Stage Whispers September-November 2024 edition

Dear theatre-goers and theatre-doers,

Can it really be 50 years since I directed my first show?

I was one of a group of university students intent on forming a musical society at the University of NSW in late 1973. At one of our first committee meetings, when we were planning our initial show, the deliberations turned to who would direct the show.

“Who has directed before?” was the first question asked.

No-one.

“Who has been in a musical?”

Mine was the lone hand raised. I’d done some shows in the chorus, and played a few extremely minor parts with my local light opera company.

The job was mine, more or less by default. I was OK with it, though I’d probably become involved with more of an eye to performing. After all, I was at UNSW to study at their excellent School of Drama, the only such under-graduate option in Sydney at that time.

Directing that production of The Pirates of Penzance became a steep learning curve, as I found myself responsible for so many aspects of the production where I was an enthusiastic novice at best.

I’ve gone on to direct more than 50 productions, musicals and plays for the schools where I’ve taught, and community theatre companies, while always remaining at least equally enthusiastic about performing. I’ve had the chance to direct musicals from G & S to contemporary shows, and plays ranging from classics by Shakespeare, Molière and Chekhov to contemporary dramas, comedies and farces. I’ve staged them everywhere, from intimate spaces to cavernous school gymnasiums, town halls and venues which community theatres shared with professional companies.

3D-printed Commedia del’Arte masks are now available at booknook.com.au youtu.be/8Sl82bWaFRQ

Since becoming editor of Stage Whispers, I’ve been keen to foster a role for it as a resource for staging shows, especially through our special ‘Let’s Put On A Show’ supplement in this edition each year, in conjunction with the free online publication of the same name (stagewhispers.com.au/stageresources) to which its content will be added over coming months.

Hopefully you’ll find the feature articles inspiring, and pointers to goods and services providers helpful. I know my 20-year-old self would have loved it.

Yours in Theatre,

NeilLitchfield Editor

Cover image:

The cast of the Australian production of Six: The Musical (2024)

Read Coral Drouyn’s interview with Australian Associate Director Sharon Millerchip and the cast on page 8.

Photo: James D Morgan / Getty Images.

Casey Donovan from Sister Act: The Musical catches up on the latest news in Stage Whispers.

The cast of the Australian production of Six: The Musical (2024)

Photo: James D Morgan / Getty Images.

Coral Drouyn looks at the return of the hit Six: The Musical, speaking to Australian Associate Director Sharon Millerchip and the cast.

The chances of writing a smash hit musical before you turn 25 are about the same as finding Martians at the bottom of your garden. And yet that’s precisely what Toby Marlow and Lucy Moss did in 2017, during their last year at Cambridge (that is, wrote a smash musical they haven’t commented on finding Martians, but it could still happen).

Against all odds, the young feminist dancer and the non-binary

actor/composer put together a concept and then wrote an entire show in ten non-consecutive days in 2017 for the Edinburgh Fringe Festival that year…and history was made.

Well, to be honest, history made the show first. Moss, with a keen feminist attitude towards how women have been falsely portrayed in history, watched a documentary series about Henry VIII’s six wives by Lucy Worsley, which attempted to set the

record straight, while Marlow was more into the glamour and theatricality of the period itself.

Nevertheless, she persuaded her friend and collaborator Toby that they should do more than just write a pop concert with some catchy tunes; they should actually say something about the undermining of the female gender in history. Toby agreed, as long as they could knock it over in fairly quick time. After all, it was just for the Fringe Festival…it’s not as if many

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Online

Watch the Australian cast of Six: The Musical perform “Ex-Wives”. vimeo.com/994891953

(Continued from page 9)

people were going to see it! And did it really matter that all most of us remembered about the wives of the obese king was how they met their ending at his hands?

Seven years and many millions of audience members later, the show continues to garner awards 35 in all, including two Tonys and accolades as well as criticism. While most praise its wit and unique style, the number one gripe seems to be from purists who don’t believe it is a musical at all, but rather a rock concert, which is what Marlow set out to write.

Torn between both viewpoints, I turned to Australia’s Associate Director of the show, Sharon Millerchip, for some clarification.

“It’s a hybrid, a new form of musical,” Sharon explains. “Much as we all loved Oklahoma! and the like in the forties, fifties and sixties, and Sondheim in the seventies, eighties and nineties, and ALW’s lavish spectacles, musical theatre has to

keep evolving, has to keep offering the audience something new, or they will stop coming altogether.”

I wonder if that isn’t a somewhat cynical viewpoint, an excuse for the show to have no true storyline or raison d’être, but rather play on the rock concert theme. Sharon is quick to correct me.

“But it does have a story it has all the elements of a traditional musical, they are just arranged and presented differently,” she parries passionately. “Think of it as a Trojan Horse. You recognise the shape, but you don’t know what it’s there for. You don’t see what is hiding inside until it is revealed to you, and by then you’re overwhelmed.”

Yes, there is a story in which six Queens, all married to the same despot King, vie with each other in competition to prove which of Henry VIII’s wives had the hardest time of it.

So that’s round one to Sharon and the “Six” camp. And it’s true that the six queens interact with each other and move forward because of that. But still, the music is full on, and

where are the love songs? Those of us who remember our Tudor history from high school have a head start. Who, over the age of thirty, doesn’t remember the rhyme we all repeated to keep the order of wives fresh in our minds ’Divorced, beheaded, dies, divorced, beheaded, survived.’ Trouble is, we still couldn’t remember which was which. It’s a difficult show and some of the cast have prior associations with earlier seasons. Chelsea Dawson (Katherine Howard) and Loren Hunter (Jane Seymour) are reprising their original roles and are joined by an astounding array of new talent.

Perhaps the six queens could explain it better.

Kimberley Hodgson - Aragon

“When we are learning history at school, especially focussing on people during this era, the historical recounts are most commonly from a male’s perspective. I made a conscious effort of sourcing material and audio books which analysed the life of the queens from a woman’s perspective, which I

The cast of the Australian production of Six: The Musical (2024)

Photo: James D Morgan / Getty Images.

think empowers who they are/were and their legacy.”

Really? So the cast remembers what they learned at school? That seems unlikely for any show.

“We have our own intensive history course,” Millerchip tells me. “The first couple of days of rehearsal are just spent re-examining history. We cling to the old ideas of who women were in the 16th Century, and how they behaved. Yes, our heroines come from an era 500 years ago, but we wondered how they would be now, in this modern era. To do that we needed to explore who they were deep down and get rid of the idea that they somehow had no voice of their own. They did, and they used it loud and clear, and because of that they were made to suffer. The show doesn’t subvert history, it exposes and enhances it.”

Sharon is so passionate as she speaks that I can only think, “Well, that’s me told.” History was never like that in my day! Of course Aragon was divorced, then ended up in a nunnery. Oh Henry!

Deirdre Khoo - Boleyn

“I grew up in Singapore, where they didn’t actually cover the six wives of Henry VIII! (I know, how rude!). I’ve now learned, though, that these queens each had such detailed and rich stories that deserve to be told and honoured individually. Fun fact: Anne

Boleyn was a musical gal! She sang and danced and played the lute.”

It’s interesting that Anne Boleyn had musical ability. Six of the finest vocalists you will ever hear on any stage make up the cast, but Millerchip insists it’s not a singing show. “Our first auditions,” she tells me, “are always dance auditions. Six girls don’t leave the stage for 80 minutes and for all of that time they are dancing and singing. That takes enormous stamina and skill. Yes, they need great voices, but unless their dance skills are honed to perfection, they would never make it through those difficult numbers that involve intricate movement and highly skilled execution.”

Wow, and that doesn’t even include Anne Boleyn’s lute!

Loren Hunter - Seymour

“I didn’t learn about the queens in high school at all, but the story that sticks with me is that when Henry was courting Seymour he bought her a gift to ‘apologise’ for all the gossip around their ‘friendship’ at the time. It was a gift of gold sovereigns. Seymour refused the gift and said, ‘All I have is my honour, which for a thousand deaths I would not wound.’ I love that. Refusing a gift from the king is a bold move to say the least.”

So, Jane Seymour turned down Henry’s money? Is that an actual fact, I ask Sharon Millerchip. She’s

adamant in her reply. “There’s enough research now to suggest that it is. Perhaps that’s why she is always seen as the one he truly loved. But each of our queens has a different tale to tell.”

Zelia Rose Kitoko - Cleves “I learnt that my queen lived a very long life, and in her will she included all of her workers at the palace. She basically met the king on what you might call the blind date, which didn’t end up going so well, but was very savvy in the way that she managed to survive in the process and end up as one of the richest women in England at the time.”

But a show can’t be a history lesson.

Once again Sharon Millerchip disagrees. “Well, it can, as long as it is a lot of other things too. It’s funny, full of sophisticated wit, and stunning costumes, and it’s really about girl power. Let’s face it, everyone on that stage, including the band, is female, with all the strengths and weaknesses that we women have.”

Chelsea Dawson - Howard “Honestly, I don’t remember learning anything about Tudor history but after being part of Six for a few years now, I am constantly inspired

(Continued on page 12)

Cover Story

(Continued from page 11)

by, and heartbroken for, these queens. Katherine Howard experienced a short tragic life, and it seems her life was used as a warning to younger women for how they should behave.”

By the time we get to Catherine Howard, the whole rock concert vibe starts falling into place, and it’s easy to imagine the queens swept away by a Superstar King…let’s say…Meatloaf. He isn’t with us anymore, but neither is Henry, and both of them were Superstars. But in the end, there’s always one woman left standing.

Giorgia Kennedy - Parr

“I never learned about Catherine Parr at school and I have had the best time diving head first into research about her (my Spotify playlist full of Parr and Tudor history podcasts is my current obsession!). Parr was a pioneer and a visionary; she was the first English queen to publish literature under her own name and was so proud of her work that she had a portrait painted of her holding her own book, which is just such a gorgeous image that I have in my head of her. She was an absolute radical thinker for the Tudor era: she prayed for a world where women could read and engage in scripture and politics in a meaningful way and believed in accessibility to education for women and commoners outside of court. I could write an essay on all that I love about Parr and find utterly fascinating about her, but I’ll leave it there. What a joy it’s been researching such a brilliant and nuanced woman.”

And what a joy to see such talent presented in such a refreshing setting and to hear a young audience screaming for encores after every song. Long may the six queens reign. And if they do, we won’t have to worry about the future of musical theatre at all.

Online extras!

Listen to the Six: The Musical cast recording on Spotify. Scan or visit tinyurl.com/bhzppytw

Six: The Musical Comedy Theatre, Melbourne until October 20, Theatre Royal, Sydney from October 25, Playhouse Theatre, QPAC, Brisbane from January 2, 2025. sixthemusical.com.au

Loren Hunter in the Australian production of Six: The Musical (2024)

Photo: James D Morgan / Getty Images.

ENTECH Evolves For Its 30th

Australia’s annual touring sound and light trade show is becoming less ‘blokey’ and more educational.

Thirty years ago, ENTECH came about as a ‘big box’ trade show in Sydney, fast becoming a runaway success. In the hands of the Grafton family, it was run with clear focus for the exhibitors who paid for everything and the tech trade who come to network, specify and select hundreds of millions of dollars’ worth of staging, lighting, audio and video equipment each year.

After a decade the family sold ENTECH to a big trade show conglomerate who set about changing everything with a clear focus on shareholder return. The exhibitors and then the attending trade soon lost enthusiasm, and then the former event manager Louise Brooks invented the Integrate show which continues to this day.

Ten years ago, Julius Grafton created the CX Summer Roadshow, covering the five main cities of Australia with a one-day format in each. That was the straw that broke the remains of ENTECH he then bought back the rights and the database.

ENTECH Roadshow has grown every year since, except of course for the enforced holiday we all never wanted

COVID-19. Now it runs in NZ every second year and covers Australia each October. This year the roadshow has spread out with a more ‘regional’ focus, with a raft of single city exhibitors joining the core group of major distributors and manufacturers who underpin the event.

“We made some changes last year after feedback,” says founder and current co-owner Julius Grafton. “My partner Kate had come on board in 2018 and, presenting a friendly female face, she started hearing the show floor was a little bit ‘black T-shirt, blokey’. She fixed that by hiring three more girls on our touring management, such that we are now 50/50. And that’s really shifted the vibe up.”

Kate concurs, “I was told some sales ‘guys’ would direct the conversation to a male in a group. That stuff stopped in the motor trade a long time ago…I hope! But aside from the ‘gentrification’ of the attendance, big changes have come with the content. Originally, trade would be there for two things: to look at gear (and talk), and then ‘Happy Hour’. We realised we needed to find compelling reasons to

take the time to come to ENTECH. So, we have.”

This year sees the introduction of the ‘NW Group enTalks Theatre’ which builds on the previous seminar program, except that it now has local presenters telling different stories in each city. An example is ‘Lighting KISS! Flash! Bang!’ by Australian designer Motley. On another plane is ‘What is the colour of sound? That is presented in Adelaide by Cais Nitschke. Overall, there are almost 20 sessions in each city, which include technical ‘how to do it’ sessions by some of the touring exhibitors.

Crucially this year a keynote session called ‘Rising Stars’ will assist tertiary graduates and people considering a career backstage, with job descriptions, pathways and tips for entry. This session, at 1pm in each city, is to help address a looming tech shortage that will dampen demand if unchallenged. National touring spaces sold out in July, but single city spaces are available in each city. These are being taken up by a wide range of suppliers of equipment and services, as well as trade associations and groups. Others are sampling the event with an eye to touring nationally in the years ahead.

ENTECH starts in Brisbane on October 8, Sydney on October 10, Melbourne on October 15, Adelaide on October 17 and Perth on October 22. Entry is free, show hours are 11am until 6pm. For more information, visit entech-roadshow.com

ENTECH Event Manager Kate McKenzie.

The End Of The Wharf

After 25 years of tickling funny bones, Jonathan Biggins, Drew Forsythe and Phillip Scott are retiring their quills with one final national tour of their political satire. David Spicer caught up with the Wharf Revue team to ask them what makes them laugh, and what’s changed in comedy over the century.

It began as a bright idea from Sydney Theatre Company’s then artistic director Robin Nevin an hour of comedy on the set of whatever play was on stage in the Wharf Theatre.

Some of the early sketches were on the innocent side, including The Koala from Sofala and The Retirement Village People.

Soon it became the STC’s number one box office hit, with the tight combination of razor-sharp sketches and parody songs filling the company’s coffers.

The three writers each brought something different to the table. Phil Scott is a brilliant pianist and stickler for good lyrics, Drew Forsythe is an outstanding character actor and Jonathan Biggins is an all-round wit.

The trio, and their permanent female ensemble member Mandy Bishop, split from the company a few years back, and spread their wings across NSW and the ACT with forays into Brisbane and Melbourne, clocking up 150 performances a year.

Their final six-month tour won’t be a retrospective of their classic sketches, but many of their favourite characters will make encore appearances.

Drew Forsythe can squeeze a laugh from the driest lemon just by walking on as Pauline Hanson. Then he opens

his mouth and deliciously mangles the English language.

Jonathan Biggins’ impersonation of Paul Keating is so good it has given birth to a whole separate play and book, The Gospel According to Paul.

Phil Scott channels Kevin Rudd and John Howard with great distinction. Mandy Bishop’s impersonation of Jacqui Lambie is priceless.

This year Biggins is looking forward to slipping into a skinny dress as Taylor Swift, and, in a blast from the past, is regurgitating the ghost of the defunct political party the Australian Democrats.

The crew plans to use the device of a Nemesis-style ABC documentary to flash back to a catalogue of politicians of yore.

But Biggins is giving Donald Trump a miss. “He used to be funny. In his heyday I would have paid to see him perform in Las Vegas but not anymore.”

A staple of their revues is one large parody montage of music. “InnerWestside Story” was a hit a few years back. This year there will be a medley of songs from The Simpsons, with Homer Simpson being transplanted with Peter Dutton.

The Wharf Revue has become a well-oiled machine with the team

touring for six months, then having a break writing the next show.

So why are they stopping now?

“We’ve had enough after 25 years,” says Jonathan. “Drew is particularly looking forward to retirement as he will be 75.”

Phil Scott says he is “stunned” they have lasted this long.

“We are good friends, and each bring something slightly different to the process,” he said.

They considered handing the baton to a younger team but decided to retire the brand.

In a thought bubble on social media, Scott lamented that younger people “wouldn’t be interested in doing the revue, because it’s an oldfashioned format, and they don’t know it. Then someone got in touch saying, ‘Yes, I’m young, I’d like to do it. Blah, blah, blah.’ So, I misjudged that, I think.”

I asked the Revue team to name the moments that have made them laugh the most.

Scott loved getting dressed up as a Coronavirus with spikes and a silly hat.

Drew and Jonathan both mentioned a sketch about the New Zealand swim team, who are getting rashes from their Lycra swimsuits, and make plans to whip out a protest banner at the Beijing Olympics.

Marina Prior in Carousel

Photo: Jeff Busby.

The Wharf Revue’s Looking For Albanese (2022)

Photo: Vishal Pandey.

One of the lines was, “some hick from the sticks who’s thick as a brick, sees your prick, feels a bit sick, takes his pick, clickety click, trigger gets hit and then we’re shit!”

Biggins recalls the mayhem which followed, when Phil Scott, already struggling to get into the costume, accidentally put his foot into a sleeve.

Phil recalls, “we used to break up in that all the time. And it was a probably a mixture of doing New Zealand accents and looking silly.”

Biggins says, “’The Same Sex Marriage of Figaro’ was pretty funny. It was years before the debate.” He was very fond of ‘Rudd Never Dies’, blending Lloyd Webber with Labor political intrigue.

Another of his favourites was “the Latham diaries that Philip and I did. A sort of a song cycle, in the style of Benjamin Britten. ‘I came out of the west childhood and broken home taking a ladder of opportunity’.”

Drew has been passionate about blending literary classics with contemporary politics. A favourite of his adapted the Welsh poem ‘Under Milkwood’ to news that Julia Gillard had become ‘Queen of the Australia’. One delicious line from a miner was “Well bend me over backwards and take me up the coal chute.”

Three years ago, I embarked on a publishing expedition to locate sketches from The Wharf Revue which are suitable for performance by community theatres.

The result was the book Much Revue About Nothing a compendium of 40 sketches which has been a runaway best-seller in the foyers of their performances.

Due to the expense of employing staff, and my success as a pushy merch seller, I have sold the books in the foyers at more than 100 performances over the years, and been able to size up The Wharf Revue audiences.

What makes the audiences distinct is their…um…maturity.

Phil Scott says, “I think that there are some people in our audiences in their 40s. That’s very young. I think theatre generally, especially mainstream theatre, is normally out of the price range of young people.”

In the audience also are plenty of the political and entertainment elite. Ministers of crown, judges and celebrities abound. I got very excited when Barry Humphries walked in, resplendent in a three-piece suit for what was sadly his last trip to the theatre.

Although the format is largely the same comprising just over ninety minutes of sketches and song parodies there have been subtle shifts in what they make fun of.

Back in the day they could parody politicians of different pigments but no longer.

“We never did yellow face,” said Biggins. “We would just be the character. I argue that any actor can be anyone by putting on a wig. I think John Clark had the perfect solution as he always appeared himself.”

The team was frustrated that a

The End Of The Wharf As We Know It Canberra Theatre Centre from October 25, Seymour Centre from November 11, then touring. canberratheatrecentre.com.au seymourcentre.com

whole slate of politicians became offlimits.

“The fact that satirists can’t play certain people has kind of gotten out of hand. I would never stop a North Korean actor [portraying an AngloSaxon Australian]. It is what I call the dead hand of neo-puritanism.”

I asked Mr Biggins to please explain.

“It’s what Obama called the circular firing squad. Where progressives shoot each other if they are not pure enough. I think that that is something that is hindering organisations, who are dampening down debates because they pander to anonymous Facebook groups. But I think we’re getting through it, and we’re seeing the pendulum swing back towards a somewhat more sensible position.”

Phil Scott notes that a big difference in comedy these days is the speed and volume of communications that is available.

Events sometimes play havoc with their script. Like the time The Wharf Revue was about to open in Canberra when Malcolm Turnbull rolled Tony Abbott as Prime Minister. It meant their big musical parody “Les Liberables” (based on Les Mis) was suddenly out of date.

Phil Scott recalls that Abbott was rolled on Monday night and they had their tech run and media commitments on the Tuesday.

“We had to get up at six o’clock in the morning to rewrite and start learning it.”

I mean, we didn’t have to completely rewrite it, but we had to make a lot of changes.

How did it go?

“We pulled it off anyway. Let’s say, people were amazed.”

It’s a reaction that has kept the team going for a quarter of a century.

Buy Much Revue About Nothing, a collection of classic Wharf Revue scripts, for $25 from Book Nook. booknook.com.au/product/ much-revue-about-nothing

The Wharf Revue’s Looking For Albanese (2022)

Photo: Vishal Pandey.

Catching Peter Pan’s Stars

Peter and the Starcatcher had a profound impact on Coral Drouyn when she saw it on Broadway. Now she is excited to explore the Dead Puppet Society’s take on the show in this first Australian production.

Once upon a time the world was a kinder place, and we believed in dreams and lived in hope. We imagined Never-Never Land, but got stuck with Never Land:

Never show your emotions. Never offend anyone. Never give a sucker an even break. Never tell anyone your dreams in case they think you’re crazy.

Wouldn’t you like, if only for one night, to return to that place in your mind where childhood dreams still live, neglected and yearning for attention?

Peter and the Starcatcher can take you there, back to that place we dared to imagine; where orphan boys never age, and fairies were not cheap acrylic sun catchers you bought online. And we surely all know and treasure the story of Peter Pan and wonder how he ever found his way to immortality.

Well, this is that story.

It is 12 years since I encountered the magic of childhood again, then on Broadway, and it has taken nearly fourteen years for this miraculous show to reach us here. Six of those years were spent with Dead Puppet Society negotiating with Disney Theatrical Group, and convincing them that this was the time, and the company and the vision to bring the show to Australia.

Six years is a long time in anyone’s life, let alone that of an inner child. Nicholas Paine, Creative Producer at DPS, never gave up the quest and now PATS (as it is affectionately known), is set to hit our stages in a national tour. It brings with it not just a renewed faith in the ability of theatre to uplift us and touch us emotionally, but a

magic box full of special effects and puppetry that wouldn’t have been available if the show had reached us earlier. Perhaps the long delay has worked to our advantage. DPS certainly thinks so, as Nicholas Paine tells me.

“We can’t say that this will be the biggest production to date, but we’re certainly coming at it in a way that hasn’t been done before. Dead Puppet Society has approached the script with playfulness and a whole lot of theatrical magic. Performers are cast not just as characters, but as an ensemble that brings the whole world of the play to life. They move set pieces, light the action, and wield puppets right before audience eyes,” Nicholas said.

