Stage Whispers September/October 2013

8 In this issue

Our New Sandy ............................................................................... 8 Gretel Scarlett.

My Strictly Ballroom Story .............................................................. 12 Baz Luhrmann’s 25 year dance to his new stage musical.

12

Cirque Mirrors The Man................................................................. 14 Cirque du Soleil’s Michael Jackson spectacular.

Magical Storm Boy Takes Flight ..................................................... 17 Wicked New Boys Set Pulses Racing ............................................... 20 All Rupert’s World Is Williamson’s Stage ........................................ 22 Our most prolific playwright’s take on the global media mogul.

Cheers and Jeers at the Helpmann Awards .................................... 24 Laughing At Lawyers ..................................................................... 27

24 14

Triple Threat Scoundrels ................................................................ 28 Tony Sheldon returns for Sydney’s Dirty Rotten Scoundrels.

Always Working With Animals ....................................................... 30 The day Toto was almost doggie dinner.

Showcase ...................................................................................... 37 All our top training colleges.

Schools On Stage .......................................................................... 99 Shows in and for schools.

17

Regular Features

40 57

Broadway & West End

32

Stage On Page

34

Stage On Disc

36

Stage Heritage

60

On Stage - What’s On

62

Auditions

73

Reviews

74

Musical Spice

91

76

4 Stage Whispers September - October 2013

108

Get the most out of our magazine’s online interactions on your mobile device with a QR code scanner.

If your device doesn’t have one installed, http://bit.ly/gYbnAN browse your app store, or try one of these free options. http://bit.ly/zw8t5l

THE NEXT ISSUE OF STAGE WHISPERS IS FOCUSSING ON THE UPCOMING 2014 PROFESSIONAL THEATRE SEASONS PLACE YOUR AD BY OCTOBER 3 CONTACT (03) 9758 4522 OR stagews@stagewhispers.com.au

Editorial Dear theatre-goers and theatredoers, Each September our focus turns, in part, to training and schools.

Stage Whispers sends free copies of this edition to 2,000 high school Performing Arts departments across Australia and New Zealand.

Always a bumper edition, we add numerous Performing Arts training features, both on stage and behind the scenes, to our broad ranging theatre news and reviews.

We’d never forsake our regular readers, and I’m certain that many of our specially focused stories for young theatre fans will also appeal to many an inner child.

With an extra sixteen pages, we’re bulging at the seams with features, news and reviews, so much so that you’ll need to go to our online reviews section www.stagewhispers.com.au/reviews to catch up on an extra 40 shows that have happened across Australia in the last few months.

To read even more detail about training options, check out the link to our second annual online Directory of Performing Arts Courses (on page 37), which will be Online extras! published on September 15.

Check out our interview with Director I’m thrilled to report that Matt Ramsey. Scan the QR code or visit http://youtu.be/WT8nwbsRPqI monthly visits to www.stagewhispers.com.au continue to grow, setting a new record in July when we had more than 90,000 visits.

Since last edition we’ve also surpassed 7,000 likes on Facebook, while we’re rapidly approaching 2,000 CONNECT followers on Twitter.

Visit us online to keep up with the latest theatre news and reviews between editions.

Yours in Theatre,

Neil Litchfield Editor

Cover image: Rob Mills as Danny Zuko and Gretel Scarlett as Sandy Olsson in the upcoming production of Grease.

Photo: Jeff Busby.

Read our interview with Gretel about her new role on page 8. www.stagewhispers.com.au Stage Whispers 5

Stage Briefs Lizzie Mitchell will appear as Marilyn in the World Premiere of John Misto’s Dark Voyager at the Ensemble Theatre, part of their 2014 season.

For more details of the Ensemble Theatre 2014 season, visit our coverage at http://bit.ly/16OiFUY

Online extras!

Check out a trailer for Dark Voyager by scanning the QR code or visiting http://youtu.be/btTFrYwzCjA

6 Stage Whispers September - October 2013

The Lion King Cast Announced The cast for the new Australian production of Disney’s The Lion King, opening at Sydney’s Capitol Theatre on December 12, has been announced.

Rob Collins, born and raised in Darwin, plays role of Mufasa.

He is joined by Josh Quong Tart as Scar, Cameron Goodall as Zazu, New Zealand performer Jamie McGregor as Timon and Russell Dykstra as Pumbaa.

The role of Simba will be played

by New Zealander Nick Afoa.

Buyi Zama returns to the role of Rafiki, which she performed in the original Australian production.

Rounding out the principal cast are the relative newcomers Josslynn Hlenti as Nala, Ruvarashe Ngwenya as Shenzi, Terry Yeboah as Banzai and Andre Jewson as Ed.

For more details check out the Stage Whispers website http://bit.ly/17RLRHj

www.stagewhispers.com.au Stage Whispers 7

Our New Sandy “Single and ready to mingle.”

From understudy to leading lady, Gretel Scarlett steps into the biggest role of her life, as Sandy in the touring production of Grease. Just like the character, made famous

by Olivia Newton-John, Gretel has brains to match her good looks, having once studied Nuclear Medicine at Sydney University. David Spicer reports.

Online extras!

Meet Grease’s new Sandy by scanning the QR code or visiting http://youtu.be/SUXvqgw2JoY 8 Stage Whispers September - October 2013

Rob Mills (Danny) and Gretel Scarlett (Sandy) in Grease. Photo: Jeff Busby

At the media call for Grease the chemistry between Gretel Scarlett and her leading man Rob Mills (Danny), was palpable. He really wanted to smooch.

Gretel reveals that the feeling is mutual.

“I love Rob Mills. I have a crush on him. He is divine,” she swooned.

Do you literally love him I asked?

“No. He is such a gentleman.”

Goodness I thought, wouldn’t such on-stage electricity play havoc with your real life relationship? Lucky for Rob there is no boyfriend to get in the way.

“I am single and ready to mingle,” she purred.

The pair’s mutual attraction helped score them the parts. During the audition a producer told Gretel “You are Sandy.”

This is a big rap for a part made famous by Olivia Newton-John.

“It’s definitely intimidating. I have not come across a person who doesn’t know who Sandy is in Grease. Olivia Newton-John is the benchmark and she is our golden girl. But I am not representing Olivia. I am representing the Aussie girl of Sandy. There is always going to be a little part of us in every

performance. That’s what makes us unique.”

Gretel Scarlett’s theatre journey began at four and half, when her parents enrolled her in singing and dancing schools. At eight she ‘graduated’ into speech and drama.

“When I got to grade ten, I decided I wanted to go to Sydney to the Newtown High School of Performing Arts. I went for five weeks and I was offered a full time ballet scholarship which I did for an entire year,” she said.

“However I suffered from stress fractures. I realised ballet wasn’t for me.

I was (also) not satisfied doing the dancing. I wanted to sing and act as well.”

Gretel says she is a true believer in having a backup plan. Instead of going straight into training for performing arts when she left school, she came up with a ‘Plan B’.

“I found myself really interested in the bone scans on my stress fractures. I learnt that Diagnostic Radiography can also have a therapeutic role in fighting cancer.”

So after school she enrolled in a Nuclear Medicine degree at Sydney University.

If fate had been different you might have met Gretel in lab coat, easing you onto a trolley and into a giant scanner.

Instead her latest uniform is made of leather.

She found ‘joy’ in studying nuclear medicine but admits something was missing.

“I knew I belonged to where I am now.”

Gretel auditioned for the Musical Theatre degree at WAAPA and got in, graduating at the ripe old age of 20.

“If you use WAAPA to the max, you come out the best person for that age and experience. You don’t say I’ve got a WAAPA degree, I am going to be cast as the lead in the next musical. It just doesn’t happen like that.

“Of course it helps get an agent and be recognised. But when you get into the audition room that will show if you have worked hard or not.”

Gretel’s potential was recognised whilst still studying. She was cast in the production of the Australian musical Breast Wishes. Next came ensemble/ minor principal and understudy roles in touring seasons of Wicked and Mamma Mia! (Continued on page 10)

www.stagewhispers.com.au Stage Whispers 9

The cast of Grease.

Photo: Jeff Busby

Online extras!

Watch the cast of Grease as they perform the sing-a-long smash “Summer Nights” by scanning the QR code or visiting http://youtu.be/DuMwqIgcWGU (Continued from page 9)

“I had been a professional understudy for the last four years. An understudy isn’t meant to go on. I kept rehearsing and waiting for the next thing to happen.

“I didn’t even put in to audition for the role of Sandy. It happened out of the blue. This is the big one. This is the big break-through.”

How does she find auditions? Are they more nerve-wracking than an opening night?

“Auditions can be quite hard because you have a panel. It could be four people to 14 sitting in front of you. And they can be the most important people, who have the money in the show. And all eyes are on you.

“The thing you have to remember when auditioning is they want you to be good. They don’t want you to muck up your lines or fail. So go in there thinking of a positive experience because they want you to be in their cast.”

After going in and out of the audition panel the ‘immediate chemistry’ between her and Rob Mills helped win the audition panel over.

Gretel also feels a connection to the role of Sandy, as she is just the sort of girl who might have studied Nuclear Medicine.

“She is blonde but not dumb. She is an intelligent girl and comes from a privileged background, so I assume she 10 Stage Whispers September - October 2013

would be the girl that could go to Sydney University. She works hard, goes out and collects leaves for biology, she does her homework, is a very intelligent individual and not well liked.”

When I spoke to Gretel the cast were just settling in for their Brisbane opening season. Whilst the rest of the cast were meeting at the pub for a drink, she was settling in for a video and home-cooked meal.

“I am a Nanna just like Sandy.”

Was she also unpopular at school?

“As a performer we sometimes get targeted at school. I was that girl at school who might try to become a pink lady. I didn’t drink or smoke. I did my homework.”

At least she won’t have to do much homework on the accent - playing an Australian character at an all American school.

“Sandy was written as an American, but Olivia changed it for the movie. It’s an interesting experience to do it amongst all the American accents on stage.”

But standing out in a crowd is something that comes natural for Gretel Scarlett.

Grease opened at the Lyric Theatre QPAC on August 20. It plays at the Sydney Lyric from October 13 and Her Majesty’s Theatre Melbourne from January 2.

Subscription Form

Subscribe to be in the running to win one of the following prizes  10 copies of the Australian Cast Recording of Grease thanks to ORiGiN Theatrical.

 20 double passes nationally to the National Theatre Live’s acclaimed

production of OTHELLO. Screens in cinemas in all mainland states and the ACT from October 12.

 2 Double Passes to Dirty Rotten Scoundrels in Sydney on October 23.

SUBSCRIBE NOW!

SUBSCRIBE AT stagewhispers.com.au Name: ........................................................................

Address: .....................................................................

Phone:........................................................................

Email: .........................................................................

Please nominate your 1st and 2nd prize preferences:

……………………………………………………………………..

Send your money order, cheque, or credit card details to: Stage Whispers, PO Box 2274, Rose Bay North, NSW, 2030.

ABN 71 129 358 710

 Visa  Mastercard  American Express Expiry:......./........

Credit Card Number: .....................................................................

CCV Number .................................................................................

Signature: .....................................................................................

Sign me up for (tick applicable box):

6 issues  Print and e-mag for $39.50AUD / $49NZ OR  E-mag only for $24.95AUD 12 issues  Print and e-mag for $70AUD / $90NZ OR  E-mag only for $39AUD 18 issues  Print and e-mag for $95AUD / $120NZ OR  E-mag only for $55AUD (GST inclusive where applicable) ($NZ cheques address to David Spicer Productions)

www.stagewhispers.com.au Stage Whispers 11

My Strictly Ballroom Story Baz Luhrmann and his team are preparing for the World Premiere of Strictly Ballroom The Musical, which will open in Sydney in March next year.

The director explained the journey from student play, to hit film, to musical.

12 Stage Whispers September - October 2013

Strictly Ballroom is an inextricable part of my life. I was a ballroom dancer. I grew up in that world. Then when we were at the National Institute of Dramatic Art we were very interested in this idea of taking primary myth and placing it in a world you knew. The myth was about overcoming oppression.

Believe it or not, Strictly Ballroom came about as a response to the Cold War. We were young students and we felt so helpless. So this myth about overcoming oppression would be the transformative myth of The Ugly Duckling.

We did that little show - it went for 20 minutes, I was in it actually, and to this day I have never felt the thrill of an audience and the warmth and the joy that we felt at the end of that little show. Except pretty much every time we did Strictly Ballroom.

We took a version, not too long after that, and this was pre-Glasnost, to Czechoslovakia in a drama school festival. And in those days the show used to have more Brechtian stuff in it.

At the end of that showing we walked off the stage and there was such

cheering. Someone said, ‘What’s that?

Is it an earthquake?’ No, Boom Boom Boom Boom - it was the other students. We came back on and the Bulgarian students and these satellite students ran onto the stage and said, ‘Bravo Strictly Ballroom, Bravo Bulgaria.

This is about freedom.’ At 19 very rarely do you get liberated like that.

I thought that was the end of it.

Then came a little theatre company, and a further extended version of it.

We were lucky enough that there was a film company starting at that time, led by a wonderful gentleman called Ted Albert, of the Albert Music Company. Ted and his wife Popsey saw a production of Strictly Ballroom down at The Wharf, and he was forming a film company. We had a massive struggle to get that film financed, and the day we go to shoot it - tragedy Ted Albert dies of a heart attack, and I thought the film was over.

Incredibly Ted’s wife, Popsey Albert, said, ‘My husband always knew about talent. He knew what could work. I’m going to back the film.’

With the making of the film all I ever remember was joy and passion.

But when we screened Strictly Ballroom, the distributor left at the end of it and said, ‘That is the worst movie I have ever seen in my life, and you have ruined Pat Thompson’s career.’

Footnote, and very sadly, Pat won the award for Best Actress at the AFI that year posthumously, because she died and she never knew that she won.

Our film was over; it was going straight to video.

We were hurt and burnt and sad.

Then (Bazz and the team had retreated to a coastal caravan park to lick their wounds) this woman came up and said, ‘Bazzzz, Bazzz, there’s a guy on the phone … from France.’ (The man at the other end of the phone said) ‘I’m from the Cannes Film Festival. I’m going to make you an offer to put Strictly Ballroom on for one 12 o’clock screening. You have one week to decide. But if you go to another film festival, you’ll never come to Cannes.’

‘I think we can go to that,’ I said, ‘that’ll be alright.’ So we go to Cannes Film Festival and within 24 hrs … it’s still the highest selling film of all time.

Back here in Australia I think it saved Hoyts and there was a soundtrack.

You never know who is going to be a Strictly Ballroom fan. So forget that the Pope put it on his list of top five films.

The first time I met Bill Clinton we were in a small room and he was in an argument with someone … he said, ‘I’ve got to tell you we must have played that film in the White House at least six times.’ And he leant right in to me and said, ‘How about that mother?

What a piece of work, huh?’ - and then he went back to arguing with Richard Gere.

If I told you about who has approached us to do Strictly Ballroom musically it would be a very interesting list, but we didn’t find the right reason.

But (after meeting the team from Global Creatures) I thought somehow the planets have aligned. (We both believed) that you can create in this country for the world. We can make it here in our own language, our own words, for the world.

This is the right place, the right country, and here, at the age of 50, it’s the right moment for my own personal journey.

Online extras!

Check out Baz’s thoughts on the creative process. Scan the QR code or visit http://youtu.be/pZDmo2UhTOU As I speak to you I’m working with the team to generate the music language. There are going to be those classics in it, which you know and love, and there’s going to be new music as well.

Global Creatures is known for pushing the artform into new areas, like their production of King Kong.

How will Strictly Ballroom also be innovative?

I want us not just to go here’s the play and we’ll put a few of your favourite songs in it, and it’s the movie with a few songs. If we are not actually

breaking new theatrical ground with it, then at my age why would you bother? That’s what keeps all of our team excited - that we want to take it to a new theatrical place.

One thing I can guarantee you everything dances in this show.

Because there are a number of scenes in which there are large audiences and festivals, there will also be a participatory element with the audience. So the audience will, at times, be at the festivals. The dancing will be all around you. www.stagewhispers.com.au Stage Whispers 13

Cirque Mirrors The Man Cirque du Soleil’s spectacular Michael Jackson THE IMMORTAL World Tour is set to thrill Australian audiences, beginning in Perth on September 17.

Coral Drouyn talks to technicians and musicians who give the man and his music a brand new life.

Michael Jackson loved Cirque du Soleil. He loved the constant quest for excellence; the wild flights of imagination; the colour and the music; the stories and the themes, always searching for what the universe offers…infinite possibilities. And Cirque du Soleil loved Michael, and mourned his death in 2009, along with at least half of the western world. We knew somehow that the music would live on (how could it not?), but was there a way to immortalise Michael himself, for those who would never see him live?

Writer/Director Jamie King had been one of MJ’s dancers on the “Dangerous” tour and was working on the This is It concert tour when Michael died so suddenly. He became obsessed with the idea of somehow creating a show that was more than just a tribute show; a show that would take everyone to another place and give insight into how the talent and imagination of Michael Jackson took flight. It had to be a show that Michael himself would have loved, would

14 Stage Whispers September - October 2013

maybe even have wanted to do. It could incorporate some of the “This Is It” tour ideas, so that they would not forever be confined to the rehearsal concert film. “I remember going to Neverland with the creative team and meeting the grounds people who have remained faithful to Michael,” King reminisces. “I recall seeing the Giving Tree where he wrote, among other things, most of the Dangerous tour that I danced on, and I truly felt that I was at the right place creating this show.”

How could one do a Michael Jackson show without Michael Jackson? Choosing the songs was difficult because it was a feast of great music. One thing everyone agreed on, “Man In The Mirror” would be the finale, despite it being one of the few hits that Jackson didn’t write himself.

Nevertheless it was his anthem. “It isn’t just a great song, it sums up Michael’s attitude to the world - the universe. All change starts with one person.” While the creative team was pondering on the best approach, it suddenly hit them. What if it was Michael’s voice,

not the songs, that drove the show?

What if Michael sang, in a way we had never heard before, with a live band as if he were right there with them?

Enter Kevin Antunes as Music Designer. With access to all of the original master tapes, he set about isolating Michael’s voice, finding unused takes, looking for the unusual, and finding it: Michael reciting a poem; the sound of him clicking his fingers or tapping his feet; a previously unheard choir track, an a capella track.

It took him nearly two years, and he was constantly surprised.

“In some of his songs,” Antunes says, “Michael would let the grooves breathe and he would tuck his voice underneath the music.” So this production will give us a Michael we’ve never heard, singing with a fantastic live band, many of whom worked with Michael Jackson for over thirty years.

Musical Director Greg Phillinganes had spent more than half his musical life with Jackson.

“I wanted to handpick everybody in the band,” he explains. “We have a full band, including horns and an electric

“If you wanna make the world a better place, Take a look at yourself and then make a change” The Man In The Mirror

cello. We’ve ramped up some of the arrangements without spoiling anything for Michael’s fans. I wanted to have as many players as possible with a direct, personal history with Michael Jackson.”

One person who had no history with Michael Jackson is the youngest member of the company, lead guitarist Desiree Barrett. “I wasn’t even born

when Thriller was released,” she tells me by phone from Shanghai, where the show is now playing on its world tour. “I knew his music of course, my dad was a fan, but I don’t think I really understood how important he was to music through four decades. I mean, that’s insane. Now, since I’ve been doing the show, I realise how special (Continued on page 16)

www.stagewhispers.com.au Stage Whispers 15

when you consider that Greg has toured the world engineering and programming sound for such people as Jennifer Lopez and Christine Aguilera.

“Cirque du Soleil dream so big,” he tells me. “It’s never a case of, ‘well, that just can’t be done’. It’s always ‘We need to do this…let’s find out how.’ So then you look for new technology, and if it doesn’t exist, you build it.”

Greg is acutely aware that the show rests on him to a large degree.

“Without Michael’s voice, we lose the magic. That’s why I have a duplicate audio rig that runs at the same time. If one fails, the other one takes over.

Timing is everything. All of Michael’s vocals are time coded and I have to make sure that the click track for the band works within hundredths of a second, or there will be a time lag..”

Ultimately though, the technical aspects aren’t what matters to an audience. For the magic to work in any Cirque du Soleil show, the audience has to be swept away by the colour, the acts, the props, and the spectacle of the costumes. And no male artist is so closely associated with his costumes… the white glove, the hat, the Thriller red leather jacket. Michael’s world was the wellspring of Costume Designer Zaldy Goco’s creativity. “My approach has been to draw upon and respect Michael’s iconic style while creating something new and fresh. I placed Online extras! subtle references throughout the Be blown away by the spectacle of the costumes in the show.” Zaldy would show by scanning the QR code or visiting know. He created the look for Jackson’s http://youtu.be/sioGbwB5MyU This Is It concert tour. Along with Michael Curry’s set design and props which include a giant pair of shoes and (Continued from page 15) one white glove…all with dancers he was.” Desi (as the crew call her) was inside them - there are 1,200 pieces of already an award winning “Musician of costuming and props, which need the Year” while still in her early teens. three 45-foot trucks to carry the Her father started teaching her guitar costumes and additional wardrobe when she was just three years old, and equipment (washers and dryers, sewing at age nine she was already taking the machines, supplies, etc.) from city to Music course at the University of city. Cirque Du Soleil really is a Connecticut. Her favourite MJ song? travelling city.

“It’s gotta be Man In The Mirror.”

And what would Michael Jackson The keeper of Michael’s voice is think of the show if he could see it? audio programmer Greg Rule. At every “You know,” says Greg, “He would performance he operates the giant smile on it. And sometimes we can computerised audio rig complete with actually feel that during the show. It click tracks for the musicians and digital really is as though Michael is on stage, fibre optics sound channelling. It part of it all, a living presence. And sounds frighteningly technical, even that’s how it should be.”

16 Stage Whispers September - October 2013

Magical Storm Boy Takes Flight

Shaka Cook

It’s the fiftieth anniversary of one of Australia’s most treasured and loved stories Storm Boy. It does not date or age. Anyone or any generation can connect to it.

It’s about a lonely little boy who does not go to school, but spends his days on the beach. For any child that is an amazing lifestyle and creates this beautiful and extraordinary friendship with a pelican.

It is because of the vulnerability of that boy and his father, living in that vast landscape, that we invest emotionally in it as well.

Is it realistic, this relationship with a pelican?

I think for a boy who has grown up with his father on the Coorong, a very Perth’s Barking Gecko Theatre has isolated place, it is quite possible that a created a delightful stage adaptation boy could find three abandoned baby of Colin Thiele’s classic novel Storm Boy. It follows Storm Boy as he roams pelicans, raise them, and one could the windswept dunes of the Coorong become his best friend. Like a litter of pups that become loyal. in South Australia, meeting the How do you translate this huge enigmatic Mr Fingerbone and becoming best friends with Mr Percival. landscape into a small theatre?

We rely on the beauty of the story The Artistic Director of Barking Gecko John Sheedy explained to David Spicer and landscape. I think Tom Holloway what makes this production so special. has done a beautiful job adapting the Rory Potter in Sydney Theatre Company and Barking Gecko Theatre Company’s Storm Boy. Photo: Brett Boardman.

Set design by Michael Scottt-Mitchell.

Puppet direction by Peter Wilson.

book. We have a simple but striking set that is a beautiful playground where this plays out. There are three to-scale pelicans that fly around and are mischievous. Like War Horse there are puppeteers on stage manipulating them.

And how are you re-creating the soaring beauty of the pelicans?

By combining light and sound plus

Esther Hannaford as Ann in King Kong.

(ContinuedPhoto: on page 18) Jeff Busby

www.stagewhispers.com.au Stage Whispers 17

Michael Smith

Joshua Challenor and Trevor Jamieson in Sydney Theatre Company and Barking Gecko Theatre Company’s Storm Boy. Photo: Brett Boardman.

(Continued from page 17)

a few tricks which we don’t want to give away.

The secret is that the audience has to invest in the personality of the puppet. This is achieved by the interaction of the puppeteer and actor.

The puppet must claim the space. The puppeteer must never pull focus.

Storm Boy plays at the STC’s Wharf 1 Theatre until September 8, followed by a Perth season from September 19 until October 5 at Health Ledger Theatre.

Online extras!

See how Barking Gecko created the “Wave” set. Scan the QR code or visit http://youtu.be/XXB6bsKPxT4

Michael Smith, Rory Potter, Peter O’Brien and Trevor Jamieson in Sydney Theatre Company and Barking Gecko Theatre Company’s Storm Boy. Photo: Brett Boardman.

18 Stage Whispers September - October 2013

Joshua Challenor

Michael Smith in Sydney Theatre Company and Barking Gecko Theatre Company’s Storm Boy. Photo: Brett Boardman.

Rory Potter

www.stagewhispers.com.au Stage Whispers 19

Wicked New Boys Set Pulses Racing With Wicked set to open in Auckland, NZ , before returning to Australia in 2014, Coral Drouyn talks to the two new cast members who will set the pulses of Australasia’s favourite witches racing.

When the show was released, theatregoers grew to know Glinda and Elphaba as “Besties”, girlfriends who were very different to our perceptions.

The strange alien green “wicked witch” Elphaba is gentle and blessed with magic; Glinda, the traditional blonde beauty, whilst pretty and popular, is Wicked, now in it’s 10th year on Broadway, is a true icon. New Zealand vain, thoughtless and often selfish.

These are roles that leading ladies is holding its breath for a September 17th opening, and Melbourne is excited dream of… and beyond that, every girl who ever trod the stage in a high at the return of the show next May. school musical dared not even Most of us grew up with The fantasise about.

Wizard of Oz. Even as children we In this new production, whilst the knew Dorothy and Toto, The Wizard and the Munchkins, but we knew little female stars have all been part of the about the two witches, one good and show over the years, the newcomers are the male leads - and both have one bad; and, in true musical theatre shared that same longing, even from fashion, the men in their lives were their school productions of less exciting mere shadows, or non-existent. offerings, to be part of Wicked.

Stephen Schwartz changed all that Steve Danielson is excited on the with strong male roles that can hold second day of rehearsals for the their own on any stage with the Auckland opening. leading ladies. His fantabulous and “I came to Music Theatre quite magical musical revels in turning our pre-conceptions upside down, with the late,” he tells me. “I was pursuing a career as an actor and, although I dazzling insights, magical moments, sang, I actually studied voice in New the colour and the fantasy. Even as it York, I have no formal training in transports you to another place, it dance at all. That is one part that’s a reminds you what it is to be human bit daunting. But I knew right from the and extraordinary at the same time.

20 Stage Whispers September - October 2013

first time I ever did a play at school that I didn’t want what most of my classmates did. I just could never see myself having a steady job, a traditional career.”

When a dream is that strong, you simply can’t ignore it, and so Steve trained as an actor and started making break-throughs in television drama roles. “I was doing small guest roles in Neighbours, Offspring and the like. I wasn’t using my vocal training at all.

Then I got my first musical part in Xanadu, as understudy, and that led to me being understudy for Rob Mills in Legally Blonde. I went on for him quite a few times. It was not too nervewracking because you can take comfort from the fact that no-one is expecting you to be as good as the star. Something in you just makes you want to do your best though. Even in school plays I was always thinking of ways I could be better in my parts. You have to keep raising your own standards.”

When Steve heard that Rob Mills would not be repeating the role of Fiyero, he hardly dared to hope. “I saw Wicked on Broadway, and it completely blew my mind. Watching

Steve Danielsen

Fiyero I thought, wow…that has to be the best role around right now, but I don’t think I seriously thought I would get it. A dream role in a dream show?

Most people would say ‘wake up and get real. It’s never going to happen.’

But you have to keep believing that it will. Sooner or later it does. And besides, green is my favourite colour” Edward Grey, who joins Wicked in the role of Boq, worked alongside Steve in Legally Blonde, and has a similar story. “I was studying classical music,” he explains. “I played classical piano and other instruments and did vocal training as a classical singer. I honestly thought that was where my future lay. Because I could read a vocal score, I did a lot of work with Opera Australia, but once I got caught up in the magic of musical theatre, everything else seemed to pale.”

Still only 24, Ed looks even younger and that was a drawback for a while. “I went to WAAPA (in Perth) because I wanted the best training I could get (both Australasia’s Glindas, Suzie Mathers and Lucy Durack are also WAAPA graduates). We love musicals in Australia but competition is fierce.

WAAPA is fantastic because you learn everything about your craft and you get to perform in full professional standard productions.”

Even while he was still at WAAPA, Ed auditioned for Wicked. “I auditioned four times and I never made the cut, but it wasn’t because I wasn’t good enough. It was simply that they were role specific auditions and I wasn’t right for the role. I did get to play Georg in Spring Awakening for the STC. It’s a fabulous role in a great show, but I still had this thing about Wicked. Then Boq came along and I knew my timing was right.”

I asked Ed what would his dream role be and he thinks for a moment.

“One that doesn’t exist right now,” he says, “a role created especially for me.

Who knows, maybe I’ll have to write it for myself in the future.”

Both these young actors bring something beyond their stage skills to this production. It’s their belief in themselves, an absolute imperative for anyone who wants to make it. They know how lucky they are to get the chance, but it’s hard work and dedication which has seen them go from schoolboy dreams to star performers. And while the planet keeps talking about going green, Wicked is the greenest show you will ever see. All we have to do is sit back and enjoy it.

With Jemma Rix again playing Elphaba and Suzie Mathers as Glinda in NZ, with Lucy Durack returning to her favourite role in Melbourne, we have a lot to look forward to.

Edward Grey

Online extras!

Meet the Melbourne cast of the return season of Wicked on Stage Whispers TV. Scan the QR code or visit http://youtu.be/nMQAMw80ujA www.stagewhispers.com.au Stage Whispers 21

Rupert’s World In Williamson’s Words

What happens when a giant of the theatre offers his take on a colossus of the media? David Williamson took a short break during rehearsals for the World Premiere of Rupert, his 46th play, to talk to Coral Drouyn about his most challenging work to date.

If you add 24 screenplays, that’s a total of 70 (including Rupert) in his 71 years.

We can only assume he took his first year off. Certainly he’s more prolific than David Mamet, or Neil Simon… and even William Shakespeare only wrote 37 plays. Both Williamson and Murdoch, in vastly different ways, have built their reputations on the power of When a playwright tackles a living the word, and neither is ready to step subject like Rupert Murdoch, it’s away from what they do best…. tempting to talk about “David and “You can’t walk away from it, even Goliath”, but that would be a misnomer. Murdoch may be a giant in if you try. There are times when you his field, but so is David Williamson. In don’t want to write, but you have to,” David tells me. “I don’t know any more the 45 years since his first play was if it’s habit, conditioning, or a produced, he has written 46, more than one a year - all of them produced. vocation. It used to be because I had 22 Stage Whispers September - October 2013

things to say, and play writing allowed me to do that and earn a living. If I were starting out now, I probably wouldn’t be able to make a career out of it because theatre really is having a hard time at present.”

I picked up on his phrase “used to be.” Surely he still has things to say?

“Yes, of course, but this play isn’t driven thematically. It’s not about creating scenarios which allow me to express how I feel about relationships, or social injustice, or the human heart.

It’s Rupert’s story, and I had to get out of his way and be objective; let the audience make the judgement, not me.”

That sounds like an incredibly difficult thing to do for a playwright who has such a personal voice.

“It was bloody near impossible, because I DO have opinions, I do make judgements, I’m considered left-wing, but this play isn’t the place for them, and I can’t manipulate it and still do justice to the subject. It’s the most objective I’ve ever had to be.”

Rupert is so much larger than life; so much has been written about him; how does a writer even find a way in to the subject?

“That was the problem,” he confesses. “I couldn’t find that way in.

For 18 months I did nothing but read, soak up all the information, try to process it, and some of it was a mess. I did more research on Murdoch himself than on any subject or character in my whole life. I thought I knew what I was writing, but I just kept making false start after false start. I was committed; MTC had commissioned the play. I knew I had to make it happen. I just couldn’t find the form.”

So, I wondered, how many drafts did it take? Four, six, a dozen, twenty?

David chuckles, and there’s weariness but also relief in the response.

“I think the total was forty-two drafts.”

I am speechless, or rather, disbelieving. Forty-two drafts? On the one play? How is that even possible?

“It was like being in a maze,” David tries to explain, “I kept taking wrong turns, then I’d have to retrace, go back to the beginning. You know if something isn’t right, and there’s no

point in pursuing it. Some were too pretentious; some were too dry. In one draft he’d died and gone to heaven.

That was awful. In another he was Richard the Third, charming, cunning and ruthless, and the title might have been The Rise and Rise of Rupert. John Bell (Bell Shakespeare) told me if I saw him as Richard the Third, to write it that way, but at least give him a platform; a stage to put his case. And then something clicked. Rupert was a superstar in his own show, a larger than life performer in a mammoth production. He just needed a stage.”

The result is something far removed from what we perceive as a Williamson play. It’s part cabaret, part revue, part drama, part audience participation, part circus.

Rupert is both ringmaster and clown; a comedian in his own production:- his life. It’s like nothing the playwright has done since becoming a main stage writer. “It’s more a throwback to my early writing days, and the times when I appeared in and wrote Uni revues. I guess writers gain sophistication along with more knowledge of storytelling and structure, but sometimes it’s at a high cost - the loss of rawness, and truth. I haven’t written in this style for a very long time, but it’s still there inside of me. So I suppose it’s true to say that, as much as my style is evolving, it’s also devolving, cutting away some of the sophistication to get at Rupert’s truth. He’ll tell it to us, and how we judge him is up to us.”

The buzz about the play before it opens is enormous. There is so much interest that already the entire production is set to go overseas, before anyone has seen an entire performance. “We’re all very excited by that,” he tells me. “To have an overseas opening of a new play with an Australian cast is something that doesn’t happen very often.” But there is still an incalculable risk for the Melbourne premiere. The risk is called “Expectations”. It may shake the

audience out of its comfort zone, and therein lies the danger for Williamson.

“Yes I know there’s a perception that you can tell a “Williamson play” from the first five minutes and that my audience supports that formula, wants to recognise it and be engaged. But honestly, if I was just going to rework that perceived formula ad nauseum, what would be the point in writing anything new? I needed, at this time in

David agrees that the audience doesn’t make allowances. Nor should they.

“I’m enormously grateful that I started out at places like La Mama with Betty Burstall (the founder, who died recently). There was absolutely no room for preciousness or any bullshit.

The text was there to be torn to pieces and put back together again, and the plan was always that the best idea would win. It was about the work. I

my life and with a degree of success behind me, to step outside my own comfort zone and see what I was capable of. One never knows for certain how an audience will react.

Certainly it will be their own judgement. I don’t think the play makes up their minds for them. What I’m trying to do is entertain in an intelligent way, and no matter how much you’re convinced you are doing that, there is always a chance you haven’t communicated properly. Part of this process that I have been most excited by is the involvement in rehearsals. It’s been so exhilarating, thinking I had nailed it, only to see it keep growing and evolving through the rehearsal process. I’ve done more rewriting than I expected, but if the end result is better, I can’t argue with that.”

We chat a little about new writers, some very young, and some with the mistaken idea that an audience should pay money and then be subjected to a half completed idea in a form that isn’t entertaining. There’s a growing reluctance for writers to bite the bullet and rework incorporating someone else’s ideas for the good of the play, partly because in 99% of cases, there is no monetary reward for the extra work. Forty-two drafts would seem incomprehensible for some novice who thinks they have nailed it in one. But

learned so much about letting go of pre-conceived ideas and ego. All that matters is that what the audience sees is the best that it can be. If I’ve done that, with help from those around me, then I’m a happy man.”

That’s wonderful advice for any would-be playwright. And it’s also the reason why David Williamson is a giant, and a hugely successful one.

Rupert opened at the Arts Centre Melbourne on August 29th.

Williamson: Collected Plays Vol. III Buy now from Stage Whispers www.stagewhispers.com.au/books www.stagewhispers.com.au Stage Whispers 23

Alison Bell and Lucy Durack

Tim Minchin

Cheers and Jeers at the Helpmann Awards It may have looked good on television but being in the audience of Australia’s ‘Live Entertainment Awards’ is another experience altogether. David Spicer reports on a very long night in the Sydney Opera House, which celebrated a year that saw commercial theatre producers licking their wounds.

