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Welcome to Stage Whispers' annual School Performing Arts Resource Kit (SPARK). The aim is to provide school teachers with more tools to spark a love of theatre in their students. Please click through to the section that is relevant to you. We welcome feedback on this edition and any suggestions you have for us to improve it in future years. Leave your comments here
Front cover image Jayme Verhagen in the Knox School production of The Crucible.
Contents
Costuming, Make Up, Props and Sets ...................................................................... 4 Where to find them. How to make them Finding Musical and Play Scripts ............................................................................ 20 Tips on putting on a show Sound and Light ................................................................................................... 35 Ticketing, Seating, Curtains and Special Effects ...................................................... 61 Training ................................................................................................................ 66 Performances for Schools. Incursion and Excursion ................................................. 78 National................................................................................................................ 81 New South Wales & A.C.T. ..................................................................................... 83 Queensland .......................................................................................................... 86 Tasmania .............................................................................................................. 87 South Australia ..................................................................................................... 88 Victoria ................................................................................................................. 89 Western Australia .................................................................................................. 92
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Recent posts on our Facebook page (www.facebook.com/stagewhispers) have been generating a lot of buzz. In January, a story about an audience member who stepped up to fill in for an ill performer had over 38 thousand viewers. Be sure to ‘like’ us to make sure you don’t miss out on the latest news from our website and the world of theatre. Don’t forget you can also follow us on Twitter (@stage_whispers).
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Costuming, Make Up, Props & Sets
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Dame Julie Andrews is in Australia to direct a 50th anniversary production of My Fair Lady at the Sydney Opera House next year. At a packed media conference in November it was revealed that the original set and costumes will be re-created for the production. “What we wanted to do is recreate that 1956 production,” Producer John Frost said. “We tracked down the last assistant of Cecil Beaton (who won the Tony Award for best costumes in 1957). He has the original costume
designs, which we will re-create. We also tracked down all the original set designs. “And of course we have the Julie Andrews to direct it. (Aged 21 when she starred in the original Broadway season) she is the last thread of DNA from that production. “We are going to re-create that excitement from Broadway in 1956 and when it came to Australia in 1959, which was a total replica production.” Dame Julie Andrews is delighted. “It if ain’t broke don’t fix it. It was so glorious. I don’t know how many
My Fair Lady, directed by Julie Andrews, opens at the Sydney Opera House on the 30th of August. Julie Andrews in Sydney.
Julie Andrews as Eliza Dolittle.
Online extras! Join Stage Whispers TV at the Q&A session with Julie Andrews. Scan or visit https://youtu.be/6UyPNzL6BYs 5 Stage Whispers SPARK 2016
times that original gem has been shown,” she said. “They (the designs) made the audience gasp. There is nothing wrong with doing that again. “Remember generations of young people have not experienced the wonder of My Fair Lady, so why not go for something that was so iconic.” Dame Julie spoke after four days of auditions. “It is very daunting. I have seen a lot of wonderful talent.” Even more daunting for those auditioning. “I know how to help a little. I know what helped me and I am thrilled to pass it on. Things like, think about the lyrics, stick to the words, think the role through.” “George Bernard Shaw wrote the most musical plays. It has highs and lows. “Eliza, you do so and so, up down, rolling gorgeous sound all over the place. “I would help whatever Eliza we do find with all of that and more.” And how does she compare the three iconic roles she played - Mary Poppins, Maria in The Sound of Music and Eliza Doolittle? “Mary Poppins was austere and uptight. The Sound of Music character was radiant and floating about. Eliza was desperately poor but was bright, and had guts and ambition. Eventually she transcends (poverty) to become a lady but then doesn’t know ‘what’s to become of me’ as she can no longer ‘sell myself’.”
Sketches courtesy John David Ridge
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Costume Emergency Solved It could have ended in tears. When the Costume Factory in Melbourne burnt down in April last year it left The Knox School without costumes for its senior drama production of Arthur Miller’s The Crucible. Mary Gurry from Centrestage Costumes came to the rescue and describes the recovery.
confirmation from the fabric cutter at the store; she agreed it was burnt orange, so I felt a little more confident. Every day I look at my one month OK, the emergency light is on! Full calendar. I pencilled in all the targets. Cut costuming for The Crucible - 28 costumes in all, and 28 days to three dresses, make produce it all. three dresses, cut We’ve got some of the right shirts, five dresses, make five dresses. Cut four collars, vests and other 1693 vintage men’s coats, cut four breeches. Make stuff. But, we’ll still need 12 more dresses, 16 pilgrim aprons, 16 pilgrim four jackets, make breeches. Cut 16 bonnets, a full long skirt with bodice, bonnets, cut 24 cuffs, cut 14 women’s four period jackets and breeches, three collars. Buy/make/create three Pilgrim men’s hats with buckles. Pilgrim men’s hats, 12 Ladies’ Pilgrim It was a realistic time frame for collar and cuff sets plus a few other each job I thought, even allowing four odds and ends. No big deal (gulp!). First, the morning trip to the leafy days for assembling and the last little outer eastern suburbs to meet the frills. But as days went on, the calendar director and measure the kids. would change. It is a mess of Day 1: I purchased 40 metres of fabric in seven different rustic sombre scribbles....complete with coffee ring. colours and textures, including the End of Day 23: I am on target requested ‘burnt orange’. Burnt (almost) and I still have to attach sleeve orange, now there’s a problem already. cuffs, and sew interfacing on dress One woman’s burnt orange is another necks. Zips in two dresses, hems on all dresses, flash collar for one dress, oh, woman’s tan or light brown. I got a
Jayme Verhagen and Emma Leech in the Knox School production of The Crucible.
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and the little matter of three pilgrim men’s hats. Fingers crossed the trusty millinery supply shop will have something I can work with....and four days to do it all. Day 28: We made it! Used: 3 x 1000 metre cotton reels, around 100 metres fabric and completed 74 items. Completed: 16 bonnets, 14 collars, 12 full bodice dresses, 24 white cuffs, nine aprons, four men’s period coats, four men’s breeches and period coats, one bustier, one men’s farmer vest, one brown full skirt. Phew! www.centrestagecostumes.com
Avoid Costume Wardrobe Horrors Tracey Nuthall from Costumes Without options are chosen, it all takes space. If Drama reports. you are out of space, it may be worth considering other options, like hiring The school costume wardrobe, aka some costumes. ‘The black hole’, the messy room, the When hanging costumes on rails, it dumping ground, is a place of mystery. is so much easier to be consistent with Going into it is not for the faint your hanging technique. There is not a hearted. right and wrong way to hang. We at There are two very important rules; Costumes Without Drama always hang sadly other members of staff or garments on coat hangers so the hook students do not always respect them. at the top is pointing to the left if the Rule 1. Never put costumes away garment is facing you. That way we dirty! Five year old perspiration and can always get to the barcode label for easy identification. Of course, you may makeup will never come out, so just don’t do it. choose to put the hook to the right Rule 2. Put it back where it came provided you are consistent. from. Ha-ha! As if that would ever For more useful tips on how to happen in a school costume wardrobe! organise your school wardrobe, go to The only way to make sure Rule 2 is www.costumeswithoutdrama.com.au obeyed is for ONLY one person to have the keys to the room. Then there is the question of storage. Do you use tubs, shelving or racking. If you have 100 tubs they need to be organised in a ‘fool proof’ manner, or you will be forever searching. Clothes racks are definitely the easiest way to organise the wardrobe, but CAN take up a lot of space if the rails are not at useful heights. Costumes Without Drama uses a variety of storage techniques, with the bulk of the costumes hanging on rails. Storing over 10,000 costume items so they are readily accessible is a challenge, and no matter which
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Cutting It Across The Tasman Catherine Creighton and Victoria Gridley both moved to Wellington from Australia at the beginning of 2015 to follow their creative passion for textiles and to study Costume Construction at Toi Whakaari: New Zealand Drama School.
Whakaari. In addition, the annual Costume Showcase is an opportunity for the graduating costumiers to work on a live performance event that showcases their own major works. The first year Costume Construction students are currently working on Restoration period pieces. “Within the first two months I “You’re producing work that you could already see a difference in my get to see up on stage, what it looks work, in the way that it was done and like in a performance environment and moving around,” says Cat. “The presented,” says Vic. Costume students collaborate with learning environment at Toi Whakaari is completely different from anything the New Zealand School of Dance on their major performance events, as well else I’ve experienced and it feels like it as being actively involved in the shows prepares you more for the real world than any of the universities I’ve been and performance projects at Toi 9 Stage Whispers SPARK 2016
to,” adds Vic. Cat and Vic both started out making Cosplay costumes before going to Melbourne to get degrees in science and animation respectively. Part of the process “I find the structures the school uses to teach really grounding. It’s a strong base that applies to everything,” comments Vic on the collaborative teaching environment at Toi Whakaari. “The course is a bit like an internship in a way; you’re learning as well as creating work that is used by the rest of the school, which is awesome.” Twice a week the future costumiers join other students from the Acting, Design, Technology and Management
courses for kōiwi. It’s where the students and staff gather in one of the big studios to practice the skills of collaboration and responsibility. It’s a way for Toi Whakaari to keep creating a culture that enables the teaching and learning to be ongoing and life giving. “The way kōiwi makes the school work together has affected the way we learn; we listen and we do, we respond as necessary to the work we have to do and just get on with it, which is really good,” says Vic. Fitting in Cat and Vic feel at home in New Zealand. “Everyone is just so polite and giving here. I haven’t met a mean Kiwi yet,” says Vic. Both students have been juggling school and work to get by. It’s not just about money for the necessities according to Cat, “but just meeting new people and learning different skills, so that I can combine all my work skills and my school skills and become a more well-rounded, mature adult.” The Diploma in Costume Construction is the only course in New Zealand that specialises in costume for
stage and screen. It’s taught by some of today’s best industry professionals and aims to provide students with skills in all forms of costume construction and production, leading to employment in theatre, film and allied industries.
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Phantom Of The Opera.
Gosford Musical Society The Gosford Musical Society has a dedicated group of sewing ladies who are pursuing their love of dressmaking. Together with the Costume Designers they are producing good quality costumes that not only endure their show but also numerous hires. So GMS is hiring whole shows to other musical societies, drama groups and schools who don’t have the storage space or resources to make their own show costumes. Shows like Spamalot, Beauty and the Beast and Cats have very iconic costumes, and large pieces, that make them very popular to hire. A rental of a large set of costumes typically costs in the vicinity of $3000 plus laundry costs. GMS is currently producing costumes for Mary Poppins and The Little Mermaid. The website features up to 100 photos from each of the last 40 shows performed by GMS. Contact (02) 4324 1305 or gosfordmusical@bigpond.com
A Costumes Maker’s Diary Lisa Mimmocchi designed the costumes for Songs For The Fallen a decadent musical-party charting the life of Marie Duplessis, the inspiration behind Verdi’s tale La Traviata. It’s on stage at the Melbourne Arts Centre in September ahead of a regional tour. This is her story. I did a Graduate Diploma in set and costumes at the VCA in 2003. It encourages you to create your own work, which is great training for not relying on approaches from other companies and instead doing independent collaborations with other artists. Songs For The Fallen is about a Parisian courtesan from the 1800’s who lived for 23 years. It is a mix between MTV and baroque cabaret. It is a really fast paced show. All the changes are done on stage. I did not want a break where the performer was struggling to put a costume on. I story boarded every single change. That informed what style of garment was used. I used a wrap dress, layers and things to step in and out of quickly. I thought of a paper doll with garments stuck on top of another. When I design costumes part of my process is deciding what to leave out. Sometimes there is overkill in costume design, throwing the palate into the one costume to make a massive statement. I see that all the time and would rather use essential elements to create some clarity. The final death scene was our high costume moment. I was trying to get the character to blend in with her surroundings. The whole action happens on the bedspread. It was a metaphor of going from life to an image of death. 11 Stage Whispers SPARK 2016
Songs For The Fallen.
Mackay Musical Comedy Players Over Mackay Musical Comedy Players’ 50 year history, attention to detail and authenticity have been part of its philosophy. This has been evident from 1965 when their founders staged The Boyfriend up until their recent production of Beauty And The Beast. Over the years their award winning team have had the unenviable task of creating costumes on the inevitable tight budget that goes hand in hand with community theatre. This has ranged from 1920’s bathers, to 1930’s Dick Tracey style men’s suits, to armour for Camelot, to the “Ascot” scene from My Fair Lady to beautiful ball gowns for the “Dames” scene from 42nd Street. All manner of materials are used to make them as evidenced by their clock with an opening door, candelabra with functioning candles and wardrobe with functioning drawers on display in their latest production of Beauty And The Beast. Mackay Musical Comedy Players hire whole sets of costumes to a range of theatre groups. www.facebook.com/pages/Mackay-Musical-Comedy-PlayersInc/459527327518152 Hairspray.
Beauty & The Beast.
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Masks And Puppets Plus…Sculptures Tessa Wallis is known around theatre and school circles for her beautiful Commedia dell’arte masks. What is not so well known is her talent in bronze. A bronze statue is one of the best ways to ensure a person’s legacy will
never be forgotten. Roslyn Lindsay decided such a statue would be a fitting tribute to her husband Reg the wellknown country music star. “Making a likeness of a person in bronze is a demanding task,” said Tessa. “Roslyn gave me a poster and asked me
Reg Lindsay Standing Tall by Tessa Wallis. Photo: Ric Wallis.
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to make a likeness. It was only when the sculpture was just about complete that I managed to get the facial likeness convincingly. “It is physically difficult to create a larger than life model of a person wearing a suit and hat and playing a guitar.” As she honed her sculptural skills making masks, Tessa gradually taught herself the art of sculpture on a larger scale. The “Plus” in her business, Masks & Puppets Plus, refers to the extension of mask making skills which rely heavily on sculpture and mould making. “I was confident I could do the job as I already have a couple of major works in bronze installed at the State Library of Victoria,” said Tessa. “I am delighted that Roslyn is happy with the sculpture. It is certainly a lasting tribute to Reg Lindsay and his country music.” The bronze statue of Reg Lindsay “Standing Tall” was unveiled at the East Cessnock Bowling Club in March this year.
Aladdin.
The Mystery of Edwin Drood.
The Mystery of Edwin Drood.
Jerry’s Girls.
Bankstown Theatre Company
who can source the most obscure item in a blink. I am a tailor, usually at the cutting table or driving a sewing machine while Betty Cairncross is the best finisher in the business,” said Arthur. “Currently,” said Betty,” we are Teamwork can be fun! What makes Bankstown Theatre focussed on Bankstown’s next production, All Shook Up. And we are Company’s wardrobe department so making a new set of 1950s outfits,” special? “Teamwork, and fun!” says Lynne joined in. “This show has a team member Arthur Pickering. “ We special set of needs and we are looking work at the Bankstown Arts Centre, and can be found there, having a great at the designs and colour palette to time, whenever we are needed. It’s an ensure we do it justice.’ Over the years we have developed amazing creative environment and one quite a collection,” added Tony. “If you of our favourite social outlets,” he are looking for something special or added. different, why not email or give us a “We all do a bit of everything but each has a special skill. Tony Attard has call?” www.bankstowntheatrecompany.com/ an encyclopaedic knowledge of our hire.html stock. Lynne Beach is an admin wiz www.stagewhispers.com.au Stage Whispers 14
The Crucible.
Centrestage Costumes Mary Gurry was singing for her supper but decided sewing was more her style. Whilst performing over 2500 singing telegrams around Melbourne, she turned her talents to making the outfits. Centrestage costumes began with a stock of gold and silver jump suits, various animals, Valentine Hearts and the like. Now, as well as having thousands of costumes, hats, wigs, personal props like pipes, swords, glasses, Mary makes costumes to order for theatre productions, special events, movies, music videos - large and small.
Priscilla.
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She also provides advice and lessons in special effects and stage make up. Some of the productions Mary is especially proud of are:  An order for a school production of The Crucible where she completed 28 Pilgrim costumes in 28 days.
 50 Bell Hop costumes for the 2014 Emporium Melbourne launch.  Dressing 450 people in Egyptian theme. www.centrestagecostumes.com
Costumes That Sizzle
Emma Squires visits the Opera Australia Wardrobe Department, speaking to Costume Designers Dale Ferguson (Anything Goes, on stage in Sydney during September) and Mark Thompson (Aida on Sydney Harbour, being broadcast across Australia by Cinema Live). Character: The Angels When it’s worn: In the song ‘Blow Gabriel Blow’ Materials: “I went with the look of glued on rhinestones rather than flat sequins. I looked towards old 1930’s movies for inspiration, the time of the showgirl. This scene is often costumed devil-like as Photo: Jeff Busby. if they’ve descended to hell, but we had a different approach as we wanted to keep them as Angels. Instead, the transition would be from choir girls to high kicking showgirls. We maintained the symbol of the cross to demonstrate where they’ve come from.” Character: Hope Harcourt Photo: Jeff Busby. When it’s worn: In her first song Materials: Pink satin. “I tried to keep a colour theme going for each character and I wanted Hope to have some sort of transition. I used baby pink to give the feeling of innocence and being a debutante, and as we enter the second act where she’s a little more worldly she wears pink with a red velvet sash.” “For this production of Aida we threw out the rules,” said Mark Thompson. “It was a broad-brush approach and didn’t look anything like you would expect. We wanted the audience to obviously recognise that there were people in power and people who were slaves. But we also wanted to make the slaves look like part of the world the victors also might have lived in. Every costume is handmade and fitted for each performer.” Character: Aida (played by Latonia Moore) Materials: There are five different printed fabrics in the skirt and all of those fabrics were especially printed for this one design. Underneath are layers and layers and layers of ballet netted tulle to give the really wide base. “All of the slaves’ costumes were based on existing contemporary African fashion. I looked towards current runway collections and also archival images from the turn of the century when printed fabrics first became available. But then I made the skirts and turbans even bigger and even more colourful.”
Photo: Prudence Upton.
Online extras! See more Opera Australia costumes by scanning the QR code or visiting https://youtu.be/9i8fnSS_0V4
Photo: Prudence Upton.