“There’s all sorts of different styles and techniques of puppetry used alongside the human performers in this show, from super simple shadow puppets to large scale objects focussed on spectacle, and finely crafted creatures designed to mimic their real-life counterparts and trick you into believing they’re living, breathing animals.

These objects allow us to expand the scope of the story and the world it takes place within; the seas and skies and forests of our version of Peter and the Starcatcher are no longer empty. Just like everything else in this show, our puppets are loaded with effects and technologies that will keep the audience guessing as to what they might do next, and whether it will be down to their own imaginations, or some wizardry that one of our artists is about to pull.”

But a special show needs more than staging to take us on a magical journey. With a cast that includes the

Peter And The Starcatcher

dashing and charismatic Colin Lane bringing to life the character we now know as Captain Hook, here called Black Stache (it rhymes with panache), and Paul Capsis, one of our most revered stage artists as Slank, not to mention the fabulous Pete Helliar as Smee (oops, I got excited and mentioned him), how could we not take flight with Boy (long before he became Peter Pan), played by Otis Dhanji, in a quest to reach that awesome destination? And Alison Whyte, one of our best-known actresses, and the wonderful Olivia Deeble as Molly, a re-imagined Wendy, a young starcatcher, join the other luminaries who provide the light and help us to fly so high.

Let’s not forget the music, for PATS is a musical, or a play with songs and live music…or both. Imagination leaves all the options open. But where the NY version used only a piano for accompaniment to Wayne Barker’s delightful score and songs, DPS has once again explored new territories. Nicholas excitedly explains:

“In terms of the music and live band, our Musical Director James Dobinson thought about the most colourful combination of sounds we could achieve with the personnel we had, while keeping the seafaring flavour of the original score by Wayne Barker. The original production was scored for piano and percussion (with two moments of ukulele). In our version, the percussion is split off to actors onstage with pieces they can carry and then expand the sound to the world of traditional folk and military bands. So, with the idea that all the sounds could be found on a ship, James has landed on piano, violin, guitars, harmonium and

Premiering at Canberra Theatre Centre in October, followed by seasons at Arts Centre Melbourne, Adelaide Festival Centre, Sydney’s Capitol Theatre and QPAC. peterandthestarcatcher.com.au

percussion, with a few sneaky synth moments when we need to expand to a bigger language for example, when we’re departing England, or when onstage magic is happening. It’s truly beautiful!” said Nicholas. It’s not difficult to understand the childlike excitement the producer has for this very special show. I remember leaving the performance twelve years ago choked with emotion and a renewed joy for life, and seeing a grown man blowing his nose, redeyed from crying, such is the impact this magical night of theatre brings. If you aren’t genuinely moved and excited; if you don’t feel somehow transported to another time and place where everything is possible and imagination is the only border, then

you really have missed the point. I’ll leave it to Nicholas to explain.

“Handheld planks can become the corridors of a tall ship, but that same ship might also be represented by an incredibly detailed, fully functional model, so laden with technical tricks that it almost defies the imagination. That’s just one example. Making this show has been about building a process that constantly searches out ways to top each moment; to hold the hands of the audience as we build an imaginative world together while keeping back theatrical tricks that ultimately bring that world to hypercolour life before their eyes at just the right moment. We promise it won’t be like anything you’ve seen before!”

That’s one promise you can count

Online extras!

Director and designer David Morton discusses the creation of PATS. youtu.be/FCZhgDvgXhU

on. Peter and the Starcatcher is not a children’s show for adults to yawn through. It’s a show for the child within each of us, even if we have hidden that child from the prying eyes of the world for years; or, even worse, hidden from ourselves.

As a song from the original Disney Peter Pan (Jule Styne/Comden and Green) says,

It’s not on any chart, You must find it with your heart, Never-Never Land.

Good luck on your journey. It’s a wonderful adventure and you will love your time there.

David Morton at Dead Puppet Society’s workshop.

Photo: Dean Hanson.

Creative development for Dead Puppet Society’s Peter And The Starcatcher

Set model for Dead Puppet Society’s Peter And The Starcatcher

Puppet development for Dead Puppet Society’s Peter And The Starcatcher

Photo: Dean Hanson.

In The Spotlight

With Les Solomon

Having seemingly taken a half a lifetime, at long last Dear Evan Hansen is coming to Australia.

For a show that was the hot tip at one stage to re-open the Theatre Royal, it was beginning to seem like it would never get here. Why has it taken so long? The show opened on Broadway late in 2016 (after extensive out of town try-outs) having begun its life with an idea as early as 2012.

One of the reasons for the long wait for Evan was COVID-19, which closed both the West End and Broadway versions of the show in the midst of that dark, ugly period of nothingness. There was, however, another reason why the show took so long to get here, and that was the movie version.

Rushed into production in 2019, supposedly to grab the enthusiasm for the stage show, it bombed badly at the box office. There were reasons for this, most notably that the massive fan base that had supported the stage show felt Broadway star Ben Platt was too old for the leading role. He was only a couple of years older than he had been for his last live show, but some odd make-up choices in the film and the more mature roles that Platt

had undertaken on hit streaming shows (e.g. The Politician) made people feel he had matured beyond the role.

Add to this the fact that the film substantially changed the story, added new songs, took songs out and played with the ending of the film by creating a sub plot that never sat well with audiences for the character of Connor.

It should also be noted that the film was released early in the postpandemic period and it did much damage to the stage show when the word got out that the movie just did not work. This helped close the show a little earlier in both major theatre centres (again coupled with the problems of the return from COVID19 for theatre) and I feel these factors substantially slowed down its arrival in Australia.

With the movie now well and truly out of the way (and hopefully forgotten) it’s time for Australia to see the show. The Sydney Theatre Company and producer Michael Cassel have been correct in waiting

for the time to be right, and, judging from the massive interest in box office sales, their timing has been perfect.

The show has also found an interesting choice for its leading man in Beau Woodbridge, who has the “son of” tag as a result of his famous tennis playing father Todd. I am sure Beau would have probably won the role anyway as he has shown since childhood what a promising music theatre star he is, but the family association doesn’t hurt. The supporting cast is led by the original Mary Poppins herself Verity HuntBallard.

So, to the show itself, with music and lyrics by the genius team of Benj Pasek and Justin Paul.

I had the distinct pleasure of hosting Benj and Justin when they did a show in Sydney prior to performing at the Adelaide Cabaret Convention some years ago. At that time they were new, green and raw in their early musical choices, but even then Evan must have been floating around in their minds.

They refer to the show as being the culmination of everything they have done, and this new team, surely the Rodgers and Hammerstein of this generation, have since proved their worth with both an Academy Award and a Tony Award (the show won six Tonys in total in 2017).

Like the rest of the magical creative team that brought this story to life, the idea was always to make a musical that spoke to the current younger generation while still making sure that it was never marketed as just a musical for teenagers.

The provocative ideas and themes explored within the show quickly make it clear that it successfully taps into today’s zeitgeist, but also inspires and appeals to an older market.

The hero of the show’s success from the beginning has been lead producer Stacey Mindich, who has slowly and carefully nursed the baby that is Evan and who could see from her early meetings with Pasek and Paul that their show was tapping into, and had a specific understanding of, the younger generation of today.

Dear Evan Hansen Roslyn Packer Theatre, Sydney from 12 October, Playhouse Theatre, Arts Centre Melbourne from December 14, Canberra Theatre Centre from February 27, 2025, Her Majesty’s Theatre, Adelaide from April 3, 2025. dearevanhansenmusical.com.au

Using that generation’s obsession with social media and the whole variety of aspects of computer dominated living, the musical is propelled by a story of a teenager, who, through a series of unusual and unexpected circumstances, suddenly goes from a lost soul “waving through the window” at all his peers, to finding fame (ill-gotten as it may be) as a result of the power of the internet and all it could offer today’s younger generation.

They also had problems with how to make Evan likeable, despite the fact that from the outset the audience know he is basing his fame and adulation on a lie associated with a tragic teenage suicide.

The stage play succeeds in spades in doing this (and the fact the movie often fails to make Evan likeable was another reason for its poor reception). On stage, Evan is centred amid a whirlwind of a world, almost as if he is in the middle of a giant computer dictating his life.

The production team, under the genius direction of Michael Grief, enabled the show and the central character to take the audience with

him into dark places, but always with the words of the show’s hymn-like hit song “You Will Be Found” never far away.

The song itself has become an anthem for a generation looking for hope at a time of great social and political upheaval. Its spirit and message of hope through darkness is what takes Evan to a place that ultimately offers a form of rejoicing in the question so many young people have today is it all worth it? The answer of the show is a strong and resounding “Yes”.

To conclude with the words of Benj and Justin, “we want young people to know that a sense of isolation is a temporary thing and whatever pain you feel, you can use it to help yourself and save yourself. So many wonderful musicals we know did that for us and to think that this show might have the potential to do that for someone else, that’s the most meaningful thing of all”.

The Australian production, originally set mainly for Sydney, has now exploded into a national tour. Yes, Evan and his friends will be with us for some time.

Beau Woodbridge. Verity Hunt-Ballard.

David Spicer spoke to composer / writer Paul Hodge ahead of Queensland Theatre’s season of new musical Round The Twist.

Australian supernatural TV series Round The Twist is becoming a musical this year, penned by prolific Brisbane/New York based Dr Paul Hodge. It’s his second new musical to premiere within a matter of months.

Have you ever, ever felt like this? Have strange things happened, Are you going round the twist?

David Spicer: For those not of the generation who watched the Australian TV series (with its catchy theme song), please tell us a little about the show?

Paul Hodge: Round The Twist tells the story of the Twist family single dad Tony Twist and his three children Pete, Linda and Bronson who move into a lighthouse where strange things happen (as the iconic theme song says). Each episode in the first two seasons is based on a whacky short story from beloved children’s author Paul Jennings.

DS: What did you like about the series as a youngster?

PH: I loved how fun and bizarre the stories were, but it also had a lot of heart. Each episode would swap which of the Twist kids was the protagonist, so it allowed a lot of different people to invest in the show. I was the youngest child and the same age as Bronson, so I most identified with him and his silly antics.

DS: How challenging is it to translate the supernatural aspects of the series (mermaids, ghosts, history) to a stage production?

PH: Well, as Alain Boublil, writer of Les Misérables frequently said to me, “that is a director’s problem!” Simon Phillips and our amazing creative team have come up with some incredible ideas using a combination of very traditional and cutting-edge stage techniques to bring the magic to life.

DS: You’ve got the rights to the jingle from the TV series. How have you blended the music you are composing to match this?

PH: The theme song was my touchstone for the sound world of the show. I wanted to make sure that the music felt like one whole and that the theme song and the rest of the score lived in the same world. The theme song also plays an important part in the plot of the show.

DS: Is there an episode/episodes you are basing the story on or something new?

PH: The show is a combination of multiple episodes from the TV show, infused with new ideas that form the spine of the show to hold the different episodes together. Paul Jennings went through a similar process of adaptation when adapting the disparate short stories into the TV show.

DS: Can you give us a little sneak peek without spoiling it?

PH: I think one of the most famous episodes is “Without My Pants” and I can assure you, it’s in there!

DS: Would you like to tell us a little about the cast and creative team you have on board?

PH: Simon Phillips is our director, and he is the most experienced directors of new major musicals in Australia, so we are privileged to have him steering the ship. We have an amazing creative team and cast, the majority of whom are from Queensland, which is very gratifying for me as a Queenslander. The thing I am most excited about is that this show will be a great showcase for a lot of younger performers. Plus, we have three great kids alternating the role of Bronson and I think audiences are going to fall in love with them.

DS: This year you have had not one but two new Australian musicals open (Black Box being the other), which is an incredible achievement. How did they both come about?

PH: Well, that is a long story for each of them! The idea for Black Box came in the more common way that I stumble across ideas. I read an article talking about the Australian who invented the black box flight recorder that is now on every plane.

With Round The Twist, I had wanted to write a musical that I could bring my whole family to (I have a lot of nieces and nephews) and had been searching for a story to adapt. There’s an episode of Round The Twist where the youngest Twist child, Bronson, saves up the stink of his feet for six months to use as a weapon to save a turtle. Each time he uses this power he says, “up the pong!”

One day my mum was changing my nephew’s nappy and she said, “ugh that’s a pongy nappy” and my brain immediately said, “up the pong!” And that’s how the idea for the musical came to me. It feels highly

appropriate that a smelly nappy inspired the musical adaptation of Round The Twist. So, this show was always designed to be something you could bring the whole family to and I’m very excited that a new generation will get to experience this show that is so iconic to a whole generation of Australians who grew up watching it in the 90s and early 2000s.

DS: And are you working on other new musicals/operas at the same time?

PH: I am! I’m working on several other things, but two of my main focuses are a show about The Great Emu War, where the Federal Government went to war with emus and lost (the story is told from the point of view of the emus because history is written by the victors) and a show about the woman who invented Kabuki.

DS: Do you sleep very much?

PH: I try to get 8 hours, but don’t we all!

DS: You live between New York and Brisbane. What opportunities do both cities offer you?

PH: New York has so much going on all the time in terms of things to do and Broadway shows to see! It also has a very developed infrastructure for developing new musicals. I think the quality of life in Brisbane is absolutely amazing and it will always be home for me. And in

terms of theatre, Brisbane audiences are very generous and hungry to see new work and embrace it. Round The Twist is also a story about home, with the Twists living in a rather unusual home a lighthouse. So, I couldn’t be more thrilled for the show to premiere in my home, Brisbane.

Round The Twist The Musical Queensland Theatre from November 12 to December 1. queenslandtheatre.com.au

Paul Hodge.

Photo: Kurt Sneddon.

A New Ike For Tina

Giovanni Adams is a fresh face on Australia’s theatre stages, having stepped into the role of Ike Turner in Tina - The Tina Turner Musical. Grace Cooper speaks to Adams about his first big break down under, and to Ruva Ngwanya, who is heading to her hometown of Melbourne after more than a year of touring as Tina.

The Tina Turner Musical

Ruva Ngwenya and Giovanni Adams in Tina - The Tina Turner Musical

Photo: Daniel Boud.

Giovanni Adams was born and raised in Mississippi, the same state Ike Turner grew up in. A strong family connection to culture and religion is what got him into performing.

“The black church especially is a very performative space. The music and the exuberance; a lot of my uncles were pastors, and my grandmother would have me going to church.’’

This journey and passion for performing arts allowed a platform for Adams to express himself.

“Around 2016, I was experiencing a lot of different changes in my life. Our country was undergoing a series of changes and there was a lot of social unrest. I started to look at what that looked like in my own personal life.

“At the time I was coming out to my family. I had only dated women, and I had fallen in love with a first guy that I had a crush on, who was working on a play with me. That play became Love is a Dirty Word, the first production I wrote that became a play, and it did well.”

Love is a Dirty Word opened many opportunities for Adams; through the production of this play he became acquainted with people who worked at the Berkeley Graduate School of Journalism.

Soon after, Adams was invited to teach classes at this journalism school. His focus was on the power of personal stories in writing and video reporting.

The writers’ strike in America at the time made it difficult for Adams to get creative arts opportunities in Los Angeles, so he made the decision to move to Australia to be closer to his partner after COVID-19.

“I was bartending at the Australian Open. That was my first job in Melbourne. And then I booked a commercial with my agents here, which was fun. Then Tina was the second job that I booked.

“My agent, Dase, was looking at a number of projects for consideration, and we were just so excited because Tina has always been a huge favourite of my mum’s. It was really cool because I’m from the same place as Ike Turner, who I play in the show.”

Adams’ mum, who was in Australia at the time of the auditions, assisted him throughout the process.

“It was very meaningful for her to sit with me as I read lines and to give me her two cents in terms of how I was portraying my accent. For Australian audiences she felt like I was cleaning up my accent a little bit too much.”

And after he landed the role, Adams says, “It was really special to be able to call my mom up and be like, ‘Hey mom, remember I was auditioning for this role. Yeah, I got it!’

“Getting cast in this musical was a bit like coming back to the theatre as well; working with a company of actors telling an amazing story has made me feel like at I’m home, like here in Australia.

“Because of this show, I’ve been able to see so many different parts of Australia, which has also been amazing.”

I asked Giovanni why he thinks, as a person of colour, and someone who’s from the same state as Ike, that its important he play this character.

“I’ll be sitting in a cafe in Melbourne with my partner, and I will hear an artist from home, who’s black and I’ll be the only black person there.

“I think what’s so amazing is that through this show, Australian audiences have an opportunity to learn a bit more about a black artist who a lot of Australians love, though they may not know about her origins. By telling Tina’s story, an artist that a lot of Australians know through the Nutbush and through her amazing campaign with the NRL, you learn a bit more about her.

“You learn about the things that she had to go through and the people that supported her and the people who tried to hold her back. Through learning her story, learning more about her culture, you can have a deeper appreciation for her music.”

Adams and Ruva Ngwenya, who plays Tina, connected through their common experiences and backgrounds.

“When I first met him, we just sat down and had really good conversations about life and what it’s

like being you, and being black, and being a performer, and moving to Australia,” Ngwenya said.

“It was really just about getting to know each other and very quickly realising that we had very similar experiences.”

Adams started playing the role of Ike Turner in Brisbane and will continue for the rest of the season, with Melbourne being the last city of the tour.

Ruva Ngwenya is touring to her hometown for the final leg of the tour.

“That’s where the journey began for me; that’s where I started performing. So, to be a star and be in a show in my hometown is the bucket list for me.”

Tina is a huge role for Ngwenya, and keeping herself show fit for an extended national tour is a key focus for her.

“The routine I take every day when do I talk? When do I stop talking? What do I do before a show? After a show? What can I do outside of a show? My whole life is kind of geared toward the show.

“That means that I’m able to perform like a machine, like an Olympic athlete. I create a schedule that works and stick to it.”

Both Ngwenya and Adams adore this show and believe its importance has increased after the passing of Tina Turner in Switzerland, shortly after the Sydney opening.

“We now have a new purpose in that we honour her every day on stage, and we celebrate her life. And you’re performing something that they had written themselves and had a hand in, so it really highlights that you’re doing something for her memory and for her legacy,” said Ngwanya.

“I just hope that people come to see the show and that they have a deeper appreciation for Tina and in some way leave feeling inspired about facing the challenges in their own lives, knowing that they can overcome those challenges and that they leave dancing and smiling,” said Adams.

Tina - The Tina Turner Musical Princess Theatre, Melbourne from September 21. tinathemusical.com.au

Debora Krizak takes us behind the scenes of the art of pantomime, as she prepares to take the stage as the wicked Queen Grismalda in Snow White.

Lately I’ve barely had the chance to look into the mirror, let alone cast a spell, as anyone in musical theatre land knows that Sydney has plenty of new shows coming up in 2025. I’ve been dividing my time between audition prep, teaching, my care support work, gigs and the newest addition to my CV officiating funerals!

Amongst all this, I was cast in my first pantomime. I was thrilled when I heard that OzPanto was coming back to Australia with their new production of Snow White. Under the direction of Bonnie Lythgoe, Snow White hits Riverside Theatre this September, starring Eliza Sunderland, Barry Pearl, Tim Maddren and yours truly.

Whilst I have been a fan of OzPanto’s productions, I’ve never performed in a pantomime before, so I was keen to delve into this ancient art form and learn as much about it as I could.

Pantomime and musical theatre are both forms of theatrical performance but differ significantly in style and tradition. Pantomime is a form of theatre that is particularly popular in the UK and other Englishspeaking countries. It features a blend of comedy, music, and dance, and is usually performed around the Christmas season.

Pantomime has a tradition of involving audience participation, with the audience often encouraged to interact with the performers. The plots are typically based on fairy tales or folk stories, and there’s a strong emphasis on slapstick humour, crossdressing, and topical references.

Musical theatre, on the other hand, is a broader genre that includes any theatrical performance where dialogue, music, and dance are integrated. Musicals can vary widely in style and content, ranging from lighthearted comedies to serious dramas.

The music in musical theatre is central to the storytelling, and the performances often involve complex choreography and elaborate staging.

Musicals are performed year-round and can address a wide range of themes, from romance to social issues.

In summary, while both involve music and performance, pantomime is a specific, often seasonal form of theatre with a unique tradition of audience interaction and comedic elements. In musical theatre, we often refer to this style of performance as “breaking the fourth wall”.

The origins of pantomime can be traced back to ancient Greece and Rome, where it was an integral part of theatrical performances. The Greek “Pantomimus” was a performer who used gestures and movements to narrate stories from mythology and daily life, often accompanied by music and dance.

This early form of pantomime laid the groundwork for later theatrical traditions by emphasising the importance of physical expression. The modern incarnation of pantomime, especially in the context of British theatre, began to take shape in the 18th and 19th centuries.

Later, pantomimes became characterised by their use of familiar stories and characters, such as Cinderella, Aladdin, and Jack and the Beanstalk, alongside contemporary references and interactive segments that engage the audience.

It was in the year 2010 in North Hollywood, Los Angeles, when Bonnie, and her son Kristopher Lythgoe first began producing pantomimes. At the El Portal Theatre, Snow White also was also the theme. Along with Cinderella, Snow White is the most popular pantomime show of all.

Since then, Bonnie has produced annual pantomimes throughout many cities, including one season where Ariana Grande played the title role of Snow White.

Four years later, Bonnie ventured to Australia, launching OzPanto in 2014 at the majestic State Theatre in Sydney with the wonderful Magda Szubanski and Jimmy Rees starring. This year marks the 10th anniversary year of producing pantomimes in Australia.

While the British make it a Christmas winter tradition, in Australia this time of the year is usually dominated by outdoor activities, so her seasons are held midyear in our colder times.

“We adore the Australian audiences as they really get the concept of panto just the same as the British audiences. The parents, as well as the children, have a glorious two hours and join in just as much,” Bonnie told me.

“Pantomimes are often geared towards families and children, with performances designed to entertain and engage audiences, both young and old; an experience that any member of the family, from ages 4 to 104 can come together and enjoy. It’s the most entertaining two hours of spectacle, comedy, music and story, featuring recognizable characters, such as the hero, villain, and the comic relief that comes with the interactive performances and comedy”.

Bonnie’s love of Australia doesn’t stop with producing. She’s also been a judge on So You Think You Can Dance and continues to adjudicate national competitions here, nurturing both younger and older dancers alike.

Her own career started as a dancer on UKTV, performing with many iconic artists, including Gene Kelly, and she also featured in the film To

Sir with Love with Sidney Poitier. Her partner and fellow producer, Christopher Wood, devises and writes the scripts for OzPanto, having previously worked on over 400 shows throughout his career.

