Stage Whispers March/April 2014

6 In this issue

Mrs Popular .................................................................................... 6 Lucy Durack tries on new white dresses for her wedding and Wicked The Art Of Farce ............................................................................ 10 Frank Hatherley finds out what all the door slamming is about Lunch With Richard O’Brien ........................................................... 14 Rocky Horror’s creator drops in for a bite, and a chat

16 20

Going It Alone............................................................................... 18 Melbourne’s thriving Independent Theatre scene Sydney’s Theatre Gridlock .............................................................. 20 Theatre shortage frustrates Frosty the Showman Learning From The King (And I) ..................................................... 22 Marty Rhone’s stagecraft lessons with Yul Brynner Police Officer Becomes The Top CAT .............................................. 25 Our coverage of the 2013 CAT Awards

22

The Road To Adelaide .................................................................... 28 How plays made their way to the Fringe School Performing Arts Resource Kit .............................................. 35

26

Regular Features

29 30 64

Stage Briefs

4

Amateur Stage Briefs

26

London Calling

30

Broadway Buzz

31

Stage On Disc

32

Stage On Page

34

On Stage - What’s On

49

Auditions

59

Reviews

60

Musical Spice

92

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76 2 Stage Whispers March - April 2014

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Editorial Dear theatre-goers and theatre-doers, Where does your passion for the Performing Arts come from?

Since writing my last editorial my mother passed away aged 88, a proverbial ‘good inning’.

It set me thinking about the well-spring of my passion.

The constant presence of music at home, with sing-a-longs from an early age - mum at the piano, was certainly important, as were the shared family trips to amateur and commercial theatre. These were huge forces in establishing the passion for theatre which has led me to performing, directing, Drama teaching and now editing a theatre magazine and website.

Was it nurture or nature? My grandmother had been a prolific performer with amateur musical societies, a passion I’ve inherited with a vengeance.

But if family is an important factor, so is the role of enthusiastic teachers who introduce students to attending theatre and performing in school productions.

A brand new feature in this edition, pointing towards a more comprehensive online publication, the School Performing Arts Resources Kit (SPARK), encompasses both these aspects of educators in inspiring a love of theatre, targeting performances both for and by young people.

Having taught Drama and staged school musicals, I can attest to their influence.

Once a colleague at a staff meeting commented on two girls in the ensemble of a school musical, saying that he had never seen either of them smile before, to which there was widespread agreement.

Walking down a busy city street one evening, I heard a voice calling out ‘Mr. Litchfield, Mr. Litchfield’. Turning, I saw two young women who had been in school musicals I had staged. How affirming it was to hear that those musicals had been highlights of their schooling.

At the opening night party of a major musical, I was humbled when a talented young man, who had played leads in school musicals I had directed and had been in my Drama classes, told his fellow cast members of my influence in shaping the passion for theatre that had led to his career.

I’m know my fellow Performing Arts teachers will identify with these affirmations, and can mirror them with their own anecdotes; such are the special rewards and impact of our career and our passion.

Lucy Durack and Jemma Rix checked out Stage Whispers when the Australian production of Wicked celebrated its one millionth visitor in 2010. Lucy is excited to be working with Jemma again when Wicked returns to the Regent Theatre, Melbourne in May. See page 6.

Creator of The Rocky Horror Show Richard O’Brien checks out Stage Whispers while chatting with David Spicer over lunch.

See page 14.

Yours in Theatre,

Neil Litchfield Editor

CONNECT

Cover image: Lucy Durack as Glinda in Wicked.

Read our interview with her on page 6 of this issue. Photo: Jeff Busby www.stagewhispers.com.au Stage Whispers 3

Stage Briefs

Wicked has its new Wizard, Reg Livermore. Wicked returns to its original Australian home, Melbourne’s Regent Theatre, from May 7, ahead of a Sydney season at the Capitol Theatre from September 20.

4 Stage Whispers March - April 2014

Hyeseoung Kwon and Hiromi Omura in Handa Opera on Sydney Harbour: Madama Butterfly.

Photo: Ben Symons .

Phoebe Panaretos (Fran) and Thomas Lacey (Scott) star in Baz Luhrmann’s Strictly Ballroom The Musical, as it tangos, sashays and bogo pogos its way onto the stage at Sydney Lyric Theatre from March 25.

Anthony Warlow returns home this June with Tony-Award winner Faith Prince, his Broadway co-star from Annie, in a concert event titled Direct From Broadway, which premieres at the Adelaide Cabaret Festival on June 10, then travels to Perth (June 14), Melbourne (June 20 & 21), Sydney (June 27 & 28) and Brisbane (July 4 & 5).

The concert will feature music from some of musical theatre’s greatest productions, including My Fair Lady, Annie, Fiddler on the Roof, Sweeney Todd, Guys and Dolls and Man of La Mancha. www.anthonywarlowlive.com

www.stagewhispers.com.au Stage Whispers 5

Lucy Durack and Chris Horsey.

Photo: Matt Watson.

Lucy Durack: Mrs Popular Musical Theatre favourite Lucy Durack has two new white dresses to slip into. One is for her wedding in April and the second, a streamlined bubble dress for her role as Glinda in the return season of Wicked. David Spicer discovered just how ‘popular’ the 31-year-old singer and actress has become when he caught up with her and fiancé, accomplished dancer/ choreographer Christopher Horsey.

“We met during a rehearsal in 2005. I was brought in to choreograph the dance elements and Lucy was performing,” says Christopher with a grin.

6 Stage Whispers March - April 2014

“I was very happy to work with Lucy on some specific steps,” he chips in.

You made your move while you were choreographing her?

“Oh yeah!”

What was the move?

“I can’t say. It is a tap step that unlocks certain girls’ hearts.”

They both laugh. We are “It was in the car park of Chapel backstage at the Parramatta Riverside Theatre in Sydney’s western suburbs. off Chapel,” says Lucy.

Chris Horsey is one of the stars of a Was it love at first sight? pro-am production of Annie.

“It was close to that,” he says.

Lucy Durack has flown up from Lucy explained that they ‘got on very well’ but Chris was on his way to Melbourne for 24 hours. She is London and they didn’t meet again seeing two matinee performances then afterwards they are meeting up for another two years. nd “We were doing 42 Street with with their bridal party to go through The Production Company. Chris was their bridal waltz.

Surely it will be sensational? After very helpful. He is a much better dancer than me and I was quite all he won the Fred Astaire nervous. As I was playing Peggy International Tap & Jazz Championship in New York at the Sawyer I had to work very hard on age of 12 and she’s a WAAPA my tap dancing, whereas Chris is graduate. brilliant.”

(Continued on page 8)

Jemma Rix and Lucy Durack in Wicked.

Photo: Jeff Busby.

www.stagewhispers.com.au Stage Whispers 7

Lucy Durack and Leon Ford in MTC’s Private Lives.

Photo: Jeff Busby.

Online extras!

Lucy speaks to Stage Whispers about Private Lives. Scan the QR code or visit http://youtu.be/StFA_fw7UFU (Continued from page 6)

“We are actually choreographing it tonight. I’ve got the idea in my head. We have a song that we absolutely love. It is not a waltz but is in 3/4. It has just got everything that spells our love together,” he said.

The next morning Lucy was heading back to Melbourne for a week that sounds terrifying.

She has eight performances of Private Lives with the Melbourne Theatre Company. In her ‘spare time’ she is re-rehearsing Wicked, as she is rejoining the company in Melbourne.

She has two full day rehearsals for a concert production of Atlantis, then a meeting with David Harris to rehearse their concert at Taronga Zoo. Separate to that Chris was also heading down to Melbourne to rehearse a concert with her.

“And we are also writing our wedding vows,” he adds.

It was raining outside at the time, so I felt like directing Lucy to go and 8 Stage Whispers March - April 2014

lie down with a blanket and have a cup of tea. You wouldn’t want to catch a cold before a week like that.

Another risk might be forgetting which show you are in.

“Once or twice (I have) come out with something slightly different to the script. The earlier it happens in the season the better because then you can get it out of your system. If that is the worst that can happen we are going to be alright. It tests your improvisation skills. I was lucky to be surrounded by so many actors who could help.”

She says performing in Private Lives has been more enjoyable than anticipated.

“Noël Coward writes so beautifully and to get your mouth around that is such a robust athletic vocal load.”

She also notes that being in a play uses a different headspace than being in a musical.

“There is a lot more creation and input into the production. A lot more talking around the table.”

There is plenty of talking around the table also for their wedding, planned for Perth in April.

It will have plenty of show business pizazz thanks to help from some ‘very talented friends’.

Kellie Dickerson is the wedding’s ‘musical director’ and their favourite show business photographer is flying in from Sydney.

Can you buy tickets?

“No but maybe you can buy the DVD,” says Chris.

In the last week Lucy took possession of two new white dresses.

Which was the most important one?

“Of course my wedding dress,” says Lucy.

“I can’t say what it’s like because my fiancé is here, but it is my dream dress.”

She was more forthcoming about the new white dress she’ll slip into on

stage in Wicked as Glinda the good witch.

“I had a costume fitting on Valentine’s Day. Getting back into the ‘bubble’ dress is pretty exciting. I have a brand new one. The old one was 20 kilos. This is heaps lighter and more sparkly,” she said with a twinkle in her eye.

Chris is getting excited.

“I would not protest if she walked down the aisle in her bubble dress.”

Lucy assures him though that she be won’t be waving any wand around on her wedding day (at least not in public).

All this talk whets her appetite for the return of Wicked.

“I can’t wait to get back into that and doing that opening number, and I’m so looking forward to working with Jemma Rix again. I am also very much looking forward to singing (the song) Popular again.”

On cue our interview with ‘Mrs Popular’ is interrupted by Annie Producer Neil Gooding - dozens of little orphans are desperate to meet Lucy backstage.

Does this sort of reception for Lucy ever make Chris feel like he’s the musical theatre equivalent of Andrew Upton - the husband of Cate Blanchett?

“I was thinking about that today.

This Annie cast is all so excited that Lucy is in today. I did think this must happen to Andrew all the time. But I don’t have a problem with the fact that I am not as pretty as Lucy.”

Does he get jealous, though, when someone kisses his beloved on stage? In Legally Blonde the Musical she smooched with three men each night (and one understudy he notes).

“I just don’t look. Although kissing Cameron Daddo, he was my Perfect Match (host) back in the 80’s, kind of made sense. It is a very professional thing so I have no feelings about it,” he said in a not entirely convincing manner.

Sometimes the kiss is on the other lip.

“I don’t love it when Chris is kissing another girl either. It is part of the gig,” said Lucy “In (the musical) Every Single Saturday he had a romantic partner.

I take a leaf out of Chris’s book and try not to get involved in it. If you play a lead character there is a romantic storyline and that is part of the action of it.”

All this talk of kissing and the wedding made me think about what sort of a baby they might one day be blessed with. Surely such a child would have to be a dynamic dancer.

“If we are fortunate to have children, as Chris is one of the greatest tap dancers I have ever seen, we should also give them the opportunity to be a tap dancer if they want to do that,” says Lucy.

“The chances are high we are going to have a child who wants to be involved in the industry. While of course we would prefer them to want them to be a doctor.”

“Or open the batting for Australia,” adds Chris.

“I am sure we will let them do what their heart desires,” Lucy says.

No doubt any child they will be well versed on the downsides of a career in show business.

“The major disadvantage is that we haven’t seen each other much during the last three months. Chris has been in Sydney doing Annie and loads of corporate choreography and I have been in Melbourne.

“Having said that I grew up with my parents; they still do long distance. I know lots of couples who do long distance and they are fine.”

My sixteen minutes with Lucy and Chris is up. Lucy meets and greets the Annie orphans, Chris warms up for another performance. They walk off hand in hand.

Private Lives at the Melbourne Theatre Company continues until March 8, Lucy Durack and David Harris perform at Sydney’s Taronga Zoo on Friday March 14, and Wicked previews in Melbourne from May 7, before arriving in Sydney on September 20. www.stagewhispers.com.au Stage Whispers 9

The Arts Of Farce

Tiptoeing gingerly around slippery steps and multiple doors, Frank Hatherley ventured onto the rehearsal set for the Sydney Theatre Company’s production of Noises Off. The play is described as ‘the most successful farce of the 20th century’, and it is also one of the most dangerous.

Michael Frayn’s Noises Off, first performed in 1982, is a farce about staging a farce. We see a company of B -Grade actors preparing for a C-Grade UK tour of a typically awful 1970s farce called Nothing On, on a rickety two-tier setting. Then we watch from behind the set as they are performing to an audience. Finally the set revolves again for their final horrendous/hilarious night.

Today the Sydney Theatre Company cast is working on a same-size version of the show’s huge set in the very middle of their largest rehearsal room.

It’s lunchtime and the towering director Johnathan Biggins munches on a sandwich while showing me around.

“Yes, it’s an extraordinary rehearsal set,” he says. “But the timing of everything is so vital that we really 10 Stage Whispers March - April 2014

need it. You couldn’t do it with gaffer tape markings. Someone’s got to fall down a flight of stairs and that has to be rehearsed and rehearsed.

“There are no understudies so we have to have actors who won’t have an accident, won’t suddenly be surprised by something. Having this for five weeks actually makes economic sense.”

There are impressive flights of stairs and many, many doors. When rehearsing Acts 1 and 3, Director Biggins and his technical team watch from the southern end of the room.

They troop to the northern end to watch Act 2. On stage the real set will, of course, revolve.

Biggins is a force of nature at the STC. He writes and performs in the annual Wharf Revues, his full-length comedy Australia Day was an audience -pleaser in 2013 [and 2014 in Brisbane]; now he’s directing a major show, and he’s on the Board of Directors. A Renaissance Man, I suggest. “If only I could fence,” he fires back.

He shows me his rehearsal script for Act 2. There are two columns packed with parallel action, offstage and

Noises Off. Photo: Brett Boardman.

onstage. “Co-ordinating the two is very difficult,” he says, clearly relishing the challenge. “For farce, precision is allimportant. No door must open before the other closes; or sometimes they must open and close simultaneously.

“When they get to do Nothing On, the play-within-the-play, it’s actually quite amusing. Slapstick can wear a bit thin, but this one is short and perfect.”

Michael Frayn has written: “Farce is wonderful when it works and dreadful when it doesn’t.” Certainly, ever since its beginnings at the dawn of theatrical endeavour — the Roman Plautus and who-knows-who before him — farce has been loved by the groundlings and held in low repute by the critics.

Not satire, not ‘black humour’, farce is violent, aggressive and highspirited, with characters who are selfabsorbed, unsympathetic ‘types’.

Essentially conservative and without any message, the fun is in watching the ever-more-complicated hoops through which an author makes his/her unsympathetic characters jump.

Complete chaos and disintegration is the usual climax.

Shakespeare and Moliere dabbled in farcical situations and characters, but the genre exploded into life in late19th century Paris with the crazy precision writing of George Feydeau and Eugene Labiche.

Farce moved to Britain in the 1920s. Decades later, the farces of Ben Travers evolved into the Carry On films and a raft of TV sitcoms that conquered the English-speaking world.

Australia was a prime receiver of the likes of Man About the House, George and Mildred, Are You Being Served?, etc, etc.

“Australians are very familiar with that whole English farce sensibility,” says Jonathan Biggins, finishing off his sandwich. “We’re setting our Noises Off very much in 1976. I remember seeing Tim Brooke-Taylor in a Ray Cooney farce, it might have been Run For Your Wife, in 1978 in Cambridge same kind of setting, dropping the trousers, the whole thing.”

So how do the STC’s Noises Off designers approach the art of farce?

Costume designer Julie Lynch is positive. “The costumes have to come

Ash Ricardo during rehearsals for Noises Off.

with a real energy about them. There’s a contract with the audience that everything will be heightened, so you can go that little bit further. We are going for 1975-77. That’s right in the George and Mildred period.”

“I call it The Period That Style Forgot,” adds set designer Mark Thompson. “Basically the middle classes, their marketing people and designers had picked up on the 60s ‘flower child’ look and transposed it into even bigger hair, wider shoulders

and even more shocking colours. And they put them on middle-aged people, as opposed to the young people who had formulated it! So the 70s was kind of like a ‘limp dick’ version of the 60s, but with heightened colour and not as much fun or taste. We took that as our starting point.”

How did Mark approach his farcical task to design the set for the touring Nothing On, plus the realistic behindthe-scenery milieu?

(Continued on page 12)

www.stagewhispers.com.au Stage Whispers 11

Noises Off rehearsals.

Photo: Grant Sparkes Carroll

Online extras!

Check out a trailer for Noises Off by scanning the QR code or visiting http://youtu.be/0LiRWWCslao (Continued from page 11)

“From the front I wanted it to look like a set that had been built by a good workshop that usually built sets for shopping malls - a ‘Santa’s Xmas Cave’ kind of look - slightly jarring, everything’s slightly heightened, a badtaste-Disney kind of thing.

“From behind the set will look like it has been made from recycled parts from other shows. And the finish of the construction techniques go back 20 to 30 years as opposed to today’s you-beaut staple-gun-neat finishes. It’s all a bit wonky, with a slight flap to everything.”

How does he prepare for the nightly falling-down-the-stairs routine?

“My job is to make sure it’s as safe as it possibly can be,” says Mark.

“We’re using padding, but we’re disguising the padding, so when you look at the set hopefully you won’t know which piece has been made of 12 Stage Whispers March - April 2014

foam and which is solid timber or steel.”

“It’s a team effort,” adds Julie, “I’ve got padding that I have to add into costumes, kneepads or elbow pads, extra bits and piece that you won’t see.

This show’s notorious for Health and Safety around the world, and we’re very aware of that.”

“Having five weeks of rehearsing on a duplicate set must be a huge help to get things moving in proper farce clockwork,” I say.

“You really can’t do Noises Off without it,” says Julie. “Mark is finetuning the set while he’s watching them rehearse.”

“It cost a bit,” I venture.

“Oh, yes!” says Julie. “We know all about what it cost, don’t we, Mark!”

Oops, I’ve obviously touched a sore spot.

“We didn’t spend anything extra,” says Mark, very definitely. “It had to come out of the set budget. We were

put on short notice that we weren’t to go over budget - and with Jonathan being on the board of directors, he was determined not to go over budget!”

And, contrary to my suggestion that farces don’t contain a message, director/playwright/performer/diplomat Biggins is certain that Frayn’s marvellous farce does have “something important to say”.

“This is a play about the collision of Art and Life,” he suggests. “The two become indistinguishable and all ends chaotically with the actors trying to pull down the curtain on their heads. To me that’s pure Beckett: they’re doomed to repeat their regional thirdrate tour forever. It seems to me that the play is saying ‘life is not a dress rehearsal, it’s a bad tour of a bad show’.”

He chuckles merrily at the thought and turns to begin the afternoon’s rehearsal.

Milton Follies’ Noises Off.

How We Staged Noises Off on an 8x5 Amateur Stage

“I’d seen it many, many years ago in Wellington,” she tells me, “and I happened to find a copy in a bookstore. ‘This is my play!’ I thought, but then I had to wait until I could It seemed impossible, but Milton actually handpick the exact cast I Follies had a triumph. wanted.”

On the face of it, Noises Off might How on earth did they manage the be considered an extremely difficult two-tier revolving set on the Milton prospect for amateur theatre Theatre’s 8x5 stage? companies. It is, after all, about a “It seemed impossible,” says Di. group of not-very-good professional “The theatre lights were too low for us actors on an uninspiring backblocks to have a second tier. Then Bob tour. The gap between ‘good amateur’ Herbert, my wonderful set designer and ‘bad professional’ is narrow but and builder, came up with the idea of vital. having the second level just three steps The complex setting and the up, and that worked perfectly in our clockwork precision of the acting make wee theatre. it a mighty challenge, which hasn’t “We started rehearsing in the CWA stopped Frayn’s great farce from Hall with a big tarpaulin the size of our registering many thousands of stage with all the doors and steps community theatre productions marked. On one side we had Act 1 and throughout the world.

3, and we turned it over to rehearse One of the most recent was at the Act 2. pocket-sized 200-seater Milton “Bob built the set in his shed. He Theatre, on the southern NSW coast, made it in two major pieces that got where a keen company called Milton screwed together. We were able to Follies ran the play for six nights last erect it on the local school’s basketball November after almost a year of courts during the school holidays, so intense preparation. the cast had a vital two weeks to get Did it prove to be a folly? Not used to it. according to director Di Falloon, whose “When we got to the theatre, we brave obsession it was. used every little tiny inch of that stage.

During the intervals, four blokes took out the screws, took out the chocks, took out the steps and turned it all around. Eventually they could turn the set around in 10 minutes. We couldn’t bring the curtain down during the intervals. But it didn’t matter: the audience was just fascinated.”

www.stagewhispers.com.au Stage Whispers 13

Online extras!

Cast of The Rocky Horror Show with Richard O’Brien.

Photo: Shane O’Connor

Check out our exclusive footage by scanning the QR code or visiting http://youtu.be/DuKIpOl7SWY

Lunch with Richard O’Brien

Time was fleeting at The Rocky Horror Show media call, so David Spicer asked instead if he could have lunch with the musical’s creator Richard O’Brien. The legendary writer and actor was in Australia ( in fine form) for the premiere of the 40th anniversary production in Brisbane, ahead of seasons in Melbourne, Adelaide and Perth.

It can be disturbing when you find yourself in a foreign lodging when you have a vivid imagination. Who knows, maybe a transvestite could end up in your bedroom.

Shaven head, without an ounce of fat on him, with pointy charismatic features Richard O’Brien resembles an elongated elf.

I ask him which role in the musical he most relates to. At first he groans at We sat down in the courtyard of a the question but then rises to the bait. posh Brisbane hotel and ordered “I do like all of them. They are all the same person at war with refreshments.

Sitting with the 71 year old was his themselves, people running around in third wife (German born) Sabrina Graf, my head.

“I was the boy next door, like Brad. who was introduced to The Rocky Horror Show as a girl, when her father Mothers used to love me. I was well dressed. Not bad looking. I used to showed her the movie. have muscles too.”

Now happily living in the Bay of He then flexed his impressive bicep Plenty in New Zealand, the couple had a spooky moment when they arrived in and growled affectionately at Sabrina.

“I would love to be the girl next Queensland.

“We checked into a hotel which door. Love to go to bed one night and looked good on the internet. But there wake up a girl.

“I was certainly the resentful Riff was no lock on the door - so we Raff bastard. I played on that part (in checked out,” he said.

14 Stage Whispers March - April 2014

the motion picture) of my resentment to Tim Curry being beautiful and charismatic.”

What about Frank N Furter?

“Yes I’m tonnes of that.”

Does he ever dress in stockings and suspenders?

“I wear whatever I want. They are just clothes. If I want to wear a frock I will.

“Before 1950, women were not allowed to wear trousers. That’s only 50 years ago. So women are cross dressing all the time.”

Last year Richard O’Brien went so far as to describe himself to the BBC as 70 percent man and 30 percent woman.

At the Brisbane media call he appeared a little more coy.

When Craig McLachlan, as Frank N Furter, resplendent in his high heels, and a finely sculptured Brendan Irving as Rocky draped their arms around him, he looked a little uncomfortable.

“I’m straight,” he said.

The three were re-united on stage during the curtain call on opening night.

Richard O’Brien bounded on wearing a white jacket with a striking print of a leopard on its back. He delighted the audience with a rousing rendition of ‘The Time Warp’ (which he hastens to add he has performed at weddings, parties and Bar Mitzvahs).

40 years after he penned the show Richard O’Brien is surprised at how popular it remains.

“It is puerile juvenilia. It doesn’t make sense but it works and that is delightful.”

It is also the dictionary definition of a cult following.

“They come with a generosity of spirit. For many in the audience the show doesn’t start when the curtain goes up. It starts at 4 o’clock in the afternoon. They get home from work, get in the bath, shave their legs, put the make-up on and have got themselves into a party state before they get here.

“The minute they come through the door (of the theatre) and see other people on the same sort of journey, you can feel the level of excitement in the audience.

“One man comes in dressed up as Frank N Furter and they go ape.”

New younger recruits are being inducted into the cult.

“I had a phone call from Matthew Freud, Elizabeth Murdoch’s husband, at one in the morning.

“He said, ‘Richard I just want to congratulate you about Rocky Horror.

We’ve got one of these TV sets in the car and our children (aged 13 to 8), that’s all they want to watch.’

“And he said, ‘you know what the favourite song of my youngest is?’ And I said, ‘Sweet Transvestite?’ ‘I wish.’

‘What?’ He said, ‘tacha tacha touch me.’ I said, ‘I am so sorry.’ He said, ‘that’s alright mate.’ “ Richard O’Brien admits that The Rocky Horror Show was “based on my misspent youth, a puerile adolescent journey of rock ‘n’ roll and B Grade movies.

“It was a fringe theatre event. From the moment I thought of doing it to curtain up was just six months.

to ever larger theatres where it continued for seven years. Recently BBC listeners nominated The Rocky Horror Show as eighth on a list of most essential musicals.

Broadway has been a harder nut to crack. The show ran for just 45 performances in 1975 and a revival in 2000 was also a disappointment.

To explain the hurdles faced in the US he mimics the accent of a Chicago taxi driver.

“I saw The Rocky Horror Show at the cinema for just ten bucks.”

They’ve since released the amateur Sabrina Graf with Richard in London at the rights in the US, where it is doing very premiere of Rocky in Wimbledon last year. well.

Germans on the other hand can’t Richard O’Brien joins the cast of get enough of it.

The Rocky Horror Show for the “Germany kept rock ‘n’ roll going Adelaide season in the role of the during the Glam Rock period…they get Narrator. it. Stocking and suspenders is also very “If I was one of those legal firms Germany.” and added up every hour I spent on it, Likewise in Australia and New I’d guess about three or four weeks all Zealand the musical is ever popular. up.”

Richard O’Brien played the narrator The musical premiered in London in in the most recent kiwi revival.

1973 in a 63 seat experimental theatre.

He also became a New Zealand It opened after just two previews. citizen a few years ago - but getting it The audience response prompted was difficult. the producer Jim Sharman to transfer it

www.stagewhispers.com.au Stage Whispers 15

Richard O’Brien and David Spicer

Born in England, his family moved there to become sheep farmers when he was aged ten. His diet of B Grade science fiction horror movies was fed in the town of Hamilton, which has erected a statue in his honour.

He left for England when he was 22 and NZ Immigration officials baulked at his residency application because of his age and lack of a job.

A Facebook campaign was launched to make the man claimed as a New Zealander a bona fide one.

Now his German born wife Sabrina is delighted with the green surroundings of their hometown of Katikati.

Richard O’Brien proposed during a production of Oliver! in 2012. At the time he was playing Fagin for the Hamilton Operatic Society.

It was a role he had always wanted to play and notes that he sang it superbly and was especially keen to remove any traces of anti-Semitism from the role.

Our lunch conversation jumped to the left, then stepped to the right, as we grazed across a range of topics.

He decries ’ low level racism’ that his antennae pick up in some of his fellow citizens.

He believes absolutely in Darwinism; that we all evolved from primordial soup.

He has little time for religion - “that a supreme being is interested in me is delusional. Why would he let a church 16 Stage Whispers March - April 2014

fall down on worshippers? It is just man’s vanity,” he says, but concedes a lot of good comes from spirituality.

And what does he really think about Australians and New Zealanders?

Richard notes that some “have no sense of posh or occasion.” Whilst this can be frustrating it also means, he said, “on the bright side they are not intimidated by celebrity.”

His hamburger arrives and the svelte performer dutifully removes all the greasy bacon bits.

Craig McLachlan, Richard O’Brien and Brendan Irving.

Photo: Shane O’Connor

I thought it best to steer the conversation back to musical theatre.

Has he ever attempted to write another one in the same style?

“Sometimes you can never top it. I have never attempted to.”

However he bemoans the lack of recognition for lyrics for The Stripper, another musical he wrote in 1982, when it debuted at the Sydney Theatre Company. Based on a Carter Brown thriller, he had another go at it a few years ago.

Does he ever get tired of seeing The Rocky Horror Show?

“Never, as long as the audience laughs and it works then I am happy.

There is a difference between this show and other pieces of theatre; a great majority of the audience know it. There is an agreement this is OK. There is no better show to do as a performer.”

And how does the current production brush up - with its set and design - from the UK touring season.

“I like the open happiness and clarity it brings to the show. It lets the air breath around her.”

Our lunch is over. Richard O’Brien is one of a kind.

The Rocky Horror Show plays at the Crown Theatre Perth until March 9, then at the Festival Theatre, Adelaide from March 20 and the Comedy Theatre, Melbourne from April 24.

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Going It Alone

Chapel Off Chapel. Inset: Ibrahim “Ibby” Mustafa

Coral Drouyn has been exploring Melbourne’s extraordinary independent theatre scene, and found some fascinating details about the companies and the venues.

out a season by opening night….and loyal supporters hang out waiting for the next season to be announced.

Tickets are rarely above $40, usually much lower, so this is theatre that everyone can afford. Of course there There are more than 200 of them. are some companies that form for one They appear overnight, or suddenly production, usually for a festival, and fall in a heap shortly afterwards. But burst from the shadows with a dazzling display that catches audiences what is impressive is the amount of by surprise; a few struggle on until companies that thrive, and the theatres they die from lack of interest, or that service them. emotional and financial starvation.

La Mama is the elderly matriarch.

They have names like Fly-On-The Wall, After 40 years, and still never less than interesting, she still has her own La Mama, 5pound theatre, Mockingbird, Red Stitch, Metanoia, theatre, La Mama Courthouse and a Barking Spider, Back to Back, Next faithful following, but she is no longer Step, Broken Mirror, What’s On, Ellis quite the force she was back in the days when David Williamson launched Productions.

They are that strange species which his career. seems to thrive in Melbourne’s cooler At the top end for quality Red Stitch climes…independent theatre has become the benchmark of companies. excellence for Melbourne theatregoers.

Melbourne LOVES its independent They have an ensemble company with some excellent talent, a visionary theatre, and with good cause. In any company director and even their own given week there will be 2-3 opening nights, and that’s excluding all the little theatre, a permanent fixture that community theatre. was once a church hall, behind the While mainstage and state theatre main church in Chapel St, St Kilda East. companies tend to produce same/same It gives the company stability and allows them to foster new talent in all and very safe theatre, the independents confront, demand, areas. It’s also a bonus for the invade and often swamp us with edgy audience. You buy a ticket knowing plays that might never be seen that you will not be disappointed; that elsewhere. The quest is for excellence, every play will be cutting edge and a and even if they fail, they at least tried. first rate production. Red Stitch has The very best of the companies gone from strength to strength, with a have subscription lists and often sell diverse audience from all age groups.

18 Stage Whispers March - April 2014

Mockingbird, a personal favourite, are only just beginning their second season yet they have gone from struggling to survive to being highly acclaimed and successful. They change venues for whatever suits the play.

5pound theatre presents great and often offbeat plays in a tiny front room venue called The Owl and the Pussycat opposite Richmond station. Seating only 45 people, there’s even a tiny foyer bar under the stairs to the living area upstairs. Director Jason Cavanagh lets the space out to other indie companies when he doesn’t have a production of his own company. He can’t afford to pay the rent on an empty space for too long. And that’s the rub for all the independent companies; there simply isn’t enough money to pay for rehearsals, to build large sets (Mockingbird has used the same four wooden chairs in five plays….painted different colours), and sometimes even pay the rent.

For some companies, access to a decent theatre with all its technical specifications is dependent upon them raising money any way they can, including fundraiser internet sites like Pozible. Family and friends will sometimes donate to help finance a production.

A stunning venue like Cooper’s Malthouse, itself subsidised, is totally out of reach, but there are almost as many venues as there are companies; everything from highly regarded

theatres to upstairs studio spaces and even underground car parks (fortyfiveownstairs is a CBD basement).

There are council owned theatres like the Drum in Dandenong; University theatres like The Alexander at Monash, an old meat market which is now the Arts House - you name it, performing spaces are everywhere. Then there are the special theatres that have already built their reputations and are sought after by everyone. Of these, two are outstanding.

