 10 - 13. CALVIN Berger is a nerd, who loves Rosanna, who in turn only has eyes for the new jock Matt (who thinks her name is Rubella) who is a hotty, but dumb as…. Throw in Calvin’s best friend Bret who loves him but believes she’s not worthy, and you have a four hander with a classic story in a contemporary setting with terrific music and witty lyrics and a great book. Casey Gould has gone for simple staging without the use of radio mikes. He doesn’t put a foot wrong in the staging and draws terrific performances from his four young stars. And it is the cast who are an absolute triumph. Teagan Wouters (Rosanna) is the most experienced and both she and the lovely Rebecca Moore (Bret) are totally convincing, though they may have fared better with mikes. But it’s the “Boys” who carry the night. Glen Hill, winner of the 2012 Rob Guest Endowment Award, is perfect in the title role. He has enough experience to burn the stage and yet there’s a sweetness he plays in the nerd’s lack of confidence that makes you want him to win from the outset. Robert Tripolino is not only a kickass composer and guitarist, he’s also a triple threat on stage with a warm personality, a lyrical voice and an endearing knack for comedy. The amazing Loclan Mackenzie-Spencer leads the three-piece band with himself on Keyboards 1. Variety Collaborators called it “A Cheerful Little Winner” but that’s underselling The Stirling Players. Directed by Megan Dansie. Written by John Hodge. Stirling Community Theatre. Oct 3-18. it. It’s exhilarating entertainment. A RICH and fascinating experience indeed, Collaborators Coral Drouyn represented quite an artistic gamble for the Stirling Players, but director Megan Dansie has once again lived up to her Guilty Pleasures reputation of staging high-quality theatre, gracing Adelaide Written and directed by Josh Robson. Music by Robert Tripolino. Lyrics by Hugo Chiarella. Chapel off Chapel (Vic). with a national premiere production to be proud of. Being a play about a playwright (who at one point Oct 9 - 12. writes a play about a playwright) is enough to give multiple WHAT do you do in your spare time when you are doing layers of intrigue to the proceedings; plotting the story 8 performances a week in Les Misérables? Well, if you are around real people - some more famous than others the multi-talented Josh Robson you form your own production company - Blue Saint Productions - and you makes the experience resonate satisfyingly (if sadly) as you leave the theatre. create a marvellous little one-woman show with original The acting ensemble is impressive across the board. Gary songs, and a classy performance from Angelique George is both rock solid and appealingly vulnerable as the Cassimatis. central character Mikhail Bulgakov, while Sharon Malujlo Guilty Pleasures is short (45 minutes) and consists of five evokes strong sympathy as his wife Yelena. Peter Davies' vignettes about women who have killed the men in their Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 63

lives. The writer (Robson) has been inspired by the humourously black “Cell Block Tango” and TV’s “Orange is the New Black”. Robson’s writing is deft and packs a punch, his direction simple but effective, aided by a terrific lighting design by Peter Amesbury. The five vignettes are different enough to each provide interest and variety. They’re beautifully performed by Angelique Cassimatis, dressed in all manner of clothes from the 1950s (where did they find the sensational girdle). She is quite spectacular and moves lithely like a panther through Amy Campbell’s excellent choreography. Then there is the music - excellent songs by Tripolino and Chiarella. It is surely only a matter of time before these composers reach the giddy heights of Broadway. Tripolino is Musical Director for an excellent 4 piece band. Remarkably, their first full rehearsal together was on the afternoon of the opening night. This is one of those shows which punches above its weight and surely deserves a return season. It’s enormously entertaining in all respects. Coral Drouyn

The Guys By Anne Nelson. Directed by Christine Grant. The Bakery, 1812 Theatre (VIC). Oct 8 - Nov 1. WE all remember the horror of seeing the planes slam into NYC’s Twin Towers on Sept 11th 2001, but we can’t even imagine the trauma of being on the streets of that city when it happened. Just 12 days later, with the whole city still shell-shocked, a grieving Fire Station Captain contacted a writer for help writing the Eulogies for the eight men on his team who had died in the tragedy. That meeting, and the eulogies that were the result, form the basis for this play based on a true story. Two terrific actors and a highly skilled director bring that process to life. It is painful, wistful, funny and full of anger and grief and poignancy. Damian Jones is Nick, a career fire chief, a good man who feels he has somehow failed his men by being alive. Jones gives a stunning portrayal of a man confused by a loss he cannot comprehend. Kathy Lepan-Walker is marvellous as Joan, a journalist who needs to help Nick through his grief in order to deal with her Wuthering Heights own. The two actors are superbly directed by Grant, who By Emily Brontë, adapted and directed by Nick Skubij. Shake slowly lets the characters discard their emotional cloaks and & Stir. Cremorne Theatre, Brisbane. Oct 1 - 18. reveal their vulnerability, in order to live again. In addition THIS wildly successful little company are back again with there is the exquisite guitar music by Jake Shimabukuro a production that has success stamped all over it. which provides the entr’acte. The three talented young co-founders, all actors, writers The play is showing at The Bakery - and it is definitely and directors, Nelle Lee (who celebrated her 30th birthday baked to perfection. on opening night), Nick Skubij and Ross Balbuziente, Coral Drouyn combine a deep understanding of the theatre business and a commitment to high professional standards. They The Suit specialise in productions that engage and attract school Directed by Peter Brook, Marie-Helene Estienne & Frank students and have achieved monumental successes with Krawczyk. Festival Theatre, Adelaide. Oct 4-12. recent adaptations of frequently-studied literary classics. SET against the backdrop of 1950s South Africa, this This is another title to add to their success list. utterly delicious black comedy focuses on neurotically Nick Skubij has pared down Emily Brontë’s dense Gothic perfectionist office-worker, Philemon (William Nadylam), novel to focus on the families and romantic relationships. whose neatly ordered existence is shaken up when he Ross Balbuziente, with his smouldering Latin good looks, catches his wife, Matilda (Nonhkanhka Kheswa) in bed with was born to play Heathcliff. In a moment of inspiration the another man company approached Gerry Connolly to play narrator Nellie The two lead actors have a strong chemistry together Dean. He accepted, and becomes a trump card in this and the nuances of their individual performances are production. fascinating. Nadylam is all comically nervous edginess in the I’m not sure to whom I should attribute star success of beginning and chillingly controlled fury towards the end. this play: Connolly and Balbuziente attract our attention but Kheswa radiates an aura of wistful yearning and longing for depend on the set, lights and sound design to establish the real human affection that is utterly heartwrenching. atmosphere of the Yorkshire moors. Shake & Stir’s regular The township in which the story transpires is as vibrant a creative team Josh McIntosh (set design), Jason Glenwright character in the play as the central couple. Ery Nzaramba (lighting) and Guy Webster (sound) achieve the cold and steals the show, playing a variety of locals, as well as wet misery of that region with help from optical bloc’s providing some amusingly sardonic narration. Live musical massive projections. Leigh Buchanan designed effective accompaniment is provided by Arthur Astier (guitar), Mark costumes. These all support the performances from Nelle Kavuma (trumpet) and Danny Wallington (piano), who also Lee (as Frances Earnshaw, Isabella Linton and Linton pop up in bit parts throughout the play. The musical Heagthcliff), Anthony Standish (Hindley Earnshaw and interludes cover an eclectic range of material, everything Hareton Earnshaw), Melanie Zanetti (Catherine Earnshaw from Nina Simone to Strauss, and the singing of both and Cathy Linton) and Julian Curtis (Edgar Linton). Kheswa and Nzaramba is stirring. Inspirational talent like this is hard to come by. Sets are minimal, consisting of only a few tables, chairs Jay McKee and clothing racks. But the dynamic blocking of Brook, Estienne and Krawczyk coupled with the energetic 64 Stage Whispers

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Hamish Michael, Justine Clarke, Jacqueline McKenzie, Toby Truslove and Chris Ryan in Sydney Theatre Company’s production of Children of the Sun. Photo: Brett Boardman

physicality of the cast is sufficiently evocative in conveying the setting. At 75 minutes, this would’ve benefited from an expanded length and the ending comes across as somewhat abrupt. Even so, this is both a hilariously funny and deeply thought provoking piece of work. Benjamin Orchard Children of the Sun By Maxim Gorky, in a new version by Andrew Upton. Sydney Theatre Company. Drama Theatre, Sydney Opera House. Sept 8 - Oct 25. ANDREW Upton’s very modern adaptation of Maxim Gorky’s Children of the Sun gives life to a 1905 Russian middle class family on brink of revolutionary catastrophe and yet also to any family today of indulged adults blind to their futures. Upton not only delivers this historical truth but tells it through the belated wisdom and ongoing ignorance of our own age - we know, at least, that revolution did eventually wipe away these essentially meaningless lives. Costume designer Renee Mulder shows a keen eye for period detail and David Fleischer’s revolving set keeps spotlighting the corners and chaotic hallways of this once proud aristocratic home. Life here still revolves around the experiments and childish ego of chemist Protasov (Toby Truslove) but the village workers now blame him for spreading disease and discontent. Protasov’s ignored wife (Justine Clarke) dreams of a requited love and flirts with an impossibly vain artist

(Hamish Michael). Protasov’s depressive sister (wonderful Jacqueline McKenzie) can see the political truth threatening beyond the gates but madly lets go of the desperately loving local vet (Chris Ryan). Everyone talks and pontificates about love, arts and other quests; but no one listens; the play’s first half is a torrent of non sequiturs from the impotent. Upton’s words and Kim Williams’ uniformly strong ensemble however underscores the truth and lightness necessary for some laughter. Helen Thomson, for example, is a comic standout as the rich widow infatuated with the boyish chemist and struggling against her own stupidities. Our emotional engagement is finally compete as the real world bursts past the gates. This is a masterfully directed production, true to 1905 Russia and yet heartfelt and bursting with political life. Martin Portus I Want To Know What Love Is By Daniel Evans. Queensland Theatre Company / The Good Room / Brisbane Festival. Sept 4 - 13 THIS delightfully engaging show is difficult to define. Director/writer Daniel Evans (recently announced winner of the 2014-15 Queensland Premier’s Drama Award) describes it as a performance Ode to love, celebrating the responses of 812 people of diverse ages and backgrounds who responded to a recent website The Green Room set up called wewantyourlove.com. Evans directed and led Lauren Clelland and the four actors (Carol Burns, Tom Cossettini, Caroline Dunphy and

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Ursula Mills and Tim Walter in Sydney Theatre Company and State Theatre Company of South Australia’s production of Kryptonite. Photo: Lisa Tomasetti

Amy Ingram), as well as Principal Designer, Kieran Swann, Lighting Designer, Jason Glenwright, Composer and Sound Designer, Lawrence English through an extensive improvisation process, examining recurring themes, styles of meeting up, longevity of romance, pain of breaking up, etc. Theirs is a brave examination of a broad canvas. The actors do not shy away from coarse but appropriate language here, personal detailed descriptions of first or later encounters, emotional turmoil - all the peaks and depths of love. With no scenery or furniture, just several microphones, clever lighting and music, ten plastic rubbish bags filled with rose petals and their own talents and bodies, the performers breathe life into memorable moments from anonymous people’s lives. If we in the audience are also seduced momentarily into moments from our own past, that’s theatre magic. This company nails it. Jay McKee Kryptonite By Sue Smith. Sydney Theatre Company and State Theatre Company of South Australia. Wharf 1 Theatre, Sydney. Director: Geordie Brookman. Sept 11 - Oct 18. THE metaphorical kryptonite examined in this terrific two-hander is the essential Chineseness that Sue Smith’s heroine Lian retains after years of being legally Australian; whereas her boardshorts-wearing hero Dylan is always and incontrovertibly from Planet Oz. Their 25-year on-off love story is told in a co-production of dynamic modern theatricality. The play’s span begins in 66 Stage Whispers

1989. Events — not in strict order — are marked by the actors painting the year on the absorbent, ruched walls of Victoria Lamb’s simple (and simply dynamic) setting. When they first meet, Lian (Ursula Mills) is a mousey, flat -broke student illegally working nights in Sydney’s Chinatown; and Dylan (Tim Walter) is a happy-go-lucky, full -frontal, left-winger. Their mutual attraction does not allow for an easy relationship and a first kiss is only gained 19 years later at the Beijing Olympics. Lian is now a businesswoman moving between the two countries and Dylan is a Greens Senator forever trying to do the right thing. Both actors work hard for the 90-minute, no-interval duration. Tim Walter is an appealingly lightweight politician. Ursula Mills is utterly delightful as the shy student determined to prove herself on this new and surprising planet: she grows and alters convincingly. At first they must exhibit the changing years with but four chairs and a handful of props, though the setting opens out surprisingly and, with the help of some outstanding lighting from Nicholas Rayment, even gives a good account of the Olympics Opening Ceremony. Frank Hatherley High Fidelity Music by Tom Witt, lyrics by Amanda Green, and book by David Lindsay-Abaire. Pursued By Bear. Chapel off Chapel. Sept 11 - 21. PURSUED By Bear burst onto the scene last year with a much-lauded production of Next to Normal, so it is natural