It began promisingly enough. The hosts Eddie Perfect and Christie Whelan Browne sang a ditty about triple threats performers.

A triple threat used to be the most amounts of threats you’d get, If you could sing a tune, and act and a do a pirouette, It was the safest bet you’d head Host Eddie Perfect summed it up on home with a statuette.

Twitter. The day after the Helpmann And here’s fact if you want to win, Awards he wrote that he was relieved you’ve got to do more than dance and that a fancy hostage situation was act and sing, over.

You need a massive Twitter Being held captive for four hours, following. and not given formal permission to Cause now-a-days a triple threat is leave for a pee, were 1500 people in not that threatening. the Dame Joan Sutherland Theatre of Try some circus magic. Re-write the Sydney Opera House. some classics and you’ll take the world 24 Stage Whispers September - October 2013

by force.

Or some hard core miming, internal rhyming and contemporary dance of course.

Create a giant puppet. Audiences love it ...except when that puppet’s a horse.

The hosts made a good fist of their act, which was to ask awkward questions of the presenters.

“So Tina Arena, you live in France, what’s wrong with Australia?”

“Nothing’s wrong with Australia. I fell in love with a Frenchman,” she replied. Touché!

To King Kong’s blonde, Esther Hannaford.

“Kong is given expression thanks to myriad hydraulics, motors magnets,

pneumatics, controlled by King Kong made a sweep voodoo rigs at the back of of design and technical the theatre. Do you worry awards. this is the theatrical Best Actors in a Musical equivalent of automatic went to Geoffrey Rush for check outs at the A Funny Thing Happened supermarket and that you on the way to the Forum are effectively the last of the and Lucy Durack for Legally checkout chicks, painfully Blonde. Colin Friels was instructing consumers how Best Male Actor in a Play in to use the machine that will Death of a Salesman and eventually take your job?”

Alison Bell was Best Female “Yes I am freaking out.

Actor in a Play in Hedda Who knows what Global Gabler. will do next. They could My award for best speech easily whip up a blonde,” on accepting a Helpmann she whipped back. went to John Wegner, who The problem for the live won his fifth for Best Male audience was what Performer in an Opera for happened … or didn’t his performance in Salome.

Erika Heynatz and Andrew Kingston happen in the TV Asked why he chose opera advertising breaks. In past as a vocation, he responded years a joker would run on that it was because he is Online extras! to entertain us. Anything, a not very good at dialogue.

Check out a full list of Helpmann winners clown or juggler - couldn’t But for some of those who by scanning the QR code or visiting they find some ‘Live won awards the http://bit.ly/127r6XZ Entertainment’ to fill in the celebrations were muted. gaps?

The producers of Legally The poor hosts were left to fumble "From our perspective, Opera Blonde did not get all their money back around, waiting for instructions from Australia, we need to consider very from their investment. The season was the very hard-to-find director. carefully before we make the Opera cut short in Melbourne and did not Some in the audience walked out.

Theatre available next year." tour to other states.

Lyndon Terracini from Opera Australia Ouch!

Whilst some performers in The also complained that the set of La At least most of those who won a Addams Family won Helpmanns, Traviata was damaged.

Helpmann (and turned up to collect it) likewise it was very disappointing for "Live television compromised the left with smiles on their faces. the investors in the production, as the event within the theatre," Terracini told The Secret River received five season was cut short in Sydney and did The Australian. "A lot of people felt it awards including for Best Play. not tour. was a serious problem.

Legally Blonde took out the awards (Continued on page 26) for Best Musical and four others.

www.stagewhispers.com.au Stage Whispers 25

reflected my opinion that it was a truly And remember that line in the extraordinary production. opening song: “Create a giant puppet.

The ticket attendance figures for Audiences love it. ...except when that 2012 reflect the tough times for commercial producers. The industry puppet’s a horse.”

Well word around, at the after sold $1.2 billion dollars worth of tickets, down eight percent on the show party, was that even War Horse previous year. made a loss for its producer Global Creatures in 2013.

It is clear that it is a tough time to That seems to be on the money, as be selling tickets, and other goods and a planned transfer to New Zealand was services for that matter, which is why cancelled after the Melbourne, Sydney the Reserve Bank keeps cutting interest rates. and Brisbane seasons.

Peter Pinne wrote a feature for But the world is cruel. The best www.stagewhispers.com.au asking don’t often get success it’s sad but why War Horse was not nominated in true. this year for any awards? The answer You could hone your craft and you from a judge was that the production could a still lose to TV stars who dive in did not excite audiences as much as swimming pools. (Or Rob Mills.) the original West End season If the audience is frightened, you particularly when seen from the back know you’ve hit the mark. of a big venue.

By the curtain call they should feel Other gripes came from Victoria they’ve been mauled by tap jazz and a where some complained about a jock.

Sydney bias in the awards. I don’t buy Everyone who saw Legally Blonde is that. The organisation which runs the in shock because...it was just too awards is in Melbourne and the fact much. Oh my god you guys! that the Sydney Theatre Company Still a triple threat is not threatening scooped the pool for The Secret River enough.

(Continued from page 25)

26 Stage Whispers September - October 2013

Sharon Millerchip

“He comes home from work to his wife who says. I have got news. I have just joined a Refugee Action Group. There is an Iranian refugee who has made an application for political asylum. He’s allowed to live in community while being considered. He is going to live with us.”

“He says no way. It’s not going to happen. She says YOU will have to tell him yourself. He says, I am not going to a refugee camp. She says no, he’s here in the kitchen.”

It turns out the Iranian refugee (played

by Jewish actor Geoff Sirmai) is a professor of mathematics.

This comes in handy when a cousin arrives from Queensland.

“He’s the black sheep of the family who has a theory about how to turn $10,000 into a million dollars at the roulette table. The refugee points out the flaw in his mathematics and the three head off to Star City to give it a whirl.”

Add to that the involvement of the Australian Crime Commission and an outlaw motor cycle gang, who combine to make life hell for the arrogant lawyer.

Tony has dabbled in non-lawyer plays but they are not as successful for him. There’s too much fun to be had in making fun of pompous legal eagles.

Laughing at Lawyers Sydney lawyer Tony Laumberg has written and produced 13 successful seasons of his unique brand of comic plays. The do-it-yourself theatre maker writes the plays, promotes the shows and even sells the tickets front of house.

On the eve of his latest play The Good, The Bad and the Lawyer in Sydney he shared a coffee with David Spicer.

We found a café with an appropriate statue. Don’t look back I thought. Tell me your favourite lawyer joke I asked.

“What’s the difference between a lawyer and a laboratory rat? When the laboratory rat dies at least someone cares.”

With jokes like that it’s a wonder he isn’t thrown out of his profession by the Law Society.

The suburban solicitor - come comedy writer - caught the play writing bug when he sat next to a theatre director at a birthday dinner. He was advised to think of a play he liked and write a variation of it.

The first play, based on the Odd Couple, was called Unsolicited Male. It was about a young lawyer who has his father turn up in a tracksuit on the night he has a big dinner planned with a partner, where he was poised to secure a promotion.

“I like to give my main character hell. Turn their world upside down.”

Lawyers are most often his target.

“They are so serious. It is easy to make fun of them.”

His playwriting career was almost still-born. His first producer rang him to cancel the production because he was going through a mid-life crisis.

“I decided to do it myself. I then decided you need two things, money and an audience. I made a list of everyone I knew in the universe, sent them a flyer and rang them. I sold out a two week season by ringing everyone.”

It has been so straightforward since then, but a following made up of about one third from the legal profession has kept him producing one play a year, and most of them turn a profit.

He prides himself on paying professional actors, directors and designers.

“I can’t give up my day job. When you think of the hours I put into it, sometimes I make about $1.50 an hour.”

The next production, The Good, The Bad and the Lawyer, will play at Sydney’s Tap Gallery from October 10 to 27.

The main character is one of his favourites - Henry Crowley - a senior partner with a big city law firm who lives in the Sydney Upper North Shore suburb of St Ives.

www.stagewhispers.com.au Stage Whispers 27

Amy Lehpamer, Matt Hetherington, Katrina Retallick & Anne Wood.

Photo: Matt Watson

Triple Threat Scoundrels Broadway musical Dirty Rotten Scoundrels, based on the 1988 film starring Steve Martin and Michael Caine, comes to Sydney’s Theatre Royal in October for a strictly limited season.

Neil Litchfield was at the launch, and spoke to several of the cast members.

There was quite a buzz among the group bookers at the announcement that Tony Sheldon will return to Australia, following his West End and

28 Stage Whispers September - October 2013

Broadway successes in Priscilla Queen of the Desert, to lead the cast of Dirty Rotten Scoundrels as Lawrence Jameson, a suave conman. Still in the US, Sheldon bantered by video with Matt Hetherington, who plays the cocky small-time American hustler Freddy Benson. Hetherington won a Green Room Award playing the same role in The Production Company’s 2010 concert presentation of Dirty Rotten Scoundrels In Melbourne.

Hetherington says of Dirty Rotten Scoundrels, “I’ve never had so much fun on stage. It was a movie that I absolutely adored growing up. I knew it very well, and when I saw the musical on Broadway I couldn’t quite believe that they had managed to capture the spirit and fun that the movie had. Freddy gets to do so many fun things.“ Do you have a favourite moment?

“There’s so many, but the song Freddy and Christine do, ‘Love is my Legs’, when he’s in the wheelchair and trying to convince her that maybe her love could make him actually walk. It’s

like a Bon Jovi slash Meatloaf 80s ballad, and the fact that her love actually draws him out of the chair and across the stage, and he learns to walk like he’s been saved. That’s about as much fun as you could have on stage.”

Amy Lehpamer (Rock of Ages) repeats the role which she played for The Production Company, Christine Colgate, the naive American heiress who is the target of Lawrence and Freddy’s con.

“It was my first leading role, and that comes with a lot of terror, excitement and learning curves. So inevitably you find half way through the Saturday matinee, which is three shows in, that you start to get a feel and a groove for the character, then before you know, it’s closing. So, it’s such a gift to be able to revisit her,” Amy said. “When I finished the show I sort of hoped it wasn’t the end, because I knew that there were certain elements of the character that really suited me, and having that flexibility of working with someone like Matt, who’s got that cheeky glint in his eyes

(‘Cheeky glint? That’s just my lazy eye!’

Matt chimed in) that you can tell on stage - he’s always very respectful and very good, but there’s always a sense of ‘what’s going to happen’ when you’re on stage with Matt.

And how does Matt feel about working on stage with Amy? “Well apart from being totally adorable and gorgeous, not that I would ever tell her this, Amy is a very clever performer, because she has this real natural quality where it seems as if she doesn’t know what she’s doing, this gormless quality, the innocence.

You need to believe that Christine is just the soap queen, is there to have fun and falls under the spell of these two swindlers. Last time we did the show people believed that, and it is one of the great strengths of the show.”

And of course Christine has a subplot, which people who have seen the film know, but we shouldn’t spoil it for the uninitiated, I suggested.

“My delightful subplot. We can’t say what it is,” Amy said. “Everyone has their own secret. Everyone’s got something to hide. Everyone’s scamming someone else.”

“That’s what they get caught up in,” Matt added. “They’re both having so much fun, and each of them thinks that they’re in control of what’s going on. Certainly Freddy does - he doesn’t realise at all that he’s being played by anyone. He would never think that he’s the playee; he’s always the puppeteer.

But it’s called Dirty Rotten Scoundrels for a reason; every character who you meet and spend more than about a minute with is a scoundrel in their own way, and they’re as bad, if not worse, than the other.

Anne Wood (Mamma Mia!) and Katrina Retallick (The Addams Family) play Muriel Eubanks and Jolene Oakes, two of the women conned by the pair of swindlers.

Anne says, “Muriel is a woman of a certain age who has a lot of money, but she’s bored, and most importantly, she’s lonely. I’m very excited about the script because it’s just so funny, you’re actually belly-laughing while you’re reading it. I love the fact that she’s so unaware of her naivety.”

Katrina explains, “Joelene is ‘a princess of petroleum’. That is how she’s referred to. Her money has come through family oil, from Oklahoma, so I’ll be dusting off my southern accent for this one. She’s ridiculously foulmouthed, loud and in your face. She

“I’m jealous of the swearing,” Anne added. “I had the F… word once, but the author came in and cut it. I was devastated.”

“I have the F… word in my song,” said Katrina said.

“Oh, something you can get your chops around,” Anne added.

While everyone is thrilled to be working with Tony Sheldon, Matt Hetherington was perhaps the most effusive. “When I learnt that he had accepted the role, it was like I had won Lotto. I actually exclaimed ‘Yes!’ because I knew that he wanted to do it, and I had actually sent him messages telling him that he had to do it. He has that very classy, intelligent sort of sophisticated flair. And talk about a glint in your eye. Just watching the video at the launch, he’s got this sort of glint in his eye. I said to him in a message, I’ve got no idea how we’re going to get through some of these scenes, because you’re hilarious from a distance, let alone up close. I feel like I’m heading to Disneyland. I’ve got a huge ball of excitement in my stomach, and I can’t wait to get started.”

This all-new production of Dirty Tony Sheldon Rotten Scoundrels will be directed by Roger Hodgman, musically directed by doesn’t know how hilarious she is, Guy Simpson and choreographed by she’s just ‘bein’ herself’, and ‘doin’ her Dana Jolly, and plays at Sydney’s thang’ (Katrina drawled) - looking for Theatre Royal from October 24. her prince, and so excited that she’s found him.”

What will she be looking forward to most?

“Chewing it up, spitting it out! She only appears three times in the first half, so I’ll just be making a whole lot of noise, which is what I do best. Then I’ll disappear and leave it to the professionals.”

And the foul-mouthed aspect of the role?

“It’s very liberating.”

“Do you swear a lot,” Anne chipped in.

“Oh yeah,” Katrina replied.

“Swearing on stage, that’s a gift,” Anne said.

“She swears in her song, and she shoots at Lawrence,” Katrina said. “She uses her pistol to make him dance.

She’s absolutely ridiculous, so I’m really looking forward to having a lot of fun with her. No holds barred.” www.stagewhispers.com.au Stage Whispers 29

Always Working With Animals And Children Andrea Munn knows how to teach an old dog new tricks. She can turn an unruly mutt into Toto in a few months.

Last year her dog whispering powers were tested to the max when her prized pooch became the lunch target of a hungry cross breed just minutes before the curtain went up on The Wizard of Oz. David Spicer reports.

The scene was very ugly. Dozens of Munchkins were hysterical. The Tin Man, Scarecrow and the Lion in full costume crowded around a wounded Toto in the car park of the Parramatta Riverside Theatre in Sydney’s west.

Toto - alias Suzie - a cross Shih TzuMaltese, was seriously injured.

Andrea Munn recalls how it happened.

“We were outside going to the park to the toilet. Somebody yelled out get Toto. By the time I picked her up the dog had me and her. I had to get Suzie out of the dog’s mouth. It was clamped around her stomach. So I fell on the two of them. It frightened the dog and made her let go. If I had put

30 Stage Whispers September - October 2013

my hand in and pulled her out Suzie, would have been ripped to pieces.”

With 20 minutes to curtain-up the Producer Neil Gooding was preparing to announce that The Wizard of Oz would be without Toto tonight. But could an emergency visit to the vet to

Toto, alias Suzie, in The Wizard of Oz

patch up her stomach save the day?

Read on to find out.

Ironically, training a dog to perform, whether in a show ring or on the stage, is all about controlling their stomach.

That is the gospel according to Andrea Munn, who was recently was

inaugurated into the Spotlight Hall of Fame - a community theatre award based in Sydney’s southern suburbs.

Since being introduced to community theatre in 1998 Andrea has volunteered to help out in more than 100 productions.

Her dog training principles are simple.

“Praise the positive and ignore the negative. The dog has to know you are in charge. You don’t let them go through doors in front of you. Wait till you are through. It is hierarchy thing.”

“Don’t throw food down and walk away. Make them sit and wait. Many make them shake hands or do high fives. Make sure it is not a free-for-all.”

Can you teach an old dog new tricks?

“I believe you can. I have never had any trouble. I walk around with a pocket full of treats. I trial my dog and make them go to toilet before they go into the ring. They are very good at routines.”

When it comes to theatre Andrea says the most important thing is that the dog knows you are going home with them.

“It must not be frightened that it will be left there. I use rewards, but by the end of the season the dog just does it.”

In The Wizard of Oz the first challenge is for Toto to run on stage to greet Dorothy.

“Suzie struggled because of the lights. As soon she got on stage from the dark wing her eyes did not adjust.

She took about five paces and stopped.”

“So we got Dorothy to go to her (half way).”

How did she know to go Dorothy?

“She got to know where I was.

Someone holds her on the other side of the stage and she comes across.

“While Dorothy sings ‘Somewhere Over the Rainbow’, Suzie has to sit on bails of hay. You pray she will stay there. We started off by putting treats there. Then she learned she had to stay there.

“She also had to learn to not be frightened when the witch threatens to throw her into the river, or be scared of the bubbles or smoke or wands that are floating or the house going round

“Jordan and I got in my car and drove to the North Parramatta vet (Andrea has the greatest praise for them). They took her in, put some staples in her stomach, gave her some pain relief, anti-biotics and she went on.

“She was a bit dazed (and by accounts less energetic in her performance) but was fine. Everyone was carrying on around her. I was bit sore too, as I think the dog headbutted me.”

Despite the drama, Andrea Munn gets enormous satisfaction from helping her dogs perform and says they are very good with little children.

“My dogs are very well socialised.

They love people patting them. I get parents saying they could not get their child near a dog before they met mine.

“My one rule is nobody feeds them. Firstly, I don’t know what they are feeding them, and I don’t want and round in a tornado. them to expect to be fed when they “It was just trust. I am always in the see children. wings.”

“I got bitten once by an overAll this was achieved after starting zealous Labrador which expected training on Suzie in December, for a food.” production that took place in March.

And the same rule should apply Andrea has another prized dog about small dogs becoming bait to which she has had since a pup at eight bigger ones just minutes before the weeks. Primrose is a Golden Retriever - curtain goes up. a veteran of Annie at the Regals Musical Society in Rockdale.

“Annie is a little bit harder than The Wizard of Oz. The dog has to go on stage to the exact place where Annie stands. In the dress rehearsal we used treats. By time we opened, we didn’t need them.”

The dog has a crucial part of the narrative in Annie in the child being able to prove her identity.

“The Policeman asks her to prove that it is her dog. You have to train it to not come over when it’s called Sandy but only when it hears Come Sandy.”

The next gig for Primrose is a new production of Annie at the Parramatta Riverside Theatre for Packemin Productions next February…at the scene of the doggie bite drama.

Which brings us back to exactly what happened when Suzie became a lunch target with 20 minutes to curtain -up?

Primrose in Annie at The Regals

www.stagewhispers.com.au Stage Whispers 31

B

roadway uzz

Bruce Sussman and Barry Manilow at rehearsals. Photo: Brant Sanderlin

By Peter Pinne

James Snyder (CryBaby) has joined the cast of Tom Kitt and Brian Yorkey’s new musical If/Then which opens a pre-Broadway engagement at the National Theatre, Washington, D.C. 5 November. Other cast members include Idina Menzel (Wicked/Rent), James Snyder LaChanze (The Color Purple) and Anthony Rapp (You’re a Good Man Charlie Brown). Michael Greif, who directed Kitt and Yorkey’s Next To Normal, is also inked for this piece about a woman who returns to New York City to give her life a fresh start. It previews at the Richard Rodgers Theatre from March 4, 2014, and opens on March 27.

Disney’s latest movie-to-stage project The Jungle Book is heading to Boston again following an unprecedented three extension season at Chicago’s Goodman Theatre. It plays Huntington Theatre Company’s Boston University Theatre from 7 September until 13 October. Director Mary Zimmerman has added a bit of Bollywood to the stage version, which is based on Rudyard Kipling’s 1894 collection of short stories as well as Disney’s 1967 animated film. The story, set in India, chronicles young Mowgli’s coming-of-age in the animal kingdom, and features a score

by Richard M. Sherman and Robert B. Sherman. New Indian -inspired arrangements are being provided by Doug Peck, with choreography by Christopher Gattelli (Newsies), and assistance from Indian dance consultant Hema Rajagopalan.

André de Shields as King Louie and Akash Chopra as Mowgli in Mary Zimmerman’s musical adaption of The Jungle Book.

Photo: Liz Lauren

32 Stage Whispers September - October 2013

Online extras!

Check out a trailer for Harmony by scanning the QR code or visiting http://youtu.be/3daDQMRnt-Q Pop icon Barry Manilow has written his first original stage musical, Harmony, a 1940s-set show which opens at Atlanta’s Alliance Theatre 6 September. It’s the story of the German boy-band The Comedian Harmonists who came to prominence in the 1920s, sold millions of records, starred in dozens of movies, and played concert halls throughout Europe until the world they knew forever changed.

Manilow had previously written Copacabana, a 1985 television musical which was adapted for the stage and played London’s Prince of Wales Theatre in 1994.

Goodspeed Opera House, East Haddam, Connecticut, celebrates its 50th anniversary with a production of Frank Loesser’s ground-breaking 1956 sung-though musical The Most Happy Fella, which they first produced in 1992. This time around the role of Tony will be played by Bill Nolte (La Cage aux Folles), with Mamie Parris (Ragtime) as Rosabella.

It runs from 20 September until 1 December.

A new original musical adaptation of Shakespeare’s The Tempest will give free performances at Central Park’s Delacorte Theatre from 6-8 September. Music, lyrics and book are by Girlfriend writer Todd Almond, who also appears as Ariel. Others in the cast are Laura Benanti (Women on the Verge of a Nervous Breakdown) as Goddess, and Norm Lewis (The Gershwin’s Porgy and Bess) as Prospero. It’s an initiative of Public Works, who have joined with five community partners to promote community-based theatre.

Andrew Lloyd Webber’s version of Harold Arlen and E.Y. Harburg’s The Wizard of Oz has just completed an extended eight-month run in Toronto, Canada, and now moves to Las Vegas to launch its U.S. tour 10 September.

Like the London production in 2011, the role of Dorothy was cast after a six-week Canadian television show search that featured Lloyd Webber as one of the judges. Musical theatre college student Danielle Wade, who hails from LaSalle, Ontario, won the series and will again play Dorothy on the U.S. tour.

London Calling

Tommy Steele as Scrooge

By Peter Pinne Tom Brooke (Jerusalem) will play the leading role of Gorge in Dennis Kelly’s new play The Ritual Slaughter of Gorge Mastromas which opens at the Royal Court Theatre 5 September. Others in the play to be directed by Vicky Featherston include Pippa Haywood (Wanderlust), Joshua James (No Quarter), Jonathan McGuiness (Metamorphosis), Aaron Monaghan (King Lear), Katie O’Flynn (The Miracle) and Alan Williams (Stoning Mary). A dark morality play, the piece traverses the early promise of the 70s, through the unrelenting capitalism of the 80s and 90s, as Gorge journeys from innocence to savage greed. Kelly’s previous plays have included Love and Money, Osama the Hero, and the book of Matilda the Musical.

Former Pop Idol winner Darius Campbell is returning to the West End to play a principal role in Tim Rice and Stuart Bryson’s new musical From Here to Eternity. His previous credits include Chicago and Gone with the Wind. Adapted from James Jones’ 1951 novel, the musical has lyrics by Rice, music by newcomer Bryson and a book by Bill Oakes.

The story is set on the Hawaiian Island of Oahu in 1941, before and during the attack on Pearl Harbour. The novel Geronimo Rauch was previous filmed in 1953 with Burt Lancaster, Deborah Kerr, and Frank Sinatra, who won an Oscar for his role of Maggio. The stage version previews from 30 September and opens at the Shaftsbury Theatre 23 October. Other principals include Siubhan Harrison (Lorene), Robert Lonsdale (Prewitt), Ryan Sampson (Maggio) and Rebecca Thornhill (Karen).

Nick Payne’s arresting and topical play about personal injury lawyers and a compensation culture based on fabricated incidents, The Same Deep Water as Me, has had a mostly positive critical reaction. The Guardian’s Michael London’s longest running musical The Phantom of the Billington called it a “sharply observant social comedy”, but Opera gets some major cast changes commencing 2 September. Geronimo Rauch, an Argentinian actor recently the Daily Telegraph’s Charles Spencer thought “it never seen as Jean Valjean in the West End’s Les Misérables, takes achieved lift-off”. Paul Taylor (The Independent) said Payne has “written a shrewd, witty dissection of the culture of over the title role, with Sean Palmer, the recent Bobby in Crazy for You as Raoul. Claire Moore comes in as Carlotta, lying”, with Henry Hitchins (Evening Standard) thinking it Jacinta Mulcahy as Madame Giry, Jeremy Secomb as Piangi, “an assured offering from a playwright who combines shrewd observation with an ability to make us squirm”. It Andy Hockley as Monsieur Firmin, Martin Ball as Monsieur stars Nigel Lindsay and Daniel Mays and is currently playing Andre and Cat Lane as Meg Giry. Rauch had previously played Jean Valjean in the new 25th Anniversary production at the Donmar Warehouse. of Les Misérables in Barcelona, whilst Palmer’s Broadway credits include Disney’s The Little Mermaid and Fosse.

Phantom has played continuously in the West End since 1986. It has been seen in 151 cities in 30 countries and been seen by over 130 million people.

Tommy Steele is touring in Leslie Bricusse’s popular Scrooge - the Musical at the end of this year and over the Christmas period, playing Ebenezer Scrooge. The heartwarming family story based on Charles Dicken’s A Christmas Carol is the same Bill Kenwright production that broke records at the London Palladium. Steele’s musical theatre credits include Half a Sixpence, Hans Anderson and Singin’ in the Rain. The tour starts 23 October in Wimbledon before moving to Birmingham, High Wycombe, Southampton, Leeds, Blackpool and Brighton, where it plays until 6 January. www.stagewhispers.com.au Stage Whispers 33

Stage on Page

By Peter Pinne

Strippers, Showgirls And Sharks. By Peter Filichia (St. Martin’s Press US$26.99). Peter Filichia’s new book is erudite, witty and insanely knowledgeable about all things Broadway. The columnist and critic, who’s always a fun read, this time sets his sights on the Broadway musicals that didn’t win a Tony Award, a broad canvas that allows him to virtually discuss any musical of the last 60 years.

The title refers to the three most famous shows that missed out on a Best Musical Tony - Gypsy (Strippers), Follies (Showgirls) and West Side Story (Sharks).

Filichia knows his territory and knows what constitutes a good musical. He astutely dissects plots, points out story and character inconsistencies, and castigates lyric writers for their sloppy and false rhymes. His account of the 1974-75 season where The Lieutenant, a longforgotten and obscure 9 performance flop rock musical, was up for Best Score but Jerry Herman’s Mack and Mabel wasn’t, is brilliantly encapsulated and amusing. The Boy from Oz gets a mention when he likens

the show to the male equivalent of Funny Girl, claiming Hugh Jackman gave a “head-turning star performance” and was an “easy Best Actor in a Musical Tony winner”. He considers that Marc Shaiman was brilliant at capturing the 60s sound in his music for Catch Me If You Can, Tommy Steele’s stage sincerity in Half a Sixpence “felt phony”, and that Harvey Fierstein’s book for Newsies had expressions that were “anachronistic”.

It’s up-to-the-minute, accurate and honest in its assessments and one of the best books I’ve read about Broadway musicals in recent times. It comes with 8 pages of glossy B&W photos plus an extensive index. following the death of its founder Serge Diaghilev in 1929. Between The Ballets Russes In Australia And October 1936 and August 1940 the Beyond. Edited by Mark Carroll company made three tours to Australia (Wakefield Press $75.00). This and New Zealand under the auspices comprehensive and richly illustrated of J.C. Williamson Limited performing book about the Ballets Russes visits to 46 productions, most of them Australia in the 1930s documents the Australian premieres. They visited influence of those visits on audiences Adelaide, Melbourne, Sydney, and practitioners and of its lasting and Brisbane, and toured to 12 cities in enduring legacy on the art form today. New Zealand. The premieres included Colonel Wassily de Basil had taken Scheherezade, Le Spectre de la Rose, control of the Ballets Russes Company Petrouchka, La Coq d’or, La Beau Danube, and Bolero. Their 1940 season also featured world premieres of Graduation Ball, Pavanne and Icare.

The latter was notable for its costume and scenery design by Sidney Nolan.

This fascinating history is brought to life by a series of knowledgeable essays written by Mark Carroll, Lee Christofis, Valerie Lawson and Richard Stone amongst others.

When war broke out in Europe in 1939 several of the Ballets Russes Company opted to stay in Australia at Visit our on-line the end of their tour. Those artists Edouard Borovansky who book shop for included went on to create his own ballet back issues and company in Australia which was the of the Australian Ballet. This stage craft books forerunner book will not only delight balletomanes but also anyone interested in the history of the arts in Australia. It’s a coproduction between the Australian Ballet, the University of Adelaide and www.stagewhispers.com.au/books the National Library, and comes with

Stage Whispers Books

34 Stage Whispers September - October 2013

inclusive and authoritative indexes of personnel, productions, and liner notes.

Heart Of The Arts. By Lance Campbell (Wakefield Press $39.95). This book, released to celebrate the 40th Anniversary of the Adelaide Festival Centre, is handsomely produced with good photos, but a text that is superficial. According to the author, before the Adelaide Festival Centre was built “live theatre was for Dame Edna Everage and culture was for penicillin,” a glib attitude that permeates this tome. In 1998 Lance Campbell wrote By Popular Demand, which looked at the first 25 years of the Centre. Heart of the Arts concentrates on the next 15 years.

According to Campbell, the centre’s main successes in that time have been three continuing festivals - Cabaret, OzAsia and Guitar. It’s written like a series of newspaper articles. There’s no discussion on drama or what drama was presented in that time, no listing of shows in its 40-year history, and no index. The most interesting thing is the brief chapter on the Performing Arts Collection, and the collage of program covers inside the front and back covers.

Correction: Last issue, in the book review of Her Majesty’s Pleasure, Her Majesty’s Theatre, Adelaide, was incorrectly referred to as the “oldest theatre on the mainland.” It should have said “One of the oldest theatres on the mainland”.

STOP PRESS!

TONY AWARD WINNING THE KING AND I RETURNS TO AUSTRALIA

As we go to print, producer John Frost has announced that his Tony Award-winning production of The King and I will return to Australia in a Gordon Frost Organisation / Opera Australia co-production in 2014. The Christopher Renshaw directed production premiered in Australia in 1991. The first Australian production ever to be taken to Broadway, The King and I went on to win four Tony Awards on Broadway in 1996, including Best Revival of a Musical, Best Scenic Design (Brian Thompson) and Best Costume Design (Roger Kirk).

The King and I opens in Brisbane at Queensland Performing Arts Centre in April 2014, then moves to the Princess Theatre, Melbourne in June, followed by a Sydney season at the Joan Sutherland Theatre, Sydney Opera House in September.

Book Nook

Book Nook is Australia's largest on-line performing arts specialist bookshop, stocking play scripts, drama theory and teachers’ resources, poetry, speech, dance, media and arts texts / biographies.

The Book Nook’s primary customers are drama teachers (from public and private schools and private studios), as well as actors and students (especially seeking monologues for audition pieces), etc.

A strong motivator for customers to use the Book Nook is the specialist knowledge available for consulting - so that a client can describe the qualities of the text they need and be given a number of options to choose from that fill their need, or that are compatible with their requirements.

After 25 years in Brisbane under Geoff Andrews, the business relocated from Brisbane to Toowoomba under the ownership of Karen Wighton (a drama teacher) and Mary Sutherland (a theatre designer and art teacher). www.booknook.com.au www.stagewhispers.com.au Stage Whispers 35

Stage On Disc

By Peter Pinne

Lovers” in The King and I. The “Prologue” and “The Wedding” contain music from “Bright Canary Yellow”, a song cut from South Pacific, and “There’s Music In You” uses some melody from “One Foot, Other Foot” from Allegro in its bridge. Book writer Douglas Carter Beane and arranger David Chase have written the new lyrics which are sparkling additions to Hammerstein’s originals. 

Kinky Boots (Cyndi Lauper) (Masterworks Broadway 88883 70838 2). It’s easy to see why Cyndi Lauper’s first Broadway A Christmas Story - The Musical (Benj score for Kinky Boots won her a Tony Pasek/Justin Paul) (Masterworks Award. From the opening anthem to shoes, “The Most Beautiful Thing In the Broadway 45981). The musical adaptation of the popular 1983 movie of World”, to the roof-raising finale “Raise You Up”/”Just Be” it’s catchy Broadway pop with a touch the same name is charming and fun. of rock grit. The story of a Northampton shoe factory Originally based on radio humorist Jean Shepherd’s childhood memoire of about to go under, and its salvation by creating fetish footwear for drag queens, has wisely retained the English growing up in Indiana in the forties, Broadway first-timers setting of the 2005 movie in this high-energy musical Benj Pasek and Justin Paul have written a well-crafted period-flavoured score that musically covers all the major makeover. Stark Sands (Charlie) and Billy Porter (Lola) star and turn in terrific performances. Sands, who was plot points and enhances the story. It’s basically an ensemble show but Liz Callaway as the Mother is previously impressive in American Idiot, scores on “Take warm on “What a Mother Does”, Clarke Hallum What You Got”, a good driving pop duet with Andy Andrew BealeKelso and Kelvintouchingly Harman (Harry), and “The Soul of a Man” which is full of rock ‘n’ as the kid Ralphie belts “Red Ryder Carbine Action BB Gun” roll pain. Porter takes control of the dance beats in “The Sex with infectious spirit, and John Bolton as The Old Man Is in the Heel”, and simply tears the emotion out of your makes “A Major Award” into a showstopper.  heart with his 11-o’clock number “Hold Me in Your Heart”.

Motown (Various) (Motown B0018541Together they give a brilliant and soulful reading of the show’s best song, “Not my Father’s Son”. As the factory 02). Motown is a jukebox musical that girl who falls in love with her boss, Annaleigh Ashford uses the Motown catalogue to tell the story of founder Berry Gordy’s love affair finds the laughs in “The History of Wrong Guys”, a clever girl-making-dumb-choices type of song. It’s a feel-good with Diana Ross. Brandon Victor Dixon score with heart.  (Gordy) and Valisia LeKae (Ross) try to breathe new life into these distinctive Cinderella (Richard Rodgers/Oscar classic 60s and 70s hits but, whether we’ve just been overHammerstein) (Ghostlight 84472). Despite exposed to the originals on “Greatest Hits” radio too much, they all simply sound like cover versions. Tracks include “I being 56 years old, Rodgers and Hammerstein’s score for Cinderella still Heard it Through the Grapevine”, “My Girl”, “Stop! In the Name of Love” and “Reach Out and Touch (Somebody’s enchants in this latest incarnation, the Hand)”.  first time the show has been presented as a Broadway musical. Originally written Matthew Morrison - Where It All Began as a TV musical for Julie Andrews, the score has been (Podwell Entertainment). After his 2011 augmented with songs and music from other Rodgers and Hammerstein shows, and the integration of the material is foray into pop, Glee star Matthew brilliant. Laura Osnes makes a sweet and lovely Cinderella Morrison has returned to his Broadway (or as she’s called in this version Ella), and sets the scene roots for Where It All Began. It’s an nicely with “In My Own Little Corner”, Santino Fontana album of standard show tunes sung in his sings well as the Prince on “Do I Love You Because You’re amiable light tenor voice. There’s a lively Beautiful”, and Ann Harada (Charlotte) and Marla Mindelle up-tempo “On the Street Where You Live” (My Fair Lady) (Gabrielle) are great fun in the comic “Stepsister’s Lament”. and “Luck Be a Lady” (Guys and Dolls), plus a soul-induced The two lovers’ voices blend nicely on “Ten Minutes Ago”, duet with Smokey Robinson of “Ease on Down the one of Rodgers’ finest waltzes, and the “Loneliness of Road” (The Wiz). One of the nicest tracks is a male version Evening”, a song dropped from South Pacific but added to of the Oliver! hit “As Long as She Needs Me”. From his last the 1965 television remake. The best of the new additions Broadway outing he sings a tender “Younger Than is “There’s Music in You” sung by Victoria Clark as the Fairy Springtime” (South Pacific), and he closes with a West Side Godmother, Marie. The song has a memorable melody and Story medley which includes “The Jet Song”, “Something’s was originally written for the obscure 1953 flop movie Main Coming”, “Cool”, “America”, “Tonight” and “Maria.”