Character: High Priestess (played by Eva Kong) Materials: “It’s made up of really cheap materials that we found at a fabric remnants shop in Cabramatta. It’s the kind of glitter material that mums use to make up dance class costumes. But if you get 10 or 12 meters of it and put it all in one skirt, suddenly it doesn’t look like that anymore, under the lights it looks a million dollars. If you shake the skirt, all this glitter falls everywhere. “This costume and character never usually appears on stage in any other production as it’s supposed to be sung offstage. But we decided it was such a good song so it had to feature. There’s no kind of design history as to what that performer would ever wear so I just though let’s go all out to make this amazing costume that appears on stage for five minutes. The wings are being held up by four ladies from behind and we had to design those costumes so they looked like they fit in as part of her followers.” www.stagewhispers.com.au Stage Whispers 16
Make Up Delivered All Over Oz Melbourne’s Face Paint Shop prides itself on an inside knowledge of what is needed for all types of performances and characters. All staff at the Wantirna South shop have a theatre background. “Usually, a theatre company or show will send through a list of characters, with notes on how they want that character to look, as well as any special info on that cast member such as sensitive skin, excessive sweater, etc,” said shop manager Michelle Drinnen. “Our staff then put together the products for those characters to create the effect they need. We can even design step by step instructions for the exact design if you have volunteer make-up artists assisting.”
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The shop supplies performance paints for major events, theatrical shows, dance, gymnastics, calisthenics and recitals. Michelle teaches a popular handson workshop focused on youth and
newbies to theatre. It covers theatre make up, with an emphasis on hygiene and looking after your supplies. “Our most popular theatre kit is our “basics stage kit’ which includes everything you need for being on stage, including stage foundation in the right shade, eyeliner, mascara, blush, lipstick and a sponge to apply it with. Companies will often purchase one kit for each cast member to ensure cast have proper make up, and the right colours.” The Face Paint Shop also has a huge range of SFX make-up products to create effects like ageing, blood splatter and death, and a big range of makeup that glows under black lights. The Face Paint Shop is open 6 days a week on Sherwood Court, Wantirna South, with friendly staff ready to help you. Phone (03) 9013 0840 or online
Top Tips for Stage Make Up Opera Australia’s expert Make Up Artist Carla D’Annunzio explained her top tips for applying stage makeup to Emma Squires. 1. Invest in the right instruments. If you’re using the correct product and brushes it will make your job so much easier and quicker, so stop wasting time trying to apply your eye shadow with a Q-tip. 2. Always use damp sponges when applying your base work (primer, foundation etc.). This makes the product go on a lot smoother without pulling, giving a good finish. 3. Always set your foundation with translucent powder. This ensures longevity, especially when you’re singing and dancing under the stage lights. Make sure you complete this step before applying eye shadow and blush, otherwise it will stick to your un-set foundation and create a big clump of colour. 4. Stay true to the character and period of the show. If you’re a peasant, don’t apply your glamorous make up look and then rub a bit of dirt on. Try and make it as natural as possible. 5. Girls, use false lashes. They will make your eyes pop on stage. What products do the professionals use? They also use a product called ‘barrier cream’ which is applied before the makeup to, you guessed it, create a barrier between the makeup and skin. This prevents it from sinking into the pores and aids in the removal process. You can achieve this yourself by simply applying moisturiser or primer before your makeup. Carla believes this is an essential step as it also plumps up the skin so that when you apply makeup it doesn’t sink into all of the fine lines or make it appear cracked. And you don’t need to be fancy about your makeup removal process. According to Carla, most professionals just use baby wipes or wash it off in the shower with cleanser. The only thing you might not be able to model off the professionals is the timing, as it only takes them a mere 20 minutes to apply a performer’s makeup before a show! I’d suggest heading to the dressing room a little earlier than that, just to be safe.
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WAAPA Costumes On The International Stage
Australian Hybrids. Incandescent Flight.
Held in Prague once every fourth year since 1967, the Prague Quadrennial of Performance Design and Space or Prague Quadrennial is the world’s largest event in the field of scenography. It consists of a competitive presentation of contemporary performance designs including costume, stage, lighting, sound design, and theatre architecture for dance, opera, drama, multi-media and performance art. Twenty-two students from the Western Australian Academy of Performing Arts attended the event in June this year. In 2014 design and costume students submitted concepts to the Quadrennial and were thrilled when five of them were accepted. The theme was Tribes. One was called Incandescent Flight, modeled on the wrath of Mother Nature in the form of fires, flood and cyclones. Another, Core Beings, represented what unites the tribe of human beings. Anhydrous involved Druid-like hooded figures drawn from the cracked and dehydrated earth. The students walked the streets of Prague in costume in a striking procession against the city’s historic buildings. Cloaked figures left a chalk trail of ancient geomancy symbols, articulating the equations and signs of an ailing land. Trailing the nomads’ gowns was a mesh veil, concealing the waters and resources drained from the cracks of the earth. Audience members were ‘invited’ to gradually draw the waters (translucent/ holographic fabric) from the tribe as they proceed along the designated route through Prague. See the full list of exhibitors at http://bit.ly/1PF6RXu
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Finding Musicals & Plays Scripts
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Producer/Director Glynn Nicholas is launching a brand new musical comedy paying homage to Eurovision at the Melbourne Comedy Festival from April 1. Song Contest - The Almost Eurovision Experience has been devised from day one as an interactive theatrical experience like no other. After the Melbourne World Premiere in April, Song Contest will be available for schools, community and amateur theatres to perform. Glynn spoke to David Spicer*. David Spicer: You were the producer/director and cowriter of the musical Eurobeat (which is now retired). Why did you want to create a wholly new musical on the Eurovision experience? Glynn Nicholas: It was very clear that this kind of immersive theatrical experience has a great deal of potential in Australia and everywhere that Eurovision makes its mark. Song Contest - The Almost Eurovision Experience is taking off from where Eurobeat left off. Some of the things we are doing with the new show are way beyond the limits of Eurobeat. It is genuinely very exciting to be a part of this project.
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DS: How does the audience get involved in performances? GN: The experience is very interactive. The audience get a free badge denoting their country when they come to the theatre. They can communicate with us when they download the free App which they use to order drinks, vote during the show, post on social media, find out about the cast and so on. It’s pretty cool and we will make all of this available to anyone who licenses the show. We also encourage people to sign up to become a Eurovisionary. A Eurovisionary is someone who wants to get involved and engaged with us at some level. They get ticket deals and become our ambassadors to the cynical people! DS: Tell us a little about the cast. GN: They’re all pretty amazing - everyone has to be versatile (they all play at least 3 roles), they must have comedic abilities and sing like a dream. Bev Killick plays the host, Bettina Bitjakokov, and she is not only a great comedian but she can sing like Tina Turner. A pleasant surprise for me. DS: Can you give us a hint of what the songs are like? GN: Pretty much what you would expect to hear at the real Eurovision. Overblown power ballads, traditional folk slut rock, Greek-Spanish disco fusion, Aspirational inspirational retro rock, Punk fusion and that sort of thing. DS: Who composed them? GN: A number of writers from Australia, United Kingdom and Germany (the German entry is in the German language). All the writers will be listed on the web site as soon as the lazy bastards can be bothered sending them to me. DS: How do the songs compare in style to what is dished up every year from the Eurovision Song Contest? GN: Our mix of songs will remind people of modern entries to a degree but will also remind everyone of “the good ol’ days” when groups like Abba and Bucks Fizz were still big news. The nostalgia element is quite strong in the show, but we have some real beauties in the mix. Might even get some airplay, which would be cool. DS: I understand you are running a competition allowing people to enter their own song in future seasons?
GN: Yes, this is a schools competition that we will be engaged with the Community Theatre groups around the operating ahead of the national tour later in 2016. High country, working with people like yourself so that schools submit their entries on line and in each state we community theatres and schools can get to know me and hold a night with all the schools competing. The winning my company. I think most commercial producers don’t song becomes part of the show in that state. Royalties paid really take a lot of interest and miss out on a great can be used to help music departments in schools. relationship. I don’t mean this in a pejorative sense, but DS: Could this be a way to get songs into the actual community theatre people are passionately bonkers, which Eurovision competition? is brilliant. Oh yes, we also give theatre groups a great deal GN: I don’t see any reason why not. We want to of hands-on help with marketing, encourage young people as much as possible advertising ideas, and being a DS: What are you doing to make producing the bridge for contact with other musical at schools and amateur theatres in future years a special experience? GN: First, the show works. It’s funny, it’s got a terrific score and so on. Second, this is going to be an annual event, just like Eurovision. Schools will be able to mount a brand new show with all new songs, new script etc. (same brand, different content). Where *David Spicer Productions will be licensing we differ is that Song Contest: The Almost Eurovision Experience in the years ahead. we want to be The show opens on April 1 at the Alex Theatre in Melbourne. www.songcontest-musical.com genuinely
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Innovative Location Theatre How to make your school/venue the ultimate walk around set AND save money AND blow everyone away. How to write a play for 150 people. Drama teacher Donna Prince shares her secrets. I am in a pretty amazing situation. I have a school that trusts me to break out of the norm and do different things. I have a supportive staff ready to give me a hand and I have 1100 acres in which to play. I teach at Candlebark School, an independent school in the Macedon Ranges run by John Marsden. We have another campus; it’s called Alice Miller. It opened this year with a focus on the arts. It’s pretty exciting too. So about me, I am a Drama teacher who has been employed to teach English. Let’s face it, my minor at uni was religion and I have over the years taught Economics, Biology and IT, thus proving my ability to act! When I took the job at John’s school, I had done some writing, I’ve written a novel actually, and some
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scenes for plays and what not, and led students in the process for their own devised work. But you don’t rock up to a famous author’s school and go ‘yes, I am a writer’ - well I don’t anyway! So I said that I’d ‘give it a go’ with as much bravado as I could muster. They let me write the most pop culture referenced play that has ever lived. It was called Doctor, The Musical! It coincided with the 50th anniversary of Dr Who, so it was BIG! It ripped off - er, was influenced by - Dr. Who, Harry Potter, Star Wars and Lord of the Rings. The hands down best scene I have ever written was for the whole school, all 130 odd students in an epic fight scene that raged through the audience. It was hectic. I believe that Drama is for everyone, so my challenge this year was to write a script with roles for 160 people. So I wrote a script for 140 kids. The other 20 kids will be our crew; there are always kids who prefer that role. My Year 9’s were pretty keen on not being seen. Plus they already wore a lot of black...
So my next crazy Idea was to have the whole school perform for smaller audiences progressively, like a progressive meal or in a round. It’s essentially location theatre. So I had 14 Valeries and 14 Gabbys, all playing their locations simultaneously. This solved the problem I had with the last show. We only got to do the last show once. So there was only one chance to get it ‘right’. In this new show the students performed their scene five times. I’d better fill you in on the plot. Our main character Valerie is sent off to yet another boarding school. Weird things keep happening to her and she honestly can’t help it. Poor kid. Her school of last resort belongs to her aunty, Mrs Crabtree - she’s an evil principal. I know, I know, how cliché. I couldn’t help it; I couldn’t think of a better solution. On the annual beach trip Valerie, our reluctant hero, finds a magical egg in a public toilet. It hatches into a magical condor that quickly grows up to be a giant magical condor. Her evil auntie/principal is after her magical giant condor as whoever controls the condor rules the world, so Valerie and her best friend Gabby have to hide the baby giant condor as it grows rapidly (again, magic). They have their fair share of moral dilemmas and a fight but all is forgiven when Gabby is kidnapped by the evil aunty/principal, who forces Valerie to give up the bird. Mrs Crabtree gets her comeuppance at the end as all good villains should and all is right with the world again. So the budget came to around five hundred dollars. You’d think alternative private school, famous principal, must be a budget of thousands, right? So a MAJOR plus in doing a show this way is the cost cutting. I’ve already saved us at least 4 grand this year. Not that it would be an issue, but if it IS an issue for you this is one way to save that moolah. My other advice is to recruit your music teacher. Writing your own story/ music equals not having to pay for rights. The costumes are just normal clothes, colour coded, so that is also a money saver. Plus it means that parents can head to the op shops and you won’t need a costume person. Double win!
I am also a HUGE fan of making the students do it. I’m a huge fan of making the students do everything actually. Everything that they can handle. A location theatre school show really does involve everyone. This helps with staff morale too; we really feel like we have achieved the impossible! Theatre creates the kind of camaraderie that cannot be found anywhere else, but if you’re reading this magazine then you probably already know that! “But Donna!” I hear you ask. “How can that possibly work?” Given that there are about a billion moving parts to this thing and then an audience thrown in on top of that?? It’s OK! Here is the rundown. In the beginning, our eager audience, the Candlebark parents (always an adventurous lot) arrive in the car park. We block off the whole car park so the audience doesn’t go wandering through the school. We firstly need to separate our parents into groups; we have chosen to do this using grades. So Prep group arrives first and is then taken by their tour guides to the first location. This location is at the back of the art block cottage, a nice small, dare I say intimate, area that has 50 seats arranged in a semi circle, very traditional. The challenge with this location is the stage area; it is set under the trees so even though it is quite an intimate audience the actors still need to project, project, PROJECT! Location two is basically a driveway; the seating is weird, deliberately so. I want the audience not to be too comfortable here; it’s here we find out that Valerie is really not normal and she finds the egg. The action doesn’t move sequentially from left to right and the whole location is a little topsy-turvy. The challenges here, apart from the crunching gravel, is that the actors are so spread out...again, project, project, PROJECT! Location number three is in our meeting room, a long room that can be darkened as it will still be daylight at the other locations (which means I could use only the lights we had
without hiring lights for other locations saving MORE money). This is probably the most ‘theatre’ we get. A special on each scene that flows from one snapshot to another to show the progression of time, oh, and we end with a kidnapping! Location four is tricky again. It is in our library. The challenge here is that the audience has to move from inside
to outside to around the top to the other side fairly quickly and quietly. It’s an hour show but it’s staggered so the first group will have quite a long wait. So we have supper on the basketball court. After we have all been through, we will gather the audience on the tennis court and sing one last finale medley. So there you have it, that’s how we did it, it worked brilliantly and the parents were all gushing, the students were ecstatic and the staff exhausted! Donna has been teaching for 11 years this year and as well as writing school musicals she enjoys producing The Renegade Teacher podcast and acting with Sunshine Community Theatre.
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New from Hal Leonard www.halleonard.com.au Chitty Chitty Bang Bang Originally written for his son Caspar, Ian Fleming’s book became the much-loved 1968 film Chitty Chitty Bang Bang. A sensational score by the Sherman Brothers (Richard and Robert) includes such unforgettable songs as “Truly Scrumptious”, “Toot Sweets”, “Hushabye Mountain”, and, of course its Oscar -nominated title song, “Chitty Chitty Bang Bang”. Fleming based his story upon the real Chitty Chitty Bang Bang. Chitty Chitty Bang Bang Pelican Productions (SA) 2015. car, which was built in 1921 by Count Louis Zborowski, the best known amateur racing driver of his time. Zborowski was an eccentric gentleman wealthy enough to own and race many cars both in Europe and America. Legally Blonde: The Musical Harvard’s beloved blonde takes the stage by pink storm in this upbeat musical about self-discovery. Based on the adored 2001 movie starring Reece Witherspoon, Legally Blonde: The Musical stays true to form with a peppy score and playful book. It is relatively new to the theatre world, catering to the present-day’s generation and culture.
The musical features a large ensemble and many big song-anddance numbers.
David Harris and Lucy Durack in Legally Blonde. Photo: Jeff Busby.
For more information on either of these shows or the huge range of titles in the Hal Leonard catalogue, please call (03) 9585 3300 or visit the Hal Leonard website listed above.
New From ORiGiN™ Theatrical www.origintheatrical.com.au ORiGiN™ Theatrical and TRW (Theatrical Rights Worldwide) have announced the release of the Young@Part™ series of Broadway shows adapted for primary and middle school aged kids. The first two titles are Monty Python’s Spamalot and All Shook Up. “Our entry into the junior musical theatre market has been a cornerstone of our planning since I started TRW,” says Steve Spiegel - TRW President & CEO. “This is a labour of love for us, as we know the history of what an adaptation of a Broadway show for kids can do for the authors of the shows and for the whole theatre community.” The Young@Part™ collection titles feature a new option that will allow customers to order their show materials digitally with TRW’s ShowfilesNOW, or though the traditional, show-in-a-box format, with scripts, scores, CD of accompaniment and example vocal tracks.
Pit Parts Under New Management
Pit Parts is an agency in Melbourne that has original orchestrations for hire of all the Gilbert and Sullivan operas with the exception of Thespis. This also includes those works done in collaboration with Edward German, Basil Hood and F C Burnand. The agency acts on behalf of the d’Oyly Carte Opera Trust, and is their sole agent in Australia, New Zealand, Malaysia, Singapore and Hong Kong. Since 1990, the agent has been Mr Brian Clough - a well known Melbourne actor, singer and conductor. Prior to 1990, the agent was Mr James MacCarthy. Brian has decided after 25 years to relinquish the agency, which since the 1st of January 2016 has passed to the Gilbert and Sullivan Society of Victoria, which was established in August 1935, and having last year had a range of eightieth anniversary celebrations. Nowadays based at Blackburn South in Melbourne, they perform in suburban Melbourne as well as regional Victoria. Like many similar companies, their income is derived from memberships and from ticket sales, without any funding assistance from any government agencies - local, state or federal. 27 Stage Whispers SPARK 2016
Monty Python’s Spamalot rehearsals.
World-class Broadway titles edited for young people to perform, will be made available for instant download to theatre educators everywhere. “As we move to a digital environment for the industry, we’re pleased to open this vital window to schools and youth theatres to give them instant access to rehearsal materials for their classrooms and performance spaces, wherever they may be around the globe.” New From David Spicer Productions www.davidspicer.com.au Popstars! The 90’s Musical David Spicer Productions has a new number one best seller. Popstars! The 90’s Musical will be performed by around 20 High Schools across Australia and New Zealand in 2016. It’s boyband vs girlband in this new musical from Neil Gooding and Nicholas Christo - half of the team that brought you the global hit Back to the 80’s. Packed with pop smash hits from the hyper-coloured 1990’s by artists such as The Spice Girls, Backstreet Boys, N*SYNC, Britney Spears, Christina Aguilera, Mariah Carey, MC Hammer and many more. Geoff Samuels from St Patrick’s College Shorncliffe said Popstars was a hit, with audience members enthralled by the story, genuinely connected to each character and singing along with the great 90’s soundtrack. Order a free perusal at www.davidspicer.com.au New Release from Maverick Musicals www.maverickmusicals.com Compass Rose and the Bird-Nesters A new musical adventure by Tim Tuck, set on Easter Island, this large cast escapade of exploration is suitable for junior to intermediate students and features 19 songs in various styles. After being locked in her cabin for disobedience, feisty Constance-Rose McAlister escapes from her father’s ship to Easter Island - to fulfill her dream of becoming a famous explorer. Despite being left behind when the ship leaves, she has great fun chasing the local wildlife, chatting with magic statues and of course, sinking pirate ships. Great leads with plenty of chorus groups. The package is also available as a “Musical On A Stick” option, meaning additional resources; backdrops, graphics, poster, detailed scene and costume guides and more can be purchased on a USB.
