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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 15 15 23 23
Meet Newcastle’s Triple Threat Producer
Newcastle’s Daniel Stoddart is making a unique success of school, community and professional theatre. He spoke to David Spicer over an early dinner in Sydney.
Daniel Stoddart has a lot on his plate. At the Ventura restaurant in Walsh Bay, we both had to polish off our Affogato dessert in a hurry, to dash into the Sydney Theatre Company before the doors closed.
The purpose of our pre-show meeting was to discuss the 10th anniversary of the Junior Theatre Festival which takes place in Newcastle in October, preceded by the second festival in Melbourne in August.
The Stoddart Entertainment Group also manages Australia’s largest community theatre company The Very Popular Theatre which fills the Newcastle Civic Theatre for weeks at a
time, and this year he is expanding to professional theatre with a national tour of The Play That Goes Wrong
When I met Daniel, he was fresh back from the United States where he attended the world’s biggest Junior Theatre Festival in Atlanta.
“It has thousands and thousands of young people all waving their jazz hands excitedly being a part of that. I got lots of ideas to bring back for the 10th anniversary Junior Theatre Festival Australia,” he said.
The model is similar. “Students present 15-minute cuts of their Broadway Junior shows that they do in their school, and they bring that along and perform that for the
Online extras!
Join Daniel Stoddart for a recap of the 2024 Junior Theatre Festival youtu.be/7Q9xSqBCgtA
industry professionals to get feedback.”
Impressive guests come along to speak to the students. In Atlanta no less than composer Alan Menken was on hand to play some songs from his latest musical.
A highlight of this year’s event in Newcastle will be the New Works Showcase, where attendees will get a preview of new Broadway Junior musicals that are being piloted for the first time.
A recent release was a musical Stoddart had a hand in, Dot and the Kangaroo
The Australian festival began in 2016 with six groups and 250
Junior Theatre Festival participants.
students turning up. These days 1500 fill the Civic Theatre for two days. He’s hoping that the Melbourne festival soon outgrows its Bunjil Place home and moves to the Convention Centre.
“The great thing about it is that the kids who come along realise their passion and love of performing musicals. The kids, families and teachers go home to their communities feeling like they’re part of something much bigger than themselves.”
A part of the success of the festival is that it brings the dynamic of a sporting competition to the arts.
“The whole model is based on promoting excellence through that little bit of edge of competition. Although there’s no winner, everybody goes home with some kind of acknowledgement of their achievements.
“It’s harder to cancel an awardwinning theatre program, if you go back to your school principal saying, we won the award for most outstanding dance at the at the Junior Theatre Festival Australia.”
Stoddart has a whole mantlepiece of awards himself. He won the local CONDA Director’s Award for his company’s production of Mary Poppins
“I was a little embarrassed. We got every award we were nominated for. I could feel the daggers in the room,” he joked.
Next, he is taking the leap into fully professional theatre, producing a national tour of The Play That Goes Wrong
He hopes that only thing that does not go wrong is the box office, but already it is selling quite well.
What is the secret to Daniel’s success?
“Whether you’re making a horrible loss or you’re making a wonderful win, if you are creating an environment of goodwill and enjoyment for all of the people around you, they’ll go along with it. They’ll support you in your hard times, but they’ll also encourage you through the good times.”
Junior Theatre Festival
Civic Theatre, Newcastle - Oct 31 and Nov 1. Bunjil Place, Narre Warren - Aug 2. oztheatrics.com/jtfaustralia
Mamma Mia!
Civic Theatre, Newcastle - Oct 11 to 19. verypopulartheatreco.com.au
The Play That Goes Wrong
New Zealand - Apr 19 to Jun 1. Sydney Opera House - Jun 19, then on tour playgoeswrong.com
The Play That Goes Wrong.
Photo: Alastair Muir.
Daniel Stoddart and David Spicer.
How To Create A Successful Ensemble
Blending a cast into a cohesive team is a challenge for any director. Playwright Steve Pirie shared his tips with delegates at the 2024 Drama Queensland conference, as edited by Isabella Nocetti.
Step 1: Create A Purpose
Aim to cast the spell, empower the artistry, and connect your artists with the story.
Theatre has the power to bring people into a vision of something new, exciting and engaging. To guide an ensemble through this process, think back to moments where you felt the spell of theatre take you. What was the hoy you felt, where did it come from, and how can you lead with this at the front of your mind for an ensemble? In the early days of your process together, you lead the culture in the room until you find a common ground together. Be open to transformation in the space.
There are many outcomes that can come from theatre, and these outcomes shift and change as objectives change manage your expectations accordingly. Is the purpose of this group coming together for training, performing or a blend?
Step 2: The Venue
Model the respect you have for the rehearsal room with your ensemble. Everyone is responsible for the physical space itself. Whether you find yourself in a fully equipped rehearsal room or a community hall before the local karate class takes over, establish as a group how you want to take care of this space. Keep furniture and clutter to a minimum, return things where you found them. You might think this is a redundant point, but the simple quiet ritual of sweeping a space together becomes a part of the language you develop together.
Step 3: The Audition Process
Find people who value working in teams, are open to change, are dedicated to the process of collaboration, and enjoy what they’re doing.
We’re rarely gifted with an abundance of time during a rehearsal process and working with large groups of people there’s less time in
the rehearsal space to get to know people. As a starting point, working from archetypes is a shorthand to understanding the mechanics of an ensemble’s needs. You might need Rebels, who are good observers, hold their own opinions and excellent leaders against a common struggle. In classroom settings, skeptics are common those who we think are a disadvantage with their hesitance, but who could be analytical and pay close attention to detail. Skeptics can make excellent dramaturgs. When it comes to a group’s energy, Sparks boost morale and take on responsibilities as rewards rather than burdens. If these don’t work for you, work from what you know. Are you an astrology fan? Meyers-Briggs? Use what you know to find balance in your ensemble. In an audition process, we’re not just looking for ability and suitability, but whether people are capable of simply being in a space together, listening and responding. A way to figure out who those people are is by
Steve Pirie with the cast of Queensland Theatre’s A Dream Play (2023)
hosting simple consent-based exercises at the beginning of an audition and seeing who is open to the idea of the exercise and enjoying it, and who may need time to process. People who are comfortable saying yes (and no) when it’s needed is the mark of an ensemble member with potential.
Step 4: The Mise En Place
The pros and cons of writing an original play or using a play text.
Existing texts:
Pros: An existing text allows you as the director to apply your vision with the ensemble’s assistance. This is not a new work, but something that has been rigorously developed. Good for you!
Cons: Selection of the play is not a democratic process. Finding work for your cast size is rarely spot on this is particularly true in large settings such as classrooms or after school organisations where there may be many more people in the ensemble than the work calls for. Cast your work creatively.
Devised work:
Pros: Ownership of ideas: for better and for worse, it’s your idea. Devised or new work allows access to the full scale of talents from the
ensemble. Creating something from nothing is intensely rewarding and can allow your ensemble to shine in a way they may not be able to in other works.
Cons: Remember when I said we rarely have enough time? This process needs time. Not only that, but it can also be easy to doubt yourself without knowing your idea is proven. You’re in uncharted territory make sure you allow your ensemble to sit in the scariness of making something new, but not for too long. Lead them out of the darkness, you visionary, you.
Step 5: The Hosting
Devoting time to building an ensemble helps host one’s event. There’s that word again. Time. Allow space for your cast to get to know each other, and you. Make sure you’re giving your attention to each ensemble member. Remember, you are curating their experience as much as yours in a rehearsal process. It’s like any good dinner party know when to let moments breathe in the night, when you’re not needed as the host, and when you need to nudge the night along.
My Favorite Project
As someone who’s worked with young people learning their craft for a good part of my career, I’ve never failed to be impressed by their insight. One particular group I was assigned was packed with deep thinkers who loved to talk about the big things. When deciding what I wanted to give
to them to perform, I wanted to challenge them to perform something impossible. I ended up adapting a version of A Dream Play, by August Strindberg. A play famously referred to as unstageable, the text is a mystery to most who pick it up, and the name tells you so after all, the impetus is to place a dream on stage in front of an audience. I was open with my cast of young performers about the height of the mountain I wanted them to climb. I spoke about the play’s Expressionistic roots, and how that philosophy of image and feeling and spirit seems to be coming back in today’s age of Big Mood. They took complete ownership of it. It was a mountain to climb. They supported each other, and me, to get there.
When I look back on it, the show itself by my own standard was okay (it might surprise you by now, but I would have loved more time). But in this context, it doesn’t matter what it is to me. It was for them.
That cast has grown up a little more now. A lot of them are studying some are studying acting, some are living their lives down other paths. I hope that they remember how doing this production and how being in this ensemble made them feel to be part of something that they made together.
When we boil it down, we tell stories in a space with people, for people. That’s it, really. And creating a small, impermanent community of storytellers is something I’d always make time for.
Steve Pirie is a writer, theatre maker and youth arts worker currently based in Brisbane. He was winner of the 2020-21 Queensland Drama Award. His published plays Return to the Dirt, 3 O’Clock Flagpole and Jane and Kel Go To Hell are available from booknook.com.au.
Steve Pirie.
How AI Is Transforming Drama
Amara Jensen explains how the integration of Artificial Intelligence into Australian drama classrooms can save teachers time and improve outcomes for students. At the same time she says care must be taken to protect the integrity of assessments.
Artificial Intelligence (AI) is revolutionising various industries, and education is no exception. As a drama teacher, I’ve seen first-hand how AI can enhance creativity, streamline workflows, and improve student outcomes. The key, I believe, is not to fear this technology but to embrace it as a tool to amplify the magic of theatre in the classroom.
In November I presented a workshop on this topic at the Drama Victoria conference. I demonstrated how tools like ChatGPT, Canva, Copilot, and Suno (and many others) can transform lesson planning, performance analysis, and creative projects. Educators from across the state offered their insights and explored how AI could be integrated into their own teaching practices.
One of the biggest challenges for us as educators is managing time. Let’s face it, juggling lesson planning,
differentiation, performance coordination, and administrative tasks can feel overwhelming. This is where AI has been a game-changer for me. For example, I can generate creative prompts for improvisation exercises or differentiate lesson plans in just seconds. When it comes to assessment, AI has been brilliant for crafting rubrics or writing feedback that’s detailed and constructive. As for those pesky administrative tasks? Drafting emails or setting up meeting agendas is now a breeze. It’s amazing how much extra time I now have to focus on what really matters inspiring my students.
AI has also opened new perspectives for me. Sometimes, when I need fresh ideas, I’ll turn to AI for brainstorming. It can come up with scenarios, characters, and script starters that draw from different
AI generated Set Design image created using ChatGPT.
theatre styles and it’s fascinating to see how this sparks curiosity in my students. It’s like having a creative partner who’s always ready with an interesting take, pushing us to explore beyond familiar genres.
Beyond ChatGPT, other AI platforms have incredible potential in the drama classroom. Suno can generate audio elements for performances or help students explore soundscapes for their productions. Microsoft’s Copilot can support students and teachers in writing scripts or managing production schedules with ease. Sway is a fantastic tool for creating visually engaging presentations, perfect for showcasing set designs or costume concepts. Chalkie offers lesson-planning tools tailored for educators, making it easier to align activities with learning outcomes. Notebook LM, on the other hand, allows teachers to turn written materials into podcasts or interactive learning resources, adding a dynamic layer to reflective writing and dramaturgy tasks.
For students, AI is proving to be an incredible tool for engagement and self-improvement. One of the most exciting aspects is how students can use AI to receive immediate feedback on their analysis before submission. By inputting their work into AI tools, they can identify
(Continued on page 13)
(Continued from page 12)
areas for improvement, refine their ideas, and gain clarity on complex concepts.
This process also helps them develop critical skills in crafting effective AI prompts. Knowing how to frame their questions and requests teaches students precision and focus skills that are invaluable in both theatre and life.
Importantly, students aren’t using AI as a crutch but as a platform to showcase their understanding of the topic, theatre style, and use of terminology. For example, they can demonstrate their grasp of Brechtian or Realism styles by refining performance analysis or dramaturgy tasks with AI. Additionally, imagegeneration platforms allow students to explore creative possibilities in make-up and set design. They can visualise character transformations or experiment with set aesthetics, bringing their ideas to life in ways that fuel imagination and innovation.
Of course, the introduction of AI into classrooms raises important questions about its role. As teachers, we need to be at the forefront of this technology, guiding its use responsibly. I’ve found that the best
approach is to show students how AI can complement human creativity rather than replace it. For example, I might use AI to generate a skeletal script and then challenge students to add their own voices and ideas. This way, they see AI as a collaborator rather than a crutch. It’s all about finding that balance and ensuring that students understand how to use AI thoughtfully.
Transparency is essential. I always explain to my students how AI works and encourage them to think critically about its outputs. This opens conversations about creativity, ethics, and originality. However, there are concerns that we, as educators, cannot ignore. One pressing issue is the challenge of authenticating student work. How do we ensure that the scripts, essays, or reflections they produce with AI are genuinely reflective of their learning? Striking this balance is crucial to maintaining integrity in education.
Another worry is the potential “dumbing down” of education. If students rely too heavily on AI for ideas, there’s a risk that they might bypass the critical thinking and creative processes that are so essential in drama. That’s why it’s important to use AI as a starting point rather than an end. By challenging students to critique and build upon AI-generated content, we can safeguard the intellectual rigor of our classrooms.
The environmental impact of AI is also something to consider. AI systems require immense computational power, which contributes to carbon emissions. As educators, we need to be mindful of this and perhaps advocate for more sustainable practices in the tech industry while using these tools judiciously in our classrooms. These discussions can also be a learning opportunity for students, linking technology use to broader ethical considerations.
The integration of AI into Australian drama classrooms is inevitable, and I believe we as teachers have a responsibility to lead the way. By embracing AI, we can create richer, more engaging lessons and inspire creativity in ways we never thought possible. The benefits for students are immense. From developing nuanced characters to engaging in collaborative script work, AI offers tools that enhance both their technical and creative skills. The result is confident, well-rounded performers ready to take on the modern world.
In a landscape where technology is reshaping education, drama teachers have a unique opportunity to harness AI’s power for the benefit of their students. Let’s not shy away from this change. Instead, let’s step boldly into this new era and raise the curtain on an exciting future for drama education.
Amara Jensen has dedicated the last 16 years to teaching Drama and Theatre Studies across Years 7 to VCE in private, Catholic, and public schools. She is currently the Head of Performing Arts at Loreto Mandeville Hall, Toorak.
AI generated image for class performance poster created using Canva.
Damien Ryan And His Player Kings
Australia’s most innovative and rigorous interpreter of Shakespeare is opening his most ambitious adaptation yet. Martin Portus profiles Sport for Jove’s Damien Ryan, who became hooked on Shakespeare whilst working at a service station.
Old Will is positively streaming this century, with devotees especially keen on abridged epics forging together his eight most famous history plays.
The fabulous BBC TV seasons of The Hollow Crown swept through a hundred fraught years of English kings and was studded with British theatre royalty; the Sydney Theatre Company hit gold earlier with its own eight-hour epic, The War of the Roses, bookended by the unworldly Richard II, played by Cate Blanchett, and Pamela Rabe as the murderous Richard III.
Now Damien Ryan, is unveiling his Player Kings. He’s directing his new adaptation of the eight plays to be staged by his company Sport for Jove in two lengthy parts in Sydney’s York Theatre. Ryan’s cast of 17 includes company regulars like Katrina Retallick, Sean O’Shea and Christopher Stollery, but now with others too, like veteran actors John Gaden and Peter Carroll.
Ryan has already had a pretty good go at this. The company marked its 10th anniversary in 2018 with his first time edit of the eight history plays. He stripped out 21 hours, creating the now usual two parts, which 25 actors staged outdoors at Bella Vista Farm in Sydney’s Hills district, watched by a rusted-on audience and the usual cockatoos and noisy piper birds. He called them Rose Riots, a droll reference to the War of the Roses, which he often spruiked as the inspiration for Game of Thrones. And he’s always extolling the virtues of taking Shakespeare outdoors.
“We can see his plays as purely a piece of naturalism, and psychologically-based writing, absolutely, and yet it’s also a poem, a song, a symphony of sonic experiences for an audience,” says Ryan.
“And when you’re outdoors, there’s one thing an actor notices: get on with it, get behind the language. The interior work has been done in
rehearsals, you understand what’s motivating you, but your job now is to communicate, to deliver clarity. And I quickly realised, which became anthemic in our company, that your impulse is to speak. You speak in Shakespeare.”
“And the audience are always a character,” he adds. “They can and should always be spoken to. They should always feel involved, with no gauze between. And that’s easier outdoors because it’s immediate. We’ll all in the same lighting state.”
Ryan spoke Shakespeare even as a teenager. He’d work nights at a highway service station in Seven Hills, then sit on the back deck at home putting his photographic memory to work. By 17 he’d already read the Complete Works of Shakespeare, twice.
“I knew about six or seven plays off by heart, Hamlet and others. I’d run the whole play on my own, speaking (Continued on page 17)
Sport For Jove’s Cyrano de Bergerac (2017) Photo: Phil Erbacher.
Online extras!
Damien Ryan discusses the exploration of war in Bell Shakespeare’s Henry V. youtu.be/0RX5YkYdvcI
(Continued from page 15)
all the different characters, all of them, and I learnt over 200 soliloquies and speeches. I didn’t care what it was. It was to be inside the language.”
“I remember an older actor had told me the only way is to speak through experience, to say it out loud. You can’t dabble in it. You have to absolutely commit to it. He compared
it to playing violin, it’s just a different sort of instrument.”
Vital to Ryan, and arguably his whole irreverent, non-academic gusto for Shakespeare, is that he remains a western Sydney bloke, one who swears he’s watched his beloved Liverpool Football Club play every game live since the 1980’s. His Mum was an English teacher politically committed to serving in public schools; his Dad an
engineer who could fix anything that ticks or bangs. Ryan started school in Lakemba, then moved to Bidwill in then notorious Mount Druitt (he remembers at age ten watching the violent school riots of 1983), and finished school in Blacktown.
“I’ve always loved sport, the intensity and competitiveness of it. And football, there’s music and beauty in football.”
He played bass guitar in a Rooty Hill garage band called Bubblegum Thrash Punk, while sporting a long golden rock star mane down his back women were always asking him how he kept it so spectacular.
In his first years after school Ryan freelanced around western Sydney teaching poetry in local schools and prisons. He met some tough nuts, and a few who broke into tears when discovering how a sonnet can Xray into their hearts.
“I loved that. I’ve always been electrified by that experience of watching a poem open like a lotus leaf in the eyes of someone, as they realise poets are trying to describe what’s
Bell Shakespeare’s Henry V (2014)
Photo: Michele Mossop.
indescribable about being a human being.”
Despite being a fluent speaker in Shakespeare, Ryan went on to study and work as a journalist, following the writers and journos from his Mum’s side of the (Lyons) family. She too was passionate about Shakespeare but only as a literary expression. Ryan saw the first and only play of his school years with her Bedroom Farce at the Riverside. Far more significant was in 1989 when young Ryan sat almost alone in Parramatta’s Westfield cinema, stunned by Kenneth Branagh’s film version of Henry V
“It was a seminal moment for me which I now remember as a theatre experience not a cinema one. It was extraordinary. I could not get over that. I could not get over Branagh’s performance. I couldn’t get over Brian Blessed and Judy Dench and Derek Jacobi. Especially Jacobi’s use of language as the chorus. But they were like aliens to me.”
Much later, in his early 20’s, his first audition was for the Castle Hill Players, for the role of Lysander in Midsummer Night’s Dream, a play he
went on to direct more times than any other. Ryan got his first role but his girlfriend, talented and experienced, missed out.
“A real disease in our city is the lack of auditioning, lack of opportunities for people to meet directors,” he says today. “Sometimes I’ll audition 700 or 800 people at a time, and two thirds are women. Two thirds categorically, and there’s so much less roles for them.”
“I saw Fiona Shaw playing Richard II in an extraordinary performance. Why shouldn’t an actor have the opportunity to tackle one of those parts without regard to gender? That’s been important to me. The seeing of something through another gender or another kind of cultural background, it’s just a lens through which you can shine a light in different corners of a well-established character.”
By 2000 Damien Ryan called himself a professional actor and, having never been to a drama school, he auditioned for John Bell. Ryan says he was “totally debilitated by nerves” but Bell, his eyes peeping through his hands, was patient, as Ryan crashed
through no less than seven monologues, “as he waited for me to arrive accidentally on a speck of talent.” Finally, he got it, with a speech from Richard II.
Bell was pursuing that old elusive dream of Australia’s theatre-makers to build a fulltime ensemble of actors, a dedication even more vital to performing Shakespeare an ongoing focus to counter Australia’s usually transient treatment of him. Ryan in turn went on to create his own similar, if informal, group of Shakespearean actors. Nowadays Australian major theatre companies are doing ever fewer plays by Shakespeare and, it must be said, with less and less critical success and audience applause.
But Ryan had found his home, as one of eight actors in the touring Bell Shakespeare Company, as a skilled post-show speaker to audiences, then later as a BSC director. Plus, he met his wife, and long-time collaborator, Bernadette Ryan; together they played the two lovers in the company’s Romeo and Juliet. Touring continued,
(Continued on page 19)
Sport For Jove’s A Midsummer Night’s Dream (2009)
Photo: Seiya Taguchi.
son Oliver was born and promptly hitched to the wagon, but after 18 months on the road and with a second child on the way, the family’s exhaustion and frugality was too much, and Ryan pulled the plug on his dream, for now.
Naturally he made a splendid drama teacher at Barker College, a private school in Hornsby. The pinnacle was his startling “teenager” version of Midsummer Night’s Dream staged with many Barker graduates, and about kids learning sexuality and freedom in the Forest. As Ryan says, “written by someone with memory of his teenage years, the clumsy helplessness of desire, the humiliation of devotion and the violent unwillingness of parents and children to see into each other’s worlds.”
He left Barker in 2009 to launch Sport for Jove, reworking this Dream into a striking outdoor production staged in the park opposite his house in Baulkham Hills. The actors furiously
painted their bodies leaving marks still there on the walls of what remains Ryan’s family home and waited to cross the road. When they did a huge local crowd was waiting.
“The level of learning in that play is Mozartian,” Ryan enthuses. “I cannot comprehend the level of intelligence behind that work and the drawing upon multiple layers of different global mythologies and metaphysical concepts and genuine understandings of wickedness.”
And so was launched a company creating distinctively inventive and articulate productions of Shakespeare staged outdoors and firstly for western Sydney, in Leura, Parramatta and Bella Vista, later also the Seymour Centre. The repertoire expanded to other classical and modern playwrights, and just a few Australian plays, but Shakespeare is the main game.
Miraculously Sport for Jove has survived on an oily rag but without looking like it. Ryan’s astute fashioning and editing of Shakespeare for school audiences, and an applauded
education program, brings an income. Somehow he manages to pay full equity to his mainstage actors. Local councils are supportive but there’s no ongoing funding from government. What is still shining is their angel of philanthropy, Gordon Staley from Premier Fire, who came to Ryan in his modest first company space after Staley saw an early Romeo and Juliet
“I remember, he said, I make widgets that the world has decided are really useful, and they earn a lot of money for the business, whereas you make this art that the world decides isn’t worth very much and there’s no money in it, and so I’d like to support what you do.”
Damien Ryan has sometimes returned to direct or act with Bell Shakespeare. In 2013 when Bell took on the legendary role of Falstaff as well as directing Henry IV Parts I & II (history plays in the first Part of Player Kings) he wanted Ryan as his assistant director, to keep an eye on his Falstaff. The idea of this sinewy classical actor playing the funny fat guy seems
This article draws on an oral history interview with Damien Ryan by Martin Portus now available online at the State Library of NSW at collection.sl.nsw.gov.au/record/nX6abV0Y
(Continued from page 18)
Sport For Jove’s I Hate People; Or Timon Of Athens (2024)
Photo: Kathy Luu.
Online extras!
Damien Ryan delves into the inception of Sport For Jove’s Venus & Adonis. youtu.be/RKy__gp4t1U
impossible, and at first Ryan thought so.
“But he captured the prose, the danger of Falstaff,” remembers Ryan. “He was a moral licentious mess and looked great in the fat suit and a great big wig. He was maybe 73 when he did it and had such physical stamina, and it was a long tour. And John listens. He lets me be a bit brutal with him sometimes, if I think he’s too musical or the many times I said to him, it’s almost too well enunciated, let’s make it a bit more human…”
Young Prince Harry abandons his wild mate Falstaff on the death of his father Henry IV. Kingship is serious business: Part II of the Player Kings starts with the succession of Henry V and new wars, first in France and Agincourt, then at home with the civil War of the Roses.
“We forget that war so underpins Shakespeare. From his entire cannon, about 31 of his plays are set in war or triggered by war, even in the silliest of comedies. We forget that all his audience were soldiers. They could be conscripted at any moment into the army, impressed as it was called. War
was a profound reality to him so he wrote about it.”
“He has an ability to both aggrandise and lean into the glorious adventure of war while at the same time, unnecessarily, adding a scene about the horrors of war and the heavy reckoning ahead for the man who leads us to war.”
Throughout all his work, Shakespeare keeps alive dialectical
opposing arguments. Whoever he was, or they were, and even if we speak fluent Shakespeare, we can never really be sure what this Shakespeare truly thinks about anything: he offers us just too many points of view. But that’s surely welcome today in our own age, one so stubborn with opinionated certainties.
Sport For Jove’s Venus & Adonis (2023)
Photo: Kate Williams.
Sport For Jove’s Rose Riot - The Hollow Crown (2018)
Photo: Seiya Taguchi.
Melbourne Theatre Company’s Education Hub
The Melbourne Theatre Company Education Hub is an expanding library of digital resources designed to engage, inspire and educate young people about theatre. MTC’s Learning Manager, Nick Tranter, explains.
The Hub champions local artists and stories, removing geographic and economic barriers by offering free access around the world. 200+ resources can be filtered by production role, play title, year level, subject area or topic (e.g. theatre technologies). No other Australian state theatre company offers digital learning on this scale. Resources include:
Virtual tours of Melbourne Theatre Company venues and productions through a self-guided 360-degree immersive tour of sets and stages linked to information tags.
Script Notes video series, where playwrights, actors and directors of MTC productions explain how they use pages of script during rehearsal to perform their roles and collaborate. Accompanying lesson plans help teachers use 5 minute videos in class.
Education Packs (for VCE playlisted productions and other popular school shows) and interactive preand post-show resources for MTC productions.
Short Courses for self-directed learning, including actor training with tutors from the Victorian College of the Arts.
Theatre Glossary a comprehensive visual guide to terminology used in theatre production.
An emphasis on media-rich and interactive resources. Developed with digital agency Made Media, the Education Hub includes the ability for teachers to create bespoke share links, for a seamless classroom experience. The Education Hub provides students and teachers with authentic industry insights in
curriculum-aligned learning resources for Drama, Theatre Studies, English, Literature and the Humanities. Activity ideas and lesson plans support teachers to use the website across years 7 - 12.
Plans for 2025 include a new
Careers section about roles in theatre and the career pathways of MTC staff and artists.
The Hub won the Drama Victoria award for Excellence in the Digital/ Online Delivery of Drama in 2024 and 2023.
Discover more at mtc.com.au/education/education-hub
Virtual set design tour for A Streetcar Named Desire.
Online extras!
Discover what it’s like to be part of OA’s Regional Children’s Chorus youtu.be/pncZ0b9IbfM
Forward Thinking Opera
Opera Australia’s Nathan Gilkes discusses how modern ways of approaching opera are making it more accessible to younger audiences.
‘What (the heck) can opera teach us in the 21st century?’
Isn’t opera just old, really long, really boring (and in German)? Well…
This year Opera Australia is launching a new Education, Learning and Participation program. We’re on a mission to transform how young people in Australia engage with and think about opera, and revamp its relevance to communities across the country.
Opera as an artform has so much to offer young people. It deals, like lots of young people we know, with BIG emotions: love, conflict, power, betrayal all the primal emotions of our human experience. Seeing these
feelings portrayed on stage helps us understand our own emotional worlds, and in a time when young people find it difficult to express themselves, opera can express those difficult things to say.
In the ELP program participation is key. The program opens opera up to learners of all ages and focusses on three areas: primary and high school students though school workshops and incursion concerts; community engagement through come and sing events and community driven art projects, and youth artists including work experience and youth intensives to build professional skills and industry connections for young people.
In 2025 you’ll see a lot of events happening around the La Boheme regional tour which travels to regional arts centres in every state and territory. Because opera is inherently multidisciplinary, combining music, song, drama, dance, design, history, language and visual art, you can access it in your own way, from your own experience and your own story.
If you’ve never been to the opera, heard any opera or are terrified of opera, this is an invitation to engage with us. Like everything good, it can take a few goes to hear what’s going on. So ‘What (the heck) can opera teach us in the 21st century?’ Lots.
Nathan Gilkes is a leader in arts education, a Helpmann Award winning composer in Theatre for Young People and is the Head of Education, Learning and Participation at Opera Australia. opera.org.au/events/schools-programs
Opera Australia Regional Children’s Chorus tour of La Bohème (2024)
Photo: Jeff Busby.
The Lyrebird’s Voice
Victorian Opera will premiere The Lyrebird’s Voice in May, a new family friendly opera staged as part of the company’s annual Education season, which will be available Australia wide via livestream.
The 55-minute opera, sung in English, centres on a trickster lyrebird who goes a step too far and gets in trouble with their friends in the flock.
The story, developed by Peter Rutherford and six youth participants of the New Work Opera Studio, features opera’s most iconic arias and duets, including the ‘Flower Duet’ from Lakmé, ‘Habanera’ from Carmen, ‘Queen of the Night’ from The Magic Flute’.
Elizabeth Hill-Cooper, Victorian Opera’s CEO and Director said, “They chose a lyrebird as the subject because one young girl said she used to imitate the way her friends spoke, so she didn’t sound different to anyone else.”
“When I was a kid, there was an ad on TV with the ‘Flower Duet’ playing in the background. I didn’t realise it was an opera tune until I grew up and went to the opera,” said Elizabeth.
With performances in the outer suburban ring of
Melbourne, audiences will meet beetles, a wombat, a kangaroo, a ringtail possum, a jittery emu, all manner of native birds, and a cunning cat.
“Ishan Vivekanantham’s designs not only enrich the story but also immerse the audience into the wonder of Australian wildlife, making it an unforgettable experience for all ages.”
The production will be performed in venues across metropolitan Melbourne and highlighted in Victorian Opera’s Access All Areas livestream program, teaching students how a production is created behind-the-scenes and brought to the stage.
The Round Nunawading, Darebin Arts Centre and Frankston Arts Centre - May 8 to 23. victorianopera.com.au
Flexible School Stages
Stage Consultant Peter Giblin describes how Transtage is helping schools with growing student numbers expand and re-locate their performing arts programs.
