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“Leave your troubles outside!”

Music by John Kander | Lyrics by Fred Ebb | Book by Joe Masteroff

Based on the play by John Van Druten and Stories by Christopher Isherwood By arrangement with Tams-Whitmark Music Library Inc. New York NY

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Lyrics by FRED EBB Produced and Directed by D AW S O N H A N N, F E L I C I T Y P E A R S O N a n d T O N Y S C A N L O N Musical Direction by M A R G A R E T A R N O L D a n d D AV I D M O WAT Choreography by FELICITY PEARSON Designed by TONY SCANLON and SAM COOK Costumes by STEPHANIE DES BARRES and JILL WELCH Technical Direction by SABINO DEL BALSO

Performed in Adamson Hall, Wesley College St Kilda Road 19, 20, 21, 22 and 23 August 2008



From A Berlin Diary to Cabaret Christopher Isherwood, whose almost famous autobiographical novel Goodbye to Berlin is the main literary source for the musical Cabaret, met the soonto-be more famous poet W.H. Auden at prep school during the First World War, where they became life-long friends. Later, Auden would persuade Isherwood to join him in Berlin in 1929 (the time and place of the above novel), where they could find, in the more liberal atmosphere of the German capital, with its tolerant and open views of homosexuality, a chance to escape British sexual repression, and enjoy a more decadent and liberating culture. For Isherwood, it turned out to be a fortunate decision, providing him with the material for two important short novels touching on the political and moral aftershocks of that decadence (Goodbye to Berlin and Mr Norris Changes Trains), as well as an autobiographical work on Berlin’s sexual sub-strata, a feature of Europe between the wars (Christopher and His Kind). Not unexpectedly, the latter work, a detailed chronicle of the young writer’s sexual adventures in Berlin, was not published until much later in his life, when British censorship finally began to be relaxed. At the opening of Goodbye to Berlin, the cool detached un-named narrator (but identifiably Isherwood) observes: I am a camera with its shutter open, quite passive, recording, not thinking. Recording the man shaving at the window opposite and the woman in the kimono washing her hair. Some day all this will have to be developed, carefully printed, fixed. Ironically, its most enduring “developing, printing and fixing” arrived in the form of a Broadway musical, and later, a critically triumphant film. The greatest achievement of Isherwood’s literary work was its creation of vignettes and characters of Berlin life that would generate energy within a different artistic medium. Most famous among these characters is the indefatigable Sally Bowles, living Berlin life to the lees, oblivious to the gathering clouds of fascism. While the narrator of Goodbye to Berlin remains dispassionate but observant, its more known character, Sally, is uncritical and selfabsorbed, failing to identify worrying changes in society in her heady pursuit of what the movie version so aptly named “divine decadence.” Other characters, such as the stoic Fraulein Schneider, and the kindly Jewish fruit-shop owner Herr Schultz, find their way into the musical as poignant reminders of Sally’s moral and political blindness.

But Goodbye to Berlin first found its way on to the stage in 1951, as a play written by Isherwood’s friend John van Druten and titled I am a Camera. Streamlining the book to focus on a handful of the original’s characters, the play and a subsequent film version were a huge success, and established Isherwood finally as a major literary talent. But the material had one more metamorphosis to undergo. The Broadway director Hal Prince sought the collaboration of librettist Joe Masteroff, and composing team John Kander and Fred Ebb, to produce the first musical version, using as its title that most legendary of German theatrical entertainments, Cabaret. It opened on Broadway on the 20th November 1966 (can it really have been that long ago?) and has won a rightful place in the pantheon of classic musicals, being regularly re-invented and re-imagined for new times and a new theatre-going generation. And for many, the acclaimed film version starring Liza Minelli (1972) remains the very best of all screen adaptations of a stage musical.

Pictured above: Christopher Isherwood and W H Auden at Victoria Station in 1938.