Popstars! The 90’s Musical.
Compass Rose and the Bird-Nesters.
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Choosing A Show: New Releases Hal Leonard Australia www.halleonard.com.au Harry Connick Jr.’s The Happy Elf Eubie the Elf is on a musical mission to bring Christmas cheer to a town on Santa’s naughty list. The Happy Elf is a new musical comedy by Grammy Awardwinning and TONY Awardnominated composer and lyricist, Harry Connick, Jr. It tells the tale of Eubie the Elf, a lovable fellow who wants to spread Christmas joy throughout the town of Bluesville. Hoping to introduce a new generation of children to the joys of jazz, Connick has crafted a musical landscape against which Eubie’s story unfolds. Families will love this festive tale of overcoming adversity, friendship, the power of positivity and believing in yourself. http://bit.ly/1Ep0Wpe
ORiGiN™ Theatrical www.origintheatrical.com.au One Hour Young Performers’ Editions Wizard of Oz - Young Performers’ Edition. By L. Frank Baum. Music and Lyrics by Harold Arlen and E.Y. Harburg. The Young Performers’ Edition of The Wizard of Oz is specifically tailored for primary school and junior secondary school aged children. Cast: 3F 4M. http://bit.ly/1Ep1R9a Crazy for You - Young Performers’ Edition. Music and Lyrics by George Gershwin and Ira Gershwin Book by Ken Ludwig It’s a high-energy comedy which includes mistaken identity, plot twists, fabulous dance numbers and classic Gershwin music. Cast: 5F 4M. http://bit.ly/1Ep1X0x
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Anything Goes - Young Performers’ Edition... COMING SOON For all of the above. Royalty: Flat fee of only A$180.00 per performance for schools and small youth group productions with a seating capacity of up to 300 seats. New Plays Ladies in Lavender Adapted for the stage by Shaun McKenna; Based on the film written and directed by Charles Dance, from a short story by William J. Locke. Cast: 2M 4F. Full Length Play, Drama. Currently playing at The Ensemble in Sydney. An evocative, heart-warming story of unfulfilled dreams and unrequited love. When a handsome and talented young Polish violinist bound for America is washed ashore, the Widdington sisters take him under their wing and nurse him back to health. New to ORiGiN from Playscripts Game Of Tiaras By Don Zolidis Cast: 10M, 9F (or 15M or F). Full Length Play, Comedy. Combining the gut-wrenching plot twists of Game of Thrones and the soul-numbing despair of Shakespearean tragedy, this adaptation of King Lear will leave you dying with laughter as the body count mounts. http://bit.ly/1Ep2eR9 Selfie By Bradley Hayward Cast: 1M, 3F (or 4M or F). Short Play, Dramatic Comedy, Contemporary. It’s senior year and problems are mounting for a group of high school students as they prepare for the future. Facing bullies, parents, pressure, sickness, and their own self-judgement, the characters search for ways to stand out. http://bit.ly/1Ep2j7f
Superheroes By Ian McWethy Cast: 11M, 12F, 10M or F. Short Play, Comedy, Present Day, Contemporary. Superheroes is a funny, fast-paced series of vignettes that explores how the caped crusaders deal with life in street clothes. http://bit.ly/1Ep1KKW
David Spicer Productions www.davidspicer.com.au Motherhood the Musical By Sue Fabisch Cast: 4F and chorus. “Swung on to the Everest Theatre stage with all the love and laughter that one would expect from Sue Fabisch’s insightful, tongue-in-cheek lyrics and foot-tapping rhythms.” Carol Wimmer Stage Whispers. Having a baby is just the beginning…motherhood is for life. Four women share their insights, challenges and pleasures at a baby shower. You’ll get a peek into the powerful friendship of Amy, a soon-to-be first-time mom; Brooke, a hard-working lawyer; Barb, a stressed-out mother of five; and Tasha, a single mom seeking to balance work, her family and her divorce.
Australia Day By Jonathan Biggins. Cast: 4M 2F. “A charming comedy...full of up to date gags and finger on the pulse problems.” Sydney Morning Herald. After several tours of duty as an Australia Day Ambassador in regional NSW Jonathan Biggins’ initial scepticism about celebrating the national day melted like a Lamington in the mid-day sun. It showed him the warmth, dedication and quiet patriotic pride of the organisers and the towns they served. Currently touring Australia with HIT Productions.
Dominie Drama www.dominie.com.au/drama Nick Hern Books Feed The Beast By Steve Thompson Cast: 5F 7M doubling (large cast possible) Set: can be simply staged Feed the Beast is a fiercely funny look at the rocky relations between our press and politicians in a world of spin doctors and Leveson Inquiries. Michael is moving into 10 Downing Street and there will be no charm offensives with this Prime Minister, not with a country to run. Remote By Stef Smith Cast: 4F 2M, 1F or M, nonspeaking extras Set: Set in a park, with a tree you can climb Over the course of one autumnal evening, seven teenagers’ lives intertwine as they make their way through the park. And everything that seemed normal becomes extraordinary. A play about protest, power and protecting yourself, Remote was commissioned as part of the 2015 National Theatre Connections Festival and proved enormously popular. The Veil By Conor McPherson Cast: 5F 3M Set: Single built interior Set around a haunted house hemmed in by a restive, starving populace, The Veil weaves Ireland’s troubled colonial history into a transfixing story about the search for love, the transcendental and the circularity of time. Comedies for Charity 100% ROYALTIES DONATED TO M.S. RESEARCH Raymond Hopkins lives in Oxfordshire, United Kingdom. Following his daughter’s diagnosis with Multiple Sclerosis, in 1998 he started writing farcical popular comedies and donating his royalties to M S Research. (Continued on page 33) www.stagewhispers.com.au Stage Whispers 32
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Nine full length, farcical comedies including: Love Begins at Fifty, Looking for Love, The Love Nest, Love and Money, Love and Perfect Harmony, Love and Mistletoe, Make Time for Love. Visit www.raymondhopkins.com for more information or Contact Dominie Drama for a free perusal script.
Judith Prior www.judithprior.com Cinderella Meets The Mother-in-law The Kempsey Singers have just completed the world premiere of Judith Prior’s new comedy Cinderella meets the Mother-in-law. It’s about what happens when Prince Charming and Cinderella arrive back at the palace after their fairy-tale wedding. The Mid Coast Observer wrote: “The audience left the theatre with huge grins etched onto their faces which surely would of lasted until the next morning.” “A very entertaining night of light, feel-good comedy. The corny jokes and boom-tish one liners flowed freely.” http://bit.ly/1Ep2S0W
Maverick Musicals and Plays www.maverickmusicals.com Something’s going down - down in CREEPYTOWN!” Want to creep out your audiences? Here’s a new musical crawling with vampires, witches, zombies, werewolves -
great leads and plenty of chorus groups. When a shy, vegetarian vampire meets an adventurous, outgoing human, she sees a chance to realise her dreams of escaping her crazy vampire world and her monstrous parents. Meeting at the dental clinic recently opened by Jane’s square and well-meaning parents, the two make plans to escape Creepytown forever! With an 11-track original musical soundtrack, and great chorus opportunities, Creepytown is a fun and action packed show which is sure to bring the house down - not to mention sending your make-up department into a frenzy of creepy creativity! Visit the website for rights, online ordering, and free song, music and script samples.
Devon Williamson www.plays.co.nz ‘Twas the Fight Before Christmas Cast: 4F 2M Length: 2 Acts (110 minutes) Genre: Comedy Think your family is complicated? Meet the most dysfunctional family you can imagine as they try to navigate Christmas. Peace on earth and good will to all men? Not likely! Ever since her husband died, Mary’s horrible adult children have been ruining Christmas. This year, with the help of a suicidal French psychiatrist, Mary is determined to take Christmas back.
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Read scripts, listen to music and order free catalogue at:
www.davidspicer.com.a u david@davidspicer.com (02) 9371 8458
Our Most Popular School Musicals
Carwatha College
Includes an AC/DC 21 productions in debut year.
“It was so funny” Blue Mt. College.
FairCharacters dive into wrong fairytales.
G&S for the 21st Cen-
“Our most successful musical.” Burnie High
Superb CD backing
Cruisi
Hot 50’s score
Need a triple treat boy.
www.stagewhispers.com.au Stage Whispers 34 Wonderful dance 50’s hit songs, set on opportunities. the Gold Coast.
Sound & Light
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Sound Advice
Mark Barry from B S Sound PA Hire has some top tips to make your group and solo singing, dialogue and backing track productions a success. There are many challenges to overcome. Venues such as town halls or basketball stadiums have poor acoustics; young performers are not yet experienced with live performance, and staff / teachers may not be technically minded. I try to get involved early in the planning process to influence the school to use the right equipment. This usually means stretching their budget and finding time for a full technical rehearsal. Lately I have done a number of “whole school” musicals, where every student gets a turn on stage. Getting 500+ kids on and off stage in sequence usually means there won’t be
many spare teachers to help as audio assistants. The “finale” pic above shows a Shrek production with about 500 kids; 300 on stage, 200 in front on the floor, the steps and wherever else they could fit! The first tool of trade is a set of shotgun / choir microphones, generally used for group singing. They have a narrow pick up pattern, which means you can get more gain before feedback occurs (feedback will occur when the microphones start to “hear” the speakers). These can sometimes be used for dialogue, but it is not ideal as the actor needs to be directly in front of the mic and will need to project really well. The next essential item is a set of wireless microphones for lead actors and solo singers. Hand held are good if microphones need to be swapped or shared. Headset are a better choice for
actors as they will be “hands-free”, however it is not easy to swap these between actors, so, ideally, every lead actor needs their own headset wireless system. Most importantly, the PA system needs to suit the venue and audience. If an audience is larger than 400 people I like to have a pair of delayed speakers for the rear half of the venue. This gives clear sound to the audience at the back and allows the front speaker to operate at a lower volume level. The PA system also needs to include fold-back / monitor speakers on stage, primarily so the singers can hear the backing tracks. Without these speakers you cannot expect that the kids will be able to sing in tune or in time! My preference is to run the foldback speakers at a reasonably low level. If they are too loud the backing music can lack clarity as the audience may hear a reverberant echo through the microphones. Ideally the solo singers are kids with talent who can project and also hear themselves acoustically so there should not be a need to feed the mics to foldback. The set-up photo below shows the shot gun mics, the fold-back speakers, and one of the PA main speakers (note that the PA speaker is set as far away as practical from the stage). In the next edition of Stage Whispers, Mark gives his top tips on the use of radio microphones. www.bssound.com.au
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Actors Centre Australia Sydney’s Cartography. Photo: Lucy Parakhina.
Lighting Up The Stage Performing Arts Courses showcase some recent productions.
Custom made vision content included intersecting lines, star constellations, hand drawn coordinates Actors Centre Australia Sydney and compass dials. Most of this was Production: Cartography bold white shapes on transparencies to A show that invited the audience to avoid any obvious projection edges. navigate and traverse the terrain of our The coordinates, which appeared as existence, Cartography looked at ideas if they were being drawn in chalk across the whole space, were hand of home, understanding and journey, the intimate exchanges and mapping draw by the cast on the iPad and that make us who we are. projected across all the surfaces. A black scrim was used along with the cyclorama as a projection surfaces, hanging light globes behind the scrim were used to create the effect of cast appearing and disappearing. A central chandelier piece was created using 16 vintage style hanging globes, around the octagonal shaped centre bars. These were distributed across 4 dimmers to create fade effects. The performance evoked atmospheric dimensions which the cast could move in between. This resulted in an audience experience that created a strong sense of reflection, which provided a landscape for the rich and poetic dialogue to live inside of. 37 Stage Whispers SPARK 2016
Technical Standard house lighting rig and 4 projectors, 3 Qlab systems, 21 individual light globes, ETC element console. 3 laptops running Qlab and network linked, provided the vision content and audio for this performance. One machine was the show master, with the other two receiving their cues from this over Ethernet. Lighting and vision designer: Matthew Osborne. Directed by Anthony Skuse and Samantha Chester. Devised by ACA 2016 Graduating Company. Adelaide College of the Arts Production: The Threepenny Opera Designed by technical production graduate Aaron Herczeg, The major themes (of the play) include epic theatre and film noir. A monolithic blackboard wall with a reflective floor was built by Adelaide College of the Arts set construction students. There were two hot-spotted acclaim Fresnels at 45 degrees up-lighting the downstage actors’ faces with Lee 156
Adelaide College of the Arts’ The Threepenny Opera. Photo: Aaron Herczeg.
Chocolate; this colour has a very strong muddy skin tone to create a heightened sense during songs. Upstage actors were side-back-lit with Lee 132 Medium Blue for a surreal feeling while maintaining presence for performers. The harsh side angle of source is to minimise light bounce off the reflective floor, taking into account University of Tasmania’s Attempts On Her Life.
the angle of incidence to avoid spill into the audience. In epic theatre convention, the colour red on the blackboard wall signifies corruption; placement of these fixtures was difficult as to not impact on any other acting space while still having enough intensity on the wall.
The calmness of blue on the cyclorama behind gives a strong contrast with the red wall, while connecting with the performers on stage. The cyclorama was lit from both above and ground rows, creating a gradient effect around the wall, enhancing the monolithic black hole feeling. University of Tasmania Production: Attempts on Her Life What once seemed a solid back wall is opened to reveal a garage punk pussy riot-esque rock protest group “Putin and the Pussies” with full ‘Rock ‘n’ Roll’ show set up complete with a blinder wall. The catch is that this set up is in keeping with the band’s genre status of ‘garage’; everything, though spectacular, is pieced together from found materials. The blinder wall was achieved through domestic festoon lighting looms, domestic globes and aluminium baking trays. There were two circuits built into the baking tray blinder wall (top and bottom) to manufacture the feeling (Continued on page 41) www.stagewhispers.com.au Stage Whispers 38
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So You Want To Shoot An Actor? Creating a realistic bullet hit on stage has always been a challenge. Hitting a ziplock bag with a hand sometimes works, or starts to leak well before the effect is required, providing a surprise for both the actor and the audience. Standard pyrotechnic bullet hits require a suitably licensed person to rig and fire, plus there is the potential of shrapnel from the bullet hit itself. A far safer way is the use of Air Squib Systems. These use compressed air to make an extremely realistic or way over the top Tarantino effect. Anyone can use these systems. Rigs are strapped to the actor and in most cases can be fired by the actor at the required moment. Sound effects add the “bang”. No need for ear plugs. Geelong Fireworks stock a range of air squib units, from single shots, to front entry and back exits or shotgun shots. Larger units hold up to 2 litres of blood mix. They also supply a great blood mix for theatre or movies. Some units can also be used to “shoot” dust, polystyrene foam for collapsing walls and allow you to “break” flower pots or vases etc. Contact Steve at Geelong Fireworks on (03) 4210 9113 or visit www.geelongfireworks.com.au
Comfortable Bums On Seats
Her Majesty’s Theatre, Adelaide.
Thinking of new theatre seats? Roger M Pratt from Hadley Australia has some tips on keeping the posteriors of your audience members happy. When the time has come to replace your old theatre seats or to select seats for your new venue, it pays to take some time to evaluate what is being offered. Uncomfortable seating is what is remembered by your patrons and is a big factor in their future ticket buying decisions. A theatre chair should be firm with good lumbar support and hold you well. A chair that has squishy foam seems on a quick try to be the most comfortable, but is not for the duration of a performance. Also a soft foam doesn’t last (think airline seats !) and has to be replaced frequently. Often when a chair is being selected, a number of them will be presented to a selection committee who only sit for a few seconds in each one. Narrow the choice down, take these home and watch a couple of hours TV before you decide. Obviously look for a long guarantee on both the chair and the fabric. Also check the chair envelope (front to back measurement with the seat up) as the smaller the envelope the more egress there is in the row. The seat cushion should be quickly changeable by the usher without tools. The cushions should have zip off covers so they can be quickly changed if soiled/vandalized.
The strongest chairs have inner metal frames (not plastic) encased in moulded foam with no voids. Tipping should be silent and by gravity, not springs. Springs squeak and break over time. Timber arms look more upmarket than upholstered arms and maintain their look much longer - no fabric to wear out. LED aisle lighting is preferred - they give a long life without heat and are dimmable. The building code has now changed in most states so that the foam has to be fire rated to AS 1530 pt 111 as does the upholstery fabric. It is important to have this certification as for a major fire your insurance company may not pay out. Check out the weight rating of the chair being offered, the higher weight capacity the more abuse it will take and the longer the life expectancy. Can the PWD removable seating be handled by one staff member? For a new build, always select your chair early so that the acoustic ratings can be given to the Acoustic Consultant to incorporate into his calculations. This way you get the acoustic results that you want. Remember the cost of the chair will quickly fade; the comfort enjoyment remains long after. So choose well. For more advice contact Roger M Pratt from Hadley/Series Australia Pty Ltd 0412 435 089 www.hadleyaustralia.com.au www.stagewhispers.com.au Stage Whispers 40
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and movement of a larger scale light show by stepped chasing between the two circuits in both a synchronized and syncopated fashion. The key aesthetic of a blinder wall in a ‘rock show’ is its uniform grid nature for bodies to stand out in silhouette against. This uniformity and spectacle of an arena show was an important feature to retain - coupled with a feeling of a no-budget homemade performance that could possibly be occurring in a garage, warehouse or other found space. The overall design for this production of Attempts on Her Life had the essence of an abandoned strip club, complete with raised T-junction catwalk. This abandoned nature asked for the use of older technologies like Strand S/64 battens, p743’s, manually operated Jands EVENT plus, manual followspots, home-made snow/glitter bag drop, rope lighting used under the raised catwalk in order for it to look like it was floating above the ground rather than sitting upon it, and a creaking mirror-ball constantly turning overhead.
