Stage Whispers September/October 2019 edition by Stage Whispers Magazine

4 Stage Whispers September - October 2019

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12 In this issue

Razzle Dazzle ‘Em .................................................................................. 10 Chicago returns with “All That Jazz” This Is Warlow’s Moment....................................................................... 16 Anthony Warlow is set to finally play Jekyll & Hyde

Caroline, Or Change .............................................................................. 22 How imaginative sets transform the tiny Hayes Theatre Opera Goes Digital ................................................................................ 25 LED sets reinvent the way Australia sees Opera

West Berlin Story ................................................................................... 28 Australia takes West Side Story to Germany Aussie Play’s Magic Spell ........................................................................ 30 Belvoir’s local play beats out Harry Potter at this year’s Helpmanns Let’s Put On A Show .............................................................................. 39 Helpful hints for staging your next production

The Wizard Of Oz - Director’s Diary ........................................................ 40 Adapting and transporting a beloved classic to arenas across Oz Cabaret Compendium ............................................................................ 84 Our round-up of Cabaret Festivals from around the country

Regular Features Stage Briefs

52 65 80

Broadway Buzz

London Calling

Stage On Disc

Stage On Page

Amateur Stage Briefs

On Stage - What’s On

Auditions

Reviews

Musical Spice

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THE NEXT ISSUE OF STAGE WHISPERS IS FOCUSSING ON THE UPCOMING 2020 PROFESSIONAL THEATRE SEASONS

84 6 Stage Whispers September - October 2019

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WAAPA Design Department students preparing to put on a show. Photo: Stephen Heath.

Editorial Dear theatre-goers and theatre-doers, “Hey, let’s put on a show”. The joyous catch-cry of those classic Judy Garland and Mickey Rooney movie musicals helped in-grain my deep love of musicals, courtesy of the black and white TV in the lounge room during my childhood. Did it become my mantra? I’ve certainly put on lots of shows since, thanks to my life-long passion, which began with performing, then directing, before expanding into teaching drama, and eventually editing this theatre magazine and website. Stage Whispers has long encouraged readers to put on a show, notably through the Directory section of our website. We’re taking another step in that direction now, with a new free online publication full of helpful articles from this and past editions about staging plays and musicals, together with lots of helpful contacts. We’re launching the publication with our special focus this edition - “Let’s Put On A Show” - expanding on the focus on costumes, props and sets which has been part of this edition in previous years. This year we look beyond those elements of production to publicity, putting ‘bums on seats’ and more. Keep an eye on our Facebook and Twitter feeds for this new resource for schools and theatre companies, which we anticipate will be available by early October. My hope is that it becomes a valuable go-to resource for anyone like me who loves putting on shows, or just being in shows. We plan to regularly revise and update this guide as we find something new to share with you. Yours in Theatre,

Neil Litchfield Editor

Cover image: Cast of the Australian production of Chicago, currently playing at Sydney’s Capitol Theatre. Read Coral Drouyn’s feature story on Page 10. Photo: Jeff Busby.

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 Susanna Quian in K-Box by Ra Chapman, a caustic and comical new play about a 30-something Korean adoptee who finds the raucous and riotous side of family. Lucy fled her manic Melbourne routine to find calm in the country. Enter Kim Han, a charismatic K-pop star making a surprise visit to rural Victoria, who tips Lucy’s crisis into a complete tailspin. Playing in May 2020 as part of the Malthouse Theatre season in Melbourne. Photo: Zan Wimberley. Read more on our website at http://bit.ly/2MxFFD5

 Fiddler on the Roof will be co-presented by Opera Australia and John Frost at the Sydney Opera House in September 2020, then at Melbourne’s Comedy Theatre in November. The new production, performed entirely in Yiddish, is directed by Oscar and Tony Award winner Joel Grey. Photo: Matthew Murphy. Read more on our website at http://bit.ly/2MxBs20

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Stage Briefs  Angie Milliken appears in the world premiere of Katherine Lyall-Watson’s Phaedra. Part of Queensland Theatre’s 2020 season, the play satirically transplants one of drama’s great heroines to a Queensland that has seceded from the rest of Australia. Read more on our website at http://bit.ly/2MyVfyi Read more about Theatre and Opera seasons, and Musicals in 2020, in the special feature in the November edition of Stage Whispers, or keep up with the latest announcements at http://bit.ly/2MAQzIg

 David Campbell has announced a new national tour - his first solo show after eight years. The Back in the Swing tour kicks off October 3 and features Campbell performing with a full band and tracks from his new album (Back in the Swing) at QPAC Brisbane, State Theatre Sydney and Hamer Hall Melbourne. Read more on our website at http://bit.ly/2MxMxjO

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RAZZLE Tom Burlinson as Billy Flynn in the Sydney and Brisbane seasons of Chicago. Photo: Peter Brew-Bevan.

Online extras! Behind the scenes of Chicago the gin is cold and the piano’s hot. https://youtu.be/Mv-h6v1u3oM 10 Stage Whispers September - October 2019

With Chicago just starting its Australian tour, Tom Burlinson, who plays Billy Flynn for the Sydney and Brisbane seasons, took time out from rehearsals to talk to Coral Drouyn. We measure our lives by milestones, and it’s hard for those of us who are Music Theatre Tragics to believe that Chicago first hit our stages back in 1981, some six years after it premiered on Broadway. That’s way back before many of our current crop of performers were even born. The two stars, Nancye Hayes and Geraldine Turner, were at the height of their performing prowess, and the foil between them was Terry Donovan (whom we had all watched and loved on the telly in Division 4) as the opportunistic and hustling lawyer, Billy Flynn. It was a revelation for all of us as a show and it is regularly revived to great acclaim. You just can’t keep a good show down. That might all seem like musical trivia, if it weren’t for the “six degrees of separation” rule. Fast forward to 2019 (a different millennium): Chicago has returned to our stages and, in a first, Jason Donovan is returning from London to play the role his father originated in Australia for the Melbourne season. Jason was barely into his teens when the Sydney Theatre Company production started its tour, but he was already a seasoned actor, particularly on television. Brought up by Terry, it seemed inevitable that he would also turn to acting, but it’s hard to imagine that he would ever have contemplated following so literally in his father’s footsteps as to play the same role in the same show thirty-eight years later. But the synchronicity doesn’t end there. Just prior to Chicago, Terry Donovan was appearing regularly on our screens in Cop Shop, and so was a young actor called Tom Burlinson, who had just signed a major movie contract to star in the title role of The Man from Snowy River - a role which made him an international star. Tom had appeared with Terry in Cop Shop, having made his mark as Mickey Pratt in The Restless Years. The Man from Snowy River was Australia’s biggest film production ever, and although Kirk Douglas was the obligatory overseas star, it was Tom and that famous downhill ride that took the world by storm. And who had a supporting role in The Man from Snowy River? You’ve guessed it, Terry Donovan, AKA Billy Flynn. “It’s quite extraordinary how things evolve,” Tom told me. “I don’t know if it’s the six degrees thing, or the

DAZZLE ‘EM planets aligning, or just fate, but it certainly seems something more than just coincidence.” Of course, Australia has a small pool of actors compared to the U.S or Britain, but many of them never cross paths or share roles, let alone have their careers intertwined. “The fact that Jason and I are sharing the role, each playing in different states, and that Jason’s Dad, with whom I had worked, and the two of us are now tied together by the same role is just a little bit spooky,” he explains. Tom is no stranger to Musical Theatre. His very first role on stage was as Colonel Pickering In My Fair Lady at Mosman Primary School. “I loved it,” he says with enthusiasm, “and I was absolutely hooked. It was the mid-sixties and I really wasn’t into the whole Beatles/Rolling Stones thing. I was obsessed with music from the forties and fifties - swing, musicals, crooners. We’re all influenced by our parents’

Cover Story

likes and dislikes, but I just gravitated to that music. I never thought all three would be so much a part of my life.” After years of singing along with Sinatra records, Burlinson discovered in his teens that he sounded like his idol, but he didn’t have the confidence to make his voice public. Tom concedes he might have tried musical theatre as his platform for performing, but a friend had applied to NIDA to do drama and Tom auditioned with him. The next thing he knew he was an actor, graduating in 1976. “I was lucky,” he says modestly. “I had the right look for the time, young with baby-faced innocence, and I was in fact in my twenties when the fame and fortune (such as it was) hit me. Two Snowy River films and Phar Lap were responsible for my love of horses and riding, which is right up there with music, and allowed me to make a name internationally. Yes, I was lucky and had fantastic (Continued on page 12)

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Tom Burlinson and the company of Chicago. Photo: Jeff Busby.

Online extras! Tom Burlinson as Billy Lynn sings “All I Care About Is Love” from Chicago. https://youtu.be/M6zqdgjYiYU (Continued from page 11)

opportunities, both here and overseas. I made some good films, and some fairly ordinary ones, but if you choose this life there are always going to be times when the work dries up and you think to yourself, ‘Now what?’ You come down to earth with a thud.” Such a time came for Tom in 1990, when he suddenly found himself without a job in sight. It’s hard for anyone to go from living the high life to wondering where the rent is coming from, but Tom stayed positive through it. “It was listening to my records, largely Sinatra and Swing Bands, that got me through the uncertainty,” he confesses, “and I actually wrote a song, a tribute to Frank, called “The Man in the Hat” because I loved Sinatra’s look as well as his voice. It was strange in a way because I had been singing with Frank all my life, yet I had reached my thirties before I ever sang in public.” That appearance was on The Ray Martin Show and, in Show Biz parlance, the rest is history. Tom Burlinson, actor, was now also Tom Burlinson, singer. “That opened so many new doors for me,” Tom admits, “not least being the voice of Frank in Nancy Sinatra’s mini-series tribute to her father. Can you imagine actually becoming the voice of someone you have idolised over the years? And so Frank became a part of my professional life as well as my personal one. I’ve been lucky to create some shows incorporating Frank’s repertoire and the ‘Swing’ standards I’ve always loved. 12 Stage Whispers September - October 2019

Natalie Bassingthwaighte in Chicago. Photo: Jeff Busby.

There’s only one rule in that; music, if it doesn’t make you click your fingers, it doesn’t swing.” The music also opened another door for Tom, and he started auditioning for musicals, finally getting the lead in How to Succeed in Business Without Really Trying in 1993, nearly thirty years after that primary school debut in My Fair Lady. “I just loved it,” Tom says. “It was a combination of everything I loved - great songs, a live band of terrific musicians, acting, really talented performers to bounce off. Wow, what’s not to love about Musical Theatre. It’s the only medium where you get a bit of everything. I owe so much to John Frost for trusting me with that.” Other musicals followed, including a long run in Mel Brooks’ The Producers, with Tom completing 500 performances. He might have been content from then on to tour with his own show Frank - A Life in Song, but the chance to join Chicago was irresistible. “Let’s face it - I get to sing ‘Razzle Dazzle ‘Em’ surrounded by beautiful women, and I’m not Richard

Cover Story Program covers from the original Australian production of Chicago.

(Continued on page 14)

The Australian tour of Chicago will play at Sydney - Capitol Theatre from August 20. Brisbane - Lyric Theatre QPAC from November 2. Melbourne - State Theatre, Arts Centre Melbourne from December 14. chicagothemusical.com.au

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(Continued from page 13)

Gere but I even get to tap dance - not my strong suit but I get by. And the cast, well the cast is unbelievable.” This is a reworking of the 1996 multi award-winning production that really made Chicago one of the biggest shows of all time. Ann Reinking, so long a part of Bob Fosse’s life, won a Tony Award for re-imagining Fosse’s original choreography, and it’s being used in this production, some twenty three years later, while the show is now Broadway’s longest running American The cast of Chicago. musical of all time, and the current secondPhoto: Peter Brew-Bev an. longest running musical on Broadway behind The Phantom of the Opera. You can’t improve on perfection. certainly one), just as she has done in shows as diverse as “My first day in the rehearsal room nearly blew my mind,” Tom confides. “The dancers had been working for Showboat, Singing in the Rain and Chess. Not only a about a week and they are just unbelievable. And Alinta great triple threat, Alinta is also a much-lauded jazz singer and Natalie are a revelation. The audience better be and musician. And with Casey Donovan as Mama Morton, prepared to get out of their seats more than once when the show is heavily weighted with superb talent. applauding.” “The thing about Chicago is that it’s not lightweight,” Though Natalie Bassingthwaighte is best known to Tom explains. “It may be set in the Jazz Age of the most of us as a TV actress and singer, she started her 1920’s, but it has murder, treachery, betrayal, corruption career in such musicals as Grease, Rent, Footloose and and all the other issues we’re facing right here and now in even in the ensemble in Chicago, so it’s not surprising she the world today. It’s still relevant.” is relishing playing Roxie Hart. As Velma Kelly, the And it has the great songs of Kander and Ebb and All delightful Alinta Chidzey is bound to please her fans (I am that Jazz - what more could you possibly want? Natalie Bassingthwaighte, Tom Burlinson and the company of Chicago. Photo: Jeff Busby.

Online extras! Natalie Bassingthwaighte sings “Roxie” from Chicago. Scan the QR code or visit https://youtu.be/H2ucwbjIPh0?t=3 14 Stage Whispers September - October 2019

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It was a performance which put Anthony Warlow on the international map. His stirring rendition of the dual roles of Dr Jekyll and Mr Hyde on the concept album of the Broadway bound musical excited fans and critics alike. Now a quarter of a century after the album was released, Australiaâ&#x20AC;&#x2122;s most successful musical theatre star will finally perform the role live in a series of concerts. David Spicer reports.

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For Anthony Warlow, the early 1990s were a time of great highs and lows. Just a year after being cast as the lead in The Phantom of the Opera he was diagnosed with cancer. The singer was forced to quit musical theatre to fight for his life. During that difficult period, a project came up that was not as strenuous as live performance. He moved to Los Angeles to record a concept album for the musical Jekyll & Hyde. “I had been on chemotherapy for six months, which made me very tired,” Anthony Warlow told Stage Whispers. Composer Frank Wildhorn says it was legendary Director Hal Prince who recommended Warlow as having the perfect voice for the role. “I was working at Atlantic Records and I fell in love with the voice and passion,” Wildhorn told Stage Whispers. “I knew he had been ill and had to be very careful with himself. He came out to live with me in Los Angeles, only working a few hours a day. He was in the studio all summer.”

Anthony Warlow credits the treatment he was undergoing for giving him a unique insight into the character of Dr Jekyll, who famously takes a potion to transform himself into Mr Hyde. “I did say to Frank to not worry about explaining the concept of a transformation, because I was on chemotherapy (tablets). I knew about a red therapy and a dye going into my body.” The lyrics of the song “This Is The Moment” were haunting. Like a warning light shimmering in red. Like crimson bloodshed glimmering in red. The song is sung by Dr Jekyll just before he first tests the potion on himself. It has since become a global standard, recorded by pop icons and sung twice at the Olympics. Anthony Warlow remembers helping to craft the song. He recalls it was “verse, verse, verse” in an early draft.

“To make it into music theatre it needed a dog leg,” he said. What is a dog leg? I queried. “A key change so it became a power ballad.” Then in a rather extraordinary moment in our telephone interview, he started singing on the phone. Goodness! I am getting a private one-on-one recital from Anthony Warlow and I didn’t even have to pay for a ticket. Here is a flavour of the recital. “Key change … give it a grandiose shove … This is the moment. This is the hour. When I can open tomorrow like a flower.” There was no orchestra for my private recital, and likewise for the original recording. “We did the album on a keyboard. We worked out the songs at Frank’s place, transcribed them and went to the studio.” Anthony recalls being given guidance about the arc of the orchestrations but having “great (Continued on page 18)

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“New bits were being written. (The writer) Leslie Bricusse wrote all the freedom to bend and break” the lyrics by handwriting. He sent them to songs. a fax machine without a paper cutter. He is especially proud that the In the morning there would be a recording was largely unaltered by beautiful scrolled heap of fax paper. special effects “apart from reverbs We would be there cutting things and one disco song. It was in my off.” contract that it was only my voice (on Crafting a master recording over the album.)” many months is a completely different He said transformations, such as challenge to performing the whole Jekyll hallucinating, were achieved show in one night. through key changes. Frank Wildhorn admits that the “I love to put my own signature on dual role of Dr Jekyll and Mr Hyde is things. The recording time was joyous very physically demanding. and exciting.” The original lead on Broadway He recalls lots of note taking as he “lived in his dressing room with worked through the character arcs of therapists and an acupuncturist,” he the demure Jekyll, compared to the said. monster of Mr Hyde. Ideas were “Anthony (at the time) was not thrashed back and forward, often out allowed to the do the role. Then he of chronological order. was busy all over the world and it never clicked in.” (Continued from page 17)

Frank Wildhorn.

Online extras! Frank Wildhorn talks about Anthony Warlow and Jekyll & Hyde. Scan or visit https://youtu.be/jRuCiAaZvMU 18 Stage Whispers September - October 2019

The musical has had mixed success in English speaking countries since it opened on Broadway in 1997 and ran for four years. However in South Korea it has been staged 15 years in a row. Next year will be tenth year in Japan. It has not stopped playing in Germany, Austria and Switzerland,” Wildhorn said. Frank Wildhorn is not shy about blowing his own trumpet. “We have five standards - that is songs known around the world - that are recorded constantly. It is very rare for modern Broadway scores to have this pedigree.” He lists the hits as “This Is The Moment”, “Someone Like You”, “A New Life”, “Once Upon a Dream” and “In His Eyes”. But Australia has been another story. Three professional productions have been announced that have not made it to the stage. “I don’t know why I have so many problems in Australia. I have to laugh because I love Australia. With all the first-class productions around the world, and the fact that the album came out with Anthony, you would have thought I would have had a big first-class production in Australia. Maybe with this concert that will change.” I met Frank Wildhorn in 2015 preparing for Opera Australia and John Frost’s planned season of Jekyll and Hyde. Around a piano at the Sydney audition, he enthused that at last the Australian hoodoo was going to be broken. Opera singer Teddy Tahu Rhodes was cast as the lead. His booming operatic performance of “This Is The Moment” was recorded at the media launch and released on social media. Some of the comments were telling. One said, “Was Anthony Warlow busy?” A few months later poor ticket sales prompted the producers to announce that the production was “postponed” forever. It no doubt would have been different if Anthony had accepted the role. He whet the appetite of the producers by taking part in a New York workshop of the new edition of

the musical that was planned for Australia. “I did this workshop in summer. We worked on it for a week. On the morning I got a stomach flu and could hardly talk or breath. “I had never sung the role from beginning to the end. I did it at 10 in the morning and almost collapsed. “John Frost and Opera Australia took me for dinner. ‘Well Anthony, are you going to do this?’ I said no. “Their mouths dropped. I proved I could do it. I wanted a king’s ransom and someone to do matinees. It is a big ask to do it eight times a week.” After all that drama, at last Anthony Warlow is going to play the lead in a short concert season in Melbourne and Sydney. He was approached by Paul Fanning of Concertworks, who grew up with the singer in Wollongong. Warlow said he was finally tempted by the prospect of a one (or two) off gala. In Melbourne it will be staged at the magnificent Hamer Hall The Sydney concert will be at the ICC in Darling Harbour, which was

Jekyll & Hyde plays on October 25 & 26 at Hamer Hall, Arts Centre Melbourne, and November 2 at Darling Harbour Theatre, ICC Sydney concertworks.com.au/jekyll where Warlow appeared in Sweeney Todd earlier this year. “I am not a fan (of the ICC.) It is a lecture hall. When a door opens a stream of light comes in.” He says the splendid cast assembled will make the most of the special occasion.

“This is about a celebration of the 25th anniversary of the album.” The concert will be semi-staged after a ten-day rehearsal period. “I am speedy with the learning process but I like the show to sit in my flesh.” As enthusiastic as Frank is about finally seeing Anthony Warlow perform the role, he regrets that he might have to miss the big moment. In October he is workshopping two new musicals in New York and Washington. The first is Camille Claudel, based on the life of the French sculptor, while the other is Song of Bernadette, about Saint Bernadette and her visions of the Virgin Mary. The composer/lyricist Frank Wildhorn loves setting tunes to classic stories. His other musicals include Bonnie and Clyde, The Scarlet Pimpernel, Dracula and The Count of Monte Cristo. “I will do my best to get [to Australia].” Plenty of fans of the album will also being doing their best to make it to a concert not likely to be repeated.

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Warlow On The High Seas Fans of Anthony Warlow will get another chance to enjoy his talent next year, on the high seas. The popular leading man is the headline act on the 2020 BRAVO Cruise of Performing Arts. Known for his astounding performance in the title role of the Phantom in Sir Andrew Lloyd Webber’s The Phantom of the Opera, Anthony’s versatility has enthralled audiences since his 1981 debut with the Australian Opera, at the tender age of 19. BRAVO Cruise of Performing Arts 2020, from October 13 to 20, sets sail from Sydney onboard Royal Caribbean’s Serenade of the Seas. Other artists on BRAVO 2020 include one of the West End and Broadway’s most celebrated stars - Ruthie Henshall. During her multi-award-winning career Ruthie has starred in some of the most popular musicals of the past thirty years including Cats, Miss Saigon, A Chorus Line, Les Misérables and Billy Elliot. BRAVO 2020’s unique performing arts experience features 45 artists including Teddy Tahu Rhodes, Peter Coleman-Wright, Cheryl Barker, David Hobson, Mirusia, Jonathon Welch, Richard Troxell, Amanda Lea LaVergne and Conductor Guy Noble, accompanied by The Metropolitan Orchestra. Passengers can relax, unwind and enjoy the South Pacific Islands, with two ports of call during the seven-night voyage, Noumea and Isle of Pines in New Caledonia. The Isle of Pines is a quaint tropical paradise where you can leave your worries behind for a day at the beach. Back on board, BRAVO guests can take part in immersive passenger experiences, meet the stars at the artist signing, and join the on-board choir hosted by Jonathon Welch of The Choir of Hard Knocks. BRAVO creates a unique atmosphere where all passengers are connected, and all share a common love for music. Nowhere else will you enjoy such an immersive, intimate and up-close artist experience as you will on board BRAVO Cruise of Performing Arts, with a musical program that traverses musical theatre, opera, cabaret, jazz plus much more. 20 Stage Whispers September - October 2019

Anthony Warlow. The Metropolitan Orchestra.

Tickets for the 2020 BRAVO Cruise are on sale now, departing from Sydney. Pricing starts at $2,769. For more info visit www.bravocruise.com.au/2020

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Razorhurst. Photo: John McRae.

Sydney’s Hayes Theatre is famous for inventively producing musicals on its tiny Darlinghurst stage. The company’s latest production, the Australian Premiere of Caroline, or Change, could be its most ambitious yet. David Spicer reports. One of the delights about seeing a production at Sydney’s Hayes Theatre is the transformation of the space, with a capacity of just 110 seats and a small square stage with no wings, into theatrical gold. Already this year there have been some crackers. In American Psycho a glass wall was spinning on a revolve, allowing cast to weave in and out of different rooms. For Razorhurst, set in gritty early 20th century Sydney, there was a brooding bar and gorgeous lamp lights. In Spamalot the whole rectangle was decorated, and the space converted into a theatre in the round. One of the company’s biggest hits of recent years was Calamity Jane, where the audience entered the saloon through a side door. For the Hayes Theatre’s August / September production, the company could be setting a new benchmark of inventiveness. The musical Caroline, or Change is set on three levels of a grand old house in Louisiana in the 1960’s. Director Mitchell Butel describes it as the biggest design ever attempted in the Hayes Theatre. “Our set designer Simon Greer is building a fantastic (Continued on page 24)

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American Psycho. Photo: Clare Hawley.

Online extras!

Spamalot! Photo: John McRae.

See the transformation of Hayes Theatre for Spamalot! Scan or visit https://youtu.be/_hzVyCyudOw

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The set for Caroline, Or Change.

(Continued from page 22)

old house with various levels which will squeeze into the Hayes. It also has the sense of the Louisiana swamp with the frogs and the marsh all round it,” he said. The musical has a book and libretto by Tony Kushner who wrote Angels in America. The score is by Jeanine Tesori, the composer of Fun Home, Shrek and Thoroughly Modern Millie. “It has an incredible score - a mix of gospel, Motown, folk, Jewish Klesmer and music theatre power ballads. The book is so inventive and filled with heart,” he said. Set in Louisiana in 1963, the musical is based on Tony’s early life, when he had an African American maid. “In this show the maid is called Caroline. She is a fascinating, tough talking and stern women who is a single mum with various kids.” Mitchell said the musical touches on race relations and the power imbalances between white Christians, Jews and Afro-Americans at the time. “Those power differences are told through the prism of this boy and how he interacts with his maid.” When the musical opens the family is in crisis. The boy’s mother has died and his father has remarried his mother’s best friend. The new Jewish stepmother attempts to befriend the maid by encouraging her to keep the change she finds in the pockets of the family’s laundry. “Caroline says to the stepmother, ‘I am not taking change from a child, no way’. She responds that you’ve got three kids. They need food and clothes.” Things “implode and go badly”, when the boy leaves a 24 Stage Whispers September - October 2019

$20 Hanukah gift in his pocket. Like Kushner’s Angels in America, as well as naturalism there is also magic realism. Objects in her life take on human qualities. “In the basement the washing machine that Caroline slaves at every day comes to life and sings to her. The dryer also sings to her. It is like the devil and must be a hot basin all day. There is a moon that comes out and is like a Greek chorus, which oversees the action. It is a very unusual but beautiful piece.” The objects are portrayed by people. “It is like The Magic Flute, where animals come to life.” The role of Caroline is played by Elenoa Rokobaro. “Tony Kushner is so clever and witty. He paints a picture in the first number, sung acapella by Caroline in the basement. In the first few lines she has already set up the scene, location and what she is about,” she said. Eleona is fascinated by the parallels between her own life and the story of “friendship and hope” in the musical. “I relate to Caroline. She is a strong mother trying to make a living and trying to push through,” she said. “It is almost like this show is my (own) mother’s story, told through this masterpiece. It is so real for me. I try not to get emotional about it.” Fulori Rokobaro grew up in Fiji and worked as a housekeeper to put food on the table for her large family when they moved to Australia. “I grew up seeing my mother working in housekeeping and having to provide for seven kids. I am the seventh,” she said. “This story is for my mother. I didn’t see this show coming but what a blessing it is.” Poetically, Fulori Rokobaro turns 70 on opening night.

Opera Goes Digital Opera Australia has recently invested in some stunning digital sets, with the risk having so far paid rich dividends for both the company and the patrons. Peter Novakovich reports. Fourteen massive LED screens silently and smoothly float around the stage displaying backdrops, both static and moving. In some scenes the cast interact with the moving pictures. Lyrics and birds take flight, trains pull into stations from which our cast alight, works of art fly onto the stage to overcome their artist in what looks like a colourful trippy launch into hyperspace. The screens could almost be given their own acting credit. Opera is no longer just a feast for the ears; the eyes now have it. Opera Australia’s Artistic Director Lyndon Terracini spearheaded this innovation. What motivated him to go down this path? “Really just thinking about what the world is now and how we as an opera company can communicate with an audience in the 21st century. While it’s highly important to have the best singers you can possibly get, after all Joan Sutherland said, ‘Opera is about voice, voice, and more voice’, nevertheless we live now in a society that’s motivated visually, in fact driven visually,” he said. “So it’s important for me as artistic director to think about what we can do to ensure a 21st century audience has the same excitement, thrills, and joy at seeing an opera as those of us

who’ve been seeing opera (since) the days of fax machines.” Some inspiration came closer to home. “Looking around and seeing my daughters, and younger people, their whole life is centered around a screen. If you go to a rock concert now, you look at the technology. It’s pretty exciting, audiences are responding, and I think we’ve got a lot more to offer.” It wasn’t a direct leap into LED. “Originally, I started looking at projections, but then I realised that, firstly, there’s nothing new about it and, secondly, the quality of the resolution wasn’t really good enough. Then I investigated LED technology and I found, in fact I was stunned, that the quality of the technology had advanced and the resolution is extraordinary.” One word that cropped up a lot in our interview was the word “enhance”. Terracini wanted to assemble people who could “use the technology, rather than the technology use them.” I think he succeeded. It’s tempting to be so in awe of the latest tech that we can let it (Continued on page 26)

Karah Son in Opera Australia’s Madama Butterfly (2019). Photo: Prudence Upton.

www.stagewhispers.com.au Stage Whispers 25

Bradley Cooper and Leigh Melrose in Opera Australia’s Whiteley (2019). Photo: Prudence Upton.