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that they would visit both Witt and Chapel off Chapel for their second production, an Australian premiere. However, there is a vast difference between the small cast/ small band N2N and High Fidelity, with its cast of 16 and a10 piece band, and what a band - just sensational (congratulations to Frankie Ross MD and her musicians). The space at Chapel is just too cramped for 26 people, so we’re struggling with a space which doesn’t work for the vision/cast size. The book is the worst element of the creative side, and is virtually non-existent in the second act where the plot could be summed up in three lines. That would be fine if there was a lot of rich character development, but there isn’t. The show is totally without real heart, real sensibility, real emotional connection. Thankfully Amanda Green’s terrific lyrics compensate in small part. Russell Leonard (Rob) has the right look, a charming smile and a lovely tone to his speaking voice, but he had pitch problems. Moreover, he seemed not to believe a single word he was saying, simply going through the motions in his performance. Simone Van Vugt (Laura) struggles with the poorly written role and with a radio mike that refused to work for her, despite her excellent voice. Rescue comes in the form of Liam O’Byrne (Dick) and Alexia Brinsley (Anna and Jacqui). These two offbeat performers possess great comic timing, terrific voices and real presence. Scott Mackenzie (Barry) is excellent, and Lisa Woodbrook (Liz) is terrific as the best friend who doesn’t want to choose between Rob and Laura. Of the rest of the hardworking cast Jason Bentley’s Ian is impressive and Caleb Jago-Ward is hysterically funny without dialogue, but often at the expense of upstaging. Naughty! Coral Drouyn Liberty of the Press, a celebration of untold stories of the Gold Rush. Presented during Melbourne Fashion Week by Barking Spider Visual Theatre. State Library of Victoria. Sept 4. THE show begins under the high dome of the La Trobe Reading Room in the State Library of Victoria, a fellow in 19th century attire strikes a large metal gong. Women in crinoline dresses glide through. Their dresses are of squares of newsprint bordered by gold. One woman plays a snare drum - and the distinctive boom of Chinese drums joins in. The women usher us into the Queen’s Hall with its columns and pink and white and gold, past a stature dressed in a ball dress of printed squares of 19th century newspapers. An original and quite unforgettable ‘fashion parade’ begins… In 1866, Mrs Matilda Butters, in the city of Melbourne, created her ‘Press Dress’ for the Lord Mayor’s Ball. It was an attention getting provocation. She printed headlines and articles from newspapers onto fabric and had made a dress that was a sensation, the talk of the town. (Indeed, it is the dress that we pass as we enter the hall; it survives - donated to the library in 1951.) There was no mention in any newspaper of the time of any woman or of the 40,000 Chinese on the goldfields. Director of this intriguing and moving tribute to Mrs Butters, Penelope Bartlau, began her thinking with Mrs Butters’ gesture. She later met fashion designers Sharmaine

and Dale Cornel and expanded the idea to honour the untold lives and stories of the time. In the Queen’s Hall, subtly lit by Richard Vabre, to Darius Kedros’ atmospheric sound design, we see women of many shapes and sizes, ranging in age from 22 to 63. They stroll, they cruise, they are curiously sensual. They make eye contact with one another. Each wears her own specifically bespoke distinctive and expressive (rather than ‘period’) ensemble of printed fabric costume and shoes. They create tableaux in which a series of emphatic gestures express both Chinese and women’s experiences and emotions. As the ‘models’ clear the space, Chinese drumming, cymbals and two superbly coordinated ‘dragons’ succeeded them. Part 3 of the evening is called, ‘Chinese Spectacle & Glowing Ladies’; this takes place on the forecourt of the library. Later, the creators explain this magical presentation. Ms Bartlau - charming and beautifully dressed herself - tells how she cast her non-professional ‘models’ and briefly rehearsed them, instructing them to exhibit ‘poise’. Working with the Cornels the aim was to ‘make every woman beautiful’. The shoe designers, Johanna Preston and Peter Zly, joined last, but found their inspiration in the Press Dress fonts and also went for the look of spats and added some humour. The ‘fashion parade’ in the Queen’s Hall is the highlight of the evening - provocative, moving, ‘feminine’ and slightly magical, and all without words. Liberty of the Press is a kind of ‘happening’, and just for this one night. Michael Brindley Hook Up Music, lyrics and book by Nick Hedger and Ben Nicholson. Directed by Ben Nicholson. Melbourne Fringe Festival. The Lithuanian Club Ballroom. Sept 19 - 26. HOW can two 23 year olds - Nick Hedger and Ben Nicholson - be so insanely talented in Musical Theatre? Their new offering, Hook Up, is full of marvellous music and great lyrics. It’s raw, as you would expect, but it is also, paradoxically, quite deep and sophisticated. Though settling on “snapshots” of Gen Y relationships there are mature universal themes at work …commitment, monogamy, open relationships, sexual boredom, the right to choose your own lifestyle. It’s broad…but also deep. The cast is nothing short of terrific. The fabulous Backward Anorak in the form of Michelle Brasier and Vincent Milesi, form half of the cast and Michelle also contributed to the script and lyrics. The lovely and talented Laura Johnston plays a variety of roles, from brittle to vulnerable, and impresses in all of them. Josh Elwood has a voice to die for and an endearing stage presence Then there’s Hedger himself… a kickass keyboard player and arranger, with a great voice, terrific acting chops and all the confidence and charisma anyone could wish for. Quietly hiding in the wings is member number 6 of this terrific team. Ben Nicholson must rue the fact that he looks about 17, but don’t let that fool you. There’s depth in his script and his direction, even when the show is at it’s

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Morrisons or following Blinky Bill Shorten aimlessly through the forest with his unionised koalas. Popular old TV shows remain a powerful inspiration for political good! Martin Portus Sons and Mothers By Alirio Zavarce. No Strings Attached Theatre of Disability. The Arts Centre, Gold Coast, September 9, and touring. I HAVE just enjoyed a wonderful piece of theatre, featuring six talented men Douglas Hansell, Jonathan Biggins and Amanda Bishop in Sydney who have turned their Theatre Company’s The Wharf Revue 2014 Open for Business. disability into their ability Photo: Brett Boardman. to entertain. Under the guidance writer, funniest, and it IS, very funny. He and Hedger share an director, performer and mentor Alirio Zavarce, they shared amazing talent. the special relationship each has or had with his mother Coral Drouyn several of whom appear on film during the performance. All six performers also collaborated on their individual The Wharf Revue 2014 Open for Business stories, bringing a special affection and their own humour Written and created by Jonathan Biggins, Drew Forsythe to each piece. and Phillip Scott. Musical Director: Phillip Scott. Lighting The gentlemen: Duncan Luke, Kym Mackenzie, Ryan Design: Matthew Marshall. Sydney Theatre Company. Rowland, Ricky Samai, Damien Turbin and Ben Wishart Wharf 1 Theatre. Oct 22 - Dec 20. performed like seasoned professionals; full of confidence LIKE a beloved TV sit com, the Wharf Revue team and energy. returns every year with ever new hysterical laughter and No Strings Attached Theatre of Disability is a that shared warmth of seeing an expert team again making contemporary theatre company that creates original theatre merry from cant and pomposity. Incredibly, creators through the unique perspectives of its disabled performers. Jonathan Biggins, Drew Forsythe and Phillip Scott have If you are fortunate to catch a performance by this been delivering it since 2000. fabulous company you will appreciate just what may be Onstage, Biggins has continually provided that central achieved when someone believes in and nurtures the compass to all that is best with this political satire - a wit in abilities of these performers. scripting and mad metaphor, a perfect still drollery in These actors reached for the stars and succeeded! presentation and rubbery skills at mimicry, as well as dance Roger McKenzie steps and song. As a performer, he’s joined this year by Scott, who doubles as musical director and pianist, by Bookworms regular Amanda Bishop and new boy Douglas Hansell. The By Bernard Farrell. Centenary Theatre Group (Qld). Sept 6 masterful Forsythe appears only in film, as new Speaker and 27. aspiring Dame, and an hilariously ancient Rupert Murdoch. THIS sterling piece of Irish theatre, imagined by Bernard Biggins finds good excuse to revive his glorious, now Farrell, is an inspired choice for this company: an Australian aged Keating who, with Amanda Bishop’s famed Gillard, premiere, its style appeals to the loyal patrons, CTG attracts can with sticks and soft shoe shuffle still throw the switch splendid acting and directing personnel, so we expect top to vaudeville. Bishop exemplifies the team’s artfulness with entertainment. That’s just what they gave us! her crystal portrayal of Julie Bishop as a perfected puppet of Director Brian Hinselwood chose a fine cast and UN proportions. And a Wagnerian version of Peta Credlin captured the distinctly Irish character of this book club who the Opera leaves no laugh unturned. dared to invite along husbands this time. Therein lay the Hansell’s singing adds to the quartet’s musical prowess comedy and drama of this entertainment. Ann (Joanne and his ranting version of Christopher Pyne as Christopher Smith) and Larry (Brad Ashwood) are hosting this book club Robin saying his Prayers shows his reach too for broad meeting in their home. English teacher Jennifer (Meg comedy. Hinselwood) and her bank manager husband Robert The miracle is that the laughs keep coming, whether on (Andrew Clulow) are participating, along with single M-Anus Island with Hassan’s Heroes, inbedded with the matron Dorothy (Dale Murison). 68 Stage Whispers

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Clever use of technology enables us to see skype communications between the hosts and their daughter (Eloise O’Brien) on holiday in Australia where something suggested but not actually said provides gist for scandalous conceptions in the second half of the play. Larry’s shadowy brother, Vincent, who lives ‘upstairs’, emerges in the second act to add grist to the gossip, scandal and character assassination in act two. Hinselwood captures the community ethos of such Irish groups. The company agreed that it really needed Irish accents. The cast convince us they are Irish. It is a very engaging play and deserves continued full houses. Jay McKee Angel Gear By Sven Swenson. La Boite and Pentimento Productions, with the support of QPAC. Roundhouse Theatre. Oct 14 Nov 8. YOU need physical and moral fortitude to survive this show. It plays 2.5 hours (including a 20 minute interval). Those who know any of Swenson’s earlier plays will appreciate his edgy style. This family of nine is clearly

dysfunctional. They have no respect or support for each other in their amoral lifestyle. I’d describe the first act as a family drama and certainly the final half hour as a thriller. I suspect those of you who endure the final 30 minutes will come away feeling emotionally wrung out! The family certainly survived hard times after they set up their cattle property. One can only admire their resilience there. When another family member, now married with a child and living in England, arrives to visit his brothers and sisters, his arrival disrupts their family pattern. In fact, the acting in that last half hour is riveting and memorable. Dan Stockwell as Gary, the English visitor; Sven Swenson as his father, Edge; and Kieren Law as Gary’s brother, Foz, will sear their performances into your memory. Top marks to the joint directors, Sven Swenson and Brian Lucas for achieving that apex of audience involvement. Congratulations too, to all the creatives, and to the other six actors. This is a theatre experience you won’t forget. Jay McKee

Reviews: Cabaret You’ve Got That Thing Written by Izaak Lim & Nick Maclaine. Bell Productions. Director/Producer: Analisa Bell. Musical Director: Mia Brine. The Butterfly Club. Sept 16-21. THIS tender exploration of Cole Porter’s work weaves a gentle, nuanced picture of some of his relationships. He was always just off stage and was made present through his impact on his wife, Linda (Brianna Williams), his lover, Edward (Mitch Roberts) and his star, Ethel Merman (Analisa Bell). They were supported by pianist Mia Brine. There was just enough dialogue to guide the audience through the story. Good use was made of the emotional truths captured and revealed in the songs to provide insight into the characters. Brianna Williams anchored the show with a delicate, understated performance. Her version of “Its alright with me” was heartbreaking. Analisa Bell brought focused, well crafted energy to the stage and while all of her singing had pizazz, her emotional rendering of “When a Women’s in Love” was moving. Mitch Robert’s rendition of “Love for Sale” made his character’s pain palpable. His character’s arc from youthful hero worship through infatuation and pain to love and understanding was strongly portrayed. The piano work of Mia Brine was supportive, though there were moments when the loudness of the playing was distracting. The staging was simple and effective. Lighting provided by Sam Duncan gave focus where required. The show celebrates Cole Porter’s work and illuminates his life and it is done with polish, respect and care. Ruth Richter

Tentación…taste the forbidden fruit. Conceived & performed by Cherie Boogart. The Butterfly Club, Melbourne. 5 October 2014 CHERIE Boogart ‘s show takes the form of a series of confessions, beginning with that of a seven-year-old girl. She has played a most disturbing game of kissy-chasey with a dark and tiger-eyed Spanish boy. Yes, Father, she let him catch her. And all things Spanish entered her soul: the language, the sound of the language and, most of all, the music. The confessions continue as the little girl grows up, trying so hard to resist temptation, to be a good little girl and not even notice, let alone think about boys. But it’s overpowering, it’s overwhelming - who will win? Jesus or the Devil? The confessions are counterpointed by songs - mostly in Spanish - of love and desire by such composers as Manuel de Falla, Rodrigo and Piazzolla. Ms Boogart sings these songs so well that you don’t care about the words. Her accompanist, Tommaso Pollio, matches her superbly with the intricate, percussive music. But she also underlines the irony and undercuts the songs with a cheeky or a knowing smile. The ‘concept’ may be contrived and most people won’t understand Spanish, but Ms Boogart gets away with it. She really can sing, she has presence, she’s attractive in her own original way and she has a kind of teasing sexiness which takes the audience into her confidence. And they seemed absolutely to love her. As we filed out, I heard, ‘Isn’t she marvelous? Oh, she’s wonderful!’ Michael Brindley

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Reviews: Plays

Ben Winspear and Mitchell Butel in Griffin Theatre Company’s Emerald City. Photo: Brett Boardman.

