Stage Whispers January/February 2014

8 In this issue Lisa McCune - Our Leading Lady..................................................... 8 Gold Logie winner interviewed by her ‘killer’ Shakespeare Aussie Style ...............................................................12 Celebrating Shakespeare’s 450th birthday Rocky Horror Turns 40 ..................................................................16 When they first did the Time Warp

12

Stephen Schwartz - From The Heart ..............................................22 Part two of our exclusive interview

18 25

Finding Fran and Scott ..................................................................20 Baz Lurhmann’s Strictly Ballroom The Musical stars

Sweet Charity Opens Hayes Theatre ...............................................26 Launching Sydney’s new home for musicals

22

Cutting Edge Opera ......................................................................32 Otello on an aircraft carrier Community Theatre Seasons 2014 ................................................36 Have You Seen Harry Lauder Yet? ..................................................52 Popular early comedian’s personal tragedy Lighting And Sound On A Budget .................................................54

Regular Features

32 67 73

London Calling

28

Broadway Buzz

29

Stage On Disc

30

Stage On Page

31

On Stage - What’s On

58

Auditions

65

Reviews

66

Choosing A Show

98

Musical Spice

100

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4 Stage Whispers January - February 2014

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Editorial Dear theatre-goers and theatre-doers, I hope you’re enjoying your own little patch of Summer holiday paradise as you read the features in this bumper edition of Stage Whispers.

I certainly plan to be enjoying some New Year cheer by the time you read these pages.

So, as you enjoy Frank Hatherley’s Shakespeare Australian style feature, lets raise a toast to celebrate the Bard’s 450th birthday.

Baz Luhrmann has found his two young leads for Strictly Ballroom The Musical, so I’m pleased to be able to share the chat I had with them about auditioning for Baz. I look forward to following their progress in this ambitious home-grown musical. Will it emulate the success of other quintessentially Australian musical hits The Boy From Oz and Priscilla? I guess we’ll know in April.

Having been a Stephen Schwartz tragic since I first saw Godspell in the 1970s, I eagerly awaited part two of Coral Drouyn’s interview from last edition. I hope the Wicked fans among you enjoy the story of how he wrote ‘For Good’ as much as I did.

Speaking of Coral, I’d never realised that she actually killed off one of Australia’s most beloved TV characters, Senior Constable Maggie Doyle (alias Lisa McCune), so who better than the former Blue Heelers’ Script Producer to catch up with the multi Gold Logie winner for a chat about her first love, Phoebe Panaretos and Thomas Lacey have been cast as the lead roles in Baz Lurhmann’s upcoming musical theatre. production of Strictly Ballroom The Musical.

As always in our January / February Read our story on page 20 edition we look forward to an immense year in Community Theatre, with the big ticket items being Legally Blonde, The Addams Family, Mamma Mia! (in New Zealand) and more Phantoms than you can drop a chandelier on. I’m still trying to decide what I want to see CONNECT most, or perhaps even audition for.

And when did you first do the Time Warp? And will you be doing it again as a new production tours Australia?

Cover image: Happy holiday reading!

Craig McLachlan returns as Frank N Furter in the new Australian revival Yours in Theatre, of The Rocky Horror Show. Read Stage Whispers interview with the cast on page 16.

Photo: Lightbox Photography.

Editor Insets: Lisa McCune and John Bell.

Neil Litchfield

www.stagewhispers.com.au Stage Whispers 5

Stage Briefs

Three-time Tony Award winning Broadway star Bernadette Peters brings her concert to Australia in April Sydney, April 2 & 3; Gold Coast, April 5 and Melbourne, April 7 & 8.

More details at http://bit.ly/1codIje

Online extras!

Get a taste of Bernadette’s concert magic by scanning the QR code or visiting http://youtu.be/Azq46m46UfA 6 Stage Whispers January - February 2014

Queensland Theatre Company Artistic Director Wesley Enoch has labelled some other main stage companies ‘immoral’ for not paying Independent Theatre artists. Read the blistering extract from his Philip Parsons Memorial Lecture and reaction at http://bit.ly/1bXKBIF

Two teams of Illusionists are bringing a diverse range of magic to Australia during January.

Illusionists 2.0 (pictured) play Adelaide, Sydney and Brisbane, while the original Illusionists show plays Melbourne and Perth.

www.stagewhispers.com.au Stage Whispers 7

Lisa McCune Our Leading Lady

8 Stage Whispers January - February 2014

In her former life as a TV script producer, Coral Drouyn once had Lisa McCune killed off (or at least her TV alter ego). As the multiple Gold Logie winner prepares for The King and I in 2014, the star and the screenwriter caught up for a chat.

behind…but at the time she was not happy about being killed. Fortunately, she has forgiven me.

There were some who may have thought that was the end for Lisa in terms of stardom; and some like myself, who knew her depth and talent, who held their breath wondering what new challenge she It would be fair to say that, in would look for. Would it be movies, 1999, there would have been few another TV series perhaps? Before her people who saw Lisa McCune as Australia’s next first lady of Musical death scene actually hit our screens, Theatre. She was the darling of the TV we knew the answer; she was going to viewing masses, winning a staggering make playsuits out of curtains for the fourteen major awards for the role of Von Trapp children.

Senior Constable Maggie Doyle in the “I know people were surprised hit series Blue Heelers, including four when The Sound of Music was Gold Logies as Australia’s most popular announced,” Lisa tells me when we catch up, “but that’s because they actress. don’t know my background. I’ve When Maggie Doyle was killed trying to save her soulmate PJ, all of always been a musical theatre person, Australia wept and I received death pretty much since I learned how to threats. You see, I was heading the walk. I was incredibly lucky with script department of “Heelers” at the television - I was in the right place at time, and I created the eight week the right time - but Musical Theatre story and wrote the actual episode was what I aspired to…it was my first love.” where she died. Lisa, a fabulous Lisa has always been in the right actress, needed to move on, wanted to place at the right time it seems. Her get married, had to leave Maggie

dad was in the navy and, although Lisa was born in Sydney, the family was soon posted to Perth, Western Australia. Both her parents loved music and Lisa was already a lover of musicals before she hit her teens. She made her Musical Theatre debut at age 15, playing Dorothy in The Wizard of Oz at the Limelight Theatre, Wanneroo. And at age 16 she was accepted into the Western Australian Academy of Performing Arts to study classical singing and Music Theatre. In the last 10 years or so WAAPA has been responsible for nurturing some of the best talents in the country. Lucy Durack is a graduate, so are Susie Mathers, Tim Minchin and Eddie Perfect. But back in 1987 it was only 7 years old and Lisa was the youngest student there, and one of the most fiercely determined.

“I was a sponge,” she says, “Quite obsessive in some ways. I wanted to know everything.” It obviously paid off, because when Lisa graduated at age 19 she was immediately signed by one of the top agents in the country and (Continued on page 10)

www.stagewhispers.com.au Stage Whispers 9

(Continued from page 9)

went straight to work. Though it was only a chorus role, she landed the musical production of Great Expectations, and then a series of TV commercials before that big break, a starring role in a TV series at age 22, occurred.

Even during the “Heelers” years, Lisa never stopped singing. “I have to sing, it’s as important as breathing,” she says. “When I got a chance to do supporting roles in A Little Night Music and Into The Woods, I jumped at them. It was Director Roger Hodgman who talked me into them, even though it meant 18 hours days because we were shooting “Heelers” at the time.

Television is a funny creature. In some ways it provides you with more opportunities to hone your craft, but the price you pay is the lack of audience feedback and the spontaneity of reaction. That’s why those Gold Logies are so important to me. They’re voted by the people who let me come into their lounge rooms. They’re the viewers’ way of saying ‘we like what you do.’ It’s the only chance to really connect with them. So I thought long and hard before accepting that it really was time for me to go. ‘Fame’ or notoriety is very seductive. You have to keep your feet on the ground and find normality outside the work.” But while Lisa was planning her departure from the hit series, another man entered her life to entice her back to Musical Theatre.

John Frost is a jovial and appealing entrepreneur known in Music Theatre circles as Frosty…or Frosty the Showman. It was he who persuaded Lisa that the perfect role for her was Maria in The Sound of Music. “I really wasn’t sure. I mean, it’s an iconic role.

I don’t know how many times I saw the movie as a kid. But every time I came up with a reason why I couldn’t…he had five reasons why I could and MUST. And of course one of those was that I would kick myself if I didn’t challenge myself in front of a live audience, in a lead role. He was right. That feeling you get when you make a connection with the audience, and everything then seems to move in slow motion. It’s magic…nothing else compares to it. More than that, it’s 10 Stage Whispers January - February 2014

addictive and I love it. Every time I even more prolific. Urinetown, 25th stepped on that stage as Maria, I Annual Putnam Spelling Bee, Guys and forgot who Lisa was.”

Dolls, and even Eddie Perfect’s wife in Lisa, newly married, needed a break Shane Warne The Musical… (“I actively after The Sound Of Music, but Frost is canvassed for that one,” she a businessman, and a very smart confesses.) But if ever a role seemed producer, and he knows the value of tailor made for Lisa it was Nellie the old adage “bums on seats”. It’s a Forbush in South Pacific, which she is rare thing to find a TV actor who is a still playing, currently in her home household name but is also a dynamic town of Perth. and triple threat star on stage. It’s a It’s amazing then to consider that guarantee of good box office, provided she will go straight from Nellie into the production is as good as the star. playing Mrs Anna in The King and I, So while Lisa was giving birth to her the two roles are so different. first child, Frost was looking for the “I really did plan on taking a break,” next star vehicle. Sally Bowles in Lisa says, “but John knows exactly how Cabaret was an even more un-nerving to tempt me. Anna was perhaps the prospect for her. one role he knew I would jump at. He “I have this goody-goody image,” is always very supportive and kind Lisa says with a laugh. “Maybe it’s a towards me, and when I said teasingly hangover from Maggie Doyle, but I really wanted a huge red dress, he honestly I have never thought of myself said yes immediately.” as straitlaced. I knew that it was a At the launch for The King and I difficult show, and that there would be which Lisa flew in from Perth to attend a backlash against me flashing my legs - our Leading Lady played games with and performing raunchy songs. But the kids…the little Siamese Princes and most people forget that Sally is meant Princesses…backstage, and was filled to be a fake; a fairly talentless girl with excitement. “I get to work hiding behind this naughty façade with Teddy (Tahu Rhodes) she has created for herself. That’s again, but as different people. the Sally I wanted to portray.”

And then there’s the added The show won Lisa a swag of gift of working with Jason Scott nominations and awards, in fact Lee in the Melbourne season. every time she sets foot on a stage, We’ve never worked or appears on our screens, Lisa is together before, so we nominated for something. I have to find a performing can’t think of another language that works for us.

Australian actress who has Every on-stage relationship received so many awards and has a different language accolades in such diverse because the areas. She is unique. characters are Somehow Lisa different and I managed to fit in five have to build series of Sea Patrol on everything on television, plus two character. other series and It’s not guest roles in just how such acclaimed I was shows as Rake.

She also had two more children, and is immensely proud of Online extras! them. But Stage Whispers TV caught up with Lisa and onstage Teddy. Scan the QR code or visit she has http://youtu.be/Jzkjwe8XA34 been

And after that? Does she see more television in the future, or is stage her permanent home now?

“I love both,” she says honestly. “I can’t choose. It really is about the role, the story, not the medium. I think I learn something new with every part, whether it’s on stage or screen. And I want to produce. I’ve been working on a feature film with producer Gus Howard, and that would be another amazing experience, and the kids are growing so fast and I do need time out with them.” So does she have a timeline, a date for giving up that Leading Lady crown?

“I guess it will be when there are no more challenges, no more roles that I can bring anything to. Hopefully I will Frost mentioned that there are only know when that is and I’ll be happy to two great shows left for Lisa to pass the crown. But until then, I’m do….Oklahoma! and Carousel, but Lisa living the magic. I can’t ask for more is rueful. “I wish I had done them than that.” when I was younger, but the truth is I’m not in the right age bracket any The King and I plays at QPAC in more. Besides, The King and I will take Brisbane from April 15, the Princess me right through 2014 and I will be Theatre, Melbourne from June 10 and truly ready for a break then.” the Sydney Opera House from September 9.

Lisa McCune as Anna Leonowens and children at Melbourne Group’s launch of The King and I. Photo: Jim Lee

trained, it’s how I feel. I wouldn’t be comfortable just giving a performance as myself. And I know some people might think that’s a bit….well, maybe pretentious…but the most important thing for me is balancing art and popularity. Of course popularity is wonderful….but not if it comes at the expense of truth.”

www.stagewhispers.com.au Stage Whispers 11

Shakespeare, Aussie Style

Celebrating Shakespeare’s 450th Birthday Celebrations are planned around the world to mark 450 years since the birth of William Shakespeare in 1564, and Australian theatres are joining the party. But how distinctive has our style of Shakespeare become? Frank Hatherley recounts his own experiences dodging flying cabbages on stage and compares notes with Australia’s most lauded Shakespearean John Bell.

My first terrifying brush with performing Shakespeare was at The Independent Theatre, North Sydney, in 1960. The play was King Richard the Second, directed by the indomitable Doris Fitton, whose straight back and magnificently plummy voice guaranteed she knew all there was to know about staging her beloved Bard.

At that time The Independent was classified ‘Pro-Am’, though the few ‘Pros’ - mostly radio actors - were rarely paid more than travel money and were, in this production at least, outnumbered 30/1 by the ‘Ams’. I myself was a very ‘Am’, very youthful Duke of Aumerle.

Our audiences were always restless, none more than at school matinees.

Cheers and jeers drowned the impenetrable dialogue.

At one notable matinee they threw vegetables. I was to escort the Queen into a court scene but when the lights came up Her Majesty, terrified, refused to leave the wings until the cabbages were removed.

When a few years later I saw the same play done by the Royal Shakespeare Company at Stratfordupon-Avon, I was truly amazed to find it gripping, thrilling and really easy to follow.

Where had Doris got it wrong?

Should she have employed a more ‘Australian’ way of staging Shakespeare? Could there ever be such a thing? _________________

12 Stage Whispers January - February 2014

Australian productions of Shakespeare pre-1970 tended to be pale shadows of presumed English originals. Infrequent visiting British companies gave local directors and actors jolts of creativity. In 1958 Laurence Olivier crammed theatres in Australia and New Zealand with his groundbreaking Richard III. But local

audiences had little time for local productions.

English actor/director Alan Wilkie (1878-1970) arrived in Australia with his actress wife in 1915. His Alan Wilkie Shakespearean Company was the first serious attempt to establish a local touring company taking the Bard throughout this wide country.

John Bell

Always hard-pressed for funds, Wilkie managed to talk state governments into covering his considerable railway transport costs, thus achieving the first-ever government subsidies for theatre in Australia.

Wilkie eventually mounted 27 of Shakespeare’s 37 plays, and was only stopped by the arrival of ‘the talkies’ (and the Depression) in 1930.

In 1951 Australian-born actor/ director John Alden (1908-62) formed John Alden Shakespeare Productions Ltd and embarked on a national tour playing Lear, Shylock and Bottom in his own productions. It was a disaster. In an article entitled ‘Why Do We Shun Shakespeare?’ The Argus reported that Melbourne had greeted the 16-week season ‘with a monumental showing of indifference’.

‘What could do [Alden’s company] a power of good,’ sniffed The Argus, ‘would be the ideas and discipline of an overseas producer, preferably British...’

The determined, un-British Alden tried again in 1961 with backing from the new Australian Elizabethan Theatre Trust. As artistic director of the first Sydney Shakespeare Festival, he played Shylock again, plus Othello and Macbeth. But, as theatre historian Frank Van Straten has noted, ‘the

event was an artistic and financial disaster’.

I saw Alden that year at the Elizabethan Theatre, Newtown, blacked up as a creaky Othello with a particularly youthful Desdemona. He was, to my brash and unforgiving eye, old-fashioned. _________________

“I was full of all that RSC stuff and raring to go. But Australia wasn’t the country I remembered. It had become far more materialistic and nationalistic, a kind of a red neck country. I was quite shocked. And I thought, well, there’s no point in trying to do English classical theatre here so I launched into a really rough vaudevillian kind of theatre at the Nimrod in Kings Cross.”

John Bell, founder in 1990 of The Bell founded the Nimrod Theatre Bell Shakespeare Company, had seen Company in 1970 with partners Alden on stage, too. “Yes, I remember Richard Wherrett and Ken Horler. “We him quite vividly,” he tells me. “He were devoted to new Australian work possessed the stage, a strong presence. but we did a Shakespeare every year His productions were a bit scruffy, a bit and tried to find a way of making it ratty. But then he had no money.

Australian in a very broad sense, all “He toured around the country on corks round the hats and broad Aussie the smell of an oily rag. I admire him accents, a deliberate attempt to break for that. It was inspiring the way he with tradition and find a new way of kept that company going with no doing things. resources, no funding. Alden and “It had a mixed reception. Some Wilkie were pioneers.” people thought, ‘terrific’. Others Having laid down his marker as thought, ‘appalling, why can’t they do Hamlet at the newly formed Old Tote it the proper way, with historical Theatre in Sydney in 1963, John Bell costumes and rounded vowels and all did what every ambitious young actor of that?’ “ did at that time: he left for England.

Bell’s production of All’s Well That After a scholarship year at the Bristol Ends Well in 1973 was notable for the Old Vic Theatre School and four years with Peter Hall’s dynamic Royal Shakespeare Company, he came home to what he describes as “a terrible culture shock”.

John Bell in Henry 4 (2013)

www.stagewhispers.com.au Stage Whispers 13

cod Italian accents. “Yes, that was very, very deliberately Oz,” he says. “When we started rehearsing, all the actors came along with very polished English accents. I said, no, no, we can’t do that. Let’s use mock Italian accents for rehearsal purposes, just to break the mold.

“Then when it came the day when ‘ok, drop the Italian accents now,’ we all said, no, it’s part of the production.

So we stuck with them, and it was fine, it worked.”

Even the ‘Xmas pantos’ were OzShakespearean at the Nimrod. Hamlet On Ice featured Hamlet seeking a sexchange operation because he’d fallen in love with Horatio. Boy’s Own Mcbeth featured a song that recounted how Mcbeth owned a dog named Spot to which Lady Mcbeth would say “Get out damn Spot!”

But Bell’s line of work soon deviated from “dirty radical” bardology. “When I first started in the theatre there was only one way of doing Shakespeare: the English way. All that’s disappeared completely now. You are no longer bound by any conventions. That’s a liberating thing.”

Looking back, what is his favourite Shakespeare production? There’s a long, considered pause. “The favourite one I was in, I think, was Neil

Armfield’s The Tempest for the Belvoir [in 1990]. It was a very simple, very honest production. Neil had great respect for the text.”

What, I wondered, did he think of the new young directors who have far less respect for classic texts?

“I don’t mind what Simon Stone or Benedict Andrews or whoever does to the classics. They’re the new generation and they’re doing their own thing for their audience. I belong to an older generation. I still stick with the text, more or less the way it was written, more or less in the order the scenes were written.”

So is there still an Australian way of doing Shakespeare?

“I actually think that a focus on nationalism is now quite redundant.

Young directors are looking to the European way of doing the classics.

“You can certainly do a play like Taming of the Shrew or Comedy of Errors and put a deliberately Australian spin on them for reasons of gender politics or social comment. That’s still up for grabs. But Australians are no longer as anxious as we were about our national identity.

“When we were more of an AngloCeltic culture we were trying very hard to define who we were. But now we’re such a mongrel society - and all for the

better! There are many different Australian identities now and I think the theatre’s task is to try and have a conversation with all of them.

“Where is our Asian audience?

Where is our indigenous audience?

Where is our middle European audience? We have to talk to all of those people.

“We do a lot of work in schools.

We play to 80,000 students each year all around the country. These school audiences are very largely English-as-asecond-language. More and more we’re having mixed-ethnic casts for all our productions, because unless we do we’re going to be a sort of a whitefella band rather than a company that can appeal to a much, much wider, ethnically diverse Australia.”

What’s The Bell Shakespeare Company’s biggest problem in 2014?

“Funding,” he immediately replies, thus linking him back to the travails of his predecessors John Wilkie and John Alden.

“The search for proper funding just goes on and on. We can’t possibly exist without it. We depend heavily on corporate sponsorship, on private donors, trusts and foundations. Of course government funding is not anywhere near adequate.”

John Bell in King Lear (2010)

14 Stage Whispers January - February 2014

Ensemble Theatre’s Mark Kilmurry in Richard The Third

Shakespeare in Oz The 2014 Line-up

All the big state companies are celebrating Shakespeare’s 450th birthday - except in Melbourne. Here’s our list, plus some interesting Shakespearean experiments that caught our eye.

Shakespeare’s text in his flat, ‘roping in friends and potential girlfriends’.

The Sydney Festival is featuring the Chicago Shakespeare Theater (sic) and their rap version of Othello: The Remix.

9-26 January at the Seymour Centre.

Also at the Sydney Festival is the 2013 Melbourne Malthouse Top pick is the Sydney Theatre Company’s Macbeth, 26 July - 27 Theatre’s powerful Indigenous September, with Hugo Weaving as the Australian version of Lear - The doomed Scottish warrior, directed by Shadow King, directed by Michael Kip Williams. Alice Babidge’s setting Kantor. It’s at Carriageworks, 23-26 design is the standout feature. She’s January. putting the audience on the stage of The Queensland Theatre Company the Sydney Theatre (don’t ask us how!) is also staging that Scottish Play, 22 March - 13 April, with Jason Klarwein and the action will occur throughout and Veronica Neave as Macbeth and the audience seating space.

Also in Sydney is the Ensemble his dangerously ambitious wife. A Theatre’s Richard III, 24 June - 19 July, genuine coup is the engagement of an intriguing version devised and director Michael Attenborough, hugely directed by, and also starring, Mark successful artistic director (2002-2013) Kilmurry, who plays a man enacting of the Almeida Theatre in Central London.

STC’s Macbeth

The State Theatre of South Australia is staging Othello at the Dunstan Playhouse, 14-30 November, directed

by Nescha Jelk.

The Black Swan State Theatre Company, Perth, is home for As You Like It, 17 May - 1 June, directed by Roger Hodgman.

The Bell Shakespeare Company will have three touring productions on offer: The Winter’s Tale, directed by John Bell himself; Henry V, intriguingly set during the London Blitz and directed by Damien Ryan; A Midsummer Night’s Dream, directed by Peter Evans.

None of the above can match the ambition of Perth’s indigenous Yirra Yaakin Theatre Company.

In 2012 it was part of London’s Cultural Olympiad Festival where all 37 Shakespeare plays were performed in 37 different languages over six weeks at Shakespeare’s Globe Theatre.

Yirra Yaakin was invited to perform six sonnets in the Noongar language, one of the oldest in the world.

Among their choices was Sonnet 18, Shall I compare thee to a summer’s day? - translated as: birok kedela ngany kaaditj noona?

“It was the first time an Australian Aboriginal language was performed by Aboriginal actors on The Globe stage,” said artistic director Kyle J Morrison, “and the first time any of Shakespeare’s work was translated into Noongar.” www.stagewhispers.com.au Stage Whispers 15

Rocky Horror Turns 40 Every silly question you’ve thought about The Rocky Horror Show but were to too afraid to ask. Stage Whispers put the hard word on cast members of the touring Australian production which opens in Brisbane in January, ahead of seasons in Perth, Adelaide and Melbourne.

Once you get into towering footwear like sharp stilettos (then it makes you feel your) Achilles tendons! I was asked in rehearsal, you sure you don’t spend your down time actually frocking up? OK we are friends here.

That might be the case.

Tim Maddren - Brad - Have you ever dressed up at a Rocky Horror Craig McLachlan - Frank N Furter - Movie screening?

Yes, just generic - stockings, How do you manage in those high heels? corset and feather boa. I’ve done it It’s all about not being afraid. quite a few times, even midnight Blokes will be saying, ‘Oh screenings. I grew up in a regional yeah, get over yourself area of New Zealand and the fact mate.’ There’s a whole that farmers were wearing high heels and stockings really interested me. new world to be Erika Heynatz - Magenta - What discovered…and a whole world of advice would you give to young couples on a date who get caught pain in the first few with a flat tyre? days.

Make sure your mobile phones are well powered up so that you don’t have to creep into some random castle and seek help from a mad scientist, because you’re likely to be stuck getting help from a man called Frank N Furter.

Christie Whelan Browne - Janet and Tim Maddren - Brad - Is there a serious side to The Rocky Horror Show?

Christie Whelan Browne: It is about liberation. People being themselves. Brad and Janet had this life that they planned together. They are going to get married. Life is going to be great and all of a sudden their lives are turned upside down. They were like the couple from school who married the person they went out with. But here there is a sexual awakening.

Tim Maddren: It is a protest piece.

The 50’s were so perfect and Richard O’Brien rips it apart. That is good, because there are social constraints to fit into any Online extras! community, but having too many can be too stifling.

Get an exclusive sneak peek at rehearsals Christopher Luscome - Director of The Rocky Horror Show. Scan or visit In Hamilton New Zealand there is a http://youtu.be/i66KrK9e_Wk 16 Stage Whispers January - February 2014

aged, because they had that rock’n’roll sound which is still similar.

(Also) you’ve got characters that people can relate to - the mad scientist, the hunchback, Brad and Janet getting unraveled, the Frankenstein person being created by the mad scientist. Then you put it on a bed of completely crazy individuality and creativity, and putting that together makes The Rocky Horror Show something that people can relate to.

Craig McLachlan - Frank N Furter Will you still be doing the Time Warp in 10 years?

I was exchanging emails with Richard O’Brien and I said it’s good thing it’s not the 50th anniversary because even with someone in such monument to Richard O’Brien, the Erika Heynatz - Magenta: I think I good shape as me, gravity is going to creator of Rocky Horror. It is next to did that dance at every Blue Light have its wicked way (he says while the public latrine…is that appropriate? Disco. I don’t know who didn’t. It’s a smacking his posteria).

No, I don’t think it is. That’s unfair. trance dance that lures even the worst How do feel following in the It should be in pride of place. dancer into getting up and getting footsteps a legend like Reg Livermore?

When did you do first do the Time involved, and I think that’s the I dedicate my return to my dear Warp? infectious part of it - that even the friend Reg. At a recent Adelaide Tim Maddren: I was 11 years old, worst dancer want to get up and join Cabaret Convention Reg was honoured and I had to do it in an artistic in. for all his pioneering performances. I presentation at school, so I got up in The Rocky Horror Show has turned did a ‘Sweet Transvestite’ rendition for front of the assembly and did the 40. Does it have staying power?

Reg…it was very moving. When I got entire Time Warp. I was pretty keen on Tim Maddren: Yes. When I watched this part I sent a text to Reg. He was the whole Rocky Horror Show at a it recently, apart from the odd thrilled to hear that I was putting on really early age. synthesizer that’s in it, the music hasn’t the fishnet stockings one last time.

2013 London cast

Nicholas Christo, Tim Maddren, Ashlea Pyke, Craig McLachlan, Erika Heynatz, Brendan Irving, Christie Whelan Browne.

Opposite: Craig McLachlan. Photos: Jeff Busby.

Online extras!

Read our casting announcement story online. Just scan the QR code or visit http://bit.ly/1hQJrB8 www.stagewhispers.com.au Stage Whispers 17

Trevor Ashley’s Huge Year Getting into a dress and glamming it up is a well-worn ticket to stardom for Australian male performers and Trevor Ashley has made a lucrative career out of it.

No fewer than seven of his cabaret extravaganzas were staged in 2013; from cruise ships to the West End to the most prestigious stages around Australia.

His next big gig is Diamonds are for Trevor at Arts Centre Melbourne’s Playhouse, a tribute to Dame Shirley Bassey.

Using humour, wit and class, Ashley will tell the story of how the Welsh-born singer, who grew up in poverty-type circumstances, became one of the world’s most celebrated concert artists.

Ashley will be dressed by Oscar winning costume designer Tim Chappel (Priscilla, Queen of the Desert).

“I’ve got three or four changes. I love the outfits. My favourite one is an incredible blue and gold and pink piece with shiny sequin tassels and off the shoulder fishtails.

“Australians love to do drag and see drag. It seems to be part of our heritage, with people like Barry Humphries.

“Shirley Bassey is almost a drag Queen trapped in a woman’s body. She is so over the top, always wearing sparkly outfits and carrying feathers.”

But all his frocks will have to go back into the closet when he plays Thénardier in Les Misérables later this year.

He says Cameron Mackintosh gave him the part after seeing two of his cabarets.

“He came to see Trannie - Little Ophan Trashley at the Opera House and he loved that. He told me in my dressing room on the West End (where he staged Liza on an E) that I had the role. It was a show business dream come true.”

Diamonds are for Trevor Presented by Arts Centre Melbourne Arts Centre Melbourne, Playhouse 28 January - 2 February 2014 www.artscentremelbourne.com.au 18 Stage Whispers January - February 2014

Online extras!

To watch Trevor discuss becoming Shirley Bassey, simply scan the QR code or visit http://youtu.be/5WvcffJml8Q

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www.stagewhispers.com.au Stage Whispers 19

At last, after months of anticipation, Strictly Ballroom The Musical finally has its leads. After an exhaustive audition process Baz Luhrmann has chosen Phoebe Panaretos and Thomas Lacey for the pivotal roles of Fran and Scott in the stage adaptation of his hit movie.

Both spoke to Neil Litchfield about the grueling audition process.

Finding Fran And Scott Online extras!

Check out Baz’s thoughts on the creative process. Scan the QR code or visit http://youtu.be/pZDmo2UhTOU 20 Stage Whispers January - February 2014

No stranger to the competitive world of ballroom dancing, which he entered at age 10, 20-year-old Thomas Lacey is probably best known as Ben Tickle in ABC TV’s Dance Academy.

Starting dance classes at the age of two at the May Downs School of Dancing, he still trains there in ballet, jazz, tap, hip hop, contemporary dance and acrobatics. Tom’s first professional gig, at age 7, was the stage version of The Magic Faraway Tree.

Phoebe Panaretos adds the role of Fran in Strictly Ballroom to her already impressive dance card. Making her professional stage debut as Rose in the Cameron Mackintosh production of Oliver! at 11, Phoebe later topped NSW in HSC Drama after studying at Newtown High School of Performing Arts, before going on to become one of the inaugural Victorian College of the Arts’ Musical Theatre graduates in 2011.

Thomas Lacey: My first audition was a pretty generic kind of call - go in, take two songs, learn a scene and do a dance.

Phoebe Panaretos: Mine was the same.

T.L: From there it was callback after callback after callback, then a miniworkshop with a few people, and then more callbacks.

N.L.: So Phoebe, you weren’t discovered at the highly publicised open search for an actress to play Fran calls?

P.P.: I’d gotten to the end when they did that Australia-wide search for Fran. I was kept away from it. I did come back again and I was in a big cattle call with the number on my chest with quite a lot of girls, but I think because I had been around before, they kept an eye on me and treated me well.

N.L.: I believe that you met Tom and struck up a rapport at your very first audition.

P.P.: When I first auditioned in Melbourne, I arrived about 45 minutes early. I was signing in, got the number on my chest, and I was stretching, and I happened to sit next to Tom. I knew his face, but I’d never met him before.

We just started chatting then we suggested having a read of the Scott and Fran scene just to practice. It went well, and he said, ‘Well there you go, Scott and Fran.” It’s so funny looking back now, every audition since then we’d see each other in the waiting room and congratulate the other one for getting a step further in the process.

TL: Now we tell Baz the story, and he can’t believe it either.

P.P.: It was only at the last auditions in Melbourne that Tom said, “It would be sooo good if it was you and me.”

N.L.: And the experience of auditioning with Baz Luhrmann?

P.P: I went in not expecting to come out where I am now. It was a long process, and the journey really began once we met Baz. He definitely had in mind what he wanted and he expressed that to the actors in the room, and brought out the best in everybody. It was once Baz was involved that the journey and the process of discovering the cast began.

T.L.: He didn’t really throw any new songs at us, so each time we’d go in he’d try to get the characters out of us through our songs that we brought in, and we mainly did the same dance.

P.P.: We improvised too. He would throw things at you and you’d have to go with it.

T.L.: When I first sang my song, ‘Corner of the Sky’, he got me to sing it plain as day with the accompanist, and he’d then think about what he wanted me to do. With most of us he’d tell us to walk away from the piano and strip it right back. He wanted to see it as nothing, and then he’d add to the scene and create this magic.

P.P.: He’d create a scene out of your song eventually, to a point where he would direct a scene for you, which didn’t exactly correlate with the Fran or Scott journey.

I chose ‘Out of my Life’ by Michael Jackson. The first time I sang for him he said just sing it by the piano. Then

he said, now I want you to sit down on the floor in the middle of the space. All the lights were switched off and he asked me to sing it. It sounds funny now, but I completely poured my heart out, and I was crying through the song. It was in the dark, and I had all these people watching, because he had all the auditionees and the creative team in there too.

He would direct you in a way that wasn’t even like an audition; it was like you were rehearsing or performing a part in a show that wasn’t necessarily Strictly Ballroom.

N.L.: Can you take me a few steps forward, toward the end of the audition process?

T.L.: We concentrated on one of the scenes from the show. We did that quite a few times with different partners. We’d go in and come out, and go in and come out. Baz and all the team had to see the transformation from both Scott and Fran. For Scott it took me a while, but I really tuned into what Baz was saying and that’s what came out. I trusted him.

P.P.: He really helped you. Tom was cast a lot sooner than I was. I remember at one point in the auditions I said to Tom, ‘Do you have any advice?’ I wasn’t sure what I was doing wrong, and Tom said, ‘Really listen to Baz. He wants to see who you are.

Don’t stress out and you’ll be fine.’ I took that on board, and that’s totally what Baz wanted - he just wants to see you.

If you just listened to what he was saying and tried to stay calm, and were quick on your feet, you could pull out some good work.

When Tom and I got close to the end we were paired up together at an audition in Melbourne, and we were doing the Scott and Fran scene where she asks him to be her partner. When the scene ended, Baz just said keep going - there were no more lines left on the script, we just had to keep going. So Tom said, “Well what have you got Fran, show me something.”

And Baz said, “Fran, just go with it, and now you teach Scott something.

And Scott, try and teach Fran to dance.” And we just had to think on our feet and improvise.

T.L.: And he would always keep throwing different things at us throughout the scene.

P.P: Something unexpected, and definitely challenging.

N.L.: Tell me about the moment when you heard you’d got the part.

T.L.: I was at the airport. The night before I’d been in Sydney for a meeting with Baz and the team. The next day I was expecting a call, yes or no, and I was sitting at the airport - my plane was two hours late - and I couldn’t scream because I was at the airport. Then my agent called me. She was hysterically crying, and then I called my mum, and she was on a transfer bus for a plane to Brisbane with my dad, and she couldn’t cry or scream. So it was all a bit internal, then getting on a plane for an hour and a half back to Melbourne. It was kind of nice, because I had to turn my phone off, so it all just sank in really nicely.

P.P.: I found out on about the second last day of the workshops. I’d just had a really great day with Baz, and Tom and I had been working on a scene from the show. I was just waiting out the front of the ABC building for my dad to pick me up.

Everyone had been filing out of the building and Tom was actually the last person to come out. He gave me a big hug, and said, ‘You did great today, and I’ll see you tomorrow’. Then I get this call on my phone from an unknown number and a part of me just knew it would be Baz. It was, and he, himself, told me that I got the part.

I was obviously over the moon. Unlike Tom, even though I was in a public place, I was jumping up and down and screaming, trying to talk to Baz, but while I’m on the phone just jumping up and down. My dad pulled up in the car, and as soon as I got in I just turned to him and said, ‘Dad, I got it,’ and my dad just started crying at the wheel. It was a really exciting moment, and I’m still getting my head around it.