Online extras! Check out the stunning visuals of Whiteley for yourself. Scan or visit https://youtu.be/eA2RWi1VVeg

(Continued from page 25)

overshadow all else, and have patrons focus on the scenery rather than the cast. I’ve seen some non OA productions experimenting with new tech, yet while the visuals looked stunning, the show was ruined. It can create all the wrong expectations. When I told a friend that I saw the new-tech Madama Butterfly, he quipped about whether Pikachu and Pacman had played the leads (admittedly, with some modern interpretations I would not be surprised). We’re in safe hands here. Terracini regularly states that the new tech is there to enhance what the cast are doing. Having seen OA’s digital versions of Madama Butterfly and Whiteley, I can verify that claim. And the results are impressive. Terracini said the new tech has yielded a massive 85% approval rating based on audience response and after showing the new tech in Aida, Opera 26 Stage Whispers September - October 2019

Australia started seeing younger people coming. Terracini is quick to point out that this does not mean the end of the traditional old-fashioned flown-in backdrop, or “analogue sets” as they’re now called. Productions like Moshinsky’s take on La Traviata and Graeme Murphy’s Turandot are productions Opera Australia “is not going to get rid of. They’re wonderful creations.” Ever conscious of budget, OA is wisely renting the screens. This allows for updated tech and call-out servicing, while OA can also hire yearold screens that do the same job, at half the price of new ones. “We currently have three productions this season using that technology (Anna Bolena, Madama Butterfly and Whiteley) and in each one audiences can see the range, to see what’s possible, and get a feeling that every show is not going to look the same. They’re not just flat panels.”

Of course, having the dream is one thing. Realising it is another. That’s where Production Manager James Wheeler comes into the picture (pun intended). Wheeler’s role is to make sure all the parts - both human and otherwise - are assembled and working in harmony, although he’s quick to point out he’s not the only one who has to ensure the ship sails smoothly. The Technical Director and Scenic Production Manager also play their part. This was not without its challenges. “The idea of the new digital technology meant we had to make a new space to allow that to happen,” said Wheeler. “That meant having to commission and design a new double revolve, and making those screens fly and rotate as well using a new tracking system for content (the onscreen display) and lighting.” There is one challenge that is not new: time itself. Wheeler continues, “Any production with automation or autoflying means you need time to plot it

and put the data into the system before you get the cast on stage.” It’s labour intensive and the crew need to find time to do it, while ensuring other productions are running smoothly. “And then you need time to test it, at least once.” The challenge is compounded depending on how many cues are added. Back in the good ol’ days the only things moving around on stage were the cast, and often the lighting cues were static for each act. Wheeler notes that, by comparison, Whiteley had “about 39 separate automation sequences in it, as well as an equal number of fly cues” that had to be programmed and tracked. What helped was that the Sydney Opera House recently updated their fly system, including the flybars. Wheeler says the update allowed OA to easily marry their new tracking system to the house’s fly system. As with Terracini, the word that keeps popping up is “enhance” and it is joined with “collaborate”. I hear Wheeler’s voice fill with pride when he speaks about the operators who

make the tech happen at each performance, and the many staff (both tech and otherwise) who worked at getting the tech up and running in the first place. Wheeler, also, does not rule out analogue sets. “Totally. We see the digital world as another way of presenting opera.” The other good news is that this tech can travel. Wheeler says these productions are being taken to other cities, so don’t worry if you couldn’t get to Sydney to see what the fuss is all about. The use of the new tech has led to exciting times, not only for Opera Australia but for how these productions will impact theatre everywhere. We used to rely on Europe and the US to lead and innovate, but now it seems Opera Australia is the front runner. The last word on this new tech goes to Terracini, who teases us thus, “We’re working very hard on The Ring at the moment, and what people will see in The Ring will be a monumental leap forward again.”

Online extras! The stage of Anna Bolena is brought to life. Scan the QR code or visit https://youtu.be/3P_d14UQX2M

Ermonela Jaho, Anna Dowsley and Carmen Topciu in Opera Australia’s Anna Bolena (2019). Photo credit: Prudence Upton

www.stagewhispers.com.au Stage Whispers 27

The Australian cast of West Side Story completed a six week tour of Germany ahead of their season at the Sydney Opera House. Noah Mullins (pictured third from left in the front) plays Riff. The 19-year-old told David Spicer about the excitement of touring the musical to Europe. It was interesting to see how audiences behave differently. They clap differently (to Australia.) They all clap at the same time and every performance is a standing ovation. Here we only get standing ovations on important nights. There, even on matinees, they would stand up and scream. They would keep

28 Stage Whispers September - October 2019

House was bombed (during WWII) but restored. The theatres in Berlin and Dresden are grand, with really old chandeliers and beautiful paintings. The first time I walked out during a rehearsal I didnâ&#x20AC;&#x2122;t say any of my lines because I applauding for another minute when was in awe. the curtain came down. They also have big velvet curtains After the performance they would and so much room side stage and see us but not speak, only hand us a behind the curtain to stretch and program and a pen for an autograph. practise whilst the show is going. We were in Germany for six weeks I used to live in Europe when I was in the Cologne Musical Dome, the young so it was very nice going back. Berlin Opera House and Dresden During the day we could be tourists, Opera House. The Dresden Opera as some days we didnâ&#x20AC;&#x2122;t start until 6pm.

Online extras! Meet Noah and the cast of West Side Story. Scan the QR code or visit https://youtu.be/734wINLe_5w Photo: Sven Darmer.

I am playing Riff, the leader of Jets. I am 19 years old. The youngest we have is 17. We are the age range that matches the characters in the show. Riff is 19, and all the other jets are 14 to 19 and we look that age. Now I get to perform in the Sydney Opera House. At just 12-years-old, Noah performed alongside Todd McKenney in Songs and Stories of Peter Allen at the State Theatre in the role of Young Peter. He has since appeared in more than 15 musical productions. West Side Story is Noahâ&#x20AC;&#x2122;s professional theatrical debut. www.stagewhispers.com.au Stage Whispers 29

Belvoir’s Counting And Cracking. Photo: Brett Boardman.

Awards

Online extras! Helpmann-winning S. Shakthidharan discusses Counting And Cracking. https://youtu.be/WTudekMX91U

Aussie Play’s Magic Spell “It had to be excellent,” said Sue It was the big upset of the Helpmann Awards, held for the first time in Donnelly. “When you put something Melbourne. Sydney’s Belvoir Street Theatre scooped 13 out of the 43 on from a culturally diverse awards, blitzing international blockbusters including Harry Potter and background, it would be too easy to the Cursed Child and West Side Story. David Spicer reports. The Executive Director of Sydney’s Belvoir Street Sue Donnelly thinks that the Helpmann Awards have finally come of age. She loved the new glamorous home for the awards at Arts Centre Melbourne and is (unsurprisingly) delighted that local content won the big awards. The company scored the unique trifecta of Best Play, Best Musical and Best New Work. Harry Potter and the Cursed Child was considered a shooin to dominate the local live performance awards after taking six Tony awards. Instead it was thrashed by S. Shakthidharan’s critically acclaimed new Australian play Counting and Cracking, staged during the Sydney and Adelaide Festivals. “Harry Potter is spectacular. But the basis of a really good play is the script. If you compared the two scripts 30 Stage Whispers September - October 2019

and read them you will understand why Counting and Cracking won,” Sue Donnelly said. Stage Whispers’ reviewers raved. Anthony Vawser described its concluding image as “so perfect you are left breathless with admiration.” Tony Knight said: “Imagine this an audience of basically ‘white’ middle-aged to senior Australians cheering a Sri Lankan refugee who is joining a group of ‘boat people’!” Counting and Cracking was a very large production by Australian standards. Sixteen actors played fifty characters tracing four generations of a family from Colombo to Sydney’s western suburbs. Belvoir has been developing the play for six years and spent two years compiling an international cast.

write it off if it was not good enough.” Director Eamon Flack, set and costume designer Dale Ferguson and writer S. Shakthidharan travelled to Sri Lanka searching for inspiration. It came when they were waiting in a town hall, which became the template for the set. “We wanted people to feel like they were in Sri Lanka. The audience become very involved in the play,” Donnelly explained. The set had a red rust hue surrounded by a water drain. Cast members carried cricket match signs indicating where the action was taking place, be it Sri Lanka in the 1960’s or Pendle Hill in Sydney’s western suburbs in 2006. There were 200 props but few heavy scene changes.

p Dogs. Barbara And The Cam Photo: Brett Boardman. L-R back: Eamon Flack, Vicki Gordon, Sue Donnelly, Alana Valentine, S. Shakthidharan. L-R front: Elaine Crombie, Ursula Yovich. Photo: Rocket Weijers.

“Theatre can be magical with just a few props. We used people as windows, and as clothes lines, and made a beach scene by sliding across the stage.” A love story and fun moments were mixed with a sweeping drama stretching over four generations. “The timing was right. There is a thirst to find out about why people come to Australia. Sri Lanka was the case study but I spoke to so many people who were migrants from China, South America and Africa who said I really understand the story.” Counting and Cracking is now expected to tour internationally. Belvoir also raised eyebrows by securing the Best Musical award for its production of Barbara & the Camp Dogs.

“It was fortuitous we had a musical on at the same time as a welldeveloped, thought through play. The planets aligned. “It had fantastic original music that transported people to a grungy Surry Hills pub. People sat on the stage with an excellent live band, with dialogue about the music industry.”

The inner-city pub rock play with thumping music beat Opera Australia’s West Side Story, Charlie and the Chocolate Factory and In the Heights. Industry members who vote for the Helpmann Awards have swung back behind Australian productions. Whilst carbon copies of Broadway or West End hits may have dominated past ceremonies, quality local work was championed in 2019.

www.stagewhispers.com.au Stage Whispers 31

roadway uzz

By Peter Pinne

Broadway set a new annual box-office record in the 2018-19 season, with a combined gross of $1.83 billion representing a 10.3% increase on 2017-18. New hit shows such as the jukebox musical Ain’t Too Proud and the drama To Kill a Mockingbird drove the figures higher when they opened, but it was the long-running hits that consistently kept the box-office on fire. During the Christmas winter holidays Hamilton set a new Broadway weekly sales record of $4 million (AU$5.97million), whilst Disney’s The Lion King and Aladdin were at 97% capacity. Charlotte St. Martin, president of the Broadway League, emphasised the “diversity of offerings, from family-friendly musicals to cutting-edge dramas, as the key to drawing crowds and boosting grosses.” An increase in tourists to New York, which welcomed a record 65.2 million visitors, was another reason. Adding to the bottom line was the fact that producers are making better use of “dynamic pricing” - that is charging more when demand is greater. Although premium seats at some shows, Hamilton and The Book of Mormon, have topped $400 (AU$597), the average paid admission was $123.87 (AU$183.88) per ticket, but there were still many shows with ticket prices under $101 (AU$150). Since it opened, the jukebox musical Moulin Rouge has consistently pulled in over $2 million (AU$2.85 million) per week, making it one of Broadway’s current top grossing productions. Critical analysis for the clichéd story elements has been mixed but the physical production received raves. The Hollywood Reporter called it “intoxicating and exhausting”, the New York Times “euphoric”, whilst the New York Post said “who needs ecstasy when we’ve got Moulin Rouge”. Aaron Tveit (Christian) was said to have “appealing exuberance and a gleaming voice”, Karen Olivo (Satine) offers a “delicious compound of artifice and ardour”, whilst Danny Burstein (Harold Ziegler) leeringly welcomes the audience as a “gorgeous collection of reprobates and rascals, artistes and arrivistes, soubrettes and sodomites”, and claims “no matter your sin, you are welcome here.” With a score of over 70 hits that includes a mash-up of “Diamonds Are Forever”, “Diamonds Are a Girl’s Best Friend”, “Material Girl” and Beyonce’s “Single Ladies (Put a Ring on It)” all in one number, plus Katy Perry’s “Fireworks”, Adele’s “Rolling in the Deep” and Britney Spears’ “Toxic”, every pop base is covered. The New York Times said it “offers a party and a playlist for the ages” with “knockout visuals” and with nearly $3 million takings in the till each week it’s obvious audiences agree. Matthew Lopez’s epic two-part London hit The Inheritance will begin previews at Broadway’s Ethel Barrymore Theatre on September 27, and open November 17. The production, directed by Stephen Daldry, premiered 32 Stage Whispers September - October 2019

Online extras! Moulin Rouge! The Musical is spectacular and receiving rave reviews. https://youtu.be/mU2oyB-sWEw Aaron Tveit and Karen Olivo. Photo: Sara Krulwich.

at the Young Vic before transferring to the West End’s Noël Coward Theatre, where it subsequently won four Olivier Awards including Best New Play. The work has been called a “brilliant” re-envisioning of E.M. Forster’s Howard’s End to 21st Century New York City and follows the interlinking lives of three generations of gay men searching for a community of their own - a place to call home following the HIV/AIDS crisis of the 80s and 90s. The London cast featured Vanessa Redgrave, John Benjamin Hickey, Andrew Burnap and Kyle Soller. Oliviers were won by Soller, Daldry and lighting designer Jon Clark. Lopez, an American playwright with a Hispanic background (his Aunty is A Chorus Line’s Priscilla Lopez), previously wrote 2006’s The Whipping Man, which won Off-Broadway Obie and Lucille Lortel Awards and the John Glasser New Play Award from the Outer Critics Circle. Chasing Rainbows: The Road To Oz, a new musical tracing the early life of Frances Gumm (also known as Judy Garland) up to her legendary role as Dorothy in MGM’s The Wizard of Oz, opens at Paper Mill Playhouse September 26, playing through October 27. With direction and choreography by Denis Jones and musical direction by Lawrence Yurman, it stars Ruby Rakos (Billy Elliot) as Frances Gumm/Judy Garland, Max von Essen (An American In Paris) as Frank Gumm, Lesli Margherita (Matilda) as Ethel Gumm, Karen Mason (Mamma Mia!) as Ma Lawlor/ Kay Koverman, Stephen DeRosa as Louis B. Mayer, Michael Wartella as Mickey Rooney and Colin Hanlon as Roger Edens. The show’s original concept is by Tina Marie Casamento. Marc Acito is penning the book, with David Libby handling musical arrangements for the jukebox score, which will draw upon existing songs from the EMI/ Feist Robbins music catalogue. Robert Schenkkan’s second LBJ play, The Great Society, will open at the Vivian Beaumont Theater October 1 for a twelve week season, after playing previews from September 6. It stars Brian Cox as Lyndon B. Johnson, David Garrison as Richard Nixon, Grantham Coleman as Martin Luther King Jr., and Bryce Pinkham as Senator Robert F. Kennedy. Bill Rauch will direct, as he did with All the Way, the first instalment of the LBJ chronicles that won the 2014 Tony Award for Best Play and earned Bryan Cranston the Best Actor award in his lead role as LBJ. The 19 member ensemble cast will portray over 50 characters.

London Calling By Peter Pinne The surprise West End hit Six has announced productions of the show will be mounted in Australia and on Broadway in 2020. The Australian premiere will run at the Sydney Opera House from January 4 - March 5, while the show will begin performances at Broadway’s Brooks Atkinson Theatre February 20 ahead of a March 12 opening. Prior to playing Broadway, the show is playing a limited engagement at the American Repertory Theater in Cambridge, Massachusetts (August 21 - September 7). Six is a pop-fueled musical which brings to life the six wives of notorious Tudor King Henry VIII, giving the microphone to his queens to tell their stories. It is accompanied by an all-female band and inspired by the canon of music divas Adele, Lily Allen and Ariana Grande. Written by Toby Marlow and Lucy Moss, the musical originated as a student production by the Cambridge University Musical Theatre Society, which played a one-month run at the Edinburgh Fringe Festival in 2017. After subsequent runs in London and Edinburgh, it played a limited run at the Arts Theatre before touring the UK and reopening in the West End earlier this year. It subsequently received five Olivier Award nominations including Best Musical. Many composers and lyricists have musicalised the subject before - Richard Rodgers and Sheldon Harnick with Rex, Leslie Bricusse’s Kings and Clowns - but this is the first time it’s been a success. James McAvoy (X-Men) will play the title role in Edmond Rostand’s classic play Cyrano de Bergerac, freely adapted by Martin Crimp and directed by Jamie Lloyd, which will open a year-long residency of productions at the Playhouse Theatre, from November 27. The late 19th century play by Rostand dramatises the life of the titular character, a 17th century French playwright and author. It reunites McAvoy with Lloyd after their previous West End collaboration of Macbeth at Trafalgar Studios in 2013. McAvoy’s other West End credits include The Ruling Class, Three Days of Rain and Breathing Corpses, whilst Crimp’s previous London plays include When We Have Sufficiently Tortured Each Other at the National, The Treatment at the Almeida Theatre and In The Republic of Happiness at the Royal Court. & Juliet, a new musical, is set to open November 2 at the Shaftesbury Theatre, featuring the pop hits of Max Martin, who has written songs for Britney Spears, Celine Dion, Backstreet Boys, Kelly Clarkson, Pink, Katy Perry, Ariana Grande and more. He has had a phenomenal 22 songs at number one on the Billboard Hot 100. Directed by Luke Shepherd, the musical will star Miriam-Teak Lee (Hamilton/On The Town) in the title role. The story picks up from a moment near the end of William Shakespeare’s

Online extras! Watch the trailer for Six, coming soon to Australia. Scan the QR code or visit https://youtu.be/ykboWXNqdkk play Romeo and Juliet, where instead of her persevering with the final, fatal act of the play, Juliet decides to down dagger and begin the search for a better life. Along with Nurse, she takes to Paris with a group of friends and takes control of her story. The songs include Britney Spears’ “One More Time”, The Weeknd’s “Can’t Feel My Face”, Backstreet Boys’ “Everybody” and Ellie Goulding’s “Love Me Like You Do”. Florian Zeller’s latest play, The Son, has transferred from the Kiln Theatre (formerly the Tricycle Theatre) to the West End’s Duke of York’s Theatre for a 10-week run, playing until November 2. Directed by Michael Longhurst, the play tells the story of a young boy facing the difficulty of his parents’ divorce, who starts skipping school and lying to his family. Amanda Abbington, Laurie Kynaston, John Light, Amaka Okafor and Martin Turner all reprise their roles from the Kiln production and are joined by Cudjoe Asare, who will play Nurse. Christopher Hampton did the adaptation as he did with Zeller’s previous West End entries, The Height of the Storm and The Father. Dame Julie Andrews will recount her famous career at a special one-off live event at the Royal Festival Hall in November as part of Southbank Centre’s Autumn 2019 Literature Season. A Conversation with Dame Julie Andrews will see her take centre stage as she discusses her forthcoming memoir, Home Work: A Memoir of My Hollywood Years, with actor Alex Jennings. Andrews directed Jennings as Henry Higgins in the Australian Opera’s 60th anniversary production of My Fair Lady at the Sydney Opera House. Her most recent roles have been voicing Queen Lillian and Marlena Gru in the animated movies Shrek and Despicable Me. Director Jamie Lloyd, who has made a name for himself with daring re-imaginings of the classics (Macbeth), has turned his attention to Andrew Lloyd Webber and Tim Rice’s beloved 1978 musical Evita, giving it a punk edge with dirt, rust and grime, in it’s Regent’s Park Open Air theatre setting. It’s a far cry from Harold Prince’s legendary original but it brings it back more to the rock-opera aesthetic of the original pop album. Samantha Pauly’s Evita bounds around in a white slip dress and sneakers, Trent Saunders’ Che wears a red Che Guevara T-shirt (the sort sold at markets the world over), and Fabian Aloise’s choreography, besides the typical tango and salsa, also nods to the “Thriller” dance, moonwalks and b-boying. Lloyd said the piece still “taps into the truth” of modern day politics. “They made a song in the show ‘Oh What a Circus’, and that’s been our impulse with pyrotechnics and confetti cannons,” he said. He also added, “It’s as if it has the energy of a pop concert but also of a political rally.” The Guardian called it a “work of screaming fun”. It plays until September 21. www.stagewhispers.com.au Stage Whispers 33

status. The harmonies are glorious, and you couldn’t wish for more from the vocals - “One Night Only” (Dreamgirls), “Seasons of Love” (Rent) and “I’m Every Woman” (Bodyguard) set the standard early on and what By Peter Pinne follows is just as good and exciting - “Somebody To Love” (We Will Rock You), “(You Make Me Feel Like) A The Lion King (Elton John/Tim Rice/Lebo M/Hans Natural Woman” (Beautiful) and “Falling Slowly” (Once). Zimmer) (Walt Disney Records 8742300). There’s a very good version of “Helpless” (Hamilton), with Disney’s new photorealistic computer-animated an on-the-money rap by Sky Adams, plus an outstanding remake of the most valuable franchise in their catalogue three-part harmony “Memory” (Cats). Each gets to solo retains all of the songs from the original 1994 movie, Knight repeats her Felicia adding “He Lives in You” from the Broadway production, performance on “Love Will plus two new songs, “Spirit” by Beyonce and “Never Too Stand When All Else Late” by Elton John. It starts with “Circle of Life”, an Falls” (Memphis), Riley is almost identical version to that used in the original film, moving on “Wind sung by Brown Lindiwe Mkhize, a former stage Rafiki, Beneath My Wings” but which is preceded by Lebo M’s iconic vocal chant “Nants’ it’s Janson’s “Don’t Rain Ingonyama”, which has forever become the sound of The On My Parade” (Funny Lion King. It’s thrilling, with added texture given by Girl) that’s the knockout.  highlighting the Andean wind-flute instrumental solo. Chiwetel Ejiofor as Scar talk-sings a rewritten version of “Be Prepared”, Billy Eichner (Timon) and Seth Rogen Online extras! (Pumbaa) sing an expanded (from the truncated movie Amazon has Leading Ladies: Songs version) “The Lion Sleeps Tonight” but score big-time From The Stage ready to ship to you. with Donald Glover (Simba) on the film’s funniest https://amzn.to/2OVYQZf sequence, “Hakuna Matata”. Beyonce and Glover bring distinctive vocals to the score’s classic “Can You Feel the Max Von Essen - Call Me Old Fashioned: The Love Tonight”. Hans Zimmer’s orchestral score has great Broadway Standards (Various). (LML-299) emotional depth, especially “Elephant Graveyard” and Max Von Essen puts a new spin on some golden “Simba Is Alive”, and continually sounds lush and oldies on this album of Broadway (and some movie) appropriately majestic. Beyonce’s “Spirit” plays as standards. The actor, who won a Tony nomination for his underscore to Simba’s journey role of Henri Baurel in Gershwin’s An American In Paris, back to Pride Rock, with has previously toured with Liza Minnelli, so it’s no John’s “Never Too Late”, surprise that her former musical director Billy Stritch is on a pop-rock piece with board as pianist, arranger, vocalist (on two tracks) and co added African -producer. Starting with a mash-up of Peter Allen’s instruments, played over “Everything Old Is New Again” and Jerome Kern’s “I’m the end credits. The Old Fashioned” (You Were Never Lovelier), Essen’s original movie soundtrack creamy baritone sweeps through a collection that is still the gold standard, includes “She Loves Me” (She Loves Me), “They Say it’s but this is a very good Wonderful” (Annie Get Your Gun) and “Can’t Take My cover.  Eyes Off Of You” (Jersey Boys). Apart from Stritch on piano, the four-piece Online extras! backing includes Mairi Download the album from Apple Music Dorman-Phaneuf on cello, today. Scan the QR code or visit who excels on a stunning https://apple.co/2OTS4TO arrangement of “On This Night of a Thousand Stars” (Evita), the most Leading Ladies - Songs From The Stage (Various) interesting track on the (EastWest 0190295735937). Three West End divas (Amber Riley, Beverley Knight and Cassidy Janson) joined disc. There’s also a great forces to create a group called Leading Ladies for concert Judy Garland medley of tours. This is their debut album. All have starred in the West End - Riley, a former cast member of TVs Glee, Online extras! played Effie in the London production of Dreamgirls, Get your copy of Call Me Old Fashioned Knight starred in Bodyguard and Memphis, whilst Janson from LML Music. Scan or visit did stints in Wicked and Beautiful. On the evidence of http://bit.ly/2OUdW1i this recording, they all deserve their Leading Ladies

Stage On Disc

34 Stage Whispers September - October 2019

“The Trolley Song” and “Gotta Have Me Go With You”, and of course a selection from An American In Paris.  Lost Broadway 1961 (Stage Door 9063)/Lost Broadway 1956-57 (Stage Door 9064). Following on from their highly successful Lost West End series, Stage Door have turned their attention to Broadway with a new series of albums which focuses on Broadway’s forgotten and obscure musicals. There are two discs in each release - the first is a disc of Original Broadway Cast Recordings, while the second showcases pop covers and other rare recordings including shows that were never afforded a complete cast album. The 1961 album features selections from The Happiest Girl in the World, Milk and Honey, Subways Are for Sleeping, Sail Away, Let it Ride, Carnival, The Gay Life, Kwamina and Kean, with songs from 13 Daughters and The Conquering

show, which is sourced from the original Hawaiian cast recording. 1956-57 features songs from Happy Hunting, Mr Wonderful, Shangri-La, New Faces of 1956, Candide, Shinbone Alley, Copper and Brass, Rumple, Simply Heavenly, Jamaica, New Girl in Town, and the play with music, Time Remembered. Ethel Merman dominates the Original Cast CD with “Gee But It’s Good To Be Here” (Happy Hunting), but Sammy Davis Jr’s “Too Close For Comfort” (Mr Wonderful) and Barbara Cook’s “Glitter and Be Gay” (Candide) are classic musical theatre. The pop covers include Eddie Fisher’s “Sunshine Girl” (New Girl In Town), the Four Aces’ “How Do You Say Goodbye” (Rumple) and The Hi-Lo’s with an unusual choice for their four-part harmony, the satiric “April in Fairbanks” (New Faces of 1956). 

The Dancing Years (Ivor Novello) (JayRecords). Eighty years after its premiere in 1939, we have the first complete recording of Ivor Novello’s most popular musical/operetta, The Dancing Years. Jay Records first started to record the work in 1995, the same year star Valerie Masterson recorded the show for BBC radio, but has been unable to clear the artist royalties until now. Was it worth the wait? Yes, as far as the performances go. Masterson was born to sing Novello and she’s the Online extras! star of this recording, giving a perfect performance of Purchase Lost Broadway 1961 from Maria Zeigler with enchanting vocals of “Waltz of My Amazon. Scan the QR code or visit Heart”, “The Wings of Sleep”, “I Can Give You the https://amzn.to/2OV6GSH Starlight” and “My Dearest Dear”. Opposite her as Rudi, David Fieldsend is just as wonderful singing “My Life Hero on CD for the first time. Of course die-hard Belongs To You”, whilst Katrina Murphy gives a sprightly collectors will have those already issued on CD, but it’s reading of “Primrose”. Accompaniment by the National nice to revisit and rediscover the gems they contain Symphony Orchestra, conducted by John Owen Edwards Elaine Stritch bemoaning “Why Do the Wrong People and Clive Barna, sounds grand and large, but at times the Travel” from Noël Coward’s Sail Away, Molly Picon original orchestrations (not surprisingly) sound dated. The boisterously exhorting “Chin Up Ladies” (Milk and Honey) chorus work is exemplary as is work by the other and Sally Ann Howes soaring gloriously on “Another principals, Lynton Black, Mary Hegarty and Tinuke Time, Another Place” (Kwamina). But it’s the pop covers Olafimihan. The one thing that detracts from the two that hold the interest - Mel Torme’s “Her Face” (Carnival) disc set is the tedious and and two tracks from Jule Styne’s underrated score for unnecessary plot narration Subways Are for Sleeping, Doris Day’s “Who Knows What written by Kurt Ganzl and Might Have Been” and Judy Garland’s spoken by Janie Dee. It “Comes Once in a continually irritates and Lifetime”. For a bit of interrupts the flow of novelty there’s always Jo music and makes it feel Ann Campbell’s “Puka, more like a radio-piece. It Puka, Pants” from the really has no place on the Hawaiian-set 13 album.  Daughters or James Keina’s “Let a Go Your Heart” from the same Online extras! Get your copy of The Dancing Years from Apple Music. Scan or visit https://apple.co/2P4RMJA

Online extras!