Street To Broadway. The other interpolations come from a Pleasant easy listening.  variety of sources: “Me, Who Am I” cut from Me and Juliet, Rating “Now is the Time” dropped from South Pacific, and “He  Only for the enthusiast  Borderline Was Tall”, which was originally the verse for “Hello Young  Worth buying  Must have  Kill for it 36 Stage Whispers September - October 2013

www.stagewhispers.com.au Stage Whispers 37

Showcase

Acting At Your Peak

Dean Carey

In an extract from The Acting Edge, Dean Carey, the Creative Director of Actors Centre Australia, reveals his tips for actors to take off during a performance.

Two things, fundamentally, fuel acting: the actor’s attention and intention.

I define attention as whatever your energetic field is encompassing: what or who is on your radar and within your field of focus. It could be the book you are holding, the person who sits across the dinner table from you, the people surrounding you in the doctor’s surgery waiting room or a combination of a number of elements.

It can also be invisible to the eye.

When observing someone lost or deep in thought, even though this person sits on the couch in your lounge room, it is clear their energetic field is encompassing something far off and unseen.

Watch a man staring at the screen of his cell phone and even though he is physically at the bus stop, his multitude of thoughts are miles away 38 Stage Whispers September - October 2013

3,578 miles to be exact, as his new girlfriend is away overseas. A small percentage of his energy waits for the approaching bus, the majority of it is beaming across the world, alert, exposed and ever-present.

Now - intention. To zero in on intention ask this simple question: “What can I learn or lose within my field of focus?” In other words will what’s on my radar screen help or hinder me? Is it someone or something I want in my life or out of my life? The golden rule of acting then kicks in: if it’s good for you, want more of it. If it’s bad for you, run from it, hide from it, deny it, destroy it or change it.

With your attention chosen and intention loaded, the actor then needs to let go and surrender to the journey as it unfolds through words and action. The man at the bus stop has .2% of his energy locked on the bus and 99.8% locked on his distant girlfriend. He sends a simple text, “Hey - what’s happening?” but with the intention: Do you miss me? Do you

care for me as I do for you? If so, why haven’t you called?

In acting terms, this may sound simple, and it is. The tricky part about things that are easy to do is that they are just as easy not to do - the actor can then become sidetracked by obligations that neither anchor nor release them.

So - lock and load: energetically lock on and encompass what’s on your radar - be 100% present whilst giving each component the attention it both deserves and demands. Then, load your intention: from there allow the golden rule to guide you: if you’re getting what you want, want more of it. If you’re getting what you don’t want, work to change it.

Getting ‘in state’: Actors then need to get ‘in state’ in order for this process to work effectively - i.e. in a state of readiness in every way required for acute reception and transmission of energy.

When I’m ‘on’ as an actor, teacher or director, I feel available, present, eager, free, brave, sturdy, flexible, instinctive, responsive, alert. What are

the words for you that describe you ‘on’ and in state? Once this moves into your muscle memory you’ll be able to step into your peak state on command for an audition, a screentest, the first run of the play, a preview, or opening night. It doesn’t mean there isn’t some trepidation. There most often (always) is, particularly the higher the stakes.

But it means you can ‘be’ with that whilst being in command of all you need to do. Therein lies one of the skills of the actor, self-management: choosing what you wish to focus on.

Look at what triggers move you into your peak state and also which triggers move you out of state. As with all things, we want to build on our strengths and manage well our weaknesses.

See more in The Acting Edge book and smart phone/iPad App. ACA’s full-time course applications have recently launched.

All info at www.acasydney.com.au for full-time course applications for 2014.

For ACA’s online course info go to: www.theactingedgeonline.com.au

Dean Carey

www.stagewhispers.com.au Stage Whispers 39

Showcase

NIDA: It’s Not All About Acting

The chances of getting into NIDA’s prestigious acting course are literally 100 to 1. That is the ratio of those who audition to places available. But as Frank Hatherley discovered on a tour of NIDA’s bursting Sydney premises, there is more to NIDA than Acting.

NIDA’s respected Head of Design, and a busy professional designer in his own right (currently Storm Boy for the STC).

As we begin my Stage Whispers tour, he nods towards the building works. “That’s going to give us four new rehearsal studios,” he says. “We have nine going at the moment. It looks palatial here but actually we’re It’s a mid-week morning at the running out of space. You can be hardNational Institute of Dramatic Art’s impressive glass-fronted headquarters pushed to get a room to teach a class.”

Our first stop, the fully-kitted-out in Sydney. Directly across always-busy Anzac Parade is the sprawling campus Lighting Studio, is occupied and I can only sneak peeks though small of the University of New South Wales and students are everywhere. The NIDA windows in the doors of three of the building is packed with staff and rehearsal studios: acting students are doing their stuff and in one room they undergraduates plus, this morning, are dancing. three 50-strong groups of very keen But NIDA is not all about acting. primary school kids on behind-the“We average 22 actors in each of the scenes tours. I’m due for a tour, too.

Michael Scott-Mitchell greets me in three years,” says my guide. “The total population of students is 176. So there his office, directly outside of which is the newly roofed and weatherproofed are 110 students [62%] who are nonAtrium performance space. One of the actors.”

A mesh of corridors leads us to the school groups is having a ‘break’ in the Costume Fabrication department - 4 Atrium and the noise is incredible.

There’s also a team of workers adding students per year - where we enter a an extra floor to an adjacent building. jam-packed room shared by the four female second year students. “Each of Scott-Mitchell is unfazed by the these guys has a cutting table and building noises or the playtime shrieking. He’s not only overall Director access to a sewing machine.” of Undergraduate Studies, he’s also 40 Stage Whispers September - October 2013

On we go, passing the Stage Management course - 15 students per year and the Properties course - 4 per year. Both are messy hives of creativity.

“Every year we do two seasons of shows, each with five productions,” says Michael. “It’s a huge undertaking because we have to put out the five shows simultaneously.

So there’ll be a third year supervisor from Props or Costumes or Set Construction working with students from first and second year.”

At our next stop directors doing their Graduate Diploma of Dramatic Art are working with second year designers. Each year the six directors have to produce a short play. “Each play can run no longer than 40 minutes. We do three in the one evening so they have to do each changeover in 20 minutes, quite a technical undertaking.

“There is an increasing focus at NIDA on interdisciplinary collaboration.

We are finding places in the timetable where students from different disciplines can develop their own material as a group.

“So when they leave us there might be a group of, say, a director, a designer, production students and a couple of actors that want to get something up and running together.

These guys have got to be really able to start their own projects. Gone are the days when you can walk out of here and wait for the STC to ring you for a gig - if those days ever really existed!”

Now heading for an inspection of NIDA’s six active performance spaces, we pass a long line of primary school kids on tour, starry eyed, clutching brochures and lolly bags.

The 700-seater Parade Theatre, with its full fly tower, is as impressive as any Sydney venue. A visiting company is bumping in. The Playhouse Theatre, which seats 200, is hosting a lighting demonstration.

In the highly flexible Studio Theatre there’s an Open Course for Adults underway. NIDA offers hundreds of

Open Courses for adults, children and teenagers. “On a busy weekend in summer we can have 2000 people in the building doing various programs,” says Michael.

We visit a further flexible performance space called, unsurprisingly, the Space. The Reg Grundy Film and Television Studio where student actors learn to work in close-up on a permanent set - is in closed session.

Now things get messier. We visit the Staging (Scenery Construction) course, which will have four students next intake. “Here we are training people who we hope will become heads of workshops and do research into particular staging techniques and electronics.”

In the Metal Bay a group of students have been making a revolve for a coming set. A raised Painting Bay stands ready for the next frantic bout of scenic preparations. Michael leads me up a VERY long metal staircase.

Halfway up, and now level with the painting area, we pause. “My third year designers can stand here and look at the work that’s being painted - a cloth, maybe.”

At the top of the staircase is Michael’s domain [8 Design students per year]. “This is where my third year designers work on set models and costumes. Each must design two shows in the year.” On every available flat surface there are piles of black-card stages, each with its own intriguing mini-setting.

What are the job prospects for these non-acting NIDA students? “Oh, instant take-up,” says Michael. “We really can’t produce enough production students. They’re just straight out the door into jobs. And it’s scatter-gun - they go into film and television, theatre, events.”

Passing the specialised Rodney Seaborn Library, we enter a multimedia room featuring 16 sleek new Mac desktop computers. Here student directors edit their music videos and lecturers show the history of theatrical costumes and sets. And no doubt the Graduate Diploma playwrights [8 per year] also use these massed Macs.

There must be a great deal of funding in this one room.

“We have a Head of Operations who is brilliant at accessing various government pools of funding. And a Head of Philanthropy who goes hunting for donors.”

Soon, passing a stunning exhibition of extravagant paper costumes made by the current second year designers, and another conga line of wide-eyed kids, we’re back where we started - at NIDA’s sixth performance space, the semi-outdoor Atrium. ____________________ In Michael Scott-Mitchell’s office we talk about the approaching selection process for next year’s intake.

“It’s horrendous,” he admits. “Last year there had been 2,200 applicants for the 22 acting places. So it’s a brutal process.” The odds are distinctly better for the non-acting courses - ten to one, instead of 100 to one - but competition remains fierce. What does he expect from applicants?

“Mandatory is the High School Certificate. After that it’s how you show you have an interesting brain and an interesting creative approach.

What we’re here to do is train people in a whole raft of Dramatic Art skills.

What we can’t do is make you have an interesting and enquiring brain. If you don’t walk in the door with that there’s really nothing we can do.

“For the design courses we set them a task to do for the interview. My guys have to make a model of a play that we set. The information goes up on the web at the beginning of July and they have to bring costume drawings and a set model to the interviews in November. And a portfolio of their recent work.

“I’m not looking for perfect model makers - we teach that - I’m interested in how that brain’s working. Are they collaborative by nature? We’re putting my design guys into a studio for a year with seven other people. It’s a complete pressure cooker. In the technical courses many of the students do from nine in the morning to eleven at night and then go home and write an essay.

“We are trying to develop people who are self-starters and who will eventually become leaders within the industry.” www.stagewhispers.com.au Stage Whispers 41

GCIT Leading The Way In Creative Industries

42 Stage Whispers September - October 2013

Showcase

GCIT’s (Gold Coast Institute of TAFE’S) Coomera campus is quickly becoming recognised by the Creative Industries sector as the leading creative training facility in South East Queensland.

The $30 million campus was built in 2011 with an impressive cache of 21st Century Digital Film making tools which are used in a variety of productions.

The purpose-built facility is equipped with four levels of classrooms overflowing with the latest technology and equipment including seven recording studios, digital editing suites, theatres, rehearsal studios, state of the art computer laboratories and motion capturing capabilities for 3D animation as used in the renowned Avatar film.

Students not only benefit from the state-of-the-art equipment but also learn from highly skilled, award winning professionals who have close industry connections providing students with opportunities to gain real world experience while studying.

With the region’s film and television industry growing each year and new roles emerging, GCIT offers an array of courses in Media, Screen & Media, Music, Sound Production, Graphic Design and Interactive Digital Media, all providing a diverse scope of career opportunities.

The Diploma of Screen & Media takes 12 months to complete and provides students with skills in preproduction, lighting, digital audio, video editing, 3D modelling and

animation, production project management and post-production.

Graduates can jump into a career as an Animator, Production Assistant, Scriptwriter, Sound Recordist, Video Editor or a Storyboard and Visual Effects Artist.

With a range of flexible learning options such as full-time, part-time, blended learning and online delivery, studying at GCIT is suitable for people from all walks of life, including school leavers, working professionals, the matureaged and people wanting to re-enter the workforce.

Located on Foxwell Road, the

Coomera campus is approximately 1.5km east of the Pacific Motorway and conveniently located in close proximity to the Coomera Train Station for students travelling from North or South.

For more information please visit www.gcit.edu.au or call (07) 5581 8300.

JOIN THE CONVERSATION! Follow us on Twitter: www.twitter.com/stage_whispers Like us on Facebook: www.facebook.com/stagewhispers www.stagewhispers.com.au Stage Whispers 43

Ballarat’s Musical Theatre Students Shine Alyson Gale (The Incarcerator, Graduated 2009) Many other performing arts universities don't give young actors a chance because they don't have adequate 'life experience' to draw on.

Ballarat actually gives them the This year's third years also treated opportunity to gain the 'life experience', audiences to a shining production of 42nd St at historic Her Majesty's because they are living away from home with people they've never met, in Theatre in Ballarat. a different city, while facing a very Directed and choreographed by challenging experience.

Program Co-ordinator David Wynen, Ballarat staff don't sugar coat the following his residency at Carnegie Mellon (USA), it featured additional industry or the ability of individuals.

It's a bit like The Matrix, you end up choreography by Tom Hodgson, former resident choreographer to Billy doing things that you thought you were incapable of.

Elliot.

Shane Connor (Wolf Creek 2 The lovely Nancye Hayes graced Teacher of Film Acting 2011-2013) opening night and shared I love the discipline of students, reminiscences about her career and the original Australian production of 42nd their openness to new ideas coupled with their ability to question those St. Musical Theatre students now have ideas with respect.

I love the fact that the Uni is private singing lessons and recently took a masterclass with Adam Guettel. removed from Melbourne and able to Program Co-ordinator Kim Durban create an atmosphere where it is safe to explore and fail, the two ingredients invited Acting graduates and visiting crucial to creativity. directors to nominate the three most Sarah Hamilton (A Donkey and a important aspects of their work at the Parrot, Graduated 2006) Arts Academy:

42nd Street

Graduates from the Arts Academy, University of Ballarat have been burning up the stage in 2013 in Hot Shoe Shuffle, King Kong, Jersey Boys and The Addams Family.

42nd Street

44 Stage Whispers September - October 2013

The staff go above and beyond to give you their all. They are inspiring and dedicated.

The emphasis on creating your own opportunities within the industry was strong.

The student community was incredible and seven years after graduating, I am constantly inspired by my peers with whom I studied at the Arts Academy.

Kevin Harrington (Cliffy, Teacher of Film Acting 2011-2013) Students’ work ethic. They have had the value of hard work instilled onto them.

A little bit of cheekiness. There is a sense of fun and in the odd case, even rebelliousness about the place.

There is no sense of entitlement.

Students know they will need to self initiate work and that they are unlikely to start playing lead roles in the mainstream and are comfortable with that.

Adrian Dean (Aunty Donna, Graduated 2009) You come out as an actor who is industry ready. You can walk into a rehearsal room the first day out of drama school, and slip in with those who have been doing this for years seamlessly.

You have your team. Ballarat grads help each other, they work with each other and they applaud each other’s success.

Showcase

Pulling The Strings

Ella McNeil

While elite Performing Arts courses are inundated with applicants for drama and music theatre, opportunities are often overlooked for a career in arts management.

involved in something creative and loved the idea of the performing arts. I felt pretty lucky when I stumbled across the Arts Management Bachelor course.�

By studying at WAAPA, students gain practical experience and during the later stages of the degree, The Western Australian Academy of Performing Arts (WAAPA) offers the only full-time undergraduate Arts additional industry experience is gained in the wider arts industry.

Management course in Australasia. The course has an international reputation for excellence built on the success Arts Managers are likely to be the General Manager, of its graduates, who have found work as arts managers in Arts Marketing Manager, Audience Development Manager, Sponsorship Manager, Business Development Manager, events, production, venues, finance, sponsorship, marketing, publicity, promotion and human resources, both Communications Manager, Program Manager, Venue in Australia and internationally.

Manager, Producer and Events Coordinator for various Performing Arts organisations.

Why should students undertake this course?

The Arts Management program is specifically industry Apply online now at www.waapa.ecu.edu.au. focused and designed to give students the knowledge and skills to work in a diverse range of art forms and Applications are open until 30 September. organisations including theatre companies, venues, dance companies, exhibitions, galleries, concerts and festivals.

It provides a foundation in business theory and practice for the arts industry.

Ella McNeil, a Bachelor of Arts (Arts Management) graduate, says the course "provided an insightful, surprising and wonderful combination of business and the arts. “I have worked in Ireland, with the Royal Shakespeare Company, at the iconic Lincoln Center in New York and am now the Director of the Human Rights Arts and Film Festival in Melbourne. The Arts Management course at WAAPA gave me the skills and opportunities that helped make this Have any costumes and props for sale happen. or hire? Get noticed now! “I knew I was good at numbers, talking to people and generally being organised (what I thought were the key www.stagewhispers.com.au/costumes skills for a commerce degree), but I always wanted to be

Stage Whispers Costumes Just $11 a listing

www.stagewhispers.com.au Stage Whispers 45

If At First You Don’t Succeed Getting into an elite theatre course takes lots of persistence. Robert Walton, the Lecturer of Theatre at the Victorian College of the Arts, spoke to Lucy Graham about what sort of student is accepted into the VCA. Few people are offered a place the first time they audition for the VCA. The audition process not only looks at whether applicants can ‘act’, but also whether they have something to say.

“Getting help and life experience is very important. The audition is designed to give you a taste of the course. When you first come it’s so nerve-wracking - we’re aware of this but you should know that everyone is trying to make it as pain-free as possible,” said Robert Walton.

“It’s run as a workshop, you can see everyone else’s work, and learn from them. You have to do a Shakespearean monologue and say something about yourself in a performance. ” “You shouldn’t be disheartened if you don’t get in. Last year I saw someone, and it was his eighth audition in a row. And he didn’t make it. Last year we had a graduate who’d auditioned when he was eighteen, realised it was what he wanted to do, but saw in himself that he wasn’t ready.”

“He went away, did a whole law degree - became a lawyer - then was

46 Stage Whispers September - October 2013

Robert Walton

able to come back and pay for the course. He graduated last year and is in Patricia Cornelius’s new show. That maturity really helped him grow and work out what he wanted to do. ” “If people can think of anything else to do with their lives, they should just do that. It really is a professional vocation wanting to become an artist, wanting to become an actor. It’s no star factory or a direct way to a job. It doesn’t mean you’ve made it if you get into VCA. You just feel like you’ve achieved something for a few minutes, and then you realise you’re in this room with all the other best people in Australia.”

Robert Walton first studied physics, mathematics and computing, but realised he ‘had to do theatre because that was my real joy’. He spent 10 years in Glasgow, Scotland, during which he became Associate Head of Performance at the Royal Scottish Academy of Music and Drama, teaching a contemporary performance practice course.

He believes one of the most significant changes in contemporary theatre is the shift from a passive audience, to one that is part of the process. To become a barometer of the times.

It is, he says, “an artist’s job to look more closely. This idea about the artist is embedded in the course.”

“The biggest issues facing us are technology, climate change and sustainability, population growth and accessibility. We can’t pretend that these changes aren’t happening. This is our time.”

By engaging with contemporary issues, Walton says the students become “mature, extraordinarily expressive, fiercely independent, full of ideas about what the world could be and should be, and wanting to share those ideas with the world”.

But in case you’re thinking the VCA’s theatre course is all about new innovation, Walton is at pains to point out otherwise.

Showcase

uction of Pericles Tanya Gerstle’s recent VCA prod pany 2013 and Punished. Presented by Acting Com students. n uctio Prod year 3rd and 2nd 1st, Photo: Jeff Busby.

“We are really trying to tune in to the riches of world culture like Shakespeare, and Chekov, the ancient Greeks, and practices of Australian aborigines. Traditional theatre is still a big part of the course. In most drama schools you get straight acting and contemporary course that are two separate things, but what is working well here is this interweaving of the best of both. It’s very intense, and requires a maturity from the students.

They need to be good at a lot of things.”

“We are trying to develop artists, and lay the foundation of a lifetime in arts practice. That’s sometimes in industry: film, TV, large scale commercial theatre. But the course is also about people who are going to contribute to Melbourne’s vibrant theatre scene, put shows on themselves, collaborate with new writing, invent new ways to interact that we haven’t thought of yet.”

VCA’s Theatre Practice course is strenuous. Students are engaged from 9am-6pm for five days a week with Tuesday mornings off. But during performance season, students need to stay until 9pm. I wonder aloud how students can engage with community given such a monastic existence.

Walton nods at the question.

Kane Felsinger and Zak Zavod in VCA’s 2011 production of A Mouthful of Birds. Written by Caryl Churchill and David Lan, directed by Robert Walton. Photo: Jeff Busby.

“It’s like Sister Act. They start off not doing anything in their community and they’re in their ivory tower. But then by the time ‘Whoopi Goldberg’ has finished with them they’ve got a new garden and they’re much more a part of the community. I constantly question the students from semester one with this question from Brecht: What will you do to make the world a better place?’

And then there is the “15 Weeks Project” where students take pause 15 weeks into the course to ‘look above the parapets to see what’s been happening’.

“They make a performance about whatever they like. There’s always big things that come up. We go in and out like that. So the students have to work in this alternating way.”

Robert Walton highly recommends that prospective students see shows put on by the VCA and look into the access courses run by VCA and NIDA http://www.vca.unimelb.edu.au/events Find out more about the Bachelor of Fine Arts (Theatre) at http://vca.unimelb.edu.au/bfatheatre www.stagewhispers.com.au Stage Whispers 47

New Part Time Drama Course The National Theatre Drama School in St Kilda has instigated a new training course for students over 17 years of age, which aims to give participants a clear understanding of the skills and disciplines required for advanced actortraining and performance-making.

Running for three seven-week terms, students spend three nights a week exploring basic Voice, Movement and Acting skills as well a range of related subjects such as Stage Combat, Singing, Text Study, Mask and Acting for Camera.

All classes are taught by practicing Industry professionals and class sizes are limited to approximately 14 per intake.

There are two intakes per year (February and July) and entry is by audition.

Fees ($750 per term) are payable term by term in advance and auditions for the course are held in November and June each year.

The course is popular as it allows students who have jobs or other studies to get a taste of full-time training.

For Anna-Mai Hoek from St Kilda the course was a good first step. “The Preparatory Course has given me confidence and direction. I can’t wait to learn more!”

Further details are available at http://drama.nationaltheatre.org.au or by calling the School on (03) 9534 0223.

48 Stage Whispers September - October 2013

A Dance School That Gets You Working

Melbourne’s Spectrum Dance has a unique blend of expert tuition and a talent agency which gets dancers working all over the world and on the high seas.

The individually tailored curriculum develops advanced performance techniques in all facets of dance, singing and acting.

School director Trish SquireRogers draws on her experience choreographing major events including the Melbourne Commonwealth Games and the Logies. Fellow director Katie Rappel’s performance experience is as diverse as a performance in The Tales of Hoffman to cheer leading.

Spectrum Dance provides opportunities for students to engage in the entertainment industry.

Students are employed by the Spectrum Talent Agency.

The company says over 80% of graduates are represented and working within the entertainment industry.

The Agency provides students with industry experience throughout their tuition.

Some recent examples include:

Jessica Anderson is currently dance captain and principle dancer for Crystal Cruises and Kyle Sutherland will be joining the company as a lead singer and dancer later on in the year.

Matthew Wigney and Brooke Appelyard are also principal dancers for Caribbean Cruises and Samantha Meltzer will soon be joining the Nicelodeon cast on Norwegian Cruises.

Rachel Hamilton has recently joined the cast of The Mel’s Dinettes as a singer and dancer at Universal Singapore.

Jinelle Davidson has relocated to the US after landing a position as a Dallas Cowboy cheerleader. Similarly, several of the Spectrum Talent ladies make up the cast of the Melbourne Storm Cheerleaders team lead by director Trish Squire-Rogers and assisted by Elly Creevey.

Laura Kelly and Laura Parker are both dancers in the Michael Jackson Tribute Show with Uptempo Entertainment and Shaun Diaz and Sarah Jane Birtles have recently joined the cast of a the new touring company of Dirty Dancing Tribute Show with Event Theatre International.

Spectrum Talent is also involved in corporate Adidas 2013 New Apparel Launch, Melbourne Starts Cricket Cheerleaders, and the notorious Footy Show Players Review with Channel 9.

Spectrum Dance and Spectrum Talent Agency are delighted with the success of their students and alumni and anticipate this success continuing and growing in the future. www.stagewhispers.com.au Stage Whispers 49

A Circus Journey The WA Circus School (WACS) has been around for over 10 years, tucked away in the west end of arty Fremantle.

In that time thousands of children, teens and adults have been taught the skills behind circus art forms such as Static Trapeze, Adagio, Tissu, Acrobatics and Manipulation. One such child, come teen, come adult is Brenna Day, performer, student, trainer at the WA Circus School and science student.

Brenna recently headed over to Melbourne to perform her Lyra act in the Australian Burlesque Festival, following her performance at the 2012 Perth International Burlesque Festival.

The Lyra, a suspended aerial hoop, requires grace, flexibility and strength to perform, skills that Brenna acquired in her 11 years at the WA Circus School.

Brenna’s circus journey began when she turned 11. Having learnt dance since she was two, Brenna took to circus like a duck to water, joining the teen classes where she learnt aerials and acrobatics.

Over the years Brenna was proficient enough to be accepted into the young artists program ‘Sliderz Youth Circus’. She is now employed at the school as a trainer of teen aerial classes and aerial adult beginners courses, balanced with performance opportunities and also working in the Medical Physics department at Royal Perth Hospital after getting her Bachelor of Science in physics and chemistry.

When asked what it was about WACS that kept her coming back year after year, Brenna answered simply “because it’s fun”. She got to a point

New Campus For ACTT

where to “give up was not an option” as circus had become a continual part of her life, a place where the physical meets the artistic.

The people and trainers play a huge role in why Brenna and other students continue to come back to WACS year after year.

The WA Circus School runs classes and courses for ages 3 years to adults from their circus training space in Fremantle. They also run Outreach Workshops for schools, community groups, and corporate teams tailoring the workshops to specific needs.

For more information about WACS visit www.circuswa.com or email wacs@circuswa.com

Academy’s vision of further extending student collaboration opportunities to the fore.

For the last twenty years the Actors methodologies for all of our courses so “ACTT students will be encouraged College of Theatre and Television that upon graduation our students are to work on IFSS student productions across all areas from acting to (ACTT ) has been igniting imaginations confident, autonomous and ready to adapt to the demands of current and technical production.” and launching careers.

The co-location and association of future industry directions,” said ACTT Head of Acting, John O’Hare. these two long-standing institutions Graduates from the ACTT have As a boutique college, ACTT is able together with the teaching standards immersed themselves in some of of JMC Academy, will place the acting, Australia’s most critically acclaimed to offer mentoring and practical academic support to ensure that every screen and media offerings firmly at theatre, television and film roles. the forefront of Sydney’s creative student achieves the attention and Alumni include Firass Dirani learning outcomes expected. colleges.

(Underbelly: The Golden Mile, Killer Most recently, ACTT has moved Elite), George Houvardis (Packed to the Rafters), Socratis Otto (Wolverine, into a larger, refurbished space in Holt To learn more about ACTT or IFSS and Street, nestled within the leafy, cafe intakes for their Diploma and Matrix Re-loaded) and Leanna lined streets of Surry Hills. The location Advanced Diploma courses visit the Walsman (Star Trek, The Pacific, All OPEN DAY 21 September from 10am Saints). of the company alongside the International Film School Sydney (IFSS) to 3pm at 41 Holt Street Surry Hills.

“We’ve selected the very best mix Phone 9213 4500. has brought parent company JMC of traditional and cutting-edge 50 Stage Whispers September - October 2013

Tuning ‘The Actor’s Instrument’

Communicating without words is a key skill for the actor.

Showcase

Neglect your voice at your peril. That’s the message from a leading drama teacher.

If you want to build a sustainable career as an actor, your physicality is very important. The voice and body are often called Movement class at CADA - some ‘the actor’s components of the course involv e physical fitness instrument’ training and if your instrument is out of tune, your ability In the past, to perform she said, consistently movement is limited. and voice Physical training fitness, were eating well, considered and getting essential in sufficient classical sleep are no actor less important for the actor than any training. An other profession. increasing reliance on technology in Development of the actor’s screen work, including the ability to instrument forms a significant part of correct the actor’s voice in postprofessional actor training at Canberra production, has led some drama Academy of Dramatic Art (CADA). schools to ignore voice and movement “In a recent workshop at CADA, our studies altogether. She said their students brainstormed all the possible neglect may disadvantage up-andphysical activities an actor may be coming actors. involved in,” said managing director, “There’s no question a stage actor Elizabeth Avery Scott. needs to work on these disciplines.

“There were the usual suggestions “But even if you’re principally a like walking, running and jumping, but screen actor - when you’re usually when we thought about some of the miked on set or only part of your body more obscure locations where an actor is in shot - you need to develop stage may work, they came up with things presence. like underwater swimming, swinging “At the very least, you need to from harnesses, and wearing corsets. walk into a screen test with physical “Acting can be a very physically strength and confidence. demanding profession.”

“Then there’s the variety of roles Ms Scott advises that before signing you can win if you can communicate up, students applying for professional through physical nuance. actor training programs should “A vocal training regime, as well as investigate the voice and movement body awareness training, will put you components of their preferred course. ahead of the pack.”

“Some drama schools offer little or Canberra Academy of Dramatic Art no voice training, and even less offers a Certificate III in Performance movement work.”

(Acting), a Diploma of Musical Theatre,

and an Advanced Diploma of Performance in association with their training partner, Unity College Australia (RTO 6330). All their teachers and tutors are industry professionals.

Applications are now open for 2014.

For more info go to www.cada.net.au

www.stagewhispers.com.au Stage Whispers 51

Showcase

A New School Of Creativity The Tasmanian College of the Arts is the new school of creative cultural practice at the University of Tasmania, with its Theatre Program housed in the Inveresk Cultural Precinct in Launceston.

students from across the state, interstate and overseas,’ she says, ‘attracted by the fact that this is a course that blends practice and theory. They learn by The Program offers a dynamic, ‘hands-on’, production-based course in ‘doing’ and also are afforded the skills to reflect critically on what they do. The aspects of contemporary theatre and other huge drawcard for students is performance through the Bachelor of Contemporary Arts (Theatre). that this is a comprehensive course, with units of study covering both off The students’ experience includes and onstage skills. I commonly see specialist units in acting, voice, students who come into the BCA with movement, directing, devised performance, stage management and their hearts set on acting and then discover over the course of their studies technical theatre. that they actually have a passion for Program Director for Theatre, Dr stage management or tech theatre..

Helen Trenos, is both enthusiastic about the BCA (Theatre) and the Helen goes on to say that ‘the students also relish the opportunities students. ‘We have a terrific mix of

52 Stage Whispers September - October 2013

they get to work together across year groups. To give just one example, each week students from years 1 to 3 come together in a student-led skills workshop. There is a real sense of community and ensemble among students and staff.

‘Working in a theatre environment has been really fulfilling, as I have had

Music Skills Inspire Laughs

the opportunity to put into action theories and practices taught in the course,’ says student Zoe Whiley.

‘Taking on a stage management role has given me a greater understanding of technical theatre, theatre production and my own capabilities in this area.’

As part of a renewal of direction the Tasmanian College of the Arts’ Theatre Program is now offering a unique Honours and Postgraduate research initiative: Next Stage.

Next Stage is a resident theatre company showcasing new, experimental, cross-disciplinary theatre and performance works from Honours, Postgraduate and Staff research. It is a platform for students of theatre to explore, interrogate, provoke and make theatre and performance.

Next Stage also engages with professional theatre practitioners who act as mentors to the students. ‘The link between learning and teaching, research and industry will allow students to gain an insight into professional theatre practices,’ says Robert Lewis, Lecturer in Theatre.

Auditions for 2014 intake are held December.

For more information on the Tasmanian College of the Arts Theatre Program, or Next Stage Honours and Postgraduate opportunities email tcota.admin@utas.edu.au, visit www.utas.edu.au/tcota or call 03 6324 4400.

Studying Music Theatre at the Studying Music Theatre has helped Australian Institute of Music was the Jared realise his true strengths as a training ground for popular comedian performer. From being cast as Rodney, the flamboyant, Cockney hairdresser Jared Jekyll. in the musical Dusty The Original Pop Jared recently performed Looney Diva, to his cabaret-laced-with-standup-comedy graduating recital, Jared Bin at the Melbourne International developed his comedic flair.

Comedy Festival and will keep audiences laughing at the Sydney “I was told numerous times I had a very commanding and charming vibe Comedy Festival.

His act is described as an on stage … My forte was definitely comedy. I had good timing or unstoppable hour of beat boxing, something, and also wasn’t afraid to rapping, singing, dancing, magic tricks and showmanship. His selfgo to ‘weird’ and funny places.”

Whilst Jared’s penultimate dreams effacing and authentic style of have been somewhat realised, Jared comedy is inspirational, and throughout the show he looks forward to continuing to write cabarets for upheld a whimsical presence and “undiscovered Music Theatre relationship diehards”. He with the audience. recently collaborated Jared has with Music been performing Theatre alumni the comedy circuit for Jennifer Reed, as he two years. A wrote and career highlight for directed her show Jen & John. him thus far “I also wish to was securing an act at Festival Club, write the libretto for original musicals, and a late night mini gala of the best and most interesting hopefully one day have a show on Broadway, or Off-Off-Off Broadway. acts performing to a 300+ sized That would be just as nice,” he says. audience of passionate punters.

“I was lucky enough to be asked to “My ‘ultimate’ dream must be left up to my ever-growing selfclose the second Sunday Night Lock sabotaging subconscious. “He” In,” says Jared. “This one specifically was a variety/musical comedy night probably wishes I was in my eccentric silver-foxed mid 60s, grooving in some and the calibre was high.”

Channeling a very showy, music fancy hotel somewhere along the threatre-esque stage presence, Jared’s French Riviera, completely intoxicated from inhaling copious quantities of music degree works hand in hand with his career as a comedian.

Tom Collins’ and then throwing high class escorts out of television sets...

“I use a loop pedal and vocal percussion in my show with splashes Or, more classically the latter out of of singing, so in that aspect I am windows. Whichever happens first.” using instruments … I also occasionally tend to do stand up Jared will be performing the show at the Sydney Fringe on Wednesday, concerned with the concept of September 18 and Wednesday musical genres with hip-hop and electronic subsets being favourites of September 25, 2013 - 7:30 at Factory Floor, Factory Theatre. mine.” www.stagewhispers.com.au Stage Whispers 53

Screenwise Film & TV School for Actors With the majority of acting schools in Australia dominated by theatre training, the Screenwise Film and TV School for Actors has instead focused on the screen.

Former students include Chris Hemsworth, who graduated from Home and Away to become the latest star in the Marvel movie franchise as Thor, and Todd Lasance who dazzled in Cloudstreet and recent Underbelly series.

“From where I am today and the absolute dream ride I have had in my acting to this day,” Lasance says, “I most definitely have to thank Screenwise for getting me on my feet and giving me these opportunities.”

Screenwise was established thirteen years ago to provide specialist, careerfocused training in acting for film & television.

Statistics published by Media Arts Entertainment Alliance show that 85% of an actor’s career-long income will be derived from television and film work.

Increasingly, theatres are relying on actors with a film or TV profile to bring audiences across to live performances.

To cater specifically for this need, Screenwise has developed Australia’s

54 Stage Whispers September - October 2013

first Government Accredited 2 Year Diploma of Screen Acting.

Located in Surry Hills in Sydney’s CBD, the course is a two-year full-time comprehensive creative and technical screen acting program. It covers the full spectrum of skills training required to produce a high calibre, professional screen actor. Auditions open 31 August 2013.

Screenwise CEO Denise Roberts has been a full-time working actor for over 37 years and has won many awards including an AFI Award for best actress in television drama.