Standard fixtures such as Pacific profiles, fresnels were used as the back -bone of the design with the aforementioned older technologies used as feature points peppered throughout. Chris Jackson, Technical Director (MFA student) and Lucy Pullen, Lighting Designer (Honours Student) TCotA Theatre, University of Tasmania.
examined and considered the angle of more than 150 lighting instruments to find a compromise between artistic and practical demands of the production. She then used extensive geometry to calculate the impact of each lighting instrument. She then looked at the lighting system as a whole to best create the overall look and feel needed for each scene. Another interesting lighting NIDA challenge was the need to create Production: Wolf in the River the illusion that a character was Wolf in the River was performed in traversing a rope at a considerable the round where the audience sits in a height. The student discovered that the 360 degree circle around the stage. key to creating this sense of height was Normally lighting designers alter an to light the subject without lighting the audience’s perception by changing the space above or below. This created the sense that the character was floating in direction and nature of the light, however it becomes more tricky when space, which helps the audience the audience is on all sides of the suspend their disbelief. To achieve this, performance. the student used side-lighting and lowFor this production, third year NIDA angle lighting, so that the overspill of Technical Theatre and Stage light that shoots past the character Management student Kirsty Walker didn’t light anything (such as a wall or needed to consider different aspects of set item) until it was well outside the lighting design such as how to light audience’s visual field. the performance for one side of the Director: Adam Rapp. Lighting audience without blinding the other. Designer: NIDA student Kirsty Walker To conquer this, the student carefully NIDA’s 2014 production of Wolf In The River. Photo: Heidrun Lohr.
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NIDA’s 2014 production of Kandahar Gate.
NIDA Production: Kandahar Gate NIDA Staging students had the challenge of creating the set, giant sand dunes, involving the use of both old and new technology. Firstly, the model was scaled by the students at 1:25. They then photographed it from all 360 degree angles and those photos were fed into a 3D solid modelling program which composed a 3D mesh - a collection of vertices, edges and faces that defined the shape. The students then imported the mesh into a computer-aided design (CAD) program where it was sliced into segments to map out which profiles (parts) of the design needed to go
where on stage. The profiles were then fed into a computer guided cutting machine (CNC router) which was able to carve the correct profiles out of 17mm plywood. After using cutting-edge technology to develop the first stage of the design, the students then reverted to older staging techniques. The profiles were then lathed (originally a boat building technique) with 3 layers of 7mm ply strips to create a walkable surface. The students framed all the profile sections using 70 x 35 pinewood to establish a solid base for the structure. To avoid having to build a huge amount of subframing, the students used pallet racking (similar to what is used in
warehouses to store materials on pallets) to create a base structure. The students then applied split pool noodles onto the structure to recreate the natural look of corrugations on a sand dune. It was then covered with a layer of muslin fabric and PVA (synthetic resin) to cement the surface together. The students then added the final touches of scenic colour and a drizzle of real sand and voilĂ - the sand dunes were complete. Director: Jeff Janisheski. Sets Supervisor: NIDA students, Tony Pierce and Lynsey Brown. Set Crew: Joseph Gleeson
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Sound Advice For Modern Community Theatre
Bump-in at the Blue Mountains Community Hub. Photo: Aubtin Namdar.
Mixing sound is never as simple as just turning up someone’s microphone. Cameron Hissey from Loud and Clear says being a sound engineer is like being a performer. The bigger the show, the bigger the performance skills needed. He describes the efforts behind a mammoth production of The Phantom of the Opera. Imagine you’re responsible for ensuring every line of dialogue, every oboe solo, every sound effect is heard at the right moment, and more importantly, not heard when it shouldn’t be. Imagine 80+ individual unique sound sources at your fingertips, requiring constant fine adjustment. Imagine turning these 80+ individual elements into a blended, musically appealing mix of orchestra, soloists, chorus and effects. Now imagine you have two rehearsals (sometimes if you’re lucky, three) to achieve that mix before you are presented with an opening night audience. Sound stressful? This is the job of a musical theatre sound engineer.
President, said: “We are very happy to have a lovely new venue but it has some serious technical hurdles. There is nowhere for an orchestra, so we’ve had to find a way to virtually represent the sound of a live orchestra playing elsewhere in the venue.” Planning had to start months ahead, and this is twice as important when working in a brand new theatre. I attended a number of site inspections, where we took copious amounts of notes and measurements, allowing us to completely model the room we would be working in. We identified where power was available, what tie lines were available to stage, what rigging points were installed and what their ratings were. The orchestra for The Phantom of Recently, I was the sound designer the Opera has 27 parts. Eight channels and mix engineer for the Blue Mountains Musical Society production of Audio were needed for percussion of The Phantom of the Opera. It ran for alone. We found a meeting room that 10 performances, across 3 weekends, would be large enough for this in the newly completed Blue orchestra but there was no connectivity Mountains Community Hub. Like many community venues, there available. Thankfully the musical society understood the value of investing in were funding limitations that led to a some cabling, and were happy to number of shortcomings in the final building. Aubtin Namdar, Vice(Continued on page 45) Erin Hambly safeguards the centre hang of Alcons LR7s as they are winched into the ceiling. Photo: Cameron Hissey.
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Blue Mountains Musical Society’s The Phantom Of The Opera. Photo: Grant Blackwell.
speakers? How can we get signal into the existing speakers? Are they up to organise an electrician to install the job? Ethernet/Data, Audio tie lines, and RF Finally, how much can the society cabling to our specs from the theatre afford to spend on sound? control room to the remote room. The Blue Mountains Community When designing sound for Hub has a pair of Bose speakers as the community theatre, there are a number PA in the room, allowing for Left and of elements to consider. Three factors Right. For this production, we installed that must intersect: the show, the an Alcons Audio LR7 Centre cluster and venue and the budget. A show like The 4 surrounds. In total, that gave Left, Centre, Right, Surround Mid Left, Phantom of the Opera calls for surround sound, and as such many Surround Mid Right, Surround Rear more P.A. elements will be required Left, Surround Rear Right, Subwoofers than in a production of The Sound of and Front Fill. Music. The venue must also come into Another important part of planning the audio for any musical production is consideration - what PA is already in the room? Are there any rigging points the mic plot. Who will wear a for additional speakers? Are there microphone? In what scenes will they patch points to get signal to those need a microphone? Community (Continued from page 44)
Sound mix position. Photo: Cameron Hissey.
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groups do not have the budget for every performer on stage to be wearing a microphone, and often with much larger casts than would be seen in a professional production, it would become untenable to expect all 75 - 90 members of a cast to be able to wear a microphone simultaneously. We have a few tricks up our sleeve for getting all the voices out to the audience. Months in advance we will review a score and libretto, and work with the production team to ensure all individual solos are captured by someone wearing a microphone. This can lead to some creative challenges for a Microphone Technician: “There have been productions where I’ve had to change who was wearing a microphone in a short black-
out side of stage, or even halfway through a song while performers are still on stage,” David Tucker regales. Thankfully in this production, with 24 headsets on stage, we were able to limit the changes only to a select few. After many months of planning and production meetings the time finally comes to arrive at the venue. It took five people three full days, 12 hours each day, to get all the equipment loaded in and setup. Tasks included rigging and flying the centre PA speakers, rigging and flying the surround sound speakers, building the mix position, setting up microphones for every orchestra member, setting up headphones for every orchestra member (with their own personal mixers), setting up large TVs and cameras so that the cast can see the conductor (and the conductor can see the cast), installing and configuring numerous fold back speakers on stage (so the cast can hear themselves and the orchestra), as well as setting up nine different computers in multiple isolated computer networks. The show also calls for a large amount of pre-recorded singing and dialogue, so a make-shift vocal booth was erected and about four hours was spent recording various pieces of dialogue.
In this production of Phantom, video backdrops were used to great effect, as well as a number of sound effects and the pre-recorded dialogue. Vision, Sound Effects and Pre-Records needed to be triggered at different times by either the Stage Manager, me at the Sound Console, or the Conductor.
Three computers were networked to achieve this, and QLab was used across these machines to allow all three of us full control at remote locations. All in all, there were 10
separate sends of sound effects into the console, as well as time code control of the lighting console for the overture. This allowed Vision, Lights and Sound to all perform in perfect unison. Additionally, a number of computers were used to monitor and control the Radio Mic receivers, and the multiple mixing consoles. Over five days leading up to opening night, we had four rehearsals: Act 1 Tech, Act 2 Tech, First Dress, Final Dress. Once rehearsals begin, it is finally possible to get a true understanding of what lines are being said off-stage? What lines need to be turned up so they are heard in balance to other singers and instruments? What microphones need to be turned down, because someone is being kissed, or someone is blowing a whistle, or screaming? While mixing a show you are constantly moving, making slight adjustments, turning levels up, down, on, off, as well as adding and removing effects. It is never as simple as just turning on everyone’s microphone and hoping for the best. In essence, mixing the sound for musical theatre is also a performance. To ensure you can give a consistent performance each night, especially given such limited rehearsal time, it is vital to mark up a score or libretto with great detail. This ensures singers’ entries, sound effects, solo orchestral lines, as well as balance between singers and balance between voices and the orchestra are consistently musical every show. It can take up to eight hours to mark up a score correctly (an example of score mark-up can be seen to the left). My experience working with BMMS was extremely positive. By the end of the season, I realised as always, that I had devoted many more hours than we had billed the client for. At the end of the day, it really boils down to whether or not it is fun to work with the people you’re with, and the cast and crew at BMMS are a group of great people trying to do great things, and I’d say they are achieving their goals. www.stagewhispers.com.au Stage Whispers 46
Hot New LED Releases
From JANDS www.jands.com.au ETC ColorSource PAR In a sea of cheap LED fixtures, the ColorSource™ family of luminaires stands out. After years of research and testing, ETC has developed a stateof-the-art, budget-friendly LED PAR luminaire. The ColorSource PAR benefits from ETC’s extensive experience in LED colour-mixing, by using the proportionate recipe of red, green, blue, a twist of lime and an extra dash of red. The unique blend adds depth, making a more natural, flattering light. Plus because it’s made by ETC, you get the industry leading quality and support that worldwide customers have come to know and love over the years.
From Resolution X www.resolutionx.com.au The ResX team is raving about the newly introduced Hercules battery LED washes. These units have a lot going on inside a small body. They’re ideal for outdoor applications and are equipped with a 24v lithium battery, which means they can run completely wireless for up to nine hours. While the Hercules is the perfect outdoor LED, the sleek design and ability to hang it means it’s equally at home in a ballroom or function space. The versatility of a manual zoom (15-30°) makes the Hercules a light that can accent a feature or wash a wall in ever changing colours. “After 3 years of searching we’ve finally found something we like,” said Tim Hall, Managing Director of Resolution X. 47 Stage Whispers SPARK 2016
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Perth as a lighting technician. Over 30 years later, Howett has two Helpmann and two Green Room Awards to his credit, spanning the genres of opera, theatre, dance and concert production. On the international front he has worked with the Auckland Opera, Royal National Theatre, The Royal Opera at Covent Garden and lit numerous productions in London’s West End. Howett’s lighting designs have graced many of the world’s most famous stages. Cloudstreet, which won Howett the 2002 Helpmann Award for Lighting Design, toured nationally WAAPA’s 2014 production of West Side Story. throughout Australia before Photo: Jon Green. transferring to Washington and New York. Next up for Howett is a collaboration with internationally acclaimed choreographer Arlene Phillips on A Man Called Lee, an original musical based on the life of the martial arts legend Bruce Lee. After living in Berlin for the past In the lead-up to WAAPA’s midMark Howett is an award-winning year musical last year, lighting students lighting designer, director and designer eight years, which he describes as having been the perfect base for his were privileged to work with one of who has worked in theatre, film and work in Europe and Britain, Howett Australia’s top lighting designers on opera around the world. His career began in 1979 when he plans to move back to Perth early next their production of West Side Story. started working at the National Theatre year.
Leading Designer Lights Up WAAPA
Time To Tango With New Intercom Tango is Riedel’s first fully network-based expandable communications platform supporting both the RAVENNA/ AES67 and AVB standards. With Tango, Riedel is extending its intercom product line with a comms platform that is suited for small to mid-size installations. The platform can easily be turned into a flexible, cost-efficient, and cuttingedge solution for a variety of communications uses. With more and more broadcasters leveraging existing network infrastructures for signal delivery and management, Riedel has been working hard to provide products that let users choose the standards that they prefer. RAVENNA/AES67 and AVB compatibility has been the first step in giving customers plug-and-play simplicity on the standard of their choosing. Tango also features two integrated Riedel Digital Partylines, two AES67 and AVB-compatible ports, two 49 Stage Whispers SPARK 2016
Ethernet ports, an option slot, and redundant power supplies. Tango is equipped with a high-resolution, full-color, TFT display that ensures perfect readability at all times. The unit’s intuitive front-panel controls simplify the recall of presets and adjustment of audio levels while its powerful hardware allows the system to grow through future applications. By running different Riedel software solutions/ applications on the same hardware, users can reduce operational costs, augment their workflow efficiency, and create more networking opportunities. Together, these benefits make for more powerful production and delivery environments. For more information visit www.riedel.net
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The Impossibility Of Aida
Photo: Lightbox Photography.
It is hard enough to stage quality opera in a purpose-designed venue with clean sight-lines, in-built lighting and acoustics. Try doing it in the open air with ferries motoring by, bats screeching, the occasional helicopter cruising overhead and the ever-present threat of rain. Steve Wimmer explores the lighting challenges of staging Grand Opera on Sydney Harbour.
the Fleet Steps at Mrs Macquaries Point. Lighting a stage as vast as this is a huge challenge. 3001 patrons, across an auditorium about 90 metres wide, looking into a slightly-raked stage 30 metres by 30 metres, and a backdrop comprising the twinkling lights of Sydney’s CBD high-rise. A nightmare to light? Not so, says Lighting Designer Matt Each year Opera Australia needs to Scott. “It probably wasn’t as build every piece of the stage, lighting complicated as it might seem. We worked very closely with the group rigs, cast facilities, audience seating, from Chameleon Touring Systems, and public amenities, then add the who have loads of experience in kitting requisite bars and eating places and out very large and complicated fulfill all the safety requirements. Allow for camels! Don’t forget the productions. We gave them a “wish pyrotechnics barges behind the stage! list” of what we wanted to do, and despite the logistical difficulties, it Oh, and don’t forget the orchestra came together.” where do you put them? Believe it or not, the stage lighting Then add the magic of Sydney Harbour, the Bridge and the Opera comprises only about 180 fixtures (there are another couple of hundred House providing the backdrop. lamps, or more, being used in lighting That’s the spectacle which is the Australian Opera’s production of Aida, the surrounding areas, the audience and access areas). Nearly all the the fourth in the HANDA Opera on fixtures are automated (motorized), Sydney Harbour series (known as HOSH), in March/April 2015. The significantly reducing the need for separate fixtures. location is “in the harbour”, just off 51 Stage Whispers SPARK 2016
Essentially, the rig comprises lighting towers on both sides of the stage, and a massive construction in front, behind the centre track of seating. Specialist lighting upstage (for specific purposes) creates particular effects, while six different follow-spots are used to pinpoint and locate the principals at various times on the massive stage. Matt says that each of the followspots (four on the down stage rig and one each on each side, on platforms which are 17 metres from the edge of the stage on their own pontoons), are a massive 4K watts each. They have to manage a throw of up to 45 metres. Each is separately operated, with individual operators fading in and out. Each has a colour magazine which is manually changed. The follow-spots are also cued separately to the general lighting plot, with the head followspot operator calling the cues. The statue of Nefertiti is generally the focus of the atmospheric lighting, highlighted in the various scenes with washes of stark colour. There is nothing subtle about the hues being used - subtlety would be lost in the
Online extras!
Photo: Lightbox Photography.
Discover the spectacle of Aida on Sydney Harbour. Scan the QR code or visit https://youtu.be/FPtygEb6f74
general haze of open air and with the distances involved. A highlight, though, is a general shimmer effect, thrown onto the head of Nefertiti - intended to resemble reflection from moving water - which has been ingeniously designed by throwing light through various gobos layered one on top of another, each one from a slightly moving fixture. One of Matt’s favourite effects is that from twenty-or-so moving “sharpies” around the base of Nefertiti, creating the effect of searchlights into the air, adding to the water concept merging the stage into the harbor (I didn’t make the connection, and so wondered about the significance and value of it). Matt acknowledges that the impact of the effects lighting - the various washes on Nefertiti, the shimmer, etc., - is very dependent on both the weather conditions and the location from which it is being seen. Understandably, the statue is a significant 3-dimensional object, some 18 metres high, and light doesn’t go round corners! The colour is not as obvious as the photographs suggest
(also as a result of digital photography) from angles, not straight on. This is very evident in the final scenes, where Aida and Radames are entombed. The photo shows shafts of light emanating from below the stage, back-dropping the performers. This very eerie effect results from light thrown through prisms and through smoke. But if the wind is uncooperative and the smoke doesn’t do what it is supposed to do, the effect is really only visible to the audience immediately in front. Again, the trial scene (see photo) uses an essentially 2-dimensional “goalpost” which rises pneumatically from flat on the stage. This clever device, which frames the action on stage, is, of necessity, lit mainly by side lights so as not to blind either the audience or the performers. Very effective, including a general blue wash and an intensely blue-lit Nefertiti, it loses significantly when seen from an angle. Matt explains the additional complications - every lighting fixture, including the LEDs used for the non-
stage areas and surrounds, had to be weather-proof, the follow-spots (and their operators) completely covered. There is no doubt that without the sound and electrical teams working on the production, and being as committed as they are, this type of open-air production, and Aida in particular, would not have worked. About a dozen electricians (with head electrician Alex Celi) work on the show with six or seven present for each performance. And Matt and Jason Fripp worked well into the night for over two weeks to get the programming right, on a Grand MA II desk (with an MA Lite as backup, and a Network desk as a second backup). Because of the vast challenges we get to experience those spine-tingling moments of glory when they come off. This isn’t the best way to experience Opera, but it a great way to experience the overall spectacle of it. The audience is carried away by the totality of mind-boggling costume, creative and clever design, and technical command. A hell of a job, combining to create a once-in-alifetime total experience. www.stagewhispers.com.au Stage Whispers 52
TicketHost Never used an online system to sell your event tickets? Think it will be too complex or too expensive? Fortunately, the online ticketing services provided by TicketHost are a win-win for parents and schools. Parents love the convenience of purchasing tickets at a time and place of their choosing. With a few clicks they can order, choose their own seats and select from a variety of payment methods. For schools there are no more manual order forms, no students queuing with cash and no spreadsheet nightmares. The TicketHost system is powerful and flexible, yet simple to use. “Most events can be created in less than 15 minutes,” said Eric Staples, the creator of TicketHost. “We find that some event administrators enjoy getting their hands dirty and do the setup themselves. However it can also be as simple as lobbing an event poster into our inbox and we’ll happily configure the event on their behalf,” he said. With a hosting fee of just $0.35 cents per ticket, TicketHost is generally 200-400% cheaper than U.S. based competitors. So contact TicketHost today.