Emerald City By David Williamson. Griffin Theatre Company. SBW Stables Theatre, Sydney. Director: Lee Lewis. Oct 17 - Dec 6. WHEN David Williamson’s annual new play opens at Sydney’s staid Ensemble Theatre the mainly-older subscribers audience laugh from the off. But — guess what! — at this unexpected revival of his 1987 Emerald City by the committed, fiery Griffin Company a younger, trendier audience also laughed throughout and raised the roof at the end. Williamson himself, his publisher/writer wife and young family had followed the yellow brick road from sober Melbourne to gleaming, plentiful Sydney in the 80s. The play’s antihero Colin writes screenplays for Australian movies, a minefield that Williamson knew well. But the play is less about the differences between Sydney and Melbourne than about the Americanisation of local cinema. Williamson’s seething, satirical anger is dumped more on hollow Hollywood than on guiltless Melbourne. As Colin (fast-talking Mitchell Butel) struggles to keep his artistic integrity intact, so his socially conscious wife Kate (Lucy Bell) is drawn by the allure of money and fame. Colin’s siren is the grasping, talentless Mike (Ben Winspear) who moans that he can’t “pre-sell our movies to the States with unknown [i.e. Australian] actors in the lead”. Lucy Bell is quite wonderful as Kate — angry, tortured, treacherous, loving. The portrayal of 80s Sydney in Lee Lewis’s lightning paced, physically aware production is wonderfully aided by the participation of iconic artist Ken 70 Stage Whispers

Done, whose cut-up vision of the harbour forms a brilliant backdrop for the first half. Who wouldn’t sell their soul for a view like that! Frank Hatherley Other Desert Cities By Jon Robin Baitz. Ensemble Theatre, Sydney. Sept 4 - Oct 18. JON Robin Baitz’s ‘Xmas reunion from Hell’ family drama is smart, funny and bitingly confronting. Here it’s played up to the hilt by a cast that revels in the terrific dialogue and peel-away family secrets. “I don’t have a bigoted bone in my body,” declares Polly (Deborah Kennedy), the loudmouthed matriarch of the Wyeth family, as she welcomes her wary daughter Brook (Lisa Gormley) to her first Xmas at home (in Palm Springs) for 6 years. Brook’s a writer and a depressive, grieving the suicide of her loved elder brother Henry. Brook’s dad is Lyman (Ken Shorter), a Ronald Reganeque ex-film star, ex-rightwing politician. Also on hand for the soon-to-be-sabotaged revelries are younger brother Trip (Stephen Multari), a successful television producer, and Silda (Diana McLean), Polly’s fast-talking, ex-alcoholic sister. When Brook announces that her latest manuscript is not a novel but a memoir of her brother, what’s left of family solidarity collapses. Expertly choreographed by director Mark Kilmurry, the cast go at this spirited script with a passion — and with some excellent American accents. Ailsa Paterson’s open setting does what it can to evoke heat, encroaching desert

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and retirement riches, but a much larger budget was clearly required. Lisa Gormley is compelling as the fervent, unhappy Brook; Deborah Kennedy powerfully mixes threats, putdowns and uncomfortable family lore. Frank Hatherley

performance of this examination of what it is to be yourself. In particular, Ian Croker’s rendition of a frustrated workingclass father concerned for his boy was entirely consistent and restrained. But special mention must go also to the chorus, whose wonderful control of horse-head frames imbued the stage fully with the spirits of six horses through the exact motions with which we’d see real horses respond Amadeus to the events around them. By Peter Shaffer. Heidelberg Theatre Company. Sept 11 -27. Costuming and props played little part in this WHEN a community theatre company decides to take production except in being consistent with the times. on this staggering “star” vehicle, you might expect it to Repertory’s set was adaptable, convincing, and particularly “approach with caution”. Not the case when the “star” is original; its lighting enhanced the edge-of-sanity an actor of the calibre of Angelo De Cata. But this isn’t a atmosphere that parts of the play required; and the creative sound track merged in perfect time with live events. one-man show. This is a beautifully staged production of the highest quality and director Bruce Akers has endowed it John P. Harvey with his usual quest for excellence. The set (by George Tranter) is simple but truly effective. The lighting design by Miss Julie & After Miss Julie Deryk Hartwick is everything one could wish for, and the By August Strindberg and Patrick Marber. Directed and same can be said George Bissett’s sound design. The Designed by Geoff Brittain. University of Adelaide Theatre costumes and props are mind-bogglingly lavish and totally Guild. Little Theatre. Oct 4-17. appropriate. It’s a visual feast. STRINDBERG’S Miss Julie, as staged in two versions by Mark Briggs is an excellent Mozart, though has perhaps the University of Adelaide Theatre Guild, is a psychologically too much physical stature. He’s clearly a natural and valid tale about believable people in credible situations and embodies the childish (and childlike) crudity of Amadeus as relationships. The three character roles are performed with Shaffer defines him. Cat Jardine (Constanze) plays Mozart’s great focus and intensity, the set and its props are wife with an east London accent, the girl from the gutter. impressively detailed and evocative, Scott Cleggett's lighting Paul Kennedy is impressive as Count Franz Orsini design is striking at times, and Ben Todd's costumes are Rosenberg. Paul Schmidt (Emporer Joseph II), Don simply superb. Nicholson (Count Von Strack) and Jim Thomson (Baron Van All of these elements would seem to amount to an easy Swieten) all add their talents to the mix, and the two recommendation - and yet - the experience of sitting Vinticellos - Pedro Ramos and Blake Stringer - are an through successive versions of Miss Julie's tale of woe and absolute delight whenever they take the stage. The smaller strife was something of an endurance test for this critic. roles are also played with great commitment. Perhaps drama students and scholars would find it And then there’s Salieri… for me, Angelo De Cata is enlightening and exciting to view and compare two simply one of the finest actors I have seen on any stage at (ultimately very similar) versions of the same story on the any time. De Cata is Fire and Ice. The foppish wellone evening, but a general audience is more likely to find it mannered Court musician plays the sardonic two faced enervating and exhausting. patron to perfection. There is the Ice. But then comes the The concentrated and claustrophobic nature of this story Fire as he explodes in a blazing inferno of passion which demands performers of great strength and stamina as well literally knocks you back in your seat. It’s an excessive as sensitivity. In general, Rosie Williams, Cheryl Douglas and performance….but perfect. Nick Fagan are to be commended for demonstrating all of This is a marvellous night of quality theatre. the aforementioned qualities. Coral Drouyn If it is possible to recommend Miss Julie, that recommendation would be to experience the story one Equus interpretation at a time, and if the idea of seeing the other By Peter Shaffer. Canberra Repertory. Directed by Barb one intrigues you, then pay a return visit by all means. Barnett. Theatre 3, Canberra. Sept 26 - Oct 11. Anthony Vawser EQUUS is a most remarkable play. Written for an intelligent, perceptive, thoughtful audience, and largely A Doll’s House featuring an almost prescient psychiatrist and his young By Henrik Ibsen, in a new version by Lally Katz. La Boite. patient, this recursive examination of motive, meaning, and Roundhouse Theatre. Sept 6 - 27. ability lays bare perhaps even more than two of the leads THIS is the finest piece of theatre I have seen this year! I do in the play’s sex scene—and they laid bare everything. recommend it wholeheartedly to all Brisbane Festival visitors Leaving aside the implausibility of the psychiatrist’s envy of who enjoy live theatre. a morbid religious ecstasy, its major weakness lies in its Lally Katz adopts an accessible modern prose style, failure to reveal a credible explanation for the patient’s salted by repetiteur passages. This works nicely, requiring condition. neither an orchestra nor actors with trained singing voices. Casting was not entirely fortunate, in my view, but the The whole production is visually stunning and performed actors were convincing enough to give a powerful beautifully. Longer versions of many reviews can now be found at www.stagewhispers.com.au

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Credit there to Designer Dan Potra (backed ably by Costume Makers: Millie Adams, Bianca Bulley and Michelle Wiki; and Wardrobe Coordinator Nathalie Ryner). Even his actors are coloured to match their costumes! Director notorious for his edgy style, Steven Mitchell Wright, wielded his whip to great effect on Helen Christinson (Nora Helmer), Hugh Parker (Torvald Helmer), Cienda McNamara (Christine), Chris Beckey (Krogstad) and Damien Cassidy (Dr Rank). As the door bangs on Nora’s departure from her home and marriage, and we shuffle out of the theatre, it is with the belief we have just experienced a memorable piece of classical theatre. This production provides many themes for discussion: Is it about marriage in general or about women’s suffrage in the late 19th century? Who triggered the women’s suffrage movement - Ibsen in this play? Did Lawyer and later husband of Emmaline Pankhurst in 1870 and 1822 start it with his legislations to allow women to keep their own possessions, money they had earned themselves, bequests and endowments at separation? Go see for yourself! Jay McKee

Rabbit Hole By David Lindsay-Abaire. Villanova Players. The Theatre, Morningside TAFE, Brisbane. Aug 29 - Sept 13. RABBIT Hole is a very good and well-written contemporary play on a subject we have seen frequently dramatised on TV - how a family deals with the accidental death of a child. Becca, a former Sotheby’s employee, is a stay-at-home mum, and when her 4-year-old son is killed in a car accident, her whole reason for being is called into question. In Villanova’s production Jacqueline Kerr gave a nicely nuanced and natural performance in this pivotal role which was only marred by the fact that her delivery was so lowkey at times she could barely be heard past the first row. As her husband Howie, Dan Kennedy was clearly a man suffering internally and trying his best to cope with his wife who continually rejected his advances both caring and amorous. His anger at her accidently taping over a video of their son was tellingly effective. Meagan Lawson was strong as the extroverted younger and newly pregnant sister Izzy, while Villanova veteran Mary Woodall’s crass, funny, and no-nonsense mother Nat was uncannily believable. Shane Fell’s portrayal of Jason, the boy who was driving the car that killed the child, had a nice empathy, particularly in the As You Like It reading of his letter to the parents. By William Shakespeare. Spark Theatre Company. Brunswick Leo Bradley’s set of the family’s middle-income home Art Space (VIC). Sept 25 - Oct 5. worked well, with first-time director Andrew Heron’s clear NO resources here except talent and Shakespeare. Spark, understanding of the script evident, even if his cast never a company who clearly love what they’re doing, give us played it with American accents. Shakespeare’s comedy of the sexes in a concrete floored old Peter Pinne garage or workshop off a lane in Brunswick. It’s chilly and the seats are hard. Let not this be a deterrent. Spark delivers Checklist for an Armed Robber a delightful night of playful, witty theatre. How? Director By Vanessa Bates. Stooged Theatre. Civic Playhouse, Perri Cummings’ unobtrusive, no gimmicks direction. Newcastle. Oct 15 - 18. Second, these people not only understand what they’re VANESSA Bates’s play breaks the rules of conventional saying - and say it clearly, so that we can understand it too theatre. It brings together two seemingly unrelated stories - they trust the text. happening on opposite sides of the world; has four actors As You Like It is one of Shakespeare’s forays into the playing up to seven roles each and often moving from one forest - that is, Nature, where anything, including failure to story to the other in mid sentence; and the narrative is recognise the very person with whom you fell in love just packed into a tight one-hour running time. hours previously, can happen. The plot is so contrived that But, as this production showed, her writing, together it creaks, but Shakespeare’s interest is in the four romantic with an excellent cast, direction and technical team, made relationships and the plot is merely a clamp to keep the Checklist for an Armed Robber gripping entertainment. characters in the forest. Bates interweaves two events that took place on the Shakespeare enjoys gender-bending games, the thrust same day in Newcastle and Moscow in 2002, with people of which seems to be that ‘love is love’ and attraction of being threatened by gun-wielding males in both places and one to another bypasses gender roles. a woman at each trying to talk the perpetrators into ending Wendy Bos as Rosalind is wonderfully clear and displays the confrontations. all the intelligence Shakespeare gives the character. A The Newcastle action had a desperate young man standout is Michael Wahr as a spunky Orlando; romantic armed with a sawn-off shotgun trying to rob a lone female passion, naïve sincerity, rages and goodness are all bookshop attendant. In the Moscow crisis, rebels from convincing. Another is James Gand-Hunt as shepherd and Chechnya, a former Russian state that had been brutally spurned lover Sylvius: nicely judged physical comedy plus invaded by Russian troops, took over a packed live theatre perfect comic timing. Thank you, Spark, for this engaging, in an attempt to get the world’s media to report what the funny and brave, almost unadorned As You Like It. Russians were doing to their country. A female journalist Michael Brindley tried to persuade them to let the audience members and theatre staff go, but Russian commando actions led to the deaths of all the Chechens and 90 hostages. 72 Stage Whispers