“Christopher loves to make sure that the fairy tale story is told. He has been so enraptured with the Australian audiences children in particular as they love to hear and follow the story. Christopher makes sure that this is the case with the scripts he writes. He also likes to make sure there are current and popular local references in the script, for both kids and the adults. Having the right blend of current popular songs as well as presenting new, original songs is also paramount,” said Bonnie.

Pantomime’s significance extends beyond its entertainment value. It serves as a bridge between cultures and generations, offering a universal language of movement and emotion that can be appreciated by diverse audiences.

The art form’s reliance on physical expression and improvisation allows it to adapt and resonate with contemporary themes and issues, ensuring its relevance in modern theatre.

Moreover, pantomime has influenced various aspects of performing arts, including dance, film, and television.

Its emphasis on physical storytelling and visual humour has inspired choreographers, filmmakers, and comedians, who have incorporated some of these pantomime techniques into their own work.

Pantomime is a unique and powerful art form that demonstrates the timeless ability of physical expression to connect with audiences and continues to adapt and inspire. It

Snow White Riverside Theatres, Parramatta from September 7 to 21. riversideparramatta.com.au

remains a vibrant testament to the universality and enduring appeal of performance art.

Personally, I can’t wait to sink my teeth into that red apple and bring

some of that indulgent fun back to our Sydney stages.

Joining the cast of Snow White at Riverside will be Sir Cliff Richard and Kyle Sandilands as the pre-recorded Magic Mirrors.

Behind The Scenes

With Debora Krizak

Debora Krizak as Wicked Queen Grismalda in Snow White

Theatre Building Bonanza

There’s no business like the theatre building business, with every mainland capital city either constructing or planning new performing arts venues, or re-vitalising existing ones. Adelaide, Brisbane, Canberra, Melbourne, Perth, Parramatta and Sydney are sharing in the spoils. David Spicer reports.

Adelaide

The safari suited Premier Don Dunstan famously championed the construction of the Adelaide Festival Centre complex during the 1970s, and it has been home to city of churches’ multitude of festivals ever since.

The Malinauskas Government is more fashionably attired these days and has announced an upgrade to the centre’s three theatres to follow suit. The Festival Theatre, Dunstan Playhouse and Space Theatre will receive new seats, lighting and staging. A plaza outside the theatre complex will also be spruced up and safety will be upgraded.

The three theatres will close in July 2025 and are scheduled to re-open early the following year. Events will be transferred to the award winning renovated Her Majesty’s Theatre.

Brisbane

The future Olympic City has long frustrated producers because it has only one lyric theatre at the Queensland Performing Arts Centre

for big musicals. It has meant that Brisbane has missed out on seeing many shows, while also complicating touring schedules.

All that will change next year when a brand new 1500 seat theatre finally opens, seven years after it was first announced, with building work delayed when the site was flooded.

Online extras!

Watch a retrospective on the Adelaide Festival Centre’s cultural impact youtu.be/b6SZ5V_2Yx4

national touring circuit, forcing its citizens to trek to Sydney or Melbourne to see most blockbusters. Under the concept drawings released by the Government, a new 2000 seat lyric theatre would be built for musicals, opera and ballet. Other theatres in the centre would also be upgraded.

An extra 260 performances a year are expected to take place, while the theatre will become the new home for the Queensland Opera and Queensland Ballet.

A distinctive feature of the building will be a rippled glass façade, while there will be two new studios below the theatre, and a single balcony auditorium with enhanced audience sight lines. Iconic First Nations artwork is planned for the foyer.

Canberra

It’s still only on the drawing boards, but the ACT Government has ambitions to redevelop the Canberra Theatre Centre. The public service town has long struggled to get on the

Melbourne

After 40 years of continuous performances, the State Theatre, Arts Centre Melbourne closed this year for renovations and is scheduled to reopen in 2027. The upgrades will introduce new lifts, aisles in the stalls and circle, and accessible seating in the stalls.

When the upgrades are complete, audiences are promised they will experience greater comfort, and technology upgrades in sound and lighting.

Whilst one door has temporarily closed, another has opened. The Arts Centre has added a new performance space, The Show Room. The 150-seat studio theatre will feature productions

Adelaide Festival Centre.

Online extras!

Discover the redevelopment plans for Parramatta’s Riverside Theatres youtu.be/k5owVYetYQA

from independent artists and established companies such as the Australian Ballet.

Parramatta

A 1500 seat Broadway-style lyric theatre with First Nations inspired interiors is the hallmark of the winning design for the $188 million redevelopment of Riverside Theatres at Parramatta in western Sydney.

The winning design, led by COX Architecture with 3XN Architects, Aileen Sage, Turf Design Studio, and Bangawarra, will more than double Riverside Theatres’ current capacity to 2,780 seats, welcoming more than 400,000 visitors per year.

Along with the new 1,500-seat lyric theatre, the venue will include a refurbished 760-seat Riverside Playhouse theatre, an all-new 420 seat black-box drama theatre, a stateof-the-art 80-seat digital studio and cinema, and enhanced public spaces.

Riverside is scheduled to close next July, with the upgrade expected to take at least two years to complete.

Perth

The Western Australian Academy of Performing Arts is moving to a new city campus in 2026, bringing up to 300 additional public performances a year to the Perth CBD. These will comprise student performances, but venues will also be available for hire during major arts festivals.

A three-storey fly-tower will be incorporated into a new playhouse theatre.

The 60,000 square-metre Edith Cowan University City Campus will feature a dynamic digital media façade, activated streetscapes and laneways and an immersive entrance that envelops the Perth Busport.

Sydney

The operators of the Sydney Lyric Theatre are about to open the first of what they hope will be two new performing arts spaces in the complex which houses The Star Sydney Casino.

The Foundry Theatre is a new multi -purpose venue, accommodating audiences of 630 people standing or 360 seated, that has been carved out of the loading dock for the Lyric. It’s described as a space with soaring

ceilings, minimalist interior design and dynamic lighting that allows an audience to sit, stand or dance.

Stephen Found, the owner of both the Lyric and Capitol Theatres, has also received planning approval to convert The Star’s 4000-seat event centre into a two-level 1550-seat proscenium arch theatre, and a 1000seat live room for contemporary music, comedy and cabaret nights.

When I last spoke to him about this project, he said that it would proceed when a suitable builder was found for the development.

Elsewhere, on Sydney’s northshore, The Concourse in Chatswood has launched The Lounge, a flexible live performance venue with a 300seat capacity in cabaret style and state -of-the-art facilities including highend lighting, audio and visual technology.

Metro-Minerva

There are renewed hopes Sydney’s Metro-Minerva Theatre in Kings Cross will be saved following news that the art deco building has been purchased by arts philanthropist Gretel Packer.

The 1500 seat theatre, which opened in May 1939, had previously been earmarked for redevelopment as a hotel.

Following Gretel Packer’s purchase of the building the speculation is that it will be restored as a fully functioning theatre.

Industry insiders say a lot of work is needed to make it viable, so theatre fans should not expect to see a show there anytime soon.

An artists’ impression of the revamped Riverside Theatres, Parramatta.

An artists’ impression of the revamped Arts Centre, Melbourne.

Midnight Murder At Hamlington Hall

On the opening night of a new play, seven members of an amateur theatre company’s cast go down with the dreaded lurgy. In this excerpt from the farce, written by Mark Kilmurry and Jamie Oxenbould, the cast press on to stage the murder mystery. Juggling nerves, props, and absurd miscasting, will they manage to pull it off? Or will everything go horribly, terribly and awfully wrong?

SHANE: If things really go off the rails and we need to discuss something without the audience knowing… just say the safe word and we’ll convene under the portrait.

KAREN: What’s the safe word?

BARNEY: Mines “Ouch”…which doesn’t always work

KAREN: Amsterdam!

PHILLIPA: Pineapple!

[THEY all call out some ridiculous words at once.]

ALL: Cuttlefish…Boob Tube… Werewolf…Backgammon…Help… Help me!

SHANE: No, it has to feel like it’s part of the play. Just say “I’m parched”. [THEY all agree. Good choice.]

SHANE: Ok, come together team.

[SHANE gathers them in a circle. KAREN goes to leave.]

BARNEY: Uh uh…you’re one of us now.

[KAREN joins the circle.]

SHANE: Now, we’ve got this, right?

KAREN: Is that a question?

SHANE: [more confidently] Sorry. No. We’ve got this right.

BARNEY: Course we do. Have faith. And those council bastards will love it

PHILLIPA: What does that mean?

BARNEY: Oops, sorry mate.

PHILLIPA: What’s he talking about Shane?

SHANE: [seriously] It’s nothing… look…I didn’t want to worry you all but the council’s here…

watching, and…kind of deciding the company’s fate tonight.

PHILLIPA: Motherfuckers. Sorry…it’s P.I.P.M.

KAREN: What?

PHILLIPA: Panic Induced Potty Mouth.

KAREN: Right

SHANE: Budget cuts.

BARNEY: You’re right they are a bunch of…

SHANE: We’re expendable, the arts always are…

BARNEY: They want to turn it into some sort of sweat shop??

SHANE: It’s all fine. If we just give them a good old show…like we always do…they’ll see what we do is worth hanging on to.

KAREN: Want me to make a call? I know some people who…

SHANE: NO! No…we just go on with the show…be amazing…and cross our fingers. And remember, Golden Rule…we NEVER GO OFF SCRIPT.

BARNEY: Weeeell…

SHANE: Never Barney!

KAREN: And remember Jenny Caccielli’s party will start dead on 10.00 next door. And having seen those speakers arrive, it’s going to be loud.

SHANE: If nothing goes wrong, we’ll be done by then. [SHANE takes a big breath. Delivers his heroic speech.]

SHANE: Now…we…all of us here at the Middling Cove Players…are

Published by Currency Press. Available for $24.99 from booknook.com.au/product/midnight-murder-at-hamlington-hall

storytellers. We are part of a tradition of show folk. Tonight we face adversity. But we will not take a backwards step. It won’t be easy. Good art. True art never is. But tonight is our night dammit…our opening night. And by thy hook or thy crook…the show…

ALL: …WILL…GO…ON!!!!!!!

[Upbeat music transition. ALL of them madly get the stage ready for the show. KAREN pushes the last bits of furniture in to place. Final props etc.]

KAREN: OK guys, half an hour… twenty-five…no twenty minutes to beginners!

[KAREN leaves and a spotlight lands on the Pringles can that BARNEY left on stage earlier. Blackout.]

Ensemble Theatre’s world premiere of Midnight Murder At Hamlington Hall (2023)

Photo: Prudence Upton.

It is 100 years since French fashion designer Gabrielle ‘Coco’ Chanel created her first ballet costumes for Le Train Bleu, danced by Diaghilev’s Ballets Russes. The experimental work was inspired by the first Paris Olympic Games, and Coco had only designed her very first stage costumes two years earlier at the age of 39! However, creative reinvention was c’est naturel for this enigmatic creator. Serendipitously, in this Olympic year, Queensland Ballet is presenting a new ballet, Coco Chanel: The Life of a Fashion Icon, choreographed by Annabelle Lopez Ochoa, with artistic collaboration by Nancy Meckler, an original score by Peter Salem, and set and costume designs by Jérôme Kaplan.

Beginning to channel Chanel Annabelle (our choreographer) and I sought inspiration from the Chanel exhibition at the Palais Galliera in Paris. It was astounding to see dresses from the 1920s that would not look out of place today. We realised that Coco’s style was ‘less is more’ or to quote Coco, “Simplicity is the keynote of all true elegance”. Then, when you look closer, you see that her designs also gave women the freedom to move as they broke away from unbearable corsets.

Coco broke down barriers because her designs could be worn by any woman. And that also helped us to highlight Coco’s social and historical significance. Coco was ahead of her time. She loved to wear men’s clothes and take inspiration from the men in her life. So, as well as the women’s

Fashioning An Icon

Jérôme Kaplan shares with Beth Keehn how he created the essence of Coco Chanel for the stage ahead of Queensland Ballet’s production of Coco Chanel: The Life Of A Fashion Icon.

dresses, I looked at what her male friends would have worn exmilitary; British tycoon; polo player. I wanted to use distinctive colours for each of the main characters so the audience could easily recognise them.

When it came to the costume designs, instead of replicating Chanel, I created a visual impression. While the hand-finished details on haute couture dresses can be appreciated up close, a stage costume has to be seen from the back of the theatre as well as the front row.

Creative collaboration

I always start by creating mood boards for the sets, but also for the costumes, and this helps to clarify discussions. Then I build a model and design the first costumes. We move forward side by side, sharing our ideas as much as possible until the premiere. Visual ideas can come from the choreographer, and staging can come from my work. Everything is interwoven, and of course we have the very important participation of the choreographer, the dramaturg and the composer as well.

Telling a story through set design

For the set design, I drew inspiration from an unlikely source a bottle of Chanel No. 5 perfume. The original design hasn’t changed much in more than 100 years, and its timelessness was inspiring. The ballet’s first act is designed in off-

Coco Chanel: The Life Of A Fashion Icon

At the Playhouse, QPAC from October 4 to 19. queenslandballet.com.au

white and black lines. This pays homage to the perfume’s famous box. I used the staircase in Coco’s apartment in Paris as a key element of the stage design it is an abstract space that can be used to tell her story.

Also, Paris is a backdrop to the ballet…one that is invisible on stage but always present. Coco opened her first boutique in Paris and spent her entire life there. But what’s so surprising? Paris was then, and still is, the capital of fashion and luxury.

A guiding quote from Coco, ‘Queen of the Quips’ Chanel’s very avant-garde and clear vision of elegance brought her success but did not protect her in her private life. She was not lucky in love, neither in her childhood, nor with her successive lovers. For me, Coco Chanel is a person with a fascinating destiny, but ultimately a very sad life. Coco was an extraordinarily modern woman and very ahead of her time. Some of her famous quotes are: “Fashion always moves forward; there is no going back!”

“A woman can be overdressed, but never over elegant.”

“It’s difficult to allow women to move easily, and not feel disguised.”

“I take away: I take away everything that I put on and that I find useless.”

And all of this is so true!!

Hong Kong Ballet’s Coco Chanel: The Life Of A Fashion Icon

Photo: Tony Luk.

Pinocchio For Grown Ups

Melbourne audiences will have the chance to enjoy the mainstage Australian premiere of My Son Pinocchio: Geppetto’s Musical Tale. David Spicer spoke to two of the leads, Rachael Beck and Daniel Lim.

It’s not very often you speak to a thirteen-year-old boy and find out he’s playing lead roles in three musicals within the space of a few months.

Year 7 student Daniel Lim barely had time to talk to Stage Whispers as he was in rehearsals for the role of The Artful Dodger in Oliver! at his high school, is playing Bert in a junior production of Mary Poppins with a community theatre company and had scored the professional lead of Pinocchio

Performing Arts “is quite big in my life” Daniel told me with more than a little understatement.

“Monday, I do dance, Tuesday dance, Wednesday dance and singing (and so forth)…I am very, very busy.”

The teenager has already had two professional engagements in his young life playing an Otter in The Wind in the Willows and Young Elvis in Elvis: The Musical Revolution

“I am most excited about Pinocchio. It’s a new experience, as I get to act like a puppet. I like how much freedom (the role) gets. It’s kind of like me.”

Also in the show, being produced by Melbourne company Your Show, is seasoned musical theatre star Rachael Beck as The Blue Fairy.

She says there are aspects of this adaptation which are more appealing to adults than the original fable (first written in 1883 by Carlo Collodi) about a father’s creation of a wooden puppet whose nose grows when he lies.

“It is less about Pinocchio’s journey to becoming a more responsible child, which was the original arc of the story,” she said.

“It is about the father (Geppetto) and other people in the play. Their growth and expansion in finding true love and accepting someone for who they are. It is also about accepting your own foibles.”

The musical is based on Disney’s made for television movie Geppetto

As in the TV film, when Pinocchio runs away to become a star in Stromboli’s puppet show, Geppetto must negotiate through a maze of adventures and comic encounters to find him.

There are songs composed by Stephen Schwartz, as well as the classics “When You Wish Upon A Star” and “I’ve Got No Strings”.

The Blue Fairy is the narrator of the musical.

“She is cheeky, performs all the magic, and has four fairies training under her as well. She’s a got a real attitude,” said Beck.

Beck is looking forward to the role, which is a change of pace from her most recent professional engagements in Next To Normal and Barnum

She’s stepped back from national tours in recent years to look after her two teenage children, while testing the waters as a director.

Daniel Lim is enjoying having a foot in both nonprofessional and professional theatre.

“In a high school show you get to perform with your school friends and there is more time to rehearse. In professional theatre the experience is great fun and you get to meet new people.”

My Son Pinocchio: Geppetto’s Musical Tale Presented by Your Show at The Round, in Nunawading, Victoria from September 28 to October 3. mysonpinocchio.com.au

My Son Pinocchio: Geppetto’s Musical Tale Photo: Annis+Barton.

Vale Ray Lawler (1921-2024)

The writer of Australia’s most celebrated play Summer of the Seventeenth Doll passed away at the ripe old age of 103. Susan Mills from the Seaborn, Broughton & Walford Foundation looks back at his remarkable life.

Raymond Evenor Lawler AO OBE was born in the Melbourne suburb of Footscray on 23 May 1921. The second of eight children, his father was a council worker, and the family was decidedly working class. He left school at the age of 13 to work as a factory hand at an engineering foundry. In an interview with Stage Whispers in 2011, Ray Lawler recalled, “there was lots of daydreaming because it was so mechanical it left your mind free.”

As a young man, he developed a fascination with the theatre. “God knows how I got interested in theatre, because I was one of eight kids, and we had no theatre in the family. I started to go on my own, to see plays, whatever it was that Williamsons were putting on,” Lawler said in the same interview.

This interest led him to amateur theatre, studying acting at nights, and taking voice lessons with Lorna Forbes, a long-time Shakespearean actress with the touring Allan Wilkie Shakespearean Company (particularly working on softening his broad Australian accent as, “that was the first thing you had to do if you wanted to be an actor.”)

When World War II broke out, his work at the factory increased when it was mobilised for war production, meaning many night shifts. “That drove me to writing more than acting.”

Ray Lawler’s first play to be performed, Hal’s Belles, produced by the Melbourne Repertory Club, opened on 29 September 1945 at the Melbourne Repertory Theatre in Middle Park. Hal’s Belles marked the professional stage debut of a 19-yearold Frank Thring Jr. It sought to answer the question of what would happen if a modern-day Henry VIII met his wives in the present day.

Hal’s Belles was a success and was transferred to Gertrude Johnson’s National Theatre in Eastern Hill. Lawler stayed with the National Theatre, acting in several of their drama productions. His own plays also continued to be produced there, including Brief Return and Storm in the Haven

In 1948, Lawler landed his first paid professional theatre job, as assistant to Will Mahoney, who with wife Evie Hayes presented revues at the Cremorne Theatre in Brisbane. Lawler performed a medley of duties, from stage manager, to adapting sketches and writing lyrics, to acting as the straight man to Mahony’s comedy character. He stayed for a year, crediting this period of his life for meeting characters that would be the inspiration for the sugarcane cutters in Summer of the Seventeenth Doll.

Lawler returned to Melbourne and a job which combined office work and acting at the National Theatre. His play Cradle of Thunder, reported in the newspapers as being written in a public library, won the National Theatre Movement’s Commonwealth Jubilee Play Competition, and opened at the Princess Theatre in April 1952 as part of the National Theatre’s Festival of the Arts. He directed and played the part of Cully, a Welsh seaman.

It was in 1954 that Ray Lawler joined the Union Theatre Repertory Company (now the Melbourne Theatre Company) initially acting, then directing. The company had been founded by newly emigrated English stage manager and director John Sumner.

Early in 1955, the Playwrights’ Advisory Board advertised their fourth ‘stage play competition’ for Australian writers, with a winner’s prize of £100 donated by refrigerator manufacturer and philanthropist Sir Edward Hallstrom. The joint winners that year were Ray Lawler’s Summer of the Seventeenth Doll and Oriel Gray’s play

The Torrents

In 1955, John Sumner had joined the Australian Elizabethan Theatre Trust as the General Manager in Sydney, but he was granted a leave of absence to return to Melbourne to produce and direct Summer of the Seventeenth Doll

Sumner had already directed Ray Lawler as an actor in various Union Theatre productions. The Doll was the first Australian-authored play to be presented by the Australian Elizabethan Theatre Trust, founded in September 1954 to “provide a theatre of Australians, by Australians, for Australians.”

The Doll was first performed at the University of Melbourne’s Union Theatre on 28 November 1955. Ray Lawler played the role of Barney, a Queensland sugarcane cutter who returns every year to Melbourne with fellow cane cutter Roo (Noel Ferrier),

to visit their barmaid girlfriends, Olive (June Jago) and Pearl (Roma Johnston). The setting, themes and accents were strikingly Australian and naturalistic.

“I always used to write a part for myself because I was very short, and I knew there wouldn’t be anyone else. So, while I never wrote a leading role for myself, it was always something decent,” Lawler told Stage Whispers.

The reviews for Summer of the Seventeenth Doll were very positive. Under the headline ‘Trust play is great success’, the Argus newspaper reported, “He has written a play so superbly true to Australian thought and the Australian scene, that theatrical conventions disappear. ‘Barney’, ‘Roo’, ‘Pearl’ and ‘Emma’ are real people. We know their faces, their voices we share their dreams, we understand their failures.”

Summer of the Seventeenth Doll opened in Sydney on 10 January 1956 at the Elizabethan Theatre in Newtown. It was summer and there was no air-conditioning, and the full house audiences sweltered, but again the positive responses showed how the play resonated with Australian audiences.

The cast was significantly changed, with Lloyd Berrell as Roo and Madge Ryan as Pearl, however Ray Lawler still played Barney and June Jago played Olive. The play then embarked on a 13 -week country tour of NSW and Queensland before returning to Sydney.

As well as being a local success, Summer of the Seventeenth Doll is considered the first Australian play to make an impact overseas. It opened in the UK, starting its tour in Nottingham on 8 April 1957, then playing Liverpool and Edinburgh, before opening in London on 30 April 1957. Much of the Sydney cast performed in this production.

The programme contained an insert, written by Ray Lawler, to explain Australian seasons, distances and climates, as well as definitions of a few key pieces of Australian slang. The Australian voice was well and truly on stage.

Idina Menzel returns to Broadway in Redwood, beginning performances at the Nederlander Theatre on January 24. Jesse (Menzel) seems to have it all a successful career and devoted family until a life-altering event drives her far from everyone and everything she knows. When she finds herself at the foot of the redwoods in Northern California, a chance encounter and a leap of faith will change her life forever. Redwood (book by Tina Landau, music by Kate Diaz and lyrics by Kate Diaz and Tina Landau) explores the lengths and heights one travels to find strength, resilience and healing.