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www.tickethost.com.au info@tickethost.com.au (03) 9011 3221
Australian Theatre Supplies Turn your next production into a virtuoso performance with expert assistance from Australian Theatre Supplies - your one stop shop. Their team has more than 30 years experience in all aspects of lighting, audio, microphones, curtains and curtain track, stage flats and risers, front and rear projection screens and projectors and more. In recent times ATS equipped a school drama room with Front of House curtains and a backdrop as well as LED Par Cans and Fresnels with LSC
Clarity DMX control systems. They have replaced all stage drapes in several Town Halls in Far North Queensland, have re-fitted a full stage in Western Queensland with curtains, LED luminaires, replacement audio system and a large motorised screen, as well as providing support with consumable requirements. The company’s busy in-house production department can manufacture curtains to your exacting specifications and time frames, while their experienced installation team will ensure timely completion in readiness www.austheatre.com.au info@austheatre.com.au (07) 3285 6311
Guide To Projection For Small Budget Theatre Projection is becoming an almost mandatory component of any theatrical production. As set and lighting designers are looking for more complex palettes to work from, the opportunities video presents are too great to ignore. Projection in theatre does not have to be only the domain of professional or big budget, semi professional theatre. There are some basic concepts of good theatrical projection that mean you can achieve great results without access to expensive media servers and superbright projectors. Content is King The key to great projection is great content. You can have the fanciest toys but the content must be right for your projection to work. Get your set designer to draw the images, take the effort to shoot your own video pieces. There are free 3D animation software packages out there. Don’t allow the content to become just something you found on the web that’s almost right.
light (we call this the projector raster). You need to be able to control this light. If you plan to have a projector in a show make sure you have a method of shuttering or blocking the light when you don’t want it. This can be as the lighting designer should allow for simple as someone placing a piece of that in the lighting design to ensure cardboard in front of the lens (maybe there is no spill onto the projection an elaborate string and pulley system); surface. In fact in nearly all professional we used to all make shutters out of old shows the projection content is CD Drives (search the web) or you can controlled by the lighting console so rent DMX controlled shutters. More that it can all work together smoothly. modern projectors often have built in shutters, which can be controlled by Lots of surfaces can be projected upon various bits of software or the remote. You don’t only have to project on to white surfaces. We’ve all seen videos of Use Playback Software building projections. You can project Seeing a Windows page, or the play onto anything; we often project onto button from your DVD player is black smothers! I recommend doing inexcusable. There is a lot of software some testing before the theatre; you for playing images and video clips in will be amazed at what will work. presentations out there. Use one of them. Powerpoint and Keynote are ‘Map’ your projection obvious examples. If you have access to One of the keys to good theatre a Mac then look at QLab. It is cheap projection is it doesn’t look like video. If and rentable for the duration of a you are projecting clouds, make sure production. they don’t land on the set. Put black boxes in your image to mask objects David McKinnon, General Manager you don’t want images on. The at CVP Events Film and Television. software you are using will define how fiddly this is, but it turns ordinary images and projection into stunning results.
Projectors are just fancy lights When designing your production Projectors Don’t Do Black remember that the projector is just Even when projecting a black another light source. The impact it will image, your projector is still emitting have is effected by all the other lights www.cvp.com.au sources, so the projection and lighting info@cvp.com.au designers must work closely together. If (03) 9558 8000 the projector is not very bright, then
Live character projection during The Game at Melbourne Gang Show 2011.
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A Word from Book Nook “I would like to express my gratitude as a parent and as a citizen to all the teachers and practioners of Drama and other Performing Arts,” says Mary Sutherland of Book Nook. “Drama, and in fact all the arts, are so important to the development and maintenance of a caring and reflective shared culture. “We would be excited to meet you at the Drama Australia International Conference at NIDA in Sydney, aptly called GAME CHANGER July 10 - 12.” Some highlights of what’s new: The Phantom of Menace by Ian Doescher - to quote The School Library Journal, “One of the best written Shakespeare parodies created for this audience and its absolutely laugh-outloud funny for those familiar with both the Bard and Star Wars.” A Town Named War Boy by Ross Mueller developed with ATYP with a young cast and audience in mind, inspired by The State Library of NSW collection of WWI diaries and letters: bringing the ANZAC legend to life. Mother by Daniel Keene - a onewoman play - probably not for school performance but worth exploring as, in the words of Bryce Hallett of SMH, “Daniel Keene is indisputably one of Australia’s most poetic, thoughtful and probing playful hits.” Set to address the long overdue new focus on Drama in primary
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www.booknook.com.au sales@booknook.com.au (07) 4637 9980 schools is Katherine Zachest’s Drama for Early Childhood, a comprehensive, practical program for children 3-8 years old. And for a bit of fun, an international offering which has us excited: The Big Book of Molière Monologues is a selection of fun and funny monologues for actors from teens to mature.
change the lighting fixtures. The solution was to install two Jands SLX100 motorized lighting battens. These off-the-shelf hoists are ideal for school halls, auditoriums, or anywhere that there is the need to easily and safely raise and lower lighting fixtures. “Now the lighting bars can be lowered at the simple press of a button,” said Adrian Ward, Technical Director, Stage & Studio Productions. A Jands FPX 12 channel dimmer was also chosen. The students have no trouble handling the simple menu to access the configuration and test options. As the auditorium features a Perth’s Stage & Studio Productions number of LED PAR luminaires, Ward decided that an ETC SmartFade would had the students in mind when it installed a new lighting system into the be the ideal control console. This auditorium of Kennedy Baptist College, compact console has some serious power under the hood, yet is easy to located in the suburb of Murdoch. Built in 2000, the auditorium seats use while including a rich special1,200 and offers a large stage suitable feature set when you need it. The console fits perfectly into for a range of performances and venues such as the Kennedy Baptist events. College auditorium, that have a bit A significant feature is the 20 students who form part of the College more than conventional lighting. tech team. They run the sound, audiovisual, and lighting for assemblies and other College events. www.jands.com.au In one section of the auditorium it info@jands.com.au is necessary to bring in a boom lift to (02) 9582 0909
New Light Fixtures For School
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Theatre Jewel Amidst The Ruins As Christchurch slowly rebuilds after the devastating earthquakes of 2010 and 2011, its grand old lady is breathing back life into its theatrical soul. David Spicer trod the boards of the re-born Isaac Theatre Royal, which was the venue for the 55th Musical Theatre New Zealand weekend conference, party and AGM.
sad. The grand Cathedral is still in ruins, while there are numerous empty blocks, and condemned buildings are sealed off waiting for the bulldozer. Many structures up and running have elaborate murals. The town’s brothel/ strip club sits conspicuously in an open field with a curled up naked lady painted on its side. But it was another lady I was pleased to see: the mural of the ballerina painted on the rear end of the newly Moving around the centre of Christchurch on its historic tram is a little restored Theatre Royal.
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When the second earthquake struck a number of workers were lucky to have left the stage just before the proscenium collapsed. The theatre trust then had to raise a fortune, forty million dollars or so, to put the theatre back together again. They restored the façade, the foyer, the marble staircase and auditorium interior walls and ceiling. Everything else is modern. There was lots to admire - the painted scenes from A Midsummer Night’s Dream on the dome, Shakespeare’s plaster bust above the Royal Box and gilding in every nook and cranny. The visual treats are admired best from the highest balcony seats. This was an irony not lost on the Theatre Trust’s Dr Anna Crighton, who was keynote speaker at the conference. When it opened in 1908 the privileged sat in the dress circle whilst poorer members of the general public sat up in the highest level of seats. “To reach the Gods, patrons had to climb an exterior steel staircase - an area that was considered dangerously steep even at that time. Patrons did not sit on seats then but on benches,” she said.
A more egalitarian interior with seats for everyone was not constructed until 1928. The conference was held on the stage, which felt like it stretched forever with a soaring fly tower above. The local theatre company Showbiz Christchurch was itching to get back on stage properly. It was a few weeks off its return with The Phantom of the Opera. An intriguing silver haired gentleman (who you can see on the video) gave me the inside story on the club when he picked me up at the airport. Years back the old Christchurch Operatic (as it was known then) gave all of its assets to a trust managed by some shrewd investors. The right investment in shares has secured its future big time. Lucky they didn’t the put the cash on the horses. Like many community theatres in New Zealand, Showbiz Christchurch has good real estate. The club reluctantly gave up its former building due to earthquake re-zoning. The company gave us a tour of their new home base that cost upwards of 1.1 million dollars. We admired the shiny new rehearsal floors, sewing rooms, costume storage and plenty of places to lounge around. The silvery haired gentleman was very pleased to show me a picture on the wall of him taken many decades previously, with his shirt taken off, as the strapping male lead in the popular operetta of the day. The faces stare down from the walls, testament to a club that has been
entertaining its community since 1938 and now appears indestructible. The musical theatre conference is always a mixture of business and pleasure - the highlight is their annual fancy dress ball. Formal attire from any era was this year’s theme. But having attended most conferences over the last twenty years there is no mistaking that it is becoming a little more business than show. According to a survey MTNZ released, the top twenty productions of the previous year sold 135,000 tickets. Seven of the productions sold approximately 10,000 tickets or more. The big ones were seasons of Mamma Mia! and The Phantom of the Opera. 75% of shows make a profit and 20% lose money. The large theatre companies pool resources to tour a set around the country. It means many people earn income out of community theatre.
Seventy percent of the groups pay their director and just over half pay musical directors and choreographers. One in ten companies also pay some members of the cast. By and large it is an Anglo-Saxon affair. Almost ninety percent of cast and crew are European. Women outnumber men 58 percent to 42. And there was no surprise that young people dominate the on-stage roles, leaving the older ones back stage. On every conference desk was placed a glossy brochure called Musical Theatre New Zealand Strategic Plan 2015-2020. There were all sorts of buzz words like “stakeholders”, “operational planning”, “financial sustainability” and “Educate, support and advocate”. The only thing missing seemed to be lets have some fun putting on a show.
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Ticketing, Seating And Curtains 61 Stage Whispers SPARK 2016
Eternity Playhouse. Image courtesy of City of Sydney. Photo: Adam Hollingworth.
Comfortable Bums On Seats Her Majesty’s Theatre, Adelaide.
Thinking of new theatre seats? Roger M Pratt from Hadley Australia has some tips on keeping the posteriors of your audience members happy.
upholstery fabric. It is important to have this certification as for a major fire your insurance company may not pay out. Check out the weight rating of the chair being offered, the higher weight capacity the more abuse it will take and the When the time has come to replace your old theatre seats longer the life expectancy. or to select seats for your new venue, it pays to take some time Can the PWD removable seating be handled by one staff to evaluate what is being offered. member? Uncomfortable seating is what is remembered by your For a new build, always select your chair early so that the acoustic ratings can be given to the Acoustic Consultant to patrons and is a big factor in their future ticket buying decisions. incorporate into his calculations. This way you get the acoustic A theatre chair should be firm with good lumbar support results that you want. and hold you well. A chair that has squishy foam seems on a Remember the cost of the chair will quickly fade; the quick try to be the most comfortable, but is not for the comfort enjoyment remains long after. So choose well. duration of a performance. Also a soft foam doesn’t last (think airline seats !) and has to be replaced frequently. Often when a chair is being selected, a number of them will be presented to a selection committee who only sit for a few seconds in each one. Narrow the choice down, take these home and watch a couple of hours TV before you decide. Obviously look for a long guarantee on both the chair and the fabric. Also check the chair envelope (front to back measurement with the seat up) as the smaller the envelope the more egress there is in the row. The seat cushion should be quickly changeable by the usher without tools. The cushions should have zip off covers so they can be quickly changed if soiled/vandalized. The strongest chairs have inner metal frames (not plastic) encased in moulded foam with no voids. Tipping should be silent and by gravity, not springs. Springs squeak and break over time. Timber arms look more upmarket than upholstered arms and maintain their look much longer - no fabric to wear out. LED aisle lighting is preferred - they give a long life without heat and are dimmable. The building code has now changed in most states so that the foam has to be fire rated to AS 1530 pt 111 as does the For more advice contact Roger M Pratt from Hadley/Series Australia Pty Ltd on 0412 435 089 or www.hadleyaustralia.com.au www.stagewhispers.com.au Stage Whispers 62
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Read our 2016 Course Guide online at www.stagewhispers.com.au/training www.stagewhispers.com.au Stage Whispers 64
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Training
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How Do I Break Into Show Business?
Shane Jacobson.
It’s the question actor/director/writer and comedian Shane Jacobson gets asked the most. The answer he gave to the Drama Victoria conference last year in Melbourne was both surprising and illuminating. I get stopped on the street and the same question comes wherever I go, from students and parents. ‘How do I get into entertainment?’ They look at me and say Shane Jacobson, the fat guy from the shit movie (Kenny). People say, ‘How do I become a famous actor?’ I always compare it to sport. There has to be vision, belief, action and persistence. My story represents all that. The one that people give up on is persistence. I was 36 before my lucky break, when Kenny came out. I always wanted to act. If you really want to do it, then you have to love it, because you might be doing it for a very long time without money. If I speak from the heart, the time I did amateur theatre I was actually more excited than paid gigs, where there are more expectations and people yelling at you. Whereas my daughter was on stage last night singing Christmas carols and she had a ball. She could forget lines and no one would care. The reason why I compare it to sport, such as AFL, is that by the time a young fella walks onto the field for an AFL or rugby team the (commentators) go ‘here comes the rookie’. I go, ‘he’s not a rookie.’ For them to be there on this day he’s probably been doing it for 15 years. They are so good that they are wanted in the team. They have kicked a ball so often that they could kick it straight every time. That does not happen overnight. Parents say, ‘how do I get them into acting?’ I say, ‘get them to act.’ I always say just act...anywhere. If you want to sing in a band, volunteer as 67 Stage Whispers SPARK 2016
a roadie. If there is a local theatre group just get in there. Get into the space setting up the lectern and doing the lighting. People say comedy is the hardest thing in the world...try being a surgeon. Comedy is not the hardest thing...it’s just that people don’t laugh. People say you die on stage...you don’t. Your heart keeps going. The worst that can happen is that people won’t laugh. People should be more terrified if the light falls on their head. Literally, the worst thing is the onein-a-billion chance that that you get booed off the stage. But then you can try it again in another room. Some performances I have had, they were still booing when I got on stage from the guy before me. So, what is my story? I saw a show and had that moment when I decided ‘I want to do that.’ I was taken to the Gang Show (Scout Revue) and sat in the theatre. I watched all these kids my age, all on stage performing. I was blown away and wanted to be there. I did tap dancing for a while. That is when the bug bit me.
My parents were born poor. My father said he was in a tent until he was 21. They couldn’t even afford to pay attention. In theatre, my dad says you don’t need money to get an education. Just ask someone what are they doing. In the theatre, you walk into a bunch of ladies or men doing wardrobe or lighting; they will want your help and will vomit their information. People love sharing what they know. I think it is really important. I went into the Gang Show and learnt every aspect of it. I spoke to every tech person. By the time I was 16, I was bumping into the Palais Theatre, doing the lighting, set, helping sound...I’d literally be there in overalls and then the director said Shane we need you in costume now. Then I’d go backstage to get into costume. I learnt enough to light and design theatre shows. I went on to be the national general manager of [a company] and had 120 guys working [for me] on the weekend. I did the same for fireworks. At 16 I was doing fireworks, working with Bon Jovi,
AC/DC and Guns N’ Roses. Any major concert, I was the pyro guy. I went on to do rigging design. I designed shows at the Tennis Centre and for Tina Arena. I am known as the plumber who had a go at acting. ‘Still on the tools mate?’ they say to me. I know enough about lighting to do lighting plans and security plans. It is much better than waiting on tables; it meant I was walking around in a theatre space. The same for television; I ended up doing lighting. My last job behind the scenes was the Commonwealth Games: my job was getting the MCG clear and ready for the games to begin. That was my last gig, but I loved it. I got a little bit of cream from the cake, which is the bit the kids like. Hang around and find out how they make that cream. If there is a bit left over they may say, ‘would you like some?’ I learnt about moving lights because someone was generous enough to give lights to the Scout show. I showed interest and twelve months later I was the moving light operator in a TV studio for Safeway’s New Faces with Bert Newton. During this time I was developing my performance skills. I had been doing amateur theatre with the Scout Association and comedy/slapstick at corporate events. I had also done off-road car events with paddocks filled with thousands of drunk people. This involved hours of ad-
lib which I did not get paid for. Once I took a break after two and a half hours to go behind a tree to do a wee. A bloke came up to me urging me to return, because someone tried to fill in and the crowd didn’t like him so someone ran out and punched him out. As I said, take every chance you can to practise kicking a ball. One day a talent scout will ask you do it in front of him or her. When the talent scout turns up you need to kick a goal perfectly three times. This happened to me when I was on the lighting crew doing a show called Live and Kicking for Channel 7 at the Empire Theatre. One night the warm-up guy, Brian Nankervis, was extremely sick. The Director walked past as I was co-ordinating the lighting crew and asked me if I wanted to have a go in his place. I said I wouldn’t be ‘having a go’, I would do it. I had done similar things at Rover events. He realised I was confident and let me have a chance. So then Brian Nankervis got fired and I got the gig. That was the moment when I kicked the goal in front of the talent scout. Then I was the warm up guy for years in a TV station. I got to be really confident and comfortable in a TV studio, also because I had spent years doing lighting in them earlier. From there I went on to do 13 or 14 feature films including Kenny. The idea for Kenny came from me running an outdoor event and doing the power, lighting, security and plumbing.