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Bates notes the circumstances that led to the events and shows how they impacted on the culprits and victims, with the action moving between the two places in Joel Yager’s realistic set design: elegant theatre seats backed by a decorative wall on one side, and packed bookshelves, a ladder and a small table on the other. The actors, under Chloe Perrett’s direction, made instant character changes. In their main roles, Mitchell Cox brought out the desperation of the would-be robber, Callan Purcell (a late replacement for an originally cast actor) gave decency and determination to the Chechen leader, Angie Diaz’s bookseller, keeping her cool with a gun pointed at her, persuasively quoted from books, and Janet Gillam’s journalist had a mix of sympathy and a grip on reality. Ken Longworth Eurydice By Sarah Ruhl. Red Stitch Actors Theatre, St Kilda (Vic). Sept 3 - Oct 4. DIRECTOR Luke Kerridge’s enchanting vision, plus some beautiful acting, can’t quite dispel the enigma of Ruhl’s play about love and loss. The beautiful prose borders on the poetic and touches the soul, yet leaves the mind with little to ponder. Emily Collett’s multi levelled set, with it’s various platforms suspended above real water, is quite breathtaking…the creation of a “room” from unravelling balls of string from the roof is quite magical, and Kerridge uses the design so imaginatively that we believe completely in this underworld. Claire Springett and Ian Moorhead (lighting and sound respectively) totally share the vision. Ngaire Dawn Fair is a delight as Eurydice. A child/ woman, both in love and in pain over two men, Orpheus and her father, her Eurydice is both innocently romantic and knowingly coquettish, and ultimately shallow. Her scenes with the superb Alex Menglet (Father), an actor who just gets better with every outing, are quite marvellous. Jonathan Peck is Red Stitch’s graduate actor this year in just his second production with the company. He embodies this contemporary Orpheus with sensitivity and creativity. He’s one of those actors you swiftly put on your ‘must see’ list. Dion Mills, in both his incarnations of ‘The Dark Lord’, is charismatic and, as the childlike Lord of the Underworld in his colourful plastic boat and cardboard crown manages to be endearing as he repels us. As the three Stones, Loud, Big and Small, Olka Makeeva, Sam Duncan and Alexandra Aldrich are more than just a Greek Chorus. Each has found their own idiosyncratic character and their tableaux in repose are quite stunning. So much is astonishing about this production that I’m not sure why the play itself ultimately disappointed me. Nevertheless, this is beautiful theatre. Coral Drouyn Cash on Delivery By Michael Cooney. Ballina Players. Players Theatre, Ballina. Sept 5 - 20. GREAT casting makes this comedy a fantastic piece of theatre. Mary Richards has assembled a talented group to

Eurydice. Photo: Jodie Hutchinson

bring Michael Cooney’s side-splitting comedy to the Players Theatre. Heading the line up are Michael Sheehan, Dylan Wheeler, Clem Halpin and Brian Alston, ably supported by Alexander Ellen, Simon Dubber, Peter Spill, Murray Hand, Tilly Todhunter and Ellie Kelly-Lloyde. With the current Federal Budget debate being drawn out and the need to conserve Government funding, this play dealing with multiple Social Security scams may explain why the Treasurer wants to introduce stringent belttightening policies. The pace in Act 1 was a little slow while the audience learnt who was fiddling and who was paying but with that out of the way it was full steam ahead and Act 2 set a flying pace which had the audience rolling about in fits of laughter. Michael Sheehan and Dylan Wheeler commanded the stage at every opportunity with their slick repartee of fibs and counter fibs, convincing the Government Officials, doctor, undertakers and everyone else that whatever was said was the gospel truth. Full marks must be given to the faulty washing machine that never missed an entrance and spewed bubbles on cue. Roger McKenzie

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Stage Whispers 73

Europe. Photo: Kurt Sneddon.

Romeo and Juliet By William Shakespeare. Gold Coast Little Theatre, Southport. Aug 30 - Sept 20. JAMES Anderson’s production of Romeo and Juliet has assembled a great 15 member cast for this tale of the starcrossed lovers. In the title roles, Jack Harbour and Stephanie Toft are supported by some of the Coast’s most experienced performers: Tara Page, Noel Thompson, Kate McNair and Joel Beskin leading a worthy band of players. The production had pace, action and emotion. Minimalism is fine, but in this production (I feel) it was taken too far. Those audience members who were not familiar with the story would have found it hard to follow the plot just by listening to the Shakespearian dialogue which (on numerous occasions was hard to hear) without the “visual” support of period costumes, suitable scenery and props, all of which were left to the audience’s imagination. The technical side of the production added greatly to the success of the play. Creative lighting and appropriate music enhanced the ambience of Verona in the sixteenth century. Roger McKenzie

On the surface Europe is a very funny, very witty farcical look at a clash of cultures through rose coloured romantic glasses. But its much more than that and in order to do the script justice, director James Beach had a challenge on his hands to find two actors who could handle such a sophisticated script without it turning into a Christmas lunch with a massive ham front and centre. Enter Pippa Grandison (Barbara) and Andrew Henry (Douglas), the dynamic duo. Grandison (known for her musical theatre ability) hilariously embodies the tortured, melancholic Barbara and Henry answers this with all of the funny antics of the good old Aussie backpacker. Both have impeccable comic timing and neither slip into silly cliches which can tend to happen when playing a stereotype. Europe makes a you consider the world, where it's at, where you're at in it and why we haven't seen more Gow productions in recent times. A reminder of another great Australian playwright - not to get all culturally cringey or anything. At around an hour this is a short sharp trip to Europe. Whitney Fitzsimmons

Shirley Valentine By Willy Russell. Laughing Horse. Koorliny Arts Centre. Sept Europe 5-13. By Michael Gow. Slip of the Tongue. Seymour Centre DIANA Oliver did justice to the heroine of Willy Russell's (NSW). Sept 10 - 21. one-woman show. A very likeable performer, Diana was FOR a play that made its debut in 1987 Michael Gow's believable as the middle-aged, frumpy Liverpudlian Europe is remarkably current. Really not a lot has changed housewife who undergoes an amazing personal transformation and learns to love herself. This actress had in terms of the Australian desire to pursue global culture overseas, particularly in Europe, rather than explore what's the audience behind her every word, with the murmurs of on offer domestically. I'm sure each you have plenty of assent clear proof of the audience's absorption. While not friends on Facebook who are sharing their snaps right now. always fluid of delivery, she clearly inhabited the character, maintained the accent beautifully and we felt confident of 74 Stage Whispers

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her ability to carry a full-length monologue performance. There was a lovely sense of character journey. Adam Salathial's direction appeared supportive, with set design having good attention to detail and Alex CouttsSmith's lighting simple and subtle but appropriate. Sound design, particularly the musical introductions (Adam Salathial and Diana Oliver) were a lot less subtle, but were nicely chosen and gave a clear and quirky sense of mood and place. Shirley Valentine was clearly a popular choice with the audience and this pleasant, capable production provides a pleasant and entertaining diversion. Kimberley Shaw

Boyce chose his cast and crew carefully and they served him well. The action moves along steadily, gathering us up emotionally as it goes. Andrew Lowe as McMurphy, the dynamic protagonist and his antagonist, Victoria Costa (Nurse Ratched) shine in their parts among this assortment of medical mental confusions. They are helped by a simple but formidable set (triumph for Chancie Jessop) and challenging lighting and sound designs [Ryan McDonald and Ruby Tuesday resp.] Others who caught our attention were Shaun King (Chief Bromden), Thomas van Kalken (Billy Bibbit), Greg Scurr (Dale Harding), and the quiet and thoughtful Dom Tennison (as Dr Spivey). There was strength and confidence in the other supporting characters, too many to mention individually, but they should also take August: Osage County a bow. By Tracy Letts. Free-Rain Threatre. Directed by Cate Clelland. Jay McKee The Courtyard Studio, Canberra. Oct 17 - Nov 2. FOR those who have seen the film of the same name, Romeo and Juliet August: Osage County will present no plot surprises. By Shakespeare. THEATREiNQ. Queens Gardens, Townsville. Sept 16 - 28. Regardless, this production of the play is an unmitigated delight, beginning with the large, detailed setting staging IN a year which has popularised Romeo and Juliet, no effectively incorporating most of a family home. northern production has equalled the emotional charge of The play’s several plot faults, all minor, are easy to THEATREiNQ’s Shakespeare under the stars. forgive in a play that is otherwise so strong. The family The setting was an intriguing combination of iconic complex maintains your focus through unexpected turns of images of the Christian world bordering the central image events and deftness with language in which even the of death - an immediate reminder that we were about to profanities seem entirely natural. enter into the world of a tragic tale. The imposition of It’s difficult to single out specific aspects of this scaffolding upon these decaying images gave the production for special mention; it is entirely exceptional. impression of a restoration project, and this was certainly Lighting focused attention where needed even while activity what director Terri Brabon achieved by giving the traditional continued quietly on other parts of the stage. Props, small aspects of Romeo and Juliet a radical facelift. and large, contributed much to the rule of entropy over the In the title roles, James Thomasson presented a household’s fate, and a soundtrack managed to inject passionate Romeo whose sincerity brought absolute atmosphere as well as to bed the play in a particular time credibility to his character. Anna Wallace as Juliet brought a and place. rebellious, head-strong adolescent to the stage. But the production’s greatest delight was its acting. Brendan O’Connor did not disappoint with a powerful Gesture, facial expression, timing, and pace of delivery, in and sometimes violent portrayal of Lord Capulet. actors who have managed good performances in other It was pleasing to see Terri Brabon take on the role of productions, broke fresh ground here, all convincingly; the Nurse. The moments of visual comedy and brash every character was engaging. The genuine responsiveness attitude brought this character into a much stronger of each character to the others was mesmerising. Their representation of the role than expected. seemingly spontaneous interactions and emotional honesty Other noteworthy performances came from John evidently reflect a very strong directorial talent as well as Goodson as a comic Peter, Ron Pulman as Tybalt and inherent acting ability. Robert Street as an imposing Prince Escalus. John P. Harvey A balmy spring evening in parkland surrounds, combined with an innovative production made Romeo and One Flew Over The Cuckoo’s Nest Juliet a sensory delight. Adapted for stage by Dale Wasserman from Ken Kesey’s Donna Ahlers 1962 novel. Brisbane Arts Theatre. Oct 4 - Nov 1. BRISBANE Arts Theatre boasts that it can present literary Beyond Babylon classics in their stage version, and do them well. This is By Gabriel Bergmoser. Bitten By Productions. The Butterfly another typical example. Club. Aug 17 - Sept 14. I’m assuming director John Boyce relied on Wasserman’s SET in a dysfunctional future time Jericho wakes in his stage script. His adaptation cleverly manages the book by hotel room to find a stranger, Clara, holding him at simplifying the unwieldy range of the characters to 16. I gunpoint and demanding to know why she should not kill don’t think anything significant was lost. His version still him. He has been declared to be useless to society and, as leaves us with much to think about as we deal with how an enforcer of the ruling cartel, she has been sent to we treat our mentally-ill patients these days (especially as eliminate him. this was playing through Mental Health Week!). Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 75

Maxine Grubel as Pearl and Allison Scharber as Olive in Summer of the Seventeenth Doll.

This two-person thriller written and directed by Gabriel Bergmoser explores the question of a person’s worth in a society running out of resources to feed a growing population. Beyond Babylon has Jericho and Clara playing “lifeboat” - justify your existence or be killed. Dhania McKechnie (Clara) and Finn Gilfedder-Cooney (Jericho) do a great job in keeping the audience glued to their seats as the battle for survival is played out both verbally and physically on the tiny stage of The Butterfly Club. The final resolve exposes just how more complex and dangerous the game was. The staging of this drama in a tiny theatre, up multiple flights of stairs in a building accessed by a back lane, was perfectly in keeping with the tone of the piece. Staging was simply 2 chairs and a table in front of a well-worn velvet curtain and it became a seedy hotel room. Lighting was simple and stark, again perfectly matching the work. Beyond Babylon is edgy, dark and thought provoking. It would make a terrific film. Shirley Jensen Summer Of The Seventeenth Doll By Ray Lawler. Therry Dramatic Society. The Arts Theatre, Adelaide. Aug 21-30. THERRY Dramatic Society’s production is a bold, energetic and daringly ferocious assault on the senses that injects fresh passion into the material and offers an intelligent perspective on days gone by. Much of Therry’s success is due to the strong cast, who all inject surprising, unexpected nuances into iconic characters. Rodney Hutton has blokey affability to spare as Roo, but also invests the character with a perceptive 76 Stage Whispers

intelligence and tragic self-awareness that makes his eventual fate all the more poignant. Glen Christie, as Barney, never lets the audience lose sight of the vulnerability and insecurity that lurks beneath his façade of puerile macho posturing. Allison Scharber plays Olive with a sometimes chilling note of childlike innocence, and is well matched by Penni Hamilton-Smith, by turns creepy and hilarious as Olive’s overbearing mother. Eleanor Kay makes for a winning contrast to these two overgrown “womanchildren”, playing 22-year-old next door neighbour, Bubba, with a charmingly precocious pragmatism. Maxine Grubel and Jonathan Johnston also shine as Pearl and Johnnie, playing these characters with a deep sense of empathy. These surprisingly complex and multi-layered interpretations of the characters are enhanced enormously by director Jude Hines’ inventive blocking. Nick Spottiswoode’s detailed set and Ian Rigney’s colourful costumes are also eye catching. As an added bonus, excerpts from a 1948 documentary called “The Cane Cutters” are projected onto the curtain during scene transitions, offering some fascinating insights into a way of life now vanished. Benjamin Orchard Misalliance By George Bernard Shaw. Adelaide Repertory Theatre. Directed by Brian Knott. The Arts Theatre, Adelaide. Sept 11 -20. HYPATIA (Anna Bee), daughter of insecure underwear tycoon Tarleton (Lindsay Dunn) is engaged to be married to the foppish Bentley (Simon Lancione), son of the distinguished Lord Summerhays (Peter Bleby). Tarleton invites the prospective in-laws round to his country estate in Surrey for a spot of afternoon tea, and things do not go well, with Bentley alienating Hypatia’s brother (Mark Drury) and mother (Julie Quick) with his crassly childish behaviour and intellectual elitism. Just when it seems like things can’t get any worse, an aeroplane crashes into the conservatory, throwing two bemused adventurers (Adam Tuominen & Leah Craig) into the mix, and a wannabe revolutionary (Leighlan Doe) shows up at the house with the intention of assassinating Tarleton, whom he perceives as the embodiment of capitalist evil. The plot is little more than an excuse to set up a series of heated debates between the characters, who are caricatures rather than fully rounded human beings. What keeps the play afloat is the biting wit of the dialogue. Some first night jitters were in evidence, but despite the odd flubbed line the cast deliver performances of ferociously passionate intensity. The set immediately impresses with its level of homey detail, full of knick-knacks which give the room character. The costumes are superbly evocative of the time period, the lighting and sound subtly effective, the blocking well timed for maximum comic effect whilst not straining believability too much. Benjamin Orchard