Based on the 1992 film, Death Becomes Her (featuring a book by Marco Pennette and music and lyrics by Julia Mattison and Noel Carey) begins previews at the Lunt-Fontanne Theatre on October 23. Madeline Ashton (Megan Hilty) is the most beautiful actress (just ask her) ever to grace the stage and screen. Helen Sharp (Jennifer Simard) is the longsuffering author (just ask her) who lives in her shadow. They have always been the best of frenemies…until Madeline steals Helen’s fiancé away. As Helen plots revenge and Madeline clings to her rapidly fading star, their world is suddenly turned upside down by Viola Van Horn (Michelle Williams), a mysterious woman with a secret that’s to die for. After one sip of Viola’s magical potion, Madeline and Helen begin a new era of life (and death) with their youth and beauty

restored…and a grudge to last eternity.

Tammy Faye, seen in the West End in 2022, plays at the Palace Theatre from October 19, with Katie Brayben reprising her Olivier Award winning performance in the title role, alongside two-time Tony Award winners Christian Borle and Michael Cerveris. It’s the 1970s. Satellites broadcast Tammy Faye Bakker the charismatic wife of pastor Jim Bakker into homes across America. Together, they build a nationwide congregation that puts the fun back into faith. But, even as Tammy dazzles on screen, jealous rivals plot behind the scenes, threatened by her determination to lead with love.

Tammy Faye features music by Elton John, with lyrics by Scissor Sisters’ Jake Shears, a book by James Graham, With a book by John Logan and a score by folk-rock group The Avett Brothers, Swept Away begins performances at the Longacre Theatre on October 29. When a violent storm sinks their whaling ship off the coast of New Bedford, Mass., the four survivors face a reckoning: how far will they go to stay alive? And can they live with the consequences?

Swept Away is inspired by the Avett Brothers’ 2004 concept album Mignonette, which was itself inspired by the story of the 1844 shipwreck of that name.

As mentioned last edition, Audra McDonald will star in a revival of Gypsy at the Majestic Theatre from November 21, while Nicole

Scherzinger reprises her multi awardwinning West End portrayal of Norma Desmond in Sunset Boulevard at the St James Theatre from September 28. A cast recording, recorded live at London’s Savoy Theatre in 2023, will be released to coincide with the Broadway opening.

Looking forward to 2025, other musical revivals headed to Broadway include Floyd Collins and The Last 5 Years in March, along with a Jazz Blues version of The Pirates of Penzance in April.

Bernadette Peters and Lea Salonga will encore their London performances in Stephen Sondheim’s Old Friends at the Manhattan Theatre Club from March 2025.

September is looking hectic for new plays on Broadway. Oscar winner Robert Downey Jr will star in Ayad Akhtar’s McNeal, Jez Butterworth’s The Hills of California transfers from the West End, David Henry Hwang’s Yellow Face makes its Broadway debut, while Julianna Margulies and Peter Gallagher star in the romantic comedy Left on Tenth, by Delia Ephron, based on her own memoir. Then you can also throw into the mix the first Broadway revival of Thornton Wilder’s classic Our Town in 20 years, starring four-time Emmy winner Jim Parsons, and a re-imagined Romeo + Juliet starring Kit Connor and Rachel Zegler.

November promises Jonathan Spector’s Eureka Day, following its acclaimed London production, and Leslye Hunter’s new play Cult of Love

Redwood at La Jolla Playhouse, 2024.

Photo: Little Fang Photos.

Let’s Put On A Show

How To Create A Successful Ensemble

Blending a cast into a cohesive team is a challenge for any director. Playwright Steve Pirie shared his tips with delegates at the 2024 Drama Queensland conference, as edited by Isabella Nocetti.

Step 1: Create A Purpose

Aim to cast the spell, empower the artistry, and connect your artists with the story.

Theatre has the power to bring people into a vision of something new, exciting and engaging. To guide an ensemble through this process, think back to moments where you felt the spell of theatre take you. What was the hoy you felt, where did it come from, and how can you lead with this at the front of your mind for an ensemble? In the early days of your process together, you lead the culture in the room until you find a common ground together. Be open to transformation in the space.

There are many outcomes that can come from theatre, and these outcomes shift and change as objectives change manage your expectations accordingly. Is the purpose of this group coming together for training, performing or a blend?

Step 2: The Venue

Model the respect you have for the rehearsal room with your ensemble. Everyone is responsible for the physical space itself. Whether you find yourself in a fully equipped rehearsal room or a community hall before the local karate class takes over, establish as a group how you want to take care of this space. Keep furniture and clutter to a minimum, return things where you found them. You might think this is a redundant point, but the simple quiet ritual of sweeping a space together becomes a part of the language you develop together.

Step 3: The Audition Process

Find people who value working in teams, are open to change, are dedicated to the process of collaboration, and enjoy what they’re doing.

We’re rarely gifted with an abundance of time during a rehearsal process and working with large groups of people there’s less time in

the rehearsal space to get to know people. As a starting point, working from archetypes is a shorthand to understanding the mechanics of an ensemble’s needs. You might need Rebels, who are good observers, hold their own opinions and excellent leaders against a common struggle. In classroom settings, skeptics are common those who we think are a disadvantage with their hesitance, but who could be analytical and pay close attention to detail. Skeptics can make excellent dramaturgs. When it comes to a group’s energy, Sparks boost morale and take on responsibilities as rewards rather than burdens. If these don’t work for you, work from what you know. Are you an astrology fan? Meyers-Briggs? Use what you know to find balance in your ensemble. In an audition process, we’re not just looking for ability and suitability, but whether people are capable of simply being in a space together, listening and responding. A way to figure out who those people are is by

Steve Pirie with the cast of Queensland Theatre’s A Dream Play (2023)

hosting simple consent-based exercises at the beginning of an audition and seeing who is open to the idea of the exercise and enjoying it, and who may need time to process. People who are comfortable saying yes (and no) when it’s needed is the mark of an ensemble member with potential.

Step 4: The Mise En Place

The pros and cons of writing an original play or using a play text.

Existing texts:

Pros: An existing text allows you as the director to apply your vision with the ensemble’s assistance. This is not a new work, but something that has been rigorously developed. Good for you!

Cons: Selection of the play is not a democratic process. Finding work for your cast size is rarely spot on this is particularly true in large settings such as classrooms or after school organisations where there may be many more people in the ensemble than the work calls for. Cast your work creatively.

Devised work:

Pros: Ownership of ideas: for better and for worse, it’s your idea. Devised or new work allows access to the full scale of talents from the

ensemble. Creating something from nothing is intensely rewarding and can allow your ensemble to shine in a way they may not be able to in other works.

Cons: Remember when I said we rarely have enough time? This process needs time. Not only that, but it can also be easy to doubt yourself without knowing your idea is proven. You’re in uncharted territory make sure you allow your ensemble to sit in the scariness of making something new, but not for too long. Lead them out of the darkness, you visionary, you.

Step 5: The Hosting

Devoting time to building an ensemble helps host one’s event. There’s that word again. Time. Allow space for your cast to get to know each other, and you. Make sure you’re giving your attention to each ensemble member. Remember, you are curating their experience as much as yours in a rehearsal process. It’s like any good dinner party know when to let moments breathe in the night, when you’re not needed as the host, and when you need to nudge the night along.

My Favorite Project

As someone who’s worked with young people learning their craft for a good part of my career, I’ve never failed to be impressed by their insight. One particular group I was assigned was packed with deep thinkers who loved to talk about the big things. When deciding what I wanted to give

to them to perform, I wanted to challenge them to perform something impossible. I ended up adapting a version of A Dream Play, by August Strindberg. A play famously referred to as unstageable, the text is a mystery to most who pick it up, and the name tells you so after all, the impetus is to place a dream on stage in front of an audience. I was open with my cast of young performers about the height of the mountain I wanted them to climb. I spoke about the play’s Expressionistic roots, and how that philosophy of image and feeling and spirit seems to be coming back in today’s age of Big Mood. They took complete ownership of it. It was a mountain to climb. They supported each other, and me, to get there.

When I look back on it, the show itself by my own standard was okay (it might surprise you by now, but I would have loved more time). But in this context, it doesn’t matter what it is to me. It was for them.

That cast has grown up a little more now. A lot of them are studying some are studying acting, some are living their lives down other paths. I hope that they remember how doing this production and how being in this ensemble made them feel to be part of something that they made together.

When we boil it down, we tell stories in a space with people, for people. That’s it, really. And creating a small, impermanent community of storytellers is something I’d always make time for.

Steve Pirie is a writer, theatre maker and youth arts worker currently based in Brisbane. He was winner of the 2020-21 Queensland Drama Award. His published plays Return to the Dirt, 3 O’Clock Flagpole and Jane and Kel Go To Hell are available from booknook.com.au.

Steve Pirie.

Lambs

For two years, an Adelaide youth theatre company workshopped stories about teenagers lying about their age to enlist in WW1, creating a production described as having exceptional professionalism and dedication. Barry Hill spoke to director/writer Sean Riley and designer Kim Liotta.

The Story

Sean Riley: “I read a true story about a NSW schoolteacher who overheard one of his favourite students telling his classmates that he was going to enlist (in WWI) illegally in another town. His teacher said, ‘I’ll come with you, and we’ll go together.’ So (both) signed up, and then the teacher went back to tell the boy’s parents. They told him, ‘You’d better make sure you bring him back!’ So, I dropped this concept on my youth theatre group who were excited and primed. That was two years ago!”

Riley said the play took audiences from a fictional town of St Jude “to

No Man’s Land, an army hospital behind the frontlines, northern France and the trenches.” It also shared the perspective of female characters and explored the lives of those left at home.

The boys’ stories were brought to life through a mix of soliloquies, dialogue scenes, period-accurate costuming, an original soundtrack and film projection.

Developing The Work

I asked Sean how members of his drama academy, aged 7 to 23, took on a challenge of a new work with such serious subject matter.

“With the company, we always develop work. It’s very rare I bring a script in. I like developing it over a long time.”

He went on to explain, “Most companies do ‘quick fixes’ (shows in short periods of time), but I’m not into that good work takes time! Discussions went backwards and forwards, so that when the script was written it was not alien to them. They had improvised scenes which I linked together, and they spring-boarded from that. So, it became a sense of ownership.”

Cast Experience

“The range of cast experience was varied. Some of the students had never performed before and getting close to the performances they were like ‘rabbits in the headlights’. They didn’t know basic stage terms like ‘curtain call’ or footlights. In fact, one of the boys thought it must be a light, shaped like a foot!”

Rehearsal Period

Naturally there were some changes as the show evolved over the years; one boy’s voice broke and the cast grew in stature. However, Riley was not concerned. “It was their ownership; they were in it! They had improvised it for two years. The cast did not worry me at all! In the rehearsal room I would say, I want to start a rehearsal in five minutes total silence, I turned around, and they were all ready!”

The Design

The discussion then turned to the design of the play, which was a combination of Kim Liotta’s set and the students’ filming and soundscape. There was a pile of chairs on one side of the stage that was scaled several times by the narrator a little boy.

Free Agents Youth Theatre’s Lambs (2024).

Director’s Diary

Lambs

Presented by Free Agents Youth Theatre. Goodwood Theatre and Studios, South Australia, June 13 to 15.

Liotta described the concept of his design.

“The world has exploded, and everything is a mess. I wanted to also signify something spiritual up high, but I found out a week before that the boy playing the narrator was afraid of heights. So, I made little handholds for him to hang on to and feel safe. I adapted the set to suit. I even put him in little ballet flats so he could feel what was under his feet. I also wanted the light to come through the structure, so that there would be a halo sort of effect.

“I wanted to keep it simple because the projections (created by students) were so good (they included a country town, battlefield and inside a farmhouse). My philosophy is to recycle everything. I didn’t buy anything new as there is so much waste in theatre. The only thing I hired was the nurse’s outfit, because it would cost more to make than to hire.”

The uniforms came from the Keswick army barracks (WW1 collection). When asked how they got them to fit the kids, Sean was quick to reply, “All the uniforms were small and heavy. It was an amazing resource.”

Student Reaction

I was interested to hear any feedback from the students after the production.

Sean told me, “It was a turning point because when you’re with young people, what they achieve means everything. One of the boys was very soft at the beginning of the process. At the end he declared that he learnt to be loud!”

Another boy feels it has cemented his desire to be in the acting world. One of the students did all the film editing work and the composer was 15 years old. After reading the script he asked for ideas and “then every week for next three weeks, he (delivered soundscapes) and it was performed just as he presented it. It was immaculate!”

Finally, I asked if there were any surprises during production. Both Sean and Kim had their share. They observed that their students’ confidence developed as the show progressed and they kept getting better.

Sean said, “One night the screen went blank and there was three minutes of technical error, and you felt the cast galvanise…they lifted the energy.

“My surprise was that it was so professional, and they were so supportive…they were an ensemble.”

Conclusion

A gut-wrenching moment for me was the boys calling for their mothers when faced with the barbarity of war.

Lambs was a landmark in youth theatre that packed a massive punch emotionally and visually, with a message that is still relevant today. As was written in the program, “Behind the work is the failure of adults to protect children. And World War I is the example of that.”

Riley’s writing and direction was sensitive and ‘in your face’, bringing to life the innocence of children, the horror of the trenches where boys fought and witnessed atrocities alongside grown men, and their return to a country forever changed by war.

So, what can other companies learn from this ground-breaking youth theatre company? Sean puts it best when he says, “My big thing is emotional truth, that’s what I spend most time on…I want for the audience, when they come and see our show, that the experience is above and beyond…it’s the energy and joy!

Free Agents Youth Theatre’s Lambs (2024).

Warming Up For A Show

Mah, Meh, Mee, Maw, Moo. Brushing the Teeth. Slides Hum to Open Vowel. The Range Rover on Ah. The Apple Nah Twang Triads. These are all warmup exercises on a new album.

Music theatre performers across Australia are using a new tool to fuel their show-stopping performances.

If you have ever been backstage in the theatre during the half hour before a musical begins, you will know that each performer has their own routine before the show starts.

Many actors are full of superstitions: don’t say good luck, only break a leg; knock three times on the door when leaving the dressing room and God forbid if you whistle!

These can vary for every actor but one thing everyone actor does is a vocal warm up. To help performers warm-up their voices, musical theatre performer Queenie van de Zandt has teamed up with her long-time friend, fellow performer and Sydney singing teacher Beth Daly to create an album of singing and vocal warm-up exercises to help professionals and amateurs alike develop their vocal skills.

The album, Singing & Vocal WarmUp Exercises, features a collection of exercises designed to help performers develop their vocal range, pitch and control vibrato, as well as develop a healthy belt.

Queenie was inspired to create the album after using Beth’s exercises in her own training and seeing remarkable results.

“I am a self-taught singer who only had a handful of lessons in my life, but luckily those lessons were

with my friend Beth Daly,” said Queenie.

“Beth is not only a brilliant musical theatre performer and writer but also one of Sydney’s most sought-after singing teachers. I loved Beth’s exercises; they really helped me develop my range, stamina and most importantly my belt!

“So, when I began teaching myself, I used her exercises and then

vocal expertise of Queenie and Beth. Having these exercises on hand is a wonderful tool for any singer,” said Lucy.

“Excellence in all performance training requires preparation and exercise specificity and vocal training is no exception,” explains Dr Debbie Phyland, Voice Medicine Australia’s Speech Pathologist & Voice Consultant, who regularly works with

developed them further with my own students. Both our students started asking for a copy of the exercises, so Beth and I decided to record an album together and Singing & Vocal Warm-Up Exercises is the result.”

The album has received glowing reviews from industry professionals across Australia, such as Lucy Maunder, currently playing Roxie Hart in Chicago:

“You couldn’t be in safer hands than with the incredible skills and

performers on shows such as Moulin Rouge and Mamma Mia!

“These excellent exercises will not only have you ready to sing well but are sure to increase your vocal fitness over time too!”

So, whether you’re a ‘have a warble in the shower’ kind of singer or ‘you bring the house down in Hamilton’ kind of singer, Singing & Vocal Warm-Up Exercises can help you develop your voice to be the best it can be.

Scenic Studios

Pavla Chaloupka reports that Scenic Studios has over 200 handpainted backdrops available for hire.

Scenic Studios specialises in scenic painting of custom backdrops and theatre scenery. They recently painted some canvas forest ‘legs’ for Queensland Ballet’s Coppélia production. They also manufacture scenic paints and hire scenic backdrops around Australia for schools, small theatre organisations and live events.

Scenic backdrops give depth to the scene and allow for lighting tricks, creating the atmosphere you desire for your performance. They have standardised the size, 12m wide x 6m drop, to fit most theatres and school auditoriums. Productions available and listed on their website under backdrop hire include Charlie and the Chocolate Factory, Mary Poppins, Wicked, The Wizard of Oz, Beauty and the Beast, Annie, Frozen and Alice in Wonderland

Themes available include ballrooms, forests, skies and cut cloths. They also have sequin drapes, slash curtains, lame curtains and crush velvet drapes.

By hiring their scenic backdrops you are supporting the art of scenic painting and helping the environment. Why make it from scratch when you can hire it, and nothing will end up in the landfill?

They paint with their own manufactured Scenic Paints which are acrylics and designed to paint theatre backdrops, scenery and stage.

The paints come in 0.8L, 2.2L,4L and 10L or 15L. They also have special effects products like membrane, texture and glazes. They ship scenic paints and scenic backdrops Australia wide. Their paints and backdrops are made in Melbourne, Victoria and are environmentally friendly.

Purchase paints and hire backdrops from Scenic Studios at scenicstudios.com.au

Queensland Ballet’s Coppélia.

Photo: David Kelly.

Scenic Studios’ canvas painting for Coppélia.

They are a growing and popular phenomenon around Australia, particularly in winter months. One outdoor festival which was literally on fire was Taste Sorrento in Melbourne. David Spicer spoke to the chamber of commerce that commissioned it and Outlook Communications who ran it.

Whether it is the VIVID drone show in Sydney, which attracted crowds so large that it left the city with pedestrian gridlock, or regional and suburban centres, free mid-winter festivals are taking off.

For traders on the Mornington Peninsula, winter is ‘brutally’ dead, and never more so as the freezing chills sink in during June when daylight hours are shortest. So last year the local chamber of commerce revived Taste Sorrento, a celebration of local produce, services and experiences.

“Taste Sorrento is banner. It’s not just food and beverage, but the gallery had events, there were movies, MasterChef at the RSL and the launch of new retail products,” said Sorrento Chamber of Commerce President Krysten Le-Marshall.

The main attraction was a Winter Solstice Fire Night on the foreshore, under the full moon, which combined fire, street stalls and live music.

Jack Jones from Outlook Communications said, “The pinnacle of the evening was the lighting of a six-metre Burning effigy, symbolising the transition from the longest night of the year to the promise of summer’s return.

“The effigy, created by Sculptor/ Fabricator Derek John from djprojects and ‘& Gallery Australia’ featured a steel structure with timber slats for burning. The design means Burnie will make a return every year with a new timber suit ready to burn.”

The chamber of commerce was delighted by the turnout and the thirty-minute highlight of the effigy, that ‘burned perfectly’.

“There were lots of fires on the foreshore and performances leading to the ignition. We had three to four thousand people attend. The whole town came to life,” said Le-Marshall.

“Every vendor sold out. When the beer ran dry, the pub offered [replacement] slabs.”

The Chamber of Commerce is now planning to make it a weekend celebration next year and has its eyes on a Christmas event.

For Outlook Communications, setting up the event was a major undertaking requiring a bump-in on one day, 150 hours of labour and no environmental impact.

The company filled two x 3 tonne trucks with sound and light gear, two generators, a six-metre by four-metre trailer stage, and it worked with Blaso Pyrotechnics to supply 12 fire cannons.

“As it is outside and was just a massive site with limited security and masses of people, it was very hard to keep track of equipment. All our lighting equipment was from Beamz

Pro and was up-rated just in case we had a few showers throughout the day,” said Jones.

“The remote lighting away from the stage was all battery operated so we did not have to create any safety risks by running power cords everywhere.”

With big, ticketed music festivals on the decline, the free community events are becoming an alternative source of work for the industry.

“We look forward to our continuing relationship with the Chamber of Commerce into the future.

“The next outdoor festival that Outlook is proudly supporting is the Murtoa Big Weekend festival from October 4 to 6.”

Taste Sorrento Festival.

All photos: Nic Roberts.

R James Entertainment is a family business comprising owner and lead builder/designer Ross James, his wife, seamstress extraordinaire Helen, who is responsible for the creative collection of costumes, with Laryssa Anger joining the team in an administration and supporting creator role. It’s a small business that cares about your production like it was their own.

There are over 20 full sets available for hire, with endless pieces of other sets and props in their sheds. Need a typewriter from the early 1900s? Absolutely! A park bench? No problem! A vintage telephone, suitcase, sword, throne, or lamppost? Easily done!

One of the most impressive sets in the collection is Charlie and the Chocolate Factory, with a light up

Family Builds Sparkling Sets And Props

What started out as a hobby after retiring as Technical Manager at the local theatre, has turned into a successful business, with sets and costumes hired to theatres and schools from Cairns to Melbourne.

hydraulic lifting glass elevator, selfdrive chocolate bar and bathtub vehicles, a double story Bucket house and a full stage design of colourful LED arches.

Some other stand out pieces include The Little Mermaid grotto, with three separate destruction tricks built in; Priscilla Queen of the Desert with programmable LED screen; a double story, reversible Legally Blonde Delta Nu sorority house with balcony for quick change; and a full set of 3D printed Lion King masks.

Some of the sets are created with multiple trucks that move on and off, like the Matilda set, which includes living room, bathroom, bedroom, Crunchem Hall gates, library and Miss Honey’s house.

Contact R James Entertainment to discover how they can help with sets, costumes or prop hire for your production sethire.com.au

Other sets are created to be stationary, such as the Mamma Mia! set, with the full island hotel facade including balconies for the Dynamos and only a revolve to reveal the inside of the bedroom. The hire also includes a few additional pieces and full stage cloths.

With full costume collections for Grease, Little Mermaid, Shrek and Les Misérables to name a few, as well as an endless wardrobe of pieces in between, you’ll be hard pressed to find a show the team at R James Entertainment can’t help you with.

High School Musical Brilliance

Crockett explains how Inspired Productions helped a high school take a giant leap in quality, scale and sophistication.

Chevalier College in the NSW Southern Highlands recently staged a production of High School Musical that left audiences buzzing with excitement.