Read more about the Strictly Ballroom cast at http://bit.ly/1coeEUP Strictly Ballroom The Musical commences previews at Sydney Lyric, The Star from Tuesday 25 March, with Opening Night on Saturday 12 April. www.stagewhispers.com.au Stage Whispers 21

Stephen Schwartz From The Heart

People love those songs, they were the hits from our youth, and it’s a nostalgia thing. So, even though they weren’t written specifically for a show, if the book is clever enough, it can seem as though they were. Look at Jersey Boys; great book and great Part Two of Coral Drouyn’s interview Juke Box Musicals! Are they just songs that were perfectly in context.

And it was a smash hit. Likewise with Musical Theatre legend Stephen cynical and lazy exploitation of songs Schwartz during his recent visit to which really don’t belong in a musical? Mamma Mia. But sometimes not Australasia.

That’s the challenging question I put to enough attention is given to asking the Stephen, and he laughs. really big questions, like ‘what is this all When you get the chance to talk to “Well, they’re not my favourite about?’ “ someone like Stephen Schwartz, and thing,” he concedes, “and perhaps The problem, as we all know from he’s open to any question, you can’t some are just exploitation, I don’t so many musicals of late, is that the help but be a little bit cheeky. know. But there’s a place for them. book - the script - of so many shows turns out to be mediocre; and if that’s the case, can great technical achievements and special effects compensate?

“No. It’s all about the book,” Stephen says adamantly. “The book is everything - and I don’t just mean the script. I mean the story, the journey, the characters and what they have to say to an audience. If the book doesn’t work, then the show doesn’t work, period. Look at it this way, it’s a character who is singing the song - if you don’t care about that person, why would you even listen to the song? So I have to ask myself what does this character want, what do they need?

How do they feel about that?”

It’s interesting to me then that Stephen doesn’t write the “books” for his own musicals. Surely he’s more than capable?

“There are people who do that far better than I ever could. It’s a collaboration for me. Nothing is set in concrete. I work with terrific writers, I trust them. If they say a song isn’t quite right for a character at a specific point, I listen. I’d be crazy not to.

Besides, the best thing of any working day is kicking around ideas with other creative people. We’re a sounding board for each other. You have to respect the writer.”

What about the new original musicals? Are there any that really impress him?

“Well, I have to say I’m most impressed by Spring Awakening and Online extras!

Next to Normal. They both have terrific Read the first part of Coral’s interview scores and great books. Maybe it’s my with Stephen online. Scan or visit interest in psychology that draws me to http://bit.ly/1kI41k5 Next to Normal. It’s very brave to tackle 22 Stage Whispers January - February 2014

the subject of mental illness in a musical. If someone suggested it to me, I’d say, are you crazy? Interestingly my son Scott actually directed a production of Next To Normal a couple of years back. I was a very proud Dad. It’s not an easy show and I’m full of admiration for it.”

And so to the next stage - Stephen Schwartz - recording star. This evokes another laugh from him, but I’m fascinated to know how he came to record two CD’s singing his own songs, mostly songs that were not from any of his shows. The story that his friend John Bucchino, whom he encouraged to write for theatre (Bucchino did, in fact go on to write Off Broadway shows and A Catered Affair on Broadway), encouraged him to write more intensely personal songs, is well known, but was a CD always his intent?

“It’s true that back in the 90’s….oh dear, that sounds so long ago, I asked John why he didn’t write musicals and he asked me why I didn’t write more personal songs; songs that actually

belonged to me. I think he said I was hiding behind the characters. Anyway, I took it as a challenge. I wasn’t sure I wanted to be that vulnerable but life was changing, as life always does, and I actually found the freedom both scary and exhilarating.

“They’re very emotional songs and clearly about where I was at the time, going through great change in my life. I am a private person, I don’t talk publicly about my personal life….so I guess those songs speak for me.”

Since then Stephen has recorded a second CD of original songs, Uncharted Territory, and seems more at ease with the vocals. He’s even been performing in concert and enjoying it.

“People so often want me to talk about the writing process and, honestly, I can’t break it down into a formula. I work at the piano always, but there’s no set rule for whether I have a line of the lyric, or a phrase of the music. Every song is different so I try not to analyse the process too much.”

One song he does have a clear recollection of though is “For Good”, the beautiful ballad from Wicked.

When I mention that I believe it will become a standard, still sung in a hundred years time, like so many of the great songs of Cole Porter for example, he is eager to tell me the story of how it came to be.

“I was at the piano, working on this melody for a song for Glinda and Elphaba. This was when Wicked was in the development process. My daughter Jessica came in, I guess she was in her early teens, and she’d had a fight with her best friend. I tried to say something fatherly about there being other friends, but she cut me short and made it clear that just because they had fallen out, it didn’t mean they weren’t best friends any more. Best friends will fight, and they will hurt each other and see things differently, and hopefully they’ll become better people because of it. She knew so much more about the whole concept of friendship between young women than I could ever begin to imagine. So I listened, and I asked her questions, some of which obviously sounded like ‘Dumb (Continued on page 24) www.stagewhispers.com.au Stage Whispers 23

Online extras!

Get a peek behind the scenes of Wicked by scanning the QR code or visiting http://youtu.be/hQDaUV8Vpe4 “For Good” - Lucy Durack and Amanda Harrison Original Australian cast of Wicked.

(Continued from page 23)

Dad’. And I knew that without her input ‘For Good’ wouldn’t be half the song it is. If it’s special, it’s thanks to Jessica.”

Stephen is now a grandfather thanks to Jessica too. First grand-child Hannah Lucille made her entrance in the middle of 2012. “It’s a whole new world for me,” he admits, “one that is breath-taking. Who knew there was still so much to learn at 65.”

At 65 most people are at least thinking about retirement, but not Stephen. He still has plans to get The 24 Stage Whispers January - February 2014

Hunchback of Notre Dame to Broadway, maybe as early as 2015, and he hasn’t yet closed the door on his Houdini project with Hugh Jackman. “I think I still have things to say to an audience, and things I myself need to hear. So hopefully I have another couple of shows in me….shows that are different, because I’m constantly changing.”

WICKED returns to the Regent Theatre, Melbourne from May 11, 2014.

New Twist In Empire Bubble

Since opening its Australian tour in Sydney in January 2013, over 130,000 people around the country have seen EMPIRE by Spiegelworld. It is back at Sydney’s Entertainment Quarter in Spiegelworld’s 700-seat antique spiegeltent from January 7, before returning to the rooftop of Crown in Melbourne from March 11.

A 90-minute theatrobatic adventure, EMPIRE crosses the boundaries of circus, cabaret, vaudeville and burlesque, reinventing the genres for a 21st century audience.

In the show’s ethereal opening, ‘Miss A in a Bubble’ (the show’s sole Australian performer, young Queensland aerial artist Lucia Carbines), contorts gracefully inside an aerial sphere.

After taking over the role at short notice for two weeks early in 2013 when the original artist was out with appendicitis - Lucia was rehearsing for a High Wire Motorbike Trapeze stunt at the 2013 Melbourne Grand Prix when the call came to audition - she has now taken over the act permanently, personalising it to suit her own skills.

Her predecessor “was a hula hoop artist, so she had a lot of ground training, and she used to bring a hoop into the sphere. I’m more of an aerial artist so I managed to incorporate a lot of aerial positions, changing them in terms of performing in the sphere.

Rather than performing just standing in the bubble, or on my stomach in the bubble, I’ll hang underneath it by my arms, put my legs through and do contortion aerial poses hanging from the bubble and also inside it.”

Although Lucia opens the show as ‘Miss A in a Bubble’, she’s also provided a valuable back-up act, covering for illnesses, injuries and personal leave, with her own contortion act.

Online extras!

Get lost in the wonder of Empire simply by scanning the QR code or visiting http://youtu.be/MM9ENfnEkY4

Lucia Carbines (Miss A in a Bubble). Photo: Mark Turner.

Gorilla Girls

Half Naked Asian Dude Wearing Pigtails

Read Neil Litchfield’s interview with Lucia Carbines online at http://bit.ly/1gxklqt www.stagewhispers.com.au Stage Whispers 25

Launching Sydney’s New Home for Musicals Sydney’s new home for independent musical theatre, the Hayes Theatre Company, named after Australian triple threat legend Nancye Hayes, opens in February 2014 with a new production of her breakthrough show Sweet Charity.

Director Dean Bryant spoke to Neil Litchfield from the QANTAS Lounge, shortly before flying out to Korea to cast the 11th production of Priscilla.

I feel we’re actually being given a bit of a gift by being forced to shrink it down, because originally it was probably scaled up a bit to be a Broadway show.

“It’s based on the Fellini movie Nights of Cabiria, and actually follows the plot line of that movie quite closely. It’s a very intimate story about a Roman prostitute in the 50s who is just trying to get through her life and give herself some sort of security for old age, and she keeps thinking that’s going to come through finding a man to look after How do you scale back a Broadway musical like Sweet her. By making it a Broadway show and setting it in the Charity for an intimate space? world of New York, sometimes it felt quite large, so by “(Sweet) Charity has been one of those musicals I’ve making it small again we get to really focus on Charity’s wanted to do for years,” Dean Bryant confesses, “because there’s so much that’s really exciting - anyone who’s ever story. Doing that in the 110 seat Hayes Theatre actually seen a clip of ‘Big Spender’ or heard the ‘Frug’ thinks allows us to up what’s really special about the story.”

Charity is about those iconic songs, which is wonderful, but But where does that leave those big production numbers you mentioned?

“We’ve got 12 in the cast, and essentially the Sweet Charity breakdown is 7 women and 5 men. They’ll all be on stage all night, so it’ll still feel quite big; you’ll get your ‘Big Spender’ line up with eight women (I’m sure you can figure out the maths) and the ‘Frug’ is really exciting because the music itself is so iconic. We’re just taking that music and really finding the way to tell physically what happened in that club … So I think the numbers will end up looking massive when you’ve got 12 people dancing full out in an 8 metre square stage space.

“Charity is a huge role. In my version she will not leave the stage all night, so it’s like two and a half hours of just following one woman’s journey from two metres away.

“We’ve got a four piece band, and if all the musos that we want come off, we’ll have the hottest musos in Sydney.

We’re obviously staying very true to the 1960s rock feel, then kind of just using some surprises to give it that kind of contemporary twist, in the way that a lot of Amy Winehouse music harks back now to that period of musicmaking.”

After nearly 50 years, how do you find a Sweet Charity for today?

“I always direct from the point of view that if this story was happening to me, now, what would make sense of it.

Inherently you just have a contemporary take on it because you bring your own experiences, as for me as a 36 year-old man, interpreting this woman’s journey. What I feel is particularly important is, especially in Australia at the moment, that ability that our politicians have to overlook the less fortunate. That is the world that Charity is from; she was not born into a good family, she had no education, she’s literally gone into this field of work because she can’t think of a single thing else to do to make a living and survive. She still has this romantic notion that a hero will 26 Stage Whispers January - February 2014

come along that she can give everything to, and he will protect her, but ultimately what she realizes is that she can only rely on herself. I think giving the sense of empowerment to women in that situation still resonates.

“I’ve talked a lot about the issues side of it, but it’s a really fun, joyous show. It’s so much about being sexy, especially with so many of the numbers being about women being in their bodies and being unashamed about using what they’ve been given. We have a cast of astonishingly good female triple threats; the dancer / singers you want in your show. We’re lucky we’ve got them all together in one tiny room.

“Andrew Hallworth who is choreographing it is the most exciting, innovative music theatre choreographer in Australia.

“He’s very witty. He works from storytelling, so his numbers build and go somewhere; you’re actually watching a story being told that’s funny, that’s sexy, that’s surprising, and that’s always choreographed on the actor.”

And your Charity; your leading lady?

“Verity Hunt Ballard is such an exceptional talent - she’s a brilliant actress, an amazing singer and a very, very good dancer, and sexy as well.

“We’ve known each other for about a decade. She went to WAAPA with my brother, and she did a musical that I wrote with Matthew Frank called Virgins, A Musical Threesome, in 2006 at the Malthouse, so I knew way before the rest of the general public how talented Verity

was, so I was very, very unsurprised when she suddenly went from Jersey Boys to getting cast in (Mary) Poppins.”

What resonances do staging the first production in the theatre named after Nancye Hayes, the first Australian Charity, have?

“Nancye Hayes is such an inspiration for all Australian performers, being one of the pioneers who actually broke that mold and got us the right to perform the roles when those big shows came to town.

“Nancye is just so elegant. She’s completely true to herself, takes no bullshit and works really hard. She’s got all the attributes that you want your triple threat performers to have, and then she’s hardworking and completely humble.

She inspires younger performers to do better, to work hard eight shows a week and to realize that it’s a joy to be employed, so take advantage of it when you’re there.

“She’s also been a great teacher. She goes to drama schools all the time and directs musicals and trains students.

“She and Verity have a connection. Nancye used to come to WAAPA, where I studied as well, and worked with us on shows. It’s almost bizarrely fitting that the first show is the role which made her famous, in her own theatre with an actor who she has mentored.”

Sweet Charity plays at the Hayes Theatre Company, formerly the Darlinghurst Theatre, 19 Greenknowe Ave, Potts Point, from February 7 - March 9, 2014. www.hayestheatre.com.au

www.stagewhispers.com.au Stage Whispers 27

B

her portrayal of the Sinclair role. The cast also includes Zach Braff, Vincent Pastore and Helene Yorke. Set in 1928, the plot involves a young playwright (Braff) who quickly sells out when he’s offered a chance to direct his new play on Broadway with a gangster’s moll (Yorke) and a seductive actress (Mazzie) in the leads.

Stephen Sondheim has written a new song for the

By Peter Pinne character of the Witch, who is played by Meryl Streep, in the new Disney film adaptation of Into The Woods.

The recent ‘live’ TV broadcast of Rodgers and Directed by Rob Marshall (Chicago) from a script by James Hammerstein’s The Sound Of Music was a ratings bonanza Lapine, who also wrote the stage version, the film also stars for NBC, fuelling speculation that there will be more to Emily Blunt (Baker’s Wife), James Corden (Baker), Anna follow. The production, which cost $9 million, pulled in just Kendrick (Cinderella), Tracey Ullman (Jack’s Mother), under 20 million viewers. It starred six-time Grammy winner Christine Baranski (Stepmother) and Johnny Depp (Wolf).

Carrie Underwood as Maria, True Blood star Stephen Moyer Streep, whose last vocals on screen were in Mamma Mia, as the Captain, Audra McDonald (Ragtime) as the Mother jokingly told Extra TV that Sondheim personally handed her Abbess, Laura Benanti (Gypsy) as Elsa, Christian Borle the manuscript of the new song on which he had written (Smash) as Max, with Joe West as Kurt and Ariane Rinehart “Don’t f**ck it up!”

Other Sondheim news includes the recent HBO TV as Liesl. The telecast was co-directed by Beth McCarthyMiller and Rob Ashford. showing of Six By Sondheim, a documentary which Marin Mazzie, last seen on Broadway in Next To highlights his experiences writing six of his most celebrated Normal, will return to the Great White Way as alcoholic songs; “Something’s Coming”, “Opening Doors”, “Send In diva Helen Sinclair in Woody Allen’s new musical comedy The Clowns”, “I’m Still Here”, “Being Alive” and “Sunday”.

Bullets over Broadway. The musical, to be directed and It stars Audra McDonald, Jarvis Cocker, Darren Criss, Jeremy choreographed by Susan Stroman, begins previews at the Jordan, America Ferrera and Sondheim himself. Sondheim St James Theatre, 11 March with an opening set for 10 has also reworked his iconic 70s musical Company, in April 2014. The show is inspired by Allen’s 1994 movie of which the characters are now all gay. A recent reading of the piece saw Alan Cumming playing the “Joanne” role the same name, which won an Oscar for Dianne Wiest for originally played by Elaine Stritch.

Marin Mazzie The nominations for the Best Musical Theatre Album in the 56th Annual Grammy Awards have just been announced. Cyndi Lauper’s Kinky Boots got a nod along with Tim Minchin’s Matilda and the Motown song-stack for the jukebox musical Motown. The soundtrack of the film adaptation of Les Misérables received a nomination for Best Compilation Soundtrack for Visual Media. The ceremony is to be held at the Staples Center, Los Angeles, on 26 January, 2014.

Henry Krieger’s 1997 Broadway flop Side Show about co-joined twins Daisy and Violet Hilton was given a recent reworking by Bill Condon at La Jolla Playhouse. According to Variety it was a “fitting showcase for one of the 1990s underappreciated scores”, with the San Diego Union-Tribune saying it “could lose a little gloss and use a bit more grit”. The production starred Emily Padgett and Erin Davie as the twins. Condon has previously written the screenplay of Chicago and wrote and directed the movie version of Krieger’s Dreamgirls. Following the La Jolla Online extras! season the musical gets a summer run at Marin Mazzie discusses her role as Helen Washington D.C.’s Kennedy Center, which Sinclair. Scan the QR code or visit was a co-producer of the La Jolla http://youtu.be/y0T2hgS5pzI production.

roadway uzz

28 Stage Whispers January - February 2014

London Calling

amongst musical theatre aficionados when he claimed there hasn’t been a musical with “really good songs” in a decade. He claimed Stephen Schwartz’s Wicked was the last satisfying musical theatre score, and his [Lloyd Webber] last hit was Sunset Boulevard, which out-of-hand dismissed his Phantom of the Opera sequel Love Never Dies. He’s hoping Stephen Ward will put him back into the hit

By Peter Pinne category. The musical, set in 1963’s swinging London, is based on the ‘Profumo Affair’ scandal that shocked society Angela Lansbury is to return to the West End stage for at the time. It stars Alexander Hanson (Stephen Ward), the first time in 40 years, repeating her Tony awardCharlotte Spence (Christine Keeler), Charlotte Blackledge winning performance of Madame Arcati in Noel Coward’s (Mandy Rice-Davies) and Joanna Riding (Valerie Hobson).

Blithe Spirit. It previews from the 1 March and opens on 18 The cast recording was released on 30 December 2013.

March 2014 at the Gielgud Theatre. The play will be Lloyd Webber’s former partner, lyricist Tim Rice, has also directed by Michael Blakemore and also star Janie Dee and been vocal about the length of preview periods, claiming Charles Edwards. Lansbury’s last London producers are now viewing them as appearance was as Gertrude in the 1975 “super rehearsals”. He would like to go Angela Lansbury National Theatre production of Hamlet. back to the days of My Fair Lady where Prior to that role she had starred as they had one public dress rehearsal Mama Rose in the 1973 West End before opening night. Rice’s new show premiere of Gypsy. Australia’s busiest From Here To Eternity had three weeks producer John Frost, who presented of previews. Although the critical Lansbury in Australia in 2013 in Driving reaction was mixed; “Highly Miss Daisy, is co-producing. professional”, “has many faults but it Jude Law’s performance as wins you over”, “an unusually varied Shakespeare’s Henry V in Michael and tune-packed score”, it’s unlikely to Grandage’s production at the Noël stay around very long, with plans Coward Theatre has been highly praised already in place for the Chichester by audiences and critics. The high-profile revival of The Pajama Game to replace star is said to have brought to the part a it. “natural charisma or swagger.” Charles The world premiere of Ivor Novello’s Spencer (Telegraph) effusively claimed, last work Valley of Song takes place at “You leave the theatre in no doubt that Finborough Theatre, 5 January 2014, as you have witnessed a production of rare part of their Celebrating British Musical distinction and dramatic depth.” The Grandage season of Theatre series. The musical, which was in-complete at the plays, which have included Daniel Radcliffe in The Cripple of composer’s death in 1952, has music by Novello, lyrics by Inishmaan, Judi Dench in Peter and Alice, and Sheridan Christopher Hassall, book by Phil Park, with additional Smith and David Walliams in A Midsummer Night’s Dream, material composed by Ronald Hamer. It is set on the eve of the First World War and is a homage to Wales, Novello’s has been an unqualified success, playing to 92% capacity throughout its various seasons. homeland. Finborough Theatre has previously produced The first major revival of the play Mojo, which won the Novello’s Perchance To Dream and Gay’s The Word in their Olivier Award for Best New Comedy when it opened at the musical rediscovery series.

Royal Court in 1995, has extended its season until 8 February 2014. The play, set against the fledgling rock ‘n’ roll scene of 50s Soho, stars Brendan Coyle, best known as John Bates the ‘valet’ in TV’s Downton Abbey, Rupert Grint, who was Ron Weasley in the Harry Potter movies, and Ben Whishaw who was Q in the James Bond Skyfall and appeared on TV in The Hour.

Despite glowing notices; “I Almost asphyxiated myself with laughter” (Daily Express) and “a social satirist with a gift for outrage” (Guardian), Barry Humphries’ Eat Pray Laugh! has not sold-out during his London Palladium run which ends 5 January 2014. Billed as his farewell tour, the show tried out in Australia before it opened in the West End 13 November 2013. Following the Palladium season the show will tour the UK through 8 March 2014.

On the eve of the opening of his new musical Stephen Ward, Andrew Lloyd Webber caused some outrage www.stagewhispers.com.au Stage Whispers 29

Stage On Disc

By Peter Pinne

Douglas Hodge as Willy Wonka it’s by far the best song in the show. He also does a nice job on a second-rate ballad “Simply Second Nature”. The jaunty cakewalk “The Amazing Fantastical History of Mr Willy Wonka” is a good, but wordy, opener, while “Doncha Pinch Me Charlie” tries hard to be a Cockney knees-up-knock-’em-in-the-old-KentRoad type number and misses. Perhaps Messrs Shaiman and Whittman should have consulted Tim Minchin on how to adapt Roald Dahl to the stage and still retain the dark edge of the characters. 

MATILDA (Tim Minchin) (Broadway records/Yellow Sound Label BRYSL-CD01).

There’s not much difference between the Broadway and London cast albums of Matilda except three bonus tracks of SALAD DAYS (Julian Slade/ Matilda’s stories. Two of the Dorothy Reynolds) (Mountview London cast, Bertie Carver and Records). This new recording of Lauren Ward, get to repeat their 1954’s Salad Days takes us back original performances as Miss to a more innocent time of the Trunchball and Miss Honey, while the parents, Mr and Mrs British musical. The show, which Wormwood, are played by Lesli Margherita and Gabriel clocked up a record-breaking 2,283 performances in its Ebert. The latter get two of the show’s funniest numbers, “Loud” and “Telly”, and both performers turn them into the original run, was at one time longest running showstoppers they are. Four girls - Sophia Andrew Gennusa, BealeOona and KelvinLondon’s Harman Laurence, Bailey Ryon and Milly Shapiro - alternate in the musical. The live recording springs from a title role and are all featured on the disc. Bonus tracks 2009 Tete a Tete production which was remounted as a coinclude three of Matilda’s stories; “Once Upon A Time…,” production with Riverside Studios, playing to 40,000 people “The Great Day Has Arrived…,” and “The Trick Started over four years and recorded in July 2013. Leo Miles and Well…” It’s still a fun score and this version is in every way Katie Moore have the perfect voices for the ingénues equal to the London original.  Timothy and Jane and capture the innocence of the characters in “We Said We Wouldn’t Look Back”, “I Sit In The Sun”, and “It’s Easy To Sing”. Mark Inscoe as Uncle CHARLIE AND THE CHOCOLATE Clam gets the fun out of “Hush Hush”, while Kathryn FACTORY (Marc Shaiman/Scott Martin as the night-club singer Asphynxia adds some showy Wittman) (Watchtower Music exaggerated scat to “Sand In My Eyes”. Slade and Reynolds’ WTM39479). Listening to this latest London cast album reveals simple and tuneful melodies still charm.  the score is just as dull on disc as it was in the theatre. The songs IL DIVO - A MUSICAL AFFAIR are either generic Broadway, (CD & DVD Sony pop, rap or disco. The show 88843002652). The popular Italian pop-opera quartet put includes Anthony Newley and Leslie Bricusse’s “Pure Imagination” their stamp on 12 songs from musical theatre with some terrific from their score for the 1971 movie and as sung by star duet performances from Nicole Scherzinger, Heather Headley, Kristin Chenoweth, Michael Ball and Barbra Streisand. Scherzinger duets on “Memory” (Cats), Headley on “Can You Feel the Love Tonight” (The Lion King), Ball on “Love Changes Everything” (Aspects of Love) and Streisand on “The Music of the Night” (The Phantom of the Opera), a track taken from her 2006 Live in Concert album. Best track is Kristen Chenoweth in full soprano mode with “All I Ask Of You” (The Phantom of the Opera). Other songs include “Bring Him Home” (Les Miserables), “Tonight” (West Side Story), and Queen’s “Who Wants to Live Forever” (We Will Rock You). The DVD also includes “In conversation with Il Divo - The Magic of the Musicals.  Rating

 Only for the enthusiast  Borderline  Worth buying  Must have  Kill for it 30 Stage Whispers January - February 2014

Stage on Page

FINGS AIN’T WOT THEY USED T’BE: THE LIONEL BART STORY by David and Caroline Stafford (Omnibus Press

By Peter Pinne $22.49). In 1960 Lionel Bart was on top of the world. He had three BACKSTAGE PASS TO show which used songs musicals; Fings Ain’t Wot They Used BROADWAY (True Tales from written by lyricist Johnny T’Be, Lock Up Your Daughters, and a Theatre Press Agent) by Mercer. Warren played Oliver!, running simultaneously in the Susan L. Schulman the ‘star’ card throughout West End, the first British composer to (Heliotrope Books $17.95). the whole production, do so. He had witnessed the birth of refusing to have British rock ‘n’ roll, wrote hits for Cliff This slim book penned by Broadway press agent photographs taken, Richard, Marty Wilde, Anthony Newley Susan L. Schulman, not to refusing to be interviewed, and Tommy Steele, advised the Beatles be confused with director refusing to dance on a and the Rolling Stones (even Susan H. Schulman or chaise lounge in one of her contributed uncredited to literary agent Susan F. routines, and insisting on “Satisfaction” and “As Tears Go By”), Schulman, promises to singing “Moon River” when and counted amongst his close friends dish the dirt on stars it stopped the show out-of- Noel Coward, Judy Garland and behaving badly, but frankly the dirt is town sung by another singer. When co Princess Margaret. How a brilliant, not dirty enough. And what’s more the -star Margaret Whiting relayed a quote cocky, Jewish, East End Cockney writer has too much respect for actors of how one Broadway columnist achieved this success is told in this and the theatre to really get down and thought they were “the best ensemble compelling, illuminating, warts-and-all dirty in the gutter. Consequently it’s all he’d ever seen on Broadway”, Warren biography which is as funny, witty and very lightweight. The two most spat the dummy and told Whiting, as colourful as Bart’s life. He made a interesting anecdotes are of Zero “Don’t ever say that fortune and lost a fortune, Mostel and Lesley Ann Warren. Mostel again. I didn’t sign on to the bulk of it by investing in had been cast in The Merchant, Arnold be a member of an his own show, the 1965 ensemble. I’m a STAR.” Wesker’s 1977 play written to be an disaster Twang!!, a spoof of antidote to the perceived anti-semitism Whiting replied, “but I’m the Robin Hood legend. He also a star, Leslie,” to threw lavish parties, became of Shakepeare’s original play The Merchant of Venice. The account of its which Warren said, “Yes, addicted to alcohol and torturous journey is classic theatrical but I’m a BIG STAR!” More drugs, and was eventually folk-lore. Mostel played the out-ofstories of this ilk would declared bankrupt in the town opening in Philadelphia which have made it a much more early seventies. When he hit ran four hours and twenty minutes, fell interesting read. Also rock bottom he joined AA ill the following day and died. Warren available as an ebook and rebuilt his life and was cast in Dream, a 1996 compilation www.heliotopebooks.com career, which was modestly rehabilitated when Cameron Macintosh mounted his new production of Bart’s greatest success Oliver!, starring Jonathon Price in 1995. The book also addresses the suits of plagiarism brought against him, and the projects that were written but never got off the ground; Gulliver’s Travels, The Hunchback of Notre Dame, a musical about Golda Meir, plus the one performance flop of La Strada on Broadway which dropped all of his songs but two. Bart is remembered today for Oliver!, but his credits also include Blitz!, about East Londoners in the Second World War, which Noel Coward quipped was “noisier and longer than the real thing”, and Maggie May, which critics claimed was his best work. The book comes with a partial discography, list of productions and movies, plus index.

Stage Whispers Books

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

www.stagewhispers.com.au/books

www.stagewhispers.com.au Stage Whispers 31

Cutting-Edge Opera

Online extras!

Go behind the scenes of rehearsals by scanning the QR code or visiting http://youtu.be/Oa684Ggj9_A

32 Stage Whispers January - February 2014

Otello. Photo: Stephanie Do Rozario

Simon Phillips’ new production of Verdi’s Otello has certainly stirred up the critics and got audiences talking.

Set on an aircraft carrier during the Gulf War, the set dominates the stage. Peter Pinne speaks with the designer Dale Ferguson.

Q: What were your first thoughts when Simon Phillips suggested setting Otello on an aircraft carrier?

A: I didn’t know the piece, but when I read the libretto and heard the music I realised that it was a viable transposition. Simon wanted to modernise the look and an aircraft carrier had everything he needed surveillance, electronics and a claustrophobic atmosphere below deck.

Q: With six Southern Hemisphere opera companies as producer, how difficult was it to design something that would fit in six different venues?

A: I designed the set to fit into the smallest venue and when it is used in larger spaces we mask around it with blacks. Sometimes we have to make minor alterations.

Q: The use of video screens is a striking component of the set.

A: Yes, we sourced a lot of references on the internet (finding) a lot of photos of carriers and elliptical photographs.

Q: Where was the set built?

A: In Cape Town. It was shipped in containers from South Africa. The same set will also be used for the production in Perth, and later in Adelaide, Melbourne and New Zealand.

Q: Are you physically on-site for the bump in of each production?

A: Yes, I was there for Brisbane. It was a complicated build because the stage was raked.

Q: This is not the first time you and Simon have worked with naval aviation is it?

A: No, we did An Officer and a Gentleman - The Musical together in 2012. I designed the costumes as well as the sets for that one.

Q: You’ve designed a lot of opera throughout your career. Is it a favourite art form?

A: Yes, I like the way music provides another dimension to a story. I like finding a solution as to how it should be staged.

West Australian Opera’s production opens 4 February 2014, with Antonello Simon Phillips’ production of Otello Palombi as Otello, Cheryl Barker as for Cape Town Opera opened 6 April Desdemona, and James Clayton as 2013. Opera Q’s production followed Iago. It plays until 11 February at His from 24 October 2013.

Majesty’s Theatre.

www.stagewhispers.com.au Stage Whispers 33

A Tale of Two Community Theatre Companies 42nd Street

Miss Saigon

What makes great community theatre companies tick?

David Spicer profiles a small country theatre company, the Quairading Curtain Raisers in Western Australia, and compares the way they do show business with Melbourne giant CLOC, celebrating their 50th anniversary and 100th production in 2014.

In 1993 a group of farmers, shearers and teachers in Quairading, a small country town 167 kilometres east of Perth, decided they would put a on a show.

“The first one was Calamity Jane and the profits went to providing new stage curtains for the Quairading Shire Hall,” says Rowlie Mellor.

Thus the name Quairading Curtain Raisers (QCR) was born.

In 1964 members of a local church in Melbourne staged The Pirates of Penzance, forming the Cheltenham Light Opera Company, now known as CLOC.

34 Stage Whispers January - February 2014

Phantom Of The Opera

“They performed in a tiny little church hall on a postage stamp sized stage, with absolutely nothing,” says CLOC’s Grant Alley.

Decades later both companies are thriving, producing shows which entertain their local audiences and make profits that are re-invested in local facilities.

The secrets of their success are similar, despite the huge gulf in facilities and budget.

The QCR operate out of the local hall, which they have to share with other community groups whilst their season is on. They have to set out and pack up the chairs every night and lift the piano from the stage and back again to make room for badminton.

“In all those years of that we did not drop it once,” boasts Rowlie, although he coyly admits that his role is supervising the lift.

At CLOC the pianos move around the stage by themselves. For their production of The Boy From Oz the piano zoomed around by radio remote control.

CLOC rarely gets change from $250,000 for a production and for their 2013 Australian community theatre premiere season of The Phantom of the Opera the budget was considerably more than that.

“We had chandeliers which rose up and crashed down, a boat which ran across the stage, all radio controlled, and a candelabra which magically appeared and flickered,” says Grant Alley.

He hastened to add, “nothing went wrong”.

The whole set is now touring Australia.

The QCR’s most recent production was The Great Australian Rock Musical. The budget was $8000. The

fanciest feature was a car that was rolled around the stage.

It worked a treat except for one night when “the bloke who changed gears (accidentally) ripped the gear stick off the column.”

No doubt it got a big laugh.

Both CLOC and QCR have the same criteria for selecting which show to stage. That is what will appeal to their audience, not necessarily what appeals to members of the committee which selects the show.

QCR stages their shows dinner theatre style. They want comedies, with some music. The Great Australian Rock Musical fit the bill because it’s a comedy partly set in a country town.

“We had a farmer playing a shearer. We had lots of laughs during the rehearsals,” says Rowlie Mellor.

At QCR “everyone is involved. You get a part, do backstage, do the props.”

This is where CLOC is different. Members of the committee are not encouraged to appear on stage. They set the direction and policy for the company, whereas a production team puts the show on.

After travelling around Australia, Grant Alley believes this issue is the biggest potential trap for clubs. He says running a community theatre can’t be about trying to get your face on stage.

“They are doing it for themselves and not their potential customers. It’s all very well being arty-farty, but someone has to pay the bills. Unless you are Opera Australia, where the Government gives them money to throw away, you have to provide a product they (the audience) want and have the ability to sell it to them.”

He says the CLOC audience, now at the 783 seat National Theatre St Kilda, wants “entertaining, light happy dancing productions. If you do a serious show (he nominates Man of La Mancha and Sunset Boulevard) you need to be damn orehouse In Texas sure you are in a The Best Little Wh financial position to cover it.”

CLOC’s first production in 2014 is 42nd Street and they are sniffing around for some more premieres in the years ahead.

Grant Alley, a former executive with Coles-Myer, takes the business side of things to an extraordinary level. He’s been on the CLOC committee for 45 years. Others have clocked up 30 years or more.

“Being a volunteer or not for profit organization we are still running a big business. We are managing 300 people a year. What would their salaries be?”

He describes himself as “effectively running a multimillion dollar business with finance, logistics and catering needs. You need procedures in place otherwise you are putting out fires after they have burnt you down.”

By any benchmark it’s a success. Profits from productions have been put into local facilities. There is CLOC Works, a shed where the company builds sets that are used around Australia and New Zealand, a costume hire facility and now they have a long-term lease on rehearsal facilities which they upgraded to include a kitchen and air conditioning for the comfort of their members.

Grant says the executive is now focused on further developing the CLOC brand by putting on shows at a consistently high standard and concentrating only on their core tasks of putting on two shows a year.

“There is no such thing as amateur theatre when you have paying customers.”

At a different level QCR is just as successful. They have made profits of well over $20,000 over the years, which have not only gone into upgrading their theatre but also the local aged and sporting facilities.

Likewise they have experienced people on their committee and cast who have stuck around for the long term. Rowlie Mellor is a retired school Principal.

“The Curtain Raisers has unveiled many talented actors and singers from within our community, about eight of whom were in the original show. We are also able to bring many younger members of the community in to perform and to provide the backbone for future productions,” he says.

And they’ve had lots of fun along the way. Audience participation and dressing up is encouraged.

The most colourful was during The Best Little Whorehouse in Texas.

“During rehearsal I don’t feel confident and start to worry will we ever get this show on the road, but then everyone learns their lines and it moves together.”