Buy Lost Broadway 1956-57 from Stage Door Records. Scan the code or visit. http://bit.ly/2OUeMuY

Rating  Only for the enthusiast  Borderline  Worth buying  Must have  Kill for it www.stagewhispers.com.au Stage Whispers 35

Stage on Page By Peter Pinne

Dancing Under the Southern Skies by Valerie Lawson (Australian Scholarly $59.95) The cover of this book tantalisingly shows ballerina Leanne Benjamin doing a spectacular grande jete against a red-ochre background, above a lorry, outside Alice Springs. This striking image sets the reader up for a heady ride through the rich history of ballet in Australia. Written in chronological order, covering the twenties through to the nineties, Lawson starts with Anna Pavlova’s 1926 tour. Presented by the Tait brothers in association with J.C. Williamson’s, it was a tremendous box-office success and set the blueprint for future ballet tours by Russian dance troupes. Although her season included Sleeping Beauty and Coppelia, it was the divertissement The Swan that became her signature showpiece, a solo ‘carefully cultivated by publicity photos of Pavlova in the Swan costume that captured the attention. The next tour in 1934 brought the troubled and fragile Russian ballerina Olga Spessivtseva in a production of Giselle, whose story echoed the star’s real life. After a disastrous affair with a Communist official she had fled to Paris, becoming one of Sergei Diaghilev’s disciples. In Australia she

Online extras! Buy your copy now. Scan the QR code or visit http://bit.ly/2OZrmZO danced with Anatole Vilzak as Odette and Prince Siegfried in Act Two of Swan Lake. Wherever she went, the petite Spessivtseva captivated the press and audience, but off-stage she was troubled by her Soviet era demons. The Ballet Russe toured Australia three times, in 1936, 1938 and 1939, and their influence on the genre in the antipodes was incalculable. The dancers and choreographers included Tamara Tchinarova, Irina Baranova, Sono Osato, Anton Dolan, Michel Fokine, Serge Lifar, and Edouard Borovansky, who along with Hélène Kirsova stayed at the outbreak of war and never returned to Europe. Kirsova based herself in Sydney and created her Kirsova School of Russian Ballet, whilst Borovansky chose Melbourne for his home-base. In 1943 Williamson’s joined forces with ‘Boro’ for two seasons in Melbourne, and an Australian and New Zealand tour. The company was made up of dancers from Boro’s group and some Kirsova defectors. In Hobart the company played at the

Stage Whispers Books Visit our on-line book shop for back issues and stage craft books www.stagewhispers.com.au/books 36 Stage Whispers September - October 2019

Theatre Royal, which at the time was dilapidated, leaked when it rained and had ‘water from open drains flowing down the corridors’. Following the Second World War, Britain was mindful of the new friendly alliance between the United States and Australia and to strengthen the Empire roots the British Council embarked on a series of cultural tours, with the Ballet Rambert arriving in September 1947, headed by ‘poster girl’ for the company Sally Gilmour. During the fifties the Borovansky company was losing money and it looked like it would fold until it was rescued by the Elizabethan Theatre Trust, which had been established in 1954. Margot Fonteyn’s 1957 Royal Ballet tour, sponsored by the Taits, had the female audience swathed in furs and wearing tiaras as they watched the prima ballerina perform Odette in Swan Lake, but it was Robert Helpmann’s return that created the headlines as Dr Coppelius in Coppelia, the title character in The Rake’s Progress and the tango dancer in Façade. The Trust were loathe to support an Australian ballet company whilst the Borovansky ballet was still operating, but when ‘Boro’ died in December 1959 there was no longer any impediment and the Australian Ballet was born. Its first Artistic Director was Peggy van Praagh and its first big splash came with Helpmann’s The Display in 1964, which took not only Australia, but also the world, by storm. But before that came one of the most successful and expensive ballet tours, with Fonteyn and Rudolf

Nureyev in Giselle, Swan Lake and Le Corsaire. Nureyev was back in 1972 to film Don Quixote in two disused hangers at Essendon airport, whilst Fonteyn returned in 1977 for a lavish production of The Merry Widow. Until the nineties, Australianthemed ballets were a rarity rather than the norm - Terra Australis (1946), Corroboree (1954), Melbourne Cup (1962), The Display (1964) and Sun Music (1968). Lawson has an encyclopaedic knowledge of ballet, which has seen her writing reviews and freelance articles for the Sydney Morning Herald, the Australian Ballet and international touring ballet companies. She’s very good at capturing the rampant egos and behind-the-scenes drama of the personalities in raw and honest prose. The last chapter of the book is a series of articles, written for the Sydney Morning Herald, which cover the last twenty years and bring us up-to-date with the work of Graeme Murphy, Stephen Heathcote, Bangarra and David McAllister, the current Artistic Director of the Australian Ballet. For balletomanes it’s a must read but for anyone else it’s a fascinating and detailed look at our theatrical history. The book comes with notes, b&w and colour photographs, and an index.

biography of Humphries, and whilst the chapter on Humphries here is the funniest in the book, it ultimately feels like a précis of her previous book. She covers his early life growing up in Melbourne, his schoolyard years, his hatred of sports, and his Dada phase, staging outrageous stunts on trams. The beginnings of Edna, her first appearances on ABC TV, his eventual triumphant London success, and finally conquering Broadway with Dame Edna: The Royal Tour in 1998, after his first attempt failed in 1977, are all covered. Carol Raye came to Australia with extensive West End credits (she was the lead in Dear Miss Phoebe), and TV experience in Kenya, before she helped create The Mavis Bramston show which introduced weekly satire to television and was a runaway success with Raye, Barry Creyton and Gordon Chater. She later returned to the stage, appearing in Travelling North and Noises Off, ran for the senate and was a member of the NSW Liberal Party. After cutting her teeth in amateur theatre, Noeline Brown went professional at Philip Street and the Neutral Bay Music Hall. Her major TV career began working with Raye and Creyton on Mavis, with later stints on No. 96, The Naked Vicar Show and Graham Kennedy’s Blankety Blanks.

Seven Big Australians - Adventures with Comic Actors by Anne Pender (Monash University Publishing $29.95) Anne Pender’s book profiles the lives and careers of seven actors who have made their name in comedy; Barry Humphries, Carol Raye, Max Gillies, Noeline Brown, John Clarke, Tony Sheldon and Denise Scott. All are still living with the exception of John Clarke, who died in 2017, and all have one thing in common, none of them had any formal drama school education. Pender has previously written One Man Show, a comprehensive

Online extras! Buy your copy now. Scan the QR code or visit http://bit.ly/2OW5jmI

Max Gillies was a teacher before he became a well-known satirist, impersonating public figures. An early member of the Pram Factory and La Mama, he appeared in Marvellous Melbourne, A Stretch of the Imagination and A Toast to Melba, before going solo with Squirts, which morphed into A Night of National Reconciliation and The Gillies Report. John Clarke, a New Zealander, worked as a film assessor for TVNZ before decamping to London where he met Humphries and appeared in The Adventures of Barry McKenzie. On his return he created the iconic character of Fred Dagg, a sheep farmer, which was an instant hit in his homeland and Australia. He coscripted the movie Lonely Hearts before ending up at the ABC, appearing with Bryan Dawe in the Clarke and Dawe parody segments on 7.30, commenting on the political news of the day. Tony Sheldon came from a theatrical family of variety performers and was a child star on Graham Kennedy’s IMT. The suicide of his father and his mother Toni Lamond’s addiction to prescription pills were dark moments for a boy trying to find his place in the theatrical landscape. He joined the Hunter River Theatre Company, appearing in The Glass Menagerie and Equus, before having his first major success in A Hard God and later Torch Song Trilogy. Playing the role of Bernadette in Priscilla Queen of the Desert - The Musical made him an international star, appearing in the Australian, London and Broadway productions. Denise Scott is the only actor in the group to specialise in the brutal art of stand-up. After stints in children’s theatre at Arena and in Darwin she broke into TV in The Big Gig and continued in Full Frontal. She also joined forces with Judith Lucy on-stage for Comedy is Not Pretty, later appearing with her in Disappointments, which they took to London with disastrous results. It’s an easy read and informative, but frustratingly has no index. www.stagewhispers.com.au Stage Whispers 37

Stage Briefs

 Marcus James Hurley and William Manukia as Charlie and Lola in Rockdale Musical Society’s Sydney Community Theatre Premiere of Kinky Boots, playing at Rockdale Town Hall from September 6 to 15. Read more on our website at http://bit.ly/2MzdYcP

 North Shore Theatre Company (NSTC) is returning home to the Zenith Theatre in Chatswood after a three year hiatus with the hilarious musical farce The Drowsy Chaperone from September 6 to 15. Read more on our website at http://bit.ly/2MyBIhl

38 Stage Whispers September - October 2019

WAAPA Design Department students prepare for Strictly Ballroom (2019). Photo: Stephen Heath.

Director’s Diary Photo: Glenn Pokorny.

The Wizard Of Oz

Tim O’Connor is directing the mega arena production of The Wizard of Oz for the Harvest Rain Theatre, with a cast of 500+ on stages the size of three basketball courts. Cast members range from stage newcomers to Gold Logie winner John Wood. Harvest Rain produces large-scale arena productions, turning well-known musicals into eye-popping arena spectaculars. I was completely mesmerized by The Wizard of Oz as a child, so whilst I normally sit in the Producer’s seat, for this one I could not resist taking on the directing duties. Gather The Mass Ensemble We run auditions for young performers across the country. The show was headed for Newcastle, Brisbane, Adelaide, Sydney, Canberra, Melbourne and Perth. We audition 200 performers at a time and take them through a song and dance audition to find a suitable place for them all in the mass ensemble. By the end of the audition process, we saw over 5,000 young people nationwide. Time To Get Training Long before we started rehearsals, our team took the young members of our mass ensemble through a dedicated boot camp training program. This gives them a basic crash course in theatre etiquette and stage craft, as more than 70% had never set foot on a stage before. We see the show as a unique training opportunity for young performers. Our choreographer created a 40 Stage Whispers September - October 2019

handbook for each participant to work through during a weekend bootcamp in theatre etiquette and some basic performance skills. Towards the end of the training, the mass ensemble of 800 people combined in an exhilarating and exhausting rehearsal.

there are fly towers and wing space where you can bring sets on and off as scenes change and transition, but in the arena, you have a big open space and audience on three sides. The story of Oz is literally a journey, from Kansas to Munchkin Land, to a corn field, to an apple orchard, into Devising The Show a forest, then a field of poppies, then to the Emerald One of the key things about the arena shows is that Cityâ&#x20AC;Ś.and on and on and on. Even if we built sets to entrances and exits can take a while. We had to find ways depict all the various settings, it would be hard to find a to ensure the show had pace, whilst also allowing time place to store them in the arena. for the traffic on and off the stage. We were stumped as to how to transport the audience We knew that the chorus would all play Munchkins. to all these places in a vast arena. I started pondering We decided to open the Kansas sequence with only a few what might be possible if we created projections to guide actors on stage to contrast with Dorothyâ&#x20AC;&#x2122;s arrival in Oz, us through the fantasy world of Oz. when she is greeted by 800 munchkins. The stage would We hired a nine-metre-tall wall of LED screens, which literally explode into life with hundreds of people upon we placed at the back of our set to display continuous her arrival. animations. Live Action Meets Animation We faced the challenge of how to bring the Land of (Continued on page 42) Oz to life on the arena stage. In a traditional theatre,

Online extras! The mass ensemble reflect on their experience in The Wizard Of Oz. https://youtu.be/W7L4P8nfY1k Photo: Glenn Pokorny.

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(Continued from page 41)

I then worked with an illustrator and projection company and emailed them almost daily for six months. Ideas flew back and forth - everything from the dusty, sepia landscape of Kansas to the dazzling green vista of the Emerald City. My favourite sequence to mastermind was the Twister. Through the wonder of animation, we could see the Twister pick up the Kansas farmhouse and then bring the audience right into the eye of the storm. Designing The Set I thought that the set for our show would be nothing more than the arena floor and the giant wall of LED screens at the back, but our set designer convinced me that we could do something more interesting. A structure to sit in front of the LED screens was designed to look like the crumbling ruins of an old castle. A swirling “yellow brick road” lead down from the castle to the centre of the stage. It was a magnificent playground for the actors to make use of, with lots of secret entrances, hidden trap doors, little nooks and platforms and places for the actors to play.

The whole look of the characters is familiar but peppered with subtle pop culture references. How Many Costumes Is Too Many? One of our biggest headaches was sourcing costumes for the mass ensemble. Each member of the cast played at least three different characters - a Munchkin, a Poppy and an Emerald City Citizen. Over 2,500 costumes were used in the show. We searched all over the world for suppliers who could send us enough wigs, unitards, hats, glasses and accessories to fully costume all our performers. Once all of the items were shipped to our headquarters in Brisbane, we had to dedicate one whole wing of our building to just storing the thousands of boxes of costumes needed for over 5,000 performers across the tour. At times we now feel a bit like an Amazon storehouse, keeping track of hundreds of boxes containing thousands of wigs and costumes.

Putting It All Together It took six months to devise the choreography for the mass ensemble. Every member had their track in the show intricately The Costumes You Expect, With A Twist mapped out into a computer program, to accurately I had a clear idea that I wanted all of the Oz characters predict how 800 people would move around the stage to look like their costumes had been cobbled together without all crashing into one another. from found items - almost as if Dorothy was playing make After exhaustive auditions, we cast a group of eight believe and digging into her dress-up box to clothe the actors to take on the principal roles in the show, led by characters in her imagination. Gold Logie winner John Wood playing the role of the I wanted the characters to be reminiscent of what we Wizard. all know and love from the movie, but also with a little bit We also employed four actors to serve as Mass of a twist. We gave the Tinman a baseball cap for a hat Captains, who would perform alongside the mass instead of the traditional funnel, and the Lion’s costume ensemble and help teach the choreography and keep was more like a big fur coat than anything else, complete order on stage. with a Scary Spice style wig and some fantastic bling. We cast Carly Bettinson, a recent graduate of the Glinda’s costume was a mix of the Glinda from the Brisbane Academy of Musical Theatre, in the role of film and Cyndi Lauper, and the Wicked Witch’s costume Dorothy. She had started out performing in the mass was reminiscent of Bellatrix Lestrange from the Harry ensemble of one of Harvest Rain’s arena shows, and Potter films (only with green skin, of course.) playing Dorothy was her professional debut. Photo: Glenn Pokorny.

42 Stage Whispers September - October 2019

The Wizard Of Oz arena spectacular plays at Adelaide Entertainment Centre - October 11 & 12, 2019 Sydney QUDOS Bank Arena - January 25, 2020 Canberra AIS Arena - April 25, 2020 Melbourne Arena - July 2020 Perth RAC Arena - October 2020 wizardofozarena.com

Director’s Diary Photo: Glenn Pokorny.

Rehearsals commenced four weeks prior to opening night. The principals rehearsed at our Brisbane headquarters with me, while the choreography team rehearsed with the mass ensemble in Newcastle (where the show was set to premiere). Online extras! It was like working on Director Tim O’Connor discusses set two different shows in two design challenges on The Wizard Of Oz. different cities. I had eight https://youtu.be/8k283E8chRo actors in a tiny rehearsal room in Brisbane, while 800 actors rehearsed in a giant Exhibition Hall in through their eyes reminds us of why we got into this Newcastle. The two casts only came together four days business in the first place. before opening night. Their passion and enthusiasm energises us and spurs We spent almost two weeks in the Newcastle us on. We love what we do and can’t wait to take Oz all Entertainment Centre, coordinating how the principals around Oz over the next year! would interact with the giant animation screens, and how PRODUCTION TEAM the mass ensemble would interact with the principals. Director: Tim O’Connor Now our challenge is moving the behemoth of a show Choreographer & Mass Director: Callum Mansfield from city to city. It takes five semi-trailers to hold all our Music Director: Dennett Hudson sets, lights, sound and AV equipment, not to mention the Set Designer: Fran Hannaway thousands of costumes. Head of Wardrobe: Susie Nairn Moving Oz around Australia feels kind of like a military Illustrator: Elizabeth Botte. operation - it’s a huge undertaking but we love it, and it’s Projection: Craig Wilkinson all worth it when you see the effect the experience has on Mass Ensemble Manager: Marcelle Wallen. the young people who take part. Seeing the experience LED Screens: Woohah Productions Photo: Glenn Pokorny.

www.stagewhispers.com.au Stage Whispers 43

Building 19 Century Paris In Brisbane th

NJW Designs joined with Griffith University to design and build the set for their recent acclaimed production of Les Misérables. The project encompassed design, drafting, fabrication, automation, installation and technical management. Company Director and designer Nathan Weyers joined with Melbourne-based theatre director Alister Smith earlier this year to design and build the set for Footlight Productions’ Les Misérables in Geelong. From Alister’s vision, the NJW team began with research; exploring the text, themes, time period and

NJW Designs is a multi-faceted design and fabrication hub tackling projects for professional theatre houses to local musical productions. For more info visit njwdesigns.com.au 44 Stage Whispers September - October 2019

visual imagery related to the production. Harnessing the enormity of the ports and large ships of 1800s France was a focal design element, as was using levels to differentiate class. The set design included catwalks, staircases, ropes, dock cleats and huge steel beams, all of which were sourced and fabricated. Once the concept was sketched, the design team spent a week drafting construction drawings. The NJW technical department then added set-electrics and special effects. Approval was sought by the Director and Production team before the construction drawings made their way to the workshop for the fabrication stage. Over 70 sheets of MDF (Medium Density Fibreboard) then arrived in the workshop, destined to become aged and weathered timber floorboards. The first week was dedicated to undercoat, basecoat, graining effect, ageing and sealer, all requiring at least 24 hours drying time between coats. Other parts of the build included guns, a barricade (fit to fight from) and hand painting final details onto custom printed hanging scenery, depicting the sketches and writings of Victor Hugo. The whole build took one month but was bumped into the

Photo: Nick Morrissey.

Geelong Performing Arts Centre in one day. After a successful season the set was returned to the NJW workshop in Ballarat for modifications. To suit the much larger performance space of the Conservatorium Theatre in Brisbane, set pieces including catwalks, stairs and backdrops were enlarged and adapted.

Let’s Put On A Show

Online extras! Director Alister Smith discusses staging Les Misérables. Scan or visit https://youtu.be/gKTF9uqPSUs Assisted by a CNC (Computer Numerical Control) machine, a skilled set of builders and scenic painters cut new staircases, welded handrails, and painted timber floors over two-weeks. Meanwhile, rehearsals commenced for the triple cast of 80 musical theatre students from the Queensland Conservatorium Griffith University. To help bring the vision to life for the new creatives and cast, NJW Designs

built a scale model to travel to Brisbane. Using 3D print technology, all elements were reproduced at a 1:25 scale, allowing set positioning, scene change logistics and actor blocking to be realised. Taking the project from the initial design phase many months ago right through to its second installation, the team from NJW Designs visited

Brisbane in July to bump the set into the theatre. Working over two days, and ably assisted by the mech team at the Conservatorium Theatre, the entire set was constructed, flown scenery hung, and props checked and sorted, ensuring that Alister’s vision became a reality once more. Because at the end of the day, turning vision into reality is NJW Designs’ ultimate goal.

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Letâ&#x20AC;&#x2122;s Put On A Show

Making Your Own Costume Shine

Tanya Szulc from Shine Trimmings & Fabrics says making your own costumes should not seem like a daunting task. Taking an initial design through to a successful costume might feel like a difficult journey, however if you follow these guidelines, you will increase your chances of success immensely.

excellent design templates you can download from our website. Create a concept sketch of your costume. Include as many notations as you can into your concept sketch to help guide you through the construction process. These notations Initial design will ensure your overarching costume Research your theme and costume concept is not lost in creation. The requirements thoroughly. Make sure colours, fabrics, trimmings and your design will also match the music embellishments you intend to select if required. Pinterest has some for your costume should also be fabulous ideas, as does the Shine noted in your design. Instagram account. Discover what are the important design elements that Measurements your costume will need to portray the An extensive list of measurements look, feel and/or era that you are should be obtained from the intended looking to capture. recipient of the costume. Accurate A costume may need to have a measurements provide you with the high shine/sparkle element, ensuring information you need to calculate the it looks effective under stage lights, or lengths of fabric you require and also perhaps it needs to portray movement with draping/flowing fabric or trims, or capture the feel of an era gone by. Determining these factors and incorporating them into your design is a crucial step in developing your fabulous costume. Shine have

Shine sales staff possess extensive knowledge in costume making with many of them being costume makers in their own right, and are always happy to provide advice and assistance. Call 1300 SHINE 1 or visit shinetrimmingsfabrics.com.au 46 Stage Whispers September - October 2019

allow you determine the cost of your creation. Ensuring a costume fits its recipient well is crucial. Again the Shine template you downloaded from our site is perfect for this step and provides you with a document that you can continually refer back to throughout the entire construction process. Choosing your fabrics and trimmings Take the time to thoroughly search for quality fabrics, trimmings and embellishments that will best achieve the design you have worked hard to develop. Obtaining samples will ensure that the fabrics and trimmings you have chosen for your costume are true to colour, have the necessary look/texture/feel/stretch required for

your creation and are complementary to one another. Once you have confirmed your choices it’s time to order/purchase your selected fabrics, trimmings and embellishments. Shine Trimmings & Fabrics stock over 12,000 products which can be viewed on our website or in our Port Melbourne retail store. We ship direct to your doorstep worldwide. Construction A dressmaker’s mannequin is an ideal tool at this stage, however if you do not have access to one, the next best option is a dressmakers bodyboard. A bodyboard is a flat, stiff template which you can stretch your costume on, ensuring your costume will look great and will also fit the natural curves and shapes of a body. These are perfect when you commence beading & decorating the costume. Plan how you are going to construct your costume before beginning construction. Ensuring you know which step you need to do before another will save you time and mistakes. If you’re ever unsure how to proceed, simply seek advice from an experienced costume maker/designer or Shine Trimmings & Fabrics. The team at Shine are highly qualified in costume making, fashion design or dance. They are always happy to help and are looking forward to making your creation shine!

Smoke And Fireworks

Geelong Fireworks is well known for indoor pyrotechnics and the “world’s largest range” of flash and fire products, but the company also stocks a range of other items to enhance productions.

The Actor Electronic Cigarette is used in many movie productions as it enables the actor to inhale and blow smoke. It has a “burning” tip while inhaling. The product is available with a tan or white filter and charges via a USB port. A budget Puff Cigarette, which contains corn-starch that is blown out of the cigarette, is also available. A new range of products for ghost/horror productions includes rotating candelabras, haunted vases that fall on command, books that open and can shoot flames, books that fall - all by the press of a remote control. A showstopper is a skull that can shoot fire from its eyes. Just as spooky is a collection of books falling off a bookshelf. Spirits About is the product which makes it happen.

Visit the Geelong Fireworks website to see what is available or to order a custom-made special effect. www.geelongfireworks.com.au

www.stagewhispers.com.au Stage Whispers 47

Taking It To The Next Stage Stage School Australia’s The Staging Dept in Melbourne is a treasure trove of theatrical sets and props, many produced specially for the company, with others purchased from other productions. Popular items include sets and props from the Australian premiere of The Addams Family, full sets and props for Wicked, Les Misérables and Spring Awakening, Professor Marvel’s caravan and Emerald City Gates from The Wizard of Oz, the Chitty Chitty Bang Bang car, props and handprops from The Little Mermaid, Aladdin, The Secret Garden, Alice in Wonderland, Honk, and many more. Similarly, The Costume Dept is a veritable Aladdin’s cave of costumes from a range of shows and eras.

48 Stage Whispers September - October 2019

Responsible for costuming all of the performances and production seasons of Stage School Australia, the Costume Dept has sets of costumes for casts as young as four years, all the way up to adult sized costume sets for shows such as Wicked, Les Misérables, Hairspray, Grease, Mary Poppins, Shrek, Babe, Thoroughly Modern Millie, Madagascar Jr, Joseph and lots more. “We’ve been making our costumes available for school and production hire for about ten years,”

To get help bringing your production to life, visit: costumedept.com.au stagingdept.com.au said Artistic Director Robert Coates. “In that time we’ve gone from costuming about 10 external shows per year, to over one hundred this year. Most days a team of five or more costume staff are working on production, maintenance and assisting hirers with their requirements. Plus, each semester we’re adding hundreds of new costumes to the collection - so even if you’ve come and had a look before, it’s always worth another visit.”

Caring For Costumes

Let’s Put On A Show

Tracey Nuthall from Costumes Without Drama makes a priority of caring for costumes after a performance. “We are fanatical about sorting. After scanning costumes back in, they are thrown straight into tubs. There will be a tub for hand washing, one for whites, blacks, reds, blues, greens, etc. “Please be kind to our planet. Choose environmentally friendly detergents and avoid tumble drying. “We hang wet costumes directly onto coat hangers, trying to straighten and shake out creases then leave them to air dry on racks. “But, if you wish to save yourself all this work, you can always hire costumes from Costumes Without Drama. “Our costumes are all barcode labeled. The costumes are picked out and chosen specifically for your students, with respect and sensitivity to your student’s specific sizes. Where possible, you receive costumes approximately two weeks before the concert, and, best of all, we do all the laundering on return.”

Contact Tracey by phone on (03) 8838 2616 or email info@costumeswithoutdrama.com.au

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For more information, visit 365tix.com.au manager@365tix.com.au or call 0400 161 125 (07) 3266 9885

Let’s Put On A Show

Ticketing 365 Days A Year With 365tix With decades of first-hand experience in the circus, dance and other performing arts, 365tix has a family friendly approach to ticketing. True to the company’s name, 365tix is staffed 12 hours a day, 365 days a year - including Christmas Day. The company prides itself on speedy service to make sure every experience is fun and memorable for the audience. Company directors John and Angela Le Mare have enjoyed long standing ties to the worldwide circus community. The Manager, Eloise O’Toole, enjoys taking a hands-on approach, routinely visiting 365tix shows to record a popular series of YouTube videos that showcase the people

50 Stage Whispers September - October 2019

behind the spectacle. From contortionists to aerialists, dancers to tumblers, 365tix knows it’s the people that make each performance special audience included. The company has grown organically over the last 14 years in response to the needs of the industry. Manager Eloise O’Toole says 365tix is operated by people who love the arts. “We bring technology and arts together. We are continuously giving back to the arts and supporting the growth of smaller companies through our marketing reach and easy-to-use selling platform.”

She adds that whilst many other names in ticketing are just ticketing software operated by the user, 365tix has real people working every day. “Show producers can be reassured that there will always be someone here to assist with any technical or ticketing issue. We take care of those problems quickly.” Like many of the newer, agile ecommerce companies, 365tix uses technology to save money on operating costs. Working on the internet allows for far longer hours and more flexible work conditions than the old-fashioned high street offices with a 9-5 workforce. Ticket buying peak times are evenings and weekends and so 365tix responds to that with real time customer support. “365tix is excited to be operating at a time of commercial disruption. This is the perfect time to be using a new customer-friendly business model. The big companies may go off -shore and have restricted trading hours but 365tix is one Australian company which is setting the bar higher than that.” Fast, friendly and professional, 365tix truly understands the needs of both artist and audience.

Microphones In The Pit

Royal Opera House Covent Gardens Photo: Sim Canetty-Clarke.

Arty Jones from Factory Sound dives into the orchestra pit to help ensure your magnificent musicians can be heard with clarity.