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front and position themselves behind the singers. Conductor Phoebe Briggs did a magnificent job controlling all these forces from the side of the stage. There were almost fifty singers on stage at various The Pearl Fishers times, none less than competent and many quite impresBy Georges Bizet. Libretto: Eugène Cormon and Michel sive. As you would expect in music based on the 12th Carré. Melbourne Opera. Director: High Halliday. Musical century, much of it was unison, though different groups Director: Richard Divall. Athenaeum Theatre, Melbourne: would be singing different music. Occasionally the Three Sept 19 - 30. Wise Men would break into harmony. THE Pearl Fishers is not one of the more popular operProbably the biggest and most difficult role was that as, but it does include the best-known operatic duet and of the Archangel, sung by coloratura soprano, Elizabeth two of the best arias in the French repertoire. Barrow. Her clear, bright voice never faltered and she had Melbourne Opera put up a strong case for this opera, some difficult music to sing. The Three Wise Men - Dylan though the singers took a while to warm up. Tenor Rob- Casey, Raphael Wong and Daniel Carison - were strong ert Barbaro seemed a bit under-powered and the famous and worked well together. duet with Michael Lampard in the first act lacked the exKiran Rajasingam looked too nice to be the evil Herod pected excitement. He then redeemed himself with some but his death was dramatic. As his son and murderer, Jabeautiful singing in his aria and duet with Leila. Then, cob Lawrence was impressive as Archelaus and Luke Belle when the chorus opened up, he easily cut through. was very funny as the nervous Armiger. Shajeda KalizkiAs Leila, Barbara Zavros seemed a bit out of sorts in Abedin sang beautifully as Rachel, mourning all the infant the first act, her voice being uneven at the top, but, like sons slaughtered by Herod’s soldiers. Robert, she sang beautifully in her aria and duet with him, The costuming worked well and the direction was efand generated real excitement in her last act duet with fective. There were no dead spots and everyone was well Michael. drilled. The music was exciting, particularly the timpani. As Zurga, Michael Lampard was a tower of strength With so many young singers doing so well this augurs and sang magnificently. The role of Nourabad is written well for opera in Victoria. for a bass and though Matthew Thomas had the height Graham Ford and presence for the role, he does not have the weight of a real bass, so the role lacked impact. Werther The chorus singing was excellent, and having four Lyric Opera of Melbourne. Director: Suzanne Chaundy. dancers gave an impression of movement without the Conductor: Pat Miller. Chapel off Chapel. Oct 18 - 26. chorus having to participate. The small stage was very WERTHER is a rarely performed opera, the usual fare crowded, particularly with an enormous rock covering a for this company. fair proportion of the area. There were times when the We got an innovative production with a minimalistic chorus had to rush on or off stage, and I felt by utilizing set. The main stage was built up to allow the orchestra to the younger choristers more effectively this would have play on the front part of the stage area below the singers. worked better. Various pieces of furniture were brought on for different The orchestra under Richard Divall did well and the scenes. costumes were colourful. Set in the present, Charlotte read Werther’s letter on Graham Ford her iPad, with Sophie taking selfies on her phone. The passionate Charlotte of Margaret Plummer domiThe Play of Herod nated the production. Margaret has sung in Vienna and By Richard Mills. Victorian Opera. Conductor: Phoebe with Opera Australia and her lovely mezzo showed no Briggs. Director: Libby Hill. Newman College, Melbourne sign of strain, even in the more emotional parts of the University. Oct 2 - 4. score. I WASN’T sure what to expect of The Play of Herod, a Soprano Daniela Leska also impressed as Sophie with new composition by Richard Mills of a 12th century litur- her unforced tone and vibrant personality. As Werther, gical drama all in Latin, and sung by the Victorian Youth Shanul Sharma had no trouble with the high tessitura, Opera. but a fuller tone would have been more appropriate. He I was blown away! and Margaret worked well together. The venue was a coup for a start. Newman College, Baritones Bruce Raggatt and James Payne were strong with his extremely high ceilings and wonderful acoustic, as Albert and Balliol. The small orchestra did sterling work was enhanced by having some of the singers and instruunder Pat Miller and the small group of children sang mentalists in the organ loft at the back. The rest of the confidently. orchestra was situated on the sides of the main stage and An excellent effort from this innovative company. at various times the brass players would walk up to the Graham Ford

Reviews: Opera

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Stage Whispers 77

Reviews: Musicals

LOVEBiTES. Photo: Pia Moore.

LOVEBiTES By Peter Rutherford and James Millar. Wooden Horse Productions. Hayes Theatre Co, Potts Point (NSW). September 10 - October 5, 2014. LOVEBiTES is a bright, lively, neatly structured revue style musical, where several stories of that first flash of love / lust are introduced in a series musical sketches in act one, then developed in act 2, as we’re taken forward in time to a crunch moment in each relationship. There’s even a minimusical with Sondheim references for the aficionados. Small cast musicals about dating and relationships are nothing new, like I Love You, You’re Perfect, Now Change, but LOVEBiTES lands with a genuine Australian voice. One great joy of the rise of independent Sydney musical theatre is seeing talented triple threats emerge from the ensemble and really strut their stuff. Tyran Parke is widely admired by musical theatre audiences thanks to a considerable body of excellent work; he’s probably the best-known cast member. Others truly deserve to be better known. Wider audiences will soon get to see Kirby Burgess take on the role of Baby in Dirty Dancing. Adèle Parkinson’s opportunities to step out in the pink as Elle in Legally Blonde were all too rare. Both display star quality and range in abundance in LOVEBiTES. Shaun Rennie reminds local audiences of his versatility after 18 months working in the UK. Ellen Simpson’s choreography is snappy, and knowingly in on the joke as required. Becky-Dee Trevenen’s costumes frequently join in on the gag too, also supporting the 78 Stage Whispers

production’s quick turnarounds by helping establish new characters promptly. Jack McCutcheon’s sound mix generally establishes an excellent balance between the cast and Stephen Kreamer’s impressive backstage four-piece band, located backstage. The versatile LOVEBiTES company deliver a mix of comedy, pathos, humanity and downright screwball across solos, duets and ensembles, in an enjoyable intimate evening of all-Australian musical theatre talent. Neil Litchfield Parade Music and lyrics Jason Robert Brown. Book by Alfred Uhry. Directed by James Cutler. The Collective. 45 Downstairs, Melbourne. Sept 18 - 28. IN one remarkable night we grew angry and outraged, had our hearts broken, and stood and cheered the birth of a new theatre company - The Collective - and its gift of Jason Robert Brown and Alfred Uhry’s multi award winning Parade. The true story of a quiet and dignified Jewish businessman, accused of an horrific crime he didn’t commit, and the travesty of a trial that follows, hardly seems ideal for a musical, but the rewards are enormous, the music glorious. Luigi Lucente is Leo Frank. Quite simply he is superb. Unless you saw him play the title role in Pippin for Magnormos, his monumental talent is usually buried in the ensemble - and that’s a tragedy. Laura Fitzpatrick (Lucille Frank) gives a stunning performance as the southern belle who discovers her inner

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strength to save the man she loves. As always the voice is beautiful, but this time the book gives her scope to really develop the character’s journey. Cameron MacDonald is assured and in great voice in a number of roles, Todd Strike brings his fabulous tenor to the fore as the corrupt prosecutor Dorsey and Timothy Springs possesses a voice of rich quality and is perfect as the black janitor who lies his way through the trial. Amelia Christo is excellent in two contrasting roles and Cle Morgan adds credibility as the gullible housekeeper. The remaining cast are excellent in a variety of roles. Alexandra Hiller’s set stylistically epitomises the deep south and Nerissa Saville’s costuming is very impressive. Jason Bovaird’s lighting has never been better; what an artist he is. James Cutler has done a magnificent job with his cast; David Harford’s choreography is beautifully focussed, with Cameron Thomas’s great scaled down orchestra more than doing justice to the lush score. Coral Drouyn

Punk costuming elements, the modern industrial look of Megadeck scaffold sets, and gothic influences in architecture, costuming and make-up, blend. Throwing some spectacular contemporary rock theatrical lighting into the mix completes an exciting stage picture. The entire principal cast has the rock vocal chops to deliver the iconic score. Dexter Villahermosa projects presence and stagecraft in a pleasing, centred portrayal of Jesus; Peter Meredith’s Judas has an alienated, angst ridden, rock’n’roll quality; Lucy Hood’s Mary Magdalene is a complex, fascinating creation, by turns vulnerable, feisty, loving and highly protective; James Jonathon’s Caiaphas lands the distinctive bass register and status of the role with authority; as Pontius Pilate, Gareth Davis finds the cracks in an apparently cynical, sometimes petulant, portrayal; Brad Jhay’s rock tenor is a good match for the role of Annas; Jonathon Holmes entertainingly takes the cameo role of Herod deep into Rocky Horror territory; Scott Dias (Peter) and Thomas Adams (Simon) handle their vocal duties with assurance. In all honesty, though, this is an ensemble driven Carrie - The Musical production. Act One is one big lively dance party Music by Michael Gore. Lyrics by Dean Pitchford. Book by celebration for them, establishing a vibrant, abandoned, Lawrence D Cohen. Based on the novel by Stephen King. hedonistic world of self-indulgence. Then they propel Act Directed by Terence O’Connell. Chapel off Chapel (Vic). Sept Two with work that is variously dark gothic, sexy vaudeville 25 - Oct 12. and chic pop. With attitude, infectious energy and CARRIE is one of those musicals that sits between a rock disciplined work, they are the heart and soul of this and a hard place. Some call it the worst musical flop ever production. written - others have made it an infamous cult icon and Superstar’s distinctive arrangements are in safe hands with Musical Director Therese Doyle and her eleven strong worship it for its quasi Gothic/High Camp persona. The music is fairly average and the book is quite dire in most rock orchestra. Combined with capable work from the places. What it does have is a stellar performance from sound crew, this Superstar celebrates with a big, wellEmily Milledge as Carrie, a terrific main character trajectory balanced rock sound. (thanks to Stephen King) and some remarkable lighting Director Stig Bell and the production team from master designer Jason Bovaird. Choreographer Sarah Friedrich (assisted by Kathryn Emily Milledge will break your heart and make you cry. Harradine), 17-year-old Set Designer Slade Blanch, Lighting Plus, she has vocal chops that absolutely soar… you won’t Designer James Wallis and Costume Designers Matthew forget her singing “Why Not Me” or her duet with her Patteson and Kate Campbell- Westerway - have joined mother. Chelsea Gibb brings presence to the dour role of forces to realize a remarkably seamless vision. Carrie’s mother and the most electrifying moments are The hanging of Judas and the crucifixion of Jesus are between her and Milledge. Kathleen Amarant is one to staged with effective simplicity and striking spectacular watch for the future, but seemed too young and lacking respectively. authority as Miss Gardner. Stephen Wheat shows his Superstar remains fresh, vital and enjoyable in experience as Mr Stephens, and Holly James (Sue) and Willoughby Theatre Company’s production. Chernae Howlett (Chris) do make an impact. Neil Litchfield No-one would dispute that we need “different” musicals to keep the genre alive. But Carrie is a horror story with Annie supernatural elements, and it can’t be reduced to JUST a Miranda Musical Society. Sutherland Entertainment Centre. story about bullying with a couple of special effects thrown Sept 10 - 14. in. However, it is far from the worst musical you will ever ANNIE is a joyous, old-fashioned family-friendly musical see, and this production is full of commitment to both the comedy, and director / designer Bob Peet has staged a show and the audience. bright, clean conventional production, with its brisk pace Coral Drouyn and scene changes facilitated by a well-conceived design. Seven kids, Annie and her fellow orphans, get the show Jesus Christ Superstar off to a lively start. Sian Fuller is a perky Annie, who By Andrew Lloyd Webber and Tim Rice. Willoughby Theatre captures cheery optimism and occasional pathos nicely. The Company. The Concourse, Chatswood. Oct 15 - 26. other orphans create strong, clear characterisations, with THE original rock opera has been freshened up with a consistently excellent interpretation and projection of their striking visual makeover. Somehow the synthesis of Steam Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 79