Likewise Grant Alley allows for some fun. What grown up boy wouldn’t like a shed to build all those remote controlled toys and sets, then watch them work on a big stage.

The Great Australian Rock Musical www.stagewhispers.com.au Stage Whispers 35

Community Theatre Seasons 2014

Chatswood Musical Society’s Fame The Musical.

Photo: Grant Leslie, Perfect Images.

Omigod you guys! Legally Blonde The Musical has been released to musical societies across Australia, with aspiring Elles already preparing their audition pieces.

Across New Zealand a consortium of companies will combine their resources to present ABBA musical Mamma Mia. Landmarks abound in Community Theatre during 2014, while more Broadway musicals have their nonprofessional premieres.

Who will line up for their shot at playing Gomez, Morticia, Lurch, Fester and the other iconic roles in the musical version of The Addams Family, or shoot it out as the gangster lovers in Bonnie and Clyde The Musical?

Frankenstein and his creature will also sing in Off Broadway’s Frankenstein A New Musical.

Elsewhere, the chandelier will continue to fall across the country, with The Phantom of the Opera likely to be the most performed musical in community theatres across Australia in 2014.

Following the cancellation of the planned professional production, 36 Stage Whispers January - February 2014

Sydney will get its first look at Next to Normal.

CLOC Musical Theatre celebrates a huge double in May, staging their 100th production, 42nd Street, coinciding with their 50th Anniversary.

CLOC’s 1996 production of 42nd Street proved one of the most successful in the company’s history, so it hardly surprising that the director and choreographer from eighteen years ago, Alan Burrows and Susan Lewis, have been re-united to restage this new version, with a nod towards the significance of the occasion. CLOC follow up in October with Legally Blonde The Musical.

Rockdale Musical Society celebrates its 75th Anniversary with a Gala at Rockdale Town Hall in August. Both Rockdale and The Regals Musical Society return to the newly refurbished Town Hall in 2014 following its closure in 2011 after the discovery of serious asbestos problems.

STAG (Strathmore, Vic) celebrates its 60th Anniversary by reviving four of the company’s earliest plays, ending the year with a return to the very first production, Kenneth Horne’s And This Was Odd.

While details of the celebrations and season are yet to be confirmed, August 2014 marks The Genesian Theatre’s 70th year and 60 years at its intimate former church in Kent St Sydney.

St Jude’s Players in Brighton (SA) celebrate their 65th year with a diverse range of productions.

Victoria CLOC: 42nd Street (May) and Legally Blonde The Musical (Oct).

Babirra Music Theatre: The Phantom of the Opera (May / June) & Crazy for You (Oct).

The Gilbert and Sullivan Society of Victoria: The Grand Duke (Apr), The Boy Friend (July) & HMS Pinafore (Oct).

Williamstown Musical Theatre Company: Gypsy (May) & Frankenstein (Nov).

Fab Nobs Theatre: Xanadu (Mar) & Bonnie and Clyde (Oct).

Latrobe Theatre Company: Footloose (May).

PLOS Musical Productions: Oklahoma!

(Jan) & Oliver! (June).

Catchment Players of Darebin: Avenue Q - Junior Production (Apr).

PEP Productions: The End Of The World As We Know It (Feb / Mar).

SPX Waterdale Players: Gypsy (Mar).

Windmill Theatre Company: Joseph and the Amazing Technicolor Dreamcoat (Jun).

ARC Theatre: All Shook Up (July).

Cardinia Performing Arts Company: Whistle Down the Wind (Feb / Mar) NOVA Music Theatre: My Fair Lady (May).

Aspect Theatre Inc: Blood Brothers (Aug).

MLOC Productions: Thoroughly Modern Millie (June).

SLAMS Music Theatre Company: The 25th Annual Putnam County Spelling Bee (Mar) MDMS: Guys and Dolls (June).

Panorama Theatre Company: Annie (Apr).

Altona City Theatre: Cinderella (Mar), Oliver! (July) & Fame (Oct).

Heidelberg Theatre Company: The Glass Menagerie (Feb / Mar), Dixie Swim Club (May), Little Murders (July), Amadeus (Sep) & True Minds (Nov / Dec).

The Mount Players: A Few Good Men (Apr), Harold and Maude (June),

Theatre Assorted - One Act Plays (July), Love Letters (Nov / Dec) & Junior Production - Seussical The Musical (Nov / Dec).

Brighton Theatre Company: As Bees in Honey Drown (Feb / Mar), Red (May / June), Chilling and Killing My Annabel Lee (Aug / Sep) & Bloody Murder (Nov).

Mordialloc Theatre Company Inc: Quartet (Feb / Mar), Talking Heads (Apr / May), Loot (June / July), That Good Night (Sep) & Bullshot Crummond (Nov).

Frankston Theatre Group: The Diary of Anne Frank (May), Our Man in Havanna (July) & Whose Wives Are They Anyway.

Strathmore Theatre Arts Group (STAG): The Secret Tent (Feb / Mar), Barefoot in the Park (June), The Heiress (Aug) & And This Was Odd (Nov).

Malvern Theatre Company Inc: Trap For A Lonely Man (Feb / Mar), Wicked Sisters (Apr / May), The Vortex (June / July), The Merchant of Venice (Aug / Sep) & Dracula (Oct / Nov).

Williamstown Little Theatre: Almost, Maine (Feb / Mar), Proof (Apr / May), Six Dance Lessons in Six Weeks (June /

July), Farragut North (Sep) & The Kitchen Sink (Nov / Dec).

Peridot Theatre Inc: The Hallelujah Girls (Feb), Heroes (Apr / May), House Guest (Aug) & Key for Two (Nov).

Encore Theatre Company Inc: Treasure Island (Jan), Love, Loss and What I Wore (Mar), Arsenic and Old Lace (July) & The Woman in Black (Oct).

Lilydale Athenæum Theatre Company Inc: Double Act (Mar), Twelve Angry Men (May / June), The Rise and Fall of Little Voice (Aug / Sep) and Fawlty Towers (Nov).

Sherbrooke Theatre Company Inc: Sylvia (May), My Three Angels (Aug) & Stepping Out (Nov).

The 1812 Theatre: Inspector Drake & The Black Widow (Feb / Mar), Motortown (Apr/May), Beyond Therapy (May / June), Dad’s Army (Aug), Circle Mirror Transformation (Sep) & Over the Rainbow and Through the Woods (Nov / Dec).

Essendon Theatre Company: The Glass Menagerie (Mar / Apr).

Beaumaris Theatre Inc: The Great Gatsby (Mar).

(Continued on page 38)

Warryn James as Major General Stanley in Savoyards’ The Pirates of Penzance.

www.stagewhispers.com.au Stage Whispers 37

Footlight Productions (Geelong): My Fair Lady (Feb).

(Continued from page 37) BLOC Music Theatre (Ballarat): Honk Kew Court House Arts Association: (Jan / Feb) & Chicago (May).

Fame.

Kyneton Theatre Company: Anything Eltham Little Theatre: Natural Causes Goes (June / July) & Hairspray (Oct).

(Feb / Mar), The Ten Minute Quickies Warragul Theatre Company: The (May), Oliver! (July), The Wisdom of Phantom of the Opera.

Eve (Aug / Sep) & Murdered to Death Red Cliffs Musical Society (Mildura): (Nov).

Nunsense (May) & Sweeney Todd Hartwell Players: Snow White & Friends (Sep).

(Jan), The Comedy of Errors (Apr) & Wangaratta Players: Summer of the How Does Your Garden Grow (Sep).

Seventeenth Doll (Apr) & Annie (Oct).

Mooroolbark Theatre Group: Noises Wonthaggi Theatrical Group: Jesus Off (June).

Christ Superstar.

Sunshine Community Theatre Inc: Bendigo Theatre Company: Snow Family Spirit (Apr / May) White (Jan).

The Basin Theatre Group: Quartet Whittlesea Community Theatre: The (Feb / Mar), The Diary of Anne Frank Pirates of Penzance (Feb).

(May / June), The Other Place (Aug / Sep) & My Three Angels (Nov).’

New South Wales Miranda Musical Society: Oklahoma!

Regional Victoria (Mar), Assassins (June) & Annie (Sept).

Geelong Lyric Theatre Society: Annie Willoughby Theatre Company: The (May) Phantom of the Opera (May / June) & Geelong Repertory Theatre Company: Jesus Christ Superstar (Oct).

Almost, Maine (Feb), Amadeus (Apr / Packemin Productions (Parramatta): May), Gaslight (July), The Club (Sep) & Annie (Feb) & Beauty and the Beast The Complete Works of Shakespeare (July).

(Abridged) (Nov / Dec) Strathfield Musical Society: The

Seasons 2014

38 Stage Whispers January - February 2014

Phantom of the Opera (Oct).

Engadine Musical Society: Jesus Christ Superstar (May) & The Wedding Singer (Oct).

Bankstown Theatre Company: Little Women The Musical (Mar), The Mystery of Edwin Drood (July / Aug) & Hairspray (Oct / Nov).

EUCMS (Eastwood): Oliver! (May) & Thoroughly Modern Millie (Oct / Nov).

Manly Musical Society: Jesus Christ Superstar (May) & Company (Nov).

NUCMS: Scrooge The Musical (Nov) The Regals Musical Society: Disney’s Mulan (Feb), Footloose (May) & The Producers (Oct).

Hornsby Musical Society: The Producers (May) & Monty Python’s Spamalot (Oct).

Sydney Youth Musical Theatre: Hairspray.

Blue Mountains Musical Society: Monty Python’s Spamalot (June).

Holroyd Musical and Dramatic Society: Oklahoma! (Apr), Jesus Christ Superstar (Sep) & Pantomime (Dec).

Rockdale Musical Society: The Sound of Music (Feb), Next to Normal (Apr), 75th Anniversary Gala (Aug) & Into the Woods (Sep).

God (Abridged) (Mar), The Female of the Species (May), Death by Chocolate (June / July), Accomplice (Aug / Sep), Pride and Prejudice (Sep / Oct) & Just Macbeth (Nov / Dec).

The Theatre On Chester (Epping): The One Day of the Year (Mar / Apr), The History Boys (July / Aug) & Money and Friends (Nov).

Pymble Players: Much Ado About Nothing (Feb / Mar), Travels With My Aunt (May), Life After George (July / Aug), Flowering Cherry (Oct / Nov) and Pymble Players Christmas Show (Dec).

Guild Theatre, Rockdale: The Lilies of the Field (Feb / Mar), Quartet (May), Hotel Sorrento (Aug) & The Hallelujah Girls (Oct / Nov).

Hunters Hill Theatre: Any Number Can Die (Feb / Mar), 33 Variations (May), St George Theatre Company: Snow The Savoy Arts Company: H.M.S. Four Flat Whites in Italy (Aug) and White & The Pirate Adventure (Feb), Pinafore.

Tartuffe (Nov).

High School Musical (July).

Dural Musical Society Inc: Urinetown Genesian Theatre: Hotel Sorrento (Jan / Chatswood Musical Society: The Pirates The Musical.

Feb) & Frankenstein (Mar / Apr). of Penzance - Broadway version (May) Campbelltown Theatre Group: Rent Arts Theatre, Cronulla: Twelve Angry and A Chorus Line (Oct).

(Mar), Can’t Pay, Won’t Pay (May), Jurors (Feb / Mar), The Mating Game Berowra Musical Society: The Wedding Avenue Q (Aug) and A Happy and Holy (May / June) & Secret Bridesmaids’ Singer (May).

Occasion (Nov).

Business (July - Sep).

Ashfield Musical Society: West Side Castle Hill Players: Don Quixote (Jan / Sutherland Theatre Company: Better Story (June).

Feb), The Bible: The Complete Word of (Continued on page 40) Angela Glennie, Steven Shinkfield. Rhiannon Leach and Adrian Carr in 1812 Theatre’s God of Carnage. Photo: Ian Turner, I &J Photographics.

www.stagewhispers.com.au Stage Whispers 39

Seasons 2014 (Continued from page 39)

Left Said (Mar), Dearly Beloved (July / Aug) & Fox on the Fairway (Nov).

Epicentre Theatre Company: Dimboola (Mar), An Ideal Husband (July) & Twelve Angry Men (Oct / Nov).

Riverside Lyric Ensemble: Waiting for Godot (Mar) & Pygmalion (June).

RAPA Inc. (Concord): Encounter with Murder - an Uncle Bunny Murder Mystery (May).

Elanora Players: Over the River and Through the Woods (Jan).

Lane Cove Theatre Company: The Rise and Fall of Little Voice (Apr).

Blue Mountains Musical Society: Monty Python’s Spamalot (June).

Henry Lawson Theatre (Werrington): At Any Cost by David Williamson (Feb), A Bright and Crimson Flower (Apr), Plaza Suite (June), Agnes of God (Aug) and Are You Being Served (Nov).

Richmond Players: Twelve Angry Men (May).

Ruby Productions (Penrith, Leonay and Windsor): The Emperor’s New Clothes (Jan), Pride and Prejudice (Mar), Singlets and Stilettos (Apr), Wuthering Heights (May), Blithe Spirit (July) Beauty and the Beast by Warren Graves (Sept) and A Horror Musical (Oct / Nov).

Cameo Theatre Company: Death by Chocolate (May at Sutherland and Kingsgrove).

Liverpool Performing Arts Ensemble: Pygmalion (Feb).

The Mount Players’ Steel Magnolias.

Photo: Karlana Santamaria.

40 Stage Whispers January - February 2014

NSW Central Coast Wyong Musical Theatre: Hair (Apr / May) & 2014 Annual Variety Show (Nov).

Gosford Musical Society: Seussical The Musical - Juniors (Jan), Crazy for You (Mar), Annie (July / Aug) and The Phantom of the Opera (Oct / Nov).

Woy Woy Little Theatre: Straight and Narrow (Feb / Mar), A Streetcar Named Desire (May / June), Insignificance (Aug) & The Odd Couple (Oct / Nov).

Wyong Drama Group: All My Sons (Apr).

Newcastle and Hunter Region Metropolitan Players: Hairspray (Aug).

Newcastle Theatre Company - Sleuth (Jan / Feb), Mr Bennet’s Bride (Mar), God of Carnage (Mar / Apr), Heartbreak House (May), Company (Jun / Jul), Rabbit Hole (Jul), Play in a Day 5 (Aug), Lost in Yonkers (Aug / Sep), The Boys (Oct), Sherlock Holmes and the Case of the Jersey Lily (Nov), Season’s Greetings (Dec).

Maitland Repertory Theatre - BoeingBoeing (Feb), The Freedom of the City (Apr), Toad of Toad Hall (Jun / Jul), The Tempest (Aug), Blithe Spirit (Sep / Oct), Christmas dinner show (Nov / Dec).

DAPA Theatre (Newcastle): The Amorous Ambassador (Feb), Aftershocks (Mar), The Glass Menagerie (May / Jun), Winners and Losers: The 50s (Aug), The Odd Couple (Oct).

Theatre on Brunker (Newcastle): It’s My Party and I’ll Die If I Want To (Mar / Apr), New musical, with Novocastrian

Players (June), Agatha Christie thriller (Aug / Sep), Nuncrackers (Nov).

Hunter Region Drama School (Newcastle): Disney’s The Little Mermaid Jr (Oct).

The National Theatre Company: Dr Dolittle Jr (Newcastle, Singleton - Jan/ Mar), West Side Story (Newcastle - Jul).

Maitland Gilbert and Sullivan and Musical Society - Annie (Newcastle, Maitland, Dungog - Jan / Feb), The Pirates of Penzance (Maitland, Hawks Nest, Dungog - May), Beauty and the Beast (Maitland - Oct).

Young People’s Theatre (Newcastle) Macbeth (Feb / Mar), Snow White (Apr / May), Joseph and the Amazing Technicolor Dreamcoat (Jun / Aug), Jack and the Beanstalk (Sep / Nov).

Pantseat Productions (Newcastle): Little Shop of Horrors (Jul).

Opera Hunter (Newcastle) - Disney’s The Aristocats Kids (Apr), Love, Life and Opera: All the Greatest Scenes (Jun).

NSW North Coast SUPA North (Ballina): Downtown - the mod musical (May) and Breaking Up is Hard to Do (Aug).

Ballina Players: Godspell (Jan) & Twelve Angry Men. Coffs Harbour Musical Comedy Company: Annie (May) and Hairspray (Nov).

Murwillumbah Theatre Company: 2 Doors Down (Mar).

Players Theatre, Port Macquarie: The Wizard of Oz (Jan / Feb), God of (Continued on page 42)

www.stagewhispers.com.au Stage Whispers 41

Adelaide Youth Theatre: The Wizard of Oz (Jan), The 25th Annual Putnam County Spelling Bee (Feb/Mar).

Blackwood Players: Lovin’ That Expedition (May), Secret Bridesmaids’ Business (Aug).

Galleon Theatre Group: Loves and Hours (May) Gilbert & Sullivan Society: Oliver! (Jan).

Hills Youth Theatre: Robin Hood- The Musical (Jan) Independent Theatre: Caesar and Cleopatra (Apr), Master Harold…and the boys (May), Peter and Alice (Aug) & Bracken Moor (Nov).

Marie Clark Musical Theatre: Calamity Jane (May) & Young Frankenstein (Oct).

Matt Byrne Media: dateless.com (Feb, Fringe) &The Addams Family, a new musical (July).

(Continued from page 40) Normal (June), The Phantom of the St Jude’s Players: Wrong Turn at Carnage (Mar / Apr), High School Opera (Aug) at IPAC and Thoroughly Lungfish (Apr), Playing Sinatra (July) & Musical (Apr - June), The Gingerbread Modern Millie (Nov). The Arcadians It Could Be Any One of Us (Nov).

Lady (July).

Children’s Theatre: Gladiators (May) & South Australian Light Opera Society: The Jungle Book (Sep).

The Maid of the Mountains (Apr).

NSW South Coast and Southern Highlands Theatre Group: Chicago.

South Coast Choral Society: The Wizard Highlands of Oz -RSC version (May).

Nowra Players: Spamalot (Mar / Apr), Regional NSW Stirling Players: The Inheritance (Feb) & Moon Over Buffalo (June), The Parkes Musical & Dramatic Society: Collaborators (October).

Shoehorn Sonata (Aug) & Female of Steel Magnolias (Apr).

Tea Tree Players: Busybody (Feb), the Species (Nov / Dec).

Orange Theatre Company: Chicago Situation Comedy (Apr), Kindly Keep it Albatross Musical Theatre Company: (May).

Covered (May), Pan The Man - Junior Chicago (July) & The Wizard of Oz Singleton Theatrical Society: Scarlet Production (July), Theft (Aug), A (Oct).

Pimpernel (May / June).

Bedfull of Foreigners (Oct) & Sleeping Wollongong Workshop Theatre: Tamworth Musical Society: Seussical Beauty Pantomime (Nov / Dec).

Cabaret NOW (Feb), Mammory The Musical (May) & My Fair Lady (Oct) The Metropolitan Musical Theatre Monologues (Mar), 12 Angry Men Lithgow Musical Society: Fiddler on the Company: The Boy from Oz (May) (Apr), Silly Cow (May), Workshorts Roof (May) and Annie (Nov).

Therry Dramatic Society: Death Trap 2014 (June), Parramatta Girls (Aug), Armidale Drama and Musical Society: (March), She Loves Me (June), The That Day in September (Sep), Johnny Favourite Shorts (Mar), Jesus Christ Summer of the Seventeenth Doll (Aug) Come Lately (Oct), Moustache Superstar (June / July) & Steel & The Darling Buds of May (Nov).

Monologues (Nov) & Death by Fatal Magnolias (Sep / Oct).

University of Adelaide Theatre Guild: Murder (Nov / Dec).

Albury Wodonga Theatre Company: Romeo and Juliet (May) No Man’s Land Roo Theatre Co: (Shellharbour): Joseph The Phantom of the Opera (May) (Aug) & Miss Julie by Strindberg / After & The Amazing Technicolor Dreamcoat Griffith & Regional Association of the Miss Julie by Patrick Marber (Oct).

(Jan), Jesus Christ Superstar (Feb / Performing Arts (GRAPA): A Bit of Unseen Theatre Company: Thief of Mar), Romeo & Juliet (May), The Reflection - Season of one-act plays Time (Apr).

Woman In Black (June), Summer Rain (May) & King Lear (Oct / Nov).

A.C.T. (July), Boeing Boeing (Sep) and Monty Norfolk Amateur Theatrical Society, Free-Rain Theatre Company: Forbidden Python’s Spamalot (Nov).

Inc: 17th Norfolk Island Theatre Festival Broadway (Mar) Phoenix Theatre Co., Coniston: The (Sep - Oct).

Queanbeyan Players: Kismet (June).

Merchant of Venice (Mar), Equus (Apr), Canberra Rep: Steel Magnolias, Twelfth South Australia Godspell (May), Ten Bells by local Night, Showtune (celebrating the Adelaide Repertory Theatre: Dracula playwright Paul Ryback (June) and A words and music of Jerry Herman), (Apr), August: Osage County (June) Midsummer Night’s Dream (July).

Arcadia, Equus, Blithe Spirit & The Arcadians Theatre Group: (Corrimal, &Tom, Dick and Harry (Nov).

Importance of Being Ernest.

Wollongong): Mel Brooks Young Canberra Philharmonic: Cabaret (July).

Frankenstein (Mar / Apr), Next to (Continued on page 44)

Seasons 2014

42 Stage Whispers January - February 2014

PLOS’s Little Shop of Horrors.

Photo: Mike Fletcher.

www.stagewhispers.com.au Stage Whispers 43

Seasons 2014

MLOC’s big -The Musical

Hatpin (Jul), The Glass Menagerie (Sep).

Stirling Players: Laying the Ghost (Mar), Blithe Spirit (May), One Act Season (JulAug), Emerald City (Oct).

Melville Theatre Company: Don Parties On (Feb-Mar), Twelve Angry Men (May), Relative Values (Jul), Spike Heels (Sep), Wife After Death (Nov-Dec).

Koorliny Arts Centre: Young Frankenstein (Jan), Annie (May), Xanadu (Aug), Rogers and Hammerstein’s Cinderella (Nov).

Phoenix Theatre: Cosi (May), Footrot Flats (Jul), Woman in Black (Aug).

Darlington Theatre Players: Macbeth (Apr), A Midsummer Night’s Dream (Apr), Othello (Apr), Farndale Avenue Housing Estate Townswomen’s Guild Dramatic Society’s Macbeth (Jul), Triptych (Sep), Hills Festival of Theatre (Sep), Kiss Me, Kate (Nov).

Murray Music and Drama: Fiddler on the Roof (May), I Hate Shakespeare (Aug), The Best Little Whorehouse in Texas (Nov).

Primadonna Productions: Cinderella (Feb), Snap (July).

Stage Left Theatre Troupe: The Arsonists (Feb), Sleuth (Apr), Theatre restaurant (Jun), The Wizard of Oz (Aug-Sep), Regional Arts Australia Summit (Oct), World War I Tribute Performance (Nov), Stage Left Acting Youth Performance (Dec).

Queensland Savoyards: Thoroughly Modern Millie (May / June) and Annie (Sep / Oct).

Queensland Musical Theatre: The Wizard of Oz (Jun) & The Mikado (Nov).

Redcliffe Musical Theatre: Jesus Christ Superstar (Apr) & The Wizard of Oz (Aug).

Factory (Nov).

(Continued from page 42) SUPA Productions: Witches of Eastwick Garrick Theatre: Brilliant Lies (Feb), A S.Q.U.I.D.S: Fame (May) & Portrait of (Mar) and La Cage aux Folles (Nov).

Midsummer Night’s Dream (Apr), Oil Dorian Gray (Sep).

Child Players: The Jungle Book - The Well That Ends Well (May), Cranford Arts Theatre (Main House Season): Musical (Jan).

(Jul), One Act Season (Aug), Ninety Noises Off (Feb / Mar), Pride and (Oct), Miranda (Dec).

Prejudice (Mar / Apr), Avenue Q (May / Western Australia ICW Productions: The Mikado (May), June), The Breakfast Club (Jun - Aug), Playlovers: Subscription to Love (Mar), The Sound of Music (Jul), The Phantom The Addams Family (Aug / Sep), Over the Cuckoo’s Nest (Oct / Nov) & Wyrd Hayfever (Jul), DramaFest (Sep), Spring of the Opera (Oct).

Sisters (Nov - Dec). Children’s Theatre: Awakening (Nov).

KADS: Breast Wishes (Feb-Mar), The Roleystone Theatre: The House That Strange Case of Dr Jekyll and Mr Hyde What’s New Pussycat (Jan), The Great Jack Built (Mar), The Trip to Bountiful (May), One Act Season (Sep), Outward Fairytale Robbery (Jan - Mar), Danny, The Champion of the World (Apr/ (May), The Great American Trailer Park Bound (Nov-Dec).

May), Charlotte’s Web (Jun - Aug), The Musical (Jul), Storytime in the Hills Old Mill Theatre: Dinner With Friends (Sep), Charlie and the Chocolate (Feb), It’s All Greek To Me (May), The (Continued on page 46) 44 Stage Whispers January - February 2014

www.stagewhispers.com.au Stage Whispers 45

Seasons 2014

Gosford Musical Society’s Hairspray

(Continued from page 44)

Amazing Maurice and his Educated Rodents (Sep - Nov) & Sulky Santa and the Boy Who Didn’t Believe (Nov - Dec).

Villanova Players: Other Times (Mar), Habeas Corpus (Jun), Rabbit Hole (Aug / Sep) and James Joyce’s The Dead.

Mousetrap Theatre Company: On Golden Pond (Mar), High Society (May), The Woman in Black (Oct).

Nash Theatre: The Maltese Falcon / The Canterville Ghost (Mar), Hedda Gabler (May), A Midsummer Night’s Dream (July / Aug) Cyrano De Bergerac (Sep / Oct) & Once Upon a Midnight (Oct / Nov).

Centenary Theatre Group: Tuesdays with Morrie (Mar), Boeing Boeing (May), The Vicar of Dibley (July / Aug), Bookworms (Sep) & Money From Heaven / The Innkeeper, The Writer, The Pirate and the Detective (Nov).

Phoenix Ensemble: The Wonders (Feb / Mar), The Woman in Black (Feb / Mar), Little Shop of Horrors (Aug / Sep) & Jesus Christ Superstar (Oct / Nov).

Tweed Theatre Company: It’s My Party (and I’ll Die if I Want To) by Elizabeth Coleman (Apr / May), Musical Memories Musicale (July) & Oklahoma!

(Sep / Oct).

Gold Coast Little Theatre: The Unexpected Ghost (Jan / Feb), The Removalists (Mar / Apr), The Gondoliers (Jun / July), Romeo & Juliet (Aug / Sep) & The Pajama Game (Nov / Dec).

Javeenbah Theatre, Nerang: Caravan (Jan / Feb), Quartet (Mar / Apr), Footloose (May / Jun), Morning

JOIN THE CONVERSATION! Follow us on Twitter: www.twitter.com/stage_whispers Like us on Facebook: www.facebook.com/stagewhispers 46 Stage Whispers January - February 2014

Sacrifice (July / Aug), Mr Wonderful (Sep / Oct) & 5 Women Wearing the Same Dress (Nov / Dec).

Top Hat Productions: Peter Pan Pantomime (July) & Let’s Misbehave (Sep / Oct).

Spotlight Theatre, Benowa: The Memory Mill (Jan), Annie (Feb / Mar), Next to Normal (Mar/ Apr), Young Frankenstein (May), Downtown (Aug) & Sweeney Todd (Oct / Nov).

Coolum Theatre Players (Sunshine Coast): Four Weddings and an Elvis, a romantic comedy (Mar) and Sweet Charity (Aug).

Noosa Arts Theatre: Snow White and the Seven Dwarfs (Jan), One Act Play Festival (July).

BATS Theatre (Buderim): Cinderella (Jan), Motherhood Out Loud (Mar).

Cairns Little Theatre: Chapter Two (Feb / Mar), Art (May), Speaking in Tongues (July), Art (May), Speaking in Tongues (July), 1984 (Sep) & Three Tall Women (Nov).

Lind Lane Theatre, Nambour: The Making of a Great Lover (Feb), Deathtrap (Apr).

Cairns Choral Society: The Phantom of the Opera (Jan / Feb).

Windmill Theatre Company’s The Phantom of the Opera.

Photo: Dave Banen.

Tasmania Gilbert and Sullivan Society: Trial by Jury (Jan), A Little Night Music (Mar) Hobart Repertory Theatre Society: Lady Windemere’s Fan (Mar / Apr), The Talented Mr. Ripley (May), Journey’s End (Aug) & In the Next Room (The Vibrator Play (Oct/Nov).

Launceston Musical Society: La Cage aux Folles (May) Burnie Musical Society: Oklahoma!

(Apr).

Encore Theatre Company (Launceston): The Phantom of the Opera (Mar) (Continued on page 48)

www.stagewhispers.com.au Stage Whispers 47

Napier Operatic: Dreamgirls, Mel Brooks’ Young Frankenstein and (Continued from page 47) Mamma Mia! Huon Valley Theatre Blenheim Musical Theatre: All Shook Company: Cinderella (Oct).

Up. Butterfly Creek Theatre Troupe: Romeo New Zealand and Juliet (Mar).

Auckland Music Theatre: Mamma Mia! Pahiatua Repertory Society: The Wizard (Mar) & Next to Normal (Oct / Nov). of Oz (May).

Taieri Musical Society (Dunedin): Detour Theatre, Tauranga: Over Paid, Mamma Mia! (May) Over Sexed, Over Here (Mar / Apr), Invercargill Musical Theatre: Mamma Richard III (Sep) & The Vicar of Dibley 2 Mia! (Aug) (Nov).

Manukau Performing Arts: Avenue Q. Dolphin Theatre: Ladies Down Under Variety Theatre Ashburton: Chicago (Feb / Mar).

(May) Ellerslie Theatrical Society: Take a Whangarei Theatre Company: A Slice Chance on Me by Roger Hall (Mar). of Saturday Night - the 60’s Musical Elmwood Players: Jack the Giant and (May) & Chicago (Aug). the Jiggery Plot (Jan), Rabbit Hole Harlequin Musical Theatre: Beauty and (Apr), Thick as Thieves (June) & Same the Beast Jr (Apr / May).

Old Moon (Oct).

Tauranga Musical Theatre Inc: Disney Hawera Repertory Society: Calendar Alice in Wonderland Jr (Jan / Feb).

Girls (Feb) & Four Flat Whites in Italy Cambridge Repertory: Lettice and (July).

Lovage (Mar), Stiff (June) & Too Old for Howick Little Theatre: Bookworms the Chorus (Sep).

(Mar), The Importance of Being Earnest Rotorua Musical Theatre: Hair.

(May), 4000 Miles (July), Two Fish ‘N’ A Musikmakers, Hamilton: The 25th Scoop (Sep) & Noises Off (Nov).

Annual Putnam County Spelling Bee Hutt Repertory Theatre: Homeland (May / June).

(Apr)

Seasons 2014

48 Stage Whispers January - February 2014

Papakura Theatre Company: Whistle Down the Wind.

Stagecraft (Wellington): The Cat’s Meow (Apr), Crumble (Lay Me Down, Justin Timberlake) (Jun), Cat on a Hot Tin Roof (Aug), Boys (Sep) & The Tempest (Nov).

Tauranga Repertory Society: A Shortcut to Happiness (Mar), Run for Your Wife (Jun), Good Grief (Aug / Sep) & Scarlet Women Come Again (Nov / Dec).

Theatre Whakatane: Cats.

Company Theatre (Auckland): An Ideal Husband (Mar), & More Fawlty Towers (Nov).

Mairangi Players: Caught in the Net (May) Titirangi Theatre: Kings of the Gym (Mar), God of Carnage (June), Fawlty Towers (Sep) & Cinderella (Nov / Dec).

Shoreside Theatre (Auckland): Othello & Much Ado About Nothing (Jan / Feb).

Wellington Repertory Theatre: The Addams Family- the musical (June / July) & Blackadder Goes Forth (Oct / Nov).

OH WHAT A NIGHT! It was a jubilee of memories on Queensland’s Sunshine Coast for theatre guests who attended an elaborate function on 23rd November 2013 to celebrate Coolum Theatre Players’ 25 th anniversary. The night was abuzz with entertainment, nostalgia, reminiscing and genuine enjoyment of Coolum Theatre Players’ camaraderie. Photo: The 2014 committee with founding member, first President and Life Member, Pauline Holehouse wearing blue skirt/white blouse.

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www.stagewhispers.com.au Stage Whispers 49

Awards

Gold Palm Award winning production Billy Buckett.

Photo: Vincent Swift Photography.

2013 Community Theatre Awards Jaclyn De Vincentis, winner of the Bruce Award for A regional Victorian Twenty-seven companies Female Performer in a Leading Role as Rose Hovick company has again taken the entered the 2013 Victorian in Gypsy at NOVA Music Theatre honours at the Music Theatre Drama League Awards and they Guild of Victoria’s 27th Annual were celebrated in style at a Bruce Awards, presented on swish dinner on Sunday December 14 at the December 8.

Wendouree Centre for Best Drama Production went to Performing Arts in Ballarat.

The Basin Theatre Group’s The The big winner was Woman in Black, which took Footlight Productions from out six awards.

Geelong. Its production of Les Best Comedy Production went Misérables took out six Bruce to Lilydale Athenaeum Theatre Awards including Best Company’s Laughter on the 23rd Production and Director.

Floor.

The season sold over 6000 Most prolific was the tickets and one of its cast production of 33 Variations by members, Zoy Frangos, has the Williamstown Little Theatre since gone on to be cast in the which scooped eight awards. professional production.

See the full list of winners Director of Footlight’s Les Misérables Christopher Parker online http://bit.ly/1kKzrqd has also since been appointed resident director of the ___________________ professional tour.

The Old Scotch Music and Drama Club production of The Gold Coast had it’s own real life “TONY” awards The Music Man was recognized with awards in four night in 2013. categories, while CLOC’s production of The Phantom of the Present at the 5th Annual Gold Coast Area Theatre Opera received two awards recognizing Technical and Awards was Aussie showbiz royalty and awards patron Design achievements.

Tony Sheldon with his partner Tony Taylor.

He was attending for the first time after numerous DVD There were 68 Open Section Productions in 2013.

See the full list of winners online http://bit.ly/1kKzkuE messages from dressing rooms in London and New York. ___________________

50 Stage Whispers January - February 2014

Metropolitan Players CONDA winning production of The Phantom of the Opera.

Inset: The Basin Theatre Group’s Victorian Drama League Best Drama Production winner, The Woman in Black.

The judging panel considered a total of 675 nominations from 64 shows.

The outstanding production of the year was Into the Woods, staged by the Gold Coast Little Theatre.

The Platinum Palm Award for Outstanding Contribution was won by Kim Reynolds.

The Gold Award for the show with the most nominations was Beenleigh Theatre Group’s World Premiere production of Billy Buckett.

See the full list of winners online http://bit.ly/1kKzylD ___________________ The 35th Annual City of Newcastle Drama Awards (CONDAs) were presented at Newcastle’s Civic Theatre on December 6, in an evening appropriately themed ‘Applause’.

The big winner in Newcastle in 2013 was Metropolitan Players for its spectacular staging of The Phantom of the Opera. It was awarded seven CONDAs, including Best NonProfessional Musical Production.

Phantom director Julie Black won the Best NonProfessional Director Award, while musical director Greg Paterson collected the Excellence in Non-Professional Achievement in Music and Movement trophy for the quality of the music produced by his 28-piece orchestra.

Lesly Stevenson, the President of CONDA Inc, normally announces the recipient of the CONDA Inc Award for Outstanding Achievement in Newcastle Theatre, but in 2013 she won it.