Theatre Works is a large Parish Hall right in the heart of St Kilda with an imposing façade. Long noted as a venue for independent companies, it also operates as a producer in its own right, mounting productions in conjunction with other companies, coproducing and hosting festivals (it’s been an integral part of MIDSUMMA which closed last month). Creative Director and CEO Daniel Clarke is a creative powerhouse and he has a fabulous line-up of Theatre Works productions geared for this year, with the introduction of terrific subscription packages. Ticket prices are actually cheaper than many cinema tickets.

Most recently Theatre Works teamed with Watch This and Manilla Street Productions for the first full scale professional production in Melbourne of Stephen Sondheim’s Pacific Overtures, and the performance art and children’s drama is a marvellous addition to an already culturally diverse area.

Less than 10 minutes drive away (and you pass Red Stitch on the way) is the amazing Chapel off Chapel in

Red Stitch Theatre

Theatre Works

Prahran, the next inner suburb. With its ultra modern façade incorporating the lovely original Chapel with its stained glass window, “Chapel” is a favourite of audiences and companies alike. It offers three performance spaces, a bar and a strong support system for producers, new or experienced. Fly-OnThe-Wall Director Robert Chuter loves Chapel off Chapel and has used all its spaces many times, “Because I know them so well, it makes it easy for me to block and rehearse a play away from the theatre, and I know that when we bump in, everything we need will be right there on hand. It’s like a second home.”

Marketing and Producer Liaison Officer, Ibrahim Mustafa (affectionately known as Ibby) explains, “We’re part of Stonnington Council, and so we have to pay our way, justify our existence if you like. But that doesn’t mean we just

collect fees. We’re there for the companies in whatever way they want us to be, whether it’s marketing, helping with the productions, even suggesting changes if asked.” He is justifiably proud of the productions “Chapel” has hosted and the walls of the relaxing foyer and bar area are lined with colourful playbills. “We have three great spaces and I think companies want to come here because they know we’re fiercely proud of our reputation and we want them to succeed. They really don’t have to go it alone.”

Which brings us back to where we started…independent but NOT alone after all. So many of the companies help each other, lend props, costumes, lighting, sound rigs; directors will step in to support each other if needed, or pick up the reins in case of illness. It’s a community of artists, theatre-makers, actors, writers, directors, award winning lighting directors, functioning in a way that doesn’t appear to happen anywhere else. And with festivals as well as company seasons the figure is around 400 new productions every year. That’s more than one a day…new theatre, vibrant theatre, exciting theatre and never more than a short tram ride away. And with an estimated 800,000 Melbourne theatregoers annually (yes, that figure is without tourists), it’s small wonder that we’re so proud of our Indie scene.

We love live theatre, that’s a given. The hard part is choosing what to see on any given night. www.stagewhispers.com.au Stage Whispers 19

Sydney’s Theatre Gridlock John Frost

Australia’s leading Musical Theatre Producer John Frost says his hometown of Sydney has lost the theatre crown to Melbourne. He describes as ‘diabolical’ the loss of one of the city’s theatre jewels as a viable space for large musicals.

David Spicer reports.

John Frost likes to dominate a market. In 2014 he is producing Grease, The Rocky Horror Show, Wicked and, with Opera Australia, The King and I. This follows a cracking 2013 that included a Julie Andrews tour, Driving Miss Daisy with Angela Lansbury, A Funny Thing Happened on the Way to the Forum with Geoffrey Rush, South Pacific and Legally Blonde the Musical.

He sometimes quips that he would give the legendary theatre producer J.C Williamson a run for his money.

But sitting in the stalls of the Queensland Performing Arts Centre during a media call for The Rocky Horror Show John Frost is almost shaking with frustration. Rocky can’t get into Sydney in 2014 because of a lack of venues.

Sydney: “It’s a big problem,” he says. “With The Lion King at the Capitol, Strictly Ballroom at the Lyric, and the Theatre Royal closed (for renovations to the adjoining food court) for the rest of the year and we can’t get into the State Theatre which is just booked with one night stands.

“They only want concerts in there and deter you from long running musicals.”

The State has been described as Australia’s finest historic theatre. The palatial features of the foyer are breathtaking. The problem is that the stage is too small and irregular for large musicals, so it is used primarily for concerts.

State Theatre Manager James Murnain admits, “It was only ever designed as picture palace.”

John Frost says there was the opportunity to extend the stage when the owners purchased an adjoining building.

But instead of making the stage larger, extra space was used for a 196 room New York/Venetian style hotel and day spa.

The hotel is now open for business, a decision John Frost describes as ‘diabolical’.

“That was the last opportunity to save the State as a live theatre. Why would you not turn that into a perfect lyric theatre? Now they can’t build a proper theatre with a big stage and wing space because they have a hotel building over it.

“You have to blame the owners and Local and State Government for allowing it slip through.

“There’s talk of a new theatre in Barangaroo, but by the time this happens we’ll all be in wheelchairs. It drives me nuts.”

Fellow theatre producer Rodney Rigby is also frustrated.

“All the available theatres are gridlocked.

“There are lots of wonderful global shows in the marketplace at this point of time. If you want to book a

20 Stage Whispers March - April 2014

theatre in Sydney or Melbourne you have to wait a long time.

“The concerns that I expressed in 2010 about the biggest threat to my business have come to play.”

He says the lack of venues in Sydney has a flow-on around the country.

“You have to play in Sydney and Melbourne and there is only one venue in Brisbane.”

As well as venue crush, producers also have to deal with fickle audiences.

John Frost says, “Sydney is hard. We have to have audiences to fill these theatres.

“We sold 95,000 tickets for Grease in Sydney. In our first week in Melbourne we had already sold 103,000.

“Melbourne does it well. It’s about educating the people that theatre is a major part of life. Like going to the football or cracker night.

“On other hand something like The Lion King is doing phenomenal business in Sydney. It is an odd phenomenon.”

The Manager of the State Theatre John Murnain says there have been positive spin-offs from the building of the hotel.

“We had a new roof put on and they also restored a number of the (sculptured) gargoyles and old knights.”

He also disputes John Frost’s interpretation of the redevelopment.

“The hotel is no-where near the stage. We don’t own the other building (next to the stage).

“We (also) only have a small hoist and roller door to get stuff in. There is not much we can do about it.”

So it looks like the door is shut. Concerts and film festivals will be the only way to enjoy a night of magic in the State Theatre

Stage Whispers Costumes Just $11 a listing Have any costumes and props for sale or hire? Get noticed now! www.stagewhispers.com.au/costumes

www.stagewhispers.com.au Stage Whispers 21

1979 London Palladium production of The King and I.

Learning From The King (And I) Australian music legend and theatre icon Marty Rhone was a young man when he scored a role alongside Yul Brynner in the West End production of The King and I. He played the young lover Lun Tha and now 35 years later is returning to the musical as the Prime Minister in the Opera Australia/GFO production.

Marty spoke to Neil Litchfield about his return to musical theatre.

became a pop star, Marty’s first big pop hit ‘Denim and Lace’ sprang from his role as a song-writer in the TV soapie Class of 75.

A six-week appearance in the TV soap Number 96 added to his fame.

“Whenever they brought someone new into the cast, the Number 96 publicity machine worked overtime.

They would have your name and your photograph literally everywhere.”

But there were both Marty Rhone has advantages and had plenty of disadvantages to Marty’s crossover acting satisfaction from his and pop music success. career. As a 17-year“As soon as I had the old, fresh out of school, his first professional gig huge success with was as a supporting act ‘Denim and Lace’, overnight it seemed like for The Rolling Stones.

I was persona non grata He switched between in the acting fraternity. pop music, TV drama It was quite bizarre.” and musical theatre, but it didn’t always go That prompted Marty to look overseas for work. smoothly.

“I found that all of a sudden I was “I started the 70s very involved with acting. I did the original Sydney season this hugely successful pop vocalist, but the offers for acting roles quickly of Godspell.”

The Jason Donovan or Kylie appeared to shut down. Admittedly I Minogue of his time, a soap star who was extremely busy touring, but I 22 Stage Whispers March - April 2014

decided to go over to England to further my career, and as it turned out I found myself in The King and I with Yul Brynner at the London Palladium.”

But making it to the audition proved a tight thing.

“It was a strange co-incidence. I was in northern NSW to do a ‘Mean Pair of Jeans’ tour when the motel manager woke me up at seven o’clock in the morning to take a call from London.

“It was my agent asking when was I due back in London, and would I be interested in auditioning for The King and I? “She didn’t mention Yul Brynner and I was umm-ing and ah-ing because I was half asleep and in the middle of a music tour. I said, ‘when do you need me back? I’m back on the 7th of November.’ Then she said, ‘well the audition is on the 8th, the day after you get back.’

“I said, ‘who’s in it?’ and she said, ‘Yul Brynner,’ which changed my attitude immediately. I couldn’t wait to get back.

“I ended up auditioning seven times, which was very stressful. I also had to audition for Brynner to get the

final nod, and I then had to audition for the UK union, to convince them that I wasn’t taking a job away from an Englishman.”

(Even so, the then Premier of NSW Neville Wran had to lend a hand by threatening to take jobs away from UK actors in Sydney if his job was vetoed by the UK union.)

Working with Yul Brynner turned out to be a dream.

“My first introduction to him was his choreography of the ‘I Have Dreamed’ sequence. He imparted his immense stage knowledge and stagecraft onto myself and my co-star. He turned ‘I Have Dreamed’ into arguably the showstopper of the production. We would get a standing ovation just about every second night, pretty much because of his amazing staging of the number.

“Both the American-Japanese actress who played Tuptim and myself were very young, and when we ran it ourselves initially we would come out on the stage and virtually start singing down each others faces, and embracing, and touching, immediately.

“Brynner yelled out from the stalls, ‘Stop! Stop! Stop!” and came up on stage and said, ‘What is happening to you in this production? What is happening in the story?’ We said, ‘well, we’ve been trying to have these clandestine meetings while being prevented by the King and by circumstance.’ And he said, ‘And you want to have an orgasm in the first ten seconds?’

“What he did was to keep us apart for nearly the entire song. When it looked as if we were going to get close to each other, he would have us reverse our positions to other sides of the stage. Ultimately on the big musical crescendo, when I lift my voice and the orchestra builds to a crescendo, Tuptim would be down the front of the stage and I would walk slowly from upstage down toward her, and on a special musical cue, he would have me wrap my arms around her and pull her into my body.”

“It was one of the magic moments of the show, and it was all in his staging.”

Marty also fondly recalls Brynner’s choreography of the curtain calls.

(Continued on page 24)

www.stagewhispers.com.au Stage Whispers 23

Marty Rhone

Yul Brynner

(Continued from page 23)

“Just the way he had the children march out to ‘March of the Siamese Children’, and then they would part and he would appear through this gauntlet of young kids, stride down to the front of the stage, survey the entire auditorium and the audience and take this almighty bow. It made you realise why he became the star he was.”

Now 35 years later Marty Rhone is excited to reappear in the musical.

“Unfortunately I’m not of an age where I can still play the young lover, but I’m thrilled to be cast as The Kralahome. It’s a non-singing role. I’m really looking forward to some wonderful scenes I play with Lisa McCune. I’m Lisa’s main antagonist. I try to convince the King that he shouldn’t employ her. It’s my view, as his Prime Minister and his confidante, that she is not there for legitimate reasons.

“I’m delighted to be back doing musical theatre, ironically not as a singer, but as an actor, which thrills me even more because its some validation for my decision, only fairly recently, to 24 Stage Whispers March - April 2014

The King and I opens in Brisbane at the Queensland Performing Arts Centre on April 13, then moves to the Princess Theatre, Melbourne from June 10, followed by a season at the Joan Sutherland Theatre, Sydney Opera House from September 7. really go back and concentrate on my acting career after a fairly long hiatus.” _________________ The revival of John Frost’s Tony Award-winning production of The King and I, co-produced with Opera Australia, will star Lisa McCune as English governess Anna Leonowens, opposite Teddy Tahu Rhodes (Brisbane and Sydney) and Jason Scott Lee (Melbourne) as the King.

The King and I, Rodgers and Hammerstein’s fifth musical together, was based on Margaret Landon’s 1944 novel Anna and the King of Siam, which took its inspiration from the memoirs of Anna Leonowens, a British governess to the children of King Mongkut of Siam (now Thailand) in the early 1860s.

John Frost’s Australian production premiered at the Adelaide Festival Theatre in 1991. Directed by West End director Christopher Renshaw and starring Hayley Mills as Anna, it played to sell out houses around the country.

In 1996, the production went on to win four Tony Awards on Broadway: Best Revival of a Musical, Best Performance by an Actress in a Musical (Donna Murphy), Best Scenic Design (Brian Thomson) and Best Costume Design (Roger Kirk). The Broadway season was followed by a US tour. In 2000, the production opened at the London Palladium with Elaine Paige as Anna where it played for nearly two years before embarking on a UK tour.

Christopher Renshaw returns to Australia to revive the production, with its Thai-inspired set design by Brian Thomson, costumes by Roger Kirk, lighting by Nigel Levings and sound design by Michael Waters. Susan Kikuchi will recreate the original Jerome Robbins choreography as well as the choreography of her mother Yuriko who appeared in the 1951 Broadway production and the 1956 film.

Police Officer Becomes The Top CAT

Circus 35 South perfor min

g a scene from Tin For

est

humble seasoned director has inculcated in his company.

The awards, after recognising individual and ensemble efforts, recognised entire productions: Best Play went to Canberra Repertory’s Under Milk Wood, and Best Musical, jointly to SoPopera’s Avenue Q and Queanbeyan City Council’s I Love You, You’re Perfect, Now Change.

Theatre companies and schools on the South Coast have surprisingly strong theatre skills, and it was one of these, Wollongong’s Moonglow Productions, that took out equally most CAT awards, six, for its staging of Hairspray, along with the combined Canberra Grammar Schools, for Guys and Dolls.

Breaking up a full evening of 48 CAT awards with, thankfully, no long speeches came entertainments comprising scenes from the contending productions, a great way of showing the region’s talent and of Kevin Beatty with his Gold CAT Award. bringing the awards immediate Photos: John P. Harvey. relevance.

Fortunately, the Q’s Stephen Pike A playwright detective has received the Molong, Kevin Beatty (pictured here) managed the logistical challenges in top honour at The Canberra Area has been leading the Molong Players bringing so many ensembles to the Theatre Awards, which honour for the past 20 years in producing a play annually to raise funds for a range stage in a single evening, pulling the community theatre companies and whole together with, unbelievably, a of local community initiatives—a schools in the A.C.T. and regional single day’s rehearsal. The constraints project that has been successful, to N.S.W. John Harvey reports. of sheer numbers confined the sample date, to the tune of more than $1.5 scenes to those not requiring sets; This year’s winner of the Gold CAT, million. Kevin himself has written the company’s last eight productions. That nevertheless, the audience had the for “his outstanding achievement in treat of a range of performances from the 2013 play, A Club Full of Cracks, original scripts, performance and a solo number and several small-cast direction”, is a man who 20 years ago won its cast and crew two significant scenes through to full-ensemble would have scoffed at the idea that awards as well as the Gold CAT acrobatic and song-and-dance he’d even be on the stage. A indicates the star quality that this numbers. policeman in the country town of www.stagewhispers.com.au Stage Whispers 25

Stage Briefs

Phoenix Ensemble (Qld) presents The Oneders, an alloriginal production celebrating some of the world’s best-loved one-hit wonders, at Beenleigh’s Pavilion Theatre until March 22.

Castle Hill Players present The Bible: The Complete Work of God (Abridged) at The Pavilion Theatre from March 7 - 22. www.paviliontheatre.org.au 26 Stage Whispers March - April 2014

Bankstown Theatre Company (NSW) presents Little Women The Musical, based on the novel by Louisa May Alcott, from March 21 – 30 at Bankstown Arts Centre Theatre.

Pictured are Kate Selsby, Rebecca Matheson, Hannah Farrant-Jayett and Amy Toledano. www.bankstowntheatrecompany.com

James Jonathon as Jud Fry in the Miranda Musical Society production of Oklahoma! at Sutherland Entertainment Centre from March 19 - 23. www.mirandamusicalsociety.com.au www.stagewhispers.com.au Stage Whispers 27

The Road to Adelaide

Wolf Creek The Musical.

They come from all around the world to tell their stories and entertain. It culminates in ‘Mad March’ when too much theatre is barely enough. Lesley Reed speaks to some of the artists who have taken the winding road to the Adelaide Fringe.

shell-shocked soldier, Private Dylan Moxley.”

A co-production between 3rd Room Theatrical and One of a Pair, the show has arrived in Adelaide ready for the centenary of the Gallipoli campaign, but like many productions it faces a flood of competition.

“We fell into a trap set by not For Rosie Rodiadis, bringing her first knowing Adelaide’s events schedule,” solo show to the Adelaide Fringe has been a long trek indeed. It started Uncloaked. during her twenty years working as a cloakroom attendant in Melbourne.

“I met many an interesting, outrageous or mysterious patron,” says Rosie. “They were all fodder for my comedy cabaret production, Uncloaked.”

As Gracie, the cloakroom attendant, Rosie dresses up in the fabulous coats “There are people such as Victoria Deck’em, Fanny Slutzkin and the Hooker Slappers,” says Rosie, “together with glamorous Miss Divina, the Opera Diva and Cha-Cha Champion of the world.”

Comedy in its many guises may dominate the Fringe, but there are serious themes as well. One production has taken ten long years to make it to Adelaide.

[Disordered] Action of the Heart began its life a decade ago when one of the creators, Craig Wood, worked on the Gallipoli peninsula.

“After much research, including through the National Archives, [Disordered] Action of the Heart was born,” he says. “It tells the story of 28 Stage Whispers March - April 2014

says Brisbane-based Craig. “Before we knew it [Disordered] Action of the Heart was opening the same weekend as Adelaide’s big car race.”

They also have competition from the Adelaide Festival for audiences this year, as do many other Fringe shows where seasons extend into what locals call ‘Mad March’.

Unlike the experience of [Disordered] Action of the Heart, Bitch Boxer, written by Charlotte Josephine, has had a dream ride into town.

Adelaide’s Holden Street Theatres presents an annual award at The Edinburgh Fringe, offering one production the opportunity to headline its Fringe program the following year.

Bitch Boxer, a play about the way society perceives women, was the deserving winner in 2013.

Holden Street Theatres’ Martha Lott has high praise for the show’s theme.

“In some ways Bitch Boxer is a metaphor for any person who has worked hard to achieve what they set their heart on and the challenges that this dedication presents,” she says.

Lott could easily be describing the spirit behind the Fringe itself.

Daunting as it might be for some to bring a single show to Adelaide’s Fringe, British script-writer/ performers, Lizzy Mace and Juliette Burton are touring with three.

“After discovering a shared love of all-things-confused, and a shared confusion of all-things-love, we wrote Rom Com Con, a light-hearted romp through well-known romantic comedies,” says Lizzy Mace.

Juliette Burton also brings her solo performance, When I Grow Up, while Lizzy Mace somehow slots in Overlooked: A Roll Call of the Small.

All three of Mace and Burton’s shows were selected to be part of the Fringe’s BankSA Support Act scheme.

Rom Com Con scored 5- star ratings at the Edinburgh Fringe and it is testament to the quality of Adelaide’s festival that the dizzily funny pair chose it for the show’s first appearance outside the United Kingdom.

Wolf Creek the Musical, a spoof on the Greg McLean horror movie, was the cult hit of the 2013 Adelaide Fringe.

Co-written by James McCann and Demi Lardner, the blood-curdling comedy sensation swaggers into Adelaide, shamelessly showing off its brash self by tossing political correctness and sensitivity into roadside ditches like severed body parts.

I’m pretty chuffed to be doing a return season of Wolf Creek the Musical, a show which sold out at the 2013 fringe,” says James McCann.

Luminous.

Even so, he says the Adelaide Fringe can be a tough gig. While artists put everything they have into productions, for some acts audience numbers and financial results can be disappointing.

Undeterred, they put themselves back together and do it all over again the next year.

Many Fringe productions have their roots in South Australia and while they may have travelled far and wide, are drawn back to Adelaide by its people and the quality of its arts festivals.

A Solitary Choice, about the dilemmas of a woman faced with an unexpected pregnancy, was written in 2008 by local theatre legend, Sheila Duncan. It is directed by Adelaide’s Michael Allen.

Supported financially by the South Australian community, the production Rom Com Con.

has toured internationally, receiving standing ovations on three continents.

“A return performance for SA audiences who have supported us so much over the years seemed the right thing to do,” says the show’s Adelaide actor, Tamara Lee. For the people behind Luminous, the journey to Adelaide has been fraught The production’s creator, 23-yearold Jessica Watson-Miller, is a champion body artist who devised Luminous by melding body painting, black light, circus, music and movement, to create a visual spectacular of neon-lit stories.

“After a season at the Sydney Fringe, my company, Art Kinetica, was very keen to push Luminous further,” says Jessica. ‘We were unable to stage the show in 2013 and it was almost canned again in 2014 due to a series of financial setbacks. However, we had incredible support from all sides, including from individual supporters in our Pozible campaign.”

Despite having separate full lives as students and professionals, the team behind Luminous is already thinking of future horizons. “There are exciting possibilities for our kind of performance and now is the time to be testing them all,” says Jessica.

Jessica Watson-Miller’s commitment to her craft is typical of the artists performing in the Adelaide Fringe, ensuring the festival and others like it travel successful roads for many years to come. www.stagewhispers.com.au Stage Whispers 29

B

roadway uzz

Daniel Radcliffe as Billy in The Cripple of Inishmaan.

Photo: Johan Persson.

By Peter Pinne

Michael Grandage’s hit London production of Martin McDonagh’s The Cripple of Inishmaan starring Daniel Radcliffe is moving lock, stock and barrel to Broadway.

With the same group of actors who played the West End, the play opens 12 April at the Cort Theatre for a limited run ending 20 July. The 24-year old actor, who received great acclaim from the London critics, plays the disabled “Cripple Billy.” The play originally premiered Off-Broadway at The Public Theater in 1998.

James Franco (Freaks and Geeks/Oz the Great and Powerful) and Chris O’Dowd (The Sapphires/Bridesmaids) will play George and Lenny in a revival of John Steinbeck’s Of Mice and Men which opens at the Longacre Theatre 19 March 2014. Ron Cephas Jones (The Motherf**ker With the Hat), Alex Morf (The Good Wife), Leighton Meester (Gossip Girl) and Jim Norton (The Mystery of Edwin Drood) also feature in the cast which will be directed by Tony winner Anna D. Shapiro.

The popular sex instruction manual Sex Tips for Straight Women From a Gay Man has opened Off-Broadway at the 777 Theatre, where it’s been called “hysterically titillating” by the press. In the basically two-hander, which uses audience participation, Lindsay Nicole Chambers plays a straight-laced sexually repressed university student who by play’s end has become a liberated woman. Jason Michael Snow plays Dan, the gay co-author, with buffed and hunky Andrew Brewer as the eye candy of the piece. It has been called one of the best date-night shows of the year.

The Last Ship, a new musical written by singersongwriter Sting, is to start previews 30 September 2014 at the Neil Simon Theatre for a 26 October 2014 opening. The musical has a book by Red playwright John Logan and Next to Normal writer Brian Yorkey, and will be directed by Joe Mantello, with choreography by Steven Hoggett. The story centres on a man from a shipbuilding community who travels the world for 14 years only to return to find the shipyard’s future is threatened by closure and his sweetheart engaged to someone else. It stars Michael Esper (American Idiot), Irish actress Rachel Tucker (Wicked, London), Aaron Lazar and Sally Ann Triplett. Prior to Broadway the show tries out in summer in Chicago at the Bank of America Theatre.

Hugh Jackman is returning as host of the 2014 Tony Awards for the fourth time. For the second year in a row, the awards will be broadcast live from Radio City Music Hall. Jackman previously hosted them in 2003, 2004 and 2005. His Broadway credits include The Boy From Oz, A Steady Rain and Hugh Jackman Back on Broadway (2011).

Tim Minchin’s hit musical Matilda The Musical, currently playing in London at the Cambridge Theatre, and on 30 Stage Whispers March - April 2014

Online extras!

Watch Daniel in The Cripple of Inishmaan by scanning the QR code or visiting http://youtu.be/iYeGcvGU2_M Broadway at the Shubert Theatre, is to launch its North American tour in 2015. Following technical rehearsals and performances at the Shubert Theatre, New Haven, the musical officially opens its tour at Center Theatre Group’s Ahmanson Theatre, Los Angeles, followed by stops at the Orpheum Theatre, San Francisco, 5th Avenue Theatre, Seattle, and AT&T Performing Arts Center, Dallas. Casting is to be announced at a later date.

Recent high-profile additions to the Cinderella cast have been pop star Carly Rae Jepsen as Ella and Fran Drescher as her Stepmother. Drescher, better known as TVs Nanny Fine in The Nanny, and for the sitcoms Living With Fran and Happily Divorced, replaces Harriet Harris who originated the part. Drescher’s stage credits include Off-Broadway’s Love, Loss and What I Wore.

Broadway’s box-office is going to get a shot in the arm over the next few weeks as five musicals make their bow on the Great White Way. Stephen Flaherty and Lynn Ahrens’ Rocky The Musical kicks off 13 March, Alan Menken’s movie-to-stage version of Aladdin follows on 20 March, the new scaled down production of Les Misérables begins 23 March and Brian Yorkey’s If/Then opens 30 March. April sees the stage version of Woody Allen’s Bullets over Broadway opening 10 April, and with the recent arrival of Jason Robert Brown’s Bridges of Madison County, audiences will not be short of new product to choose from.

London Calling

Another Country.

By Peter Pinne The Good Wife’s Martha Plimpton makes her London stage debut in the Old Vic’s production of Jon Robin Baitz’s Other Desert Cities. As Brooke Wyeth, the daughter whose memoire about her family threatens to push family relationships to the brink, she is joined by Peter Egan (Lyman), Daniel Lapaine (Trip), Sinéad Cusack (Polly) and Clare Higgins as the recovering alcoholic aunt Silda.

Direction is by Lindsay Posner, and it opens 24 March following previews from13 March.

To coincide with the 30th Anniversary of the movie, a musical version of Back to the Future opens in the West End in 2015. It’s being developed by Robert Zemeckis and Bob Gale, who scripted the film, with new music and lyrics by Alan Silvestri and Glen Ballard. Additional music by Huey Lewis and The News, Chuck Berry, Pat Ballard and Curtis Williams, used in the movie, will also be included in the stage version. Jamie Lloyd, who directed the recent The Commitments, is set to direct.

Another movie to stage adaptation is being prepared by Disney Theatrical Productions from the 1998 seven Oscarwinning film Shakespeare in Love. Lee Hall (Billy Elliot) is adapting from Marc Norman and Tom Stoppard’s original screenplay, with Declan Donnellan directing for an opening at the Noel Coward Theatre, 23 July 2014. The plot is based on a speculation about a love affair that inspired Shakespeare to write Romeo and Juliet.

The Chichester Festival production of Julian Mitchell’s Another Country is to transfer to the Trafalgar Studios 1 Theatre, 26 March 2014. Directed by Jeremy Herrin, the cast includes Will Attenborough as Judd and Rob Callender as Bennett, two 1930s public schoolboys who are coming to terms with their lives; one with his homosexuality, and one with his Marxist views. It’s based on the real-life characters of Guy Burgess and Donald MacLean, who later in the 60s were found to be spying for the Russians.

Stephen Ward, the musical based on that other 60s scandal the Profumo affair, has ditched its original advertising campaign of the three actors playing Ward, Mandy Rice-Davies and Christine Keeler in favour of a more explicit shot of a nude Keeler sprawled across a chair with tabloid newspaper headlines at her feet of “SEX! MURDER! LIES!” The Andrew Lloyd Webber musical, which received reasonably affirmative press, “delightful tunes and an unexpected dash of mischief” (Charles Spencer, Telegraph) is only doing lukewarm business early in the week.

Marti Webb’s one-woman musical Tell Me on a Sunday has added an extra week to its run at the Duchess Theatre, which will now finish 8 March 2014. Webb first performed the one-act Andrew Lloyd Webber and Don Black musical at the Festival of Sydmonton in 1979, and then as a TV

special and recording before it became the first half of Song and Dance (1982). Prior to the season at the Duchess Theatre the show played at the new St James Theatre, which has been built on the site of the Westminster Theatre near Victoria Station. The first half of this new production features unknown singers and dancers performing four songs from Don Black’s new musical version of Bonnie and Clyde, two songs from Urinetown, which is soon to have its UK premiere at the St James Theatre, and the hit song “Falling Slowly” from Once.

More revivals planned are Guys and Dolls and Gypsy, with Imelda Staunton at Chichester, Oh, What a Lovely War and Fings Ain’t Wot They Used T’Be at Stratford East, and Gentlemen Prefer Blondes and a concert reading with full orchestra of Subways Are for Sleeping at Sheffield in April.

Bookings for The Book of Mormon have just been extended to 28 June 2014, while Charlie and the Chocolate Factory gets a new Willy Wonka 19 May 2014 when Alex Jennings (My Fair Lady/Too Clever by Half) takes over the part. The show is now booking until 30 May 2015. Also tipped to transfer to the West End from a sold-out season at the Almeida, Islington, is the musical version of the movie American Psycho.

www.stagewhispers.com.au Stage Whispers 31

Stage On Disc

By Peter Pinne

played by high-profile TV performers Zachary Levi (Chuck) and Krysta Rodriguez (Smash). They deliver in spades. “The Awkward Pause” is a clever idea on the moment all couples dread when they first meet, “The Things I Never Said” a tender mother/son number, while the finale “Something That Will Last” looks forward in hope for a relationship that survives. Blake Hammond as a waiter does well on the eleven-o’clock-number “I’d Order Love” done in a swing/ jazz style. It’s witty and fun. 

SHREK (Jeanine Tesori & David LindsayAbaire) (Dreamworks DVD B00BX8PG3Y). Everybody’s favorite ogre Shrek is just as enjoyable in this musical version, filmed during the DEAREST ENEMY (Richard Broadway run, as he was in the movie.

The songs are serviceable rather than Rodgers/Lorenz Hart) (New inspired, and once it’s over you won’t World Records 80749-2). This remember one melody, but they serve is the first complete recording their purpose and move the show of the score of Rodgers and Hart’s first ‘book’ musical briskly along. Brian d’Arcy James is really on the money as the title character. Dearest Enemy and it’s a I’ve rarely seen him do better work. Daniel Breaker channels delight. If it sounds more of an Eddie Murphy as Donkey, while Christopher Sieber is operetta that’s because it was outrageously ‘camp’ and funny as Lord Farquaad, playing written in 1925 when musical him on his knees. But the undoubted star of the show is Kelvintheatre Andrew Beale and Harman was transitioning from operetta to musical comedy Sutton Foster as Princess Fiona. She’s spunky, spacey, and completely adorable as she falls in love with her lovable and there are traces of the operetta genre still present. lunk. She also sings like a dream. Forget Fiona of the movie, Apart from the show’s two ‘hit’ songs, “Here in My Arms” this performance completely reinvents the character.  and “Bye and Bye”, the score also boasts a host of tuneful numbers in Rodgers and Hart’s distinctive style. Hart’s felicitous rhymes abound. A cast of singers with mainly FIRST DATE (Adam Zachary/ opera experience that include Kim Criswell are accompanied Michael Weiner) (Yellow by the 33-piece Orchestra of Ireland and bring this dated, Sound Label YSL566993).

First Date, which originated but interesting musical theatre work gloriously to life. Larry at Seattle’s 5th Avenue Moore has done a brilliant job of reconstructing the original orchestrations with Harold Sanford’s charts for “War Is Theatre, has just finished a War” (“Hooray, we’re going to be compromised”) successful six-month run on particularly appealing.  Broadway. With a cast of seven, and a score of pop and rap, this musical feels more like PRIVATES ON PARADE Off rather than On-Broadway. (Denis King/Peter Nichols) Based around the concept of a (Stage Door STAGE 9033).