lines and songs. Their ‘You’re Never Fully Dressed Without a Smile’ reprise was a real highlight. Andrew Symes is warm, engaging Daddy Warbucks. Chiz Watson delivers on the broad comic villainy of Miss Hannigan, but also finds a subtler humanity. Tim Wotherspoon’s Rooster is aptly nasty, yet comical. Nicole Butler absolutely nails the archetypal dumb blonde Lily St Regis. Penny Stewart’s Grace Farrell achieves just the right mix of business-like exterior and a softer side. The show’s various supporting roles are generally very well handled, while the ensemble work is confident, enthusiastic and well-drilled. Katie Kermond’s strong, appropriate choreography shines brightest in the drill of the servants in the Warbucks mansion. Young musical director Andrew Cutrupi marshals his orchestra effectively. Costumes design, and supply the wigs (dressed by Mavia Timmer), are in the always-safe hands of James Worner. Miranda’s Annie is a cheerful, crowd-pleasing production of this well-loved musical. Neil Litchfield Breast Wishes Book: Merridy Eastman, Jonathan Gavin, Richard Glover, Wendy Harmer, Sheridan Jobbins, James Millar, Debra Oswald. Music and Lyrics: Bruce Brown. Tomaree Musical Theatre Company. Nelson Bay Bowling Club. Oct 11 - 19. WOMEN’S breasts might seem to be an unlikely subject for a theatre work, but this show certainly fits its description as “an uplifting musical”. Breast Wishes was put together by a team led by actress Anne Looby after her sister was diagnosed with breast cancer. However, while the show includes a message for women to seek early medical advice on breast problems, it is presented within an engaging and often amusing look at the different ways people view breasts. The central characters are a new-age mother, Helen (Jennifer Rossi), and her two daughters, voluptuously bigbreasted Lyn (Laura Taylor) and flat-chested Carol (Kellie Mycock). There is also their young and gorgeous cousin, Sal (Michelle Lawrence), a long-serving bra fitter, Irene (Inga Weber, with the role played by Michelle Hallam at some performances), and a series of men, including Lyn’s husband, David (all played by Gavin Potter). Composer Bruce Brown put together an engaging collection of songs, which were well staged by director Jennifer Rossi and musical director Kellie Mycock. There was a French sound, for example, to Ode to Herminie Cadolle, Irene’s tribute to the woman who invented the bra, with the performer amusingly wearing a shawl made from a colourful array of brassieres, and a Latin beat to Mills and Boon and Me, in which Sal fantasises about romantic novels, with Michelle Lawrence doing a smouldering dance with Gavin Potter. Ken Longworth

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Annie Music: Charles Strouse. Lyrics: Martin Charnin. Book: Thomas Meehan. Savoyards. Iona Performing Arts Centre. Sept 27 - Oct 11. 12-YEAR-old April Rose Beak gave one of the best performances of Annie I have ever seen and certainly sang it better than the girl I saw in the recent professional production. She brought out the spunk of the character, was appealing, and looked every inch the star when she made her entrance dressed in red descending the stairs at the finale. Annie’s moppet co-stars were also good, having a nice mix of height and age range, well-drilled in their routines, and with strong belty voices. The well-costumed chorus also excelled and brought vocal strength at every appearance. Rod Jones captured Daddy Warbucks’s outwardly-gruffbut-softy-underneath character with an appealing style and although the character’s songs are few, managed to bring life to N.Y.C. and a tenderness to “Something Was Missing”. Jenna Featherstone’s no-nonsense Grace also charmed and she sang the heart out of “You’re Gonna Like It Here.” Jason Fagg’s Rooster had guile, Jessica Ham was a cute bimbo-ish Lily, while Jacqui Cuny’s Miss Hannigan was appropriately blowsy and boozy. Kay Halford’s production dragged and the scene changes were still interminable, but on the plus side musical director Warryn James produced a big Broadway sound from his 22 pit musicians. Peter Pinne The Phantom of the Opera Music: Andrew Lloyd Webber. Lyrics: Charles Hart. Book: Richard Stilgoe & Andrew Lloyd Webber. Ipswich Musical Theatre Company. Director: Sherryl-Lee Secomb. Musical Director: Brenda Ryan. Choreographer: Desney ToiaSinapati. Ipswich Civic Centre. Sept 12-20. SHERRYL-Lee Secomb’s production of The Phantom of the Opera for Ipswich Musical Theatre was musically solid, spectacular to look at, and highly melodramatic. Star of the performance was Lauren Lee Innis-Youren as Christine. With a bright and clear soprano she effortlessly handled the demanding score and was particularly pleasing on “Wishing you were Somehow Here Again”. Robert Shearer in the title role had the musical chops to do it justice but missed the emotion of this tortured character. But, it’s a showy part and the audience loved him, especially in his big number “The Music of the Night” which Lloyd Webber ‘borrowed’ from Puccini’s The Golden Girl of the West. The role of Raoul has always been a bit wimpy and even though Philip Enculescu brought a refreshing strength to it, he found himself vocally outclassed by his co-stars. Carlotta, the ‘Prima Donna’, is a juicy part which Elise Pickersgill played to the hilt. Looking gorgeous in her Hannibal dress, she held the reign on ‘camp’ and was deliciously comic and bitchy. As her tenor co-star Piangi, Francesco Nucifora did a fine job of deliberately singing badly, bringing fun to the part. Luke O’Hagan and David Harrison were a delightful pair of opera managers, Olivia

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The Wedding Singer. Photo: Perfect Images Photography.

Bird was a pretty but vocally light Meg Giry, while Susan George, who stops just the right degree short of going Glosko as the Phantom’s mouthpiece Madame Giry, bristled OTT. with impending doom. Emma Etherington is warm, down-to-earth and Peter Pinne vivacious as Julia’s best mate Holly. Sue Bunt as Rosie, Robbie’s hip, embarrassing yet loveable grandmother, is a The Wedding Singer comic treat. Music by Matthew Sklar, lyrics by Chad Beguelin, and a All the Vegas wedding celebrant impersonators are book by Beguelin and Tim Herlihy. Engadine Musical great fun, with Mark Gardner, in particular, nailing fake Society. Oct 17 - 26. Ronald Reagan. Many ensemble members land their ONE of the surprise treats on Sydney’s Community cameos beautifully, though I must make special mention of Theatre circuit must be Engadine’s feel-good production of Lisa Eastman, whose many little character moments, The Wedding Singer, based on the 1988 movie of the same including a Goth wedding guest, are simply delightful. name. Onstage placement of the band behind the action facilitates an excellent sound mix, while also allowing the A colourful single setting, with a couple of little surprises, enables a fluid production as it becomes all audience to enjoy Musical Director Jennifer Parbery leading locations, with no more than the use of simple props. the integrated musos from her keyboard with style and Director Michael Astill delivers a vibrant production, gusto. tightly and simply conceptualised. Choreographer Lynley Neil Litchfield Fuller invents clever, creative movement, well-tailored for the non-dancing ensemble, but with ample scope for her Bonnie and Clyde better dancers. Book by Ivan Menchell. Music by Frank Wildhorn. Lyrics by Truthful acting from two attractive young romantic Don Black. Directed by Hamish Anderson. FabNobs leads in Andrew Fabris as Robbie Hart and Taylor Thomson Bayswater (Vic). Oct 10 - 25. as Julia makes the path of the central romance engagingly BONNIE and Clyde has a good score, intelligent lyrics, and a pretty impressive book which Director Hamish human and credible. Fabris comfortably lands the wedding singer persona, Anderson handles deftly - blocking is perfect, and the well supported by fellow band members, Julian Batchelor, performances are excellent. The innovative set, by Shawn who really is that blokey, rough diamond type of guy we all Klueh (also responsible for excellent sound) is a star in its know, as Sammy, and Temujin Tera as the androgynous own right, with seamless wooden walls that interlock and separate to reveal different playing areas. Complemented by Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 81

Bonnie and Clyde. Photo: Kerryn Hoernel.

Vanessa Burke’s excellent lighting design, and Colin Morley’s impressive costumes, the show is a visual treat. Julian Campobasso (Clyde) has all the swag and smoulder needed for the incorrigible outlaw. Add to this a great voice which blends well with Kate Warner’s (Bonnie), and impresses in solos like “Raise a Little Hell” and “Bonnie”. Warner herself oozes stage presence and is delightful in “How ‘Bout a Dance?” Kat Elliott is fabulous as Blanche, Clyde’s sister-in-law. Her duet with Bonnie (You Love Who You Love) and her solo “That’s What You Call A Dream” showcase her ability to really work a show tune. Johnathon White completes the two couples as Clyde’s brother “Buck” - long and lean, with a great voice, he has great comic timing and an endearing stage presence. Though these four carry the bulk of the show. The very presence of Nathan Slevin (Ted) adds to the overall excellence and Verity Rose Brown is a powerful presence in a couple of cameo roles. The rest of the cast are all impressive and Vicki Quinn directs the band with her usual great skills. FabNobs are a talented crew and it’s always a delight to spend an evening in their company. Coral Drouyn My Fair Lady By Lerner and Loewe, based on George Bernard Shaw’s Pygmalion. PRIMA. Redcliffe Cultural Centre, Redcliffe, Qld. Oct 9-12. MY Fair Lady was PRIMA’s second production in its 10th anniversary celebration, and whilst it did not reach the giddy heights of its Hairspray predecessor earlier in the year 82 Stage Whispers

Penny Farrow’s production did manage to implant a little of the magic of Lerner and Loewe’s masterpiece onto the Redcliffe Cultural Centre stage. Stacie Hobbs’ Eliza Doolittle was believable as a cockney flower-girl and even more so as a Duchess. She was better at delivering the fiery “Just You Wait” rather than the demanding high tessitura of “I Could Have Danced All Night”. Opposite her as the phonetics Professor Henry Higgins, New Zealander Jim Price captured the brusque and uncaring nature of the character. His delivery of the misogynistic “A Hymn to Him” was first-class. Colin Rhys-Jones was a spirited Colonel Pickering, Walter Lago brought the earthiness of Doolittle grandly to light, whilst Robbie Mitchell as Freddie sang the heart out of “On the Street Where You Live”. Best performance came from PRIMA veteran Robyn Lupton as Mrs Higgins. She was a tower of strength and authoritative. The ‘downstairs’ maids in their black smocks and crisp white aprons brought a nice touch of Downton Abbey to ‘quit Professor Higgins’ and added some strong, and necessary, vocal strength to the sequence. The ensemble, well-costumed in black, white and grey, also excelled in the “Ascot Gavotte.” Conductor Julie Whiting’s musical cues were spot-on and the band which swapped a keyboard for strings solved the problem of screechy violins but unfortunately gave an electronic feel to the orchestra which did not sit comfortably with Lerner and Loewe’s traditional score. Peter Pinne

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The Addams Family. My Fair Lady By Lerner and Loewe, based on George Bernard Shaw’s Pygmalion. Directed by Barry Hill. The Metropolitan Musical Theatre Co of SA. The Arts Theatre, Adelaide. Oct 16-25. A VERY conventional interpretation of an established favourite, that does little surprising or inventive, but it is nonetheless a deeply satisfying experience, because every aspect of the production has been crafted with meticulous care by a team working at the top of their game. As soon as the curtain comes up, one is immediately impressed by the fine level of visual detail in the painted backdrops, which are coordinated well with a succession of costumes both dramatically striking in their use of colour, and appropriately evocative of the time period in which the piece is set. The layered set design ensures that scene transitions are swift and flow smoothly. The choreography is vibrantly energetic without being ostentatious, and always seems to arise naturally out of the regular blocking of the show’s spoken passages. The cast all bring an infectious level of enthusiasm to their performances, ensuring that the show’s familiar standards feel immediate, and the technical quality of their singing is impeccable. Megan Doherty plays Eliza Doolittle with stubborn dignity and a keen, quick-witted intelligence. She has a suitably heated chemistry with Brad Martin, who makes for a worthy adversary as Henry Higgins. Martin gleefully relishes playing up Higgins’ flamboyant arrogance, sometimes coming across as oddly childlike in the midst of his tantrums. David Rapkin is suitably affable as Colonel Pickering. Joy Bishop plays Higgins’ long suffering mother with amusingly weary patience and Jared Frost is endearingly adorkable as Freddy. Neville Langman is scene stealing delight as Eliza’s ne’er-do-well father. Benjamin Orchard

The Addams Family By Marshall Brickman, Rick Elice & Andrew Lippa. Brisbane Arts Theatre. Aug 9 - Sept 13. THIS show is top entertainment. It’s not the most original or memorable show. The writers poached from The Rocky Horror Show to introduce a conservative American family into the bizarre Addams family. The quality of this cast, Laraine Griffith’s direction and Mark Connors’ sterling band backing to it all are the core of this entertainment.

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Stage Whispers 83

HMS Pinafore. Photo: Ray Wing-Lun.