Lesly has been a prolific participant as actor, singer, dancer, director and producer in Newcastle theatre, setting up her own theatre company, DAPA, a dozen years ago.

See the full list of winners online - http://bit.ly/1kKzdiC ___________________ Canberra and NSW regional theatre’s night of nights is set for February 22, when the CAT awards will take place at The Llewellyn Hall, ANU. In Western Australia the Independent Theatre Association is gearing up for the Finley Awards on the 11th of January at the Subiaco Arts Centre.

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www.stagewhispers.com.au Stage Whispers 51

Stage Heritage

Have you seen Harry Lauder yet?

Almost 100 years ago Scottish singer and comedian Harry Lauder was given an extraordinary welcome to Australia and the hype was repaid when he charmed the pants off audiences. Sadly the Great War wiped away his smile.

Leann Richards reports.

It was August 1914. Harry Lauder, with his wife and son, John, were sitting at lunch in a Melbourne hotel.

War had just been declared and a strange feeling was in the air. A hall porter came in from outside holding a telegram.

“Lieutenant Lauder,” he called.

John Lauder, a Lieutenant in the Territorial Battalion of Highlanders, beckoned, and the man handed him a message. “Mobilise. Return.”

John looked at his parents with shining eyes, “What do you think dad?”

Harry Lauder replied gruffly, “This is no time for thinking son. You know your duty.”

John eagerly replied, “I’m off.”

Thus John Lauder, with thousands of others, joined the British army in the ‘war to end all wars’.

His father, world famous comedian Harry Lauder, had just turned 44. He was a sober, non-drinking, Scotch Presbyterian. His bulbous nose and rubbery features had entertained people around the world. When Harry Lauder arrived in Australia in March 1914, he had no inkling that the tour, his first to this country, would begin in laughter and end in a sorrowful parting.

Lauder left his home in Dunoon Scotland in November 1913 bound for the US. He left San Francisco on March 10th 1914 and 15 days later his boat steamed into Sydney Harbour.

A flotilla of brightly bedecked boats, big and small, greeted his arrival.

Harry and his family watched this display in puzzlement. Suddenly they realised that the parade was in honour of his arrival in Australia. Thousands of people, mostly of Scottish origin, had turned out to greet him.

52 Stage Whispers January - February 2014

As Lauder and his wife alighted from the boat they were surrounded by people playing bagpipes and dressed in kilts. Huge numbers of men dressed in suits and straw boater hats escorted them to an open-topped car. The crowds were so dense that the car could only move at a crawl as hundreds of bodies pressed against it.

Lauder travelled to Melbourne and performed there for several weeks before returning to Sydney, where he made his first stage appearance at the Theatre Royal

His arrival on stage was preceded by a long series of vaudeville acts, which made the audience impatient. Finally, late in the evening, Harry Lauder sauntered on stage. He performed sketches and songs. Amongst the songs were Tobermory and I love a lassie. The latter was a song that Harry had written and composed. It was to become one of his signature tunes.

He sang and spoke with a strong Scottish brogue. His enunciation, however, ensured that he was clearly heard throughout the theatre.

According to the Sydney Mail, Lauder sang with a pleasing baritone.

Yet it was not his voice that made him a comic success. It was his presentation and the antics that accompanied his songs that created the comedy. The Mail commented on his ‘unusual power of facial expression’ and ‘queer little distinctive tricks in his bristling movement.’ Harry Lauder’s smile was infectious and he bubbled with humour and happiness. He projected a warmth and emotion which crossed the footlights and enchanted an audience.

His charm crossed all class boundaries and the Theatre Royal was packed with over 2000 people. Soon all Sydney was asking the question, “Have you seen Harry Lauder yet?”

His very successful run came to an end on July 1st 1914. He travelled back to Melbourne where he and his devoted wife had a warm reunion with his son John. They were in the midst of this reunion when war was declared and John received the fateful telegram from England.

War fever was overwhelming Australia; Lauder saw lines of men outside recruiting offices anxious to volunteer for King and Country. In New Zealand, bands played and colours were raised, and everybody wanted to fight before the war was over.

After a brief tour of New Zealand, and a sad parting from his son, Lauder returned to Scotland and devoted himself to recruitment.

He made speeches in England and Canada persuading young men to join up and fight for the Empire. He sang for the wounded and performed for the troops on leave. Everywhere he went he urged young men to enlist.

John Lauder was wounded in France and came home to his parents in Scotland. He was pale and sombre and his eyes were shadowed with the knowledge of the carnage he had seen.

After his wounds had healed he went back to the front as Captain John Lauder.

His father continued his performances and his recruiting drive.

During Christmas 1916 Harry was expecting John home on leave. The family were planning a wedding, John was to marry his Scottish sweetheart

and his parents were eagerly anticipating the ceremony.

Harry was performing in London at the Shaftesbury Theatre. On New Year’s Eve 1916, Harry was tired and retired early to his hotel room in London.

January 1, 1917 dawned and a loud banging wakened the famous vaudevillian. He sleepily rose and saw a

porter standing at the door with a telegram in his hand.

Capt John Lauder killed in action, December 28.

Harry Lauder returned to the stage in London three nights later. His act included a scene set at the Horse Guards. A company of men marched past in khaki as Harry Lauder sang a song about the boys coming home. www.stagewhispers.com.au Stage Whispers 53

Lighting and Sound on a Budget high school there are likely to be at least few budding techies. Here’s a hint: they’re probably wearing black and they don’t say much. There are also plenty of TAFE and Uni courses with students who are looking to stretch / trial some newfound skills.

3. Plan ahead.

Now that you have some good tech crew members together they should be communicating earlier rather than later with the hire company. Even in the early script reading and rehearsals your tech requirements will become apparent. Compile these as they come up. There is nothing like disorganised, 11th hour requests to erode discount and goodwill.

4. Prioritise.

Chances are that the budget is not going to cover all the equipment you want. It’s at this time that you need to know which are the most important 10 ways to save your show budget 1. Establish a good relationship technical elements and also how much from a tech blowout. Marcus Pugh with a hire company. from Resolution X Lighting and Rigging A proven rapport with a hire company each will cost you.

5. Good Communication is key. reports. can mean a larger discount. Once a These days there are a hundred hire or production company different ways to communicate but understands your needs and venue Imagine a world where budgets don’t matter and we could all put on they are better equipped to be able to nothing beats a well worded email.

When communicating with the hire or the best show possible without having service your needs. production company make sure you to worry about money? Unfortunately 2. Find the right people. have all the details they might need this world doesn’t exist and the mighty There are plenty of passionate tech like: What date does the show bump in dollar rules. All of those responsible for people out there just waiting for the and when does it open? What venue is putting on shows are used to working opportunity to work in theatre. Don’t within ever tightening funds but how just throw the person who failed to get the show going into? Where can you get plans or specs for the venue? a part in the audition into lighting, can you get the most of your budget when it comes to hiring that essential sound or stage management. In every technical equipment?

Here are the Golden Rules.

54 Stage Whispers January - February 2014

6. Do your research.

Research has never been easier, with the help of the internet. If you can find a contact at another theatre company that has done the same show as you they’re likely to have advice on how to achieve certain effects in that show. If your hire company has supplied to a similar production they will also have ideas that can help.

7. Ask for and take the advice.

While techies and hire companies don’t always appear to be the friendliest bunch and can sometimes come off as downright surly, they will still have some good advice.

Never be afraid to ask for advice because at the end of the day you’re all pushing for the same goal of putting on the best possible show.

8. Time and resources equal money.

Hire companies have plenty of overheads to keep their business successful. If you are able to alleviate some of these costs, like picking and returning the hire equipment instead of having it delivered, these cost savings should be passed back to you.

9. The latest technology isn’t the best thing for your budget.

There is a tendency to want the ‘latest and greatest’ piece of equipment,

Technical

afraid to ask if there are any pieces of equipment that can be substituted to bring down the overall cost. Most hire whether it’s needed or companies will appreciate it if you let not. This is never good for your hire them know the budget you have to budget; it can be expensive to be an spend on the hire and then they can ‘early adopter’. You will find that there help to fit the hire within those is usually a ‘workhorse’ in each parameters. category of equipment that is in Good tech can make or break a abundance and a much cheaper show but so can a budget, so make option. sure that you’re getting the most out 10.Don’t be afraid to negotiate of your hire company and remember The first quote you receive might not that having a solid relationship will pay be the best possible price so don’t be itself back in spades.

Fireworks On Stage Steve Lawrence from Geelong Fireworks reports.

Geelong Lyric Theatre Society. The Phantom of the Opera.

Photo: Michele Domonkos www.domonkosdesigns.com

Theatrical Pyrotechnics can certainly add a great effect to your production, but you must ensure that the company you use is experienced.

The pyrotechnician MUST know the product thoroughly - especially its effect in both height and width.

With flames the heat output needs to be considered so you know how close you can have the actors, set and scrims to the product.

When getting started ask does the pyrotechnician know the difference between upstage/downstage? You may need to “induct” your inexperienced pyro into “theatre speak”.

A demonstration of products is a must in preproduction, then at tech rehearsal and the dress rehearsal.

A spectacular recent effect we used was of Flame projectors during Masquarade in Geelong Lyric Theatre’s production of The Phantom of the Opera.

We used remote controlled pyro technique devices, fired by a visual cue.

The technician had to be on hand to see him in the right spot to hit the button when the Phantom appeared.

Also when he disappeared we incorporated a four metre high puff of smoke.

Even I was impressed to see the Phantom disappear. www.geelongfireworks.com.au www.stagewhispers.com.au Stage Whispers 55

Schools On Stage

All the World’s A Stage For Drama Teacher Waverley Christian College in Melbourne has a teacher who gives his students a dramatic adventure.

When Stage Whispers’ David Spicer caught up with Asher Johnson in December as he was on his way to the Solomon Islands with a group of almost twenty Year 9 to 12 students for a tour of a devised production of Aladdin.

True to form the planned locations are on the raw side.

“We will be performing on the street, also touring to villages and indigenous places there,” he said.

On the way to the airport Asher collected the Rob Galbraith Award from Drama Victoria for outstanding contribution by a beginning teacher in Drama.

It’s not hard to see why he won the award. The overseas trips are an annual event.

“Last year we did As You Like It in rural Cambodia and Vietnam.”

He said the highlight was performing at an orphanage in Cambodia.

“We slept in the place on the mats with these students. It was very dirty and very exciting, eating their food.”

“Obviously we had to speed the show up. People look at me and say people don’t understand Shakespeare here. So we ramped up the physicality of it; it wasn’t really much of As You Like it but they got the gist of it.”

Future plans include a trip to Los Angeles and Mexico. Also a trip to Belfast to stage a production of Romeo and Juliet with a theme of unity.

The theatre company is called Act Three - which stands for Affecting Culture Tomorrow Through Holy Excellent Entertainment.

56 Stage Whispers January - February 2014

“Performances are not just about students’ learning or the audience being entertained. They are also used to change the world for the better, not in a Brechtian sense of being changed when you leave the audience, but more 21st century. To be immersed in the story, see a bit of reality that is not preachy. So that they walk away and think about how to make the world a better place.”

Asher pays tribute to his school Principal Peter Sheahan for having faith in the program.

“It is difficult in a Christian community to take the chance. He has really trusted me and put a lot of funds in our direction. It is controversial. I don’t do things that are safe. “

www.stagewhispers.com.au Stage Whispers 57

On Stage A.C.T. Seussical. Music by Stephen Flaherty, lyrics by Lynn Ahrens.

IcklePickle Productions. Jan 10 25. Belconnen Theatre. (02) 6275 2700.

A.C.T. & New South Wales

Greta Scacchi and Bryan Brown star in the Sydney Theatre Company production of David Williamson’s Travelling North at Wharf 1 Theatre from January 9 to March 22.

The Jungle Book - The Musical.

The stories by Rudyard Kipling, adapted by BJ Anyos and Georgia Pike. Child Players. Jan 15 - 18. Theatre 3. 6257 1950 (10-4 Monday to Friday).

A Tale of Two Cities by Charles Dickens, adapted by Terence Rattigan and John Gielgud.

Queanbeyan City Council. Feb 5 - 16. The Q, Queanbeyan Performing Arts Centre. (02) 6285 6290 Steel Magnolias by Robert Harling. Canberra Repertory Society. Feb 14 - Mar 1. Theatre 3. 6257 1950 (10-4 Monday to Friday).

A Murder is Announced by Agatha Christie. Michael Coppel, Louise Withers and Lina Bewick. Feb 22 - 28. Canberra Theatre. (02) 6275 2700.

New South Wales The Lion King. Based on the 1994 Disney animated film of the same name with music by Elton John and lyrics by Tim Rice, along with the musical score created by Hans Zimmer, with choral arrangements by Lebo M. Disney Theatrical.

Capitol Theatre, Sydney.

Ticketmaster.

Coranderrk by Andrea James & Giordano Nanni. Belvoir. Until Jan 5. Upstairs Theatre. (02) 9699 3444 Neighbourhood Watch by Alan Ayckbourn. Ensemble Theatre.

Until Jan 25. (02) 9929 0644 La bohème by Puccini. Opera Australia. Joan Sutherland Opera Theatre, Sydney Opera House. Until Jan 21. 9318 8200.

EMPIRE by Spiegelworld. From Jan 7. Under the spiegeltent, Showring at the Entertainment Quarter, Moore Park. Ticketek.

58 Stage Whispers

Wittenberg by David Davalos.

Sydney Independent Theatre Company / Brevity Theatre Co. Jan 7 - 25. Old Fitzroy Theatre.

1300 307 264.

Oedipus Schmoedipus. By post after Aeschylus, Anon, Artaud, Behn, Brecht, Büchner, Chekhov, Coward, Fo, Genet, Havel, Ibsen, Marlowe, Molière, O’Neill, Plautus, Racine, Seneca, The Wind in the Willows by Shakespeare, Shaw, Sophocles, Kenneth Grahame. Jan 7 - 25.

Strindberg, Wedekind, Wilde et The Royal Botanic Garden, al. Belvoir / post / Sydney Sydney. 1300 122 344 Festival. Jan 9 - Feb 2. Belvoir St On the Shore of the Wide World Theatre | Upstairs. (02) 9699

by Simon Stephens. pantsguys 3444. and Griffin Independent. SBW Travelling North by David Stables Theatre. Jan 8 - Feb 1.

Williamson. STC. Jan 9 - Mar (02) 9361 3817.

22. Wharf 1. 9250 1777.

The Emperor’s New Clothes, The Magic Flute by Mozart. adapted to the stage by Opera Australia. Joan Benjamin Roorda. Ruby Sutherland Opera Theatre, Productions. Jan 8 - 18. Emu Sydney Opera House. Jan 10 Sports Club, Leonay. (02) Mar 26. 9318 8200.

47355422.

The Piper. My Darling Patricia / Sydney Festival. Jan 8 - 19.

Carriageworks. 1300 856 876.

- 25. Roo Theatre, Shellharbour.

4297 2891.

Seussical The Musical by Stephen Flaherty and Lynn Ahrens. Gosford Musical Society (GMS Juniors). Jan 11 - 18.

Laycock Theatre, Gosford. (02) 4323 3233.

Snow White. Adapted by Helen Martin for 3 - 10 year olds.

Marian Street Theatre for Young People. Jan 11 - Mar 15. Marian Street Theatre, Killara. 1300 306 776.

All That Fall by Samuel Beckett.

Sydney Festival / Peter Pan Theatre. Jan 13 - 19. Everest Theatre, Seymour Centre. 1300 856 876.

Dr Dolittle, Jr. Book, music and Joseph & The Amazing lyrics by Leslie Bricusse. The Technicolor Dreamcoat. Music National Theatre Company. Jan

by Andrew Lloyd Webber. Lyrics 15 - 25, Civic Playhouse,

By Tim Rice. Roo Theatre. Jan 10

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

On Stage Newcastle, (02) 4929 1977 & Late Feb-early Mar, Singleton Civic Centre.

Nella’s Wings by Sue Wallace.

Monkey Baa Theatre Company.

Jan 16 - 18. Lend Lease Darling Quarter Theatre. (02) 8624 9340.

Forklift by KAGE. Sydney Festival. Jan 16 - 19.

Carriageworks. 1300 856 876.

I, Malvolio. Shakespeare ReImagined by Tim Crouch.

Sydney Festival. Jan 16 - 19.

Carriageworks. 1300 856 876.

Black Diggers by Wesley Enoch.

Queensland Theatre Company / Sydney Festival. Jan 17 - 26.

Drama Theatre, Sydney Opera House. 1300 856 876.

Hotel Sorrento by Hannie Rayson. Genesian Theatre. Jan 18 - Feb 22. 420 Kent Street, Sydney. 1300 237 217.

The Turk in Italy by Giaochino Rossini. Opera Australia. Joan Sutherland Opera Theatre,

Sydney Opera House. Jan 22 Feb 12. 9318 8200.

The Shadow King. Co-Created

by Tom E. Lewis & Michael Kantor. Malthouse / Sydney Festival. Jan 23 - 26.

Carriageworks. 1300 856 876.

The Serpent’s Table by Darren Yap. Griffin Theatre Company and Performance 4a, in association with Carriageworks and Sydney Festival.

Carriageworks. Jan 24 - 27.

1300 856 876.

Curious Jac by Lilly Pang.

Monkey Baa Theatre Company.

Jan 16 - 18. Lend Lease Darling Quarter Theatre. (02) 8624 9340.

Don Quixote by Larry Buttrose.

Castle Hill Players. Jan 24 - Feb 15. Pavilion Theatre, Castle Hill Showground. 9634 2929 Sleuth by Anthony Schaffer.

Newcastle Theatre Company.

Jan 25 - Feb 8. NTC Theatre, Lambton. (02) 4952 4958.

New South Wales LEGEND! ‐ “Slips” Cordon ‐ A Safe Pair Of Hands by Pat Sheil.

Sydney Independent Theatre Company / Decorum. Jan 28 Feb 15. Old Fitzroy Theatre.

1300 307 264.

Annie. Music by Charles Strouse, lyrics by Martin Charnin, book by Thomas Meehan. Maitland Gilbert and Sullivan and Musical Society. Jan 25, Wests, New Lambton (Newcastle); Jan 29 - Feb 2, Maitland Town Hall & Feb 15 16, James Theatre, Dungog. www.mgasams.org.

The Long Way Home by Daniel Keene. Sydney Theatre Company and the Australian Defence Force. Feb 7 - 15. Sydney Theatre. 9250 1777.

The Lilies of the Field by F. Andrew Leslie. Guild Theatre.

Feb 7 - Mar 8. Guild Theatre, Rockdale. Bookings open three weeks before opening night (02) 95216358 Mon-Sat 9am to 5pm.

At Any Cost by David Williamson. Henry Lawson Theatre. Feb 7 - 28. Henry Lawson Theatre, Henry Lawson Proof by David Auburn.

Drive, Werrington. (02) 4729 Ensemble Theatre. From Jan 31. 1555.

(02) 9929 0644.

Annie. Book by Thomas Carmen by Georges Bizet. Opera Australia. Joan Sutherland Opera Theatre, Sydney Opera House. Feb 3 - Mar 29. 9318 8200

Meehan. Music by Charles Strouse. Lyrics by Martin Charnin. Packemin Productions.

Feb 7 - 22. Riverside Theatre, Parramatta. (02) 8839 3399.

The Anatomy of Buzz by Carl Caulfield. Stray Dogs. Feb 5 22. Civic Playhouse, Newcastle.

(02) 4929 1977.

Once in Royal David’s City by Michael Gow. Belvoir. Feb 8 Mar 23. Belvoir St Theatre, Upstairs. (02) 9699 3444

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

Stage Whispers 59

On Stage Macbeth adapted by Rod Ansell. Feb 12 - Mar 1. Young Peoples Theatre Newcastle Inc, Hamilton. 0249 615340 (Fridays 4pm to 6pm and Saturdays 9am to 1pm) Boeing-Boeing by Marc Camoletti. Maitland Repertory Theatre. Feb 12 - Mar 1. (02) 4931 2800.

Much Ado About Nothing by William Shakespeare. Pymble Players. Feb 15 - Mar 15. Cnr Bromley Ave & Mona Vale Rd, Pymble. MCA Ticketing 1300 306 776 Noises Off by Michael Frayn.

STC. Feb 17 - Ap 5. Drama Theatre, Sydney Opera House.

(02) 9250 1777.

Jump for Jordan by Donna Abela. Griffin Theatre Company.

SBW Stables Theatre. Feb 18 Mar 29. (02) 9361 3817.

New South Wales, Queensland & Victoria

Sydney Mardi Gras. Feb 18 - 22. Tim Rice. Roo Theatre. Feb 28 Old Fitzroy Theatre. 1300 307 Mar 15. Roo Theatre, 264.

Shellharbour. 4297 2891.

When Dad Married Fury by David Williamson. Hit Productions. Feb 18 - 22.

Riverside Theatres. (02) 8839 3399.

The Amorous Ambassador by Michael Parker. DAPA. Feb 21 Mar 8. DAPA Theatre, Hamilton (Newcastle). (02) 4962 3270.

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

Feb 21 - Mar 9. Peninsula Theare, Woy Woy. 4344 4737.

Fully Committed by Becky Mode. Brevity Theatre Co. Feb 24 - Mar 1. Old Fitzroy Theatre.

1300 307 264.

Eugene Onegin by Tchaikovsky.

Opera Australia. Joan Sutherland Opera Theatre, Sydney Opera House. Feb 28 Everything I Know I Learnt From Mar 28. 9318 8200.

Madonna. Written and Jesus Christ Superstar. Music by performed by Wayne Tunks.

Andrew Lloyd Webber. Lyrics by Tunks Productions / 2014

Any Number Can Die by Fred Carmichael. Feb 28 - Mar 15.

Hunters Hill Theatre. Bookings (after Feb 3). 9879 7765 The Winter’s Tale by William Shakespeare. Bell Shakespeare.

Mar 1 - 29. Sydney Opera House Playhouse. (02) 9250 7777 Queensland

Mar 1. Lyric Theatre, QPAC. 136 246.

Chapter Two by Neil Simon.

Cairns Little Theatre. Feb 21 Mar 1. 1 300 855835 Clancestry, A Celebration of Country. Feb 18 - 23. Cultural Precinct, the Cultural Forecourt and the Courier Mail Piazza, South Bank. Free.

The Wonders. A self-devised showcase of popular music sourced from bands that had one major hit, a one-hitwonder. Phoenix Ensemble. Feb 21 - Mar 22. 3103 1546

A Murder is Announced by Agatha Christie. Michael Coppel/Louise Withers/Linda Bewick. Until Jan 19. Playhouse, The Mountaintop by Katori Hall.

QPAC. 136 246 QTC. Feb 22 - Mar 16.

Playhouse, QPAC. 1 800 355 Charlie and Lola’s Best Bestest 528.

Play. Adaptation by Jonathan Lloyd. QPAC & AKA. Jan 4 - 25.

Cremorne Theatre, QPAC. 136 246.

The Long Way Home by Daniel Keene. Sydney Theatre Company and the Australian Defence Force. Feb 27 - Mar 1. QUT The Rocky Horror Show by Richard O’Brien. Howard Panter Gardens Theatre. (07) 3138 & John Frost. Jan 8 - Feb 9. Lyric 4455.

Theatre, QPAC.136 246 Victoria Angelina Ballerina The Mousical

by Miranda Lawson & Barrie Bignold. Nick Brooke/BOS Productions. Jan 8 - 12. Concert Hall, QPAC. 136 246

KING KONG. Writer: Craig Lucas. Music overseen by Marius de Vries. Lyricist: Michael Mitnick. Global Creatures. Until Feb 16. Regent Theatre, Melbourne. 1300 111 011.

The Illusionists 2.0. Concert Hall, QPAC. Jan 19-27. 136 246 A Midsummer Night’s Dream by William Shakespeare. Australian Australia Day by Jonathan Biggins. QTC. Playhouse, QPAC. Shakespeare Company. Until Jan 25 - Feb 16. 1 800 355 528. Mar 15. Southern Cross Lawn, Royal Botanic Gardens Noises Off by Michael Frayne.

Melbourne. 03 8676 7511 / Brisbane Arts Theatre. Feb 1 136 100.

Mar 1. 3369 2344 Grease by Jim Jacobs & Warren Songs From An Unmade Bed by Casey. John Frost. From Jan 2.

Mark Campbell. Cremorne Her Majesty’s Theatre, Theatre, QPAC. Feb 4-8. 136 Melbourne. 1300 795 012.

246 Dr Seuss’s The Cat In The Hat. Rosie O’Donnell - Live. Concert Based on the Book by Dr Seuss, Hall, QPAC. Feb 7. 136 246 play originally produced by the Forbidden Broadway by Gerard National Theatre of Great Alessandrini. Savoyards. Star Britain. Andrew Kay & Garry Theatre, Manly, Brisbane. Feb Ginivan. Jan 2 - 9. Playhouse, 15 - 23. 3893 4321 Arts Centre Melbourne. 1300 The Making of a Great Lover by 182 183.

Jo Denver. Lind Lane Theatre, The Illusionists. Arts Centre Nambour. Feb 14-22. 5441 Melbourne in association with 1814 Tim Lawson and Simon Painter.

Jan 3 - 12. State Theatre, Arts Manon/Ballet Imperial/Suite en Blanc. Australian Ballet. Feb 21 - Centre Melbourne. 1300 182 183.

60 Stage Whispers

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

On Stage

Victoria Diamonds are for Trevor. Trevor Ashley as Dame Shirley Bassey.

Jan 28 - Feb 1. Playhouse, Arts Centre Melbourne. 1300 182 183 The Bitter Tears of Petra Von Kant. Dirty Pretty Theatre/ Midsumma 2014. Jan 29 - Feb 8. Theatre Works. (03) 9534 3388.

Out of the Water by Brooke Berman. Feb 5 - Mar 8. Red Stitch Actors Theatre. (03) 9533 8083.

Diavolo Dance Theater Architecture in Motion. Arts Centre Melbourne. Feb 5 - 9.

State Theatre, Arts Centre Melbourne. 1300 182 183.

Turning the tables on one of our favourite fairytales, Windmill Theatre’s production of Big Bad Wolf by Matthew Whittet explores what it’s like to be a bit different and challenges the presumptions we all make. For ages 5 and up, Big Bad Wolf stars Windmill regular Patrick Graham as Wolfy, with former Circus Oz performer Emma J Hawkins as Heidi Hood. Taking on a myriad of roles is versatile Kate Cheel. January 10 - 25 at Southbank Theatre, The Lawler (Vic).

Thank You for Being a Friend by Jonathan Worsley and Thomas Duncan-Watt. Midsumma 2014. Matthew Management and Neil Gooding Productions.

Jan 7 - 18. Theatre Works. (03) 9534 3388.

Angelina Ballerina - The Mousical. Arts Centre Melbourne. Jan 15 - 19. State Theatre, Arts Centre Melbourne.

1300 182 183.

Sweet Dreams: Songs by Annie Lennox by Dean Erth’s Dinosaur Zoo. Arts Centre Bryant, performed by Melbourne / Erth Visual & Michael Griffiths. 2014 Physical. Jan 7 - 19. Fairfax Midsumma Festival. Jan Studio, Arts Centre Melbourne. 15 - 26.

1300 182 183. fortyfivedownstairs. (03) RENT by Jonathan Larson. Next 9662 9966.

Step Productions / Midsumma In Vogue: Songs by 2014. Jan 9 - 18. Chapel off Madonna by Dean Chapel. (03) 8290 7000.

Bryant, performed by Michael Griffiths. 2014 Big Bad Wolf by Matthew Midsumma Festival. Jan Whittet. MTC / Windmill 15 - 26.

Theatre. Jan 10 to 25.

Southbank Theatre, The Lawler. fortyfivedownstairs. (03) 9662 9966.

(03) 8688 0800.

Snow White & Friends by Felicité Keeble (with contributions from Bob Tuttleby). Hartwell Players.

Jan 11 - 18. Ashwood College Performing Arts Centre. (03) 9513 9581.

Oprahfication by Rachel Dunham, Shanon Whitelock & Dirk Hoult. Jan 15 - 19. Chapel off Chapel. (03) 8290 7000.

Horrible Histories - Awful Egyptians. Andrew Kay and Associates by arrangement with The Birmingham Stage Company. Jan 16 - 22.

Playhouse, Arts Centre Melbourne. 1300 182 183.

The Temperamentals by Jon Marans. Mockingbird

Theatre Company. Jan 17 - Feb 1. Brunswick Mechanics Institute Performing Arts Centre.

Lay of the Land by Tim Miller.

Theatreworks / Midsumma 2014. Jan 19 - 25. Theatre Works. (03) 9534 3388.

The Worst of Scottee.

Theatreworks / Midsumma 2014. Jan 19 - 25. Theatre Works. (03) 9534 3388.

Standing on Ceremony - The Gay Marriage Plays. By Neil LaBute, Paul Rudnick, Moises Kaufman, Doug Wright, Jose Rivera Mo Gaffney, Jordan Harrison and Wendy MacLeod.

Conceived by Brian Shnipper.

Ellis Productions. Jan 22 - Feb 9.

Chapel off Chapel. (03) 8290 7000.

Cock by Mike Bartlett. MTC. Australian Premiere. Feb 7 - Mar 22. Arts Centre Melbourne, Fairfax Studio. (03) 8688 0800.

The Hallelujah Girls by Jesse Jones, Nicholas Hope and Jaime Wooten. Peridot Theatre Inc. Feb 7 - 22. 1300 138 645 / (03) 9898 9090.

Forklift by KAGE. Arts Centre Melbourne. Feb 12 - 16.

Theatres Forecourt, Arts Centre Melbourne. 1300 182 183.

Almost, Maine by John Cariani.

Williamstown Little Theatre. Feb 13 - Mar 1. (03) 9885 9678.

Quartet by Ronald Harwood.

Mordialloc Theatre Company.

Feb 14 - Mar 1. Shirley Burke Theatre, Parkdale. (03) 9587 5141.

As Bees in Honey Drown by Douglas Carter Beane. Brighton Theatre Company. Feb 19 - Mar 8. 1300 752 126.

Pacific Overtures by Stephen Sondheim & John Weidman.

Watch This & Manilla Street Productions. Feb 19 - Mar 9.

Theatre Works. (03) 9534 3388.

Carousel The Little Battle. One Trick Pony, Gasworks Arts Park Trap For A Lonely Man by and Midsumma. Jan 23 - Feb 1. Robert Thomas. Malvern Gasworks Arts Park.

Theatre Company. Feb 21 - Mar 8. 1300 131 552.

Private Lives by Noël Coward.

MTC. Jan 25 - Mar 8.

HAIR Summer of Love. Victorian Southbank Theatre, The Tour. Music: Galt MacDermot.

Sumner. (03) 8688 0800.

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

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

Stage Whispers 61

On Stage

Victoria, Tasmania and South Australia Feb 8. The Arts Theatre, Adelaide.

Melbourne Theatre Company opens its 2014 season with Noël Coward’s Private Lives, a sparkling comedy about love, lust and marriage, from January 25. MTC Associate Director Sam Strong’s production of Coward’s classic 1930 comedy of manners stars Helpmann Awardwinner Lucy Durack (Legally Blonde, Wicked) as the hapless Sibyl with Leon Ford (Constellations) as her husband, Elyot. Nadine Garner (City Homicide) stars as Amanda with John Leary as her husband Victor. From January 25 at the Southbank Theatre, The Sumner.

Read more about the MTC season at http://bit.ly/1ab797S

The Wizard of Oz by L. Frank Baum. Adelaide Youth Theatre.

Jan 24 - 26. The Royalty Theatre. BASS 131246.

Busybody by Jack Popplewell.

Tea Tree Players. Feb 12 - 22.

Tea Tree Players Theatre. www.teatreeplayers.com Adelaide Fringe - February 14 March 16 www.adelaidefringe.com.au Ubu Roi by Albert Jarry. 5pound theatre / Adelaide Fringe. Feb 13 - 26. Gluttony. FringeTIX. In Vogue: Songs by Madonna & Sweet Dreams: Songs by Annie Lennox. Devised by Dean Bryant and featuring Michael Griffiths.

Feb 14 - Mar 16. Garden of Unearthly Delights- Le Cascadeur. FringeTIX. Sound & Fury’s Hamlet & Juliet.

Feb 15 - Mar 2. Gluttony - The Bally. FringeTIX.

The Lighthouse Theatre, Warrnambool, Feb 21 & 22, 03 5559 4999; The Drama Theatre, Geelong, Feb 27 - Mar 1, (03) 5225 1200; Chapel Off Chapel, Melbourne, Mar 4 - 9, (03) 8290 7000; West Gippsland Arts Centre, Warragul, Mar 14 & 15, (03) 5624 2456; Her Majesty’s Theatre, Ballarat, Ap 2, (03) 5333 5888.

Whistle Down the Wind. Music: Andrew Lloyd Webber Lyrics: Jim Steinman. Cardinia Performing Arts Company. Feb 22 - Mar 7. Cardinia Cultural Centre, Pakenham.

0407090354 or A/H (0) 95871750.

The Secret Tent by Elizabeth Addyman. Strathmore Theatre Arts Group (STAG). Feb 27 Mar 9. 9382 6284.

The Government Inspector.

Created by Simon Stone after Nikolai Gogol. Malthouse. Feb 28 - Mar 23. Merlyn Theatre.

(03) 9685 5111.

62 Stage Whispers

Tasmania Robin Hood. Big Monkey Theatre Inc. Jan 1 - 26. Royal Tasmanian Botanical Gardens.

(03) 6234 5998.

Trial by Jury by William S. Gilbert and Arthur Sullivan. The Gilbert & Sulllivan Society of Tasmania. Jan 4 - 31.

Penitentiary Chapel Historic Society, Hobart. (03) 6234 5998.

Jesus Christ Superstar by Andrew Lloyd Webber and Tim Rice. Old Nick Hobart Theatre Summer School. Feb 21 - Mar 1. Mt Nelson Theatre, Hobart College. (03) 6234 5998.

South Australia

South Pacific by Rodgers and Hammerstein. Opera Australia, John Frost and Adelaide Festival Centre. From Dec 29, 2013.

Festival Theatre, Adelaide. 131 A Midsummer Night’s Dream by 246.

William Shakespeare.

Robin Hood, The Musical by Tim Shakespeare in the Gardens / Kelly. Hills Youth Theatre. Jan Directions Theatre Pty. Ltd. Feb 14 - 19. Stirling Community 7 - Mar 1. Royal Tasmanian Hall. 8339 3931.

Botanical Gardens. (03) 6234 Salt. Restless Dance Theatre. Jan 5998.

17 - 25. Odeon Theare, BLITZ! A Sentimental Journey by Claire Dawson & Rod Anderson.

A Claire Dawson Production supported by Tasmania performs. Feb 14 - 22, The Playhouse Theatre, Hobart, (03) 6234 5998 & Mar 7 & 8, Earl Arts Centre, (03) 6323 3666.

Norwood.

The Trials and Tribulations of Mr Pickwick by Nigel Levinson.

Bakehouse Theatre. Feb 17 Mar 1. The Bakehouse Theatre.

FringeTIX / 1300 621 255.

Third Reich Mommie by Christopher Bryant. Bakehouse Theatre. Feb 18 - 22. FringeTIX Ada & Elsie: Wacko-the-DiddleOh! by Maureen Sherlock. Feb 18 - 22. Capri Theatre, Goodwood. FringeTIX. Inheritance by Hannie Rayson.

The Stirling Players. Feb 21-Mar 2. Stirling Community Theatre.

8339 2030.

Decadence by Steven Berkoff.

Apriori Projects / Adelaide Fringe. Feb 24 - Mar 10. Holden Street Theatres, The Studio.

FringeTIX. Summer of Blood by Robert Armstrong. Feb 24 - Mar 1.