Supplied to over 1000 schools Australia-wide in the past decade, Transtage specialises in providing portable staging and seating risers for events and performances of various sizes.
Portable stages have become a highly flexible solution for schools as permanent stages often can't always accommodate the needs of school events and gatherings. Thanks to the intelligent modular design, Transtage stage decks can be used either as standalone stages or easily attached to existing stages for expansion when you have a bigger event.
Our stages are also heightadjustable, making them suitable for both indoor and outdoor use, even on uneven surfaces. As a result, location is no longer a restriction for holding your school events and performances; the stage can be set up anywhere in the school.
Safety is our top priority. Transtage stages are constructed with industrialgrade materials and sophisticated designs, all exceeding Australia's loading standard of 750kg.
They are also lightweight and very easy to set up; most schools we supply to are set up by the school's maintenance staff, teachers, and even senior school students.
With offices and warehouses in Australia, our dedicated team will assist you promptly when you need help, and all orders are delivered in a timely manner to ensure your stages are ready for your event. Please contact Transtage today for a quote and a tailored solution for your needs.
transtage.com.au
Shows For Schools
Online extras! Watch a trailer for Away, or rent the entire production on demand. vimeo.com/458439371
ALPHA SHOWS
alphashows.com.au/shows
Incursion
All states except WA and NT
Real, quality theatre. That comes to your school. Let your imagination run wild and experience real quality theatre, in any venue you choose. Alpha Shows brings
everything with them to create that theatre magic. They bring shows to your local area so everyone has the chance to experience a full theatrical show, no matter the venue. They are a group of dedicated theatre professionals who adapt classic stories into powerful metaphors for our lives, as well as highly entertaining and fun comedy shows! As a group, they have been touring for over 16 years and are dedicated to what we do.
2025 productions include King Arthur and Sleeping Beauty Relevant to all subjects.
Grade P - 9
Q & A / Study Resource Kit available.
ANNIE THE MUSICAL anniemusical.com.au/education
Excursion
NSW and VIC Term 1 - 3
Materials have been developed to meet Australian Curriculum requirements, including the subject areas of English, History and the Arts, as well as the general capabilities of Literacy, Critical and Creative Thinking, Personal and Social Capability and Ethical Understanding. Playing at Sydney Capitol Theatre from March and Melbourne Princess Theatre from July.
Liam Nunan and Naomi Rukavina in Australian Theatre Live’s Away
Photo: James Green.
Book a group of 8 students or more with prices from $65 per ticket. For every 12 students booked, one teacher goes free.
AUSTRALIAN THEATRE LIVE
australiantheatre.live/education
Away vimeo.com/ondemand/michaelgowsaway
It’s the summer of 1967, and three families head away for a beach holiday. Set against a backdrop of war and social revolution, they find themselves caught up in their own storm of secrets and conflict. Michael Gow’s classic Australian play explores themes of loss and change, as three mothers deal with their own personal grief and their attempt at letting go. Relationships are pushed to the edge as secrets are exposed and the pressure of social change takes its toll.
By Michael Gow. A Sydney Theatre Company and Malthouse Theatre production.
Q & A / Study Resource Kit available.
Norm and Ahmed vimeo.com/ondemand/alexbuzosnormahmed
Fifty-three years since its premiere in Melbourne, Alex Buzo’s tense two hander remains alarmingly relevant, confronting issues of racism, xenophobia, female politics, cultural difference and assimilation.
By Alex Buzo. An Australian Theatre Live production.
Q & A / Study Resource Kit available.
Emerald City vimeo.com/ondemand/emeraldcityatl
A fast-moving, wisecracking commentary on contemporary urban mores and morals, and the rivalries and passions to be encountered on the road to success. Colin, a screenwriter, and his wife Kate, a publisher, move to the ‘Emerald City’, where fame and fortune are there for the taking, but surprises are in store for them both. By David Williamson. A Griffin Theatre Company production.
Q & A / Study Resource Kit available.
Taming Of The Shrew vimeo.com/ondemand/tamingoftheshrew
Two sisters. One wants to marry, one doesn’t. What could possibly go wrong? With a sprinkle of old-time movie magic, this classic love story is transported to a time when Kate is a promise of great women to come, filled with glamour, romance, song and laughter.
Meet the ancient creatures that are remembered in the stories of the first people of our nation.
An Erth, Sydney Festival and The Royal Botanic Gardens & Domain Trust production.
Study Resource Kit available.
Return To The Dirt
vimeo.com/ondemand/returntothedirt
In a year spent tending to the dead, a young man learns to live. Steve never imagined he’d end up working in the funeral industry. But when he finds himself living back home in Toowoomba to save up for his wedding, it’s the only job he can get. The year he spends working among the dead opens his eyes to what awaits us at the end and what it means to live.
By Steve Pirie. A Queensland Theatre production. Study Resource Kit available.
Cactus
australiantheatre.live/cactus
Cactus is a brutally funny, heartbreakingly honest, awardwinning play for anyone who is or ever has been a teenager. Exploring the power of friendship and unspoken female truths, Cactus reminds us of the excitement and confusion of being confronted by the adult world.
By Madelaine Nunn. A Mad Nun Productions production. Study Resource Kit available.
Diving For Pearls
vimeo.com/ondemand/divingforpearls
Set in Wollongong during the economic rationalism of the late ‘80s, Diving For Pearls remains startlingly relevant the political decisions of that time planted the seeds of divide we continue to witness between those with opportunity, and those without.
By Katherine Thomson. A Griffin Theatre Company production.
Q & A / Study Resource Kit available.
This Much is True vimeo.com/ondemand/thismuchistrue
This Much Is True continues the story of Lewis from Summer of the Aliens and Cosi. Now he’s older, a writer and lives in an inner city suburb filled with public housing, the underclass and characters who could only exist in such a place.
By Louis Nowra. A Red Line Productions production. Q & A / Study Resource Kit available.
This adventurous show explores the magic and mayhem of Shakespeare's classic comedy, A Midsummer Night’s Dream, through the eyes of one of Shakespeare’s greatest clowns. An introduction to Shakespeare for primary students.
Subjects: English, Drama Years 2 - 6
Q & A / Study Resource Kit available.
Such Sweet Sorrow Incursion
bellshakespeare.com.au/the-players-performances
Terms 2 - 3
Such Sweet Sorrow is an interactive performance of Romeo and Juliet for students and teachers, journeying through the entire story, discussing character motivations, illuminating themes and analysing language techniques and narrative devices.
Subjects: English, Drama
Years 7 - 10
Q & A / Study Resource Kit available.
Macbeth: The Rehearsal Incursion
bellshakespeare.com.au/the-players-performances
Terms 2 - 3
Macbeth: The Rehearsal invites students to play observer and participant in this immersive and interactive show.
Become a fly on the wall for this fictional rehearsal of The Scottish Play, with illuminating and entertaining results as students explore key motivations, themes, language techniques and plot devices.
Give your students an active, immersive experience of Shakespeare’s plays in their own classroom. Bell Shakespeare’s teaching artists guide students through a practical, English/Drama blended exploration of one of Shakespeare’s plays.
Bell Shakespeare believes our journey with Shakespeare should start young. Primary Shakespeare workshops are designed to immerse students in the plays of Shakespeare through playful and interactive storytelling, in their very own classroom.
Subjects: English, Drama, History
Year 2 - 6
Q & A / Study Resource Kit available.
Brainstorm Productions’ Wired
Shakespeare Seminars
Incursion
bellshakespeare.com.au/shakespeare-seminars Term 1 - 4
Part interactive seminar, part performance, Shakespeare Seminars are designed for students who require rich, critical analysis of Shakespeare’s plays to prepare for senior exams.
Subjects: English, Drama, History Year 11 - 12
Study Resource Kit available.
Digital HSC Shakespeare Seminars with USYD
Available for purchase digitally
bellshakespeare.com.au/digital-hsc-shakespeare-seminars-with-usyd Term 1 - 4
Part performance, part interactive seminar, these sessions are designed to directly link to HSC modules and give students the edge in upcoming exams.
Subjects: English, Drama, History Year 12
Study Resource Kit available.
John Bell Scholarship Incursion
bellshakespeare.com.au/john-bell-scholarship Term 1 - 4
Interested in a career as a performer and attend school in a
regional area? Auditions for the John Bell Scholarship. A life -changing opportunity for budding performers, three students will spend a week training with Bell Shakespeare at their HQ in Sydney.
Subjects: English, Drama, Careers Year 10 - 12
Work Experience Excursion
bellshakespeare.com.au/work-experience Students are invited to apply for one week of Work Experience at Bell Shakespeare HQ in Sydney. The Work Experience program is designed to give students insight into the entire process of making and producing theatre, not only what’s on stage.
Calling all young filmmakers, performers and storytellerswelcome to the 2025 Bell Shakespeare Shorts Festival where Shakespeare is re-told on screen. The Festival is open to young people from primary and secondary schools across Australia, as well as household entrants who may want to work on a film individually.
Shake & Stir’s The Twits
Online extras!
Bell Shakespeare’s The Players bring Shakespeare to schools across Australia. youtu.be/C0fH6rpARv8
Subjects: English, Drama, Careers
Year 10 - 11
BRAINSTORM PRODUCTIONS
brainstormproductions.edu.au
Being Brave Incursion
brainstormproductions.edu.au
VIC: Term 1 - 4
SA: Term 2
Fly’s parents have separated. He misses his dad desperately and tries to be brave by keeping his emotions bottled up.By connecting with the people in his community, Fly discovers
the true meaning of being brave, sharing stories, showing feelings, keeping good memories and living life.
Links to HPE/PDHPE, Personal & Social Capability, Digital Literacy, Ethical Understanding, Digital Technologies & The Arts.
Year P - 6 (P - 2 version available)
Q & A / Curriculum-aligned Classroom Resources
The Flipside Incursion
brainstormproductions.edu.au
VIC: Term 1 - 4
SA: Term 2
When bullying is used to wield power, Jack and Ella must create an ethical roadmap to navigate the online world.
Bell Shakespeare’s The Players.
When people post words, images and videos, how will they be received? What will be the consequences? Who will speak up? The Flipside encourages students to think critically about their online behaviour and values, and provides strategies for empathy, resilience, help-seeking and upstander behaviour.
Links to HPE/PDHPE, Personal & Social Capability, Digital Literacy, Ethical Understanding, Digital Technologies & The Arts.
Year 7 - 11
Q & A / Curriculum-aligned Classroom Resources
CARROUSEL THEATRE
carrousel.com.au
Carrousel Theatre is a puppetry theatre company based in Melbourne. It originated in Paris and has been performing in Australia since 2000. Their objective is to encourage the study of European languages: French, Italian, Spanish, German and Asian languages: Mandarin Chinese, Indonesian and Japanese via the medium of puppetry. The shows are specially crafted for school students learning a new language. The stories are based on original tales adapted for puppetry. Traditional characters and stories give the students an opportunity to enjoy and understand the diversity of cultures around the world. Each year a new performance is presented. Touring to Sydney May 5 - 19 and Canberra May 19 - 23.
Cinderella Incursion
carrousel.com.au/product/cinderella
Cinderella lives with her stepmother, Mrs Dragon and her stepsister Pearl. Both never miss an occasion to give her lots of work and sorrow. Cinderella is very unhappy until one day, with the help of her friend, Izidor the monkey she meets Prince Baltazar.
Year P - 8
Q & A / Study Resource Kit available.
Puss in Boots
Incursion
carrousel.com.au/product/puss-in-boots
Before passing away, the father of three sons asks them to share his belongings. The oldest receives the mill, the second receives the donkey and the youngest inherits...the cat! Little does he know that this cat is about to make his fortune. Mister Puss asks only for one condition; his master has to offer him a pair of boots.
Once upon a time Mowgli, a little Indian boy and his sister Rosa went to the rainforest to find the magical leaves that could cure their sick mother when suddenly Mowgli gets lost.
Year P - 8
Q & A / Study Resource Kit available.
Beauty And The Beast Incursion
carrousel.com.au/product/beauty-and-the-beast Beauty’s family is ruined! In order to repay his debts Beauty’s father, advised by his jealous sister, decides to marry off his daughter to the neighbour. Beauty, desperate and angry, chooses to disobey her father. Suddenly a new character appears: Mister Lucifer, the devil himself. He befriends her and persuades her to marry his master by proxy. Only too late does Beauty realise that she has married a beast!
Year P - 8
Q & A / Study Resource Kit available.
Sēnlín Wángzǐ - The Forest Prince Incursion
carrousel.com.au/product/the-forrest
Year P - 8
Q & A / Study Resource Kit available.
Aladdin And The Magic Lamp Incursion
carrousel.com.au/product/aladdin-and-the-magic-lamp Since the death of his father, Aladdin and his mother have had a very difficult life, until one day a mysterious uncle appears. He advises Aladdin on how to become rich by fetching an old lamp left in a tomb.
Come and meet beautiful Sophia who on her day of christening gets cursed by Carabosse, the nasty fairy: “Sophia shall never wake up again.” Thankfully the wise fairy Melusine is here to transform the curse in a less dramatic spell: She will fall asleep for the rest of her life, unless a handsome prince kisses her.
Year P - 8
Q & A / Study Resource Kit available.
The Princess And The Toad Incursion carrousel.com.au/product/the-princess-and-the-toad
A princess inadvertently drops her golden ball in a well. The Toad, lord of the haunt, brings it back to her on the condition that she befriends him. She agrees, thinking that she will never set her eyes upon him until one day… someone knocks at the door.
Year P - 8
Q & A / Study Resource Kit available.
Hans And The Witch Nettle Incursion carrousel.com.au/product/hans-and-the-witch-nettle
Hadestown.
Photo: Lisa Tomasetti.
Based on the story of Hansel and Gretel, this is the story of little Hans who one day while wandering in the forest with his sister Greta, gets lost. The nasty witch Nettle finds him and brings him back to her house, intending to force feed him and turn him into a “fat Hans sausage”. Fortunately the good fairy of the forest comes along.
Year P - 8
Q & A / Study Resource Kit available.
Sinbad And The Enchanted Horse Incursion carrousel.com.au/product/7-sinbad-and-the-enchanted-horse In the kingdom of Abyssinia the Queen of Sheba is celebrating her birthday when suddenly a mysterious man named Amar appears with an enchanted horse. Intrigued, the queen asks her son Sindbad to ride it. He suddenly takes off with the horse before realising that he doesn’t know how to land.
Year P - 8
Q & A / Study Resource Kit available.
CDP PRODUCTIONS
education.cdp.com.au
Dogman The Musical Excursion cdp.com.au/dogman.html
NSW: Term 1
QLD: Term 2 holidays
With the head of a dog and the body of a policeman, Dog Man loves to fight crime and chew on the furniture. But while trying his best to be a good boy, can he save the city from Flippy the cyborg fish and his army of Beasty Buildings?
Room on The Broom Excursion
cdp.com.au/roomonthebroom.html
NSW: Term 1
VIC: Term 1
ACT: Term 1
QLD: Term 1
WA: Term 1
The witch and her cat are flying happily on their broomstick – until a stormy wind blows away the witch's hat, bow and wand. A helpful dog, bird and frog find the witch's lost things, and they all hop on the broom for a ride. But this broomstick's not meant for five and the broom snaps in two!
The Gruffalo Excursion cdp.com.au/gruffalo.html
QLD: Term 2
Join Mouse on a daring adventure through the deep, dark wood in this magical, musical adaptation of the classic picture book by Julia Donaldson and Axel Scheffler.
The Gruffalo’s Child Excursion
cdp.com.au/gruffalos_child.html
NSW: Term 3
ACT: Term 3
VIC: Term 3
QLD: Term 3
One wild and windy night the Gruffalo's Child ignores her father's warnings about the Big Bad Mouse and tiptoes out into the deep dark wood. After all, the Big Bad Mouse doesn't really exist...does he?
COMPLETE WORKS THEATRE COMPANY
completeworkstheatre.com
Oedipus the King Incursion or Digital Access completeworkstheatre.com/season-2025/oedipus Term 1 - 3.
Fate vs free will, wisdom and knowledge, and consequences of unchecked ambition are explored in Sophocles’ famous tragedy.
Subjects: English, EAL, Drama. Year 11 - 12.
Study Resource Kit available.
Complete Works Theatre’s Romeo And Juliet.
The Crucible Incursion or Digital Access completeworkstheatre.com/season-2025/the-crucible Term 1 - 3.
Set against the Salem witch trials of 1692, this abridged production delves deep into the complex dynamics of power, morality, truth and vengeance.
Subjects: English, EAL, Drama. Year 11 - 12.
Q & A / Study Resource Kit available.
Medea
Incursion or Digital Access completeworkstheatre.com/season-2025/medea Term 1 & 3.
Exile, violence, and grief lead to a revenge plot to rival all others. Four actors perform key scenes addressing the themes of Euripides' great tragedy.
Subjects: English, EAL, Drama. Year 10 - 12.
Q & A / Study Resource Kit available.
Macbeth
Incursion or Digital Access completeworkstheatre.com/season-2025/macbeth Term 1 - 4
Morality is put under the microscope in William Shakespeare’s brilliant examination of human temptation, ambition, and guilt. Three actors perform key scenes, playing multiple roles.
Subjects: English, EAL, Drama Year 9 - 12
Q & A / Study Resource Kit available.
Romeo And Juliet
Incursion or Digital Access completeworkstheatre.com/season-2025/randj Term 1 - 4
Romeo and Juliet is an ideal introduction for teenagers to the plays of Shakespeare, told with humour and pathos; it delights as much as it saddens.
Subjects: English, EAL, Drama Year 8 - 10
Q & A / Study Resource Kit available.
Twelfth Night
Incursion or Digital Access completeworkstheatre.com/season-2025/twelfth-night Term 2 - 4
The power of Shakespeare’s language and its classic 5-act structure all offer opportunities for students to explore the rich possibilities of dialogue as a communication mechanism. The play explores the nature of both love and loss in many forms. It addresses questions of identity, and the fluid notion of gender has particular relevance today.
Subjects: English, EAL, Drama Year 11 - 12
Q & A / Study Resource Kit available.
Medea
Incursion or Digital Access completeworkstheatre.com/season-2025/medea Term 1 - 3
Exile, vengeance, violence, and grief lead to a revenge plot to rival all others. Hailed as a villain and a victim simultaneously, Medea takes the misogynistic hand she’s been dealt, douses it in petrol, and lights it on fire in one of the greatest tragedies ever written.
Subjects: English, EAL, Drama Year 11
Q & A / Study Resource Kit available.
Australian Poetry
Incursion or Digital Access completeworkstheatre.com/season-2025/poetry Term 1 - 4
Students participate in an interactive workshop with three actors to discover ideas for writing their own poetry.
Subjects: English, EAL, Drama
Year 7 - 9
Q & A.
HADESTOWN
hadestown.com.au/education
Excursion
NSW and VIC
Term 1 - 2
An education guide tailored for both New South Wales and Victoria is packed with bespoke curriculum ideas which are designed to enhance students’ understanding of the production, with links to English, Dance, Drama, History and Music curriculums.
Special matinee performances will take place on Wednesdays at 1PM for schools throughout the season.
MONKEY BAA THEATRE COMPANY
monkeybaa.com.au
Theatre Skills Workshop Incursion Program Incursion monkeybaa.com.au
Term 3 - 4
Students dive into the world of theatre-making and explore their creativity, gaining skills in improvisation, scriptwriting, puppetry and stage design. Workshops take place in your classroom, offering students an immersive journey into the enchanting world of theatre. Guided by Monkey Baa Teaching Artists, programs offer an exciting and enriching experience for young people, teaching them important life skills through the arts.
Subjects: Drama, English, Creative Arts, Visual Arts Kindergarten - Year 12, tailored to suit the year level.
Josephine Wants to Dance Excursion monkeybaa.com.au
NSW: Term 1 - 3
VIC: Term 2
QLD: Term 2 - 3
WA: Term 2
Josephine is a kangaroo who loves to dance. Her little brother, Joey, tells her kangaroos don't dance, they hopbut Josephine continues to point her toes and leap through the air.
Where Is The Green Sheep?
Excursion monkeybaa.com.au
NSW: Term 4
QLD: Term 2
Blending puppetry and animation, this beautiful production invites young audiences to join our three farmers on their quest to find the elusive green sheep.
SPORT FOR JOVE
sportforjove.com.au
Macbeth
Excursion sportforjove.com.au/macbeth-2025
Term 2 - 3
A new, fully contemporary production of Shakespeare’s Macbeth from Sport For Jove that is true to the text and full of engaging revelations.
Subjects: English, Drama
Year 10 - 12
Q & A / Study Resource Kit available.
BELVOIR
belvoir.com.au/schools
Song Of First Desire
Excursion
Term 1
Song of First Desire, by Andrew Bovell, spans 1968 to the present, depicting the individuals left to grapple with painful secrets in the aftermath of the Franco dictatorship.
Subjects: Drama - Stage 6: Acting; Elements of Production in Performance; Theatrical Traditions & Performance Styles Year 11 - 12 Study Resource Kit available.
Monkey Baa Theatre Company’s Josephine Wants To Dance. Photo: Alex Vaughan.
Big Girls Don’t Cry Excursion
Term 1
Big Girls Don’t Cry, by Dalara Williams, follows Cheryl, Lulu, and Queenie as they face love, friendship, and racism in 1960s Redfern.
Subjects: Drama Stage 5 - 6: Acting; Elements of Production in Performance; Australian Theatre; Scriptwriting History Stage 5: The Modern World and Australia - Rights and Freedoms
Year 9 - 12
Study Resource Kit available.
The Wrong Gods
Excursion
Term 2
The Wrong Gods, by S. Shakthidharan, set in India’s Narmada Valley, follows Nirmala and her daughter Isha as they clash over tradition, technology, and the true cost of progress.
Adapted from Helen Garner’s novel, this production stars Judy Davis and explores friendship, care, and mortality as Helen supports her friend Nicola through a terminal illness in the spare room of her Melbourne home.
Subjects: Drama Stage 6: Acting; Elements of Production in Performance; Adaptation; English Advanced - HSC: Texts and Human Experiences; English Ext 1: Literary Mindscapes
Year 11 - 12
Study Resource Kit available.
Grief Is The Thing With Feathers Excursion
Term 3
Directed by Simon Phillips and based on Max Porter’s novella, Grief is the Thing with Feathers follows a father and his two sons as they navigate grief, guided by the presence of an enigmatic Crow.
Subjects: Drama Stages 5 - 6: Appreciating; Acting; Elements of Production; English Advanced: Texts and Human Experiences; English Ext 1: Literary Mindscapes Year 10 - 12
Study Resource Kit available.
Orlando Excursion
Term 3
Adapted from Virginia Woolf’s infamous novel, this production follows the charismatic Orlando as they journey through 400 years of human history.
Subjects: Drama Stages 5 - 6: Acting; Elements of Production; Costume Design; Adaptation; English: Texts and Human Experiences; Language, Identity and Culture English Ext 1: Literary Worlds; Reimagined Worlds
Year 10 - 12
Study Resource Kit available.
Meow Meow’s The Red Shoes
Excursion
Term 4
Meow Meow’s The Red Shoes brings world-class performer to Belvoir, in a highly theatrical exploration of obsession and freedom.
Subjects: Drama Stages 5 - 6: Acting; Elements of Production; Set and Costume Design; Performance Styles; Music Stages 5- 6: Listening; Theatre Music (Musicals); Musicology; Performance.
Year 10 - 12
Study Resource Kit available.
The True History Of The Life And Death Of King Lear And His Three Daughters
Excursion
Term 4
Directed by Eamon Flack, Belvoir’s The True History of King Lear reimagines Shakespeare’s classic, following an aging king who divides his kingdom among his three daughters, setting off a chain of betrayal and the tragic collapse of his family.
Subjects: Drama Stages 5-6: Acting; Theatrical Traditions & Performance Styles; English Stages 5 - 6: Shakespearean Drama
Year 10 - 12
Study Resource Kit available.
BRAINSTORM PRODUCTIONS
brainstormproductions.edu.au
The Protectors Incursion brainstormproductions.edu.au
Terms 1 - 4
This live performance for primary schools follows the adventures of Leo and Serena as they enter Protector School. They learn that assertiveness, empathy and resilience are the superpowers they need to create positive connections at school, at home and online.
Sport For Jove’s Henry IV
Links to HPE/PDHPE, Personal & Social Capability, Digital Literacy, Ethical Understanding, Digital Technologies & The Arts.
As a group of high school students struggle with the demands of school, family, peers, and social media, they must decide will they be bystanders, followers, or change-makers? Verbal Combat sparks meaningful discussions about respect, responsibility, privacy, bullying and mental health.
Links to HPE/PDHPE, Personal & Social Capability, Digital Literacy, Ethical Understanding, Digital Technologies & The Arts.
Year 7 - 11.
Q & A / Study Resource Kit available.
COMMEDIA DELL’ARTE AUSTRALIA & FOOLS IN PROGRESS THEATRE CO.
foolsinprogress.com.au
#FoolsInSchools
Incursion
Term 1 - 4
A funny show that presents the comedy, characters and controlled chaos that Commedia dell’arte is famous for. Introduce your students to the very birth of the acting profession, the ‘sitcom’ and improvised comedy with this 1 hour show and/or workshop. Students can dive deeper,
playing building and performing their own Commedia Carnivale with full day workshops. Drama, History, Italian. Show can be adapted for all ages
ENSEMBLE THEATRE
ensemble.com.au/education
From world class performances and interactive workshops, through to Q&A sessions with leading Australian directors, creatives, cast and crew members, Ensemble Theatre can help find the right educational experience for your students. Find out more at ensemble.com.au/education
GLEN STREET THEATRE
glenstreet.com.au/education
Glen Street Theatre are proud to present a variety of shows in a program that caters to the very young all the way through to high school-aged students with strong links to curriculum to enhance learning outcomes. Discover the 2025 program at glenstreet.com.au/education/shows
RIVERSIDE THEATRE PARRAMATTA
riversideparramatta.com.au/education
Riverside Theatre Parramatta’s education programs seek to inspire creativity, empathy, and deep thinking in your students. Learn more about the Riverside Theatre’s Primary, High School and Vacation Care Education Programs at riversideparramatta.com.au/education
Wolfgang in the Stars
Photo: Damien Bredberg.
SPORT FOR JOVE sportforjove.com.au
Henry IV Part 1
Excursion sportforjove.com.au
Term 1
Shakespeare looks back at history to imagine his nation’s future and turns an immense and kaleidoscopic national lens on that most simple and human of relationships the family.
Subjects: English, Drama
Year 10 - 12
Q & A / Study Resource Kit available.
Richard III
Excursion sportforjove.com.au
Term 1
Sport for Jove’s Richard III is a tool for students to come to grips with this play’s innate theatricality and plethora of challenging characters when comparing it to Al Pacino’s Looking for Richard.
Subjects: English, Drama
Year 10 - 12
Q & A / Study Resource Kit available.
SEYMOUR CENTRE seymourcentre.com/education
The World of Will: Introductory Shakespeare Workshops for Primary Years 5 & 6 Excursion seymourcentre.com
Term 2
Part presentation part hands-on workshop, this is an immersive and informative journey through the world of
William Shakespeare and his incredible works for young students.
Subjects: Stage 3 Creative Arts and English.
Year 5 - 6.
110% Ready
Written & Performed by The Listies Excursion
seymourcentre.com
Term 2
Featuring a poop-load of puns, silly slapstick sight gags, and a splash of improvisational idiocy.
By Jolyon James, based on the book by Alison Lester Excursion seymourcentre.com
Term 2
Based on Australian author Alison Lester’s bestselling book, Imagine Live is an interactive performance exploring themes around creativity, friendship and the natural world.
Subjects: Early Stage 1 English, Creative Arts and Geography; Stage 1 English, Creative Arts and Geography; Stage 2 English, Creative Arts and Geography.
Year K - 4.
Henry IV (Part 1)
Excursion seymourcentre.com
Term 1
Henry IV (Part 1) is one of the greatest studies in courage, crime, the nature of rebellion and the challenge of living up to our responsibilities.
Brainstorm Productions’ Zanna And The Lost Code
Subjects: Stage 5 English and Drama; Stage 6 Preliminary Drama; Stage 6 HSC English Advanced Module B: Critical Study of Literature.
Year 10 - 12.
Q & A.
Richard III
Excursion seymourcentre.com
Term 1
A tool for students to understand the play’s innate theatricality and plethora of challenging characters when comparing it to Al Pacino’s Looking for Richard. Stage 5 English, History and Drama; Stage 6 Preliminary Drama; Stage 6 HSC English Advanced Module A: Textual Conversations.
Year 10 - 12.
Q & A.
The Tempest/Hag-Seed Symposium
Excursion seymourcentre.com
Term 1 - 2
Sport for Jove unpicks The Tempest through live performance and analysis, and direct contrast and comparison with Margaret Atwood’s Hag-Seed in this performance symposium.
Subjects: Stage 4, Stage 5 and Stage 6 Preliminary English and Drama; Stage 6 HSC English Advanced Module A: Textual Conversations.
Year 7 - 12.
The Crucible Symposium
Excursion
seymourcentre.com
Term 1 - 2
This intensive and detailed performance symposium offers an opportunity for students to meet the characters and look beneath the play at its language, characters, form, and theatricality.
Subjects: Stage 4, Stage 5 and Stage 6
Preliminary English and Drama; Stage 6 HSC English Standard, Advanced and English Studies; Common Module: Texts and Human Experiences. Year 7 - 12.
Othello Symposium
Excursion
seymourcentre.com
Term 1 - 2
Explore how the most famous prop in Shakespeare a handkerchief brings Othello’s downfall as he fights to hold onto his honour and the woman he loves.
Subjects: Stage 4, Stage 5 and Stage 6 Preliminary Drama; Stage 6 Preliminary and HSC English Advanced Module A: Narratives That Shape Our World; and Module B: Close Study of Literature.
Year 7 - 11.
Macbeth Excursion
seymourcentre.com
Term 2
A fully contemporary and brand-new production of Shakespeare’s Macbeth that is true to the text and full of engaging revelations.
Subjects: Stage 4 English and Drama; Stage 5 English and Drama; Stage 6 Preliminary English and Drama.
Year 7 - 11
Q & A.
Yes Yes Yes
By Eleanor Bishop and Karin McCracken.
Excursion
seymourcentre.com
Term 2
Part documentary, part confession, part open conversation, Yes Yes Yes deals with the difficult area of consent.
Subjects: Stage 5 Drama and PDHPE; Stage 6 Preliminary Drama, PDHPE and Life Ready; Stage 6 HSC PDHPE and Life Ready; Focus Areas Consent and Relationships
Year 10 - 12 Q & A.
The Merchant of Venice Symposium Excursion seymourcentre.com
Term 2
The Merchant of Venice is an eternally relevant study of justice, mercy, and religious division and this performance symposium offers students an opportunity to dissect the formidable play.