Todd Lasance

“I know how important quality instruction is in the formative years,” says Denise. “I had the privilege of learning under the great Hayes Gordon at the Ensemble Theatre and subsequently devised the ‘Roberts Method’ to best support the learning process for Australian actors.

Screenwise, which is a government registered training organisation, employs some of Australia’s top actors, directors and casting agents as tutors.

They include Gary Sweet (House Husbands), Sara Wiseman (A Place to Call Home), Di Smith (Puberty Blues), Grant Bowler (Defiance), George Spartels (Packed To The Rafters) and directors Peter Andrikidis (Bikie Wars), Lynn Hegarty (A Place to Call Home) and Geoff Bennett (House Husbands).

For more information visit www.screenwise.com.au

Toi Whakaari: NZ Drama School New Zealand’s Drama School Toi Whakaari has put out the welcome mat to Australian students to apply for future intakes.

Toi Whakaari: New Zealand Drama School has been at the forefront of performing arts education in New Zealand for over forty years, creating flexible, independent and innovative Australian citizens are classed as performing arts professionals.

As well as core craft skills, a key domestic students in New Zealand and pay the same (relatively modest) fees as part of the training at Toi Whakaari New Zealand citizens. adopts processes and structures from Māori culture. Although unique to

Showcase Aotearoa New Zealand, it offers key skills and practices that are relevant in any context worldwide.

It’s called kōiwitanga. Distinctness, difference, meaning and relationship lie at the heart of kōiwitanga. This process allows the school to grow and make overt the skills and potential of students through engaging with difference. The complexity of human relationships is at the heart of the performing arts. Kōiwitanga helps students to develop the skills to read and engage with what exists between us in the live moment.

No matter which area of study students are involved in at Toi Whakaari; acting, arts management, directing, design, technology or costume, the skills developed through kōiwitanga help to create students who are self-aware, self-reliant, independent and flexible.

They are able to identify their own strengths, and weaknesses. They can see where their skills and knowledge will fit in any given work environment.

Their understanding of their own tendencies, habits and difference allows them to read the same in others and assess who is the best person for a particular job, in a particular situation.

This dynamic ability to assess, analyse and then act, developed through kōiwitanga, is key to graduates’ success. *Fees currently around NZ$6000 per annum.

www.stagewhispers.com.au Stage Whispers 55

Bali Hai Calls Patrick

South Pacific.

eddon.

Photo: Kurt Sn

Of the 30 people who completed the course with him in 2011, he estimates that only about 12 have found work in their chosen field.

To keep his skills up Patrick performed in community theatre productions. He was cast as Raoul in CLOC Music Theatre’s season of The Phantom of the Opera, which he described as a very positive experience.

Now that he’s got his first major booking, Patrick Hill believes his degree has prepared him perfectly for his professional debut.

“They cover the technical skills needed for a music theatre career. They also prepare you to work in a rehearsal room. Working with good and bad directors.

“We had one really funny day with our acting teacher. She portrayed three types of really bad directors. One, the director who can’t not be an actor and always says this is how you do it. Then there is the over critical director and the under critical director.”

There are no such complaints with South Pacific’s associate Director Neil Rutherford.

Patrick Hill (Raoul) with Laura Slavin (Christine) in CLOC’s The Phantom of the Opera. Photo: Richard Crompton.

“He lets us create our own material, then pulls it back or tweaks it or suggests something when it is Breaking into a career in Music Theatre Monash University. Since graduating lacking.” takes persistence and dedication. he has made most of his income as a Patrick is now 27 and has set barista.

Patrick Hill is in the chorus of South himself goals including cracking a lead “Some of my bosses have been Pacific, his first fully professional in a professional musical. production since graduating from two good enough to let me go for He’s also working on an original Performing Arts degrees. David Spicer auditions. Others, I have to say I am musical based on the life of Lord going to the Doctor.” spoke to him.

Melbourne.

He was delighted to quit his latest He doesn’t regret doing two That young man or woman serving job when cast as a cover for Harbison degrees over six years. and in the Ensemble for Opera you coffee might just be a star in “At Monash I was deciding what waiting. Melbourne singer/actor Patrick Australia’s touring production of South sort of artist I wanted to be. It made Pacific.

Hill has completed a Music Theatre It is a very tough business in which me hungry to learn more.”

Degree at the Victorian College of the Arts and a Performing Arts Degree at to eke out a living.

56 Stage Whispers September - October 2013

Technical

Sights and Sounds of ENTECH 2013 Stage Whispers TV was on location at the ENTECH Sound, Light and Staging Expo held at Sydney’s Darling Harbour in July.

Visit our You Tube Channel to see some of the most exciting new hardware and software on offer.

Eddie Welsh, a lighting application engineer from JANDS, said the best lighting rigs use both LED and traditional lighting fixtures.

“The ideal is to have a rig with a mixture of Tungsten for the strong whites and filters combined with LED to fill out the rest of the colour.”

Marcello Lo Ricco from LSS Productions provides audio for between 30 and 50 musicals a year in Melbourne.

He told Stage Whispers that the biggest change in the industry has been the move from analogue to digital mixing consoles.

“Digital allows us to set up our design before we get to the venue.”

For the recent production of The Phantom of the Opera staged by CLOC Music Theatre LSS had to mix up to 40 channels of music.

Simon Barrett, Technical Support for Show Technology, showed off a $50,000 lighting console from Martin.

The M6 is a touch screen console for use in theatre, rock n roll and corporate events.

Kelvin Harman gave us a quick demonstration of flexible staging from his company Power Stage.

One of the coolest looking special effects was Fog Screen. It turns water into fine particles and images are projected into the fog.

ENTECH will be held in Sydney again in two years at Glebe Island, whilst Darling Harbour is redeveloped.

ENTECH Connect will take place in Melbourne at the Royal Exhibition Building on July 23 and 24, 2014.

Online extras!

See all that ENTECH 2013 had to offer by scanning the QR code or visiting http://youtu.be/JYJhwScVA5M www.stagewhispers.com.au Stage Whispers 57

Stage Briefs

 CLOC’s Guys and Dolls. Following the sell-out success of their World Amateur Premiere of The Phantom of the Opera, CLOC Musical Theatre (Vic) shift gears, staging Guys and Dolls, one of the most enduring shows from the Golden Age of American Musicals, at the National Theatre in St Kilda from October 4 to 19. To purchase tickets visit www.cloc.org.au or call on 1300 362 547.

58 Stage Whispers September - October 2013

 Macedon’s The Mount Players Theatre Company (Vic) stage the comedy-drama Steel Magnolias by Robert Harling at the Mountview Theatre until September 14.

Photo: Bruce Hedge.

on air! on air!: World Premiere For Contemporary Comedy

Peter Maden, a Media Advertising Guru by day, has taken his day job and turned it into a modern comedy.

Set in the offices of CHAOS FM - a “would be if they could be” top city radio station, we get to see the day-to-day workings of the advertising department and experience the behind the scenes “goings on” (or not - as the case may be).

Over a four-month period Peter wrote the script, workshopped a reading, endured numerous rewrites and edits and eventually arrived at the finished product.

In the nurturing hands of his director/wife, Helen and with a cast of 8 males and 4 females, on air! on air! will be staged at the Spotlight Theatre (on the Gold Coast) from 20th September to 5th October, 2013.

Send me an email to ozimacr@bigpond.net.au by the 10th September to go into the draw for 2 tickets to the World Premiere Opening Night.

Roger McKenzie  Gavin Leahy in the title role of Miranda Musical Society’s Sydney Amateur Premiere of The Phantom of the Opera, with Tamasin Howard as Christine. Playing at Sutherland Entertainment Centre from September 20 - 29. Photo: Andre Moonen Creative.  Rockdale Musical Society, under its new St George Theatre Company banner, stages the Sydney Premiere of DOWNTOWN! - The Mod Musical at Hurstville Entertainment Centre from Sept 5 to 7. www.rockdalemusicalsociety.com

www.stagewhispers.com.au Stage Whispers 59

Stage Heritage

Stage Goddesses Gilt-framed There is something so evocative and spell-binding about the theatre, and yet it can disappear so quickly from our imaginations and our memories. In the 21st Century there is always a record on film, something to remind us of the delicious memories, even if it’s a DVD of the Tony Awards. But in the late 19th and early 20th centuries there was no such luxury, and the brightest and most beautiful stars of the stage might have vanished into history, were it not for names like Milo and Talma. No, they weren’t producers, in fact they weren’t even individuals, and yet they immortalised the most beautiful leading ladies of an era long gone.

Talma was a photographic studio and Milo was, of all things, a brand of cigarettes. Together they combined to present these gold embossed cigarette cards featuring actresses who graced the Australian stage of the day. It might have been Nellie Stewart, a beloved star for five decades; or J C Williamson’s child star Carrie Moore, who became Australia’s first Merry Widow. Perhaps nestled in the tissue paper you would find a portrait of Minnie Tittell Brune, a popular dramatic star who returned to her native California and became a nun, living to the age of 99. There were the English stars too, from Music Hall and pantomime - Ada Reeve, Grace Palotta, or Elaine Ravensberg, a buxom principal boy in tights. Even if you had never seen them on stage, you could collect the cigarette cards and feel as if you knew them.

Cigarette cards eventually gave way to footy or basketball cards, packaged with a strip of bubble gum, the fad of much younger boys. Yet nothing can erase the memory of the delicate gold edging and the sepia toned images of Stage Goddesses who made that era of theatre immortal.

Milo cigarette cards, with photography

by Talma, from the collection of Neil Litchfield. Words by Coral Drouyn.

60 Stage Whispers September - October 2013

www.stagewhispers.com.au Stage Whispers 61

On Stage

A.C.T. & New South Wales

Charnin, and book by Thomas Meehan. Phoenix Players (ACT).

Oct 4 - 19. ANU Arts Centre.

Dr Seuss’ The Cat in the Hat. AKA, GGA & Canberra Theatre Centre. Oct 8 - 11. The Playhouse, Canberra Theatre Centre. 6275 2700.

Swan Lake and Nutcracker. The Russian National Ballet Theatre.

Oct 11 & 12. Canberra Theatre Centre. 6275 2700.

The Wharf Revue by Jonathan Biggins, Drew Forsythe & Phillip Scott. Sydney Theatre Company.

Oct 15 - 19. The Playhouse, Canberra Theatre Centre. 6275 2700.

Little Shop of Horrors by Alan Menken and Howard Ashman.

Canberra Philharmonic. Oct 17 Nov 2. Erindale Theatre, Wanniassa. 6257 1950.

A Month of Sundays by Bob Larbey. Oct 18 - Nov 3. The Courtyard Studio, Canberra Theatre Centre. 6275 2700.

The Comedy of Errors by William Shakespeare. Bell Shakespeare. Oct 29 - Nov 9.

The Playhouse, Canberra Theatre Centre. 6275 2700.

New South Wales Rosencrantz and Guildenstern are Dead by Tom Stoppard. STC. Until Sep 7. Sydney Theatre.

(02) 9250 1777.

Storm Boy by Colin Thiele, adapted for the stage by Tom Holloway. STC. Until Sep 8.

Wharf 1. (02) 9250 1777.

Seminar by Theresa Rebeck.

ACT Footloose by Tom Snow, Dean The Shrine by Tim Winton.

Australian Premiere. Ensemble ‘Allo ‘Allo! By David Croft and Pitchford, Kenny Loggins and Canberra Theatre Centre and Theatre. Until Sep 14. (02) 9929 Jeremy Lloyd. Tempo Theatre Walter Bobbie. Supa Centenary of Canberra. Sep 26 - 0644 (ACT). Until Sep 7. Belconnen Productions. Sep 13 to 28. ANU 29. The Playhouse, Canberra A Midsummer Nights Dream by Theatre, Swanson Street, Arts Centre. 62571950 Theatre Centre. 6275 2700.

William Shakespeare. Nowra Belconnen. (02) 6275 2700.

The Book of Everything by Michael Francis Willoughby in Players. Until Sept 7. Players Stomp ’13. Lunchbox Theatrical Richard Tulloch. Canberra Rep. Elohgulp by Chris Thompson.

Theatre, Bomaderry.

Productions. Sep 3 - 8. Canberra Sep 13 - 28. Theatre 3. (02) Jigsaw Theatre Company. Sep 1300662808 (Shoalhaven Theatre Centre. 6275 2700.

6257 1950.

28 - Oct 12. The Courtyard Visitors Information Centre).

Home at the End by Duncan Marina Prior - The Encore Tour. Studio, Canberra Theatre Dead Man Break by Alana Ley. Canberra Theatre Centre & Sep 13. The Playhouse, Centre. 6275 2700.

Valentine. Merrigong Theatre Everyman Theatre. Sep 4 - 14.

Canberra Theatre Centre. 6275 Noel Coward’s Brief Encounter. Co. Until Sep 7. Gordon The Courtyard Studio, Canberra 2700.

Arts Projects Australia and Theatre, Wollongong. (02) 4224 Theatre Centre. 6275 2700.

A Festival of Russian Ballet. The Canberra Theatre Centre present 5999 Project Rameau. Sydney Nutcracker, Giselle and more.

Kneehigh Theatre’s production. Caravan by Donald MacDonald.

Dance Company and Australian Imperial Russian Ballet Oct 2 - 5. Canberra Theatre Theatre on Brunker. Until Sept Chamber Orchestra. Sep 12 Company. Sep 17 - 19. The Centre. 6275 2700.

14. Theatre on Brunker, 14. Canberra Theatre Centre.

Playhouse, Canberra Theatre Annie. Music by Charles Adamstown (Newcastle). (02) 6275 2700.

Centre. 6275 2700.

Strouse, lyrics by Martin 4956 1263.

Dylan Young (Romeo) and Eryn Jean Norvill (Juliet) in Sydney Theatre Company’s production of Romeo and Juliet (17 Sep - 2 Nov, Drama Theatre Sydney, Opera House).

Photo: Michele Aboud.

62 Stage Whispers

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

On Stage The Sound of Music by Rodgers and Hammerstein. Parkes Musical & Dramatic Society.

Until Sep 14. Parkes Little Theatre.

Murder on the Nile by Agatha Christie. Genesian Theatre Company. Until Oct 5. 1300 237 217.

Miss Julie by Simon Stone after August Strindberg. Belvoir. Until Oct 6. Upstairs Theatre. (02) 9699 3444.

EMPIRE: Terror on the High Seas

by Toby Schmitz. Rock Surfers Theatre Company. Until Sep 28.

The Bondi Pavilion Theatre.

1300 241 167.

The Phantom of the Opera.

Music by Andrew Lloyd Webber, book by Lloyd Webber and Richard Stilgoe, lyrics by Charles Hart and Stilgoe. Metropolitan Players. Until Sept 7. Civic Theatre, Newcastle. (02) 4929 1977.

RU4ME by Annie Byron, from the novel Kissing Frogs.

Riverside Productions and True West Theatre. Sep 3. Cessnock Performing Arts Centre (02) 4990 7134. Oct 2-5. Civic Playhouse, Newcastle. (02) 4929 1977.

Return to Earth by Lally Katz.

Griffin Independent. Sep 4 - 28.

SBW Stables Theatre. (02) 9361 3817.

Jude the Obscure by Alice Williams. PACT Sydney Fringe.

Sep 4 - 14. PACT Theatre. (02) 9560 9167.

The 2013 Sydney Fringe Festival.

September 6 - 20. www.sydneyfringe.com Iolanthe by Gilbert and Sullivan.

The Savoy Arts Company.

Soldiers’ Memorial Hall, Bundanoon & Zenith Theatre, Chatswood. Sept 6 - 14. (02) 9777 7547.

Gaslight by Patrick Hamilton.

Players Theatre Inc Port Macquarie. Sep 6 - 22. Players Theatre. (02) 6581 8888.

Shootin’ Sadie by Natasha Soonchild. PACT / Sydney Fringe. Sep 6 - 14. PACT Theatre. (02) 9560 9167.

Nunsense by Dan Goggin.

Tomaree Musical Theatre Company. Sept 7, Dungog RSL; Oct 19, Club Lemon Tree, Lemon Tree Passage & Nov 16, Nelson Bay Bowling Club. 0468 898 073 for all venues.

Emily Eyefinger from the children’s books by Duncan Ball.

Monkey Baa Theatre. Sep 9 11, Civic Theatre, Newcastle, (02) 4929 1977 & Sep 26 - 28, Parramatta Riverside Theatre, (02) 8839 3399.

South Pacific by Richard Rodgers and Oscar Hammerstein II. Opera Australia.

Sep 10 - Nov 2. Joan Sutherland Theatre, Sydney Opera House.

(02) 9318 8200.

New South Wales Happy as Larry by Shaun Parker and Company. Seymour Centre.

Sep 10 - 14. Everest Theatre.

(02) 9351 7940.

The Wharf Revue 2013 by Jonathan Biggins, Drew Forsythe and Phillip Scott. Sep 11 - 14, Lennox Theatre, Riverside Theatres Parramatta, 8839 3399 & Sep 17 - 21, IMB Theatre, Wollongong (02) 4224 5999 Xanadu by Douglas Carter Beane, Jeff Lynne and John Farrar. Pantseat Productions.

Sep 12 - 21. Civic Playhouse, Newcastle. (02) 4929 1977.

The Wonderful Wizard of Oz. Adapted by Virginia Glasgow Koste, from the book by L. Frank Baum. Maitland Repertory Theatre Inc. Sep 13 - Oct 6.

Maitland Repertory Theatre. (02) 4931 2800.

Calendar Girls by Tim Firth.

Ballina Players. Sep 13 - 28. (02) 6686 2440.

Spring Awakening The Musical

by Steven Sater and Duncan Sheik. Phoenix Theatre. Sep 13 28. Phoenix Theatre, Coniston.

0407 067 343.

The Epiphany Booth by Emily Windon. Sydney Fringe. Sep 13 - 28. PACT Theatre courtyard.

Work Shorts 2013. Wollongong Workshop Theatre. Sep 13 - 28.

(02) 4225 9407.

The Yeomen of the Guard by W.S. Gilbert and Arthur Sullivan.

Opera Hunter. Sept 14.

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

Cessnock Performing Arts Centre. (02) 4990 7134.

Grease by Jim Jacobs & Warren Casey. Holroyd Musical and Dramatic Society. Sep 14 - 22.

The Redgum Centre, Wentworthville. 0497 051 798.

Festival of Russian Ballet. Ravel’s Bolero and excerpts from other ballets. The Imperial Russian Ballet Co. Sep 15. Civic Theatre, Newcastle. (02) 4929 1977.

Romeo and Juliet by William Shakespeare. STC. Sep 17 - Nov 2. Drama Theatre, Sydney Opera House. (02) 9250 1777 Sleeping Beauty - The Musical.

Written & Adapted by Natalie Trengove, with songs & music

by Jim Fury. Sep 18 - 29. Tweed Civic Centre. 1800674415.

Julie Anne and Julie are bad in bed, or so I read (on a toilet stall door) by Emma White. PACT / Sydney Fringe. Sep 18 - 28.

PACT Theatre. (02) 9560 9167.

The Unstoppable, Unsung Story of Shaky M by Rowena Hutson PACT / Sydney Fringe. Sep 18 28. PACT Theatre. (02) 9560 9167.

Camp by Gary Baxter. World Premiere. Ensemble Theatre. Sep 19 - Oct 26. (02) 9929 0644 The Playwright’s Dozen II. Short plays by Regional Institute of Performing Arts acting students.

Company Clegg. Sep 19 - 22.

48 Watt, Newcastle. (02) 4923 7595.

Stage Whispers 63

On Stage Laser Beak Man. Directed & Devised by Bruce Gladwin. Back to Back Theatre, Sydney Theatre Company and Malthouse Theatre. Sep 20 - Oct 19. Wharf 2. (02) 9250 1777.

The Phantom of the Opera.

Music by Andrew Lloyd Webber, book by Lloyd Webber and Richard Stilgoe, lyrics by Charles Hart and Stilgoe. Miranda Musical Society. Sep 21 - 29.

Sutherland Entertainment Centre. 8814 5827 Charlotte’s Web by Joseph Robinette from the novel by E.B. White. Upstage Youth Theatre.

Sep 23 - 28. Tocal Homestead, Paterson. (02) 4934 1516.

Rumpelstiltskin by Belinda Roals from the Grimm fairy tale.

Young People’s Theatre, Sep 23 - Nov 16. Young People’s Theatre, Hamilton (Newcastle).

(02) 4961 4895.

Cho Cho. National Theatre of China, Playking Productions and Arts Centre Melbourne. From Sep 24. 1300 795 012.

64 Stage Whispers

New South Wales

Just an Old Fashioned Grrrl.

Danielle Asciak. Sep 25. Slide Lounge, Darlinghurst.

The Beggar’s Opera by John Gay. The Regional Institute of Performing Arts and Company Clegg. Sept 25 - 28. Seymour Centre, Chippendale. (02) 9351 7940.

The BFG. Adapted by David Wood from Roald Dahl’s novel.

Hunter Region Drama School.

Sep 25 - 28. Civic Playhouse, Newcastle. (02) 4929 1977.

Michael Jackson THE IMMORTAL World Tour™.

Cirque du Soleil. Sep 26 - 29.

Allphones Arena. 132 849.

A Year with Frog & Toad. Book and lyrics: Willie Reale. Music: Robert Reale. Based on the books by Arnold Lobel.

Ensemble Theatre. Sep 26 - Oct 19. (02) 9929 0644 Small and Tired by Kit Brookman. Belvoir. Sep 26 - Oct 20. Downstairs Theatre. (02) 9699 3444.

Noir et d’Or (BlaknGold Cabaret). Briana Bluebell, Miss Burlesque Australia 2012. Sep 26. Slide Lounge, Darlinghurst.

(02) 8915 1899.

The Peach Season by Debra Oswald. Castle Hill Players. Sep 27 - Oct 19. The Pavilion Theatre, Castle Hill Showground. 9634 2929.

Don't Dress for Dinner by Marc Camoletti, adapted by Robin Hawdon. Roo Theatre Co. Sep 27 - Oct 5. Harbour Theatre.

(02) 4297 2891.

Whoops! The Wharf Revue 2013 by Jonathan Biggins, Drew Forsythe and Phillip Scott.

Sydney Theatre Company. Sep 27 - 28. Civic Theatre, Newcastle. (02) 4929 1977.

Swan Lake / The Nutcracker.

Two ballets, with music by Tchaikovsky. Russian Ballet XDR. Oct 1 - 2. Civic Theatre, Newcastle. (02) 4929 1977.

Dinosaur Petting Zoo. ERTH. Sep 21, Parramatta Riverside Theatre, (02) 8839 3399 & Sep

30 & Oct 1, IMB Theatre, Wollongong, (02) 4224 5999 Sweeney Todd: The Demon Barber Of Fleet Street. Music and lyrics by Stephen Sondheim, book by Hugh Wheeler.

Maitland Gilbert and Sullivan and Musical Society. Oct 2 - 6, Maitland High School Hall; Oct 12 - 13, Singleton Civic Centre; Oct 19 - 20, Hope Estate Winery, Pokolbin & Oct 26 - 27, Hexham Bowling Club.

Fame The Musical. Conceived and developed by David De Silva. Book: Jose Fernandez.

Lyrics: Jacques Levy. Music: Steve Margoshes. Title song: Dean Pitchford and Michael Gore. Chatswood Musical Society. Oct 2 - 5. Pymble Ladies College. 1300 66 22 12.

The Floating World by John Rommerill. Griffin. Oct 4 - Nov 16. SBW Stables Theatre. (02) 9361 3817.

I am a Camera by John Van Druten from stories by Christopher Isherwood.

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

On Stage Newcastle Theatre Company.

Oct 5 - 19. Newcastle Theatre Company, Lambton. (02) 4952 4958.

The Swimming Club by Hannie Rayson. Pymble Players. Oct 9 Nov 2. Corner of Bromley Ave and Mona Vale Rd, Pymble.

1300 306 776.

The Good, The Bad & The Lawyer by Tony Laumberg. Oct 10 - 27. TAP Gallery, Darlinghurst. 1300 306 776.

A Streetcar Named Desire by Tennessee Williams. DAPA. Oct 11 - 26. DAPA Theatre, Hamilton (Newcastle). (02) 4962 3270.

Calendar Girls by Tim Firth.

Epicentre Theatre Company. Oct 11 - 19. Zenith Theatre, Chatswood. 9777 7555.

Wuthering Heights by Steen & Erifilli Davis, based on the book

by Emily Bronte. Phoenix Theatre. Oct 11 - 26. Phoenix Theatre, Coniston. 0407 067 343

Hamlet by William Shakespeare.

Belvoir. Oct 12 - Dec 1. Upstairs Theatre. (02) 9699 3444.

Avenue Q by Jeff Whitty, Robert Lopez and Jeff Marx. Penrith Musical Comedy Company. Oct 18 - 26. Q Theatre in the Joan Sutherland Centre, Penrith.

4723 7600.

The Music Man by Meredith Willson. Strathfield Musical Society. Oct 18 - 26. The Latvian Theatre, Strathfield. (02) 8007 7785.

Love Field by Ron Elisha.

Bakehouse Theatre. Oct 22 Nov 2. Tap Gallery, Darlinghurst.

Big Dance in Small Chunks.

Form Dance Projects. Oct 23 26. Riverside Theatres, Parramatta.

Competitive Tenderness by Hannie Rayson. Woy Woy Little Theatre. Oct 25 - Nov 10. The Peninsula Theatre, Woy Woy. 43 233 233.

New South Wales Calendar Girls by Tim Firth. Arts Theatre Cronulla. Oct 16 - Nov 30. (02) 9523 2779.

Encounter with Murder - An Uncle Bunny Mystery by Kaz Getts. RAPA Inc. Oct 17 - 26.

Concord RSL. MCA Ticketing 1300 306 776.

Peter Pan by J. M. Barrie.

Engadine Musical Society. Oct 18 - 27. Engadne Community Centre. 1300 616 063/ The Phantom of the Opera by Andrew Lloyd Webber and Charles Hart. Orange Theatre Company. Oct 18 - Nov 2.

Orange Civic Theatre. (02) 6393 8111.

42nd Street. Book by Michael Stewart and Mark Bramble, lyrics by Al Dubin, and music by Harry Warren. Willoughby Theatre Company. Oct 16 - 27.

The Concourse, Chatswood.

Daisy Pulls It Off by Denise Deegan. Genesian Theatre Company. Oct 19 - Nov 16.

1300 237 217.

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

The Comedy of Errors by William Shakespeare. Bell Shakespeare/State Theatre Company of SA. Oct 19, Cessnock Performing Arts Centre, (02) 4990 7134 & Oct 22 - 26, IMB Theatre, Wollongong, (02) 4224 5999.

Delval Divas by Barbara Pease Weber. Sutherland Theatre Co. Oct 20 - Nov 2. Sutherland School of Arts. (02) 9588 1517.

The Wharf Revue 2013 by Jonathan Biggins, Drew Forsythe and Phillip Scott. STC. Oct 23 Dec 21. Wharf 1. (02) 9250 1777 A Christmas Carol by Menken, Ahrens and Okrent. Gosford Musical Society. Oct 25 - Nov 9.

Laycock Street Community Theatre. (02) 4323 3233.

Anyone Can Whistle. Book by Arthur Laurents and music and lyrics by Stephen Sondheim.

Bankstown Theatre Company.

Oct 25 - Nov 3. 9676 1191.

Rapture, Blister, Burn by Gina Gionfriddo. Ensemble Theatre.

Stage Whispers 65

On Stage Australian Premiere. From Oct 31. (02) 9929 0644 Oklahoma! by Rodgers and Hammerstein. NUCMS. Oct 25 Nov 9. Normanhurst Uniting Church Hall.

How to Succeed in Business Without Really Trying by Frank Loesser. Eastwood Uniting Church Musical Society. Oct 25 - Nov 9. Eastwood Uniting Church. 8061 7195.

Noël Coward’s Brief Encounter.

Kneehigh Theatre. Oct 31 to Nov 10. The Concourse, Chatswood. 1300 795 012.

Hairspray. Music by Marc Shaiman, lyrics by Scott Wittman and Shaiman, book by Mark O'Donnell and Thomas Meehan. Moonglow Productions. Nov 1 & 2.

Wollongong Entertainment Centre.

Queensland Grease by Jim Jacobs and Warren Casey. John Frost. Until Oct 4. Lyric Theatre, QPAC. 136 246.

66 Stage Whispers

New South Wales & Queensland

The Good Doctor by Neil Simon.

Villanova Players. Until Sept 14.

The Theatre, Seven Hills TAFE. (07) 3395 5168.

Romeo and Juliet by William Shakespeare. Nash Theatre.

Until Sept 14. Merthyr Uniting Church, New Farm. (07) 3379 4775.

Tequila Mockingbird. Based on Harper Lee’s To Kill a Mocking Bird. Shake & Stir Theatre Co. Until Sep 7. Cremorne Theatre, QPAC. 136 246.

The Complete Works of William Shakespere (Abridged). State Theatre Co of South Australia.

Sept 2-3, Gardens Theatre 3138 4455; Sep 5, Logan Entertainment Centre, Logan; Sep 7, Redland Performing Arts Centre, Cleveland; Sep 11, Cairns Civic Theatre, Cairns; Sep 13 - 14, The Riverway Arts Centre, Townsville; Sep 17, Pilbeam Theatre, Rockhampton and Sep 21 - Oct 6, Cremorne Theatre, QPAC, 136 246.

Rumour Has It: Sixty Minutes Inside Adele. The Little Red Company.

Judith Wright Centre of Contemporary Arts, Sep 5-7; Brolga Theatre, Maryborough, Sep 18; Moncrieff Entertainment Centre, Bundaberg, Sep 19; Gladstone Entertainment Centre Marquee, Sep 20 and Empire Theatre, Toowoomba, Sep 27.

Therese Raquin by Leslie Sands (an adaptation of Emile Zola's 1867 novel). Cairns Little Theatre. Sep 6 - 14. Rondo Theatre. 1300 855 835.

When Time Stops. Expression Dance Co. Playhouse, QPAC. Sept 6 - 14. 136 246.

When the Rain Stops Falling by Andrew Bovell. Centenary Theatre. Sept 7-28. 0435 591 720.

West Moon Street by Rob Urbinati. Lind Lane Theatre. Sep 7 - 14. (07) 5441 1841.

The Glass Menagerie by Tennessee Williams. Gold Coast Little Theatre. Sep 7 - 28. ( 07) 5532 2096.

The Wizard of Oz by Maxine Mellor & The Danger Ensemble.

La Boite. Sept 7-28. 3007 8600.

Spirit of the Lore. Aboriginal Centre for the Performing Arts.

Sept 11-19. Cremorne Theatre, QPAC 136 246.

West Side Story by Arthur Laurents, Leonard Bernstein and Stephen Sondheim. Noosa Arts Theatre. Sep 11 - 28. (07) 5449 9343.

Macbeth by William Shakespeare. TheatreiNQ. Queen's Gardens, Townsville, Sept 17th to 29th. 0467 245 478.

Freeze Frame by Debbie Allen.

Brisbane Festival. Playhouse, QPAC. Sept 19-22.136 246.

On Air! On Air! By Peter Meden Spotlight Theatre, Gold Coast.

Sept 20 - Oct 5. 5539 4255 Pochhontas by Vera Morris & Scott Deturk. Arts Theatre. Sept 21 - Nov 23. 3369 2344.

The Burlesque Effect by Wayne Tunks Javeenbah Theatre

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

On Stage Company, Nerang. Sep 27 - Oct 10. (07) 5596 0300.

Strange Attractor by Sue Smith.

Arts Theatre. Sept 28 - Oct 26.

3369 2344.

The Pirates of Penance by Gilbert & Sullivan, Savoyards.

Sept 28 - Oct 12. Iona

Performing Arts Centre, Wynum 3893 43 21.

Michael Jackson THE IMMORTAL World Tour™.

Cirque du Soleil. Oct 2 - 6.

Brisbane Entertainment Centre.

132 849.

Queensland Daisy Pulls it Off by Denise Deegan. BATS Theatre Company, Buderim. Oct 4 - 12.

Buderim War Memorial Hall.

(07) 5445 2515.

Vivien Leigh's School for Scandal. Adapted from Richard Brinsley Sheridan's School For

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

Scandal. heartBeast Vicious Theatre Ensemble. Oct 10 - 26.

Trinity Hall Church, Church Street, Fortitude Valley. 136 246.

Into the Woods by Stephen Sondheim / The Scarlet Pimpernel by Frank Wildhorn

Stage Whispers 67

On Stage

Queensland & Victoria

Straight by DC Moore. Red Stitch Actors Theatre. Until Sep 28. Red Stitch Theatre, St Kilda.

(03) 9533 8083.

The Cherry Orchard by Anton Chekhov, reworked by Simon Stone. MTC. Until Sep 25.

Southbank Theatre, The Sumner. (03) 8688 0800.

Kid Stakes by Ray Lawler. The Basin Theatre Group. Until Sep 8. 1300 784 668.

Savages by Patricia Cornelius.

Until Sep 8. Fortyfivedownstairs.

(03) 9662 9966.

The Light in the Piazza - a musical by Craig Lucas, based on a novella by Elizabeth Spencer. Lilydale Athaneaum Theatre. Until Sep 7. (03) 9735 1777.

33 Variations by Moises Kaufman. Malvern Theatre Company Inc. Until Sep 7. 1300 131 552.

And The Big Men Fly by Alan Hopgood. Sunshine Community Theatre Inc. Until Sep 7. 0407 802 165 Salomé by Oscar Wilde. Little Ones Theatre and Malthouse Theatre Helium 2013 season.

Until Sep 14. Tower Theatre, Malthouse. (03) 9685 5111.

Steel Magnolias by Robert Harling. The Mount Players.

Until Sep 14. 1300 463 224. and Nan Knighton / Little The Phantom of the Opera by Happy Days - a new musical.

Women by Jason Howland and Andrew Lloyd Webber and Book by Garry Marshall, Music & Mindy Dickstein. Ignations. Oct Charles Hart. Spotlight Theatre, Lyrics by Paul Williams.

11 - 27. Schonell Theatre, St Gold Coast. Oct 25 - Nov 17.

Beaumaris Theatre Inc. Until Sep Lucia, 3371 2751.

5539 4255.

15. (03) 9583 6896.

Adrift in Macao by Christopher The Tallis Scholars 40th Arms and the Man by George Durang and Peter Melnick.

Anniversary Tour. Queensland Bernard Shaw. Eltham Little Coolum Theatre Players. Oct 18 Performing Arts Centre. Oct 26. Theatre. Until Sep 14. (03) 9437 - 26. Coolum Civic Centre. (07) Concert Hall, QPAC. 136 246.

1574.

Victoria 5446 2500.

Iphigénie by C.W. Gluck. Lyric Summer Wonderland by KING KONG. Writer: Craig Opera of Melbourne. Sep 1 - 7.

Matthew / Ryan. Lind Lane Lucas. Music overseen by Marius Chapel Off Chapel, Prahran. (03) Theatre, Nambour. Oct 18 - 26. de Vries. Lyricist: Michael 8290 7000.

Mitnick. Global Creatures.

(07) 5441 1814.

It’s Alright, Sid it’s Alright by Design For Living by Noel Regent Theatre, Melbourne.

Jessica Stanley. La Mama. Sep 4 Coward. QTC. Oct 19 - Nov 10. 1300 111 011.

- 15. (03) 9347 6142.

Hot Shoe Shuffle. David Atkins Playhouse, QPAC 136 246.

I’m Your Man. Creator/Director: Otello by Verdi. Opera Q/Cape Enterprises. Until Sep 8. Her Roslyn Oades. Arts House and Town Opera/West Australian Majesty’s Theatre, Melbourne.

Mobile States. Sep 4 - 8. North Ticketek.

Opera/New Zealand Opera, Melbourne Town Hall. (03) State Opera of South Australia/ Rupert by David Williamson.

9322 3713.

Victorian Opera. Oct 24 - Nov 2. MTC. Until Sep 28. Arts Centre Kinship. Bangarra Dance Melbourne, Playhouse. (03) Lyric Theatre, QPAC 136 246.

Theatre. Sep 4, Frankston Arts 8688 0800.