Blacmange Productions.

FringeTIX.

Disney’s High School Musical 2: On Stage! Southern Theatrical The 25th Annual Putnam Artistic Youth Group. Jan 17 Spelling Bee by William Finn and 25. Hopgood Theatre, Adelaide.

Rachel Sheinkin. Adelaide Youth (08) 8207 3977 Theatre. Feb 26 - Mar 1. Star Oliver! by Lionel Bart. Gilbert & Theatre. BAS 131246.

Sullivan Society of SA. Jan 31 -

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

On Stage Western Australia Horrible Histories. Andrew Kay and Associates by arrangement with the Birmingham Stage Company. Jan 3 - 10. From the BBC TV show. His Majesty’s Theatre, Perth. Ticketek 132 849.

The Deep by Tim Winton adapted by Justin Cheek. Spare Parts Puppet Theatre. Jan 6 Feb 1. Alice is scared of the deep water. Spare Parts Puppet Theatre, Short St, Fremantle.

9335 5044.

South Australia & Western Australia

University of WA. Ticketek 132 849.

Ballet at the Quarry: Radio and Juliet. Choreographed by Edward Clug West Australian Ballet. Feb 8 - Mar 1. Australian Premiere. Music by Radiohead.

Quarry Amphitheatre, City Beach. 136 100.

Not By Bread Alone by Adina Tal and Nagala’at Deaf-Blind Theatre Ensemble. Nagala’at Deaf-Blind Theatre. Feb 8 - 12.

Deaf-blind cast. Regal Theatre, Subiaco. Ticketek 132 849.

Young Frankenstein by Mel Brooks and Thomas Meehan.

Koorliny Arts Centre. Jan 17 Feb 1. Musical - WA Premiere.

Koorliny Arts Centre, Kwinana.

9467 7118.

You Once Said Yes by Morgan Lloyd Malcolm and Katie Lyons.

Look Left Look Right. Feb 8 Mar 1. Interactive trip through the streets of Northbridge.

Ticketek 132 849.

Flood by Chris Isaacs. Black Swan State Theatre Company.

Jan 17 - Feb 2. What is the cost of protecting friends? Studio Underground, State Theatre Centre of Western Australia.

Ticketek 132 849.

Not By Bread Alone by Adina Tal and Nagala’at Deaf-Blind Theatre Ensemble. Feb 8 - 12.

Deaf-blind cast. Regal Theatre, Subiaco. Ticketek 132 849.

Aladdin and his Wonderful Lamp. Mandurah Little Theatre.

Jan 23-26. Boardwalk Theatre, Mandurah Performing Arts Centre. 9550 3900.

Brilliant Lies by David Williamson. Garrick Theatre. Jan 30 - Feb 15. Garrick Theatre, Guildford. 9378 1990.

Xavier Samuel returns to his home-town, Adelaide, to play Konstantin in the State Theatre Company of SA production of The Seagull from February 21, following Hollywood success in films such as ‘The Twilight Saga: Eclipse’, ‘Anonymous’, ‘Drift’, and most recently starring alongside Naomi Watts in ‘Two Mothers’.

Read more about the STCSA 2014 Season at http://bit.ly/1ab7cAy

Situation Rooms by Helgard Haug, Stefan Kaegi, Daniel Wetzel. Rimini Protokoll. Feb 8 23. Multi-player video theatre piece. ABC Studios, East Perth.

Ticketek 132 849.

Deca Dance. Choreographed by Ohad Naharin. Batsheva Dance Company. Feb 9 -12. Australian exclusive and premiere. Heath Ledger Theatre, State Theatre Centre of Western Australia.

Ticketek 132 849.

Hamlet by William Shakespeare.

Graduate Dramatic Society. Jan 31 - Feb 16. University Theatres, Bianco by Firenza Guidi. No Fit University of WA. State Circus. Feb 11 - Mar 1.

Dramatic live circus. No Fit State The Arsonists by Max Frisch.

Big Top, Ozone Reserve, Perth.

Stage Left Theatre Troupe. Jan Ticketek 132 849.

31 - Feb 8. Stage Left Theatre, Boulder.

Otello by Guiseppe Verdi. West Australian Opera. Feb 4 - 11.

His Majesty’s Theatre, Perth.

Ticketek 132 849.

Miss Julie by Yael Farbner, based on the play by August Strindberg. Baxter Theatre at the University of Cape Town in association with the South African State Theatre. Feb 7 13. Australian exclusive and premiere. Octagon Theatre,

The Rocky Horror Show by Richard O’Brien. Feb 14 - Mar 9.

Crown Theatre, Perth. Ticketek 132 849.

A Midsummer Night’s Dream by William Shakespeare, reimagined by Dmitry Krymov.

Chekhov International Theatre Festival and Dmitry Krymov’s Laboratory. Feb 14 - 19. Fruit, flowers and five metre puppets.

His Majesty’s Theatre, Perth.

Ticketek 132 849.

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Stage Whispers 63

On Stage

Western Australia Tony Award winner Denis O’Hare (True Blood, The Good Wife) appears in his one man show An Iliad at the Perth International Arts Festival, the Adelaide Festival and the New Zealand Festival during February and March. Illuminating the heroism and horror of warfare, An Iliad was inspired by Robert Fagles’ award-winning contemporary translation of Homer’s Iliad. Set against the backdrop of contemporary conflicts Afghanistan, Iraq and Syria - O’Hare plays an ageless poet who seems destined to retell the ancient tale of war through the ages, accompanied by a live score from double bassist Brian Ellingsen.

An Iliad by Denis O’Hare and Lisa Peterson, based on Homer’s Iliad. Homer’s Coat. Feb 16 26. Sunken Gardens, University of WA. Ticketek 132 849.

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

KADS. Feb 21 - Mar 15.

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

9257 2668.

Don Parties On by David Williamson Melville Theatre Company. Feb 21 - Mar 8.

Sequel to Don’s Party. Melville Theatre, Palmyra. 9330 4565.

La Curva. Israel Curvan. Feb 21 23. Flamenco dance. Regal Theatre, Subiaco. Ticketek 132 849.

ONEFIVEZEROSEVEN by Suzie Miller. Barking Gecko Theatre Company. Feb 22 - Mar 1.

World premiere, investigation of teen life. Studio Underground, State Theatre Centre of Western Australia. Ticketek 132 849.

The Curious Scrapbook of Josephine Bean. Shona Reppe.

Feb 22 - Mar 1. Australian Premiere, children’s theatre.

Studio, Subiaco Arts Centre.

Ticketek 132 849.

Krapp’s Last Tape by Samuel Beckett. Change Performing Arts. Feb 22 - 23. Australian exclusive featuring Robert Wilson. His Majesty’s Theatre, Perth. Ticketek 132 849.

Dinner With Friends by Donald Margulies. Old Mill Theatre. Feb 14 - Mar 1. Winner 2000 Pulitzer Prize for Drama. Old Mill Theatre, South Perth. 9367 8719.

Centre of Western Australia.

Ticketek 132 849.

Majesty’s Theatre, Perth.

Ticketek 132 849.

Dadeh 21. Choreographed by Ohad Naharin. Batsheva Dance Company. Feb 14-17. Australian premiere, abstract dance. Heath Ledger Theatre, State Theatre

Cinderella by Tony Nicholls.

Primadonna Productions. Feb 14 - 15. Pantomime. Pinjarra Civic Centre. 0401 588 962.

The House Where Winter Lives.

Punchdrunk. Feb 14 - 23.

Recommended for children.

Downstairs at the Maj. His

Tosca by Giacomo Puccini West Australian Opera. Feb 15. City of Perth’s Opera in the Park.

Supreme Court Gardens. Free Event.

64 Stage Whispers

Veles e Vents by Ausias March.

Xarxa Theatre. Feb 15.

Spectacular Public Theatre.

Langley Park. Free Event.

The Shadow King by Michael Kantor and Tom E. Lewis.

Malthouse Theatre. Feb 24 Mar 1. Melds Shakespeare and Aboriginal storytelling. Heath Ledger Theatre, State Theatre Centre of Western Australia.

Ticketek 132 849.

Opus. Circa and Debussy String Quartet. Feb 26-Mar 1. Blends circus and classical music. Regal Theatre, Subiaco. Ticketek 132 849.

Ilo. Compagnie Chaliwate. Feb 26-Mar 1. Australian Exclusive, Wordless theatre. Subiaco Arts

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

On Stage Centre, Subiaco. Ticketek 132 849.

Haze. Choreographed by Wang Yuanyuan. Beijing Dance Theatre. Feb 27 - Mar 1. Story of social and spiritual change.

His Majesty’s Theatre, Perth.

Ticketek 132 849.

Laying the Ghost by Simon Williams. Stirling Players. Feb 28 - Mar 15. Stirling Theatre, Morris Place, Inaloo. 9440 1040.

Northern Territory The Long Way Home by Daniel Keene. Sydney Theatre Company and the Australian Defence Force. Feb 22. The Playhouse, Darwin Entertainment Centre.

(08) 8980 3333.

New Zealand A Midsummer Night’s Dream by William Shakespeare.

Shakespeare in the Vines / Essential Theatre. Jan 4 & 5.

Ascension Wine Estate, Auckland.

360 - a theatre of recollections.

Jan 13 - 25. The Civic, The Edge, Auckland. 09 970 9700.

Jack the Giant and the Jiggery Plot by Richard Blythe. Elmwood Players Children’s Theatre. Jan 16 - 25. 355 8874.

Battle of the Bastards by David Ladderman. Jan 17 - 25, North

Western Australia, N.T. & New Zealand

Hagley Park Events Village, Christchurch City & Feb 7 - 11, Queens Park, Invercargill.

Stuff I Forgot to Tell My Daughter by Michele A’Court.

Jan 17 - 25. North Hagley Park Events Village, Christchurch City.

Much Ado About Nothing by William Shakespeare.

Shakespeare in the Park. Jan 18 - Feb 15. The PumpHouse Theatre, Killarney Park, Auckland. 09 489 8360.

Performance Centre, Wellington. 04 238 6225.

A Play About Fear. My Accomplice. Feb 7 - 16. Circa Theatre, Wellington.

Ladies Down Under by Amanda Whittington. Dolphin Theatre, Auckland. Feb 15 - Mar 8. (09) 636 7322.

Calendar Girls by Tim Firth.

Time Travellers. Nopera Whitley. Hawera Repertory Society. Feb 15 - 22. Memorial Theatre, Feb 8 - 16. BATS Theatre, Hawera. TicketDirect.

Wellington. 04 802 4175.

Horatio. Sceptre Theatre. Feb 10 Euthermia/Hyperpyrexia. Making - 14. BATS Theatre, Wellington. Friends Collective. Feb 17 - 21.

BATS Theatre, Wellington.

04 802 4175.

Shu. Arte Visuale. Feb 11 - 15.

Gryphon Theatre, Wellington.

Othello by William Shakespeare. 0800 BUY TIX (289 849).

Shakespeare in the Park. Jan 21 The 7 Person Chair Pyramid - Feb 15. The PumpHouse High Wire Act. Feb 11 - 15.

Theatre, Killarney Park, Puppies, Wellington. 0800 BUY Auckland. 09 489 8360.

TIX (289 849).

The Merchant of Venice by Frequency. Mysterious Stranger.

William Shakespeare.

Feb 11 - 27. BATS Theatre, Shakespeare Outside. Jan 22 Wellington. 04 802 4175.

26. Rototua Museum. pocaHAUNTus. Disney’s Alice in Wonderland.

Theatrecomrades. Feb 12 - 15.

Tauranga Musical Theatre Inc. Studio 77, Wellington. 0800 Jan 25 - Feb 1.

BUY TIX (289 849).

Citizen Gef. Hungry Mile I Could Live Here. Would You Theatre and Slave Labour Rather Productions. Feb 12 - 16.

Productions. Feb 4 - 9. BATS BATS Theatre, Wellington. 04 Theatre, Wellington. 04 802 802 4175.

4175.

Traces. Ghosts From They Saw a Thylacine by Sarah Hamilton and Justine Campbell. the Archives. Longstaff Productions. Feb 14 - Mar 1.

Feb 5 - 11. BATS Theatre, The Royal Alehouse and Eatery, Wellington. 04 802 4175.

Wellington. 0800 BUY TIX (289 Immaculate Deception. Tiny 849).

Pieces. Feb 7 - 10. Whitereia

The Dreamer. Loose Screw Collective. Feb 18 - 22.

Whitereia Performance Centre, Wellington. 04 238 6225.

Red Nose Reverie. Zig Zag Theatre. Feb 19 - 22. Gryphon Theatre, Wellington. 0800 BUY TIX (289 849).

Needles and Opium by Robert Lepage. 2014 New Zealand Festival. Feb 21 - 24. The Opera House, Wellington. Ticketek.

Pasefika by Stewart Hoar. 2014 New Zealand Festival. Feb 22 Mar 14. Circa Theatre, Wellington. Ticketek.

Bloodlines. Red Scare Collective.

Feb 25 - Mar 1. The Moorings, Wellington. 0800 BUY TIX (289 849). !Paniora! Auckland Theatre Company / 2014 New Zealand Festival. Feb 26 - Mar 5. Te Papa, Wellington. Ticketek.

Auditions Twelve Angry Men by Sherman L. Sergei (adapted from the television show by Reginald Rose). Lilydale Athenaeum Theatre Co. Inc. (Vic). Feb 2. Enquiries: 0425 435 866.

Dad’s Army by David Croft and Jimmy Perry. The 1812 Theatre (Vic). Feb 2. Enquiries: (03) 97583964 / 0412 494 100.

Beyond Therapy by Christopher Durang. Dad’s Army by David Croft and Jimmy Perry. The 1812 Theatre (Vic). Feb 2. (03) 9758 3964 / 9721941 / 0403 528 130.

Harold and Maude by Colin Higgins. The Mount Players. (Vic) Feb 15 & 16. 0416062371.

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 www.stagewhispers.com.au Stage Whispers 65

Reviews: Premieres

Atomic. Photo: Gez Xavier Mansfield Photography.

Online extras!

Discover Atomic’s creative process by scanning the QR code or visiting http://youtu.be/UgKr0SSJL_Q Atomic Book & Lyrics by Danny Ginges and Gregory Bonsignore.

Music & Lyrics by Philip Foxman. Dreamingful Productions.

NIDA Parade Theatre, Sydney. Nov 16-30.

KA-BOOM! Never has a new show ‘bombed’ quite like this! American director Damien Gray’s theatrical depiction of the 1945 dropping of the atomic bomb on Hiroshima is truly amazing. The lighting, the sound, the visceral charge of the dropping of Big Boy alone rewards seeking out this engrossing new adult musical worthwhile.

Atomic is the brainchild of former Sydney advertising guru Danny Ginges who has been hell-bent on developing a musical that tells the virtually unknown story of Leo Szilard, the Hungarian/Jewish physicist who discovered the concept of a nuclear chain reaction.

There are excellent songs by Australian-in-New-York Philip Foxman, here delivered by a rousing six-person band; and Ginges’ much-revised script has been grafted with contributions from Broadway’s Gregory Bonsignore.

There is still work to be done. The musical - actually, it’s more an ‘adult revue’, even a ‘serious burlesque’ - needs a trim. And an audience can currently be lost without a smattering of knowledge of physics, the 30s and the Manhattan Project. There were some empty seats after the interval.

More fool them, I say. They missed seven marvellous performances, lead by Michael Falzon as Leo and Bronwyn Mulcahy as Trude. David Whitney has fun with fame-hungry Enrico Fermi. The setting of sliding panels by New Yorker Neil Patel is quite brilliant.

66 Stage Whispers

I doubt if there was a tighter, more creative musical production anywhere in Australia in 2013.

Frank Hatherley Carrie The Musical

By Michael Gore, Dean Pitchford and Lawrence D. Cohen.

Squabbalogic. Seymour Centre (NSW). Nov 13-30.

AT worst I could expect the highly collectable experience of seeing the notorious Broadway musical flop Carrie tantalizing for a musical theatre tragic.

But no, gone are the excesses of the overblown 1988 Broadway Schlockbuster based on the Stephen King novel / Brian de Palma movie, excised for this intimate, enjoyable, yet still sometimes flawed, rework.

There are hints of every high school themed musical, but grittier and nastier with themes of bullying and abuse - an antidote to their cheery optimism.

Hilary Cole is spellbinding as Carrie; she has a terrific voice, and utterly inhabits an achingly believable portrayal.

Subtly monstrous, Margi de Ferranti is an unintentionally abusive nightmare of a mother as Margaret White. Her great musical theatre voice blends splendidly, musically and dramatically, in duets with Hilary.

Unflinchingly nasty ringleader / bully Chris, played with vindictive zest by Prudence Holloway, sets the tone for the small, exuberant ensemble who conspire to make Carrie’s life a misery, while looking like they’ve stepped straight out of Grease.

As nice girl / sole prom-night survivor Sue, also the narrative frame, and her athlete / sensitive poet boyfriend

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

Online extras!

Check out a clip from Carrie The Musical by scanning the QR code or visiting http://youtu.be/MxCifAJQ5aQ

Zach Smith, Hilary Cole, Bridget Keating, Monique Salle in Carrie The Musical. Photo: Michael Francis

Tommy, Adèle Parkinson and Rob Johnson go beyond stereotypes, finding the sincerity and truth essential to making their part in Carrie’s story matter. Bridget Keating’s Phys. Ed. teacher Miss Gardner really makes you feel Carrie is in the hands of a teacher you’d entrust kids to.

Jay James Moody’s direction constantly builds the tension and strives for emotional truth; you connect with a real human story, as surely as you delight in the iconic blood-soaked prom dress. Sean Minahan’s functional, atmospheric single set, anticipating the show’s chilling climax, uses simple props to fluidly suggest changes.

Yes, Carrie is indeed based on a classic horror film, and packs a climax more like an Elizabethan Revenge Tragedy than any musical I know; a bit like Hamlet by telekinesis.

Neil Litchfield The Mountaintop

By Katori Hall. Melbourne Theatre Company (Vic). Fairfax Studio, Arts Centre Melbourne. Nov 6 - Dec 18.

ON a long stormy night in 1968, Rev Dr Martin Luther King Jr (Bert LaBonte) is holed up in his Memphis hotel room, weary, alone and downhearted. After years of preaching, ‘testifying’ and advocating for an end to racial inequality what does he have to show for it? Camae, a maid (Zahra Newman), arrives with coffee and the evening plunges into a series of revelations, confessions and surprises.

What was King like when he wasn’t preaching to the thousands? Egotistical? A philanderer? Driven? Neurotic?

Katori Hall’s entertaining script hones in on King’s personal

despair in the hotel room, opening to a bigger picture perspective towards the close. Historical footage alongside the recitation of names of leaders and achievers is captivating.

Bert LaBonte and Zahra Newman, the sole cast members, are quite something, navigating the gamut of emotional nuances and coming up trumps. Newman’s standing-on-the bed speech is bold and pithy (you go girl!), and LaBonte’s turmoil is admirable, with the final rallying call an uplifting close.

The Lorraine Motel locale, the site of King’s assassination, is constructed on a rotating disc, enabling a 180-degree pivot. Props excel themselves with magical effects including self-lighting cigarettes and flowers growing through the floor. Lighting is quite a feature, including a wonderful thunderstorm, flickering lamps and a concluding monologue with the house lights up.

Projection was the only disappointment. With visibility cut adversely by the top of the set, the historical footage could not be fully appreciated.

Worthy reflections on an iconic figure, who was only human like the rest of us.

Lucy Graham NSFW

By Lucy Kirkwood. Red Stitch Theatre, St Kilda (Vic). Nov 22 - Dec 21.

RED Stitch have done it again; married a well-written and controversial new play with a stellar cast for an exhilarating production.

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

Stage Whispers 67

Lucy Kirkwood’s play examines the objectification of women, by both men and their own gender, in the print media. What would (and should) be Act One sees us in the offices of The Doghouse, a soft porn magazine that men claim to read “for the articles”. The magazine has printed a topless shot of a girl who turns out to be only 14 and the excrement is about to make physical contact with the oscillating air device. The dazzling Ben Prendergast brings us editor/magazine chief Aidan; driven, hungry, ruthless but with a tiny streak of decency…or is it self-preservation?

Always compelling, he’s an actor with an anarchic edge beneath the charm. Confronted by the girl’s father, brilliantly realised by the wonderful James Wardlaw, what ensues is a monumental battle of great acting. It’s mesmerising. But extreme emotions are far easier to play than doubt, guilt and uncertainty. Matthew Whitty (Sam) gives a beautifully measured performance as his career choice bends, and ultimately breaks, his integrity and his spirit.

Mark Casamento as Rupert, the Eton fop, and Kasia Kaczmarek as Charlotte, super smart and a feminist, are both excellent.

Charismatic Olga Makeeva devours the role of Miranda, a menopausal monster who runs “Elektra”, a magazine which purports to empower women, but actually denigrates them. Tanya Dickson’s direction throughout is thoughtful and sometimes inspired. The set and costume design by Eugyeene The, and lighting by Clare Springett are excellent. This is yet another feather in the cap of a company that consistently punches above its weight.

Coral Drouyn An Ordinary Person

By Robert Allan. Sydney Independent Theatre Company. Old Fitzroy Theatre. Oct 22 - Nov 16.

THE richly topical subject of victimhood is the focus of Robert Allan’s second full-length play, An Ordinary Person.

Louise (Mel Dodge) arrives in the back garden of her estranged parents, Aggie (Cherilyn Price) and Topher, full of new age certainties but still overpowered with resentment at how they abandoned her.

In a parallel plot, young Nathan is encouraged by his driven girlfriend (Carla Nirella) to start his own business but when he turns up for a job in the same backgarden, Topher makes a pass at him. Nathan, haunted by a childhood assault, has a gay panic attack. Although initially a little laboured, Allan merges these two plots with an impressive thread of suspense and empathy. Julie Baz’s production has some uncertain blocking and acting inclined to eye rolling and thoughtless rhythms. This naturalistic material, especially on such an intimate stage, demands an almost televisual truth. Alexander Butt as the younger Topher, a country boy meeting a girlish Aggie for the first time but set on escape to Sydney, and Jai Higgs as Nathan, capture that necessary truth in stillness.

David Jeffrey plays an appropriately ambiguous (adult) Topher and has created an attractive stage design. Robert Allan’s play has none of the promised dark comedy and would benefit from more sociological depth about why so 68 Stage Whispers

many of us now identify as victims, but it’s an often compelling, important new play.

Martin Portus Because of Reasons

By Rob Reid. 5pound Repertory Theatre (Vic). The Owl and the Pussycat, Richmond. Nov 20 - 23.

QUALITY always wins over quantity for me, and so this short new play by Rob Reid, about the toppling of Kevin Rudd in 2010, is completely satisfying.

Director Petra Kalive and designer Casey Scott-Coreless have done a marvellous job on a shoestring budget.

Basically some red tape, a couple of small whiteboards and 5 red industrial style desk lamps are all the set/lighting that there is…and all that is necessary. The text and performances were so compelling that we didn’t need, or want, anything more.

Tim Wotherspoon proved once more what a terrifically dry, laconic comedic talent he is; the delightful Freya Pragt gave us an impressive and moving Julia Gillard; Brendan Hawke was perfect as Bill Shorten and Wayne Swan; Lelda Kapsis is far more attractive than Graham Richardson, Penny Wong, or even Cate Blanchett - but her skilled portrayal of them, and more, was excellent.

Finally there’s Keith Brockett. Inspite, or perhaps because, of his Asian ethnicity, he was superbly on the money as Kevin Rudd, and eerily channelled him on occasion.

There’s a reluctance amongst theatregoers to see new plays, but there shouldn’t be. This company takes risks, and so should we as an audience. It’s great theatre that costs little more than a movie ticket.

Coral Drouyn The Shadow King Created by Tom E Lewis and Michael Kantor. Coopers’ Malthouse Theatre (Vic). Oct 16 - 27. World Premiere.

IT isn’t necessary to know Shakespeare’s great tragedy King Lear before seeing this fascinating production. In fact, it’s probably better if you don’t; Shakespeare’s greatest strength is surely the marvellous poetry of his language.

That is all but discarded and replaced with new text, some in English, some in Kriol (pidjin) and some in native dialect, much of it paraphrasing the original. Yet there is poetry of another kind at work.

Co-Creator Tom E. Lewis (Lear), an actor of great intensity, seems ill at ease in the first scene, and there’s a lack of genuine connection to his three daughters, but that could have been opening night nerves. All is forgiven as the excellent cast finds its level, and what Lewis lacks in subtlety is compensated by his immense power as he degenerates into madness. Jimi Bani (Edmond) shows us once again what a unique and charismatic actor he is. He is mesmerising at every turn, juggling humour and melodrama equally. Kamahi Djordon King, as a very wise and emotionally engaged fool, almost steals the play. The set is astonishing… a house, a prison, a huge mining truck, all are convincing. The use of video rather than stills in the projection is inspired.

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

L-R: Kamahi Djordon King and Damion Hunter in The Shadow King. Photo: Jeff Busby

Online extras!

Cast and creative discuss the show’s evolution. Scan the QR code or visit http://youtu.be/d-UdrWqjxXU But, clever though all of this is, what is mind-blowing about this production is its bravery and honesty, and credit for that must go to Lewis. The most astonishing elements are those which are still alien to us after more than two hundred years….the Aboriginal dancing, the didge, the haunting plaintive sounds of the singing, almost a wail; the scene of cleansing with red earth (which brought this reviewer to tears), the purity and humanity of what was here before and always will be, and can never be owned, these are things which transcend any shortcomings.

Uncle Jack Charles said, in his brief and charming “Welcome to country” that ‘the whole world needs to see these fellas’. He’s right. Shakespeare would have approved.

Coral Drouyn Then There Were 3

By Shelly Higgs and Daniel Alexander. Directed by Shelly Higgs. The Street Theatre (ACT). Dec 4 - 8.

THERE’S nothing quite like a baby to chew up and regurgitate parents’ lives. Then There Were 3 is a comedy based on a couple who find themselves in an insta-family and who initially do not cope at all. The musician father, played by Daniel Alexander in a semi-autobiographical role, goes into shock from the moment he sees a face emerging from where no face should ever be. Caroline Simone O’Brien, in a brilliant turn, fills the mother with contradictory rage, both adoring the baby but resenting the hell out of the situation.

This could have been pretty dire without the addition the “Ninja” (Raoul Craemer), a fate character who both

works the puppet of the baby and acts as the crazy universe, playing wild and chaotic jokes at whim (most involving baby sick and nappies) on the hapless couple.

The show is a wild ride. Higgs and Alexander have been brutally honest about the issues they faced in the early days of parenthood, which involves swearing, tears and the rude physicality of parenthood. The humour is bawdy, sometimes almost a manic hysteria, and the emotions underlying it are raw.

While people experiencing post-natal depression will find this the most useful, most parents will relate. It’s possible that teen audience members might be put off having babies for a very long time, but that’s not a necessarily bad thing, is it?

Cathy Bannister ><R&J (greater than, less than Romeo ampersand Juliet) La Boite Indie / The Breadbeard Collective / QPAC. Roundhouse Theatre. Nov 14-30.

I READ this title as More or Less Romeo and Juliet, just what it turned out to be!

Ten young actors, 5F 5M, explore Shakespeare’s famous play as more than just a three-day love affair between a thirteen year-old girl and a seventeen year-old boy, resulting in multiple deaths.

How strong is Shakespeare’s understanding of human nature and cultural roots? Does it carry over four hundred years? The final back projection said: ‘Romeo and Juliet both end up dead’.

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

Stage Whispers 69

Georgie Parker in Rapture, Blister, Burn. Photo: Steve Lunam.

of college, and sexual harassment officer Jana Abernach, bristle with hostility. The direction is tight and economic.

This script feels a little undercooked with what look like structural issues. An edit to cut political rhetoric to the bare minimum would tighten and add vitality. A fine first fulllength play by Helen Machalias, which students living in colleges around the country would benefit from seeing.

Cathy Bannister

Rapture, Bliss, Burn

By Gina Gionfriddo. Ensemble Theatre, Sydney. Oct 31 Dec 7.

THE pocket-sized Ensemble Theatre runs a juicy sideline of smart off-Broadway plays not considered enticing enough by the bigger companies. Exactly a year after successfully staging Gina Gionfriddo’s excellent Becky Shaw, the company now presents her whip-smart new play, a Pulitzer Prize finalist.

At its centre are two former college roommates.

Catherine (Georgie Parker) has become a feminist academic, appearing regularly on big city TV. Gwen (Anne Tenny) is now an edgy, domesticated wife and mother. Their wildly different lives are linked by the never-forgotten fact that Gwen married Catherine’s boyfriend Don (Glenn Hazledine), now an unfulfilled Dean at a minor college.

When Catherine returns home to look after her mother (Diane Craig), who is recovering from a heart attack, old wounds are opened. Catherine teaches a course (Module During their dramatic evisceration of the script every one 3: Torture, Horror and Sadistic Pornography) attended by of this collective portrayed each of the central characters; Gwen and 21-year-old Avery (Chloe Bayliss). Avery assesses they interpolated contemporary songs into the action; they her elders with an unflinching cool. “You either have a led us through the story with back projections; they even career and wind up lonely and sad,” she observes, “or you included the odd sonnet with relevance to the moment. It have a family and wind up lonely and sad.” was an energetic production in modern dress without set There are long and static scenes of teaching and other than a few building boxes to suggest locales. discussing feminist theory and history, but the text is so The packed opening night audience were with them all strong and the all-round acting so deftly orchestrated by the way, but I suspect other audiences with fewer close director Sandra Bates it’s a splendid challenge to keep up. connections to the players might find this confusing.

The cast bring great skill to the zinging dialogue.

Under the careful guidance of Matilda-Awarded Georgie Parker is particularly compelling as the sharply wunderkind Lucas Stibbard, the ensemble, each of whom intelligent (yet very unhappy) academic. deserves applause, provokes us while exhibiting a legitimate Frank Hatherley technique for getting actors to dig deeper into understanding their characters.

Heaven & Earth Jay McKee

By Will Gayre, aka Don Gay. Mainstage Theatre Company.

Peacock Theatre, Salamanca Place, Hobart. Nov 22-30.

In Loco Parentis DON Gay (aka writer Will Gayre) based his latest play on

By Helen Machalias. Director: Andrew Holmes. The Street a real but inexplicable experience. Dan (Alex Rigozzi) and Theatre Made in Canberra Series. Oct 25 - Nov 2.

Sue (Melanie Brown) are two young lovers who return from THE culture of sexual abuse and coercion that exists in their European adventure, bringing back more than just religious, sporting or educational organisations is explored souvenirs! Although a funny, sexy romp, this is also a scary in In Loco Parentis. Taking us into the sexually charged, play (with supernatural themes) about the blurry lines boisterous atmosphere of St Joseph’s College, the play between reality and imagination. deals with the events and politics surrounding an alleged Heaven & Earth is gripping theatre featuring a gifted sexual assault. cast. Three actors played dual roles: Aidan Furst and Bryony Hannah Wood is excellent as senior resident Katy, Hindley also spoke with Italian accents for about half of conveying both steel and vulnerability, while Dylan van den their time on stage. Hindley has excellent diction and voice Berg captures the moral ambiguities around college captain production. Melanie Brown played girlfriend Sue with Mitch, who is accused of but denies raping Sarah. Kate honesty and vulnerability. Carol Devereaux was perfectly Blackhurst and Catherine Crowley as Jillian Bryce, the head cast as Millicent, older woman/lover of Dan and again as 70 Stage Whispers

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

Cass, the legal voice summing up the action. All characters were necessary and all actors pulled their weight.

The minimalist set was enhanced with moody lighting

by Rogan Brown and musical soundscape composed by Mark Hulsman. Don relied on the vibrancy and energy of his young main characters to drive the play to its inevitable conclusion.

Judge for yourself what is real and what is imagination.

Just how much control do we have over our lives?

Merlene Abbott

playing around with his female assistants, and Sue Morley, as Amelia, voiced her feelings for him, while looking at compromising photos, in Can’t Help Lovin’ Dat Man of Mine.

The Boulevard of Blood and Dreams is set in 1938, with wealthy crime writer Sotheby and her philandering husband initially in a Cairo hotel while she finances his latest search for historic relics, and the second half in a Paris jazz club.

A highlight was the performance of I Get a Kick Out of You, with vocals by David Baker and Sue Morley, and a pair of stiletto-heel shoes worn in the number offering a clue to Boy Out of the Country one of the murders.

By Felix Nobis. Directors: Felix Nobis and Fleur Kilpatrick.

Director Dean Winter kept the story moving briskly Designer: Rob Sowinski. Composer: Bang Mango Cools. along, with the five band members literally changing hats Larrikin Ensemble Theatre, 45 Downstairs. Nov 21 - Dec 8. as they switched characters. There was also neat footwork, (Vic). including lively tap dance by Sue Morley in Everybody Loves BROTHERS Gordon (Matt Dyktynski) and Hunter (Martin My Baby when she became Paris street-singer Stephanie Blum) are arrested by local policeman Sergeant Walker Grappelli (punning names were part of the fun).

(Christopher Bunworth). Hunter has returned to the country Ken Longworth town of his childhood, where Gordon remained with his wife Rachael (Amanda LaBonte) and their two young Anaconda daughters. The boys’ mother Margaret (Jane Clifton) drifts

By Sarah Doyle. Paddington Arts Club and Rock Surfers in and out of denial as Gordon prepares the family estate Theatre Company. The Bondi Pavilion Theatre. Oct 29 - Nov for sub-division.

23.

Mr Nobis’ writing is a particular kind of brilliant, and it’s PHIL Walker was sexually abused by fellow students. not difficult to see why it attracted the stellar cast it did.

Matty Buttiker stood by and watched. Years later, when Nobis’ command of ‘vernacular verse’ is faultless, and Walker is arrested for murdering one of his attackers, when it doesn’t work, it’s because the directorial layer of Buttiker, now a successful barrister, offers to take his case influence over the performance was missing. The free of charge. fundamentals of blocking were abandoned, and we were Based on a real case of sexual abuse, Sarah Doyle’s play left with too much standing and sitting around. explores many human failings - revenge, injustice, Dyktynski, Blum, Clifton, LaBonte and Bunworth are homophobia, hero worship, power, powerlessness - and some of Melbourne’s finest actors, and their embrace of the long-term effects of trauma. The dialogue is mostly this script was superb. Sowinksi’s design was spare and tight, the messages clear and raw. functional, while Mr Mango Cools’ original composition Simon Lyndon holds the character of Phil Walker on a was limited but effective. rigid rein; his inner torment covered by feigned This was a rewarding and very funny night at the nonchalance and tightly coiled physicality. He trusts no one, theatre. It also marked the arrival of a fascinating and least of all a do-gooder barrister whom he once thought original new voice in our theatre, which is cause for was his friend. celebration.

As Matty Buttiker, Damian de Montemas plays almost Geoffrey Williams two characters. With his wife, Bivva, he is the suave lover and confident lawyer. With Walker he is hesitant, careful The Boulevard of Blood and Dreams not to offend. It is a hard role and one de Montemas plays

By David Baker and Chris Gill. The Royal Exchange, with careful deliberation.

Newcastle. Oct 11 - 19.

Leeanna Walsman develops the role of Bivva cleverly.

AN audience is clearly having a good time when its Sexy, albeit a little remote, she shares Buttiker’s ambitions, members clap hands and tap feet in time with the rhythms but not necessarily this idealistic ‘cause’. Walsman’s timing of songs being performed by a jazz band as part of an of some very pithy responses brings wry relief to the tension amusing story. of the play.