This is the first CD release of blind date which has best friends commenting on the Privates On Parade, a play action and giving advice, the two main characters are with music that was first produced by the Royal Shakespeare Company in 1977. It originally played the Aldwych Theatre for 208 performances, but has frequently been revived, the most recent being by Michael Grandage in his 2013 West End season of plays. Set in Singapore at the end of the Second World War, the plot revolves around an all-male concert party, and the songs are clever pastiches of WarTime hits. Denis Quilley dominates the disc with drag performances as Marlene Dietrich and Vera Lynn, but he’s a riot as Carmen Miranda on “The Latin American Way,” and a wonderfully accurate impersonation of Noel Coward on “Could you please inform us” (who it was that won the war). There’s also an Astaire and Rogers dance routine “Better Far than Sitting This Life Out”, a smutty ditty “Black Velvet” sung to the tune of “Greensleeves”, and “Sunnyside 32 Stage Whispers March - April 2014

Lane”, a nostalgic tribute to Flanagan and Allen type material. 

Brooklyn Youth Chorus as guests, the 72-year-old diva sounds as spectacular as ever.

LOST BROADWAY AND MORE - Mind you, she might be Volume 5 Comden/Green/Styne singing songs in lower keys (Original Cast Records). The these days, but for 72 she is new Lost Broadway album in remarkable voice. The features never-beforeconcert includes her signatures songs, “People” recorded, obscure and cut songs from Jule Styne, Betty and “The Way We Were”, Comden and Adolph Green but also features some titles musicals. The material ranges she has never sung before. from the 40s through to the Marvin Hamlisch’s tender “Looking Through The Eyes Of Love” (Ice Castles),and a couple of songs from Gypsy, 60s, from shows such as “Some People” and “Rose’s Turn”, which gives us a taste of Fade Out - Fade In, Say Darling, High Button Shoes, Bonanza Bound and Funny what a great Mama Rose she would be if the rumoured TV Girl. Performers include Marc Kudisch, Leslie Kritzer and version with her ever gets made. Revelation of the disc is Christine Pedi. I particularly liked “Temporary the vocals of son, Jason Gould. Singing “How Deep Is The Arrangement”, which was cut from Funny Girl but Ocean” he almost steals the spotlight from his mother. The concert ends with a thrilling version of Leonard Bernstein’s reinstated when the show went on the road. Also good is “Make Our Garden Grow” (Candide) with Botti, Gould and “When the Weather’s Better”, cut from Hallelujah Baby, and “A Girl To Remember”, the original title song for Fade the Brooklyn Youth Chorus. It’s goose-bumps time. With more tracks than the CD, the DVD also includes “Smile”, Out - Fade In.  “Sam, You Made the Pants Too Long”, and “No More BARBRA - BACK TO BROOKLYN (CD/DVD Columbia Tears” (Enough Is Enough).  88843 00758 9). Barbra Streisand’s latest recording stems Rating from a concert she gave in 2012 when she opened a new  Only for the enthusiast  Borderline Performing Arts Arena in Brooklyn. With trumpeter Chris  Worth buying  Must have  Kill for it Botti, pop-opera group Il Volo, Jason Gould and the

www.stagewhispers.com.au Stage Whispers 33

Stage on Page

By Peter Pinne

FANTASY MODERN - LOUDEN SAINTHILL’S THEATRE OF ART AND LIFE by Andrew Montana (New South $89.99) Ask any theatregoer today who Louden Sainthill was and you’ll probably draw a blank. But sixty years ago he was feted as one of the most brilliant Australian theatre designers. From 1951 until his premature death at 51 in 1969, his designs for sets and costumes continually graced the stages of the West End and Broadway.

Sainthill first came to notice when he sketched the Russian ballet artistes backstage warming-up for the Ballets Russes tour on their visit to Australia in the late thirties. Director Colonel W. de Basil was so impressed with his work that he was hired to accompany the troupe back to London and sketch them again for the West End season.

In the early fifties, through contacts he had made in Australia with the 1948 visit of the Old Vic Company, he secured his first London commission designing sets and costumes for The Tempest which starred Michael Redgrave at the Shakespeare Memorial Theatre, Stratford.

Porter’s Aladdin (1959), Tennessee Williams’ Orpheus Descending (1959), Noel Coward’s Sail Away (1962), Half a Sixpence (1963) with Tommy Steele and The Four Musketeers (1967) with Harry Secombe, and The Canterbury Tales (1967).

But this biography is not only about Sainthill’s work; it is also about his life and his life partner Harry Tatlock Miller who became a respected Art Gallery director but more importantly an entrepreneur of Sainthill’s work throughout his life. Miller, older by five years, was born in Geelong, Sainthill in Melbourne, and from the moment they met in the late thirties Miller was in awe of Sainthill’s talent and beauty.

Sainthill stuttered, but a stutter was no drawback in the world of Art and Theatre, especially for a talented handsome young man who was homosexual. The book documents their private life as partners in an age when homosexual relationships were furtive and kept in the closet.

The title Fantasy Modern refers to a surrealist style of painting which Success was instantaneous. Sainthill Sainthill employed throughout his then went on to design, amongst career. Andrew Montana’s prose is others, Oscar Wilde’s A Woman of No literate and he writes about art and Importance (1953), Robert Helpmann’s theatre with distinguished authority. ballet Le Coq d’Or (1954), The Although Sainthill was an artist and did Merchant of Venice with Katherine exhibit, his greatest successes came in Hepburn for the 1955 Old Vic London and New York designing set Australian tour, Rodgers and and costumes for the theatre. With a Hammerstein’s Cinderella (1958), Cole total of 650 pages and only 100 of them devoted to his theatre work I feel his contribution to theatre design has been somewhat short-changed.

Although there are meticulous endpages and a detailed index, there are no listings of what plays, musicals or ballets he worked on, a frustrating omission.

Fantasy Modern is an important book. Not only is it the first to profile Sainthill’s creative oeuvre but it also accurately documents the art and theatre scene in Melbourne and particularly Sydney during the forties, the homosexual milieu of the period, and the establishment of the Elizabethan Theatre Trust in 1954. It is to be hoped that this handsomely produced and illustrated tome will in some way redress Sainthill’s lack of recognition today. His talent is most deserving.

Stage Whispers Books

Visit our on-line book shop for back issues and stage craft books

www.stagewhispers.com.au/books 34 Stage Whispers March - April 2014

SCHOOL PERFORMING ARTS RESOURCE KIT

 

Performances For Schools

Resources For Staging School Productions www.stagewhispers.com.au/spark

Photo courtesy of The Australian Ballet

www.stagewhispers.com.au Stage Whispers 35

Touring Pete The Sheep

Monkey Baa Theatre Company is touring a new 50-minute musical based on Jackie French and Bruce Whatley’s quintessentially Australian picture book to 54 venues this year.

It’s about Shaun, the sheep shearer, and Pete, a sheep, who set up their own shearing salon and are inundated with woolly clients. The composer/ lyricist is Phil Scott, best known as pianist / performer in The Wharf Review. Neil Litchfield asked him about the challenge of writing songs for children.

36 Stage Whispers March - April 2014

“I weaned myself into thinking like a kid to some extent,” says Phil Scott.

“I still do plays on words and try to be a bit funny, putting in one or two lines for the parents.

“The songs have to be short, punchy and fun, and there’s usually also room for at least one pinch hit number. There’s one in this, where Shaun the Shearer gets chucked out of the shearing shed and doesn’t know what to do, so he’s got a little sad song, but you can’t let that go on, because they lose interest.

“So you have to keep things like that in mind. The songs have to say who we are, and what we’re here for.

But within that there’s scope for lots of stuff.

“The four actors in the show play shearers and sheepdogs and sheep, and they switch back and forth very quickly, so they get to sing as all those things. So the dogs have got a kind of a rhythm and blues or country blues sort of song which they can howl in.

“There are also scenes set in a hairdresser, because Shaun has a different idea of how he should do

things, so instead of just shearing the sheep, he gives them fancy hairdos. For some reason I associate hairdressers with 60s Bossa Nova, so the there’s a clipping, cutting hair song that’s in that sort of style.”

How did Phil wean himself back into childhood?

“I thought back to what sort of songs I had really enjoyed as a little kid, and of course the songs from the Disney films were the ones. I had a look at them. Their lyrics are clever and their music is melodic, memorable and bright. So I guess I started from that.

“And The Wizard of Oz - I was a huge fan of that. Not that you could get it on VHS back then, I had to go to the Metro at Manly every six months or so. Kids like a bit of repetition in songs, like ‘Follow the Yellow Brick Road’, so they can sing some sort of simple musical phrase.

“Also, the first show I did at Monkey Baa I watched a few performances to see how the kids responded and which parts they liked best. They just loved the two rats in the

show, who were the baddies, particularly the boys in the audience, so I gave them a vaudeville song and dance kind of number.”

SPARK

was very useful in terms of taking another step toward what the final product was going to be.

“It’s fun to get to know the cast.

How does writing for children There’s one guy, Todd Keys, who contrast with satirical songhas a very deep voice, so I wrote writing for The Wharf Revue? some harmonies. The best thing “In The Wharf Revue we about writing four part mostly write parody lyrics to harmonies for men is if you’ve existing songs. Song parody is got someone with a really strong funnier than an original song bass voice to anchor it, so that’s because you know the song that in now. is being parodied already, so you “Monkey Baa is a fantastic have an inbuilt humour quotient. company to work for; they’re so And it’s easier. committed, and so detailed, and “But with the Monkey Baa what they do, and what I also try shows the music is all original; to do, is they don’t talk down to there’s stylistic pastiches but it’s their audiences. They don’t give all original, and I like to write the anything half formed or ‘Oh For more details visit: http://bit.ly/1gP7IWl original music. this will do’. They’re very precise in their scripts and everything.

How did work-shopping the piece that could have been done better in “Also, the production values, within impact on Phil’s songwriting? front of an audience. a limited budget. They’re very keen to “I think work-shopping has to be “We cut verses out when we give children a production which is up part of the process; you can’t just fling thought something was too long, and to the standards that you would put it on then find out that there are things we talked about where we’d need on for adults. I wouldn’t work for them some music to cover scene changes. It otherwise.”

www.stagewhispers.com.au Stage Whispers 37

SPARK

Class of Cabaret 2013.

Performances For Schools Stage Whispers is proud to publish our inaugural School Performing Arts Resource Kit in 2014. It will be available at www.stagewhispers.com.au/spark from March 10. SPARK will include a directory of shows available in 2014 for excursions and incursions, plus resources needed to put a show on at your school. Here are some of the highlights.

What city has the most exciting Performing Arts program for students? You might think Sydney or Melbourne, but other capitals have exceptional experiences on offer.

Take Adelaide, where the Class of Cabaret program is in its fourth year. Students attend workshops and rehearsals from February to June. Each student develops the skills to engage the audience on a personal journey with their own individual story. The culmination is a concert that is part of the Adelaide Cabaret Festival. It usually receives standing ovations from sold out crowds.

What a buzz!

Adelaide is also home to Australia’s national theatre for children, teenagers and families. The Windmill Theatre Company has eight productions a year and its best works tour Australia and the world.

Brisbane has something special to offer young people as well. In June the Queensland Performing Arts Centre is staging the Out of the Box festival of theatre for under eight year olds.

The Queensland Arts Council brings high quality drama, dance and master classes into High Schools across the state.

They include meaty modern interpretations of Brecht and Shakespeare, Australian drama and issue based plays. The 38 Stage Whispers March - April 2014

master classes must be popular. Lessons in mime, puppetry, choreography and physical theatre are available.

Inspiring young people to become involved in the Performing Arts is a goal of many organisations.

The Australian Ballet is putting its efforts into attracting more young men into its ranks. The company says each year more and more young men are choosing to study dance, attracted by its athleticism and artistry. Male dancing students aged between 9 and 14 are invited to special Boys Days in Sydney and Melbourne. Other exciting behind the scenes tours are offered during the year for girls too, Whilst most programs are state based, national tours are offered by the Bell Shakespeare Company. This year’s program includes Double Trouble, an interactive Shakespeare adventure, Such Sweet Sorrow - a journey through the highs and lows of Romeo and Juliet, and Hamlet: Out of Joint.

With Shakespeare buffs marking the 450th birthday of the Bard in 2014 there is no shortage of other productions on offer.

In Victoria, Page to Stage performs edited, contemporary versions of Macbeth, Hamlet, The Tempest and A Midsummer Night’s Dream. They usually last about 90 minutes.

In Queensland the Shake & Stir company makes Shakespeare look young and hip.

In New South Wales the innovative Sport for Jove company has a stable of updates including Twelfth Night transported to a beach side holiday.

Sydney’s Ensemble Theatre is offering special 11am sessions of its production Mark Kilmurry’s new interpretation of Richard III. There are plenty of opportunities to give young people their first experience in a major city theatre.

The Sydney Theatre Company offers heavily discounted tickets for students to four plays in 2014. Two of them are at the Sydney Opera House - Children of the Sun and a thriller Switzerland.

The Melbourne Theatre Company has two plays on offer: Yellow Moon - a contemporary tale of Bonnie and Clyde and Marlin - a fishing adventure.

The State Theatre Company of South Australia offers school time performances, its season highlights including Othello and The Importance of Being Earnest. A highlight for schools is a tour of Jesikah, about a schoolgirl who develops an unhealthy obsession with YouTube.

In Perth the Black Swan State Theatre Company has special performances of its production of As You Like It. The Queensland Theatre Company is pitching its regular season to students, adding value by including pre-show talks and workshops.

Some school shows sell themselves. Perhaps the appealing production of the year is at the Arts Centre in Melbourne. It is called The Rap Guide to Evolution. It’s described as using hip-hop and clever re-workings of popular rap singles as a vehicle to communicate the facts of evolution. Canadian rapper Baba Brinkman illustrates natural selection, sexual selection and evolutionary psychology.

Now that’s an excursion teachers will have no trouble generating enthusiasm from students to attend.

Melbourne Theatre Company’s Marlin.

Monkey Baa 2014 High School Program Sydney’s Monkey Baa Theatre Company is presenting its first extensive High School Education Program in 2014 at its home venue, The Lend Lease Darling Quarter Theatre (LLDQT), a purpose built space for young people. Its mission is to bring to life uniquely Australian stories.

In March, Monkey Baa will host Tough Beauty, a work about peer pressure developed in consultation with young people.

In May it presents Zeal Theatre’s multi award winning production The Stones, based on a true Australian story of two boys charged with manslaughter after throwing rocks from a freeway overpass and killing a motorist.

In August, I am Jack returns after its successful tour of the United States.

Finally, to celebrate the Centenary of WW1, Monkey Baa has devised a new play The Unknown Soldier. Set on the battlefields of WW1 and in twenty first century Australia, this moving production will premiere in October.

Monkey Baa’s Education Program also offers students a vast array of drama workshop programs and professional development opportunities for teachers. www.stagewhispers.com.au Stage Whispers 39

SPARK

Learning From Big Musicals

Horror Show the big exception (just try to fit that into your curriculum).

The Education program for Wicked suggests that the musical inspires discussion about friendship, accepting differences, personal values and the consequence of choices, also looking at the effects of all types of stereotyping, prejudice and discrimination. It explores the importance of truth and how society defines good and evil, making it an excellent tool for spiritual, social and moral understanding.

The Education Program and Teacher’s Pack will examine all of these topics and more via a series of lessons encompassing Interpersonal Development, English, Drama, Music, History & Art and Visual Communication.

The downloadable Wicked Education Program includes: a teacher’s booklet, lesson ideas, a Powerpoint presentation, footage from Wicked and interactive activities.

School groups receive a special discounted price, and special post show presentations with cast and crew will be scheduled after Wednesday matinees.

The Education Kit for The King and I features learning outcomes across English, Music, Drama, Food Technology, Geography, History, Information Software Technology, Émile Bayard, ‘Cosette’, engraving by Bellanger, Science, Religion, Visual Art and Visual Design, with 1886 reproduced in Victor Hugo, Les Misérables helpful explanations of specific Outcomes (NSW) and (London, G. Routledge and Sons), 1887. Rare Books Collection, State Library of Victoria.

Content (Victoria and Queensland).

The kit includes more than 30 smartly presented class In my previous life as a high school Drama teacher one activities and ten puzzles (all of them ready-to-print PDF of my greatest joys was taking students to major musical files), as well as Powerpoint presentations. productions.

Strictly Ballroom The Musical and Les Misérables will How many times did we pack onto buses and head for also have education programs. the city over the years for productions like Cats, The Certain to be a highlight of the Les Mis educational Phantom of the Opera, Chess, Grease, Les Misérables, experience in Melbourne is a world-first exhibition at the Beauty and the Beast and many more?

State Library of Victoria, Victor Hugo: Les Misérables There were generous discounts for school groups From Page to Stage, which will take visitors on a journey attending matinees, and many times I shared the thrill of from the 19th-century Paris of Victor Hugo’s novel - Les teenagers seeing their first big show. The group bookings Misérables - to the musical. lady for Cats and I had a great rapport and she allocated The exhibition will combine traditional elements with us seats near the pipe from which cats would emerge. interactive displays.

Every time I specially chose students for whom that An entire gallery will be dedicated to the musical with moment would provide a memorable thrill. singing, an orchestra pit and even costumes from the While the experience of attending these shows seemed production so visitors can dress up and take centre stage. justification enough, especially when many students came A partnership with Cameron Mackintosh means that from non-theatre-going families, obviously there was a for the first time fans will get to see original Les Misérables need for broader educational objectives (easy enough of scripts, scores, costumes, set designs, posters, course in Drama), and many producers have realised this, photographs and film. and created excellent education kits that cross multiple A program of events and an education program for disciplines. schools will complement the exhibition exploring themes Just about all the blockbuster musicals opening this of history, politics, French language and culture, literature year have education programs and kits, with The Rocky and theatre, and connecting these with the curriculum.

Neil Litchfield 40 Stage Whispers March - April 2014

Children’s Performing Company Of Australia For thirty years the Children’s Performing Company of Australia has been providing high quality performing arts training to young people aged between 5 and 18 years.

Now with 17 locations across Melbourne, its mission is to introduce young people to the joys of the theatre, from rehearsal to performance, to boost and to equip young people with skills for life.

The company also offers a range of services and performances to schools.

Costume Hire The CPCA has a vast costume collection which it makes available for concerts, theatre productions, and school shows (Minimum hire: 20 costumes).

“I would recommend using CPCA for all your costuming needs. Their range is HUGE and they have options and sizes to suit all ages. The staff understand what goes in to organising a performance - whether it’s a concert for 200 students or a solo dance routine which is really helpful. I’ve used CPCA for over 5 concerts this year, and always receive great feedback on the quality of the costumes!”

Beth Thomson Primary performing Arts Co-ordinator Aitken College Rates start at $25 per costume and get cheaper the more costumes you hire.

Guest Speakers/Workshops The CPCA has many highly experienced and qualified actors, directors, dancers, choreographers and singers on staff who are well versed in communicating and inspiring young people through the performing arts. Rates and subject matter negotiated on a case by case basis.

Schools Performances Its talented young performers can present short performances in Drama or Musical Theatre to entertain and inspire. Performances may be able to be tailored to support curriculum subjects. Rates and repertoire negotiated on a case by case basis.

For further information: Contact CPCA on (03) 9384 1644 or visit www.cpca.com.au www.stagewhispers.com.au Stage Whispers 41

SPARK

of aspects of the production process.

They catered for staff talents and passions which they may not be using in their current positions. The support we received was beyond our expectation, as well as all of the secret interests and hobbies we became aware of about each other. We provided training and workshops on topics such as designing, creating props, front of house, and also were able to enrol staff in external professional development such as stage makeup. Our staff replicated these sessions with their student crew for each stagecraft area. Role modelling our enthusiasm and dedication to the project made it easier to get the same level of commitment from our students.

Our staff provided specialist training When Staughton College in Victoria Ownership and collaboration by our in acting, singing and dancing as well as music tuition at regular rehearsals. staged The Wizard of Oz in 2013 more students and staff was paramount to than 220 students and 58 staff its success. Most of our time was spent Making this a ‘real life’ experience for members took part. The Producer/ gaining the support and confidence of our students, we auditioned everyone and ‘called back’ each student by Choreographer Jackie Lewis reflects on both students and staff, our greatest phone to hear their excited screams on the exceptional experience staging the barrier being students believing in the other end. themselves, having the confidence to production brought the school.

We also moved away from after give it a go and understanding the school rehearsals to weekend “Believe me, every step is worth it! professional experience we were rehearsals to provide a place for Have you any idea just how wonderful planning. this place really is?” The Oz Guard’s To build our staff team we created students to be safe, respected, line from the opening scene of Emerald role descriptions with SMART (Specific, welcomed and have a purpose on the weekend - elements not always Measurable, Achievable, Realistic and City truly captures my thoughts when apparent in some of their lives. reflecting on the journey of producing Timely) goals that were broken down to manageable tasks within the myriad our first ever whole school musical production.

We were committed to providing an enriching experience for our students. Current whole school data clearly identifies student connectedness to their school community as one of the most significant factors in determining their social, emotional and academic success. Therefore, the aim of our production was to engage students and facilitate success to promote greater individual growth, achievement, enjoyment and attendance at school.

Students were given the opportunity to contribute to acting, singing, dancing, choir, instrumental music, prop and set building and painting, technical sound and multimedia work, make-up and hair design, backstage assistance, publicity and leadership roles.

When The Whole School Is ‘On Stage’

42 Stage Whispers March - April 2014

Once we were into the development stage, students around the college gave off a cult-like feel, asking others, “Have you caught Wiz fever yet?” which was spreading fast.

As well, future student leaders were emerging and began working independently.

The successes of our production ranged from small individual goals being achieved to high range or long term goals including raising the profile of the college in the community, increasing enrolments in performing arts subjects, and improving relationships and positive culture within the college. We were also able to engage the community in our production with local businesses supporting us through donations of time, money or goods, sponsorship and attendance at our show. Students created billboards throughout Melton advertising our show and we were also able to celebrate our success in our local newspaper. I was also very proud to be able to secure three of our students scholarships to study

performing arts after hours for the 2014 academic year.

Overall, I don’t believe that anyone working on this production ever imagined how amazing, talented and creative our Staughton students and staff could be. Our sell-out audiences were excited to find many unexpected surprises and be inspired by our dream finally coming to life on stage. As a whole school team, we feel great pride, excitement and sentiment toward the production that captured our hearts in 2013. Staff are now rejoicing in our ability to work as a highly effective production team to provide such a once-in-a-lifetime opportunity for our students, families and the community of Melton. I am confident we have strategically paved the way for the successful future of Performing Arts at Staughton College and are ready to start the whirlwind process all over again very soon!

Jackie has 10 years experience teaching Drama and Theatre Studies in both Independent and Government education.

www.stagewhispers.com.au Stage Whispers 43

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Making Costumes Without Much Sewing Online extras!

Tracey Nuthall has some great timesaving tips. Scan the QR code or visit http://youtu.be/quDAHEOXKNA

44 Stage Whispers March - April 2014

Tracey Nuthall from Costumes Without Drama has given a handy demonstration for Stage Whispers TV on ways to make costumes without much sewing.

She decorated a ruche Cinderella style skirt in just a few minutes.

“I love double sided sticky tape. I love glues which can be washed out,” she said.

“They are a very good aid to your sewing, especially if you want to put something together quickly for a non-permanent attachment.”

Visit Stage Whispers TV (in the link below left) to see her demonstration.

Costumes Without Drama rents large sets of costumes to schools across Australia.

Just The Ticket Whether it’s a school concert, an amateur theatre production or a community fun-run, ticket buyers now expect the convenience of being able to purchase their tickets online. But many ticket agencies have steep booking fees that do not find their way into the pocket of the organisation putting the show on.

Breaking the mould is TicketHost, a new Australian owned and operated ticketing service provider.

The system was designed from the ground up three years ago by computer programmer Eric Staples and has been continually upgraded in response to customer demand.

“We have no lock-in contracts, no upfront costs and a service fee of just 35 cents per ticket plus bank fees,” he said.

This works out at around $1 a ticket for a typical production and the system allows fees to be passed on to the ticket buyer or absorbed into the ticket price.

“Schools in particular are amazed at the time savings they reap from using TicketHost for

can be made to meet hire requirements.

The software program can be integrated into other websites but most users have a link to the ticketing of their drama and musical TicketHost site. performances. Students carrying Eric boasts that he has well over 99.9% uptime on his website, cash and office staff juggling spreadsheets will soon be a thing of averaging less than 3 hours the past,” he said. downtime per year.

“Most events can be up and selling within 15 minutes.

Comprehensive reporting allows ticket sales to

be closely monitored and an array of tools gives the event organiser complete control,” he said.

The system allows for general or allocated seating and producers can harvest as much data as they require.

“For a triathlon we included dates of birth and medical details,” he said.

Tickets are emailed as PDFs and payment is allowed on major credit cards, EFT and PayPal. TicketHost holds the box office receipts in a trust account, releasing funds to producers two days after the event - but interim distributions

For more details contact TicketHost Website: www.tickethost.com.au Email: info@tickethost.com.au Phone: (03) 9011 3221

Before using TicketHost

www.stagewhispers.com.au Stage Whispers 45

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Projecting Wonderful Images Onto Your Stage

If you’re going to use glass gobos then you need to ensure that the lighting fixture you’re using is suitable. If the gate is too hot you will destroy the gobo.

Note that its not necessarily the wattage of the lamp that is the issue Can I but how peaky the light is and the project the gate temperature.

An old fashioned 650W profile wonderful designs would often destroy glass gobos available as Gobos really fast, where the same using the lighting manufacturer’s 1kW unit would have an equipment in my hall? Joakim even heat over the image area and there would be no Odlander from Gobotech explains. issues.

It’s not unusual for us to be asked if a fixed light The gobo itself is an image slide that can be made out hanging in a community or a school hall will do the job of of various materials. Years ago I made a very effective star projecting a gobo. pattern by using an aluminium can and a nail to punch The type of light required to be able to focus a gobo is small holes in it, then slotted the aluminium into the gobo called a profile. This is the light often used to focus on a slot. That was a simple home made gobo. lectern or solo spot, allowing you to achieve a sharply There are, however, thousands of standard patterns of focused beam of light. trees, leaves and anything else you can think of, that are The common lights hanging in your rig that can’t be cheap to purchase and can have great effect on a stage used to project gobos would be your Par lamps and your such as a leaf breakup used to give soft dappled lighting.

A basic gobo is made as a steel stencil. The limitation is fresnels or other types of wash lamps that are designed to that the stencil image has to be designed to hold together bathe your stage in light or wash your rear Cyc in colour.

Designs from various manufacturers vary greatly but you in some way; as an example the letter O would need to be should soon pick out a suitable fixture if you have one in supported by a tie line through it or the middle would drop your rig. out. Steel gobos are the cheapest option, with many A typical Fresnel (below): Front lens has a rough texture designs working perfectly well as a stencil. to achieve a wash of light. You can make the beam wider Glass slides are the next step. They allow intricate images to be produced with no tie lines. Even photographs and narrower with this unit but you can’t focus or insert a gobo. can be produced using this method, or we can A typical PAR lamp (top left): You can get different manufacture School Crests with a lot of intricate details that beam spreads, power ratings, long and short snouts and project well.

46 Stage Whispers March - April 2014

these days even get LED colour changing units, but you can’t insert a gobo anywhere and there are no lenses to focus an image.

A Profile (opposite page middle): This is what you’re looking for. A unit that has multiple lenses inside to make use of the focal point, marked at (3). This unit may look different to what is in your rig; yours may be boxier or even be “L” shaped but the essential items are all there if it’s a profile.

At the front of the unit is the gel frame holder (1). This is where the coloured filter gets placed.

If you look at the picture you will see the two knobs at the bottom of the fixture (2). The front one will vary the size of the beam while the one closer to the centre of the fixture will normally set your focus.

Next up we see the shutters (3). This is the plane where you can focus; you will find that a fixture that is designed for gobo projection will at this point have a slot where a gobo holder can be inserted.

Note that the sizes of the gobos do vary between fixtures though, as does the available image area. Most profiles take one of three standard sizes and if you’re unsure then the Gobotech website has an extensive listing covering many fixtures or you can call them with your questions.

If you would like to use custom gobos, project your school crest or select one of thousands of available stock steel images then browse the Gobotech website or give them a call to get quality gobos made in Australia. You can even find them on Facebook if you like to see photos of gobos in use or to share your own projections.

www.gobotech.com.au sales@gobotech.com.au (07) 5531 4477

Blow Up Your School Steve Lawrence from Geelong Fireworks wants an explosion of colour at your next show.

There is an easy, affordable way to add impact to any school production, and that is to use Confetti Cannons.

Forget the large gas powered systems that require operators and large CO2 cylinders etc., these are easy to use, hand held cannons.

They don’t require a license, and can be operated quite easily.

We are not talking about discount shop novelties; these are normally spring loaded and don’t have much of a load of confetti.

A reliable cannon will fire a minimum of five metres indoors, and can be shot from both sides of the wings, or even with someone crouching down in front of the stage.

The contents MUST be flame proof and non-staining.

A simple twist of the cannon, which has a nitrogen gas cylinder contained in the base, forces a small paper disc to push the confetti or streamers out of the cannon….think GIANT party popper.

At Geelong Fireworks we have supplied many productions around the nation with our cannons, with the unique factor being that we custom fill our cannons - so you can choose confetti/streamers or a mix, and your own colors.

Our cannons are pressurized to our specifications ensuring a mega blast.

We also have snow confetti for that instant snowstorm.

Confetti cannons are single use and disposable.

They offer a low cost and easy to use way of adding that sparkle to your production. www.geelongfireworks.com.au www.stagewhispers.com.au Stage Whispers 47

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The Junior Theatre Project Hal Leonard Australia has engaged music theatre veteran David RogersSmith to work with schools to develop or improve their music theatre programs.

Tintern Huntingtower

A few lucky schools in Victoria have won individual workshops.

Anne Wilson, a music teacher from Huntingtower School, said, “The kids all loved the sessions and are still talking about it. I was also greatly inspired by the sessions. It has helped me with our rehearsals this week.�

Hal Leonard also runs an annual conference for teachers in Sydney, Brisbane and Melbourne called Sing It! Stage It! Later this year the company plans to bring together a number of school and community theatre groups who perform Broadway Junior shows for day-long celebrations. The groups would get to workshop scenes from their productions in front of industry experts, do singing and dance workshops with industry professionals and then do a concert for their parents.

JOIN THE CONVERSATION! Follow us on Twitter: www.twitter.com/stage_whispers Like us on Facebook: www.facebook.com/stagewhispers 48 Stage Whispers March - April 2014

On Stage A.C.T. Forbidden Broadway by Gerard Alessandrini (Musical Revue).

Free Rain Theatre Company.

Mar 7 - 22. The Q (Queanbeyan Performing Arts Centre). 02 6285 6290 Witches of Eastwick by John Dempsey and Dana P. Rose.

Supa Productions. Mar 14 - 29.

ANU Arts Centre, Canberra.

One Flew Over the Cuckoo’s Nest by Dale Wasserman, based on the novel by Ken Kesey. The Acting Company and Shadow House Pits. Mar 18 - 29. The Courtyard Studio. (02) 6275 2700.

The Long Way Home by Daniel Keene. Canberra Theatre Centre, Sydney Theatre Company and The Australian Defence Force.

Mar 19 - 22. The Playhouse, Canberra Theatre Centre. (02) 6275 2700.

A.C.T. & New South Wales

27 - Ap 12. Theatre 3. 6257 1950 - 10-4 Monday to Friday.

Warts and All by Bruce Hoogendoorn. Long Run Theatre. Ap 2 - 12. The Courtyard Studio. (02) 6275 2700.

Travelling North by David Williamson. STC. Until Mar 22.

Wharf 1. 9250 1777.

The Magic Flute by Mozart.

Opera Australia. Joan Sutherland Opera Theatre, Sydney Opera House. Until Mar 26. 9318 8200.

Interplay. Sydney Dance Company. Ap 10 - 12. Canberra Carmen by Georges Bizet. Opera Theatre. (02) 6275 2700.

Australia. Joan Sutherland Opera Theatre, Sydney Opera Horrible Histories - Awful House. Until Mar 29. 9318 Egyptians. Andrew Kay and Associates by arrangement with 8200 The Birmingham Stage Company. Ap 22 & 23.

Canberra Theatre. (02) 6275 2700.

New South Wales

The Lion King. Based on the 1994 Disney animated film of the same name with music by Elton John and lyrics by Tim Rice, along with the musical score created by Hans Zimmer, with choral arrangements by Twelfth Night, or What You Will Lebo M. Disney Theatrical.

by William Shakespeare.

Capitol Theatre, Sydney.