Centre, (03) 9784 1060 & Sep Noël Coward's Brief Encounter - Kneehigh Theatre’s international hit touring Australia.

Dunstan Playhouse Adelaide (Sep 10 to 28); Canberra Theatre (Oct 2 to 5); The Athenauem, Melbourne (Oct 9 to 27); The Concourse, Chatswood (Oct 31 to Nov 10); Illawarra Performing Arts Centre (Nov 20 to 23) and The Regal, Perth (Nov 28 to Dec 1).

68 Stage Whispers

7, Whitehorse Centre, (03) 9262 6555.

Whelping Box. Co-Creators: Clare Britton, Matt Prest, Lee Wilson and Mirabelle Wouters.

Presented by Arts House, Branch Nebula, Matt Prest and Clare Britton. Sept 4 - 8. Meat Market. (03) 9322 3713 Lost in Ringwood by Barry Dickins. La Mama. Sep 5 - 22.

(03) 9347 6142.

Morning Departure by Kenneth Woollard. Williamstown Little Theatre. Sep 5 - 21. (03) 9885 9678.

Night Must Fall by Emlyn Williams. Mordialloc Theatre Company Inc. Sep 6 - 21. Shirley Burke Theatre, Parkdale. (03) 9587 5141.

Paris Underground. Red Bennies and Madotti & Vegas. Sep 6 Oct 26. Red Bennies, South Yarra.

Kiss of the Spider Woman by Manual Puig. Mockingbird Theatre. Sep 6 - 15. The Owl and The Pussycat, Richmond.

The Importance of Being Earnest by Oscar Wilde. Purely Pensive Productions. Sep 6 - 14.

Mechanics Institute Performing Arts Centre, Brunswick.

The Prime of Miss Jean Brodie adapted by Jay Presson Allen from Muriel Spark's novel.

Geelong Repertory Theatre Company. Sep 6 - 21. Woodbin Theatre, West Geelong. 5225 1200.

Stephen Schwartz Triptych.

Magnormos. Godspell - Sept 9; Pippin - Sept 16 and Children of Eden - Sept 23. Melbourne Recital Centre. (03) 9699 3333. www.magnormos.com Theo and the Lion. Patch Theatre Company. Sep 7. Arts Centre Melbourne, Fairfax Studio. 1300 182 183.

Bang! Crash! Tap! Raw Dance Company. Sep 11 - 14. Arts Centre Melbourne, Fairfax Studio. 1300 182 183.

One Flew Over the Cuckoo’s Nest from the Ken Kesey novel, adapted by Dale Wasserman.

Heidelberg Theatre Company.

Sep 12 - 28. (03) 9457 4117.

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

On Stage Hard Rubbish. Malthouse Theatre, Strut & Fret & Men of Steel. Sep 12 - Oct 18. Beckett Theatre, Malthouse. (03) 9685 5111.

Gary’s House by Debra Oswald.

Essendon Theatre Company.

Sep 12 - 21. West Essendon Community Centre. 0422 029 483.

God of Carnage by Yasmina Reza. MOARTZ. Sep 13 - 21.

Yallourn North Hall. 5127 6514 or 0438 579 987.

La Traviata by Verdi. Melbourne Opera. Sep 11 - 20, Athenaeum Theatre, Melbourne, 9650 1500 or 13 28 49 & Oct 11, Alexander Theatre, Monash University, (03) 9905 1111.

Melbourne Fringe Festival.

September 18 - October 6. www.melbournefringe.com.au John Gabriel Borkman by Henrik Ibsen, translation by William Archer. La Mama. Sep 18 - 29.

(03) 9347 6142.

Lacrima. AfterDark Theatre / Hotel Limbo Physical Theatre

Company / Melbourne Fringe.

Circus. Sep 18 - 21. Gasworks.

(03) 9699 3253.

Spoilt by Liz Skitch. La Mama.

Sep 19 - 29. (03) 9347 6142.

Flock. Weave Movement Theatre / Melbourne Fringe. Sep 19 - 22. Mechanics Institute Performing Arts Centre, Brunswick. (03) 9660 9666.

Domestic Warfare. Nice Production/ Melbourne Fringe.

Sep 19 - 28. Gasworks. (03) 9699 3253.

Blindscape. AfterDark Theatre / Skye Gellmann / Melbourne Fringe. Sep 24 - 28. Gasworks.

(03) 9699 3253.

Another Point of View.

Melbourne Fringe. Sep 24 - 28.

Gasworks. (03) 9699 3253.

How It Is or As You Like It by Van Badham. La Mama. Sep 25 - Oct 13. (03) 9347 6142.

The Importance of Being Earnest by Oscar Wilde (reimagined). Sep 25 - 28.

Gasworks. (03) 9699 3253.

Victoria At the Last Gasp. Melbourne Fringe. Circus. Sep 25 - 28.

Gasworks. (03) 9699 3253.

Foreigners from Home by Chris Dickins. FAMDA (Foster). Sep 27 - Oct 6. Foster War Memorial Arts Centre. 0400 867 872.

Squid Stamp: The Technology Show. La Mama for Kids. Sep 28 - Oct 6. (03) 9347 6142.

Tales of a Magical Circus. Emma Shepherd and Lee Cohen.

Melbourne Fringe. Sep 28 - Oct 5. Gasworks. (03) 9699 3253.

KAPOW! Melbourne Fringe. Oct 1 - 2. Gasworks. (03) 9699 3253.

Elixir. Head First Acrobatics / Melbourne Fringe. Oct 1 - 5.

Gasworks. (03) 9699 3253. ...We Should Quit. Melbourne Fringe. Circus. Oct 1 - 5.

Gasworks. (03) 9699 3253.

Asoré - A Series of Rare Events.

A4 Circus Ensemble / Melbourne Fringe. Oct 1 - 5. Gasworks.

(03) 9699 3253.

Cho Cho. National Theatre of China, Playking Productions and Arts Centre Melbourne. Oct 2 6. Arts Centre Melbourne, Playhouse. 1300 182 183.

True West by Sam Shepard.

Melbourne Fringe. Oct 2 - 5.

Gasworks. (03) 9699 3253.

The Woolgatherer by William Mastrosimone. La Mama. Oct 2 - 6. (03) 9347 6142.

The Beast by Eddie Perfect.

Melbourne Theatre Company in

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

association with Melbourne Festival and Melbourne International Comedy Festival.

Oct 3 - Nov 9. Southbank Theatre, The Sumner. (03) 8688 0800.

The Phantom of the Opera by Andrew Lloyd Webber and Charles Hart. Geelong Lyric Theatre Society. Oct 4 - 12.

Playhouse Theatre, GPAC. Guys and Dolls by Frank Loesser, Jo Swerling and Abe Burrows.

CLOC Musical Theatre. Oct 4 19. National Theatre, St Kilda.

1300 362 547.

Two Mortals. Devised and performed by Rachael DysonMcGregor and Mike McEvoy. La Mama. Oct 8 - 13. (03) 9347 6142.

M+M. Daniel Schlusser Ensemble. Melbourne Festival and Theatre Works. Oct 8 - 16.

Theatre Works, St Kilda. 136 100 / (03) 9534 3388.

The Shadow King by Michael Kantor and Tom E Lewis.

Melbourne Festival / Malthouse.

Oct 8 - 27. Malthouse Theatre, Merlyn Theatre. (03) 9685 5111.

Michael Jackson THE IMMORTAL World Tour™.

Cirque du Soleil. Oct 9 - 13. Rod Laver Arena. 132 849.

God of Carnage by Yasmina Reza. The 1812 Theatre. Oct 9 Nov 2. bakery@1812.

Stage Whispers 69

On Stage Noël Coward’s Brief Encounter.

Kneehigh Theatre / Melbourne Festival. Oct 9 to 27. The Athenauem Theatre, Melbourne. 1300 795 012.

Noises Off by Michael Frayn.

Wangaratta Plyers. Oct 10 - 19.

Stage Door Studio. (03) 5721 3758.

Melbourne Festival 2013.

October 11 - 27.

The Rite of Spring / Petrushka.

Fabulous Beast Dance Theatre / Melbourne Festival. Oct 11 - 14.

Comedy Theatre, Melbourne.

136 100.

Carousel by Richard Rodgers and Oscar Hammerstein II. Babirra Music Theatre. Oct 11 to 19. The Whitehorse Centre, Nunawading. 9262 6555.

It’s a Bird…It’s a Plane…It’s Superman by Charles Strouse, Lee Adams, David Newman and Robert Benton. Fab Nobs Theatre. Oct 11 - 26. Fab Factory, Bayswater. 0401 018 846 The Merry Widows by Cenarth Fox. Encore Theatre Inc. Oct 11 - 26. Clayton Community Centre. 1300 739 099.

The Shadow King. Co-Created

by Tom E. Lewis & Michael Kantor. Oct 11 - 27. Malthouse Theatre & Melbourne Festival.

(03) 9685 5111.

The Music Man by Meredith Willson. OSMaD. Oct 11 - 19.

Geoffrey McComas Theatre, Scotch College, Hawthorn. 0414 413 013.

Sun. Hofesh Shechter Company.

Melbourne Festival in association with Ziyin and Carrillo Gantner AO. Oct 11 16. Arts Centre Melbourne, Playhouse. 136 100 / 1300 182 183.

A Small Prometheus by Stephanie Lake and Robin Fox. Arts House and Melbourne Festival. Oct 15 - 20. North Melbourne Town Hall. (03) 9322 3713.

Teenage Riot. Ontroerend Goed / Kopergietery / Drum Theatre, Plymouth / Richard Jordan Productions Ltd. Melbourne Festival. Oct 15 - 18.

Arts Centre Melbourne, Fairfax 70 Stage Whispers

Victoria & South Australia

Studio. 136 100 / 1300 182 183.

Princess Ida by Gilbert and Sullivan. Gilbert and Sullivan Opera Victoria. Oct 19 - 26.

Alexander Theatre, Monash University. (03) 9905 1111.

All That is Wrong by Koba Ryckewaert. Ontroerend Goed / Laika / Drum Theatre, Plymouth / Richard Jordan Productions Ltd. Melbourne Festival. Oct 19 & 20. Arts Centre Melbourne, Fairfax Studio. 136 100 / 1300 182 183.

Earworms. The Listies.

Melbourne Festival in association with Betty Amsden OAM. Oct 19 & 20. Federation Square, Deakin Edge. 136 100.

Room for Regret by Emma Valente and Kate Davis. The Rabble. Melbourne Festival and Theatre Works. Oct 21 - Nov 3.

Theatre Works, St Kilda. 136 100 / (03) 9534 3388.

Life and Times: Episodes 1‐4.

Nature Theater of Oklahoma.

Melbourne Festival in association with Debbie Dadon and Naomi Milgrom AO. Oct 22 - 26. Arts Centre Melbourne, Playhouse. 136 100.

PUSH. A Sadler’s Wells London production in collaboration with Russell Maliphant and Sylvie Guillem. Melbourne Festival in association with Joan and Peter Clemenger Trust. Oct 23 & 24.

Her Majesty’s Theatre, Melboune. 1300 795 012.

Minsk, 2011: A Reply to Kathy Acker. Belarus Free Theatre.

Melbourne Festival in association with Ziyin and Carrillo Gantner AO. Oct 24 27. Arts Centre Melbourne, Fairfax Studio. 136 100 / 1300 182 183.

6000 Miles Away.

Choreographed by Jiří Kylián, William Forsythe and Mats Ek. A Sadler’s Wells London Sylvie Guillem production. Melbourne Festival in association with Joan and Peter Clemenger Trust. Oct 26 & 27. Her Majesty’s Theatre, Melboune. 1300 795 012.

A Murder is Announced by Agatha Christie. Michael

Coppel, Louise Withers and Linda Bewick in association with Mousetrap Productions Ltd, London. Oct 30 - Dec 4. The Comedy Theatre, Melbourne.

1300 111 011.

The Pirates of Penzance (Broadway Version) by Gilbert and Sullivan. The Production Company. Oct 30 - Nov 3.

Hamer Hall, Arts Centre Melbourne. 1300 182 183.

South Australia Babyteeth by Rita Kalnejais.

State Theatre Company of South Australia. Until Sep 7. Space Theatre.

Cyndi Lauper - She’s So Unusual. Sept 4. Festival Theatre. BASS. Vanity Fair by William Makepeace Thackeray, adapted

by Declan Donnelly. Adelaide Repertory Theatre. Sept 5-14.

Arts Theatre, Adelaide. (08) 82125777.

East of Berlin by Hannah Moscovitch. Bakehouse Theatre Company. Sep 5- 21. Bakehouse

Theatre, 255 Angas Street, Adelaide.

The Comedy of Errors by William Shakespeare. Country Arts SA. Sep 5, Middleback Theatre, Whyalla, (08) 8644 7300; Sep 7, Northern Festival Centre, Port Pirie, (08) 8633 8500; Sep 10, Hopgood Theatre, (08) 82073977; Sep 12, Chaffey Theatre, Renmark, (08) 8586 1800 & Sep 14, Sir Robert Helpmann Theatre, Mt Gambier, (08) 8723 8741.

Noël Coward’s Brief Encounter.

Kneehigh Theatre and State Theatre Company of South Australia. Sep 10 - 28. Dunstan Playhouse.

OzAsia Festival 2013.

September 13 -29. www.ozasiafestival.com.au Fight the Landlord. Text by Sun Yue. Pan Pan Theatre / Beijing Square Moon Culture Ltd / OzAsia Festival 2013. Sep 17 & 18. Her Majesty’s Theatre, Adelaide. BASS.

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

On Stage Threepenny Opera by Bertolt Brecht. Adelaide College of The Arts. Sept 20-25. Main Theatre, AC Arts. VenueTix. Not According to Plan. Adelaide Festival Centre / Leigh Warren Dance / OzAsia Festival 2013.

Sep 20 & 21. BASS. Parah by Alfian Sa'at. The Instant Cafe Theatre Company / OzAsia Festival 2013. Sep 20 24. Her Majesty’s Theatre. BASS. Extreme Jump. Yegam Theatre Company (from Korea) / OzAsia Festival 2013. Sep 28 & 29.

Festival Theatre, Adelaide. BASS. The Lady in the Van by Alan Bennett. Oct 4-19. Stirling Community Theatre. (08) 83393931.

Dora The Explorer Live. Country Arts SA. Oct 4. Hopgood Theatre. (08) 82073977.

Reservoir Dogs by Quentin Tarantino. Matt Byrne Media.

Oct 10-26. Holden Street Theatres. (08) 8262 4906.

VenueTix. Michael Jackson THE IMMORTAL World Tour™.

Cirque du Soleil. Oct 15 - 17.

Adelaide Entertainment Centre.

132 849.

Grease by Jim Jacobs and Warren Casey. Metropolitan Musical Theatre of SA. Oct 1726. The Arts Theatre, Adelaide.

(08) 82643225. BASS. Swan Lake and The Nutcracker.

Russian National Ballet Theatre.

Oct 19-21. Her Majesty’s Theatre. BASS. Altar Boyz by Gary Adler and Michael Patrick Walker. Davine Interventionz. Oct 23-Nov 2.

Star Theatres. TryBookings.

Circus Oz. Country Arts SA. Oct 23. Hopgood Theatre. (08) 82073977.

Rockin’ The Ruby. Carry On Guides. Oct 24-26. Shedley Theatre, Elizabeth.

The Club by David Williamson.

Galleon Theatre Group. Oct 31Nov 9. Domain Theatre, Marion.

0437 609 577.

Tasmania Hairspray by Marc Shaiman, Scott Wittman, Mark O'Donnell and Thomas Meehan. Allan Jeffrey and Leiz Moore

South Australia & Tasmania

German cabaret legend Ute Lemper tours Australia in September with a song cycle of love poems by acclaimed poet Pablo Neruda, along with her greatest hits from Berlin to Broadway (Sep 13, Brisbane Concert Hall; Sep 15, Perth Concert Hall; Sep 18, Hamer Hall, Arts Centre Melbourne; Sep 21, Thebarton Theatre, Adelaide and Sep 23, Sydney Opera House).

Productions in association with the Musical Theatre Crew. Until Sep 14. The Playhouse Theatre, Hobart. (03) 6234 5998.

Calendar Girls by Tim Firth.

Launceston’s Three River Theatre. Aug 28 - Sep 7. Earl Arts Centre, Launceston. (03) 6334 1130 The Monster’s Apprentice by Paul McIntyre. CentreStage. Sep 11 - 14. The Annexe Theatre, Inveresk. (03) 6323 3666.

Kinship. Bangarra Dance Theatre. Sep 12 & 13. Theatre Royal, Hobart. (03) 6233 2299.

The Comedy of Errors by William Shakespeare. Bell Shakespeare Company. Sep 18 21, Theatre Royal, Hobart, (03) 6233 2299; Sep 23 & 24, Princess Theatre, Launceston, (03) 6323 3666.

The Pirates of Penzance by W.S. Gilbert and Arthur Sullivan. The G & S Society of Tasmania. Sep

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

20 - 28. Playhouse Theatre, Hobart. (03) 6234 5998.

Deloraine Drama Festival.

Sep 20 & 21. Deloraine Little Theatre.

A Festival of Russian Ballet.

Imperial Russian Ballet Company. Sep 27 & 28. Theatre Royal, Hobart. (03) 6233 2299.

The 39 Steps. Oct 2. Devonport Entertainment and Convention Centre, 13 61 00.

Cosi Fan Tutte by Mozart.

Melbourne Opera. Oct 5.

Stage Whispers 71

On Stage Theatre Royal, Hobart. (03) 6233 2299.

The Hollow by Agatha Christie.

Hobart Repertory Theatre Society. Oct 25 - Nov 9. The Playhouse Theatre. (03) 6234 5998.

Western Australia God of Carnage by Jasmina Reza. Garrick Theatre Club. Until Sep 14. Sharp edged contemporary comedy. Garrick Theatre, Guildford. 9378 1990.

School For Wives by Moliere.

Phoenix Theatre. Until Sep 7.

French comedy. Memorial Hall, Hamilton Hill. 9255 3336.

Trilogy. By various writers.

Darlington Theatre Players. Until Sep 14. Three one act plays.

Marloo Theatre, Greenmount.

9255 1783.

One Act Season. By various authors. KADS. Until Sep 7.

Short plays. Town Square Theatre, Kalamunda. 9257 2669.

Colder Than Here by Laura Wade. Melville Theatre Company. Until Sep 14. Delicate black humour. Roy Edinger Theatre, Melville. 9330 4565.

Shrine by Tim Winton. Black Swan State Theatre Company.

Until Sep 15. Heartbreak in a landscape inhabited by ghosts.

Heath Ledger Theatre, State Theatre Centre of WA, Northbridge. Ticketek.

Sorority House of the Dead by Mitch Brian, Phoenix Theatre.

Until Sep 7. Black comedy set in 1980s. Phoenix Theatre at Memorial Hall, Hamilton Hill.

TazTIX 9255 3336.

Chitty Chitty Bang Bang. Music and lyrics by Richard M. Sherman and Robert B. Sherman. Sep 4 to Oct 6.

Musical based on the book by Ian Fleming. Crown Theatre, Perth. Ticketek.

The Pajama Game by Richard Adler and Jerry Ross. Stirling Players. Sep 6 - 21. Stirling Theatre, Innaloo. 9440 1040.

Don’t Just Lie There, Say Something by Michael Pertwee. Rockingham Theatre Company. Sep 6 - 21. British

72 Stage Whispers

Tasmania & Western Australia

comedy. Rockingham Theatre.

9255 3336 or 0412 119 122.

One Act Season by various authors. Roleystone Theatre. Sep 6 - 7. Short plays.

9397 5730.

Conversations With Ghosts by various authors. Australian National Academy of Music. Sep 8. Song cycle from the words of famous poets. Perth Concert Hall. Ticketek.

Macbeth by William Shakespeare. Class Act Theatre Inc. Sep 10-14. Subiaco Arts Centre. Ticketek.

Ethel Sings by Andrea Powell.

Cabaret Soiree and Perth Theatre Trust. Sep 12-14. Ethel Chop extravaganza. Downstairs at the Maj, His Majesty’s Theatre, Perth. Ticketek.

It’s Dark Outside. Perth Theatre Company (PTC). Sep 12 - 14.

Studio Underground. Ticketek.

Curtains by Rupert Holmes, John Kander and Fred Ebb. Playlovers. Sep 13 - 28.

Backstage murder mystery musical. Hackett Hall, Floreat.

0415 777 173.

The Rise and Fall of Little Voice

by Jim Cartwright. Koorliny Arts Centre and the Kwinana Industries Council. Sep 13 - 22.

Koorliny Arts Centre. 9467 7118.

Cirque du Soleil - Michael Jackson The Immortal World Tour. Sep 18 - 22. Circus spectacular. Perth Arena.

Ticketek.

Diamonds - Marilyn Monroe Lives Inside Me by Analisa Bell.

Cabaret Soiree and Perth Theatre Trust. Sep 19-21. A brunette blonde bombshell.

Downstairs at the Maj, His Majesty’s Theatre, Perth.

Ticketek Onegin. Choreographed by John Cranko. West Australian Ballet with West Australian Symphony Orchestra. Sep 20 - Oct 5. A feverish romance. His Majesty’s Theatre, Perth. Ticketek.

A Sting in the Tail by Brian Clemens and Dennis Spooner. Harbour Theatre. Sep 20-29. Comedy thriller. Harbour

Theatre, Port Cineaste Building, Fremantle. Taz TIX 9255 3336.

Hills Festival of Theatre by various authors. Darlington Theatre Players. Sep 20-22.

Short play festival. Marloo Theatre, Greenmount. 9255 1783.

Storm Boy by Colin Thiele adapted for the stage by Tom Holloway. Barking Gecko Theatre Company. Sep 21 - Oct 5. Loved story for young people.

Studio Underground, State Theatre Centre of WA, Northbridge. Ticketek.

YouthFest. Independent Theatre Association of Western Australia. Sep 21-22. One act play competition for under 18s.

Old Mill Theatre, South Perth.

9367 8719.

Just A Little Something I’ve Been Working On by Ruth Wilkin.

Cabaret Soiree and Perth Theatre Trust. Sep 26-28.

Winner of Best Cabaret Melbourne Fringe. Downstairs at the Maj, His Majesty’s Theatre, Perth. Ticketek.

Lost in Yonkers by Neil Simon. Wanneroo Repertory. Sep 26 - Oct 12.

American comedy. Limelight Theatre, Wanneroo. 9571 8591.

DramaFest. Independent Theatre Association of Western Australia. Sep 27 - Oct 5. WA’s premier one act play festival.

Old Mill Theatre, South Perth.

9367 8719.

Tales From Outer Suburbia by Shaun Tan. Spare Parts Puppet Theatre. Sep 28 - Oct 12. Magic happens in familiar places.

Spare Parts Puppet Theatre, Fremantle. 9335 5044.

Scooby Doo - Live Musical Mysteries. Sep 28. Family musical. Riverside Theatre, Perth Convention and Exhibition Centre. Ticketek.

SPY Festival Season by various authors. Stirling Players Youth (SPY). Oct 2-5. Devised and scripted plays. Stirling Theatre, Innaloo. Morris News 9440 1040.

Ruddigore or The Witches’ Curse by WS Gilbert and Sir Arthur Sullivan. Gilbert and

Sullivan Society of WA. Oct 312. A mock Victorian melodrama. The Octagon Theatre, University of Western Australia. Ticketek Trouble in Tin Pan Alley by Ashley Arbuckle, Sue Bluck, Pamela Jansson. Cabaret Soiree and Perth Theatre Trust. Oct 35. Musical set in 1930s New York. Downstairs at the Maj, His Majesty’s Theatre, Perth.

Ticketek.

Storytime in the Hills.

Roleystone Theatre. Oct 9-12.

School holiday show. Roleystone Theatre. 9397 5730 Blackadder Goes Forth by Richard Curtis and Ben Elton.

Serial Productions. Oct 10-19.

Based on BBC series. Old Mill Theatre, South Perth. 9367 8719 or 0416 565 135.

Dora’s Pirate Adventure. Lifelike Touring. Oct 10. Dora the Explorer live. Riverside Theatre, Perth Convention and Exhibition Centre. Ticketek Reefer Madness by Dan Studney and Kevin Murphy. WAAPA 3rd Year Music Theatre Students. Oct 12-19. Inspired by 1936 film. Roundhouse Theatre, WAAPA, Edith Cowan University, Mt Lawley. Ticketek The Hour of the Wolf by Ingmar Bergman. WAAPA 2nd Year Acting Students. Oct 11-17. An artist and his wife retreat to an island. Enright Studio, WAAPA, Edith Cowan University, Mt Lawley. Ticketek Blue Man Group. Oct 11-20.

Music, comedy and multi-media theatrics. Crown Theatre, Perth.

Ticketek.

Little Women by Mark Adamo from the book by Louisa May Alcott. WAAPA Classical Vocal Students and the Faith Court Orchestra. Oct 12-19. Geoff Gibbs Theatre, WAAPA, Edith Cowan University, Mt Lawley.

Ticketek.

La Boheme by Giacomo Puccini.

West Australian Opera. Oct 29 Nov 9. Set in the 1990s. His Majesty’s Theatre, Perth.

Ticketek.

When the Lights Go Down. Dark Psychic Productions and Phoenix

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

On Stage Theatre. Oct 31 - Nov 9. New musical, cabaret seating.

Memorial Hall, Hamilton Hill.

Taz TIX 9255 3336.

New Zealand Protection by Victor Rodger. Silo Theatre. Until Sep 14. Herald Theatre. 0 9 3 5 7 3 3 5 5 .

The Boyfriend by Sandy Wilson.

Whangarei Theatre Company.

Until Sep 14. 09 438 8135.

A Man for all Seasons by Robert Bolt. Cambridge Repertory. Until Sep 14. Gaslight Theatre.

Ticketek.

The Great Art War. Court Theatre, Christchurch. Until Sep 14. 03 963 0870 HUI. Court Theatre, Christchurch. Until Sep 21. Pub Charity Studio. 03 963 0870 Measure for Measure by William Shakespeare. Titirangi Theatre.

Sep 3 - 21. 817-7658.

Proof by David Auburn.

Stagecraft (Wellington). Sep 4 14. iTicket.

Joseph K. Adapted by Tom Basden from Kafka’s The Trial.

BATS Theatre, Wellington. Sep 4 - 14.

Lord of the Flies by William Golding, adapted for the stage

by Nigel Williams. The Auckland Theatre Company. Sep 5 - 28.

Maidment Theatre.

An Inspector Calls by JB Priestley. Centrestage Theatre Company (Orewa). Sep 5 - 14.

Centrestage Theatre. (09) 426 7282.

Live at Six by Dean Hewison and Leon Wadham. Downstage, Wellington. Sep 5 - 21. (04) 801-6946.

Fiddler on the Roof by Joseph Stein, Jerry Bock and Sheldon Harnick. TALOS (Te Awamutu).

Sep 7 - 21. The Woolshed Theatre. (07) 871 3259.

Looking by Norm Foster. Howick Little Theatre. Sep 7 - 28. iTicket.

Taming of the Shrew by William Shakespeare. Detour Theatre, Tauranga. Sep 11 - 28.

5777188.

Grease by Jim Jacobs and Warren Casey. Tauranga Musical Theatre Inc. Sep 13 - 21.

TicketDirect.

Western Australia & New Zealand The Flying Dutchman by Wagner. New Zealand Opera.

Sep 14 - 21, St James Theatre, Wellington & Oct 5 - 12, ASB Theatre, Aotea Centre, Auckland. 0800 NZOPERA/696 737, (09) 379 4068 or (04) 499 8343 Gifted by Patrick Evans. Fortune Theatre, Dunedin. Sep 15 - Oct 5. (03) 477 8323.

A Trip Across the Universe.

Music and lyrics by The Beatles.

Papakura Theatre Company. Sep 21 - Oct 5. Off Broadway Theatre. 3611000 / 298 5280.

Wicked by Stephen Schwartz and Winnie Holzman. From Sept 17. Civic Theatre, Auckland. 09 357 3355 / 0800 BUY TICKETS (0800 289 842) Wyrd Sisters by Terry Pratchett, adapted for the stage by Stephen Briggs. Tauranga Repertory Society. Sept 18 - 28.

16th Avenue Theatre. (07) 577 7188.

The Phantom of the Opera by Andrew Lloyd Webber and Charles Hart. Napier Operatic Society. Sept 21 - Oct 6. Napier

Auditions Universal Studios Japan is returning to Brisbane, Sydney and Melbourne looking for excellent talent to join their Team in Osaka in 2014. They are casting female and male actors and hosts, dancers who sing well, singers who move well and female ballet dancers. Auditions are by appointment only and all applicants must be at least 18 years of age.

Auditions will be held in Brisbane on Tuesday September 10th for singers; Wednesday 11th for dancers and female ballet applicants; Thursday 12th for male and female actors and hosts.

Auditions will be held in Sydney on Sunday September 15th for singers and male actors & hosts; Monday 16th for dancers, female ballet applicants and female actors & hosts.

Auditions will be held in Melbourne on Thursday September 19th for singers; Friday 20th for dancers and female ballet applicants; Saturday 21st for both male and female actors & hosts.

For further information and to register visit www.universalauditions.com/japan.

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

Municipal Theatre. (06) 835 1059.

Snow White and the Seven Dwarfs by Tim Kelly, music and lyrics by Bill Fancoeur. Hutt Repertory Theatre. Sep 30 - Oct 6. Theatre 108. (04) 939 7529.

Seussical the Musical by Lynn Ahrens and Stephen Flaherty.

Playhouse Glen Eden. Oct 1 31. 361 1000 Well Hung by Robert Lord.

Elmwood Players. Oct 2 - 12.

Elmwood Theatre. 355 8874.

The Sound of Music by Richard Rodgers, Oscar Hammerstein II, Howard Lindsay and Russel Crouse. Upper Hutt Musical Theatre. Oct 9 - 12. 527 2168.

Kevin the Musical by Steve Wrigley and Cyan Corwine.

Downstage, Wellington. Oct 16 - 27. (04) 801-6946.

Chicago by John Kander, Fred Ebb and Bob Fosse. Theatre Whakatane. Oct 25 - Nov 9.

Chicago by John Kander, Fred Ebb and Bob Fosse. Auckland Theatre Company. Nov 1 - 24.

Q, 305 Queen Street.

Online extras!

Don’t miss out on auditions that didn’t make it to print. Scan the QR code or visit www.stagewhispers.com.au/auditions

Stage Whispers 73

Joanne Trentini and Rosie Lockhart in FoxFinder Photo: Jodie Hutchinson.

Reviews: Premieres

Online extras!

Watch a trailer for FoxFinder simply by scanning the QR code or visiting http://vimeo.com/69769654

FoxFinder

By Dawn King. Directed by Kat Henry. Red Stitch Theatre.

Australian Premiere. July 19 - Aug 17.

DAWN King’s thought-provoking play presents a world gone mad within the rigid bounds of sanity. The weather is crazy, the crops are failing, farms are government regulated and punishment is rife. The blame is put squarely on the fox…a demonic creature responsible for killing livestock, stealing babies, and exercising mind control over hapless farmers.

Sam and Judith Covey live on their run-down farm.

They’ve had a bad year (loss of a child, bad weather, crop failure) and will not make their “quota” - thus the drones in the cities may starve. Enter the sinister boy William Bloor, an official “Foxfinder” zealot. Bloor’s training has brainwashed him to rid the land of all evil, personified by the fox…even though he has never seen one, and doesn’t know anyone who has.

Peter Mumford’s set is a black box with an upstage opening (exterior farmhouse), some silver birch trees and rain. Yes, rain for at least ¾ of the 90 minute running time.

It pours torrentially, it trickles off to a shower; it runs down the inside walls of the farmhouse; it turns the upstage area to mud; and it totally engulfs us in the Coveys world. Add to this the brilliant sound design by David Maloy and wonderful lighting by Amelia Lever-Davidson and we are transported to the Coveys’ world.

74 Stage Whispers

David Whitely (Sam) gives a compelling edge to the farmer who is losing everything around him. Joanne Trentini (Judith) is gut-wrenching as the woman trying to save everything that is her life. The beautiful Rosie Lockhart gives great support as Judith’s secretly rebellious friend. But it is the astonishing Matt Whitty who shines brightest. His presence is charismatic; his awareness is astonishing; his emotional range is powered by truth. This is another masterful production from Red Stitch.

Coral Drouyn Story of O

By THE RABBLE after Pauline Reage. Creators: Kate Davis and Emma Valente. NEON (Melbourne Theatre Company).

The Lawler Studio, Southbank. June 27 - July 7.

THIS modern reinterpretation of the novel Story of O written by Pauline Reage (Anne Desclos) and published in 1954, is, at times, an overwhelmingly visceral experience.

The masochism of being subjected to erotic/ pornographic sex is explored from the female perspective.

Mary Helen Sassman tellingly and poignantly plays O, a young woman with a healthy defiance, who throughout is symbolically violated with clinical objectivity - as though such exploits are an imperative and necessary evil. The unquestioning compliance with which the matter-of fact sex acts are perpetrated, by the other characters, is fascinating. This disturbing malaise of neutrality allows the

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

Story of O

The Hansard Monologues: A Matter of Public Importance

By Katie Pollock and Paul Daley. Seymour Centre, Sydney. July 23 - 27.

GOING in you think you know what to expect - a lot of rhetoric, a lot of yawninducing ramblings and skewed political arguments. But what you actually get is quite different.

This is intriguing and compelling theatre.

The Hansard Monologues is the perfect example of just how entertaining verbatim theatre can be when it has the appropriate subject matter at its core which in this case is the life of the 43rd Parliament.

On a black box stage three actors stand at podiums and read from a compilation of viewer space for contemplating meaning that is uncluttered public statements made by recent key political players from by emotional connectivity.

2010 to 2013. Writers Katie Pollock and Paul Daley have Sir Stephen, played by Jane Montgomery Griffiths, done a marvelous job sifting through thousands of pages establishes an unstable patriarchal focal point. Griffith richly of text to pluck out the highs and lows of recent political and disturbingly embodies this controlling and unlovely history. It is all here - the Cory Bernardi bestiality statement male character who initially lectures the audience on the arguing against marriage equality, various statements on semantics of erotica. the carbon tax and boat people, and of course former Story of O is a serious work and not for the faint Prime Minister Julia Gillard's misogyny speech. hearted. Acts of sex and violence such as penetration, Director Tim Jones uses simplicity as his guide and it is restraint and whipping are robustly and graphically, albeit very effective. The cast (David Roberts, Camilla Ah Kin and symbolically, enacted.

Tony Llewellyn-Jones) is fantastic - they tread a very fine line It is an intense and rocky ride that has much to of giving the flavour of the character without parody. This is recommend it . interesting because while many of the lines in the script are Suzanne Sandow well known, they take on a very different life free from the direct association of their original source. What this does is provide a different insight into the political agendas, Venus in Fur

By David Ives. QTC. Cremorne Theatre, QPAC. June 22 July messages and landscapes of this parliament. You realise 27. that it was nowhere near the basket-case that it was made out to be at the time.

VENUS in Fur opened off-Broadway in 2010 and transferred to Broadway the following year, attracting two The Hansard Monologues is exceptionally relevant and major awards in 2012. It’s a rare coup for QTC to acquire important theatre, particularly given that Australia is facing the Australian Premiere of such a literary and dramatic gem. a federal election.

David Ives is a master of clever dialogue. His play is Whitney Fitzsimmons intense, multi-layered and challenging for each of the actors, but it captivates the audience and doesn’t release Hipbone Sticking Out them until the final moment. Todd MacDonald and Libby

By Scott Rankin. Big hART and the Roebourne community.

Munro acquit themselves superbly and richly deserved their Directed by Scott Rankin. Canberra Theatre. 3 - 6 July. opening night standing ovation.