One of the most impressive aspects of the production was the innovative use of technology: particularly the use of an LED screen and DPA headset microphones.

Using DPA headset microphones allowed for crystalclear sound, ensuring that every line, every note, and every nuance of the students’ performances could be heard with perfect clarity. The use of headset microphones for every cast member was a new concept for a Chevalier’s musical. They were supplied and operated by the professional team from Inspired Productions.

Unlike traditional setups where performers are often constrained by handheld or stationary mics, the headset microphones provided freedom of movement, enabling the cast to fully immerse themselves in the energetic choreography and dynamic staging.

The most striking feature of the production was the massive LED screen that served as the digital backdrop for the entire show. This screen displayed custom-created visual content that transported the audience directly into the world of High School Musical

Director Joshua Combes, Head of CAPA at Chevalier College, was the mastermind behind this digital spectacle. His vision content was an integral part of the storytelling,

adding layers of emotion, context, and atmosphere that traditional sets could never achieve.

For each scene, Combes custom-designed digital background content to evoke scenes of high school hallways, karaoke competitions, and incorporated video content which the characters on stage could interact with. One such moment was when the character of Sharpay signed up for auditions; their writing appeared digitally on the LED screen background.

The vision content also gave the audience insight into the thoughts and feelings of the characters, including showing a playlist of the songs running through the characters’ heads and images of their future aspirations.

Immersing the audience in the characters’ journeys was at the forefront of Combes’ design vision, so much so that the audience joined the cast for an electric karaoke competition during the finale and bows.

Though the design took many months to achieve, it left the audience with a lasting impression and added to the energy and spectacle of this technically savvy show.

This production was also remarkable for its learning opportunities. Students were given the unique chance to work alongside the Inspired Productions team, gaining invaluable experience in the technical aspects of theatre. From operating the lighting to managing microphones, students were trained in a variety of technical roles,

Leah

learning the intricacies of live production in a real-world setting.

This collaborative approach not only empowered the students with new skills but also deepened their understanding of the complexities involved in staging a professional-quality show.

The seamless integration of advanced technology, coupled with the hands-on training provided by Inspired Productions, together with a talented, passionate cast, resulted in a show that rivalled professional theatre productions.

Chevalier College’s High School Musical set a new benchmark for the school and showcased the best of what student performers and dedicated technical teams can achieve together.

Inspired Productions invite you to get in touch with them to unlock the full potential of your next show. With their state-of-the-art technical equipment and expert operation, Inspired Productions can help transform your vision into a spectacular reality.

Elevate your production to professional standards, captivate your audience, and showcase your talent like never before with Inspired Productions. info@inspiredproductions.com.au inspiredproductions.com.au

Get noticed on the Stage Whispers website with a premium listing at a great price stagewhispers.com.au/directory-central

Chevalier College’s High School Musical All photos: Steven Foster.

TryBooking’s Tailored Ticketing

Jeff McAlister explains how the company has introduced new features to serve local theatre productions.

TryBooking, a trusted partner for local theatres across Australia, has a longstanding history of supporting the performing arts community with affordable and accessible ticketing solutions.

TryBooking offers a transparent pricing structure, of a low 50c ticket fee and a 2.5% processing fee, and an array of features tailored to meet the unique needs of theatre venues. These include:

 Flexible Seating Plans: TryBooking’s seating plan options cater to any venue configuration, whether you have a dress circle, a mezzanine, cabaret-style seating or a combination of them. Our platform allows for customers to choose the seats most suitable for them to have the best experience possible.

 Access Codes: A new feature on the platform is passwordprotected events for presale access, allowing members to book their preferred seats before tickets go live to the public. If you have any season ticket holders, they can reserve their special seats using custom passwords, adding a

personal touch to their theatre experience.

 Gift Certificates: A valuable tool for boosting revenue, TryBooking allows theatres to create and sell gift certificates directly through their websites. These certificates can be redeemed only for the company’s future TryBooking events. This is a flexible alternative to promotion codes for sponsors, special offers, and even as a refund option.

 Box Office Solutions: TryBooking’s box office solutions offer two convenient options. New is our Box Office App that allows staff to accept in-person payments via phone or tablet, sending receipts

and tickets electronically for a paperless experience. Alternatively, our Box Office Web works on any device, and can be paired with a terminal to print tickets on-site. Both solutions integrate seamlessly with TryBooking’s Scanning App, providing centralised reporting across all sales, including merchandise, food, and drinks.

TryBooking’s Australian-based support team is readily available to assist theatres to set up their ticketing services, ensuring a smooth and efficient process from start to finish. As a company committed to the arts, TryBooking continues to innovate and provide the tools necessary for theatres to thrive.

Kevin Liu from Transtage explains how straightforward it is to assemble your own theatre seating riser.

Creating a seating riser for your theatre or performance space has never been easier than with Transtage’s modular stage panels. Unlike permanent seating, which can be expensive and limited by building constraints, the Transtage seating solution is budget-friendly and quick to set up.

Our modular stage sections are designed with flexibility in mind, offering various height options. Much like building with LEGO, you can configure your seating to the exact length and height required to fit your space. The system allows for easy expansion or reduction by simply adding or removing panels as needed.

Assembly is a breeze no need for professional builders or tradespeople. In fact, most of our customers can set up seating for 80 to 100 people in just a few hours. Transform any space into a stunning venue with Transtage’s Modular Seating Riser.

No theatre?

No problem!

Tips from Theatre Star for transforming any space into a performance area.

Transforming your classroom, multi-purpose room, or gym into a temporary performance space can be accomplished with a few straightforward techniques. Using portable drape support systems is a convenient method to swiftly alter your setup and maintain versatility. These systems can be adjusted to serve as backdrops, flats, masking, and photo backdrops.

Instaframe - Expandable Pop Up

Portable, lightweight, and suitable for hanging curtains or backdrops. Instaframe stands come in a variety of sizes and can be used vertically and horizontally. Ready-made drapes are available flat or pleated and are easily interchangeable with custom drapes or backdrops.

Telescopic Drape Supports

If you need to vary the width and height for different applications, then telescopic drape supports are a versatile and easy-to-assemble and disassemble solution that you can pack away after use.

Fixed Tracking

Tracking is a more permanent solution which we can tailor to the requirements of a venue, especially for larger spaces with higher ceilings or roofs.

Get in Touch

Theatre Star offers a variety of products and services to meet your needs, and their experienced and committed team are happy to provide advice and site inspections.

the Theatre Star website to view their product range and take advantage of current promotions. theatrestar.com.au

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MTIA’s Student Guide To Arthur Miller

As we approach the 20th anniversary of Arthur Miller’s passing, Music Theatre International Australasia takes a moment to reflect on the plays that all students should perform and study.

Miller’s works offer timeless and universal themes that resonate with audiences across generations and cultures. These themes include the struggle for identity, the consequences of personal and societal pressures, and the moral complexities of human nature.

The Crucible, set during the Salem witch trials, serves as a powerful allegory for the dangers of mass hysteria and the breakdown of social order. It encourages students to critically examine issues of justice, morality, and the impact of fear on society.

Death of a Salesman provides a poignant exploration of the American Dream and the often-harsh realities of pursuing success. Through the character of Willy Loman, Miller delves into themes of ambition, failure, and the quest for self-worth.

All My Sons tackles issues of familial responsibility and the ethical consequences of business decisions. A View from the Bridge delves into themes of immigration, identity, and the often-destructive nature of obsession and jealousy.

Miller’s plays are rich in literary and dramatic techniques, offering excellent material for studying character development, dialogue, and stagecraft. Engaging with these texts can enhance students’ analytical and critical thinking skills and prepares them to engage thoughtfully with complex social and ethical issues.

His works are a testament to the enduring power of theatre to provoke thought, inspire change, and deepen our understanding of the human experience.

Explore the titles available to license from Music Theatre International Australasia at mtishows.com.au

Arthur Miller.

DSP’s Best Comedies

Theatrical agent David Spicer Productions recently compiled a list of its top ten comedies from the last five years.

1. Mother And Son

Geoffrey Atherden’s 2014 theatrical adaptation of his popular ABC series has had 10 productions in 2024.

2. The Old People Are Revolting New Zealand playwright Devon Williamson’s madcap comedy about seniors seeking revenge!

3. Agatha Crusty And The Village Hall Murders

Derek Webb’s comic murder mystery with great characters.

4. True Blue Aussie Review

Judith Prior’s medley of music, monologues, skits and short scenes loosely set at the time of a local agricultural exhibition.

5. Don’t Get Your Vicars In A Twist

Leslie Bown’s farce includes mistaken identity, cross-dressing,

drunkenness and general chaos as a theatre group take over a vicarage.

6. Opportunity Knocks

Judith Prior’s farce that blends exotic dancers and an op shop.

7. Australia Day

Jonathan Biggins’ comedy set in a committee.

8. The Outback Debutante’s Ball

Judith Prior’s take on a great country tradition.

9. Phantom Of The Music Hall

Judith Prior’s classic about the efforts of a theatre company to convince the phantom residing in their old White Chapel Theatre that their production of Cinderella is a melodrama.

10. Agatha Crusty And The Health Spa Murders

Derek Webb continues the murder mystery spoof in a health spa.

Choosing A Show

Geraldton Grammar School’s The Outback Debutante’s Ball (2014)

Bankstown Theatre Company's Agatha Crusty And The Village Hall Murders

Photo: Grant Leslie.

On Stage A.C.T. & New South Wales

A.C.T.

August: Osage County by Tracy Letts. Free Rain Theatre Co. Sep 4 - 14. ACT Hub at Causeway Hall. freeraintheatre.com

Chicago. Book by Fred Ebb & Bob Fosse. Music: John Kander. Lyrics: Fred Ebb. John Frost for Crossroads Live, Jones Theatrical Group in association with Barry and Fran Weissler. Sep 7 - 29. Canberra Theatre. canberratheatrecentre.com.au

Slap. Bang. Kiss by Dan Giovannoni. Melbourne Theatre Company. Sep 11. The Q - Queanbeyan Performing Arts Centre. theq.net.au

Make Some Noise. The Listies. Sep 13 & 14. The QQueanbeyan Performing Arts Centre. theq.net.au

In A Nutshell: The Poetry of Violence. Bell Shakespeare. Sep 13 & 14. The Playhouse, Canberra Theatre Centre. canberratheatrecentre.com.au

Work, But This Time Like You Mean It by Honor WebsterMannison. Canberra Youth Theatre. Sep 20 - 29. Courtyard Studio, Canberra Theatre Centre.

canberratheatrecentre.com.au

Away by Michael Gow. Canberra Rep. Sep 5 - 21. canberrarep.org.au

The Boy From Oz. Music and Lyrics by Peter Allen. Book by Nick Enright. Free Rain Theatre Co. Oct 1 - 20. The QQueanbeyan Performing Arts Centre. freeraintheatre.com

Dracula’s: Sanctuary. Newman Entertainment. Oct 4 & 5. Canberra Theatre. canberratheatrecentre.com.au

The Inheritance by Matthew Lopez, inspired by Howard’s End by E.M. Forster. Oct 12Nov 2. ACT Hub at Causeway Hall. acthub.com.au

Peter and the Starcatcher by Rick Elice. Music by Wayne Barker. Dead Puppet Society,

Glass Half Full Productions, JONES Theatrical Group and Damien Hewitt Oct 15 - Nov 3. The Playhouse, Canberra Theatre Centre.

canberratheatrecentre.com.au

Only Everything by Shell Abdoo and Berin Denham Show Within A Show Oct 17 - 26. Courtyard Studio, Canberra Theatre Centre. canberratheatrecentre.com.au

The End Of The Wharf As We Know It! The Wharf Revue by Jonathan Biggins, Drew Forsythe and Phillip Scott. Oct 25 - Nov 2. Canberra Theatre Centre. canberratheatrecentre.com.au

Nice Work If You Can Get It. Music and lyrics by George and Ira Gershwin. Queanbeyan Players. Nov 1 - 10. The QQueanbeyan Performing Arts Centre. theq.net.au

Drizzle Boy by Ryan Ennis. Queensland Theatre. Nov 1316. The Playhouse, Canberra Theatre Centre. canberratheatrecentre.com.au

Bloody Murder by Ed Sala. Canberra Rep. Nov 21 - Dec 7. canberrarep.org.au

New South Wales Hamilton. Book, music, and lyrics by Lin-Manuel Miranda. Produced by Jeffrey Seller, Sander Jacobs, Jill Furman, The Public Theater and Michael Cassel. Continuing. Sydney Lyric Theatre. hamiltonmusical.com.au

Sister Act. Music: Alan Menken. Lyrics: Glenn Slater. Book: Cheri Steinkellner and Bill Steinkellner. Additional book material: Douglas Carter Beane. John Frost for Crossroads Live. Continuing. Capitol Theatre, Sydney. sisteractthemusical.com.au

Beyond Caring by Scott Brawley & Robert Stewart. The Guild Theatre Rockdale. Until Sep 8. guildtheatre.com.au

Steel Magnolias by Robert Harling. Nowra Players. Until Sep 14. Players Theatre, Bomaderry. nowraplayers.com

The Turn of the Screw. By Benjamin Britten, libretto by Myfanwy Piper, after a story by Henry James. Craig Baldwin in association with the Hayes Theatre Co. Until Sep 15. hayestheatre.com.au

Murder by the Book by Duncan Greenwood and Robert Kay. Hunters Hill Theatre. Until Sep 15. Club Ryde. huntershilltheatre.com.au

The Curious Incident of the Dog in the Night-Time. Based on the novel by Mark Haddon, adapted for the stage by Simon Stephens. Belvoir. Until Sep 22. Belvoir Street Theatre, Upstairs Theatre. belvoir.com.au

Sunset Boulevard by Andrew Lloyd Webber, Don Black and Christopher Hampton. Until Nov 1. Joan Sutherland Theatre, Sydney Opera House. sunsetmusical.com.au

Sydney Fringe. Sep 1 - 30. sydneyfringe.com

Julia by Joanna Murray-Smith. Sydney Theatre Company. Sep 5 - Oct 12. Drama Theatre, Sydney Opera House. sydneytheatre.com.au

The Queen’s Nanny by Melanie Tait. Ensemble Theatre. Sep 5Oct 12. ensemble.com.au

Saucy Jack and the Space Vixens. Book and Lyrics by Charlotte Mann and Michael Fidler. Music by Jonathan Croose and Robin Forrest. Maitland Repertory Theatre. Sep 6 - 21. Maitland Rep Theatre. mrt.org.au

All Boys by Zavier Hazard. Every Other Theatre Company. Sep 6 - 21. KXT on Broadway. kingsxtheatre.com

Things I Know to Be True by Andrew Bovell. Armidale Drama and Musical Society. Sep 6 - 14. adms.org.au

Bubble Show in Space. Dr Bubble and Milkshake. Sep 7Oct 6 Village Green Festival Garden - Darling Harbour North Tent. sydneyfringe.com

Titanique. Co-written by Marla Mindelle, Constantine Rousouli

On Stage New South Wales

and Tye Blue. Michael Cassel. From Sep 12. The Grand Electric, Surry Hills, Sydney. titaniquemusical.com.au

Mary Poppins. Book by Julian Fellowes, adapted from the stories by PL Travers and the original Disney film. Music and lyrics by Richard M. & Robert B. Sherman, additional music and lyrics by George Stiles & Anthony Drew. Noteable Theatre Co. Sep 14 - 28. The Concourse, Chatswood. noteabletheatrecompany.com

Colder Than Here by Laura Wade. Ensemble Theatre. Sep 16 - Oct 12. ensemble.com.au

The Ghost Train. By Arnold Ridley. Adapted by Jocelyn & Nicholas Ridley. Castle Hill Players. Sep 20 - Oct 12. Pavilion Theatre, Castle Hill Showground. paviliontheatre.org.au

The Full Monty. Book by Terrence McNally and score by David Yazbek. Miranda Musical Theatre. Sep 20 - 29. The Sutherland Arts Theatre. thepavilionarts.au

Travelling North by David Williamson. Newcastle Theatre Company. Sep 21 - Oct 5. newcastletheatrecompany.com.au

Ten Years to Home by Sonal Moore. Nautanki Theatre. Sep 25 - Oct 5. KXT on Broadway. kingsxtheatre.com

Gilgamesh by Jack Symonds. Opera Australia and Sydney Chamber Opera. Sep 26 - Oct 5. Carriageworks. carriageworks.com.au

Seventeen by Mathew Whittet. WildThingProduction. Sep 27Oct 19. Seymour Centre. seymourcentre.com

Green Day’s American Idiot. PACA Productions. Sep 27Oct 12. Zenith Theatre, Chatswood. paca.sydney

Frankenstein by Mary Shelley, adapted by Nelle Lee. Shake & Stir and John Frost for Crossroads Live. Sep 28 - Oct 13. Theatre Royal, Sydney. frankensteinlive.com.au

What did it feel like when you were seventeen? What’s it like to be seventeen now? Joyful and profound, Matthew Whittet’s Seventeen tells the story of a group of high school students, experiencing something we all remember well, the last day of school for ever. Playing at Seymour Centre from September 27 to October 19. wildthingproduction.com

Tinkerbell and the Dream Fairies Australian Shakespeare Company. Sep 28 - Oct 13.

Pioneer Garden - Royal Botanic Garden Sydney. shakespeareaustralia.com.au

Well-Behaved Women. Music and lyrics by Carmel Dean. Additional lyrics by Miriam Laube. Belvoir. Sep 28 - Nov 3. belvoir.com.au

The Wizard of Oz: Youth Edition. Script: L. Frank Baum. Music & Lyrics: Harold Arlen & E.Y. Harburg. Adapted by John Kane for the Royal Shakespeare Company. Albatross Musical Theatre Co. Oct 3 - 5.

Shoalhaven Entertainment Centre, Nowra. shoalhavenentertainment.com.au

Wicked Sisters by Alma De Groen. Elanora Players. Oct 412. North Narrabeen Community Centre. elanoraplayers.com.au

Mamma Mia! Music and Lyrics by Benny Andersson and Björn

Book by Catherine Johnson. Tall & Short Theatre Company. Oct 4 & 5. The Pavilion, Sutherland. thepavilionarts.au

Avenue Q. Book by Jeff Marx. Music & Lyrics by Robert Lopez and Jeff Marx. Blackout Theatre. Oct 4 - 14. Pioneer Theatre, Castle Hill. blackouttheatre.com.au

Unnecessary Farce by Paul Slade Smith. The Players Theatre Inc, Port Macquarie. Oct 4 - 20. playerstheatre.org.au

Six: The Musical by Toby Marlow and Lucy Moss. Louise Withers, Michael Coppel and Linda Bewick. Oct 6 - Dec 28. Theatre Royal, Sydney. sixthemusical.com.au

The Librarian. Oct 8 - 9. Glen Street Theatre. glenstreet.com.au

Game of Tiaras by Dan Zolidis. Maitland Repertory Theatre.

Oct 9 - 27 244 High St, Maitland. mrt.org.au

Berlin by Joanna Murray-Smith. Storm the Barricade Productions. Oct 9 - 19. Flight Path Theatre, Marrickville. flightpaththeatre.org

The Queen’s City of the South by Mark Salvestro. Oct 9 - 19.

The Loading Dock Theatre, Qtopia, Sydney. qtopiasydney.com.au

Priscilla Queen of the Desert

The Musical. Written by Stephan Elliott and Allan Scott. Inner West Theatre Co. Oct 11 - 19. Petersham Town Hall. innerwesttheatre.com.au

Flat Earthers: The Musical. Book & Lyrics: Jean Tong & Lou Wall. Songwriting: Lou Wall & James Gales. Griffin Theatre Company and Hayes Theatre Co. Oct 11 - Nov 9. Hayes Theatre. hayestheatre.com.au

Singin’ in the Rain Screenplay by Betty Comden and Adolph Green. Songs by Nacio Herb

Ulvaeus.

Photo: Marnya Rothe.