All leads have great singing voices. In Act 1 Richard Murphy (Gomez) illustrated that in “Trapped”; Jessica Potts (Wednesday) gave us a rich soprano rendition of “Pulled” and Fester let rip with rich baritone vocals in “But Love”. Aurelie Rouque was a gorgeous Morticia, whose Act 2 opening number “Death is Just Around the Corner” has stayed with me. She topped that by shedding her long skirt to reveal a stunning pair of legs in an Act 2 song-and-dance duet with Gomez, “Tango de Amor’. The ensemble of Addams ancestors (all dancers and singers who provided much vocal backing) were choreographed effectively, and the costumiers devised all eight outfits from various past eras. A major highlight for me was the game the Addams Family inflict on all dinner guests: Full Disclosure. After the ritual draught from the goblet, Wednesday’s mother-in-law to be, Alice Beineke (Natalie Ridoutt) shucked off her midWestern reserve and revealed all emotionally, even dancing on the dining table towards the end of her song. All creatives and designers deserve kudos for this success. Don’t miss it! Jay McKee

Director Elizabeth Lowerencev has created a lively, fairly conventional community theatre production, mostly faithful to the original. It’s moved along at a lively pace from the outset by the bright tempi set for the overture by musical director Rod Mounjed. His full orchestra does ample justice to the familiar orchestrations. Production, performers, orchestra and audience alike benefit from the company’s splendid new home. It’s a beautiful theatre with generous orchestra pit, cosy auditorium and spacious stage. Malcolm Bailey and Emily James use the new-found space to create a spacious, attractive two level ship’s deck, complemented by Sandy Tutt’s naval uniforms and period dresses. Dean Sinclair’s fruity, foppish Sir Joseph Porter is nimble of foot, and of tongue. He’s nicely paired with Ella Arundel’s statuesque, assertive Cousin Hebe. Brendan Iddes nails the bearing of Captain Corcoran, delivering the role with a rich, rewarding baritone. Sarah Arnold gives us a beautifully sung Josephine and balances the conflicted haughty and romantic sides nicely. Michael Handy has an attractive tenor voice, and with HMS Pinafore youth on his side is convincing in the romantic lead. By Gilbert and Sullivan. Gilbert and Sullivan Opera Sydney. It’s no disappointment to see a younger, slighter, less Smith Auditorium Lyric Theatre. Sept 26 - Oct 4. booming Little Buttercup than usual. Anne-Louise Finlayson HMS Pinafore is a lean, pacy satirical confection set brings a very different charm and coquettishness to the role. aboard a British naval ship, in which the Captain’s daughter This is a lively, pleasant Pinafore, attractively sung, and falls in love with a sailor, rejecting the advances of the First staged along traditional lines. Lord of the Admiralty. Neil Litchfield 84 Stage Whispers

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Aida. Photo: Ben Fon.

Aida Music by Elton John, lyrics by Tim Rice, and book by Linda Woolverton, Robert Falls, and David Henry Hwang. UMMTA (Vic). Director: Grace Agnew. Musical Director: Anthony Cardamone. Choreographer: Ammalee Meisels. Union Theatre, University of Melbourne. Sept 19 - 27. AWARE that Elton John had written a musical on the same subject as the opera Aida, I was interested to finally catch a production. And what a production it was! Though we have the same characters and basic story, it is quite a different take, starting before the opera does. It worked very well, and there was a lovely twist at the end which eased the tragic ending. Everything about this production had class. The singers were very good and their acting strong. The lighting was brilliant. The cyclorama lighting and dramatic silhouettes were very effective, and these were enhanced by the choreography. In the title role Sarah Calsina was small, vulnerable and feisty. She could do anything with her voice, from beautiful soprano to full Broadway Belt. She was right inside her role and her scenes with her lover, Radames, played by Joseph Spanti, were tender. Joseph also sang well and was a good foil to Sarah. As the other member of the love triangle, Grace Kingsford was a regal Princess Amneris with an excellent voice. Pasquale Bartalotta impressed as Mereb. The costumes, though some of indeterminate period, were stunning.

The direction was very good and I loved the way the characters were able to stand quite still when required, which gave them great strength. The sets were minimal and the action never slowed. Early on the voices were drowned by the band, but things improved as they went along. This was a terrific show. Graham Ford Adding Machine: A Musical Music: Joshua Schmidt. Lyrics: Joshua Schmidt and Jason Loewith. Underground Productions, Qld Uni Drama Society. Co-Directors: Samuel Boyd and John Vizcay-Wilson. Schonell Theatre, Qld University. September 4 - 13, 2014. ADDING Machine is another avant-garde production from Underground Productions. The co-directors of this piece describe it as deeply complex and I have to agree with them. The cast of 13 worked as a solid unit on a revolving set using rear projection in lieu of conventional scenery. In an ensemble piece such as this, there were no weak performances. Benedict Braxton-Smith was in charge of the abstract music which consisted of unusual harmonies and rhythms and not fitting into accepted categories of musical theatre. Described by the original producer as â&#x20AC;&#x153;the worst idea in the worldâ&#x20AC;?, it takes a very adventurous company to attempt this kind of production - and pull it off. This company succeeded with flair. Roger McKenzie

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Stage Whispers 85

Monty Python’s Spamalot Music: Eric Idle & John Du Prez. Book & Lyrics: Eric Idle. Harvest Rain Production. Concert Hall, QPAC, Brisbane. October 2 - 5. HARVEST Rain’s Spamalot is the funniest, silliest and wackiest musical theatre production of the year. As King Arthur, Jon English was funny and led the Knights with theatrical panache in the insanely jaunty “Always Look on the Bright Side”. Simon Gallaher was a big bundle of laughs as Arthur’s trusty servant Patsy and had a field day with the local references, but it was Frank Woodley in a number of roles who was the constant audience-pleaser. His turn as the French Taunter speaking gibberish and fractured French was simply hilarious, but he brought the house down with his “You Won’t Succeed in Showbiz” with its lyrics cleverly reworked to include allusions to local personalities and stars. Julie Anthony brought vocal clout to the pivotal role of the Lady in the Lake giving spot-on caricatures of big belting musical theatre divas, lounge singers, and Australian Idol contestants. Chris Kellett in hot pants was a flamboyant Peter Allen-ish Sir Lancelot, with Dash Kruck impressive as the girly Prince Herbert. George Canham’s dance moves energetically captured showgirl-Vegas, cheerleaders, and disco, while Josh McIntosh’s costumes were appropriately medieval. Maitlohn John’s, small but effective band of three keyboards and drums added pace to Tim O’Connor’s production which zipped along as fast as the NBN. Peter Pinne Hairspray Book by Mark O’Donnell and Thomas Meehan. Music by Marc Shaiman. Lyrics by Scott Wittman and Marc Shaiman. Metropolitan Players. Civic Theatre, Newcastle. August 13 23. THE song Welcome to the ’60s, one of the big numbers in Hairspray, doesn’t appear until well into the first act, but audience members were lapping up this swinging tribute to that decade from the opening moments. The score draws delightfully on 1960s-style dance music and the rhythm and blues of black American culture to deliver messages about self-esteem and prejudice. Central character Tracy Turnblad is a plump high school student in Baltimore in 1962 who wants to be a dancer in a teenage-oriented television program, The Corny Collins Show, but is turned away from auditions, along with a black girl, by its racist producer. Tracy organises a street protest in support of black rights and an end to segregation, leading eventually to change in the racially prejudiced city. If you want to put messages in a show, this is the way to do it. Director Julie Black and her team made Hairspray lively from first to last, with Tracy helping her overweight mother, Edna, to smilingly renew her acquaintance with the world by taking her through the bright streets in Welcome to the ’60s. Edna was superbly portrayed by Malcolm Young as a woman very supportive of her daughter. 86 Stage Whispers

The whole cast was excellent, with Annie Devine’s black American Motormouth Maybelle delivering a showstopping account of her people’s fight for equality in I Know Where I’ve Been. Ken Longworth The Gondoliers Music by Sir Arthur Sullivan. Libretto by Sir William Gilbert. South Australian Light Opera Society Inc. Director: Pam Tucker. Musical Director: Helen Loveday. Tower Arts Centre, Pasadena. Aug 28-31. GILBERT and Sullivan’s operettas (or the best of them, at any rate) have survived the passage of time in remarkably fine shape, as demonstrated by this delightful production. The practitioners of SALOS have once more succeeded at putting good vibes and talented performers on their stage, with the end result being a thoroughly satisfied audience, and a reputation that deserves to grow ever more esteemed. The principal performers bring a well-balanced mixture of personality and virtuosity to their musical roles, and characterisations are fun and engaging without ever being excessive or silly. Particularly impressive and memorable is Megan Donald, playing gondolier wife Tessa with ample expressiveness and enthusiasm; it’s clear that the limelight loves her. Damon Hill and Christine Southby are a hilarious hoot as the Duke and Duchess of Plaza Toro, while David Roberts superbly embodies Don Alhambra Del Bolero, seeming to have stepped right out of commedia dell’arte. The joy of attending The Gondoliers in this incarnation largely stems from the way that every person on stage seemed to have having such a joyful time. The SALOS crew deserve to be most proud of themselves. Anthony Vawser Li’l Abner Music by Gene de Paul. Lyrics by Johnny Mercer. Book by Norman Panama and Melvin Frank. Directed by Martin Croft. VCA Graduating Students. Space 28. VCA. Sept 18 28. WHAT a terrific fun show Li’l Abner is, even though it is so seldom performed. The VCA Music Theatre Graduating Students give us a zippy and colourful production, expertly directed by the Martin Croft with a terrific set by Adam Gardnir and dozens of colourful costumes by Harriet Oxley. For those that don’t know Al Capp’s iconic comic strip, it’s all about a community of hillbillies in Dogpatch USA (which is about as low as you can go) who are looking for something that will save their town when it is chosen to be the test site for nuclear Bombs. The lyrics are terrific, the music is catchy and the bookwriters - with impeccable credentials - give us a witty and highly satirical script. Troy Phillips choreography is excellent and I have rarely seen such precision on stage in the well-rehearsed numbers. The cast is full of enthusiasm and energy. But to cast the key role of Daisy Mae in direct physical conflict to what Al Capp and the book writers intended, does the show, and the history, a disservice. Daisy Mae is a big-busted but totally innocent blonde bombshell. Imogen Moore is very talented,

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Crazy For You.

with a good voice and clearly an excellent dancer, but she’s physically very slender and Brunette. She just isn’t right for the role as it was intended through no fault of her performance. Mitchell Ralston is a perfect title character. He’s a charming and charismatic performer with a good sense of timing, and terrific vocal and dancing chops. Jordan Barr almost steals the show as Mammy Yokum, so perfect is she in all respects, and Dean Schulz is the perfect foil for her as Pappy. Alex Gibson-Giorgio gives a very different take on Marryin’ Sam and makes a feast of Jubilation T Corpone, the first of the big numbers. There’s great work from Barnaby Reiter (Dr Finsdale), Amberly Cull (Appassionata), Josh Gardiner (Earthquake McGoon), Gabriel Brown (Available Jones) and Henry Brett (Evil Eye Fleagle). Stephen Gray’s small music ensemble was solid, but I did long for a fuller and richer orchestration for some of the numbers. All in all it was an entertaining night and the future of Musical Theatre looks to be in safe hands. Coral Drouyn

Crazy for You Music by George Gershwin. Music by Ira Gershwin. Book by Ken Ludwig. Babirra Music Theatre. Director: Tyler Hess. Musical Director: Danny Forward. Choreographer: Craig Wiltshire. CRAZY for You was a magical night at the theatre. It opened with a piano centre stage, beautifully lit, as was the whole show. During the overture four dancing girls climbed over the piano onto the stage. The curtain went up to reveal more of the stage and four more dancers with enormous headgear, who circled on stage revealing four very bored stagehands holding sticks which propped up the headwear. It was very funny. The sets were brilliant. When the action moved to Deadrock, the stage featured a pair of enormous saloon bar doors which swung open to reveal the town. The saloon and theatre had upper levels. At various times action was happening on both levels simultaneously, thus enhancing the look and feel of the show.

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Stage Whispers 87

This is primarily a dance show, and Babirra has assembled a talented cast. Everyone had to dance and tap and the choreography was innovative and tight. The two leads did most of the heavy lifting, with little time off. Jonathon Guthrie-Jones is one of the best looking leading men around with a wonderful sense of comedy. He has a terrific voice and can dance up a storm. I would have preferred more contrast between Bobby Childs and his impersonation of Bela Zangler. I only saw this as a problem in “They Can’t Take That Away From Me”, where the cheeky grin, never far below the surface, meant we didn’t take his pain of losing Polly seriously. This contrasted with a heart-wrenching “But Not For Me” from Kristen Beayni. The two worked well together. As Billy’s fiancée Irene, Adrienne George made the most of “Naughty Baby” and Dot Parker was wonderfully over the top as Bobby’s mother. But it was the staging and the ensemble that were the stars on this night. Graham Ford

effective choreography within the tight constraints of the small stage. Neil Litchfield