Subjects: Stage 4, Stage 5 and Stage 6 Preliminary English and Drama; Stage 6 HSC English Standard, Advanced and English Studies; Common Module: Texts and Human Experiences.
Year 7 - 12.
Chasing Freedom Excursion
seymourcentre.com
Term 4
Experience the powerful narratives of young refugees, now teenagers, as they bravely share their real-life journeys of escaping war and persecution to start anew in Australia.
Subjects: Stage 4 English, PDHPE, Geography and Drama; Stage 5 English, PDHPE, Geography, History, and Drama; Stage 6 Preliminary Drama and Society and Culture; Stage 6 HSC Drama and Society and Culture; All Stages Social Cohesion, Social Justice, and Wellbeing programs
Year 7 - 12
Q & A.
SYDNEY THEATRE COMPANY
sydneytheatre.com.au/education
Schools Days sydneytheatre.com.au/education/schools-days Excursion
Schools Days are an opportunity for students to attend productions in STC's season through heavily discounted ticket prices and specially scheduled performances. Study Resource Kit available.
RBG: Of Many, One Excursion sydneytheatre.com.au
Term 2.
After its premiere season in 2022, and a sold-out national tour in 2024, RBG: Of Many, One returns to the Sydney stage once more in 2025.
Subjects: English Stage 5 & 6, Drama Stage 5 & 6, Legal Studies Stage 6.
Year 9 - 12.
Q & A / Study Resource Kit available.
Happy Days Excursion sydneytheatre.com.au
Term 2.
Pamela Rabe (The Children, The War of The Roses, The Lost Echo) immerses herself in one of the greatest roles ever written, Happy Days’ eternal optimist, Winnie. Conceived and directed by award-winning theatre designer Nick Schlieper - Lighting Designer on The Picture of Dorian Gray, Strange Case of Dr Jekyll and Mr Hyde and Dracula - and Rabe herself, this production of Beckett’s classic play is a unique creative offering.
Subjects: English Stage 5 & 6, Drama Stage 5 & 6. Year 9 - 12.
Q & A / Study Resource Kit available.
The Talented Mr. Ripley Excursion sydneytheatre.com.au
Term 3.
From playwright Joanna Murray-Smith comes this adaptation of the thriller, The Talented Mr. Ripley Following Switzerland and Julia, Murray-Smith reunites with director Sarah Goodes to transform this page-turner into a world-premiere stage experience.
Subjects: English Stage 6, Drama Stage 6. Year 11 - 12.
Q & A / Study Resource Kit available.
Whitefella Yella Tree Excursion sydneytheatre.com.au
Term 4.
“And I think about you all the time – Like, all the time.” First love: joyous, sweet and youthful. Two boys from
neighbouring mobs, puffed up with teenage giddiness, poised on the edge of a world about to change. Their budding love taking root in Country that is about to be declared ‘Australia’.
Subjects: English Stage 5 & 6, Drama Stage 5 & 6.
Year 9 - 12.
Q & A / Study Resource Kit available.
The Shiralee Excursion sydneytheatre.com.au
Term 4.
A love song to the open road. Bathed in the golden light of an outback sunset, this epic Australian classic comes to the stage for the first time, adapted by Kate Mulvany – the actor and playwright behind The Harp in the South: Part One and Part Two and Playing Beatie Bow The Shiralee combines a ranging and poetic story of life and love on the margins with a cast featuring Mulvany herself, Josh McConville (Death of a Salesman), Aaron Pedersen (The Visitors) and Ziggy Resnick, making their STC debut in the iconic role of Buster.
Subjects: English Stage 5 & 6, Drama Stage 5 & 6.
Year 9 - 12.
Q & A / Study Resource Kit available.
BRAINSTORM PRODUCTIONS
brainstormproductions.edu.au
Zanna & the Lost Code Incursion
brainstormproductions.edu.au
Term 1 - 3.
When Zanna and Eddie arrive at Coding Camp, they embark on a magical journey inside the Camp Captain’s new game for kids. Through a series of challenges, Zanna and Eddie experience the power of empathy, respect, kindness and resilience. They change the game so that children all over the world can use it to be assertive, responsible and safe online.
Links to HPE/PDHPE, Personal & Social Capability, Digital Literacy, Ethical Understanding, Digital Technologies & The Arts.
Year P - 6 (P - 2 version available).
Q & A / Study Resource Kit available.
Wired Incursion brainstormproductions.edu.au
Term 1 - 3.
This performance follows the journey of two students whose lives are spiralling towards stress, anxiety, depression and disconnection. When their worlds collide, the audience must help them choose a different path. Wired addresses barriers to help-seeking and provides strategies for resilience, mental health and safe online relationships. Links to HPE/PDHPE, Personal & Social Capability, Digital Literacy, Ethical Understanding, Digital Technologies & The Arts.
Year 7 - 11
Q & A / Study Resource Kit available.
HOMUNCULUS THEATRE COMPANY
homunculustheatre.com.au
Thoughts Have Feelings Too Incursion
homunculustheatre.com.au
Term 1 - 4.
Thoughts Have Feelings Too shows students how to think positively about the feelings they experience in their day-today lives in a primary school environment.
The students meet two clowns: Sweet ‘Clown’ and the absent-minded ‘Professor’. When the two clowns meet in the Professor’s laboratory, they discover that thoughts and emotions are connected.
Drama, Health
Grades P - 6
Q & A / Study Resource Kit available. homunculustheatre.com.au
20 Lazzis In A Hat Incursion
Primary: homunculustheatre.com.au
Secondary: homunculustheatre.com.au
Term 1 - 4.
Audiences will discover the origins of Commedia dell’Arte and witness, first hand, its improvised nature. The performance showcases numerous masked stock characters, hilarious burle and 20 of Commedia’s famous traditional lazzi consisting of verbal asides on current political, social and literary topics, pratfalls and acrobatics. Drama, English, Italian, Humanities and Social Science (History)
Grades P - 6 and 7 - 12
Q & A / Study Resource Kit available.
Primary: homunculustheatre.com.au
Secondary: homunculustheatre.com.au
Life? It’s A Circus Incursion
Primary: homunculustheatre.com.au
Secondary: homunculustheatre.com.au
Term 1 - 4
Queensland Theatre’s Artist In Residence Program. Photo: Stephen Henry.
Through the use of high level physicality, balloons, poetry, balancing chairs, acrobatic antics and clown, these two highly experienced circus theatre performers promise to take you on a thought provoking and thoroughly entertaining journey through the ups and downs of life.
Drama; Health and Physical Education
Grades P - 6 and 7 - 12
Q & A / Study Resource Kit available.
Primary: homunculustheatre.com.au
Secondary: homunculustheatre.com.au
Workshops
A variety of workshops are available in Laughter, Drama, Clowning, Masks, Commedia dell’Árte, Absurdism, Resilience, Slapstick, Mime, Political Satire and Melodrama
After a seven-year hiatus, the celebrated Out Of The Box Festival returns for a week dedicated to arts-rich participatory experiences curated especially for young children. The theme of the 2025 festival is “Hope”, showcased in the large-scale Tree of Hope art installation across the Cultural Centre.
Created by Yaron Lifschitz and the Circa Ensemble, the world premiere of Wolfgang in the Stars will float into the Concert Hall where a young Wolfgang Amadeus Mozart will journey through space to find inspiration for his timeless early masterpiece “Twinkle Twinkle Little Star”. Another world premiere from the Monkey Baa Theatre Company is an adaptation of the beloved children’s book Where is the Green Sheep? by Mem Fox and Judy Horacek. Gurril Storm Bird, an adaptation of a prize-winning book by Trevor (Bumi) Fourmile also makes its world premiere, featuring traditional storytelling, song and movement.
The Gruffalo.
QUEENSLAND THEATRE COMPANY
queenslandtheatre.com.au/educators
Excursions
Group Bookings for all school groups are made through QPAC Groups on (07) 3840 7466 or groups@qtix.com.au.
Teacher previews
Teachers with a current school booking can attend the first Preview performance for free. There are limited tickets, only available for the first Preview in the season, unless otherwise notified.
Education resources
Teachers booking school groups will have access to education resources for each show to enhance the experience of Queensland Theatre productions.
The Scene Project
queenslandtheatre.com.au/tsp
Each year a playwright pens a new work and the participating drama groups are tasked with the challenge of creating their own unique 15 minute version of the play. During the rehearsal phase, Queensland Theatre artists visit the participating schools to facilitate workshops. The Scene Project is about collaboration, acknowledging students and teachers as artists, building confidence and encouraging live performance in a professional space and manner. It is also an excellent way of participating in professional development and enhancing existing curriculum in schools.
SHAKE & STIR THEATRE COMPANY
shakeandstir.com.au
Romeo & Juliet Incursion
shakeandstir.com.au
Term 1 - 4.
In this refreshed version of Shakespeare’s most famous love story, on-stage action is set against on-screen retrospectives from a selection of supporting players.
Subjects: English & Drama.
Year 8 - 10.
Study Resource Kit available.
Othello Incursion
shakeandstir.com.au
Term 1 - 4.
Loyalty turns to suspicion. Suspicion turns to jealousy. Jealousy builds to betrayal, ending in tragedy. Othello is a deep-dive into the seduction of doubt and the consequences of trusting too deeply.
Subjects: English & Drama.
Year 10 - 12
Study Resource Kit available.
Macbeth Incursion
shakeandstir.com.au
Term 1 - 4.
Macbeth: brave soldier or cowardly slave to evil? Against a backdrop of political unrest, during an unusually bad bout of weather, appearances can be deceiving, and no one is to be trusted.
Subjects: English & Drama.
Year 10 - 12.
Study Resource Kit available.
Animal Farm Incursion
shakeandstir.com.au
Term 1 - 4.
Shake & Stir’s spin on Orwell’s allegorical saga returns to Queensland classrooms.
Subjects: English & Drama.
Year 9 - 12.
Study Resource Kit available.
George’s Marvellous Medicine Incursion
shakeandstir.com.au
Term 1 - 4.
What starts as just another boring day for George quickly turns into a marvellous experiment of epic proportions!
Subjects: English & Drama.
Year 2 - 10.
Study Resource Kit available.
The Twits Incursion
shakeandstir.com.au
Term 1 - 4.
This adaptation of The Twits guarantees to delight - and disgust. You won’t believe your (glass) eyes.
Subjects: English & Drama.
Year P - 9.
Study Resource Kit available.
The Story Keeper Incursion
shakeandstir.com.au
Term 1 - 4.
From famous fairy tales to unsung heroes, The Story Keeper highlights the importance of sharing stories and understanding where they come from. Everyone has a story.
Subjects: English & Drama.
Year 2 - 9
Study Resource Kit available.
Burn Out Incursion
shakeandstir.com.au
Term 1 - 4.
Burn Out examines why we take risks, the consequences of action and taking responsibility for what you’ve done.
Subjects: English & Drama.
Year 8 - 12
Study Resource Kit available.
Terrortorial Incursion shakeandstir.com.au
Term 1 - 4.
Terrortorial is for students who are about to start Grade 7 and will arm them with the tactical tools to tackle change and triumph.
Subjects: English & Drama
Year 7.
Study Resource Kit available.
Once Upon An Adventure Incursion shakeandstir.com.au
Term 1 - 4.
A performance of drama and music meets hands-on visual art activities, inviting children to unleash their creativity, express themselves, and discover the joy of storytelling.
Subjects: English & Drama.
Year K - P.
Study Resource Kit available.
ZEN ZEN ZO
zenzenzo.com/inschools
Zen Zen Zo offers workshops in a range of disciplines from physical theatre to Shakespeare to Brecht.
Romeo and Juliet Incursion zenzenzo.com/romeoandjuliet
Term 1 - 4 (Available in other states on demand)
Zen Zen Zo's in-schools show explores Shakespeare's Romeo & Juliet through the eyes of three modern high school students. The themes of love, hate, fate and betrayal explode onto the stage through dynamic physicality, contemporary beats and both classic and modern text.
AURORA THEATRE
auroratheatre.com.au
#GoodEnough Incursion auroratheatre.com.au/shows Term 1 - 4
#GoodEnough focuses young minds on their ability to use positive self-talk by breaking our thoughts up into characters, meet the 'Inner Critic' & 'Inner Motivator'! Subjects: Health & P.E, Student Wellbeing, Resilience, Social & Emotional skills, Mindfulness.
Year 7 - 12.
Study Resource Kit available.
Homunculous Theatre’s Life’s A Circus
BEETLEJUICE THE MUSICAL
beetlejuicethemusical.com.au/education
For select Wednesday 1pm, Tuesday/Wednesday 7pm and Sunday 6:30pm performances, school groups can access an exclusive ticket rate of $57 per student. With every 10 students booked, you will be given a complimentary teacher ticket.
BRAINSTORM PRODUCTIONS
brainstormproductions.edu.au
See entries under National listings.
CREATIVE UNIVERSE
pot-pourri.com.au/education
From Figaro to Phantom Incursion (or can be an Excursion if the show is booked by Arts Centres, Festivals Councils, and a range of venues). For Victoria, but the company also travels all over Australia and overseas.
Experience the greatest highlights from Opera to Broadway and much-loved international songs featuring some of Australia’s most talented and versatile performers.
Subjects: Music, Theatre, Drama, Arts, Humanities. Year 7 - 12 plus teachers and parents and for special dinners, concerts and school and alumni events.
Q & A / Study Resource Kit available.
MALTHOUSE THEATRE
malthousetheatre.com.au/discover/education
Malthouse Education brings students and teachers together with experienced industry professionals. Their programs encourage young audiences and artists to engage deeply with all aspects of the works and prompt robust discussions, thoughtful debate and considered reflections on the world around us.
The Birds Excursion malthousetheatre.com.au
Term 2
An adaptation of Daphne du Maurier’s classic gothic horror, featuring an immersive binaural sound design and a solo performance by Paula Arundell.
Subjects: VCE Theatre Studies.
Year 9 - 12.
Q & A / Study Resource Kit available.
The Suitcase Series Excursion
malthousetheatre.com.au
Term 2 - 3
A whole-semester theatre-making program that lets students amplify their voices on climate change, featuring robust in-class activity with an exciting peer performance day at the Malthouse.
A unique Australian theatre company presenting plays in French, organising events and serving as an agency for French actors for all multimedia applications
Le Petit Nicolas
Incursion (Performance or Workshop) and Excursion melbournefrenchtheatre.org.au
Term 1 - 4
10 market scenes in French and English from the film. French and Drama.
Grade 3 - 6 (Performance only) or Year 7 - 10 (Performance or Workshop)
Designed flexibly and adapts to all school environments
Q & A / Study Resource Kit available.
Courtes Lignes de Courteline Incursion and Excursion melbournefrenchtheatre.org.au
Term 1 - 4
Performance of 2, 3 or 4 of the following short sketches by Georges Courteline in modern/contemporary adaptation: Monsieur Badin - Mr Badin: A public servant who never shows up for work!
L’Extra-Lucide - the Super Clairvoyant: A sleepwalking fortune teller with a 6th sense!
Une lettre chargée - A Registered Letter: A letter is trapped by a post office official.
Avant et Après - Before and After: A picnic goes wrong between Marthe and René.
French and Drama.
Grade 3 - 6 (Performance) or Year 7 - 12 (Performance) Designed flexibly and adapts to all school environments. Q & A / Study Resource Kit available.
Le Petit Prince Incursion and Excursion melbournefrenchtheatre.org.au
Term 1 - 4
A pilot (the narrator) crashes his plane in the middle of the desert a thousand miles from anywhere. Thinking he’s all alone and with limited water supplies, he starts to attempt to fix his plane. But a young boy suddenly appears one morning as if it was the most natural thing in the world. He demands that the pilot draw him a sheep. Slowing, through the following days, the pilot, hearing the little prince’s story, rediscovers some truths about the truly important things in life. The little prince comes from another planet, a very small planet. He leaves due to troubles getting on with his rose and decides to travel to learn about life. During his journey he visits six planets and meets their inhabitants: a must see experience for students French and Drama.
Year 3 - 10
Designed flexibly and adapts to all school environments Q & A / Study Resource Kit available.
Performance only - rehearsed reading
MELBOURNE THEATRE COMPANY
mtc.com.au/discover-more/education
The Robot Dog
By Roshelle Yee Pui Fong and Matthew Ngamurarri Heffernan. Directed by Amy Sole.
Excursion
mtc.com.au (at MTC)
mtc.com.au (Regional Tour)
Term 1
Bark meets byte in this tale exploring technology, language and culture in a fast-evolving world. An intercultural sci-fi comedy.
Subjects: Drama (VCE Drama Playlist).
Year 9 - 12.
Study Resource Kit available.
Kimberly Akimbo: A Musical
Book & Lyrics by David Lindsay-Abaire. Music by Jeanine Tesori. Based on the play by David Linsay-Abaire. Directed by Mitchel Butel. Excursion
mtc.com.au
Term 3.
The new girl in town is making heads spin. You’ve got to move fast when you’re 16 going on 70.
Subjects: Drama, Music (VCE Theatre Studies Playlist).
Melbourne French Theatre’s Le Petit Prince
Year 7 - 12.
Study Resource Kit available. Much Ado About Nothing
By William Shakespeare. Directed by Mark Wilson. Excursion mtc.com.au
Term 4.
Beatrice and Benedick are the most modern of Shakespeare’s couples. They love to hate each other, yet everyone knows they’re perfect for each other.
Subjects: English, Literature, Drama. Year 8 - 12.
Study Resource Kit available.
RED STITCH
redstitch.net/education
Super By Emilie Collyer. Excursion redstitch.net/super-2025
Term 2.
Super examines our urge to do good and what happens when this effort comes up against the relentless force of capitalism.
Subjects: Theatre Studies, Drama, English. Year 11 - 12.
Q & A.
VICTORIAN OPERA
victorianopera.com.au/learning-pathways/education
The Lyrebird's Voice Excursion
Term 2
victorianopera.com.au
A trickster lyrebird discovers the power of being different and the strength of their voice. Featuring hits from iconic operas: Carmen, The Magic Flute and more.
Subjects: Music, Drama, English.
Year P - 6.
Education Resources: Access to four 30 minute online workshops in the 4 weeks leading up to the excursion, delivered as part of Access All Areas Livestream Program
Abduction Excursion
Term 3
victorianopera.com.au
Mozart's darkly comic opera tells the story of Konstanze and Blonde, who are kidnapped by the mysterious Pasha Selim. He holds them captive and falls desperately in love with Konstanze.
Subjects: Music, Drama, English, German, History. Year 10 - 12.
Education Resources: Access to four 30 minute online workshops in the 4 weeks leading up to the excursionobserving the Stage Orchestral Rehearsal, delivered as part of Beyond the Stage Livestream Program
Malthouse Theatre’s The Suitcase Series.
ACTNOW THEATRE
actnowtheatre.org.au/for-schools
Like Me, Like You Incursion
actnowtheatre.org.au/likemelikeyou Term 1 - 4
Like Me, Like You is an interactive performance exploring Australia’s diverse cultures from First Nations people to new migrants. Three characters will perform scenes with songs, dance, and puppets. Drama, Wellbeing Year 1 - 4
State Educate is designed to provide high school students and teachers with the opportunity to see professional live theatre, engage with the artists, creative team and cast involved, and participate in Q&A sessions. School resources are available in 2025 for Housework, The Dictionary Of Lost Words, and Looking For Alibrandi
Youth Workshop Intensives Excursion
statetheatrecompany.com.au/summer-school Term 1 & 3
State Theatre Company South Australia’s holiday programs in the July and December school holidays provide a great opportunity for young people, ages 15-18, to deepen their knowledge and skills from recognised artists. These weeks are intensive skills-based weeks with the opportunity to devise new work or work on existing scripts toward a performance outcome.
Work Experience Excursion
statetheatrecompany.com.au/work-experience Term 3
Work Experience is held once per year for a small group of up to 15 South Australian secondary students only. The week will expose students to the intricacies of running a theatre company with tours of behind the scenes operations, sessions including Design, Wardrobe, Acting and Marketing. One person per school and regional students are encouraged. Note not all applicants will be successful.
On-Demand Student Workshops
Incursion
statetheatrecompany.com.au/student-teacher-workshops Term 1 - 4
These workshops are designed to bring theatre professionals into the classroom and present a tailored workshop to cover the current studies of the students. These workshops can be one-off or part of a series, cover a wide variety of topics and are held on-site at schools for the
convenience of teachers and students. Class sizes should be no more than 25 students per teaching artist. Workshops can cover a broad range of topics, from Accent work, Acting, Brecht, Characterisation, Devising, Dramaturgy, Laban, Musical Theatre, Physical Theatre, Prop Making, Shakespeare, Verbatim and Vocal Work. Contact: education@statetheatrecompany.com.au
WINDMILL
windmill.org.au/education
Moss Piglet
Excursion
Term 2
windmill.org.au/show/moss-piglet
Moss Piglet takes students through deserts, ice tundras, an active volcano and all the way to the moon. The show features puppetry, dance battles, live video and green screen tech.
Subjects: Drama, English, Science. Year 1 - 5.
Study Resource Kit available.
Black Swan State Theatre’s school workshops.
BLACK SWAN STATE THEATRE COMPANY
blackswantheatre.com.au/learn/school-programs
Blue Excursion blackswantheatre.com.au
Term 2
Blue is a life-affirming deep dive into a young person’s journey through life, loss, mental wellbeing and early adulthood.
Subjects: Drama, English, HASS Year 11 - 12
Study Resource Kit available.
Speaking In Tongues Excursion blackswantheatre.com.au
Term 3
Nine lives weave together in Bovell’s masterfully interconnected drama about love, desire, suspicion and betrayal.
Subjects: Drama, English, HASS Year 11 - 12
Study Resource Kit available.
Workshops Incursion blackswantheatre.com.au Term 1 - 4
Improvisation & Devising: Unleash creativity through collaborative storytelling and play-building activities
Physical Theatre: Explore the expressive power of body and movement, including various practitioner methodologies
Working with Text: Learn how to analyse text and build character
Design: Learn foundation skills in visual storytelling
Page To Stage Workshops: Ideal for Literature and Drama classes, these workshops delve into stagecraft, design, and narrative interplay of selected texts from the curriculum.
Candidate’s Choice Monologue Preparation: Experiment with different stylistic choices to apply to students’ Candidate’s Choice monologue, under the guidance of our experienced teaching artists.
SPARE PARTS PUPPET THEATRE
sppt.com.au/education
School of Puppetry Workshops Incursion learning@sppt.asn.au or (08) 9335 5044
Students of all ages can develop new skills in a fun and interactive way! All workshops are delivered by experienced puppetry artists.
Hare Brain Excursion
sppt.com.au/events/hare-brain-school-season Term 2
In a fantasy world of toy invention, replete with a gurgling think tank that sparks vacuum cleaners, mops and brushes into a life of their own, Hare Brain tells the tale of Harry and Toulouse who are in a slapstick race against time to find the perfect story that will fit the perfect toy.
Subjects: The Arts, English, Mathematics, HASS, Science, Health & Physical Education
Home Town Excursion
sppt.com.au/events/hometown-school-season
Term 4
Enter a world of imagination and pure joy with Hometown, a new puppet musical that whisks you away to a magical, dreamlike world inspired by Shaun Tan. Hometown is full of extraordinary creatures and awe-inspiring landscapes.
Subjects: The Arts, English, HASS
PERTH ARTS COMPANY
pertharts.com
Suitcase Stories Incursion
All year
Eight different people from eight different countries and eight different eras tell of coming to Australia.
Australian History, Multiculturalism.
Grade 2 - 6
Study Resource Kit available.
The Lucky Country Incursion
Western Australia and NSW
All year
Eight different people from eight different countries and eight different eras tell of coming to Australia.
Australian History, Multiculturalism.
Year 7 - 11
Study Resource Kit available.
Costuming, Props Make Up & Seating
Read about the design and creative process of the costumes for Dark Emu. tinyurl.com/2d9lxg7a
Jennifer Irwin is Australia’s most applauded costume maker adding to decades of recognition with yet another recent award for her work with Bangarra Dance Theatre. Martin Portus explores what’s made her creations the perfect fit especially for dancers.
Jennifer Irwin with a costume from Bangarra Dance Theatre’s Dark Emu
Photo: Daniel Boud.
She was a shy girl at Pymble Ladies College but loved lipstick and dressing up and so, thirsty for life, she escaped home to study applied arts in Wagga Wagga. Australia’s applauded costume designer soaked up more inspiration in 1980 at Adelaide’s new tech arts course, and stayed on just as the city’s dance and theatre scene was blossoming. She “helped and picked up” costumes backstage, often unpaid, but Jennifer Irwin was soon trading on her special sewing skills.
Back in Sydney, upcoming choreographer Graeme Murphy nabbed her as a costume assistant, soon supervisor, for his embryonic dance company.
“Graeme was already making a name for himself,” says Irwin. “But we worked in a complete dive, a crumbling squat in Woolloomooloo where the Housing Commission kids used to break into our cars and rob buildings; like it was pretty wild, with just one shower for all the dancers.”
But Irwin was busy perfecting another of her signature costuming skills: how to make sheer gossamer body stockings which, while strikingly adorned, fully reveal every muscle of the dancer. So began her long and outstanding creative association with two of Australia’s dance landmarks Graeme Murphy’s Sydney Dance Company and from 1992 Stephen Page’s Indigenous Bangarra Dance Theatre.
Her first chance to actually design SDC costumes was Sirens, Murphy’s homage to ten famous women, right at home at Kinselas, the happening nightclub on Oxford Street. She then created high impact costumes for Shining, Murphy’s lyrical hymn to hedonism which from 1986 toured the world. By this time the company was smartly housed in Walsh Bay and Irwin was irreplaceable. She not only made all her own costumes but also those of other designers sometimes chosen by Murphy for more character -filled dances.
Over decades, she’s designed costumes for 33 SDC shows, 37 Bangarra dances and nearly 20 major ballets, always with a fresh vision, sculpturing new design ideas from
new technologies and fabrics. She was commissioned for the opening and closing ceremonies of the Sydney 2000 Olympics and her work has been staged live in more than 90 countries.
Irwin also designed the world premiere in Sydney of the musical classic, Dirty Dancing. Twenty years later it continues today to travel the globe and unusually for Australian creatives working at home on big musicals she still gets royalties.
“Dirty Dancing really allowed me to survive in this industry,” she says. “Working in the arts you might be very good, at the top of your profession, but it doesn’t make you a lot of money; it was very unusual for someone like me working in subsidised live performance to get that job.”
As a jobbing creative, Irwin must be inventive to find new work options and, in her coastal retreat north of Sydney, says she’s nervous at the idea of retirement. Those skills at sewing, cutting and making her own costumes, especially those bodysuits, won her gigs on The Lion King and movies like Wolverine, The Matrix and Mission Impossible, and are vital to her survival.
“If I may say so, I make the best bodysuits I can do it with my eyes closed. If you can cut dance costumes you can make action costumes to fit perfectly on any body. I do all the stretchwear for Opera Australia.”
Vital to Irwin’s success is her hardworking loyalty to a small band of prestigious companies who keep coming back. She’s now rethinking the 1950s as costume designer for Guys and Dolls, which Opera Australia is opulently staging on Sydney Harbour in March. Shaun Rennie has taken over as director after the sudden resignation of the company’s artistic director Jo Davies.
No wonder Irwin’s awards collection is so big. She’s created costumes for 18 Helpmann awardwinning stage productions and has a swathe from the Australian Production Design Guild, which last year recognised her with the award for Outstanding Contribution to
Design. She has ten further APDG nominations, and in August 2024 won Best Costume Design for her work on Bangarra’s Yuldea
Yuldea was the first production by Frances Rings as Bangarra’s artistic director following the departure of founder Stephen Page. It drew on colonial episodes of environmental devastation as experienced by the people of the Western Desert of South Australia; Rings’ own country is adjacent in SA’s south west. Irwin also designed an earlier, abstract work by Rings, Terrain, inspired by Lake Eyre, the dancers distinguished by Irwin’s sprouting feathers, clusters of leaves and headdresses of spinifex and sprays of twigs. Her costumes so often look like she’s been out in the desert picking up nature, but no she hasn’t.
“I’ve never used a leaf, or any real feathers, but I’ve made plenty! And I don’t usually go out on country.”
Bangarra’s first big hit was Ochres at Sydney’s Enmore Theatre, where the company found a keen new audience in 1994. And Irwin learnt heaps about how the different colours of ochre which Bangarra dancers paint on their bodies soon become an organic part of her costumes.
“It’s a nightmare but it’s terrific. I look at costumes as something that will disintegrate over time, but actually they get better, because ochre you can’t wash off, especially the red. So the costumes get layered and layered from ochre on their bodies, often head to toe, and on the floor they and the stage become an art work. We often put talcum powder on the costumes which gave them an initial puff of smoke, an added spiritual touch! That evolution of costume making as the dancers wear it and make it their own wouldn’t be possible with any other company, dance or theatre.”
Bangarra has gone on to create exemplary production standards, with inventive composers like David Page and Steve Francis and Jacob Nash’s stunning abstractions of landscape. It’s all a long way from the set of
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Online extras!
Jennifer Irwin shares her inspiration behind the costumes for Terrain. youtu.be/Xyj3ijK8TYA
Ochres “it just had a little mound,” laughs Irwin.
She’s always worked alone, with a glimpse perhaps of a set design, but often without Stephen and the company seeing her work until dress rehearsal. “They trust me,” she says. “And they’re running around doing their own things.” Later came early meetings of the creative team, Stephen had clearer initial ideas, and the set was built earlier, but Irwin still had challenges.
“When you’re working with dance you’re building and making costumes as it goes along, because choreographers have an idea, but only in the process does it unfold and change! So with the SDC and Bangarra, I always started with the presumption the dancers have to be free to do anything, and will always end up on their knees because the works are so grounded. Now we have developed a design shorthand I think we actually see the same images when we are talking together.
“And over the years I’ve educated myself. As a non-indigenous person, I have to be careful; I basically give them a costume which is abstracted from traditional Indigenous, but I would never go to that source. I’d ask an elder for something like a feather
string, but never make that myself. I would use textures or weaving but it’s not traditional in any way, just suggestion.”
Stephen Page was barely out of his teens as a dancer when Irwin met him at Sydney Dance Company, the first big salaried job for both of them. And she designed some of the first works he choreographed there.
She’s very excited that decades later they’re soon both returning to the SDC to create together a new work for September 2025.
Irwin has worked with Stephen and his team from the very start of Bangarra, through the tragic deaths of his brothers and collaborators: Russell on the opening night in 2002 after he so beautifully danced a solo in Walkabout, and David in 2016, the effusive composer who created Bangarra’s signature mix of traditional, language and natural sounds with contemporary rhythms from around the world.