THIS work appeals admirably to our better natures in Director Andrea Moor did a splendid job of coaxing highlighting a range of historical wrongs, including them through the turbulent emotional scenes. Simone massacre as “justice”. Three years in development in the Romaniuk utilises the basic architecture of The Cremorne to Pilbara community of Roebourne, Hipbone Sticking Out create a grotty New York basement rehearsal rental space places the death in custody of 16-year-old Roebourne and repository for sundry pieces from various past shows. resident John Pat in a historical context of systematic David Walters’ lights define the reality and surreality of the oppression by bizarrely ignorant strangers - strangers piece, assisted by Guy Webster’s soundscape that swings unmotivated to step into the shoes of those they oppressed between sensitive and turbulent to match the mood of the for two centuries - and of the indifference of some police in storm, both inside and outside. Dialect consultant Melissa such remote areas to the care of those in their custody.

Agnew led the actors carefully through three different The play's audience appeal arises from musical richness dialects needed in this piece. and the effort that its cast, largely from Roebourne itself, It’s a rough but very rewarding ride. has made in three years of development. If the play itself Jay McKee receives equal development, it will come to show rather Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 75

Blue Man Group.

Photo: James Morgan

Online extras!

Co-founder Chris Wink describes ‘Life Force.’ Scan the QR code or visit http://youtu.be/Vja2_pu6LxQ than tell much of its story, and to offer variety in emotional intensity - without which the play tends unnecessarily to wear. Some scenes could be enriched too by cutting repetition. That said, the story is powerful, resonating strongly enough with the audience to lead nearly half to stay, after 140 minutes, for a Q&A. Admirable in vision and finely acted, the work lacks merely some finesse in structure. A little further attention to the stage's potential to enrich communication will draw its audiences further into its heart.

John P. Harvey Blue Man Group Created, written and directed by Matt Goldman, Phil Stanton and Chris Wink. Blue Man Group Productions, LLC and Rodney Rigby. Lyric Theatre, The Star, Sydney. Opening Night: Aug 14. Perth and Melbourne seasons follow.

THEY’RE unique and quirky, merging rock'n'roll percussion with naive, engaging comedy.

Sophisticated multi-media joyously meets primal vaudeville slapstick.

They’re weird, childlike, playful and yucky-messy.

Bald, blue and funny-looking, these three guys embody inner child.

And my inner kid sorta kinda envies the audience members they invite up to play, while the adult Neil says, 'please, not me!'

76 Stage Whispers

These bizarre, deliciously naive blue blokes muck around with new and near-future high tech gizmos in a state of mystified delight.

Iconic Australian songs on Blue Man Group’s equally iconic tubes (an pipe organ-like instrument made from PVC drainage pipes) hooked me and everyone else in the theatre early in the fun-filled rock concert finale.

Thanks to producer Rodney Rigby for bringing OffBroadway and international phenomenon Blue Man Group to Australia and inviting me to play.

And after tonight marshmallows will never be quite the same.

Neil Litchfield Seminar

By Theresa Rebeck. Ensemble Theatre, Sydney. Director: Anna Crawford. Aug 21 - Sept 14.

HERE’S a fine, sparky 2011 Broadway play that has slipped through the STC/MTC net and been snaffled by an alert Ensemble programming team. Theresa Rebeck’s fizzing dialogue keeps the audience alert throughout a 100 -minute discussion on writers and the modern novel.

Set and direction are first rate, and the excellent 5-actor ensemble shows the Ensemble at its best. Up very close and personal, these actors give tense, truthful, often very funny performances, revelling in the crisp New York exchanges, plot twists and character surprises.

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

Matthew Zeremes, Matilda Ridgway, William Zappa and Michelle Lim Davidson in Seminar. Photo: Steve Lunam.

Online extras!

Director Anna Crawford discusses Seminar. Scan the QR code or visit http://youtu.be/fpPBLnHF7n0 Four young, aspiring novelists have each paid $5000 for a 10-week seminar with Leonard (William Zappa), a toughtalking, embittered writer/editor. Bringing along their current work for some ruthless analysis, they meet in the classy Queens apartment of Kate (Matilda Ridgway), an increasingly desperate writer who resorts to comfort food when under attack. Izzy (Michelle Lim Davidson) is a free spirit quite ready to trade on her sex appeal; Douglas (Felix Gentle) is a lightweight destined for Hollywood riches; Martin (Matthew Zeremes), prickly and broke, finds it hard to share any of his work in progress.

Originally played by Alan Rickman on Broadway, Leonard (“our hideous, disgusting lecturer”) is a terrific part, and Zappa relishes stirring the well-mannered group into action with scant regard to their feelings. “Fiction is a dying art form,” he declares. Thankfully, playwriting as good as this is alive and kicking butt.

Anna Crawford directs with precision and Ailsa Paterson’s book-lined setting delivers a considerable surprise of its own for the final scene.

Frank Hatherley Friday

By Daniela Giorgi. Old Fitzroy Theatre (NSW). Aug 6 - 13.

IN Australia we’re blessed with some wonderful, desertdry political satirists, and with reality stars like Slipper and

Thomson, and all those Sydney rorters at ICAC, who needs to make this stuff up?

The mystery in this timely political satire is why the scandal is so modest - a State Housing Minister driving without a license - and yet the story telling so witless and characters so unbelievable.

On the small Fitzroy stage re-made as the offices of State Parliament, director Julie Baz has the luxury of 13 actors but few are convincing as its politicians, apparatchiks and media hacks. Only Gertraud Ingeborg as the Premier and Cherilyn Price as her Chief of Staff bring any truth or gravitas to their roles.

With the Minister under attack, there are some nicely choreographed moments as the media chorus spin out with their hyperbolic headlines. But the insights of writer Daniela Giorgi into the workings of our media, politicians and policy -making are curiously glib and naïve.

The general public, she argues, wants a better quality of democracy but lacks the commitment to demand or work for it. A worthy theme, but her play does nothing to portray or inspire any better political engagement. Plot tangents, irrelevant characters and a verbose script leave the cast often vocally and physically awkward.

Baz and Giorgi need to decide whether Friday is a realistic drama or an all-out slapstick comedy; for now it works as neither.

Martin Portus

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

Stage Whispers 77

Henri Szeps as Freud and Doug Hansell as CS Lewis in Freud’s Last Session.

Photo: Mel Koutchavlis.

Online extras!

See what Sydney has to say about the show by scanning the QR code or visiting http://youtu.be/RxiGZDceEjw Freud’s Last Session

By Mark St Germain. Strange Duck Productions. Theatre Royal, Sydney. Aug 15-31.

MARK St Germain’s challenging 80 minute two-hander seems the wrong fit for the wide expanse of the Theatre Royal stage, more usually a home for crowd-pulling musicals. After publicity expenses, the two week run without star names is unlikely to pay even for the excellent book-lined set (by Mark Thompson) which includes not only Freud’s famous psychiatrist’s couch but many examples of his collection of antiquities.

But all power to first-time-ever producer Adam Liberman! A true theatre fan, he has put his money where his heart is and it would be churlish to wish him anything but good fortune.

The play transpires on September 3, 1939, between BBC radio broadcasts of Prime Minister Chamberlain declaring war on Germany and King George lisping his best wishes to the Empire. In his London study Sigmund Freud, 83, founder of psychoanalysis, committed atheist in the final stages of a particularly awful mouth cancer, meets Oxford University professor C.S. Lewis, 41, committed Christian, destined to write the Chronicle of Narnia novels.

Under Adam Cook’s unobtrusive direction, Douglas Hansell is suitably stiff-backed and repressed as Lewis; Henri Szeps is touching and occasionally explosive as Freud, aware of his fast-arriving and painful end. It was probably a 78 Stage Whispers

mistake to have Szeps wear an ill-fitting earpiece: he handled his prompts well but scene rhythms were often lost.

Frank Hatherley This Is Where We Live

By Vivienne Walshe. Griffin Independent and Just Visiting.

SBW Stables Theatre, Sydney. Director: Francesca Smith.

June 19 - July 13.

WINNER of the 2012 Griffin Award for outstanding contemporary Australian play, Vivienne Walshe’s poetic drama of teenage angst and passion now takes its place in the 2013 Griffin season. A 75-minute two-hander, marvellously acted and intriguingly directed, This Is Where We Live makes demands on its audience. We have to work at the words we hear and at the stage pictures we see.

For not everything is made clear. There are many gaps to be filled - in the back-stories of the protagonists, in their home lives, in their very appearance. Though the main action covers six months in the country town life of 16-year -old Chloe and Chris, actors Ava Torch and Yalin Ozucelik are defiantly not teenagers. Ozucelik keeps his wellestablished facial hair, almost a beard; and though it’s an essential element of the story that taut newcomer Chloe is “scavenger thin” and has a clubfoot, Torch is well-rounded and never limps. In fact she very often moves extravagantly like a ballerina.

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

The text, too, is unusual. With only the occasional duologue, the story is told via intercutting soliloquies, spoken thoughts and memories, often very beautiful. With no help from the setting - just black walls and floor - the audience is challenged to imagine the young characters, the rural high school, the homes, the dried-up creek bed where the two form their shaky alliance. It’s almost like watching a radio play.

But, challenged to construct a reality based on the evidence of Walshe’s words, beautifully delivered by Torch and Ozucelik under the creative direction of Francesca Smith, the Griffin audience clearly had a fine time. They thundered their applause.

Frank Hatherley

Flatmate Claudia is the embodiment of maturity, she’s a triage nurse in a hospital emergency. But her life too is emotionally deficient. She is continually exhausted and has little time and no care left over for her lover Justin, who’s locked into a perpetual state of anxiety and inaction. They are like a hunter and prey, but she’s lost the ammunition to put him out of his misery. So, like an urban tale from Woody Allen, we experience four people who are dazed and confused and only half-heartedly seeking love and fulfilment.

Then the Rocket Man blasts off and carnage ensues!

The acting is engaging and the players well cast and matched. Sylvia Keays again brings subtlety and nuance to this company’s work, Daniel Hunter has the power to achieve the necessary lift off into explosive anger. Stephen The Reluctant Shopper Wilkinson delivers a nuanced performance as the

By Bruce Hoogendoorn. Long Run Theatre Productions. emotionally pallid Justin. And Alyssan Russell is outstanding Director: Bruce Hoogendoorn. Courtyard Studio, Canberra. as the professional carer who no longer cares about her June 19-29. friends.

THE Reluctant Shopper is built primarily on fine comedic The simple, yet effective, production values and styling complement the delivery of this interesting and powerful writing. It is premised on the blackmail of big savers into spending in the local economy. Local Business Council universal tale. The only mystery was the fuel for Rocket Man’s explosive anger. This left me a little dazed and executive Katrina obliges the smooth-talking Barry to confused. blackmail a thrifty young man, Sam, into spending in the local shops something of the million dollars in his bank A good night’s entertainment from an energetic and creative company. account. Sam, of course, has no wish to spend, and the stage is set for a series of hilarious turns.

Stephen Carnell Of course, the play's comedy sugarcoats a soberer reality: that of the near-ubiquitous occupation in positions Lord of the Flies of power by manipulators and deceivers devoid of

By William Golding, adapted for the stage by Nigel conscience and compassion. Even Barry's late humanitarian Williams. US-A-UM. Directed by Kip Williams. Malthouse Tower Theatre. June 28 - July 14. change of heart falls prey to the sociopathic corporate culture, in a conclusion that rings a note less of comic IT was almost inevitable that a new, more modern, 21st consistency than of inexplicable reversal and tragedy, both Century look would be taken at this text and how better to Barry's and society's. do that than to swap the boys for girls and really give the Well-cast and -costumed, with a simple stage design text a chance to comment upon humanity as a whole, rather than humanity through the eyes of young men. and obviously intentionally basic musical soundtrack, the play moves along at a cracking pace from start to finish.

Sydney Theatre Company’s resident director Kip Williams The plot is simple enough, but the comedy is carried largely brought this story to light as part of this years Helium season at the Malthouse. The set was a whimsical by the interactions between the blackmailed and the blackmailer. The performances of Rob de Fries, as Barry (the bedroom, replete with double bed and dresser, an ugly old blackmailer), and of Brendan Kelly, as Sam (the victim), chair and a wooden dining table. This piqued anticipation were particularly convincing. as to how so many “traditionally female” domains would John P. Harvey become the wilds of a deserted island.

Contessa Treffone was an admirable Piggy. She Rocket Man embodied the intellect and outcast nature of a young hero.

By Paul Gilchrist. Subtlenuance Theatre Company. Director: Fiona Pepper’s rendition of Ralph was also impressive, starting as a reluctant “Chief” and growing into the role of Paul. Gilchrist. Tap Gallery, East Sydney. July 4-14.

ROCKET Man delivers a powerful blast of passion, real leader. The bedroom/dining room set was skillfully disappointment and anger. moved around the space to create castle rock and the beach area. Less successful was the use of a suitcase full of The story takes place in one continuous scene in Veronica’s squalid bedroom. After a heated night of sex spaghetti and tomato sauce as the pig.

Veronica and Neil face off in the harsh illumination of An all female cast in Lord of the Flies had tremendous morning. Neither likes what they see; she’s a self-possessed potential to discuss gender roles in society. However, if you thespian bursting forth to audition for yet another want to investigate 21st Century gender politics then you forgettable or unobtainable role and he’s an emotional need to do more than cast women as men and change vampire on the prowl for another victim to deplete. their costumes from pants to skirts.

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

Stage Whispers 79

Reviews: Plays

Rosencrantz and Guildenstern Are Dead

Online extras!

Check out our interview with the lead actors by scanning the QR code or visiting http://youtu.be/oiYG0fXAJpM Rosencrantz and Guildenstern Are Dead

By Tom Stoppard. Sydney Theatre Company. Sydney Theatre. Aug 6 Sep 7.

TWO minor characters from Shakespeare’s Hamlet, only briefly sketched out as childhood friends of the Prince, wait in confusion to be included in the main play, to be given a back story, a purpose.

Tom Stoppard’s first produced play glitters with absurdist puns, word games and philosophical wit, as Ros and Guil flip coins and muse dryly on life’s uncertainties.

Young Stoppard’s nihilistic vision is all super clever cool.

What’s riveting about this Simon Phillips production is the added care we feel for these lost foot solders of life, as their predicament darkens and the deadly story of Hamlet unfolds around them.

Central to this emotional engagement are the leads: Tim Minchin as the sweet if dim Rosencrantz and Toby Schmitz as a quicksilver and increasingly agonised Guildenstern. A real life friendship offstage obviously informs their inventive playmaking and physicality onstage, especially as desperation thrusts them closer.

Designer Gabriella Tylesova strands them in a raked stage surrounded by formidable dark arches. The grotesque, courtly characters of Hamlet occasionally strut out, dressed as high Jacobean tragics with a nod to Alice in Wonderland. Tylesova’s costuming also works visual wonders with the dispirited actors troupe that wanders through the play in search of an audience.

Leading them is the charismatic Ewen Leslie as the Player, who knows best of all Stoppard’s truth that nothing 80 Stage Whispers

is real. With a uniformly excellent support cast, this is a deliciously entertaining literary showpiece which for all its cleverness still tugs at our heart with forebodings of our mortality.

Martin Portus The Importance of Being Earnest

By Oscar Wilde. Directed by Brandon Martignago. Burley Theatre. Reginald Theatre, Seymour Centre (NSW) July 12 Aug 3.

HAPPILY my very high expectations of Oscar Wilde’s The Importance of Being Earnest were rewarded in spades by Burley Theatre’s production. The clarity of purpose and genuine affection with which this piece has been brought to life is a sheer delight. On paper alone this play does not smack you over the head with its sophistication - the premise is so lightweight. Clearly Wilde took Shakespeare very seriously when he pondered “what's in a name”, because that's the entire premise. Pretentiousness and superficiality is the big picture and nomenclature is the paint. To say the play needs precise, nuanced characterisations to make it work is a monumental understatement. Each one of these players did more than simply perform their parts - they rolled around in them in a way that can only be described as luxurious precision. While it has become de rigueur for Lady Bracknell to be played by a man, it's not like this production was in need of gimmicks to make it fresh and appealing. Simply put, the company just nailed it. Having said that, Andrew Benson does do a

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

fantastic job of not being completely upstaged by his lovely frocks and incredible wig.

“Burley Theatre is addicted to Theatricality” is the last sentence of the company’s impassioned mission statement.

This is one addiction I feel duty bound to shamelessly enable with over-the-top praise. Bravo.

Rose Cooper The Importance of Being Earnest Director: Terri Brabon. THEATREiNQ. School of Arts Theatre, Townsville. June 12 - 22.

A VERY strong cast, directed by Terri Brabon, delivered Oscar Wilde’s timeless wit, making THEATREiNQ’s production of The Importance of Being Earnest truly delightful.

Brendan O’Connor (John Worthing) gave an excellent performance; his physicalisation provided endless amusement, particularly in the Act 1 scene with Algernon (Hugh Sexton). The comic timing between the two men set up a lively pace.

Anna Wallace played a demurely alluring Cecily, a perfect contrast to the English reserve of Gwendolen (Sally McCutcheon). The two women emoted beautifully over afternoon tea, in one of the most enjoyable scenes.

Beth Honeycombe’s imposing Lady Bracknell dominated at each entrance, delivering her iconic lines with aplomb.

Bernie Lanigan (Reverend Chasuble) and Terri Brabon (Miss Prism) presented a twee couple who could only be destined for each other.

An ensemble of household servants became the mechanicals, executing set changes before the audience, managing the open set efficiently and creatively, adding a whimsical element to the whole performance.

Stunning costumes were carried well, particularly by female cast members.

The subtle inclusion of musical “stabs” underlined and highlighted moments of emotion and understanding. Terri Brabon should be congratulated for her clever support of the text through this device.

Donna Ahlers

The Comedy of Errors

By William Shakespeare.

Directed by Imara Savage. Bell Shakespeare. Fairfax Studio.

Arts Centre Melbourne from Aug 20 to 31 and touring until Dec 7.

ONE of the things I love about Bell Shakespeare is that, despite their respect for the Bard, they aren’t ever overawed or intimidated by reputation or text. The company is a master of innovation and invention, constantly questioning and seeking originality in Burley Theatre's production of The interpretation. This is not one Importance of Being Earnest. of Will’s masterpieces, so the only sane thing to do is go for broke and make it bloody funny….and bawdy. We tend to forget that he was a “Bawdy Bard”.

Imara Savage is a canny director; she creates an Ephesus spawned by King’s Cross out of Gold Coast lineage. It’s a place of discos, sex clubs, money exchanges and government offices - often indistinguishable. Her characters are bogans, fashionistas, posers, hoods and hoons. She treats them all fondly, but gives them no quarter. Elena Carapetis (Adriana) struts around in leopard print platform stilettos with a bustier to match. She’s so common she might have escaped from a gypsy reality show. Jude Henshall (Luciana) is the Paris Hilton of Posers. Hers is an exquisite performance.

Nathan O’Keefe and Septimus Caton are exceptional as the twin brothers Antipholus. Both are totally credible and have exquisite comic timing. Renato Musolino and Hazem Shammas make a slapstick feast of their roles as Dromio ( twin servants to the lost twin sons). The rest of the cast give beautifully measured performances, especially Eugene Gilfedder. It’s a great help that Savage has cast actors who aren’t immediately known to us, and most of whom have a Mediterranean aspect to them.

This is contemporary, irreverent, cutting edge comedy; a must see production that will leave you weak with laughter.

Coral Drouyn Richard III

By William Shakespeare. Director: Megan Dansie. University of Adelaide Theatre Guild. Little Theatre, Adelaide. Aug 3 17.

THE University of Adelaide Theatre Guild’s brilliant and unconventional take on Shakespeare’s Richard III is riveting, with the contemporary setting conveying a strong sense of alternate reality.

Scenic artist Jason Ankles’ looming graffiti backdrop is reminiscent of that found in the streets of Belfast. The only static adornments on the set are discarded televisions, balanced as if designating the tottering state following decades of war between the Yorks and the Lancasters. The

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

Stage Whispers 81

that involved fists and thrown items, yet had the audience successively laughing and in awed silence.

Carl Gregory and Dayle Raftery brought out the youth and relative inexperience of the new spouses, while making it clear that they are heading in the same behavioural direction.

The production was a farewell to theatre for Newcastle stalwart Barbara Delaney, who directed the show. Shortly before it opened, she was diagnosed as having motor neurone disease and she died 10 days after the season ended. She went out in style with this work.

Ken Longworth Belles

By Mark Dunn. Atherton Performing Arts. June 14-23.

BELLES is about six sisters who live in different locations Richard III and communicate only by telephone. At no point in the screens portray crucial scenes of chaos and coronation, as performance do the actors talk face-to-face. Directed by well as ghostly dreams.

Shelley Berry-Porter and Ashleigh Short, Belles moves Megan Dansie’s inspired direction comes from the smoothly through the many scene changes and the forty premise that in his ruthless aspirations to the throne, plus telephone calls. Each character brings a story to the Richard is simply adhering to his society’s traditional rules stage with the eldest sister Peggy, who looks after their of intrigue and violence. This sets the scene for a complex ailing mother, being the catalyst for the telephone calls. The Richard. cast were equally up to the task of performing this complex Bart Csorba portrays Richard sublimely, adding production. Clare Reitsma as Audrey gave a polished and unexpected nuances to the character of this malevolent, funny performance as a ventriloquist, while Shelley Berrymanipulative killer. Rachel Burfield is superb in her Porter as Dust and Donna Wilkinson as Peggy were also heartbreaking portrayal of the anguished Queen Elizabeth. outstanding. Danielle Riding as Roseanne, Bonny Towers as Tony Busch is the most successful of the multi-character Aneece and Ashleigh Short as Paige completed the very actors in delineating his different roles. Gary George grows strong cast. Credit also to Tom O’Connor and Paul Huber in intensity in his role as the Duke of Buckingham. Peter who operated the complicated lighting and sound Davies is superb in his dual roles as Stanley and Murderer 1. respectively.

Celine O‘Leary, as the Duchess of York, is the embodiment Ken Cotterill of a regal matriarch, coldly despairing in the presence of her murderous and manipulative son, Richard.

The Complete Works Of Shakespeare (Abridged) This is a memorable production, dominated by Bart

By Adam Long, Daniel Singer and Jess Winfield. State Csorba’s brilliant performance.

Theatre Company of South Australia. Aug 1 - 3, and Lesley Reed touring.

NIC English and Tim Overton have joined original cast Private Lives member, comedian Damian Callinan, for a return season in

By Noël Coward. Newcastle Theatre Company. Jun 29 - Jul Adelaide before an extensive national tour takes the work 13. to regional centres in Victoria, NSW and Queensland.

THIS sparkling production of Noël Coward’s look at the The play begins with Callinan explaining the premise of behind-closed-doors relationships of two couples showed presenting all of Shakespeare’s plays before the two other why it still has audiences laughing delightedly eight actors join him and then offer up a quick version of Romeo decades after it was first staged. & Juliet which quickly sets the irreverent tone for what is to Elyot (Richard Murray) is honeymooning in a French follow. Shakespeare’s comedies are combined into one and hotel with much younger second wife, Sybil (Dayle Raftery), the histories are then acted out as a game of football with unaware that first wife Amanda (Rosemary Dartnell) is in an the crowns of the various kings being used as the ball. adjoining suite with her new spouse, Victor (Carl Gregory).

They then announce that they have performed all the It’s evident from the conversations of both pairs that plays apart from Coriolanus, which they refuse to undertake marital bliss isn’t likely. due to its vulgar title. It is realised they have also not Richard Murray and Rosemary Dartnell were engaging as presented Hamlet and they return after intermission to Elyot and Amanda, a pair who can change moods and perform it as the entire second half. A couple of audience topics in mid-sentence, to the amusement of the audience. members are also enticed on stage to help out with They held the stage for virtually the whole of the middle hilarious results. The trio then present a quick version of the act, with their activities including an elegant waltz, a play along with a very quick version before performing it sentimental song duet at a grand piano, and a furious fight backwards.

82 Stage Whispers

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

The three actors all acquit themselves well, while Ailsa Paterson’s gaudy costumes add much to the frivolity.

Robert Dunstan

blinded six horses and yet worships a God of his own making, Equus. Alan is driven by passion that cannot find a normal outlet….but is the price madness?

Scott Middleton (Alan) and Jeremy Kewley (Dysart) give Don Parties On us performances that should be seen by every theatre-goer,

By David Williamson. Canberra Repertory. Directed by Aarne everywhere, for their intensity, rawness and vulnerability.

Kewley’s Dysart is a man who is triggered by Strang’s Neeme. Theatre 3, Acton, Canberra. Aug 2-17.

BEING a Williamson play, this sequel to Don’s Party was passion to spill his guts in a way that leaves us (and him) bound to be clever. By turns catty, conciliatory, witty, and naked. He is heart-breaking. Scott Middleton is nothing short of awesome in his portrayal of the sexual awakening philosophical, it raises the most pressing political question of our time and somehow manages to focus equally on of the 17-year-old boy. Both these actors reached for a peeling open that most common but most delicate of place uncharted, somewhere above excellence, and landed intact, though many of the audience were shattered and in human foibles, sexual attraction.

The 2010 election results are being tallied, and the main tears. The supporting cast all contribute to the brilliance, especially the wonderful horses and their choreography by players from the 1969 (Don’s Party) election party reunite, Kelly Bray. They never leave the stage and their every move inviting recriminations, confessions, and advice for members of a new generation susceptible to the universal and twitch sharpen our insights into Alan’s mind. It’s fitting that Baldock, a director of great vision, lets them take the life mistakes, as well as respect for an even younger final call at the end of the show. generation with fresh disrespect for the hypocrisy of its elders.

Chris Baldock’s set is simple yet stunning - a semicircular The actors here are by and large a seasoned bunch, and temple of stables, with orange crates for columns. Add Len Power (as Cooley) and Liz St Clair Long (as Helen) Jason Bovaird’s brilliant lighting and you have an offering that is so close to perfect, why seek comparisons? delivered particularly convincing performances. Once the Coral Drouyn whole cast relax into its roles, even the script’s repetition of eight or ten lines won’t jar.

As many other Williamson plays do, this play offers The Cherry Orchard

By Simon Stone, after Anton Chekhov. Melbourne Theatre philosophical nuances, intergenerational truthfulness, lessons in ultimate moral and political integrity. Rep’s fine Company. Director: Simon Stone. Set and Costume Designer - Alice Babidge. Lighting Designer: Niklas Pajati. staging of it, with its beautiful set, subtle lighting, and terrific sound design, makes a worthwhile introduction to Composer/Sound Designer: Stefan Gregory. Aug 10 - Sep the culture of science denialism in the guise of science and 25. of skepticism, as well as to the refreshing minds that name SIMON Stone’s contemporized production of The Cherry that denialism the convenient hypocrisy it is.

Orchard is bright, lively and delightfully accessible.

John P. Harvey Wealthy landowner Ranevskaya (Pamela Rabe) has carelessly mismanaged her family estate, to the point where Equus the almost unbearable is about to happen - the Cherry

By Peter Shaffer. Director: Chris Baldock. Mockingbird Orchard is to be sold. This grand property meshes together Theatre Company. Brunswick Mechanic’s Insitute Equus Performing Arts Centre. Aug 3 - 17.

WHEN Peter Shaffer’s play opened in 1973 it was considered confronting, shocking, and disturbing.

Now the word exhilarating must be added.

Mockingbird’s production is an astonishing collaboration of text, performance and direction.

The theme is passion, and the price we pay for it; do we live with all our senses or simply exist? Psychiatrist Martin Dysart has settled for a mediocre and passionless life, but yearns for more. Enter Alan Strang, a boy who has Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 83

the mostly disparate self-absorbed characters and endows their lives with structure, certainty and meaning.

In Stone’s production exemplary timing endorses the humour, and many added or highly updated expressions make exquisite sense to the contemporary sensibility.

The set (Alice Babidge) is white, quite stark initially, then scattered with objects that could hold meaning to a family downsizing from the ‘ancestral’ home.

Much of the imagery is painted through the actors giving voice to the characters’ cherished experience and the neutrality of the set fosters this.

In updating the story there is a subtly acknowledged, yet successful, shift from Russia to Australia, and parallels to theft of land from the traditional owners.

The acting is universally satisfying with illuminating characterizations beautifully endorsed by Alice Babidge’s costumes.

Pamela Rabe displays her considerable presence and makes fascinating character choices for her Ranevskaya.

Nikki Shiels breathes energetic life into the easily manipulated, lusty dreamer Dunyasha who responds heartily at first to a forthright philandering Yasha -portrayed boldly by David Paterson.

Eloise Mignon brings a lovely clarity and naïve optimism to Anya. And Robert Menzies really makes whole the introspective yet often child-like and dependent Gayev.

Rich, vibrant and full of humanity this is truly a chance to see Chekhov through new and fresh eyes.

Suzanne Sandow

yearning had me feeling as though I was watching something brand new.

Sally Alrich-Smythe

Kindertransport

By Dianne Samuels. Theatre on Chester, Epping (NSW). July 26 - Aug 17.

THE stage is a cluttered attic hunkering under wooden beams. Old suitcases line one wall, cardboard boxes the other. “There are stories here”, the set suggests, and the stories go back to the late 1930s in Germany, and the terror of anti-Semitism that began with the Kristallnacht, the Night of Broken Glass.

When Evelyn (Catherine Potter) and her daughter Faith (Adriane White) push through the attic door and begin arguing, there is a tension in their relationship that seems as cluttered and enclosed as the set itself.

There is the sound of breaking glass. Momentarily Evelyn freezes, her hands shake a little. The moment goes. The arguing continues. Evelyn leaves. Faith remains in the attic where she finds an old suitcase … and Evelyn’s past is revealed.

Present and past merge as the cast take us from Manchester to Hamburg where nine year old Evelyn (then called Eva) prepares to leave her home and parents as the Nazi pogroms begin. Catherine McNamara captures the naivety of young Eva, her fear as she begins her new life and the eventual destruction of her beliefs and her identity.

Evelyn’s tight self-control is founded in Eva’s desperate need to deal with things no child should ever have to Romeo And Juliet experience.

By William Shakespeare. Impulse Theatre. King Street Director Carla Moore has a love of making history come Theatre, South Newtown (NSW). July 31 - Aug 24. to life and this production is testament to her careful research, strong direction and ability to develop the I WAS excited to see this classic tale portrayed in the context of Sydney’s Cronulla riots. The result was a mixture, strengths and talents of her cast. with some aspects resonating perfectly with this Cronulla Carol Wimmer adaptation, while other parts operated outside of it. Those aspects of the production that reflected the racial tensions The Crucible were done so well that I was disappointed not to see more. By Arthur Miller. Melbourne Theatre Company (Vic). The The set, a graffiti-ridden brick wall, was reminiscent of Sumner Theatre. Director: Sam Strong. Set/Costume Design: the blonde brick surf lifesaving clubs that dot south Dale Ferguson. June 12 - Aug 3.

Sydney’s coastline. The use of Juliet’s hijab was an effective THE Crucible is a cheerless play about honour, power juxtaposition to the bikini-clad (western) chorus girl. and its abuses set during the Salem Witch Trials (1692-93) Alex Bryant-Smith (Tybalt) played a completely believable and an allegory pointing to the hysteria surrounding role as a young middle eastern man, with a particularly McCarthyism in the 1950s. impressive Lebanese accent. Adam Hatzimanolis (Capulet) While Miller stressed The Crucible (1953) is not strictly produced a performance that elicited empathy, and gave historical, some characters, including Reverend Parris and me no doubt about his elation, then his pain. Lisa Peers Tituba, were actual people in a notorious episode of mass (nurse) was particularly endearing, moving seamlessly hysteria in US history. through comedy and tragedy. Byron Hajudczok (Mercutio) The hysterical context is well met in this MTC had a vitality and energy on stage that made it difficult to production. David Wenham (John Procter), Anita Hegh look away.

(Elizabeth Procter) and Julia Blake (Rebecca Nurse) thrive in Supporting cast were great, but the leads - Rainee an impressive cast who travel convincingly with their Lyleson (Juliet) and Dan Webber (Romeo) were irresistible. characters, from beginning to end. The cast’s stamina in In fact, in their chemistry together, and in their individual such a demanding play is admirable. roles, they exhibited some of the best acting I’ve seen in a The darkly sensational soundtrack (Kelly Ryall) invokes long while. Lyleson’s playful innocence, demonstrated more gravitas, heightening a sense of impending doom. through some very physical, and incredible eye-catching Period turns-of-phrase, while wonderful, make movements, coupled with Webber’s pent-up delight and 84 Stage Whispers

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

Online extras!

Peek inside rehearsals of The Crucible by scanning the QR code or visiting http://youtu.be/wPzR3jXCLr4

David Wenham (John Proctor), John McTernan (Giles Corey), Greg Stone (Reverend Parris), Sarah Ogden (Mary Warren), Grant Cartwright (Reverend John Hale), Brian Lipson (Deputy Governor Danforth), Paul English (Thomas Putnam), Elizabeth Nabben (Abigail Williams), Amanda McGregor (Betty), Edwina Samuels (Mercy Lewis) in MTC’s The Crucible. Photo: Jeff Busby.

comprehension difficult at times. Layered line delivery and swift curtain drops add intensity.

Set design is both plain and extraordinary, with freestanding walls and pitched roofs that, appropriately, appear to defy gravity. Arranged variously over four long acts, their simplicity leaves the audience with little visual joy, especially given the nod to rustic period costume.

Avid lovers of classic plays and history buffs will appreciate this accomplished and forceful production.

Lucy Graham A Midsummer Night’s Dream

By William Shakespeare. The Q, Queanbeyan Performing Arts Centre. July 24 - Aug 3.

JORDAN Best again demonstrates her comedy skills with this wonderful adaptation. With flawless timing, Best coaxes energetic clowning from her actors. The cast includes several Q favourites, such as Jenna Roberts stealing scenes as a sexy, frustrated Helena chasing Duncan Driver, who transforms Demetrius into a slack-jawed mouthbreathing twit. Titania’s attendants are livened up by Erin Pugh playing Moth, an awkward, tone-deaf wingless fairy, while Cam Thomas imbues Nick Bottom with appropriate idiocy. The Mechanicals perform some lively Buster Keatonesque slapstick. Every one of the cast is good, but if a stand -out had to be nominated, it would be Dave Evans, with his wicked, physically-challenging performance largely on his haunches as an acrobatic Puck.

The overall design included abstract elements and beautiful 1920s costuming. Thankfully they avoided the

green and flowery cliché, and humour-wise it blows that overblown, unfunny 1999 film out of the water. I’m starting to believe that you could give Jordan Best a copy of The Ring Cycle, a blue pencil and a bunch of talented actors, and she’d come up with something hilarious.

Cathy Bannister The Glass Menagerie

By Tennessee Williams. Ensemble Theatre, Sydney. July 17 Aug 10.

TENNESSEE Williams was 33 and a published poet when he had his first Broadway hit in 1944. He called The Glass Menagerie a ‘memory play’ and it deals poetically with memories from his own unhappy Mississippi childhood.

This welcome Ensemble revival, splendidly directed by Mark Kilmurry, is a reminder of the author’s spellbinding dialogue and bubbling-under-the-surface character tensions that would, three years later, explode into A Streetcar Named Desire.

Narrator and protagonist Tom (Tom Stokes), clearly identified as the playwright himself, introduces the desperate Wingfield family, deserted by his escaped father.

His mother Amanda (Vanessa Dowling) is the ‘faded Southern belle’ prototype of a string of later tough/ terrifying Williams’ characters; his sister Laura (Catherine McGraffin) is a sad, shy, limping recluse, as emotionally fragile as her prized collection of glass animals.

Performances are excellent. Stokes gives Tom/Tennessee particular grace and sadness. ‘How lucky dead people are,’ he says. Pity he couldn’t just visit the Dance Hall across the

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

Stage Whispers 85

La Boite’s The Glass Menagerie

street and meet some nice young man, but this is 1944, remember, and the escaped playwright will become much more specific in later dramas.

A major contribution to the success of this production is the setting by Lucilla Smith. Quite the best I have seen at the Ensemble in recent seasons, it somehow gives the illusion of space in this tiny theatre.