Canberra Repertory Society. Mar Ticketmaster.

Once in Royal David’s City by Michael Gow. Belvoir. Until Mar 23. Belvoir St Theatre, Upstairs.

(02) 9699 3444 Much Ado About Nothing by William Shakespeare. Pymble Players. Until Mar 15. Cnr Bromley Ave & Mona Vale Rd, Pymble. MCA Ticketing 1300 306 776

Jump for Jordan by Donna Abela. Griffin Theatre Company.

SBW Stables Theatre. Until Mar 29. (02) 9361 3817.

The Amorous Ambassador by Michael Parker. DAPA. Until Mar 8. DAPA Theatre, Hamilton (Newcastle). (02) 4962 3270.

Straight and Narrow by Jimmy Chi. Woy Woy Little Theatre.

Until Mar 9. Peninsula Theare, Woy Woy. 4344 4737.

Eugene Onegin by Tchaikovsky.

Opera Australia. Joan Sutherland Opera Theatre, Sydney Opera House. Until Mar 28. 9318 8200.

Jesus Christ Superstar. Music by Andrew Lloyd Webber. Lyrics by Tim Rice. Roo Theatre. Until Mar 15. Harbour Theatre, Shellharbour. 4297 2891.

Any Number Can Die by Fred Noises Off by Michael Frayn.

Carmichael. Until Mar 15.

STC. Until Ap 5. Drama Theatre, Hunters Hill Theatre. 9879 Sydney Opera House. (02) 9250 7765.

1777.

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

Stage Whispers 49

On Stage

New South Wales

Natalie O’Donnell, Diana in Doorstep Arts’ production of Next to Normal at Geelong Performing Arts Centre from Mar 13 - 22. www.doorsteparts.com

The Tempest by William Shakespeare. Eaton Gorge Theatre Company. Until March 30. Wollongong Botanic Gardens.

Laycock Street Community Theatre, Gosford. (02) 4323 3233.

Waiting for Godot by Samuel Beckett. Riverside Lyric Ensemble. Mar 3 - 7. Lennox Theatre, Riverside, Parramatta.

(02) 8839 3399.

The Sound of Music by Rodgers and Hammerstein. Rockdale Musical Society. Until Mar 16.

Rockdale Town Hall.

The Long Way Home by Daniel www.rockdalemusicalsociety.com Keene. Merrigong Theatre Co. 0433 990896.

Mar 5 - 8. IPAC. (02) 4224 The Lilies of the Field by F. 5999.

Andrew Leslie. Guild Theatre.

Mammory Monologues.

Until Mar 8. Guild Theatre, Walz Wollongong Workshop Theatre.

St. Rockdale. (02) 95216358 Mar 7 - 9. (02) 4225 9407.

Mon-Sat 9am to 5pm.

Better Left Said by Scott Brawley Twelve Angry Jurors by Reginald and Robert Stewart. Sutherland Rose. Arts Theatre Cronulla.

Theatre Company. Mar 7 - 16.

Until Mar 22. 6 Surf Road. (02) The Sutherland Memorial 9523 2779 on any performance School of Arts. East Parade. night.

9150 7574.

The Winter’s Tale by William The Bible: The Complete Word Shakespeare. Bell Shakespeare. of God (Abridged) by Adam Mar 1 - 29. Sydney Opera Long, Reed Martin and Austin House Playhouse. (02) 9250 Tichenor. Castle Hill Players. Mar 7777.

7 - 22. Pavilion Theatre, Castle Crazy For You by Ken Ludwig, Ira Gershwin and George Gershwin (Musical). Gosford Musical Society. Mar 1 - 23.

50 Stage Whispers

Murwillumbah Theatre Company. Mar 7 - 22.

Murwillumbah Civic Centre Auditorium. 02 6672 5404 / 1800 674 414.

Rent by Jonathan Larson.

Campbelltown Theatre Group.

Mar 7 - 22. Town Hall Theatre, 297 Queen St, Campbelltown. www.ctgi.org.au / 4628 5287.

Mr Bennet’s Bride, prequel to Pride and Prejudice by Newcastle playwright Emma Wood. Newcastle Theatre Company. Mar 8 - 22. NTC Theatre, Lambton (Newcastle).

(02) 4952 4958.

Pride and Prejudice adapted for the stage by Jon Jory. Ruby Productions. Mar 8 - 22. John Lees Centre, Evan St, Penrith.

(02) 47355422.

Frankenstein by Mary Shelley, adapted by Victor Gialanella.

Genesian Theatre.

Hill Showground. 9634 2929

Mar 8 - Apr 12. 420 Kent Street, Sydney. 1300 237 217.

2 Doors Down by Kelly McLoughlin-Wilden.

Communicating Doors by Alan Ayckbourn. Lieder Theatre

Company. Mar 12 - 29. Lieder Theatre, 52 Goldsmith St, Goulburn. (02) 48215066.

The Weir by Conor McPherson.

Stooged Theatre. Mar 12 - 22.

Civic Playhouse, Newcastle. (02) 4929 1977.

Favourite Shorts. Armidale Drama and Musical Society. Mar 13 - 22. The Armidale Club.

Dimboola by Jack Hibberd.

Epicentre Theatre Company.

Mar 13 - 23. King St. Theatre, Newtown. 0423 082 015 Clybourne Park by Bruce Norris.

Ensemble Theatre. From Mar 13. (02) 9929 0644.

It’s My Party (And I’ll Die If I Want To) by Elizabeth Coleman.

Theatre on Brunker. Mar 14 Apr 5. St Stephen’s Hall, Adamstown (Newcastle). (02) 4956 1263.

Ruff 1 New Works in Progress.

Merrigong Theatre Co. Mar 15.

Gordon Theatre. (02) 4224 5999.

Mrs Brown’s Boys! British television comedy series live on

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

On Stage stage. Newcastle Entertainment Puccini. Harbour Stage. Mar 21 Centre, Broadmeadow. Mar 17 - - Ap 12.

19. (02) 4921 2121.

Little Women. Book by Allan Wulamanayuwi and the Seven Knee. Lyrics by Mindi Dickstein.

Pamanui by Jason De Santis, Music by Jason Howland.

Composer - Jeffrey “Yellow” Bankstown Theatre Company.

Simon. Merrigong Theatre Co. Mar 21 - 30. Bankstown Arts Mar 19 - 22. IPAC. (02) 4224 Centre, Olympic Parade, 5999.

Bankstown. 96761191.

Oklahoma! by Richard Rodgers and Oscar Hammerstein II, based on the play “Green Grow the Lilacs” by Lynn Riggs.

Miranda Musical Society. Mar 19 - 23. Sutherland Entertainment Centre. (02) 8814 5827

Monty Python’s Spamalot by Eric Idle and John Du Prez.

Nowra Players. Mar 21 - Apr 5.

Players Theatre, Meroo Street, Bomaderry. (02) 44210778 or 1300662808.

New South Wales Strictly Ballroom The Musical by Baz Luhrmann and Craig Pearce.

Global Creatures and Bazmark.

Previews from March 25.

Sydney Lyric Theatre, The Star.

1300 795 267.

Chicago Book by Fred Ebb and Bob Fosse. Music by John Kander. Lyrics by Fred Ebb. Highlands Theatre Group. Mar 1984. Adapted from George 28 - Apr 12. Clubbe Hall, Cnr Orwell’s novel by Shake and Stir Waverley Street & Range Road Theatre Co. Mar 25, Cessnock Mittagong. 1300 657 559.

Performing Arts Centre’ (02) Out of Order by Ray Cooney.

4990 7134. Mar 27, Civic Newcastle Gilbert and Sullivan Theatre, Newcastle, (02) 4929 Players. Mar 28 - Apr 12. St 1977.

Matthew’s Hall, Georgetown

Aftershocks by Paul Brown and the Workers’ Cultural Action Mel Brooks’ Young Frankenstein Committee. DAPA Theatre. Mar 26 - Apr 6. DAPA Theatre,

by Mel Brooks and Thomas Hamilton (Newcastle). (02) Fight Night. Text by Alexander Meehan, music & lyrics by Mel 4962 3270.

Devriendt and the cast. Sydney Brooks. Arcadians Theatre Theatre Company presents The Group. Mar 21 - Ap 5. The The Government Inspector by Border Project, Ontroerend Arcadians’ Miners Lamp Simon Stone after Nikolai Goed, Drum Theatre Plymouth Theatre. 42848348.

Gogol. Belvoir & Malthouse coand Richard Jordan Productions The One Day of the Year by production. Mar 27 - May 18.

Ltd, in association with Adelaide Alan Seymour. The Theatre on Belvoir St Theatre | Upstairs.

Festival. Wharf 2. Mar 20 to Ap Chester (Epping). Mar 21 - Apr (02) 9699 3444.

13. 9250 1777.

12. The Theatre on Chester, Wild Oz. Regional Institute of Handa Opera on Sydney Harbour - Madama Butterfly by

corner of Chester and Oxford Streets, Epping. 02 9877 0081.

Civic Playhouse, Newcastle. (02) 4929 1977.

Performing Arts. Mar 27 - 29.

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

(Newcastle). 0402 356 460.

Equus by Peter Shaffer. Phoenix Theatre. Mar 28 - Ap 12.

Phoenix Theatre, Coniston.

0407 067 343.

God of Carnage by Yasmina Reza. Newcastle Theatre Company. Mar 29 - Apr 12.

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

Uncensored Bodies III. Regional Institute of Performing Arts.

Stage Whispers 51

On Stage Mar 30. Civic Playhouse, Newcastle. (02) 4923 7595.

New South Wales

Performing Arts Centre. (02) 4990 7134.

Perplex by Marius von Mayenburg. Translated by Maja Zade. STC. Wharf 1. Mar 31 to May 3. 9250 1777

12 Angry Men by Reginald Rose, adapted by Sherman Sergel. Wollongong Workshop Theatre. Apr 4 - 19. (02) 4225 9407.

Pinocchio. Based on the books

by Carlo Collodi. Created by Rosemary Myers with writer Julianne O’Brien. STC, Windmill Theatre and State Theatre Company of South Australia.

Drama Theatre, Sydney Opera House. Ap 11 - May 4. 9250 1777.

The Rise and Fall of Little Voice

by Jim Cartwright. Lane Cove Theatre Company. Apr 10 - 13.

O’Kelley Drama Theatre, St Ignatius College, Riverview.

1300 306 776.

Encore! Award-winning songs in revue. The National Theatre Company. Apr 12. Civic Playhouse, Newcastle. (02) 4929 1977.

Oklahoma! by Richard Rodgers & Oscar Hammerstein II. Holroyd Musical & Dramatic Society Inc. Apr 4 - 11. Redgum A Bright and Crimson Flower by Richard Davey. Henry Lawson Music by Jane Bodie. Stories Like Centre, 2 Lane Street, Wentworthville.

0497 051 798 Theatre, Werrington. Apr 4 These and Griffin Independent World Premiere. SBW Stables Next to Normal. Book and lyrics 26. (02) 4729 1555.

Theatre. Ap 2 - 26. (02) 9361 3817.

by Brian Yorkey and music by Tom Kitt. Rockdale Musical Society. Apr 4 - 12. Rockdale Town Hall. 0433 990896

Jump for Jordan by Donna Abela. Composer - Nate Edmondson. Merrigong Theatre Steel Magnolias by Robert Co. Ap 2 - 5. IPAC, Harling. Canterbury Theatre Wollongong. (02) 4224 5999 Guild. Apr 4 - 12. CTG Community Hall, Close St, All My Sons by Arthur Miller.

Canterbury.

Wyong Drama Group. Apr 3 12. Wyong Memorial Hall, Anzac Avenue, Wyong.

1300665600.

Panic. Group-devised work about people under stress.

Open Cage Ensemble. Apr 3 12. 48 Watt, Newcastle.

Calendar Girls by Tim Firth. Jally Entertainment. Apr 4. Cessnock

52 Stage Whispers

Upstairz/Downstairz. Musical comedy by Maureen O’Brien.

The Royal Exchange, Newcastle.

Apr 5 - 13. (02) 4929 4969.

Jesus Christ Superstar by Andrew Lloyd Webber & Tim Rice. WOFTAM Productions. Apr 4 - 12. St John the Evangelist Catholic Church, 35 Cordeaux St., Campbelltown.

Protosteps. Regional Institute of Performing Arts. Apr 10 - 11.

Civic Playhouse, Newcastle. (02) 4929 1977.

Caught In The Net by Ray Cooney. Cooma Little Theatre.

Apr 11 - May 3. Monaro Ave., Cooma.

The Empire Strips Back: A Star Wars Burlesque Parody. Russall and Beattie. Apr 11. Civic Theatre, Newcastle. (02) 4929 1977.

Jon English. Songs from his career’s musicals. Lizotte’s, Lambton (Newcastle). Apr 12.

(02) 4956 2066.

Snow White by William Ford.

Young Peoples Theatre Newcastle Inc. Apr 14 to May 3.

Young Peoples Theatre Newcastle Inc, Hamilton (Newcastle) NSW. 0249 615340 The Kangaroo in the Rock by Richard Howard. Footlice Theatre Company. Apr 15 - 24.

Fort Scratchley, Newcastle.

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

On Stage The Deep. Adapted by Justin Cheek from the book by Tim Winton. Spare Parts Puppet Theatre. Apr 22 - 24. Civic Theatre, Newcastle. (02) 4929 1977.

3. Wyong Memorial Hall. 1300 366 470.

Don Quixote. Based on original choreography by Maurice Petipa. The Imperial Russian Ballet Company. Apr 26 - 27.

Disney’s The Aristocats Kids.

Civic Theatre, Newcastle. (02) Opera Hunter. Apr 22 - 26. Lake 4929 1977.

Macquarie Performing Arts Cruise Control by David Centre, Warners Bay. Apr 27.

Williamson. Ensemble Theatre.

Wesley Hall, Hamilton From Ap 26. (02) 9929 0644.

(Newcastle). (02) 4943 1672.

Queensland The Freedom of the City by Cosi by Louis Nowra. La Boite Brian Friel. Maitland Repertory Theatre, Kelvin Grove. Until Mar Theatre. Apr 23 - May 4. (02) 8. (07) 3007 8600.

4931 2800.

The Conscription Debates (Who Annie by Charles Strouse & Martin Charnin. Spotlight Sends Us to War?). Regional Institute of Performing Arts. Apr Theatre, Gold Coast. Until Mar 8. (07) 5539 4255.

24 - 26. 48 Watt, Newcastle.

(02) 4923 7595.

Hair The American Tribal Love Rock Musical. Book and Lyrics

by Gerome Ragni and James Rado, Music by Galt MacDermot. Wyong Musical Theatre Company. Apr 25 - May

Witness for the Prosecution by Agatha Christie. Beenleigh Theatre. Until Mar 15. 3807 3922.

New South Wales & Queensland The One-Ders by Paula Weston.

Phoenix Ensemble. Pavilion Theatre, Beenleigh Showgrounds. Until Mar 22.

3103 1546.

The Great Fairytale Robbery by Eric Scott. Arts Theatre, Brisbane. Until Mar 29. 3369 2344.

The Maltese Falcon by Dashiell Hammett & The Canterville Ghost by Oscar Wilde. Nash Theatre, New Farm. Mar 1-22.

3379 4775.

Centenary Theatre Group. Mar 8 -29. 0435 591 720.

Other Times by Ray Lawler.

Villanova Players. The Theatre, TAFE, Morningside. Mar 14-29.

3395 5168.

The Long Way Home by Daniel Keene. Sydney Theatre Company / Australian Defence Force. Mar 14 & 15. Townsville Civic Theatre.

Rigoletto. Opera by Verdi.

Opera Q. Lyric Theatre QPAC. Mar 15-29. 136 246.

On Golden Pond by Ernest Guys and Dolls by Frank Loesser, Thompson. Mousetrap Theatre, Jo Swerling and Abe Burrows.

Redcliffe. Mar 7-22. 3888 3493. Harvest Rain. Playhouse QPAC. When Dad Married Fury by Mar 20-23. 136 246.

David Williamson. Gardens Four Weddings and an Elvis by Theatre, QUT. Mar 7-8. 3138 Nancy Frick. Coolum Theatre 4455.

Players. Mar 21-30. 5446 2500.

Pride and Prejudice by Helen Jerome. Arts Theatre, Brisbane.

Mar 8 - Apr 13. 3369 2344.

The Mountaintop by Katori Hall.

Tuesdays With Morrie by Jeffrey QTC. Playhouse, QPAC. Until Hatcher & Mitch Albom.

Mar 16. 1 800 355 528.

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

Quartet by Ronald Harwood.

Javeenbah Theatre, Nerang. Mar 21 - Apr 5. 5596 0300.

Macbeth by William Shakespeare. QTC. Playhouse,

Stage Whispers 53

On Stage

Queensland

New satirical Australian Musical DreamSong by Hugo Chiarella and Robert Tripolino plays at Theatre Works, St Kilda from April 10 to 20. DreamSong centres around an evangelical mega church, DreamSong, and its Pastor, Richard Sunday. The church has lost millions in the Global Financial Crisis and Pastor Sunday decides to stage the second coming of Christ and market him as a Christian Pop Star, as a way through their money problems. https://www.facebook.com/dreamsong.anewmusical

Online extras!

Check out a clips from DreamSong by scanning the QR code or visiting http://youtu.be/OVPHVlksYkI

54 Stage Whispers

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

On Stage QPAC. Mar 22 - Apr 13. 1 800 355 528.

Ballarat Lyric Theatre. Until Mar 9. Her Majesty’s theatre, Ballarat. (03) 5334 7270.

Queensland & Victoria

Book & Lyrics: Gerome Ragni & James Rado. StageArt Australia.

Chapel Off Chapel, Melbourne, Cock by Mike Bartlett. La Boite, Mar 4 - 9, (03) 8290 7000; Kelvin Grove. Mar 27- Apr Out of the Water by Brooke 12.3007 8600.

Berman. Until Mar 8. Red Stitch West Gippsland Arts Centre, Actors Theatre. (03) 9533 8083. Warragul, Mar 14 & 15, (03) The Removalists by David 5624 2456; Her Majesty’s Williamson. Gold Coast Little Cock by Mike Bartlett. MTC. Theatre, Ballarat, Ap 2, (03) Theatre. Mar 29 - Apr 19. 5532 Australian Premiere. Until Mar 5333 5888.

2096.

22. Arts Centre Melbourne, Fairfax Studio. (03) 8688 0800. Double Act by Barry Creyton.

The Phantom of the Opera by Lilydale Athenæum Theatre Andrew Lloyd Webber & Charles As Bees in Honey Drown by Company Inc. Mar 5 - 22. (03) Hart. Empire Theatre, Douglas Carter Beane. Brighton 9735 1777.

Toowoomba. Apr 3-13. 1 300 Theatre Company. Until Mar 8.

The Family Tree by Alicia Esteal.

655 299.

1300 752 126.

La Mama Theatre. Mar 5 - 16.

Don Quixote. Ballet Imperial Pacific Overtures by Stephen (03) 9347 6142.

Russian Ballet Company.

Sondheim & John Weidman.

Every Grain of Sand by Neil Concert Hall, QPAC. Apr 4-5.

Watch This & Manilla Street Cole. Melbourne Jewish Theatre 136 246.

Productions. Until Mar 9.

Theatre Works. (03) 9534 3388. Trust. Mar 6 - 23. Chapel off Deathtrap by Ira Levin. Lind Chapel. (03) 8290 7000.

Lane Theatre, Nambour. Apr 4- Trap For A Lonely Man by Robert Thomas. Malvern Theatre Love, Loss, and What I Wore by 12. 5441 1814.

Norah & Delia Ephron. Encore Company. Until Mar 8. 1300 Danny, The Champion of the Theatre Inc. Mar 7 - 22. Clayton 131 552.

World by Roald Dahl. Arts Community Centre Theatrette.

Whistle Down the Wind. Music: 1300 - 739 - 099 (9.00am Theatre, Brisbane. Apr 5 - May Andrew Lloyd Webber Lyrics: 31. 3369 2344.

9.00 pm).

Jim Steinman. Cardinia The King and I by Rodgers & Performing Arts Company. Until Gypsy. Book by Arthur Laurents, Hammerstein. John Frost Mar 7. Cardinia Cultural Centre, Music by Jule Styne and lyrics by Production / Opera Australia.

Stephen Sondheim. SPX Lyrics Theatre, QPAC, From Apr Pakenham. 0407090354 or A/H Waterdale Players. Mar 7 - 15.

(0) 95871750.

15. 136 246.

Rivergum Theatre @ Parade The Secret Tent by Elizabeth It’s My Party (And I’ll Cry If I College, Bundoora.

Want To) by Elizabeth Coleman. Addyman. Strathmore Cinderella by David Buchanan.

Theatreical Arts Group (STAG).

Tweed Theatre Company. Apr Altona City Theatre. Mar 7 - 22.

Until Mar 9. Strathmore 19 - May 4. 1 800 674 414.

Altona Theatre. 0425 705 550.

Community Hall. (03) 9382 Coppelia. Ballet by Leo Delibes. 6284.

Orphanage of the Animals. Mar Qld Ballet & WA Ballet.

6 - 16. La Mama Courthouse.

Quartet by Ronald Harwood.

Playhouse. Apr 24 - May 10.

(03) 9347 6142.

The Basin Theatre Group.

Until 136 246.

Mar 8. 1300 784 668 (between Stray by R. Johns. Mar 12 - 23.

Victoria 7pm & 9pm only).

La Mama Courthouse. (03) A Midsummer Night’s Dream by The Glass Menagerie by 9347 6142.

William Shakespeare. Australian Tennessee Williams. Heidelberg The Long Pigs. Devised and Shakespeare Company. Until Theatre Company. Until Mar 8. performed by Clare Mar 15. Southern Cross Lawn, 94574117.

Bartholomew, Derek Ives and Royal Botanic Gardens Nicci Wilks. Mar 13 - 23.

Melbourne. 03 8676 7511 / Next to Normal by Music by fortyfivedownstairs. (03) 9662 136 100.

Tom Kitt, book and lyrics by 9966.

Grease by Jim Jacobs & Warren Brian Yorkey. Doorstep Arts.

The Great Gatsby by F.Scott Mar 13 - 22. Drama Theatre, Casey. John Frost. From Jan 2.

Fitzgerald adapted for the stage Geelong Performing Arts Centre.

Her Majesty’s Theatre,

by Simon Levy. Beaumaris (03) 5225 1200.

Melbourne. 1300 795 012.

Theatre Inc. Mar 14 - 29. (03) The Government Inspector.

Private Lives by Noël Coward.

9583 6896.

Created by Simon Stone after MTC. Until Mar 8. Southbank A Few Good Men by Aaron Theatre, The Sumner. (03) 8688 Nikolai Gogol. Malthouse. Until Sorkin. The Mount Players. Mar Mar 23. Merlyn Theatre. (03) 0800.

14 - Ap 5. Mountview Theatre, 9685 5111.

The Phantom of the Opera by Macedon. (03) 5426 1892.

Andrew Lloyd Webber, Charles HAIR Summer of Love. Victorian Tour. Music: Galt MacDermot.

Hart and Richard Stilgoe.

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

The 25th Annual Putnam County Spelling Bee by William Finn and Rachel Sheinkin.

SLAMS. Mar 14 - 22. Knox Community Arts Centre, Bayswater. (03) 9720 3205 Neighbourhood Watch by Lally Katz. MTC / Belvoir Production.

Southbank Theatre, The Sumner. Mar 17 - Ap 26. (03) 8688 0800.

Who You Are by Nick Backstrom. Word of Mouth Theatre. Mar 19 - 30. La Mama Theatre. (03) 9347 6142.

Blood Brothers by Willy Russell.

Manilla Street Productions. Mar 20 - Ap 6. Chapel off Chapel.

(03) 8290 7000.

Xanadu. Book by Douglas Carter Beane, music / lyrics by Jeff Lynne and John Farrar. Fab Nobs Theatre. Mar 21 - Apr 5.

Fab Factory, Bayswater. 0401 018 846.

Where Do I Begin? The Voice of Shirley Bassey by Matthew Robinson. Manilla Street Productions. Mar 23 - 30.

Chapel off Chapel. (03) 8290 7000.

Credible Likeable Superstar Role Model by Bryony Kimmings.

Theatre Works. Mar 25 - Ap 6.

(03) 9534 3388.

2014 Melbourne International Comedy Festival - March 26 to April 20 - Various Venues comedyfestival.com.au Dropped by Nick Backstrom.

Mar 26 - Ap 6. La Mama Courthouse. (03) 9347 6142.

Sex Idiot. Theatre Works in asssociation with Soho Theatre.

Mar 27 - Ap 5. Theatre Works.

(03) 9534 3388.

The Glass Menagerie by Tennessee Williams. Essendon Theatre Company. Mar 27 - Ap 5. Bradshaw St Community Hall, Essendon. 0422 029 483.

Public Toilets Private Words.

Devised and Performed by Caitlin Armstrong, Eloise Maree, Thomas Albert. Ap 2 - 12. La Mama Theatre. (03) 9347 6142.

Stage Whispers 55

On Stage The Travelling Medicine Show.

A show by Porcelain Punch. Ap 2 -13. La Mama Theatre Courtyard. (03) 9347 6142.

Disney’s The Little Mermaid Jr.

by Doug Wright, Alan Menken, Howard Ashman and Glenn Slater. KIDZ ACT. April 3-6.

Clayton Community Theatrette.

2:00pm, 5:00pm & 7:00pm performances. ww.kidzact.com 1300 727 390.

Victoria & Tasmania

Bernadette Peters in Concert.

Harmony House Productions.

Ap 7 & 8. Her Majesty’s Theatre, Melbourne.

The Grand Duke or The Statutory Duel by Gilbert and Sullivan. Gilbert and Sullivan Opera Victoria. Ap 5 - 12.

Alexander Theatre, Monash University. 03 9905 1111 (M-F 9:30-4:30).

DreamSong. Book and Lyrics: Hugo Chiarella. Music: Robert Death in Bowengabbie by Caleb Tripolino Theatre Works. Ap 9 Lewis. 2014 Melbourne 20. 03 9534 3388.

International Comedy Festival.

The Legend of King O’Malley.

Ap 3 - 13. La Mama Theatre.

2014 Melbourne International (03) 9347 6142.

Comedy Festival. Ap 9 - 20. La The Comedy of Errors by Mama Courthouse. (03) 9347 William Shakespeare. Hartwell 6142.

Players. Ap 4 - 12. Ashwood College Performing Arts Centre. Avenue Q - School Edition.

Catchment Players of Darebin (03) 9513 9581.

Junior Production. Ap 11 - 13.

Annie. Music by Charles Banyule Theatre, Heidelberg.

Strouse, lyrics by Martin 0408836441.

Charnin, and book by Thomas The Return of the Eric by Emilie Meehan. Panorama Theatre Company. Ap 4 - 13. Frankston Collyer, Van Badham, Dave Hoskin, Karin Muiznieks, Rob Arts Centre.

56 Stage Whispers

Reid, Morgan Rose, Neil Triffet, & Nick Vellissaris. 2014 Melbourne International Comedy Festival. Ap 16 - 20. La Mama Theatre. (03) 9347 6142.

Proof by David Auburn.

Williamstown Little Theatre. Ap 24 - May 10. (03) 9885 9678.

Amadeus by Peter Shaffer.

Geelong Repertory Theatre Co. Ap 25 - May 4. Woodbin Theatre. 5225 1200.

Heroes by Gérald Sibleyras Translated by Tom Stoppard.

Peridot Theatre Inc. Ap 25 May 10.

Wicked Sisters by Alma De Groen. Malvern Theatre Company. Ap 25 - May 10.

1300 131 552.

Talking Heads by Alan Bennett.

Mordialloc Theatre Co. Inc. Ap 25 - May 10. Shirley Burke Theatre. 9587 5141.

Tasmania BLITZ! A Sentimental Journey by Claire Dawson & Rod Anderson.

A Claire Dawson Production supported by Tasmania performs. Mar 7 & 8, Earl Arts Centre, (03) 6323 3666.

A Little Night Music by Stephen Sondheim and Hugh Wheeler.

The Gilbert and Sullivan Society of Tasmania Inc. Mar 8 - 15.

The Playhouse Theatre, Hobart.

(03) 6234 5998.

Lake. Devised & Directed by Lisa Wilson. Mar 14 & 15. Theatre Royal, Hobart. (03) 6233 2299.

The Phantom of the Opera by Andrew Lloyd Webber, Charles Hart and Richard Stilgoe. Encore Theatre. Mar 14 - 29. Princess Theatre, Launceston. (03) 6323 3666.

Lady Windermere’s Fan by Oscar Wilde. Hobart Repertory Theatre Wael Zuaiter: Unknown by Jesse Society. Mar 28 - Ap 12. The Playhouse Theatre, Hobart. (03) Cox. Theatre Works. Ap 29 6234 5998.

May 11. (03) 9534 3388.

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

On Stage The Deep. Based on the book by Tim Winton. Spare Parts Puppet Theatre. Ap 2 - 4. Princess Theatre, Launceston. (03) 6323 3666.

The State of the Tasmanian Economy by Jonathan Biggins.

Blue Cow Theatre. Ap 10 - 12.

Theatre Royal, Hobart. (03) 6233 2299.

Tasmania, South Australia & Western Australia

Mar 16. Garden of Unearthly Delights: Le Cascadeur.

Albert Einstein: Relativitively Speaking by John Hinton.

Adelaide Fringe. Until Mar 16.

Holden Street Theatres.

When I Grow Up by Juliette Burton. Adelaide Fringe. Until Mar 16. 9 Kevin Crease Studios, Carclew.

South Australia The Seagull by Anton Chekhov.

For all Adelaide Fringe tickets go Adelaide Festival / State Theatre to adelaidefringe.com.au/ Company of South Australia. fringetix/ Until Mar 16. State Theatre Company Scenic Workshop, For Adelaide Festival tickets go Adelaide Festival Centre. to adelaidefestival.com.au or call BASS 131 246.

Rom Com Con by Lizzy Mace and Juliette Burton. Adelaide Fringe. Until Mar 16. The Bakehouse Theatre.

Kiss Of The Chicken King by Oscar McLennan, Adelaide Festival. Mar 1 - 4. Queen’s Theatre.

Windmill Theatre Trilogy by A Special Day, inspired by Ettore Matthew Whittet. Adelaide Festival / Windmill Theatre, Scola’s film Una Giornata South Australia. Mar 1-16.

Particolare. Adelaide Fringe / Space Theatre.

New York’s The Play Company and Mexico City’s Por Piedad Overlooked: A Roll Call of the Teatro collaboration. Until Mar Small by Lizzy Mace. Adelaide 16. The Arch- Holden Street Fringe. Mar 2-16. The Austral Theatres.

Hotel.

Bitch Boxer by Charlotte Josephine. Adelaide Fringe. Until Mar 16. Holden St Theatres-The Studio.

In Vogue: Songs By Madonna & Sweet Dreams: Songs by Annie Lennox, performed by Michael Griffiths. Adelaide Fringe. Until

Small Talk by Lana Schwartz.

Adelaide Fringe. Mar 3-15. The Bakehouse Theatre.

The Naked Magicians by Simon Painter. Adelaide Fringe. Mar 415. The Peacock, Gluttony.

An Iliad by Denis O’Hare and Lisa Peterson. Adelaide Festival /

A Homer’s Coat project, United States. Mar 4-8. Dunstan Playhouse. dateless.com by Matt Byrne.

Matt Byrne Media / Adelaide Fringe. Mar 5- 16. Maxim’s Wine Bar. The Shadow King, a retelling of Shakespeare’s King Lear.

Adelaide Festival Malthouse Theatre, Australia. Mar 5-8. Her Majesty’s Theatre.

Mama Alto: Countertenor Diva.

Adelaide Fringe. Mar 5 - 15. La Boheme.

This Filthy World Vol.2, with John Waters, Adelaide Festival.

Mar 6. Elder Hall.

The Black Cat-The Small World of Aristide Bruant. Adelaide Fringe Mar 11 - 16. The Soul Box. Xanadu -The Musical. Music and lyrics by Jeff Lynne and John Farrar. Davine Interventionz / Adelaide Fringe.

Mar5-8. Star Theatre One.

Players Theatre.