She’s also watched and shifted her costuming approach as Stephen Page this century took on more historic contact stories of both black and white Australia. It began with Mathinna, about the Aboriginal girl adopted then abandoned by Tasmanian governor John Franklin; then Patyergarang about her language exchanges with Lieutenant
William Dawes in colonial Sydney; and Bennelong, a witty yet often horrific pageant of scenes from the Indigenous and settler life of Governor Phillip’s chosen black “ambassador”.
Irwin of course did thorough historical research into the period costumes required for these increasingly extravagant and compelling dance theatre works. The biggest was Page’s final major work for his company, Wudjang: Not the Past, an epic story of pre-settler and contact scenes in Australia collaboratively told by dancers, musicians, singers, actors, designers and Irwin’s inventive costumes for them all.
“I think Mathinna was a turning point where he drew from historical stories, all with the sanctioning of the clan Elders of the stories given over,” says Irwin. “Maybe it was because Bangarra had by then become so much respected and was now in a position to be custodian of stories that needed to be told … the stories of Mathinna, Patyergarang, Bennelong, all names that we know but this is their real story from an Indigenous perspective.”
Jennifer Irwin naturally jumped at the chance to get the band back together, when last January at the Adelaide Festival they created Baleen
(Continued from page 60)
Bangarra Dance Theatre’s Sandsong: Stories From The Great Sandy Desert (2021)
Photo: Daniel Boud.
Bangarra Dance Theatre’s Terrain (2012)
Photo: Greg Barrett.
Moondjan, Page’s first commission since Bangarra. Set on Glenelg beach, within Jacob Nash’s enormous whale carcass, to music by Steve Francis, these were tales of Baleen whales passed on to Page by his mother. And critics praised the costumes.
Irwin in 2024 herself was also back with Bangarra for The Light Inside Horizon collaborating with New Zealand choreographer Moss te Ururangi Patterson on a striking work of Maori landscapes, coasts and lakes, the dancers draped in her ephemeral autumnal-shaded cloth.
“Terrain with Frances in 2012 was a turning point for me where my work became more sculptural. I took a leap of faith, really exploring what fabric could do, pushing it further. Possibly my most recent works have been my best. Working with choreographers and directors who trust your input always gets a better result. But The Light Inside was not that experience for me.”
Indeed, after decades helping to forge the design aesthetic of Bangarra, Irwin thinks this will be her last show for the company.
“I have mentored my young Indigenous designers and now it’s time to step back, whether I want to or not. It’s definitely time.”
Meanwhile she’s happily worked with her other great collaborator, director Graeme Murphy, on a sumptuous touring production of Opera Australia’s The Merry Widow and a revisionist Madame Butterfly
“In absolute contrast to Bangarra, Madame Butterfly is a white story in Japan that some argue should not be told in this day and age. Graeme wanted a contemporary approach. There was much conversation about where she came from, working as a geisha girl and about the ancient arts of Shibari/Kinbaku rope tying. My costume designs are always informed by the set, so MB became very architectural and clean cut. I focused a lot on the art of origami using a lot pleating, abstract and structured.”
She’s designed significant stage productions for the Sydney Theatre Company and Belvoir and knows well the added responsibility of placating actors keen to discuss character in the making of their costume. Dancers are less concerned.
But Irwin is pessimistic for the future of her profession, with jobs so scarce today for an ever growing surplus of talented designers, and performance companies which save money by employing designers to do both set and costumes.
“It’s a young person’s industry, so very hard to make a living financially. Australia just doesn’t have the population to support the numbers of people coming out of colleges every year. But as a young designer you live the dream, working from one show to another. Designing for film is better paid but everything revolves around money rather than the product and rarely do you get the opportunity and that freedom of live performance design.”
Yet somehow, without relying on film, Jennifer Irwin continues to build her outstanding legacy in costume design, and even in the niche and competitive world of dance. She’s achieved the dream she had as a shy little kid who made shoes by tracing her foot on cardboard and attaching empty cotton reels for the high heels.
“I love my job. I’ve always loved the adrenalin race to get the show on a collaboration of everyone working together to finish, before the curtain goes up.”
This article draws partly on an oral history interview with Jennifer Irwin by Martin Portus available online at the State Library of NSW.
TryBooking’s Tailored Ticketing
Jeff McAlister explains how the company has introduced new features to serve local theatre productions.
TryBooking, a trusted partner for local theatres across Australia, has a longstanding history of supporting the performing arts community with affordable and accessible ticketing solutions.
TryBooking offers a transparent pricing structure, of a low 50c ticket fee and a 2.5% processing fee, and an array of features tailored to meet the unique needs of theatre venues. These include:
Flexible Seating Plans: TryBooking’s seating plan options cater to any venue configuration, whether you have a dress circle, a mezzanine, cabaret-style seating or a combination of them. Our platform allows for customers to choose the seats most suitable for them to have the best experience possible.
Access Codes: A new feature on the platform is passwordprotected events for presale access, allowing members to book their preferred seats before tickets go live to the public. If you have any season ticket holders, they can reserve their special seats using custom passwords, adding a
personal touch to their theatre experience.
Gift Certificates: A valuable tool for boosting revenue, TryBooking allows theatres to create and sell gift certificates directly through their websites. These certificates can be redeemed only for the company’s future TryBooking events. This is a flexible alternative to promotion codes for sponsors, special offers, and even as a refund option.
Box Office Solutions: TryBooking’s box office solutions offer two convenient options. New is our Box Office App that allows staff to accept in-person payments via phone or tablet, sending receipts
and tickets electronically for a paperless experience. Alternatively, our Box Office Web works on any device, and can be paired with a terminal to print tickets on-site. Both solutions integrate seamlessly with TryBooking’s Scanning App, providing centralised reporting across all sales, including merchandise, food, and drinks.
TryBooking’s Australian-based support team is readily available to assist theatres to set up their ticketing services, ensuring a smooth and efficient process from start to finish. As a company committed to the arts, TryBooking continues to innovate and provide the tools necessary for theatres to thrive.
R James Entertainment is a family business comprising owner and lead builder/designer Ross James, his wife, seamstress extraordinaire Helen, who is responsible for the creative collection of costumes, with Laryssa Anger joining the team in an administration and supporting creator role. It’s a small business that cares about your production like it was their own.
There are over 20 full sets available for hire, with endless pieces of other sets and props in their sheds. Need a typewriter from the early 1900s? Absolutely! A park bench? No problem! A vintage telephone, suitcase, sword, throne, or lamppost? Easily done!
One of the most impressive sets in the collection is Charlie and the Chocolate Factory, with a light up
Family Builds Sparkling Sets And Props
What started out as a hobby after retiring as Technical Manager at the local theatre, has turned into a successful business, with sets and costumes hired to theatres and schools from Cairns to Melbourne.
hydraulic lifting glass elevator, selfdrive chocolate bar and bathtub vehicles, a double story Bucket house and a full stage design of colourful LED arches.
Some other stand out pieces include The Little Mermaid grotto, with three separate destruction tricks built in; Priscilla Queen of the Desert with programmable LED screen; a double story, reversible Legally Blonde Delta Nu sorority house with balcony for quick change; and a full set of 3D printed Lion King masks.
Some of the sets are created with multiple trucks that move on and off, like the Matilda set, which includes living room, bathroom, bedroom, Crunchem Hall gates, library and Miss Honey’s house.
Contact R James Entertainment to discover how they can help with sets, costumes or prop hire for your production sethire.com.au
Other sets are created to be stationary, such as the Mamma Mia! set, with the full island hotel facade including balconies for the Dynamos and only a revolve to reveal the inside of the bedroom. The hire also includes a few additional pieces and full stage cloths.
With full costume collections for Grease, Little Mermaid, Shrek and Les Misérables to name a few, as well as an endless wardrobe of pieces in between, you’ll be hard pressed to find a show the team at R James Entertainment can’t help you with.
Kevin Liu from Transtage explains how straightforward it is to assemble your own theatre seating riser.
Creating a seating riser for your theatre or performance space has never been easier than with Transtage’s modular stage panels. Unlike permanent seating, which can be expensive and limited by building constraints, the Transtage seating solution is budget-friendly and quick to set up.
Our modular stage sections are designed with flexibility in mind, offering various height options. Much like building with LEGO, you can configure your seating to the exact length and height required to fit your space. The system allows for easy expansion or reduction by simply adding or removing panels as needed.
Assembly is a breeze no need for professional builders or tradespeople. In fact, most of our customers can set up seating for 80 to 100 people in just a few hours. Transform any space into a stunning venue with Transtage’s Modular Seating Riser.
School Musicals: To Buy Or Hire?
Mark McDowell, the co-owner of Your Show and Costumes Without Drama, shares his tips on budgeting for a school musical.
Budgets for school musicals are usually set in stone, that is: “the same as last year”. The bean counters will tell you the maximum you can spend and that is that. Some schools see musicals as a promotion of the school, and are therefore generous in financial support and less concerned about balancing the books.
All shows have different pressures on the budget. It is a constant battle to between choosing a show that is popular and one that is tried and tested but not as known to the students. As much as you want to do a particular show for artistic reasons, you have a responsibility to aim to break even. Remember there are many reasons why shows flop on Broadway or in the West End, but mostly it’s because they are not very good. My motto is whenever possible try to break even and they will leave you alone. If you make a profit, try to spend it on something that will save you money on your next production.
If you have a principal or accountant who will try to help relieve the pressure by investing some capital money, make sure you spend it wisely. They will probably look at the big ticket hire items from last year’s show and inevitably instruct you buy 20 radio mics. This is not a good idea and will come back to bite both of you. Unless you have a trained ‘Theatre Tech’ to maintain them, they will let you down and you will end up hiring them anyway.
Also, you only use this number of mics once a year; the rest of the time they sit in the cupboard deteriorating. I’m not saying don’t buy radio mics, I’m just saying cap it at six in total.
If its lights you want to buy, then first make sure that your infrastructure can support them. Moving lights require maintenance and there is no use buying them if your lighting console can’t drive them.
Budget wise, look at each show that you are considering and check out the following details.
How many locations are in the production? Can this be done with a basic set and more lighting or props? Can I hire the set?
Calamity Jane. Barnum.
How many different sets of costumes does each cast member require? Does much need to be made or can it be hired? Can it be purchased from op shops?
How many radio mics? Can this be reduced by more swaps or using corded mics with careful choreography? Will this suit the show?
Can more students be put into the orchestra to save on hiring all professionals?
Do you need moving lights? Moving lights require extensive programming. Most schools have lots of students keen to be involved, but not on stage. Can they be follow-spot operators? Every spoken line or sung lyric in a professional musical has a follow spot on the actor.
Remember follow spots don’t need to look like a hardedge circle of light following an actor around the stage. They also don’t need to be at 100 percent intensity.
Once these questions are answered you can adjust department budgets to suit the chosen show.
Don’t worry about doing a play or musical that has been done before at your school. As long as it’s over six years ago, you will have a different cohort, and may in fact get the old cohort buying tickets to compare. You also may find that you have some resources around from the last time you produced it.
Choose wisely and remember, ‘If it breaks even or makes money, it will continue to happen’.
Getting A Handle On Props
Livia Greenberg went behind the scenes of NIDA’s production of Sweeney Todd and spoke to Gaia Stein a 3rd year NIDA Props Student about their work on the show.
I walked down a long corridor backstage at NIDA and everywhere I looked was either a prop or a student in costume, as they prepared for their winter production seasons.
An actor walked by in a pirate hat with sparkles, next to him a wall of masks. A stampede of “techies” poured out of one door after being let out on a break.
One of their ambitious productions in the season was Sweeney Todd: The Demon Barber of Fleet Street, directed by Constantine Costi with musical direction from Andrew Worboys and choreography by Shannon Burns.
For a prop maker, the “part melodrama, part Grand Guignol blood-fest” is an exciting project.
NIDA Props Student and Prop Master Gaia Stein is familiar with gory shows, having also worked on
the play Eat Me, that had a fake heart ripped out of someone.
Two of the props she is particularly proud of are the iconic Sweeney Todd meat grinder and a fake hand, both made with silicone and gel. She used a mold and finished it with sculpting and paint.
LG: What was the process of doing props for the show?
GS: “Well, it's a big and complicated show. I think there's over 250 props. And obviously a lot of it is reliant on mechanisms and things that make things happen, like all the blood stuff and the (barber’s) chair. A lot of it was trial and error, and trying to look at past shows and figure out how they did stuff. (A major challenge) was trying to not stain the costumes (with fake blood).”
LG: What was the process of making the hand/meat grinder?
GS: “The hand was made from a silicone called transil [translucent silicone rubber], to provide the translucency of skin and add flexibility for heightened realism. It was made from a live cast of an actor's hand using skin-safe silicone. Since the transil sets so quickly, if you mix it, it becomes lumpy and meat-like, so I was able to use the cure-time to my advantage to make the hand look severed.
“The meat that goes into the grinder is made from a jelly-wax, which means it's reusable and can be melted down and reformed for every performance. Because it's so soft, it also makes it easy to grind, which is perfect.”
LG: Did anything go wrong along the way? If so, what did you learn from it?
GS: “The hardest part of the production was the [fake] blood and trying not to stain the costumes.
In NIDA’s BFA Props and Effects, you will learn to become an adaptive and multi-skilled designer-maker, ready to join the arts and entertainment industries in areas including theatre, film, exhibitions and events. Learn more about the course at nida.edu.au/study/undergraduate/props-and-effects
“I found that as the show went on, I became quicker at problemsolving and figuring out solutions to issues that I hadn't foreseen.”
LG: Did the dark content of the script affect your prop making in any way?
GS: “The designer decided to go for a more realistic look with everything, so things like meat as well as the blood and stuff were included. It was actually fun just seeing people’s reactions to things that I was making. I just enjoyed
people coming into the room and going “Eww!” and getting disgusted.”
LG: In terms of the chair, what went into making that work?
GS: “The chair was made solely by one of my very talented classmates, but the entire frame was welded so that it could support the weight and movement of the actors going down the chute.”
LG: Is there anything you’re proud of that the audience may not notice?
GS: “I've put a lot of detail into the props. In Joanna's bedroom was a table, and in this version of the show, she's very obsessed with birds. And so I carved a little bird into her side table. And I did a whole bunch of little inscriptions that she's done in her bedroom.”
LG: What are the career prospects in terms of props making?
GS: “Since prop-making is so broad, and our skillset is so vast, our career prospects are endless. Whether it's advertising, film, TV shows, theatre, or even store-front displays, we have so many possibilities.”
NIDA’s Sweeney Todd: The Demon Barber of Fleet Street.
Photo: Phil Erbacher.
NIDA props student Gaia Stein with her hand/meat grinder prop.
When I speak to audiences of nontheatre folks, I often find myself making the distinction that theatre is a collaborative art form. The painter or poet can work solo, but the theatre maker requires a team of creative people all working towards one single storytelling mission. The director of the production holds the responsibility of keeping all of the brilliant creative minds working on the show pointing in the same direction.
So, how does a director work to ensure that the audience member is seeing one unified artistic voice, not a whole bunch of disparate viewpoints? The director must establish the “True North” of the play or musical. This is not the staging or the casting or the couch upstage right, but is the overarching, driving concept that will keep all of the collaborators working towards the same vision.
“True North” can be thought of as the central storytelling idea that the director is bringing to the script. The script and music are supplying the storyline and characters, but how you
tell that particular story is the director’s decision. The director of a production has a curatorial obligation to interpret the story that the playwright has written with a lens that brings out something new and interesting for the audience.
In a pre-production process, it is this vision that unites the team and begins the task of using the creative superpowers of each individual theatre artist in their area of expertise to make sure that the final production all lives in one world. The director’s role is to be an adept and agile communicator, using many different forms of communication to bring along the entire team. Visuals, written word, spoken word, audio whatever tools the director can find will be helpful because all of the different designers are likely different types of learners. A set designer likely is a visual storyteller and visual processor of information, where a dramaturg is more likely to connect deeply to words. The director has to be fluent in multiple languages of artistic communication.
One easy version of getting everyone to understand the “True North” of a show is a Pinterest board with images and links to audio. For instance, when I directed the premiere of the TYA version of the musical James and the Giant Peach with book by Timothy Allen McDonald and music and lyrics by Benj Pasek and Justin Paul, I used images that captured the overall feeling of the production that I wanted to present colour, texture, era, tone but also, specific costume silhouettes that spoke to me.
I also put in ideas that didn’t yet have a full resolution, but that I was playing with in my head. I found an image of an umbrella that inspired me to present the seagulls. As we worked together as a team, it became clear that seagulls out of umbrellas were not going to work, but we ended up using umbrellas parasol size, midsize and patio size as the peach itself.
The joy of the “True North” collaboration is it allows for divergent thinking, which is one of the primary strengths of the creative mind. All ideas can flow and be out there to grow. The director is not saying, “This is how it must be.” Instead, the
Award winning Director Nina Meehan explores the process of setting the stage for a production involving young people.
Bay Area Childrens’ Theatre’s James And The Giant Peach
Online extras!
See the results of the staging choices for James And The Giant Peach youtu.be/J3iMNnLpQIk
director is using the concepts presented as an invitation to allow each artist to bring their own brilliant creative ideas into the production.
All of this is lovely and great, but for most of us in the theatre world, we are working with resource constraints. Maybe you are working in a black box theatre and there is no room for big set pieces or you have a limited budget and have to costume the show based only on what can be found in the storage room. These constraints are completely normal in our world. The good news is that it’s these constraints that can actually make the job of the director, and therefore the collaborators, easier!
The “True North” concept can be daunting without any limits. It would have been great in my production of James and the Giant Peach to have a full skyscraper to grow from a trap in the stage and meet a giant flying peach, but the space I was working in at that time had no trap and no fly system. These constraints led me to my “Anchor Point” for the production, or the element of the design or production element that is fixed and therefore the thing you build everything else off of.
Another example. In a recent production of the Jungle Book I was working on, the show was being performed in a theatre where set pieces were not an option. I decided to use pre-created projections from
Nina Meehan is the Founder and former CEO of Bay Area Children’s Theatre, the largest TYA company in California. She was an invited guest speaker at the Australia Junior Theatre Festival in 2022.
Broadway Media to bring settings to life with visual storytelling. As a result, the “Anchor Point” became those projections. The colour palette and tone were all set, but there was still a “True North” that I created that focussed on the vibrancy of the world and the jazzy style of the music. But, the hard work was done because I had settled on an “Anchor Point” early on in the process. My job as a director was actually simpler, but still artistically relevant and fulfilling.
The key to all of this is to communicate early and often. And
then communicate more. The director’s voice brings the team together and while for some people it can feel intimidating to be the leadership voice in the room, particularly in a collaborative process, the more clear and defined the director is early on, the more creative room the design team will have later in the process. The director is not in charge of managing and deciding every detail, but instead, setting the table with all the tools that the designers need to cook an exquisite storytelling meal.
Popular Perfect Props
Veteran set and prop builder Bob Peet describes some treasures, and trash that he’s converted to treasures, for community theatre stages.
During my years running the hire department at Sydney’s Miranda Musical Society, we had special props which were in high demand. The most requested was an antique looking French style telephone that was used for Daddy Warbucks’ mansion in Annie, and a lot of other classy looking shows.
Another was the magic rose from Beauty and the Beast. Our first rose was operated with fishing line attached to the petals, but this meant threading the fishing line for each use. Later we changed the operation to electromagnets attached to the petals. Press a button and the petal falls.
I have always been very particular about correct chairs for the stage. Often productions are spoiled by an ordinary chair looking so wrong. Recently in Adelaide I saw a production of a classic operetta. The
beautiful period piece was ruined by the odd bentwood chair and a lounge from someone’s home, all meaning to portray the dressing of a wealthy merchant’s mansion.
Over the years I assembled a collection of chairs for all types of
settings. A set of rustic timber chairs for a rough tavern scene has been used often. I picked up a set of 16 bentwood chairs in fibreglass resin from IKEA, which has become an instant café on many occasions. I made a big investment in a suite of reproduction Louis furniture. I found a supplier of reproduction furniture frames, and then I made them strong and suitable for the wear and tear of the stage. These pieces live in special road-cases and are still in excellent condition, having been used on many occasions.
It must be said, however, that the most used props, used in so many shows, are the dreaded picnic baskets. How many of the older musicals have a picnic, a market scene, or a street scene with shoppers?
Good props will continue to be used over and over again, and can make an enormous difference to a show.
I have always been a collector of roadside “treasures “, finding unwanted pieces which can be rejuvenated for a new life on stage.
I have to admit that in my recent move to South Australia, I still look for and find stuff. I needed a nice bedside table for The Hypochondriac. Then one evening after rehearsal I spotted a suitable table in a pile waiting to be taken to the tip. A bit of paint, a new shelf and wheels, and $30 later I had a faux period table.
Words alone don’t do the results justice; the pictures tell the story.
Scenic Studios
Pavla Chaloupka reports that Scenic Studios has over 200 handpainted backdrops available for hire.
Scenic Studios specialises in scenic painting of custom backdrops and theatre scenery. They recently painted some canvas forest ‘legs’ for Queensland Ballet’s Coppélia production. They also manufacture scenic paints and hire scenic backdrops around Australia for schools, small theatre organisations and live events.
Scenic backdrops give depth to the scene and allow for lighting tricks, creating the atmosphere you desire for your performance. They have standardised the size, 12m wide x 6m drop, to fit most theatres and school auditoriums. Productions available and listed on their website under backdrop hire include Charlie and the Chocolate Factory, Mary Poppins, Wicked, The Wizard of Oz, Beauty and the Beast, Annie, Frozen and Alice in Wonderland
Themes available include ballrooms, forests, skies and cut cloths. They also have sequin drapes, slash curtains, lame curtains and crush velvet drapes.
By hiring their scenic backdrops you are supporting the art of scenic painting and helping the environment. Why make it from scratch when you can hire it, and nothing will end up in the landfill?
They paint with their own manufactured Scenic Paints which are acrylics and designed to paint theatre backdrops, scenery and stage.
The paints come in 0.8L, 2.2L,4L and 10L or 15L. They also have special effects products like membrane, texture and glazes. They ship scenic paints and scenic backdrops Australia wide. Their paints and backdrops are made in Melbourne, Victoria and are environmentally friendly.
Purchase paints and hire backdrops from Scenic Studios at scenicstudios.com.au
Queensland Ballet’s Coppélia.
Photo: David Kelly.
Scenic Studios’ canvas painting for Coppélia.
Roadside Rubbish Becomes Stage Treasures
Veteran theatre creatives Bob and Col Peet featured in a recent episode of Stage Whispers TV on mastering prop and set building.
The brothers, now based in Adelaide and Sydney, warned that it is very dangerous driving behind them on council clean-up days.
One of their favourite habits is picking up some roadside trash to save it for a time when they can make it into a stage prop.
“We have made pot stands into a buffet, and very ordinary chairs into glamorous pieces,” said Col.
Bob described how he found beautiful chairs in a clean -up.
“I stopped and picked one up. I then got an email from someone who wanted four chairs. The next morning I went back. There were the other three chairs under the rubbish. I was able to rebirth them with black upholstery. Later we turned one into the wheelchair in Wicked. It all comes apart.”
Another time Bob found a gold couch on Facebook Marketplace at the home of a drag queen.
“So, it was appropriate that it became purple, which I got from a bedspread. That ended up being a lovely piece for The Producers,” he said.
The brothers are big fans of giving community theatre casts a look at set model boxes early in the rehearsal process.
In the video they showed off their latest masterpieces.
“I do a model box at a ratio of 1: 25. When we build it, the cast say the set looks just like the model,” said Col.
The Stage Whispers TV Live Broadcast is sponsored by the Association of Community Theatre, which partners with Marsh Insurance to offer non-professional companies public liability insurance policies.
For more information visit communitytheatre.com.au
Stage Whispers TV
Watch Bob and Col Peet’s full interview with David Spicer. Scan or visit youtu.be/amsozdVVq1s
stagewhispers.com.au/training
Digital Scenery For All
Scenic projections are becoming more affordable for community and school theatre, bridging the gap between cinema and live performance.
Working with a tight budget? Has your rehearsal and production time been significantly reduced due to COVID-19 shutdowns? Music Theatre International, Australasia (MTIA) and Broadway Media are offering digital scenery for MTI’s top titles in Australasia.
Scenic ProjectionsTM are full-show digital scenery packages that can be projected onto a screen or surface behind onstage performers as a backdrop.
The product follows the official licensed script. Harnessing the growing utilization of projection design as a core element of theatrical design, Scenic ProjectionsTM is projected digital art and animation that moves seamlessly with - and enhances - the action onstage.
A popular title is The Little Mermaid Junior. Product manager
Brianna Spicer describes the style as “cartoonised realism”.
“We show visible paint strokes with simplified shapes and softened background elements, garnering inspiration from various concept art pieces of underwater scenes and ships.
“The Little Mermaid JR package helps make the musical more immersive. The ocean surface changes from calm to stormy depending on what is happening. In the palace hall scene, the sunset and colour change help to indicate that Ariel has run out of time. Any opportunity to help make the story clearer is taken advantage of.”
Broadway Media combine their projection cueing software with beautiful artwork that includes all the scenes, settings and special effects in the script. Scenic Projections will be available in animated or still image
For more information about Scenic Projection Show Packages, visit broadwaymedia.com/shows/music-theatre-international-australasia
For additional information on MTI and licensing, please visit mtishows.com.au
variants for MTIA’s most popular fulllength and Broadway JuniorTM titles.
“Scenic Projections is the tool you need to elevate your production values, all from the touch of a button and at an affordable price. We are excited to keep offering you new resources to bring the magic of theatre to your school or community,” says Stuart Hendricks, Managing Director of MTI Australasia.
Broadway Media says there is no steep learning curve to use its digital scenery as the product is supported by free how-to resources and customer support.
“We are a mission-driven company, serving a global theatre community. Our decision-making centres around one simple question, ‘does it make participation in the performing arts more accessible?’” says Quentin Sanford, President, Broadway Media. “Through our products, our partnerships and advocacy, Broadway Media is dedicated to the universal access to the joy of theatre-making, regardless of space, place, or budget.”
Easily project scenic backgrounds like these from your laptop.
Walking through the aisles of CLOC Musical Theatre’s Costume Centre ‘The Nancy’ is a stroll through centuries of style, fashion, colours, history and memories. This mammoth collection has well over 12,000 items from more than 110 productions over 55 years.
Right now, however, it’s like walking through a ghostly parade of the most bejewelled, bedazzled, and brilliant costumes sewn for Priscilla Queen of the Desert waiting to take life when the COVID-19 crisis is over.
The amazing CLOC Sewing Team began sewing Priscilla last October and had 90% of the production
completed when scissors and sequins were put away after their last sewing bee on Saturday March 14. Everything that could be completed at home has been done and CLOC, like the entire theatre industry, is awaiting ‘the vaccine’ and the easing of social distancing.
But when that happens, CLOC will be ready! Ready to assist theatre companies and schools hire at very reasonable rates from individual costumes to entire costume sets for shows like Kinky Boots, Strictly Ballroom, Les Misérables, A Chorus Line, Mary Poppins, 42nd Street and The Phantom of the Opera.
CLOC’s Costume Centre ‘The Nancy’ is located next to CLOCworks, on the corner of Old Dandenong & Kingston Roads in Heatherton, Victoria. Visits by appointment only.
Looking for an incredible selection of costumes available to hire? Check out CLOC’s collection. cloc.org.au/cloc-hire.html
CLOC Musical Theatre’s Strictly Ballroom
Photo: Ben Fon.
CLOC’s Catch Me If You Can (2023) Photo: Ben Fon.
NIDA 3rd year costume student Avril Bradbury-Hoath dedicated her research project to women who lost their lives making watches and costumes.
What is the theme of the costume?
The theme of the costume is invisible poisons in textiles with a specific focus on the tragic story of the 1920s “Radium Girls” who painted watch dials, with radium paint, for the Radium Dial Company.
Why did it interest you?
The topic of poisons in fabric throughout history and the health effects on the people who wore them fascinated me. Examples of this include arsenic used to dye dresses in the Victorian era and mercury used to stiffen hats leading to the term the “mad hatter”.
It was when I was listening to the podcast “My Favourite Murder”, which covered the story of the 1920s Radium Girls who painted watch dials with poisonous radium paint, that I decided to create a costume to draw attention to their tragic story.
In summary, the girls who were employed to paint watches in the 1920s were being poisoned. The watches, used by soldiers in dark trenches, were painted by the girls using radium paint for its night-time glow. They were instructed to use a technique called “lip pointing”, which required the painter to place the tip of their brush in their mouth before dipping the brush in the paint, to produce a finer brush stroke. After their shifts working at the factory, the girls’ clothes would glow in the dark when they were walking home, due to the radium paint particles coming in to contact with their clothing. They became known as “the ghost girls”. Essentially, the girls were slowly poisoned by the radium in the paint, became ill and eventually died.
What is the dress made of?
The under layer is made up of a black linen, cupro and tencal blend. The outer layer is made from 100% polyester taffeta, which has newspaper articles from that period of time printed on it and which glows in the dark. I chose this fabric as it was commonly used in the 1920s for the robe de style and it is also suitable to run through the
sublimation printer which heat sets the newspaper articles onto the fabric.
The dress is finished with UV paint (non-poisonous) to create the glowing effects of the radium.
print from a special paper onto textiles.
To ensure that the underdress aligned with the overdress and to also fasten the cape, I used magnets, which I covered with fabric to fasten them in the perfect position.
When painting the fabric with the UV paint, I used the lighting studio.
NIDA Technical Theatre students assisted me by rigging UV lights so that I could see the paint I was applying.
How long did it take to make it?
I spent approximately 67 hours on
For information on courses at NIDA call (02) 9697 7600 or visit nida.edu.au
Any unusual processes to
create it?
To create my newspaper fabric, I had to produce my pattern to fit the newspaper articles into the exact shape of the garment. I then used Photoshop to edit and adapt the articles I found in the archives of the New York Times and the Chicago Tribune to ensure their best position on my pattern pieces.
The newspaper articles need to be warped slightly in order to create a visually straight line on a 3-dimensional body. I created my very own newspaper fabric by using the process of heat setting, which transfers the sublimation
my project. This included 40 hours on pattern making, cutting, fitting and construction, 24 hours creating my newspaper print using Photoshop, and three hours spent in the lighting studio painting.
How do you look after glow in the dark costumes?
Glow in the dark costumes created with UV paint need to be heat set at 160 degrees for 2 to 3 minutes to lock the paint into the fabric permanently. I would choose to hand wash the costume delicately and let it dry naturally.
Choosing A Play Or Musical
Mad Musicals’ Supernova The Musical!
Online extras!
Meet performers from Disney’s Dare To Dream JR. at JTF Atlanta 2025 fb.watch/xRhWFQd0bw
Celebrate 100 Years
Of Disney Music
A new release from Music Theatre International Australasia, Disney’s Dare to Dream JR. is a 60minute musical revue that celebrates a century of Disney music, offering young performers a dynamic platform to showcase their talents.