I picked a company to do the toilets called Splashdown. They were dearer than the others. I said to the organiser, ‘with a dentist, pilot, and toilet supplier, don’t go with the cheapest option.’ 51 percent of the population are female. I have never had a woman come back from an event complaining there were too many toilets. That the toilets are so clean they were afraid to go on it. When people have to line up and the toilets are horrible, that’s when you hear about it. At the event, an old lady got to the toilet first. A few minutes later she said, ‘are you from the toilet company. I have been in there and the smell is disgusting and it is your fault.’ The rep from Splashdown said to her, ‘if you are unhappy with the smell, then you must be responsible. We only manage the transport - you do the manufacturing. If you are unhappy with the smell don’t speak to a plumber, go see a doctor.’ She laughed, and was a bit shocked. He was right. The toilets were clean. When I made Kenny my brother and I did everything. I drove all the fork-lifts, all the trucks, the production management; every component we did. We had to take our names off some of the credits because it got ridiculous. We did it all. So when someone says ‘I want to act,’ then tell them to do everything they can; you need to know how things work.
Kenny.
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Study Drama In London
Actor training at The Royal Central School of Speech and Drama. Inset: Charlie Vickers-Willis.
Studying Drama in London is achievable thanks to a local audition program conducted by The Royal Central School of Speech and Drama. Former Geelong resident Charlie Vickers-Willis commenced a BA Acting (Hons) degree in 2014.
The whole thing is practical. Acting is done on a stage, not on a page, and this training really reflects that. We are always on our feet, whether it’s in classes or rehearsal. What skills and qualities are required for your course? Why did you decide to study at A huge passion for acting. Central? Rather than any measurable skills, I am As well as being one of the best drama schools in the world, their a firm believer that determination, willingness to audition in Australia resilience and persistence are key to this course. Of course there are tough makes you feel as though they want and long days, but it’s through these you to come study in London. points that we change the most as Practically, it’s also a lot simpler, and cheaper than flying all the way to the performers and people. If you have the UK for an audition. The amazing acting persistence to push through the tough bits of the course then you will reap and theatre history that Central has also drew me to the school. It has such the benefits. What is a typical study/working day an incredible reputation worldwide. What is your educational/training for you? background? An 8am start and different voice, I went to school at Geelong movement or acting lessons through to Grammar School in Victoria, and then lunch. Then a lunch break from 1-2pm, followed by rehearsals in the afternoon did a Bachelor of Arts at RMIT through to 7pm. After rehearsals, we University. What is the best part of the course will spend another hour or so working for you? at school.
How do you see your career developing? I’d be incredibly grateful to be able to continue acting for the rest of my life, be it in the theatre or in front of a camera. Hopefully I will be lucky enough to do both. Right now, I’m focussing on finishing my training and then stepping into what will be the beginning of a long professional journey. What advice would you offer students thinking of applying to Central? If you are coming from Australia, relocating to the UK is a big commitment, so make sure that you are one hundred percent committed. If you want to study acting, there is no better place in the world than London. Make sure you know your audition speeches inside out. Also have a detailed knowledge of the plays that they are from, and be ready to re-work the speeches from the ground up. Showing your adaptability and capacity to be redirected is crucial. And just have fun. www.stagewhispers.com.au Stage Whispers 70
Marina’s Evolution Marina Prior chats to Neil Litchfield during rehearsals for the new Australian tour of The Sound of Music.
I’ve been fortunate enough to enjoy Marina Prior’s musical theatre career through romantic leading lady roles Mabel, Josephine, Cosette, Hope Harcourt, Christine Daaé, Magnolia and Guinevere transitioning into more mature comedic roles like Miss Adelaide and motherhood as Mrs Banks. Marina’s career began in spectacular fashion in 1983, when the 19 year-old music and drama student at Melbourne State College went overnight from busking in Melbourne’s Bourke Street Mall to leading lady in the Australian production of the new Broadway version of The Pirates of Penzance. Now we’re sitting opposite each other in the rehearsal studio, on the terrace furniture from the Von Trapp mansion, as she prepares to play the sophisticated mature glamour role of the Baroness, Maria’s competition in the romantic stakes, in The Sound of Music. “I am extremely grateful for the fact that I’ve been doing this for over thirty years now,” Marina tells me. “No!” I utter. “I know, extraordinary isn’t it? It’s hugely important for young romantic heroine soprano leading ladies to know how important it is to be able to evolve and re-invent yourself, and broaden your skill bases as you mature in the industry, if you want to keep going,” Marina explains. “So something that’s been really important to me has been working on my acting and characterization, and using different colours in my voice. That’s stood me in good stead. “The production prior to this one for me this year has been a comedy play at Melbourne Theatre Company and Sydney Theatre Company, which had no singing at all. “In some ways what I’m most proud of is my longevity. I don’t mean that in an arrogant way, I’m just solidly proud that I’ve had longevity in the industry, but also diversity to be able to do straight plays. I think if you love what you do as much as I do, you have to be able to make pragmatic decisions, and understand if you want to be the romantic lead, you really only have 71 Stage Whispers SPARK 2016
fifteen years to do that, then if you want to keep going you really have to broaden - become a broad.” As Marina did in Guys and Dolls. While she later repeated the role of Miss Adelaide in a 2008 / 9 commercial production, Marina’s first opportunity to play that archetypal ‘broad’ came in a short season at The Production Company in the year 2000. “I was asked to play the role of Sarah Brown, the romantic, good girl, which is a great role, but I actually asked if I could audition for Miss Adelaide in that production. Roger Hodgman, who has been a great champion of mine, and a big influence on my career choices, allowed me to audition - I had to audition because they were a little skeptical. He said to me, ‘you’ve got that ability, mine it.’ “It was a bit of the talk of the industry. There was no Facebook then, or there probably would have been a bit of chat on Facebook. I was told I was committing career suicide at one stage, but it had the opposite effect. “I knew within myself that I had a comedic flair and an enjoyment of characterization, as did people who knew me intimately, so it really was the turning point, publicly. Then I also did Annie Get Your Gun, with Roger Hodgman, and my role in The Witches of Eastwick was also a really vampy, comedic type of role. “Since then I’ve predominantly done comedic roles, but funnily enough, every time I do them the press, or people generally, say ‘this is such a change for you’ and I think they’ll say it forever, because probably there’s just an indelible imprint of the girl from Phantom and the lady who sings at Carols Marina Prior as The Baroness. Photo: Brian Geach.
by Candlelight in the big frock. But that’s a persona that you assume for Carols by Candlelight, not that it’s not me, but there’s a certain style I tend to call upon. I think people tend to assume, ‘Oh, that’s her, that’s who she is,’ but none of those people are me.” “And, happily, vocally that’s something you can keep on doing for quite some time,” I suggest. “I’ve been lucky,” Marina replies. “I have a wonderful singing teacher, Merlyn Quaife, who has taught me since I was 14. I still go to her, not regularly, but whenever I can for what we call a tune-up. She’s given me a technique that’s enabled me, vocally, to get through eight shows a week for three decades, so I’m very grateful to her. I’ve been able to use different facets of my voice, and not damage it.” “So what is it about comedy that you love?” I ask. “It’s an adrenaline rush,” Marina tells me. “It’s all about who you’re working with, and if you’re working with a good comedian. I’ve had the
good fortune to work with the likes of Gary McDonald, Grant Piro, who I ended up marrying, Magda Szubanski, and David James, who’s my partner in crime in this, playing Max. The joy of collaborating with another actor and finding the rhythm, and mining the laugh is just such a rush - such a thrill when you get the laugh - not that this role is hilarious, but she certainly has a joie de vivre, a wry wit, and she’s quite delicious to play.” “And I guess you get more of those rush moments in a passage of comic dialogue than you get with that one big climax moment in a great musical theatre song,” I suggest. “Yeah, Yeah … rolling laughs. But I’ll never, ever fall out of love with singing, until my voice leaves me, which I hope it won’t for a long time,” Marina assures me. “I’m releasing an album with Sony. I’m actually recording it next month. So this year I’m still releasing an album, still touring, still singing. In fact I love what the Baroness gets to sing in The Sound of Music, because neither of her two songs were in the movie. Perhaps that was to play up and enhance Julie
Andrews in the film, not that Julie Andrews needs any enhancing in any way, but the Baroness was quite a small part. I like her in the play because she’s actually wittier, and there’s a viable relationship between her and the captain. She’s not a dreadful woman, she doesn’t hate children, she can just actually see that he’s in love with someone else. C’est La Vie!” “And how are you enjoying playing the role of Elsa?” I ask. “I’m loving it. I love her sophistication, and as you say, it’s been an evolution. I’ve gone from playing gawky girls, to romantic heroines, to a gothic heroine in Phantom, then developing a motherly role as Mrs Banks in Mary Poppins, to a burlesque dancing cougar - a man-eater - in Jumpy, and now I get to play this woman who is sophisticated, hedonistic, great fun, pragmatic, and she’s wise and gracious. I’d like to be her friend. “And glamorous,” I add. “Extra glamorous,” Marina agrees. “She’s the only one in this show who isn’t wearing a wimple or a dirndl, so I’m very grateful for that.”
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The McDonald College in Sydney stages its third International Musical Theatre Winter School from July 11 16, gathering top tutors from America, England and Australia. Head of Musical Theatre Dolores Dunbar tells Stage Whispers about the course.
Musicals Winter School
Campbell-Birch, a tapper from the UK with a really different style, I’ve got Bev Kennedy and Mark Chamberlain to do the music, and Tyran Parke to do the drama. We’re going to have ballet too. Dolores Dunbar shares a wealth of “This time I’ve even got a whole day of acrobatics, and Lesley Scott is also practical Musical Theatre experience going to do some feather work for with her charges, following a performing career which began in those girls would like to be showgirls. great JC Williamson musicals like Funny “We’re going to see a show, Singin’ Girl, Fiddler on the Roof and My Fair in the Rain, and David Atkins has Lady, and continued with already assured me that some of the cast will come out and see the kids. phenomenally successful productions “The Winter School is for kids from including Godspell, Chicago and Les the age of eight up, from anywhere in Misérables. the country. One of the joys is that I Dolores explains that the idea of a Winter School came about on one of did a deal with the Menzies Hotel, so they just have to catch the train at the regular trips to Broadway she Wynyard straight through to North organizes for her students. Strathfield, and the gate to the school “I met up with a wonderful teacher is right there at the station. over there, Lainie Munroe. Each time I Dolores Dunbar went, she took classes for the kids, and “We’ve also just opened our brand I said, ‘one of these days I’m going to new boarding house next door, and they can hire rooms there. It’s have a musical theatre week and you’re “She’ll be auditioning both senior going to come out,’ which she did. dance and musical theatre students to beautiful; it’s more like a boutique hotel.” “Unfortunately, for the last one she go over to the Relativity School. was in Europe performing, so she What would Dolores say to Because it’s in a functioning film recommended Michelle Loucadoux, someone from outside the college studio, they use all the kids in their considering doing this course? who was in Anything Goes on clips, and in film, and they get a real “They’ll build skills and confidence, Broadway. inroad into the film scene over there. and make lots of new contacts and “Afterwards I got an email from They make great contacts, and it assists friends, but it’s also to enhance their Michelle saying ‘I’ve just been made them getting their Green Card. We’ll Creative Director at this new Relativity have a full day of auditions. level of both the dance and the musical theatre, by being exposed to all this School in LA,’ which is situated in a “I have a group of wonderful expert international faculty.” functioning film studio. clinicians. In addition to having Michelle coming from LA, I have Ryan
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Andrew Upton. Photo: Lisa Tomasetti.
Why Drama Matters Without culture we would be no more sophisticated than a lovable pet dog. That was the analogy used by Andrew Upton to inspire Australia and New Zealand’s drama teachers at their annual conference. The Sydney Theatre Company Artistic Director and playwright also urged them to encourage disobedience (within limits).
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I have a dog, which my eldest son named Fletcher. He is a two year old black Labrador. He eats about two cupfulls of dry food in the morning and two in the evening and anything else he can get hold of in the intervening hours. When we anthropomorphise him as a family we say he is loyal and loving and enthusiastic. His commitment to the family is almost comic, or is it tragic? … Fabulously, he runs in his sleep … runs and runs and yelps occasionally. Like most of us in this concrete jungle Fletcher runs more in his dreams than he does in reality. He wakes exhausted - and wanders to another spot in the house where he falls asleep again and dreams of running and running. We had him desexed and he lives as a eunuch among us. He eats and sleeps, will never reproduce, and then will die, to be buried perhaps under the jacaranda in our backyard. To the best of my knowledge Fletcher has no idea of any of the things I just said. He has a sense of separation from us, which he seems to know is different from his separation
from other human beings. He has a sense that he is not a cat. He is not a bird or a tree. Definitively. He has an identity therefore that serves the purpose of distinguishing himself from the rest of the world. What he does not seem to have is any kind of fabric that he shares with other dogs. They bark, they sniff each others’ butts, they run around a bit. Some days it seems to me that he must be so lonely. Not unloved, not uncared for, not single and lonely but … isolated. And it seems to me that this isolation is the source of his silence, his muteness, his lack of history, his lack of investigation into his him-ness. It seems to me that as welcomed and involved in our family’s cultural fabric as we make him it does not, it cannot, span the vastness of his isolation. It seems to me that, unlike dogs and indeed all other life forms, as a human it is the fabric into which we are born that comes first. That we are all ready, pre-tuned to the twinges and shivers along this fabric as spiders on a web. That culture, language, meaning, history are the web humanity has and
continues to spin - they are an so is the responsibility. And one of the adaptation we have made as a species, most important places that these they are our way of trapping choices are manifested is the knowledge, understanding and the schoolroom. sense of our life. Without culture we To that end, School Drama™ is a would exist in the same profound project that (my wife) Cate and I began unbridgeable isolation and silence as in the second year of our Artistic Fletcher. Directorship. We met with Robyn Could it be that language and the Ewing about how to refine and define cultural fabric have evolved to be part Sydney Theatre Company’s of us? Not a tool we may or may not commitment to education. We all felt choose to employ. Not an option but - that there was quite a bit of stuff out like walking upright and, not being there for secondary schools but the covered in fur - a fact of our Andrew Upton and Cate Blanchett. being? Photo: Brett Boardman. If culture has shaped our brains, our abilities and our capabilities; if it is as fundamental as our heart, like our lungs an organ that keeps us alive; if, like our skin, it does more than just hold our organs in place, we breathe through it and sweat through it and sense the world around us with it. If it is so vital to our survival, then surely it must be prioritized in our education. We have government intervention in our health and safety all over the place but seemingly none as it relates to the health of our cultural organ. And if it is an ‘organ’ distinct to the human animal - then it is also inevitable. It will happen with or without government support and consent, with or without careful planning and rigorous investigation. So we can, by Live character projection during The relegating it to a secondary Game at Melbourne Gang Show 2011. position allow it to grow wild and primary children were being under weedy and unkempt and choked over. served and demanded something else. Or we can maintain it. We can, with Not only did they demand something poorly considered educational other but more importantly where the strategies strip farm ourselves into children are at educationally? They massive mono-cultures or we can offered something other. A chance to develop deep and detailed highly learn through drama, not about it. sustainable cultural environments. If it Basically, the program teaches the is an organ, part of our bodies, our teachers how to use drama and drama embodiment onto and inside this exercises to bring texts alive for the planet how do we keep it healthy? children. The results are increases in How do we teach children how to use comprehension of core texts but more their natural connection to the cultural importantly increased focus, increased fabric to go deeper, engage deeper, interest and increased confidence. work better and think and feel more We decided to pilot this very simple richly? The choice in all this is ours and program over three years. We put an
actor into - I think it was six schools originally, increasing that to … I can’t remember … twelve? in the second year, then even more in the third year. We also tied a lot of research up with it through the department of Education and Social Work at the University of Sydney to find measures for the anecdotal increases in engagement that we were witnessing. Those pilot three years came to an end and we took the learnings and have made a model that we can impart directly to teachers. We are working out how to roll the project out through other state theatre companies into primary schools around the country and into the regions. This is not just nice, happy, cute kittens. This is how we will keep art alive in the dialogue for children’s lives. Education is becoming an increasing slab of monoculture mania. Pressure is on teachers to deliver ever more distilled and unified curricula. Art is awkward, apparently pointless and does not deliver KPI’s in the short term. We are on a path towards a sort of mass identity. Is this good? What can this mean? A bit of disobedience might come in handy; tricky KPI’s might be our best bet. But how will we keep alive the awkward dream of the human on this planet? ART. Cultural control of the fabric. And so, School Drama is a way - a small little way - of keeping the dialogue alive, real, active and interesting in the class room. It is a way that teachers can re-invigorate their practice and students can honestly say they know what character means, what an improvisation is and that the creation of theatre is a collaborative dialogue that involves text and visuals and more than anything else, Chutzpah. That the naughtiest kid was finally the best at something. That the quietest kid was hilarious because she saw everything and understood everyone. That every story only makes sense when you (Continued on page 77) www.stagewhispers.com.au Stage Whispers 76
Andrew Upton. Photo: James Green.
world a better place. The aesthetic is very Do It Yourself and has resulted in lots of very naive art and resultant lo-fi sensibilities. The vital thing here for us to grab hold of is disobedience. Punk rock was all about disobedience. It lured me as a thirteen year old and has held me for the last 36 years. Consequently I value disobedience. Highly. Disobedience is central to the act of creation in the punk rock rule book and the engine of many of its greatest legacies. In fact, I would take this even further and say Disobedience IS vital to all art and art as we know - apart from breaking up the blank space on our living room walls - is one of the keys to defining, engaging with and most importantly utilising effectively the cultural fabric that holds us all together. As a parent? Raising children and believing in the cultural need for disobedience is a complete fucking nightmare. My guess is, it is just as difficult for all the teachers out there. So? How do we enshrine disobedience? How do we reward disobedience? We need a discourse and some seminars on disobedience. Types of disobedience and how to constructively maintain disobedience whilst also maintaining order and stability for the classroom (and or family). History is one way of helping children to see that disobedience can be constructive and indeed can lead to a better world. But how do you teach a classroom about revolution and not find yourself first against the wall? School is so important because (Continued from page 76) pistols’. This is a pop cultural product children are like oysters. Vulnerable bother to think about it. Engage with associated with a type of music called and useless against the onslaught of it. Give it a bit of your self. ‘punk rock’. I could probably recite the universe without their shell. And The other day my two older sons every lyric to every song on the album that shell is School and Home and is were playing basketball at home. if not accurately at least passionately. made up of a Past and a Future which Suddenly they went upstairs and came Punk rock carried inside it historical they will learn about but which cups down each with two team-based connections to Da-Da, and to them in the hands of the whole human basketball singlets on. One named for Modernism generally, to a kind of race while they make their own little some Chicago player and one for some Historical Materialism, to a pearl. And like all oysters they need grit Los Angeles player. They then took on destabilizing use of cultural product to make a pearl. Disobedience cannot these roles and played more basketball. towards social change and to a (slightly exist without rules and boundaries. Unless I am imagining things, they misguided) Romanticism that every act played better with the singlets on: of destruction was an act of creation. This is an edited extract from a speech There is something liberating, At its core was the idea that any delivered by Andrew Upton at the something sacred and illuminating cultural act was valid and seizing Drama Australia & Drama New Zealand about pretending to be someone else. control of the cultural conversation International Conference, Game When I was 13 I bought ‘never was an act of rebellion or in some Changer, hosted by Drama New South mind the bollocks here’s the sex hands revolution that would make the Wales. 77 Stage Whispers SPARK 2016
Performances For Schools
AIM Music Theatre. City of Angels - The Musical
Black Swan State Theatre Company’s Picnic at Hanging Rock. Photo: Robert Frith.