On Stage

Brown and Arthur Freed. Willoughby Theatre Company. Oct 12 - 27. The Concourse Theatre, Chatswood. willoughbytheatreco.com.au

Joseph and The Amazing Technicolor Dreamcoat. Lyrics by Tim Rice. Music by Andrew Lloyd Webber. Highlands Theatre Group. Oct 12 - 19. htg.org.au

Shrek The Musical. Based on the DreamWorks Animation motion picture and book by William Steig. Book and lyrics by David Lindsay-Abaire. Music by Jeanine Tesori. Sydney Youth Musical Theatre. Oct 12 - 20. Riverside Theatres Parramatta. symt.com.au

The Gruffalo. Based on the picture book by Julia Donaldson & Axel Scheffler. CDP / Tall Stories. Oct 16 - 19. Glen Street Theatre. glenstreet.com.au

We Will Rock You by Ben Elton and Queen. North Shore

Theatre Company. Oct 18 - 26. northshoretheatrecompany.org

Saving Frogton’s Home by Karen Kester. Murwillumbah Theatre Company. Oct 18Nov 3.

murwillumbahtheatrecompany.com.au

Billy Elliot. Book & Lyrics: Lee Hall. Music: Elton John. Engadine Musical Society. Oct 18 - 27. Engadine Community Centre. engadinemusicalsociety.com.au

Into The Woods. Music & lyrics by Stephen Sondheim. Book by James Lapine. Orange Theatre Company. Oct 18 - 27. orangetheatreco.com.au

McGuffin Park by Sam O’Sullivan. Ensemble Theatre. Oct 18 - Nov 23. ensemble.com.au

Hedda Gabler by Henrik Ibsen. Secret House. Oct 18 - Nov 2. KXT on Broadway. kingsxtheatre.com

The 39 Steps. Adapted by Patrick Barlow from the novel

New South Wales

by John Buchan and the film by Alfred Hitchcock. Arts Theatre Cronulla. Oct 19 - Nov 30. artstheatrecronulla.com.au

Catch Me If You Can. Book by Terrence McNally, lyrics by Mark Shaiman, music by Scott Whitman and Mark Shaiman. Blue Mountains Musical Society. Oct 19 - Nov 3. Blue Mountains Theatre. bmms.org.au

Penpals - A New Queer Musical. Script, music & lyrics by Megan Robinson, based on an original concept by Megan Robinson and Sarah Campbell Oct 23 - Nov 9. The Loading Dock Theatre, Qtopia, Sydney. qtopiasydney.com.au

Miss Bennet - Christmas at Pemberley by Lauren Gunderson and Margot Melcon. Oct 25 - Nov 10 Peninsula Theatre, Woy Woy. woywoylt.com

Mighty Playwrights 2024. Six short plays by local young writers. Lieder Theatre

Company, Goulburn. Oct 2529. theliedertheatre.com

Sunday by Anthony Weigh. Sydney Theatre Company. Oct 28 - Dec 7. Drama Theatre, Sydney Opera House. sydneytheatre.com.au

The 39 Steps. From the novel by John Buchan, adapted by Patrick Barlow. Pymble Players. Oct 30 - Nov 23. Pymble Players Theatre, 55A Mona Vale Rd, Pymble. pymbleplayers.com.au

Kiss Me, Kate. Music and lyrics by Cole Porter. Book by Sam and Bella Spewack. The Regals. Oct 11 - 20. Rockdale Town Hall. theregals.com.au

The Hunchback of Notre Dame. Music: Alan Menken. Lyrics: Stephen Schwartz. Book: Peter Parnell. Gosford Musical Society. Oct 25 - Nov 9. Laycock Street Community Theatre. gosfordmusicalsociety.com

On Stage

Ordinary Days by Adam Gwon. Wollongong Workshop Theatre. Nov 1 - 16. wollongongworkshoptheatre.com.au

Urinetown by Mark Hollman and Greg Kotis. Hornsby Musical Society. Nov 1 - 10. Pioneer Theatre, Castle Hill. hornsbymusicalsociety.com.au

Lifespan of a Fact by Jeremy Kareken, David Murrell & Gordon Farrell. Theatre on Chester. Nov 1 - 23. Cnr. Chester and Oxford Streets, Epping. theatreonchester.com.au

Sweeney Todd. Music and lyrics by Stephen Sondheim, book by Hugh Wheeler from an adaptation by Christopher Bond. Bankstown Theatre Company. Nov 1 - 10. Bryan Brown Theatre. bankstowntheatrecompany.com

The Game’s Afoot by Ken Ludwig. Newcastle Theatre Company. Nov 2 - 16. newcastletheatrecompany.com.au

The End Of The Wharf As We Know It! The Wharf Revue by Jonathan Biggins, Drew Forsythe and Phillip Scott. Nov 5 & 6. The Pavilion, Sutherland. thepavilionarts.au

Us/Them by Carly Wigs. Subtle Rebellions. Nov 5 - 9. Flight Path Theatre. flightpaththeatre.org

Women of the Riverina. Voices of Women. Nov 6 - 9. KXT on Broadway. kingsxtheatre.com

Jesus Christ Superstar by Andrew Lloyd Webber and Tim Rice. John Frost and David Ian for Crossroads Live and Work Light Productions. From Nov 6. Capitol Theatre, Sydney. jesuschristsuperstarmusical.com.au

The Inheritance Parts 1 & 2 by Matthew Lopez. Inspired by the novel Howards End by E.M. Forster. Sugary Rum Productions. Nov 7 - 24. Seymour Centre. Seymour Centre. seymourcentre.com

New South Wales

Strictly Ballroom The Musical. Created by Baz Luhrmann, with book by Baz Luhrmann and Craig Pearce adapted by Terry Johnson. Hills Musical Theatre Co. Nov 8 - 16. Model Farms High School Auditorium hillsmtc.com

The Odd Couple (Female Version) by Neil Simon. The Guild Theatre Rockdale. Nov 8 - Dec 1. guildtheatre.com.au

The Wedding Singer. By Chad Beguelin and Tim Herlihy. Music by Matthew Sklar. Lyrics by Chad Beguelin. Based on the New Line Cinema film written by Tim Herlihy. Holroyd Musical and Dramatic Society. Nov 8 - 24. Redgum Function Centre, Wentworthville. hmds.org.au

Milo’s Wake by Margery Forde and Michael Forde. Richmond Players. Nov 9 - 30. Richmond School of Arts. richmondplayers.com.au

August: Osage County by Tracy Letts. Belvoir. Nov 9 - Dec 15. belvoir.com.au

Lucia Di Lammermoor by Gaetano Donizetti. Rockdale Opera. Nov 9 - 17. Rockdale Town Hall. rockdaleopera.com.au

The End Of The Wharf As We Know It! The Wharf Revue by Jonathan Biggins, Drew Forsythe and Phillip Scott. Nov 11 - Dec 7. Seymour Centre. seymourcentre.com

Helen and Judy by Madeleine Stedman. Snatched Collective. Nov 13 - 23. Flight Path Theatre. flightpaththeatre.org

Saints of Damour by James Elazzi Nov 13 - Dec 1. The Loading Dock Theatre, Qtopia, Sydney. qtopiasydney.com.au

Grand Horizons by Bess Wohl. Castle Hill Players. Nov 15 - Dec 7. Pavilion Theatre, Castle Hill Showground. paviliontheatre.org.au

On Stage New South Wales & Queensland

People Will Think You Don’t Love Me by Joanna Erskine. Little Trojan. Nov 15 - 30. KXT on Broadway. kingsxtheatre.com

9 to 5: The Musical. Music by Dolly Parton, Lyrics & Book by Patricia Resnick. Albatross Musical Theatre Co. Nov 1524. Shoalhaven Entertainment Centre, Nowra. amtc.org.au

First Things First by Derek Benfield. Maitland Repertory Theatre. Nov 20 - Dec 8 mrt.org.au

Mother and Son by Geoffrey Atherden. Hunters Hill Theatre. Nov 22 - Dec 8. Club Ryde. huntershilltheatre.com.au

A Kick in the Baubles by Gordon Steele. Nowra Players, Nov 22 - Dec 8. Players Theatre, Bomaderry. nowraplayers.com

Move Over Mrs Markham by Ray Cooney & John Chapman. Moruya Red Door Theatre Company Inc. Nov 22 - 30. Moruya Memorial RSL Hall. moruyareddoortheatrecompany.com.au

Anne of Green Gables by Lucy Maud Montgomery, adapted by Joseph Robinette. Lieder Theatre Company, Goulburn. Nov 27 - Dec 1. theliedertheatre.com

The Dog Logs by C. J. Johnson. Newcastle Theatre Company.

Nov 27 - 30. newcastletheatrecompany.com.au

The Heartbreak Choir by Aidan Fennessy. Ensemble Theatre. Nov 29 - Jan 12. ensemble.com.au

Showtime Eighties. The Players Theatre Inc, Port Macquarie. Nov 29 - Dec 1. playerstheatre.org.au

Cats. Music by Andrew Lloyd Webber. Lyrics based on “Old Possum’s Book of Practical Cats” by T.S. Eliot. Rockdale Musical Society. Nov 29 - Dec 9. Rockdale Town Hall. rockdalemusicalsociety.com

Queensland

Volcano. Luke Murphy’s Attic Projects / Brisbane Festival. Until Sep 14. Powerhouse Theatre, Brisbane Powerhouse. brisbanefestival.com.au

How The Other Half Loves by Alan Ayckbourn. Sunnybank Theatre Group. Until Sep 14. sunnybanktheatre.com.au

Kimberly Akimbo by David Lindsay-Abaire Javeenbah Theatre Until Sep 14. javeenbah.org.au

Jean Paul Gaultier’s Fashion Freak Show. Brisbane Festival. Until Sep 15. South Bank Piazza. brisbanefestival.com.au

Brisbane Festival. Until Sep 21. Various venues. brisbanefestival.com.au

Lord of the Flies by William Golding, adapted by Nigel Williams Gold Coast Little Theatre Until Sep 21. gclt.com.au

Grimm - Tales from the Brothers Grimm. Adapted by Nelle Lee, Shake & Stir Theatre Co. Until Oct 6. Cremorne Theatre, QPAC. qpac.com.au

Guys and Dolls. Based on a Story and Characters of Damon Runyon. Music and Lyrics by Frank Loesser. Book by Jo Swerling and Abe Burrows Ipswich Musical Theatre Company. Sep 7 - 15. Ipswich Civic Centre.

ipswichmusicaltheatrecompany.com.au

Dear Brother by Lenny Donahue and Tibian Wyles. Queensland Theatre. Sep 728. Bille Brown Theatre. queenslandtheatre.com.au

Love Stories by Trent Dalton, adapted by Tim McGarry. Brisbane Fesstival. Sep 8 - 29. Playhouse, QPAC. qpac.com.au

Wicked. Music and Lyrics by Stephen Schwartz. Book by Winnie Holzman. Based on the novel by Gregory Maguire. Produced by John Frost for Crossroads Live. From Sep 12. Lyric Theatre, QPAC. qpac.com.au

Adrift by Counterpilot. Brisbane Festival. Metro Arts. Sep 11 -

28. New Benner Theatre. metroarts.com.au

Fancy Long Legs. Based on a picture book by Rachel Burke, adapted by Naomi Price. La Boite Theatre, Brisbane Festival and The Little Red Company. Sep 12 - 22. laboite.com.au

Lighting the Dark. Dancenorth Australia / Brisbane Festival. Sep 12 - 14. Thomas Dixon Centre. brisbanefestival.com.au

Home, I’m Darling by Laura Wade Noosa Arts Theatre Sep 12 - 22. noosaartstheatre.org.au

Mephisto and Pheles by Voyen Koreis. Centenary Theatre Group Sep 14 - Oct 6. Chelmer Community Centre. centenarytheatre.com.au

Closer Than Ever. By Richard Maltby, Jr. and David Shire. Mackay Musical Comedy Players. Sep 15 - 21. mackaymusicalcomedyplayers.com

Cirque Bon Bon - Le Retour. JACS Entertainment / Brisbane Festival. Sep 18 - 20. South Bank Piazza. brisbanefestival.com.au

Clue: On Stage by Sandy Rustin, based on the screenplay by Johnathon Lynn. Melville Theatre. Ipswich Little Theatre. Sep 19 - Oct 5. ilt.org.au

Rumors by Neil Simon. Toowoomba Repertory Theatre

On Stage Queensland

Society. Sep 24 - Oct 5. toowoombarep.com.au

Coco Chanel: the Life of a Fashion Icon. Queensland Ballet. Oct 4 - 19. Playhouse, QPAC. qpac.com.au

Secrets Unfold - Seniors Perform. MATES Theatre

Genesis. Oct 4 - 26. Donald Simpson Centre, Cleveland. matestg.org.au

Rodgers + Hammerstein’s Cinderella. North Queensland Opera & Music Theatre. Oct 17 - 27. Townsville Civic Theatre. nqomt.com.au

Family Values by David Williamson. KUCOM (Mackay). Oct 24 - Nov 2. kucom.org.au

The Swinging 60s and Seventies by Doug Williams. Tweed Heads Theatre Co. Nov 1 - 17. Tweed Heads Civic Centre Auditorium. tweedtheatre.com.au

One Man, Two Guvnors by Richard Bean. Cairns Little

Theatre. Nov 1 - 9. Rondo Theatre. therondo.com.au

Twisted Music by A.J. Holmes. Lyrics by Kaley McMahon. Book by Matt Lang, Nick Lang and Eric Kahn Gale. Phoenix Ensemble, Beenleigh. Nov 19. phoenixensemble.com.au

Cake by Daniel Gough and Emma Churchland. Metro Arts and IMRSE. Nov 6 - 16. New Benner Theatre. metroarts.com.au

Yoga Play by Dipika Guha. La Boite Theatre. Nov 7 - 23. laboite.com.au

I Love You, You’re Perfect, Now Change. Book and lyrics by Joe Dipietro. Music by Jimmy Roberts. Sunnybank Theatre Group. Nov 8 - 23. sunnybanktheatre.com.au

Failure: A Love Story by Phil Dawkins. Villanova Players. Nov 8 - 10. Ron Hurley Theatre, Seven Hills, Brisbane. villanovaplayers.com

Verdict by Agatha Christie. Centenary Theatre Group Nov 9 - Dec 1. Chelmer Community Centre. centenarytheatre.com.au

Round The Twist The Musical by Paul Hodge, based on the stories of Paul Jennings. Queensland Theatre. Nov 12Dec 1. Playhouse, QPAC. qpac.com.au

Edges by Benj Pasek and Justin Paul. Queensland Academy of Excellence in Musical Theatre. Nov 12 - 16. Tony Gould Gallery, QPAC. qpac.com.au

The 39 Steps. Adapted by Patrick Barlow. Tugun Theatre Company. Nov 14 - 30. Tugun Village Community Centre. tuguntheatre.org

Murder on the Nile by Agatha Christie Nash Theatre Nov 15 - Dec 7. The Brunswick Room, Methyr Road Uniting Church, New Farm. nashtheatre.com

Christmas Belles by Jessie Jones. Nicholas Hope and

Jamie Wooten Adapted from Jane Austen’s novel by Jane Kendall. St Luke’s Theatre Society. Nov 15 - 30. Christ Church Hall, Yeronga. stlukestheatre.asn.au

Mary Poppins. Based on the stories of P.L. Travers and the Walt Disney film. Original music and lyrics by Richard M Sherman and Robert B Sherman. Book by Julian Fellowes. New songs and additional music and lyrics by George Stiles and Antony Drewe. Queensland Musical Theatre. From Nov 15. Twelfth Night Theatre.

queenslandmusicaltheatre.com

Honeymoon in Vegas. Book by Andrew Bergman. Music & Lyrics by Jason Robert Brown. Based on the Castle Rock Entertainment Picture. Gold Coast Little Theatre. Nov 16Dec 7. gclt.com.au

Bondi Legal by Tony Laumberg. Ipswich Little Theatre. Nov 21Dec 7. ilt.org.au

On Stage Queensland

& Victoria

In an enchanting world of song and dance, the adventurous Tinkerbell meets up with the fairies from A Midsummer Night’s Dream in The Australian Shakespeare Company’s Tinkerbell And The Dream Fairies At the Royal Botanic Garden, Sydney from September 28 to October 13. shakespeareaustralia.com.au

Almost, Maine by John Cariani Javeenbah Theatre Nov 2330. javeenbah.org.au

It Could Be Any One of Us by Alan Ayckbourn. Toowoomba Repertory Theatre Society. Nov 26 - Dec 7 toowoombarep.com.au

The Spirit of Christmas. Cairns Little Theatre. Nov 29 - Dec 14. Rondo Theatre. therondo.com.au

9 to 5 Music and lyrics by Dolly Parton. Book by Patricia Resnick. Coolum Theatre Players. Nov 29 - Dec 7. coolumtheatre.com.au

Victoria

Six: The Musical. Book, lyrics and music by Toby Marlow and Lucy Moss. Louise Withers, Michael Coppel and Linda Bewick. Continuing. Comedy Theatre, Melbourne. sixthemusical.com.au

Disney’s Beauty and the Beast. Music by Alan Menken. Lyrics

by Howard Ashman & Tim Rice. Book by Linda Woolverton. Continuing. Her Majesty’s Theatre, Melbourne. beautyandthebeastmusical.com.au

Things I Know to Be True by Andrew Bovell. Warrandyte Theatre Company. Until Sep 13. Warrandyte Mechanics Institute.

trybooking.com/CQZXF

Topdog/Underdog by SusanLori Parks. Melbourne Theatre Company. Until Sep 21. Southbank Theatre, The Lawler. mtc.com.au

La Mama Explorations. Various productions playing short seasons. Until Oct 8. La Mama HQ. lamama.com.au

You’re The Man by Paul Mitchell Sep 4 - 15. La Mama Courthouse. lamama.com.au

The Father by Florian Zeller, translation by Christopher Hampton. Williamstown Little Theatre. Sep 4 - 21. wlt.org.au

Online extras!

Join Tinkerbell and the magical fairies on an exciting musical adventure. youtu.be/O_5nm91yN6E

Mother by Daniel Keene. Starring Noni Hazlehurst. Hey Dowling and The Saturday Paper. Sep 4 - 21. Arts Centre Melbourne. artscentremelbourne.com.au

Hamlet by William Shakespeare. Melbourne Shakespeare Company. Sep 522. fortyfivedownstairs theatre. fortyfivedownstairs.com

Chapter 2 by Neil Simon. Essendon Theatre Company. Sep 5 - 14. essendontheatrecompany.com.au

Clue On Stage. Adapted from the screenplay by Jonathan Lynn. Lilydale Athenaeum Theatre. Sep 5 - 21. lilydaleatc.com

Coherence by Justin Stephens. The 1812 Theatre. Sep 5 - 14. 1812theatre.com.au

Veronica’s Room by Ira Levin. Eltham Little Theatre. Sep 621. elthamlittletheatre.org.au

Silent Sky by Lauren Gunderson. Geelong Repertory Theatre. Sep 6 - 21. geelongrep.com

And a Nightingale Sang by C. P. Taylor. Heidelberg Theatre Co. Sep 6 - 21. htc.org.au

Carousel - A Concert by Rodgers & Hammerstein. Enda Markey. Sep 7 & 8. Princess Theatre. carouselconcert.com

Brigadoon by Lerner and Loewe. NOVA Music Theatre. Sep 13 - 22. The Round Theatre, Nunawading. novamusictheatre.com.au

Cost of Living by Martyna Majok. Melbourne Theatre Company. Sep 14 - Oct 19. Southbank Theatre, The Sumner. mtc.com.au

The Cockadoodledude’s Barnyard Adventure. Sep 1621. The Butterfly Club. thebutterflyclub.com

Tina - The Tina Turner Musical. Book by Katori Hall with Frank

On Stage Victoria

Ketelaar and Kees Prins. Paul Dainty - TEG Dainty presents the Stage Entertainment production. Sep 21 - Dec 1. Princess Theatre. tinathemusical.com.au

Meat Loaf - Just the Best Pieces Antony (Dr H) Hubmayer. Sep 23 - 28. The Butterfly Club. thebutterflyclub.com

Lizzie in Love. Rebecca Symonds. Sep 26 - 28. The Butterfly Club. thebutterflyclub.com

Bad Boy by Patricia Cornelius. Dee, Cornelius and Wilks. Sep 26 - Oct 6. fortyfivedownstairs theatre. fortyfivedownstairs.com

Dancing at Lughnasa by Brian Friel. Ballarat National Theatre. Sep 27 - Oct 6. bnt.org.au

Pride & Prejudice - An Adaptation in Words & Music. Sep 27 - Oct 6. Fairfax Studio, Arts Centre Melbourne. artscentremelbourne.com.au

Anything Goes. Original book by P.G. Wodehouse & Guy Bolton and Howard Lindsay & Russel Crouse. New book by Timothy Crouse & John Weidman. CPAC Musical Theatre. Sep 28 - Oct 6. Tony Sheumack Centre for Performing Arts. cpacmusicaltheatre.com.au

Classifried! The MKUltra Sitcom Babble Productions. Sep 30 - Oct 5. The Butterfly Club. thebutterflyclub.com

God of Carnage by Yasmina Reza and translated by Christopher Hampton. The Basin Theatre Group. Oct 313. thebasintheatre.org.au

The Laramie Project by Moises Kaufman. The 1812 Theatre. Oct 3 - 26. 1812theatre.com.au

Crush Benjamin Quirk. Oct 35. The Butterfly Club. thebutterflyclub.com

Roald Dahl’s Charlie and the Chocolate Factory. Music by Marc Shaiman. Lyrics by Scott Wittman & Marc Shaiman. Book by David Greig. Songs

from the motion picture by Leslie Bricusse & Anthony Newley. Believe Theatrical Productions. Oct 4 - 6. Kel Watson Theatre, Forest Hill. Xanadu. Book by Douglas Carter Beane. Music and Lyrics by Jeff Lynne and John Farrar. SLAMS Music Theatre Company. From Oct 4. slams.org.au

Into the Woods. Music and lyrics by Stephen Sondheim. Book by Lames Lapine. Geelong Lyric Theatre Society. Oct 4 - 13. geelongartscentre.org.au

A Kilted Queer - The Rise and Fall of Your Average Autistic Poof. Marc Issac. Oct 7 - 12. The Butterfly Club. thebutterflyclub.com

Come From Away. Book, music & lyrics by Irene Sankoff and David Hein. CLOC. Oct 11 - 26. The National Theatre Melbourne, St Kilda. cloc.org.au

Hello, Dolly! Book by Michael Stewart. Music and lyrics by Jerry Herman. Based on The Matchmaker by Thornton Wilder. CPP Community Theatre. Oct 11 - 19. Mahon Theatre, Aquinas College, Ringwood. cppcommunitytheatre.com.au

Gypsy. Music by Jule Styne. Lyrics by Stephen Sondheim. Book by Arthur Laurents. Babirra Music Theatre. Oct 1120. The Round, Nunawading. babirra.org.au

Pure Grime. Em Barrett. Oct 14 - 19. The Butterfly Club. thebutterflyclub.com

Sweet Charity by Cy Colman, Dorothy Fields and Neil Simon. MDMS. Oct 18 - 27. Karralyka Theatre. mdms.org.au

Death of a Salesman by Arthur Miller. Bairnsdale Production Line Theatre Co. Oct 18 - 27. bairnsdaleproductionline.org

Monty Python Cabaret Singalong Circus. Antony (Dr H) Hubmayer. Oct 24 - 26. The Butterfly Club. thebutterflyclub.com

Golden Blood by Merlynn Tong. Melbourne Theatre Company. Oct 25 - Nov 30. Arts Centre Melbourne, Fairfax Studio. mtc.com.au

True Minds by Joanna MurraySmith. Malvern Theatre Company. Oct 25 - Nov 9. malverntheatre.com.au

Falsettos by William Finn and James Lapine. Fab Nobs Theatre. Oct 26 - Nov 9. fabnobstheatre.com.au

Granny Flaps - Hot Off the Chest Tour. Oct 28 - Nov 2. The Butterfly Club. thebutterflyclub.com

Rhinoceros by Eugene Ionesco, translated by Zinnie Harris. Spinning Plates Co. Oct 31Nov 17. fortyfivedownstairs theatre.

fortyfivedownstairs.com

Type A Marketing Man. Monologue Festival. Oct 31Nov 2. The Butterfly Club. thebutterflyclub.com

A Bunch of Amateurs by Ian Hislop & Nick Newham. The Mount Players. Nov 1 - 17. The Mount View Theatre. themountplayers.com

Johnny Balance - The Fabulous Idiot. Nov 4 - 9. The Butterfly Club. thebutterflyclub.com

My Brilliant Career. Book by Sheridan Harbridge and Dean Bryant. Lyrics by Dean Bryant. Music by Mathew Frank. Based on the novel by Miles Franklin. Melbourne Theatre Company. Nov 7 - Dec 18. Southbank Theatre, The Sumner. mtc.com.au

The Executive Functioner. Brandon Kooloos. Nov 8 & 9. The Butterfly Club. thebutterflyclub.com

The Kitchen Sink by Tom Wells. Brighton Theatre Company. Nov 8 - 23. Brighton Arts and Cultural Centre. brightontheatre.com.au

Peter and the Starcatcher by Rick Elice. Music by Wayne

On Stage Victoria, Tasmania & South Australia

Barker. Dead Puppet Society, Glass Half Full Productions, JONES Theatrical Group and Damien Hewitt. Nov 8 - 30. Playhouse, Arts Centre Melbourne. peterandthestarcatcher.com.au