This new show follows a group of trainees on their first day at a fictional Walt Disney Imagineering Studio, embarking on a journey to discover their dreams.
The revue features a diverse selection of songs from Disney’s repertoire, including classics like “A Dream Is a Wish Your Heart Makes” from Cinderella and “Be Our Guest” from Beauty and the Beast. It also introduces songs from newer films such as “Surface Pressure” from Encanto and “When I Am Older” from Frozen II, which are making their stage debut in this production.
Designed specifically for young performers, Dare to Dream JR. offers
many opportunities for ensembles and can accommodate casts of various sizes. The production is structured to be accessible and engaging for performers of all skill levels.
The show premiered at the 2025 Junior Theatre Festival in Atlanta, Georgia USA, where it was performed by a cast of 100 actors aged 8 to 18. The performance received enthusiastic acclaim from the audience and was a festival highlight of Travel Gang’s Aussie All-Stars who were in attendance.
The production is now available for licensing through Music Theatre International Australasia (MTI). The ShowKit includes actors’ scripts, a director’s guide, vocal tracks, and choreography videos, facilitating an easy and efficient rehearsal and performance process.
Dare to Dream JR. offers a magical and inspiring theatrical experience, blending Disney’s rich musical heritage with a narrative that encourages young performers to explore their dreams and creativity.
Read the script and listen to teaser tracks at mtishows.com.au/disneys-dare-to-dream-jr
Disney’s Dare To Dream JR.
Photo: Avery Brunkus / Marcus Woollen.
Was And Will Be
A First Nations anthology by Tracey Rigney, Brodie Murray and Tom Molyneux has been published by Currency Press. The monologues, dialogues, choruses and movement sequences are written for performance by Indigenous and non-Indigenous actors. The work, conceived by Haileybury College Drama Teacher Nick Waxman, picked up seven Lyrebird Awards for the World Premiere season.
Yidaki / Didgeridoo
Deep listening. Gulpa Ngawal. Listening to the earth and surroundings.
Hear the Mile. Sounds of the currents and ripples.
Crouching underfoot like a warrior.
Toes sinking into wet earth. Listening to the earth.
The calls of pelicans close down river. The hum of Country all around.
Elders often speak about the sacred practice of deep listening.
When incorporating the sound of the yidaki and closing your eyes.
The sound travels as a vibration. Across the body and across Country.
Remembering those night-time campfires in Balranald on Yanga Lake.
The sounds of birds and wildlife.
I sit, amazed. Watching them play the didgeridoo and listening to music.
Telling us about the sacred sites along the lake.
Yarns passed down from father to fathers.
We hear about Bes Murray. Worked on Yanga station for 58 years. Old ways, survival. Sunsets and sunrise. The sounds of the yidaki are ancient.
Back from the time of the dreaming.
It brings the old people close to us. Smells of the campfire, gum leaves and red-hot coals. Coals burning in the night. While we stared up at the night-time sky above.
Constellations reflected in the ripples of Yanga Lake.
I imagine generations ago when the Ancestors walked along the banks of Yanga Lake.
The Muthi Muthi mob. How pristine clear the lake was.
A plentiful supply of freshwater fish and clams all year around.
The practice of Gulpa Ngawal cleanses our spirit.
Connects us from past to present. To our Ancestors and the spirits from the dreaming. Senses tuned to Country around me.
Deep listening is tuning in to the river, the open planes, the river red gums, the pelican flying on the other side of the river.
It is a part of our spirit if we choose to listen.
Tips For Interpretation
Encourage students to use slow, deliberate movements to mimic the act of deep listening, with gestures that represent connecting with the earth and surroundings. Movements can illustrate the sinking of toes into wet earth, the calls of pelicans and the vibrations of the didgeridoo.
Soundscapes: Incorporate natural sounds such as water ripples, bird calls and didgeridoo music to create an immersive auditory experience using instruments or voices.
Symbolic Prop: Use a didgeridoo as a central prop, allowing students to interact with it, symbolising the connection to their Ancestors and the earth. The prop can be passed among students to represent the sharing of cultural heritage and the continuity of tradition.
Tableau Vivant: Create a series of still images or tableaux that capture key moments, such as sitting around the campfire, listening to the
didgeridoo and reflecting by the lake. Use body language and facial expressions to convey the sense of wonder, reverence and connection to the land and Ancestors.
Choral Reading: Perform a group recitation of the narrative, with students embodying the sounds of the Yidaki, the sounds of nature and the storyteller.
The Marngrook
I close my eyes and tune in to the land around me.
Wamba Wamba Country. The Country around me.
Holding me closely.
Sun sets across Mile; casting distant ripples along the surface.
I hear echoes of the past. Children playing. Men and women laughing.
Scent of gum leaves and roasting kangaroo meat. Taking me back hundreds of generations. Back to the old ways. Old people.
In Victoria, the mobs created the game of AFL, called Marngrook.
Young boys after a hunt. Early afternoon. They buried the possum skin, the Marngrook, in the dirt. Giving it back to Country. Back to the earth.
Then they’d uncover it, bring it up from the ground.
Ready to play the old game of Marngrook again.
Mobs would play it for hours on end. Sometimes even days.
Bodies moving gracefully around the earth. Athletes moving in synchronicity.
Dancing and connected to each other and the Country around them.
Marngrook was and is the beginning of the game we now call AFL. Generations later.
I watch Bobby Hill move with a confidence and grace around the ground.
On the biggest stages of the game. It’s like he has a sixth sense. He just knows where the ball is going. Where it’s been and where it’s going to be.
He’s in tune with the land as well as the players around him.
Takes me back to the great Grand Final against the Lions.
Bobby Hill against an unimaginable amount of pressure proved himself as best on ground to give the Pies the flag!
Bobby celebrates his goals with dance and movement. It is magical experience just to witness his connection to both the game and his culture.
Takes me back to how the young fellas would have played Marngrook in Victoria.
Back in the old times. Along the Mile (Murray River), young boys like Bobby anticipating the possum skin Marngrook. Catching it and spinning.
Tips For Interpretation
Use dance and movement to depict the flow and grace of
Online extras!
Playwright Brodie Murray launches Was And Will Be: A First Nations Anthology. youtu.be/GSdOO67uMRQ
Marngrook players, both past and present. Movements can illustrate the burying and uncovering of the Marngrook, the synchronicity of the players and the celebratory dances of modern players like Bobby Hill.
Soundscapes: Incorporate sounds of nature such as rustling gum leaves, distant laughter and echoes of ancient times to create an immersive auditory experience. Use recordings of traditional Aboriginal music and didgeridoo to enhance the atmosphere and cultural connection.
Symbolic Prop: Use a replica of the Marngrook (possum skin ball) as a central prop, allowing students to interact with it, symbolising the continuity of the game from ancient times to the present. The prop can be passed among students to represent the sharing of cultural heritage and the evolution of the game.
Tableau Vivant: Create a series of still images or tableaux that capture key moments, such as young boys playing Marngrook, the ceremonial aspects of the game and modern AFL players in action. Use body language and facial expressions to convey the joy, pride and connection to the land and culture.
Choral Reading: Perform a group recitation of the narrative, with students embodying the voices of the past and present, narrating the story of Marngrook and its significance. The collective voice, dispersed around the room like a crowd at the football could enhance the sense of continuity and shared heritage, reinforcing the themes of respect and admiration for the game and its players.
Licenced by David Spicer Productions. davidspicer.com.au
Published by Currency Press, purchase your copy at Book Nook. booknook.com.au/product/was-and-will-be
Was And Will Be’s Lyrebird Awards haul.
Little Women
Emmaus College took out five awards at the Music Theatre Guild of Victoria Bruce Awards for its production of the musical Little Women. The director, Elise Cavallo, describes the unique staging and choreography which made the production a success.
A story that transcends generations and finds new resonance today, Little Women came to me as a show suggestion from an old friend. He knew that I was searching for a unique kind of canvas; something that was classic and beloved but that also had the potential to be moulded into something new.
In Emmaus College’s version of Little Women, the writing of the novel was built into the story and the author wasn’t Louisa May Alcott, but the novel’s protagonist herself, Jo March.
In this way, Little Women became a tale of the birth of an artist a female artist, at a time that was hostile to women and the telling of women’s stories from a woman’s point of view.
The musical was adapted for the stage in 2005, featuring the prodigious Sutton Foster as Jo March. With Sutton at the helm, the production team chose to employ a small cast of 10 to support her. The production was criticised for being more of a play than a musical, with little to no choreography, lengthy scenes and the majority of ballads taking the “stand and sing” approach.
The script had heart and the characters had charm, but the interpretation seemed to be lacking the one thing that made the title so very popular in the first place: evidence of the fierce March sisters’ love and loyalty. And so, this became our focus. To take the material, with that brilliant score, and insert the sisters (and an ensemble) into the story as much as possible.
Kirra Plavin, our choreographer, worked tirelessly to add original choreography to the show, including a full company ballroom number into “Take A Chance On Me”.
We were heavily inspired by the physical storytelling of Hamilton and used this influence to weave dance throughout the show, an example being Jo’s Trio (Clarrissa, Rodrigo and Braxton), who followed Jo’s writing process and guided her to make creative choices. “Fire Within Me” was a particularly satisfying project as we took a number traditionally sung by a solo actress and created a moving montage where Jo saw herself and her sisters as children and then watched them grow up and leave her.
In her despair, Beth appeared and helped her to write her final line “but
we’ve got each other”. Jo’s sisters watched her give her manuscript the title “Little Women” as the song concluded.
In my eight years directing at Emmaus, I have never seen such a strong emotional response from an audience and consider myself lucky to have been present for that particular moment each night.
If there is anything that I have learnt from this production it is that as a director at a school, choosing a title that you feel a personal connection with is key if you wish to have success with your students.
If I can listen to a soundtrack and see a version that has not been done before, if I can feel new possibilities, then I know we should do it. Youth will follow you anywhere you go, as long as you are genuine in your belief that what you are creating is special, unique and worthwhile.
The fire that burned within us to make this story ours, to make it something that had not been staged before, is what I believe led to its success and ultimate recognition. It was no mean feat to make a 150-year -old novel feel current, alive and relatable to a modern audience, but I believe that in every young woman's heart beats the heart of Jo March and it is her fiery spirit that guided this production to become what it was something truly astonishing.
Emmaus College’s Little Women
Choosing A Show
Rights holders describe their new and recommended musicals and plays for schools and community theatres.
Music Theatre International Australasia mtishows.com.au
Dot & The Kangaroo
An all-new musical adaptation of the bestselling Australian classic, based on the 1899 novel of the same name, Dot and the Kangaroo will lead audiences on a beautiful journey into the world and spirit of Australia.
Young, rambunctious Dot longs for an adventure. When she finds herself lost and afraid in the darkening Australian bush, Dot befriends a wise mother Kangaroo who enlists the help of Australia’s favourite bush creatures to help Dot find her way back home. mtishows.com.au/dot-the-kangaroo-jr
Midnight
Featuring a passionate, feisty, and funny young heroine who doesn’t need or want a so-called Prince Charming. Can all be achieved before midnight?
Midnight is not just a tale about true love; it is the story of a girl who is destined for so much more than what the world has given her and features a funny, intelligent and strong-willed Cinderella who is determined to make her mark. mtishows.com.au/midnight-the-cinderella-musical
Come From Away
Available for Community Theatres, Come from Away is based on the true story of the time when the isolated community of Gander, Newfoundland, played host to the world when 38 planes, carrying thousands of people from around the globe, were diverted to Gander’s airstrip on September 11, 2001. Undaunted by culture clashes
and language barriers, the people of Gander cheered the stranded travellers with music, an open bar and the recognition that we’re all part of a global family.
mtishows.com.au/come-from-away
Maverick Musicals maverickmusicals.com
Man Of Steel
The soaring high school musical best seller! Man of Steel is an action-packed musical spoof, a parody of the most famous comic book superhero. It centres on the entertaining battle of our Super Hero (and his Heroine) triumphing over the evil Countess Olga and her motley Henchmen. If only he could get it right occasionally … why are tights so hard to wear? Fast moving action, spectacular chorus and a fabulous score. maverickmusicals.com/play/man-of-steel
Oceans & Emotions
A pirate-themed musical written for lower primary students. Amongst the fun and razzmatazz of quirky characters, there are serious themes explored: wellbeing, mindfulness, anger management, mental toughness, anxiety and depression.
The four happy chemicals of dopamine, oxytocin, serotonin and endorphin together with Calypso, appear as muses to guide the fellow pirates through the choppy seas of self-doubt and beyond (70 minutes).
maverickmusicals.com/play/oceans-emotions
Tiddalik The Musical
A primary school musical based on the popular Dreaming story set in the beauty of an Australian landscape. Native animals and Tiddalik the Frog are so thirsty they decide to drink all the water in the land. To restore the balance of nature the animal groups decide to make Tiddalik laugh so that fresh water can be released. maverickmusicals.com/play/tiddalik-the-musical
Binary
One Act Play. Tonight is Brynn’s first night out, as herself. For years they have questioned their thoughts and feelings, knowing that they are different, but unable to identify why. Not knowing if they were a he or a she, a him or a her, a boy or a girl, a son or a daughter. What pronoun does one use when they are born male but identify as female?
maverickmusicals.com/play/binary
David Spicer Productions davidspicer.com.au
We Will Rock You
The most popular high school musical for DSP remains We Will Rock You by Queen and Ben Elton, which is now available in three editions Global, School and Young @ Part. Resources available include a superb backing track and Scenic Projections.
“It was such a great show. The kids and community loved it.” -St Michael’s Grammar. davidspicer.com.au/shows/we-will-rock-you
Back To The 80’s
The second most popular show in the DSP catalogue is Back to the 80’s a tribute to the era that brought the world the Rubik’s cube. The show will soon also have a Scenic Projection resource. davidspicer.com.au/shows/back-80s
Choosing A Show
Song Contest - The Almost Eurovision Experience
A brilliant homage to Eurovision. Made with love, music and cheese. Connecting communities and giving everyone clackers! Allows for members of the audience to vote for their favourite country on their mobile phones.
Staged by high schools and community theatres this year, the show is being updated in a production produced by the creator Glynn Nicholas in Adelaide in December. davidspicer.com/shows/song-contest-almost-eurovision -experience
Georgy Girl: The Seekers Musical
DSP has announced the availability of community theatre rights to Georgy Girl: The Seekers Musical, the quintessential Australian story of how three clean-cut young men who looked like bank tellers, and a shy cuddly girl-next-door type, left their hometown to have a go at making the big time. Read more in Musical Spice on page 86.
As we approach the 20th anniversary of Arthur Miller’s passing, Music Theatre International Australasia takes a moment to reflect on the plays that all students should perform and study.
Miller’s works offer timeless and universal themes that resonate with audiences across generations and cultures. These themes include the struggle for identity, the consequences of personal and societal pressures, and the moral complexities of human nature.
The Crucible, set during the Salem witch trials, serves as a powerful allegory for the dangers of mass hysteria and the breakdown of social order. It encourages students to critically examine issues of justice, morality, and the impact of fear on society.
Death of a Salesman provides a poignant exploration of the American Dream and the often-harsh realities of pursuing success. Through the character of Willy Loman, Miller delves into themes of ambition, failure, and the quest for self-worth.
All My Sons tackles issues of familial responsibility and the ethical consequences of business decisions. A View from the Bridge delves into themes of immigration, identity, and the often-destructive nature of obsession and jealousy.
Miller’s plays are rich in literary and dramatic techniques, offering excellent material for studying character development, dialogue, and stagecraft. Engaging with these texts can enhance students’ analytical and critical thinking skills and prepares them to engage thoughtfully with complex social and ethical issues.
His works are a testament to the enduring power of theatre to provoke thought, inspire change, and deepen our understanding of the human experience.
Arthur Miller.
High School Musicals And Plays
To celebrate the achievement of students and teachers, we present a gallery of outstanding productions.
We Will Rock You
Sheldon College, Australian School of the Arts, Brisbane. Musical Director: Lauren Cossettini. Redlands Performing Arts Centre. Apr to May 2023.
The Australian School of the Arts unleashed the power of rock'n'roll through their successful season of We Will Rock You. Across six performances they ignited the gritty tale of love and rebellion, exhilarating audiences of all ages.
Burnie High School, Tasmania. Director: Ben Lohrey. Oct 2011.
The jukebox musical was staged with very high production values. In Rockin’ Robin, a drama group is rehearsing for the Rock Eisteddfod, when an electrical fault causes two of the cast to be transported through time to Sherwood Forest. Director Ben Lohrey said, “We were attracted to the musical because of the terrific score that contains many very well-known and catchy musical numbers from the 50s, 60s and 70s. This, coupled with a very humorous script, strong lead roles for both males and females and the scope for the inclusion of a very large ensemble (we had 120) made Rockin’ Robin the ideal choice.”
davidspicer.com.au/shows/rockin-robin
We Will Rock You.
Rockin’ Robin.
Titanic: The Musical
Marist and St Peter's Combined Colleges, Auckland. Director: Stephen Dallow. Playhouse Theatre, Glen Eden. May 2023.
Director Stephen Dallow says, “I have been directing shows for over 30 years and this was a personal highlight for me, working with a cast of 100 teenagers. At our first rehearsals we researched every character in the show and the students quickly took on this honour of playing real people who had passed away during this tragic event. You could hear a pin drop at rehearsal. Everyone wanted to honour the story and tell it from an historic angle, not what we had seen in the movie. The show has beautiful music, wonderful harmonies, characters the audience will fall in love with and opportunities to do some unique theatre making. At the final number, where the survivors tell their story, we projected images of the real people they were playing on to the stage the audience left every night in tears.” origintheatrical.com.au/work/8918
The Jungle Book
Shenton College, WA.
Written and adapted by Briandaniel Oglesby from Rudyard Kipling. Director: Kate Lloyd. May 2023.
In May, the Perth school used creative costumes, scenic projections, backstage crew and musicians to turn their whole auditorium into a vision of Rudyard Kipling’s The Jungle Book davidspicer.com.au/shows/jungle-book
The Jungle Book.
Photo: Michael Swallow.
Titanic: The Musical.
Disney’s Tarzan Buderim Youth Theatre of Excellence, Queensland. May to Jun 2023.
For 23 years on the Sunshine Coast, Byte Youth Theatre has provided quality musical theatre training for young people. This year they brought audiences the classic story of Tarzan, told with the energetic music of Phil Collins in this production of Disney’s Tarzan mtishows.com.au/tarzan
Sheerluck Holmes
Georgiana Molloy Anglican School, Busselton, W.A. Director: Sue Thompson. Aug 2021.
Rachel Fentiman from Maverick Musicals said, “These talented high school students had a successful season performing this popular musical about the famed detective. The culmination of high-quality costumes, captivating choreography and the extraordinary talent of the students made this musical a memorable experience for those on and off stage, and in the audience.” maverickmusicals.com/play/sheerluck-holmes
Online extras!
Check out GMAS’ production of Sheerluck Holmes. Scan or visit fb.watch/liLgjPu8bF
The Jungle Book. Photo: Stacey Kilburn.
Sheerluck Holmes.
Let’s Put On A School Musical
Ten top tips from Maverick Musicals and Plays for your next school musical.
Rope others in!
Rule One - do not try to do it alone. Beg, plead, cajole or blackmail others to be involved.
Your ideal production team should consist of a producer to pull your team together, director, musical director, set designers, sound/lights tech team, set builder, costume person and advertising/media whiz.
Apply for the rights early
Aim to have approval from the representatives of the musical six months prior to your first rehearsal. Carefully note the legal obligations in the contract. All contracts will have rules about respecting the author’s intentions (sticking to the script), how you can promote the work both online and in print, videography and use of production materials.
Selecting the right school musical
Don’t pick a musical solely because you like it. Make sure it can be done well by your students.
Commonly five or six girls for each boy will be the audition ratio, so choose material that will give girls something worthwhile to do.
Auditioning
Select relevant scenes that will give an indication of the student’s ability.
Avoid choosing students who have other commitments that will prevent them from attending
rehearsals - no matter how good they are.
Rehearsals
Give cast your rehearsal/ performance schedule before starting rehearsals.
Send the schedule home to parents as soon as you can, with a note asking for their co-operation.
Design the rehearsal schedule so that only those required attend specific rehearsals.
It is a good strategy to call the chorus first and work on the music. Always make rehearsals fun for chorus and give them plenty to do.
Costume
Supply forms (with the rehearsal schedules) that require the character/s measurements asap and pass on to your costume department as soon as rehearsals begin.
Parents are more inclined to help make the costumes if you send material home that is cut out ready for sewing.
Sets and props
Make sure that the cast know the positioning of each set and give them an improvised stage set so they are used to moving around it.
Get actors used to using any handprops in the show. Improvise if they not yet constructed.
Advertising
Create an ‘event’ on social media and encourage the cast and crew to like and share - upload fun rehearsal shots, but not too many!
Encourage cast blogs.
Flood the area with posters and try for coverage on local radio.
Constantly remind the school of the forthcoming production via your social media pages, websites and newsletters.
Offer a prize to the student who sells the most tickets.
Performance
Always have a ‘preview’ afternoon which is, in fact, another valuable dress rehearsal; this time with an audience. Primary schools are usually happy to see your High School production.
Post performance
No matter how amiable you are feeling towards the cast, never attend a cast party if held at the home of a student! What you may see there, you may later be required to explain.
Have a thank-you meeting for the cast and everyone involved, including front-of-house and back-stage workers. This can be a special lunch. Have a short break, then start looking for a suitable show for next year.
Putting on the school musical is a bit like child-birth, and when you get it right, you forget the pain and recall only the joy - and find yourself doing it all over again.
The Broadway Junior Shows Of Stephen Schwartz
The celebrated composer and lyricist Stephen Schwartz has created some of the most beloved musicals of recent times, including Wicked, Pippin, Godspell, The Baker's Wife and Working.
Stephen Schwartz has picked up three Academy Awards, four Grammy Awards, and a special Tony Award for his commitment to new talent.
His passion for mentoring young artists and supporting educational initiatives is matched perfectly to Music Theatre International’s (MTI’s) commitment to adapt shows for young performers and provide resources for youth theatre programs.
Together with MTI, he has been involved in adapting several of his fulllength shows for young performers, including Godspell JR, Captain Louie JR, Children of Eden JR and My Son Pinocchio JR. These shows provide age-appropriate material that is both challenging and accessible for young performers, and they have become
staples of youth theatre programs around the world.
“I think Musical Theatre as a part of education not only provides performance and teamwork skills, but also provides important life skills such as empathy, community and expanded imagination. I am honoured to have my shows available as a part of MTI's Broadway Junior series and to share my work with a new generation,” Stephen Schwartz said.
Godspell JR. is an adaptation of one of his earliest and most famous musicals, based on the biblical parables of Jesus Christ. Boasting a score with chart-topping songs, this show is designed to be staged in a simple, stripped-down manner that emphasises the message and spirit of the parables.
Based on the children's book The Trip by Ezra Jack Keats, Captain Louie JR. is a musical about a young boy who moves to a new neighbourhood and must navigate the challenges of making new friends.
In Disney's My Son Pinocchio JR., the classic tale of toymaker Geppetto's little wooden puppet is given new life as it retells the classic Disney story from Geppetto’s perspective, featuring the beloved classic songs “When You Wish upon a Star” and “I’ve Got No Strings”, alongside a host of new songs by Schwartz.
Children of Eden JR is a musical that explores the stories of the Bible's first families, including Adam and Eve, Cain and Abel, and Noah and his family, and has been celebrated for its powerful message of family, community, and faith.
Stephen Schwartz's shows for young performers have become beloved staples of youth theatre programs around the world, inspiring generations of young performers to discover the magic of musical theatre and the power of storytelling.
“It was great fun for me to rethink and redesign these shows with a younger cast in mind, and I am excited to see where it takes these young artists. I encourage all young people to get involved in theatre and to discover the magic of musicals for themselves,” Stephen Schwartz said.
The musicals of Stephen Schwartz can be licensed for performance through Music Theatre International. mtishows.com.au
Stephen Schwartz.
Photo: Ralf Rühmeier.
Sound, Light & Staging
Schools Rock On Stage
Brentwood Secondary College in Melbourne staged Andrew Lloyd Webber’s School of Rock in 2023. Jack Jones from Outlook Communications describes the challenge of setting up a huge production in a school gymnasium in a few days.
School of Rock is a very challenging musical to stage technically, because not only do the lead characters need microphones, but if the actors play live on stage, their instruments also need to be amplified and balanced with the backstage band.
For this production we used 40 radio microphones for the cast and instruments.
Brentwood is a public school with a modest budget and no dedicated performing arts venue.
Outlook Communications threw ourselves into the challenge, with three days to convert their hall into a theatre.
To make it more difficult, the space has a terrible echo. Fortunately, international sound designer Julian Spink was available to help, in down time from his other gigs on professional tours of Chicago and & Juliet
We managed to get just enough radio frequencies which did not have interference. To install the 40 channels of fixed and hairline microphones we trained students to assist us.
Brentwood’s Director of Performing Arts, Ash Bull, says, “Outlook turned our 55-year-old gym into a theatre with sound of the highest calibre.
“It was also great for students not comfortable on stage to participate in the performing arts program by teaching them to install the microphones and connect the microphone packs.”
To mix the sound we used a new Allen and Heath Avantis console which can handle up to 64 channels and a Funktion-one speaker system. To allow the front rows of the audience to hear the musical we required extra smaller speakers (JBL Control 25) to boost sound.
Little Shop of Horrors
Brentwood Secondary College from August 13 to 17.
Other technical elements included a vision link from the conductor backstage to the cast on-stage.
John Yanko (Dewey Finn) won a Music Theatre Guild Award for best lead performer in a male presenting role. The School of Rock band also won a Victorian Youth Lyrebird Award for best acting partnership.
Outlook Communications loves working with schools and offering extra resources for their productions.
Get in touch with Outlook Communications at outlookcomms.com.au
Brentwood Secondary College’s School Of Rock (2023).
Fairy Tale Designs
Stage productions are becoming more spectacular than ever as designers combine animation, LED light projection and traditional set pieces in new ways. Beth Keehn speaks to the creatives of a large-scale Disney musical blockbuster (Beauty and the Beast) and a pro-am community show in a regional venue (Cinderella) to compare what new and old tools they use to create magic on stage.
Beauty and the Beast
Stanley A. Meyer has been working in stage design for nearly four decades. From small regional theatres, Stanley moved to national stages across the US before joining the world of rock and roll stadium tours and theme park outdoor spectaculars. His work for the Disney Theatrical Group started with a nervous pitch with costume designer Ann Hould-Ward to Disney, presenting stage designs for Beauty and the Beast in 1992.
Beth Keehn (BK): How does it feel to be part of something as wonderful as Beauty and the Beast?
Stanley A. Meyer (SM): It’s amazing because it all started with 140 black and white storyboard sketches I created to pitch the show. At the end of the presentation, we were shocked because the Disney executives just said ‘yes!’. And here we are, 30-something years later, and this is the tour de force Disney show running for 13 years on Broadway, and seen in countries across the world.
BK: How have your designs evolved between 1995 and 2023?
SM: The design is completely different from the original. My favourite new element is the large scrolls that fly in and move around the stage. While it looks technically amazing, it is the most rudimentary of all the scenery movements: flying in and out, tracking side to side, and rotating. So, we put all three together and it’s a magical way of creating the Beast’s castle.
Today the visuals are over-the-top fabulous with LED technology but nobody has to change a lightbulb.
Discover the dizzying array of visuals in Disney’s Beauty And The Beast youtu.be/Ld8ybQf6NjQ
Disney’s Beauty And The Beast.
Photo: Daniel Boud.
Another lighting change is in the ‘Be Our Guest’ number: in the original productions we used real neon lighting. It was flamingo pink, but neon is very fragile. Now that scene is all LED, but it looks exactly like neon and can be any colour you want!
The other thing I’m proud of is the artwork for the dining room, based on French 18th century rooms. We go into the dining room, and it opens up into this beautiful garden it looks like the scenery is splitting apart, but it’s actually an LED screen. Our LED drop of the town scene looked so much like a scrim that one of the reviewers in Sydney said they couldn’t believe the number of hand-painted drops in the show but it was all digital content.
BK: Have audience expectations changed over the decades?
SM: I think they have. But also, I go back and work in small regional
theatres quite a bit, and the audience can still be drawn in and wowed by the simplest thing and that has to do with story. If the story or the musical is good, you can do it in a Black Box with no scenery and it will carry and it will make you emotional.
BK: How has the changing technology affected your skillset?
SM: When we first programmed the deck in 1993, it took five hours. It’s nowhere near that time today. We now use Rhino 3D for 3D computeraided design (CAD) drawings. In the old days, you’d have to lay out every detail and then the shop would have to do drawings now they just take your 3D drawing and they build from it. And, although everything is created in digital format, I still draw. I do some Photoshop work with my own drawings, but I sketch and then I work with one of my associates who is a digital artist. Because I’m drawing
by hand it’s not in a computer the final result is a little more free and that’s represented in the work.
BK: How has the technology affected your design process?
SM: It’s all about the script and a ton of research! I drew on all kinds of things for this production for the initial presentation, we had boards with research images and we just talked about the design. For our concept renderings, we used a mix of hand-sketched drawing, hand-painted and Photoshop images. I’ve also used stop animation to show the team an effect I was trying to achieve.
One part of the process that hasn’t changed is collaboration: I believe that the best idea wins. People have their own forte and I think you get the best product from everybody if you work together. Collaboration involving all of the artists in our show was key to success and how it has thrilled audiences. For me the set is a platter that the rest of the show sits on. It’s not a competition; it’s all about supporting the show and how it works and how the story is told. As you can tell I love my job and am thrilled with how our production finally finished in Australia. And it makes me so happy that our show is inspiring a new generation of theatre artists and audiences.
Cinderella
As Beauty and the Beast was opening in Brisbane, the musical theatre team that has produced community pro-am productions at the Empire Theatre in Toowoomba for 23 years was taking on Rodgers and Hammerstein’s Cinderella, with scenic design by Frances Story.
Frances Story studied Architecture and Dance at Queensland University of Technology in Brisbane before starting in scenic design with Iceworks Design in Brisbane, where she has worked for nearly a decade on arena experiences, operas and musicals.
Beth Keehn (BK): How do you start?
(Continued on page 107)
Frances Story (FS): With research lots of mood images defining and honing the direction. I do a script breakdown and extract the design elements. I then sit down with the director and add notes about how they see the visual show unfolding. It’s a collaborative development with multiple meetings. The next steps include more research finding visual references that are going to speak to the look and feel of the show.
Online extras!
Watch a sizzle reel from Empire Theatre’s production of Cinderella fb.watch/rAx5ZSn45v
BK: How does new technology play a part?