www.stagewhispers.com.au Stage Whispers 78
Superheroes Entertain Students NIDA graduate Marko Jovanovic is one of the new breed of actors making a living from entertaining and educating school students. “My favourite type of theatre is performing these solo shows in front of kids. They are the toughest audience. They don’t hide their boredom,” he said. Jovanovic is touring his latest one man show The Amber Amulet (by Craig Silvey) to schools in Western Australia from 1 August to the 26th and New South Wales from May 2 to June 4 this year. “I embrace the challenge younger audiences throw at you. If they have a great experience it is hopefully the start of a long relationship with the theatre.” Two of the characters in the play are The Masked Avenger and Richie the Power Beagle. When The Masked Avenger leaves a 'happiness questionnaire' in a letterbox, a series of events are set in motion that no one could predict. The performance lasts 45 minutes and Jovanovic always leaves time for questions. 79 Stage Whispers SPARK 2016
“I had a boy come up to me after the performance. He said privately that his parents were getting divorced but he didn’t know how to talk about it.” “He found a way to be resilient (like a character in the play).” Since graduating from NIDA Jovanovic has worked for Bell Shakespeare, Barking Gecko and had multiple appearances in feature films and television series. But he says actors can’t rely on other people to give them projects. “The moment you create your own work is the minute you get offered a job. I call it traction.” It also helps broaden your skills. “I am the producer, director, actor and dramaturg.” He says it is all worth it. “Having done hundreds of shows through schools, and seeing students and teachers inspired by the productions I have toured makes me feel like the luckiest actor in the world.” For more details Call Marko on 0401 506301 or email education@theworkshopproductions.com
The Story Trader
SW: James, what impact did the program have on the students and the wider school community? Driven by their passion to provide James Kristoff: All of the engaging learning experiences for students totally bought into the students and teachers alike, last year world of The Story Trader and Tales End immediately. The NIDA Open joined forces with the team narrative within the program at Project Synthesis to develop an dominated class discussion for immersive theatre experience for the whole term and my students Primary school students. What they kept coming up with theory created is The Story Trader. after theory about what was happening and what might Kellie Mackereth, NIDA Open Schools happen next. All the teachers Manager, and James Kristoff, Teacher at and staff in the school were also Cambridge Gardens Public School in on the program, which (CGPS), discuss their experience of The helped to create the mystery of Story Trader trials that took place last The Story Trader for all my year. Kellie Mackereth. students. Stage Whispers: Kellie, can you begin SW: The students who participated in The Story by telling us what The Story Trader is? Kellie Mackereth: The Story Trader is an educational Trader have now moved on to high school. What alternate reality game (eduARG) that teaches students lessons from their experience do you think they will take with them? in grades five and six about storytelling. Students are JK: The students will definitely take stronger creative immersed in a multiplatform story world designed to promote agency in student learning and develop skills thinking and writing skills with them as they move on to high school. I hope that the creative freedom and in communication, collaboration and critical and willingness to take risks developed throughout the creative thinking. The program unfolds over a six to eight week period program also stays with them. and is delivered in partnership with the classroom teacher, NIDA educators and NIDA actors. Students are presented with a dramatic premise such as having to save a town called Tales End. In order to do this, they need to work together to construct portals to another world, track their progress using digital maps, find artefacts hidden around the school, receive secret messages on mobile phones, decode riddles, host visits from actors in characters and most importantly, tell lots of stories. SW: Why did NIDA approach Cambridge Gardens Public School to take part? KM: The Story Trader program is all about collaboration; collaboration between NIDA and classroom teachers, between classroom teachers and their students, and between the students themselves. We met the students when they came to our annual Improvisation and Playbuilding Demonstration last year. The workshop focuses on making, accepting and extending offers; essential skills for collaborative performing arts practice. To find out more about NIDA’s Schools Program including the upcoming Improvisation and Playbuilding demonstrations for both primary and secondary schools, customised courses, or how your school can participate in The Story Trader program, visit nida.edu.au/schools. www.stagewhispers.com.au Stage Whispers 80
Hamlet. Photo: Seiya Taguchi.
Introduce your students to the magic of opera through Opera Australia's delightful production of one of the bestloved Brothers Grimm tales. Students will be captivated by the story of two young people and the bewitching characters that they meet on their journey of hardship, forgiveness and self-discovery. Featuring professional singers, colourful costumes and an enchanting set, this fully staged version of Humperdinck's opera has been devised especially for primary students, and is supported by curriculum-based Teachers Resource materials. 22 February - 2 September 2016. https://opera.org.au/on-tour/in-schools/new-south-wales
BELL SHAKESPEARE A Midsummer Night’s Dream www.bellshakespeare.com.au/learning/intheatres/dream2016 Excursion Opera Australia offers a wide range of performances and Sydney Opera House NSW workshops for students throughout Australia. Arts Centre Melbourne VIC Opera Australia's Schools Company gives around 400 University of Western Australia, Octagon Theatre WA performances a year in metropolitan and regional schools in NSW, VIC and WA Victoria and NSW and thousands of students attend Dates Available. performances at the Sydney Opera House and Arts Centre Sydney: 1 – 9 August 2016 Melbourne on subsidised tickets. Melbourne: 23 – 26 August 2016 https://opera.org.au/on-tour/in-schools Perth: 7 – 9 September 2016
OPERA AUSTRALIA
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Love’s in the air in Athens – and it’s contagious. Before your eyes, William Shakespeare’s classic romantic comedy comes to life in this highly physical performance. Subjects relevant to - English, Drama Suitable for Years 7 - 10 Study resources will be available at www.bellshakespeare.com.au/learning/resources closer to the performance date.
CDP THEATRE PRODUCERS www.cdp.com.au
Snugglepot & Cuddlepie In association with Monkey Baa Theatre Company, adapted by Eva Di Cesare, Sandra Eldridge and Tim McGarry from a series of books by May Gibbs. Excursion. CDP Theatre Producers Actors At Work 2016 www.cdp.com.au Hamlet: Out of Joint NSW, ACT, VIC, QLD, SA, WA, TAS, NT Such Sweet Sorrow Terms 2,3,4 Bottom’s Dream This exquisite new stage adaptation will spark the Incursion www.bellshakespeare.com.au/learning/inschools/actorsatwork imagination and sense of adventure in 5-10 year olds and their families as they experience the timeless charm of National tour Snugglepot & Cuddlepie. Terms 1 – 4 The Gumnut babies are on a mission to see a human – but Interspersing original text with modern commentary, four dynamic actors illuminate the classic plays, breaking down only in the distance! On their journey to the big city they meet friends and foes including Professor Kookaburra, Mrs any preconceptions students might have of what Fantail, Mr Lizard, Mr Frog, Mrs Snake, Mr Possum and, of Shakespeare can be. course, Little Ragged Blossom. Suitable for Age recommendation: 5-10 yrs, and their adults Hamlet: Out of Joint: Year 10 - 12 Duration: 55mins, no interval Such Sweet Sorrow: Year 7 – 9 Relevant subject areas: Literacy and the Arts, Social and Bottom’s Dream: Year 1 - 4 Emotional Learning Through the Arts, Science, History and Study resources will be available at Geography, Mathematics, Health Wellbeing and Physical www.bellshakespeare.com.au/learning/resources Education, Information and Communications Technology, Design and Technology Recommended for Kindergarten-Year 4 Teacher Resource Kit available to schools with a reservation. education@theworkshopproductions.com
WORKSHOP PRODUCTIONS
The Amber Amulent Incursion New South Wales and Western Australia. The Amber Amulet is a super hero drama starring Marko Jovanovic. Though at 12 The Masked Avenger is considered young for a justice fighter he has already proved himself highly effective in the pursuit of peace. He has discovered powers that are locked inside gems and minerals and uses them to keep Franklin Street safe. But something is wrong in the house at the end of the street. There is a woman in trouble. When The Masked Avenger leaves a 'happiness questionnaire' in her letterbox a series of events are set in motion that no one could predict. Dates: NSW In-Schools Touring Term 2 - 2 May to 4 of June 2016 WA In Schools Touring Term 3 - 1 August to 26 August, 2016 $9 plus GST per student. Minimum booking 100 Students Maximum booking 180 students. 2 shows available per day Venue requirement 10m X 8m flat clear space. Call 0401 506 301
The 52-Storey Treehouse A CDP production A play by Richard Tulloch, adapted from the book by Andy Griffiths & Terry Denton Artistic Director: Julian Louis. Director: Liesel Badorrek. Set / Costume Designer: Mark Thompson. Lighting Designer: Nicholas Higgins. Sound Designer: Ross Johnston Excursion. NSW, ACT, VIC, QLD, SA, WA, TAS, NT Terms 2,3,4 WINNER OF BEST PRODUCTION FOR CHILDREN - 2015 Sydney Theatre Awards They're back again! Andy and Terry's Treehouse is now 52 storeys high, with yet more fantastic inventions: a rocket powered carrot launcher, the Disguise-o-matic 5000 and even a Ninja Snail Training Academy! Today is a special day. It's Andy's birthday, but Terry has forgotten! To make matters worse Mr Big Nose has mysteriously disappeared, and to top it all off Jill has fallen into a deep sleep and they just can't wake her up. So Andy and Terry set off on a crazy adventure tackling a world of startling obstacles including a hungry caterpillar, an angry vegetable kingdom, and a 100 year ninja-snail epic voyage. Will they solve the mysteries and survive the dangers that test even their ingenuity? Age recommendation: 6-12yrs, and their adults Duration: 60mins, no interval www.stagewhispers.com.au Stage Whispers 82
Relevant subject areas: English, The Arts, Mathematics, Technologies. Recommended for Years 3-6 Teacher Resource Kit available to schools with a reservation. Mr Stink A CDP production A play by Maryam Master, based on the book by David Walliams. Directed by Jonathan Biggins Excursion NSW, ACT, VIC, QLD, SA, WA, TAS, NT Terms 2,3,4 David Walliams' award-winning book comes to life on stage for children 6-12, and their adults. It all starts when Chloe, just about the loneliest girl in the world, makes friends with Mr Stink, the local tramp. Sure he smells a bit, but he's the only person who's ever been nice to her. So, when Mr Stink needs a place to stay, Chloe decides to hide him in the garden shed. Now Chloe's got to make sure no one finds out her secret, but she's about to learn that some secrets have a way of leading to disaster. Age recommendation: 6+ and their adults Duration: 60 minutes, no interval Relevant subject areas: Literacy and the Arts, Social and Emotional Learning Through the Arts, Science, Mathematics, Health Wellbeing and Physical Education, Humanities, Design and Technology, Information and Communications Technology. Recommended for Years 3-6. Teacher Resource Kit available to schools with a reservation.
BARD ON THE BEACH
SYDNEY THEATRE COMPANY http://bit.ly/1LY1iGX
Arcadia, All My Sons, The Hanging, A Midsummer Night’s Dream. Excursion. School Day Productions for Year 9-12. Hamlet: Prince of Skidmark Excursion. School Day Production for Primary Schools
SYDNEY OPERA HOUSE
Primary Mr Stink (Stage 1, 2 & 3): 6 April, 2016 www.bardonthebeach.net The Four Seasons (Stage ES1 & 1): 8–9 June, 2016 The Tragedy of Macbeth Little Big Shots (Stage 2 & 3): 4–5 August, 2016 Incursion Jump First, Ask Later (Stage 2 & 3): 20–21 September, State - NSW, ACT, QLD, VIC 2016 Tuesday October 11th - Friday November 11th, 2016 A Sonatina (Stage 1, 2 & 3): 16–18 November, 2016 Bard on the Beach's aim is to bring raw, honest, story telling, with a professional cast, from the page to the stage, 'Twas the Night Before Christmas (Stage ES1 & 1): 23–29 November 2016 for schools and community groups around Australia, with the powerful, The Tragedy of Macbeth. Relevant to English and Drama Secondary Suitable for Years 7-12 Jump First, Ask Later (Stage 4, 5 & 6): 20–21 September, A 15 min Q and A available with cast after the show. 2016 Little Big Shots (Stage 4 & 5): 4 –5 August, 2016 Australian World Orchestra (Stage 4, 5 & 6): 28 –29 September 2016
SPORT FOR JOVE THEATRE COMPANY www.sportforjove.com.au Taming of the Shrew Excursion. Riverside Theatres: May 5th - 7th Seymour Centre: May 19th - 28th 83 Stage Whispers SPARK 2016
Macbeth. Photo: Marnya Rothe.
Sport for Jove’s production of Shakespeare's beautiful and funny love story won unanimous critical acclaim when performed outdoors in 2011, returns to the stage in 2016. English & Drama – Stage 5 Drama Recommended Text (BOS Syllabus) Years 7 – 12 Q&A to follow after all school matinee performances Macbeth Excursion; Riverside Theatres: June 8th – June 10th Seymour Centre: June 14th – June 16th Sport For Jove's thrilling 100 minute Macbeth is back after playing to thousand of NSW students in 2015. An atmospheric, faithful and exciting introduction to the play for young audiences. English K-10 Syllabus Stage 4 & 5, Years 8 – 11 Recommended text (BOS Syllabus) Years 7 – 12 Q&A to follow after all school matinee performances Away Excursion Riverside Theatres: June 2nd - 6th Seymour Centre: June 22nd - 25th Michael Gow's Away is one of Australia's defining works of art and Sport For Jove's new production offers students an inventive and theatrical vision of this wonderful story.
HSC English – Standard & Advanced Common Content-Area of Study: Discovery Years 7 – 12 Q&A to follow after all school matinee performances Hamlet Excursion Riverside Theatres: May 10th - 11th Seymour Centre: May 24th - 26th Sport For Jove's 100-minute Hamlet, directed by Damien Ryan together with a superb ensemble cast in an immediate, inspiring and passionate Hamlet., is a must see for NSW HSC students. English HSC Advanced: Critical Study of Text; Stages 4 & 5 Shakespearian Drama HSC Drama. Years 10 – 12 Q&A to follow after all school matinee performances Three Sisters Excursion Seymour Centre: July 29th – August 13th Anton Chekhov's vision of the Prozorov family is one of our most atmospheric portraits of human life and ebbing dreams; an essential theatrical experience for students. English, Drama & History syllabus: Theatre, Realism & Russian History Years 10 – 12 Q&A to follow after all school matinee performances www.stagewhispers.com.au Stage Whispers 84
Antigone Excursion Riverside Theatres: November 9th - 12th Seymour Centre: October 6th - 22nd Antigone is an essential theatre experience. Ideal for HSC tragedy students and all Ddrama and English students, exploring classical theatrical conventions and contemporary theatre practice. Drama Stage 6 Topic 3: Tragedy Years 10 – 12 Q&A to follow after all school matinee performances HSC Symposium Series Excursion Seymour Centre Riverside Theatres Various Dates March 7th – June 23rd HSC Symposiums, a combination of critical analysis and theatrical experience is the essence of the NSW HSC Syllabus, and this year we’ll be covering Hamlet, Tempest, Julius Caesar, Richard III and Henry IV. HSC English and Drama areas of study. Years 10 – 12 Q&A during performance
MONKEY BAA THEATRE COMPANY www.monkeybaa.com.au The Unknown Soldier Excursion Lendlease Darling Quarter Theatre (home of Monkey Baa) 21 – 24 June Moving seamlessly between Australia in 2014 and The Western Front in 1916, this play exploring PTSD is a special (free) event sponsored by RSL Clubs. History, English, Drama, Personal Development, Health and Physical Education. Years 5 – 9 The Peasant Prince Excursion Lendlease Darling Quarter Theatre (home of Monkey Baa) 29 August – 2 September Li Cunxin’s autobiography Mao’s Last Dancer was also published as children’s picture book, The Peasant Prince. Monkey Baa is honoured to be working closely with Li to adapt this story onto the stage. English, Drama, Dance, HSIE, History Years 1-6 Monkey Baa has devised a selection of classroom activities linking to The Peasant Prince. Teachers and students can also watch interviews with members of Monkey Baa’s creative directorate. Fearless Seminar Excursion Lendlease Darling Quarter Theatre (home of Monkey Baa) Milk Crate Theatre 85 Stage Whispers SPARK 2016
23 March, 9.30am & 1pm Fearless, by Mirra Todd, was added to the HSC Drama Course prescriptions in 2015, under the topic ‘Contemporary Australian Theatre’. Monkey Baa has programmed this Seminar to support teachers and students who have taken up the play for study. Drama Year 12 Milk Crate Theatre has collated a Teacher Resource to accompany the HSC Seminar: Fearless. Hitler’s Daughter Seminar Excursion The Sydney Jewish Museum Monkey Baa Theatre Company and The Sydney Jewish Museum www.monkeybaa.com.au 25 – 28 July For this unique experience, four professional actors will perform key scenes from the play Hitler’s Daughter; the actors read from the fiction text by Jackie French; production images and videos from the stage production enrich student understanding of the texts. English, Drama, PDHPE, History Years 7-10 Much dell’Arte About Nothing Excursion Lendlease Darling Quarter Theatre (home of Monkey Baa) Matriark Theatre www.monkeybaa.com.au 12 – 14 September Welcome to the mad, bad, sad world of the Bard – Commedia style, Much dell’Arte About Nothing is a mashup of Shakespeare’s works, presented in the Commedia dell’Arte tradition. Drama, English Years 8 –11
QUEENSLAND THEATRE COMPANY http://bit.ly/1LY1nu4
Bastard Territory By Stephen Carleton Bille Brown Studio, QTC 6 April – 16 April Years 11 – 12 Motherland by Katherine Lyall-Watson Bille Brown Studio, QTC 20 April – 30 April Years 11 – 12 Much Ado About Nothing By William Shakespeare
Disgraced By Ayad Akhtar Playhouse, QPAC 14 October – 6 November Years 11 – 12 Moliere’s Tartuffe A new version by Justin Fleming Playhouse, QPAC 12 November – 4 December Years 10 – 12
QPAC
www.qpac.com.au/explore_and_learn/schools
Playhouse, QPAC 23 April – 15 May Switzerland By Joanna Murray-Smith Bille Brown Studio, QTC 20 May – 26 June Years 11 – 12. The Wider Earth By David Morton Bille Brown Studio, QTC 9 July – 7 August Years 9 – 12. St Mary’s in Exile By David Burton Bille Brown Studio, QTC 27 August – 25 September Year 11- 12.