That happened frequently in The Boulevard of Blood and Martin Broome plays Tove Hegharty, Buttiker’s school Dreams, with the audience having a really swinging time as friend, now the bartender at a gay bar. Broome successfully Smokin’ Chops trumpet player Manny Serrano sang brings out the grace of this gentle character and the lack of Perhaps, Perhaps, Perhaps with the original Spanish lyrics. understanding he suffered at Buttiker’s hands so many The band’s David Baker, who co-wrote this tongue-inyears ago. cheek Agatha Christie-style tale with fellow musician Chris The production begins explosively - and the lighting and Gill, highlighted just how engaging well-known songs can sound effects pick up the tense writing and action in this be when presented in a different format. play that explores “the difficult, the hard, the painful - the Boulevard’s main female character, Amelia Sotheby, for stuff that people like to push under the carpet”. example, learns that her archaeologist husband has been Carol Wimmer Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 71

The Star Child

Closet Land

By Radha Bharadwaj. The Bakehouse Theatre, Adelaide. Nov 27-30.

GROWLING Grin Productions’ Australian premiere of Radha Bharadwaj’s play Closet Land is very well done, especially when one considers this is a young company staging a difficult psychological thriller that would be challenging for even the most experienced professionals.

Author of a number of children’s stories, the female protagonist lives in a world of fantasy. Her life has been one full of dream-like characters. However, it is a bogeyman that comes to haunt her. The author’s latest story, ‘Closet Land’, is brought to the attention of the government, whereupon she is imprisoned and interrogated.

On a clinically simple set, the place and characters are obscure. People’s names are not obvious. It gives a chilling credibility to the protagonist, played by Melissa Rayner. This young woman could be anyone from anywhere.

Rayner’s predominant experience has been in visual art rather than acting and this is her first leading role. Even so, she is very believable as the children’s author, but I would like to see more light and shade in her delivery. Rayner portrays the character’s inner strength well.

Benjamin Orchard is excellent as the interrogator, including in the guises the character uses to confuse the children’s author. He is chillingly deliberate and devious.

In her directorial debut, Olivia Jane Parker uses the space well and keeps the action tight.

Lesley Reed 72 Stage Whispers

The Star Child Adapted from Oscar Wilde’s short story. Book and Lyrics by Roger Gimblett. Music by Nicholas Edwards. Genesian Theatre, Sydney. Nov 24 - Dec 14.

SIXTEEN years ago the writers first started composing and writing their adaptation of Oscar Wilde’s fable, but never got a chance to finish it, as both were on different sides of the planet.

This matches the gestation of the drama in The Star Child. A woodcutter discovers a baby in a forest, which he believes has arrived from a star. 15 years later the boy is an impossibly vain teenager obsessed with his looks. When a beggar woman reveals herself as his mother he abruptly dismisses her because she is ‘too ugly’. He begins a long journey of redemption, which touches on some of Oscar Wilde’s favourite themes of beauty and vanity.

There was much to enjoy in this charming little production.

Colourful costumes, especially the Yeoman Guards in front of the Tower of London, and a strong five-piece band add to the entertainment for children and adults alike.

Ben Bennett played The Star Child. Fresh from the TV series The Voice he makes a credible transformation from a spoilt brat to earnest traveller seeking redemption.

From a solid start, the music and action gains pace with some bright tunes, leading to a spectacular ending.

With a few tweaks The Star Child has the potential to shine in many theatres.

David Spicer

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Reviews: Plays

Waiting For Godot

By Samuel Beckett. Sydney Theatre Company. Sydney Theatre. Nov 12 - Dec 21.

INHERENTLY Samuel Beckett’s classic piece comes with a lot of baggage loaded with mixed messages and high expectations in an absurdist style and context.

Pairing Hugo Weaving (Vladamir) and Richard Roxburgh (Estragon) in the lead roles appears to be an obvious choice, but credit must be given to Tamas Ascher who recognised during rehearsals for Uncle Vanya the glorious potential of casting these two. But it must also be said that Ascher’s unavailability to direct the show due to injury could be thought of as a blessing in disguise. It is in taking on this unexpected task that Andrew Upton really shows what he’s made of as a director.

As for the bromance between Weaving and Roxburgh, it is absolutely infectious. These two men are so in love with each other (in a platonic way) and they are having so much fun that it’s impossible to resist being swept away along with them on a rollicking ride of impeccably timed comedy.

Philip Quast is virtually unrecongnisable and does a wonderful rendition of the puffed-up, pompous and explosively violent Pozzo. And Luke Mullins’ version of Lucky is the unsung hero of the show. The subtle detail in his performance is really quite astounding.

This production is not only extraordinary theatre, but it’s a sublime rendering of an absurdist classic. Even Samuel Beckett - who was a notoriously tough nut - would be sitting up in his grave applauding.

Whitney Fitzsimmons

Hugo Weaving and Richard Roxburgh in Sydney Theatre Company’s Waiting For Godot. Photo: Lisa Tomasetti

Mindgame

By Anthony Horowitz. Baker’s Dozen Theatre Company.

Gasworks Art Park (Vic). Nov 13 - 16.

IN Anthony Horowitz’s psychological thriller - the beautifully-structured Mindgame - nothing is as it seems.

Writer Mark Styler (Matthew Bradford) has made the trip to an asylum to request an interview with one of the patients.

Dr Farquhar (Lachlan Martin) tries to put Styler off by telling him that the patient is too dangerous. When a nurse (Skye Staude) tries to have Styler leave, he refuses - triggering a chain of events that had us jumping out of our seats, gasping and laughing, as director Blake Barnard and his exceptional cast took us on the ride of our lives.

Eliza Wood’s design is flawless, and Robin Thomas’ lighting design was beautifully focused. Tom Backhaus’ perfectly timed sound design was startlingly on the mark, while the recurring motif that is playing when you enter the theatre is an eery, unsettling and haunting contribution from composer Lyndon Chester.

Bradford and Martin both deliver tour de force performances, while Ms Staude was perfect as the anxious employee for whom nothing goes right.

While some of the action on the floor was impossible for me to see from where I was sitting, the direction and performances were terrifically, and occasionally terrifyingly, accomplished.

Geoffrey Williams

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Stage Whispers 73

L-R: Jason Klarwein, Tama Matheson, Kellie Lazarus in QTC’s Design for Living. Photo: Rob Maccoll.

The Book of Everything

By Guus Kuijer, adapted by Richard Tulloch. MTC. Southbank Theatre, The Sumner (Vic). Nov 27 to Dec 22.

NEIL Armfield has this wondrous ability to take the charming and make it magical; to find the inner child in all of us; to have us willingly suspend disbelief.

This story, set in Holland in 1951 and told from a nine year old boy’s point of view, is about life, and isn’t that everything? A fearful father who believes all the answers are in the bible; a downtrodden mother; a wilful daughter; an old witch/ kindly neighbour who, in turn, is a witch after all; a girl whose beauty is marred by a creaking leather artificial leg; an Aunt who stands firm and asserts her right to wear trousers; a bum-biting dog, a musician, and a wildly imaginative and innocent boy who talks to Jesus:- these are the materials Armfield and his cast work with to create this marvel.

As nine-year-old Thomas, Matthew Whittet is nothing short of brilliant, and totally convincing. Peter Carroll’s experience brings humanity and depth to the role of the fundamentalist father. Alison Bell (Margot) always impresses and she simmers and seethes while paying lipservice to obedience. Andrea Demetriades is appealing as the girl with a handicap and Claire Jones is heartbreaking as the mother torn between family and duty. John Leary’s Jesus is wonderfully unpretentious and Genevieve Picot makes Aunt Pie a believable three-dimensional early feminist. Then there is the fabulous Julie Forsyth, complete with huge bustled bottom as the OTT witch Mrs Van Armerstoort. She is delicious. Add to this the considerable 74 Stage Whispers

talents of musician Iain Grandage and one would be hard pressed to think of a single reason why this should not be the triumph that it is. It’s a marvellous piece of theatre.

Coral Drouyn Design for Living

By Noël Coward. Queensland Theatre Company. The Playhouse, QPAC. Oct 19 - Nov 10.

END the season with sore sides from laughing!

Don’t blame Coward’s clever writing entirely. Director Wesley Enoch and his carefully chosen cast never miss a comedic opportunity.

Richard Roberts’ 1930s costumes and stunning sets all have the ‘aaahhh’ factor. Ben Hughes’ lighting highlights the glamour and Tony Brumpton’s carefully chosen period jazz numbers capture the era.

The acting is superb. The central trio, Jason Klarwein (the artist, Otto), Tama Matheson, (Leo, the playwright) and Kellie Lazarus (interior designer), carry the action. In particular the last scene in Act 1 is an exemplary piece of acting; likewise Leo and Otto’s unforgettable drunk scene at the end of Act 2.

Coward uses ancillary characters, not one of whom is an ‘extra’ here: cabaret star in his first straight theatre role, Fez Faanana, makes every appearance a major comedy moment; Carol Burns’ Grace Thomas is the epitome of the 30s new rich; Trevor Stuart’s Art Dealer, Ernest, reveals how the upper class survived the Great Depression; Andrea Moor is almost too real as the upwardly mobile Helen Carver (but

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I challenge you to recognise her in her other role); and do you recognise Bryan Probets as her husband?

This show is bangs for bucks for everyone.

Jay McKee

This is beautifully crafted theatre that tells a story of a fairly ordinary family with an extraordinary secret. There are no bells and whistles; no fancy rewrites or pretentious “contemporising” of the work; this is just a great cast, telling a great story and doing it very well indeed.

The Removalists Sinclair has managed to corral a group of performers

By David Williamson. Stooged Theatre. Civic Playhouse, with serious credentials and there are some exceptional Newcastle. Nov 13 - 23. standouts. Marshall Napier as the patriarch Joe Keller WHILE David Williamson wrote The Removalists in 1971, manages to tread the fine line between being too clever by the violence, corruption and male chauvinism it depicts are half and suffering the confusion of circumstances which still with us and this fine production directed by Carl Young leapt beyond his control. But it is Andrew Henry as the showed how timeless it is. good son Chris Keller and Toni Scanlan as his mother Kate The initial light comedy, as a police sergeant told a Keller who both turn in profound and captivating young constable on his first day on the job to forget the performances. rule book because “there’s a real world out there”, gave Luke Ede’s production design, Nate Edmondson’s sound way to darker humour as that world emerged. and Nicholas Rayment’s lighting all combine to take us back in time to 1950s middle America, when life was supposed The arrival at the police station of a woman with social pretensions, bringing her reluctant younger sister to make a to be simple, but it was far from it. complaint about her basher husband, leads to the police From the beginning All My Sons is gripping, but it is the and a removalist arriving at the ill-treated woman’s house second half that holds the entire audience on a knife-edge at the same time the husband unexpectedly comes home. and it is exhilarating.

Violence becomes the order of the day.

Whitney Fitzsimmons Patrick Campbell made very believable Sergeant Simmonds’ ability to switch instantly from offering down-to A Streetcar Named Desire -earth advice to his subordinate to smoothly manoeuvring

By Tennessee Williams. DAPA, Newcastle. Oct 11 - 26. the women, and Callan Purcell gave credence to Constable A STREETCAR Named Desire has been acclaimed as one Ross’ gradual shift from quoting his training manual to of the great American plays since it premiered in 1947 and erupting into anger and violence. this production showed why it deserves that label. The As written, the women’s roles are two-dimensional, but journey of one-time Southern belle, Blanche Dubois, into an Emma Wood as the snobbish Kate and Rachel Jackett as the increasingly unreal world when she moves into the New abused Fiona gave them colour, with Jackett’s expressions Orleans backstreet home of younger sister, Stella, and the while talking about husband Kenny’s violence making it latter’s aggressive husband, Stanley, received moving clear she still had feelings for him. treatment from director Julie Black and her cast.

Glen Waterhouse was a very natural Aussie workingThere was initially a gentle humour in the behaviour of class bloke, believing he had done little wrong when he Alison Cox’s Blanche, as she wore elegant clothing and tried referred to giving Fiona “just a love tap”. And Brian Randell to maintain a genteel lifestyle in an environment that was lifted the removalist, concerned only about himself, above literally rough and ready. But as the truth about her life and the pantomime level at which the role is often played. the reasons for her move to New Orleans were gradually In many stagings of this play punches are pulled in the revealed, Blanche’s increasing desperation became very growing violence, but fight director Kyle Rowling made the moving in Cox’s performance. blows very realistic, adding to the play’s clout.

Stanley, scathingly labelled by Blanche at one point as Ken Longworth something out of the Stone Age, was a man determined to keep his lifestyle unchanged in Dean Blackford’s strong All My Sons performance.

By Arthur Miller. Darlinghurst Theatre Company. The Rachel Levick was a down-to-earth Stella, happy in her Eternity Playhouse. Nov 1 - Dec 1. marriage despite Stanley’s occasional violence and THE decision to mount Arthur Miller’s seminal play All accepting of the working-class environment she now lives My Sons as the debut production at Sydney’s newest in. She was protective of Blanche, letting her sister retain theatre brings with it so much weight of expectation that it memories of things that she herself did not recall. could have backfired spectacularly and set a somber tone The other characters, including Stanley’s card-playing for the rest of the theatre’s inaugural season. friends and the arguing upstairs couple who own the In choosing this play director Iain Sinclair gives himself building, brought the outside world vividly to the Kowalski’s nowhere to hide. At first glance it is seemingly ostentatious apartment and doorstep (a period-perfect set by Graeme to go with an American classic to open an Australian Black).

Ken Longworth theatre. And in performing in an albeit minor role (Jim Bayliss) one would imagine he also created another rod for his own back. But it is in Sinclair’s daring that comes greatness.

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Stage Whispers 75

The Dumb Waiter

By Harold Pinter. Metanoia Theatre (Vic). Brunswick Mechanics Institute. Nov 5 - 16.

PINTER is a consummate user of banal repetitious language played against dark subtext, and is an acquired taste these days. The plot is basic; two hit men wait for instructions in the basement of an old café. They’re bored and Gus certainly is a dumb “waiter” in his own right, unable to penetrate the thinking of the older, taciturn Ben. If it seems vaguely familiar you’ve probably seen the delicious “In Bruges” which borrowed heavily from Pinter’s play.

It’s the juxtaposition of the banal mediocrity alongside the life and death sinister undertones which makes this play a masterpiece, and it’s also bloody funny when directed well. Fortunately Director Gorkem Acaroglu gives us one of the funniest productions I have seen; all deadpan in its black entirety. The result is two beautifully measured performances by Leslie Simpson as Gus and Greg Ulfan as Ben. Simpson’s UK origins add authenticity and weight to the naïve and stupid Eastender Gus, and make the character empathetic in the bargain. Greg Ulfan uses a Russian background to advantage and adds extra weight to the sinister older hit man. He’s totally convincing and the two actors work extremely well together.

This production is a “teaser”, since Metanoia doesn’t actually launch until 2014, but it’s a delicious portent of things to come.

Coral Drouyn Hamlet

By William Shakespeare. Belvoir (NSW). Oct 12 - Dec 1.

HAMLET is Shakespeare’s longest play and one of his most influential, so it’s understandable that director Simon Stone would want to cut it down. But when audience members are overhead at the end of the show trying to figure out whether Hamlet in fact killed himself or was killed, two things become very obvious, the edit is too economical and Stone assumes that the audience has an intimate knowledge of the story. This is unfair and arrogant. It is also arrogant to assume that it is obvious as to which actor is playing which character rather than having a cast/role list in the program, particularly when three key characters (Horatio, Rosencrantz and Guildenstern) are combined into one amorphous “role”. It doesn’t make sense and it cheats not only the audience but also the cast out of key relationships which serve to show Hamlet’s humour and humanity.

I am all for short snappy modern takes on classics, but Stone’s offering goes from being confused, to frustrating, to just silly, and not in a good way.

This is a production that puts style over substance. But there were real stand-out moments - the reinvention of the closet scene shows just what this show could have been.

Emily Barclay as Ophelia made me care about what happened to her. But Toby Schmitz as Hamlet was miscast.

Schmitz is an excellent actor (as are his colleagues) but in this show his performance was laboured and self-conscious - the edit didn’t allow him the space to show the light and 76 Stage Whispers

shade of the character - so what Hamlet becomes is just a whinging, self indulgent prat without the depth.

The decision to arm Hamlet with a gun (instead of a knife or a sword) just added to the confusion of the final showdown. A colleague reminded me recently of the famous Chekov quote, “Don’t use a gun (in theatre) if you don’t know what you’re going to do with it.” In this case not only did Stone not know what he was doing with the gun, he didn’t know what he was doing with the script.

Whitney Fitzsimmons Noises Off

By Michael Frayn. 5pound theatre. The Owl and the Pussycat, Richmond. Nov 12 - 16.

NOISES Off is widely considered the funniest play ever written, and, although I am not a big fan, I have to concede that last night’s performance was certainly the funniest I have seen. Director Jason Cavanagh chooses to play his actors as themselves rather than characters. It’s helped by the fact that Cavanagh, as Director, plays the Director, Jason, in the play and works most of the first act from the audience of the tiny theatre. The audience is never quite sure if it’s the director, or the actor playing the director, speaking. It’s a brilliant move which adds an entirely new level of credibility to the play. Cavanagh himself is superb, as expected. Tom Wotherspoon is brilliant; every nuance, every movement of the eyes, his physical timing, is comic perfection. Brendan Hawke does justice to every line, Freya Pragt is great as the housekeeper with a love/hate relationship with props; and the lovely Lelda Kapsis brings marvellous warmth to the stage. Keith Brockett is a revelation as an Asian burglar who misunderstands English.

The added performances of Colin Craig (who served our drinks and also worked front of house), Sharon Davis, the Stage Manager and Jessica Hackett as Vicky, were faultless.

This is theatre at its best…full of passion and enthusiasm.

Coral Drouyn The Web

By Kate Mulvany. Bakehouse Theatre (SA). Oct 23 - Nov 2.

FRED is a lonely, rurally and technologically isolated 16year-old. After witnessing several life changing incidents and failing miserably at school he is quite surprised when charismatic head boy Travis offers his friendship and assistance with his social studies assignment.

It is when Fred is taken to the local police station for questioning about a violent incident that the story becomes intriguing.

Directed by Yasmin Gurreeboo, Michael Lemmer and Andrew Thomas give genuine performances as Fred and Travis. Lemmer is sincere against Thomas’ manipulative but engaging Travis and both are very watchable.

Amy Victoria Brooks gives a solid characterisation as Fred’s Mum Ivy, who battles against loneliness herself while bringing up a teenager.

Nathan Porteus, as Sgt Tukovsky, and Delia Taylor, as Susan, complete the ensemble.

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Alone It Stands. Photo: Ian Colley Photography

Scene changes are choreographed with jerky activity and flickering lights as the action jumps back and forth in time.

These spasmodic movements are continued during some of the narration and on a whole don’t seem to work well within the play, especially inside the confined ‘rooms’. The actors appear awkward and uncomfortable in the space at times.

Surprisingly, there is a dash of humour in this tense production about a teenager interacting in a social setting outside his comfort zone, where circumstances get dangerously out of hand.

Sharon Malujlo

penchant for bonfires, Brent Schon stood out, likewise Lucy Moxon as the mother giving birth. Rahul Fernandes, Sarah Reinking and newcomer Alex Walsh also generated laughs when they were playing kids, the ball or a dog. Leo Bradley’s set, with its few benches and green floor, aptly set the scene.

Peter Pinne

Much Ado About Nothing

By William Shakespeare. Sport For Jove. Bella Vista Farm, Norman Lindsay Gallery, The Everglades Garden. Dec 7, 2013 - Jan 26, 2014 IT’S difficult to believe Sport For Jove has only been alive Alone It Stands for 5 years. From its humble beginnings in Castle Hill, the

By John Breen. Villanova Players. The Theatre, Morningside company has gone from strength to strength.

TAFE, Brisbane, Nov 22 - Dec 7.

It is a testament to the director and the cast that, as the I LOVED this play - a true story of the 1978 Rugby Union sun set, the breeze came in, and this reviewer’s bare legs match between the local Irish side, Munster, and the New began to grow goosebumps, there was not a stir in the Zealand All Blacks which found the local side winning. The crowd. No cries from the children present, no shifting on cast of seven played 62 characters during the course of the picnic blankets, no complaints. To do that with a play piece; everything from children, to the Irish and Kiwi teams, written over 400 years ago, in a language that at times can the fans, the referee, a dog and even the football itself. be unfamiliar to our ears, is impressive.

Director Leo Bradley has done the playwright proud Director Adam Cook presents a Much Ado that is full of mounting a fast-paced physical production that instantly human characters and a world that is undeniably relatable. captured the sporting milieu. His choreography of the Tim Walter and Matilda Ridgway play Benedick and Beatrice various scrums was a riot of fun. Stephen O’Grady was the with a third dimension and a truth that is so often lost in perfect father-to-be and very believable as one of the team. the pursuit of comedy. Christopher Stalley and Madeleine Gary Conwell also shone in many roles but was nicely Jones absolutely embodied the human essence of lovers effective as the son whose father has just died. In Claudio and Hero, and navigated their emotions with ease. everything from a cabbie, player, to a 14 year-old kid with a Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 77

It is easy to feel a loss of the magic of theatre in many of our modern performance venues, but sitting on a picnic blanket with wine and cheese on a farm in the Australian summer, being entertained by one of Shakespeare’s most enduring plays, it is hard not to feel that magic.

Jessica Lovelace The Hollow

By Agatha Christie. Hobart Repertory Theatre Society.

Playhouse Theatre, Hobart. Oct 25 - Nov 9.

AGATHA Christie’s ‘whodunnits’ have kept the theatre world chugging along with entertainment for decades. So it is for Hobart Repertory Theatre Society in this season, which marks the 75th anniversary of productions at the Playhouse Theatre. To celebrate their long successful career, the HRTS has reprised earlier productions.

With a large cast of twelve actors, most experienced but some newly ‘blooded’ in this classic country house mystery, Director Roger Chevalier had a marvellous time of presenting archetypal Christie characters. I found the action a little slow to begin with, but it was obvious that the director respected the Agatha Christie style and was familiar with the genre.

Pip Tyrell stole the show, giving a terrific performance as dotty old Lucy Angkatell. Mike Edwards ably played Lucy’s husband Sir Henry Angkatell, and was suitably deliberate, stolid and lumbering in a kindly sort of way. The large cast each had a chance to strut their stuff. All characters remained true to their form throughout, with great attention to accent and attitude. Steven Jones (John Cristow) was convincingly odious, and Sarah Forward, the dreary little cheated on wife (Gerda Cristow) garnered sympathy. Emalisa White was suitably DAHLING! as film star Veronica Craye. Jon Lenthall (Sergeant Penny) and Jean Henderson (Doris the maid) milked laughs, while Roger More (Gudgeon the butler) was hilariously droll.

Merlene Abbott Competitive Tenderness

By Hannie Rayson. Woy Woy Little Theatre. Peninsula Theatre. Oct 25 - Nov 10.

COMPETITIVE Tenderness (1996) is the mouthful of a title of a very wordy satire about the wheeling and doubledealing of a typically Australian rural, local government council. It appears Greater Bourke has been sold up the river by a CEO who rather inconveniently then passed away, leaving a clueless Mayor, his conniving peers and opportunistic staff to pick up the pieces. Enter brand new CEO, Dawn Snow - who has been lured to the town to be the new broom of sweeping reform but she soon proves to be more of a perfumed steamroller.

One of the hallmarks of Rayson’s plays is a high volume of scene changes and while this is a linear storyline, people with short attention spans (like myself) may find entrances and exits overly distracting - adding to the convolutedness of the plot. Keen political satire enthusiasts would take a much different view.

Annie Bilton has an absolute field day as Dawn, channelling the saccharine sarcasm of a ‘Sybil Fawlty’ but 78 Stage Whispers

with sexier, albeit sinister, edge. Paul Russell gets the biggest belly laughs as the hapless, horny Mayor and Bob Farmer shows delightfully subtle comedic timing as the senior parking officer - the rest of this very large cast offer solid support...while Jen Mealing and Charlotte Otton take turns scene-stealing throughout.

Rose Cooper Corpse!

By Gerald Moon. Therry Dramatic Society. The Arts Theatre, Adelaide. Nov 6 - 16.

THERRY Dramatic Society is on a winner with its lively, hilarious production of Gerald Moon’s comedy thriller Corpse!

Out-of-work actor Evelyn Farrant schemes to murder his identical twin brother, Rupert, hoping to then impersonate Rupert and secure his fortune. To achieve his desired result, Evelyn enlists the services of bumbling and decidedly dodgy Irishman, Major Ambrose Powell.

A twin himself, Adam Tuominen is in his element as both brothers. As Evelyn he is camp, theatrical, and clearly almost unhinged. As Rupert he is every inch the smooth tycoon, a man who despises his shiftless brother.

Peter Davies has the funniest lines in the play as the light -fingered and hapless Major Powell. He also has fine comic timing and milks the laughs for all they are worth, particularly in trying to get a dead body from the floor to a bed. His journey into comic confusion in the second act is exceptionally well played.

Sue Wylie gives an acting lesson in being a believable drunk as she portrays Mrs McGee. She is extremely funny in her flirtatious insobriety; a very good performance.

Set design by Nick Spottiswoode is very good, with two very different rooms set side by side. Its cleverness, though, is in what it hides rather than what it reveals.

Therry’s Corpse! delivers a hilariously devious plot, comic corpses, resurrection, blini cooked on stage (there’s a recipe in the program!) and even a swashbuckling sword duel… what more could you want from a truly funny night out at the theatre?

Lesley Reed When Dad Married Fury

By David Williamson. HIT Productions. The Q, Queanbeyan.

Nov 19-23 and touring.

HOW do spoilt children react when a wealthy widower remarries a much younger wife? When Dad Married Fury reimagines the classic trope of the rich man and the gold digger. Williamson plays with audience expectations based on that stereotype to surprising effect. Until almost midway through the events are almost predictable, but as soon as our catalyst, new wife Fury, arrives, Williamson starts to flesh out and move away from the stereotypes in unpredictable ways.

The excellent cast does a wonderful job of bringing these characters to life. The new wife, title character Fury, is a fluffy-toy obsessed American whose name derives from a childhood corruption of the word “furry”. Annie Last plays her as captivating, charming, good-natured, somehow

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naïve, and ultimately complex and nuanced. She is what gives the play depth. Another standout is Jan Friedl, who imbues a bereaved, sick and poverty-stricken elderly mother with quiet dignity.

The production itself is excellent, and it’s great to see such a minimalist set used so naturalistically. Williamson’s dialogue these days may have less of the barbed wit he used in the 70s, but it has mellowed to satisfying rueful irony.

Cathy Bannister

delightfully naïve and charming as he is entangled in some interesting situations.

Maxine Grubel is hilarious as Fay Hubbard. Anthony Clapp is just as strong in his role as her swinging husband.

Bernadette Abberdan is excellent, almost Julie Walters-like, as proud mum, Enid Washbrook. As her husband Ted, Lindsay Dunn is strong support. Megan Humphries is tremendous as the director’s wife, Hannah Llewellyn.

David Lockwood, as Jarvis Huntley-Pike, Georgia Bolton as teenager, Linda Washbrook, and Anthony Vawser as her boyfriend stand out amongst the remaining cast.

Scarlett O’Hara at the Crimson Parrot.

The set design, using fold-out rooms, is a very good

By David Williamson. 1812 Theatre (Vic). Nov 21 - Dec 14. initiative on St Jude’s Hall’s small stage. This made the A KIND of contemporary Australian take on Walter scene changes run very smoothly.

Mitty, Scarlett O’Hara (aptly named given her love of old This production is a fun night out and offers many a Hollywood movies) is a ditzy, pratfalling klutz who hasn’t good laugh about the internal struggles of an amateur much luck in her love life and fares little better in her efforts theatre group. to hold down her day job of waitress at the Crimson Parrot Sharon Malujlo cafe. This engaging heroine spends her time daydreaming, quoting Bogie and Bacall, and being alternately harangued Strictly Murder by her over-protective, lonely mother and browbeaten by

By Brian Clemens. Cairns Little Theatre. Nov 8-16. her money-troubled chef. Donna Pope delivers a warm, CAIRNS Little Theatre’s final production for 2013 is an nuanced and intelligent performance. Her comic timing is intriguing thriller set in a cottage in France just before the great and the physical humour required for the role well outbreak of World War II. Written by Brian Clemens of The choreographed, managing to look completely natural with Avengers and The Professionals fame, the play has more not a stunt going south. twists and turns than the Kuranda Range.

Clearly written as a light entertainment piece, the play is Dean Franklin in the lead role of Peter does an excellent full of deliberate stereotypes, such as Scarlett’s mother job. This is only Dean’s second appearance on stage, yet he (Joan Crossland) who could have stepped out of a TV soap, gives a very strong character performance of a man living a IT nerd Alan (Mathew Ducza), Scarlett’s potential love false life. Dean is ably supported by Caroline Morgan, who interest, and even the requisite “ageing poof” kitchen hand gives a powerful performance of a woman trapped by (Graeme Doyle). Given this cast of characters, there’s plenty happenings beyond her control. It was also good to see of opportunity for very un-PC jokes. The plot’s goodAndy Bramble back on the Rondo stage after a long natured predictability was telegraphed with the use of old absence. His characterization of the intellectually challenged movie clips, played on a large monitor throughout, often Josef was brilliant. Stalwarts Terry Grant and Gill Birch cleverly integrating old footage with newly-shot scenes completed a talented cast. Director John Hughes also did a featuring our cast taking the roles of classic movie stars and superb job in adapting a difficult script to the thrust stage. mouthing their overdubbed dialogue. These moments This is an unusual play but an interesting one to elicited real delight, as did some of the more outrageous complete another good year of theatre from the CLT. one-liners. Certainly not a laugh was missed as the cast Ken Cotterill mined the text for every vein of humour - but there was poignancy too, topped off with a feel good ending.

Peter Pan Alex Paige Roleystone Theatre, Roleystone WA. Directed by Paul Treasure. Nov 22- Dec 7, 2013.

A Chorus of Disapproval USUALLY when I review a show, I try to mention those

By Alan Ayckbourn. St Jude’s Players. Brighton (SA). Nov 14- making their first stage appearance and other relative 23. newcomers. For Peter Pan this would be a difficult task. At ALAN Ayckbourn’s plays are known for juxtaposing least ten in this cast made their community theatre debut, human failings and strengths against each other and his while another dozen or more celebrated their second show. hysterically funny and intricate play, A Chorus of Of the thirty in the cast, twenty-two were under eighteen.

Disapproval, has plenty of both.

Despite the large number of newbies in the cast, this The play follows a small amateur operatic society as it was clearly a well-directed production and performers all struggles to stage John Gay’s 1728 opera, The Beggar’s showed good focus, an awareness of purpose and Opera. When lust, infidelity and corruption beset the understanding of stage technique. While at times production, the result is hilarious chaos. inexperience showed, most often in lack of pace or unusual inflection, this was a pleasing production with some lovely Andrew Clark is fabulous as the opera society’s manic director, Dafydd Ap Llewellyn. His comic timing is just right. touches.

As Guy Jones, the new actor who becomes the reluctant Celeste Underhill shone in the title role. Totally target of female cast members’ affections, James Spargo is inhabiting the young boy so well-known from the book and Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 79

movies, Celeste kept the show fresh and swift in a very exciting performance.

The Darling children were very sweet. Sarah Munsie was a lovely motherly Wendy, John Lynes made a solid debut as John, while Leo Rimmer was delightful as Michael.

Michael’s battle with pirate Skylights (Travis Creighton) was a highlight of the show.

The Lost Boys belied a lack of experience and formed a dynamic ensemble.

Brad Towton as Hook displayed beautiful stage presence (though was difficult to understand at times) and was well supported by the Jolly Rogers’ crew, especially Sam Barnett and Andre Victor. Kate O’Sullivan was literally unrecognisable as the Chief, while Brigitte Hoareau brought quiet strength to Tiger Lily.

This production was very faithful to the original intent of J.M. Barrie and was warmly received by the modern audience.

Kimberley Shaw

Boeing Boeing

By Marc Camoletti, translated by Beverley Cross. Playlovers Hackett Hall (WA). Nov 15-30.

BOEING Boeing was boasting capacity crowds midweek in its second week of production, testament to its spreading reputation in this very competitive November/December theatre season.

David Nelson revealed great promise in his directorial debut, and though there were occasional directorial mistakes, this was a nicely controlled first production.

Gorgeously and obviously sixties, the set had some lovely attention to detail, most notably a fantastic period telephone.

Costuming, by Terry McAuley and David Young, included lovely reproduction air-hostess uniforms and employed wonderful use of primary colours.

Robert Ross was solid in the central role of Bernard while Jane Anderson seemed to be the glue that held the production together as house-keeper Bertha. Cameron Leese delivered a lively performance in the catalyst role of Love Rides the Rails Robert.

By Moreland Cary. Blackwood Players. Blackwood Memorial The girls were delightful and very different as the three Hall. Nov 15-30. girlfriends of Bernard. Sandra De Witt Hermala as Janet PASSION; greed; goodness; villainy - the basic elements from TWA made a very impressive community theatre of melodrama are all present in Blackwood Players’ debut and will be an actress to watch in the future. Taylor entertaining production of Moreland Cary’s Love Rides the Buoro-Long played sophisticated Air France Hostess Jacqueline with panache, while German Judith from Rails, directed by Erik Strauts.

Dashing, upstanding hero Truman Pendennis fights evil Lufthansa was beautifully played by Cynthia Fenton, who in a life and death struggle against dastardly, greedy villain, made the most of the show’s humour.

Simon Darkway. Our hero must save the railroad and earn This was a good, fun night at the theatre, nicely paced the hand of lovely and innocent heroine, Miss Prudence and well performed.

Hopewell.

Kimberley Shaw Amongst the cast, James Barbary stands out as having a clear understanding of the energy levels, exaggerated Albert Nobbs mannerisms, comic timing and over-the-top acting that

By Gordon Steel. Javeenbah Theatre Co., Nerang, Gold makes melodrama work. His performance as the villain’s Coast. Nov 23 to Dec 7. accomplice, Dirk Sneath, is excellent.

YOU just can’t keep a good man down! Mr Gold Coast Jarrod Chave is very good as the hero, Truman Theatre (octogenarian Joel Beskin) is appearing in the title Pendennis. As the villain, Damien White is suitably evil and role in Jim Dickson’s production of Albert Nobbs. dastardly but could exaggerate this even more to encourage The comedy, set in the north of England, has “stuck-in-a greater audience participation.

-rut” Albert and the 3 women in his life: his wife Connie Heroine Prudence is delightfully played by Rosie (Marie Dickson), her best friend Rose (Gillian Crowe) and Williams, though her presentation requires much more neighbour Alice (Wendy Spencer), living mundane lives until volume in the large hall. Kay Kelly Lindbergs’ Widow the day Connie dies in an accident and the two friends start Hopewell is very well done, though also requiring more to play a bigger part in Albert’s life. Connie continues to volume. control Albert’s life from beyond the grave.

As Madam Carlotta Cortez, Anita Canala is another who It’s very easy to identify with one’s own circumstances as needs more projection, though the character is wellthe war of words ensues. Poor Albert doesn’t stand a defined. Jabez Retallick, as the hero’s friend Harold chance. Each of the women is strong and very convincing in Standfast, is too realistic in style for a melodrama. their characters and the ever-present north English accents On opening night, despite the efforts of the enthusiastic added to the atmosphere. cast, the production lacked pace, particularly in the first Joel has been involved with the theatre for over 70 half. The prime reason for this was the time it took for the years, is a Life Member of the Gold Coast Theatre Alliance chorus to prepare itself for the interlude of songs between and was one of the original inductees into the Association each scene of Community Theatre’s Hall of Fame.

Overall, this is an entertaining production from an Roger McKenzie enthusiastic group of players.