Teatreeplayers.com Loves Labours Lost by William Shakespeare. A Company of Strangers Theatre. Apr 4-12.

Star Theatres, The Chapel.

Pirates of Penzance by Gilbert and Sullivan. Raw Company.

Apr 12. Hopgood Theatre. 08 8207 3977 or 08 8207 3975.

Western Australia The Rocky Horror Show by Richard O’Brien. Until Mar 9.

Crown Theatre, Perth. Ticketek 132 849.

Breast Wishes by Bruce Brown, Merridy Eastman, Jonathan Gavin, Richard Glover, Wendy Harmer, Sheridan Jobbins, James Millar and Debra Oswald.

KADS. Until Mar 15. Celebration of breasts and those who support them. KADS Town Square Theatre, Kalamunda.

9257 2668.

Don Parties On by David Williamson Melville Theatre Company. Until Mar 8. Sequel The Curious Scrapbook of to Don’s Party. Melville Theatre, Josephine Bean by Shona Reppe. Adelaide Festival. Mar 5- Palmyra. 9330 4565.

9. Odeon Theatre.

Laying the Ghost by Simon Pirates to Pinafore. Country Arts Williams. Stirling Players. Until SA. Mar 12. Hopgood Theatre, Mar 15. Stirling Theatre, Morris Place, Inaloo. 9440 1040.

Noarlunga. 08 8207 3977.

Needles and Opium by Robert LePage. Adelaide Festival / Ex Machina, Canada. Mar 13-16.

Dunstan Playhouse.

Fight Night, a Trilogy by Alexander DeVriendt and the cast. Adelaide Festival / The Border Project, Australia and Ontroerend, Belgium. Mar 1316. Queen’s Theatre.

Deathtrap by Ira Levin. Therry Dramatic Society. Mar 20-29.

The Arts Theatre, Adelaide.

BASS or VenueTIX. Peace Train - The Cat Stevens Story. Country Arts SA. Mar 22.

Hopgood Theatre, Noarlunga. www.countryarts.org.au or 08 8207 3977.

A Murder is Announced by Agatha Christie. Coppel, Withers and Bewick. Mar 5-19. Murder mystery. His Majesty’s Theatre, Hay St, Perth. Ticketek 132 849.

Flak by Michael Veitch. True stories of men who flew in WW2. Mar 7, Kalamunda Performing Arts Centre, 9467 7118 & Mar 8, Koorliny Arts Centre, 9257 2558.

The Guys by Anne Nelson.

Classic Works as part of the Independent Theatre Festival.

Mar 12-15. True story set around September 11 attacks.

Subiaco Arts Centre. Ticketek 132 849.

Subscription to Love by William Dunlop. Playlovers. Mar 13-15.

Situation Comedy by John World Premiere modern-day Mortimer & Brian Cooke. Tea tragi-comedy. Hackett Hall, Tree Players. Apr 2- 12. Tea Tree Floreat. 0415 777 173.

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

Stage Whispers 57

On Stage

Western Australia Geoff Gibbs Theatre, WAAPA, Edith Cowan University, Mt Lawley. 9370 6895.

Online extras!

Check out the hype machine that is EMPIRE. Scan the QR code or visit http://youtu.be/MM9ENfnEkY4

Wog Boys by Nick Giannapoulos. Mar 19-23.

Comedy. Regal Theatre, Subiaco. Ticketek 132 849.

Dancers Speak Volumes by Linton Aberle, Louise Honeybul and Brooke Leeder. Brooke, Linton and Louise as part of the Independent Theatre Festival.

Mar 19-22. How we make and create love. Subiaco Arts Centre.

Ticketek 132 849.

The House That Jack Built by Mark Thompson. Roleystone Theatre. Mar 21-29. Locally written World Premiere.

Roleystone Theatre, Brookton Hwy, Roleystone. 9367 5730.

The Standover Man by Jessica Messenger. Stained Glass Robot and Ellander Productions as part of the Independent Theatre Festival. Mar 26-29. Modern day fable set in a seedy criminal underworld. Subiaco Arts Centre. Ticketek 132 849.

Shakespeare Anniversary.

Darlington Theatre Players, Garrick Theatre, KADS, Apr 126. Macbeth, A Midsummer Night’s Dream and Othello in repertory. Marloo Theatre, Greenmount. 9255 1783.

Trampoline by Shane Adanczak.

Weeping Spoon Productions as part of the Independent Theatre Festival. Apr 2-5. A dreamer meets the girl of his dreams.

Subiaco Arts Centre. Ticketek 132 849.

Miss A in a Bubble from EMPIRE by Spiegelworld, under the spiegeltent on the Rooftop at Crown, Melbourne from March 11.

51 Shades of Maggie Muff by Leesa Harker. Theatre Tours Australia. Mar 13-15. Adult comedy. Subiaco Arts Centre.

Ticketek 132 849.

Café Brosse by Jean McConnell.

Harbour Theatre. Mar 14-29.

British comedy set in France.

Harbour Theatre, Fremantle.

9433 6260.

Beach by Timothy Daly. WAAPA Second Year Music Theatre Students. Mar 14-20. Enright Studio WAAPA, Edith Cowan 58 Stage Whispers

University, Mt Lawley. 9370 6895.

The Resistable Rise of Arturo Ui

by Bertolt Brecht. WAAPA Third Year Acting Students. Mar 1420. Dark allegorical comedy.

Roundhouse Theatre WAAPA, Edith Cowan University, Mt Lawley. 9370 6895.

Thesmophoriazusae by Aristophanes, translated by Alan H. Sommerstein. WAAPA Second Year Acting Students.

Mar 15-20. Greek Comedy.

Amphitheatre WAAPA, Edith Cowan University, Mt Lawley.

9370 6895.

A Streetcar Named Desire by Tennessee Williams. Black Swan State Theatre Company. Mar 15 - Apr 5. American classic. Heath Ledger Theatre, State Theatre Centre of WA, Northbridge.

Ticketek 132 849.

Hair by Gerome Ragni, James Rado and Galt MacDermot.

WAAPA Third Year Music Theatre Students. Mar 15-22.

Crash Course by James Berlyn.

Performing Lines WA as part of the Independent Theatre Festival. Apr 2-12. Life is a crash course, workshop it. Subiaco Arts Centre. Ticketek 132 849.

Mrs Brown’s Boys: Live in Mrs Brown’s Boys Ride Again by Brendan O’Carroll. Apr 3-6.

Comedy from the TV series.

Perth Arena. Ticketek 132 849.

Sleuth by Anthony Shaffer.

Stage Left Theatre Troupe. Apr 4-12. Stage Left Theatre, Boulder.

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

On Stage Beauty and the Beast by Alan Menken, Howard Ashman, Tim Rice and Linda Woolverton.

Swan Christian College. Apr 612. Disney musical. Swan Christan College.

The Little Mermaid by Ian Sinclair. Houston Sinclair as part of the Independent Theatre Festival. Apr 9-12. Bold reworking of Hans Christian Anderson’s fairy tale. Subiaco Arts Centre. Ticketek 132 849.

The Long Way Home by Daniel Keene. Sydney Theatre Company and the Australian Defence Force. Apr 11-12. Created from first-hand accounts. His Majesty’s Theatre, Perth.

Ticketek 132 849.

Hachiko. Spare Parts Puppet Theatre. Apr 14-26. True story about loyalty and resilience.

Spare Parts Puppet Theatre, Fremantle. 9335 5044.

Western Australia & New Zealand

(behind the University of Sondheim. Centrestage Theatre Auckland ClockTower). (09) 308 Company, Orewa. Mar 15 - 29.

2383.

The War Artist by Carl Nixon.

Pasefic by Stuart Hoar. Circa Centrepoint Theatre, Palmerston Theatre. Until Mar 29. Circa 1.

North. Mar 15 - Ap 12.

04 801 7992.

Paniora! Auckland Theatre Bookworms by Bernard Farrell.

Howick Little Theatre. Mar 1 21. iTicket.

Mamma Mia! by Catherine Johnson, Benny Andersson and Björn Ulvaeus. Auckland Music Theatre. Mar 4 - 23. Civic Theatre, Auckland.

Laramie Project by Moisés Kaufman and members of the Tectonic Theater Troupe.

Riccarton Players. Mar 5 - 15.

Open Stage Theatre, Christchurch. 03 338 4699.

Sea. Red Leap Theatre. Mar 6 10. Maidment Theatre, Auckland. (09) 308 2383.

In the Next Room, or the vibrator play by Sarah Ruhl.

The Dresser by Ronald Harwood. Wanneroo Repertory. Drama League South Canterbury. Mar 7 - 15. The Apr 23 - May 3. Drama set Playhouse. 03 688 5597. backstage. Limelight Theatre.

When the Rain Stops Falling by 9571 8591.

Andrew Bovell. Mar 8 - 29. The New Zealand Court Theatre, Christchurch. 03 Ladies Down Under by Amanda 963 0870.

Whittington. Dolphin Theatre, Auckland. Until Mar 8. (09) 636 I Lost it in Kiev by Deb Filler.

Mar 11 - 14. Musgrove Studio, 7322.

Auckland. (09) 308 2383.

Fallen Angels by Noël Coward.

Kings of the Gym by Dave Auckland Theatre Company.

Until Mar 15. Q Theatre. 09 309 Armstrong. Titirangi Theatre.

Mar 11 - 22. 817 7658.

9771.

A Shortcut to Happiness by Miss Bronte by Mel Dodge.

Roger Hall. Tauranga Repertory Circa Theatre. Until Mar 15.

Theatre. Mar 12 - 29. 16th Circa 2. 04 801 7992.

Avenue Theatre. 07 578 5068.

Book Ends by Roger Hall. Until Daffodils by Rochelle Bright.

Mar 8. Fortune Theatre, Bullet Heart Club and Q Theatre.

Dunedin. (03) 477 8323.

Mar 13 - 29. Loft, Q Theatre, Pasefika by Stewart Hoar. 2014 Auckland. 09 309 9771.

New Zealand Festival. Until Mar The Learner’s Stand by David 14. Circa Theatre, Wellington.

Geary. Feilding Little Theatre.

Ticketek.

Mar 14 - 29. 323 5051.

Paniora! Auckland Theatre Song and Dance by Andrew Company / 2014 New Zealand Lloyd Webber and Don Black.

Festival. Until Mar 5. Te Papa, Abbey Musical Theatre. Mar 14 Wellington. Ticketek.

- 29. The Audience, Palmerston Pericles, Prince of Tyre by North. (06) 355 0499.

William Shakespeare. AUSA West Side Story. Book by Arthur Outdoor Shakespeare Trust.

Laurents, music by Leonard Until Mar 22. Old Arts Quad Bernstein and lyrics by Stephen

Company / 2014 New Zealand Festival / Okareka Dance Company. Mar 20 - Ap 12.

Maidment Theatre. (09) 308 2383.

for stage by Dave Armstrong.

Circa Theatre. Ap 2 - 12. Circa One. 04 801 7992.

The Dining Room by A.R. Gurney. Cue Theatre, Taranaki.

Ap 2 - 13. TET Cue Theatre. 06 7567032.

Homeland by Gary Henderson.

Hutt Repertory Theatre. Ap 2 12. 939 7529.

Take a Chance on Me by Roger Hall. Ellerslie Theatrical Society.

Mar 20 - 29. 09 361 1000.

The Cat’s Meow by Steven Peros. Stagecraft Theatre, Wellington. Ap 2 - 11. 0508 484 253 / (04) 974 4111.

Angels in America - Parts 1 & 2

by Tony Kushner. Silo Theatre.

Mar 21 - Ap 13. Q Theatre, Auckland. 09 309 9771.

Ann Boleyn by Howard Brenton.

Marlborough Repertory. Ap 2 12. The Boathouse Theatre, Blenheim. TicketDirect.

Gloria’s Handbag by Helen Moulder and Sue Rider. Circa Theatre. Mar 21 - Ap 19. Circa 2. 04 801 7992.

Young Frankenstein by Mel Brooks and Thomas Meehan.

Napier Operatic. Ap 3 - 19.

Tabard Restaurant Theatre.

0800 224 224.

White Rabbit, Red Rabbit by Nassim Soleimanpour. Court Theatre. Mar 22 - Ap 5. The Forge, Christchurch. 03 963 0870.

Over Paid, Over Sexed, Over Worked by Devon Williamson.

Detour Theatre, Tauranga. Mar 26 - Ap 12. 0800 224 224.

The Killng of Sister George by Frank Marcus. The Globe Theatre, Dunedin. Mar 27 - Ap 5. 477 3274.

Le Sud by Dave Armstrong.

Theatre Hawke’s Bay. Mar 27 Ap 5.

Cosi by Louis Nowra. Nelson Repertory Theatre. Mar 28 - Ap 5. TicketDirect.

Peninsula by Gary Henderson.

Mar 29 - Ap 15. Fortune Theatre, Dunedin. (03) 477 8323.

Rita and Douglas. Based on the letters of Rita Angus, adapted

Journeys End by RC Sherriff.

Invercargill Repertory Society.

Ap 4 - 12.

The Hound of the Baskervilles.

The Court Theatre, Christchurch.

Ap 12 - May 17. 03 963 0870.

The Priory by Michael Wynne.

Dolphin Theatre, Auckland. Ap 12 - May 3. (09) 636 7322.

The Owl and the Pussy-Cat by Edward Lear, adapted by Tim Bray, songs by Christine White.

The PumpHouse. Ap 14 - May 3. 09 489 8360.

Suite Sixteen by Jon Gadsby.

Riccarton Players. Ap 23 - May 3. 03 338 4699.

Whistle Down the Wind. Music

by Andrew Lloyd Webber & Lyrics by Jim Steinman, from the original novel by Mary Hayley Bell. Papakura Theatre Company. Ap 26 - May 10. 09 3611000.

Auditions

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

Online extras!

Check out all the latest auditions online.

Scan the QR code or visit www.stagewhispers.com.au/auditions Stage Whispers 59

James Whitney in Sydney Theatre Company and the Australian Defence Force’s The Long Way Home.

Photo: Lisa Tomasetti

Reviews: Premieres

The Long Way Home

By Daniel Keene. Sydney Theatre Company and the Australian Defence Force. Sydney Theatre, Feb 7 - 15, touring to Darwin, Brisbane, Wollongong (Mar 4 - 8), Townsville (Mar 14 & 15), Canberra (Mar 19 - 22), Melbourne (Mar 27 - 29), Adelaide (Ap 1 - 5) and Perth (Ap 11 & 12).

I COMMEND the STC for taking a risk to use real stories of Australian soldiers in Afghanistan and to incorporate returned service people into the cast. This is bold, compelling and searingly white-hot story telling.

The choice by both director Stephen Rayne and writer Daniel Keene to not create a piece of verbatim theatre was a wise one indeed.

We see broken lives woven together that bring into sharp focus both what they have gained and what they have painfully lost through their service to the armed forces.

We see the impact on their friends and family. We are given insight into how it feels when your skills, which were so coveted by the armed forces during conflict, become redundant and non-transferrable in peace-time.

The Long Way Home is a beautifully well-rounded production. It is very ambitious, with a massive video wall, constantly moving set pieces and a soundscape that evokes the Australian landscape, the desolate Afghan desert and the head thumping, metal scraping music of a gun toting, tank driving culture. The production team of Renee Mulder (design & video design), Damien Cooper (lighting), Steve Francis (composer & sound designer) and David Bergman (video design) have created a high-octane theatrical 60 Stage Whispers

experience. It is slick, simple and cinematic. This is theatre on steroids - so evocative you can almost smell the explosives and feel the sand of Afghanistan on your face.

Standout performances from ex-soldiers Emma Palmer, Sarah Webster, James Whitney, Tim Loch and Craig Hancock must be noted, but it is the appearance of Gary Wilson, who survived an American Black Hawk helicopter crash in Kandahar that gives a sucker punch to the end, which left me stunned and emotional and continues to do so.

The Long Way Home is making its long journey around Australia - make sure you take the time to see it.

Whitney Fitzsimmons Black Diggers

By Tom Wright. Queensland Theatre Company & Sydney Festival. Director: Wesley Enoch. Drama Theatre, Sydney Opera House. Jan 17-26.

THIS is an Australian indigenous variation on Oh, What a Lovely War!, the groundbreaking 1960s theatrical critique of British upper class corruption and incompetence in World War I. Creator Joan Littlewood had plundered a rich back catalogue of bouncy popular songs and famously chose to dress her doomed combatants as end-of-the-pier pierrots.

Wesley Enoch, brilliant Artistic Director of the QTC, has far grimmer songs at his disposal and has dressed his cast in the greys and khakis and mud of the trenches. The horror and outrage of this senseless war hits hard, as does the

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

Black Diggers.

Photo: Jamie Williams.

Online extras!

Director Wesley Enoch discusses Black Diggers. Scan the QR code or visit http://youtu.be/lATMVesmSb0

mindless prejudice experienced by aboriginal soldiers before, during and after grim service to their country.

As with Lovely War, there is no plot. Black Diggers is a kaleidoscope of images and sketches assembled by Tom Wright, the result of much research among personal letters, military records and ‘family lore’. The 60 scenes are shared among nine performers, who sometimes play black, sometimes white, sometimes German, sometimes Indian.

And sometimes this can be confusing.

Against a stark setting (by Stephen Curtis) of wood and graffiti-filled walls, there are scenes of enlisting — where these young men of Queensland and Inner Sydney display zero knowledge of the world situation — fighting and dying at the various fronts, and then returning home to continued race hatred. It would be many years before these men could claim Australian citizenship, and we feel this deeply on the cast’s behalf.

The staging is always fluid and the acting is wholehearted and unpretentious. Lighting (Ben Hughes) and non-stop Sound Design (Tony Brumpton) are excellent.

Frank Hatherley Cock

By Mike Bartlett. Melbourne Theatre Company (Vic).

Director Leticia Caceres. Set and Costume Designer: Marg Horwell. Composer: Missy Higgins. Fairfax Theatre, Arts Centre Melbourne, Feb 7 - Mar 22. La Boite Theatre (Qld), Mar 27 - Ap 12.

DON’T let the title fool you. Cock is a captivating piece of theatre raising deeply important questions about

relationships, power, sexuality and conformity.

John is getting itchy feet in his same-sex relationship and during a short break-up period begins a relationship with a woman, leaving him in a world of indecision about sexuality and what he ultimately wants from life. When the trio eventually meet up, John is forced into a decision about his future.

The well-paced series of engrossing encounters include necessarily squirmy moments of intense discomfort.

Melbourne’s opening night audience saw the drama unfold with gasps and some laughs. The gentleman next to me spent a large part of the play leaning forward in anticipation in his seat.

Performances were dazzling and characters completely engrossing. Captivating even. The cast of four negotiated around, manipulated and made use of a sea of large cushions, the significance of which probably depends on your outlook. They are soft and comforting where the situation is most definitely not. Were they signifiers of baggage, or pillow talk, or was it about disturbing our comfort zone?

If that isn’t enough, the astonishing compositional skill of Missy Higgins provides a rich and warm soundtrack.

Deep relationships are as painful as they are precious, and the effect of our choices is by no means contained to the couple involved.

In the end the ultimate contention of this brilliant script is that successful relationships have less to do with sexuality and more to do with a gentle meeting of like minds.

Lucy Graham

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Zulya Kamalova in Evolution Revolution and The Mail Order Bride.

Photo: Sarah Walker.

Evolution Revolution and The Mail Order Bride Written, performed and composed by Zulya Kamalova.

Directed by Maude Davey. (Vic). fortyfownstairs. (Vic). Feb 5 - 16.

THERE’S a gem of an idea deep within Evolution Revolution and The Mail Order Bride that deserves further exploration. Beginning with an engrossing scene of wailing and chanting from an unseen ‘wild shaman woman’ Maya, we are then introduced to the revolutionary Inessa Armand.

There is an over-riding sense of a futile powerlessness about the lives of the women Ms Kamalova references, which only results in them occupying the discomforting realm of victim association - a place within the conversation where they refuse to belong.

Musically, however, Evolution Revolution and The Mail Order Bride is a revelation. The ARIA award-winning Ms Kamalova has no peer in this town, and her score is brilliant. Her performance of it is faultless, and her superb musicians - Erkki Veltheim (violin, electric mandolin), Charlotte Jacke (cello), Justin Marshall (piano, accordion, percussion) and Donald Stewart (trombone, trumpet) match her thrilling musicality breath for breath and note for note. And when it is Mr Carmody’s mesmerising projections, Ms Kamalova’s artful vocal gymnastics and the accompaniment and presence of her superb musicians, this is a very special night indeed.

Geoffrey Williams

62 Stage Whispers

Once in Royal David’s City

By Michael Gow. Belvoir Street Theatre. Feb 8 - Mar 23.

IN this, his latest play, Michael Gow, like Julius Sumner Miller, begs us to ask, “Why is it so?” and through his protagonist, theatre director Will Drummond, “presents an image of the world. That shows us the truth”.

This is a very moving play and, under Eamon Flack’s perceptive direction, Brendan Cowell reaches beyond the lines to find the strength, compassion, anger and intelligence of Will’s character. Will is confused, angry, and he wants to tell you why.

In a series of flashbacks, Will brings us to this, his first Christmas without his father. He tells us of the Christmas he has organised for his mother, Jeannie (Helen Morse). He wants her to rest, make up for the anguish of the past year - but things do not go as he has planned.

Through the rest of this remarkable play, Gow uses pretty solid references to Brecht, Marxism and Christianity, to keep reminding us of society’s ills. But it is not all dark.

Gow uses many political theatre techniques - humour, song, direct exhortation - as Will goes through denial, anger, blame and loss, but finds the strength to keep fighting, to believe “that there might be a speck of justice in an insane world”.

Helen Buday, Tara Morice, Anthony Phelan, Maggie Dence, Lech Mackiewicz and Harry Greenwood take on a variety of roles as Will’s story unfolds, but it is Cowell and Morse who carry Gow’s most vehement messages, Cowell with an inner force that rises and grows until it spills over in

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Anthony Phelan, Helen Morse and Brendan Cowell in Once In Royal David’s City.

Photo: Ellis Parrinder

a final, blistering entreaty - “the war might be endless … but that’s not a reason to give up”.

Carol Wimmer Standing on Ceremony: The Gay Marriage Plays Written by Mo Gaffney, Jordan Harrison, Wendy MacLeod, Paul Rudnick, Doug Wright, Neil LaBute, Moises Kaufman and Jose Rivera. Directed by Wayne Pearn, Helen Ellis, Russell Fletcher and Justin Stephens. Ellis Productions.

Chapel off Chapel. Jan 23 - Feb 9.

IT’S hard to believe that there are still people who balk at the very idea of same sex marriage. The nine short plays, mostly monologues or two-handers, are written by some of Broadway’s brightest and most renowned playwrights.

Whilst entertaining, some miss a golden opportunity to actually say something of real importance (even subtextually), and become lightweight vignettes about gay couples (not that there’s anything wrong with it).

Then there are the “serious” plays; the ones capable of changing our perception forever. The first of these is Neil LaBute’s Strange Fruit, a deeply honest and emotional account of two men who fall deeply in love and get married “the old-fashioned way” only to have their dream end in senseless violence. LaBute is in top form; the script is beautifully measured; the performances by Spencer McLaren and Brett Whittingham are superb and lighting designer Scott Allan surpasses himself with an effect which, by lighting alone, shows us death at close range. By the time we reach London Mosquitoes by Moises Kaufman (The Laramie Project) we are wondering why the illustrious

Michael Veitch is part of this stellar cast. However, as the Jewish widower giving the eulogy for his lover of 48 years, Paul, he is superb. Veitch finds an emotional truth that left the audience in tears, in a piece beautifully directed by the talented Wayne Pearn.

It would be churlish NOT to praise the entire cast by name. They are Michael Veitch, Brett Whittingham, Olivia Hogan, Spencer McLaren, Pia Miranda, Luke Jacka and Helen Ellis. This is outstanding entertainment and the wonderful Chapel off Chapel is the perfect theatre.

Coral Drouyn Out of the Water

By Brooke Berman. Presented by Red Stitch (Vic). Feb 5 Mar 8.

THE scale of Red Stitch’s acting prowess makes performances of plays like this punishing dissection of family and alienation possible.

Graham’s (Brett Cousins) father has died. At the funeral, he meets Polly (Kate Cole), the daughter of his father’s second wife. When Graham arrives at Polly’s apartment, he is hotly pursued by his teenage daughter Cat (Emily Milledge).

Ms Berman is only concerned with truth and necessities, and Out of the Water is lean, theatrical muscle. Her dialogue sings with a rare authenticity.

As Polly, Ms Cole is stunning. She is entirely in the mind, spirit and body of Polly and her survival routine. Mr Cousins’ performance is equally fine. The husband looking for greener grass is nowhere near as interesting as what is

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Huw Higginson and Amanda Stephens-Lee in On the Shore of the Wide World.

Photo: Rebecca Martin.

asked of him once his young daughter appears on the scene. As we realise what a reluctant but dutiful father he is struggling to become, Mr Cousins’ performance changes gear beautifully.

In Ms Milledge we have a star in the making - a young actress whose ability belies her age and a performance that was simply astonishing.

Geoffrey Williams On the Shore of the Wide World

By Simon Stephens. Pants Guys / Griffin Independent. SBW Stables Theatre (NSW). Jan 8 - Feb 1.

SIMON Stephens’ play follows a family through nine months of love and heartache. Though set in Stockport, England, the Holmes could be any family, anywhere.

Stephens uses events and their resulting effects to peel away layers of his characters. Director Anthony Skuse has cleverly heightened this by leaving out-of-scene characters on stage at the edges of the action, their eyes and faces betraying their reactions to what they see and hear.

Huw Higginson is immensely believable as Peter Holmes.

His understanding of the character reveals itself through beautifully timed hesitancy, controlled anger and heartbreaking anguish.

Amanda Stephens-Lee is also strong as his wife, Alice.

She is charmingly natural as the working mother of two teenage sons, but as events bear down upon her, we see her control visibly unravelling.

As Alex, the elder of their two sons, Graeme McRae finds all the lovable aspects of the character, especially his 64 Stage Whispers

naïve acceptance of others. Lily Newbury-Freeman plays his girlfriend, Sarah. Her cheeky restlessness contrasts with the more easy-going Holmes family.

Alex Beauman plays 15-year-old Christopher Holmes.

This is a beautifully written role and Beauman’s reactions are carefully timed, stunningly real and appealingly funny.

This play shows how one unforeseeable event affects a family’s life.

Carol Wimmer The Illusionists 2.0 World Premiere. Adelaide Festival Centre, Tim Lawson and Simon Painter. Her Majesty’s Theatre, Adelaide. Dec 27, 2013 - Jan 5, 2014.

HI-TECH effects including 3D, lasers, the Internet and sophisticated screen projection combined to package The Illusionists 2.0 as a futuristic visual spectacular.

The Master Magician, Luis De Mato, stood out not only as an excellent performer in his craft but also a highly competent and amusing master of ceremonies. His tricks and stunts were clever and theatrical.

South Korean, Yu Ho-Jin, was well-tagged as The Manipulator. His performance was mesmerising; almost balletic.

Another audience favourite was Adam Trent, The Futurist, who is as funny as he is talented. Combining technology, dancing and classic magic, he is a consummate entertainer.

The Hypnotist, Doctor Scott Lewis, hypnotised audience volunteers during the interval break, with some very funny

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results in the second half of the show. It was with great sadness I learned of his sudden death in Sydney, only a couple of weeks after I attended the show.

Australia’s Raymond Crowe was amusing, quirky and unconventional as The Unusualist, presenting a mix of comedy, mime, ventriloquism, magic and illusion.

While his illusions were slick and fast-paced, James More, as The Deceptionist, seemed to not quite hit the mark in terms of the ‘awe factor’ for audiences that have seen it all on television.

As The Warrior, Aaron Crow’s final act of weaponry was one of the production’s highlights, made all the more spectacular by the use of lasers.

Lighting was superb, as was the set, creating a deep space effect with projected geometric shapes on screens.

Executive Producer Simon Painter can be proud of the futuristic, slick and thoroughly entertaining production that is The Illusionists 2.0.

Lesley Reed

Snars certainly looks the part of Don Quixote physically. But it is his soulful, searching blue eyes and wistful expressions that really make him a convincing Knight of the Doleful Countenance.

Snars is on stage for much of this long play, tilting at all the various ‘windmills’ in his path with sustained energy and strong belief that transferred to the audience, even in this preview performance, where teething problems with various cues could easily have affected his constancy. But, with his solicitous, greedy, apple-munching squire Sancho Panza (played enthusiastically by Ben Freeman), he carries the production with the aplomb of a nineteenth century actor-manager.

Mounting a play such as this is brave. There are many ‘chapters’ in the Knight Errant’s story, and many characters he meets along the way. In fact there are 42 other characters in this adaptation of Cervantes’ novel. Some of the eleven supporting cast play six or seven different characters - and this requires direction, acting and characterisation experience not always available in Othello The Remix community theatre.

Chicago Shakespeare Theater & Richard Jordan Productions.

Such is the case here. Though the supporting cast Sydney Festival. York Theatre, Seymour Centre. Jan 23 - 26. members work very hard and are obviously enjoying the THE Q Brothers’ take on Shakespeare’s classic story of rough and tumble of the comedic flavour of the writing, many are pushed far beyond their experience and expertise Othello is fresh, quirky and inspired.

The idea to modernise Shakespeare through hip-hop to try to meet the too lofty expectations of the director. music and rap is seemingly out of left field and on the face Carol Wimmer of it appears to be a gimmick. But look a little closer and it’s obvious why the Q Brothers, JQ and GQ looked to the Oedipus Schmoedipus man they call the original genius lyricist for the basis of By post. Belvoir. Jan 9 - Feb 2. their productions.

THIS sassy female trio of theatre deconstructionists, This company really understands the art of producing called post, promises much but delivers little. good hip-hop, clever lyrics and crafting really good theatre Who wouldn’t relish their take on the great deaths of that is nuanced with light and shade. The moments of literary history, the profound climaxes, the last tender, silence, of which there are few, perfectly punctuate the bloody moments - without the boring bits - from the dramatic points of this tragic tale. world’s great writers. These girls could surely bring some The cast of four play all characters, interchanging sharp wit and wisdom to exploring how all these dead between male and female in true Shakespearean fashion. white males - these Great Whites, as they call them - have The set is simple, a basic black box stage with scaffolding captured that levelling experience of death which awaits us for the DJ and mobile gear cases covered in graffiti to all. provide different heights and variety onstage. Hand props, Writers, directors and performers Zoë Coombs Marr and wigs and accessories are also key to telling the story.

Mish Grigor (Natalie Rose is the third writer) begin with the It’s hard to imagine this production being produced by most shocking eight minutes of violence perhaps ever seen any other company because it’s all about the synergies on the Belvoir stage. Their white clothing is soon saturated between the performers. These four dudes - JQ, GQ, with spurting blood as they enact every conceivable way to Jackson Doran and Postell Pringle are tight. Two of them kill each other, to the surging sound of Love the Way You are brothers but watching them it’s evident that this group Lie (the operatic/classical/pop mix from sound designer is a family of sorts. DJ Clayton Stamper is the essential fifth James Brown is the best part of this mad show).

“Beatle”.

What follows, after a bloody mopping up by Othello The Remix was a highlight of the Sydney stagehands, is a banal and schoolgirlish run of word Festival. associations around death. Thankfully the two performers Whitney Fitzsimmons are soon upstaged by the entrance of 25 ordinary folk, volunteers who are coached before each show just a few Don Quixote hours earlier, taking their words and movement cues from

By Larry Buttrose, based on the novel by Miguel de overhead monitors, and reciting the lines of the dying from Cervantes. Director: Jeremy Johnson. Pavilion Theatre, Castle the classics. They later chant and dance in rough unison Hill. Jan 24 - Feb 15. and parade in outlandish costumes…

WITH the wispy hair, spikey beard and moustache, The show slips away into mindless silliness but at least heavy armour and compulsory helmet we expect, Stephen these volunteers, in all their unpracticed normality, bring an Longer versions of many reviews can now be found at www.stagewhispers.com.au

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Rose Riley, Joshua Brennan, Will O’Mahony, Samuel Delich, Whitney Richards and Adriane Daff in Flood.

Photo: Gary Marsh Photography.

empathy to the universal experience that, yes, all of us must at some time face death.