Frank Hatherley

atmospheric lighting design and Penny Challen’s effective set and costumes. It takes a few minutes initially to tune into the Deep South accents without which Tennessee Williams plays lack authenticity, but hang in there. This is world class theatre.

Jay McKee

The Shifting Heart

By Richard Benyon. Marloo Theatre, Greenmount, WA. July The Glass Menagerie 5-27.

La Boite at The Roundhouse (Qld). Aug 3 - 31.

YOUNG director Rachel Vonk chose The Shifting Heart BEWARE! You won’t forget this theatre experience. It as her first full-length production. The significant Australian engages you, then breaks your heart. play remains relevant to modern audiences and was warmly Director David Berthold took a different approach to his received. production: he brought the action forward to the1970s, The curtain opened on an extremely well built set that and retained many of the playwright’s ‘personal whims presumably faithfully re-created a typical backyard in about the production’ that modern directors sometimes Collingwood in 1957. Solidly constructed from a design by ignore because they find them twee or unnecessary.

Jimmy Earnshaw and George Boyd, it included excellent The emotional action is dominated by the huge lurking ring-of-truth detail. Lighting was also top-notch. Margery image of the father of the family, now absent. Mother, De Caux's costuming successfully recreated period, revealing Amanda Wingfield - a brilliantly vulnerable and passionate elements of character. performance from Helen Howard - declares she loved him, Poppa Bianchi was well played by Michael Hart who and smother-mothers her two children, Tom (Jason doubled as the play's lighting designer (and indeed was coKlarwein) and his sister, Laura (Kathryn Marquet), in her opted into the acting role from that position). Jacqui anxiety to see them through to secure adulthood. These Warner was a convincing Mama Bianchi, who conveyed an two actors deserve star status for their performances also. extensive range of emotions believably and won the Equally impressive was Julian Curtis as the charming audience's sympathy. gentleman caller, Jim O’Connor, who unintentionally breaks Serena Filgueira made an impressive theatrical debut in everyone’s heart. the demanding role of the Bianchis’ heavily pregnant The impact of the performances is heightened by married daughter.

(Continued on page 87) George Hamilton’s brilliant musical score, Glenn Hughes’s 86 Stage Whispers

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

The standout for me was Lee Thompson who played rough round the edges neighbour, Leila Pratt, a truly multilayered performance, very truthfully played. Bringing much of the humour to what can be a very dark story, she has an excellent laconic delivery. She was nicely partnered with Richard Coleman as Donny Pratt.

Rachel Vonk’s debut play leaves her audiences with plenty to think about.

Kimberley Shaw Corpse

By Gerald Moon. Gold Coast Little Theatre. Directed by Nathan Schulz. June 29 to July 20.

CORPSE! What a great name for a “who-dun-it”.

Especially when there is only one lady, two gentlemen, a twin playing psychopath and multiple “corpses”.

Nathan Schulz, assisted by Barry Gibson, brought the corpses to life in an ever-twisting plot worthy of the best English thrillers.

As the psychopath, Dean Mayer played both twins: happy-go-lucky Evelyn and financially-secure Rupert - alive and dead - a mammoth part, well played by this enthusiastic dynamo. Cecile Campbell played the tipsy busybody landlady Mrs McGee, ever ready to trade the outstanding rent for a bit of “rumpy-pumpy”.

Thain Sykes was the unsuspecting “stranger” conned into shooting the second twin by the first twin (or was it visa-versa?) and Darren Campbell played the diligent neighbourhood “bobby”.

The set was interesting: half the stage was Evelyn’s squalid basement flat, while the other was Rupert’s fashionable two-storey apartment.

And the hardworking stage crew also had to substitute as “on stage” corpses while the real corpses swapped characters.

All in all, the show had pace and plenty of laughs.

Roger McKenzie

Pyewacket, whose gentleness belies wondrous powers to effect spells.

Casual observation: I could not help but notice the radiant reds of women’s costumes as the plot develops and greys and blacks when things turn for the worst. And whoever chose the 50s music for inter-scene fillers was spot on.

Jay McKee Lend me a Tenor

By Ken Ludwig. Cairns Little Theatre. Director: Narelle Shorey. June 28 - July 6.

WHEN opera star Tito Merelli (Adam Libke) passes out in his bedroom before taking to the stage in Otello, panic ensues. Facing financial ruin, theatre manager Henry Saunders (Mike Carrette) persuades his raw assistant Max (Roger Brinkman) to dress up in the Otello costume and replace Tito. Meanwhile, Tito recovers and also dresses for his role.

With two Titos running about, confusion reigns. Helped by a variety of doors and good direction by Narelle Shorey, the play is a classic farce. Mike Carrette excelled as the grumpy and stressed theatre manager while Roger Brinkman, as the confused Max, was superb. Adam Libke was perfect as the powerful and passionate Tito as was Marie Vella as Tito’s long-suffering wife. Kate Newman as Henry’s daughter brought some sanity to the proceedings while Matt O’Connor (the porter), Heather Sinclair (Julia) and Cath Willacy (Diana) got into their characters with energy and conviction.

Despite the farce, opera-lovers were rewarded with some fine singing from Brinkman and Libke.

Ken Cotterill

Deathtrap

By Ira Levin. Maitland Repertory Theatre. Jun 12 - 29.

IRA Levin’s Deathtrap is a play with two levels. It’s a thriller that keeps audience members on the edge of their Bell, Book and Candle seats as endless twists and turns increase the suspense. And

By John van Druten. Nash Theatre, Brisbane. July 6 - 27. it engagingly shows how works of this genre are put WHAT a buzz to remember those 1950s ‘well made together. plays’. Just strong characters with conflicts and crises we It opens with Sidney Bruhl, a playwright who made his can all identify with. name with whodunits but has had several Broadway flops, Director Nigel Munro-Wallis steered the action with reading a script sent to him by a would-be writer, Clifford assurance. His actors developed slick dialogue and Anderson. characters who engaged us, whether we believe in Sidney tells wife Myra, seemingly jokingly, that he’s witchcraft or not. inclined to invite the young man to visit, murder him and Nikki McCrea, as Gillian Holyroyd, a proud and confident then submit the play to producers as his own work. witch, finds herself succumbing to the charms of the man Deathtrap offers plot within plots, and is very upstairs. Danger! Witches are supposed to be unable to fall demanding of actors, director and technical crew. This in love or to cry. Shep Henderson (Aaron Bernard) is that production delivered characters whose actions were at all charming and personable ‘man upstairs’, oblivious to what times believable and gave the story needed moments of he has got himself into. Interfering werewolf and brother to dark humour to relieve (and sometimes enhance) the Gillian, Nicholas (Andrew Whitmore) becomes involved, as tension. does sweetly conniving Aunt Queenie (Sandra Harman).

Director Letitia Plume ensured that the timing of crucial Pivotal to plot development is Sidney Redlitch (Stewart movements, sound effects and lighting changes was spot Kirkland). His opening drunk scene, physically and vocally, on, with a fierce thunderstorm helping those watching was W. C. Fields quality. Finally there is Gillian’s cat, share the ill-ease of on-stage figures.

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

Stage Whispers 87

Steve Ryan played Sidney as a polished man who seemingly hits on a perfect solution to a mid-life crisis. He engaged in a tough battle of wills with Graeme Mills’ Clifford, with Helen Comber’s Myra very much caught between the two. And there was more to the other characters, Dutch psychic Helga ten Dorp (Dimity Eveleens) and attorney Porter Milgrim (Ian Robinson), than initially met the eye.

Ken Longworth

Much Ado About Nothing

By William Shakespeare. Reamus Youth Theatre, at Maitland Repertory Theatre. Jul 26 - Aug 10.

SHAKESPEARE’S romantic comedy remains one of the best of its genre 400 years after it was first staged. And it shows that nothing has changed where romance is concerned.

Director Brian Randell accordingly gave this production a timeless look, with the soldiers returning from war in the opening scene and the women they meet clothed in casual Dial M For Murder apparel.

By Frederick Knott. Woy Woy Little Theatre. Peninsula Claudio (Alex Simpson) falls in love at first sight with Theatre, Woy Woy July 19-Aug 4 Hero (Phoebe Ferguson), and Hero is smitten in return.

DIAL M For Murder is a murder mystery with a twist, in Claudio’s friend, Benedick (William Spinks), on the other hand, is caught up in a verbal battle with Beatrice (Emily that it's not so much a 'who-dunnit' as a 'will-he-getbusted'.

Ralph).

Tony Wendice, a retired Tennis Pro, discovers his wife As the story develops, Donna Jane (Tahlia Dowie), the sister of the country’s ruler, Donna Petra (Kaysia Dowie) Margot has been having an affair nd devises an intricate plan to have her killed. the siblings are brothers in the original text - sabotages the Director Brendon Flynn has ensured the play retains its wedding plans of Claudio and Hero.

1950s flavour, with a mood-enhancing set, stylish art The opening scene of the staged-in-the-round show got direction and background music. The deliciously sinister the tale off to a lively start, with Benedick and Beatrice central character of Tony looms quietly like a shark, circling circling around exchanging amusingly worded insults. Ralph his prey and the experienced Greg Eccleston attacks each gave the final words spoken by Beatrice in that encounter nuance of this role with relish. Sierra Phillips plays Margot “I know you of old” - a sharp edge that said much about their past involvement. with enigmatic 'Hitchcockian' elegance throughout. Greg Buist, playing Margot's charming American boyfriend, Randell adapted the text to a tight 100 minutes, and comes into his own in the second act as the threads of while that meant that some of the physical comedy Tony's plot begin to unravel and the stakes are raised. involving one of Shakespeare’s funniest characters, nightSome opening night technical hitches did nothing to watchman Dogberry, disappeared, Zac Smith as Dogberry mar the tension. It's a true testament to the writing that the did delightful things with the man’s dialogue, making him suspense keeps crackling all the way through with a clever a very recognisable bureaucrat, who uses official-speak to story that definitely stands the test of time. justify every action.

Ken Longworth Rose Cooper

88 Stage Whispers

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

A New Way to Pay Old Debts

By Philip Massinger. Brisbane Arts Theatre. July 26 Aug 24.

MASSINGER was a Jacobean playwright. This social satire with an underdog-overcomes-oppressor theme resonates even today.

Director Ron Kelly and his cast spice the play with panache while retaining the archaic language. They play it in modern dress, even adding mobile phones and i-Pads.

Sometimes that taxes modern credence.

By the end I applauded Vanja Matula (Frank Wellborn)’s journey back from rags to riches. He plots against the dominant, conniving Sir Giles Overreach - a sterling performance from Steven Tandy who relishes the major villain role here. Those two spark off each other as the story unfolds.

Relax and join the roller-coaster ride. You, too, will become involved quickly.

Chancie Jessop’s eye-catching set grabs your attention initially. Michael Sutton’s lighting supports her artistic vision.

It’s a big cast with no weak links; some just have very memorable parts. Two women at the heart of the plot do splendid jobs: Sarah Greenwood (Margaret Overreach) and Jessica McGaw (Lady Allworth). Tom Yaxley as Sir Giles’ obsequious lawyer, Marrall, does little for lawyers’ reputations. Greg Scurr (Greedy), Andrew Lowe (Lord Lovell), and Natalie Ridout (a buxom Froth) make the most of their minor roles. To all, congratulations.

Jay McKee Taming of the Shrew

By William Shakespeare. Hobart Repertory Theatre Society.

Playhouse Theatre, Hobart. Directed by: Julie Waddington.

July 26 - Aug 10.

MANY adaptations of Taming of the Shrew have focussed on the romantic comedy aspect. This most recent version, under the direction of Julie Waddington, has a slightly different take, focussing on gender politics with a twist.

Chemistry between Andrew Casey (Petruchio) and Katie Robertson (Kate the shrew) was strong, revealing the dark undercurrents of this rather dangerous game of courtship and marriage.

Using modern costumes, and with several characters recast as women, the play helps to make audiences think about the current marriage equality debate. By forgoing unnecessary exits and entrances, and limiting use of props and sets, the director gave actors the scope to concentrate on the meaning of the words. With only a long banqueting table with multiple chairs as the set, and changes of scenery suggested by strong backdrop lighting, time and attention was then focussed on the words and the action.

With a strong ensemble cast who understood the play, and with good diction and voice production, this play raced along to a powerful, almost disturbing, end, when Kate publicly announces her total submission to Petruchio. More drama than comedy, this is one of the best productions this season.

Merlene Abbott

Secret Bridesmaid's Business

By Elizabeth Coleman. Director Barbara Nielsen. Townsville Little Theatre. Aug 7 - 10.

TLT has shown the depth of Townsville's female acting talent in popular comedy Secret Bridesmaid's Business. All six women in the cast showed great comic timing and were totally believable in their roles. I was most impressed with Rachel Dean as the bride, Nicole Fraser, Belinda Farleigh and Shai Regan as the bridesmaids and Christine Scott as the mother.

Mind you, Lewis Doolan as the groom, the lone male, was good as well, but it was the power of the women's performances that impressed.

The director cast this play superbly, and the opening night audience showed their approval with much laughter and applause. It was difficult to fault, although a tighter, narrower set, more like a hotel room where the action is set, would have helped the action which, fortunately, was kept just on the right side of farce.

Ray Dickson Hedda Directed by Renato Fabretti. Blue Room Theatre, Northbridge, WA. Aug 13-31, 2013.

HEDDA is a reconstruction of Henrik Ibsen's Hedda Gabler by Norwegian actress-producer Marthe Snoresdotter Rovik. Her aim was to "expose Australian audiences to Hedda, the way Ibsen intended."

The original Hedda Gabler was shocking to audiences at the time, with its realism and controversial feminist theming. This new Hedda is designed to take audiences out of their comfort zone. Performed on a traverse stage, meaning the audience can see each others' reactions, the actors are within touching distance of most of the audience. Several lines of dialogue are delivered in Norwegian, which is a startling reminder of the origins of this play. Overtly modernised, this new Hedda's world is one of iPhones, laptops and video intercoms..

The performances are strong throughout. Marthe Snoresdotter Rovik is a formidable Hedda, strong and scheming and you feel that while Hedda is in control of the situation, Marthe is in control of the play.

Tone Skaardal makes a lovely contrast as Thea, former school mate of Hedda, whom she bullied and teased.

Fragile and gentle, this was a lovely performance for her Australian debut.

Richie Flanagan was a likeable Tesman, Phil Miolin, a strong and interesting Brack. Director Renato Fabretti gave alcoholic Lovborg a great amount of depth and it was easy to see his attractiveness and intelligence despite a less than salubrious past.

At times the pace was a little laboured. Apparently there is supposed to be surround audio-visual, but this had malfunctioned opening night. Perhaps this may help the pacing. It was a worthy production.

Kimberley Shaw

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

Stage Whispers 89

Caroline O'Connor in The Production Company’s Gypsy.

Photo: Jeff Busby.

Reviews: Musicals Gypsy Music by Jule Styne. Lyrics by Stephen Sondheim. Book by Arthur Laurents.. Directed by Gale Edwards. The Production Company. State Theatre, Arts Centre Melbourne. July 6 - 14.

LET me say simply that this is a production Broadway WISHES it could see - a night of superb theatre which will stay with you for a lifetime.

The brilliant Gale Edwards has allowed Adam Gardnir great freedom to create a set with fly-in panels that really does transport us to the 1920s and 30s. The effect is stunning. Tim Chappel’s costumes are witty, whimsical and fabulous. The sound design by System Sound and lighting

by Paul Jackson and Robert Cuddon are perfect.

Matt Hetherington, at first seemingly miscast, is heartachingly vulnerable as the simple and decent Herbie, swamped by the avalanche that is Rose. The delicious Chloe Dallimore (Tessie Tura), Nicki Wendt (Mazeppa) and Anne Wood (Electra) as the three jaded strippers come close to stealing the show. Christina Tan finally gets the part she deserves as Louise/Gypsy and impresses in every scene.

Nathan Pinnell is a fabulous Tulsa and Gemma-Ashley Kaplan makes the most of Dainty June. The ensemble is excellent throughout, while special mention must go to the junior members of the cast.

And so to the astonishing Caroline O’Connor. She gives us a Rose who, despite her appalling behaviour, breaks our heart. The grace with which she moves on the stage, the 90 Stage Whispers

very essence of a dancer, plus every note she sings, proves that Rose is right when she says she was born too early and started too late. This is a Rose who could have, should have, been a star in her own right if the fates had been kind, and so her bitterness is understandable if not forgivable. By the time we got to the first act closer ‘Everything’s Coming Up Roses’ and she sang the line “Mama is gonna see to it”, the hairs on the back of my neck stood up and I started to cry, overwhelmed by the intensity. I cried again in ‘Rose’s Turn’ at, “Well, someone tell me, when is it my turn? Don’t I get a dream for myself?” There was an innocence, a childlike vulnerability, a sense of “Why am I being punished, neglected, excluded?”

That bewilderment, after all the rage, broke my heart.

Ms O’Connor is a true artist, and deserves all our respect.

Gypsy is a consummate production.

Coral Drouyn Hairspray Book by Mark O’Donnell and Thomas Meehan. Music and Lyrics by Marc Shaiman. Lyrics by Marc Shaiman. Packemin Productions. Riverside Theatre, Paramatta. July 27 - August 10.

LET’S cut to the chase. Jon English in a dress - who’d have thought? The macho Pirate King now in drag as Edna Turnblad, the mother of a teenage tearaway desperate to break into television in 1962.

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

Wayne Scott Kermond and Jon English in Hairspray

From Baltimore to Parramatta he was a sight to behold.

For starters he has impressive legs, although high heels was a bridge too far. Well done for resisting tattoos over the years on those slender arms on display. Teams of seamstresses and wig stylists would have needed weeks to create his explosive frocks and curls.

And the performance? While it was more Pantomime Dame than John Travolta, it still ranged from entertaining, to side-splittingly funny, all with very clear diction. His duet with the exceptionally talented Wayne Scott Kermond as Wilbur Turnbald was worth bottling.

Yes there were others on stage - a very large and impressive cast. The dancing was exceptional. The choreography by Camilla Jakimowicz was always crisp.

Well done to Director Neil Gooding for finding a talented local teenager to play Tracy Turnblad. Jessica Rookeward, just 15 when she scored the role, never missed a beat, and was never outclassed by an experienced community theatre ensemble.

On the white team Michelle Lansdown was eminently dislikeable as TV stage mother from hell Velma Von Tussle, aided by her cheesy and cat-like daughter Alyssa Wilkins, whilst Kyle Sapsford as Corny Collins and Christopher Glynn as Link Larkin looked and moved to their parts well.

However the stand-out new talent was in the AfroAmerican cast. Atunaisa Lasalosi as the cool cat Seaweed J Stubbs had charisma and stage style to swoon over.

Then 12-year-old Ayanda Dladla upstaged everyone as Little Inez, in a big and bold performance to make everyone smile.

This production, with a well-drilled orchestra and colourful set, had plenty to offer, even for those who have seen Hairspray a number of times before.

David Spicer Hairspray Gosford Musical Society (NSW). Laycock Street Theatre, Gosford. Director: Chris King. July 25 - Aug 10.

GOSFORD director Chris King sure knows how to stage a party. Take, for example, the final ten minutes of his production of Hairspray. To the irresistible rhythm of ‘You Can’t Stop the Beat’ he steadily fills the wide Laycock Street stage with manic energy, super-bright costumes and pulsing lights. The packed audience rise and dance, having as much fun as the happy cast. Then come balloons, streamers and explosions of confetti.

This perky musical had a disappointing professional exposure in Australia in 2010/11, which may have led some community groups to overlook its potential. But given the availability of the right talents, especially the director, Hairspray is a crowd-pleasing winner.

Certainly the Broadway production wasn’t quite so like a pantomime as this one, with its Dame (Edna) and First Comedian (Wilbur) stepping out of the story to do a front-

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

Stage Whispers 91

various stories together with great aplomb. Two birds and an elephant stole the show: Lauren Ware as Gertrude, the bird who wanted a more elaborate tail, got it, then found she couldn’t fly; Larissa Cartaxo’s Latin bombshell, Mayzie, threw herself into the big Latin numbers; and lumbered Horton, the steadfast elephant, Josh Whitten, with her egg while she flew off to enjoy life.

Dylan McLean shone as Jo Jo, son of the Mayor of Who and his wife, and has the good sense to avoid going to war.

There are morals like this scattered throughout if we care to look for them. This Dr Seuss is a tonic for all ages.

Jay McKee

Gosford Musical Society’s Hairspray

cloth number (‘You’re Timeless to Me’) and chat up the punters.

But Alicia Simes is the perfect choice for livewire, “pleasantly plump” Tracy Turnblad; Joseph Issa is bold and brassy as Edna; Christopher Gracia is particularly spry and hairsprayed as TV host Corny Collins.

The show requires at least a smattering of black performers. Gosford Musical Society has searched well to give debuts to Tina Leaitua, who sings up a storm as Maybelle; Duke Ehiobuche, who has real charisma as Seaweed; and young Daniella Keating, a firecracker as Li’l Inez.

Frank Hatherley

The Pirates of Penzance Music by Arthur Sullivan and libretto by W S Gilbert.

Director Meg Warren. Diamond Valley Singers and Eltham Orchestras (Vic). July 5 - 13.

IN beautiful costumes by Barbara Skewes and equally good lighting by Ian Craig, with gorgeous sets by Trevor D’Ambrosio and helpers, the Diamond Valley Singers’ cast of Pirates were supremely entertaining - each with their individual characteristics, and all robustly attacking the score with great energy and humour. James Young’s ‘Pirate King’ was the perfect big brother/patriarch.

The meeting of Frederick (an excellent Othon Charalambous) and the daughters of Major General Stanley (Owen Davies) was fabulous fun. Eleesha Higbed, Karina Aston and Kaitlin Spelling had the time of their lives with the gorgeous lyricism of the score and the abundant humour as they battled for Frederick’s attention.

But nothing could have prepared us for the arrival of Linda Belle’s diminutive Mabel, who throws herself at Frederick with the sensational Poor Wandering One. If I have heard a more accomplished performance than Ms Belle’s, then I don’t recall it.

Malcolm Wilton’s Sergeant of Police led the hilarious When the foemen bares his steel (Tarantara) with aplomb, and with a devilish twinkle in his eyes. Mr Davies conquered the notoriously difficult I am the very model of a modern Major-General with something like a master’s touch.

Geoffrey Williams

The Phantom of the Opera

By Andrew Lloyd Webber, Charles Hart and Richard Stilgoe.

Seussical Windmill Theatre Company (Vic). Director: Chris Hughes.

Music by Stephen Flaherty, Lyrics by Lynn Ahrens, Brisbane Musical Director: Julia Buchanan. Choreographer: Robert Arts Theatre. June 22 - July 20.

Mulholland. Drum Theatre. June 21 - July 14.

WHAT a happy, wholesome show this is!

I WELL remember the professional production of Seussical creators Flaherty and Ahrens took principal Phantom of the Opera and I was equally impressed with characters from several Dr Seuss books, mimicked his Windmill’s effort. doggerel style and threw them together in various plot Although budget constraints did not allow for the situations to produce the book and lyrics. massive chandelier, everything else was spectacular. There Director, Laraine Griffiths, saw this as an opportunity for were moving staircases, and walkways, a motorized boat adults-down-to-juniors to perform. They do. The singing is and various pieces of scenery flying in and out to allow the not always up to scratch but the well-rehearsed action to flow. The lighting was innovative and the choreography, unbounded energy and performance joy costumes lavish. more than compensate for vocal limitations. The ten-piece The title role is one of the most demanding in the stage band deserves special credit. repertoire. Tenor Richard Thomas may lack the polish of the Tall and willowy Chris Vagg, The Cat in the Hat, tied the 92 Stage Whispers

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

great Anthony Warlow, but made up for that with his intensity and pathos.

I have been watching Kate Amos’s progress with interest and she has never been stretched as far as she was in the role of Christine.

She covered the full range of emotions and emerged triumphant. As Raoul, Chris Buchanan sang well and they were a convincing couple.

My only complaint about the Carlotta of Cassandra Beckitt was her voice was too beautiful. It meant there was little vocal difference between the two leading ladies. Cassandra was suitably over Windmill Theatre Company’s The Phantom of the Opera. the top, as was Robert Barbaro, Photo: Dave Banen. very funny as the Italian tenor.

Maureen Andrew and Madeleine Magetti were excellent giddy array of colours and styles for the different operatic as Madame Giry and Meg, while Robert McKell and Peter works. The New Year’s Eve masquerade was especially Dennis, as the new owners of the theatre, both made an impressive for its movement and colour. impact.

Rachel McGrath-Kerr The orchestra had a full, rich sound, but never overpowering, and the singers were well balanced.

The Phantom of the Opera This was another triumph for this bold company.

Craig Wellington Productions and the Tasmanian Theatre Graham Ford Unit Trust in Association with The Old Nick Company Inc. Theatre Royal, Hobart. Aug 9 - 31.

The Phantom of the Opera IN Hobart, Craig Wellington Productions’ The Phantom Free Rain Company. Canberra Theatre, ACT. Aug 9 - 18. of the Opera became so popular, over 6,500 tickets were DIRECTED by David Harmon, this production shows his sold by performance three, and the season extended. own vision of the musical rather than repeating previous Although the Hobart Phantom production is probably productions. Jacquelyn Richards’ choreography was fun and not as large or lavish as most people have seen in a full of character, letting each dancer of the corps show her professional production, either in Australia or overseas, it own personality. Ian McLean’s musical direction was sound was an eye-catching spectacle, with sensational and assured, and kudos to the performances from a highly trained era. e Phantom of the Op musicians. cast. Allison Farrow has a lovely voice, The chandelier in Th y. oto: John P. Harve Free Rain (ACT). Ph Julie Lea Goodwin was Christine and had the range and experience for Daáe, showing grace and charm.

Christine, with Brett Budgeon as the Michael Cormick was suitably menacing Phantom an excellent foil, portraying as the Phantom. Christine Wallace yearning, love and menace most played the part of Carlotta Giudicelli, convincingly. Andrew Short as Raoul showing vocal and dramatic fireworks. stepped up to the demands of the Michael Moore as Monsieur Firmin and lover role, with strong voice and Tony Falla as Monsieur Andre were energetic performance. assured and amusing and the ensemble Director Ingrid Ganley did an piece “Notes/Prima Donna” worked well extraordinary job of manipulating a musically. cast of almost 40 singers, dancers There were times during the first act and actors within the confines of the where singers’ lower registers were hard Theatre Royal stage. This big budget to hear through the sound mix, but this production had an orchestra of 30 improved during the show. The theatrical plus under the direction of Aaron fog was excessively applied, although one Powell, and classy wigs, makeup, could understand the effect that was costumes and effects. With lovely, sought. Other special effects enhanced lavish, locally-made costumes and the show without overpowering the an elegantly flexible set, the narrative and emotion. Design and production was seamless. costumes were delightful, presenting a Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 93

The Sound of Music Directed by Alan Cooke. Townsville Choral Society. Townsville Civic Theatre. Aug 14 - 18.

WHEN you see a version of perennial favourite The Sound of Music as good as this one, you realise why it will continue to be revived frequently by community musical companies for many years to come.

The Choral Society cast three strong leads in Claire Davies as Maria, Leo Hogan as Captain Von Trapp and Rachel Cairns as the Abbess. ‘Climb Every Mountain’, Online extras! was probably the highlight. And “Welcome to The Phantom in Hobart, with a Nuns' Chorus of more than your seats are 17,000 km away!”

40, their harmonies were strong http://bit.ly/17RTbCz and beautifully delivered.

Seven absolutely delightful and The strong ensemble of evenly matched, skilled actors, talented children made up the Von Trapp family, and singers and dancers were supportive throughout. Highlights Bianca Parison as Liesl showed herself to be a star of the were the big, full-cast numbers, especially ‘Masquerade’ future. Jodie Bell as Elsa and Richard Price as Max were also and ‘The Phantom of the Opera’, and gentler songs, ‘All I excellent.

Ask of You’ and ‘Wishing You Were Somehow Here Again’.

While the orchestra sounded unbalanced at the start of Wonderful entertainment! the evening, it improved throughout to be well and truly Merlene Abbott "on-song" by the second half.

The season was a sell-out and given the quality of their Singin’ in the Rain recent shows perhaps it is time for the Choral Society to

By Betty Comden and Adolph Green. Music by Nacio Herb look at a longer season for their traditional August Brown. Lyrics by Arthur Freed. ARC (Vic). Director: Rowena production.

Brown. Musical Director: Rebecca Dupuy-Purcell.

Ray Dickson Choreographer: Lisa-Maree David. July 5 - 13.

BOASTING a superb band led with immense skill by The Sound of Music Rebecca Dupuy-Purcell, ARC’s production is an all singing,

By Richard Rodgers, Oscar Hammerstein ll, Howard Lindsay all dancing success on every level. The multi-talented Liam and Russel Crouse. Players Theatre, Ballina. June 14 - July 6.

Kilgour’s mellifluous singing voice was a perfect match for BALLINA Players enjoyed a sell out season with The Erin Gill’s gorgeous Kathy Seldon.

Sound of Music.

As Lina Lamont, Ellen Lane was divine. Her perfect comic With a double cast of children to contend with, first timing and wonderful clowning were only topped by a time director Di Ennew, assisted by her husband David, show-stopping rendition of ‘What’s wrong with me?’ As overcame the pitfalls to deliver an entertaining piece of Cosmo Brown, Benjamin Stokes was fantastic. An expert community theatre. clown and wickedly good tap dancer, Mr Stokes rose to the The singing of the children and the nuns, under the challenges of ‘Make ‘em Laugh, and with Mr Kilgour, baton of Warwick Binney, was a highlight. delivered the tricky ‘Moses Supposes’ duet, flawlessly.

Ballina stalwart Michael Sheehan played the Rowena Brown (who also directed) and Matt disciplinarian Captain with flair and Liz Van Eck, stepping Wheatland’s functional design cleverly answered the into the role of Maria at short notice, worked well with the production’s demands. Louise Parsons’ costumes were just children. Amanda Issac gave a “very reverent” performance as effective, reflecting a fine level of faithfulness to the era. as the Mother Abbess.

The videography by Stefan Latchman was great. The Jaime Whittingham’s choreography was simple yet production was well-served by Brenton Van Vliet’s lighting effective. and a perfect sound mix by Matthew Goldsmith, with not a One of the Players’ strengths is the technical support technical glitch to be seen or heard. and the training of younger members under the guidance ARC’s young ensemble came into their own with the big of their mentors was evident in this production. production number ‘Broadway Melody’ - where tap The uncluttered set made scene changes quick and easy, dancing, soft shoe shuffles and big Broadway voices earned supporting the flow of the production and the enjoyment them a great response from the audience. of the capacity audience.

Geoffrey Williams Roger McKenzie Lisa Roberts-Scott as Carlotta and Nick Monk as Piangi in the Tasmanian Premiere of The Phantom of the Opera. Photo: Tony McKendrick.

94 Stage Whispers

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

Smokey Joe’s Cafe: The words and music of Jerry Leiber and Mike Stoller.

Supa North, Ballina (NSW). Director / Musical Director: Paul Belsham. Aug 16 - 24.

BILLED as “The Ultimate 50s Rock N Roll Show”, Smokey Joe’s Cafe was alive with an infectious beat that had every foot-atapping.

Supa North’s interpretation, under the direction of Paul Belsham, certainly gave credence to that by-gone era with a multitalented cast giving everything in a fast paced show.

The costumed front of house crew got the audience in the mood and the anticipation of a fabulous night was soon fulfilled.

Every one of the nine singers had plenty of opportunities to display their individual and collective artistic abilities which showed Miss Saigon the depth of talent available in this regional town.

The technical support was of the usual high standard one has become to expect with the lighting on occasions giving the impression of costume changes.

Congratulations on an entertaining show.

Roger McKenzie

RENT

By Jonathan Larson. Javeenbah Theatre, Nerang, Gold Coast. Director: Iain Hogg. July 26 - Aug 10.

RENT is loosely based on Puccini’s La Boheme.

Iain Hogg chose to use a basic set, relying on props and furniture to create the different scenes. Sometimes it didn’t work, leaving some audience members confused.

The eight major principals were true and convincing in Miss Saigon

By Claude-Michel Schonberg, Richard Maltby Jr & Alain their characters: Marc Lyster as Mark Cohen and Sean Boublil. Queensland Conservatorium Griffith University Third Thomas as Roger Davis turned in strong performances.

Simon Stone gave a heartfelt portrayal as Tom Collins Year Musical Theatre Students. Conservatorium Theatre, Brisbane. Aug 9 - 17. complementing Donovan Wagner’s cross-dressing Angel.

Rachel Love - Maureen and love interest Sarah Haigh THIS was a terrific production of Miss Saigon – emotional, spectacular and thrilling. With a cast of 32, and Joanne displayed their special love convincingly. Isaac an orchestra of 19, director Michelle Miall time-after-time Moody’s money spending Benny and Bianca De Zilva’s drug dependant Mimi rounded off the New York squatters. created memorable theatrical images.

Vanessa Krummenacher was excellent in the role of Strong cameo roles by the balance of the company Vietnamese waif Kim. A fierce sing, she displayed the contributed to a great show. Under the guidance of Rachel vulnerability and steely determination of the character and Love, the singing was very secure without the presence of a was especially pleasing in the tender wedding sequence, conductor.

The technical aspects of the production were a vital “Sun and Moon”, and the sensuous “Last Night of the contribution to the over-all success of the show.

World”. Her co-star Chris White, as American G.I. Chris, was a strong physical presence and handled his vocals well, I’m not sure if Pucinni would approve of this version of his classic love story but the audience did. particularly the showy “Why, God Why?” Marybeth Harvey’s Ellen had a mix of timidity and determination Roger McKenzie which worked nicely for the character and her second act “Now That I’ve Seen Her” solo was a heart-breaker. Rex J. Little Shop Of Horrors Abblett as The Engineer made the most of his moments in Book and Lyrics by Howard Ashman. Music by Alan the spotlight and with “The American Dream”, assisted by Menken. PLOS (Vic). Frankston Arts Centre. July 19 - 27.

WITH a stunning set by Mike Fletcher (who also gives an the full company in red, white and blue costumes, made it a splashy finale. impressive performance as Mister Mushnik); a really great Jason Glenwright’s lighting plot, Matthew Samer’s band led by Sue Fletcher; sophisticated lighting design by musical direction, and Helena Moore’s choreography were Brad Alcock and the BAAC team; equally brilliant sound all top-flight additions to the production, as was the design from Marcello Lo Ricco and Steve Cooke and “Morning of the Dragon” scene with its red banners and fabulous costumes by Brett Wingfield, director Danny ribbons, “Bui Doi” and the second act evacuation scene Ginsberg “just” had to pull together a brilliant cast to make with the helicopter effect. this a gobsmacking success. And what a superb job he’s done.

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

Stage Whispers 95

PLOS’s Little Shop of Horrors. Photo: Mike Fletcher.

boyfriend is a sadist. She too puts in a gutsy performance and quickly wins audience sympathies. Three dynamic singer-dancers, Astin Blake, Heidi Enchelmaier and Hannah Crowther, act expertly as a sort of Greek chorus.

We cheer as Audrey’s boyfriend, Stephen Hirst (cruel dentist Orin Scrivello) is overcome and destroyed and we feel sorry for Gary Orman (law-abiding florist-shop owner, Mushnik).

The carnivorous plant Audrey thrives and grabs centre stage, all praise to the creator (s), puppeteer Hayden Beilby and basso voice Doug Harper.

Jay McKee

From the moment the three girls (an homage to The Supremes and other 50’s girl groups) enter in gowns and furs, the bar is set exceptionally high; Lauren Edwards (Chiffon), Courtney Smith (Ronnette) and Tara Kabalan (Crystal) all have great voices and considerable acting skills.

Peter Jenkins (Seymour) is totally convincing and endearing.

Emily Hall (Audrey) is enchanting and really nails her musical numbers. Michael Laity (Orin Scrivello) makes a perfect sadist/dentist. His professional polish shows in every move, every line. Jessie Lee O’Halloran provides the raunchy voice of Audrey 2 with great panache…but is also charismatic in her cameo as the editor’s wife. Peter Niclen and Cameron Sweatman (Audrey 2 puppeteers) have to be commended for giving the best prop I have seen in many years a real personality and character.