FS: I do use digital technology but for mood images, I start sketching. For me that’s the best way to develop ideas without the constraints of a 3D modelling program. For those programs you really have to know what you want the software to do and manipulate it otherwise you end up with a bunch of boxes that don’t really convey the look and feel of the show. For me, in those initial stages with the director, it’s me sketching it out, because I can convey ideas quickly that way.
Once we’ve got a direction, that’s when I start 3D modelling. Because of my background in architecture, I define the design and deliver all the construction plans so I know exactly how it’s going to be built, and that gives me the most control over the end outcome.
BK: Have you had to train to keep up?
FS: With the addition of technology, the audience experience may have changed, but our job is the same to engage them and communicate the story. When I graduated from university, I came out
(Continued from page 106)
The set of Empire Theatre’s Cinderella.
Stanley A. Meyer.
with a skillset of hand drawing and hand rendering but that is not functionally practical in the theatre industry. So, I developed my skills in digital programs. For 3D modelling, I use 3DS Max; for 2D Drafting, it’s CorelDRAW; and image editing software through Adobe Photoshop. I also partner with experts. At Iceworks Design, we first used projections around 2018 on an arena show of The Wizard of Oz we partnered with the illustrator and Optikal Bloc to achieve the animation for the show. We are seeing more LED lighting and projections, which we
use to augment a physical setting. So, you are seeing that richness of a visual layered storyline a rich tapestry that can add to the layers of the story and audience experience. And we certainly used that in Cinderella to show the magical sense of the story from the Fairy Godmother’s perspective.
BK: What was the main technical challenge in Cinderella?
FS: Cinderella has so many different scenes, the technical challenge was making sure that we made those happen, while also working within the constraints of the
number of personnel the number of flymen, mechanists and the limited time within the number of bars of music that we have to complete the scene transitions. I wanted to design it as a physical set so there is a nostalgia when you experience a set moving on and off stage. We had physical backdrops they are not projected images. For example, the moon is a real piece of stage scenery: it’s not a projection. So, when that changes, it’s happening before your eyes and there is a tangible sense of the magic on stage!
Leah Crockett explains how Inspired Productions helped a high school take a giant leap in quality, scale and
Chevalier College in the NSW Southern Highlands recently staged a production of High School Musical that left audiences buzzing with excitement.
One of the most impressive aspects of the production was the innovative use of technology: particularly the use of an LED screen and DPA headset microphones.
Using DPA headset microphones allowed for crystalclear sound, ensuring that every line, every note, and every nuance of the students’ performances could be heard with perfect clarity. The use of headset microphones for every cast member was a new concept for a Chevalier’s musical. They were supplied and operated by the professional team from Inspired Productions.
Unlike traditional setups where performers are often constrained by handheld or stationary mics, the headset microphones provided freedom of movement, enabling the cast to fully immerse themselves in the energetic choreography and dynamic staging.
The most striking feature of the production was the massive LED screen that served as the digital backdrop for the entire show. This screen displayed custom-created visual content that transported the audience directly into the world of High School Musical
Director Joshua Combes, Head of CAPA at Chevalier College, was the mastermind behind this digital spectacle. His vision content was an integral part of the storytelling,
sophistication.
adding layers of emotion, context, and atmosphere that traditional sets could never achieve.
For each scene, Combes custom-designed digital background content to evoke scenes of high school hallways, karaoke competitions, and incorporated video content which the characters on stage could interact with. One such moment was when the character of Sharpay signed up for auditions; their writing appeared digitally on the LED screen background.
The vision content also gave the audience insight into the thoughts and feelings of the characters, including showing a playlist of the songs running through the characters’ heads and images of their future aspirations.
Immersing the audience in the characters’ journeys was at the forefront of Combes’ design vision, so much so that the audience joined the cast for an electric karaoke competition during the finale and bows.
Though the design took many months to achieve, it left the audience with a lasting impression and added to the energy and spectacle of this technically savvy show.
This production was also remarkable for its learning opportunities. Students were given the unique chance to work alongside the Inspired Productions team, gaining invaluable experience in the technical aspects of theatre. From operating the lighting to managing microphones, students were trained in a variety of technical roles,
learning the intricacies of live production in a real-world setting.
This collaborative approach not only empowered the students with new skills but also deepened their understanding of the complexities involved in staging a professional-quality show.
The seamless integration of advanced technology, coupled with the hands-on training provided by Inspired Productions, together with a talented, passionate cast, resulted in a show that rivalled professional theatre productions.
Chevalier College’s High School Musical set a new benchmark for the school and showcased the best of what student performers and dedicated technical teams can achieve together.
Inspired Productions invite you to get in touch with them to unlock the full potential of your next show. With their state-of-the-art technical equipment and expert operation, Inspired Productions can help transform your vision into a spectacular reality.
Elevate your production to professional standards, captivate your audience, and showcase your talent like never before with Inspired Productions. info@inspiredproductions.com.au inspiredproductions.com.au
Get noticed on the Stage Whispers website with a premium listing at a great price stagewhispers.com.au/directory-central
Chevalier College’s High School Musical All photos: Steven Foster.
No theatre?
No problem!
Tips from Theatre Star for transforming any space into a performance area.
Transforming your classroom, multi-purpose room, or gym into a temporary performance space can be accomplished with a few straightforward techniques. Using portable drape support systems is a convenient method to swiftly alter your setup and maintain versatility. These systems can be adjusted to serve as backdrops, flats, masking, and photo backdrops.
Instaframe - Expandable Pop Up
Portable, lightweight, and suitable for hanging curtains or backdrops. Instaframe stands come in a variety of sizes and can be used vertically and horizontally. Ready-made drapes are available flat or pleated and are easily interchangeable with custom drapes or backdrops.
Telescopic Drape Supports
If you need to vary the width and height for different applications, then telescopic drape supports are a versatile and easy-to-assemble and disassemble solution that you can pack away after use.
Fixed Tracking
Tracking is a more permanent solution which we can tailor to the requirements of a venue, especially for larger spaces with higher ceilings or roofs.
Get in Touch
Theatre Star offers a variety of products and services to meet your needs, and their experienced and committed team are happy to provide advice and site inspections.
Visit the Theatre Star website to view their product range and take advantage of current promotions. theatrestar.com.au
Don’t Forget The Tech Crew!
Leah Crockett, creator of Tech Crew HQ, explains the importance of training your crew to ensure that your show is a success.
It’s four weeks ‘til showtime time to bring in the technical crew!
Uh-oh, how do we train our new Tech Crew members so that they will be ready for the show?
If you’ve ever been involved with a school production you will know that students relish being involved in all aspects of a production even if they are not performing on stage.
However, too often we bring in students with no other theatre experience and give them a slap-dash introduction to working backstage. This approach often leads to difficulties communicating, increased safety issues and some very tedious technical rehearsals.
A well-coordinated backstage crew is the unsung hero behind every seamless performance, and the key to a great backstage crew is great
training. Technical theatre training doesn’t have to be laborious and expensive, but it does have to be theatre specific and it must have safety at its core.
That’s why Tech Crew HQ was invented; Tech Crew HQ is online training specifically designed for tech crews to give them skills and knowledge in the areas of lighting, audio, safety, stage management and vision. Being online means that Tech Crew HQ is accessible 24/7 and features lots of videos and interactive activities so that learning the skills for the next production is quick and engaging.
Tech Crew HQ is flexible enough for individuals to learn on their own, or for group training sessions.
Tech Crew HQ is theatre and live event specific, utilising Australian
theatre terms and standards, as well as showcasing Australian and New Zealand live event professionals in its regular webinars.
As more schools and community organisations access training through Tech Crew HQ, we are hearing of great things happening backstage including increased professionalism of the crew, higher confidence when operating shows, more efficient technical rehearsals and a focused approach to staying safe backstage.
If we take the time to train our technical and backstage crew effectively, shows will run smoothly, safely and these creative collaborative experiences may even provide students with a career pathway into professional theatre and live events.
Ignite Your Outlook
The Managing Director of Outlook Communications, Jack Jones, explains why he recommends the Beamz Pro range of lighting for venues, bands, schools and community theatres.
When Outlook Communications was acquired by my company, The Big Production Group, last year, I wanted to expand the company’s audio offerings to include a full range of lighting.
With the myriad of brands out there, it was hard to choose one flagship company. I took advice from a trusted supplier, James Pavey from Audio Visual Engineering (AVE), which is a family-owned entertainment Australian business (like Outlook), dedicated to the music, and entertainment industry.
From day one, the relationship between AVE and Outlook has been very successful. James recommended Beamz Pro products because of their quality and affordability. They do the job for a third of the price of other brands, which is great for community theatres and schools which don’t have big budgets. Over the past six months we have acquired over 100 fixtures for sale or hire. Some highlights include:
The IGNITE300 is a powerful Beam/Spot/ Wash moving head with a 300W bright white LED source and super smooth three phase motors. Equipped with two gobo wheels, two effect wheels and a rotating facet prism to make stunning aerial effects in eight colours plus white. The linear motorised zoom allows you to focus a beam up to 7° or open up to 32°, to cover a wider area with ease. Perfect for stage shows, productions, events, DJs, bands, venues, and more.
The WBP1212IP is an aluminum IP65 PAR with built-in battery designed for outside usage with 12 high power six-in-one LEDs giving six colours. The fixture enriches the wash possibilities to ensure a better convergence of light. It’s water resistant with watertight internal gaskets and weatherproof power and data cable in/out
connections. No fan as heat is dissipated via the aluminum housing. It also comes with an Infrared remote control.
The BBP54 is a compact Battery Par for use as accent and uplighting. The light is IP65 rated and hence for outdoor and indoor use. It‘s equipped with 4x super bright 12W RGBAW-UV LEDs and comes fitted with a removable built-in battery that lasts up to 15 hours when fully charged, depending on colours and intensity. An adjustable foot can be fixed in different angles for angular placement of the par. The fixture can communicate by IR remote control and wireless DMX.
The Kratos LED Tubes feature full RGBW color mixing, giving you complete control over your lighting environment. Each of the eight tubes can be controlled individually, allowing you to create complex lighting setups quickly and easily. With its lightweight and durable design, the Kratos Tube LED set is perfect for on-the-go shoots and studio productions. It offers a wide variety of stunning special effects to choose from, for any project, from commercials to musical performances.
In late January our senior management team travelled to Barcelona to visit the Integrated Systems Europe (ISE) Expo. We met the Dutch owners of Tronios the parent company for Beamz Pro. This opened a conversation to work together to provide active feedback on new and existing products for the Australian market.
All the products highlighted are perfect solutions for schools and community theatre groups. They are affordable yet the quality is second to none. We absolutely love these products, and you will love them as well. Outlook has all the above in our hire stock, but we are also a sales dealer for Beamz Pro.
For all your lighting needs, get in contact with Outlook Communications. Call: (03) 9495 1755 Visit: outlookcomms.com.au Email: info@outlookcomms.com.au
Transforming A School Hall
Trent Pickles from the LifeLike Group explains how his company transformed a tired school hall into a state-of-the-art AV facility that springs to life at the push of one button.
St Joseph’s College in the Sydney suburb of Hunters Hill came to us to upgrade their school hall that was, in a word, abominable.
The facility was straight out of the 1980s a hodgepodge of random lights, half-working sound, an old projector drumroll screen on stage, dilapidated curtains and the bio box was in a mess.
Our company works on projects that range from simple upgrades to a full-scale system overhaul.
In this case we gutted the entire hall and our team of experts came up with a solution to combine simplified, intelligent scene control of sound, lighting and audio visual.
The space is used regularly for assemblies, rallies, exams, mass and performances.
Now the system can change-over from a simple school assembly to a full theatrical production at the touch of a button.
The most visually striking feature of the upgrade is the screens. On the stage is a 12.5 metre wide by 4.5 metre high LED wall, surrounded by two 4 by 2.5 metre screens.
There is a new motorised curtain rig. We reinforced the ceilings and installed five motorised lighting bars. The lighting rigs comprise 20 ETC LED lights and 18 Axcor washes and spots
and the new sound system is a 24 element MARTIN line array.
In the bio box is an Allen & Heath AVANTIS sound console, an ONYX NX1 lighting console, and a Blackmagic DESIGN vision production suite.
There is an overarching Q-SYS control system for simplified operation by any user.
A teacher who knows nothing about tech can simply press one button, and it will turn the lights on, turn the video walls on, open the stage curtain and get the sound ready for presentation.
Some of our clients have gone on to use the theatre control technology to integrate site-wide school paging and audio-visual distribution.
St Joseph’s College is over the moon at the upgrade. It cost over a million dollars but we have also completed upgrades for other schools for less than $50,000
Our team has a wide range of solutions available, all dependent upon existing equipment, operational requirements and budget.
For more information reach out to the expert team via email info@lifelike.com.au or call Sydney (02) 8880 6766, Newcastle (02) 4915 9615 or Melbourne (03) 9118 8201. lifelike.com.au
Stage Safety
Mark Wilson from Theatre Compliance And Service explains why all venues that hang loads above people’s heads need an annual safety inspection.
A few years I was doing an inspection at a major suburban theatre when the brake failed on an old-fashioned winch and the chain went into freefall.
When the handle spins quickly it can take skin off people’s hands. I saw a technician have his finger opened quite badly because he could not get it out of the way fast enough.
Another time I saw a bar go into freefall at a school and it was lucky no one was under it. Naturally, whatever is on top of the bar a speaker or lights gets damaged.
The winches are no longer compliant and are being replaced by an electric pile hoist or an electric drum hoist. The pile hoist is the cheaper option favoured by smaller venues, whereas the drum hoist gives stage operators more control.
Sometimes schools get a handyman to hang things using chains they pick up from a hardware store. This is not acceptable. Theatres need to install a rated chain from a rigging store.
To be fully compliant, any venue in which equipment is lifted above
people’s heads, an annual inspection is needed.
My company inspects venues ranging from small schools, to rural theatres and major city venues such as Sydney’s State Theatre.
The key things we are looking for are the rigging, to make sure all the chains and shackles are rated and compliant to lift a load above people. We examine whether the nuts and bolts are tight enough and if they have the correct washers.
To arrange for an inspection contact Mark Wilson at Theatre Compliance And Service on 0419 144 868 or at mark@theatrecs.com.au theatrecs.com.au
Safety inspection at Sydney’s Knox College.
An outdated hand winch.
When Theatre Is A Way Of Life
The team at LifeLike Atmospheres has been putting on shows for over 21 years now, with hundreds of school and theatrical groups, and we're proud to say that we're helping more young people shine every year.
If you're looking to put on a show, you want students to be engaged and excited about being part of the experience. The key is having them involved in the design, programming, set-up and operation of the production.
LifeLike’s team of experts in design and technology bring a passion for education and a deep understanding of what it takes to empower students. They have worked on projects ranging from $100,000 plus major musicals to a $1500 school play.
We aim to meet or exceed our client’s expectations within their budget. Our services include:
Lighting design, audio engineering, staging design and technical drawing as well as 3D concepts for projected backdrops.
Equipment hire including lighting, audio, projection, LED video walls, rigging, truss, staging and special effects.
Pre-event and onsite training programs tailored for teachers and students.
If you're ready to empower your students with everything they need to get the most out of their experience, we invite you to reach out today!
Trent Pickles, Director of LifeLike Atmospheres, says that putting on a show can make a difference in the lives of young people by supporting their creativity, self-confidence and communication skills. For more information reach out to the expert team via email info@lifelike.com.au or call Sydney (02) 8880 6766, Newcastle (02) 4915 9615 or Melbourne (03) 9118 8201. lifelike.com.au
Lighting Up The Stage
For over 30 years, the Stage Light crew have been supporting Performing Arts in schools & colleges. Brian Walsh, Senior Production Designer, explains how his company is helping young people shine.
Involvement in performing arts promotes self-confidence, communication, creativity and team skills, as well as emotional wellbeing. Student participation is linked to positive academic, social and emotional outcomes later in life.
So, the job of creating wonderful stage experiences is one that’s taken very seriously. Igniting a love of performance in young people is something they care deeply about.
The devastating impacts of the COVID-19 pandemic on the performing arts sector, and on the mental health of individuals, makes it more important than ever to get it right, now we are returning to live performances.
To give back to the community, each year the Stage Light crew collect, assess and repair used stage lighting & audio equipment, before donating them to low SES schools and fire/ flood effected venues throughout NSW. If your performance space has lost, damaged, unsafe or no lighting
and sound equipment, reach out to Stage Light.
The Stage Light crew also undertake annual volunteering at the REELise Film Festival an initiative to support youth mental health.
So, what are the key ingredients to getting it right and supporting a great show?
Production design can support the story and evolving moods of the performance. Stage Light provides lighting, audio and staging design, technical drawing and 3D concepts.
Once the design is finalised, Stage Light can help with equipment hire. They can supply lighting, audio, projection, LED walls, media servers, special effects machines, lasers, communications, rigging, ground support, scaffold, staging and inflatable decor.
Additionally, their crew provide on -site training for staff and students in most aspects of technical production.
Student participation in show production at all levels, where
practicable, is encouraged.
Professional crew work with staff and students to bump-in, focus, program and operate the equipment, providing on-site training and supporting “guide to” documents.
The crew ensure your venue is safe and compliant. Student crew members complete an online safety induction.
Stage Light believes that staging a great show can make a positive difference in the lives of the students involved as well as their audience.
Stage Light provides a full range of technical production services to schools for performances of all kinds at generously discounted rates, and currently services more than 300 Schools in New South Wales.
For more information email info@stagelight.com.au, call (02) 9533 5152 or visit stagelight.com.au
Loud And Clear Musicals
Sydney based audio company Loud and Clear and the Hornsby Musical Society have marked a unique milestone 50 “unforgettable productions together”.
The company’s owner and founder, David Betterridge, reminisced about what he described as the rich history, friendships, and enduring magic that can only come from decades of collaboration.
The partnership began in 1995 with a production of Les Misérables, where Betterridge recalls enduring freezing winter temperatures and the challenges of a vast cathedral-like auditorium.
“We achieved something extraordinary. Mixing the show sometimes in fingerless gloves.
“It was a huge success and the first of many Les Mis seasons I would mix. I counted 88 performances before I went mad.”
That show sparked a relationship with Hornsby that has only grown stronger, with countless show
memories, and a shared dedication to theatrical excellence.
Loud and Clear’s journey has seen the company grow from a passion project to a fully-fledged operation with a team of over 40 and equipment valued at over $3 million dollars.
The company also recently celebrating their 1300th show.
As the audience gathered for Hornsby’s evening performance of Urinetown, Loud and Clear’s founder presented a commemorative memento to the company.
What resonated in his speech was a love for the craft and the community that has supported it for nearly three decades.
Amusingly, he noted the connection between Les Misérables and Urinetown. “The only thing I
could find that links Les Mis to Urinetown is sewers. And revolution of course.”
For Hornsby Musical Society and Loud and Clear Audio, this milestone symbolises not just the past 50 shows, but also so many more they will continue to create together.
Here’s to a future filled with more remarkable productions, unforgettable memories, and the sounds of success!
Koren Beale
Photo: SRD Photography.
Multi-award-winning Nick Schlieper talks to Martin Portus about the rigour and magic of lighting our landmark operas, plays and dance works for four decades.
STC’s Saint Joan (2018)
Photo: Brett Boardman.
Nineteen-year-old Nick Schlieper first plugged into his craft alone backstage at Doris Fitton’s old Independent Theatre in North Sydney in 1977.
It was a time in Australian theatre when the lighting guy was usually one of the mechs. Nick was the Independent’s resident stage manager; restless, he began experimenting every night during the show by shifting around the lights. Actors learnt to just work around it.
Schlieper has been playing with light ever since, earning - and demanding - a respect for the precision, invention and storytelling role of his craft, and his very distinctive signature in lights.
It’s no surprise that painters are his first inspiration - think Turner and Edward Hopper and Nick’s own late brother. Michael Schlieper, Nick’s senior by 11 years, would work on his canvases through the night at the family home in Chatswood. Every morning, getting ready for school, Nick would observe the added layers, the depths appearing from new light and colours.
“I think I learnt most about lighting design and light from that exposure, watching him painting and then, growing up, talking to him about it, and watching his style change radically over a few decades,” says Nick.
“He started out as a wildly abstract painter, went through a very figurative, so-called Teutonic, social commentary period and then ended up painting landscapes but with a great facility for technique, which I learnt from him.”
Nick’s start in stage management also added a practical insight into the logistics of theatre - and the required diplomacy. He was soon responsible for casts and crews far older than he, calling shows, later operas, with the big companies in Sydney, Brisbane and Adelaide. Finally as a production manager, young Schlieper always had work …until, that is, he put out his shingle as a freelance lighting designer.
The jobs were few but, somehow, he scored the lighting gig on the STC’s Summer of the Seventh Doll and
Away, both of which went to New York in 1988. He remembers Roger Kemp’s three model houses signifying the three families intersecting in Away.
“It was played in tight areas and was the first time I had to create a naturalistic pool of light in an abstracted stylised space yet evoking a sense of place. And I approached it from an incredibly simple point of view - of standing under a light bulb, but expanded.”
German director Harald Clemen commissioned Nick to light a show at the prestigious Schillertheater/ Berlin just before the Wall came down, which was, he says, like “dancing on a volcano “ with the arts integral to everyone’s fervent conversation, and part of the arsenal between East and West.
Germany of expressive techniques in lighting design. Images of German theatre may look stunning, but the lighting was fixed.
The idea of leading the audience’s eye, lighting the actor and expanding on the emotion was becoming essential to Nick’s story-telling toolkit back in Australia but, then at least, it was foreign in Germany.
“Germans called it dramaturgical lighting, and actors even said to me that they resented me doing their job for them. It was best to do it under fluoros and with the house lights on! It was a Brechtian hangover.”
Times have changed. Nick went on to work regularly across Germany, and notably at the Salzburg Festival: he’s just returned from there, lighting a brilliantly urbane contemporary version of Médée. For more than a
“And at the theatres I suddenly understood where my aesthetic had come from - it was like coming home,” says Nick, whose family immigrated from Germany.
“In Australia I was jokingly criticised for my work being very Teutonic, very stark, without much colour. I spent a lot of time making people look right, not nice - which is not the same thing. I do use very steep angles, very cold light, all things very unfashionable then.”
Home he may be, but Nick was also staggered at the absence in
decade he’s taught lighting design in Munich and he went on to see WAAPA in Perth establish Australia’s one major lighting course.
But ‘dramaturgical’ remains his best descriptor. He rejects all jobs unless he’s included from the start in that first collaborative planning with the director and other designers. He reads the script or score over and over again and, he says, he eschews tricks and focuses his lights only on advancing the meaning of the work.
(Continued on page 125)
Bangarra’s Bennelong (2017)
Photo: Daniel Boud.
(Continued from page 124)
“We start with that simple question - why are we doing this work? It’s all the more vital a question when it’s a classic. I’ve done five productions of Macbeth; if you don’t ask why you’re doing it here at this time and place, then they’d all look the same. And once you answer that
question, you find the environment in which you’ll do it.”
All this was well tested when Nick and his frequent collaborators, director Elke Neidhardt, and set and costume designers Michael Scott Mitchell and Stephen Curtis, started planning what was Australia’s first full production of Wagner’s Ring Cycle. It was premiered by the modest sized
State Opera Company of SA in 2004, but years earlier Nick was getting his head around a score lasting 16 and a half hours.
And it was all the harder, given his block about Wagner, one he suggests is common in many Germans.
“It just makes me very uncomfortable, to the base of my spine, since it’s so laden with his vile thoughts…. so learning what I find fairly repugnant music was a challenge.”
Still, five years out, he joined the creative team, all of them leaving behind their phones and locking themselves away in a Blue Mountains retreat.
“But at the end of that week at “Camp Wagner”, we’d only got as far as the first five minutes of the first opera, and most of that was the prelude!
“Still, all that time we were addressing the whole framework with the same question - why are we doing this work yet again and why in Adelaide?”
This landmark Ring had massive, strikingly lit set pieces, but here again
Nick Schlieper at the lighting desk for Love Never Dies (2012).
Photo: Jeff Busby.
Médée (2019)
Photo: Thomas Aurin.
for the lighting designer the priority was story-telling, of not losing sight of the human stories over time.
“We always made sure that after fabulous visuals we came back to a permeable box with no scenery in it, just lots of light and that light in those interludes, even more than usual, with a focus all about the singers.”
With a set that filled 38 shipping containers (an average opera may fill three) and a lighting rig with a thousand lamps, this was the biggest theatre show ever staged in the country. Oddly for the celebrated designers, the job offers then dried up.
“You’re so easily pigeon-holed by this industry. I think we were branded as, they only do huge now!”
Nick however did join another trusted collaborator, director Simon Phillips, in 2006 to create the stage version of the film hit, Priscilla, Queen of the Desert.
“I’m not drawn to musicals but I was keen to get over my prejudice that they’re all flash and giggle and not much craft.”
With a colour palette beginning with hot pink, he was also repainting his reputation as a master of stark white light. Nick’s starting point with Priscilla was that every scene have the sparkle, the heightened colours, as though viewed through the lens of a drag show - just like back then at the famed Imperial Hotel in Newtown, Sydney. He admits that the lighting
took a leap elsewhere, especially with the introduction of Brian Thomson’s magically inventive bus and a huge tech budget. And Nick finished up with a lighting plot of 2,500 cues.
The arc of Nick Schlieper’s career has seen an ever-growing respectfrom audiences, critics and industry
(Continued on page 127)
MTC’s North By Northwest (2016). Photo: Jeff Busby.
Nick Schlieper spoke to Martin Portus for a State Library of NSW oral history project on leaders in the performing arts; the full interview is now available on amplify.gov.au
(Continued from page 126)
colleagues - for the craft of a lighting designer, and an astonishing shift in the technology at their fingertips.
“I’ve seen manually operated desks replaced by computer boards; football -sized globes replaced by ones golfball -sized; and colour temperature and heat emissions have changed so much we can have an expanded palette of colour gels. And importantly we can now have a whiter, less yellow light.
“At first with computers doing a lighting fade we missed the skill of a good operator, but now these have a control which is incredibly sensitive. You can virtually move a host of lights throughout a show without the audience being aware of what you’re doing.”
A negative for Nick is LED technology. He argues it reduces the colour ring spectrum to just 70%; with the missing 30% so critical because that’s the light most sympathetic to skin tones, to lighting the actors and telling the story.
It didn’t stop him, however, employing a huge back wall of white
light in the STC’s Cat on a Hot Tin Roof. The lighting bank initially simmered and then blasted direct into the audience, suggesting the fireworks - and raw emotions - that climaxed at the end of the play.
Nick has the perfect collaborator in STC artistic director Kip Williams, whose own stage signature often strips everything to an empty space, often with a revolve, defined with little set or clutter, and so often dramatised by cross lighting.
Their recent credits also include Chinamerica, with its complex storytelling across countries and decades; the epic dramatisation of Ruth Park’s Harp in the South; Brecht’s Arturo Uri with Hugo Weaving; White’s ghoulishly vaudevillian A Cheery Soul; and Shaw’s St Joan. He just finished lighting Simon Phillips’ STC production of Stoppard’s The Real Thing
He remains a big fan of white light and cross-lighting, and his reasoning, of course, comes back to what’s true to the performers.
“It solves the age-old problem of people standing next to each other
talking as we do in real life, by lighting along the axis they’re speaking to each other.
“And it gives such a sculptural impact to dancers. It makes bodies look fantastic and faces so much more interesting and more present.”
Nick has lit six notable shows by Bangarra. With Patyegarang and the most recent, Bennelong, he’s lit Stephen Page’s significant shift to a dance theatre storytelling involving points of view both indigenous and colonial.
“In terms of the practical, it’s about being very careful about colour and choosing the optimum angle for dancers … but with the episodic story of Bennelong I also had to be wary about leaving the audience with a clear dramatic structure.”
He’s getting over being what he describes as “the whitest thing possible in that context, yes Aryan even!
“It’s a very useful reminder - as if it’s needed - of how strongly you can feel being the ‘other’, and useful to have the boot on the other foot.”
Keeping Mics Hidden
Artie Jones from Factory Sound shares his tips for schools and amateur theatre companies on discreet and crackle free use of microphones.
An incredible amount of research, design and engineering goes into producing every microphone you can see (and those you can’t see) in use on the stage and in studios around the world.
This won’t guarantee perfect performance every time. There are steps you can take to improve performance - or at the very least, prevent audible interference or physical problems that arise from misuse.
Shrinking Graduation
In Primary School performances, lead roles often pass a handheld wireless microphone to each other when there is a line to deliver or a song to sing, while many Secondary School productions will feature headset microphones.
More sophisticated productions will ‘feature’ microphones totally hidden from the audience, but what is the best way to do this?
Invisible, Not Impossible
Moving to miniature microphones, often called lavalier microphones, is a step in the invisibility direction, but this usually comes at a cost. A highperformance microphone capsule smaller than your pinky fingernail is not only often priced higher than the other options, but there is no guarantee the
sound will be great, unless some careful steps are followed
Securing a miniature lavalier microphone right at the hairline, at the top of the actor’s forehead, is a great place to hide the microphone. It also picks up a very natural sound from the singer, without overloading the capsule via a ‘proximity effect’ (the more pronounced bottom end sound which you may get from a handheld mic when it is closest to the source).
Other places include elsewhere around the hairline, such as above the ear. Underneath clothing is an option for some actors and costumes, but the horrible sound of clothing rustle on a microphone capsule (which can sound like wireless microphone interference) may then arise.
Tale Of The Tape
Essential in the theatre audio toolkit is tape, and lots of it. Gaffer Tape (the 510-matte variety), Hypoallergenic surgical tape, Lav tape, and specially prepared Undercovers and Stickies are all useful in making sure the capsule stays put, and the actor is comfortable. Should a microphone need placing under clothing, the UNDERCOVER range of adhesives makes sure that the apparel does not rub against the capsule. In an emergency, try the
triangle-tape technique, to secure and surround a lavalier capsule.
Stashing The Pack
For each mini microphone, a wireless transmitter (bodypack) will be required. It’s easy to imagine simply popping it under some clothing, but steps need to be taken to ensure both the integrity of the wireless signal, and also the longevity of the wireless transmitter.
Sweat from an actor’s skin is the number one enemy of sensitive electronics, so care must be taken to avoid direct skin contact. A protective neoprene pouch is often used to safely strap a pack to the waist area. Sometimes an extra layer of protection via a latex sheath is used if the actor is “a sweater”. Moisture seeping into the electronics of a bodypack will decrease the functional lifetime and affect the wireless integrity.
Antennas must be clear of any metals to avoid ‘detuning’ the wireless signal and ensure they are allowed to sit in their ‘straight’ position, without an unnatural bend.