Sadly, this is the only insight; the enormous literary cannon on the mysteries of death is left completely untouched.

Martin Portus Flood

By Chris Isaacs. Studio Underground, State Theatre Centre of WA. Jan 17 - Feb 2.

FLOOD is the first product of the Black Swan Lab, a new initiative aimed at developing new plays, new collaborations and new artists.

The audience on preview night felt younger than the usual Black Swan audience; whether influenced by the young cast, the Fringe World banner or the subject matter, the show itself had the freshness and excitement of new work.

Six twenty-something friends pile into Mike’s parents’ Tarago and head North to an isolated camping spot.

They revel in carefree isolation until a stranger appears.

There is a confrontation and the consequences change their lives forever.

While Chris Isaac’s plot is relatively simple, it is beautifully constructed and the blend of group narration and dialogue is used to great effect. Nicely directed by Adam Mitchell on a swirling, organic set by India Mehta, Chris Donnelly’s lighting design adds greatly to this well told story.

The six performers formed a dynamic and compelling ensemble, with excellent performances throughout. While Adrianne Daff, Will Mahoney and Whitney Richards are familiar to Black Swan audiences, Joshua Brennan made a 66 Stage Whispers

Black Swan debut in the pivotal role of Mike while Rose Riley and Samuel Delich are 2013 WAAPA Acting graduates.

This was a fascinating production that kept the audience rapt, a beautifully told story with lots of conversation starters, unapologetically and quintessentially West Australian.

Kimberley Shaw The Anatomy of Buzz

By Carl Caulfield. Stray Dogs Theatre. Directors: Carl Caulfield and Felicity Biggins. Civic Playhouse, Newcastle (NSW). Feb 5 - 22.

CARL Caulfield’s new play opens with Ben Quilty, who has worked at Newcastle company Sunbeam Corp for 30 years and risen to be sales manager, being interviewed by Nick Norton, the son of the firm’s late founder.

Norton tells him the company is in a precarious position and it’s time for change, so he’s called in an organisational consultant, Dixon Uzzi, he met at a United States business school.

Uzzi’s skill in the use of buzz words and accompanying images soon has the staid Ben replacing his conservative clothes with more hip gear and finding his changed corporate lifestyle influencing his home life and relationships with wife Kristen, 21-year-old son Tom and late-teens daughter Amy. This is very much a story of today, and Caulfield has clearly researched corporate change and associated buzz, with the first act amusingly showing the techniques used to make everything old seem new again.

There is a delightful scene, for example, where Dez Robertson’s Uzzi addressed the audience as the company

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employees, with a video providing smile-raising illustrations of his regenerating artistry.

Paul Sansom gave amusing warmth to Ben’s middleaged rediscovery of himself, while Angela McKeown’s Kristen, similarly under cost-saving pressure in her workplace, welcomed his seemingly more understanding views.

Tom, the son who irritates his father with talk of social values being worthless, was shown by Theo Rule to be determined to bring about change when he filmed himself talking passionately about cultural inequities, in contrast to Siobhan Caulfield’s Amy, ever on her mobile phone and laptop computer seeking to be a celebrity.

Alex Jacobs, as Nick Norton, was clearly a single-minded young man intent on saving his family’s company.

Sadly, the tale descends into soap-opera in the second act, and it was to the credit of the actors that they held the interest of the audience after the buzz disappeared.

Ken Longworth A Tale of Two Cities

By Charles Dickens. Adapted by Terence Rattigan and John Gielgud. Edited by Adam Spreadbury-Maher. Director: Adam Spreadbury-Maher. The Q - Queanbeyan Performing Arts Centre. Feb 5-16.

WHAT a coup for the Q to have nabbed the first Australian rights to the contemporary revival of this Terrance Rattigan/John Gielgud play. Spreadbury-Maher’s take has a decadent 1960s meets gay S & M aesthetic, full of surreal elements.

A cast of stalwarts and newbies brings raw energy to the production, but it still needs a bit of polish to truly shine, as there were a few first night rough edges and stumbled lines. Calen Robinson played both antihero Sydney Carton and the Marquis de la Evrémonde, capturing the full horror of the Marquis in a chilling gay Calligula turn. As Sydney Carton he was a dishevelled hipster, maybe just a bit too lethargic initially, but by the end his performance had the audience entranced. Laura Dawson and Daniel Greiss were sweet and sincere as lovers Lucie Manette and Charles Darnay. Newcomer Donald Smith’s portrayal of Dr Manette was utterly brilliant, notably his shell-shocked, near psychotic state when the character first appears. Always brilliant, Hannah Ley plays Madame Defarge with ghoulish glee and comic relief Edward Stryver as a particularly farce prone suitor.

Congrats to the Q team for a fine start to the season.

Cathy Bannister

Two Italian neighbours - a housewife with a full brood of offspring and a currently absent partner, and a single man who until recently worked in radio - residing in the same apartment building, during the reign of fascism (and a visit

by Hitler) in 1938, make each other’s acquaintance. The time they spend together will provide drama, surprises, enrichment, and laughter - for the characters and the audience alike.

This is essentially a tale of two people, but Ana Graham and Antonio Vega bravely attempt to also portray brief appearances by minor personages (and animals!).

Additionally, they are responsible for simulating sets and props by way of chalk drawings. This verges on being a distraction, but the actors manage to keep the focus on the story while impressing you with their novel method of creating (and removing) such pieces of set as clocks and windows.

A Special Day is an enjoyable human story that takes us back in history and shifts us geographically, yet leaves its audience not only feeling that these people’s basic problems (and joys) could exist anywhere, but also wondering if some things have really changed all that much in 75 years…

Anthony Vawser

dateless.com

By Matt Byrne. Adelaide Fringe. Maxim’s Wine Bar, Norwood. Feb 12 - Mar 16.

“YOU know you’re single if…”

In its best moments, “dateless.com” is funny, clever, creepy, poignant; sometimes all at once. With four likeable performers bringing to life a variety of different characters, singlehood is given a depiction/dissection that encompasses both silly comedy and painful truth. Even if the show pushes its luck by running over 2 hours, the gems along the way make the experience a good one.

Matt Byrne, the performer, gives himself a generally great showcase here, but Matt Byrne the writer sometimes struggles to provide the level of content and humour needed to fill the show’s running time. Byrne and his fellow cast members (Kim York, Marc Clement, Sophie Hamilton) work hard to win their audience over, with mostly successful results.

York delivers an especially meaty monologue that brings freshness to a time-worn moral lesson; it manages to be deep but not too heavy. Likewise, with a character who laments “What Happened to My Friends?” Hamilton draws, with beautifully subtle shades, a picture of the very real quicksand/labyrinth that a single person can find themselves A Special Day in. Clement, by comparison, seems to have been given a

By Ettore Scola & Ruggero Maccari. Adapted by Gigliola relatively narrow range of characterisations, but the second Fantoni. Translated by Ana Graham, Antonio Vega & Danya act allows him to a greater variety to work with. He also Taymor. The Play Company and Por Piedad Teatro. Adelaide delivers one of the more unique duets you will ever see!

Fringe. Holden Street Theatres. Feb 13 - Mar16.

On the whole, the blend of sing-alongs, sketches, THE stage adaptation of the 1977 film A Special Day is speeches and pastiches succeeds in generating the ideal brought to engaging and touching life by two highly combination of laughter and recognition. The level of caricature and cliché is generally well-judged; the depiction energetic and talented performers. This resourceful production overcomes the occasional niggling flaw to leave of ‘country bumpkins’ is a guilty-pleasure delight, while the its viewers feeling both warm and wistful. ‘drunken yobbos’ are just as good.

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Stage Whispers 67

Occasionally a particular segment tests your patience, but the format that Byrne has chosen for dateless.com means that there’s always something different waiting not too far around the corner; this shrewdly maintains interest for the most part.

Utilising an ‘audience contribution time’ can be a dangerous risk, but that section of the performance witnessed was a riotous highlight. The cast certainly demonstrate here their skill with improvisation. dateless.com is an example of energy and enthusiasm trumping the uneven material (and indulgent length). The result is a show with warm, wise and witty highlights, enough to make it worth watching.

Anthony Vawser Grimm

By Leilani Smith and Amy Hill. Newcastle Theatre Company.

NTC Theatre, Lambton (Newcastle). Dec 11-21, 2013 THIS show brings together key elements of half-a-dozen of the fairy stories collected by the Brothers Grimm in an engaging fairy story for adults and older children.

The tale of Rapunzel, the young woman taken from her parents at birth by a witch, is at the work’s centre, with the man who falls in love with her drawn from The Worn-Out Dancing Shoes, the story of 12 princesses who escape their castle each night and dance the hours away with 12 princes.

In this adaptation, there are seven young women, the daughters of a domineering general who places a curse on each of their night-time suitors, as well as imposing debilitating demands on the daughters for a period of six years. The complex storyline switches between the stories of the 14 romantics.

It’s an often unwieldy structure, with the evil machinations of Snow White’s stepmother included mainly to let one of the daughters, who has lost her voice as a result of her father’s denunciation, take actions that save the princess.

The directors, though, gave the multi-faceted narrative an engaging setting: London and the surrounding countryside in the era of Queen Victoria, with the seven flighty lovers being just that - men who pilot airships, but who call themselves pirates.

The actors generally played multiple roles, with imaginative uses of ensembles.

A rushing river that can only be crossed in a punt manned by two of the pirates was created by the body movements of actors lying on the stage floor beneath mudtinted plastic sheets. And the Griffin, a monstrous creature with a golden tail feather one of the suitors must obtain, had half-a-dozen actors lifting and swaying its huge head and body.

In this premiere production, Grimm was still a work in progress. At 2 hours 20 minutes, plus interval, it needed to be shorter and, like the best of fairy tales, not so complex. If that mix is achieved, potential staging companies could be knocking on the Grimm door.

Ken Longworth 68 Stage Whispers

Legend!

By Pat Sheil. SITC @ Old Fitzroy Hotel. Director: Lex Marinos. Set: David Mead. Jan 28 - Feb 15.

MANY outstanding moments in Australian history, such our resistance in Gallipoli, the carnage on bloody Kokoda track, building the Sydney Opera House, Bradman at the bat and the adoration of Nellie Melba, have been celebrated over many years in many ways. But until now we never knew the shadowy figure that stood behind these and many more amazing feats. In Legend writer Pat Sheil finally reveals that ‘Slips’ Cordon provided the safe handling of these legendary events. Without Slips ‘being there’ Australia would be a mere shadow of what it is today.

Somewhat like George MacDonald Frazer’s Flashman presence in British history, ‘Slips’ Cordon was present at most of the major moments over the past 100 years of Australian history. So he can now tell his audience what really happened because ‘he was there’! In a mere 70 minutes John Derum convincingly creates this remarkable character and delivers a dozen anecdotes with the authority of a Governor General or possibly a drunken psychopathic liar.

Slips never fails to amuse and many of his stories are engrossing. But the tales do not always flow easily from one to the next and the script feels a little like a bundle of short stories spread out on stage. But Derum’s riveting performance sucks us into Cordon’s vortex of megalomania and historic or hysteric fantasy.

A simple set stuffed with the paraphernalia of a long and fruitful life provides a perfect setting for our raconteur narrator. But exactly who he is addressing is never made clear. Nor do we gain any real insights into what drives ‘Slips’.

Legend is an enjoyable expansion on the 10 minutes play that won Short+Sweet a few years ago. That piece about Simpson’s Donkey is the finale and the highlight of this new show.

Stephen Carnell That Other Woman’s Child

By Sherry Landrum and George S. Clinton. The Regional Institute of Performing Arts. Civic Playhouse, Newcastle. Dec 19-22.

THIS Australian premiere production showed why That Other Woman’s Child became theatre’s first bluegrass musical to have a life outside Kentucky’s azure hills.

The writers adeptly use bluegrass and country-style songs in telling a story about a woman’s visit to the farm her late father left to join her mother before she was born and the impact this has on the residents and their community.

There is, for example, a sweetly sultry song, Honeysuckle, in which a young, unmarried woman, about to give birth to her sixth child, explains why she can’t help falling for men. Four Hands on the Plow is an amusing marriage-proposal ballad. And an aspiring country-andwestern singer lets rip his feelings for his supportive mother in the swinging All About Mama.

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That Other Woman’s Child.

The songs add colour to a tale that is full of stereotyped characters, among them a narrow-minded father who conducts Sunday church services in the farm kitchen, an aggressive man who claims he was promised marriage to a less-than-responsive young woman when she was a child, and a matriarch who initially stays in her bedroom to avoid meeting the daughter her first husband fathered after running off with the other woman.

Fortunately, the 14 cast members gave the characters a liveliness and believability that made them very human. And their performances of the musical numbers had the audience clapping their hands and tapping their feet in time to a wedding scene finale.

This was the final production for RIPA’s 2013 graduating acting students and they certainly went out in style, with the support of director David Brown and the production team.

Ken Longworth Miles Away

By John Doherty. Adelaide Fringe. The Bakehouse Theatre, Adelaide. Feb 17-22.

ONE of the most commendably ambitious works on offer this Fringe season, Miles Away is an uneven, but ultimately rewarding one-woman show.

Renee Gentle plays Alex, a jaded city-girl embarking on a bike trip through the Australian outback. The rigours of the journey force her to confront repressed emotional demons and various eccentric characters she meets along the way offer her new perspectives on life.

The show is at its most powerfully affecting when exploring the psychological turmoil of the main character, but less accomplished in its comedic moments. Though most of the people Alex encounters on her journey are well fleshed out, others come across as overly broad caricatures, who contribute nothing meaningful to the play’s dramatic arc.

Given the unenviable task of embodying 16 distinct characters, Gentle throws herself into the role with impassioned, full-bodied gusto. She could perhaps have provided greater variety of vocal delivery, but each character has their own distinctive set of physical mannerisms. Her portrayal of the central character’s neuroses shows an impressive depth of intelligence, sensitivity and nuance.

Monique French’s set design is minimalist, yet suitably evocative and the atmosphere is enhanced enormously Alex Plisko’s skilful lighting and the live keyboard soundscapes of Ting Yun. Overall, despite a few minor bumps along the way, this is an emotional journey well worth taking.

Benjamin Orchard Jump for Jordan

By Donna Abela. Griffin Theatre Company. SBW Stables Theatre - Feb 14 to March 29. Merrigong Theatre Company - April 2 - 5.

INFORMED by her Maltese background, Donna Abela has written a witty and endearing snapshot of what it means to be second generation Australian.

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Stage Whispers 69

Jump for Jordan. L-R: Doris Younane, Sheridan Harbridge, Camilla Ah Kin and Alice Ansara. Photo: Brett Boardman.

An aspiring archaeologist, Sophie has alienated her angry Jordanian mother Mara by leaving home and living with an Aussie girl. Only later do the family learn Sophie and Sam share the same bed as well! Meanwhile, Sophie’s wonderfully petulant bogan sister Loren (Sheridan Harbridge) is having the big wedding and the “Mad Arab” Aunt Azza arrives from Jordan.

With Pip Runciman’s domestic set dominated by a pile of earth, Jump for Jordan is an archaeological dig by Sophie into her past and that of her parents, a parade of memories and discovered objects, leading to a Middle Eastern tale of war and displacement.

While it’s evocative to see that tale seep into an Australian domesticity, Mara’s frustration and her homeland realities with young husband Sahir remains generalised and ambiguous. Doris Younane and Sal Sharah are nevertheless, like all the cast in their roles, entirely true as Sophie’s immigrant parents - even if I didn’t realise the contented older Sahir was actually dead until well into the play.

Despite such blurs in the journey, Alice Ansara is delightfully gauche as the enquiring if apprehensive Sophie and Anna Houston truthful and engaging as Sam. Camilla Ah Kin is also charismatic as the modern if culturally connected Jordanian aunt.

Director Iain Sinclair negotiates some awkward if poetic storytelling to deliver a play which is memorable, funny and tender.

Martin Portus 70 Stage Whispers

Dr Dolittle Jr

By Leslie Bricusse. The National Theatre Company. Civic Playhouse, Newcastle. Jan 15 - 25.

THE musical version of Hugh Lofting’s stories about a 19th century doctor who has difficulty dealing with human patients, but, with the aid of his pet parrot, Polynesia, becomes adept at talking to animals through sounds and movements and diagnosing their ailments and treatments, has had a chequered history.

It received a half-hearted critical reception as a film, and received more mixed notices when adapted for a Broadway production in 1998. This 70-minute adaptation of the stage work for young performers, though, is a brisk work, with the large eight-to-18-year-old Newcastle Australian premiere cast making it a delightful show.

Directors Chris Maxfield and Tony Fletcher commissioned companies in Melbourne and Los Angeles to make more than 40 puppet animals for the staging and the cast members handled them delightfully. A lobster moved its legs engagingly inside a fish tank while the doctor conversed with it, for example. And in a courtroom scene, the nodding up, down and sideways of a horse’s head as Dr Dolittle asked questions about its health problems clearly made its owner, presiding magistrate General Bellowes, irritated and uncomfortable.

Leslie Bricusse’s songs, including Talk to the Animals and I’ve Never Seen Anything Like It (the latter sung by a circus crew, as they looked at a two-headed llama called the Pushmi-Pullyu), were given bright treatment, with lively choreography by Isabelle Leonard and Claudia Wood.

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The production had a strong lead in 14-year-old Nicholas Thoroughgood (one of the Banks children in the Australian premiere season of Mary Poppins), whose Dr Dolittle movingly delivered the song When I Look in Your Eyes as he prepared to kidnap a seal from a travelling circus and release her into the ocean so she could swim back to her mate.

Ken Longworth Point and Shoot

By Tyler Jacob Jones and Robert Woods. Directed by Gemma Hall and Tyler Jones. The Stables, Perth Cultural Centre, WA. Feb 9-16.

THANKS to an extra show being added to its Perth Fringe World season, I was able to catch this little gem by Holland Street Productions, at its final performance.

This was a World Premiere musical by Tyler Jacob Jones and Robert Woods, who also penned Falling to the Top: The Music Trashtacular, and stars the authors with Erin Hutchinson and Tamara Woolrych. An actor-musician production, the music (including clever sound effects) was all played by the four performers who played maybe twenty instruments and perhaps forty characters during the 75 minute production.

Hilariously funny and extremely clever, the production is set in the future, many years after the collapse of the blockbuster film industry and involves a group of idealists trying to make a film like they made back in 2014. To explain the plot further would be tricky, suffice it to say, it was very intricate and extremely intelligent.

The plot twists and turns at a frenetic pace, resulting not only in madcap costume changes and switching of instruments mid song, but situations where actors are threatening themselves and a fabulous duet between twin sisters Sylvia and Celia, both played (very differently) by Tamara Woolrych. The performances are outstanding, with clear-cut characterisations that are endearing yet distinct enough for the audience to be able to distinguish between innumerable different characters.

A fabulously flamboyant and funny show, I would be extremely surprised if this show does not get another outing very soon. If it does, get a ticket. This is a brilliant new musical.

Kimberley Shaw

and enlightening relationship with his partner. Atkins plays three characters in a series of vignettes - himself (Jack), his partner (David) and a philosophical giant reminiscent of the Jack and the Beanstalk tale.

The text addresses homophobia, Liberal governments, and the same-sex marriage debate, however, it feels like Atkins is treading water trying not to confront and offend.

The play is best suited to those not fully convinced about the same-sex marriage debate who need to be gently reminded that discrimination is ridiculous.

Atkins displays strong writing and stagecraft skills.

Amber Silk’s lighting design and Rob Hughes’ sound design are also effective.

A Boy & A Bean makes a worthy contribution to the canon of self-devised, one-man gay and lesbian plays but a little more performance bite and a lot more political bark would have given Jack’s journey up and down the beanstalk a greater sense of adventure and a bigger dramatic pay-off.

Maryann Wright

Second Hands Written and directed by Jeffrey Jay Fowler. PICA - Perth Institute of Contemporary Arts (WA). Feb 18-22.

THE Fringe World Guide gives little symbols to each show to help people make selections. Second Hands is recommended as being suitable for taking Nan and Pop, great as a mate night and being “sure to impress and entertain your date”. While Second Hands is certainly impressive, I would strongly advise against using this show as an aphrodisiac unless your lover is slightly unhinged.

More than a little disturbing, Second Hands is set in a world where obtaining a new set of hands is de rigeur for anybody who is anybody and using the hands you are born with marks one out as a hippy with extremely poor taste.

Gradually we learn that these hands are harvested from the third world, and that is “ok” but only if one makes ethical choices about the source and “donor”.

Austin Castiglioni and Renee Newman-Storen (Anna) are very strong as a long-married couple, where Anna’s desire for ideal and fashionable hands threatens to tear apart their marriage. Georgia King is superb as Patrice who works in the hand business and is conflicted in many aspects of her life, while Nick Maclaine is good as her philandering lover. Holly Garvey is lovely (yet unsettling) as a young girl with her original hands.

A Boy & A Bean The initial idea for Second Hands came from a devising Devised and performed by Nick Atkins. PACT Centre for exercise run by writer and director Jeffrey Jay Fowler in Emerging Artists and the Q Theatre Company. Feb 12 - 22. acting classes run by Little y Theatre Company last year.

A BOY & A Bean at PACT promises to “walk head first This has been refined and expanded into this quite into the marriage equality debate” but strangely avoids perturbing, but very clever 75 minute play. Very simply but overtly discussing politics at every turn. Amidst some of the effectively designed

by Sara Churchill, it is staged very most tumultuous gay politics the country has ever seen, sparingly and its strength comes from its unique the softer, subtextual tack taken by writer and performer characterisations and the cleverness of the writing and Nick Atkins lacked the fire and guts necessary to lift A Boy concept. & A Bean out of the ordinary to the theatrical A clever allegory for much in our consumer society, extraordinary.

Second Hands is an intriguing and interesting piece of A Boy & A Bean recounts the everyday experiences of theatre.

Jack, a gay man living in Sydney, and his joyful, devastating Kimberley Shaw Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 71

Reviews: Plays

Matilda Ridgway and Adriano Cappelletta in Proof.

Photo: Clare Hawley.

Proof

By David Auburn. Ensemble Theatre (NSW). Director: Sandra Bates. Feb 5 - Mar 8.

PROOF plays with the fascinating paradox that while mathematics is a perfect science, in life, problems cannot be resolved as easily as square roots or algebra. Life is messy and doesn’t follow reliable algorithms.

Ensemble Theatre, under the direction of Sandra Bates, earnestly brings David Auburn’s Pulitzer and Tony Awardwinning play to life to explore this paradox. Aided in no small part by Matilda Ridgway as Catherine, who is thrilling and delightfully messy for all the right reasons. When Catherine’s genius father Robert (Michael Ross) - a university maths professor - loses his mental faculties, Catherine gives up college to care for him. Robert’s sudden death brings Catherine’s older sister Claire (Catherine McGraffin) home from New York and a persistent past-pupil Hal (Adriano Cappelletta) eager to sort through the professor’s neglected workbooks. Catherine is forced to readjust to two terrifying realities - life without her father and the possibility she could be next to lose her mind.

Ridgway is raw and compulsive as Catherine. Her chemistry with Cappelletta is palpable as the pair bond over a mutual love of mathematics. McGraffin and Ross also give strong supporting performances. Auburn’s sharp dialogue is well respected under clear, unassuming direction from Bates.

Proof has a gentle but powerful message about the peculiarities of mental illness. It deals with the disease with a reverence that will hold particular relevance to those who 72 Stage Whispers

have first-hand experience of its unsolvable proof.

Maryann Wright The Temperamentals

By Jon Marans. Directed by Chris Baldock. Brunswick Mechanics Performing Arts Institute. Jan 17 - Feb 1.

SET in the late ‘40s and early ‘50s, Jon Marans’ play tells of a time when true selves were buried deep in the closet, where conversations were held in code and Temperamental meant Gay. Angelo De Cata (Harry Hay) shows us once again how great acting can be when it comes from deep inner truth. In “reality” a gently spoken man, on stage De Cata becomes a charismatic towering physical presence, fuelled by passion, anger and righteousness, and yet still overcoming his own fears about making the ultimate statement of who he is. It’s another mesmerising performance from an actor who seems incapable of anything less. Tim Constantine (Rudi Gernreich) is the perfect counterpart, submissive yet manipulative, committed more to Harry than to the Manifesto which could bring his world crashing down. The two actors create a true intimacy; one which is palpably real - and we almost feel like voyeurs for watching. The rest of the cast are excellent. This fine ensemble cast works within the instantly recognisable framework of Baldock’s honest and thoughtful direction. And the piece of film at the beginning, warning of “Gay stranger danger”, is a great directorial touch.

Coral Drouyn

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Private Lives

By Noël Coward. MTC (Vic). Director: Sam Strong.

Southbank Theatre, The Sumner. Jan 25 - Mar 8.

EIGHTY-four year-old classic Private Lives is the simple story of a divorced couple honeymooning, at exactly the same time, with new partners, in adjacent hotel rooms sharing a balcony. The ensuing emotional and physical mayhem highlights the social mores of the 1930’s, at the same time tendering more than a little insight into passionate love and its capacity to overwhelm and flail.

Mixed and subtle suggestions allow this production to transcend ‘museum piece’ status, revealing something considerably more current and affecting. It is engaging and often hilarious, then sublimely poignant - in turns.

Nadine Garner embodies a delightfully wicked and provocative Amanda Prynne with gusto and humour.

Leon Ford displays split second comic timing and makes a very credible, engaging Elyot Chase, working superbly with Garner to convey a volcanic chemical attraction, fuelled by flights of fancy and willfully destructive narcissism.

Lucy Durack’s Sibyl Chase is a lovely ‘well brought up gal’ who finds herself in a bafflingly unconventional situation. The dulcet tones of Durack’s voice enhance her characterization and she portrays Sibyl’s ‘journey’ movingly.

Likewise John Leary as Victor Prynne ‘fits the bill’, firstly as little more than a foil to exposition then progressively to a more wholly realized self-assured and bumptious character.

The last act is enriched by Julie Forsyth’s interpretation of Marie the maid. She just about brings the house down with physical buffoonery.

Suzanne Sandow Wittenberg

By Dave Davalos. Brevity Theatre Company in association with Sydney Independent Theatre Company. Old Fitzroy Theatre. Jan 7 - 25.

IN case you’re not familiar, Wittenberg is where Hamlet (yes “that” Hamlet) went to university. So from the outset much of this play is an inside joke and if you don’t know Hamlet well, many of said inside jokes will fly right past you.

Sure it’s filled with quick-witted religious and philosophical debates between Martin Luther (Nick Curnow) and John Faustus (David Woodland), but it’s just a little too clever by half, and in its desire to be post-modern and turn Shakespeare on its head the overall message becomes jumbled and confused.

But I am not convinced that these problems are so much to do with the script and not this particular production. It would be interesting to see this play performed by a cast of seasoned actors because there is a sense of selfconsciousness to a number of the performances. That said, David Woodland as John Faustus is exceptional and in a league of his own. His musical interludes on the ukulele make it all worthwhile.

Director Richard Hilliar uses the tiny restrictive space of the Old Fitzroy well and the set by Benjamin Brockman is indeed clever and athletically lovely.

Wittenberg will give you some laughs, but it won’t provide you with the answer to life, the universe and everything, even though it wants to.

Whitney Fitzsimmons Hotel Sorrento

By Hannie Rayson. Genesian Theatre (NSW). Director Shane Bates. Assistant Director Sandra Bass. Jan 18 - Feb 22.

IN Hotel Sorrento Hannie Rayson reaches into the multiplicity of factors that both bring family members together - and drive them apart.

Because Rayson reveals her characters and their stories through multiple short scenes, it’s important to get the scene changes right, but there are moments in this production where scenes suffer because of an apparent confusion between lighting cues and direction.

The play revolves around three sisters who meet after some years apart.

Hilary (Sarah Purdue) has remained at home with their parents and her son. Purdue finds the natural, girl-nextdoor charm in this role as well as some carefully concealed resentment.

Her sisters - Pippa (Gemma Munro) a businesswoman working in America and Meg (Melanie Robinson) a novelist working in England - contrast markedly.

Munro’s Pippa is brash, ready to find fault and ungraciously critical. Robinson finds greater depth in Meg’s character, and thus gains more empathy.

Hilary’s son, Troy, is played by Oliver Beard who portrays the quiet, intelligent teenager well, especially in some poignant scenes with his grandfather (Barry Moray).

Martin Bell plays Meg’s English husband, Edwin. Bell always gets inside the character, and with Edwin he makes the most of some clever lines and well-timed humour.

Though there are some problems with the design and choreography in this production, the play and its messages shine through.

Carol Wimmer The Unexpected Guest

By Agatha Christie. Gold Coast Little Theatre, Southport (Qld). Director: Andrew Trump. Jan 25 - Feb 15.

AGATHA Christie thriller The Unexpected Guest was one of the playwright’s personal favourites.

Director Andrew Trump steered the strong, nine member cast through all the twists expected in a play of this nature with pace and style. Each character was believable, especially when the inevitable finger pointing and accusations started to flow.

The cast of Martin Jennings, Megan Frener, Mitchell Walsh, Marja-Liisa Rintala, Jimmy Odenbreit, Lisa Shah, Terry Fitzpatrick, Cecile Campbell and Grant Ebling were flawless in this “wordy” mystery and as such, it was impossible to single out any one player - all bouncing off each other in well-rehearsed fashion.

Giving the play a modern setting did not detract from the storyline and the attention to detail in the stage dressing was to be commended.

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Stage Whispers 73

Alison Whyte, Bryan Brown in Sydney Theatre Company’s Travelling North.

Photo: Brett Boardman

Harriet Dyer in particular smouldered as Helen, the young mother struggling with young children, an unloving husband and absent mother.

Russell Kiefel as the local Doctor and Andrew Tighe as the busybody neighbour - wearing the tightest of shorts rounded out the production nicely.

The STC sometimes goes over the top with its sets. In this case, the almost blank stage save for wooden rises, was on the thin side. It was left to the dialogue and music to give the flavour of the late 1960’s and early 1970’s.

The issues raised by the play, though, remain as pertinent as ever.

The competing demands of empty nesters to enjoy their retirement to the fullest, and their children’s call for help to raise the next generation is even more relevant these days than when it was written.

One of seven David Williamson plays on in Sydney this year, it stands the test of time.

David Spicer

One Flew Over the Cuckoo’s Nest

By Ken Kesey & Dale Wasserman, and adapted for the stage

by Jamie Hibbert. The Bakehouse Theatre, Adelaide. Dec 1721.

THIS new version of One Flew Over The Cuckoo’s Nest is a mixed success, being an undeniable showcase for seven gifted young performers, but with a script adaptation that tends to pale in comparison to the impact delivered by the novel and film.

The style of this show comes about halfway between the hallucinatory first-person literary narrative, and the film’s relative sense of realism. The gender swapping of three patients, from male to female, works fine but tends to add little except a slight sense of variety, and possibly a more This production has set the bar high for the Gold Coast modern-day perspective.

Season and it will be interesting to see how other Technically, the show is sharp and smoothly executed, productions measure up. while the young cast is generally strong, convincing and Roger McKenzie well-suited to their juicy roles. Aled McEwen, as McMurphy, seems to be channeling Brad Pitt in both Twelve Monkeys Travelling North and Fight Club.

By David Williamson. Directed by Andrew Upton. STC Nicole Laughton and Sean Conneely are both ideal and (NSW). Jan 10 - Mar 22. on-target as, respectively, the malevolent Ratched and THE STC had bad luck for its season of Travelling North. stammering Bibbit, while Olivia Cirocco’s Chief holds our First Greta Scacchi withdrew with a back injury in the last attention during her dialogue-free stretches. Bridie week of rehearsals, then a report of smoke downstairs in Rawson’s Cheswick is convincing in her emotional anxiety, the Sydney Dance Company’s wharf studio cut short a Claire Robertson brings gentle comic relief as Martini, while preview.

David Sandison is a passable Harding.

So we could forgive Brian Brown for appearing like he There is talent at work here, without doubt, and that needed a few more performances under his belt to get fully makes One Flew Over The Cuckoo’s Nest ultimately worth a into the swing of his character of Frank. look.