The ‘spot’ microphones that work best are usually a small diaphragm ‘pencil’ condenser mic. Use one of It’s not just about the audience the mixing engineer to blend the these for each of the sections that From a full 2,000 seat theatre, music with the cast’s wireless may need a little extra tickle of right back to a small school microphones. Once this is blended volume to be heard when the whips production held in the multipurpose nicely, it’s all sent out of the speakers are really cracking - like the smaller hall, it’s not ‘just’ the audience who for the audience, which has the effect hand percussion, or flutes. needs to hear the right balance of of the sound ‘making sense’ all music and singing. In fact, the coming out of the same place (even if Limitations of the mixing console performers on stage are the first ones the audience doesn’t realise it’s Unless you’re involved with a big who need to get a clear feed of the happening). Broadway show, with 180+ channels music, to ensure pitch and timing of worth of microphones and a their singing is perfect. Getting the right balance sophisticated mixing system, there will When the music is provided by Having a great conductor is the be a point where you’ve reached the (gasp) a CD or laptop, it’s even more best way to ensure a nice balance maximum number of microphone important to have a speaker on the between all the instruments. channels available on the mixing side of stage, pointing at the However, if you’re doing West Side console. performers. This ‘foldback’ speaker For smaller shows, it may be 5 or 6 Story, it’s hard for the percussionists makes it much easier for the singers playing finger cymbals, small maracas wireless packs, 2 or 3 hanging to have the best chance of singing in and claves to keep up with the microphones for the stage, a couple time, and in pitch. Waiting for the volume generated from seven brass of ‘floor’ microphones for the stage sound to travel from the Front of players. Equally, the flute may and the ‘orchestra pair’ plus 3 spot House (audience) speakers, back to struggle to heard over the 12 string microphones for your musicians. Very the stage can be problematic. players. quickly, that has already added up to This is where ‘spot’ microphones 16 channels (which is the size of a Microphones for the band in combination with ‘orchestra’ small digital mixing console). Having actual musicians perform microphones become important. the score is easier than playback in Setting up a pair of microphones We’ll take a closer look at different many ways, but it’s not without its microphones for specific instruments, (large-diaphragm condenser mics own set of concerns. work very well for this application) to along with hanging and floor Depending on where the record the overall sound of the microphones for stage in the next musicians are positioned, there may orchestra are essential. This will allow edition of Tech Tips. be no need for the abovementioned a ‘feed’ to the foldback monitor on As always, get in touch with ‘foldback speaker’, as playback is now stage (if needed), and also a feed to microphone specialists if you need generated acoustically, with no CD or the backstage/green room area. more immediate information. laptop involved. Factory Sound have the skills and expertise to help guide your At the very least though, a couple next microphone purchase. Call 1800 816 244 or visit of microphones picking up the ‘overall’ sound of the orchestra allows factorysound.com www.stagewhispers.com.au Stage Whispers 51

Let’s Put On A Show

The Art of Publicity Sydney Publicist Geoff Sirmai provides his top ten tips for gaining media coverage.

what’s-on listings and feature articles. They invite and liaise with opening night guests including reviewers, VIPs, and celebrities you might want involved. You’ve done your flyers, Advertising is still transparently bombarded your friends and family, spammed your network and flooded yourself blowing your own trumpet and social media like Facebook, all the usual suspects, yet your sales Instagram or Twitter will only reach are stalling. What are you doing to those - at most - a few degrees of reach new audience? separation away. Remember, as the In my view the number one Bard might have said, “A Facebook priority on your list should be public ‘like’ doth not a ticket sale make!” relations (‘PR’) or media publicity. Media coverage through publicity Just as marketing (paid advertising, reaches new audiences. Press and banners, posters, flyers and direct electronic media coverage carry the mail) and social media networking are weight of editorial approval or ‘third important in promoting a show, party endorsement’, complementing media publicity - which involves, your more transparent selfessentially, free editorial - is promotion. indispensable in getting known in a Your creative team also appreciate crowded arts and media world. coverage which rewards them for A publicist arranges free editorial: press articles, radio and TV interviews,

Geoff Sirmai is director of Geoff Sirmai Arts Publicity. Read more and download the free booklet ‘You And Your Publicist’ (which includes a comprehensive guide to timing, photos, reviews, writing a media release and much more) at www.sirmai.com.au 52 Stage Whispers September - October 2019

their efforts and gains them wider recognition. Ideally you should engage a professional publicist: they have the skills, the comprehensive, up-to-date contacts and the dedicated time to cut through the competition. Plus the regular, close relationships with media associates that will make all the difference. That will leave you the time and space to get on with your main business... that’s show business! However, whichever way you decide to handle your media editorial publicity efforts - whether with a dedicated company/committee member or a professional - don’t forget about it! It’s a vital part of your promotional toolkit.

Top Ten Tips Start early: Give yourself and your publicist time to place the stories Vary your approach to suit the medium: One style doesn’t fit all. Match the ‘angle’ with the outlet - is it a local paper, radio, ethnic or arts specialist? Give your publicist ideas and angles, Make your release newsworthy: Try and ‘hang’ your release on a hot current issue or feature interest beyond the play’s obvious theme. Remember: what you think is interesting may not be so to every journalist or editor, who is second-guessing their reader’s agenda, not yours. It’s a competition for space. Great photos: Quality promotional and production shots will double your coverage. Not cheesy posed shots, but dramatic, powerful or funny ‘moments’. High resolution (300dpi) for the press and low res web versions (72dpi) to preview. Don’t over-hype: Passion and ingenuity and originality, yes… absurd hyperbole, no. No-one likes a rip-off. Invite opening night guests and the press: Make a buzz, make a splash. Give away tickets judiciously: Don’t look desperate but do give away a few ‘comps’ (say on radio or through competitions) in exchange for coverage. A full opening night will set you on your way. Don’t be afraid to invite reviewers: But be ready on opening night if you do. Cross-promote: Do complementary offers to another company’s audience in exchange for access to theirs. Negotiate mutual leaflet drops. Remember: a theatregoer at any other show (but especially at the same venue) is your best target audience. Measure your success: Do you poll your audiences? It’s worth slipping a short survey in the program to see how they found out about the show. Offer an inducement to maximise returns - a prize, a discount voucher etc.

www.stagewhispers.com.au Stage Whispers 53

Let’s Put On A Show

How To Guarantee A Full House

Promotix can put as many ‘bums on seats’ as you’d like. Having been producers, publicists and promoters too, they know that the atmosphere of a full house enhances the vibe at a show and helps build positive word of mouth - the most important tool in marketing shows today. Everyone who receives a ticket will be asked for show feedback that is provided to the producer at no cost. How it works The database is informed of the event. Those who are keen log on and accept the tickets. Producers are sent the guest list to manage at the door or box office.

Theatre companies love having their opening night full, but how do you achieve that without compromising ticket sales? Promotix is a company which discreetly finds theatre companies bums on seats. Promotix was created by an event promoter, a theatre producer and a publicist with a combined 65 years industry experience, who created a platform to allow productions to enjoy the benefits of the vibe of a full house, and maximise word of mouth opportunities without having to ticket discount. They operate a member database of 50,000 nationwide. It allows Producers, Publicists and Promoters to discreetly offer a number of tickets to its members to create full houses.  Unlike a discount ticket offer, theatres can set the number of tickets that are given away.

54 Stage Whispers September - October 2019

 Tickets are offered as discreetly or as openly as theatres like, via direct emails to members in the relevant state and/or on the Promotix social media and/or website.  The website tile promoting a show with a link to your ticket office remains in place from the day the offer is released right up until the day of the show.  All correspondence links to your ticket office and/or website.  Posts may include images and links to a video

www.promotix.com.au

What about no-shows? Promotix members pay an admin fee per transaction regardless of how many tickets they take, though it’s generally limited to two only. This serves two purposes. Over a period, Promotix and the companies they have worked with have found that this nominal charge reduced noshows significantly and it enables Promotix to operate at no charge to those promoting the events. So in summary, it’s a free marketing/PR tool for you - it helps fill your venue and in turn, and most importantly, spreads the word about your event. Promotix offers extremely personalised service, with direct phone contact available to producers seven days a week on (03) 93764933 (8am - 10pm).

Let’s Put On A School Musical Ten top tips from Maverick Musicals and Plays for your next school musical.

Send the schedule home to parents as soon as you can, with a note asking for their co-operation. Design the rehearsal schedule so that only those required attend Rope others in! specific rehearsals. Rule One - do not try to do it It is a good strategy to call the alone. Beg, plead, cajole or blackmail chorus first and work on the music. others to be involved. Always make rehearsals fun for chorus Your ideal production team should and give them plenty to do. consist of a producer to pull your team together, director, musical Costume director, set designers, sound/lights Supply forms (with the rehearsal tech team, set builder, costume schedules) that require the character/s person and advertising/media whiz. measurements asap and pass on to your costume department as soon as Apply for the rights early rehearsals begin. Aim to have approval from the Parents are more inclined to help representatives of the musical six make the costumes if you send months prior to your first rehearsal. material home that is cut out ready Carefully note the legal obligations in for sewing. the contract. All contracts will have

Encourage cast blogs. Flood the area with posters and try for coverage on local radio. Constantly remind the school of the forthcoming production via your social media pages, websites and newsletters. Offer a prize to the student who sells the most tickets. Performance Always have a ‘preview’ afternoon which is, in fact, another valuable dress rehearsal; this time with an audience. Primary schools are usually happy to see your High School production.

Post performance No matter how amiable you are feeling towards the cast, never attend a cast party if held at the home of a rules about respecting the author’s Sets and props student! What you may see there, you intentions (sticking to the script), how Make sure that the cast know the may later be required to explain. you can promote the work both onpositioning of each set and give them Have a thank-you meeting for the line and in print, videography and use an improvised stage set so they are cast and everyone involved, including of production materials. used to moving around it. front-of-house and back-stage Get actors used to using any handworkers. This can be a special lunch. Selecting the right school musical props in the show. Improvise if they Have a short break, then start Don’t pick a musical solely because not yet constructed. looking for a suitable show for next you like it. Make sure it can be done year. well by your students. Advertising Putting on the school musical is a Commonly five or six girls for each Create an ‘event’ on social media bit like child-birth, and when you get boy will be the audition ratio, so and encourage the cast and crew to it right, you forget the pain and recall choose material that will give girls like and share - upload fun rehearsal only the joy - and find yourself doing something worthwhile to do. shots, but not too many! it all over again. Auditioning Select relevant scenes that will give an indication of the student’s ability. Avoid choosing students who have other commitments that will prevent them from attending rehearsals - no matter how good they are. Rehearsals Give cast your rehearsal/ performance schedule before starting rehearsals.

Origin Theatrical recommends the highly entertaining podcast Afternoon Tea With Miss Patrice. misspatrice.podbean.com Read the MTI Guide to Licensing a Musical in our new Let’s Put On A Show Guide, published in October. www.stagewhispers.com.au Stage Whispers 55

On Stage A.C.T.

A.C.T. & New South Wales

Much Ado About Nothing by The Woman In The Window by William Shakespeare. Bell Alma De Groen. Canberra Rep. Shakespeare. Oct 11 - 19. The Playhouse, Canberra Theatre Sep 5 - 21. Theatre 3. (02) Centre. (02) 6275 2700. 6257 1950. Rouge. Oct 23 - 26. The Spencer by Katy Warner. Lab Playhouse, Canberra Theatre Kelpie. Sep 19 - 21. The Centre. (02) 6275 2700. Queanbeyan Performing Arts Centre. theq.net.au The 39 Steps. Adapted by Patrick Barlow, from the movie The Irresistible by Zoe Pepper, by Alfred Hitchcock and the Adriane Daff & Tim Watts. Side novel by John Buchan. State Pony Productions and The Last Theatre Company SA. Oct 29 Great Hunt. Sep 20 & 21. The Nov 2. The Playhouse, Playhouse, Canberra Theatre Canberra Theatre Centre. Centre. (02) 6275 2700. canberratheatrecentre.com.au Oliver! By Lionel Bart. New South Wales Queanbeyan Players. Sep 27 Oct 5. The Queanbeyan Muriel’s Wedding The Musical. Performing Arts Centre. Book by PJ Hogan. Music and theq.net.au Lyrics by Kate Miller-Heidke and Keir Nuttall. Based on the West Side Story by Leonard Bernstein, Arthur Laurents And movie, with additional songs by ABBA. Global Creatures. Stephen Sondheim. Opera Until Sep 8. Sydney Lyric. Australia, GWB Entertainment murielsweddingthemusical.com and BB Group. Oct 10 - 27. West Side Story. Music: Canberra Theatre Centre. canberratheatrecentre.com.au Leonard Bernstein. Lyrics:

56 Stage Whispers

Stephen Sondheim. Book: Arthur Laurents. Opera Australia / GWB Entertainment. Until Oct 6. Joan Sutherland Theatre, Sydney Opera House. sydneyoperahouse.com Chicago. Music by John Kander. Lyrics by Fred Ebb. Book by Fred Ebb and Bob Fosse. John Frost and Suzanne Jones. Ongoing. Capitol Theatre, Sydney. chicagothemusical.com.au

Hall, Adamstown (Newcastle). (02) 4957 1895. Titus Andronicus by William Shakespeare. Bell Shakespeare. Until Sep 27. The Playhouse, Sydney Opera House. sydneyoperahouse.com

Avalanche: A Love Story by Julia Leigh. Sydney Theatre Company presents a Barbican London and Fertility Fest Production. Until Sep 14. Roslyn Packer Theatre. (02) Caroline, Or Change. Book and 9250 1777. Lyrics by Tony Kushner. Music The Last Wife by Kate Hennig. by Jeanine Tesori. LPD in Ensemble Theatre. Until Sep association with Hayes Theatre 29. (02) 9929 0644. Co. Until Sep 21. Hayes Theatre Towards Zero by Agatha Co, Elizabeth Bay. (02) 8065 Christie. Adapted by Agatha 7337. Christie and Gerald Verner. Legally Blonde: The Musical. Genesian Theatre Company. Adapted from the novel by Until Oct 12. Genesian Theatre, Amanda Brown. Book by 420 Kent Street, Sydney. 1300 Heather Hach, music and lyrics 237 217. by Laurence O’Keefe and Neil Benjamin. Theatre on Brunker. The God of Isaac by James Sherman. Shalom and Moira Until Sept 13. St Stephen’s Blumenthal Productions in

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

On Stage

New South Wales

Presented by Theatre Works, Mad As A Cute Snake is a riotous and joyful theatrical adventure about having the courage to be yourself - whatever that may be! Cardigan Coriander-Turner is a regular superhero who does regular superhero stuff, like using her powers to defeat baddies and wearing her undies on the outside. And she’s just been given a mission impossible: save her pet snake, Trix, from certain tragedy. But one visit to school - AKA The Real World - is about to change everything. Turns out Cardi’s not really a superhero after all. She’s just a little girl, with zero powers. How’s she meant to save the day now? Playing from September 25 - October 5. theatreworks.org.au

association with Darlinghurst Theatre Company. Sep 5 - 22. Eternity Playhouse, Darlinghurst. darlinghursttheatre.com

Splinter by Hilary Bell. Griffin Theatre Co. Sep 6 - Oct 12. SBW Stables Theatre. griffintheatre.com.au

An Intimate Evening with Paul Capsis. Ensemble Theatre. Sep Nine by Maury Yeston & Arthur Kinky Boots. Music and lyrics by 8- 16. (02) 9929 0644. Kopit. Little Triangle. Sep 5 Cyndi Lauper. Book by Harvey 14. The Reginald, Seymour Fierstein. Rockdale Musical The Real Thing by Tom Centre. seymourcentre.com Society. Sep 6 - 14. Rockdale Stoppard. Sydney Theatre Town Hall. Company. Sep 9 - Oct 26. The Wharf Revue 2019 - Unrrockdalemusicalsociety.com Drama Theatre, Sydney Opera dact-d. By Jonathan Biggins, House. (02) 9250 1777. Drew Forsythe and Phillip A Brown Slouch Hat by Doug Scott. Sydney Theatre Williams. Tweed Theatre U.B.U. - A Cautionary Tale of Company. Sep 5 - 15, Glen Company. Sep 6 - 22. Tweed Catastrophe by Richard Hillier. Street Theatre, Civic & Cultural Centre, Tweed Sep 10 - 21. The Bordello glenstreet.com.au; Sep 18 - 21, Heads. tweedtheatre.com.au Room at KXT. Riverside Theatre Parramatta, Mamma Mia! Music and Lyrics kingsxtheatre.com (02) 9250 1777, Sep 25 - Oct by Benny Andersson and Björn Ghost Sonata by Reiman, 26, Roslyn Packer Theatre, Ulvaeus. Book by Catherine based on the play by August sydneytheatre.com.au & Oct 31 Johnson. The Arcadians Strindberg. Opera Australia. - Nov 2, Q Theatre, Penrith, Theatre Group. Sep 6 - 15. The Sep 11 - 14. Opera Australia boxoffice.ppandva.com.au Illawarra Performing Arts Scenery Workshop, The Opera High School Musical 2 Jnr. Book by David Simpatico. Australian Dance and Talent Centre. Sep 5 - 7. Civic Playhouse, Newcastle. (02) 4929 1977.

Centre. merrigong.com.au

Spencer by Katy Warner. Lab Kelpie. Sep 7, Cessnock Performing Arts Centre, (02) 4993 4266 & Sep 11 & 12, Q Theatre, Penrith, boxoffice.ppandva.com.au

Centre, Surry Hills. opera.org.au

DNA. by Dennis Kelly. Upstage Youth Theatre Young Actors Company. Sep 11 - 14. Maitland Regional Art Gallery. 0402 331 197.

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Bathory Begins by Emme Hoy and Gretel Vella. Q Theatre / ATYP. Sep 11 - 21. Allan Mullins Studio, Penrith. boxoffice.ppandva.com.au Take Two: A Comedy of Errors. A take on Shakespeare by Hilary Bell. Riverside’s National Theatre of Parramatta. Sep 11 14. Riverside Theatre Parramatta. (02) 9250 1777. Bombshells by Joanna MurraySmith. Enter Talking Productions and Newcastle Theatre Company. Sept 12 14. NTC Theatre, Lambton (Newcastle). (02) 4952 4958. A Few Good Men by Aaron Sorkin. Wollongong Workshop Theatre. Sep 13 - 28. WWT Theatre, Gwynneville. 0431 875 721. Season’s Greetings by Alan Ayckbourn. Newcastle Dinner Theatre. Sep 13 - 28. St Matthew’s Church Hall, Georgetown. 0403 705 680. Circa’s Peepshow. Circus cabaret. Circa Ensemble. Sep Stage Whispers 57

On Stage 13. Civic Theatre, Newcastle. (02) 4929 1977. Once on This Island. Book and lyrics by Lynn Ahrens, music by Stephen Flaherty. WEA Hunter Academy of Creative Arts. Sep 13 - 21. The Creative Arts Space, Hamilton (Newcastle). (02) 4925 4200. Les Misérables by ClaudeMichel Schönberg & Alain Boublil. English Lyrics by Herbert Kretzmer. Based on the novel by Victor Hugo. Parkes Musical & Dramatic Society. Sep 14 - Oct 6. Parkes Little Theatre. parkesmandd.com.au The Full Monty. Music & Lyrics by David Yazbek. Book by Terrence McNally. Based on the screenplay by Simon Beaufoy. Theatre & Company. Sep 14 21. Lennox Theatre, Riverside Parramatta. (02) 9250 1777. John by Annie Baker. Outhouse Theatre Co. Sep 19 - Oct 12. Seymour Centre. (02) 9351 7940.

58 Stage Whispers

New South Wales

Guys and Dolls. Music and lyrics by Frank Loesser and book by Jo Swerling and Abe Burrows. Holroyd Musical & Dramatic Society. Sep 20 - 29. Red Gum Theatre, Wentworthville. hmds.org.au A girl in school uniform (walks into a bar) by Lulu Raczka. KXT - Kings Cross Theatre. Sep 20 Oct 5. kingsxtheatre.com The Diary of Anne Frank by Frances Goodrich and Albert Hackett. Castle Hill Players. Sep 20 - Oct 12. Pavilion Theatre, Doran Drive, Castle Hill. (02) 9634 2929. paviliontheatre.org.au The Sapphires by Tony Briggs. Christine Harris and HIT Productions. Sep 24 - 28. Lennox Theatre, Riverside Parramatta. (02) 9250 1777. Les Misérables. Music by Claude-Michel Schönberg. Lyrics by Herbert Kretzmer. Original French text by Alain Boublil and Jean-Marc Natel.

Additional Material by James Fenton. Miranda Musical Society. Sep 25 - 29. Sutherland Entertainment Centre. (02) 8814 5827. The Shadow Whose Prey the Hunter Becomes. Back to Back Theatre. Sep 25 - 28. Carriageworks. carriageworks.com.au Class of 2019 Musical Theatre Showcase. Queensland Conservatorium Griffith University. Sep 26 - 27. Eternity Playhouse Darlinghurst. queenslandconservatorium.com.au Disney’s The Lion King Jr. The Regals Musical Society Inc. Sep 27 - Oct 5. Rockdale Town Hall. theregals.com.au

FreshWorksFEMME. Old 505 Theatre, Newtown. Sep 30 Nov 2. old505theatre.com Thoroughly Modern Millie Jnr. Music by Jeanine Tesori, lyrics by Dick Scanlan and book by Richard Morris and Dick Scanlan. Young People’s Theatre Newcastle Inc., Hamilton. Sep 30 - Nov 2. ypt.org.au The Angry Brigade by James Graham. New Theatre. Oct 1 Nov 2. newtheatre.org.au The Odd Couple (Female Version) by Neil Simon. Pymble Players, Cnr Mona Vale Rd and Bromley Ave, Pymble. Oct 2 26. (02) 9144 1523. Hayes @ The Hayes. Nancye Hayes. Oct 2 - 13. Hayes Theatre Co, Elizabeth Bay. (02) 8065 7337.

Grease by Jim Jacobs and Warren Casey. Wyong Musical Theatre Company, Sep 27 - Oct 30 Something. Tenacious C, 13. Grove Theatre, Wyong. Tekule and DTCM. Oct 2 - 13. wmtc.com.au Hayes Theatre Co, Elizabeth Bay. (02) 8065 7337.

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

On Stage

New South Wales

Roald Dahl’s Jack and the Beanstalk: The Musical. Book and lyrics by Matthew White and Ana Sanderson, music by Georgs Pelecis. WEA Hunter Academy of Creative Arts. Oct 3 - 5. The Creative Arts Space, Hamilton (Newcastle). (02) 4925 4200. Much Ado About Nothing by William Shakespeare. Bell Shakespeare. Oct 3. Civic Theatre, Newcastle. (02) 4929 1977. This is Not Art: Crack Theatre Festival 2019. Short new plays developed by young people. Octapod, in association with Merrigong Theatre Company, PACT, PYT - Fairfield, Shopfront Arts Co-op and Tantrum Youth Arts. Oct 3 - 6. Multiple venues across the Newcastle CBD. (02) 4021 1605. Disney’s Beauty and the Beast Jr. by Alan Menken, Howard Ashman, Tim Rice and Linda Woolverton. Campbelltown Theatre Group. Oct 4 - 12. Town Hall Theatre, Campbelltown. 0426 285 287. ctgi.org.au Deanna, Princess of New South Wales - The Musical Comedy by Dee Johnson. Dee Johnson Entertainment. Oct 4 - 19. Royal Exchange, Newcastle. (02) 4929 4969. The Mikado by Gilbert and Sullivan. Gilbert & Sullivan Opera Sydney. Oct 4 - 13. Smith Auditorium, Shore School, North Sydney. gsosydney.com.au Blithe Spirit by Noël Coward. Newcastle Theatre Company. Oct 4 - 19. Newcastle Theatre, Lambton. newcastletheatrecompany.com.au

Nikki Shiels in the Ensemble Theatre’s Australian Premiere of Kate Hennig’s The Last Wife, playing until September 29, which takes a fresh look at the dangerous sparring between King Henry VIII and his last wife, Katherine Parr, during a very complex and bloody time in English history. Photo: Richard Hedger. www.ensemble.com.au

Online extras! Find out what The Last Wife is about from the cast. Scan the QR code or visit https://youtu.be/AY5vGmpIAKA Roald Dahl’s Revolting Rhymes & Dirty Beasts. Shake & Stir Theatre Co. Oct 7 - 9. Glen Street Theatre. (02) 9975 1455.

Oliver! By Lionel Bart. Penrith Arsenic and Old Lace by Joseph Musical Comedy Company. Oct Kesselring. Maitland Repertory 5 - 13. Q Theatre, Penrith. Theatre. Oct 9 - 27. boxoffice.ppandva.com.au maitlandreptheatre.org Sydney Comedy Festival Siblingship. Daniel Assetta and Showcase. Oct 5. Civic Theatre, Chiara Assetta. Oct 9 - 13. Newcastle. (02) 4929 1977. Hayes Theatre Co, Elizabeth Bay. (02) 8065 7337.

Billy Elliot the Musical. Music by Elton John, book and lyrics by Lee Hall. From Oct 10. Sydney Lyric. sydneylyric.com.au Kiss Me, Kate. Music & Lyrics: Cole Porter. Book: Sam & Bella Spewack. Hornsby Musical Society. Oct 10 - 13. Hornsby RSL. hornsbymusicalsociety.com.au Peter Pan Jr. Adapted from the Disney musical film based on

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

the play by J.M. Barrie. Hunter Drama. Oct 10 -12. Civic Theatre, Newcastle. (02) 4929 1977. My Best Dead Friend by Anya Tate-Manning and Isobel MacKinnon. Zanetti Productions. Oct 10 - 12. Lennox Theatre, Riverside Parramatta. (02) 9250 1777. The Sound of Music by Rodgers & Hammerstein. Dural Musical Society. Oct 11 - 26. Stage Whispers 59

On Stage

New South Wales

Natives Go Wild, the World Premiere of a new First Nations cabaret about the dark side of PT Barnum, plays at The Studio, Sydney Opera House, from October 19 - 27. Photo: Daniel Boud. sydneyoperahouse.com

60 Stage Whispers

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

On Stage Dural Soldiers Memorial Hall. duralmusicalsociety.org Fully Committed by Becky Mode. Ensemble Theatre. Oct 11 - Nov 16. (02) 9929 0644.

The Marriage of Figaro by Mozart. Opera Australia. Oct 18 - Nov 2. Joan Sutherland Theatre, Sydney Opera House. opera.org.au

They’re Playing Our Song by Rosaline by Joanna Erskine. Neil Simon, Carole Bayer Sager KXT - Kings Cross Theatre. Oct and Marvin Hamlisch. NUCMS. 11 - 26. kingsxtheatre.com Oct 18 - 26. Normanhurst Fangirls by Yve Blake. Belvoir St Uniting Church. nucms.org Theatre. Oct 12 - Nov 10. (02) Fiddler On The Roof. Music by 9699 3444. Jerry Bock, Lyrics by Sheldon April Aardvark. ATYP@Griffin. Harnick. Book by Joseph Stein. Oct 16 - 26. SBW Stables Willoughby Theatre Company. Theatre. (02) 9361 3817. Oct 18 - 27. The Concourse Theatre, Chatswood. The Mousetrap by Agatha willoughbytheatreco.com.au Christie. CHATS Productions. Oct 17 - 27. Jetty Memorial Les Misérables by ClaudeTheatre, Coffs Harbour. Michel Schönberg & Alain jettytheatre.com Boublil. English Lyrics by Herbert Kretzmer. Based on the Playing Face by Cassandra Novel by Victor Hugo. Gosford Hamilton. Bearfoot Theatre. Musical Society. Oct 18 - Nov Oct 16 - 19, Civic Playhouse, 9. Laycock Street Community Newcastle, (02) 4929 1977 & Oct 23 - 26, Shopfront Arts Co Theatre, North Gosford. gosfordmusicalsociety.com.au -op, Hurstville (Sydney), (02) 9588 3948. Baby Doll by Tennessee Williams, adapted for the stage

New South Wales by Pierre Laville and Emily Mann. Ensemble Theatre. Oct 18 - Nov 16. Australian premiere. (02) 9929 0644. A Chorus Line. Music by Marvin Hamlisch, Lyrics by Edward Kleban, Book by James Kirkwood & Nicholas Dante. Blackout Theatre Co. Oct 18 25. blackouttheatre.com.au Gypsy. Book by Arthur Laurents. Music by Jule Styne. Lyrics by Stephen Sondheim. Blue Mountains Musical Society. Oct 19 - Nov 3. Blue Mountains Theatre, Springwood. bmms.org.au Natives Go Wild. First Nations cabaret about the dark side of PT Barnum. Oct 19 - 27. The Studio, Sydney Opera House. sydneyoperahouse.com

Il Viaggio a Reims by Rossini. Opera Australia. Oct 24 - Nov 2. Joan Sutherland Theatre, Sydney Opera House. opera.org.au Jesus Christ Superstar by Tim Rice and Andrew Lloyd Webber. Orange Theatre Company. Oct 24 - 27. Orange Civic Centre. orangetheatreco.com.au White Pearl by Anchuli Felicia King. Australian Premiere. Sydney Theatre Company / Riverside’s National Theatre of Parramatta. Oct 24 - Nov 9. Lennox Theatre, Riverside Parramatta. (02) 9250 1777. Me and My Girl. Book and lyrics by L Arthur Rose and Douglas Furber. Music by Noel Gay. EUCMS Inc. Oct 25 - Nov 9. Eastwood Uniting Church Hall. eucms.org.au

The Ugly One by Marius Von Mayenburg. Hunter Independent Theatre Company. Anne of Green Gables - A New Oct 23 - 26. NTC Theatre, Musical. Highlands Theatre Lambton (Newcastle). (02) Group. Oct 25 - Nov 9. 4952 4958.