Before Moving To Miniatures
Both the “Primary” and “Secondary” microphones listed above are not without their charm and benefits. While a handheld microphone has the obvious drawback of taking a performer’s arm away, it does offer the most flexibility for a powerful singer. We can all visualise the action of a singer being able to control how far away from their mouth the microphone capsule sits, depending on how hard they’re belting out a note.
The headset solution turns fixed distance into a feature, by ensuring the microphone capsule is in exactly the same place for the entire performance. In effect, the microphone moves with a performer’s mouth, so every time they turn their head for a stage direction or choreography, the microphone capsule is right there ready to capture the sound without missing a beat.
As always, if wireless microphones are causing more headaches than you can handle, get in touch with an RF specialist to make sure you get looked after.
Sound Advice
Artie Jones from Factory Sound shares his tips for trouble-free use of wireless microphones.
Troubleshooting Wireless
No matter how big or small the stage may be, wireless microphones are the essential first ingredient to help bring an intimate and detailed sound to the audience.
A well-designed system will always make the complex appear simple, and reputable wireless manufacturers have done huge amounts of ‘heavy lifting’ to make the set-up of a clear channel as easy as touching a button (or two).
Dreaded Dropouts
There’s nothing worse than an unexpected ‘drop out’ of the wireless signal. It leaves the audience disappointed, while often proving to be unsettling for the performers.
For inexperienced operators, there is nothing surprising about wireless interference and drop-outs, if the golden rules of wireless tech haven’t been followed before every show.
Rule #1 - Scan, Scan, Scan
It is the most basic rule to follow, and it costs nothing!
With the maturing of wireless microphone technology over the past decade, the process is simple. It involves pressing a button on the wireless receiver (which will normally be placed at side of stage, or at the mixing desk position), allowing it to find the most clear frequency available. Then you simply sync the wireless microphone (or bodypack) to the same frequency, and voila, the system is ready for soundcheck, and the show.
The number one cause of wireless interference is failure to follow Rule #1. It doesn’t matter if the wireless system, or systems (more on that later) worked perfectly when you first pulled them out of the box, the fact remains that a scan will be the best way to avoid any problems.
Managing Multiples
Sophisticated productions usually involve more than just one wireless system, which introduces a whole range of potential Radio Frequency (RF) concerns.
Adhering to Rule #1 when you are dealing with many wireless systems will involve a little more concentration, and large-scale set ups will usually involve a laptop with some kind of Wireless System Manager on-board, to assist with frequency scanning, channel allocation, and monitoring of RF integrity.
Online extras!
Factory Sound can keep up to date with all of the latest in pro audio gear. youtube.com/FactorySound
More Antennas = More Headaches
An unfortunate side-effect of having multiple channels of RF running concurrently for a performance is that not only will the active channels have their own frequency signature taking up space in the RF spectrum, but extra nodes in between those frequencies will appear - kind of like a reflection - and this effect of intermodulation will cause, in some cases, interference to your wireless channels.
Reducing the amount of antennas around the stage area will actually decrease the amount of intermodulation, and so a well-designed Antenna Splitter is a great way to maximise the efficiency and effectiveness of any multichannel wireless system.
Cables And Other Considerations
Are you using the right cable for antennas? (50ohm, not 75ohm). Are the antennas in the right position? Can you select frequencies for your area that actually minimise the amount of intermodulation?
Managing wireless microphones can seem complicated, but really, follow Rule #1 and follow it often, and when it’s time to expand or refine your system, get in touch with RF specialists for advice.
Oh, and fresh batteries for every show!
Factory Sound is Australia’s largest supplier of professional audio equipment. For sales or hire please visit factorysound.com, email sales@factorysound.com, call 1800 816 244 or stop by their showroom located at 75-85 York Street, South Melbourne.
Lighting Rig’s Quick Change
Creating one lighting design and rig is a tricky enough challenge, but Pip Morey, a NIDA Third Year Technical Theatre Stage Management student, had to create one universal grid for two shows.
NIDA’s Festival of Emerging Artists is always frantic, and to make it more challenging I was working on two spectacular shows that were complete opposites. One was a contemporary take on Caryl Churchill’s Hotel, a piece of largely physical work which had a cast of 10, and the other, Burning, a new indigenous work that explored the struggles and trauma indigenous Australians have endured over hundreds of years, told through young eyes.
Each piece had obvious lighting needs, such as having a general wash state as well as some face light, but both shows also needed to be able to interact with the lighting, letting it be a part of their stories and not just a complementary factor. Given that the two shows were performed each night, only 40 minutes apart, I had to make the overhead grid as universal as possible. I was lucky enough to have a mixture of tungsten fixtures as well as some LED and moving light fixtures. This allowed me to leave room for experimenting with different colour combinations and shapes when designing the grid.
Hotel explored themes of loneliness and escape. It had ten characters, each of them with their own storylines and motivations. My lighting would need to support them as well as act as a clutch the audience could hold onto throughout the performance.
The first image (above right) was shot during the opening sequence. Each character enters the one hotel room, one by one, with their own motivations. The woman in the image immediately walked into ‘the bathroom’ where the bright light comes on. It mimicked a real bathroom light, but also, because of how bright the light was, the audience was almost blinded for a moment. When the human eye became used to its surroundings, audience members were able to look
Hotel.
Photo: Lisa Maree Williams.
Hotel.
Photo: Lisa Maree Williams.
into the mirror and see the woman’s reflection. A cold stare, one of questioning and doubt, which set up her character for the entirety of the production.
The second image (opposite page below) shows the scene we called TV, and I like to call it the calm before the storm. It is the last moment before we would explore some of the characters’ own personal hardships and struggles. Although this scene was set late at night, I still wanted the audience to be able to see the characters’ faces and reactions, their interactions with their respective ‘partner’ or the reactions they feel alone in a hotel room, whether it be a positive or negative experience.
The final image (above right) is from one of the final moments of the play. All the characters but one have left the hotel and we are left with a single woman who has been the most mysterious character thus far. The lights chosen drained all the colour from the stage. I thought that these would be perfect for the last act, as the character begins to explain her reason for being in the hotel, exploring themes of depression, loneliness and desire to disappear.
(Continued on page 133)
Hotel Director: Eve Beck Set and Costume Designer: Hayden Relf Sound Designer: Jessica Pizzinga Production Manager: Madeline Picard Stage Manager: Zoe Davis Head Electrician: Cameron Russell
Hotel. Photo: Lisa Maree Williams.
Colour is so full of emotion and as a lighting designer so much of my job is displaying how the characters are feeling onstage through the lighting. As show ends, essentially all the colour is stripped from the stage, the costumes and even the actor, and we are left with this yellow monochromatic state which just displays different tones of the same yellow.
Both shows had completely different approaches to the script. Hotel relied heavily on a sense of realism, whilst Burning existed in a blurred world, between real and metaphorical. The transition between the two shows was only 40 minutes. We had to completely bump out one set and get in the new one, also allowing the cast warm-up time within that time frame. Within the lighting changeover, we would remove the set electrics from Hotel, add a floor lighting fixture for Burning, do a gel change in the boom lights and a focus change in some of the overhead lighting.
Burning is a new First Nations piece which confronts the pain afflicted on First Nations people. It plays with the highs and lows of human emotion, going between happiness, sadness, anger and fear constantly. I knew that through my lighting choices I could
enhance these feelings, both for the audience and for the cast onstage. This scene (above) was set in the heart of country. Three women of indigenous descent are in their own personal ‘happy place’ - safe to do and act as they please. They danced and played with each other,
(Continued from page 132)
Burning.
Photo: Lisa Maree Williams.
Burning.
Photo: Lisa Maree Williams.
interacting where there was no sense of danger or threat. It was a joyous scene which marked the calm before the storm. I wanted both the audience and the cast to feel safe in this scene. That’s why I chose really warm side lighting which complemented the purple and pink tones of the overhead wash, in turn creating this almost imaginary world where the characters can be truly comfortable with themselves and each other.
This scene (opposite page below) was the peak of terror of the piece, depicting the rape and murder of one of the women. I chose to make it as cold and dead as possible. With the stark white lighting, there is no place for the women to hide - no safety, no shelter - they are truly exposed to their tormentor and eventual murderer. The main lighting choice was a bright light coming from the back of the stage; this acted as an almost blinding light for the audience and through that they saw the man enter.
This scene (right), which followed immediately, was a monologue spoken by our ‘woman’ character, describing how sick and tired black Australians are of the pain and discrimination they have faced for hundreds of years. The text was so powerful that I wanted the audience to be solely focused on our women and what they were saying. Each had their own spotlight, with our main women having two tones of blue and purple. Blue correlated with sadness and depression but also accentuated facial features and expressions. The audience could see every emotion shown and every pause they made throughout the monologue.
Lighting is a tool that can enhance a space and bring an audience into the space and the story. Doing one show at a time can be hard enough, but doing two shows in the same venue, at the same time, brought way more challenges than expected. By creating a universal grid that could work for both shows, I was able to focus more directly on the shape of the light and the story it creates.
Sound
Burning
Author and Director: Amy Sole
Set and Costume Designer: Angeline Meany
Designer: Jordan Magnus McCarthy
Production Manager: Madeline Picard
Stage Manager: Grace Sackman
Head Electrician: Cameron Russell
Burning.
Photo: Lisa Maree Williams.
Study Resources
Sport For Jove’s Macbeth.
Warming Up For A Show
Mah, Meh, Mee, Maw, Moo. Brushing the Teeth. Slides Hum to Open Vowel. The Range Rover on Ah. The Apple Nah Twang Triads. These are all warmup exercises on a new album.
Music theatre performers across Australia are using a new tool to fuel their show-stopping performances.
If you have ever been backstage in the theatre during the half hour before a musical begins, you will know that each performer has their own routine before the show starts.
Many actors are full of superstitions: don’t say good luck, only break a leg; knock three times on the door when leaving the dressing room and God forbid if you whistle!
These can vary for every actor but one thing everyone actor does is a vocal warm up. To help performers warm-up their voices, musical theatre performer Queenie van de Zandt has teamed up with her long-time friend, fellow performer and Sydney singing teacher Beth Daly to create an album of singing and vocal warm-up exercises to help professionals and amateurs alike develop their vocal skills.
The album, Singing & Vocal WarmUp Exercises, features a collection of exercises designed to help performers develop their vocal range, pitch and control vibrato, as well as develop a healthy belt.
Queenie was inspired to create the album after using Beth’s exercises in her own training and seeing remarkable results.
“I am a self-taught singer who only had a handful of lessons in my life, but luckily those lessons were
with my friend Beth Daly,” said Queenie.
“Beth is not only a brilliant musical theatre performer and writer but also one of Sydney’s most sought-after singing teachers. I loved Beth’s exercises; they really helped me develop my range, stamina and most importantly my belt!
“So, when I began teaching myself, I used her exercises and then
vocal expertise of Queenie and Beth. Having these exercises on hand is a wonderful tool for any singer,” said Lucy.
“Excellence in all performance training requires preparation and exercise specificity and vocal training is no exception,” explains Dr Debbie Phyland, Voice Medicine Australia’s Speech Pathologist & Voice Consultant, who regularly works with
developed them further with my own students. Both our students started asking for a copy of the exercises, so Beth and I decided to record an album together and Singing & Vocal Warm-Up Exercises is the result.”
The album has received glowing reviews from industry professionals across Australia, such as Lucy Maunder, currently playing Roxie Hart in Chicago:
“You couldn’t be in safer hands than with the incredible skills and
performers on shows such as Moulin Rouge and Mamma Mia!
“These excellent exercises will not only have you ready to sing well but are sure to increase your vocal fitness over time too!”
So, whether you’re a ‘have a warble in the shower’ kind of singer or ‘you bring the house down in Hamilton’ kind of singer, Singing & Vocal Warm-Up Exercises can help you develop your voice to be the best it can be.
Australian Theatre Live
Grant Dodwell discusses why he believes it so important for students to see drama performed.
When I was in High School in Year 11, I went to the Ensemble Theatre and saw Shane Porteous on stage (I ended up acting with him on A Country Practice) and for me it was a lifechanging moment. I knew it would be my career.
I was living in Sydney and had the opportunity to go the theatre. Many students in regional areas can’t attend due to distance and cost.
Students told me it was difficult for them to comprehend a play at school without a visual reference.
Now I get letters from students who say, ‘Away is a great play, but until I saw your broadcast of the Sydney Theatre Company production with Heather Mitchell, I had no visual sense of it, and the recording lifted it from the text.’
We film one performance, one night only. This gives them an edge. You feel like you have a front row seat, missing nothing.
Australian Theatre Live now offers a rich, accessible resource for primary,
secondary, and tertiary students across Music, Drama, Dance, and Physical Education. Our broadcasts span text-based theatre, physical theatre, opera, and circus.
They include education resources, interviews, behind-the-scenes footage, writer’s notes and more.
School subscriptions can be purchased for $150AUD/month or $1000AUD/year, with subsidised subscription for low SES and/or regional/rural schools of $35AUD/ month or $300AUD/year.
Available productions include Away by Michael Gow, Norm and Ahmed by Alex Buzo, Cactus by Madelaine Nunn, Diving for Pearls by Katherine Thomson, Emerald City by David Williamson, Whitefella Yella Tree by Dylan Van Den Berg and the Queensland Theatre Company production of Shakespeare’s The Taming of the Shrew.
New releases coming up include Ghosting the Party, Golden Blood and Blaque Showgirls
Malthouse Theatre’s Away (2017)
Photo: Pia Johnson.
Drama Teacher Wins N.Y. Trip
A passionate drama teacher and director at Viewbank College in Melbourne, Pasquale Bartalotta, has been awarded the highly coveted Travel Gang Theatre Educator Scholarship.
The prize will take him to New York City, where he will gain invaluable experiences that will shape his work as an educator and mentor.
Pasquale was selected from 112 applicants vying for the scholarship.
“As a former teacher, I wanted to find a way to give back and honour the hard work and dedication of teachers and youth theatre educators,” says Dr. Shane Bransdon, founder of Travel Gang.
“This scholarship acknowledges those who make an incredible impact on their students and school communities, rewarding educators who inspire excellence in the arts.”
Pasquale will travel to New York in January, where he will experience Broadway shows and undertake professional learning.
Music Theatre International Australasia, a partner in the scholarship, is thrilled to support this initiative.
“Pasquale will not only get to experience some of the world’s best theatre but also observe Broadway professionals in a rehearsal room a chance to gain fresh insights to inspire his work back home,” says Stuart Hendricks from MTIA.
Pasquale’s application for the scholarship was supported by his students. Year 12 Theatre Studies student Liv McIntyre credits him with her growth as an actor and leader.
“Theatre Studies is such a vulnerable
subject, and Pasquale excels at creating a family-like atmosphere where we can truly grow. I couldn’t imagine a more supportive teacher,” Liv said.
Reflecting on the impressive pool of applicants, Mike King from Travel Gang was struck by the heartfelt endorsements received from all applicants. “Reading the letters of recommendation was incredibly moving,” he said.
The letters of support from both students and colleagues prompted Travel Gang to commend the achievements of all ten outstanding finalists.
Visit travelgang.com.au for more information about the scholarship program
Pasquale Bartalotta.
Viewbank College’s Year 12 student production of Clue (2024)
Tools that were once the preserve of professional theatres with substantial budgets are now available to educators and students alike Drama and Theatre Studies Teacher Nick Waxman shares his recommendations on the most useful software available.
The integration of technology in theatre can be traced back to the Deus Ex Machina (meaning ‘god from a machine’) of Ancient Greece, and the intricate puppetry of Sanskrit theatre. These early innovations set the stage for a continuous evolution, where each era brought its own advancements.
Recent updates to our technological arsenal have enhanced our creative processes significantly, making sophisticated theatrical tools more accessible and user-friendly. This has not only enriched the quality of productions but has also opened new avenues for teaching and learning in drama.
What follows, are some examples of user-friendly technologies that can be effectively utilised in the classroom or on stage.
QR Codes: Interactive engagement
One of the simplest yet most effective technologies I've adopted is the use of QR codes. These codes can transform traditional theatre programs into portals to a wealth of additional content. Imagine audience members scanning a code to access
backstage videos, detailed character backgrounds, or even augmented reality experiences. This technology has enabled us to extend the theatrical experience beyond the stage, adding layers of engagement and interactivity.
They have also helped us with poster design, audition information and sign up, end of class take-aways, class surveys and so much more. If you want information in someone’s hand, and on their phone forever, pop up a QR code and get them scanning.
Multiplay: Sound design
A standout tool for me is Multiplay, a free alternative to QLab. This software is a boon in educational settings, particularly due to its ease of use and accessibility. In classrooms, I've seen students quickly master Multiplay, using it to manage complex sound cues for their productions. Its user-friendly interface encourages experimentation, allowing young tech enthusiasts to create professional-level soundscapes without the burden of cost.
Chat GPT and DALL-E: Crafting visuals with AI
The possibilities of AI in theatre are endless. Tools like Chat GPT can generate creative content, while DALL -E can be leveraged to design stunning posters. With a few prompts, these AI tools can produce captivating visuals, significantly reducing the time and effort required in traditional design processes. In my experience, these tools have not only streamlined our promotional efforts but also inspired our students to explore their creativity.
Chat GPT can do so much more than write limericks about Brecht in the style of Dr Seuss. It can be used to help write professional email replies
Haileybury College’s The SpongeBob Musical, directed by Nick Waxman. Photo: Pia Johnson.
Multiplay.
when your temper is high, it can suggest and help you develop well formatted rubrics on a huge range of topics, edit and suggest ideas for class or program notes, and so much more it’s ridiculous. Try it and I challenge you to find it something it can’t do with text, numbers and information. (I have found a few things it can’t do. It gets very confused with a number of things so do check the work as it sometimes makes things up. But these are rare.)
Tinkercad: 3D set design
Incorporating Tinkercad into our set design process has been a revelation. This intuitive CAD tool is suitable for users of all ages, making it an excellent resource for high school and upper primary students. They can design intricate sets digitally and then bring these designs to life through 3D printing. This hands-on approach to set design is not just educational; it's a fun and engaging way to involve students in the creative process.
Canva: Unlocking creativity
Canva has been a cornerstone tool for us, offering hundreds of free templates, fonts, and images. What makes Canva so valuable is its ease of use, coupled with the ability to inspire creativity. Whether it's designing posters, programs, flyers, or digital content, Canva's vast resource pool has enabled our teams to produce high-quality visual materials without needing extensive graphic design skills.
Adobe Premiere Rush: Video editing
For video editing, Adobe Premiere Rush has been useful tool when creating video content in class or on the go especially with its availability on phones. This free tool allows us to
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Online extras!
Watch a video tutorial on set design using Tinkercad. Scan or visit youtu.be/RvCs7EkvQh4
Haileybury College’s The SpongeBob Musical, directed by Nick Waxman.
Photo: Pia Johnson.
design in Tinkercad.
Discover more with Nicholas Waxman on The Aside Podcast dramavictoria.vic.edu.au/resources/the-aside-podcast
(Continued from page 142)
create high-quality videos complete with transitions and title screens effortlessly. Its user-friendly interface makes it accessible to beginners, and its powerful features are sufficient for more advanced projects. Using Rush, we've been able to produce videos for our 60-minute Found Footage Film Festival, and educational videos made by students on core class topics.
Spotify's Podcaster App: Podcast creation
The 'Podcasters' app from Spotify has allowed for a new approach to audio storytelling. Creating podcasts has become a simple, streamlined
process, allowing us to focus on content rather than technicalities. In the classroom, this tool has been invaluable, enabling students to produce their podcasts with just a few clips. This hands-on experience with audio storytelling has not only been educational but also incredibly fun for the students.
Moreover, this app is particularly beneficial for students who may feel less confident speaking in front of their peers. Podcasting offers a more comfortable platform for these students to express themselves, helping them develop vital voice and expression skills in a supportive, lowpressure environment.
This approach is wonderfully effective in drama education, as it encourages students to explore different aspects of vocal performance, including tone, emotion, and clarity, without the immediate stress of a live audience. As they grow more comfortable with their voices and storytelling abilities, students often find their confidence in public speaking and performance naturally improving.
The Digital Stage Awaits
My journey with technology in theatre has been nothing short of transformative. The future of theatre looks bright, promising a blend of tradition and innovation.
The digital stage is set, and I eagerly anticipate the innovative ways we will continue to use technology to enhance the magical world of theatre.
I'm a fervent advocate of technology, seamlessly integrating it into my personal, creative, and professional life. As the host of 'The Aside Podcast', I utilise both software and hardware to connect with people globally and record interviews with extraordinary guests. Additionally, I've developed over 100 interactive digital drama lessons with the Department of Education Victoria.
This series, titled ‘Drama Victoria Presents…’, covers an extensive range of drama curriculum topics, from Status to Scripts to Empathy.
Students across Australia can access an on-line program that teaches them how to write, compose, orchestrate and design their very own opera. The Victorian Opera’s Tim Ryan describes how the Beyond the Stage program brings the creativity of opera to classrooms.
I came across Beyond the Stage as a VCE Music and Drama teacher, trawling the internet for engaging resources during the dreaded COVID19 lockdowns of 2021.
Immediately I could see the rich learning experience where my students could hear professionals talk about the techniques used in their work. This provided a confident platform to dive into composing their own works, plus, being able to watch a performance on-demand increased the quality of the teaching and learning experience.
Fast forward three years and I’m now the Education Manager for Victorian Opera. Drawing on my experience as a teacher, the company has been able to expand the program. There are now workshops exploring the science of theatre technology, and schools can attend a pre-show Q & A to grill those in non-performing roles. However, the core focus is the Commissioning of New Works workshops.
In 2023-2024 the focus for this suite of workshops is Victorian Opera’s commission, and First Nations work, The Visitors Workshops contain interviews and scaffolded learning activities that can be taken in any number of combinations to suit the subject area and learning needs of students. The workshops and performance are available as streamed on-demand videos or as incursions.
Workshop 1: Choosing the Story to Tell.
Join author and playwright Jane Harrison as she explores the cultural significance of The Visitors and how she came to the decision to tell this story. Students then use Jane’s advice to choose and begin writing their own story as a libretto.
Workshop 2: Music and the Art of Storytelling. Composer of The Visitors, Christopher Sainsbury, explores techniques he has used to write melodies and ways of manipulating music elements to draw out the
meaning in a story. Using these techniques as a guide, students then compose melodies for the story they have written.
Workshop 3: From Page to Stage. Christopher Sainsbury takes us through the orchestration process with the aim of encouraging students to choose instruments that enhance the time and space of the story they have written.
Workshop 4: From Page to Stage.
In this workshop we meet Lighting Designer Rachel Burke and Director Isaac Drandic, who take students through the decisions they make to bring a story to life on stage. At the end of this workshop students are asked to create a mood board and create a simple blocking map for the story they have written.
Performance: Available ondemand.
Watch the livestreamed performance of The Visitors at a time and pace that suits your students and your learning plan.
Workshop 5: Discussion and Evaluation.
This is a live and interactive webinar where students can share their work.
In semester 2, 2024 the focus of these workshops will be the adaptation of Murray Bail’s awardwinning novel, Eucalyptus, composed by Jonathan Mills.
In 2025, we move to our commission of The Celestials, written by Ian David Roberts, exploring life for Chinese miners and their interaction with the Kelly Gang on the Victorian goldfields.
Beyond the Stage is our offering in the Victorian Challenge and Enrichment Series, free to Victorian government schools. Nongovernment and interstate schools pay a low fee of $5 per student for workshops and $25 for shows.
For more information please visit victorianopera.com.au
The Visitors
Photo: Charlie Kinross.
Playbuilding
Drama teacher and author Carol Wimmer shares her tips on helping drama students navigate their journey through group devised drama.
Funny how when you type ‘playbuilding’ many computers still don’t recognise it or want to convert it to two words - yet we’ve been using the term in Drama for years. Along with improvisation, playbuilding is the core of many Drama syllabuses. The process of playbuilding requires students to work in a group to devise an original script and performance. In doing so, they call on their practical skills, their knowledge and experience and their ability to work collaboratively.
Every improvised task, every style, form or practitioner of theatre studied informs students’ knowledge of drama and theatre. Every workshop broadens their acting skills and their understanding of the wide variety of dramatic and theatrical techniques and devices. From every play they read or perform in, every play or musical they see, they learn more about dramatic structure and theatrical techniques.
All of this informs the playbuilding process, beginning with sharing, improvising and researching ideas to finding the best way to structure them into a performance - then putting that together formally as a performance and a published script. Thus, playbuilding involves everything a playwright does...with the added task of performing the work.
So if, as a director, you see young people typing or drawing madly on their iPads or taking photos of sets or costumes or props, this is their way of
adding to their knowledge and experience - and eventually their playbuilding expertise. It’s the reason they might ask to sit in and observe you at work, or ply you with questions about your ‘vision’ or your decisions about where you’ve set the production, your design ideas or the actors you’ve chosen.
In NSW, students from Years 9 to 12 are given progressively more demanding playbuilding tasks. The stimuli they are offered vary: words, phrases, headlines, extracts from novels, historical events or personalities. The process varies littlebut becomes more informed and prescriptive as the students progress in their studies - and every stage is recorded. Logbooks are as important a part of drama as the Visual Diary is to Art. Students are encouraged to record all their drama experiences in their logbook, and this can include classwork, evaluations of their own work and the work of others, research, character studies, photos, theatre programs, reviews, script extracts...
Playbuilding usually begins with brainstorming - discussing, recording, checking and researching words or ideas. This could involve each member of the group taking on a specific task, recording the results in their own logbook, copying it or sharing it with the group, and often collecting or summarising all the results in a group logbook.
The next step usually involves improvising some of the ideas and developing the characters. This process is fundamental in establishing a working scenario - but it can take a long time and change vastly as ideas develop, or further research broadens the theme. For instance, the stimulus “outlaws” could begin with improvisations of an American western, then evolve to a gold rush hold up or a biographical study of Ned Kelly or covert hackers invading a government department...or something totally different to the normal meaning of the word...like a family living ‘off the grid’ and evading laws and taxes. It is amazing just where brainstorming and impro can take an imaginative, thoughtful group of actors.
As ideas are tried, changed and developed, formats and styles are discussed. It may be that the final idea will be best performed as a comedy, or as theatre of the absurd, or as a didactic Brechtian piece, or as street theatre using masks, puppets and banners. Senior students will have studied a variety of forms and styles, different theatre practitioners and a range of plays and scripts. Their study will have involved class workshops on all of these, group devised work based on their study, individual research and observations, and as many theatre visits as can be arranged, either as a class group or as individuals.
Students will also need to work further on their characters, developing their personalities, their relationships with each other, establishing their background, and specific research if they are based on a real person or come from a period in the past. Acting skills are taught from as early as Year 7 in some schools and students develop and further their skills in voice, movement, character development, focus, tension and mood throughout their studies.
The next stage is crucial. This is where structuring the performance begins. It’s important that, whatever the style, the piece has a clear beginning, middle and end, distinct scenes, realistic characters, a clear message, a defined style. To achieve this, students are encouraged all along
the way to keep their audience in mind. Is the piece easy to follow? Is the meaning clear? Are their ideas rational? Will the audience go away convinced rather than confused?
It’s at this stage that the group must begin to look at their work critically. To do this, they may film their work and self-evaluate. They may perform for another group and their teacher and use their evaluations to inform further decision-making. This process can be extremely rewardingor very painful. They might find something that is very clear to them, because they are so close to the piece, is completely confusing to an audience.
Students, nevertheless, usually take any evaluation on board - especially as their work is to be assessed. At this stage it is still a work-in-progress. If it isn’t working, it needs to be restructured. Sometimes they change the style completely. Disheartening as
that may seem, it often leads to a richer, more meaningful performance. Next comes the difficult work of editing: paring down scenes if they seem too long, paring down the whole piece if it is not within the time length designated in the task (the time of the Group Performance for the HSC is only 7-12 minutes!). Often this involves having to ‘lose’ a whole scene or changing a character. It might involve clarifying the opening or restructuring the ending. It will involve many rehearsals and reevaluations before the group is satisfied enough to begin finalising costumes, props, sound effects - and perhaps a lighting plan, dependent on the school’s facilities.
With the ‘building’ part completed, the piece is ‘committed’ to paper as a finished script, including title, character list, setting and stage directions; and the polished performance, whether for assessment, other drama students, an invited
audience - or a panel of visiting HSC markers.
As well as writing and acting, playbuilding teaches cooperation, creative collaboration, sharing, listening, watching, appreciating, evaluating, accepting, letting go...all the things that are important in any production - at school, in community theatre or on the professional stage. Drama students come to the theatre with this background. They have had their egos both boosted and batteredand come back for more! Playbuilding is a very effective preparation for the exacting world of the theatre.
Carol Wimmer is the author of Acting in Person and in Style in Australia. Published by Cengage, it is available at booknook.com.au/product/acting-in-person-and-in-style-in-australia
The Art & History Of Puppetry
Are puppets all child’s play? Not according to Susan Mills. The archivist for the S,B&W Foundation says that puppetry is a universal, ancient art form which is for everyone.
A Puppet History
Historians believe puppetry developed spontaneously from religious rites and rituals in societies where objects represented gods and deities. From there, the entertainment and storytelling art of puppetry was born.
Clay and ivory puppets have been found in Ancient Egyptian tombs. The Ancient Greek philosopher Xenophon wrote about an entertainer from Syracuse present at a banquet with his ‘neurospasta’. This roughly meant ‘to pull threads’ of ‘marionette puppets’.
Indian legends tell of the divine creation of puppets when the God Shiva and his wife Parvati inhabit two wooden dolls, making them dance beautifully. The artisan who made the dolls is said to have been inspired to invent a system of strings so he could make them dance himself.
In Japan, a style of puppetry called Bunraku evolved in Osaka. The large puppets are operated by three visible puppeteers with their hands and rods, accompanied by chanting narration and shamisen string instruments. A performance of Bunraku can last for hours. This style can be seen The Lion King character of Timon.
Puppets range from simple finger puppets to Jim Henson’s fantastical world of Muppets and films such as Labyrinth and The Dark Crystal. There are shadow puppets, rod puppets, and string puppets.
Marionettes, or ‘string puppets’, allow lifelike movement of heads, fingers and knees. Further head mechanisms move the jaw, eyes and eyelashes.
‘Marionette’ means ‘little Mary’ in French, a reference to biblical puppetry of the Middle Ages. Usually, marionettes have around 10 strings. The Salzburger Marionettentheater use up to eighty!
In Australia, puppetry after European settlement was influenced by British traditions of ‘Punch and Judy’. Amateur hand puppet and marionette productions became popular from the 1940s.
The Marionette Theatre Of Australia
In 1965 the Marionette Theatre of Australia was founded by Peter Scriven and the Australian Elizabethan Theatre Trust. Previously, in 1956, the pioneering puppeteer had staged his ground-breaking puppet musical The Tintookies - the ‘little people’ from the sandhills. It was the first large-scale puppet show in Australia with unique local themes.