In the play, written in 1979, the war veteran takes his 50 Anthony Vawser something new girlfriend away from her family in Melbourne to the north coast of NSW. The Importance of Being Earnest In the hot seat was Alison Whyte, stepping into the role By Oscar Wilde. Adelaide Youth Theatre. The Barr Smith of Frances at short notice. She displayed warmth and Theatre, Scotch College. Dec 12-15. dignity in a role inspired by the real life story of David OSCAR Wilde’s satirical comedy The Importance of Williamson’s mother-in-law.

Being Earnest is beloved by audiences even today because The stars of the night were the actors playing her its wit and deliciously convoluted plot never dates. Even so, daughters. it takes skill and talent to make the most of the Wilde style 74 Stage Whispers

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and rapid-fire dialogue, but Adelaide Youth Theatre is up to the task.

Laurence Boxhall owns the stage as Algernon Moncrieff, Lady Bracknell’s devious nephew, an excellent and very funny performance. It is difficult to play the straight man to such a vivid character as Algernon, but Benji Riggs is terrific as naïve Jack Worthing, a man whose plans to marry are beset by twists and turns.

The young ladies are delightful. Camryn Jordans is gorgeously effusive and sweet as Cecily, and extremely funny. Fiona Fraser is sophisticated and controlled as Gwendolyn, Jack’s love interest.

As prim Miss Prism, Georgia Broomhall is perfect. Jamie Hornsby depicts a fine Reverend Chasuble, showing his besotted longing for Miss Prism in his every expression.

Sheree Sellick is the glue that draws the performances into a fine ensemble production. Her Lady Bracknell is wickedly witty and snobbish; a formidable grande dame, silencing any dissent with an imperious stare.

Unfortunately the venue lets the production down a little. The very old Barr Smith Theatre is beautiful and visually an ideal setting for a period piece, but it is acoustically poor.

Lesley Reed Australia Day

By Jonathan Biggins. QTC. Playhouse, QPAC. January 27February 16, 2014 THIS comedy bites!

Jonathan Biggins’ reputation for biting political satire in the Wharf Revue carries over to this play where he widens his scope to all Aussies. This is clever writing. We recognise ourselves, hear ourselves sounding off, but it may not be what we want to admit to.

Australia Day celebrates well-meaning people who hold diverse opinions and values, express them, offend others but respect each other in the end. Everyone on the planning committee takes the sausage sizzle for granted but there is dissention about nearly everything else: What defines Australian character? Which VIP should be invited to present the formal address? How can we embrace the limited multiculturalism of the community? What entertainment is appropriate?

Their best laid plans all implode.

The brilliant cast of six embraces familiar archetypes. As Mayor of Coriole Council, Paul Bishop is distracted - he is running as a hopeful Liberal in the next federal election; Brian Probets, Robert, efficient and a man of integrity, is his right-hand-man; Chris Betts is a coarse, outspoken builder, Wally; Barbara Lowing’s Marie embodies the strong conservative values of the CWA; Louise Brehmer as Helen is the token Greenie; and Lap Phan (an inspired addition to such a committee) is an Australian-born Vietnamese who loves Australia but still doesn’t understand where he fits in.

It’s politically incorrect, it’s racist, it’s us.

Jay McKee

Blackrock

By Nick Enright. Epicentre Theatre Company. O’Kelly Theatre, St Ignatius’ College Riverview (NSW). Dec 5 - 14.

ON a dark, cavernous space edged with sand and surfboards, set designer Gina Rose Drew has created an ominous atmosphere. Here an unsupervised beach party, with too much alcohol, too many young drinkers, too much strutting and flirting ends in disaster that affects the community.

This is a brave production of a difficult play. The many scene changes are choreographed well and the cast sustains demanding roles in scenes that are quite confronting.

Directors Tristan Carey and Samantha Cunningham have developed a committed ensemble of performers. Of these, Simon Croker and Adrian Espulso, as Jared and Ricko, carry the weight of the exposition.

Croker manages to juxtapose the two sides of Jared’s character clearly - his sense of community and justice and his hero worship of Ricko. Espulso finds the character of Ricko in energetic posturing and firey delivery. He is tough and macho, yet there is a sense that much of this is bravado.

They lead a cast that exposes the fear and anguish that comes when young people and their families are affected by tragedy; and as the ‘local lads’ at the heart of the problem, Daniel Csutkai, Ian Runneckles and Justen Petch are very convincing. Their sexist pursuit of Tracey Warner is gut-turning; and the way they constantly deny their guilt is baldly distressing.

Carol Wimmer Caravan

By Donald MacDonald. Javeenbah Theatre Co., Nerang, Gold Coast. Director: Barry Gibson. Jan 24 - Feb 8.

GOING on holiday takes all the fun out of the planning.

This was proven by Barry Gibson’s hilarious production for Javeenbah Theatre Co. When Parkes (Noel Thomson) and Penny (Libby Bancroft) invite long-time friends Rodney (Trevor Love) and Monica (Naomi Thompson) and bachelor Pierce (Clinton Brent) to join them on a 2 week caravanning vacation it seems like a good idea; that is until the time arrives and Pierce invites his latest conquest (the much younger) Gwendolyn (Chantelle Wright) to join them.

Everything goes wrong - as is to be expected when the group’s past history begins to unravel, and their individual and collective backgrounds are revealed with riotous effect.

And then there’s the days and days of rain …

The cast had a ball bouncing off each other and banging their heads on the low van door opening. Perfect timing with the sight gags had the audience in stitches as the holiday disintegrated into a bit of a free-for-all.

The set was great: enough room to move and that’s about it. The technical support added to the overall success of the production.

A great night out!

Roger McKenzie

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Stage Whispers 75

La Boite’s Cosi.

Photo: Dylan Edwards.

Cosi

By Louis Nowra. La Boite (Qld). Roundhouse Theatre. Feb 8 - Mar 8.

COSI is the star, David Berthold’s superlative cast and crew make it scintillate.

It illuminates the Make Love Not War 1970s revolution.

Without proselytising, Nowra’s characters illustrate the major issues.

Recent university graduate Lewis (Ben Schostakowski) accepts a job in a mental institution where he is expected to ‘put on a show’. Dominant mature thespian Roy (Trevor Stuart), with a passion for Mozart, has already assembled inmates for the opera, Cosi FanTutte. Conflict from the outset!

Oversexed and amoral, pyromaniac Doug (Aaron Davison) offers Lewis his advice on sexual behaviour while terrorising other cast members. The only way sweet-butdangerous, overweight Cherry (Amy Ingram) can show her attraction to Lewis is by ‘feeding him up’. Obsessivecompulsive Ruth (Jennifer Flowers) gets caught between reality and illusion. James Stewart’s Henry (ex-lawyer, now a stutterer) bursts back to life when ‘communism’ is mentioned. All touching performances.

Jessica Marais portrays Julie (whose rich parents committed her for taking drugs), as well as Lewis’s girlfriend Lucy, involved with organising an Vietnam War Moratorium. Even busier was Anthony Standish who managed three busy characters (Zac, musical accompanist 76 Stage Whispers

for the non-opera; Lewis’s mate, Nick, who has an affair with Lucy; and patronising administrator, Justin).

Audiences can take away as much or as little of what made it their great night out!

Jay McKee Mixed Doubles By various authors. Brisbane Arts Theatre. Feb 1 - Mar 1.

FORREST Gump’s ‘Life is like a box of chocolates’ also describes this marriage-go-round.

Mixed Doubles contains eight longish two-hander sketches about marriage, separated by monologues. It opens with George Melly’s The Vicar. Alex Lanham timed perfectly this homily to a newly married couple, delivered with gravitas. The title of the unfortunate choice of hymn to follow shattered that mood.

In James Saunders’ A Man’s Best Friend, we meet newlyweds (Katrina Holmes and John Bolton) travelling to their honeymoon, she making sensual overtures, he more interested in the guitar he still can’t play.

In Score (by Lyndon Brook), Damien Campagnolo and Tamara McLaughlan, play an upwardly-mobile couple’s side of a prickly tennis match. Campagnolo excelled again with Bronwyn Morrow in Countdown (Alan Ayckbourn), a delightful examination of marriage in its autumnal stage.

Night (Harold Pinter) and Permanence (Fay Weldon) each examine the fortyish period - Greg Scurr with Tamara McLaughlan; and Rebecca Elise Lamb with Martin

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Anderson, respectively. Katrina Holmes and John Bolton in Norma (Alun Owen) explore the extra-marital affair period.

In Silver Wedding (John Griffith Bowen), Tanya Manderson and Greg Scurr have reached the stage where she needs to celebrate but he arrives too late after putting work commitments first. Finally, Alex Lanham and Bronwyn Morrow examine death and the importance of sharing a good cup of tea in Resting Place (David Campion).

Thought provoking!

Jay McKee Sleuth

By Anthony Shaffer. Newcastle Theatre Company. NTC Theatre, Lambton. Jan 25 - Feb 8.

SLEUTH is a darkly funny twist on the age-old theatre situation in which two men, respectively the husband and lover of an attractive woman, meet to discuss their romantic dilemma.

Here the protagonists attempt to end the triangle through elaborate game-playing.

The husband, Andrew Wyke, is an established crime novelist in his late 50s. He lives with his wife in an English country house that has tables and shelves filled with games from many eras.

The wife’s lover, Milo Tindle, is a young man who soon shows himself to be astute at playing the mind-games initiated by Wyke, and the tit for tat verbal play eventually leads to subtle threats of physical violence.

James Chapman was a spellbinding Milo Tindle. Initially quietly subdued as Wyke makes cutting remarks about his Italian father, his Tindle increasingly seized on the weaknesses the writer reveals in his verbose outlines of schemes that will purportedly resolve the triangular situation. Chapman’s subtlety gave bite to Shaffer’s dialogue.

Andrew Wyke is a man so full of himself and his way with words that he sneers at what is happening in the real world. Peter Oliver amusingly suggested Wyke’s selfenclosed nature, but he rarely gave the needed power to the man’s use of language in his musings and discourse with Tindle that should chillingly show how his fiction has indeed taken over his life.

Directors Debra Hely and Stewart McGowan adroitly handled the men’s movements around an elaborate livingroom set.

Ken Longworth Show and Tell Directed by Tegan Mulvany. Midlandia. Midland Arts Centre, as part of the Perth Fringe World Festival. Jan 30 31, and on-going.

EACH night Show and Tell features a guest storyteller who tells a series of stories throughout the performance.

The first story was selected from a blackboard from suggestions provided by the audience (in turn inspired by a theme…. “Family” on the evening I attended). These stories lead to an improvised play (loosely linked to the initial story), which in turn inspires further stories, which are linked in turn to the play.

The storyteller when I viewed the show on opening night, Jon Bennet, was extremely engaging and personable and the calibre was continued the following night with Chris Bedding, whose raconteuring skills I have enjoyed in the past. The resulting improvisation was clever and funny with outstanding teamwork from Brianna Williams, Arielle Gray, Shane Adamczak, Fran Middleton and Nick PagesOliver. The story featured a little girl with superhero powers, which was a lovely adjunct to Jon’s initial story about lying about his karate ability as a small child.

Superb musical accompaniment was improvised by Michael de Grussa, while director Tegan Mulvany controlled lights (and therefore length of scenes).

If subsequent shows are even half as good as its initial performance you will have a fabulous time at Show and Tell.

Kimberley Shaw The Bitter Tears of Petra von Kant.

By Rainer Werner Fassbinder. Theatre Works, St Kilda (Part of Midsumma Festival). Jan 29 - Feb 8.

BEST known for its 1972 film incarnation, The Bitter Tears of Petra von Kant takes us inside the life of a fashion designer prone to extreme histrionics. It’s a grim, nihilistic, oppressive piece, lightened only by the occasional bitchy exchange, though viewed in context of the underlying wretchedness experienced by the main characters, it’s hard to raise a laugh.

Director Gary Abrahams paces the play well and makes the most of the single set. Luisa Hastings Edge brings plenty of energy and commitment to the role of Petra, Anna May Samson as Karin exudes a burgeoning sexuality that makes Petra’s obsession with her credible, and Nikki Shields as Petra’s fashionista friend Sidonie is suitably high camp. In the role of Marlene, Petra’s long-suffering companion, is Joanne Trentini, who never utters a word but communicates a great deal through body language. It’s a strong cast and the depressing subject matter is tackled with intelligence and taste. There’s nudity, simulated sex and verbal and physical abuse, but nothing seems forced, gratuitous or crass -- rather, it’s an honest look into a frequently ugly world, performed and directed with integrity.

Alex Paige

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Stage Whispers 77

Reviews: Musicals

The cast of The Rocky Horror Show.

Photo: Jeff Busby.

The Rocky Horror Show

By Richard O’Brien. Ambassador Theatre Group/Gordon Frost Organisation. Lyric Theatre, QPAC, Brisbane from Jan 10; Perth from Feb 16; Adelaide from Mar 21 and Melbourne from Apr 26.

IT’S hard to believe we’ve been doing the “Time Warp” for forty years. But on the 40th Anniversary of Rocky Horror this new Australian production, based on the recent UK production, proved the show is still one of the best rock ‘n’ roll musicals around. And with Rocky Horror veteran Craig McLachlan repeating his Frank-N-Furter role with a bunch of super-talented co-stars, it was almost the perfect production. In a performance that was charismatic and outrageously camp, McLachlan brought sizzle to the stage whenever he appeared as the ‘sweet transvestite’ from Transylvania. He pouted, preened, and shamelessly indulged himself to the hilt and the audience loved every minute of it. In fact the more decadent the character was the louder they screamed.

Almost matching McLachlan in the charisma stakes were Rocky Horror virgins Tim Maddren and Christie Whelan Browne as the virginal Brad and Janet. Maddren sang like a dream and performance-wise kept a reign on caricature and send-up, while Whelan Browne managed the transition from innocent to immoral with great fun.

Brendan Irving had the right abs and look for Frank-NFurter’s “perfect man,” Ashlea Pyke had her tap-dancing moment as Columbia, and Kristian Lavercombe’s Riff-Raff was appropriately ghoulish. Christopher Luscombe’s direction kept it fast, while the band under Dave Skelton 78 Stage Whispers

was tight and incredibly loud, the way rock ‘n’ roll should be. Hugh Durrant’s design plundered the glitz handbook time and time again, helped by Nick Riching’s eye-catching lighting.

Audiences last night were treated to a bonus performance when author Richard O’Brien made a surprise appearance during the curtain call, thanked the cast and audience, and joined in an encore of the “Time Warp.” It was a fitting end to this fortieth anniversary celebration of a show O’Brien originally thought would only last about three weeks.

Peter Pinne Sweet Charity Book by Neil Simon. Music by Cy Coleman. Lyrics by Dorothy Fields. Luckiest Productions, Neil Gooding Productions and One-Eyed Man Productions. Hayes Theatre Company (NSW). Feb 7 - Mar 9.

‘THERE’S gotta be something better than this …’ sing Charity, Nikki and Heléne.

Don’t believe it!

Director Dean Bryant and choreographer Andrew Hallsworth weave musical theatre magic to pare back this classic Broadway musical, losing nothing in an intimate space, with fluid staging facilitated by Owen Phillips’ minimalist design, complemented by Ross Graham’s lighting, a 12-strong triple threat performing powerhouse cast dressed stunningly and frequently wittily by Oscar and Tony winner Tim Chappel, backed by all-new jazz inspired scoring from Andrew Worboys’ five-piece band.

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

Sweet Charity.

Online extras!

Check out a video of Sweet Charity by scanning the QR code or visiting http://youtu.be/3S6O_zNUxCU Entering the theatre, you’re plunged straight into the Fandango Ballroom, where provocatively clad dance hall hostesses spruik for patrons over great jazzy sounds.

Two two-way mirrors and red light neons glaring ‘Girls Girls Girls’ dominate the minimalist design, with just eight black chairs, two costume racks and a few props, enabling an eloquent, fluid production.

In a triple threat tour de force, Verity Hunt-Ballard barnstorms her way through classic numbers, while creating a vulnerable, gentle, engaging heroine as Charity.

Martin Crewes plays all three men in Charity’s life. With splendid comic instincts, he deftly moves between the sleazy boyfriend Charlie, suave film star Vittorio, and nerdish, neurotic Oscar.

Deborah Krizak displays her versatility in dual roles as Charity’s hard-nosed co-worker Nikki, and Ursula, Vittorio’s tempestuous girlfriend. The scene where Ursula pleads with Vittorio to let her into his apartment is etched on my memory.

Lisa Sontag (Heléne) completes the main trio of dance hall hostesses who share a robust, vital, warm rapport. They combine in a vibrant, energetic ‘There’s Gotta Be Something Better Than This”, while Krizak and Sontag nail the wistful ‘Baby, Dream Your Dream’.

When everyone kicks in for ensemble numbers, the show fills, yet never overpowers, the small stage. ‘Big Spender’ is incredibly sexy, funny and exuberant; a witty stylized new interpretation of ‘Rich Man’s Frug’ owes its success in equal parts to a mix of inventive choreography, slick dancing and costuming that’s in on the joke, while

‘Rhythm of Life’ adds removing stylish costumes to the comic and choreographic mix.

Sydney musical theatre fans have a wonderful new home, and a gem of a first production I simply can’t fault.

Neil Litchfield Rent

By Jonathan Larson. Director: Paul Watson. Next Step Productions. Midsumma Festival. Chapel off Chapel (Vic).

Jan 9 -18.

THIS new production of Rent (based loosely on La Boheme) is the shared vision of director Paul Watson and producer/star/choreographer Leigh Barker - and what a vision it is. Director Paul Watson has a strong commitment to script, and exploring why a character does something.

He puts Angel firmly at the centre and has all the other stories drawn into that vortex, each one directly connected to Angel’s influence. This production is not predominantly about living with HIV, it is simply about LIVING in all its complexity.

Brad Alcock’s lighting is a triumph, quite breathtaking at times, and the use of the actual stained glass window in the Chapel as an integral part of the set at the beginning and key dramatic point of the show is a masterstroke.

Andrew Leach and his band are excellent throughout and Leach’s handling of the vocal direction is quite astonishing.

Conrad Hendricks sound design is magnificent. Leigh Barker’s choreography is simple but effective and ….that most elusive of things….precise.

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Stage Whispers 79

Oklahoma!

This is a cast of superlative talent. The voices are splendid and uplifting throughout, the characters clearly delineated. All of this, the entire production, is about the pursuit of excellence.

Coral Drouyn Oklahoma!

By Richard Rodgers and Oscar Hammerstein II. PLOS (Vic).

Frankston Art Centre. Dec 31, 2013 - Jan 5, 2014.

DIRECTOR David Crawshaw successfully brings together a fine cast with a great set by John Burrett, Brenton Staples and John Shelbourne, decorated with terrific choreography

by Steven Rostron and embellished by John Clancy and an impressive orchestra.

Part of the delight is in the casting: Matthew Clayton and Tara Kabalan bring youth, naïveté and enthusiasm as well as some fine performing to the roles of Curly and Laurey. Clayton has charm, good looks and a terrific lyrical voice, but his “Poor Jud is Daid” with the very impressive Robert Clark as Jud Fry, is the highlight of the show. Lindy Yeates is the perfect Aunt Eller; Scott Hili’s Ali Hakim was underplayed for the first 10 minutes but then took flight to almost steal the show. Liam Kilgour’s Will Parker is energetic and appealing and nicely matched by Ashleigh Kreveld’s ditsy Ado Annie. The rest of the cast is equally good and the ensemble shines in the big production numbers. Special mention to ensemble member Benny Burton, a little energetic pixie of a performer who draws the eye every time he’s on stage.

80 Stage Whispers

This was the perfect evening’s entertainment to remind us Musical Theatre tragics of the treasures to be found in the suburbs.

Coral Drouyn Privates on Parade

By Peter Nicols. Music by Denis King. New Theatre (NSW).

Feb 11 - Mar 8.

SET in a British army base in Singapore in 1947, Privates on Parade “deals with very serious questions about gay history and sexual and racial politics” (Alice Livingstone, Director).

The characters - soldiers, straight and gay, Chinese and Malay servants - are sensitively drawn and paint a vivid picture of the post-war world. Yet the overall mood is light.

Darker moments are juxtaposed by song and dance routines or poignant solos by Acting Captain ‘Terri’ Dennis.

The cast is energetic and enthusiastic, skilled in character portrayal and musical theatre. Scenes have been carefully analysed and directed and the choreography (Trent Kidd) is clever and always beautifully executed.

James Lee as Terri Dennis is a consummate performer who wows the audience with his singing and dancing, yet shows the depth of Terri’s perception and concern for others.

As Sylvia, Diana Perini portrays the despair of displaced local women in a time of war - and sings and dances as well.

The soldiers - David Hooley, Morgan Junor-Lockwood, Henry Moss, Martin Searles and Jamie Collette Lance - find

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all the nuances of their characters, especially the strength they have found in each other.

Matt Butcher plays the ‘villain, Sergeant Major Drummond, a direct contrast to the very pucker Major Giles Flack, played by Peter Eyers.

As the New Theatre’s contribution to Mardi Gras, there is much contemporary relevance in this very poignant play.

Carol Wimmer

Wade Lindstrom as Tin Man and Benji Riggs as Scarecrow were fantastic, especially in making the most of the physical aspects of their characters - one stiffly jointed, the other loose-limbed and taking frequent falls.

Nathan Stafford was confidence and personality personified as the Wizard of Oz. As Toto the dog, tiny little canine Berkley was a showstealer and his human equivalent Sascha Czuchwicki was a fine Toto, too.

The Musical of Musicals Pace on opening night, particularly between scenes,

By Eric Rockwell and Joanne Bogart. Everyman Theatre. dropped at times, but picked up well in the second act.

Directors: Duncan Ley and Duncan Driver. Courtyard Studio, Lesley Reed Canberra Theatre Centre (ACT). Dec 5-21.

WITH amusing narration (by co-director Duncan Driver), The Phantom of the Opera this creative piece compels its four cast members to sing

By Andrew Lloyd Webber, Charles Hart and Richard Stilgoe. and dance on a set rich in visual reminders of classic Redcliffe Musical Theatre (Qld). Redcliffe Cultural Centre. musicals. The same simple story line in five different Dec 13 - 22. treatments effectively paid tongue-in-cheek homage to five THE outstanding success of this production is a triumph greats of musical theatre: Rodgers & Hammerstein, Stephen for Director/Producer Madeleine Johns and her shrewd Sondheim, Jerry Herman, Andrew Lloyd Webber, and selection of creative partners: Sherree Drummond, Courtney Kander & Ebb. Underhill, Bruce Noy and Barbara Bloodworth. They did this You’re sure to enjoy echoes of your best-known show show proud. The leads, Robert Shearer (Phantom), Anna tunes. The musical accompaniment, live on piano and Stephens (Christine) and Nathan Kneen (Raoul), transfixed keyboard, was, surprisingly, enough to complement the the audience with magnificent balanced vocal cast’s four-part vocal harmonies, which were unerringly performances in solos, duets and trios. Anna Stephens, accurate despite sometime atonality and especially, transported us with a performance way beyond harmonic complexity and despite there being in evidence her age. no acoustic monitors using which the singers could keep The beautiful, rich sound achieved by the company in themselves in tune. full voice, especially in “Masquerade”, was worthy of any The real charm of this piece lies in the cheekiness with opera house. Congratulations to the orchestra under which it tips its hat to earlier musicals, as in overblowing Sherree Drummond for their fine, competent musical the sunny optimism of Oklahoma!, treating Maria’s musical support throughout. joie de vivre in The Sound of Music as deserving fully three Performers in supporting roles rose to the standard set seconds’ emulation, and outdoing the instantaneous by the principals. Barbara Williams - she was born to play energy production of Mame and Hello, Dolly! in short bites Mme Giry - has a stage presence three times her size; Meg of big song-and-dance numbers. Certainly this charm is due Kiddle (Carlotta, a terrifying diva in decline) and Anthony largely to the narrative; but its spirit of fun in overdoing Beadle (Ubaldo, another big talent on the way out) played everything is highly infectious. It’s a worthwhile frolic. with conviction. The men who played owners or managers John P. Harvey of the opera performed commendably; in fact there wasn’t a weak link in this show.

The set, complex and busy with pyrotechnics (all The Wizard of Oz Adelaide Youth Theatre. Royalty Theatre, Adelaide. Jan 24- beautifully executed) tested the crew and professional 26. facilities of this venue. Attention to the sumptuous period ADELAIDE Youth Theatre has once again demonstrated costumes, make up, hairstyles were similarly laudable. The its depth of talent and professionalism by pulling off a season deserved its full houses. delightful production of The Wizard of Oz. Jay McKee The musical is a perfect vehicle to display Adelaide Impromptunes: The Completely Improvised Musical Youth Theatre’s senior and junior casts together in one production and talent abounds throughout both the Rubies Lazy Susan’s Comedy Den, The Brisbane Hotel, Highgate and Emeralds alternating casts. On opening night The Ruby (WA). Jan 21 - 23. cast was on show.

THE only problem with reviewing a completely Madeline Grey was delightful as Dorothy, displaying a improvised musical is that I can pretty much guarantee that the show you see will be nothing like the one I saw opening strong singing voice and a nuanced character.

The star quality of Geogia Bolton shone through in her night. energetic and hysterically funny portrayal of the Wicked Impromptunes consists of six young performers who Witch. She was funny and scary at the same time, making have both an improvisation and music theatre background, the most of her lines for the benefit of the young audience. who create a brand new musical on the spot, each performance. On opening night, suggestions for a title As Lion, Jamie Hornsby almost stole the show. He was came from the audience. The first vaguely tasteful brilliant; funny, vulnerable and an audience favourite.

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Stage Whispers 81

suggestion to come from the audience was “My Mother Drink Drives” and this was heartily embraced and performed with aplomb.

The team at the first performance consisted of pianist improvisor Robert Woods and a cast of six, led by host Emmet Nichols. The cast I saw (it varies) included Sophie Kneebone, Louisa Fitzhardinge, Hollie James, Greg Lavell and Andy Gould, with tech support provided by alternate cast member Amberly Cull.

Musically, “My Mother Drink Drives” threw up surprises, with Robert Woods providing a variety of styles from a jaunty drinking song to haunting ballads and the improvisation was very clever, picking up most loose ends and allowing surprising twists. All the cast are very funny, but work beautifully as a team, yielding appropriately and sharing the limelight.

Highly recommend this one.

Kimberley Shaw Falsettos Book by William Finn and James Lapine. Music and lyrics by Wiliam Finn. Darlinghurst Theatre Company. Director: Stephen Colyer. Musical Directors: Chris King and Nigel Ubrihien. Eternity Playhouse, Darlinghurst (NSW). Feb 7 Mar 16.

REGULAR laughter made it clear that the broad comedy in Act 1 of Stephen Colyer’s constantly busy, tightly choreographed Falsettos was landing well, though I found myself craving some less frenetically inventive moments.

Compensation came in the purely acoustic performance.

What a joy to hear the unamplified voices of favourite performers like Katrina Retallick and Margi de Ferranti.

Jewish New Yorker Marvin (Tamlyn Henderson) has left his wife, Trina (Katrina Retallick), for gay lover, Whizzer (Ben Hall). Trina marries Marvin’s psychiatrist (Stephen Anderson) and their 10-year-old son Jason (Anthony Garcia) ends up one confused kid, as Marvin attempts to reinvent his family.

Director Colyer serves up a stylized but emotionally distancing interpretation, which his cast executed with precision. There are moments, though, where the busy vision seems perfect, particularly Katrina Retallick’s seriocomic gym workout version of ‘I’m Breaking Down’.

Youngster Anthony Garcia seized and relished every moment of playfulness as Jason.

Often the male adult characters feel narcissistic and selfcentred, with Stephen Anderson’s psychiatrist Mendel easily the more sympathetic portrayal of the trio.

Choices become more textured in Act 2 as AIDS comes into the picture. Margi de Ferranti and Elise McCann complete the cast delightfully as Marvin’s lesbian neighbours Dr Charlotte and caterer Cordelia. The second act is played far more naturalistically, though this doesn’t mean there’s not room for comedy, like the delicious ensemble baseball song or Elise McCann’s warm, ditzy characterization.

Humanity, warmth and emotional depth kick in, a transition the whole cast handles effectively, lifting the odds several notches.

Neil Litchfield 82 Stage Whispers

Annie Spotlight Theatre, Benowa, Gold Coast. Director / Choreographer: Kim Reynolds. Feb 14 - Mar 8.

BASED on the syndicated comic strip character, Annie hit the stage with gusto as Spotlight’s Valentines Day gift to the Gold Coast. The audience could “feel the love” as a dozen “little girls” sang, acted and danced their way into everyone’s hearts.

With two Annies: Jamieson Schmitzer and Ebony Pitchers, two teams of orphans and a cast of over sixty, Director / Choreographer Kim Reynolds (ably assisted by Greta Brinsley, who also played Lily St Regis) delivered a production with plenty of pace. Musical Director Kristine Dennis achieved a great vocal sound.

The orphan and Hooverville costumes were suitably “shabby” and contrasted beautifully with the Warbucks’ opulence.

Jacy Moore, as the gin totting Miss Hannigan in search of her Valentine, was suitably vile and aided by her brother Rooster, Stephen Hirst and Lily St Regis made a fiendish bunch of villains. Brad Kendrick and Heidi Enchelmaier were an elegant Daddy Warbucks and Grace Farrell and the supporting cameo roles were delightfully portrayed.

I found that the scenery didn’t do justice to the high standard of the production, but nevertheless enjoyed the overall presentation.

Roger McKenzie Annie

By Charles Strouse, Martin Charnin and Thomas Meehan.

Packemin Productions. Director: Luke Joslin. Musical Director: Peter Haywad. Choreographer: Camilla Jakimowicz. Riverside Theatre, Parramatta (NSW). Feb 7 22.

YOU’D need to have a heart of stone not to love this Annie.

At its centre is nine-year-old Stella Barahona, who holds the audience in the palm of her hand as Annie, with energy and optimism, not to mention a great set of pipes to deliver showtunes like ‘Tomorrow’.

Rodney Dobson’s initially gruff Oliver ‘Daddy’ Warbucks and Melody Beck’s radiant Grace Farrell invest the show with the warm, tangible love for that little girl, which inhabits any really good production of Annie.

Amanda Muggleton brings the full bag of tricks to delusional comic villain Miss Hannigan, Christopher Horsey’s Rooster is a genuinely sinister piece of work and Aimee Timmins’ dumb (yet knowing) blonde Lily is a delicious stereotype. Together they click splendidly as vaudeville, broad comedy baddies.

Community theatre performers play supporting roles and ensemble, and this Pro-am company attracts excellent talent, bringing zest and discipline to numbers like N.Y.C., while, led by community theatre stalwart Christopher Hamilton as President Roosevelt, the Cabinet scene and ‘Tomorrow’ reprise delighted.

The featured orphans are all capable young performers with excellent projection, delivery and confident

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Packemin Productions’ Annie.

Photo: Grant Leslie.

characterisations, while members of the bigger orphan ensemble shine with an obvious delight at being on stage.

Simon Greer’s design works well, with fluid, visible changes executed with the help of even the tiniest kids, along with judicious flying. The large mansion moves smoothly on and off the stage in full view.

Peter Hayward’s orchestra provides a vibrant Broadway sound.

But spare a thought for Primrose, playing Annie’s dog Sandy, who obviously had a bad case of opening night stage fright.

Neil Litchfield The Phantom of the Opera Directors: Venera Walsh and Joanne Wright. Cairns Choral Society (Qld). Jan 17-Feb 8.

THANKS to the magnificent efforts of the Cairns Choral Society The Phantom of the Opera was performed in Cairns.

Over 12,000 people watched the production during the run in what must be the most spectacular musical ever produced in Far North Queensland.

The sets and costumes were superb, matched by the performers who were all brilliant. Kurtis Lowden was a perfect Phantom. Besides his quality singing he brought a lithe, haunting character to the stage. Surprisingly, he was surpassed by Claire Austin as Christine. This was a remarkable performance from a local singing teacher. Her

acting complemented her strong voice in what was an outstanding portrayal.

Choral Society veteran Joanne Wright gave her usual high quality performance as Carlotta the opera diva, while fellow director Venera Walsh was commanding as Madame Giry.

The sets and the costuming were the highlights, along with a very good chorus. The set changes were beautifully done and the crashing chandelier was very well handled.