Berlin 1929: NEARING THE END FOR THE WEIMAR REPUBLIC Cabaret opens on New Year’s Eve 1929, as the American writer Clifford Bradshaw arrives in Berlin seeking inspiration for his writing. The great depression is already taking its toll on German civil life, and there are numerous references in the play to the worsening economic circumstances. The characters haggle over the cost of rents; one at least makes ends meet through prostitution, another clings to the grand illusion of better times; poverty is widespread; banks are closing (“forever”, Cliff tells Sally Bowles). The great decade-long Berlin party is nearing its end. New and darker forces are imposing themselves on ordinary life, infiltrating the cafes and cabarets that have tried to close their doors on the growing misery outside. But no one can truly foresee that the new decade will spell an end to the brave German experiment with democracy; by the end of it, Germany will have slid into the abyss of one of the darkest periods of human history. The Weimar republic (named after the city in which the new constitution was proclaimed in 1919) had a brief and fragile life, lasting little more than a decade; by 1933, the Nazis had come to legitimate power by the backstairs, but few could anticipate the horrors to come. In numerous subtle ways, Cabaret explores the zeitgeist, the spirit of the age, which let the barbarians through the doors. Individuality and spontaneity may have flourished in the decade of Weimar liberalism, but the spirit of the Republic was barely understood and rarely embraced. And at the heart of it all was the decadence that, posing as freedom of expression, really led to self-indulgence and irresponsibility, as well as indifference to the new forces shaping Germany. In the play this is personified in the character of Sally Bowles, primarily in the milieu of the “live fast and free” decadence of the cabaret world, but ultimately in the broader forces of social and national decadence finding expression in the rise of Nazism. The new German republic had struggled against the odds from its inception, being undermined from the start by crippling inflation in 1923, by the economic cruelty of the Allies in imposing war reparations on Germany in the disastrously ill-considered Treaty of Versailles, and by the burden of the “war guilt” clause that held the Kaiser’s Germany entirely responsible for the Great War. These affected national and civil life in deep if unspecified ways, and encouraged the atmosphere of despair and injustice so easily exploited by the National Socialists. The Nazis were

not responsible for the collapse of Weimar, but were the historical inheritors of its inevitable demise. As Cabaret makes clear, the Nazi shadow was creeping across the final days of the 1920s, but the Berlin “party”, with its exotic entertainments and avant-garde artistic expression, continued at a dizzying pace until the crash of 1929 halted it well and truly. In the second act of Cabaret there is an incidental reference to numbers of patrons falling off, and the changing clientele ominously foreshadows the sinister future just around the corner. By the end of the musical, what had begun as an incidental presence, hardly noticed, is centre stage, dramatically reflecting the changing nature of a society whose experiment with democracy and liberalism was faltering badly. There is a deep historical irony that the Berlin which had led Europe through a decade of artistic brilliance, indulging the most bizarre and extreme individual fantasies and dreams, was soon to be the capital of a country faced with the most sordid aspects of power, authority, and the annihilation of human individuality. Cabaret disturbingly suggests the link between the two periods of a nation’s history. 110 x 148.5Wesley ad 15/8/08 5:17 PM Page 1

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Joel Skurrie Emcee The last of a seemingly inexhaustible supply of Skurrie brothers, all of whom were more disposed to back-yard cricket and local football than the arts arena, Joel is making his first appearance in a stage performance of any kind. While he still plays sport like his brothers, he is widening his interests and exploring talents not previously associated with the name he carries. Joel was discovered by his mother, who heard him singing in the shower, and urged him to try out for the musical. She showed excellent judgment. He did, and the rest, as they say, is history. Joel has a vibrant and natural voice, and came through a highly competitive audition process to win the pivotal role of the Emcee. He is blessed with natural musical talent, and as he is still only in year 11, we might yet be able to squeeze another role out of him before he is again required to bowl countless overs to his older brothers.

Chiara Hunter Sally Bowles Chiara’s final appearance on this stage, after three years of memorable performances, is one bound to leave even those familiar with her talent searching for superlatives. Her vocal ability is right up there with the best we have heard, as is her capacity to interpret a character. Arriving more or less unheralded in 2006 from Elsternwick, Chiara immediately established her presence with major roles in Lysistrata and Les Miserables (as Madame Thenardier). Her follow-up performances last year in Hot Mikado (as Katisha) and in Willy Russell’s Stags and Hens confirmed her emotional range and vocal power, and drew praise from several theatre people outside the school. Chiara decided to give the Senior play a miss this year, so all that energy has found its way into her scintillating portrayal of the legendary Sally Bowles. A role that demands superior fitness, Chiara was even spotted doing laps of the back turf before rehearsals, so this gives you some idea of her commitment.