For more than 20 years, they entertained Australian families, and toured Europe and Asia. By 1983, the company had its own theatre in The Rocks, until closing in 1988.
Left: ‘Albert the Magic Pudding’ puppets from various Marionette Theatre of Australia productions of The Magic Pudding
Terracotta Ancient Greek dolls, exhibited in the National Archaeological Museum, Athens. Photo: Giovanni Dall’Orto.
Right: The Magical Tintookies Return in 1975.
All puppets pictured are from the S,B&W Foundation collection.
sbwfoundation.com
Deep in the Seaborn, Broughton & Walford Foundation archives collection in Sydney, safe and sound in their custom-made calico ‘sleeping bags’, are many of the company’s surviving puppets.
A warehouse fire in 1969 destroyed 350 of their early puppets. There are 150 surviving puppets in the collection. They include The Explorers, The Magic Pudding, The Water Babies, Tales from Noonameena, The Magical Tintookies Return, The Mysterious Potamus and Sydney Coves
The Magic Pudding, first performed in 1960, is based on the 1918 children’s book - written and illustrated by Norman Lindsay, who also drew the characters for the puppet designs. Bunyip Bluegum (a koala), Bill Barnacle (an ex-sailor), and Sam Sawnoff (a penguin) are favourites.
The little people made a triumphant comeback in the 1975 revival The Magical Tintookies Return, featuring new puppets based on the 1956 originals that were destroyed in the warehouse fire.
The Mysterious Potamus (1979) puppets were designed by Norman Hetherington, the creator of the popular Australian television puppet Mr Squiggle, and made by
Ross Hill, who later worked as a designer and builder at the famed Jim Henson’s Creature Shop.
Puppetry Now And In The Future
Puppetry is an overlooked art form. Puppets are an important part of the human tradition of storytelling. Recent examples include The Lion King, War Horse and the King Kong musical. In Australia, Bluey’s Big Play featuring Bunraku-style puppets has been a recent hit!
In 2019, the Seaborn, Broughton & Walford Foundation and the Horizon Theatre Company held puppet shows for the North Sydney Children’s Festival in our library and events space. The children were delighted to use music to help wake up the puppets from the Foundation’s collection! Many grown-ups were also entranced, recalling the popular puppets from their own youth.
Preserving the specialised art of puppetry for the public, as well as researchers, honours the vision of Dr Rodney Seaborn in preserving all aspects of Australia’s unique performing arts heritage.
Sydney’s First Play
On 4 June 1789, a little over a year after the First Fleet arrived in Sydney Cove, a “party of convicts” presented the lively comedy The Recruiting Officer to celebrate the birthday of King George III.
The play, a favourite of the time, was performed in “a convict-built hut” and honoured by the presence of His Excellency the Governor, Captain Arthur Phillip and an audience of 60 officers and their wives.
The only way we know about this significant event is due to the writing of Colonel David Collins, who stated: “The aims of this first company of players were modest. They professed
no higher aim than humbly to excite a smile, and their efforts to please were not unattended with applause.”
The Recruiting Officer was written by the Irish playwright George Farquhar in 1706, and follows the social and sexual exploits of two officers on a recruiting drive in the town of Shrewsbury. The play enjoyed great popularity throughout the 18th century and was performed everywhere from London playhouses
to provincial towns, and country fairs, as well as colonial Australia.
Governor Arthur Phillip makes no mention of the performance in his official report, perhaps fearing the response from the authorities in England. Convicts weren’t to be enjoying themselves, were they?
Author Thomas Keneally based his novel The Playmaker on the performance, which was later adapted into a play, Our Country’s Good. Cultural historian, Dr Heather Clarke explores the history, and the dance and music associated with the play at bit.ly/3vS7wQo
Check the website for other stories of convicts, sailors, and settlers, all examined through music and dance.
Harry The Hippopotamus, a rabbit, and Leo the Lion from the production of The Mysterious Potamus in 1979.
Creatives’ Collaboration On The Dictionary Of Lost Words
Verity Laughton’s stage adaptation of Pip Williams’ best-selling novel The Dictionary of Lost Words was a technical triumph and commercial success. The novel tells the story of fictitious Esme Nicoll from the age of eight in 1886 through to a thirty-three-year-old woman in 1915, set against the creation of the venerable Oxford English Dictionary.
While the principal stage set is the ‘Scriptorium’ or ‘Scrippy’, the shed where the dictionary editors work there are numerous other locations. The huge time span, unusual for a stage play, also presented creative problems for the theatre makers: Director Jessica Arthur, Designer Jonathon Oxlade and Lighting Designer Trent Suidgeest. They all
read the novel and sometimes referred back to it but their task was to realise Verity Laughton’s complex adaptation script. Their creative collaborations (and a great cast) brought this multi-layered story to life.
Designer Jonathon Oxlade’s inspired set design for the Scriptorium comprised over seven hundred
pigeonholes, curved across the whole width of the stage, and fronted by desks covered with books and papers; it was both utilitarian and suggestive.
Stage Whispers Michael Brindley spoke to Lighting Designer Trent Suidgeest.
Michael Brindley: I’m assuming Jonathon’s basic Scriptorium design was a first step?
Trent Suidgeest: Jess and Jonathon had some time together to work out the concept and over-arching style, and a pass at the physical structure. Then I began contributing as Jonathon continued to dig into his designs. The idea for anchoring the show inside the Scriptorium and the projected elements is all Jonathon and Jess, then how we morph these elements to keep the show evolving is where we all continued from.
MB: While the basic double height set of the pigeonholes was fixed on stage, your lighting had to suggest or enhance not just the passage of time but a variety of other locations besides the central ‘Scrippy’. There’s the maid Lizzie’s room, various exteriors, the street, the market, a
pub, the typographers’ space and the Bodleian Library. How did you approach that challenge?
TS: Yes, I’m not sure I’ve ever designed a play where the lighting requirements were so diverse, but it’s a huge story to tell so the lighting needs to contribute to that in many ways.
Aside from traditional stage lighting from all angles, one of the exciting design concepts for me was the way we lit all of the pigeonholes. The marvellous production team at State Theatre Company of South Australia fitted every pigeonhole with a custom LED pixel chip 770 in total all delicately strung throughout the shelving walls. The pixels are colour changeable and
individually controllable, so I use specific pixels to compose suggestions of windows glowing, or gradients to focus our attention.
Those lights are used to transform the basic set into many locations always complementary to the stage action and the projections. [Of which more later.] Some of my favourites are: an oversized tartan wiping across during a transition and the suggestion of a cobblestoned street during an outdoor scene using random intensities of greyscale. We also found a couple of moments for some shadow play beyond the pigeonholes, on their back surface, so we used a material which took light from behind.
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The Dictionary Of Lost Words Photo: Daniel Boud.
I designed two additional layers of lighting from upstage one washy, one to cast shadows of humans to be able to create silhouettes of people, the slips of paper (for introducing ‘found words’) and props in the pigeonholes. Sometimes the backlit shapes of all of those props are more interesting than seeing them lit by the individual pixels internally.
MB: The changes of location especially to the market and the pub were always clear and achieved so efficiently via some furniture movement, minimal props and costume changes. Your job was to add another layer without your work being too obvious.
TS: I was actually sometimes nervous that the shifts in lighting were too overt! I’m always tracking the reveals of the various elements and the depth to which the lighting shifts aligned with Esme’s journey. As the world widens for Esme so too does the degree to which the lighting supports that. The colour and shape
in the lighting become richer; more vividly presented.
Once we’re into the pub scene and dressing room we’ve built into full red and amber highlights, which then allows the world of the Scriptorium to be our anchor in versions of bright warms and daylight, and ultimately the stark cold whites come with scenes of pain.
MB: A particularly fine sequence occurs late in Act II, when Esme must tell would-be fiancé Gareth about her past. It’s beautifully staged by Director Jessica Arthur: it had no words yet was absolutely clear and almost a suggestive dance. The characters became moving silhouettes. What is the role of your lighting in this sequence?
TS: Oooo yes, definitely a crowd favourite! This montage sequence was conceived by Jess as a climax. We have a suspension of reality with all of the key memories of Esme’s life leading up to that moment.
I created an effect with the pixels in the pigeonholes, all pulsing randomly and rhythmically. My desire is for it to feel like the words that Esme has collected along the way and/or various moments in time, are swirling around her. I wanted it to sparkle and shimmer to heighten the magical realism we were pursuing. It is a big theatrical gesture!
MB: There is a staircase too, cleverly hidden in the pigeonholes, to an upper level, a platform principally
The Dictionary Of Lost Words
Photo: Daniel Boud.
Trent Suidgeest.
used as Lizzie’s bedroom (Esme has no room of her own that we see) and the lighting there was quite different to that of, say, the Scrippy. Rather cold? Any comment on that?
TS: Interesting you mention that, because that is a direct example of me picking up on that detail while rereading the book during rehearsals: “Lizzie saw it coming, so she scooped me into her bony arms and trotted up the stairs. The room was cold. Lizzie took the coverlet off her bed and laid it on the bare floor like a rug.”
As the show progresses, I warm up the lighting in the bedroom as the relationship between Esme and Lizzie builds and Esme’s collection of ‘forgotten’ words that she hides in Lizzie’s trunk become the heart of the show.
MB: Jonathon’s design restricted Lizzie’s room to just the bed and that very important trunk. Was that an extra burden on lighting?
TS: The bedroom scenes are particularly important for us to focus on the storytelling and relationship with Lizzie, so the clean scenery is useful in that way.
The projected imagery always helps to help support those pillar moments; the pin cushion, the hatpin, the reveal of the scratched title, collected words and the dictionary. There is always a point of interest.
MB: Whose idea was it for the actors to use an overhead projector to project those key images the ‘pillar moments’ from the central desk onto the cyclorama?
TS: The concept came from Jonathon together with Jessica to create transitional scenography using words and ephemera. The objects and compositions developed right through rehearsals, as needed, to articulate places, dates, words, etc.
The actors were choreographed alongside the action to composite the physical imagery together while live projected onto a cyclorama screen above the bookshelves. I love that it’s all tactile. It speaks to Esme’s collecting.
The surface under the camera is a Lightbox internally made up of five gradated sections to allow me to light the more transparent backgrounds of
plastics, silks and lace doilies (for instance) from below, together with hidden lighting within the camera’s shroud from straight down, and sidelight from above in the rig. All the light sources were LED colour changeable, so we could finesse the exact colour and intensity combinations. In being able to light all of the projections live and then have everything cued within the lighting cues helps it move like transitional scenery.
I spent a great deal of tech rehearsals lighting the objects and props under the camera for the projections. It felt like lighting large scale traditional scenery backdrops. I work to find harmony between the lighting of the actors and pulling all of the miniature projected scenery together into cohesive stage pictures.
MB: Well, as an audience member, the harmony and cohesion between all designs really showed. You all did a marvellous job with an expansive and challenging text. Thank you, Trent.
The Dictionary Of Lost Words
Photo: Daniel Boud.
Vale Ray Lawler (1921-2024)
The writer of Australia’s most celebrated play Summer of the Seventeenth Doll passed away at the ripe old age of 103. Susan Mills from the Seaborn, Broughton & Walford Foundation looks back at his remarkable life.
Raymond Evenor Lawler AO OBE was born in the Melbourne suburb of Footscray on 23 May 1921. The second of eight children, his father was a council worker, and the family was decidedly working class. He left school at the age of 13 to work as a factory hand at an engineering foundry. In an interview with Stage Whispers in 2011, Ray Lawler recalled, “there was lots of daydreaming because it was so mechanical it left your mind free.”
As a young man, he developed a fascination with the theatre. “God knows how I got interested in theatre, because I was one of eight kids, and we had no theatre in the family. I started to go on my own, to see plays, whatever it was that Williamsons were putting on,” Lawler said in the same interview.
This interest led him to amateur theatre, studying acting at nights, and taking voice lessons with Lorna Forbes, a long-time Shakespearean actress with the touring Allan Wilkie Shakespearean Company (particularly working on softening his broad Australian accent as, “that was the first thing you had to do if you wanted to be an actor.”)
When World War II broke out, his work at the factory increased when it was mobilised for war production, meaning many night shifts. “That drove me to writing more than acting.”
Ray Lawler’s first play to be performed, Hal’s Belles, produced by the Melbourne Repertory Club, opened on 29 September 1945 at the Melbourne Repertory Theatre in Middle Park. Hal’s Belles marked the professional stage debut of a 19-yearold Frank Thring Jr. It sought to answer the question of what would happen if a modern-day Henry VIII met his wives in the present day.
Hal’s Belles was a success and was transferred to Gertrude Johnson’s National Theatre in Eastern Hill. Lawler stayed with the National Theatre, acting in several of their drama productions. His own plays also continued to be produced there, including Brief Return and Storm in the Haven
In 1948, Lawler landed his first paid professional theatre job, as assistant to Will Mahoney, who with wife Evie Hayes presented revues at the Cremorne Theatre in Brisbane. Lawler performed a medley of duties, from stage manager, to adapting sketches and writing lyrics, to acting as the straight man to Mahony’s comedy character. He stayed for a year, crediting this period of his life for meeting characters that would be the inspiration for the sugarcane cutters in Summer of the Seventeenth Doll.
Lawler returned to Melbourne and a job which combined office work and acting at the National Theatre. His play Cradle of Thunder, reported in the newspapers as being written in a public library, won the National Theatre Movement’s Commonwealth Jubilee Play Competition, and opened at the Princess Theatre in April 1952 as part of the National Theatre’s Festival of the Arts. He directed and played the part of Cully, a Welsh seaman.
It was in 1954 that Ray Lawler joined the Union Theatre Repertory Company (now the Melbourne Theatre Company) initially acting, then directing. The company had been founded by newly emigrated English stage manager and director John Sumner.
Early in 1955, the Playwrights’ Advisory Board advertised their fourth ‘stage play competition’ for Australian writers, with a winner’s prize of £100 donated by refrigerator manufacturer and philanthropist Sir Edward Hallstrom. The joint winners that year were Ray Lawler’s Summer of the Seventeenth Doll and Oriel Gray’s play
The Torrents
In 1955, John Sumner had joined the Australian Elizabethan Theatre Trust as the General Manager in Sydney, but he was granted a leave of absence to return to Melbourne to produce and direct Summer of the Seventeenth Doll
Sumner had already directed Ray Lawler as an actor in various Union Theatre productions. The Doll was the first Australian-authored play to be presented by the Australian Elizabethan Theatre Trust, founded in September 1954 to “provide a theatre of Australians, by Australians, for Australians.”
The Doll was first performed at the University of Melbourne’s Union Theatre on 28 November 1955. Ray Lawler played the role of Barney, a Queensland sugarcane cutter who returns every year to Melbourne with fellow cane cutter Roo (Noel Ferrier),
to visit their barmaid girlfriends, Olive (June Jago) and Pearl (Roma Johnston). The setting, themes and accents were strikingly Australian and naturalistic.
“I always used to write a part for myself because I was very short, and I knew there wouldn’t be anyone else. So, while I never wrote a leading role for myself, it was always something decent,” Lawler told Stage Whispers.
The reviews for Summer of the Seventeenth Doll were very positive. Under the headline ‘Trust play is great success’, the Argus newspaper reported, “He has written a play so superbly true to Australian thought and the Australian scene, that theatrical conventions disappear. ‘Barney’, ‘Roo’, ‘Pearl’ and ‘Emma’ are real people. We know their faces, their voices we share their dreams, we understand their failures.”
Summer of the Seventeenth Doll opened in Sydney on 10 January 1956 at the Elizabethan Theatre in Newtown. It was summer and there was no air-conditioning, and the full house audiences sweltered, but again the positive responses showed how the play resonated with Australian audiences.
The cast was significantly changed, with Lloyd Berrell as Roo and Madge Ryan as Pearl, however Ray Lawler still played Barney and June Jago played Olive. The play then embarked on a 13 -week country tour of NSW and Queensland before returning to Sydney.
As well as being a local success, Summer of the Seventeenth Doll is considered the first Australian play to make an impact overseas. It opened in the UK, starting its tour in Nottingham on 8 April 1957, then playing Liverpool and Edinburgh, before opening in London on 30 April 1957. Much of the Sydney cast performed in this production.
The programme contained an insert, written by Ray Lawler, to explain Australian seasons, distances and climates, as well as definitions of a few key pieces of Australian slang. The Australian voice was well and truly on stage.
Training
NIDA Creative Schools Programs
The National Institute of Dramatic Art (NIDA) offers performing arts educational activities to support learning for both school students and school teachers.
Reflective of NIDA’s worldrenowned approach to education and training, developed over 60 years, the schools programs are carefully designed to provide dynamic and engaging skills development to enhance the early childhood, primary and secondary syllabuses.
It reflects NIDA’s practice-based conservatoire training model and emphasises the importance of collaboration and communication.
The schools programs include specialist training, access to industry
professionals, guest artists, teacher resources and workshops.
NIDA’s customised workshops are available for preschool, primary and secondary school students. The workshops integrate creativity into student learning, and are based on a collaborative approach that recognises the expertise of teachers in creating programs that best meet the needs of their school community.
Customised courses can take place at NIDA (in Sydney or Melbourne) or onsite at a school. Learning
For more information or to discuss creative learning programs for school students, go to nida.edu.au/schools-and-teachers or call 1300 450 417.
opportunities can range in length from a one hour visit to artist in residence programs lasting up to a year.
Working in collaboration with classroom teachers, NIDA customises the workshops to address state curriculums. The program is ideal for schools looking to access specialist skills in performance styles, rehearse scenes from a prescribed text, develop practical skills in devised performance or use drama as pedagogy to enhance literacy outcomes.
NIDA’s teaching resources include notes on acting, creative voice, and movement as well as a suggested reading list for students. Their online program NIDA Devised: Group Performance, which follows professional actors as they brainstorm, develop and showcase work is now free to all Australian secondary school teachers.
Online extras!
See what NIDA’s student improvisation and playbuilding workshops entail youtu.be/hmLYV2q4wD4
Whispers
Lucy Durack.
‘Never work with children or animals’ goes the saying. A desperate Debora Krizak, locked down in a COVID-19 hotspot, seeks help from a professional doggie stage trainer Peta Clarke and music theatre star Lucy Durack.
Please know, today was a good day, even though I don’t know what day it is anymore. It doesn’t matter apparently. Not until we reach 80%. It’s almost 11am and a flutter of excitement comes over me as I switch on the telly in anticipation of the daily press conference. For a split second, it feels like opening night nerves but then my mind catches up and I realise I’m still in my PJ’s, slurping unapologetically on my cup of instant coffee.
I’ve been thinking long and hard about my ‘Behind the Scenes’ feature this month but it seems somewhat futile to spotlight the fabulous work being done by my peers when, let’s face it - the lights are off and everybody’s home. So, I’m coming to you live from my locked down LGA in Sydney where Gladys has finally closed Bunnings and every parent in lockdown grapples with the reality that home schooling is like being trapped in an episode of Survivor
It’s time for P.E. and the twins have been instructed to do something “physical”. They both look pale and unengaged so when they plead with me to do the latest Gladys workout posted on Tik Tok, who am I to say no? I can’t sugar coat this whole fiasco any longer. If they want to attempt a burpee every time Gladys repeats herself, they can knock themselves out. While they’re at it, they can knock me out too and wake me up when we’re at 70% - just so I
have enough time to primp and preen myself before we reach that magic 80% and are released back into the wild.
In the meantime, I’ve been lured into the online world of puppy scams. The kids thought we should utilise our time in lockdown to get a puppy. Feeling sorry for them, I start browsing the net. This proves to be a welcome distraction from arguments with anti-vaxxers on Facebook who claim that Ivermectin is the cure for coronavirus. Lockdown brings out the worst in us all - especially the scammers - but like all the antivaxxers, they underestimate the power of proven research. I digress...
We welcome our new puppy “LuLu” into home detention, and I suddenly remember what it is like to be locked up with a destructive toddler. Nothing is off limits and I have unwittingly become the sole carer of a weeing, pooing, chewing ball of brown chocolate fluff. Luckily, I have nothing else to do - thanks Gladys. The cuteness factor lasted an entire day for the kids until LuLu decided that bedspreads and pillows were the ideal place to do a number two.
It was time for some serious puppy training. But where do I start? Time to call in the big guns, which leads me to my next artist in spotlight - animal trainer Peta Clarke from “We Do Animals”.
Peta has been training animals in film, TV and theatre for years. Some of her credits include professional stage productions of Legally Blonde, Annie, Chitty Chitty Bang Bang and feature films such as The Invisible Man, Top End Wedding and the soon to be released My Life Is Murder. She knows that picking up poo is par for the course. Likening her profession to “running away and joining the circus”, Peta initially studied for a degree in child psychology, but it was animal behaviour that piqued her interest. I asked her what traits an animal trainer needed in the entertainment industry.
“You need to have good problemsolving skills as well as the ability and patience to observe animal behaviour. You also need to have the backbone to say no when a job is not in the best interest of the animal. You are the animal’s voice and need to ask all the questions for them.”
I ask Peta what she thinks about the saying ‘never work with children or animals’. Her response - “You’ve never worked with us!”
Her passion and love for animals clearly outweighs the challenges. A workday for Peta can be anything from working with writers, to producers and directors, actors and animal owners, as well as making sure her animals are trained to the script.
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“At script development stage, we offer insights into the natural behavioural repertoire of the species in question, creating believable animal action on screen. We liken ourselves to puppeteers and love creating behaviours and actions that evoke an emotional response from our audience, which helps to establish the animals as strong characters within each story.”
Perhaps the most important training aspect is to instil a confidence in the animal to feel comfortable and settled in their work setting. The emotional and physical well-being of Peta’s animals is paramount.
“We are consistently thinking about real world exposure. A film or theatre set can be a scary and unusual place for an animal. It’s not for
everyone’s pet. Every day, every interaction, every time they are exposed to something in their environment - we are shaping their response to it.”
So, how is an animal selected for a career in the entertainment industry? Surely, they’re not subjected to hours of unpaid auditions and self-tapes from the doghouse? I recently discovered that LuLu’s father is, in fact, a performing toy poodle. Clearly the universe thought we needed another locked down performer in our house. When it comes to choosing the right animal for the job, Peta considers the overly confident and enthusiastic character traits perfect opportunities to cast the right animal. Sometimes the best trained dog isn’t the best performer because they are ‘over trained’.
“Like actors, we have to audition our animals. It’s all about confidence and bounce back. They need to be able to take anything the ‘make believe’ world can throw at them.”
This is beginning to resonate with me. All actors are experts at bouncing back and we’ve all worked with overconfident types. Perhaps there is a career in this for my LuLu after all. She seems to bounce back effortlessly when I pull her off my brand new, white duvet.
Whilst some animals may impress with their ‘audition’ skills, performing the task consistently, night after night, requires specialised attention to detail. Some of that training includes scent work, where an animal relies on their sense of smell in locating objects and is rewarded with a treat at the other end. On movie sets, where a trainer may not be able to reward the animal immediately, a clicker is used and the animal instantly recognises that the treat is coming. Stick training is also used for specific sightlines on set, but the main tool used by most animal trainers is repetition.
Peta was the animal trainer responsible for the roles of Bruiser and Rufus in the 2013 musical Legally Blonde, starring Lucy Durack as Elle Woods. I asked Peta what it is like for animals to work with actors’ eight show-a-week schedule.
“The dogs know the difference between a rehearsal and an actual show. It’s as obvious to them as it is to us. We make sure all the training work gets done before and during rehearsals so that we can maintain consistency on stage. Things can fall apart very easily. The repetition of the same thing can be a massive help, but if things do go wrong, or something changes, it can be a huge hindrance. One of the funniest things that happened was when my little Chihuahua, who played Bruiser in Legally Blonde, had a cameo at the end of a scene and had to walk on set and cock his leg on a tin can and walk out. He was listed in the credits as the Pissing Dog.”
As actors, it can be both a challenging and rewarding experience to work alongside animals on stage.
Debora Krizak and LuLu.
But how do they develop a rapport with their human co-stars while learning to navigate uncharted territory? I spoke with Elle Woods herself, Lucy Durack, about how this impacted her show preparation and rehearsals.
“I felt very lucky. Each morning I would have at least an hour to get to know and play with all the dogslearning how they worked while playing and rehearsing. Only those of us who worked with the dogs on stage were allowed to play with them, so it felt like a great privilege!”
How do the cast on stage adapt their performance when things go awry? I remember seeing a preview performance of The Wizard of Oz when Toto proceeded to lick the lead actress for an entire song. It made for wonderful viewing but I’m sure the sentiment of the song was completely lost on the audience.
Lucy recalls the time when one of the understudy dogs had to have knee surgery and a new little dog was brought in to start the bonding process with the actors. Lucy said that one of the perks was being able to take the dog home for the night in order to fast-track the training. Being familiar and comfortable with a lead actor is a necessity when it comes to delivering scenes together. But just like human actors, the dogs all bring their own personalities to the role and respond to varying types of positive reinforcement.
“The Chihuahuas would always perform for food and the bulldogs would perform for hugs! They all had such interesting and different personalities. Quinn was lovely and a bit more reserved, Audrey was a bit of a princess and Sparrow was legitimately a star - reincarnated from Hollywood!” says Lucy.
Star power aside, having witnessed the antics of my very own puppy over the course of a week, I think animal trainers themselves deserve a Helpmann. Whether it’s treats or hugs that motivate these cute and complex creatures, I’m still a long way off getting this ‘Ugg boot obsessed’ puppy of mine to “Pissing Dog” credit status.
It’s A Dog’s Life
Most memorable job description?
Peta Clarke: Rat Trainer. I trained 100 rats for Mel Gibson’s movie Hacksaw Ridge!
Stage or Film?
Peta Clarke: Theatre is one of my favourite places to work. I love the sense of family and camaraderie amongst the cast. The actors often come into the dressing room to spend time with the dogs every day. There’s a consistency with theatre that the dogs respond to well.”
Biggest “fur” pas
Peta Clarke: Not warming up one of the Chihuahua’s voices before a show and he couldn’t bark on cue!
Lucy Durack as Elle Woods with Bruiser in Legally Blonde (2012)
Photo: Eva Rinaldi.
Top Drama Comes Home
Frank Hatherley has sampled the newest streaming service Australian Theatre Live On Demand which now offers a wide variety of locally staged plays, revue, music acrobatics and opera.
Television streaming services are coming at us from every corner: Foxtel, Netflix, Disney, Paramount, Apple, Stan, etc. You don’t have to travel one step beyond your TV set to experience every available filmed or videotaped happening.
And live theatres are getting in on the act, too. Broadway titles and Britain’s National Theatre are available in your home.
Now Australian theatres (and music and acrobatics) are joining in. Australian Theatre Live, from a small building in Sydney’s Rozelle, has launched its own subscription platform.
Forget ticket prices, or hearing difficulties, or physical disabilities, or
COVID-19. Regardless of geographical or economic barriers you can now see these shows as they were originally produced without leaving your living room.
Grant Dodwell, the Creative Director of Australian Theatre Live says, “People often have this perception that recorded theatre is not as enjoyable as the live thing. However, due to the beautiful camera angles and crisp sound quality, our films offer a level of intimacy beyond that of the usual audience member’s experience.
Watching an Australian Theatre Live film is like watching a play from on the stage.”
For $7.99 per month (and a first week free) you can gain access to titles from the Sydney Theatre Company, Griffin Theatre Company, Sydney Festival, Kings Cross Theatre, the Old Fitz and more.
For instance:
This Much is True by Louis Nowra, at The Old Fitzroy Theatre, 2017. A writer (Lewis Septimus) comes to The Rising Sun, a rundown Sydney pub, and finds a group of Sydneysiders waiting to be discovered, including drag queen Venus (Justin Stewart Cotta). Enthralling. Director Toby Schmitz gets full value from a fabulous script.
The Gospel According to Paul by (and featuring) Jonathan Biggins, at the Playhouse Theatre, Sydney Opera House, 2019, directed by Aarne Neeme. Biggins rises to the challenge of presenting Paul Keating in all his
Orontea. Photo: Brett Boardman.
incendiary brilliance. Singing as Tom Jones, affectionate and irreverent, he emerges as a 3-dimensional bloke. ‘Right,’ he concludes, ‘now you can all bugger off!’
Norm and Ahmed by Alex Buzo, at the Riverside Theatre, Parramatta, 2021. A 55-year-old Australian study in racism, this brilliant play shows us what happens when an older Aussie bloke meets a bright Pakistani Arts student late at night. It all boils down to the final two words.
Diving for Pearls by Katherine Thomson, at the Griffin Theatre, Sydney, 2017. Directed by Darren Yap, this is an excellent production of a play that highlights the death of mining activity in Wollongong. Great performances all round, especially from Steve Rodgers and Ursula Yovich.
Taming of the Shrew by William Shakespeare, from Queensland Theatre, directed by Damien Ryan in 2021. Rousing, all-action version of this play, directed in Ryan’s Sport for Jove manner.
Away by Michael Gow at Sydney Opera House, 2017. Directed by Matthew Lutton, it opens with a school play version of A Midsummer Night’s Dream that sets the scene for what follows. Brilliant performance from Heather Mitchell, ‘henpecking at a million miles an hour’.
Online extras!
Watch the launch video for Australian Theatre Live On Demand. Scan or visit youtu.be/Jy39OOjcLyI
Australian Theatre Live On Demand
To get your subscription, go to stream.australiantheatre.live
The Dapto Chaser by Mary Rachel Brown, at the Griffin Theatre, 2015. Directed by Glynn Nicholas, about a family of greyhound lovers at their home in Dapto, south of Sydney. Winner of Most Outstanding Independent Production of its year, with perfect performances from Danny Adcock and company.
Liberty, Equality, Fraternity by Geoffrey Atherden, at the Ensemble Theatre, 2013, with just a few in the audience. Caroline Brazier stands out
in this excellent 3-hander, directed by Shannon Murphy. What happens when you’re asked to answer a ‘few simple questions’?
Emerald City by David Williamson, at the Griffin Theatre, Sydney, 2014. Directed by Lee Lewis, this production of Williamson’s 1987 play is fresh, bright and cutting, with wonderful Sydney sets by Ken Done.
Plus two versions of The Wharf Revue, from 2015 and 2021, with full original Sydney casts.
And acrobatics and music combine in The Pulse. 26 black-clad female singers warble away while 22 acrobats fling themselves about playing ‘stacks on the mill’, at the Roslyn Packer Theatre for the Sydney Festival, 2022.
Or there’s Italian Baroque with Circa, also from Sydney Festival 2022, mixing music from the Australian Brandenburg Orchestra and acrobatics from a richly versatile mob of gymnasts.
Not to mention Platée, an opera by Jan Philippe Rameau, directed by Neil Armfield, performed by Pinchgut Opera in December 2021 for only 5 performances. Luckily they taped it and now it’s available to us all!