Lesley Reed 80 Stage Whispers

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

L-R: Niyat Berhan, George Banders, Bec Barbera in Rooted.

Photo: Cybele Malinowski.

The Women

By Clare Booth Luce. The Theatre on Chester (NSW). Nov 8 30.

CLARE Booth Luce said of her play: “The women who inspired this play deserve to be smacked across the head with a meat axe and that, I flatter myself, is exactly what I smacked them with”.

The Manhattan socialite characters she describes are almost caricatures, drawn in harsh, bold strokes, which director Joy Sweeney has incorporated in both her direction and design. She uses beautifully tailored black and white costumes on a black and white set. A clever design decision, this invokes the original 1936 movie while emphasising the black and white bite of the social criticism of the play.

Stylised direction that accentuates the two-dimensional nature of the most of the characters also enables Sweeney to make this more of a comedy of manners than it might appear to be. Characters posture, pose and use asides that reach out to the fourth wall and hang there pithily, without actually breaking right through.

The use of stylised direction and design also helps in moving a large cast - 14 women playing 29 characters! around a relatively small stage that must become so many different ‘places’. When the curtains open to reveal a posed freeze of 14 women in stunning black and white, it is evident that Sweeney has made every effort to keep the context of this play - while giving it a contemporary sting.

Carol Wimmer

Rooted

By Alex Buzo. NIDA Parade Studio (NSW). Oct 30 - Nov 9.

ALEX Buzo is a member of the pantheon of great Australian theatre writers, such as David Williamson, Louis Nowra and Ray Lawler. We tend to expect that, like good wine, theatre will improve over time. But maybe not, because a recent night out getting rooted by Alex Buzo’s wonderful language of Australia in the sixties was an amazing transfusion of abundance and charm that I haven’t experienced in Sydney theatre for a long time. The language is from four decades ago, delivered in a place that could be then or may be now. The style, costume and production design are clever enough to enable us to consider either option. Director Phil Rouse and designer Anna Gardiner establish the where, when and how so well.

In Rooted, the young men and women are more concerned with their position in the social, sexual and economic pecking order - which is symbolised by the ubiquitous Simmo. All the cast are excellent, but George Bander has the plum role and he makes the most of it, delivering a delicious performance. We cannot help but care for this arrogant, petulant and foolish man who spends the play falling down a rabbit hole through a strange lost world. This production validates the need to revisit the great Australian writers because their themes and purpose are well crafted and eternal.

Stephen Carnell

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

Stage Whispers 81

Gaslight

By Patrick Hamilton. Centenary Theatre Group (Qld). Nov 2 23.

THIS Gaslight was brilliant.

Our early Sunday evening performance had a HOUSE FULL sign out. The place was buzzing.

The Manningham couple were already on stage under faux-gaslight, she sewing, he reading a paper. Sue Watson’s totally professional design impressed from furniture down to bric-a-brac; I suspect equal credit should go to those involved with its construction and decoration.

Likewise for the costumes; no expense was spared on details.

The claustrophobic psychological thriller has only five players. Tall, gaunt-but-elegant Eric de Wit creates an urbane Jack Manningham whom we slowly come to distrust. Meg Hinselwood attracts our sympathies as Bella, his wife, trying to do the right thing but being belittled constantly by her cruel husband. These are focal to the plot.

The confident cool hand of director Kurt Lerps becomes evident as tension mounts.

Arrival of personable Inspector Rough (Brian Hinselwood), who has become obsessed by this cold case, gradually helps Bella regain confidence in herself. In Act 2, two minor players (both maids) engage our attention: Catherine Bull as Elizabeth, sympathetic to Rough’s suspicions; and Simone-Maree Dixon as saucy Nancy who tries to seduce Jack.

It’s easy to see why this old thriller, well played, draws the patrons.

Jay McKee

Rehearsal for Murder Adapted by D. D. Brooke from a teleplay by Richard Levinson & William Link. New Farm Nash Theatre. Nov 2 23.

THIS play comes burdened by its origin: short sharp scenes in mosaic format swing between the past and present, keeping us engaged but confused.

Director Sandra Harman’s cast and crew worked hard to lead us through the complicated story of a leading lady who, supposedly, suicided when many opening night reviews were negative. Her playwright husband-to-be believes she was murdered. He writes the treatment of a new play and on the first anniversary of her death, calls together all members of the original company to read the scenes he has written so far.

The plot interweaves these readings with the past events leading up to the opening night. Paul Careless (as playwright, Alex Dennison) does a splendid job of steering us through rapid-fire scenes from past and present. Phil Carney’s clever lighting design clarified the ‘where and when’ of each scene.

Wonderful character actor with a distinctive style, Gary Kliger seemed miscast as a Broadway leading man, David Matthew. As Monica Welles, the leading lady, Sharon White is present throughout. It becomes obvious the leading lady in the new play is the dead actress.

The large cast worked as a tight ensemble congratulations to them all.

Jay McKee

In a Forest, Dark and Deep

By Neil LaBute. Winterfall at The Theatre Husk (Vic). Nov 2 Lend Me A Tenor 23.

By Ken Ludwig. Directed by Joe Tuppenny. The Basin BETTY and Bobby are sister and brother and it’s clear Theatre Company. The Basin (Vic). Nov 8 - 30. they’re connected only by blood and shared experience. But UNDER the deft comic skills of Director Joe Tuppenny, Betty turns to her brother when she needs help clearing out an excellent cast brings great vitality to Ken Ludwig’s Tony her country cabin, presumably set deep in a dark forest.

Award winning play about an introverted opera admin Playwright Neil LaBute explores interesting ideas: a assistant having to go on and perform for a drunken, relationship between siblings is not often portrayed like this drugged and presumed dead famous tenor. on stage. But the key drama is lost in unnecessary plot This production benefits greatly from having two very twists that seem designed to shock and then aren’t properly strong leads. Though David Lawson-Smith (Max) is actually explored. a baritone, he has an easy stage presence and a great sense In a Forest, Dark and Deep doesn’t go deep enough to of comic timing - a balanced performance, endearing as explore what drives these characters, in part because it well as funny. Jessica Fernando is outstanding as Maggie. focuses too much on Betty’s flaws, and not Bobby’s.

Not only a finely tuned performance throughout, she was The two actors are accomplished. Michele Williams the only cast member to sustain her American accent cleverly hints at her character’s lack of integrity and honesty throughout. Adam Lofthouse (Tito) has spent the last before it becomes evident. Christopher Connelly is decade doing voice-overs, but finally returns to the stage understated and turns this weaker character into a truly where he makes a feast of Tito, the womanising tenor. The believable man. scene in which the TWO Othellos mirror each other’s moves Denis Moore’s direction could have been tighter, is side-splitting as well as cleverly staged. particularly when the two fight. But it’s when things calm There’s excellent support from Peter Fowler, as CEO of down that the direction and performances captivate. the opera company, Judy Mitchell as Julia and Laell Raiteri Winterfall is providing finely produced theatre for as Tito’s hapless wife Maria, and even minor roles benefit Melbourne’s inner north. But the company’s attention from the casting. The set and costumes are impressive, as could be turned to plays with more relevance to audiences they always are with this company. here.

Coral Drouyn Peter Gotting 82 Stage Whispers January - February 2014

Chase Me Up Farndale Avenue, S’il Vous Plait

By David McGillivray & Walter Zerlin Jr. Townsville Little Theatre. Nov 6 - 9.

THIS is the first of the Farndale Avenue series of plays undertaken by Townsville Little Theatre, and, judging by audience reaction, it may not be the last. The cast of five, playing many different roles, took the traditional farce to a new level of chaos but the director managed to balance the proceedings so it did not go too far over the top; well, not too often anyway.

Trying to follow the plot is impossible, so it is best to just sit back and enjoy the rollicking action. Stephen Smith as Gordon and Pamela Garrick as Mrs Reece kept the play together with able assistance from Terri Thorne, Kaye Hinds and promising newcomer Alexis Wallace-Chilton. With most actors playing various roles, and a certain amount of crossdressing, the “play within a play” worked very well, although some audience members expecting a “straight” comedy seemed thoroughly bewildered.

Artistically, 2013 has been quite a successful season for the company and I look forward to their choices for next year.

Ray Dickson

The Mystery of the Hansom Cab The Adelaide Repertory Theatre. The Arts Theatre, Adelaide.

Nov 21-30.

THE Adelaide Repertory Theatre has blended its production of the convoluted melodrama The Mystery of the Hansom Cab with good old-fashioned musical hall performances, resulting in hysterically funny and brazenly over-the-top entertainment.

Adapted by Barry Pree and based on Fergus Hume’s 1886 book, the melodrama is the tale of an investigation into the murder of Owen White, who is found dead inside a hansom cab.

Director Gary Anderson has changed the setting to Adelaide’s streets and suburbs and much is made of iconic places, fixtures and memories.

The large cast produces some fine performances, superbly brought together by the Master of Ceremonies, Joshua Coldwell. With fine delivery, a devilish sense of fun and great comic timing, Coldwell keeps the action moving along at a rollicking pace.

Felix, the villain of the piece, is played with consummate ease by Barry Hill. Penni Hamilton-Smith creates the wonderful character of Sal Rawlins, engaging the audience the moment she steps on stage. Lindy Le Cornu is hilarious Orphans in her role as Rubina Hamilton. Her performance is brought

By Denis Kelly. Bluefruit Theatre. The Bakehouse Theatre, to a screamingly funny dead-pan peak in the balloon dance Adelaide. Nov 7-23. with Christopher Evans.

BLUEFRUIT Theatre has set a high bar with only its Treat of the night is the fine cameo by Ethel Schwartz, second production. Its interpretation of Denis Kelly’s who looks for all the world like Phyl Skinner but, between psychological thriller, Orphans, is superb. you and me, is really there as a Salvation Army Lady.

Helen and husband Danny are having a few hours alone Lesley Reed without their small son. They are about to eat dinner when Helen’s brother Liam arrives, covered in someone else’s Little Women blood. Clearly strung out and psychotic, Liam tells an Louisa May Alcott’s story, adapted by Peter Clapham. KADS evolving story about what has happened.

(WA). 15 Nov - 6 Dec. As Liam, Sam Calleja embodies the chilling, barely LITTLE Women is a lovely choice for this time of year, suppressed rage of a young man scarred by tragedy and by being a play in which much of the action is centred around unsuccessful foster parenting. Calleja maintains this Christmas celebrations. menacing, psychotic energy throughout the 2-hour Director Christine Ellis has created a cosy, warm production. When he ran to Helen and Danny’s six-year-old production, with a genuine feel-good atmosphere. The son after the boy arrived home I instinctively wanted to single setting was nicely drawn, which created a book-cover scoop the boy up, to remove him from his uncle’s presence. stage picture. Liza Moillin’s costuming and hair-styling was Calleja’s performance is simply brilliant. picturesque and appropriate to the era.

Anna Cheney’s Helen is superbly acted. Cheney skillfully The Little Women of the title were just lovely. The young portrays a woman who has finally found stability but who Brittany Isaia belied her age with a mature portrayal of the can’t escape her youth. Charles Mayer is very fine as Danny. oldest in the quartet, Meg. Clare Smale was a sweet and He presents a calm and centred man; one who, unlike his sympathetic Beth, while Kelsie Anderson brought energy wife and her brother, has never experienced the hard side and likability to Amy. of life. But Helen and Danny’s past reaches out to him, too, Rosie Collyer, as Jo, stood out in a particularly delightful and on this night he is changed forever. Mayer’s subtle, performance in the most demanding role. nuanced portrayal of a man only now realising the realities Lisa Skrypichayko was a very believable and lovely of his marriage is excellent.

Marmee. Karen Woodcock-Hall was an efficient and Bluefruit Theatre founder Shona Benson directs the play genuine Hannah. Blake Prosser was picture-book perfect as skillfully, ensuring the action lets up only in the dreamlike Laurie, matching the novel’s description to the letter. Rhett transitional sequences.

Clarke made a handsome and romantic John Brook and Lesley Reed Paul Williams made the most of his after 10pm performance as Mr March. Helen Hopper was in danger of stealing the show as Aunt March, in a very commanding performance. www.stagewhispers.com.au Stage Whispers 83

One of the more family orientated shows of the year, this was a pleasure to view.

Kimberley Shaw

Midsummer (A Play With Songs)

By David Greig & Gordon McIntyre. Black Swan. Heath Ledger Theatre (WA). Nov 9 - 24.

DESPITE the vaguely reminiscent title, the final offering The Club of the Black Swan 2014 season is about as far from

By David Williamson, Galleon Theatre (SA). Domain Theatre, Shakespeare as you can get. This two hander with live band Marion Cultural Centre. Oct 31 - Nov 9. accompaniment was adult entertainment that was racy, fun THE Club uses many informal and self-managed and raucous.

Deftly performed by Brendan Hanson and Georgia meetings to expose the wheeling and dealing and power struggles in this satirical play set in a late 1970’s Australian Gayler, this play is set in Edinburgh on Midsummer’s Eve. It Football club boardroom. follows the adventures of Bob, a nondescript small-scale Peter Smith is a fervent Ted Parker, the club president. crook and Helena, a lawyer who is reluctantly supposed to His character’s great passion and love for the game and the be a bridesmaid for her sister. The audience accompany the local club seeps through his performance. unlikely couple as they embark on an even more wildly Hal Bruce, as Geoff, is flamboyantly dressed and unlikely journey, in a beautifully humourous adventure tale. brimming with self-confidence. He is the embodiment of This partly narrated piece is conscious story-telling at its very best and the performers create not only beautiful the overpriced sports star.

Andrew Horwood has great comic timing as Jock Riley, characters, but tell their stories with genuine joy, which the ex-coach. Horwood uses his height well to be physically seems to be the key to the fun. intimidating and is hilarious in a bonding scene with Geoff.

Damon Lockwood’s direction is clear and the Aldo Longobardi keeps calm and cool as Gerry Cooper, performances well managed. The Edinburgh accents under the club’s administrator. There is only a hint of slyness, and the guidance of Julia Moody, seemed accurate, yet every this could have been projected more as Gerry works the word was understood. Fiona Bruce’s giant jigsaw of a set ‘success at any price’ motto. was both practical and interesting and beautifully Warren McKenzie executes the character of the coach supported by Trent Suidgeest’s emotive lighting.

Laurie Holden well. Myles Teakle is Danny Rowe, the Kimberley Shaw football players’ captain and ex club champ. Teakle is feisty and brings out Danny’s loyalties well.

Boston Marriage This is a technically sound production and there are

By David Mamet, Burnside Players / Butterfly Theatre. great laughs to be had, more so as the second act unfolds Wheatsheaf Hotel, Thebarton. Nov 13 - 20. and a love of football is not really necessary to enjoy this BUTTERFLY Theatre and Burnside Players’ collaboration production. in producing Boston Marriage is supported wonderfully by Sharon Malujlo a spiky, caustic script.

It is the turn of the 20th century and Anna (Bronwyn Don’t Just Lie There, Say Something Ruciak) is the fashionable mistress of a wealthy man. She

By Michael Pertwee. Gold Coast Little Theatre. Nov 16 - Dec now has the finances to support her long-term companion, 7.

Claire (Cheryl Douglas), with whom her real desires lie.

DOROTHY Henderson’s production had the potential to Claire, on the other hand, has been captivated by a younger be very funny, but didn’t quite hit the mark. The key to a woman. Claire is desperate to arrange an assignation with good farce is timing and I found that this was a little slack. her new favour and desires the seduction to be held at All the elements were there and will probably fall into line Anna’s place. This is an unconventional household. in a couple of performances.

Claire and Anna’s relationship is tumultuous with The awkwardness of being caught in a compromising insults, lies and racy wit, combined with blatant linguistic situation and trying to talk one’s way out of the mess anachronisms and is delivered at a rapid pace.

Bronwyn Ruciak is excellent as Anna. With a strong voice should be hilarious.

The experienced cast included Eric James, David Edwards and a cutting delivery she shows furious and hilarious and Brian Wilson as the Members of Parliament, Maria contempt for her maid Catherine (Genevieve Williamson), Buckler and Ruth Henderson as the parliamentary staff, whilst trying to gain the upper hand with her relationship Bruce Alker Jnr as the blundering Inspector Ruff and in the with Claire. cameo role of the caretaker was Hugh Brophy. Grace Cheryl Douglas is superb as Claire. She brings out the Lennox and Clare Ryan spiced up the plot. character’s intellectual strength and confidence.

The great set: a modern flat showing the living area and Genevieve Williamson plays Catherine, the maid that a very busy bedroom containing numerous hiding places Anna bluntly bullies and continually insists is Irish.

Williamson is farcically humorous and this contrasting throughout plus a couple of staircases worked overtime during the mandatory chase scene. comedy style contributes a melodramatic flavour to the The occasional “flash of flesh” in the bedroom scenes circumstances. delighted the audience and added to the fun.

Boston Marriage is an entertaining and satirical look at Roger McKenzie the destruction of a complicated relationship.

Sharon Malujlo 84 Stage Whispers

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

Reviews: Musicals

Online extras!

Matt and Tony sing us a Dirty Rotten number. Scan the QR code or visit http://youtu.be/AN8xs0zHSf4 Dirty Rotten Scoundrels Book by Jeffrey Lane. Music and Lyrics by David Yazbeck.

Theatre Royal, Sydney. Oct 24 - Dec 8.

HOW delightful to see a musical and for it to exceed all your expectations.

Dirty Rotten Scoundrels as a musical is relatively unknown in Australia and it has already been eight years since it had a respectable 18-month run on Broadway, but it is by no means a blockbuster or a classic.

In artistic terms the gamble has paid off handsomely and I have to say that this production was the best and most enjoyable musical of 2013.

Let’s start on the book, lyrics and music of this adaptation of the movie made famous by Steve Martin and Michael Caine.

The tale of lovable rogues swindling cash from unsuspecting airheads, set in glamorous locations, with the occasional dash of romance is gorgeous musical fare.

Although you don’t come out whistling one tune in particular the songs were fresh, and some of the dialogue sharp as a tack.

However it was the cast that made it such a special night.

Welcome back to Australia Tony Sheldon. He was elegant and stylish as the debonair scoundrel Lawrence Jameson.

His foil Matt Hetherington as Freddy Benson nailed every moment of slapstick humour.

And Amy Lehpamer also shone as Christine Colgate.

Matt Hetherington and ensemble in Dirty Rotten Scoundrels.

Photo: Kurt Sneddon.

Combined with an attractive set and slick choreography it was a good old-fashioned night of musical schtick.

David Spicer Next to Normal

By Brian Yorkey and Tom Kitt. Director Mark Taylor. Musical Director Emma McGeorge. Set Designer Sarah Tulloch.

Pursued by Bear (Vic). The Shirley Burke Theatre. Oct 17-20.

WHY a new theatre company would choose the treacherously difficult Next to Normal as their debut production escapes me, but this debut production was entirely as one with the show’s uncompromising subject matter.

Then there was the brilliant star turn from Emma Gordon-Smith as Diana. Ms Gordon-Smith is all over this work. Given a musical and emotional journey that would challenge the most experienced performer, there were countless moments when it was simply impossible to believe I was out in the suburbs of Melbourne and not in a Broadway theatre.

Chelsea Hewson as Natalie and William Tucker as Gabe both deliver superbly accomplished performances. Dan, the Dad, is the significant flaw in this work - a problem that was only made more obvious by James Schaw’s excellent account of him. His unfailing optimism is never convincing within the structure, and he is the object of everyone’s disdainful frustration for the duration.

So why would a new independent theatre company choose the treacherously difficult and equally problematic Next to Normal as their debut production? Because they

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

Stage Whispers 85

Online extras!

Meet the director of Next To Normal by scanning the QR code or visiting http://youtu.be/UDEw_nFfOfc

Next To Normal

believe in this great flawed jewel of music theatre as much as they believe in themselves. And the rewards of their spectacular risk, ambition, passion and talent were ours to share.

Geoffrey Williams Altar Boyz

By Gary Adler and Michael Patrick Walker. Davine Interventionz. Star Theatre One (SA). Oct 23 - Nov 2.

THERE’S no doubt about it, Altar Boyz rockz!

Directed by David Gauci, Altar Boyz tells the story of five young guys from Ohio. They meet in church, where they are given spiritual inspiration to start a boy band and tour the world, saving souls through ‘funk and rhyme’.

Brady Lloyd is a stand-out as the group’s chick-magnet lead singer, Matthew. His strong voice soars, his comic timing is excellent and he has the stage presence of a rock star.

As Mark, a gay guy struggling with his unrequited love for Matthew, Brody Thomas-Green is bitchy and poignant in equal measure; a fantastic performance.

Gareth Wilkes, as Luke, David Salter as Juan, and Lindsay Prodea as the Jewish boy, Abe, each produce strong characterisation and humour in their roles, together with amazing singing.

The band behind The Boyz consists of Musical Director, Emma Knights (keyboards), Susan Miceli (drums) and Reid Sampson (guitar). All are suitably clergy-attired and very good. Miceli’s drum solo is a standout.

86 Stage Whispers

Shenayde Wilkinson-Sarti’s choreography is excellent in that it produces all the moves we would expect of this boy band.

David Gauci’s set design is strong, with props cleverly hidden but accessed quickly and easily by each of The Boyz.

This show is fantastic fun… and good for the soul.

Lesley Reed Anyone Can Whistle

By Stephen Sondheim and Arthur Laurents. Bankstown Theatre Company. Director: Diane Wilson. Musical Director: Greg Crease. Choreographer: Edward Rooke. Bankstown Arts Centre. Oct 25 - Nov 3.

THIS production makes the most of the absurdist plot in this lesser performed Sondheim, where the humour in Arthur Laurents’ script allows for funny caricatures and a little slapstick. Diane Wilson’s tight direction underlines the absurdity of the situation and the characters and pushes a pace that accentuates the humour.

Costumes and set pick up the “fun and comic book possibilities” of Wilson’s vision. A series of cartoon style buildings in a palette of strong colours is mirrored in the bright costumes, flowery hats, mad waistcoats and a wicked check suit.

Glenda Kenyon plays the greedy lady mayor, Cora Hooper Hoover, with appropriate posturing, and lots of ‘mayoral bling’. Christopher Thurgood plays her opportunistic henchman, Comptroller Schub with typical melodramatic poses and sneers.

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The 25th Annual Putnam County Spelling Bee

Neil Litchfield’s Treasurer Cooley is a bit of a bumbler, who follows Schub’s every lead with simple, wide-eyed acceptance. Police Chief Magruder is the typical ‘cop’ character often ridiculed by playwrights and Malcolm Haynes finds all the silliness in this role.

Melissa Goman is outstanding as Nurse Fay Apple. She is a strong performer who brings depth and believability to this character and Greg Kenyon is convincing as Hapgood, the doctor-cum-patient who steals Apple’s heart.

Directorial time and care have been taken to ensure that each member of the chorus is an individual character that is identifiable and sustained throughout the production.

Carol Wimmer The 25 Annual Putnam County Spelling Bee

By William Finn and Rachel Sheinkin. Conceived by Rachel Feldman. Beaumaris Theatre (Vic). Nov 8 - 30.

IT’S little wonder this show is such a favourite with community theatres. When it is done well it is delightful entertainment, witty and charming; and Beaumaris do it very well indeed. Leah Osburn has directed a terrific cast with deft skill. Malcolm Huddle’s musical direction of an interesting small orchestra is impressive, and the costumes, set and lighting are beautifully realised.

Chris Hunter is dazzlingly good as Leaf Coneybear, the boy with ADHD who lacks confidence and doesn’t believe he’s smart. Emma Harris, as Logainne Schwartzand Grubenierre - the Gay rights activist with two dads, proves how versatile she is, with a marvelous feel for comedy.

Courtney Smyth and Stephen Leeden as the “Grown-Up” th

adjudicators both bring experience and tried and tested talent to their roles. Ashlee Robertson (Olive) and Damien Calvert (William) both shine in their solo numbers, with Calvert’s “Magic Foot” especially entertaining. The rest of the cast are good, with individual strengths, though Sam Neve (Mitch) did seem to have some pitch problems in the first half finale.

I’m in awe at the incredibly high standards of some community theatres and Beaumaris Theatre certainly joins that list. This is delightful entertainment from a dedicated and skilled company.

Coral Drouyn 42nd Street Book by Michael Stewart and Mark Bramble. Lyrics by Al Dubin and music by Harry Warren. Willoughby Theatre Company. The Concourse, Chatswood. Oct 16 - 27.

FROM the first notes of the overture, 42nd Street’s orchestrations set the adrenalin pumping under Mark Pigot’s expert baton.

It’s pure escapist entertainment. Leading Lady breaks her leg and chorus girl becomes overnight star, providing the excuse for a song and tap dance extravaganza.

Overnight star Peggy Sawyer is nominally leading lady, and Skye Roberts is a terrific tapper and singer, though three more dynamic women’s roles overshadow the ingénue.

As supposedly faded Leading Lady Dorothy Brock, is Susan Gavran just a little too good for the role in a terrific

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Stage Whispers 87

Hair

all-round performance suggesting a performer in her prime?

Bold and brassy, writer Maggie Jones gets some of the best material, and Katherine Schmitt delivers a spot-on performance of a role that seems tailor made. Vivacious Laura Sheldon cheekily nails little comic gem Anytime Annie.

Male roles, including the juvenile leading man (Simon Thompson), the director (a vocally impressive Jeremy Curtin), the sugar daddy (Warren Blood) and the leading lady’s secret lover (Scott Clare), are capably and confidently played.

What I missed was strong, distinctive male tapping.

Gorgeous as Willoughby’s blonde-wigged, disciplined female tapping ensemble is, the sheer masculinity of guys’ tapping is missing.

Costuming and wigs (James Worner) were a visual treat, in a production where some sets were spectacular, though others seemed undercooked.

For lovers of pure escapism, Willoughby’s production holds delights aplenty.

Neil Litchfield Hair

By Galt MacDermot, Gerome Ragni & James Rado.

Queensland Conservatorium 2nd Year Musical Theatre Student Production. Powerhouse, Brisbane. Oct 30 - Nov 2.

IN Hair the sixties hippy protest era of anti-war, drugs and free-love was exuberantly brought back to life at Powerhouse in a free-wheeling but tight production by Sue 88 Stage Whispers

Rider. Helena Moore moved the large ensemble cleverly in the chorus numbers while Matthew Samer’s terrific brassheavy nine-piece band blasted the roof off the venue, delivering every memorable moment of this iconic score. In the pivotal role of Claude, the hippie who faces conscription in the Vietnam War, Jackson McGovern was convincing in his Brit-accented “Manchester England”, “Where Do I Go”, and leading the company on “Let the Sun Shine In”. Connor Sweeney’s Berger, the pal who urges Claude to burn his draft card, was energetically forceful scoring with “Donna”, while Madison Green’s Sheila nicely captured the emotion of “Easy to be Hard”. The set of scaffolding worked well, and also having the band onstage behind it was a big plus, as were the flower-power era costumes. Jason Glenwright’s lighting design was uncluttered with a very effective pin-spot centre-stage that captured the important action. Hair’s infamous nude scene in this production was reduced to the boys stripping to their underwear. It was very low-key. Despite the show being 45 years-old, Sue Rider’s production gave it a freshness that was infectious, and the ending still packs an emotional lump-in-the-throat punch.

Peter Pinne The Full Monty

By David Yazbek and Terrence McNally. Phoenix Ensemble.

Pavilion Theatre, Beenleigh. Nov 1 - 30.

THE audience for this musical was more vocal and receptive than any I’ve seen before.

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The plot follows the 1997 British film faithfully, except the action is moved to Buffalo in upstate New York where similar industrial situations assailed the working class residents. Director Tracey Hutley and MDs Casy Chadwick and Nick Ng did a splendid casting job. The six frustrated out-of-work would-be strippers (Stephen Dorrington, Jason Lawson, Kevin Doyle, Adam Bartlett, Ethan Stevens and Simon Ahhim) carried the show bravely and professionally.

We empathised about their loss of work and how it affected their home lives. Especially touching were the songs “Breeze off the River”, “You Walk with Me” and “Bigass Rock”, a black-comedy number about ways a suicidal friend might do himself in.

Kate Peters (her tough old pianist has seen it all before) scored the best lines and delivered them with impeccable timing. Her Act 2 opening number was a showstopper. The principal wives, played by Alana Hamblyn, Morgan-Leigh Garrity, and Kristy Gee, were in excellent voice and Heather Scott kept movement efficient for the space. The son caught in a custody battle, the real stripper, town women, extras, creatives and crew … success of a show is sum of all its components.

Jay McKee

Eurobeat: Almost Eurovision

By Craig Christie and Andrew Patterson. Koorliny Arts Centre, Kwinana, WA. Nov 22 - 30.

OPENING weekend audiences were rolling in the aisles at this almost Eurovision campy comedy. Waving flags from their assigned countries, the audience was very involved and embraced the opportunity to vote for their favourite acts.

A relatively small ensemble present entries from ten European countries, who compete to be named Eurovision winner. Highlights for me were the gloriously awkward United Kingdom entry (Emma Shaw and Allen Blachford), the unique and unusual Liechtenstein (Blachford, Paul Taylor Byrne, Jessica Dean and Nicole George) and the Swedish AVLA (Hilary Readings, Jesse Angus, Jenny Lawrence and Josh Munroe). Winning on the night I attended was the Estonian entry.

Boldly hosted by Natalie Burbage and Brad Tudor in extreme characterisations as Boyka and Sergei, the evening moves swiftly and smoothly. Allen Blachford delivers some interesting choreography and Kate McIntosh’s musical direction is solid, though not always backed with strong vocal performances.

Simply but effectively set by Stephen Carr, Peter Carr, The Music Man Ben Davis and Marc Sinclair, the lighting design by Alex Coutts-Smith makes good use of obligatory lasers. The

By Meredith Willson. Strathfield Musical Society. Latvian Theatre, Strathfield. Oct 18 - 26. costumes (Ryan Taafe and Jenny Lawrence) are particularly STRATHFIELD’S The Music Man is an enjoyable exciting and the traditional Eurovision reveal is used to production, ably directed and musically directed by Cathy good effect.

Boyle, choreographed by Cameron Forwood, and assisted in This is a bright and bubbly production and audiences musical direction by Natalya Aynsley. are having a ball.

In this production the support roles really shone. Mayor Kimberley Shaw Shinn and his wife (Brian Sadler and Christine Pech), Mrs Paroo (Felicia Harris - lovely Irish accent), Marcellus Eurobeat: Almost Eurovision Washburn (Peter Reid), Charlie Cowell (Richard Creek) and Ballina Players (NSW). Nov 15 to Dec 7.

CULTURE comes to Ballina by way of Eurobeat. the Quartet (Robert McCloskey, Gary Selby, David Lang and Richard Heagren-Gibbs) were all scene-stealers. Natalie This send-up of the European phenomenon Eurovision Elliott was perfectly cast as Marian Paroo, and sang commenced with the audience wondering what hit them beautifully. Oscar Beard as young Winthrop acted well, and and ended up with full audience participation. brought out his character’s speech impediment without The overall production was under the control of Paul sounding fake. Tim Martin as Harold Hill sang the role Belsham who engaged 3 co-directors, each of whom acceptably but I felt it was the townspeople, not he, who produced 3 of the 12 countries entries, giving a fresh whipped up the hysteria that normally surrounds this Pied approach to each segment.

Piper character.

Congenial hosts Sergei (Brian Pamphilon) and Boyka My favourite was the Quartet. They must get their (Jaime Whittingham - who also choreographed the barbershop harmonies right or else the flop factor is segments) steered the audience through the evening with massive. This group nailed them perfectly. their witty banter, innuendo and double entendre.

What was also enjoyable to watch was the chorus As is the Ballina tradition, great technical support creating a sense of being in a country town with all the enhanced the production and the show was a team effort cliques and relationships between the townspeople. They with each cast member representing only one country so weren’t just coming on stage to sing or dance; when a everyone got an opportunity to “strut their stuff”, thus chorus member came on they were a character. gaining valuable experience and training for their future There were a few little technical hitches on opening stars. night, but nothing to the extent that wasn’t overcome by The highlight of the performance for me was the ABBA the cast’s performance. The American Gothic sight gag was clones from Sweden and the overall winners on the night, a nice touch, and I need to get me some of those Grecian as voted by the audience, was Liechtenstein.

Urns.

In future, it will be hard to take Eurovision seriously.

Peter Novakovich Roger McKenzie Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 89

group of fairy-tale characters vividly to life. It was top class.

The score’s two best songs, “No One Is Alone” and “Children Will Listen”, were the highlights - “No One Is Alone” in the quartet version with Cinderella (Lisa Marie Gargione), Little Red Riding Hood (Heidi Enchelmaier), the Baker (Chris Kellett) and Jack (Conor Ensor), and “Children Will Listen” in a powerhouse performance by Miranda Selwood as the Witch. Others to be noticed were The Baker’s Wife (Ashleigh Stove), the two Princes, Cinderella’s (Stephen Hirst) and Rapunzel’s (Tom Markiewiez), Jack’s Mother (Colleen Firth), Rapunzel (Rhiannon Marshall), The Light in the Piazza the Giant (Kym Brown) and the Narrator (Andrew Scheiwe).

By Adam Guettel and Craig Lucas. Malvern Theatre.

Ben Murray kept tight control of a 30-piece on-stage Director: Alan Burrows. Musical Director: Shirley White. Nov orchestra, but Nathan Sibthorpe’s direction, which used 1 - 16. upstage audio-visual, created a lack of intimacy by having PIAZZA had its amateur premier at the Athenaeum the cast frequently turn upstage to reference it. It’s a long show, and the content doesn’t really justify the 2 and a ½ Theatre in Lilydale. I caught the opening night of a return season of this well-oiled production at the Malvern Theatre, hour length, but Sibthorpe kept it moving and capitalised and the sets appeared to have been designed for this on every comic moment in the script. theatre.

Peter Pinne With a small stage and no flies, the innovative sets changed from a square (piazza), to a church, family home, The Pirates of Penzance hotel room and shop with the addition or subtraction of

By Gilbert and Sullivan. The Production Company (Vic). some furniture. At some points actors would freeze while Director: Dean Bryant. Hamer Hall. Oct 30 - Nov 3. another scene played out in front of them. It worked very THE satire which infused all Gilbert and Sullivan’s well. operettas has long since been forgotten. Who was the The direction was very good with scenes of bustling model for the Modern Major - General that they activity and others of stillness. I was particularly impressed lampooned? Audiences in the 1880s certainly knew and with the love scene towards the end of the first act. It could laughed, for G&S were astonishingly modern and daring for easily have been tacky, but was played with great sensitivity. their time.

The show was a tour-de-force for Gabrielle O’Brien as Melbourne’s Production Company gives us super the mother of a mildly intellectually disabled daughter, and productions of great modern musicals, and so the decision her struggle between the impulse to protect her with to stage Pirates must have raised some eyebrows. Designer needing to let go. There was a regal stillness in her Dale Ferguson gives us a fabulous English bandstand; a portrayal which commanded attention. wonderful pirate ship brought on in pieces by the pirates; As the daughter and her new boyfriend, Alexandra rostrums and steps, the use of the choir stalls high on either Clover and Daniel Mottau were a tender couple and a side, and the ladders to the stage; entrances through the striking contrast to the older brother and his wife, feistily stalls, pirates tumbling down aisleways; just delicious. Add played by Ian Frost and Leonie Thomson. to that gorgeous costumes and excellent lighting, along There were no weak links in this show. The small band with excellent work of Mathew Frank and Orchestra Victoria of piano, violin and two keyboards worked well and no and Andrew Hallsworth’s witty choreography. The major microphones were required. disappointment was in the voices. This is more Broadway Graham Ford than Savoy Theatre.