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Stage Whispers 61

On Stage Mittagong Playhouse. htg.org.au Mamma Mia! Book by Catherine Johnson, music and lyrics by Benny Andersson and Björn Ulvaeus. The Very Popular Theatre Company. Oct 25 - Nov 9. Civic Theatre, Newcastle. (02) 4929 1977.

New South Wales & Queensland

Jekyll and Hyde by Frank Wildhorn and Leslie Bricusse. Concertworks. Nov 2. Darling Harbour Theatre. concertworks.com.au

James and the Giant Peach by Roald Dahl, adaptation David Lowe. Brisbane Arts. Until 5 Oct. (07) 3369 2344.

SS Mendi: Dancing The Death Drill. Brisbane Festival. Sep 5 Ladies in Black by Tim Finn and 7. Playhouse, QPAC. 136 246. Carolyn Burns. Brisbane Arts. We Live Here. Flipside Circus. Until Sep 7. (07) 3369 2344. Cremorne Theatre, QPAC. Sep Venetian Twins by Nick Enright 5 - 8. qpac.com.au Reasons to be Pretty by Neil and Terence Clarke. Woy Woy LaBute. Brisbane Arts. Until Sep Fangirls by Yve Blake. Little Theatre. Oct 25 - Nov 10. 24. (07) 3369 2344. Queensland Theatre. Sep 7 The Peninsula Theatre, Woy Oct 5. Bille Brown Theatre. The Addams Family by Andrew Woy. woywoylt.com 1800 355 528. Lippa, Marshall Brickman and Death of a Salesman by Arthur Rick Elice. Gold Coast Little St Matthew Passion. Isango Miller. Arts Theatre Cronulla. Theatre. Until Sep 29. (07) Ensemble / Brisbane Festival. Oct 25 - Nov 30. 6 Surf Road, 5532 3224. Concert Hall, QPAC. Sep 8. 136 Cronulla. 246. Mary Rose by J.M. Barrie. artstheatrecronulla.com.au Growl Theatre. Until Sep 7. Voice of Reason - Dara O The Youth Variety Showcase. Windsor School of Arts. Briain. Concert Hall, QPAC. Sep Created by Julie Burnett. Tweed growltheatre.org.au 11. 136 246. Theatre Company. Oct 25 & Picnic at Hanging Rock by John Safran, Jew Detective: 26. Tweed Civic & Cultural Laura Annawyn Shamas, based Sarcasm is not a Crime. Centre, Tweed Heads. on the novel by Joan Lindsay. Brisbane Festival. Sep 11 - 14. tweedtheatre.com.au Villanova Players. Until Sep 8. Cremorne Theatre, QPAC. 136 Ladies In Black. Book by Ron Hurley Theatre, Seven Hills. 246. Carolyn Burns. Music and Lyrics (07) 3395 5168. Briefs: Close Encounters. by Tim Finn. Genesian Theatre Romeo and Juliet by William Brisbane Festival. Sep 11 - 15. Company. Oct 26 - Dec 7. Shakespeare. Queensland Playhouse, QPAC. 136 246. Genesian Theatre, 420 Kent Ballet. Until Sep 7. Lyric Street, Sydney. Romance and Revolution. Theatre, QPAC. qpac.com.au genesiantheatre.com.au Queensland Symphony Reasons to be Pretty by Neil Orchestra. Sep 12. Concert Exit Laughing by Paul Elliott. LaBute. Brisbane Arts. Until 24 Hall, QPAC. (07) 3833 5044. The Sutherland Theatre Company. Oct 31 - Nov 3. The Sep. (07) 3369 2344. Trevor Ashley in Double D’s: Sutherland Memorial School of Two Decades of Divadom. Sep Arts. (02) 9150 7574.

62 Stage Whispers

Queensland

13. Concert Hall, QPAC. qpac.com.au Money and Friends by David Williamson. Cairns Little Theatre. Sep 13 - 21. 1300 855 835. Mamma Mia! Music and Lyrics by Benny Andersson and Björn Ulvaeus. Book by Catherine Johnson. Ipswich Musical Theatre. Sep 13 - 22. Civic Centre, Ipswich. (07) 3910 6100. My Fair Lady by Lerner & Loewe. Toowoomba Chorale. Sep 13 - 15. Empire Theatre, Toowoomba. 1300 655 299. The Actress by Peter Quilter. Javeenbah Theatre Co, Gold Coast. Sep 13 - 28. (07) 5596 0300. Straight by Scott Elmegreen and Drew Fornarola. Nash Theatre, New Farm. Sep 13 18. (07) 3379 4775. Mr. Bailey’s Minder by Debra Oswald. Centenary Theatre Group. Sep 14 - Oct 5. Chelmer Community Centre, Chelmer. nashtheatre.com Brat Kids Carnival. Brisbane Festival. Playhouse, QPAC. Sep 14 - 15. 136 246. Paul Lewis In Recital. Queensland Symphony

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

On Stage Orchestra. Sep 14. Concert Hall, QPAC. (07) 3833 5044. Maskerade by Terry Pratchett. Brisbane Arts. Sep 14 - Oct 12. (07) 3369 2344.

I’m a Phoenix Bitch. Bryony Kimmings. Brisbane Festival. Sep 18 - 21. Playhouse, QPAC. 136 246.

Queensland John Barrowman In Concert. Sep 21. Concert Hall, QPAC. 136 246.

Mousetrap Theatre, Redcliffe. Sep 27 - Oct 13. (07) 3888 3493.

Guy Sebastian - Ridin’ With The Boy From Oz by Nick You Tour. Sep 22. Concert Hall, Enright and Peter Allen. QPAC. qpac.com.au Savoyards. Iona Performing Farewell to Doris - Melinda Arts Centre, Wynnum. Sep 28 Schneider. Concert Hall, QPAC. A Not So Traditional Story. Oct 12. (07) 3893 4321. Sep 15. qpac.com.au Terrapin Puppet Theatre / Brisbane Festival. Sep 24 - 27. Postmodern Jukebox. TEG Hitler’s Daughter. Based on A Bunch of Amateurs by Ivan Cremorne Theatre, QPAC. 136 Dainty, Nice Events and David book by Jackie French. Monkey Heslop and Nick Newman. Roy Williams. Sep 30. Concert 246. Baa. Sep 17 - 18. Gardens Ipswich Little Theatre, Hall, QPAC. 136 246. Theatre. (07) 3138 7750. Yang Liping’s Rite of Spring. Incinerator Theatre, Ipswich. Peacock Contemporary Dance Dame Edna: My Gorgeous Life. From Broadway To La Scala. Sep 19 - Oct 5. (07) 3812 Company / Brisbane Festival. Oct 1 - 2. Concert Hall, QPAC. Concert Hall, QPAC. Sep 17. 2389. Sep 25 - 28. Playhouse, QPAC. qpac.com.au 136 246. Muriel’s Wedding The Musical. 136 246. Laser Beak Man. Dead Puppet Joe Bonamassa. Concert Hall, Book by PJ Hogan. Music and Flamenco Fire - Veinte Años. Society, La Boite and Brisbane QPAC. Sep 18. qpac.com.au Lyrics by Kate Miller-Heidke Red Chair / Brisbane Festival. Festival. Oct 2-5. Playhouse, and Keir Nuttall. Based on the Sep 26. Concert Hall, QPAC. Cal Wilson - Gifted QPAC. 136 246. movie, with additional songs Underachiever. Brisbane 136 246. Spot. Based on Books by Eric Festival. Sep 18 - 21. Cremorne by ABBA. Global Creatures. Kate Miller-Heidke. Concert Hill. CDP Kids & Salspot. From Sep 19. Lyric Theatre, Theatre, QPAC. 136 246. Hall, QPAC. Sep 27. Gardens Theatre, Oct 2-6, (07) QPAC. 136 246. Anne Edmonds - What’s qpac.com.au 3138 7750 & Empire Theatre, Tetris. Brisbane Festival. Sep 20 Wrong With You? Brisbane Toowoomba, Sep 25-26, 1800 Farndale Avenue Festival. Sep 18 - 21. Cremorne - 21. Studio 1, QPAC. 655 299. Townswomen’s Guild Society qpac.com.au Theatre, QPAC. qpac.com.au Murder Mystery by David The Sky’s the Limit. Griffith McGillvray and Walter Zerlin. Musical Theatre Student Class of 2019 Musical Theatre Showcase. Queensland Conservatorium Griffith University. Burke Street Studios. Sep 18 - 21. 136 246.

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Stage Whispers 63

On Stage Showcase. Cremorne Theatre, QPAC. Oct 3. 136 246.

Queensland & Victoria

An Evening with Sir Michael Parkinson. Concert Hall, QPAC. Oct 24. qpac.com.au

David Campbell - Back In The Swing. Concert Hall, QPAC. Oct The Longest Minute by Robert 3. 136 246. Kroink and Nadine McDonaldFaith Prince In Concert. Oct 4 - Dowle. Queensland Theatre. Oct 25. Empire Theatre, 5. Cremorne Theatre, QPAC. Toowoomba. 1300 655 299. 136 246. Tex Perkins - The Man In Black. Cats by Andrew Lloyd Webber and T.S. Eliot. Queensland Oct 5. Concert Hall, QPAC. Musical Theatre. Schonell qpac.com.au Theatre, St Lucia. Oct 25 - Nov Ray Chen Returns. Queensland 3. 136 246. Symphony Orchestra. Oct 11 Bazaar and Rummage by Sue 12. Concert Hall, QPAC. 1800 Townsend. Growl Theatre. Oct 3833 5044. 25 - Nov 9. Windsor School of The Snow Queen by Peter Arts. growltheatre.org.au Denyer, Sally & Shane Daly. Open Homes by Jeffrey Tan. La Brisbane Arts. Oct 12 - Dec 7. Boite. Oct 25 - Nov 10. (07) 3369 2344. Roundhouse Theatre. (07) Andrew O’Keefe Shouts Johnny 3007 8600. O’Keefe. Oct 12. Empire Antigone by Sophocles, Theatre, Toowoomba. 1300 adapted by Merlynn Tong. 655 299. Queensland Theatre. Billle Swan Lake. Imperial Russian Brown Theatre. Oct 26 - Nov Ballet. Oct 13. Empire Theatre, 16. 1800 355 528. Toowoomba, 1300 655 299. Toys and Puppets. Queensland Mirusia & The Original Seekers. Symphony Orchestra. Oct 27. Concert Hall, QPAC. Oct 13. Concert Hall, QPAC. (07) 3833 136 246. 5044. Glenn Miller Orchestra. Concert Victoria Hall, QPAC. Oct 16. Harry Potter and the Cursed qpac.com.au Child. Based on an original The Music of James Bond. new story by J.K. Rowling, Jack GWB Entertainment and Good Thorne and John Tiffany. Egg Creative. Oct 18. Concert Continuing. Princess Theatre, Hall, QPAC. 136 246. Melbourne. Jane Eyre by Charlotte Brontë. harrypottertheplay.com shake & stir theatre co. Oct 18 Come From Away. Book, music - Nov 9. Cremorne Theatre, and lyrics by David Hein and QPAC. 136 246. Irene Sankoff. Junkyard Dogs Productions and Rodney Rigby. The Glass Menagerie by Continuing. Comedy Theatre, Tennessee Williams. Brisbane Arts. Oct 19 - Nov 9. (07) 3369 Melbourne. comefromaway.com.au 2344. Three Amigos. Queensland Pops Orchestra. Concert Hall, QPAC. Oct 19. qpac.com.au Intimate Bach. Australian Chamber Orchestra. Concert Hall, QPAC. Oct 21. 136 246. Orpheus & Eurydice by Christopher Willibald Gluck. Opera Queensland. Playhouse, QPAC. Oct 24 - Nov 9. qpac.com.au 64 Stage Whispers

Charlie and the Chocolate Factory. Music by Marc Shaiman, lyrics by Scott Wittman and Marc Shaiman, book by David Greig, with additional songs by Leslie Bricusse and Anthony Newley from the 1971 Warner Bros motion picture. Her Majesty’s Theatre, Melbourne. Continuing. charliethemusical.com.au

Golden Shield by Anchuli Felicia King. Melbourne Theatre Company. Until Sep 14. Southbank Theatre, The Sumner. (03) 8688 0800. Ulster American by David Ireland. Red Stitch Actors Theatre. Until Sep 22. (03) 9533 8083. The Other Place by Christopher Bryant. Before Shot. Until Sep 8. Theatre Works. (03) 9534 3388.

Repertory Theatre Company. Sep 6 - 21. (03) 5225 1200. A Not So Traditional Story by Nathan Maynard. Terrapin. Sep 7 & 8. Fairfax Studio, Arts Centre Melbourne. artscentremelbourne.com.au The Critic. Melbourne Fringe. Sep 9 - 15. The Butterfly Club. thebutterflyclub.com Flicker. Melbourne Fringe. Sep 9 - 15. The Butterfly Club. thebutterflyclub.com

Ladies in Black by Carolyn The Subtle Art of Online Burns and Tim Finn. Malvern Dating. Melbourne Fringe. Sep Theatre Co. Until Sep 14. 1300 9 - 15. The Butterfly Club. 131 552. thebutterflyclub.com Tchekov at the House of A Tradie Cabaret by Todd Special Purpose by R. Johns. Peydo. Melbourne Fringe. Sep Until Sep 8. La Mama 9 - 15. The Butterfly Club. Courthouse. lamama.com.au thebutterflyclub.com Private Peaceful by Michael Confessions from the Bell Jar. Morpurgo. Moving Light Melbourne Fringe. Sep 9 - 15. Productions. Sep 3 - 8. Chapel The Butterfly Club. off Chapel. thebutterflyclub.com chapeloffchapel.com.au Batmania by The Very Good Strawberry by Kerry Drumm. Looking Initiative. Sep 11 - 22. Williamstown Little Theatre. Theatre Works. (03) 9534 Sep 4 - 21. wlt.org.au 3388. Moira Finucane’s Rapture: Art The Market is a Wind-up Toy vs Extinction. Finucane & by The Bloomshed. Sep 11 Smith. Sep 4 - 29. 21. Theatre Works. (03) 9534 fortyfivedownstairs. (03) 9662 3388. 9966. I’m A Phoenix, Bitch by Bryony Summer of the Aliens by Louis Kimmings. Melbourne Fringe. Nowra. Essendon Theatre Sep 11 - 15. Arts Centre Company. Sep 5 - 14. Melbourne. Bradshaw Street Community melbournefringe.com.au Hall, West Essendon. essendontheatrecompany.com.au Daring Dog Monologues. Melbourne Writers’ Theatre. Things I Know To Be True by Sep 12 - 22. Gasworks Arts Andrew Bovell. Mordialloc Park. melbournefringe.com.au Theatre Company. Sep 6 - 21. Shirley Burke Theatre. Parkdale. Broken River by Tony Reck. Sep 12 - 22. La Mama Courthouse. (03) 9587 5141. lamama.com.au The Drawer Boy by Michael Apex Predator by Elizabeth Healey. Heidelberg Theatre Davie. Melbourne Fringe. Sep Company. Sep 6 - 21. (03) 12 - 29. Fringe Hub: Trades 9457 4117. Hall - Music Room. Proof by David Auburn. melbournefringe.com.au Mordialloc Theatre Co. Sep 6 Melbourne Fringe Festival 21. Shirley Burke Theatre, 2019. Sep 12 - 29. Parkdale. melbournefringe.com.au mordialloctheatre.com And Then There Were None by Jasper Jones by Kate Mulvaney. Leongatha Lyric Theatre. Sep Agatha Christie. Geelong

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

On Stage

Victoria

The Australian cast of Come From Away, currently playing at Melbourne’s Comedy Theatre. Photo: Jeff Busby. Read more on our website at http://bit.ly/2KXxah6

Online extras! Melbourne crowds are loving Come From Away. Scan the QR code or visit https://youtu.be/h4p6BqxXMbA 13 - 21. Mesley Hall, Leongatha. 0490 525 482.

Marooned by Michael Gray Griffith. The Wolves Theatre Company. Sep 18 - 28. The Beautiful Game by Andrew Southbank Theatre. (03) 8688 Lloyd Webber and Ben Elton. 0800. Manilla Street Productions. Sep Laser Beak Man by David 14 - 29. Chapel off Chapel. Morton, Nicholas Paine and chapeloffchapel.com.au Tim Sharp, with music by Sam Onomatopoeia! Melbourne Cromack (Ball Park Music). Fringe. Sep 16 - 22. The Australian Music Vault. Sep 19 Butterfly Club. - 21. Playhouse, Arts Centre thebutterflyclub.com Melbourne. 1300 182 183. Passionate Machine. One Flew Over the Cuckoo’s Melbourne Fringe. Sep 16 - 22. Nest by Ken Kesey. Eltham The Butterfly Club. Little Theatre. Sep 20 - Oct 5. thebutterflyclub.com Eltham Performing Arts Centre. Runaway Soprano. Starring elthamlittletheatre.org.au Antoinette Halloran with James Egglestone. Morning Melodies. Billy vs the Internet by Sam Hargreaves. Melbourne Fringe. Sep 16. Arts Centre Sep 23 - 29. The Butterfly Club. Melbourne, Hamer Hall. thebutterflyclub.com artscentremelbourne.com.au Class of 2019 Musical Theatre Norma by Bellini. Melbourne Showcase. Queensland Opera. Sep 17 - 24. Conservatorium Griffith Athenaeum Theatre, University. Chapel Off Chapel. Melbourne. ticketek.com.au

Sep 23 - 24. Ashwood High School queenslandconservatorium.com.au Performing Arts Centre. 0422 010 830. Devil Woman. Clare Elizabeth

Dea. Melbourne Fringe. Sep 23 Plan B - The Season. ARK - 29. The Butterfly Club. Theatre. Sep 26 - Oct 5. Lilydale Heights College PAC. thebutterflyclub.com arktheatremelb.com Utter Mess by Artemis Munoz. Melbourne Fringe. Sep 23 - 29. The Wizard of Oz by L. Frank Baum adapted by John Kane The Butterfly Club. from the motion picture thebutterflyclub.com screenplay for the Royal Mime Consultant. Patrick Shakespeare Company. Music Collins. Melbourne Fringe. Sep and lyrics by Harold Arlen and 23 - 29. The Butterfly Club. E.Y. Harburg. Waterdale. Sep thebutterflyclub.com 26 - Oct 6. Rivergum Theatre, Mad as a Cute Snake by Amelia Parade College, Bundoora. Evans and Dan Giovannoni. waterdale.org.au Sep 25 - Oct 6. Theatre Works. Australian Tap Dance Festival. (03) 9534 3388. Sep 28 - Oct 5. Ministry of Facing Medea by François Dance, North Melbourne. Cervantes. Sep 25 - Oct 6. La australiantapdancefestival.com.au Mama Courthouse. Death of the Soprano. Sep 30 lamama.com.au Oct 5. The Butterfly Club. Coriolanus by William thebutterflyclub.com Shakespeare. The Hartwell Players. Sep 26 - Oct 6.

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Stage Whispers 65

On Stage Anthem by Andrew Bovell, Christos Tsiolkas, Melissa Reeves, Patricia Cornelius and Irine Vela. Melbourne International Arts Festival. Oct 1 - 6. Playhouse, Arts Centre Melbourne. 1300 182 183. Control by Keziah Warner. Red Stitch Actors Theatre. Oct 1 Nov 3. (03) 9533 8083. Black Is The New White by Nakkiah Lui. Melbourne Theatre Company / Melbourne International Arts Festival. Oct 2 - Nov 6. Southbank Theatre, The Sumner. (03) 8688 0800. Spring Awakening. Book and lyrics by Steven Sater, music by Duncan Sheik, original play by Franz Wedekind. North by South Theatre Company. Oct 2 - 6. Chapel off Chapel. chapeloffchapel.com.au Melbourne International Arts Festival 2019. Oct 2 - 20. festival.melbourne/2019

Victoria

Ghosts by Henrik Ibsen adapted by Eamon Flack. The 1812 Theatre. Oct 3 - 26. 1812theatre.com.au What Girls Are Made Of. Raw Material and Traverse Theatre Company. Oct 3 - 13. The Famous Spiegeltent, Arts Centre Melbourne Forecourt. 1300 182 183.

Starting Over (again…) Oct 7 12. The Butterfly Club. thebutterflyclub.com The Shadow Whose Pray the Hunter Becomes. Back to Back Theatre / Melbourne International Arts Festival. Oct 9 - 20. Fairfax Studio, Arts Centre Melbourne. 1300 182 183.

Playhouse, Arts Centre Melbourne. 1300 182 183. Gender Euphoroa. Melbourne International Arts Festival. Oct 15 - 20. The Famous Spiegeltent, Arts Centre Melbourne Forecourt. 1300 182 183.

The End of Eddy. Based on the book by Édouard Louis, Roots by Suzanne Andrade. A Brimful of Asha by Ravi Jain. adapted by Pamela Carter. 1927 / Melbourne International Why Not Theatre / Melbourne Unicorn Theatre & Untitled Arts Festival. Oct 3 - 6. International Arts Festival. Oct Projects. Melbourne Malthouse Theatre. (03) 9685 9 - 13. Malthouse Theatre. (03) International Arts Festival. Oct 5111. 9685 5111. 16 - 20. Malthouse Theatre. Cox and Box & HMS Pinafore Grey Rock by Amir Nizar Zuabi. (03) 9685 5111. by Gilbert and Sullivan. Gilbert Remote Theater Project / The Disappearing Trilogy by & Sullivan Opera Victoria. Oct 4 Melbourne International Arts Suzie Hardgrave. Oct 16 - 27. - 6. Darebin Arts & Festival. Oct 9 - 12. Malthouse La Mama Courthouse. Entertainment Centre, Preston. Theatre. (03) 9685 5111. lamama.com.au gsov.org.au Love / Chamberlain by Bridget Savannah Bay by Marguerite Wonders. Scott Silven. Mackey. Oct 10 - 20. Theatre Duras. Oct 17 - 27. La Mama Melbourne International Arts Works. (03) 9534 3388. Courthouse. lamama.com.au Festival. Oct 5 - 20. The The Bloody Truth by Nicole One Life, One Love, One Famous Spiegeltent, Arts Hereen. Oct 10 - 11. The Direction. Oct 17 - 19. The Centre Melbourne Forecourt. Butterfly Club. Butterfly Club. 1300 182 183. thebutterflyclub.com thebutterflyclub.com We Have Spoken of This Before by Alex Broun. Sherbrooke Theatre Company. Oct 11 - 19. Doncaster Playhouse. sherbrooketc.org.au Mamma Mia! Music and Lyrics by Benny Andersson and Björn Ulvaeus. Book by Catherine Johnson. CLOC Musical Theatre. Oct 11 - 26. National Theatre, St Kilda. cloc.org.au

Siblingship. Daniel and Chiara Assetta. Oct 18 & 19. Chapel off Chapel. chapeloffchapel.com.au Lobby Hero by Kenneth Lonergan. Around the Moon Productions. Oct 22 - 27. fortyfivedownstairs. (03) 9662 9966.

UnHOWsed by Tashmadana and Voices of the South Side. Almost, Maine by John Cariani. Oct 23 - Nov 3. Theatre Works. Encore Theatre Company Inc. (03) 9534 3388. Oct 11 - 26. Clayton The Breakfast Club by John Community Centre. 1300 739 Hughes. PEP Productions. Oct 099. 24 - Nov 2. Doncaster Going Postal by Terry Pratchett. Gemco Players. Oct 11 - 26. Gemco Theatre, Emerald. gemcoplayers.org

Playhouse. pepproductions.org.au

Bathsheba: Queen of Hollywood. Oct 24 - 26. The Butterfly Club. thebutterflyclub.com

Rock of Ages. Book by Chris D’Arienzo. MLOC. Oct 11 - 19. Shirley Burke Theatre, Parkdale. Heathers The Musical. Book, mloc.org.au Music & Lyrics by Kevin Murphy The Nico Project by Maxine & Laurence O’Keefe. Based on Peake and Sarah Frankcom. the film written by Daniel Melbourne International Arts Waters. Fab Nobs Theatre Inc. Festival. Oct 11 - 19. Oct 25 - Nov 9. fabnobstheatre.com.au 66 Stage Whispers

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

On Stage Back in the Swing. David Campbell. Oct 24. Arts Centre Melbourne - Hamer Hall. davidcampbell.com/tour Jekyll and Hyde by Frank Wildhorn and Leslie Bricusse. Melbourne Symphony Orchestra and Concertworks. Oct 25 & 26. Hamer Hall, Arts Centre Melbourne. 1300 182 183.

Victoria, Tasmania, South Australia & W.A.

Theatre, Launceston, (03) 6331 Catherine Johnson. The Met. 0052. Oct 17 - 26. The Arts Theatre. 0407 457 821. Speaking in Tongues by metmusicals.com.au Andrew Bovell. Hobart Repertory Theatre Society. Oct 18 - Nov 2. The Playhouse Theatre, Hobart. playhouse.org.au

Possum Magic. Based on the book by Mem Fox and Julie Vivas, adapted by Eva Di Cesare Twisted. Oct 28 - Nov 2. The and Sandra Eldridge. Monkey Butterfly Club. Baa Theatre Company. Oct 15 thebutterflyclub.com & 16, Princess Theatre, Thigh Gap by Jamaica Zuanetti. Launceston, (03) 6331 0052; Oct 18 & 19, Theatre Royal, Oct 30 - Nov 10. La Mama Hobart, (03) 6146 3300; Oct Courthouse. lamama.com.au 22, Burnie Arts and Function The Year of Magical Thinking Centre, (03) 6430 5850. by Joan Didion. Oct 30 - Nov My Fair Lady by Lerner and 17. fortyfivedownstairs. (03) Loewe. Bijou Creative. Oct 25 9662 9966. Nov 9. Theatre Royal, Hobart, Tasmania (03) 6146 3300. Picnic at Hanging Rock. South Australia Adapted by Tom Wright from Heathers the Musical by Kevin Joan Lindsay’s novel. Murphy and Laurence O’Keefe. Launceston Players. Sep 13 Segue Productions. Sep 12 22. Earl Arts Centre, 21. Goodwood Institute. Launceston. 0439 498 119. heathersadelaide.com Picasso and His Dog by Sara Girl Asleep by Matthew Kriegler. Lemony S Puppet Theatre. Sep 23 & 24, Earl Arts Whittet. Windmill Theatre. Sep 12 - 21. The Space. BASS. Centre, Launceston, (03) 63310052; Sep 25, Burnie Arts bass.net.au/events/girl-asleep and Function Centre, (03) 6430 Celebration. The Stirling 5850; Sep 26 & 27, Theatre Players. Sep 13 - 28. Stirling Royal, Hobart, (03) 6146 3300. Community Theatre. (08) 7481 6152. stirlingplayers.sct.org.au Swan Lake. Imperial Russian Ballet Company. Sep 24, Princess Theatre, Launceston, (03) 63310052. Sep 28, Theatre Royal, Hobart, (03) 6146 3300.