Home, I’m Darling by Laura Wade. Mordialloc Theatre Company. Nov 8 - 17. Shirley Burke Theatre, Parkdale. mordialloctheatre.com.au

Arsenic and Old Lace by Joseph Kesselring. Beaumaris Theatre Inc. Nov 8 - 23 beaumaristheatre.com.au

Double Trouble by William Alexander and Deb Barker. Bacchus Marsh and Melton District Community Theatre Inc. Nov 8 - 16. Moonlite Theatre. moonlitetheatre.com.au

Handbagged by Moira Buffini. Williamstown Little Theatre. Nov 13 - 30. wlt.org.au

Little Women. Book by Allan Knee. Music by Jason Howland. Lyrics by Mindi Dickstein. Based on the novel by Louisa May Alcott. Lilydale Athenaeum Theatre. Nov 14 - 30. lilydaleatc.com

Noises Off by Michael Frayn. The 1812 Theatre. Nov 14Dec 7. 1812theatre.com.au

1984. Adapted by Robert Owens, Wilton E. Hall Jr., and William A. Miles Jr. from George Orwell’s novel. Peridot. Nov 15 - 24. Clayton Community Centre. peridot.com.au

A Midsummer Night’s Dream by William Shakespeare. Geelong Repertory Theatre. Nov 15 - 30. geelongrep.com

Play On! By Rick Abbot. Frankston Theatre Group. Nov 15 - Dec 1. Mount Eliza Community Centre. frankstontheatregroup.org.au

The Lion, The Witch and The Wardrobe by C.S. Lewis. Eltham Little Theatre. Nov 1530. elthamlittletheatre.org.au

An Ideal Husband by Oscar Wilde. Heidelberg Theatre

Company. Nov 15 - 30. htc.org.au

Unhinged. Nov 18 - 23. The Butterfly Club. thebutterflyclub.com

The Hall by Ro Bright and Pat Irwin. Bullet Heart Club. Nov 21 - Dec 1. fortyfivedownstairs theatre. fortyfivedownstairs.com

Drinking Habits by Tom Smith. Essendon Theatre Company. Nov 21 - 30.

essendontheatrecompany.com.au

The Cripple of Inishmaan by Martin McDonagh. STAGStrathmore Theatrical Arts Group. Nov 21 - 30. stagtheatre.org

Hotel Sorrento by Hannie Rayson. Warrandyte Theatre Company. Nov 22 - Dec 7. Mechanics Institute Hall. warrandytearts.org.au/theatre

Dahlin! It’s The Jeanne Little Show. By Keiran Carroll, performed by Caroline Ferguson Nov 22 & 23. The Butterfly Club. thebutterflyclub.com

A Christmas Carol by Charles Dickens, conceived and directed by Matthew Warchus and adapted for the stage by Jack Thorne. GWB Entertainment. From Nov 22. Comedy Theatre, Melbourne. christmascarolaustralia.com.au

TruScum. Monologue Festival. Nov 25 - 30. The Butterfly Club. thebutterflyclub.com

Jack the Ripper. Monologue Festival. Nov 25 - 30. The Butterfly Club. thebutterflyclub.com

Fuck Christmas by Sarah Ward and Bec Matthews. Malthouse. Nov 27 - Dec 15. Merlyn Theatre.

malthousetheatre.com.au

A Christmas Carol by Charles Dickens. The Basin Theatre Group. Nov 28 - Dec 8. thebasintheatre.org.au

Sister Act. Music: Alan Menken. Lyrics: Glenn Slater. Book: Cheri Steinkellner and Bill Steinkellner. Additional book

material: Douglas Carter Beane. John Frost for Crossroads Live. From Nov 3. Regent Theatre, Melbourne. sisteractthemusical.com.au

Ilarun by Amarantha Robinson. Quiet Riot. Dec 5 - 15. fortyfivedownstairs theatre. fortyfivedownstairs.com

Tasmania

The Curious Incident of the Dog in the Night-Time. Adapted for the stage by Simon Stephens from the novel by Mark Haddon. Launceston Players. Earl Arts Centre. Sep 5 - 15. launcestonplayers.com

Pity by Rory Mullarkey. IO Performance (Launceston). Sep 18 - 22. ioperformanceco.com

Winnie The Pooh by A. A. Milne. Launceston Youth Theatre Ensemble. Sep 19 - 22. Earl Arts Centre. theatrenorth.com.au

Charcoal by Keia McGrady. Performing Lines Tasmania. Sep 27 & 28. The Studio, Theatre Royal, Hobart. theatreroyal.com.au

Nimble. ROOKE. Oct 4 & 5. Earl Arts Centre. theatrenorth.com.au

The Riddle of Washpool Gully. Terrapin / Dead Puppet Society. Oct 3 - 5, The Studio, Theatre Royal, Hobart, theatreroyal.com.au; Meander Valley Performing Arts Centre on Oct 9; George Town Memorial Hall on Oct 10; and Earl Arts Centre on Oct 11 & 12. theatrenorth.com.au

Kinky Boots. Book: Harvey Fierstein. Music: Cyndi Lauper. Encore Theatre Company. Oct 11 - 26. Princess Theatre, Launceston. theatrenorth.com.au

Annie by Thomas Meehan, Charles Strouse and Martin Charnin. John X Presents. Oct 11 - 26. Theatre Royal, Hobart. theatreroyal.com.au

Summer of the Seventeenth Doll by Ray Lawler. Hobart Rep. Oct 16 - 26. The Playhouse

Theatre, Hobart. playhouse.org.au

Shrew. Adaptivity Theatre Company. Based on William Shakespeare’s The Taming of the Shrew. Adapted and directed by Kelly Wilson. Music and Lyrics by Karlin Love and Kelly Wilson. Oct 16 - 19. Earl Arts Centre. theatrenorth.com.au

That is Not Who I Am by Dave Davidson. IO Performance (Launceston). Oct 30 - Nov 9. ioperformanceco.com

The Nutcracker. BIG Live. Nov 4 - 6. Theatre Royal, Hobart. theatreroyal.com.au

A Simple Space. Gravity & Other Myths. Nov 19 - 23. Studio, Theatre Royal, Hobart, theatreroyal.com.au

Red Riding in Da Hood. Bawdy Panto. Nov 20 - 23. Theatre Royal, Hobart. theatreroyal.com.au

South Australia

Stepping Out The Musical. Book by Richard Harris. Lyrics by Mary Stewart-David. Music by Dennis King. Murray Bridge Players and Singers. Sep 6 - 14. Murray Bridge Performing Arts and Function Centre. mbplayersandsingers.com.au

Sylvia by A. R. Gurney. The Stirling Players. Sep 13 - 28. Stirling Community Centre. stirlingplayers.sct.org.au

Heathers The Musical. Music, lyrics and book by Laurence O’Keefe and Kevin Murphy. Pelican Productions. Sep 1215. Arts Theatre, Adelaide. pelicanproductions.com.au

Disney’s Newsies Jr. Score by Alan Menken and Jack Feldman and a book by Harvey Fierstein. Pelican Productions. Sep 1921. Arts Theatre, Adelaide. pelicanproductions.com.au

The Puzzle by David Williamson. State Theatre Company South Australia. Sep 20 - Oct 12. Dunstan Playhouse, Adelaide Festival Centre.

statetheatrecompany.com.au

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

On Stage South Australia

GWB Entertainment is bringing back the Old Vic’s big -hearted, smash-hit production of A Christmas Carol to the Comedy Theatre in Melbourne for a third season from 22nd November. Winner of five Tony Awards®, this magical adaptation of Charles Dickens’ timeless story is brought to the stage by Jack Thorne (Harry Potter and the Cursed Child) and directed by Matthew Warchus (Matilda the Musical) christmascarolaustralia.com.au

Online extras!

Experience the emotional journey of redemption in A Christmas Carol. youtu.be/w63EywflLTo

A Cheery Soul by Patrick White. Sep 24 - Oct 12. Holden Street Theatres. holdenstreettheatres.com

The Sorcerer by Gilbert and Sullivan. SA Light Opera Society. Sep 26 - 29. The Domain Theatre, Marion Cultural Centre. trybooking.com/CUEDU

Grease by Jim Jacobs and Warren Casey. John Frost for Crossroads Live Australia. Sep 28 - Oct 26. Her Majesty’s Theatre, Adelaide. adelaidefestivalcentre.com.au

The Hunchback of Notre Dame. Music by Alan Menken. Lyrics by Stephen Schwartz. Book by Peter Parnell. Based on the Victor Hugo Novel, with songs from the Disney film. Northern Light Theatre Company. Oct 419. Shedley Theatre. northernlight.org.au

Alice in Wonderland Jr. Adelaide Youth Theatre. Oct 7 - 13. adelaideyouththeatre.com.au

Bring It On. Book: Jeff Whitty, Music: Tom Kitt & Lin-Manuel Miranda, Lyrics: Amanda Green & Lin-Manuel Miranda. Adelaide Youth Theatre. Oct 7 - 13. adelaideyouththeatre.com.au

Unnecessary Farce by Paul Slade Smith. Tea Tree Players. Oct 9 - 19. teatreeplayers.com

Moss Piglet. Windmill Theatre Company. Oct 11 - 20. Space Theatre, Adelaide Festival Centre. adelaidefestivalcentre.com.au

Evita by Andrew Lloyd Webber and Tim Rice. Riverland Musical Society. Oct 13 - 20. Chaffey Theatre, Renmark. 9 to 5. Music by Dolly Parton. Lyrics & Book by Patricia Resnick. South Coast Choral and Arts Society. Oct 18 - Nov 2. sccas.org.au

The Boy From Oz. Music and Lyrics by Peter Allen. Book by Nick Enright. The Metropolitan Musical Theatre Company of

SA. Oct 17 - 26. metmusicals.com.au

Visiting Mr Green by Jeff Baron. Galleon Theatre Group. Oct 18 - 26. Domain Theatre. galleon.org.au

The 39 Steps. Adapted by Patrick Barlow. University of Adelaide Theatre Guild. Oct 25 - Nov 3. Little Theatre. adelaide.edu.au/theatreguild Hangmen by Martin McDonagh. Red Phoenix Theatre. Oct 24 - Nov 2. The Studio, Holden Street Theatres. redphoenixtheatre.com

The Actress by Peter Quilter. Therry Dramatic Society. Nov 6 - 17. Arts Theatre, Adelaide. therry.org.au

Por Por’s Big Fat Surprise Wedding by Jo Tan. Singapore Repertory Theatre. Nov 6 - 10. Banquet Room, Adelaide Festival Centre. adelaidefestivalcentre.com.au

A Hard God by Peter Kenna. St Jude’s Players. Nov 7 - 16. stjudesplayers.asn.au

Jekyll & Hyde. Music: Frank Wildhorn. Book & Lyrics: Leslie Bricusse, based on Robert Louis Stevenson’s novella. Hills Musical Company. Nov 8 - 23. Stirling Community Theatre. hillsmusical.org.au

Lucia Di Lammermoor by Donizetti. State Opera South Australia. Nov 8 - 16. Her Majesty’s Theatre, Adelaide. adelaidefestivalcentre.com.au

Jack Maggs by Samuel Adamson, based on the novel by Peter Carey. State Theatre Company South Australia. Nov 15 - 30. Dunstan Playhouse, Adelaide Festival Centre. statetheatrecompany.com.au

Mother & Son by Geoffrey Atherden. Adelaide Repertory Theatre. Nov 21 - 30. The Arts Theatre. adelaiderep.com

Snow White and the Seven Dwarfs by Joshua Dixon. Tea Tree Players. Nov 29 - Dec 14. teatreeplayers.com

Photo: Jeff Busby.

On Stage Western Australia

Online extras!

Join the cast as they discuss their careers and the show during rehearsals fb.watch/udmdgomBI7

Black Swan State Theatre Company’s The Children is an atomic drama about social responsibility, and what we leave behind for the generations that follow. Playing at Heath Ledger Theatre, Perth until September 15. blackswantheatre.com.au/season-2024/the-children

Western Australia

Side Effects by Eric Campbell. Serial Productions. Until Sep 14. Old Mill Theatre, South Perth. oldmilltheatre.com.au

The Children by Lucy Kirkwood. Black Swan State Theatre Company. Until Sep 15. Heath Ledger Theatre, State Theatre Centre of WA. blackswantheatre.com.au

The Laramie Project by Moses Kaufman and Members of the Tectonic Theatre Group. 2nd Year Acting at WAAPA. Sep 410. Enright Studio, WAAPA, Edith Cowan University. waapa.ecu.edu.au

Nora: A Doll’s House by Stef Smith after Henrik Ibsen. 3rd Year Acting at WAAPA. Sep 512. Roundhouse Theatre, WAAPA, Edith Cowan University. waapa.ecu.edu.au

Dead Man’s Cell Phone by Sarah Ruhl. Kalamunda Dramatic Society. Sep 6 - 21. KADS Town Square Theatre. kadstheatre.com.au

God of Carnage by Yasmina Reza. Melville Theatre Company. Sep 6 - 21. Melville Civic Centre, Booragoon. melvilletheatrecompany.au

Legally Blonde by Heather Hach, Lawrence O’Keefe and Neil Benjamin. 2nd and 3rd Year Music Theatre at WAAPA. Sep 6 - 12. Geoff Gibbs Theatre, WAAPA, Edith Cowan University. waapa.ecu.edu.au

Mamma Mia! By Benny Andersson and Björn Ulvaeus. Book by Catherine Johnson. Rockingham Theatre Company. Sep 6 - 22. The Castle, Rockingham. rtcrockingham.com

The Guy Who Didn’t Like Musicals by Nick Lang, Matt Lang and Jeff Blim. Art in Motion Theatre Company. Sep 6 - 15. City of Gosnells, Don Russell Performing Arts Centre, Thornlie. (08) 9498 9414. drpac.sales.ticketsearch.com

The Regina Monologues by Jenny Wafer and Rebecca Russell. Goldfields Repertory

Club. Sep 7 - 14. The Goldfields Repertory Club, Kalgoorlie. goldfieldsrepclub.org.au

Enron by Lucy Prebble. Hayman Theatre. Sep 10 - 14. Hayman Theatre, Curtin University. haymantheatre.curtin.edu.au

Made in Boorloo. Western Australian Youth Theatre Company (WAYTCO). Sep 1021. The Blue Room, Perth Cultural Centre. blueroom.org.au

An Evening of African Storytelling by Kuda Mic Ndiovu. TOOL Event and Our Collective Dream. Sep 10 - 21.

The Blue Room, Perth Cultural Centre. blueroom.org.au

Tilt. 3rd Year Performance Making at WAAPA. Sep 1121. The Blue Room Theatre, Perth Cultural Centre. blueroom.org.au

Queens by Kristen Doherty. St Mark’s Anglican Community School. Sep 12 - 13. Barbara Goodwin Performing Arts

Centre. trybooking.com/1266046

Bleak Expectations by Mark Evans, based on the works of Charles Dickens. Wanneroo Repertory Club. Sep 12 - 28. Limelight Theatre, Wanneroo. taztix.com.au

Annie Jr by Thomas Meehan, Charles Strouse and Martin Charnin. Murray Music and Drama Club. Sep 13 - 14. Pinjarra Civic Centre. taztix.com.au

The Shifting Heart by Richard Beynon. Stirling Players. Sep 13 - 28. Stirling Theatre, Innaloo. stirlingplayers.com.au

ITA Youthfest. Independent Theatre Association. Sep 1415. Roleystone Theatre. ita.org.au/youthfest

Audition for Murder. Cluedunnit. Sep 20 - 21. Downstairs at The Maj, His Majesty’s Theatre, Perth. artsculturetrust.wa.gov.au

And Then There Were None by Agatha Christie. Sep 20 - Oct

Photo: Jess Russell.

On Stage Western Australia

12. Spectrum Theatre, Albany. paperbark.sales.ticketsearch.com

Poe: Dreams of Madness by Allyssa Hynes. Garrick Theatre. Sep 26 - Oct 12. taztix.com.au

One Act Season. Roleystone Theatre. Sep 30 - 31. roleystonetheatre.com.au

The Gruffalo by Julia Donaldson and Axel Schleffer. CDP Theatre Producers. Sep 30 - Oct 2. The Heath Ledger Theatre, State Theatre Centre of WA. artsculturetrust.wa.gov.au

Pipedream. Brent Rollins and STRUT Dance. Oct 1 - 19. The Blue Room, Perth Cultural Centre. blueroom.org.au

Three Sisters - A Feminist Adaptation by Susie Conte, after Chekhov. Tempest Theatre. Oct 1 - 5. Subiaco Arts Centre. artsculturetrust.wa.gov.au

Kiss Me, Kate by Bella and Samuel Spewack and Cole Porter. The Gilbert and Sullivan Society of WA. Oct 2 - 13. Dolphin Theatre, University of WA. ticketswa.com

We Will Rock You by Ben Elton and Queen. Stray Cats Theatre. Oct 3 - 6. Mandurah Performing Arts Centre. manpac.com.au

Silly Cow by Ben Elton. Arena Theatre Productions. Oct 412. City of Gosnells, Don Russell Performing Arts Centre, Thornlie. (08) 9498 9414. drpac.sales.ticketsearch.com

Operation Boomerang by Bruce Denny. Yirra Yaakin Theatre Company. Oct 4 - 19. The Studio, Subiaco Arts Centre. artsculturetrust.wa.gov.au

Hercules the Pantomime. Stage Left Theatre Company. Oct 419. Pantomime. Stage Left Theatre Company, Boulder. stageleft.org.au

A Loveletter to the Nightingale by Elham EshraghianHaakansson. Oct 8 - 28. The Blue Room, Perth Cultural Centre. blueroom.org.au

Antigone by Jean Anouilh

Graduate Dramatic Society (GRADS). Oct 9 - 19. New Fortune Theatre, University of WA. grads.org.au

Perché papa é mio figlio by Giovanni Rescigno Italian Theatre of WA. Oct 9 - 20. Old Mill Theatre, South Perth. oldmilltheatre.com.au

Heathers (Teen Version). By Kevin Murphy and Lawrence O’Keefe. Sacred Heart College. Oct 16 - 17. RNDM Performing Arts Centre, Sorrento.

Murder at the Movies

Cluedunnit. Oct 18 - 19.

Downstairs at The Maj, His Majesty’s Theatre, Perth. artsculturetrust.wa.gov.au

Orpheus and Eurydice by Christoph Willibald Gluck and Ranieri de Calzabigi. West Australian Opera, Opera Queensland and Circa. Oct 24Nov 2. His Majesty’s Theatre, Perth. artsculturetrust.wa.gov.au

Heart of Gold by Tarryn Gill and Pilar Mata Dupont. Hold Your Horses. Oct 28 - Nov 14. PICA. pica.org.au

Matters Out of Place. 2nd Year Bachelor of Performing Arts at WAAPA. Oct 30 - Nov 2. waapa.ecu.edu.au

21 Hearts: Vivian Bullwinkel and the Nurses of the Vyner Brooke by Jenny Davis. Theatre 180. Oct 30 - Nov 10. Como Theatre. theatre180.com.au

Disney’s Finding Nemo Jr by Kristen Anderson-Lopez, Robert Lopez and Lindsay Anderson. John Curtin College of the Arts, Nov 1 - 2. Curtin Theatre, Fremantle. jc.wa.edu.au

Disney The Lion King Jr by Tim Rice and Elton John. Sacred Heart College. Nov 1. RNDM Performing Arts Centre, Sorrento.

House by Don Giovannani. Barking Gecko Theatre Company. Nov 1 - 9. Octagon Theatre, University of Western Australia, Nedlands. barkinggecko.com.au

All’s Well That Ends Well by William Shakespeare. Roleystone Theatre. Nov 2 - 10. Shakespeare in the Park. roleystonetheatre,com.au

The Seed by Kate Mulvaney. Black Swan State Theatre Company. Nov 2 - 17. Subiaco Arts Centre. blackswantheatre.com.au

Unnatural. Holland Brooks. Nov 5 - 23. The Blue Room, Perth Cultural Centre. blueroom.org.au

Black Medea by Wesley Enoch, after Euripides. Aboriginal Performance at WAAPA, Nov 7 - 13. Enright Studio, WAAPA, Edith Cowan University. waapa.ecu.edu.au

Annual Puppetry Production. 3rd Year Bachelor of Performing Arts at WAAPA. Nov 8 - 9. Spare Parts Puppet Theatre, Ellie Eaton Theatre, Claremont Showground. waapa.ecu.edu.au

Dead Cert! Cluedunnit. Nov 89. Downstairs at The Maj, His Majesty’s Theatre, Perth. artsculturetrust.wa.gov.au

Everyman. Adapted by Carol Duffy. 2nd Year Acting at WAAPA. Nov 8 - 14. Edith Spiegeltent Studio, WAAPA, Edith Cowan University. waapa.ecu.edu.au

Carrie the Musical by Lawrence D. Cohen. 2nd Year Music Theatre at WAAPA. Nov 9 - 14. Geoff Gibbs Theatre, WAAPA, Edith Cowan University, WA. waapa.ecu.edu.au

Ask by Barbara Hostalek. 3rd Space. Nov 12 - 23. The Blue Room, Perth Cultural Centre. blueroom.org.au

Dirty Rotten Scoundrels. Book by Jeffrey Lane. Music and lyrics by David Yazbek. Murray Music and Drama. Nov 15 - 30. Pinjarra Civic Centre. taztix.com.au

The Sound of Music by Richard Rogers and Oscar Hammerstein. Melville Theatre Company. Nov 15 - 30. Melville Civic Centre, Booragoon, melvilletheatrecompany.au

Come From Away by Irene Sankoff and David Hein. Koorliny Arts Centre. Nov 1530. Koorliny.com.au

Crimson Gully by Sreekanth Gopakrishnan. The Great Indian Theatre Company. Nov 15 - 16. Nexus Theatre, Murdoch University. thegreatindiantheatre@gmail.c om

Puss in Boots by Ben Crocker. Wanneroo Repertory Club. Nov 21 - Dec 7. Limelight Theatre, Wanneroo. taztix.com.au

Frankenbolt’s First Christmas by Steven J. Yeo. Roxy Lane Theatre, Maylands. Nov 21Dec 7. taztix.com.au

Guards, Guards by Terry Pratchett, adapted by Stephen Briggs. Roleystone Theatre. Nov 22 - 30. roleystonetheatre.com.au

The Drowsy Chaperone by Lisa Lambert, Greg Morrison, Bob Martin and Dom McKellar. Stirling Players. Nov 22 - Dec 7. Stirling Theatre, Innaloo. trybooking.com

Blackadder the Third by Richard Curtis and Ben Elton. Rockingham Theatre Company. Nov 22 - Dec 7. The Castle, Rockingham. rtcrockingham.com

Mother Goose on the Loose by Taneal Thompson. Darlington Theatre Players. Nov 24 - Dec 10. Marloo Theatre. marlootheatre.com.au

The Lion, The Witch and the Wardrobe by Josephine Robinette, based on the book by C. S Lewis. Garrick Theatre. Nov 28 - Dec 14. Garrick Theatre. taztix.com.au

On a First Name Basis by Norm Foster. KADS. Nov 29 - Dec 14. KADS Town Hall Theatre. kadstheatre.com.au

Picnic at Hanging Rock by Joan Lindsay, adapted by Tom Wright. Old Mill Theatre, South Perth. Nov 30 - Dec 14. oldmilltheatre.com.au

Sister Act: The Musical Music by Alan Menken, lyrics by Glenn Slater and book by Cheri and Bill Steinkellner. John Frost for Crossroads Live in association with Jamie Wilson. Capitol Theatre, Sydney. Opening night: Aug 11.