I’m not sure what the Choral Society is going to do from here on. This production will take some surpassing. It was a top show by any standard.

Ken Cotterill Young Frankenstein

By Mel Brooks and Thomas Meehan. Director: Brad Tudor.

Koorliny Arts Centre, Kwinana (WA). Jan 17 - Feb 1.

THE West Australian premiere of Young Frankenstein is a well-paced, very funny rendition, nicely cast, with wellcrafted performances.

Jessie Angus shines in the title role, delivering an excellent, nicely timed performance including some impressive dancing. He is well matched in Laurence Williams as off-sider Igor, an audience favourite, who also creates an excellent character. John Lambert was lovely as the lumbering monster.

Sarah Elizabeth Hubber looked gorgeous as lab assistant

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Stage Whispers 83

Joseph And The Amazing Technicolor Dreamcoat.

Inga, a promising community theatre debut. Georgia McGivern made a striking contrast in her gorgeously broadstroke portrayal of uptight fiancé Elizabeth.

Daniel Burton was impressive as Inspector Kemp, but almost brought the house down in a superb cameo as the hermit. Natalie Burbage nailed the role of Frau Blucher. I enjoyed Allen Blachford’s Victor Frankenstein and Jayden Lyon was delightful in his brief appearances as Ziggy.

The ensemble was strong and the dancing, with wellconstructed choreography by Hillary Readings, was particularly well executed. Musical direction by Kate McIntosh and Taui Pinker was good with the music provided by an eleven-piece band, well-played.

Lighting (operated by Kim Angus) was creatively atmospheric but also fun, while costumes were nicely selected. A directorial decision had obviously been made to faithfully recreate the movie where appropriate, while the musical numbers were given free reign. It was a decision that worked.

Not everything ran exactly to plan. Sound was quite uneven on the night I attended. Some of the lines in the opening scenes are a little rushed, which is a shame as we miss important exposition.

As the first community theatre production (and first Finley entry) for 2014, this production augers well for community theatre for this year in the west.

Kimberley Shaw Joseph and the Amazing Technicolour Dreamcoat Music by Andrew Lloyd Webber. Lyrics by Tim Rice. Young Australian Broadway Chorus. Beckett Theatre, Malthouse (Vic). Jan 22 - Feb 1.

I DON’T think I have ever seen such an astonishing array of costumes, all superbly designed and made, in any 84 Stage Whispers

production anywhere. The monochrome palette and sharp angles are the vision of Robert Coates (Director) and costume designer Jennifer McKenzie. They don’t just borrow from Egyptian traditional designs but incorporate 1920s flapper style dresses plus an homage to the 70s with a fabulous Elvis outfit and a full set of frug costumes. It’s all simply marvelous, set on a black and white chequerboard tiered stage. The technicolour coat itself is quite beautiful.

There are excellent performances throughout with clear diction and great harmonies. As the Narrator (and also on guitar), the astonishingly beautiful Vivienne Awosoga brought grace and elegance along with her pretty voice to the role. David Duketis looks perfect as Joseph. He’s a commanding and athletic presence on stage and will be even more impressive when his voice matures a little more.

Adrian Agisilaou impressed as the Elvis Pharoah and on keyboards and special mention must go to Charles Russell, full of wit and confidence and William Barker as Gad. The rest of the principal cast excels and the ensemble, especially the children’s chorus, is truly professional throughout.

Coral Drouyn [title of show]

By Jeff Bowen and Hunter Bell. Golden Apple Theatrical Productions. Spotlight Basement Theatre, Benowa (Gold Coast). Directors: Cilla Scott and Adam King. Dec 11 - 14.

THE best way to describe [title of show] is a unique and clever way to create a musical.

Cilla Scott and Adam King have created a fast paced theatrical experience full of laughs, vibrant performances interwoven with clever dialogue that’s “in your face” from go to whoa.

The small cast of five very talented (individually and collectively) performers: Oliver Thomson, Lisa Marie

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

Gargione, Stephen Hurst and Anna Sofroniou and the seldom seen but ever present Matt Dennett (the Musical Director) work their butts off creating a Broadway style musical for the New York Music Theatre Festival.

Paulo Natividad’s exciting choreography works well with the cast who are on stage for most of the 90-minute length of this one act whirlwind.

Working with a bare stage, four office chairs on wheels and a handful of other props the cast and production team deliver an interesting insight into creating this piece of theatre (create: to make something out of nothing).

Amid the numerous uses of the “F” word and references to Adult themes, [title of show] is very entertaining.

Roger McKenzie Forbidden Broadway

By Gerard Alessandrini. Savoyards. Director: Angela Clarke.

Musical Director: Joanne Wolfe. Star Theatre, Wynnum (Qld). Feb 15-23.

FORBIDDEN Broadway opened in New York in 1982 and since that time has become an Off-Broadway institution.

Poking fun at Broadway shows and personalities has been creator Gerard Alessandrini’s stock-in-trade for the past 30 years, and this production called “Greatest Hits - Volume One” gathers together some of Allessandrini’s wittiest swipes at musical theatre.

Georgina Purdie was a funny turning-thirty-”Tomorrow” Annie, Conor Ensor was terrific as an actor playing an animal in Cats, while Andrew Scheiwe hammed it up as Mandy Patinkin with his “Somewhat overindulgent” sung to the tune of “Over the Rainbow.” Vanessa Wainwright’s Barbra Streisand was an accurate spoof, as was Jason Fagg frocked up as Carol Channing. The fight over natural or over-amplified voices between The Phantom (Tristan Ham) and Ethel Merman (Julie Eisentrager) was a hoot, “Into the Words,” like the original Into the Woods was Sondheim word-crazy and spot-on, and the Les Miz send-up, even though dated, was a huge piss-take. My favourite was Eponine (Sarah Copley) lost in the chorus texting on her mobile phone; “On My Phone” sung naturally to the tune of “On My Own.” Director Angela Clarke kept it moving, despite a few numbers not quite hitting the bullseye. Show logos and headshots of the stars projected on background screens helped the various lampoons, and Roger Martin leading a three-piece group on piano was always assured and great back-up.

Peter Pinne Joseph and the Amazing Technicolor Dreamcoat

By Andrew Lloyd Webber and Tim Rice. Roo Theatre, Shellharbour. Jan 10 - 25.

EVERY so often a production comes along that truly stands out from the crowd. Roo Theatre’s Joseph and the Amazing Technicolor Dreamcoat takes that statement and runs away with it.

The production is led by Joshua Harrison in the title role and Louise Tonge as the Narrator. Harrison’s vocals, acting and stage presence are that of a well-gifted performer. In

Forbidden Broadway.

the role of the Narrator, Tonge is a pleasure to watch. Her charismatic performance draws the audience into the show and you hang off her every word.

The 11 brothers gelled so well together that it is impossible to single any of them out. The wives and children were great with their own dancing and vocals and added immensely to the show.

The numbers were staged with imagination and finesse.

My personal favourite was ‘Those Canaan Days’, not to mention the incredible megamix. Special mention needs to be made of the fantastic 14-piece orchestra led by musical director Lisa Baraldi.

When the curtain first opens, there is a massive ‘Wow’ factor with a simple yet very impressive set design. This set is a star in its own right and works so well with the flow of the show.

Director Juran Jones has created a first class production that exceeds all expectations. I have seen many productions at Roo Theatre over the years and ‘Joseph’ is one of the best. The flow of the show was sharp, the vocals were engaging, the music was superb, the costumes, set and lighting were brilliant.

A 5-star production.

Dean Matthews

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Stage Whispers 85

Reviews: Opera

Paolo Bordogna as Selim, Emma Matthews as Fiorilla & Conal Coad as Geronio in Opera Australia’s The Turk In Italy.

Photo: Lisa Tomasetti.

Online extras!

Director Simon Phillips discusses the production. Scan the QR code or visit http://youtu.be/dZsEqrPlHFk The Turk in Italy

By Giachino Rossini. Libretto by Felice Romani, after libretto

by Cterino Mazzolà. Opera Australia. Joan Sutherland Theatre, Sydney Opera House. Jan 22 - Feb 12.

FROTHIER than cappuccino, with more twists than a TV soapie, Rossini’s 200 year old opera The Turk in Italy delights in Simon Phillips’ tongue-in-cheek, stylishly retro, 1950s inspired makeover.

Phillips and team (designer Gabriela Tylesova and lighting designer Nick Schlieper) bring all their musical theatre pizzazz to bear in this primary coloured, farcical production.

In bright, stylish period swimwear, the ladies’ ensemble idle away the overture with synchronized silliness, while the swaggering male ensemble fumble with beach chairs and towels, setting the tone for the evening.

A strong cast is well matched to whimsical character interpretations and the vocal demands.

Prodoscimo (Samuel Dundas), the inquisitive barman / struggling playwright, knowingly drives much of the action in engaging fashion.

Vivacious Fiorilla (Emma Matthews) already has an aging husband and an Italian lover in tow when a handsome stranger, ‘The Turk’, provides one more temptation, just as his jilted lover turns up with a band of gypsies.

Matthews is in fine form vocally, complementing her acting range, from flirtatious, finely tuned comedy to dramatic intensity.

86 Stage Whispers

As Selim, the flamboyant Turkish lothario, Paolo Bordogna’s egotistical rock star interpretation is a joy, and his baritone satisfying.

Tenor Luciano Botelho, primping and preening, lives up to jilted Latino lover Narcisso’s name. His bathing shed antics are wonderfully staged fun.

Conal Coad, as Fiorilla’s cuckolded husband, delivers with delightfully bewildered bluster, his bass voice and delivery made for the character. His bar scene with Bordogna and Dundas is a comic delight.

Soprano Anna Dowsley charms as Zaida, Fiorilla’s rival for Selim, leaving no-one surprised when she recaptures Selim’s attention.

Simon Phillips’ sight gags and vaudeville culminate in his unique, hilarious version of a masque ball and its aftermath.

Colloquial surtitles (often pretty crude) are a hoot, adding yet another layer of fun.

Maestro Andrea Molino’s orchestra is splendid, organically contributing to the wit, tone and spark of the stage action.

Neil Litchfield Tosca

By Giacomo Puccini. Directed by Stuart Maunder. Supreme Court Gardens, Perth (WA). Feb 15.

THE City of Perth’s Opera in the Park played to a capacity crowd at the Supreme Court Gardens and was simulcast to ten venues throughout Western Australia.

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

Nancy Fabiola Herrera and the Opera Australia Chorus in Carmen.

This free event, supported Photo: Branco Gaica.

by Lotterywest, was an excellent taster for trying opera as a genre and to experience the beautiful voices of the West Australian Opera and the excellence of the West Australian Symphony Orchestra.

Semi-staged very effectively by director Stuart Maunder, the acting performances were extremely convincing, even as evidenced by extreme closeups by the big screen coverage throughout the park.

While the principals were all excellent, a beautiful relationship was established between Anke Hoppner’s Tosca and Angus Wood’s Cavaradossi. Douglas McNicol The Magic Flute is a perfect choice for children and was outstanding as a deliciously evil Scarpia. adults alike as it is just simply magical.

Anke Hoppner’s performance of Vissi d’art was a Whitney Fitzsimmons showstopper, an exquisite performance.

The West Australian Opera Chorus did not have a lot to Carmen do in this production, but contributed admirably as did the Opera by Georges Bizet. Libretto by Henri Meilhac and children playing altar boys and other extras.

Ludovic Halévy. Director, Francesca Zambello. Opera This was a lovely experience, a wonderful community Australia. Joan Sutherland Theatre, Sydney Opera House. event with a beautiful atmosphere, capped with an Feb 3 - Mar 29. excellent production.

YOU can see why Opera Australia continues to revive Kimberley Shaw this 2008 production: it’s absolutely huge and they’re probably still recouping the upfront costs. The costume The Magic Flute budget alone must have been enormous. I speed-count

By Mozart. Opera Australia. Joan Sutherland Theatre, over 90 on stage during packed crowd scenes — including Sydney Opera House. Jan 10 - Mar 26. chorus, dancers, a 14-strong children’s chorus and a horse.

THE Magic Flute is a reliable staple in Opera Australia’s The famously inadequate wing space must be crammed. repertoire and its understandable why that is.

Fortunately for the Opera House budgets, there’s no Mozart’s creation never fades with its child-like wonder, sign that Sydney audiences are losing interest in Bizet’s beautifully written libretto and quirky take on love. This astonishing melodies and lush orchestrations. A packed particular production, which is performed in English, has a house roared its approval back to the packed stage. decidedly pantomime feel, which strangely adds to the Musically, the work is untouchable, and conductor experience.

Anthony Walker is clearly having a terrific time with his This overall production has a sort of space meets expanded orchestra, while the cast fight gamely to keep medieval feel, which is particularly evident in the set and ever-encroaching melodrama at bay. costumes.

Nancy Fabiola Herrera, though looking a little matronly The cast is impeccable. Andrew Jones as Papgeno is a as the doomed, freedom-loving gypsy girl, sings up a rare combination of a wonderful comedic performer with a storm: she dances and plays the castanets, too. Michael fabulous voice. John Longmuir as Tamino and Taryn Fieberg Honeyman is a surprisingly bantam-weight ace bullfighter, as Pamina are strong. But it is Millica Ilica’s the Queen of singing the famous ‘Toreador Song’ from the saddle of a the Night, with her very famous aria, der hölle rache kocht white horse, whose onstage droppings in no way reflected in meinem herzen or hell’s vengeance boils in my heart, the opinion of the house. An expertly wielded dustpan and who is particularly captivating. The deep bass of Morris brush whisked away the evidence before the onstage crowd Robinson as Sarastro is also incredible. dispersed.

Director Matthew Barclay has done a fantastic job in Showstopper of the evening is tenor Dmytro Popov as realising an entertaining and exciting production of this tortured, love-struck Don José. His passionate Act 2 solo classic. touches the heart.

Frank Hatherley

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

Stage Whispers 87

Reviews: Youth

Alice In Wonderland Adapted and Directed by Glenn Elston. Shakespeare Australia. Rippon Lea (Vic). Jan 2 - 24.

ALICE in Wonderland brings holiday pantomime to life in the glorious surrounds of Rippon Lea House and Gardens.

It should be noted at the outset that this is a children’s production and the bevvy of young folk (mostly 3-5 years old) sat marveling at the painted set. Sarah Spaven embodied the white rabbit as “he” explained that he’s always late, for what we all knew must be a “very important date”. Bill The Lizard, hilariously portrayed by Dennis Manahan dubbed everyone little caterpillars and finally Alice (Sage Douglas) arrived. She was “ever so interesting” as she explained that she had grown big and

seemingly impossible task of adapting the first of the series for the stage. He has nailed it.

Not only do the packed house of holidaying children sit attentively as the non-story rollicks along, they laugh, shout, and, when invited, contribute their best monkey impressions.

In the books two creative blokes — writer Andy and illustrator Terry — make it all up as they gleefully go along.

Here Andy (Mark Owen-Taylor) and Terry (Luke Joslin) arrive at the theatre thinking they have a week to invent and rehearse a play but find there’s an audience already in place and a stern Stage Manager (Sarah Woods) who insists that ‘the show must go on’. So they improvise, using any available bits and pieces and a huge leftover hamper of costumes and props.

There’s something of a junior Waiting For Godot on offer here, but the young audience are happy as the Andy/ Terry double act introduces, among other things, an episode of Barky, The Barking Dog, an adventure with the mighty Super Finger, twelve flying yellow cats, and an encounter with a stage gorilla far more giant than King Kong.

The three performers are most appealing and the 60minute show breezes along.

Frank Hatherley

Revolting Rhymes and Dirty Beasts Adapted from Roald Dahl’s stories and poems. La Boite and Shake & Stir. Roundhouse Theatre (QLD). Jan 8 - 18.

“YOU think you know this story … you don’t.” Each actor issues this forewarning as they pop up from different trapdoors as the show starts.

The production makes the most of the vivid imaginations of children and the familiar storytime Alice In Wonderland characters to create a performance that leads the audience on hilarious and revolting adventures. Just four clever actors, Leon Cain, Judy Hainsworth, Nelle Lee and Nick small.

Skubij invent multiple characters. Their brilliance is at the Lea Porcaro was hilarious as the Duchess and really a heart of this show’s appeal. crowd favourite. For me, Ross Daniels’ caterpillar was the The creative team also excelled themselves. Josh high point, perched on top of a giant mushroom, bubbles McIntosh designed amazing costumes and a very clever set coming out of his pipe. Manahan’s return as the Mad with props cleverly hidden inside a revolving stage, Hatter and the gorgeous set up for the tea party (with trapdoors and the inventive use of huge swatches of cloth Daniels now back as the March Hare and Spaven as the that became a ball gown, the sea, a beanstalk, a back Door Mouse) piqued everyone’s interest and hunger and a projection screen and an ingenious snail shell. Jason sing-a-long and more audience participation ensued.

Glenwright’s complex lighting and Guy Webster’s sound There really aren’t enough opportunities to take your effects brought the designer’s dream to life. young children to see theatre anymore, and this is after all People of all ages got carried away by the action, and I where their love of the stage will begin. happily recommend this incredibly creative production to Liza Bermingham everyone. However, because of the pace of action and dialogue, I suggest that people already familiar with Dahl’s The 13-Storey Treehouse

By Richard Tulloch. From the book by Andy Griffiths & Terry stories will enjoy the show more. Electronic manipulation of Denton. CDP Theatre Producers. Director: Mark Thompson. the voices and fast dialogue make it difficult to understand Playhouse Theatre, Sydney Opera House. Dec 28 2013 - Jan at times.

This playful and exciting production will have audiences 25, 2014. Touring widely until July 25. laughing from beginning to end.

THE three hugely popular Griffiths and Denton Bridget Free (aged 13) + Jay McKee (editor and Treehouse books are an anarchic treat for bright kids, featuring an outrageous, improvised fantasy world without technical advisor). rules, without plots. To playwright Richard Tulloch fell the 88 Stage Whispers

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

The Memory Mill

By Tess Burke and Terri Woodfine. Spotlight Theatre, Benowa, Gold Coast. Directed and choreographed by Tess Burke. Jan 10 - 18.

CONTINUING in the Spotlight tradition, Tess Burke and Terri Woodfine have created a wonderful pantomime with songs (directed by Matt Pearson) and a storyline the children can easily follow.

The assistance of three adults: Martina French as the Wacky Wizard; Terri Woodfine as Tabatha, the Evil Enchantress and Kate McNair as the Demented Half-fairy, lead the young but talented cast through this delightful tale with lots of audience participation. The juvenile lead is Tahilia Traecey, a delightful triple threat.

Children get the opportunity to join the cast onstage and contribute to the storytelling and there is the mandatory guarding of the Demented Half-fairy’s favourite berries.

Special mention must be made of the fabulous costumes designed by Tony Alcock, the detail of which is seldom seen in children’s theatre.

A small but dedicated crew worked hard to maintain the pace of the performance and the audience was invited to meet the cast after the show.

This was truly a team effort and heaps of fun!

Roger McKenzie

Big Bad Wolf.

Cinderella

By Tony Nicholls. Directed by Carole Dhu. Pinjarra Civic Centre (WA). Feb 14-15.

WITH a “blink and you miss it” season, chances are that you didn’t catch Primadonna Productions’ Cinderella.

To present this Tony Nicholls pantomime, the youth company teamed with local adult thespians to give the kids a chance to work with more experienced actors, and the result was a lot of fun for all.

Big Bad Wolf An excellent example of true community theatre, with a

By Matthew Gilbert. Windmill Theatre Company / lovely atmosphere generated from the stage and front of house, while producing a good quality production.

Melbourne Theatre Company. Director: Rosemary Myers.

Designer: Jonathon Oxlade. Southbank Theatre, The Lawler.

Ebonie Ballard was very sweet in the title role, while Jan 10 to 25.

Peter Rogers brought personality and a lovely voice to the THE set was recognisably the world of the wolf; dark prince. forest, cute cottage and a small person, complete with red There was an abundance of delightful baddies. Warren coat, who might be eaten at any moment. But in this fairy Read was a dastardly Dandini, with Gemma Little and tale, the wolf tends towards bowties and poetry and a Stephen Carter making very funny minions. Director Carole challenging relationship with his mother. The play, Dhu nicely performed double duty as language destroying, developed for children, made and occasionally belaboured, evil stepmother, Lady Halfcock. In lovely casting symmetry the point that different doesn’t necessarily mean bad.

Carole’s real-life daughter played the ultimate in evil The actor playing Heidi Hood (Emma J Hawkins) used characters, Lucy, the devil in disguise, in a gorgeously her considerable physical skills to create energy and interest flamboyant performance. and her acting provided believability and some poignancy.

Michael Caldwell and Andy Peckover were fabulously Her character’s moment of stage fright was fabulous. She over the top in the stepsister dame roles, while a bevy of was an excellent foil for the nerdy Wolfie (Patrick Graham) devils including Zoe Lyons, Cassie Power, Ruby Liddelow whose character suffered from being the outsider in a and Leah Dodds, also “turned on the bad”.

I really enjoyed the performance of Garry Swindell, who whingy, pathetic way.

Kate Cheel provided voices and movement for a tree, a was a truly delightful Buttons, with an endearing Yorkshire rabbit and a chair, and was also a television announcer and accent and beautiful singing voice. Rounding out the adult Wolfie’s demanding and disappointed mother. Her cast, were solid contributions from Mike Rogers as characters helped to explain and move the story along.

Cinderella’s mother and Angela Edwards as the ghost of There was real delight and whimsy in the set and the Cinderella’s mother. lighting and sound design fully supported the action.

The children of the cast brought much life as devils, The children who made up a majority of the audience villagers, peasant children, courtiers, fashionistas and seemed to enjoy the play and their few moments of lichen. They provided some excellent singing, energetic participation. It seemed a pity they were not more fully characterisations and danced beautifully. brought into the forest.

This was a fabulously feel-good production that was well worth seeing, even on a sweltering February afternoon.

Ruth Richter Kimberley Shaw Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 89

Diamonds Are For Trevor

Reviews: Cabaret

Diamonds Are For Trevor Written by Trevor Ashley and Phil Scott. Directed by Craig Ilott. Arts Centre Melbourne. Jan 28 - Feb 1.

A FABULOUS band, under the direction of Geoffrey Castles, a brilliant lighting design by Scott Allan, and costumes from the multi award winning Tim Chappel (Oscar, BAAFTA, Tony and AFI awards) set the scene and transport us to a Bassey concert from the 70s, but it’s not until Trevor Ashley opens his mouth that we believe we’re actually there. Ashley has an extraordinary set of pipes, and the chops to go with them. He masters the sing-song Welsh overtones to perfection. He’s totally “au fait” with Miss Bassey’s…sorry Dame Bassey’s … idiosyncratic intonation, breathing, and vocal gymnastics to the point where you are almost inclined to think he is miming. He isn’t…and Bassey hasn’t sounded this good in perhaps forty years or more. Then there is the performance style. Bassey herself is so camp, so much larger than life, that it really isn’t necessary to do much more than let her have her head. But Ashley finds deliciously subtle comedy in the flailing hands and outstretched fingers, sometimes allowing them to get out of hand (sorry) and almost become unguided missiles. It’s stunning stuff, so never think for a moment that you are going to see a drag queen do a Bassey tribute. That would do them both an injustice.

Coral Drouyn

The Wau Wau Sisters: Death Threats (and other forms of flattery) Here and Now: The Songs of Noël Coward Northcote Town Hall. Jan 18 - 22.

The Butterfly Club. Performer: Robert Green.

THIS uninhibited and profane show is not for the Accompanist: Alexander Sussman. Jan 15 - 19. easily offended. In this latest offering The Wau Wau THIS was the first time I’d returned to The Butterfly Sisters have created a burlesque inspired by the real life Club, one of Melbourne’s most popular cabaret venues, death threat they received after their “Last Supper” since it moved into the city, and I can report it is just as show. Alert, but not alarmed, the Sisters vow to press on pokey and alternative as ever. One wouldn’t want it any even though any show may be their last... other way.

A near capacity audience on opening night enjoyed Robert Green is a Noël Coward tragic and this show ribald song and dance, punk trapeze, audience has been carefully put together with a small selection of participation and cross dressing, satire, sex, religion and some of Coward’s best songs. “The Stately Homes of gymnastics. Puns, double entendre and ad-libs abound.

England” was a recurring theme and Mr Green appeared Staging was simple - basic lighting, 2 microphones, a to have added some extra verses of his own with trapeze, some costume changes and a willing audience. contemporary updates.

The supper room configuration in the town hall meant Accompanist Alexander Sussman was excellent. that a lot of the audience were well off to the sides but “I went to a Marvelous Party” was completely The Sisters worked the room beautifully. Audio at times rewritten to include many of the current politicians who was a challenge - the room echoed and their witty lines have been filling the newspapers in the last year. Very were lost at times as The Sisters delivered dialogue while funny stuff, though the lyrics came so fast it was difficult trying to catch their breath after another bout of to remember them afterwards. physical mayhem.

Robert’s diction was excellent and though his pitch The Wau Wau Sisters are high energy and foul was a bit wayward it was Noël Coward who won the mouthed with few boundaries - they give 200% and the day. There are not that many opportunities these days to audience loves it. be reminded of his brilliance.

Shirley Jensen Graham Ford.

90 Stage Whispers

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

Sweet Dreams: Songs by Annie Lennox & In Vogue: Songs by Madonna Starring Michael Griffiths. Written & directed by Dean Bryant. fortyfivedownstairs, Melbourne. Jan 15 - 26.

AS each of his two cabarets draws to a close, Michael Griffiths asks the audience to help spread the word. But, he adds cheekily, keep your mouth shut if you didn’t like it.

There’s little reason to shut up. The shows, paying homage to Annie Lennox and Madonna, are tight, clever and wonderfully intimate pieces that could work alone or as a pair. They’re presented as a double bill at Melbourne’s gay and lesbian festival, Midsumma.

It’s just a man and a grand piano: Griffiths, a star of Jersey Boys and Priscilla, is a brilliant player, has a beautiful tone to his voice and connects effortlessly with his audience.

But it’s not just Griffiths who can take credit - much of it also goes to the man behind the scenes: writer and director Dean Bryant.

The songs of these two pop icons are stripped bare, reworked in beautiful arrangements for the male voice.

“Miracle of Love” is stunningly lyrical; “Like A Prayer” poignant. “Thorn in my Side” is upbeat and a real joy through audience participation. “Express Yourself”, never a favourite of mine, is ingeniously deconstructed to reveal the elements of a great pop song.

If you like either of these two icons - or if you’re just a fan of cabaret in itself - go.

Peter Gotting The Worst of Scottee Directed by Chris Goode. Part of Midsumma 2014.

Theatre Works, St Kilda, Melbourne. Jan 20 - 25 TWENTY-eight year old Scottee, a gay man with a troubled past, recounts intimate details of his life while seated in a photo booth - clearly designed to evoke the claustrophobic solitude of the confessional. For much of the show he sits side-on to us, but we see his face via a screen on the front of the booth which relays his image from a camera inside. This creates a certain distance between us and the performer, which oddly enough seems to work in the show’s favour - allowing us the space to consider the import of his stories.

And that’s the substance of the show - four anecdotal pieces taken from his teen years growing up gay in a council estate in Kentish Town. These ranged from the banal to the very moving, and the well paced and structured script wisely left the most serious piece to last. By this point, those audience members who had been laughing uproariously earlier in the show were stilled and silenced, as Scottee drew us all in and held us in his narrative thrall. Performed with skill and integrity, this is a show designed to make you question and reflect and one well worth seeing.

Alex Paige

PERFORMING ARTS MAGAZINE MARCH/APRIL 2014. VOLUME 23, NUMBER 2 ABN 71 129 358 710 ISSN 1321 5965

All correspondence to: The Editor, Stage Whispers, P.O. Box 2274, Rose Bay North 2030, New South Wales.

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FREELANCE CONTRIBUTORS Are welcomed by this magazine and all articles should be addressed to Stage Whispers at the above address. The Publisher accepts no responsibility for unsolicited material. Black and white or colour photographs are suitable for production.

DISCLAIMER All expressions of opinion in Stage Whispers are published on the basis that they reflect the personal opinion of the authors and as such are not to be taken as expressing the official opinion of The Publishers unless expressly so stated. Stage Whispers accepts no responsibility for the accuracy of any opinion or information contained in this magazine.

LIMITED BACK COPIES AVAILABLE ADVERTISERS We accept no responsibility for material submitted that does not comply with the Trade Practices Act. CAST & CREW Editor: Neil Litchfield 0438 938 064 Sub-editor: David Spicer Advertising: Angela Thompson 03 9758 4522 Digital production: Phillip Tyson 0414 781 008 Contributors: Merlene Abbott, Cathy Bannister, Liza Bermingham, Stephen Carnell, Ken Cotterill, Coral Drouyn, Whitney Fitzsimmons, Graham Ford, Peter Gotting, Lucy Graham, Frank Hatherley, John P. Harvey, Shirley Jensen, Peter Kemp, Jackie Lewis, Neil Litchfield, Ken Longworth, Jessica Lovelace, Rachel McGrath-Kerr, Jay McKee, Roger McKenzie, Dean Matthews, Brnjamin Orchard, Alex Paige, Peter Pinne, Martin Portus, Lesley Reed, Kimberley Shaw, David Spicer, Anthony Vawser, Geoffrey Williams, Carol Wimmer and Maryann Wright.

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

Stage Whispers 91

Musical Spice

The World’s Worst Musical?

What is the worst possible subject for a musical and what would a song from it be called?

That was the challenge that Richard O’Brien, the creator of The Rocky Horror Show, issued readers of Stage Whispers in January during my lunch with him.

The cheeky idea came from an episode of The Simpsons, which put together a mock Planet of the Apes Musical. The lyrics included from Chimpan A to Chimpan Z. There was another beauty in the 80’s movie The Tall Guy about a musical adaptation of The Elephant Man. That featured the song ‘He’s Packing His Trunk’ and a finale which ends with the lyric “Somewhere up in heaven there’s an angel with big ears!”

Every week brings new possibilities what about Schapelle the Musical, with that hit song ‘The Boogie Board Blues’?

Our Facebook friends loved the challenge and came up with some beauties and also some very rude ones which can’t be printed.

My favourite was Single, 50, Lives With Mum with the song ‘Wanna buy a bride, but these Cheezels taste...real good.’

Others included: Polygamy The Musical - ‘The best things in life are three.’

Joel Schumacher’s Batman & Robin - ‘The Ballad of the Rubber Nipples.’

‘Squeeze me tight!’ is the hit song from Prostate!

I’m a mum of a teenager - ‘If looks could kill.’

The Merry Refugee - ‘Just bobbing along with my mate Tony.’

Grumpy Old Men - ‘I went to the denture zone.’

Battery Hen Hell House ‘They’re eating my unborn for breakfast.’

The Call Centre - ‘Please don’t hang up on me.’

Unprotected Sex - ‘Oops!

I knocked her up again.’

92 Stage Whispers March - April 2014

Hospital the Musical - ‘I love my colostomy.’

Infomercial: The Musical - ‘Call me baby, in the next fifteen minutes.’

The Bikie Ballads - ‘Just your average pizza boy.’

Mother-in-Law the musical.

Some of the rude ones that are just printable are: Diarrhoea The Musical - ‘Don’t Cramp My Style.’

The Human Centipede The Musical, featuring hit song ‘What’s that smell?’ (Theatre in the Round.)

The Vagina Monologues - ‘Only Women Bleed.’

A Rolf Harris musical with songs in A minor.

Others thought that some of the worst ideas had already been staged.

Spider-Man, and the soundtrack would be...oh, wait. Maybe you should send the prize to Bono.

Love Never Dies, a new musical sequel to the smash-hit Phantom of the Opera, featuring songs such as ‘Love Never Dies.’

The winner, selected by Richard O’Brien, was Richard W Hyde.

Subject: Colonic Irrigation - Song ‘Flush with success (Reprise)’.

He was urged by our Facebook friends to go and write it.

Of course sometimes the craziest subjects can become hits.

A few years back someone may have entered this as the worst subject for a musical and song.

The Book of Mormon - ‘Baptize me.’

That might have sounded pretty unlikely. But of course The Book of Mormon won 9 Tony Awards a few years back.

So perhaps nothing (in good taste) is impossible.

David Spicer

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