Bangarra Dance Theatre - 30th Anniversary Season. Oct 3 - 5. Theatre Royal, Hobart, (03) 6146 3300. Hamlet by William Shakespeare. Adaptive Theatre Company. Oct 9 - 12. Earl Arts Centre, Launceston. (03) 6331 0052. The Sapphires by Tony Harris. Christine Harris and HIT Productions. Oct 10 - 12, Theatre Royal, Hobart, (03) 6146 3300; Oct 16, Princess

Black is the New White by Nakkiah Lui. Black Swan State Theatre Company. Sep 11 - 22. WA Premiere romantic comedy. Heath Ledger Theatre, Art by Yasmina Reza. Verendus State Theatre Centre of WA. Theatrical. Oct 23 - 26. Holden ptt.wa.gov.au Street Theatres. holdenstreettheatres.com

The Prisoner of Second Avenue by Neil Simon. Galleon Theatre Group. Oct 23 - Nov 2. Domain Theatre. (08) 8375 6855 or galleon.org.au

Giselle. WA Ballet. Sep 13 - 29. Romantic era ballet. His Majesty’s Theatre, Perth. ptt.wa.gov.au

Hills Festival of Theatre by various authors. Darlington Theatre Players. Sep 13 - 15. Once Upon a Mattress. Music One act play competition. by Mary Rodgers, lyrics by Marloo Theatre, Greenmount. Marshall Barer, and book by Jay Thompson, Dean Fuller and marlootheatre.com.au Marshall Barer. Oct 25 - Nov 2. John and Jen by Andrew Lippa Marie Clark Musical Theatre. and Tom Greenwald. Stirling Goodwood Institute. Players. Sep 20 - Oct 5. Musical trybooking.com/BDMT about siblings. Stirling Theatre, Innaloo. (08) 9446 9120. One for the Pot by Ray Cooney, with Tony Hilton. Therry Youthfest 2019 by various Dramatic Society. Oct 31 - Nov authors. Independent Theatre 9. The Arts Theatre. (08) 8271 Association. Sep 21 - 22. State 8487. therry.org.au one act play competition for kids. Marloo Theatre, Western Australia Greenmount. The Butler Did It by Walter and What A Knight! by Craig Peter Marks. Rockingham Hawes. Midnite Youth Theatre Theatre Club. Until 14 Sep. Company. Sep 23 - 25. Comedy. The Castle Comedy set in Camelot. Drama Rockingham. Centre, Christ Church Grammar trybooking.com/512247 School. trybooking.com/YOWC The Book of Mormon by Matt The Club by David Williamson. Stone, Robert Lopez and Trey Garrick Theatre Guildford. Sep Parker. Sep 3 - Oct 13. Musical 26 - Oct 12. Australian classic with adult themes. Crown set in a football club. (08) Theatre, Perth. Vintage Hitchcock - A Live 9387 1990. bookofmormonmusical.com.au Radio Play by Joe Landry. Tea Love and Music by Brenton Tree Players. Oct 2 - 12. Tea Mere Mortals. Various authors. Foale, with Mazey O’Reilly and Tree Players Theatre. (08) 8289 ARENA Arts and Oliver Temby. Fremantle 5266. teatreeplayers.com Entertainment. Sep 6 - 8. 3 Performing Arts. Sep 26 - Oct short plays in 3 short days. Show & Spell by Julia Brownell. 6. New play. Roxy Lane Roxy Lane Theatre, Maylands. Wings2Fly Theatre. Oct 5. Theatre, Maylands. (08) 9255 ticketthis.com.au Holden Street Theatres. 3336. ticketthis.com.au Two Canaries by Alexa Taylor. trybooking.com/BDRJU Just Let the Wind Untie My Sep 10 - 28. Expedition into Hairspray Jr. by Mark climate change. The Blue Room Perfumed Hair by Delia Olam. O’Donnell, Thomas Meehan, The Bahai Communities of Theatre, Northbridge. Marc Shaiman and Scott Subiaco and Nedlands. Sep 26. blueroom.org.au Wittman. Adelaide Youth One woman show about first Theatre. Oct 10 - 12. The Arts TILT. WAAPA 3rd Year martyr for woman’s suffrage. Performance Making. Sep 11 - Subiaco Arts Centre - Main Theatre. 21. Two programs of selfadelaideyouththeatre.com.au Auditorium. ptt.wa.gov.au devised theatre. The Blue Mamma Mia! Music and lyrics Present Laughter by Noël Room, Perth Cultural Centre. by Benny Andersson and Björn Coward. Old Mill Theatre. Sep (08) 9227 7005. Kristian Ulvaeus. Book by 27 - Oct 12. Classic comedy. blueroom.org.au

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Stage Whispers 67

On Stage

Western Australia

Tigist Strode and Nyk Bielak in The Book Of Mormon, playing at Crown Theatre, Perth from September 3 to October 13. Photo: Jeff Busby. bookofmormonmusical.com.au

Ice Land: a Hip h’Opera by Kyle J. Morrison Downsyde, MC Tooth, MC Layla and Zac James. Yirra Yaakin Theatre Company. Oct 15 - 26. Uses hip hop to explore pressing issues. Subiaco Arts Centre. ptt.wa.gov.au The Glass Menagerie by Tenessee Williams. GRADS. Oct 16 - 19. Classic American drama. The Dolphin Theatre. ticketswa.com And The First Time I Was Very Much Afraid. WAAPA 2nd Year Performance Making. Oct 16 19. Responsive work to the venue. Old Perth Girls School, 2 Wellington St, Perth. (08) 9370 6895. waapa.ecu.edu.au

Old Mill Theatre, South Perth. oldmilltheatre.com.au

Festival. Oct 8 - 11. Adventure in the laundry. The Blue Room Theatre, Northbridge. ticketswa.com

On Our Beach. Spare Parts Puppet Theatre, Fremantle. Sep 28 - Oct 12. New Australian Fully Sikh by Sukhijit Kaur puppet work. sppt.asn.au Khalsa. Black Swan State Theatre Company and Barking I Feel Fine by Zachary Sheridan. Gecko Theatre Company. Oct Presented by public service 10 - 27. World Premiere - I’m announcement. Oct 1 - 19. not the one who’s a freak. Pop gospel extravaganza. The Studio Underground, State Blue Room Theatre, Theatre Centre of WA. Northbridge. blueroom.org.au ptt.wa.gov.au The Corpse Bachelorette. UWA Secret Bridesmaids’ Business by Pantomime Society. Oct 3 - 5. Elizabeth Coleman. Roleystone Suitable for audiences 15+. Theatre. Oct 11 - 19. Australian The Dolphin Theatre. play. Roleystone Hall. ticketswa.com trybooking.com/542027 The Adventures of Alvin Birdland by Simon Stephens. Sputnick: Deep Sea Explorer. WAAPA 3rd Year Acting. Oct The Last Great Hunt and 11 - 17. The price of fame and AWESOME international Arts limitless money. The Edith Festival. Oct 7 - 12. Theatrical Spiegeltent, WAAPA, Edith magic for families. The Blue Cowan University. (08) 9370 Room Theatre, Northbridge. 6895. waapa.ecu.edu.au blueroom.org.au The Hope Fault by Andrew Bear With Me by David Hale, based on the novel by Megarrity. AWESOME Tracy Farr. WAAPA 2nd Year international Arts Festival. Oct Acting. Oct 11 - 17. Enright 7 - 11. For bears, children and Studio, WAAPA, Edith Cowan grownups. State Theatre University. (08) 9370 6895. Centre of WA. ticketswa.com waapa.ecu.edu.au Cloud Soup by Wolfe Bowart. AWESOME international Arts 68 Stage Whispers

Picasso and His Dog by Lemony S Puppet Theatre. AWESOME international Arts Festival. Oct 11 - 12. Live performance, puppetry and art making. The Dolphin Theatre, University of Western Australia. ticketswa.com Beep by Windmill Theatre. AWESOME international Arts Festival. Oct 12 - 13. What happens when someone new comes to town. The Octagon Theatre, University of Western Australia. ticketswa.com Cry Baby by Mark O’Donnell, Thomas Meehan, David Javerbaum and Adam Schlesinger. WAAPA 2nd Year Music Theatre. Oct 12 - 19. Based on the classic film Roundhouse Theatre, WAAPA, Edith Cowan University, Mt Lawley. (08) 9370 6895. waapa.ecu.edu.au Die Fledermaus by Johann Strauss Jnr. WAAPA Classical Voice Students and WAAPA Symphony Orchestra. Oct 14 19. Madcap opera. Geoff Gibbs Theatre, WAAPA, Edith Cowan University. (08) 9370 6895. waapa.ecu.edu.au

Macbeth by Verdi. West Australian Opera. Oct 19 - 26. Brand new co-production. His Majesty’s Theatre, Perth. ptt.wa.gov.au The Yeomen of the Guard by Gilbert and Sullivan. The Gilbert and Sullivan Society of WA. Oct 24 - Nov 2. Classic operetta. The Dolphin Theatre. ticketswa.com Sharbat by Due Khan. Third Culture Kids. Oct 24 - Nov 2. Bitter-sweet examination of sibling relationships. The Blue Room Theatre, Northbridge. blueroom.org.au Spot. CDP Kids and Salspot. Oct 26 - 29. Theatre for kids. Heath Ledger Theatre, State Theatre Centre of WA. ptt.wa.gov.au Cephalopod by Jess Nyanda Moyle. Presented by Squid Vicious. Oct 29 - Nov 16. Calamari, karaoke and Filipina fury. The Blue Room Theatre, Northbridge. blueroom.org.au Life on Earth. WAAPA 3rd Year Performance Making. Oct 31 Nov 2. Puppetry and object theatre for adults. Spare Parts Puppet Theatre, Fremantle. (08) 9370 6895. waapa.ecu.edu.au

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

On Stage New Zealand

Rosencrantz and Guildenstern are Dead by Tom Stoppard. The Arsonists by Jacqueline Auckland Theatre Company. Goldfinger. Until Sep 17. Court Sept 11 - 26. ASB Waterfront Theatre, Christchurch. (03) 963 Theatre. 0800 ATC TIX (282 0870. 849). Bare: A Pop Opera by Jon Matthew, Mark, Luke And Hartmere and Damon Joanne by Carl Nixon. South Intrabartolo. Stagecraft Theatre Canterbury Drama League. Sep (Wellington). Until Sep 7. 11 - 15. dramaleague.org.nz stagecraft.co.nz Les Liaisons Dangereuses by Rent by Jonathan Larson. Christopher Hampton. Whangarei Theatre Company. Cambridge Repertory. Sep 14 Until Sep 14. 28. cambridgerepertory.org.nz whangareitheatrecompany.org.nz Peggy Pickit Sees the Face of School of Rock by Andrew God by Roland Lloyd Webber, Glenn Slater and Julian Fellowes. Sep 3 - 29. Schimmelpfennig. Circa Theatre, Wellington. Sep 14 The Civic, Auckland. Oct 12. circa.co.nz aucklandlive.co.nz Murder on the Links by Agatha Christie. Detour Theatre, Tauranga. Sep 5 - 21. 508 iTICKET (484 253) The Pink Hammer by Michele Amas. Circa Theatre, Wellington. Sep 6 - Oct 5. circa.co.nz

Wicked. Music and Lyrics by Stephen Schwartz. Book by Winnie Holzman. Tautranga Musical Theatre. Sep 14 - 28. Baycourt Theatre. taurangamusicaltheatre.co.nz

The Sound of Music by Rodgers and Hammerstein. Amdram Musical Theatre Neighbourhood Watch by Alan Wanganu. Sep 19 - 29. Ayckbourn. Howick Little amdram.org.nz Theatre. Sep 7 - 28. (09) 361 Go Back for Murder by Agatha 1000. Christie. Dolphin Theatre Wise Guy by Ethan Morse. Soy (Auckland). Sep 20 - Oct 5. People Productions. Sep 10 dolphintheatre.org.nz 14. BATS Theatre, Wellington. (04) 802 4175.

New Zealand Avenue Q. Napier Operatic Society. Sep 20 - Oct 12. Tabard Theatre. napieroperatic.org.nz

Be My Baby by Amanda Whittington. Elmwood Players. Oct 2 - 20. elmwood-players.org.nz

The Little Yellow Digger. Based on the children’s picture books by by Betty and Alan Gilderdale. Tim Bray Theatre Company. Sep 21 - Oct 12. The PumpHouse Theatre, Auckland. (09) 489 8360.

We Will Rock You by Ben Elton and Queen. Oct 4 - 13. Clarence Street, Hamilton. clarencesttheatre.co.nz

Club Cabaret - Part Deux! Sep 21 - Oct 20. Centrepoint Theatre, Palmerston North. (06) 354 5740. How We Survive by Olivia Hall and Carrie Rudzinski. Sep 10 14. BATS Theatre, Wellington. (04) 802 4175. Miss Saigon. Music: ClaudeMichel Schönberg. Lyrics: Alain Boublil & Richard Maltby Jnr. Showbiz Christchurch. Sep 27 Oct 6. Isaac Theatre Royal. showbiz.org.nz

Tu Meke Tūī! Auckland Live. Oct 9 - 12. Herald Theatre, Aotea Centre, Auckland. aucklandlive.co.nz Blood Brothers by Wily Russell. Nelson Musical Theatre. Oct 10 - 26. nelsonmusicaltheatre.com Cock by Mike Bartlett. Circa Theatre, Wellington. Oct 12 Nov 9. circa.co.nz Mama Long-Fin. Toro Pikopiko Puppets. Oct 21 - 24. The PumpHouse Theatre, Auckland. (09) 486 2386

Spring Awakening by Franz Wedekind. Centrepoint Theatre’s Basement Company. Alice in Wonderland. The Stage Oct 22 - 26. The Dark Room, Company. Sep 30 - Oct 9. Palmerston North. (06) 354 TAPAC, Auckland. (09) 845 5740. 0295. Frost/Nixon by Peter Morgan. He Kura Korero - The Gift of Stagecraft Theatre Speech by Rutene Spooner and (Wellington). Oct 30 - Nov 9. Holly Chappell-Eason. Circa stagecraft.co.nz Theatre, Wellington. Oct 1 12. circa.co.nz

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

Online extras! Check out all the auditions that didn’t make it to print. Scan or visit www.stagewhispers.com.au/auditions Advertise your show on the front page of www.stagewhispers.com.au

Stage Whispers 69

Reviews: Premieres

Online extras! Go behind the scenes of Shakespeare In Love. Scan the QR code or visit https://youtu.be/I-EpRLQvDL4

Shakespeare In Love. Photo: Jeff Busby.

Shakespeare In Love Adapted from the screenplay by Marc Norman and Tom Stoppard by Lee Hall. Melbourne Theatre Company. Arts Centre Melbourne, Playhouse. Jul 15 - Aug 14. THE story of a young Shakespeare with writer’s block; he falls in love and comes up with Romeo and Juliet. If you saw the 1999 movie, the plot is about the same and the aim of this sumptuous, no-expense-spared production is fun - with theatrical in-jokes, plain old jokes, slapstick, satire and a touch of romance. Simon Phillips’ great skills at making images and creating pace are in evidence as he moves his cast briskly, even frenetically, around Gabriela Tylesova’s astonishing set. The costumes are fabulous. Matt Scott throws a golden haze over the story with his lighting. Andrew Kroenert’s music is just right cod-Elizabethan. Kit Marlow (Luke Arnold, with effortless authority and confidence) is best mate, literary inspiration and romantic adviser to Will Shakespeare (Michael Wahr) and gives him the entire set-up for Romeo and Juliet, plus some Cyrano de Bergerac when a tongue-tied Will courts Viola (Claire van der Boom). Daniel Frederiksen is a suitably insufferable Lord Wessex; Adam Murphy is the haughty money man, Fennyman and Aaron Tsindos is a gloriously bombastic and conceited Burbage. Chris Ryan as Ned Alleyn is absolutely marvellous: quick, decisive, bursting with energy, speaking his lines with crisp aggression. And our beloved Diedre Rubenstein is an amalgam of every Nurse Shakespeare ever put in a play, but also sonorous, 70 Stage Whispers

majestic and very dry as the Queen. Much if not most of the fun, however, resides with these secondary characters. Michael Wahr is good looking, dashing and appealing as a young fellow on the make, but the portrait of Shakespeare as a naïve, bumbling, uninspired chancer would seem to be pushing the joke just a little too far. And when he’s called upon to speak the real Shakespeare’s lines, he rather lets us down. Ms van der Boom fares better but gets a little lost in the vast Playhouse cavern. A wonderful cast’s knockabout comedy is what we take away, rather than the romance. The fun, the spectacle and the association with the movie should ensure full houses, but strangely we might be unengaged: the laughter and admiration soon evaporate. Michael Brindley Come From Away Book, music and lyrics by David Hein and Irene Sankoff. Junkyard Dog Productions and Rodney Rigby. Comedy Theatre, Melbourne. Opening night: Jul 20. THIS extraordinary new musical is based on the real-life experience of the inhabitants of the tiny Newfoundland town of Gander when an “ordinary” day (“Welcome to the Rock!”) is thrown into chaos with the impending arrival of 38 planes diverted there after an “accident” has closed all American air space. It is September 11th, 2001. With only twelve vocal performers and seven musicians (playing a variety of instruments, with a heavy celtic

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influence), Come From Away uses every moment of its 75minute run time to explore the intensity of the emotional journeys of both the people of Gander and the 7,000 stranded passengers they hosted, gleaned from thousands of hours of interviews with the real people. Watching the town characters swing deftly and determinedly into action was one of the pleasures in this musical; and then seeing them also pull seamless doubleduty as bewildered, angry and frightened passengers and flight crew was another. The local reporter narrates the passage of time, popping up with updates that never allow that feeling of incredulous energy fused with frantic worry to fade; along with dozens of tiny, powerful moments, all of which land perfectly with a rapt audience - the hallmark of Come from Away. Still, being a musical, there are also wonderful songs, such as “Me and the Sky” (a wonderful ode by Zoe Gertz as Beverley, captain of one of the planes, about her journey to become a pilot), the boisterously fun “Screech In” led by the Mayor Claude (Richard Piper is marvellously solid as the many mayors of the small towns scattered around Gander) and the intensely-moving, multi-faith and multi-layered “The Prayer”. The sets, lighting and costumes were simple, but ingenious in their versatility, allowing the performers to shift scenes - from planes, to the school, to buses, to the cafe and bar, even to a platform overlooking a waterfall with a precision bordering on the virtuosic. The musical ensemble was clearly visible upstage, but simply part of the proceedings. There is no interval, and the show is stronger for it, barrelling the audience along in its momentum, with not a wasted moment, odd note or slipped accent. I saw many of my fellow theatre-goers wiping away tears throughout the performance; at the conclusion of the final chorus the audience roared to life, and was on its feet in the space of a minute. It was a privilege to be there (and in the same theatre as some of the actual Gander folk). Alex Armstrong

Ian Good’s direction was clean, the performances were honest, and the vocals (especially the group harmonies) were a delight. The male company (all eleven of them) excelled in Dan Venz’s tight choreography, with “Click” a tap-duo standout by Andy Johnston (Stu) and Eli Cooper (Artie). Johnston as the innocent Stu had enough ingenuousness to sink a battleship, with buckets of vulnerability and charm. Alex Gibson-Giorgio as Mitch, the object of Stu’s affection, looked the part and sang like a Rodgers and Hammerstein hero, making the most of the elegant “Rememb’ring You”. Cooper’s swishy turn as Artie, the Yank photographer who looks out for Stu, had a nice been-round-the-block edge to it. Naomi Price, as the only woman in the cast, did sterling work in a variety of roles from a radio songstress and girl-next-door, to a closeted lesbian WAC. She wiped the floor with “Get It, Got It, Good” and excelled with “The Saddest Gal What Am”. David Zellnick’s book has the ring of authenticity, whilst his and his brother Joseph’s score is pleasantly nostalgic, with the purposeful whiff of songs from Hollywood movies of the period. Trevor Jones pulled a robust and danceable sound from the orchestra. Peter Pinne Yank!

Yank! Music: Jospeh Zellnik. Book & Lyrics: David Zellnik. Understudy Productions. Brisbane Powerhouse. Jul 4 - 14. YANK! was first seen at the New York Musical Theater Festival in 2005. The songs are melodic, the lyrics literate, and the plot has something you don’t often find in modern musicals, heart. 18-year-old Stu enlists in the army, gets a job on the Army magazine Yank, but not before he meets the hunk Mitch. Stu become hopelessly smitten as they become much more than friends, but Mitch vehemently remains in denial despite returning Stu’s affection. It’s played out over a period of time when both guys are shipped out to fight in the Pacific theatre of war with a bittersweet ending.

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Online extras! Audiences raved after seeing Yank! To see why, scan the QR code or visit http://bit.ly/2KS4asE Stage Whispers 71

Wake In Fright Adapted from Kenneth Cook’s novel by Declan Greene. Malthouse Theatre, The Beckett. Jun 21 - Jul 14. WAKE in Fright is a superbly crafted piece, with all creative artists working in rarefied and finely tuned synchronicity. It is frightening. And yes, it does identify and express much of the essence of Kenneth Cook’s masterpiece. Be warned, it is truly not for the faint-hearted and does not have the redemptory conclusion of Cook’s novel, on which the work is fairly closely based. Most particularly, it leaves the audience under the pall of a devastating and distressing conclusion. This production serves to make strong statements about how we swamp ‘the stranger’ with a kind of mateship that, although seemingly born of generosity, constructs an impenetrable barricade to any genuine intimacy or caring. Zahra Newman is a formidable talent. Her androgynous approach to conveying, in this instance, mostly male characters, strips back any unnecessary embellishment and penetratingly cuts to the intrinsic spirit of the individual personalities portrayed. Throughout, composition and multimedia design (friendship) and sound design (James Paul) are mostly Wake In Fright. Photo: Pia Johnson.

inseparable from the fluid engrossing flow of the narrative. Lighting and projection design (Verity Hampson) are both acutely affective. All components of the production come together in a particularly percipient way. A remarkably vivid and powerful work! Suzanne Sandow My Dearworthy Darling By Alison Croggon. Directed and Designed by The Rabble. Beckett Theatre, Malthouse. Aug 2 - 18. THE name The Rabble is synonymous with risk-taking and with a license to experiment in the quest to find ways of expressing ‘the feminine’. As declared by writer Alison Croggon, in the program notes, this work is a true collaboration. The set (Kate Davis), mostly a backdrop of a kind of scrim, looks like the inside of a black garbage bag. But this amazing material works a treat with light (Emma Valente), and ultimately takes up the most astonishing golden colour. Proceedings commence with a woman in a reclining position expressing her heightened lust and passion for an unidentified being. It is not so much a narrative as a work that presents fragments of realities from a contemporary and a medieval perspective. This ambiguity feels like a clever and mysterious achievement, however it requires a unique type of patience from its audience - a kind of visceral listening. Sound (Emma Valente) is brash and intense with heaps of white noise that is jarring and unsettling. The three lead actors are wired for sound. Levels are very high. Overall this gives the sense of a lack of tonal variation - a lack of subtlety. The actors seem to signify characters rather than inhabit them. Throughout, a deep sense of sacrifice and victimization is projected onto the symbolic woman, as embodied by Jennifer Vulitec. It’s contemporary, it’s loud, brash, in your face and heaps of people will love and appreciate it, but, possibly, just as many hate it. Suzanne Sandow Drive By Rebecca Meston. Theatre Works, St Kilda. Jun 6 - 15. DRIVE is based on the true story of an ex-astronaut who drove fourteen hours non-stop from Houston, Texas, to Orlando, Florida, to confront - or kill? - her exhusband’s lover. Rebecca Meston makes of that a densely detailed portrait of a desperate woman, employing a nonlinear narrative, juxtaposing Captain Stella Jones’ (Lizzy Falkland) past and present for insight, poignancy and metaphor. Dressed in her astronaut’s blue overalls, we can never forget what she was. But her courage and competence fall to pieces in the confined space of her car under her sad, earthbound obsession with revenge. What stands out in Sasha Zahra’s direction is her restraint: there’s nothing flashy or excessive or obvious here. Meg Wilson’s set and lighting give us - as well as

72 Stage Whispers

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

Drive. Photo: Jodie Hutchinson.

Stella’s car on freeways and through passing lights - the rocket’s blast-off, the confined space of the capsule, against the over-bright light of domesticity. Ian Moorhead’s sound design bolsters and enriches these effects with the voices of Stella’s memory, the roar of rocket engines, the hum of the car’s engine and magically - the silence of space and the silence of loneliness. Ms Falkland has a minimum of facial expressions - at times almost robotic - but all Stella was is shut down on this mission. As she drives, she remembers: the resentment of her partner Tommy (Christopher Pitman) at her celebrity, her difficulty with being a good wife and mother, her meeting with Tommy’s new squeeze (Ashton Malcolm), a none too bright, unthreatening young woman - but also of her astronaut training, the high excitement of blast-off and the childlike wonder of watching the sun ‘rise’ over our Earth. Other characters are played by Ms Malcolm and Mr Pitman, distinguishing cleanly and clearly between them. Drive runs at a mere forty-five minutes - but those minutes are rich and concentrated, conveying more than many plays twice that length. Michael Brindley Escaped Alone By Caryl Churchill. Red Stitch Actors’ Theatre, East St Kilda. May 28 - Jun 30. UNDER a sunny, ‘normal’ surface lurk horrors large and small, past, present and future. Three middle-aged women - Lena (Marta Kaczmarek), Sally (Caroline Lee) and

Vi (Margaret Mills) - have afternoon tea in a sunny back garden. A fourth woman, Mrs Jarrett (Julie Forsyth), is passing and she joins them. Director Jenny Kemp and designer Dann Barber dress the three old friends like comfortably off eastern suburbs types - but Mrs Jarrett is less stylish - and has a less polished, working class (?) voice. They chat about past experiences, how the district has changed and future plans - with Mrs Jarrett struggling to contribute and never quite hitting the right note. Vi talks calmly of having stabbed her husband to death ‘accidently’ - and spending six years in gaol. No one is fussed. In sudden monologues in which each speaker is isolated by Rachel Burke’s lighting, shocking or bizarre secrets and anxieties are revealed. Lena suffers from agoraphobia and depression. Sally has an excessive-to-the -point-of-crazy fear of cats. Most disturbing - and not at all funny - is Mrs Jarrett’s ‘terrible rage’. Each time signalled by a sudden lighting change, Mrs Jarrett is alone, right downstage, off the raised rostrum that is the backyard and in blazing light directed at us. There, half Cassandra and half stand-up comedian, Mrs Jarrett delivers stern visions of a ghastly, worse-than-dystopian future that is uneasily ‘funny’ and surreal, but no less horrifying, no less terrifying for all that. Escaped Alone - its title echoing the Book of Job and Moby Dick (the narrator Ishmael ‘alone escaped to tell the tale’) - at a mere fifty-five minutes, is, under its controlled

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Stage Whispers 73

L’Appartement. Photo: David Kelly.

humour and clear characterisation, a cold, clear-eyed warning about the future. Michael Brindley

couples work together as comic teams, punctuating each other’s sentences and movements with rhythm and nuance that sets the tone well above sit-com or soapy. The creative team, Designer, Dale Ferguson, Lighting L’Appartement Designer, Ben Hughes, and Composer/Sound Designer, By Joanna Murray-Smith. Cremorne Theatre, QPAC. Aug 3 Guy Webster, brilliantly transport us to La Marais in Paris. - 31. L’Appartement proves how powerful and delightful ACCLAIMED playwright Joanna Murray-Smith has the one-act play can be - this is a fresh and fabulous premiered her new play L’Appartement at QPAC’s production. Cremorne Theatre, also making her debut as director. The Beth Keehn sharp, witty and highly entertaining script takes presentday domestic and ethical dilemmas and watches them Becoming Bill explode when two couples collide. Weary married couple Book, Music & Lyrics: Bradley McCaw. Old Fashioned Meg and Rooster escape the Brisbane burbs to rekindle Production. Director: Neil Gooding. Musical Supervisor: some spark on a mini-break in Paris. Courtesy of Airbnb, Trevor Jones. Musical Director: Melfred Lijauco. Brisbane they meet too-good-to-be-true Parisian super-urbanites, Powerhouse. Aug 14 - 25. Lea and Serge, who have everything - a chic, minimalist NEW musicals are a difficult beast to master, but this apartment accented with fabulous collections of wine and new Australian work shows promise in its score, book and French LPs, meaningful careers and a vigorous sex life. relatable characters. Wires cross and foundations falter when a mysterious First time writer/composer Bradley McCaw has written package arrives at the apartment. about what he knows - his creative and personal life, and The ballast in this production is the superb cast. whilst it’s flawed, like most of our lives, most of us will Melanie Zanetti and Pacharo Mzembe hit the right notes relate to the personable problems. as the modern couple de rigueur who have ticked every An out-of-work 28-year old actor living on his own, box on their sustainable living checklist. But they deliver with his brother as a couch potato, sets out to write a empathy, not farce. As middle-aged Aussie battlers, real- musical and we follow his path and his pain of trying to life couple Andrew and Liz Buchanan give the sort of tour hold together a relationship with his girlfriend of three de force performances that theatre fans dream of. In her years, coupled with an allegiance to his single mother. first directing foray, Murray-Smith shows finesse. There is Neil Gooding’s direction is first rate, as are the a very satisfying equilibrium in the performances. Both performances. It’s well-sung, well-lit, and well-produced. 74 Stage Whispers

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McCaw is the protagonist Bill. He’s personable, relatable, plays an astonishing keyboard, and nails every vocal. But he’s almost overshadowed by Oliver Samson’s younger brother James, who brings welcome laughs to a world awash with angst. His “No Feelings Today,” when he doesn’t want a conversation about touchy-feely stuff when they’re having a ‘beers and Cheers night’ instantly evokes boys-bonding and hits the button. Stephanie Long, as the art-gallery girl-friend has some powerhouse vocal chops which were shown to striking effect on “Let’s Not Have This Fight” and “Maybe We’ve Reached It All.” But the performance of the night was Rachel Beck’s mother Jane. Tender and emotional, she projected the perfect motherly warmth and sang a heartfelt “Are You Happy?” Peter Pinne

Also excellent are Mathew Cooper as Mateo, the hardened elder brother, and Shari Sebbens as Carina, the sister whose job it is to stay at home with her mother (who we never meet). Both give performances of quality, showing a great capacity for family love and forgiveness. Maitland Schnaars plays Dad in a series of remembered scenes, always strict and holding out for the right actions from his kids. The play is authentically directed by Isaac Drandic. The scenes in Kalgoorlie are shockingly violent. Flyers are posted, urging citizens to ‘clean the streets, one abo at a time’. Racist police make their mark before a bleak ending. The play doesn’t resolve any of the problems it presents. But we emerge into the Kings Cross night resolving to do better, to be better. Frank Hatherley

City of Gold By Meyne Wyatt. Griffin Theatre Company and Queensland Theatre. SBW Stables Theatre, Sydney. Jul 26 - Aug 31. WITH this production in the heart of Sydney, and the Currency Press edition of the play (his first) issued with the program, Meyne Wyatt can be said to have arrived as a playwright. Brilliantly funny and shockingly direct, his play reverberates with rage and grief as young indigenous actor Breythe Black returns to his home in the City of Gold, Kalgoorlie, to bury his father who has died of throat cancer. Lost in a fog of regret, Breythe reconnects with his brother, sister and cousin. And the city of inequality that made him. The play does more than introduce Meyne Wyatt, the playwright. Here is Meyne Wyatt, the leading actor, on top form as an indigenous performer in a crappy television advert for lamb chops, escaping back home and all that entails, spilling his guts in a courageous 10-minute soliloquy on the wrongs given to brother-boy Adam Goodes, touching our hearts in his sincere efforts to understand and overcome prejudice.