Excursion The Queensland Performing Arts Centre offers student discounts to theatre, dance, musical theatre and classical music on specially assigned days.
HOMUNCULUS THEATRE COMPANY www.homunculustheatre.com.au Homunculus Theatre Company is a not-for-profit touring theatre ensemble specializing in Commedia dell’Arte, mask, traditional and contemporary clowning, physical comedy, non-verbal communication, mime, physical theatre and circus. Its performers also specialize in Absurdism, slapstick and stage combat. 20 Lazzis in a Hat Exploring the conventions of Commedia dell’Arte, the bestknown stock characters ricochet from one lazzi to another, with plenty of slapstick, mime, acrobatics, parody and improvisation. Essential Learning Standards: The Arts (Drama), SOSE (history, culture), English. Suitability: years prep - 12.
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Availability: Terms 1 - 4 Absurd 4 Combining audience participation with contemporary clowning, physical theatre and improvisation, Absurd 4 is an engaging experience of Absurd theatre, but without the boring bits. Essential Learning Standards: The Arts (Drama), English. Suitability: years 10 - 12. Availability: Terms 1 - 4 Life? It’s a Circus! - a thought provoking and entertaining journey through the ups and downs of life through high level physicality, balloons, poetry, balancing chairs, acrobatic antics and clowning. Essential Learning Standards: The Arts (Drama), SOSE (History, literature, personal development/pastoral care), English. Suitability: years 7 - 12. Availability: Terms 1 – 4
Gardens Theatre QUT; Schonell Theatre UQ; Moncrieff Theatre, Bundaberg; The Events Centre, Caloundra; Empire Theatre, Toowoomba; Gympie Civic Centre Terms Available - or Dates if excursion. 21/11 – 2/12 2016 This one-hour musical production examines the themes of good and evil. Santa’s elves search the traditions of Christmas to save Santa from Jack Frost. Relevant to The Arts - Dance, The Arts - Drama, The Arts Music, History, Civics And Citizenship Suitable for Kindy to Grade 6 Study resources - Interactive CD with worksheets, teaching notes, and music
That’s All Folks! A non-stop celebration of performance styles, inspired by the vaudeville show of yesteryear, featuring juggling, acrobalance, slapstick, comical routines, musical chairs, and audience interaction. Essential Learning Standards: The Arts (Drama), SOSE (History, culture), English. Suitability: Years prep - 12. Availability: Terms 1 - 4 Thoughts Have Feelings Too A gentle and funny performance that shows students how to think positively about the feelings they experience in their day-to-day lives in a primary school environment. Essential Learning Standards: The Arts (Drama), HPE (health, personal development), English. Suitability: Years prep - 7. The Spirit of the Mask An interactive performance and workshop in one, designed to demonstrate the essential conventions of traditional Commedia, stock characters, improvisation and mask performance. Essential Learning Standards: The Arts (Drama), SOSE (History, culture and society, Italian), English. Suitability: years 7 - 12. The Spirit of the Mask is part of the Artslink touring program in Queensland in 2016.
QUEENSLAND ARTS COUNCIL
Visit QPAC’s secondary school program for 2016. http://bit.ly/1LY1ohM
FAME THEATRE COMPANY www.fametheatre.com A Frosty Christmas Excursion 87 Stage Whispers SPARK 2016
TERRAPIN PUPPET THEATRE Egg www.terrapin.org.au/project/egg Excursion Launceston, Devonport and Hobart Friday 22 July 11am – Earl Arts Centre Launceston. Book at info@terrapin.org.au or phone 6223 6834. Tuesday 26 July 11am – Devonport Entertainment and Convention Centre. Book at decc@devonport.tas.gov.au or phone 6420 2900. Friday 29 July 11am – Theatre Royal Hobart. Book at boxoffice@theatreroyal.com.au or phone 6233 2299. A tale of two forgetful fellows yoked to a yoke. Silly and funny and a little bit cracked, Egg is filled with clowning, puppetry, hope and the promise of renewal Relevant to. English, Drama, Health, Science and ICT. Suitable for upper Primary and lower Secondary Study resources available.
STATE THEATRE COMPANY OF SOUTH AUSTRALIA www.statetheatrecompany.com.au
WINDMILL THEATRE www.windmill.org.au
Grug Excursion Regional South Australian tour from April 1 until April 13 – see website for venues He’s back by popular demand. Following sold out seasons across the world (including New York’s Broadway), our amiable little megastar returns home for a strictly limited season. Relevant to Arts & Creativity; Communication & language; The Arts (Drama). Suitable for 1-5 years old. The Ballad of Pondlife McGurk Excursion Windmill Theatre Studios, 2/234 Sturt Street Adelaide. Available: 20-24 June 2016 Term 2, Week 8. When Martin moves to a new school he feels lost in a sea of strange faces, especially when class bully Sharon takes a dislike to him. That is until he meets Simon McGurk and forms a friendship that not only changes Martin, but curses Simon for the rest of his school days. Directed by international director Gill Robertson, this is simply told, powerful theatre about the fragile nature of the schoolyard and just how difficult it can be to stay true to your friends. Relevant to AC: The Arts (Drama), IB: The Arts (Theatre) Suitable for year levels 4-8
Gorgon By Elena Carapetis www.statetheatrecompany.com.au/gorgon Space Theatre Performances 3 May, 1.00pm, 4 - 6 May, 10.30am* *Evening performances available on request Metropolitan Performances Shedley Theatre, Playford Civic Centre, Elizabeth - 9 May, 1.00pm. Golden Grove Arts Centre, The Golden Way, Golden Grove 10 May, 1.00pm, 11 May, 10.30am. Hopgood Theatre, Ramsay Place, Noarlunga Centre -12 May, 10.30am Atelier Theatre, Cornerstone College, Mt Barker - 13 May, 1.00pm Regional Performances Sir Robert Helpmann Theatre, Mt Gambier - 16 May, 1.00pm Civic Theatre, Bordertown - 17 May, 1.00pm Chaffey Theatre, Renmark - 19 May, 10.30am Centenary Hall, Goolwa - 20 May, 1.00pm Northern Festival Centre, Port Pirie - 24 May, 10.30am Lea Theatre, Port Augusta - 25 May, 1.00pm Middleback Theatre, Whyalla - 26 May, 1.00pm Nautilus Theatre, Port Lincoln - 27 May, 1.00pm Meet Lee and Maz. Best mates, invulnerable. It’s summer, their last year of school and they are going to go off. They are young and beautiful, tanned and strong. On one fateful night they are drunk and high, driving on the highway. Life shatters and only one is left to pick up the pieces. Relevant to English/Drama Suitable for Year 9 and up Study Guide available and Q&A after each school performance Machu Picchu By Sue Smith www.statetheatrecompany.com.au/machupicchu Excursion. 14 April, 11.30am - Dunstan Playhouse Machu Picchu follows Paul and Gabby, two mid-life civil engineers who seem to have it all. After a horrifying car accident, Gabby walks away unscathed but Paul is badly injured and their lives are forever changed. Both are forced to reassess priorities, and reevaluate long held dreams. They must also fight to maintain their personal connection, and, in many ways, learn not only how to love again, but also how to simply … be.. Relevant to English/Drama Suitable for Year 9 and up. Study Guide available and Q&A after each school performance www.stagewhispers.com.au Stage Whispers 88
Things I Know To Be True By Andrew Bovell www.statetheatrecompany.com.au/thingsiknowtobetrue Excursion. 19 & 25 May, 10.30am - Dunstan Playhouse The Price family appear to be living the Australian dream—a loving household in a solid brick house on a quarter acre block where the passing of time is measured by the seasonal changes in working class patriarch Bob’s beloved roses. The four kids have grown up and spread their wings, with only the youngest, Rosie, still at home. As the seasons turn, their story becomes darker and more difficult. Relevant to English/Drama Suitable for Year 9 and up Study Guide available and Q&A after each school performance Straight White Men By Young Jean Lee www.statetheatrecompany.com.au/straightwhitemen Excursion. 7 July, 10.30am - The Space Theatre The widowed Ed welcomes home his three middle aged sons for Christmas. The eldest Matt has moved back in after losing his way, while life also holds its challenges for younger brothers Jake and Drew. They enjoy brotherly banter, the nostalgic re-hashing of childhood pranks, takeout Chinese and some questionable pyjamas. But amongst the hijinks, trash-talk and smart-arse repartee, they must confront a problem that even being a happy family can’t solve: when identity matters, and privilege is problematic, what is the real value of being a straight, white man? Relevant to English/Drama Suitable for Year 9 and up. Study Guide available and Q&A after each school performance The 39 Steps By Patrick Barlow www.statetheatrecompany.com.au/the39steps Excursion. 25 August, 10.30am - Dunstan Playhouse The debonair Richard Hannay is pulled into a web of intrigue and deceit after attending a vaudeville show in London. Pursued by a shadowy organisation throughout the UK, entranced by femme fatales and twisted into knots by skulduggery and suspicion, Hannay must solve the mystery of The 39 Steps and save his skin before it is too late. Relevant to English/Drama Suitable for Year 9 and up Study Guide available and Q&A after each school performance
89 Stage Whispers SPARK 2016
Rumpelstiltskin By Rosemary Myers and Julianne O’Brien www.statetheatrecompany.com.au/rumpelstiltskin Excursion. 18, 20, 25, 26 & 27 October, 10.30am - Dunstan Playhouse Relevant to English/Drama Suitable for Year 3 and up Study Guide available and Q&A after each school performance
MELBOURNE THEATRE COMPANY www.mtc.com.au/education
Excursion Three new plays for young audiences have been announced as part of MTC’s Season 2016: Peddling by UK playwright Harry Melling; Jasper Jones by Kate Mulvany, adapted from the novel by Australian author, Craig Silvey; and Egg by award winning Australian playwright, Angela Betzien. MTC has three productions on this year’s VCE Playlists. Peddling VCE Drama Playlist Unit 3 (21 April – May 6) A terse-versed one person play, an urban story told in jagged jolting freeform snap-rap, about the kids who get knocked down early and never get a hand up. Miss Julie VCE Theatre Studies Playlist Unit 3 (April 16 – May 21) Helpmann Award-winning director Kip Williams brings August Strindberg's theatrical masterpiece to MTC for a modern revival, starring the inimitable Mark Leonard Winter (Birdland). Jasper Jones VCE Theatre Studies Playlist Unit 4 (Aug 1 – Sept 9) Hailed as an Australian To Kill a Mockingbird, Craig Silvey's acclaimed, best-selling novel is lovingly adapted for the stage by Kate Mulvany, directed by MTC Associate Artistic Director Sam Strong. School bookings for these productions are now open. Email schools@mtc.com.au for more information.
ARTS CENTRE MELBOURNE
Relevant to French + Drama Suitable for. 8 to 12 Play resume available
http://bit.ly/1LY2hXx Excursions.
Le Petit Nicolas Incursion or Excursion http://melbournefrenchtheatre.org.au/lepetitnicolas Incursion or Excursion. Carlton, Victoria Available all terms. Interactive workshop or performance [if selected] of the Market scenes of Le Petit Nicolas in French, English. Relevant to French + Drama Suitable for 6 to 12 Resource kit available
The Secret River 11 - 19 Mar 2016 Suitability: Years 10 - 12 The Best of Broadway 11 April 2016 Suitability: Years 7 to 12 Sugarland 19 - 20 May 2016 Suitability: Years 10 – 12
Courteline sketches http://melbournefrenchtheatre.org.au/courteline Incursion or Excursion. Carlton, Victoria Available all terms. Performance of Courteline sketches in French with English surtitles Relevant to French + Drama Years at school suitable for. 6 to 12 Q and A or study resources. kit available
Circus Oz 22 - 23 Jun 2016 Suitability: Years 4 - 10 Cinderella 15 - 18 Jul 2016 Suitability: Foundation - Year 7
POLYGLOT
Saltbush 2 - 4 Aug 2016 Suitability: Foundation to Year 7
www.polyglot.org.au/workshops Polyglot Theatre workshops Incursion Available any time, including school holidays. Polyglot workshops foster inquiry, critical thinking and connect with the curriculum as students discover their imaginative potential through the joy of creating, devising, and performing. Subjects it is relevant to: Workshops can be adapted to fit your curriculum Suitable for 7-12
Jump First, Ask Later 3 - 5 Aug 2016 Suitability: Years 3 – 12 Extinction 11 August 2016 Suitability: Years 10 - 12
MELBOURNE FRENCH THEATRE
Polyglot
http://melbournefrenchtheatre.org.au/ school-bookings Lunes de Miel [Private Lives] by Schmitt Excursion. Carlton, Victoria Available all terms. What happens when a young beautiful woman on her honeymoon in the south of France, finds herself on the adjoining balcony next to her first husband who is on his honeymoon as well?. Performance in French with English surtitles. www.stagewhispers.com.au Stage Whispers 90
THE AUSTRALIAN SHAKESPEARE COMPANY
www.shakespeareaustralia.com.au/school-incursions.html Shakespeare Incursions Terms Available - or Dates if excursion. All Year 60 minutes of interactive fun! Macbeth, The Merchant of Venice, Measure for Measure, Romeo and Juliet and an introductory session ‘Play on Shakespeare’ are all available. Subjects it is relevant to. English, Drama, Literature and Theatre Studies Suitable for Years 6-12 A Teachers Kit is made available upon a booking for each incursion which goes through Shakespeare’s life and language as well as a detailed resource for the specific incursion.
COMPLETE WORKS THEATRE COMPANY www.completeworks.com.au Medea Excursion. Union Theatre, Melbourne University 20-22 July, GPAC 25 & 26 July, Eastbank Shepparton 27 July, Drum Theatre Dandenong 28 & 29 July About: In this famous Greek tragedy, Euripides explores the psyche of the wronged woman. Medea's sense of powerlessness against unfolding events leads her to seek vengenance in a most hideous way, betraying even her love for her own children. Relevant to: English, Literature, Drama, Theatre Studies, Ancient History Suitable for Year 11-12 Q and A sessions after select performances; comprehensive teachers' notes. Macbeth/ Romeo & Juliet Incursion Touring Metro Melbourne and regional Victoria Terms Available - Terms, 2, 3 and early Term 4. About: Abridged, one-hour versions of the play looking at the arc of the story, focussing on key scenes, characters, language and themes. English, Drama, Literature Suitable for: Romeo & Juliet - Yr 9/10, Macbeth - Yr 10/11 Post show Q and A and comprehensive teachers' notes. Poetry Plus Incursion Touring Metro Melbourne and regional Victoria Terms Available - Terms, 2, 3 and early Term 4. Australian poetry and storytelling. We explore a range of Australian voices from early settlers and convicts, 91 Stage Whispers SPARK 2016
Indigenous poets and migrants, balladeers through to contemporary spoken word poets. English, Drama, Literature, History Suitable for Years 7 & 8 Post show Q and A and comprehensive teachers' notes.
TWO FRIENDS PRODUCTIONS www.twofriendsproductions.com.au
Our Anzacs and their Legacy Incursion Terms Available Term 1, Term 4 Discover stories of bravery, mate ship and how the ANZAC legacy was created. This play explores the events of WW1 and the conditions at Gallipoli. Relevant to History, Australian History, Drama Suitable for Years 7-9 Q and A post show. Gwen and John: A Melodramatic Love Story Incursion Available Term 1, Term 4 A random over-the-top love story, all done in the style of melodrama (complete with a villain). Perfect for drama students studying melodrama. Relevant to Drama Suitable for Years 7-9 Q and A or study resources. Q and A post show. Our Olympic Heroes Incursion Available Term 2, Term 3, Term 4 Head back in time to 1896 and 1912 to explore the lives of Australia's first male and female Olympic champions Edwin Flack and Fanny Durack! Relevant to History, Australian History, Drama Q and A post show.
Gwen and John: A Melodramatic Love Story
Black Swan State Theatre Company’s Tartuffe. Photo: Robert Frith.
BLACK SWAN STATE THEATRE COMPANY www.bsstc.com.au
Picnic at Hanging Rock A new play by Tom Wright adapted from Joan Lindsay’s novel Co-production with Malthouse Theatre Excursion Heath Ledger Theatre, State Theatre Centre of WA - 5 April – 8 April (Term 1) A new adaptation, proving once again that no one can resist the lure of Hanging Rock. Relevant to Australian Contemporary Theatre, Drama, English, Literature Suitable for Ages 10-14 with adult supervision / 15+ Education Resource Kits available / Pre-Show Talk on 7 April Black Swan State Theatre Company Set against the backdrop of a tumultuous civil war, this epic Angels in America – Part One work is an engaging parable about motherhood, ownership Excursion and identity. Heath Ledger Theatre, State Theatre Centre of WA - 30 May Relevant to Drama, English, Literature, Politics, Classic world to 19 June (Term 2) text This ground-breaking drama set in 1985 New York City Suitable for Ages 13+ follows a young, ill, gay man who is on a mission to save Education Resource Kits available / Pre-Show Talk on 4 humanity. Aug / Post-Show Q&A on 11 Aug Relevant to Australian Contemporary Theatre, Drama, English, Literature, Politics Tartuffe Suitable for Ages 16+ with adult supervision Excursion Education Resource Kits available / Pre-Show Talk on 2 Heath Ledger Theatre, State Theatre Centre of WA - 24 Oct June / Post-Show Q&A on 9 June to 6 Nov (Term 4) When swindler Tartuffe entwines himself into wealthy The Caucasian Chalk Circle Orgon’s life, Orgon’s family resolves to expose Tartuffe for Excursion the fraud he is. Heath Ledger Theatre, State Theatre Centre of WA - 1 to 14 August (Term 3) www.stagewhispers.com.au Stage Whispers 92
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