The Addams Family By Andrew Lippa, Marshall Brickman and Rick Elice. OCPAC (Vic). Director: Connor Crawford. Musical Director: Daniel Donovan. Choreographer: Mandy Vugler. Middleton Theatre, Camberwell Boys Grammar. Sept 27 - Oct 4. OLD Carey Performing Arts Club has obviously established the sort of reputation which encourages professionals to want to work with them. So it was we had Nelson Gardner and Lucy Ross playing Gomez and Morticia Addams. Both young seasoned professionals, with excellent voices, they danced up a storm and were very funny together. As Wednesday Addams, the recalcitrant daughter who wants to marry a normal person, Monique Dawes, a professional dancer, sang magnificently in her music theatre debut, working well with Zac Alaimo as her love interest, Lucas. The Addams Family Dom Hennequin and Sarah Cuthbert were his parents, Book by Marshall Brickman and Rick Elice. Music and lyrics invited to dinner at the Addams’ home very unsure of what by Andrew Lippa. Shire Music Theatre. Sutherland they’d let themselves in for. Mario Mohorkok, as Uncle Memorial School of Arts. October 17 - 25, 2014. Fester, who also acted as narrator, was very funny. THE Addams Family tells a story of Wednesday Addams, The ghostly set remained for the evening with various now grown up, bringing her ‘normal’ boyfriend and his pieces of furniture being brought on for different scenes. family to dinner at that gloomy mansion. Scene changeovers worked very well. Shire Music Theatre has staged a simple, attractive, fluid The large cast could all dance and the choreography was tight. The exception being Colin Morley playing a very production, relying almost entirely on striking projections for its visuals, supplemented by limited well-managed comical Lurch, with no dance steps required. The lighting props. was spectacular. The only gripe I had was the sound, As Gomez, Brad Clarke carries off the role with style, always difficult to get right. The band were often too loud frequently seeming to channel TV original John Astin, for the audience to catch the words. A few times without necessarily imitating him. He’s well paired with microphones were turned on late, so dialogue was missed. Robyn Lassman’s statuesque Morticia. It is a very funny show, but strangely my favourite scene Peter Sharratt makes charmingly naïve Uncle Fester his was when Gomez was having a serious heart-to-heart with own. His love song to the moon, with the clever, yet simple his daughter. A nice touch of pathos in a sea of comedy. gimmicks that make it work, delights. Graham Ford Jess Farrell is an engaging three dimensional, grown-up Wednesday Addams. As Pugsley, Jordan Fuller finds weird Miracle City pathos as the creepy little brother. Book and Lyrics by Nick Enright. Music by Max Lambert. Stephen McLeod has genuine presence as Lurch Directed by Darren Yap. Hayes Theatre Co. Oct 22 - Nov16. throughout. WHEN Miracle City premiered in 1996 there was plenty But a visiting non-Addams character is a show stealer. of material about Christian TV evangelism ending in tears, When Alice Bieneke, mum of Wednesday’s boyfriend Lucas streaked mascara and prison. accidentally takes Grandma’s truth potion, Stacey Wilson’s Now after years of ever more appalling revelations of sex performance really makes the sparks fly. abuse in churches of all denominations the issue is even James Russell is confident and capable as Wednesday’s more ripe for drama. fairly conventional boyfriend Lucas. As Lucas’s father Mal, Miracle City is set during a live-to-air American Scott Petryczkowycz plays both sides of the initially starchy evangelical television show. The entire set comprised an character credibly. extended curtain which spun around. Shire’s all-female ensemble is spectrally glamorous and The intimate space of the Hayes theatre is perfect for stylish, with a good sense of individuality, and when they’re this production. on stage they give the show a real boost. From this TV pulpit the patriarch Ricky Truswell (Mike Vocally, the cast is good, and with Peter Sampson’s five McLeish) urges his viewers to dig deep so he can fulfill his piece band under the stage, the sound mix is excellent. dreams of building a religious theme park. Choreographer Sam Larielle has created some lovely, The family starts out as wholesome as the Brady Bunch and for a moment I thought that it would be too tame. 88 Stage Whispers

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Esther Hannaford, Blazey Best, Marika Aubrey and Josie Lane in Miracle City. Photo: Kurt Sneddon.

The songs are bright and chirpy, with some terrific country western and gospel influences. The composer Max Lambert was on stage, leading the merry band on the keyboard. (Memo Max: Please make a recording of his production! ) Aided by a terrific cast, the tension mounts. Enter the even sleazier Reverend Millard Sizemore (Peter Kowitz). The women in the drama have very difficult choices to make. The matriarch Lora Lee Truswell (Blazey Best) is faced with a dilemma of biblical proportions. The ending is jaw dropping. David Spicer The Phantom of the Opera Music: Andrew Lloyd Webber. Lyrics: Charles Hart. Book: Richard Stilgoe & Andrew Lloyd Webber. Directed by Mark Barford. ICW. Regal Theatre, Subiaco WA. Oct 2-11. ICW's final production for 2014 was a beautifully realised production with very high production values, expertly sung and lovely to watch. Mark Barford led a huge cast, with 60 in the ensemble, to create an impressive fully fleshed production. A twentysix piece orchestra under the baton of musical-director Ian Westrip provided a beautiful, complete sound. Aldo Di Toro brought a lovely mystery to the title role, vocally a delight with an unnerving demeanour. Stephanie Gooch was a delight as Christine - naive but strong while Nick Maclaine managed to give the role of Raoul depth and energy.

Carlotta was given a gorgeous operatic soprano and a fabulous temper by Emma Pettemerides. Madame Giry was played with elegance and authority by Alinta Carroll and Elsie Gangemi was loveable and charming as sweet Meg Giry. Ian Toyne and Igor Sas were excellent together as opera owners Firmin and Andre while Jay Weston held his own as Piangi. Ensemble and minor roles were all strong, with an impressive fully realised sound. Simple but effective staging added to the production, with beautiful properties and a highly effective boat. ICW's musicals are of an incomparable standard for a local production and well worth a look. I look forward to seeing what is lined up for 2015. Kimberley Shaw

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Stage Whispers 89

Choosing A Show

New Releases

Hal Leonard Australia www.halleonard.com.au Chitty Chitty Bang Bang. Music and Lyrics by Richard M. Sherman and Robert B. Sherman. The stage musical based on the 1968 film, which was in turn inspired by the novel by Ian Fleming, premiered in the West End at the London Palladium on April 16, 2002 with six new songs by the Sherman Brothers, who wrote the original Academy Award nominated title song. Chitty Chitty Bang Bang is a feel-good story about the power of family and the bonds created to overcome any obstacle. Getting to Know … The Sound of Music. By Rodgers and Hammerstein. Getting to Know … The Sound of Music has been edited to better suit younger performers. With durations of approximately 60 minutes, each musical in the Getting to Know Collection (G2K Collection) comes with everything you need to put on the show, including fully orchestrated backing tracks. Bring It On: The Musical. Book by Jeff Whitty. Lyrics by Amanda Green and Lin-Manuel Miranda. Music by Tom Kitt and Lin-Manuel Miranda. Inspired by the hit film and nominated for a Tony Award for Best Musical, Bring It On: The Musical is a high-flying thrill ride where the cutthroat world of competitive cheerleading meets the fierce rivalries of high school politics and romance. Maverick Musicals and Plays www.maverickmusicals.com The Making of the Great Lover by Jo Denver In 1918, little known author Edith Winstanley Hull, a pig breeder's wife from a quaint English village, pens a sensational novel - "The Sheik". The equivalent to "Fifty Shades of Grey" for the era, her racy and sumptuous tale about female sexuality scandalises, shocks and titillates all who read it. It rocketed to the top of the best-seller list, with the ensuing movie making a star of Rudolph Valentino, earning him the title of The Great Lover. The Bench - a new one act play by Mark Langham “I don’t scare easily. I once rode a llama!” Alice likes to sit on the bench and eat her sandwiches. Barry hates his life, his dog and his job. Cressida is in trouble. They meet at the bench. Has Alice been sent to fix their wretched lives? No, of course not. She could help them face their problems themselves. Or - she could just eat her sandwiches. David Spicer Productions www.davidspicer.com Mr Bennet’s Bride. A prequel to Pride and Prejudice by Emma Wood. Debuted at the Newcastle Theatre Company this year and was extremely popular. Set 25 years before Pride and Prejudice opens, it examines how Mr and Mrs Bennet met and decided to marry. Cast: 6W 4M Over Paid, Over Sexed And Over Here. By Devon Williamson. It’s mid 1942 and as our able bodied men fight overseas, a sleepy seaside Aussie town is invaded by the Americans. The ladies are excited but the local lads are upset because the visitors… are overpaid, they’re over sexed, and they’re over here! Cast: 4F 5M. Life’s a Bitch. By David Cole. Romantic no holds barred comedy about dog owners and their best friends. Four of the cast are dogs including Jackson, a spoilt pedigree blue heeler on heat and Josie a flirtatious cocker spaniel. Cast: 3M, 4W. 90 Stage Whispers November - December 2014

ORiGiN Theatrical www.origintheatrical.com.au In The Heights Music and Lyrics by Lin-Manuel Miranda. Book by Quiara Alegía Hudes. In The Heights tells the universal story of a vibrant community in New York’s Washington Heights neighbourhood - a place the breeze carries the rhythm of three generations of music. It’s a community on the brink of change. In The Heights is the winner of the 2008 Tony Awards for Best Musical, Best Score, Best Choreography and Best Orchestrations. Broadway Orchestrations for 13 players or Tour Orchestrations for 9 players available.

PERFORMING ARTS MAGAZINE NOVEMBER/DECEMBER 2014. VOLUME 23, NUMBER 6 ABN 71 129 358 710 ISSN 1321 5965

All correspondence to: The Editor, Stage Whispers, P.O. Box 2274, Rose Bay North 2030, New South Wales. Telephone/Fax: (03) 9758 4522 Advertising: stagews@stagewhispers.com.au Editorial: neil@stagewhispers.com.au PRINTED BY: Spotpress Pty Ltd, 24-26 Lilian Fowler Place, Marrickville, 2204 PUBLISHED BY: Stage Whispers PRE-PRESS PRODUCTION & DESIGN BY: PJTonline Solutions, email: pjtonline@pjtonline.com DISTRIBUTED BY: Gordon & Gotch, 25-37 Huntingdale Road, Burwood, 3125

From Dominie Drama www.dominie.com.au/drama Chimerica by Lucy Kirkwood (Nick Hern Books) Cast: F 5-11 M 7-12 A powerful, provocative play about international relations and the shifting balance of power between East and West. Winner of the Olivier Award for Best New Play (2014). Middlemarch by George Eliot, adapted by Geoffrey Beevers (Nick Hern Books) Cast: F 5-10 M 6-16 George Eliot’s Middlemarch is peopled with some of literature’s most memorable characters. In Geoffrey Beevers’ new dramatization, all three interconnected plays can be performed as a trilogy, but each play can also stand on its own. Alice in Zombieland by Craig Sodaro (Pioneer Drama Services) Cast: F 9, M 3 plus 10 that can be either. Alice, now a teen, has never forgotten her adventures in Wonderland. Once again the White Rabbit beckons and they’re off again, but the tea is served by Zombies! Oz’s Wicked Witch of the West is casting her spells and everyone in Wonderland, including Dorothy, is under her powers.

DEADLINES For inclusion in the next edition, please submit articles, company notes and advertisements to Stage Whispers by November 25th, 2014. 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: Merlene Abbott, Cathy Bannister, Michael Brindley, Ken Cotterill, Paul Dellit, Ray Dickson, Coral Drouyn, Whitney Fitzsimmons, Graham Ford, Peter Gotting, Frank Hatherley, John P. Harvey, Shirley Jensen, Neil Litchfield, Ken Longworth, Rachel McGrath-Kerr, Jay McKee, Roger McKenzie, Benjamin Orchard, Alex Paige, Peter Pinne, Martin Portus, Lesley Reed, Kimberley Shaw, David Spicer, Anthony Vawser, Carol Wimmer and Maryann Wright. www.stagewhispers.com.au Stage Whispers 91

Musical Spice What makes an extraordinary performance? In sport it is easy to identify. It is the sensational goal or try or delivery which you can remember years later. Or the leap to the finishing line to take the Gold Medal. It is not so easy to match that sort of euphoria on the stage where a standing ovation on opening night can be a predictable affair. So it was very refreshing to watch some extraordinary performances during the grand final of the Rob Guest Endowment at the Capitol Theatre in Sydney in September. Several of the six finaIists sang with a seamless blend of character, skill and passion which reached a climax that brought a roar of approval from the audience. Slugging it out like two champion boxers were Joshua Robson and Andrew Cook who came first and second. Like most in the final, the two friends are aged in their mid twenties, have completed performing arts courses at VCA and WAAPA and already have a number of professional gigs under their belts. Neither held back. Joshua Robson appeared possessed during the climax of ‘Soliloquy’ from Carousel. Andrew Cook was in some eyes unlucky not to win. He drew a similar audience response to ‘Lonely Room’ from Oklahoma! before flexing his muscles hilariously in the song ‘Here For You’. Like a true grand final,

92 Stage Whispers November - December 2014

Joshua Robson. All photos: Kurt Sneddon

Andrew Cook.

Rob Guest Endowment Reaches New Heights Joshua Robson ran across the stage and leapt into a suspended hug with Andrew Cook when he was announced as the winner. He took a while to compose himself and dispel any wrong impressions about his close friendship with Andrew Cook by thanking, amongst others, his girlfriend. Host Bert Newton made the comment that the talent on display was as strong as any of the previous finals. Another stand-out was Karla Tonkich, who showed amazing dancing skills in ‘Show Off’ from The Drowsy Chaperone. 19-year-old Ben Bennett also stamped himself as a star of the future

singing ‘Someone Else’s Skin’ from Catch Me If You Can and ‘Corner of the Sky’ from Pippin. Angela Scundi’s raunchy ‘Mein Herr’ from Cabaret and Monica Swayne’s impassioned ‘Wherever He Ain’t’ from Mack and Mabel marked them down firmly among the cream of Australia’s rising musical theatre talent. The top six came from 200 hopefuls around Australia. With tens of thousands of dollars now available in prize money and a host of new categories also rewarding excellence in musicianship and technical fields, the awards are taking off. David Spicer

2014 Rob Guest Endowment finalists Photo: Kurt Sneddon

MUSICAL AND DRAMA CATALOGUE 2015 Order your free copy now www.davidspicer.com.au david@davidspicer.com Phone: (02) 9371 8458

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