Zoom Patch Theatre Company. Space Theatre, Adelaide Festival Centre. Jul 27 - Aug 10. SOMETIMES a reviewer is fortunate enough to feel as though they may have witnessed some kind of unprecedented breakthrough in theatrical imagination through technology. Zoom is indeed one of those occasions, and the brains behind this show can truly be said to have conjured up something that felt like magic. Patch Theatre have bravely attempted to engage their young audience using a minimum of dialogue, characterisation, plotting, and performers. Instead, a host of wizardly visual and technical illusions are deployed, creating the irresistible sense of a tapestry direct from the imagination of a wizard. Zoom does not, however, reach the pinnacle of perfection - and one truly feels as though it has the potential to do so. Patch have kept the running time wisely brief, and it’s entirely possible that any youngsters lucky enough to see the show won’t feel that anything is missing. On the other hand, this reviewer was left hoping for the satisfaction of a climax or resolution that was not forthcoming.

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Stage Whispers 75

It’s probably churlish to wish for conventional structure to be imposed onto what is clearly a risky, accomplished, and visionary achievement. At the very least, Patch Theatre have managed with Zoom to leave one breathless, not only with admiration, but also anticipation for what they might have up their sleeves next. Anthony Vawser Pomona By Alistair McDowall. Directed by Gary Abrahams. Red Stitch Actors’ Theatre, East St Kilda. Jul 6 - Aug 11. POMONA goes deep into a nether world that may or may not be real but is nightmarish enough. A world which young, naïve Ollie (Mona Mina Leon) searches for her missing twin sister. Reptilian Zeppo (a rigorously maintained persona by Dion Mills) warns her not to get ‘involved’. Get involved, you’re in big, big trouble. There are security guards, Moe (a menacing Arthur Angel), a man with anger management problems, and simple-minded Charlie (Nicholas Denton) who although disturbing is also strangely touching. Charlie persuades Keaton (an enigmatic Artemis Ioannides) to play his RPG (Role Playing Game) called Cthulhu with him - and the dice they throw is another motif in this place where luck won’t help. Later (or is it before?) Keaton is her own Pomona. Photo: Teresa Noble.

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avatar. Big tough Gale (a scary Julia Grace) is the madam of the underground brothel; she lords it over Fay (a vulnerable but brave Jessica Clarke), a working girl whose encounters with clients can be filmed. Alistair McDowell starts at the start, then jumps (I think) to near the end, but doubles back to the middle… The puzzle keeps us hooked and if by the end not every bit fits it doesn’t matter. It’s been a thrilling ride. The characters are complex and intriguing, played by a faultless cast, with dialogue that is consistently revealing and entertaining. Director Gary Abrahams shows the surest hand in the relentless pace and his use of the claustrophobic, filthy, graffiti-smeared space. Design is by Jonathan Hindmarsh and the murky or blinding light is the work of Lisa Mibus. Some people seem to take this play very seriously as some profound comment on contemporary life. True, there is nothing here that doesn’t exist, but when Zeppo claims to Ollie that ‘Everything bad is real’, we might suspect Mr McDowell is - with malicious glee and a sense of fun - constructing a world of horrors for our entertainment and doing that with great theatrical skill. Michael Brindley Girl in the Machine By Stef Smith. National Theatre of Parramatta. Riverside Theatres, Parramatta. Jun 20 - 29. BOTH playwright Stef Smith and director Claudia Barrie describe this play as a love story, but any romance is mitigated by the concerns the play raises about the addictive and damaging power of technology. Ella Butler sets it tightly inside a glass box that is the home of a contemporary couple: she a corporate lawyer in an ‘always-on’ digital workplace; he a palliative-care nurse sensitive to the pain of others. When he brings home an ominously provided ‘black box’ that apparently promises relief from pain and pressure, she is quickly seduced by its sinister addictive power. This is “Fortnite”, without any other ammunition than hypnotic promises in soothing, repetitive voices, eventually - and horrifically, convincing the addicted listeners that to achieve death is ‘Bliss’. Scary stuff! But not beyond the realms of possibility when you consider the already formidable effects of cyber bullying and menacing trolls. The couple play out a battle between addiction and love. It’s not an easy 70 minutes for either of them. In the glare of lights, surrounded closely by four glass walls, they enact a chilling scenario that seems, unfortunately, frighteningly possible. Both Chantelle Jamieson and Brandon McClelland emerge from the emotional ordeal of the play a little strained, a little exhausted. As does their audience! The set, lighting (Benjamin Brockman) and sound (Benjamin Pierpoint) are as creepy and mesmerising as the possibilities of the plot - and give the production a sensory extra edge. Carol Wimmer

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

Reviews: Plays

‘night, Mother. Photo: Pia Johnson.

‘night, Mother By Marsha Norman. Iron Lung Theatre. Chapel off Chapel (Vic). Aug 7 - 17. ON a Saturday night, somewhere in the southern states of the U S of A, Jessie (Esther van Doornum) goes up to the attic, gets her Daddy’s gun and tells her Mama she intends to kill herself that very night. Before this studied announcement, Jessie’s mother Thelma (Caroline Lee) sits alone on her couch in her drab, dull little house - deliberately and cleverly designed by Juliette Whitney with nice period detail - and stares into space. Such is Caroline Lee’s ability as an actor, we see a portrait of such loneliness and discontent just held at bay that it is distressing to see in itself. So, mother and daughter begin a kind of dance macabre in which Jessie is cool but adamant and Thelma pleads. What makes this Saturday night - ‘normal’ but for Jessie’s intention - intriguing and ghastly is our realisation of how angry and manipulative Jessie is. The two of them have, as it were, failed at just about everything and Jessie’s plan is a cruel act of revenge on her mother for all the ways in which Thelma has failed her. Ms van Doornum’s relentless but eerie calm - with only occasional outbursts revealing the banked fires of aggression and resentment beneath - is beautifully maintained. Her performance is a near perfect contrast and foil to that of Ms Lee who segues between incredulity, panic, her

reluctant awareness of her own unhappy life, her anger and her begging - not just for Jessie not to kill herself but for Jessie’s forgiveness. ‘night, Mother’ is a gripping piece, delivered by these two fine actors in detailed, considered performances that build inexorably. Clearly, director Briony Dunn and her cast have explored and pinned down every nuance of the text. Will Jessie really do it?’ These two women are reduced to nothing but each other - and now one of them, in a final assertion, intends to remove herself from that co-dependent arrangement. Michael Brindley Chapter Two By Neil Simon. Sunnybank Theatre Group. Sunnybank Theatre. Jun 14 - 29. NEIL Simon plays regularly deliver on the laughs and Chapter Two certainly packs a comedic punch. The romantic comedy takes a cynical view of fidelity and marriage in many respects, while still giving us the anticipated happy ending. The story centres around George, whose wife has passed away, and Jennie who has just finished a harrowing divorce. To say neither of them is ready for a relationship is an understatement. This production, directed by Pam Cooper, makes a great effort to hit every punchline. Ms Cooper has also drawn some lovely physical comedy from the cast.

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The show boasts outstanding set design by Ashley Worsman and construction by John Mordacz and Stuart Sephton. The two apartments are well realised, and the stage’s depth is used to great effect. Set dressing by Lesley Davis, Melanie Pennisi and Loretta Donnelly is excellent. The apartments look like lived in spaces. Brad Oliver brings an earnest realness to George Schneider, though his American accent wanders a little. Lesley Davis is admirable as Jennie Malone, natural in her delivery and adept at comic timing. Nathaniel Young puts in a fun, physical comedic performance as Leo Schneider. Mel Penissi is charismatic, energetic and authentic as the sexually frustrated soapie actress Faye Medwick. This is an amusing play that asks the audience to consider the concepts of soulmates and true love. Kiesten McCauley Collaborators By John Hodge. New Theatre, Newtown. Jun 4 - Jul 6. COLLABORATORS is a black comedy in which John Hodge ‘imagines’ a relationship between Russian writer Mikhail Bulgakov and the tyrannical Soviet leader Joseph Stalin, who covered his ‘reign’ of terror and mass executions with a charismatic appeal that somehow inspired trust. Hodge tempers the bleak theme with a mixture of styles, short scenes and dark satirical humour. With a cast of fourteen playing over twenty roles, Moira Blumenthal has directed a production that clearly delineates the characters, the fear and uncertainty under which they lived - and Stalin’s ability to captivate and cuckold. Richard Cotter plays Stalin with sustained energy and malicious cunning. He lures Bulgakov into his magnetic web with fiendish smiles, overt gestures, and crafty, quick responses that expose his charm. Andy Simpson plays Bulgakov as a naïve idealist who is an easy target for Stalin’s wiliness. His wife Yelena is played with wry scepticism but unquestioning support by Audrey Blyde. Both are accepting hosts to a bereft group of displaced persons - played by Dave Kirkham, Annette van Roden and Michael Arvithis - with whom they are forced to share their home. David Woodland and John van Putten represent the dreaded secret police that carried out Stalin’s purges. Blumenthal emphasises the humorous possibilities in the script and uses stylised action to underscore the filmic nature of the writing, yet still accentuates the reality of the destruction a duplicitous leader can achieve. Carol Wimmer A Night at the Theatre By David Ives. STARC Productions. Bakehouse Theatre, Adelaide. Jul 17 - 27. A NIGHT at the Theatre is a series of comic one act plays by David Ives, the leading American writer of Absurdist theatre. Ives’ analysis and understanding of the ways in which language is used and structured is at the heart of these 78 Stage Whispers

works and is used to increase and also hide meaning, alienate and welcome. Ives uses these ideas to explore how the relationships between two characters are built on language. Stefanie Rossi, Marc Clement and *Tony Knight have a wealth of talent and experience, essential when tackling this genre, because while it is deliberately absurd, it also has to make sense and work theatrically; harder to do with one-act plays because there is little or no time to build rapport between the audience and the characters. Immaculate timing is essential, as is the ability of the characters to be able to change direction, character and purpose believably and in a split second. The plays are presented simply, with a few chairs, the occasional prop, a table and a change of costumes. I loved three of the plays in particular, Sure Thing, English Made Simple and The Universal Language. Rossi was a stand out. Her skill in listening and responding to Clement was fantastic. It meant that her performance was always in the moment. Clement managed best in the final play, The Universal Language, which consisted of an amalgam of words from many languages that were usually out of context but provided the consistent surprise of both comedy and understanding. Sally Putnam *Tony Knight reviews for Stage Whispers Medea By Kate Mulvany and Anne-Louise Sarks. Black Swan State Theatre and WA Youth Theatre. Directed by Sally Richardson. State Theatre Centre of Western Australia. Aug 8 - 25. MEDEA is a moving, captivating retelling of the classic Greek story. Switching the focus, this version is told from the perspective of Medea’s sons. Mute and anonymous in Euripides’ telling, this version - a collaboration between Black Swan State Theatre and WA Youth Theatre celebrates their humanity, innocence and fraternity, and lets us love them, increasing the tragedy of the original tale. As the boys wait for their parents to negotiate about their failed marriage, they bicker, play and try to understand their situation. Opening night saw Jalen Hewitt as preteen Jasper and Jesse Vakatini as big brother Leon, in expertly crafted performances. These young, debuting actors handled big roles with aplomb, establishing convincing family relationships and showing wonderful depth of character. The audience warm to these funny, clever boys, and as most of the audience know their ultimate fate, the show, though warm, carries a dark overtone throughout. The title role is reduced to a supporting character. Alexandria Steffenson is an elegant and beautiful Medea, whose love for her sons is evident, and her pain tangible. We sympathise with her, but do not forgive her for her actions.

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The play takes place in the boys’ shared bedroom, on a realistic set, with lovely ring-of-truth details by Bryan Woltjen and Tyler Hill. Lucy Birkinshaw gave emotional impact with strong lighting choices, while Melanie Robinson provided an organic, heartfelt sound design. Medea was a beautifully told story and fresh, modern theatre. Kimberley Shaw Popcorn By Ben Elton. Directed by Siobhan Vincent. Garrick Theatre, Guildford, WA. July 4 - 20. GARRICK Theatre’s Popcorn explored the glamorous Hollywood lifestyle, with a murder or two, or more, in a slick production with some superb performances. We were transported to a luxury home in Beverly Hills, the home of action film director Bruce Delamitri. Expertly created by Graeme Dick (who also played the late-to-the stage role of Bill), it looked spacious, despite the compact Garrick stage. Glamour was created through costuming by Colleen Bradford, who also pulled double duty as Kirsten. Bruce Delamitri was created convincingly by Tim Fraser, anchoring the show well in a solid performance. Sarah House believably dripped money and privilege as his estranged wife, while teenage daughter Velvet was nicely portrayed by Sophie David. Australian movie producer Karl Brezner was played with appropriate bluster by Gavin Crane, with Sherryl Spencer excellent as beautiful Centrefold and actress, Brooke Daniels. Bursting into this world of wealth and prestige are a pair from the wrong side of the tracks, the infamous Mall Murderers, who may or may not have drawn inspiration from Delamitri’s films. Outstanding performances from Tim Presant as Wayne Hudson and Sjaan Lucas as Scout. This show had stunning pace and skilfully blended tension with humour in a very black comedy. While a few of Garrick’s regular patrons found the language and subject matter a little racy, this adult comedy still had very broad appeal. Kimberley Shaw Amdram Is Murder By Karen Ince. Mousetrap Theatre Redcliffe Qld. Directed by Karen Christl and Susan Harding-Smith. Jul 27 - Aug 11. THE Murrumba Amateur Drama Group (MAD) is busily rehearsing their next play, “Weekend at Wimpole Manor”, a period murder mystery. On the surface, it seems to be a typical village theatre group, but underneath, jealousies lurk and the group harbours someone capable of murder. Sitting in groups at tables, the audience was given questionnaires. The aim was to decide who had committed the murder and the characters could be questioned about their involvement. Directors Karen Christl and Susan Harding-Smith made use of a comparatively bare set, quite appropriately, as the rehearsal space for the play’s amateur theatre group. They had the cast over-act beautifully to represent the

standard of the small amateurish group early in rehearsals. Jessica Bradford as Jenny and Karen Christl as Fiona were very good as members of the rehearsal team, ably supported by Craig Longoria and Fay Richards. Helen Bradford as the director showed the full range of emotions as that part evolved. Finally, Karen Matthews as MC Susan Harding-Smith controlled the interaction and the audience members’ questioning. Mousetrap has shown what can be achieved by not always following the well-worn path in selecting plays. The only fault was when the various groups discussed their answers too loudly. Still it was an entertaining and challenging night at the theatre. William Davies Waiting For Godot By Samuel Beckett. Atwea College, at the Creative Arts Space, Hamilton (Newcastle). Jul 26 - Aug 2. IRISH playwright Samuel Beckett took unsuccessful legal action in his lifetime to try to prevent women from playing the all-male roles in this very amusing comedy. And, as Michelle Burnitt, the director of this production, found when she applied for the staging rights, the company which holds them tried to talk her out of presenting it with female performers. Thankfully, Burnitt ignored that. While the text has two men spending day after day waiting alongside a rural road for the arrival of the mysterious title character before nightfall, she showed just how well the people can be brought to life by talented female actors. The central characters, Vladimir (played by Janet Gillam) and Estragon (Jan Hunt), are garbed in black business suits, black ties and bowler hats, indicating that Godot, the person they are waiting for, is very officious. Vladimir came across as the more responsible and mature of the pair, while Estragon seems to be weak and helpless, and always looking for Vladimir’s protection. Estragon also has a poor memory, with Vladimir at one point reminding her of things that happened the previous night. But the closeness of the two is shown by the nicknames they use when speaking to each other, with Vladimir known as Didi and Estragon as Gogo. Janet Gillam’s determined Vladimir was sharplyworded and unsmiling, and gradually revealed to be just as unaware of why they have to meet Godot as her more questioning companion. And Jan Hunt’s Estragon made it clear that if she was the leader they’d be doing more practical things. The play has another pair who move along the road each afternoon, very stern Pozzo (Tracey Owens) and her ironically named slave, Lucky (Angela McKeown), who is rope-tied. They were an engaging contrast to the other two. Director Michelle Burnitt and the actors certainly made watchers eager to continue waiting for Godot after the interval. Ken Longworth

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Reviews: Musicals

Online extras! Join in on the opening night magic of Thoroughly Modern Millie. Scan or visit https://youtu.be/sIVCzkorNes Thoroughly Modern Millie. Photo: Jeff Busby.

Thoroughly Modern Millie Book by Richard Morris and Dick Scanlan; new music Jeanine Tesori; new lyrics Richard Scanlan; based on original story & screenplay by Richard Morris for the Universal Pictures movie. The Production Company. State Theatre, Arts Centre Melbourne. Aug 3 - 11. THE story is familiar - hick from the sticks comes to New York to make her fortune - but in a thoroughly modern way. ‘Modern’, that is, for 1922. Millie Dillmount (a brassy, confident Annie Aitken), from Salina, Kansas, plans to find a rich boss and marry him. She’ll also thwart white slavers kidnapping girls and shipping them off to Peking (as it was then). So, what we enjoy is the fun Morris and Scanlan have with the clichés and musical show tropes, and their musical grab bag of old toons, homages and send-ups. The Production Company presents it with a great onstage orchestra (directed by Peter Casey), irresistible tap dancing, glamorous costumes, ingenious design, pacey, knowing direction and a great cast - all of whom are just that bit over the top but what else would they do? And would it be as much fun if they didn’t? There are sterling and charming performances from Adam-Jon Fiorentino as Millie’s self-absorbed boss, Trevor, and from Nigel Huckle as Jimmy Smith, the paper clip salesman. Queenie Van De Zandt is a little restrained as dowager Muzzy Van Hossmere but she gives the show some old-fashioned cabaret oomph. Angela Scundi is strait-laced office termagant Miss Flannery - with a delightful couple of reveals. Claire Lyon as Millie’s BFF 80 Stage Whispers

Miss Dorothy Brown makes credible the combination of dumb but stubborn - and she, together with Mr Fiorentino supply an amazing interlude with their songand-dance romantic send-up of ‘Ah! Sweet Mystery of Life’. As for Ms Aitken’s Millie, the opening night audience loved her and gave her thunderous standing ovation. There is that issue of ‘is this racist?’ re the two Chinese immigrants Ching Ho (the always entertaining Keith Brockett) and Bun Foo (Jonathan Chan) and their boss Mrs Meers (Marina Prior), who is only pretending to be Chinese. At least Mr Brockett and Mr Chan are of Asian background, and Ms Prior pushes the ridiculous every chance she gets. The creaky plot desperately needs the white slavery B-plot for an ‘action climax’ when the love story is about over and out of puff. Thoroughly Modern Millie is a solid, middle-of-theroad choice for subscribers and lovers of the musical, loaded with talent, pizzazz and glamour. Michael Brindley Tick, Tick…Boom! By Jonathan Larson. Directed by Taylor Broadley. Koorliny Arts Centre, Kwinana, WA. Aug 16 - 24. TICK, Tick…Boom! was presented by Koorliny Arts Centre in its smaller, intimate space. Played cabaret style, with a thrust stage jutting into the audience space, this venue was a great choice for this autobiographical threehander.

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Originally written as a solo piece, and adapted after Jonathan Larson’s death, the character of John remains a demanding role. Joshua Towns handles the challenges of this central character well. On stage almost for the whole show, this is perhaps his best performance to date. Grace Johnson is excellent as girlfriend Susan, transforming well into a myriad of other characters. Cat Perez also shows great versatility, playing best friend Michael and many other roles. Matthew Moynihan and Craig Delbridge’s simple set clearly evokes a creative’s New York loft apartment, with other locations and atmosphere created with evocative lighting designed by Sabrina Wyatt. Taui Pinker leads a small talented band, placed on stage, and interacting occasionally with the action. Director Taylor Broadley is a lyricist, and perhaps it is this respect for Larson that gave this show the feeling of a warm, and loving extended tribute to a young composer taken too soon. Kimberley Shaw

Strictly Ballroom: The Musical Created by Baz Luhrmann. Book by Baz Luhrmann & Craig Pearce. Adapted by Terry Johnson. Matt Byrne Media (SA). Jul 4 - 27. IT’S a relatively rare event that brings Australian characters and all their quirks to the musical-theatre stage. This reality ensures that Matt Byrne Media’s new offering is, at minimum, a refreshingly unusual experience. Strictly Ballroom is a tale that knows how to hook its audience. When Baz Luhrmann’s magic works, we are dazzled by the dancing from young rebel hero Scott Hastings and we wish for his eventual triumph. We feel for misfit heroine Fran and hope for the happy ending that she and Scott deserve together. Regardless of how well everyone on stage dances in any given production of Strictly Ballroom: The Musical, the merely serviceable standard met by the original score contributions will likely keep this stage version forever in the shadow of its screen parent. Fortunately, director Byrne has assembled an ideal bunch of performers and Les Misérables directed the proceedings with infectious enthusiasm. Music: Claude-Michel Schönberg. Lyrics: Herbert There are weaknesses along the way; ensemble singing Kretzmer. Original French Text: Alain Boublil & Jean Marc is not of a consistently high standard, while established Natel. Additional Material: James Fenton. Griffith Musical pop classics like “Love Is In The Air” and “Time After Theatre 3rd Year Students. Queensland Conservatorium Time” completely dwarf the original material in quality. Symphony Orchestra. Conservatorium Theatre, Brisbane. Fortunately, the sheer joy of performing, and the sincere Aug 8 - 17. love for show business, that has marked every Baz GRIFFITH Musical Theatre has joined forces with the Luhrmann product is captured and communicated here by Queensland Conservatorium to present the world’s largest Matt Byrne and his talented team. fully-staged production of Les Misérables. With a cast of Anthony Vawser 80 and two symphony orchestras it is indeed a grand production and when the company lift their voices in Mamma Mia! glorious song in “One Day More” the result is thrilling Music and lyrics by Benny Andersson and Björn Kristian musical theatre and brings tears to the eyes. Ulvaeus. Book by Catherine Johnson Packemin Best performance of the night was Conor Putland’s Productions. Directed by Jordan Vassallo and Jessica Marius. His “Empty Chairs at Empty Tables” had a ton of Fallico. Musical Director: Peter Hayward. Choreography: pathos, whilst the trio of “Heart Full of Love” with Taylor Sally Dashwood. Riverside Theatre, Parramatta. Aug 2 - 17. Yost (Cosette) and Selin Doygun (Eponine) burned with ANY jaded feeling of “Mamma Mia! Here we go youthful passion. Doygun’s “On My Own” stood out as a again” was immediately swept away by this high energy highlight, as did Jordan Twigg’s performance of depth as production with a cracking cast, that had people the tragic Fantine and her singing of the hit song, “I whispering in the foyer that they enjoyed it more than the Dreamed a Dream”. recent professional season. Jean Valjean was double cast with Jackson Head playing the role in the first half and Zac Parkes doing likewise in the second. Head had more empathy but then Parkes impressed with his “Bring Him Home” vocal. As the show’s heavy, the relentless Javert, Clancy Enchelmaier vigorously wore the ‘black hat’, whilst the despicable Thenardiers, Maddison Coleman and Alastair Blake, played big for laughs and got them. Allister Smith’s production was fast-moving (perhaps too fast at times to catch all of Herbert Kretzmer’s superb lyrics), also a fault of the sound balance which in the firstact had the orchestra overwhelming the principals, but Schönberg’s score still sounded epic played by a Get noticed on the Stage Whispers symphony orchestra conducted by Peter Morris. website with a premium listing Peter Pinne

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Disney’s Beauty And The Beast.

Louise Symes has the grittiest role in the music as mother of the bride Donna. Her controlled vibrato in the power ballad “The Winner Takes It All” brought the house down. Her friends Tanya (Debora Krizak) and Rosie (Rachael Gillfeather) were bursting with a joy of life that you could slice. The three prospective fathers seemed to be having so much fun on stage that I was wondering if they were paying to be in the show. Scott Irwin was cool as a cucumber as Sam, Mark Simpson charismatic as Bill and Blake Erickson impossibly funny as Harry. The bride and groom to be, Courtney Bell (Sophie) and Chris White (Sky), looked every bit the part of a gorgeous couple. Courtney allowed costume designer Audrey Currie a moment to shine when she slipped from the most elegant white wedding night undergarment into a matching tightly sculpted wedding dress. Other production highlights include a motorised boat which powered around the stage and an elegant church with a windmill on top. The new set, designed by Josh McIntosh (and set to be seen at productions around Australia), was well splashed with Mediterranean colour and wheeled around by the cast. At one point the double storey structure looked a little close for comfort to be pushed out towards the audience. There are not a lot of moments for a large ensemble a former trademark of ‘Packemin’ productions. When they came, the choreography was bright and breezy 82 Stage Whispers

especially in the scene when the blokes head off to a day at the beach and slide around the stage in beach inflatables. The big dance number at the curtain call, a rousing encore of Abba classics, brought the audience to its feet. David Spicer Disney’s Beauty And The Beast Music by Alan Menken, lyrics by Howard Ashman and Tim Rice, book by Linda Woolverton. Metropolitan Players. Civic Theatre, Newcastle. July 14 - 24. THIS has been a good year for musicals in Newcastle, and Beauty And The Beast further confirmed that through the audience response, with some musical numbers receiving cheers, as well as loud applause. It was a very elegant looking show, with the sets and costumes having a beautiful fairy tale look in keeping with the nature of the story, and the movements of the performers bringing out the very different types of characters and how they eventually are able to connect. The title’s Beauty, the relatively quiet Belle (Rachel Davies) who tries to live a secluded, book-reading life, initially seems to be very different to the prince (Danny Folpp) who has been changed into a horned and furbodied Beast by a witch he has offended, but their similarities gradually come out after she has become a captive in his castle. And Gaston (Andrew Black), the handsome but self-centred man who sees himself as the right husband for Belle, doesn’t have the literal magic of

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the prince’s servants who have been turned into live furniture such as a clock and a wardrobe by the witch. Their nature came out very amusingly in the song “Be Our Guest”, when they welcome Belle to the castle, moving about like the implements, including knives and forks, that they had become. Ken Longworth

A sprinkling of special effects added to the spectacle in the form of lights above stage which ignited in sequence with the sound fx of a jumbo jet flying overhead. Dashing period costumes, a simple but effective glass mirror set and a tight four-piece band all aided the impressive production. David Spicer

Catch Me If You Can Book by Terrance McNally. Music by Marc Shaiman. Lyrics by Scott Wittman and Marc Shaiman. LPD and Hayes Theatre. Jul 19 - Aug 18. AT the heart of this musical is a cracking story about a precocious teenager who was an Olympic Gold medal standard thief. Frank Abagnale Jnr was world class when it came to forging cheques, impersonating a pilot and a paediatrician, and passing a bar exam (which he did by studying not cheating), all by his early twenties. The musical didn’t set the world on fire when it debuted on Broadway in 2011, but up close and personal in the Hayes, Catch Me If You Can is very slick entertainment. The cracking story is matched with a cracking cast. Jake Speer looked every inch the suave scoundrel Frank able to melt the heart of girls with a tip of his pilot’s hat or twirl of a stethoscope. The pivotal relationship is that between Frank and the FBI agent chasing him - Carl Hanratty - who is like a caring father, wanting to capture him before he goes down in a hail of bullets. In that role, Tim Draxyl tore up the stage with his onstage charisma and silky voice. Simon Burke was charismatic in the role of Frank Abagnale Senior but especially shone as Roger Strong, the father of Frank’s fiancé. Females play secondary roles, but grabbing most of her solo opportunity was Monique Salle as one of the rogue’s many flames. There are many glamorous set-pieces, whether it be a chorus of air hostesses, nurses or FBI agents dashing and darting across the stage. Director and choreographer Cameron Mitchell devised tight, cute dance routines.