The cast is full of favourite performers. The indefatigable Into the Woods Wayne Scott Kermond dazzled as Major-General Stanley;

By Stephen Sondheim and James Lapine. Ignatians Musical Adam Murphy is the perfect Pirate King and Gareth Keegan Society (Qld). Schonell Theatre, Brisbane. Oct 18 - 19.

(Frederic) and Claire Lyon (Mabel) are the perfect ingénues.

INTO The Woods, the second in a series of three Genevieve Lemon is an impressive Ruth but she is not truly musicals-in-concert, was blessed with an exemplary cast the right vocal tone for the role and that’s a pity. Despite who brought Sondheim and Lapine’s Freudian take on a this, her comic timing is marvelous and it’s a joy to see her The Pirates of Penzance.

Photo: Jeff Busby

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on stage. The chorus of pirates provides some fine singing The next highlight was the choreography. The fancy and characterisation. Despite the quibbles, this is another footwork under the direction of Ste Casimiro was as cute as triumph for The Production Company. Gilbert and Sullivan a button. didn’t take themselves too seriously, and neither should we.

The lead was Claudio Acosta as Jack Flash. He was Coral Drouyn nursing a broken finger and (he told me afterwards) a recent bout of laryngitis. Not that anyone could tell as Sweeney Todd, The Demon Barber of Fleet Street nothing was going to slow down his performance, which

By Stephen Sondheim and Hugh Wheeler. Maitland Gilbert was slick and endearing. and Sullivan and Musical Society. Oct 2 - 27.

The stand-out performer was Rachael Thompson as Lady THE plot of Sweeney Todd is derived from Victorian Marmalade - she had the stage charisma of a real devil melodrama, but the writing team, including composerwoman. lyricist Stephen Sondheim, turned it into an engrossing *David Spicer (*David is the agent for this musical) musical thriller.

It is a demanding work to stage, with frequent shifts in Seussical mood in the songs that call for astute performances by

By Stephen Flaherty and Lynn Ahrens. The Regals Musical vocalists and musicians, and many settings.

Society (NSW). Nov 22 - Dec 1.

This production, designed for touring, kept the audience SO many elements of this lively production are terrific committed performances; inventive choreography watching intently, enjoying the dark humour, and occasionally gasping at the plot twists.

(Stephanie Westbrook) enthusiastically performed; Clare The title character is a London barber sentenced in the Moroney’s brisk, snappy musical direction; strong early 19th century by a corrupt judge to life imprisonment in production values, and charming moments of the NSW penal colony. The barber, returning after 15 years interpretation including the undersea sequence and the to find that his wife has died and his daughter is a ward of portrayal of the kids as scouts. the lascivious judge, assumes the name Sweeney Todd and This brightly performed Seussical feels a bit de-Seussed. plots bloody revenge.

Director Kenney Ogilvie has humanised the animal Director Aaron Taylor staged the musical with most of characters, removing the fable quality. Exceptions are the delightful Bird Girls (Veronica Alonzo, Adelle Battam and the action taking place on the same level as the audience, and the orchestra out of sight. As the story is largely set on Clair Duffy), whose pouty, vivacious back-up singer London streets, this enabled the actors to interact with interpretations have an avian edge. those watching in several musical numbers, notably A Little Horton (Mal Tuck) becomes a slim, amiable introspective Priest in which Todd and pie-maker Mrs Lovett discuss the guy rather than a socially awkward elephant; Gertrude body types that would provide the best meat for her McFuzz (Sally Redmann) a sweet, attractive girl; Mayzie products. The dark humour was cleverly handled by (Tanya Boyle) a tarty leather-jacketed bad girl and Johnny Guilherme Noronha’s Sweeney and the actresses, Julie Acosta’s sour kangaroo, an androgynous soul diva.

McLaren and Annie Devine, who alternated as Mrs Lovett No criticism, though, of the performances, as the talented cast absolutely commit to faithfully delivering during the season.

All the cast members handled their challenging roles Ogilvie’s concept. well, with director Taylor, musical director Callan Creed and Young Duncan McDonald is engaging as JoJo; Meg choreographer Freya Meredith ensuring that the tale came Day’s Cat in the Hat is a cheeky knowingly manipulative vividly alive in venues ranging from a school hall to a reprobate; Peter Sharratt and Michelle Harper play Mr and covered outdoor assembly area at a tourist venue.

Mrs Mayor with vaudevillian zest, while the children clearly Ken Longworth have a great time.

The neutral, totally white box design, with colour mostly Disco Inferno expressed by lighting and costumes, is a strong (mostly) unified concept.

Music from the 70’s. Book by Jai Sepple. Canterbury Enthusiastic audience response shows how enjoyable Theatre Guild (NSW). Nov 1 - 9.

THE smoke machine set off the alarm at the Bexley RSL, this Seussical remains, but this musical’s world supposedly so before a note had been played the audience enjoyed the springs from the mind of an over-imaginative child, and unexpected appearance of the fire brigade on stage. sometimes I longed for greater flights of fantasy.

This was appropriate for a jukebox musical which has a Neil Litchfield lead song and title Disco Inferno including the lyrics Burn Baby Burn.

Camp Rock Thankfully there was smoke but no fire and without

By Robert L Freedman and Faye Greenburg. Music by much delay the Disco Ball started spinning.

Various - adapted and arranged by David Lawrence. Randall This community theatre production had lots of exciting Theatre South Yarra. Oct 17 - 27.

WHAT a delight to see the Musical Theatre ‘Stars of trimmings.

The first highlight was the lighting. An LED lighting Tomorrow’ on stage NOW. There’s talent galore amongst board added splashes of colour and fireworks to many the teenagers, so that seasoned performers like Rohan scenes.

Browne and Cameron MacDonald barely make an impact.

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Stage Whispers 91

With 16 songs in 90 minutes, the show is pure Disney.

Basically the flimsy plot concerns a retired rockstar Brown (Rohan Browne) and his ex group member Axel (Cameron MacDonald) who run rival music camps and battle it out on live television to decide whose is better.

Maggie McKenna (Mitchie) and Wil King (Shane) were excellent as the two leads. Both are triple threats and not short of charisma. Brenton Gardiner (Nate) is a delight as the shy boy who gets tongue-tied except when he’s singing. His “romance” with Katya Harrop (Dana) is beautifully played and “Introducing Me” is the best song in the entire show. Kudos to Brianna Bishop (Tess) and James Majoos (Luke). Their portrayals of the self-absorbed and selfish stars of “Camp Star” were excellent. Kurt Russo (Jason) and Stephanie Mann (Rosie) also impressed and special mention must go to Damian Meredith (Barron). But in truth there were no weaknesses, and the band, under the musical direction of Nick Hedger, was very impressive.

It’s all terrific fun and great value. Rock On! Coral Drouyn

Little Shop of Horrors Brisbane Arts Theatre. Nov 15 - Dec 21.

LITTLE Shop was written for an intimate off-Broadway theatre so fits into Arts Theatre like a hand into a glove. Its plot is deliciously grotesque, the songs are many and melodic, the actors, singers and dancers are pearls in the crown. An eight-piece offstage band under Luke Volker (also a co-director with director, Miranda Selwood) set a spanking pace and excellent backing for the singers.

Actor-singer-dancers Crystal (Aurelie Roque), Chiffon (Bronte Devine) and Ronnette (Alex Feiffers), act as a Motown girl band, continuity and scene-changers throughout. The versatile Chancie-Jessop set opens up, maximising performance area and enabling the setting of increasingly large Audrey II puppets - Josh Daveta (voice) and Tom Yaxley (puppeteer).

Leads Gary Farmer (Seymour), Lauren Ware (Audrey, also choreographer and co-director), and Damien Campagnolo (Mushnik) bring slick professionalism to the show. The song and dance Mushnik and Son is a gem. Touchingly memorable are Audrey’s Somewhere that’s Green (and Little Shop of Horrors reprise) and her duet with Seymour, Suddenly Seymour.

By Howard Ashman and Alan Menken. Manly Musical Costume and character-change whiz, Josh Whitten, Society (NSW). Nov 22 - 30. creates multiple extras; and we cheered when sadistic AUDREY II munches its way through another terrific cast dentist Orin (Kieren Davey) got his comeuppance. in Matt Cater’s lively take on this rock’n’roll B Grade Horror Jay McKee movie pastiche, the story of downtrodden florist’s assistant Seymour, his beloved and bruised Audrey, and his rise to The Phantom Of The Opera fame courtesy of a carnivorous plant.

By Andrew Lloyd Webber, Richard Stilgoe and Charles Hart.

As Audrey, Jemma Douglas-Eggins has a terrific music Mandurah Performing Arts Centre. Nov 15-17. theatre voice, and channels Marilyn Monroe in a deliciously THE first of a trio of Phantom productions for Perth in textured interpretation. Charismatic Rob Hale’s sadistic the next year, Stray Cats Theatre Company’s production has dentist Orin is a rib-tickling treat; a role that fits him like a the advantage of not only being first, but having the most second skin. appropriate venue - the beautiful auditorium of ManPac Patrick O’Keefe has just the right earnest, hang-dog being one of the best choices in the west for staging this persona and confident vocals as Seymour. Dave Gleeson large scale production. effectively lands the vaudeville shtick and stereotype of This was for the most part a beautifully lavish mean-spirited florist Mr. Mushnik. production. Paul Spencer was a sympathetic Phantom, Jake The ‘Greek chorus’ aspect of the girl group trio (Romy Garner a melodic and handsome Raoul, but Cassie Skinner Watson, Emma Taviani and Vicky Mahy) comes clearly into soared, singing exquisitely in a shining performance as focus, blending strong individually nuanced reactions with Christine. good Motown-style combined work.

Supporting roles were well filled. Kristie Gray was a Audrey II’s puppetry (Alexis Terry) gives the plant strong believable Carlotta with a gorgeous voice, while Joshua physicalisation, timing and visual gags, added to Mitting played Piangi with pomp. Miriam Fitze was commanding vocals (Joseph Montz). delightful as Madame Giry while Jemma Armstrong was Terrific skew-if silhouettes of tenements provide the lovely as Meg. Warren Read and Andy Vernie brought backdrop, significantly the best-executed part of the design, humour to the roles of Andre and Firmin. as distinct from the painted scenery pieces, which needed The set was impressive with beautiful statues and a to be designed more with flow in mind. Elle Cantor’s lovely grand staircase. Director Karen Francis’ staging was effective costume design enhances and supports very well managed and the set well used. There were some characterization. gorgeous properties, especially the organ and monkey The intimate Star of The Sea Theatre, with orchestra pit (both by Sean Bradley). The iconic chandelier was a little under an apron stage (from which Sam Lee’s orchestra bop disappointing, lacking the delicate beauty expected of such sh’bopp joyously), enhances an enjoyable theatrical an important prop. experience.

The ensemble should have been strong, with some Like Audrey II, Northern Beaches audiences enjoyed a outstanding performers, many usually seen in leading roles, hearty diet of musical theatre talent. but the chorus lacked balance, being short of tenors and Neil Litchfield basses. They also tended to be under-directed, under-used and under-dressed.

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The Producers

Music otherwise was well managed by Music Director David Hicks, with the orchestra playing beautifully.

This was a production was well worth the trip down from Perth, and received standing ovations at many performances.

Kimberley Shaw

Ms Court brings a steadying hand to the proceedings that always seem to be about to career off-course.

But just when you think you’ve seen it all, the company’s veteran performer Marie Couper effortlessly slides into the splits. And Mel Brooks would have loved it!

Geoffrey Williams

The Producers

By Mel Brooks and Thomas Meehan. Director: Jane Court.

Musical Director: Ian Nisbet. Choreographer: Taylor Hollands. MLOC. Phoenix Theatre, Elwood (Vic). Nov 8 - 16.

MAX and Leo are extremely demanding roles, and Michael Young (Max) and Matthew Hadgraft (Leo) bring them off beautifully.

Mr Hadgraft is a sensational triple-threat and would be right at home at Her Majesty’s or The Princess. Max Bialystock gets the 11 o’clock number - ‘Betrayed’ - which Mr Young polished off with pure music theatre muscle.

Sarah Power’s Ulla brings the perfect amount of platinum blonde spice to the show, and Daniel Cooper is full of fire and passion as Franz Liebkind.

When Roger DeBris (a superb John Davidson) and Carmen Ghia (a perfect Jay Miller) took on ‘Keep It Gay’, the roof of the Phoenix Theatre practically lifted off. And when the company brought Act 1 to a close with the fabulous ‘Along came Bialy’, the stage was overflowing with the kind of all-in passion and enthusiasm for which we adore our community theatre companies.

Mr Nisbet keeps the tempi right on the money, and his excellent orchestra responds to the challenge beautifully.

The Phantom of the Opera Spotlight Theatrical Company, Benowa, Gold Coast. Oct 25 - Nov 23.

THE Gold Coast is singing the praises of Spotlight’s fantastic production of The Phantom of the Opera.

Under the skilful direction of Tony Alcock, the show is a mass of colourful costumes and wonderful singing, all the product of Spotlight’s extensive network of members and volunteers.

The large cast, led by Rohan Smith (the Phantom), Melanie Smart (Christine), Brad Kendrick (Raoul) and Deborah Leigh-Russell (Carlotta), with a supporting line up of the Coast’s talented performers, ensured Lloyd Webber’s demanding score was joy to experience.

Musical Directors Marie Nicholson and Matthew Pearson brought the best out of all the performers, and Jess Papst’s choreography added to the spectacle.

Once again, the expertise of the Students of the Gold Coast TAFE’s Cert IV Live Production course was put to good use in the Set design and construction, Scenic painting, Lighting design and operation under the guidance of Michael Sutton.

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Stage Whispers 93

My only disappointment at the performance I saw was a sequence, “The Creation of Man”, with enough costume lack of resonance in some of the Phantom’s notes - which bits to add to our mirth, was well sung and played.

I expect was the result of nerves and a demanding rehearsal This taste left me anxious to see a fully-staged period. production of this musical.

Roger McKenzie Jay McKee West Side Story

By Leonard Bernstein, Stephen Sondheim and Arthur Laurents. Queensland Musical Theatre. Schonell Theatre, St Lucia, Brisbane. Nov 6-10.

THE best thing about Queensland Musical Theatre’s production of West Side Story was the vocals of Sam Huybregts as Tony. His singing of “Something’s Coming”, “Tonight” and “One Hand One Heart” was exemplary. But it was his tour-de-force performance of “Maria” that was a heart-breaker.

Jo Willans was a vocally assured but mature-sounding Maria and acted the role with a nice vulnerability. Natalie Ridoutt’s Anita and Will Boyd’s Bernardo were a good match and managed to elicit the requisite Latin fire, while newcomer Lachlan Dalby’s Riff, although a bit light-on vocally, was a presence. He had the right look and swagger for a gang member and danced extremely well.

Also noticed were Liam Wigney, turning in another accomplished performance as Baby John, and Ailsa McKeon making her mark as Anybodys. Obviously the chorus had worked hard on Julianne Burke’s routines which were executed with precision.

Deian Ping’s direction missed all of the musical’s inherent emotion, the set design was poor, and the lighting was all over the place and unfocused - certainly not focussed on the drama that was happening on stage.

Peter Pinne The Scarlet Pimpernel

By Frank Wildhorn and Nan Knighton, after the Baroness Orczy novel. Ignatians (Qld). Schonell Theatre. Oct 26 - 27.

WHAT an exciting, entertaining night of theatre this is!

Ignatians gave The Scarlet Pimpernel minimal period costume suggestions and enough stage action to involve us in the intrigue and cloak-and-dagger action; in addition effective professional lighting (Andrew “Panda” Haden); and Dan Knudson controlled sound so the performers were never drowned out by the full orchestra under MD Kym Brown (who also directed the show).

Most important were the spectacular soloists and chorus. The leads, Glen Schafer (as Percy Blakeney), Jordana Peek (Marguerite St Just), Scott Bolland (Chauvelin) and Scott Hossack (Robespierre et al) were all in fine voice in solos and duets. The chorus work from so many young performers was impressive. “Madame Guillotine”, and “Into the Fire” were especially memorable. What a goldmine of talent Ignatians has here.

Production pieces were well rehearsed to maximise the entertainment value of the concert. “The Gavotte” for instance, carefully choreographed and well rehearsed, is pivotal to the intrigue; and the equally well-developed rapier fight between Chauvelin and Blakeney was real enough to worry the audience. The foppish comedy 94 Stage Whispers

Avenue Q

By Robert Lopez, Jeff Marx and Jeff Whitty. IPAC Theatre, Wollongong (NSW). Oct 16 - 19.

THIS is a joyous confection of song, dance, strong story line and incisive social comment. Above all it is hugely entertaining and very, very funny.

Direcctor /choreographer Amy Copeland demonstrates an understanding of musical theatre far beyond what her youth and experience would suggest. This was direction and choreography (co-choreographed by Carly Hallet) of great skill and perception, brilliantly executed by a cast who clearly enjoyed sharing every sparkling moment with the audience.

Avenue Q is a jaded street in downtown New York where all but three of the characters are portrayed by puppets with visible human handlers. It’s a concept that children readily accept. It says everything about this cast that they got adults to do the same thing from the moment the show opened through to the glittering finale; which is just as well because this is definitely not a show pitched at children. Simulated sex between puppets is but one of the light-hearted features. The songs are bright, witty and frequently bawdy; the dance routines slick and zesty; the musical arrangements a joy in the hands of Cameron Zingel.

From the set to the singing, from the dance to the drama, from the wonderful lighting to the extraordinary lyrics, this staging of the show would not have been out of place in any theatre in any major city.

Mark Sheridan RENT

By Jonathan Larson. Kyneton Theatre Company (Vic). Oct 11 - 26.

THE wonderful thing about RENT is that it is a story about down-and-outs that is uplifting, a story about despair that is full of hope, a story about destitution and death that is life-affirming. This ambiguity is not lost on the young cast erupting on stage in an explosion of singing, dancing energy tinged with poignancy.

The young director, cast and crew transform the less than perfect environment of Kyneton Secondary College Hall into a rough facsimile of a music theatre and stage this complex, compelling piece with vigour and panache.

Director Melanie Burlak also did the choreography, which exhibits an athleticism and excitement which belie the miniscule area she has to work with.

This is an ensemble performance of great ebullience and precision. The singing of the principals was authoritative and compelling and the chorus work was inspiring. The pace and energy did not flag and the complicated logistics of moving such a large cast were flawless.

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

The Lion King.

Photo: Deen van Meer ©Disney

Online extras!

Meet the Australian cast of The Lion King by scanning the QR code or visiting http://youtu.be/ax0VxL2dvAs

Jess Ryan’s Mimi charmed with her compelling combination of raunchiness and vulnerability. Ryan Ireland as the transvestite Angel made the part his own in an endearingly cheeky performance. Benjamin Prewer, as struggling musician Roger, sang with great strength and emotional intensity, which didn’t always carry over into his acting, which sometimes lacked a sense of connectedness.

Musical Director Kate Taylor did an excellent job with the accompaniment, both in the exuberant up-beat numbers and the quieter moments.

Ian Robinson

music of mother Africa, remained the highlight of the production.

But since it opened on Broadway in 1997 and went on to conquer the musical theatre world, there have been many developments in puppetry which no longer make The Lion King quite the sensation is was then.

Some of the scene changes now also feel on the slow side.

And the melting pot of cast sporting South African, New Zealand, Australian and American accents did not always gel.

But let’s focus on the positive.

The Lion King Buyi Zama as Rafiki sets a thrilling tone; with her native Based on the 1994 Disney animated film of the same name South African roots she brought a real sense of excitement with music by Elton John and lyrics by Tim Rice, along with to the opening. the musical by Hans Zimmer and choral arrangements by Rob Collins was elegant as Mufasa and Josh Quong Tart Lebo M. Director: Julie Taymor. Capitol Theatre, Sydney. always menacing as his evil brother Scar, whilst the ‘clowns’ Opening Night: December 12, 2013.

Cameron Goodall as the bird Zazu, Jamie McGregor as the IF you’ve never seen The Lion King before, the artistry of meerkat Timon and Russell Dykstra as the warthog Pumbaa many of the scenes on the plains of Africa will dazzle you, never missed a gag. but those having a second bite might notice a few meows But the stand out for stage charisma was Nick Afoa as have crept in amidst the roars. the grown up Simba.

Most in the opening night audience were expecting the Plucked from obscurity as a rugby-playing crooner, his carnival of animals to descend on the stage for the famous casting was a gamble which paid off handsomely. He sang introductory number Circle of Life, but it was still a thrill to beautifully and bounced across the stage like spring, with be amongst the throng of wild beasts. the drama of the moment infused into every sinew of his ample frame.

The elegance of the puppets, when the antelope bounced amidst the mobile grasslands, or menace when a David Spicer herd of buffalo go on a rampage, combined with the sweet Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 95

Reviews: Youth Snow White and the Seven Dwarfs Old Mill Theatre, South Perth WA. Nov 29 - Dec 14.

EXQUISITE set painting by Tim Prosser literally set the scene for a quality pantomime directed by Neroli Burton, with musical direction by Katherine Friend.

Valerie Henry made Disney’s wicked queen look quite friendly, in a gloriously sinister performance as Queen Drusilla, well supported by the scenic painting king, Tim Prosser as King Desmond.

Young Arianne Wescott-King gave a sweet and likable performance in the title role, while Sarah Christiner looked and performed Prince Valentine like a young Ellen DeGeneres, funny and controlling an unruly audience with firm charm.

Eden Norton, presumably a relative newcomer, was a delightful Magic Mirror, with smart comedic delivery, while her companion, Neville the Chamberlain was played in an impressive stage debut by A. J. Lowe.

Very popular with the audience were a well-padded Jenny Trestrail in the Dame role and the naturally constructed Craig Menner as the fitness obsessed Pushup.

Reviews: Circus

Simone McMahon featured in a clever cameo as wizard Betty Trotter.

Gina Steinberg performed a delightful duet with Snow White and was strong in the ‘best friend’ role of Rose and Darcie Azzan was lovely as unlikely evil offsider Hannah.

The dwarfs were a delight. Ranging from just eight years old, Atira Shack, Rex Gray, Hannah Harrison, Oliver Broun, Harry Wake, Kate Sisley and Tahlia Menner delivered well polished performances.

My only complaint was with the audience, some of whom could not grasp the concept that audience participation does not mean “yell out at will throughout the show”. The cast handled the annoying comments well.

This was a high quality, well produced pantomime.

Kimberley Shaw The Deep Adapted for the stage from Tim Winton’s book by Justin Cheek. Spare Parts Puppet Theatre, Fremantle, WA. Reviewed 5 Dec, 2013. Public Season: Jan 6- Feb 1 2014 OFTEN children’s theatre is fast and furious, flamboyant and funny. While highly entertaining and certainly amusing, The Deep is almost the antithesis of most theatre for kids gentle and relaxed and quietly beautiful.

NICA’s Circus Showcase 2013. Photo: Aaron Walker.

Circus Showcase 2013 The National Institute of Circus Arts (NICA) at NICA National Circus Centre. Nov 27 - Dec 7. (Vic).

NICK Rothlisberger’s trapeze was sensational, and Mr McKinnon’s Cloudswing was an exhilarating example of aerial acrobatics. Daniel O’Brien’s handstands were a brilliant study of strength and balance, while Tim Rutty’s bravura rope performance defied comprehension. Richard Sullivan’s determination and presence were rewarded by the fact that when his juggling worked, it worked absolutely.

Daniel Price’s Roue Cyr is brilliant in a truly jaw-dropping kind of a way. His pas de deux with a silver hoop was breath-taking. The stun factor was set to impossibly high with Liam DeJong and Tamika Ball’s flawless pas de deux.

Emily Collins’ plea on behalf of a fragile environment was beautifully supported by her accomplished work on the Tissu, as was Kate Nelson’s moving account on the double rope of a young woman lost in love letters during World War II. Emeline Dunand’s clown had a field day with Mein Herr and a supporting cast of recalcitrant chairs. Hannah Trott and Alyssa Moore’s Fosse Dance and Tissu routines were fine combinations of the dance and apparatus disciplines.

As another audience member whispered of Jonathan Campos’ work on the Chinese Pole; “He makes it look so easy!”, which he certainly did.

Geoffrey Williams 96 Stage Whispers

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

The Deep was first performed by Spare Parts over a decade ago, but this is an updated incarnation.

The puppets range from clever hand puppets (including a particularly lovable crab and endearing dog), through a variety of rod and wearable puppets and all are beautifully constructed and cleverly designed. The actor operators are very personable, with Michael Barlow, Jacob Lehrer and Shirley Van Sanden (who was an original cast member) creating multiple, distinct characters. Katya Shevtsov who plays the central character, Alice, creates a wonderful child to whom both children and adults in the audience can relate. Her classical dance skills are used to excellent effect.

While the expertly choreographed extended movement sequences delighted most of the audience, including my twelve year old companion, they were not universally appreciated, with a young lad behind me complaining loudly that it was “really boring”, but even he declared the performance as a whole to be “pretty good”. I strongly suspect that ten-year-old boys are the toughest theatrical critics on earth, so I consider this high praise.

The Deep is well worth diving into for anyone, especially those who can find a four to twelve year old to take with them. Its beautiful, cool underwater scenes will be a perfect antidote to a hot summer’s day.

Kimberley Shaw The Deep

Reviews: Opera Otello Music: Giuseppe Verdi. Libretto: Arrigo Boito. Opera Q/ Cape Town Opera/West Australian Opera/New Zealand Opera/State Opera of South Australia/Victorian Opera. Lyric Theatre, QPAC, Brisbane. Oct 24 - Nov 2, 2013/ SIMON Phillips’ production of Verdi’s Otello clearly falls into the category of ‘event theatre’ - six Southern Hemisphere opera companies as producer, an international cast, and a ‘cutting edge’ concept - it ticks all the right boxes.

Phillips’ re-imagining of Otello taking place on an aircraft carrier during the Gulf War is certainly a revolutionary idea. With computers, mobiles phones and guns, it is nightly-news contemporary, but what was happening on stage bore little resemblance to the libretto.

Musically the production was glorious. Could there be a better villain than Douglas McNichol’s Iago? His tour-deforce performance was not only brutally evil but outstanding. Cheryl Barker proved why she is one of Australia’s most renowned sopranos, giving Desdemona a depth that was compelling with her “Willow Song” achingly beautiful. Frank Poretta in the title role sang masterfully but at times his OTT acting felt at odds with the contemporary setting. Still his long Act 2 duet when Iago convinces him his wife is unfaithful was one of the vocal highlights.

Thrilling is the only word to describe the Opera Queensland Chorus in their choral passages, while the Queensland Symphony Orchestra has rarely played better under the baton of Johannes Fritzsch. Never too loud, you could hear every word the principals sang. It was perfect.

Dale Ferguson’s set gave the claustrophobic feeling Phillips was after, while Michael Mitchell’s Navy fatigue costumes may have been authentic but looked incredibly dull onstage.

Although the concept may be flawed, Verdi’s the winner. On his bi-centennial the Italian maestro still enchants.

Peter Pinne

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Stage Whispers 97

Choosing A Show

Full-Length Musicals from Hal Leonard Australia http://licensing.halleonard.com.au Bloody Bloody Andrew Jackson An Off-Broadway Musical about one of America’s early presidents, Bloody Bloody Andrew Jackson recreates and reinvents the life of “Old Hickory”, from his humble beginnings on the Tennessee frontier to his days as Commander-in-Chief. It From Maverick Musicals and Plays also asks the question, is wanting to www.mavmuse.com have a beer with someone reason enough to elect him?

The Great Flood by Andrew R Kelly What if he’s really, really hot?

Inspired by the true story of the flood that never came Legally Blonde: The Musical (to Victoria’s Swan Hill). This delightful new two-act script Limited Release. for community theatre groups is a Based on the 2001 movie gentle rural satire, that the Swan Hill starring Reece Witherspoon, Legally Theatre Group toured across north-west Blonde: The Musical stays true to Victoria, recreating some of the lighter form with a peppy score and moments for audiences behind a very playful book. real emergency in 2011.

Elle Woods appears to have it “It was a funny time,” says playwright all. Her life is turned upside-down, Andrew Kelly. “While we were working, however, when her boyfriend we were able to laugh with the people dumps her so he can start getting serious about his life and around us,” he says, “in some ways, attend Harvard Law. Determined to get him back, Elle uses apart from the fear and the uncertainty; it was a good time her charm to get into Harvard Law. for Swan Hill.”

Homemade Fusion Scripts and rights available now. Enquiries: Think - Songs For a New World, Putting It Together, Last gail@mavmuse.com Five Years, Tick Tick... Boom.

A new Song Cycle from this exciting, award-winning New York writing duo: Kooman & Dimond.

Homemade Fusion is a series of musical snapshots from their imaginations. At once dangerously cynical and desperately romantic, it is a tale of love, loss, and candy bars. Made up of solos and duets, each tells a strong story.

Leap of Faith Love will get you every time…and one charismatic conman is about to find that out. The “Reverend” Jonas Nightingale, an electrifying performer and con artist, is travelling with his ministry when his bus breaks down in a small Kansas town. Based on the 1992 American movie of the same name... Featuring a score by eight-time Oscar®-winning composer Alan Menken (Disney’s Beauty and the Beast and Little Shop of Horrors).

Our House Winner of the 2003 Laurence Olivier Award for Best New Musical, Our Housecombines a witty and romantic

New Releases for Community Theatre

98 Stage Whispers January - February 2014

tale with the energetic and often madcap hit songs of UK band: Madness including: Our House, Driving in My Car, Wings of a Dove & It Must Love.

Bonnie and Clyde Music by Frank Wildhorn. Lyrics by Don Black. Book by Ivan Menchall.

The mix of period style with a contemporary feel makes the score both riveting and engaging. The show features a male and female leading couple each with an expansive vocal range and a supporting couple requiring just as much musical talent and range. Two children are needed for this production as well, playing young Bonnie and Clyde.

New Musical Release from ORiGiN Theatrical www.origintheatrical.com.au The Addams Family: The Broadway Musical It’s every Father’s nightmare! Wednesday Addams, the ultimate princess of darkness, has grown up and fallen in love with a sweet, smart young man from a respectable family - a man her parents have never met. If that wasn’t upsetting enough, Wednesday confides in her father and begs him not to tell her mother. Now, Gomez Addams must do something he’s never done before - keep a secret from his beloved wife, Morticia.

From David Spicer Productions www.davidspicer.com.au My In-laws are Outlaws - A new comedy by Devon Williamson.

Annie discovers her in-laws are outlaws... and her mother-in-law has hired a mad group of assassins to kill her. How will Annie, a mild mannered Librarian, outwit the best of the Italian, Russian and Irish contract killers? This is outrageous, laugh out loud, comedy at its best.

A highly entertaining observation on family relationships infused with Williamson’s usual wit.

The Kookaburra Kids by Judith Prior A youth musical awaiting its World Premiere. Students at an Australian holiday camp discover that the local Mayor plans to close the camp and redevelop the site.

With local residents they use social media combined with the old-fashioned bush telegraph to contact past generations of campers to help them thwart the Mayor’s plans and save the camp.

The Kookaburra Kids has well known Australian songs including Kookaburra sits in the Old Gumtree, Waltzing Matilda and I am Australian with music arranged especially for young voices.

PERFORMING ARTS MAGAZINE JANUARY/FEBRUARY 2014. VOLUME 23, NUMBER 1 ABN 71 129 358 710 ISSN 1321 5965

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DISCLAIMER All expressions of opinion in Stage Whispers are published on the basis that they reflect the personal opinion of the authors and as such are not to be taken as expressing the official opinion of The Publishers unless expressly so stated. Stage Whispers accepts no responsibility for the accuracy of any opinion or information contained in this magazine.

LIMITED BACK COPIES AVAILABLE ADVERTISERS We accept no responsibility for material submitted that does not comply with the Trade Practices Act. CAST & CREW Editor: Neil Litchfield 0438 938 064 Sub-editor: David Spicer Advertising: Angela Thompson 03 9758 4522 Digital production: Phillip Tyson 0414 781 008 Contributors: Merlene Abbott, Cathy Bannister, Stephen Carnell, Ken Cotterill, Rose Cooper, Coral Drouyn, Ray Dickson, Whitney Fitzsimmons, Graham Ford, Lucy Graham, Frank Hatherley, John P. Harvey, Shirley Jensen, Peter Kemp, Steve Lawrence, Neil Litchfield, Ken Longworth, Jessica Lovelace, Sharon Malujlo, Rachel McGrath-Kerr, Jay McKee, Roger McKenzie, Peter Novakovich, Alex Paige, Peter Pinne, Martin Portus, Marcus Pugh, Lesley Reed, Leann Richards, Ian Robinson, Kimberley Shaw, Mark Sheridan, David Spicer, Geoffrey Williams and Carol Wimmer. www.stagewhispers.com.au Stage Whispers 99

Musical Spice

Sydney versus Melbourne Recently Events NSW announced its latest ‘coup’ by pinching the Rob Guest Endowment concert from Melbourne.

Under a deal the event was in Sydney in 2013 and for a further three years after that.

The November 25 concert showcasing new talent sprinkled with performances from superstars of the musical theatre world was a jolly good night.

But ticket sales were on the light side and it felt so Melbourne you could almost hear the Yarra River lapping the foreshore outside.

“Look at Rhonda Burchmore’s legs,” quipped Bert Newton.

“She’s got the left one in Melbourne, the other in Sydney - and Albury gets the best deal of all.”

Did taxpayers get a good deal? We don’t know as Events NSW won’t reveal how much it cost.

Why spend scarce taxpayer dollars on transplanting a wonderful community event that honours the memory of Rob Guest and helps foster talent that has its origins in Melbourne with such a little economic return?

Aside from that, the standard of the finalists was very high. Almost all the talent had graduated from elite performing arts courses and had a few professional gigs under their belts.

The winner Samantha-Leigh Dodemaide stamped herself as the front-runner in the first act. Her performance of Gimme Gimme was extraordinary and reminded many in the audience of Caroline O’Connor.

Almost stealing the night from her in the second act was Rob Mallet. His rendition of ‘Till I Hear You Sing’ from Love Never Dies also soared. __________________ Making Events NSW green with envy no doubt is Wagner’s Ring Cycle, which genuinely attracted dollars and tourists to Melbourne.

It cost twenty million dollars to stage and employed 350 performers, designers, technicians, costume-makers 100 Stage Whispers January - February 2014

Samantha-Leigh Dodemaide

and backstage staff, 100 behind-thescene technicians and over 100 musicians.

If you can afford several hundred dollars for a ticket and you have flown in from inter-state then chances are you would be staying at a fancy hotel and eating at a posh restaurant.

Rubbing it in no doubt is the fact that The Ring will return to Melbourne every three years; another two times

with the current production then it will be refreshed.

For some opera buffs a new production may not be able to come fast enough. When I was in Melbourne an audience member mentioned to me that one of the creatives actually got booed when she/he was acknowledged on stage in a curtain call.

The costumes were not popular.

The Age wrote that the costumes “were, for the most part, a random non-definable hash of haberdashery that generally looked more like rehearsal clothes.”

The “lighting was too noticeable for its own good, with more than a few technical glitches.”

And the reviewer Michael Shmith called Neil Armfield’s production confusing and piecemeal. “I am still unclear about the meaning of those stuffed animals. I’m always happy to be in the company of a giraffe or thylacine, but what purpose did they serve?”

Ouch. Still all agreed the music was wonderful. Just as Opera on the Harbour to wedding to Sydney so too is Wagner’s Ring Cycle anchored in Melbourne.

David Spicer

Jacqueline Dark as Fricka, Hyeseoung Kwon as Freia, Jud Arthur as Fafner, Terje Stensvold as Wotan & Daniel Sumegi as Fasolt (with giraffe or thylacine). Photo: Jeff Busby

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