This truly is a fabulous production.

Coral Drouyn Little Shop of Horrors Redcliffe Musical Theatre (Qld). Redcliffe Entertainment Centre. July 19 - 28.

THIS is deliciously gross rock musical entertainment!

It embraces dire poverty, romantic attraction, domestic violence, obsession with new indoor plants, murder, meteoric rise to media success, and redemption. All are joyfully, brashly explored in big bold rock numbers, and over-the-top characterisations without a shred of irreverence or guilt. The performance joy is contagious.

Congratulations to Penny Farrow (director), Maureen Bowra (choreographer) and Terry Million (MD) and his ninepiece pit band that provided solid support and relished their scores Ethan Jones is brilliant as Seymour, florist shop assistant from Skid Row whose future turns around when he discovers an interesting new indoor plant. He names it Audrey after his co-worker (Stacie Hobbs) whose current 96 Stage Whispers

The Last Five Years

By Jason Robert Brown. Paul Peacock's Underground Cabaret, King's Hotel, Perth, WA. July 11-14.

THE Last Five Years deserved its capacity audiences.

Expertly performed by Casey Edwards and Charles McComb - they created a very tangible five-year relationship despite the fact that Cathy tells their story from the break-up of their relationship backwards, while Jamie's story runs chronologically - intersecting briefly in the middle of the performance.

Casey was a beautiful, sympathetic Cathy. Her opening song, ‘Still Hurting’, was exquisite and set the tone and standard for the rest of the show. Her Cathy was fragile, but determined and layered.

It is difficult to imagine a more perfect Jamie than Charles. He delivered a faultless performance and while all his songs were excellent, ‘The Schmuel Song’ had the audience utterly entranced.

Tim How led a small ensemble that presented Jason Robert Brown's sophisticated score beautifully.

Lighting and sound were controlled by Ben Davis. Very simple, but appropriate and well-managed.

Eighty minutes of outstanding theatre, running the gamut of emotions.

Kimberley Shaw The Last Five Years Tall Trees Productions (Vic). Director: Jez Hunghanfoo.

Musical Director/Producer: Evan Englezos. Treble Clef Jazz Lounge, June 26 - 29.

TALL Trees Productions’ first venture was a resounding success.

Jason Robert Brown’s two-hander, based on his first marriage, is quite different from anything I’ve seen before.

Cathy starts by saying goodbye to Jamie and then moves backwards in time to when they first met five years before.

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

Jamie goes in the opposite direction.

Angela Harding and Luigi Lucente were excellent as the protagonists. Their voices met every challenge in the music, which wasn’t easy, and the audience, only a metre or so away, were able to see every nuance. I was particularly impressed with Angela’s transition from mature woman to naïve girl.

The six piece band was excellent and the lighting appropriate. The sound was generally good and we managed to catch most of the words.

Graham Ford Aladdin Jr.

By Alan Menken, Howard Ashman and Tim Rice. Additional lyrics and book by Jim Luigs. Eltham Little Theatre. Director: John Leahy. July 12 - 21.

AFTER the successful The Pirates of Penzance last year I was looking forward to Aladdin Junior and I was not disappointed. With a large cast and small stage, the sets were of necessity fairly basic, but very effective. I particularly loved the huge skull with red headlights for eyes representing the cave - very impressive.

The chorus, well-trained by Emily Crawford, was strong and confident. The choreography was appropriate and well executed. The dancers representing the magic carpet, glowing fluorescent in the ultra-violet light, was very effective.

Aaron Buffham-Teakle, who played Frederic last year, was Aladdin, and his easy voice and manner were perfectly suited to the role. Hannah Savige was a feisty Princess Jasmine with a strong singing voice. Tenzin Fox was a suitably smarmy Jafar, though his husky voice didn’t always carry in the singing.

Olivia Spoule, who impressed me as the Sergeant last year, was a very funny Genie while Patrick Murphy and

Nathan Doolan did well as Razoul and the Sultan.

Good direction made for a fast-paced show and having entrances through the audience added interest. The young performers were confident and enthusiastic, which made for a most enjoyable show.

Well done ELT. Graham Ford The Producers

By Mel Brooks and Thomas Meehan. Playlovers. Directed by Peter Clark. Hackett Hall, WA. June 28-July 20.

THE Producers at Playlovers is one of the most outstanding community theatre productions of the year to date.

Peter Clark’s direction is tight and slick. David Hardie’s musical direction is perhaps his best to date. Jessica Russell has created clever choreography that is nicely executed.

The set, designed by Wayne Herring, is stunning, bright and effective, with some clever surprises and direction has used the set to its best advantage.

The show uses costume designer Terry McAuley’s talents to the full. Featuring more ostrich feathers than the African continent, the costumes, especially for the showgirls and the ‘show within the show’ production numbers, are fun, beautifully created and exciting.

Alex McLennan and David Gregory expertly play central characters Max and Leo. Alex’s Max was brash, loud and funny, while David Gregory’s Aspergerish Leo, provided an excellent foil. Musically they sounded wonderful.

Seventeen-year-old Samantha Gaunt, was an ideal choice as Ulla. Leggy, blonde, sexy yet naïve, she lit up the stage.

Cameron Butler impressed in the flamboyant role of Carmen, offsider to campy director Roger, well played by John Taylor.

Stomp 13 Lunchbox Theatrical Productions (UK). Melbourne August 20 - 25, 2013; Adelaide from Aug 27 to Sept 1; Canberra from Sept 3 - 8; Sydney from Sept 10.

STOMP have been around for 22 years and it is easy to see why their show has run 11 years in the West End and 20 years on Broadway. This production is slick, funny and had the audience cheering for more. There was a great balance of high-energy choreography and quieter routines, culminating in one of their trademark rubbish bin routines.

The set is a back wall with an upper performing level backed with a wire mesh construction, but every surface was covered in what appeared to be junk, but at some time during the performance was used as yet another “drum”. From match boxes to shopping trolleys, newspapers to paint cans, inner tubes to rubbish bags, everything was utilized to create their music.

The lighting was very much a ballet rig - lots of cross light and backlight to reveal form and the occasional special to highlight a solo. The design of the set created great shadows as the lighting played across the many items.

The sound was excellent - enough reinforcement to ensure we heard every scrape of a boot across a sandy floor or fingernail tapping a matchbox but not so loud to deafen.

If, like me, you have never seen them live, do yourself a favour - this is a great show.

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

Stage Whispers 97

Ted Simpson was eccentric Nazi sympathizer Franz. An obvious audience favourite, he delivered a delightful, beautifully measured performance, especially when interacting with his beautifully constructed pigeons.

The gentlemen of the ensemble were particularly strong, shining in cameo appearances. The women, while not as strong vocally, moved beautifully and created lovely characters. Particularly memorable were Clare Thomson and Elise Giaimo’s usherettes who were vocally striking and personable.

A sixteen-piece music ensemble played well and sound was nicely balanced in this notoriously tricky venue.

John Woolrych’s lighting was innovative, appropriate and expertly managed.

Kimberley Shaw

The Pirates of Penzance Directed by Adam Salathial. Laughing Horse Productions and Phoenix Theatre. Memorial Hall, Hamilton Hill, WA. July 5 - 20.

THIS is one of the quirkiest interpretations of The Pirates of Penzance I have seen; it has a beautiful spirit and some truly brilliant moments.

Many of the key roles are excellent. Peter 'Pear' Carr plays The Pirate King as if it was written for him. His multiple reprises of ‘With Cat Like Tread’ (getting faster yet more flamboyant each time), with dance partners Mark Thompson and Sam Barnett were stunning.

Mark Thompson and 16-year-old Shania Eliassen, in her first leading role, delivered earnestly sincere performances as Frederick and Mabel. Shania's sweet soprano is simply awesome.

Ebenezer Scrooge Paul Treasure's Major General was excellent. His final Musical adaptation by Liz Connor of Charles Dickens’ verse of Modern Major General was probably the fastest I Novella A Christmas Carol. Huon Valley Theatre Group. have heard, with exquisite clarity. The audience loved his Huonville Town Hall. Director: Liz Connor. July 18 - Aug 3. teddy bear toting nightgown appearance.

THE Huon Valley Theatre Group’s production of Lovely special ensemble touches include Christopher Ebenezer Scrooge presents reworked, slightly different slant Doney's kilt-clad pirate - high-heeled and campy - and in on the traditional version of Charles Dickens’ A Christmas the moment at every appearance.

Carol, with more of an insight on Scrooge and how people Conductor Krispin Maesalu's orchestra was of the can change for the better. highest standard and his interactions with the cast and An ambitious undertaking, this musical doesn’t have the crew appeared natural and spontaneous. cliché Christmas carol music that we have come to expect.

Other aspects of the show do not match up to this In most musicals, the musicians are separated from the cast standard. Ensemble singing isn't always strong and the and stage . . . in this show, some of the musicians form police scenes, with their predominantly female policemen, part of the cast and perform on stage. The sides of the hall simply do not work musically or choreographically. form part of the street scenes, and action flows from the Despite some shortcomings, it is tremendous fun and sides onto the stage. The sides have Dickensian shopfronts has a beautiful heart. which become stalls for refreshments at interval.

Kimberley Shaw Another element is the mixture of live and videoed action. This is the first major HVT production to make full Hair use of their new digital lighting system. Director Liz Connor By Gerome Ragni, James Rago & Galt MacDermot. Spotlight got the most out of the cast, particularly as it is such a Theatrical Company, Benowa, Gold Coast. Director & wordy play, especially for Rod Gray, who ably played Choreographer: Kim Reynolds. Aug 2 - 24.

Ebenezer Scrooge.

IT’S the Age of Aquarius so Let the Sunshine In. The Big plaudits to the cast of children, many who had their message was loud and clear and a tide of love engulfed the first stage experience in this production. Musicians, under audience. musical director Judy Younger, did a terrific job, supported Kim Reynolds production was all encompassing; a stage by a tireless technical crew. Congratulations to all devoid of the usual curtains with the tribal musicians concerned for an entertaining production. ensconced on a rostrum up stage left and the trappings of Merlene Abbott the flower people scattered around.

The tribe were loud and proud of their communal life style; sharing drugs and sexual partners as if there was no tomorrow.

The music, under the direction of Antony Zambolt, was infectious. The choreography was effective and energetic.

The technical support was an important facet of the total experience and the disrobing in the finale of Act 1 tastefully staged with subdued lighting.

First produced at the Metro Theatre, Kings Cross in the 1960s the production was nearly closed by the police due to the controversial content, however Hair has now become Get noticed on the Stage Whispers a musical tribute to the Hippy generation. website with a premium listing Roger McKenzie

Stage Whispers Directory Premium listing: $20

www.stagewhispers.com.au/directory-central

98 Stage Whispers

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

High School Performing Arts Program

Schools On Stage

The performance was to be engaging though music, dance, puppetry and movement. The students created a story that follows the journey of Gaia, a Victorian students involved masked character who must in the SEDA Arts find and put back together Development program the pieces of a broken star. enjoy hands-on theatre Other students worked with making experience.

Platform Youth Theatre in creating One Act plays The year 11 and 12 performed at various students gain nationally theatres around Melbourne. recognised Vocational The students have been in Education and Training charge of everything from (VET) qualifications, writing of original scripts to including Certificates in lighting and costume.

Community, Dance, A select few students were Theatre and Events as well privileged to be granted as a Diploma of Events.

Online extras! behind-the-scenes access to Recently, SEDA’s Discover what makes studying at SEDA the Australian Ballet’s students helped manage different. Scan the QR code or visit performance of Swan Lake the State Schools http://youtu.be/VRVNezE96mg at Arts Centre Melbourne.

Spectacular. Working Given access to call sheets alongside industry for each act and the opportunity to get professionals, students were involved in their production Star Puzzle to the up close to the dancers, this was an lighting, backstage and management. stage.

Earlier in the year students took SEDA Arts partner The Song Room experience that will provide the highlight of the year for many of the hosted Star Puzzle at the National Gallery of Victoria, where the students students.

Applications are now open for the put on performances for primary 2014 Arts Development Program. school children from in and around Melbourne.

For more information on the SEDA Arts Students were instructed to create Program call 1300 11 7332, email an original piece of work that targets info@sedagroup.com.au, or visit primary school aged children that have www.sedagroup.com.au/arts had limited access to live performance.

www.stagewhispers.com.au Stage Whispers 99

Rockin’ Robin

Judith Prior’s What’s New Pussycat World Premiere The Blue Mountains College in West Otago New Zealand staged the World Premiere of Judith Prior’s What’s New Pussycat in February. The jukebox musical based on the story of Puss in Boots was a hit. Director Vicki Crawford chose it because of the large number of parts including acting only roles and the availability of a CD backing track.

Student Shani Hayes who pioneered the lead of Puss reports.

We had a lot of fun putting on What’s New Pussycat.

There were big roles and small roles with just singing or just acting to tailor to everyone’s needs. From the moment we heard the storyline we all knew the part we wanted for ourselves.

On the first night of rehearsals we sat down and sang through the soundtrack; from the beginning we all sung loud and got into it because they were the songs we knew and loved.

The characters had such quirky personalities that it made the show entertaining and made acting them fun and challenging.

As there were so many dance numbers and different roles both big and small we all got a chance to shine, stand out and feel important. We all supported each other when we forgot our lines or did the wrong move.

Kookaburra Kids

Judith Prior has released a new musical for middle school or primary students, Kookaburra Kids.

Students at an Australian holiday camp discover that the local Mayor plans to close the camp and redevelop the site.

Using social media and the good old bush telegraph they launch a campaign against this.

Music includes traditional songs such as Kookaburra sits in the old Gumtree and I am an Australian.

100 Stage Whispers September - October 2013

Schools On Stage

ssycat What’s New Pu

Rockin’ Robin

When it came time to perform the show just came alive for us all with the audience laughing, clapping and singing along. So many people approached us after the show and said how much they enjoyed it and it was the best show they’d seen yet. Hearing comments like that made us feel proud.

Rockin’ Robin

By Judith Prior. Burnie High School.

Ben Lohrey directed Rockin’ Robin at Burnie High School in Tasmania and is currently in rehearsal for What’s New Pussycat.

Having previously tackled musical productions that have an original score, Rockin’ Robin marked our first foray into the world of the “jukebox musical”. We were attracted to the musical because of the terrific score that contains many very well-known and catchy musical numbers from the 50s, 60s and 70s. This, coupled with a very humorous script, strong lead roles for both males and females and the scope for the inclusion of a very large ensemble (we had 120 ) made Rockin’ Robin the ideal choice for our 2011 whole school production.

It was our most successful musical to date. The cast and the band loved working with the musical score and audiences loved the story, the characters, the witty dialogue and the big production numbers.

Based on the success of Rockin Robin, we had no hesitation in jumping at the chance to secure the rights to the new Judith Prior musical What’s New Pussycat for our 2013 show and we are very much looking forward to our season in September.

Rockin’ Robin

www.stagewhispers.com.au Stage Whispers 101

Broadway Classics in Sixty Minutes The Broadway Junior Collection, honoured with a special Tony Award for Music Theatre International, is among the innovative musical theatre adaptations for schools and youth theatre represented locally by Hal Leonard Australia. The adaptor of the musicals, Timothy Allen McDonald, recently in Australia to lead teacher workshops, explained what makes them tick.

Timothy Allen McDonald

woods can be enacted by your kids … you can make whatever happen if you have the imagination.”

Stuart Hendricks from Hal Leonard Australia adds.

“We all know that teachers are time -poor. What Broadway Junior does for a teacher is to empower them, especially teachers in primary school who aren’t specialists. It actually enables them, and gives them the tools there is no keyboard in the school, kids to make a quality production. can learn by singing along.”

“It takes about an hour of rehearsal All shows in the Broadway Junior Collection are also for every minute of stage time, so 60 hours for a school or an linked to the school after-school program of curriculum, complete with study resources. rehearsals seemed like a logical amount of time.”

There are a number of For older students, Hal factors involved in Leonard also represents the adapting musicals to this School Edition Collection.

Think: all the romance of 60 minute format.

“We want to make sure Les Miserables, or the that vocally the kids are hilarity of Avenue Q, with able to sing the show less raciness and more without developing nodules. accessibility. This I actually got nodules in a collection also includes Year 8 musical. So, we adaptations of other bigadapt the shows to sit in name shows like Miss comfortable, healthy keys for Saigon, Rent, Aida, Ragtime young voices. and Sweeney Todd.

“We’re also making sure Students are taught in that we tell the story in an conjunction with some great efficient way. Our guiding new theatrical resources light is ‘does it advance the including Study Guides, plot?’ I remember when we Accompaniment CDs first did Fiddler on the Roof, (Backing Tracks) and and I met with the authors, Production Slides. they said, ‘This is lovely.

Other resources, including Congratulations, but you’ve taken all of RehearscorePLUS® and Stage “You now get Tevye’s humour out. It has to go back scripts, with music interpolated, a Managers’ Scripts are also in.’ So we added ‘Do You Love Me’ becoming increasingly director’s guide, which takes you back in, which doesn’t necessarily available to streamline the through the full process, with the advance the plot, but without it you’re easiest, most accessible solutions to all rehearsal process for teachers who are missing some heart. usually already dedicating countless aspects of the production. There’s a “Our goal is to make the shows as DVD detailing the choreography, hours of personal time to their school’s scalable as possible, so that they could breaking down three or four of the big production. play relatively well with 15 or 150 kids. numbers.

We’re always trying to find clever ways Visit www.halleonard.com.au to view “The tracks are recorded by union to involve an ensemble, in such a way musicians, some like amazing Karaoke the full catalogue of School Edition, as it enhances the storytelling. For Broadway Junior and classic collection tracks without the singing, then instance, in Into The Woods, the musicals available. alternates with kids singing, so that if 102 Stage Whispers September - October 2013

Hairspray Ringwood Secondary College (Vic).

Director: Benjamin Moody. Producer Michael Phillips. Musical Director: Lachlan Mackay. August 9 - 17.

After 30+ years of musical productions, Ringwood Secondary College’s Hairspray is a sold out sevenshow season, with enthusiasm bubbling over into the ancillary, including 1960s memorabilia and a photo booth in the foyer.

Hairspray is a musical gem: infectious music, cross-dressing, risqué jokes, big characters, funky rhythms, and every song a winner. Minimal dialogue means no dull spots, and it’s an opportunity for a teenage cast to take on characters their own age.

If Hairspray is to work, the players must ‘take no prisoners’, with huge demands on young singers and instrumentalists.

And yes folks, they do it proud.

Highs included Run and Tell That, You’re Timeless to Me, I Know Where I’ve Been and You Can’t Stop the Beat.

While line delivery is occasionally too brisk, and audio sometimes disappointing, no technical hitch dents

Schools On Stage

character, be it cool, sultry, hip, bitchy or dippy.

Energy oozes from the Big and Bold AND Beautiful chorus. All cast members are acknowledged with foyer photos, testifying to this cohort’s mutual respect, and the depth of the school’s PA program.

All those involved should be rightly proud. As one patron said at the stage door: You see them on stage and think wow. But then they come out at the end in school uniforms and you realise they are just kids. Bravo!

Lucy Graham

Commedia dell’Arte At Your School Journey to Italy … to the 16th Century … to a madcap world full of silly slapstick, mistaken identity and Pasta Bolognese!

Make a Scene brings Commedia dell’Arte to your school.

“Both performers make clear sense of the traditions of Commedia dell’Arte by expressing them with infectious vitality in a sparkling performance.”

Stage Whispers.

Pantalone’s Inn is an entertaining performance based on the Italian comedy of the 16th Century, Commedia dell’Arte. This performance is in English (with some Italian) and features the traditional masked characters of the commedia, complete with loads of silly slapstick, misunderstandings and bad wigs.

Pantalone’s Inn is suitable for Primary and Secondary students of Drama, Theatre Studies, Italian, English and History.

Drama and Theatre Studies students can analyse theatrical conventions and playmaking techniques, while Pantalone’s Inn is culturally relevant for students of Italian.

All bookings include a resource kit.

Pantalone’s Inn is created by Rosa Campagnaro, and performed by Rosa Campagnaro and Fabio Motta. Both artists trained in this style in Venice (Italy), while Rosa also trained with Commedia Master Antonio Fava.

Make a Scene are also available to conduct Commedia dell’Arte workshops.

www.stagewhispers.com.au Stage Whispers 103

Choosing A Show

Plays For Young Performers From Dominie Drama From Pioneer Drama Services Alice in Wonderland by Jonathan Yukich Cast: Flexible cast of 15 to 29, optional extras, doubling Time: About 65 minutes What would happen if a 21st century Alice collided with Lewis Carroll’s legendary Wonderland?

OZ! Book by Tim Kelly. Music and lyrics by Bill Francoeur..

Cast: Flexible cast of 21, chorus, optional doubling Time: About 90 minutes A musical adaptation of “Wizard of Oz”.

The Rockin’ Tale of Snow White. Book by Barbara Lennon. Music by Bill Francoeur. Lyrics by Bill Francoeur and Barbara Lennon.

Cast: Flexible cast of 30, chorus Time: About 75 minutes New characters and comedic twists come to life as a modern mom reads the Brothers Grimm tale to her restless children. In addition to the well-known cast this musical introduces us to some fresh new faces, while musical styles of all genres fuse to create a mixture of hip-hop, rock and Invasion of the Student Body roll, doo wop and more.

Snatchers by Craig Sodaro Cast: 8M, 14F From Nick Hern Books Seemingly normal new high school student Orry 100 by Christopher Heimann, Neil Monaghan Constella and his family are and Diene Petterle actually aliens from the An original play combining traditional planet Vesperon disguised as humans to see whether Earth storytelling with physical theatre, created by would make a suitable all-inclusive resort for Vesperonians.

The Imaginary Body.

Cast: Min 2f; 2m; plus 1f/m Law & Order: Nursery Rhyme Unit by Jane Jeffries The Machine Gunners by Robert Westall, and Jim Jeffries. adapted by Ali Taylor.

Cast: Flexible cast of 22-30 An adaptation of this children’s classic by (about 7M, 8F, plus 7-15 Robert Westall, voted one of the ten most that can be either), optional important children’s novels of the past 70 extras years.

Is there a bigger group of psychotics and sociopaths than Cast: 1f, 5m doubling (2f ,11m possible) nursery rhyme characters? Detective Green and the Punnish Sir have been called in to investigate a crime scene where a Be My Baby by Amanda Whittington Mister Humpty Dumpty has been found shattered and fowl A poignant drama about attitudes to teenage play is suspected. pregnancy in 60s Britain.

Cast: 6f Totally Awesome 80S. Book

by Flip Kobler and Cindy Noughts & Crosses by Malorie Blackman, Marcus. Music and lyrics by adapted by Dominic Cooke Bill Francoeur.

A bittersweet love story with echoes of Cast: 7M, 12F, plus 3 roles Romeo and Juliet, set in a society divided by that can be either, optional racial bigotry and a world rocked by chorus terrorism. Adapted from Malorie Blackman's Time: About 120 minutes best-selling novels.

With nods to iconic 80s teen movies and celebrities and a Cast: 8f 8m with doubling rockin’ score that captures the hit sounds of the decade, with big hair and eyeliner, MTV, Betamax and Atari, leg Contact Dominie Drama for perusal scripts and licensing. warmers and parachute pants. www.dominie.com.au/drama

104 Stage Whispers September - October 2013

New Backing Tracks for Youth Musicals from ORiGiN The royalty is a flat fee of $180.00 per performance for school and small scale youth group productions with a venue of up to 300 seats.

Joseph and The Amazing Technicolor Dreamcoat The Rehearsal Package is With a running time of 60 minutes this is a very affordable show for youth groups and schools to produce, available on hire for $80.00 per set for one month and an with a flat fee of $60.00 per additional $20.00 for each subsequent month comprising of one script, one Piano Vocal Score and Double CD (CD performance for school and small scale youth group productions with without vocals and Rehearsal CD with vocals). a fee of $75.00 for the rehearsal Future Release: All Shook Up - Young Broadway Edition package consisting of one script, Approximately 75 minutes in length. one vocal score (a Photocopy License for extra copies is available) and double CD. Like Grease, this is set Disc 1 is for rehearsal only and features children singing in the 1950's but uses the parts for ease of learning. songs that were made Disc 2 is for performance i.e. Backing Tracks only, all live popular by Elvis Presley, with a book written by Joe instruments.

Cats - The Abridged Edition DiPietro (Tony Award Approximately 75 minutes in length, developed with winning author of Memphis) and based on Shakespeare’s Twelfth Night. younger Jellicles in mind. The CDs provide the flexibility to edit the show to a suitable length for the performance age group and aid the learning and rehearsal process.

Contact ORiGiN Theatrical for more information and free perusal materials. www.origintheatrical.com.au ORiGiN Theatrical have announced the release of two Andrew Lloyd Webber musicals with backing track accompaniment.

Contemporary Musicals from Wiggles and Cockroaches Songwriter

ORiGiN Theatrical has announced its representation of Australasian rights for the John Field’s musicals, Evie & The Birdman and Who Loves Me? following the signing of a five year agreement.

John Field began his song-writing career began in the 80’s, penning ten Top 40 hits for The Cockroaches, and his writing has included more than 400 songs for The Wiggles.

Evie & The Birdman is a wild, totally original piece of contemporary music theatre. Dig out the boogie board and dive right in. This show is a Music Theatre equivalent of a day at the beach. It is not a “kids” show but a very fast moving contemporary musical aimed at young adults and those who can remember being young.

Who Loves Me? is John’s most recent work. It is an urban love story set in Bellini’s Cafe- the busiest cafe in the middle of the city. It is the story of Enzo Bellini and his last dying wish to see his heartbroken daughter Sofia happy again. Who Loves Me is a contemporary musical about love, coffee, the stock market and the seductive power of the Mambo.

John is excited about his new partnership with Origin: “I look forward to a wonderful and long association with this great company… you got to love an office that has a grand piano in the main conference room and photos of Cole Porter on the wall.”

ORiGiN Theatrical, Kim Ransley. Phone: (02) Philip Walker, Kim Ransley (Origin Theatrical), John Field, and Maree Kirkland-Morris (The Peak Agency) 8514 5204 or kim@originmusic.com.au www.stagewhispers.com.au Stage Whispers 105

Choosing A Show

Man Of Steel 2013 marks 35 years since the publication and first performance of what is Australia’s most performed school musical, Man Of Steel. Teachers who once performed in the musical that sends up the myth of Superman now direct it with their own students. Editor at Maverick Musicals Gail Denver reflects on its success with her brother, Simon, who wrote the musical in the 1970s.

Gail: You were only 18 when you wrote the script for Man Of Steel - what prompted you (and composer Ian Dorricott) to write a comedy musical?

Simon: I belonged to a youth group called “The Middle Stagers” at La Boite Theatre in Brisbane. We were all bursting with energy and more importantly we were all brought up on a strict diet of Monty Python, The Goodies, Norman Gunston and Aunty Jack. We wanted to do a musical - but the only one we all liked was Rocky Horror Show. The rights were not available, so the logical conclusion was to write our own.

Gail: What made you choose the super hero theme?

Simon: Now that was all Ian Dorricott’s idea! He first talked to me about writing a serious musical on Superman.

Simon Denver and Gail Denver He very quickly discovered the high camp of the Batman TV show was where I held all superheroes. All I could see was goodies were good and the baddies were bad. No subtext, “Bam”, “Kersplat” etc. There were to be no grey areas - the no hero’s journey, and definitely no super powers caused by any form of radioactive slime.

Gail: Being so young, were you prepared for what happened next? Did its immediate popularity take you by surprise?

Simon: No! It came so out of left field. We performed it at La Boite and had a hoot and a half doing it. A couple of schools in Brisbane then did it. I was 19 by then, and having two schools in Brisbane do your musical was indeed a lofty perch. Other schools saw the first two schools and from then on a contagious infusion took over. I think what was really driving it was that the students loved it.

Gail: Why do you think that it is still popular with schools after 36 years?

Simon: I suppose that time has a strange sense of humour. What was once cutting edge quickly becomes the norm. But as a norm, Man of Steel still retains an almost innocent charm. It’s as far away from the modern superhero movies as you can get. I think that even now it makes a quick and simple contract with the audience, that being - this is very silly, so you might as well enjoy it. I saw it last year for the first time in almost 20 years. A school in Noosa did it. It quite amazed me just how fresh it still seems.

Gail: What's it like being the founder writer of Maverick Musicals, that has been very successful marketing all of your musicals to schools around the world?

Simon: It’s the part of my life that is constant. My relationship with Maverick has lasted longer than my marriage and is older than my children.

106 Stage Whispers September - October 2013

Man of Steel Morrinsville College, New Zealand.

Man of Steel uses an icon that, even in this day, is recognised by every student, parent and teacher. It’s a simple story and it worked for the new-entrants in our matinees, as much as for the 80-year-olds in the evening shows. It lends itself to simple props and costumes, and the action carries the show.

The original script is easy to ‘update’ for local use and the actors enjoyed doing this themselves.

The songs are memorable and straight-forward. Our music teacher Linda Street, captured by the Big Boss's Henchmen and the band in Morrinsville College's Man of Steel enjoyed doing them so much (when they did West Side Story two years ago, they spent one weekend on one song, and still did not get it right for the shows). In fact, the band was singing along with a lot of the big numbers (they were irrepressible in the chorus of ‘Landlady Blues’ and their enjoyment was infectious for the whole audience).

Our specialist dancers had no problem choreographing their chosen numbers. In fact, the show lends itself to the students doing much of their own staging.

Finally, from a director’s point of view, the back-up resources make it so much easier to tee up everyone and get things humming. We took nine weeks to rehearse the show and then it was conveniently out of the way, end of term 1.

Murray Feast, Head of Drama, Morrinsville College.

Hervey Bay High School, Queensland I have directed 33 school musicals over the years and have found the perennial Man of Steel to be a quintessential example of the genre. We have staged it twice because Hervey Bay High School of its immense appeal, not only to audiences, but to the cast and crew as well.

The musical is populated with clever and amusing characters, as well as the classic superhero. The show contains everything required of a school musical - action, suspense, a love interest, humour (some of the best corny gags ever) and, catchy songs. The production can be easily or elaborately staged depending on the director’s discretion.

Mark Thomson, Hervey Bay High School, Qld.

PERFORMING ARTS MAGAZINE SEPTEMBER/OCTOBER 2013. VOLUME 22, NUMBER 5 ABN 71 129 358 710 ISSN 1321 5965

All correspondence to: The Editor, Stage Whispers, P.O. Box 2274, Rose Bay North 2030, New South Wales.

Telephone/Fax: (03) 9758 4522 Advertising: stagews@stagewhispers.com.au Editorial: neil@stagewhispers.com.au PRINTED BY: Spotpress Pty Ltd, 24-26 Lilian Fowler Place, Marrickville, 2204 PUBLISHED BY: Stage Whispers PRE-PRESS PRODUCTION & DESIGN BY: PJTonline Solutions, email: pjtonline@pjtonline.com DISTRIBUTED BY: Gordon & Gotch, 25-37 Huntingdale Road, Burwood, 3125 DEADLINES For inclusion in the next edition, please submit articles, company notes and advertisements to Stage Whispers by October 3rd, 2013.

SUBSCRIPTION Prices are $39.50 for 6 editions in Australia and $60AUD elsewhere. Overseas Surface Mail (Airmail by special arrangement). Overseas subscribers please send bank draft in Australian currency. Maximum suggested retail is $6.95 including GST. Address of all subscription correspondence to above address. When moving, advise us immediately of your old and new address in order to avoid lost or delayed copies.

FREELANCE CONTRIBUTORS Are welcomed by this magazine and all articles should be addressed to Stage Whispers at the above address. The Publisher accepts no responsibility for unsolicited material. Black and white or colour photographs are suitable for production.

DISCLAIMER All expressions of opinion in Stage Whispers are published on the basis that they reflect the personal opinion of the authors and as such are not to be taken as expressing the official opinion of The Publishers unless expressly so stated. Stage Whispers accepts no responsibility for the accuracy of any opinion or information contained in this magazine.

LIMITED BACK COPIES AVAILABLE ADVERTISERS We accept no responsibility for material submitted that does not comply with the Trade Practices Act. CAST & CREW Editor: Neil Litchfield 0438 938 064 Sub-editor: David Spicer Advertising: Angela Thompson 03 9758 4522 Digital production: Phillip Tyson 0414 781 008 Contributors: Merlene Abbott, Sally Alrich-Smythe, Cathy Bannister, Sara Bannister, Stephen Carnell, Dean Carey, Ken Cotterill, Rose Cooper, Gail Denver, Coral Drouyn, Robert Dunstan, Whitney Fitzsimmons, Graham Ford, Lucy Graham, Frank Hatherley, John P. Harvey, Shirley Jensen, Peter Kemp, Neil Litchfield, Ken Longworth, Rachel McGrath-Kerr, Jay McKee, Roger McKenzie, Alex Paige, Peter Pinne, Martin Portus, Lesley Reed, Ruth Richter, Suzanne Sandow, Kimberley Shaw, David Spicer, Aaron Ware, Geoffrey Williams and Carol Wimmer. www.stagewhispers.com.au Stage Whispers 107

Musical Spice

Author!

Author!

Attending a play or musical with the writer or composer of the work can be fraught.

Pictured here with me are the writer/composer (Grahame Bond), original Producer (Charlie Waterstreet), original cast members and recent cast members of the Australian musical Boy's Own Mcbeth which was revived in Sydney in July.

Grahame Bond (aka Aunty Jack) enjoyed the production so much that he lip-synched all ten songs he wrote and leapt to the stage to sing an encore song after the bows.

Charlie Waterstreet described the experience in his Sun Herald column as "one of life's pleasures�.

It doesn't always work out that way.

A decade ago I attended a production of Back to the 80's with the writer of the musical, Neil Gooding, in a small country town. It was the first time I had seen the jukebox musical on stage.

108 Stage Whispers September - October 2013

We felt like digging a hole in the hall floor and crawling out of the venue.

They used a backing track instead of a live band and the electricity cut out, during the opening number, leaving them to sing a capella.

Then the performance was like a preliminary rehearsal.

Of course afterwards we told them how much we enjoyed the performance.

I took Reg Livermore to see a production of his musical Ned Kelly in Newcastle.

It was quite a nice production, but inexplicably they inserted a song at the beginning of the show. Someone got up on guitar and said, "Let's start with a song I've written about Ned Kelly." It was so different in tone to the rest of the production that I thought I would have to lash Reg to the chair to stop him walking out.

Being the gentleman that he was, he stayed and said the right thing afterwards.

Not all writers grin and bear it.

Playwright Lachlan Philpott did not even make it to opening night of the production of Alienation, staged recently by the Perth Theatre Company.

He asked for a note to be placed on each seat disassociating himself from the production because it had "been very significantly altered, to the extent that it does not represent the script of which he is the author�.

It was claimed that 30 percent of the script had changed, however the PTC hit back saying it "strongly disagrees and is disappointed with these statements and considers them to be inaccurate and unwarranted".

A follow-on season in Sydney's west was cancelled.

The way to avoid situations like this is to ask permission.

The young producer of Boy's Own Mcbeth did depart from the script he was sent because he wanted to update a few lines in the musical, but he did this with the blessing of the writer.

Obviously someone at the Perth Theatre Company forgot to ask permission when they got the scissors out, which appears to be an extraordinary omission for a professional theatre company.

David Spicer

ORDER YOUR MUSICAL AND DRAMA CATALOGUE 2013

FREE PERUSALS Rockin’ Robin

MUSICALS PLAYS PANTOMIME AND THEATRE RESTAURANT From Cenarth Fox Scrubbers Suburban Circus

Beach Blanket Tempest

Snugglepot and Cuddlepie Visit www.davidspicer.com.au to read scripts, listen to music and see show videos.

Order catalogue email david@davidspicer.com Phone/Fax 02 9371 8458. www.stagewhispers.com.au Stage Whispers 1 Write to PO Box 2280 Rose Bay North NSW 2030