The Sound Of Music By Rodgers and Hammerstein. Atherton Performing Arts. Director Jacquie Stephens. Jun 14 - 30. ATHERTON Performing Arts’ The Sound of Music was a sensational night of song, laughter and adventure as the cast thrilled the audience. Cathy Knight as Maria gave an outstanding performance. She hit the right notes with every song and was equally good as an actor. Among Cath’s co-stars, Alistair Hart was a very stern, but highly amusing Captain von Trapp. He was fun to watch as his hard exterior melted under Maria’s charms. Helen Snelling as the Mother Abbess acted superbly in the role, and gave an unforgettable rendition of “Climb Every Mountain”. Matthew Mottin as Rolf and Genevieve Kruyssen as Liesl were a big hit with the audience when they sang “Sixteen Going on Seventeen”. Dale Diefenbach was fun to watch as Uncle Max, capturing the role perfectly. He looked the part and worked well with the experienced Kirsten Cottone, who was excellent as the grumpy Baroness. The von Trapp children were energetically played by Matthew Wason, Emmy Riber, Atticus Diefenbach, Thalia Seden, Miren Garate, Genevieve Kruyssen and Valentina Brown. Jeremy Percy gave a convincing performance as a very angry Nazi. The nuns were in superb harmony throughout, especially in the moving wedding scene. It was great to hear “Do-Re-Mi”, “My Favourite Things”, “The Lonely Goatherd” and “Edelweiss” sung so beautifully and with emotion and energy. One hell of a night! Ken Cotterill

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Reviews: Cabaret

Dami Im. Photo: Sanjeev Singh (Sony Music Australia).

Adelaide Cabaret Festival Dami Im - My Life In Songs DAMI Im won the fifth season of X Factor Australia. Her debut single “Alive” reached number one and she represented Australia at Eurovision, coming second overall. But how much do we know of the real Dami? In a compelling evening, Dami Im - My Life in Songs explored her story as a Korean immigrant and her climb to success. Her first number was an astoundingly difficult classical piano solo. We discovered a young nine-year-old who couldn’t speak English. Innocent and shy and considering a career as a concert pianist, she eventually tried singing and discovered her real vocation (not without initial difficulties). The real surprise though was Dami’s humanitarian work in other countries under the banner of ‘Compassion Australia’. As dry as her sense of humour was when relating her growing up, genuine tears welled up in her eyes when she gave us an insight of the children she works with and her dream of a music school to help underprivileged children. With an amazingly versatile voice and range she left us with some of the songs we know: “Hey Sexy Lady”, “I Just Can’t Get You Out of My Head”, “Summertime” (my personal favourite), “Jolene” and the amazing “Purple Rain”.

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As a songwriter Dami says she has now ‘taken the mask off’ and we saw the real performer, immensely talented, humble, dedicated and always relatable. Barry Hill Ute Lemper - Rendezvous With Marlene UTE Lemper was just 24, dubbed la nouvelle Marlene by the Parisian press; the original Marlene was 87, living out her last years in the French capital. Ute wrote her a letter and was surprised and suspicious when told Marlene had replied. Later that night, the old and the new talked on the telephone for three hours, Marlene sharing her love of poetry, of music and movies, of her lost homeland and stories of her lovers, both men and women. Lemper brought that conversation to the stage in an outstanding narrative of words and song: from Pete Seeger to Bob Dylan; through Friedrich Hollaender and Cole Porter; through homages to Bacharach and Piaf. She sang effortlessly in German, French and English - often all three languages in the same song - and the audience couldn’t get enough in over two hours of Ute and Marlene. Vana Gierig’s band, a quartet of piano, double bass, violin and percussion, play beautifully, evoking both energy and sadness to embrace Ute’s magnificent voice not that it needs the support: its range, tone and power are astounding as she inhabits Marlene for the most part, but fluently steps out to tell some of her side of the story.

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Ute Lemper. Photo: Brigitte Dummer.

The balance of story and song was perfect, the lighting gorgeous, sensitive to the themes and scales of the lyrics and music, and the sound incredible, filling the immense space of Thebarton Theatre yet still feeling intimate. Lemper gave us a Marlene that was less celebrity and more human: a mother, a lover, a performer; she was fearless in standing up for what she believed in, and a woman way ahead of the times in leading, not following. Mark Wickett Kate Miller-Heidke THE petite, sparkly Kate Miller-Heidke stepped onto the stage with her trademark ‘princess tiara’ and wowed the audience from start to finish. Accompanied by husband Keir Nuttall on guitars, Iain Grandage on piano and cello and backing singer Jess Hitchcock, Heidke had the audience laughing and spellbound by turns. She shared the full range of her compositions with the audience, giving them some of the background to the songs and her writing. As she said, she’s not really a cabaret artist, but good music and communication with the audience is always a winner in any setting. Heidke’s songs are fresh and honest. Classically trained Heidke demonstrated a deep musicianship and incredible level of technical skill, which she made look effortless. She moved from operatic trills to soft folk and powerful rock and roll, rewriting what pop sounds like today. Her lyrics dealt with depression, bullying and the cowardice of being a bystander and the regret involved in that, a

Kate Miller-Heidke. Photo: SBS.

warning to abusive men that their time is limited, and songs for and about children. The lyrics were by turn moving, funny, intelligent and beautiful. Heidke, Nuttall, Grandage and Hitchcock provided a musical feast, with Grandage and Nuttall producing some fabulous duets, with the guitarist and pianist playing against and with each other. Sally Putnam SoCalled Sings Yiddish, with Zephyr Quartet CANADIAN hip hop artist Josh ‘SoCalled’ Dolgin began his love affair with Yiddish music as a music archaeologist, digging through music collections for sounds that he could apply to his work. This performance was a celebration of that journey. At last count, there were more than 16 different forms of Yiddish music, some very familiar as they have been embraced by modern composers including Leonard Bernstein, Irving Berlin, Stephen Sondheim, and George and Ira Gershwin. This was a show for music lovers and those eager to explore culture and sounds that go back to the 13th century and have evolved into today’s music. ‘So Called’ really did call us to embrace, learn and celebrate. He is a vibrant and entertaining performer about whom we may comment, ‘a cantor he is not’, but a multi-talented and somewhat humble performer he is. Dolgin reminded us that music shapes and heals people, and that understanding its origins protects its future. Jude Hines

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Paul Capsis. Photo: Mandy Hall.

To see all our Adelaide Cabaret Festival reviews, head to our website http://bit.ly/31Y177N Paul Capsis with Jethro Woodward and the Fitzroy Youth Orchestra PAUL Capsis is an Australian ‘living legend’ with an extraordinary career as a performing artist and actor spanning several decades, in Australia and overseas, winning numerous awards. Wearing a voluminous head-dress and coat, which he later told us were made from carpets his mother once owned, Paul Capsis staggered to the front of The Famous Spielgeltent stage and with Jethro Woodward and the Fitzroy Youth Orchestra launched into a blistering version of Skyhook’s “Ego Is Not A Dirty Word”. He then surprised the packed audience by ‘talking’ to them. This was unusual. However, as he later relayed, his appearance at this year’s festival was predicated on an instruction by Julia Zemiro that he must ‘talk’ to the audience. His sardonic wit and humour was given full force, adding to the enjoyment of the evening. It was, however, Paul Capsis’ unique theatrical takes on ‘standards’ from the world of rock, jazz, and pop that made him so engaging and thrilling to watch. This was exemplified by the versions of Sonny Bono’s “Bang Bang (My Baby Shot Me Down)”, Amy Winehouse’s “Back to Black” and John Fogerty’s “Proud Mary” - all wonderful. Whilst this show was mostly comprised of popular ‘standards’, nonetheless, there were also a couple of relatively recent works, including a song from Tom Waits’ and William S. Burroughs’ 1990 ‘musical fable’ The Black Rider, in which Paul Capsis performed in Sydney in 2017. 86 Stage Whispers

The performance climaxed with “Piece of My Heart” (the Janis Joplin version), which had the audience on its feet. The encore was even better - Nina Simone’s version of Anthony Newley’s and Leslie Bricusse’s “Feelin’ Good”. Tony Knight Philip Quast Uncut PHILIP Quast Uncut felt like an afternoon with an old friend. From the moment we heard a disembodied whistle and his approaching beautiful tones singing “The Gypsy Rover”, we were along for the ride. There was much affection for this homegrown star, who made the local audience feel special by singing “Adelaide’s The Home For Me” from Nick Enright’s On The Wallaby. Eclectic choices celebrated different moments in Quast’s career or the loves of his life. He shared stories with us so comfortably, so openly and with such emotion, accompanied on piano by the astoundingly talented Anne Maree McDonald. There were moments when Quast was visibly emotional as he reminisced of times past and friends lost. There was a sense of reverence and gratitude. Quast talked openly about growing old, of thinking about his father and of coming to the decision that he has done his last Broadway show. His armchair-sung piece “I like old people” and a moving version of a song written for his own farmer father, called “My Father’s Hands”, made the room go silent.

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Anne Maree McDonald and Philip Quast. Photo: Kate Williams.

It was, however, “Stars” from Les Misérables that the audience had been hoping for, and we weren’t disappointed. His powerful baritone voice belted out this favourite with passion, causing an immediate standing ovation. Stunning. I felt privileged to have spent this time with Philip Quast. He made me feel like he loved having us there, wanted to share his life with us and give us some of his very best stories and songs. It was special and intimate. Shelley Hampton Kaye Tuckerman - Broadway Bound (But Not Gagged) KAYE Tuckerman hails from the Northern Beaches in Sydney, is a graduate of WAAPA and NIDA, and is one of the most electrifying Australian Music Theatre artists that we have lost to the lights of Broadway. This was a piece of engaging ‘confessional drama’, from Kaye’s beginnings in amateur musicals to appearing in a Broadway musical. Making her way to the stage slowly from the back of the room, directly engaging and flirting outrageously with her audience, she sang the provocative “Raise the Roof” from Andrew Lippa’s The Wild Party - a thrilling beginning to a terrific evening in the theatre. “Corner of the Sky” from Pippin exemplified her beginnings in amateur theatre, sublimely expressing that unique moment a future professional actor experiences working in the theatre for the first time. The importance of ‘dreams’ was furthered by “Sweet Dreams (Are Made of This)”. Kaye’s initial ‘dream’ - to

Kaye Tuckerman. Photo: Kurt Sneddon.

become a professional actor, led to her studying at both NIDA and WAAPA. The show took on a wonderful poignancy. She quoted Australian playwright and mentor Nick Enright in how in a life in the theatre there are “good times, and bad times, but they are always interesting times”. Six weeks after she arrived in New York she hit ‘good times’, scoring one of the leads in the National touring company of Mamma Mia!, so she did a medley of ABBA songs. This was a big hit with the audience, people jumping up, dancing and singing along as she moved through her audience. However, the Mamma Mia! sequence marked the climax of the relatively ‘good times’. The reality of doing a US national tour of one show for two years in different theatres, sometimes, began to take its toll. Six months before this contract finished one of Ms Tuckerman’s leading men committed suicide. The song that Ms Tuckerman chose to exemplify this tragedy was “Calling You” from Bagdad Café - beautiful, poignant and extremely moving. After the tour finished, she returned to New York, still pursuing her ‘dream’ to be in a Broadway show. For this period, she sang “On Broadway”. She successfully auditioned and got a major role in the ‘Broadway bound’ Donna Summer: The Musical. However, as Kaye Tuckerman stealthily lead us to the climax of her show with Peter Allen’s “Don’t Wish Too Hard”, sometimes your wish can turn into a nightmare - and this happened. The final songs in this sequence were Carol King’s “Beautiful” and Donna Summer’s “Last Dance”. The

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joyous and life-affirming aspect was furthered by the Janis Joplin song “Get It While You Can”. Kaye Tuckerman’s strength, resilience, determination, and self-reliance were inspirational. Tony Knight

Sydney Cabaret Festival SYDNEY’S Seymour Centre is a big cement brute of a building opposite Sydney University that has four theatres, divided by a maze of stairs and internal furnishings which remind you of a car park. But for just over a week in July the ugly duckling was transformed into a cool cabaret venue - under the baton of Mr Cabaret himself Trevor Ashley. Patrons crowded around a glass piano next to the bar after enjoying one quality performance after another. International acts rubbed shoulders with the best of Australian talent and expats. Someone whispered to me that former Prime Minister Paul Keating turned up to the one of the cabarets and had a good time but blushed when some bare flesh was exposed. Artistic Director Trevor Ashley was “discovered” when he sang two sensational numbers in the Sydney Cabaret competition almost 20 years ago. So when the festival was revived, I made sure I attended the new competition. As I walked into the Seymour Centre, Trevor was posing on the red carpet with Maria Venuti - in a wheelchair - but looking fabulous after recovering from a stroke. So many people wanted to attend, that it was shifted into a larger theatre. Even the distraction of the final of the State of Origin series did not impact on the numbers. What was striking from the final was the total absence of men! All eight finalists were women. Plenty of blokes entered the competition but were creamed in the semi-finals by the sheilas. There were quirky stories and talent galore on show. Taking out the top prize from both the judges and audience voting was Billie Palin from the regional town of Dubbo. Here is a taste of her song “Summertime in Dubbo”. I could wander Melbourne after dark, Take a carriage ride through Sydney Park, But if wouldn’t be as nice as a summertime in Dubbo, Where I’m sharing a room with an “ex” drug dealer and his mum Shaz The final performance of cabaret festival was billed as the swansong of stage legend Toni Lamond. As she took her final bow there was hardly a dry eye in the house. The 2020 Sydney International cabaret festival will take place from July 3 - 12. David Spicer Alison Jiear - A Centenary Celebration of Ella Fitzgerald THE Australian singer Alison Jiear has lived in Britain for over 30 years and has made a splash there in musicals like Jerry Springer: The Opera and a particularly rousing 88 Stage Whispers

Alison Jiear. Photo: John McRae.

appearance on Britain’s Got Talent. She’s also a remarkable cabaret performer and commands the stage, here in a tribute to Ella Fitzgerald. Taking on the legacy of one of the 20th century’s greatest jazz and popular singers is a huge task. But as soon as she takes the stage, Jiear shows she’s got the presence, remarkable voice and technical skills required. With her adorable personality and slightly wicked sense of humour, Jiear’s cabaret pops. There are so many Fitzgerald standards to choose from - here, we get the likes of “How High the Moon”, “A Tisket A Tasket” and “That ‘Ol Black Magic”. Jiear weaves the show together with some stories about Ella Fitzgerald’s life and some of the parallels with her own. And the four-piece band, led by the musical director Kevin Hunt, is brilliant. Alison Jiear is well and truly settled in the UK but it would be Australia’s win if she one day decided to stay. Peter Gotting Tim Draxl - Love Is A Drag “MY Man”, “The Man I Love”, “Bewitched”, “Mad About The Boy” - all love songs that are generally sung by women but actually written by men. They are among the numbers that make up the 1962 album Love is a Drag, a recording of male-to-male love songs that became a cult hit. It’s a fascinating story of a pioneering album - and a great idea for a Sydney Cabaret Festival show. The actor and singer Tim Draxl, a product of the 1980s who tells a relatively uneventful coming out story, is among the country’s top cabaret performers. His voice

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

Tim Draxl. Photo: John McRae.

Cabaret shows are great at emulation and Age of Stephen by Stephen Valeri takes you back to the age of the mullet and the Johnny Farnham days of “Sadie the Cleaning Lady”. Valeri is a devoted fan of the great Aussie icon, hitting his high notes with honest trepidation in “Two Strong Hearts”. ‘ Drew Downing’s Ultimate 90’s Playlist harks back to the world of boy bands and washed out denim. This show fudges the eighties and cuts through the nineties, with Downing performing with a wonderful ensemble of talented back-up vocalists and musicians. If siren songs and unicorn fantasies ring bells for you, Melbourne Cabaret Festival then Emma Dean will take you on a whimsical and original journey in Broken Romantics: A Unicorn’s Quest Opening Gala THE Melbourne Cabaret Festival is celebrating its tenth for Love, supported by Wayne Jennings (Cello) and Tony Dean (back-up vocals and electric drums). year at Chapel Off Chapel. This year’s Gala host Sally The self-proclaimed Serena Williams in drag, Nefertiti Bourne (accompanied by her partner in crime Drew La Negra, sets the house on fire with the superb finale Downing on piano) commenced proceedings by belting from her new show, What’s Love Got To Do With It, and out a joyful rendition of “Big Time” (Peter Gabriel), her mash up of golden oldie tunes including “Saturday preceding her boisterous introduction to a selection of Night’s Alright” and “Walk On By”. many of the acts participating in this year’s festival. The Cabaret Festival is always a barrel of laughs, full of The festival embraces a variety of eclectic strange and exotic acts that rear their unique and entertainment, from scintillating performances in retro wonderful heads. shows, to barbershop quartets with climate change Flora Georgiou messages. Picked Last For Sports perform their highly crafted show Creatures of the Deep, that delves deep into the art Drew Downing’s Ultimate 90’s Playlist DREW Downing’s Ultimate 90’s Playlist is a 90s rockof song, performance and puppetry, along with a clearconcert-cabaret show. cut ‘save the ocean’ message. Downing takes us on a personal musical journey Amy Winehouse: Resurrected, performed by Alexis harking back to his early years watching Saturday morning Fishman, is a haunting tribute show that pokes fun at Video Hits, while revealing his obsession with teen drama fame, pop-stars and death without dignity. is beautiful, with a rich tone, and he’s a great crooner. Gershwin melodies sit perfectly in his range. Accompanied by a brilliant trio of jazz musicians, Draxl exudes charm, pizazz and definite likeability. It will be good to see him relax as the show continues - it deserves a bigger run than this limited Sydney season. Draxl is a great crooner and this album of American standards is a fantastic choice. He’s long been a top storyteller through songs but here we see a new maturity too. Peter Gotting

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Stephanie Hunt and Megan Mullally. Photo: Alex Gorosh.

Online extras! Megan Mullally and Stephanie Hunt turn musical misfits in Nancy & Beth. https://youtu.be/T7minGQ62i4 Dawson’s Creek. He is honest and upfront about his formative years and proud of his humble beginnings in seaside Rosebud, where he was bursting with musical inspiration, yearning to follow his dreams. Downing knows how to get the party started; he is upfront and personal, and builds his show up with his cast of fellow musicians, who are as much as part of the show as he is. He is a wonderful front man, perfectly comfortable as lead man or behind the piano. His version of “I Try” is velvety smooth, while “Still The One I Love”, “Wonderwall” and “Tubthumping” just keep shaking the house. The 90s was the era of the boy bands and Downing sets his fancy-free style with “Larger Than Life” (Backstreet Boyz) and “Where Is The Love” (Hanson), while “Say You’ll Be There” (Spice Girls) has the audience giggling with singalongs. Drew Downing and his team are wonderful entertainers who know how to rock and roll in a cool, understated style. Flora Georgiou

National Megan Mullally And Her Band Nancy & Beth NANCY & Beth began in 2011 with Megan Mullally and Stephanie Hunt fooling around - with a ukulele apparently - finding they loved the same songs and that their voices blended. ‘Nancy’ and ‘Beth’? Nice generic 90 Stage Whispers

names for ‘nice’ generic girls? No - dressed identically in pink track suits, big glasses and identical hair styles - bunches on top - they lope onto the stage like twins - or two clowns, enhanced by kooky choreography (by Ms Mullally) that mirrors each other’s movements. The eclectic repertoire of songs ranges from that old happy Doris Day hit ‘Everybody Loves a Lover’, through to Wynona Carr’s ‘Please, Mr Jailer’, to Gucci Mane’s pretty dirty ‘I Don’t Love Her’ and all the way to some ‘spirituals’ sung straight and beautifully. They’re backed up by a multi-skilled and multi-talented five-piece band, all in red overalls: Datri Bean on keyboard, Joe Beradi on drums, Petra Haden (also a great mimic and singer) on strings, Roy Williams on guitar and Andrew Pressman on bass. The band provides back-up vocals, back chat and anecdotes. One is about Julia Roberts; Ms Mullally mutters casually that Roberts is a bitch - the only moment when her award-winning character in sit-com Will and Grace joins the mix. There’s a deliberately random feel to song order and the ad libs in between are spontaneous but calculated throwaways. The show has you amazed, laughing, smiling - and sometimes moved. What a pleasure to see such a professional show masquerading as just two girls having some fun. Michael Brindley

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Ruthie Henshall. Photo: Kurt Sneddon.

PERFORMING ARTS MAGAZINE SEPTEMBER/OCTOBER 2019. VOLUME 28, NUMBER 5 ABN 71 129 358 710 ISSN 1321 5965

All correspondence to: The Editor, Stage Whispers, P.O. Box 2274, Rose Bay North 2030, New South Wales. Telephone: (03) 9758 4522 Advertising: stagews@stagewhispers.com.au Editorial: neil@stagewhispers.com.au PRINTED BY: Spotpress Pty Ltd, 24-26 Lilian Fowler Place, Marrickville, 2204 PUBLISHED BY: Stage Whispers PRE-PRESS PRODUCTION & DESIGN BY: PJTonline Solutions, email: pjtonline@pjtonline.com DISTRIBUTED BY: Gordon & Gotch, 25-37 Huntingdale Road, Burwood, 3125 DEADLINES For inclusion in the next edition, please submit articles, company notes and advertisements to Stage Whispers by October 8th, 2019.

Ruthie Henshall - Live and Intimate AUSSIE audiences love comedy and there was no shortage of it in West End and Broadway star Ruthie Henshall’s Live and Intimate. Opening with the Comden and Green tongue-twisting classic “If You Hadn’t But You Did”, in which we heard every word, she followed with songs she’s sung throughout her career with the comic turns registering high on the audience meter. A funny song about a train station announcer who injects sexual innuendo into station names like ‘Wokin’ was hilarious, but Victoria Wood’s “The Ballad of Barry and Freda”, better known as “Let’s Do It”, in which Freda is trying to persuade her husband Barry into having sex while she’s frisky but he’s having none of it, brought the house down. From anecdotes about playing characters who die or are murdered, to forgetting the lyrics to a Sondheim song when he was in the audience, or Fantine suddenly rising from the dead during a Les Mis mishap, comedy ruled. “Electricity” from Billy Elliot was a heartfelt paean to her thrill at discovering theatre as a kid, whilst Dear Evan Hansen’s “So Big/So Small” delineated her own feelings about how she felt when her ex-husband came to collect his things after moving out. Apart from being super talented, Ruthie is a warm and down-to-earth performer and it was a pleasure to be in her company. Peter Pinne

SUBSCRIPTION Prices are $39.50 for 6 editions in Australia and $60AUD elsewhere. Overseas Surface Mail (Airmail by special arrangement). Overseas subscribers please send bank draft in Australian currency. Maximum suggested retail is $6.95 including GST. Address of all subscription correspondence to above address. When moving, advise us immediately of your old and new address in order to avoid lost or delayed copies. FREELANCE CONTRIBUTORS Are welcomed by this magazine and all articles should be addressed to Stage Whispers at the above address. The Publisher accepts no responsibility for unsolicited material. Black and white or colour photographs are suitable for production. DISCLAIMER All expressions of opinion in Stage Whispers are published on the basis that they reflect the personal opinion of the authors and as such are not to be taken as expressing the official opinion of The Publishers unless expressly so stated. Stage Whispers accepts no responsibility for the accuracy of any opinion or information contained in this magazine. LIMITED BACK COPIES AVAILABLE ADVERTISERS We accept no responsibility for material submitted that does not comply with the Trade Practices Act. CAST & CREW Editor: Neil Litchfield 0438 938 064 Sub-editor: David Spicer Advertising: Angela Thompson 03 9758 4522 Digital production: Phillip Tyson 0414 781 008 Contributors: Cathy Bannister, Anne Blythe-Cooper, Mel Bobbermien, Michael Brindley, Rose Cooper, Kerry Cooper, Ken Cotterill, Bill Davies, Coral Drouyn, Jenny Fewster, Graham Ford, Peter Gotting, Frank Hatherley, Jude Hines, John P. Harvey, Barry Hill, Tony Knight, Neil Litchfield, Ken Longworth, Kiesten Mcauley, Rachel McGrath-Kerr, Roger McKenzie, Peter Novakovich, Shannon O’Connell, Peter Pinne, Martin Portus, Sally Putnam, Lesley Reed, Lisa Romeo, Suzanne Sandow, Kimberley Shaw, David Spicer, Penelope Thomas, Anthony Vawser, Carol Wimmer and Mark Wickett.

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Musical Spice

Michael Arvithis (Brad Pitt) and Jadie Bastow (Frances) in Bondi Legal. Photo: Lightbox Photography.

Are plays and musicals more authentic if they are based on true stories? Touring Australia now Muriel’s Wedding The Musical is famously based on the real-life escapades of PJ Hogan and his family. PJ’s father was a shonky local councillor. His sister did get into strife and so forth. Many of the most successful musicals of all time are based on true stories. Hamilton was a founding father of the United States. The von Trapp family singers inspired The Sound of Music. Evita, Jersey Boys, Barnum, Come from Away, Gypsy and The Boy From Oz have all successfully translated real stories onto the stage. Last year my theatre company at Bondi revived the musical based on the life of Margaret Fulton, who sadly passed away at the age of 94 in July. The musical is leaping out of the frying pan at Bondi Beach, into the pressure cooker at the Arts Centre Melbourne in 2020. For our season in 2019 the Bondi Theatre Company is taking a break from musicals. Instead, I have chosen a play which is also based on a real story.

92 Stage Whispers September - October 2019

When Bondi solicitor and former stand-up comedian Tony Laumberg was just out of law school, a woman approached him asking for some help. “She told me how her daughter had a show pony that competed in Royal Shows around Australia, but that just before the last Royal Sydney Show her daughter applied a spray to her pony to improve its lustre and within hours it was covered in a rash and its tail and mane had fallen out. “As I have a very strong humorous bent, I decided to use a bit of comedic licence to add a character or two and change the intrepid, confident and extremely handsome lawyer, who may or may not have been me, into a bumbling, anxiety prone advocate who fears Court more than anything! “I even gave him the name Brad Pitt to ensure that not only wouldn’t he be mistaken for me but that he also carried the extra burden of dealing with the confusion faced by his client and adversaries. “Part of the reason I was so inspired to write the play was the magnificent cross-examination of the barrister I engaged, who completely and destroyed the expert witnesses in Court. It is a stunning example of why

one should never lose hope. No matter what and how, the human spirit can prevail in the most trying of circumstances.” The play is called Bondi Legal, which the Bondi Theatre Company is staging at the Bondi Pavilion Theatre. It was staged last year in Tasmania, so surely it will go well on its home ground. Being a producer of a play in a theatre at Bondi Beach is not a breeze - despite all the passing traffic. The theatre is hidden upstairs in the Pavilion and the local council won’t let me put a sign out the front! My trick is to share the risk of renting the theatre by allowing other artists to use the space before and after my major production. I model this on the example of the intrepid Brisbane Arts Theatre, which often has three different shows running in any one week. Now for the even more totally shameless last plug. If you are nearby during October, head on down to Bondi for some comedy led by Austen Tayshus, seven cabarets and children’s theatre. David Spicer