PROMISING an evening of heavenly entertainment, Sister Act: The Musical delivers. Based on the 1992 movie, the plot remains the same, revolving around Deloris Van Cartier (Casey Donovan), who witnesses a murder and is placed in protection at a convent where she transforms the choir and herself. The musical maintains a comedic and feel-good tone but is set in 1970s Philadelphia.

Deloris’s evolution is more pronounced, amplified by powerful musical numbers like “Fabulous, Baby!” and “Sister Act”, highlighting her transition from seeking fame to finding fulfilment in camaraderie and faith. Donovan delivers a powerhouse performance as Deloris, her vocals soaring with a soulful vibrancy that raised the roof and earned cheers from the audience.

Mother Superior’s (Genevieve Lemon) strict stance towards Deloris softens as their relationship moves from conflict to mutual respect. The musical deepens the transformation via heartfelt songs. “Here Within These Walls” and “I Haven’t Got a Prayer” expose her vulnerability and growing acceptance of change. Lemon balances humour and warmth perfectly.

Sister Mary Lazarus (Rhonda Burchmore) is the cantankerous, conservative nun and Burchmore injects a dose of raucous fun into every scene as the feisty yet

Online extras!

Sydney audiences are in heaven at the opening of Sister Act: The Musical. youtu.be/q0GBJIvPyM0

likeable nun who can rap in Latin. And those legs do make an appearance in a chorus line of tap-dancing nuns.

Sister Mary Robert’s (Sophie Montague) heartfelt solo “The Life I Never Led”, is beautifully delivered as the vulnerable desires are laid bare and self-assurance rises.

Notable supporting characters undergo changes in the musical adaptation including Eddie Southe (Raphael Wong) who is more actively involved in the story, with his feelings for Deloris more developed. “I Could Be That Guy,” showcases his desire to be brave and confident and has a hilarious reveal at its conclusion.

Curtis Jackson (James Bryers) is the main antagonist and Bryers is a menacing and cold villain whose dark side shows in “When I Find My Baby”. TJ (James Bell), Joey (Tom Struik), and Pablo (Jordan Angelides) are Curtis’s bumbling henchmen; some of their buffoonery is hilarious, including a dynamic chase scene.

Alan Menken has created a score reminiscent of disco, soul, and Motown, fitting the 1970s setting. “Take Me to Heaven” and “Raise Your Voice” will be running through everyone’s mind long after they leave the show, while ‘70s choreography is joyful, cheeky and, at times, cringe.

Whether you’re a devout fan of the original film or a newcomer to the story, this production is a sacramental celebration of joy that will leave you praying for more. Sister Act is nun-stop entertainment!

Nicole Smith

The Exorcist

By John Pielmeier, adapted from the novel by William Petter Beatty. Redcliffe Musical Theatre and Ghostlight Theatre Company. Directed by Yasmin Elahi. Theatre 102, Redcliffe. Jun 28 - Jul 14.

AN unforgettable night of spine-tingling terror, this production of The Exorcist left audiences on the edge of

Sister Act: The Musical.

Photo: Daniel Boud.

Reviews

their seats. From the moment you stepped into Theatre 102, an aura of foreboding gripped the air. The lights dimmed low, casting shadows over tables draped in ominous black, setting the stage for a night of spinetingling terror.

The ensemble cast delivered an unforgettable night of horror, each member contributing to the chilling atmosphere and visceral intensity of the performance. Ali Morgan found her footing throughout the show, resulting in a fierce performance as the protective mother, Chris. Opposite her, Adrian Mackay brought charismatic relief and stole scenes as Burke. Meanwhile, Jabade Brown-Oakes was chillingly commanding as Father Damien Karras, and Scott Black’s brief but chilling

portrayal of Father Merrin exuded a commanding stillness. Despite an unexpected interruption from distant fireworks, the cast were committed to maintaining their grip on the audience’s fear, turning external chaos into an unsettling backdrop to the unfolding demonic drama.

However, the true star of the evening was Charlotte Rubendra as Regan. Alternating with Kaitlyn Harding, Rubendra’s transformation into the possessed young girl was nothing short of mesmerising. Her vacant stare and contorted expressions sent chills down the spine that lasted long after the curtain call.

The Director Yasmin Elahi brilliantly translated The Exorcist from screen to stage. Her attention to detail dripped with atmospheric dread. Collaborating closely with Set Designer Jonathan Johns and Special Effects

Artist Rowany Blackshaw, Elahi created a visceral feast for the senses. From grotesque makeup to spinechilling practical effects, this Australian premiere was truly a testament to the power of live theatre and the sheer talent pouring out of the South-East Queensland theatre community.

Rebecca Lynne

Uncle Vanya

By Anton Chekhov. Adapted by Joanna Murray-Smith. Ensemble Theatre. Director Mark Kilmurry. Jul 26 - Aug 31.

ADAPTATIONS only work in the hands of an exceptional and principled writer who is true to the original work. Australian playwright Joanna Murray-Smith’s adaptation of Anton Chekhov’s 1898 play Uncle Vanya is reverent to the characters and their bleak environment, but she has cleverly given them a “contemporary essence”.

Mark Kilmurry’s clear, concise direction highlights Murray-Smith’s tailored

The Exorcist

Photo: Alan Burchill.

dialogue and astute ability to translate the comedy behind Chekhov’s wry view of human relationships for a modern audience.

The play is set on failing a country estate owned by Serebryakov (David Lynch) and managed by Vanya (Yalin Ozuceik) and his niece Sonya (Abbey Morgan). When Serebryakov arrives with new young wife Yelena (Chantelle Jamieson) and the news that he wants to sell the property, tensions begin to rise, especially as Vanya and the local doctor Astrov (Tim Walter) fall in love with Yelena.

No one really wins in the cut and thrust the tension brings. Eventually Serebryakov and Yelena return to the city, leaving Vanya and Sonya to make what they can from the estate, with the bumbling assistance of the hired help, Waffles (John Gaden).

Astrov retreats to his demanding home visits and Nanny (Vanessa Downing) goes back to her knitting.

With all characters back where they began, the audience is left wondering about the cycle of life and why they laughed so much. The answer is a combination

Online extras!

Zahra Newman discusses the use of cine-theatre in STC’s Dracula youtu.be/L2ijBhGe_Wo

Uncle Vanya.

Photo: Prudence Upton.

Dracula.

Photo: Daniel Boud.

of Joanna Murray- Smith’s sensitive re-imaging of Chekhov’s characters and humour and Mark Kilmurry’s crisp direction of an intelligent cast who, like Chekhov, ‘got’ how comedy and pathos can work so cleverly together.

Carol Wimmer

Dracula

By Bram Stoker, adapted and directed by Kip Williams. Sydney Theatre Company. Roslyn Packer Theatre. Jul 2Aug 4.

TECHNICAL wizardry and superlative acting marked this production, which breathlessly fused two hours of performance and cinema in a smorgasbord of gothic horror, that entertained but did not frighten the audience.

The play opened on a blank stage as the first of the 23 characters portrayed by Zahra Newman entered. It was the young solicitor, Jonathan Harker, on a business trip to Castle Dracula, a ruined battlement nestled deep in the wilderness, where he became imprisoned.

The first part of the production was dominated by one large screen with the action on stage serving the live film. For long stretches, Newman did not even look at the audience but faced the roving or descending cameras, directing all attention to the screen.

The integration of the live performance and prerecorded characters was seamlessly choreography.

Plenty of vampires with sharp teeth attacked victims’ necks, adorned with garlic necklaces in futile attempts to ward off the monster. Ghosts flew across the stage, litres of blood was sprayed about, and a stake was driven into a vampire’s heart.

The peak of the artistry was reached when the action on stage was just as interesting as the cinema. A graveyard scene, where the camera shot through and around the frames of crosses, was a highlight,

Towards the end of the production came the welcome introduction of singing, which Newman an accomplished music theatre performer smashed.

A new pattern emerged for the screens in the shape of a cross, and the final scene set outside during winter was beautifully lit by Nick Schlieper.

At the end of the two-hour, one act production, Zahra Newman received a spontaneous standing ovation. She just didn’t miss a beat, carving up all the characters.

An ovation too for the crew of 13 camera operators and stagehands.

David Spicer

Watch a preview of Robert Menzies in Bell Shakespeare’s King Lear youtu.be/ClK72beDJ0c

King Lear

By William Shakespeare. Bell Shakespeare. Arts Centre Melbourne, Fairfax Studio. Jul 25

- Aug 11.

WHEN old King Lear asks his three daughters, ‘Which of you shall we say doth love us most?’ we feel dread as well as anticipation. Why does Lear (Robert Menzies) ask that foolish question? Vanity? Or is he already on the path to dementia? Here, daughter Regan (Tamara Lee Bailey) plays the game with a smile, practically winking at the audience. More solemn Goneril (Lizzie Schebesta) speaks her fulsome nonsense straight-faced. But Cordelia (Melissa Khahraman) tells the truth and is punished for it.

So Shakespeare sets his mighty engine running. There is no softening of the melodrama in this production, but it runs alongside insight and ambiguity. Don’t we feel a surge of sympathy when illegitimate Edmund cries, ‘Now, gods, stand up for bastards!’? Lee Bailey gives ruthless Regan a seductive charm the perfect mate for Edmund. Don’t we agree with the sisters when they tell Menzies’ childish Lear that an entourage of a hundred roistering knights is too much?

And yet we feel pity and horror when Lear in his fury calls for the destruction of the world. He only sees how the world works when he is mad. Menzies emphasises frailty and pathos rather than regal power brought down and humbled. His subtle performance shows us a Lear on the edge of panic, begging that he not be made mad.

Anna Tregloan’s set is sumptuous, palatial, but totally but bare marble, backed by long sheets of metal that punctuate scenes and create the thunder of the storm on the heath. Benjamin Cisterne’s lighting reinforces the drama and the passions as does Max Lyandvert’s soundscape. Lear’s fear of madness sees him isolated in a pool of light surrounded by darkness.

This majestic production, running two hours and twenty-five minutes, does not flag. Shakespeare’s text

King Lear.

Photo: Brett Boardman.

(pruned by dramaturg James Evans) is beautifully structured, and director Peter Evans keeps it moving between plot and sub-plots with economy and agility. With its variety of characters, its heart-wrenching drama and themes, King Lear is surely one of the greatest plays of all times.

Michael Brindley

Arlington By Enda Walsh. Empress Theatre and Seymour Centre. Director Anna Houston. Aug 2 - 24.

IN ARLINGTON, Enda Walsh conjures a dark, dystopian society where “supervisors” interrogate citizens and leave them bereft of their dreams, imprisoned, locked in rooms in high tower blocks with open windows tempting their will to live.

A play such as this is exacting for its cast. The characters they play are vulnerable, exposed, fearful, tense. Director Anna Houston praises her cast’s “intelligence and empathy for their characters” but that same intelligence and empathy shines in her direction…and her realisation of “the desperate striving for a glimmer of hope in the pitch-dark night of grief” that she sees as the central theme of the play

Kate Beere’s set shows one of the small, locked tower rooms and a studio where “supervisors” watch on CCTV as they interrogate and control their captured citizens. Images and videos flash and flicker. Instructions are interrupted by voices, piercing noises, loud music, flashing light and long instances of dark silence. It is a menacing setting totally in keeping with Walsh’s intense dialogue…and a silent, harrowing, twenty-minute suicidal dance.

Arlington was Enda Walsh’s attempt to write his way through the grief of losing his mother and his best friend. It is confronting, grim, tough, daunting. It’s also challenging, thought-provoking, perplexing. It leaves you almost empty but clinging to belief in humanity, courage, and compassion.

Carol Wimmer

Arlington.

Photo: Phil Erbacher.

The Questions.

Photo: Claudio Raschella.

The Questions

By Van Badham (Book & Lyrics) and Richard Wise (Music & Lyrics). State Theatre Company South Australia. Space Theatre. Jul 26 - Aug 17.

A 1997 study by professor of psychology Arthur Aron at New York State University developed 36 questions that could potentially lead to love. This led writers Van Badham and Richard Wise to collaborate on this latest production.

A visually stunning performing space is an urban apartment block, a beige clad space which mimics our resident’s (Charles Wu) personality. The colour is soon provided by blind-date visitor (Chaya Ocampo). Strained conversation ensues as our visitor plans her early escape. This is interrupted by a text message notification, warning of a lockdown.

Two mismatched souls are forced into domestic cohabitation. The neighbouring apartment is home to three musicians, who provide the soundtrack. Cleverly directed by Mitchell Butel, the action provides voyeuristic entertainment.

A relatable script provides hilarity, highlighted by songs delivered with comic undertones. Both Wu and Ocampo showcase their excellent vocals with beautiful harmonies. Although this production could be staged on script alone, the musical aspects provide a break from the constant bickering.

After several months in lockdown our potential lovers already have shared their disdain for each-other’s flaws, but in an effort to pass the time they embark on the previously mentioned 36 questions. The leading actors play well off each other’s nuances, providing many tender moments.

The staging is a plus in this production. With barely a dull moment, it is fast-paced and well-rehearsed. The

script is engaging and puts a lighter spin on what was a traumatic time for our world in a lockdown, still fresh in our memories.

Kerry Cooper

The Sunshine Club

Written and directed by Wesley Enoch AM. Original Music by John Rodgers. HIT Productions. The Q - Queanbeyan Performing Arts Centre. Aug 1 & 2, and touring.

IN THE 25 years since Wesley Enoch’s joyful musical gem The Sunshine Club first enchanted audiences, it has rarely been seen in theatres outside Brisbane or Sydney. Now musical lovers around Australia will have the opportunity to see what the fuss is about.

The story takes place in 1940s Brisbane when returned indigenous serviceman Franky Doyle (Garret Lyon) creates his own dance venue, The Sunshine Club, which welcomes everyone regardless of their skin tone. It’s impossible not to be moved by the hopes and dreams of would-be couple Frank and his white childhood friend Rose (Claire Warrillow) as the times and circumstances conspire against them. Garret Lyon captures all of Frank’s hope and vulnerability. His early numbers are all joy, but his song “Homecoming” is full of bitterness and resentment. Claire Warrillow as Rose is sweet and naïve, but in a stunning dress in front of a tinsel foil curtain, is pure glamour, singing with her semiclassical lilt. Roxanne McDonald gives Aunty Faith a superhuman level of stoic kindness and inner strength. And as Frank’s sister Pearl, Tehya Makani’s song “Passionfruit Vine” is beautiful and utterly heartbreaking.

This production is sheer delight. From John Rodgers’ marvelous music incorporating swing and latin beats, Shenzo Gregorio’s musical direction making the compound band sound big, Yolande Brown’s vibrant,

The Sunshine Club. Photo: Paul Dodd.

jazzy choreography to writer and director Wesley Enoch’s generosity, this show bursts with hope. Although this may not go as planned for the protagonists, the play ends with some promise of better things to come.

This is a marvelous musical. See it and take your kids. Cathy Bannister

By Jane’s Hand

Created by Emma O’Brien with Olivia O’Brien. Seldom Productions & La Mama. La Mama Courthouse, Carlton. Jul 17 - 28.

EMMA O’Brien and Olivia O’Brien combine, weave together, and segue between ‘fact’ (Jane Austen’s letters to her sister Cassandra) and fiction. ‘Fiction’ here, is Pride and Prejudice. There is not a word in the O’Briens’ text that does not come from Jane’s hand. And that text weaves into and out of the music that Austen transcribed from children’s ditties to classical arias.

‘Jane’ is played by three women (Olivia O’Brien, Isha Menon and Marjorie Hannah) as Jane One, Jane Two and Jane Three, who also play musical instruments and sing beautifully much of the text. They may speak or sing in unison, or singly, alone or in counterpoint. Jane One (pianoforte) is rather pre-Raphaelite and dreamy, Jane Two (harp) cheeky and knowing, and Jane Three (violin) ‘serious’ and realistic.

In Act II, they play characters from Pride and Prejudice with a flourishing of wigs and a top hat. It is all so well

done that it disguises quite how well done it is. The set, designed by Emma O’Brien and Henry O’Brien, is littered with crumpled sheets of handwritten letters. Susan Halls’ Empire line costumes are covered with handwriting as are the piano, the harp and the dresser where the violin rests when not in use.

Apparently, Austen wrote 3,000 [?] letters and only 161 survive. Her family burned the others to ‘protect’ her. The letters display sharp, sarcastic indeed, to use sexist terms, ‘bitchy’ or ‘catty’ observations of people. The play suggests Austen transformed her constrained personal experience including thwarted romance into Romance, the quality for which some folks claim that they read and re-read the novels. She turned her observations into irony and moral judgement, with an undercurrent of pragmatic if not cynical realism. Her world is a man’s world.

This ‘little’ chamber piece, so witty and skilful, and performed with such delicacy and gusto, reveals there was and is much more to Austen than ‘everybody’s dear Jane’.

Michael Brindley

BASED on the true story of Henrietta Leavitt, who left her Wisconsin family to work in a patriarchal Harvard University, Silent Sky is the story of a scientist not taken seriously because she was a woman until her unofficial

Silent Sky

By Lauren Gunderson. St. Jude’s Players. St Jude’s Hall, Brighton, SA. Aug 8 - 18.

By Jane’s Hand.

Photo: Darren Gill.

discoveries became the foundation of work for astronomers such as Hubble.

The playwright Lauren Gunderson is currently one of the most produced in America, often writing about lesserknown scientists, usually women, whose passion, hard work, and important discoveries were credited to their male counterparts.

Brittany Daw excels in Leavitt’s period-perfect politeness, occasionally overpowered by her male-inspired frustrations. Daw is also strong when Henrietta makes new discoveries: not just astronomical, but from unexpected emotions.

These burst towards her sister Margaret, played by Tianna Cooper with such patience as a stay-at-home daughter, and her supervisor, Peter Shaw (Josh van’t Padje), who is terrific when uncertain about his position and feelings towards Leavitt. Their awkward interactions are humorous and touching.

Leavitt’s colleagues are Williamina Fleming and Annie Jump Cannon, with Joanne St Clair and Deborah Walsh devouring these fantastic characters, crafting heartfelt and real personalities all the women tell stories of fighting against their male-imposed roles.

Director Lesley Reed has gently guided her small cast to tell these stories so skilfully. They’re supported by an excellent Don Oakley set, suitably understated lighting designed by Stephen Dean, vivid projections of stars and galaxies from Ray Trowbridge, and piano music specially composed for the play by Jenny Giering.

Mark Wickett

PERFORMING ARTS MAGAZINE

SEPT/OCT/NOV 2024. VOLUME 33, NUMBER 4

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CAST & CREW

Editor: Neil Litchfield 0438 938 064

Sub-editor: David Spicer

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Contributors: Cathy Bannister, Anne Blythe-Cooper, Michael Brindley, Kerry Cooper, Rose Cooper, Ken Cotterill, Bill Davies, Coral Drouyn, Jenny Fewster, Kitty Goodall, Peter Gotting, John P. Harvey, Frank Hatherley, Barry Hill, Jude Hines, Beth Keehn, Fiona Kelly, Tony Knight, Debora Krizak, Neil Litchfield, Ken Longworth, Rachel McGrath-Kerr, Mel Newton, Peter Novakovich, Peter Pinne, Martin Portus, Suzanne Sandow, Kimberley Shaw, David Spicer, Mark Wickett, Geoffrey Williams and Carol Wimmer.

Silent Sky.

Photo: Les Zetlein.

The most prized symbol at the Olympic Games is not the five rings but rather the ∞ (infinity) symbol on the accreditation card that is worn around the necks of athletes, officials and media.

It is a golden ticket into almost any event, which I had the good fortune to secure in the year 2000, when I worked for the ABC as a rights holder at the Sydney Olympics.

Sadly, Stage Whispers did not have the budget to send me to Paris, and is not likely to make the cut in L.A., but I was glued to my couch for the whole fortnight for these games.

I would award a gold medal to the city of Paris for providing a magical backdrop to the games. Equestrian events at the Palace of Versailles were exquisite and Beach Volleyball in front of the Eiffel Tower intriguing.

The Opening Ceremony on the River Seine was a good idea but ended up a bit untidy because of the lack of atmosphere and the rain. I read an account on social media from an Australian dancer who was one of the Moulin Rouge performers who danced on the riverbank during the opening. He described his troupe’s Can Can routine as very soggy and disappointing.

Who would have thought that an Australian dancer competing in the Olympics, not just the opening ceremony, would become our most famous, or, should I say, infamous export?

I refer of course to Rachael “Raygun” Gunn and her zero score in the new event of break dancing.

The big mistake in my view was the selection of the event as an Olympic sport in the first place.

There are much more worthy performing arts disciplines that should have been considered. Does ballet, opera singing, or limerick tongue twisting come to mind?

How about throwing a tantrum when you don’t get your way during a rehearsal? Olympians could have lined up to throw wobblies, tear their hair out, or scream and walk off in a

huff. I once saw a French director throw a chair.

Another Olympic event could have been whinging about an amateur theatre review. I have seen some impressive efforts over the years.

The bitchiest ones accuse the writer of being biased because he/she has an axe to grind. An oldie but a goodie is why did the review not mention me in his or her review when five other principals were mentioned. (The usual reason is that the person was left out of the review because their performance was poor or unremarkable.)

Most long-winded committee meeting might struggle to get high ratings as an Olympic event but there would be lots of qualifiers to choose from.

Best excuse for not learning your lines or being late to a rehearsal might be worth a laugh.

But all jokes aside how about Theatre Sports? Throw a situation at our most brilliant actors and make them turn it into a piece of drama on the spot. That might be worth a gold medal.

David Spicer

Musical Spice