Maxwell Simon Cliff Bradshaw Max has risen through the ranks, as so many of our dedicated students have done. Possessing a strong voice from an early age, he managed to secure himself a spot in the Footloose cast in 2005 as a tender year 8 student, risking being totally ignored at rehearsals. Such is the stuff of the true performer. But that early start has meant that he has watched, and learned from, more experienced actors and singers, nonetheless contributing in his own right to the vocal richness of shows like Les Miserables (2006) and Hot Mikado (2007). Cabaret presented Max with an opportunity to take the next step, and his fine singing and sensitive interpretation bring authenticity to the role of the vulnerable and ambivalent Cliff. As impossible as it seems, Max is still only a year 11 student, so he has further opportunity to set the tone for the next group coming through. His whole ATC “career” so far sums up what we are all about.

Lauren Midgley Fraulein Schneider Lauren’s name is one of several practically synonymous with the Campus musical in recent years, delivering a number of widely admired performances. Her voice is thrilling, packed with emotion and character. This year she extended her dramatic range in the Senior School play by tackling the role of Lady Bracknell in The Importance of Being Earnest – no easy undertaking given the legendary status of the character, but she certainly did it justice. She blew away the audition panel at her first appearance back in 2006, to win the part of Madam Thenardier in Les Miserables, a role she shared with her friend Chiara. The same thing happened in Hot Mikado last year, when each played Katisha at alternate performances. Perhaps they had begun to despair of ever not sharing a part, so comparable are their vocal abilities. This year it has been wonderful watching them support each other as the two female leads – separated at last!

Ryan Murphy Herr Schultz Ryan is the latest talent to arrive from the celebrated and versatile Elsternwick stable, and although only in year 10, he has landed two significant parts for ATC: the endearing Canon Chasuble in The Importance of Being Earnest, and now the mature love interest in Cabaret. Herr Schultz, the dogged Jewish suitor of Fraulein Schneider, touchingly demonstrates Ryan’s ability to portray humanity in all its vulnerability, and his performance adds pathos and tragedy to the play, and strengthens its darker mood. Interestingly, Ryan considers Mr Bumble in Oliver his dream role, but already he has shown his ability to extend his range in a number of ways. Ryan combines a rich baritone with fine acting skills, and will doubtless be a pillar of the Company for the next couple of years.

Gustaf Sjodin Enstrom

Ernst (tuesday, thursday and saturday)

Gustaf arrived at Wesley from Stockholm, Sweden, in 2007, and Cabaret marks his stage debut. He has been biding his time, no doubt waiting for a part requiring English spoken with a German accent to crop up, since he speaks a number of languages, and has been an invaluable source of advice on pronunciation. His characterization of the smooth talking Ernst, who is something more than he seems, is nicely judged, and he also gets an opportunity to display his vocal abilities, albeit briefly, in the chilling finale to Act One, “Tomorrow Belongs to Me.” Gustaf is in year 11, so we can expect to see and hear him again next year; in the meantime, if you’re in the know you can track down gigs by his band “Triumphs of Oriana”, of which he is lead singer and guitarist.

“DAS KABARETT” HOW A UNIQUE STYLE OF PERFORMANCE SHAPED CABARET THE MUSICAL Isherwood’s Berlin Stories do not make specific mention of the German cabarets of the 1920s and early 1930s, but they do feature in the background. Sally Bowles sings in one, but that’s about it; the focus is more on the streets and rooming houses. And, of course, on the emotional lives and sexual eccentricities of Isherwood’s characters. It took the genius of three Americans, librettist Joe Masteroff, lyricist Fred Ebb, and composer John Kander, to recognise the powerful idea of cabaret as a metaphor, around which to weave a musical about Sally Bowles and her heady Berlin days. While chiefly remembered now as a Berlin phenomenon, the roots of cabaret are to be found in Munich (later, ironically, the birthplace of Nazism). At the turn of the century, Munich was the recently unified Germany’s artistic centre, and the home of many experiments in art nouveau, reflecting liberating forces at work. Singers, entertainers, musicians and writers were united in their antipathy to the rigid order of the state and the smug morality of middleclass life. These earliest expressions of modernism amalgamated with an already strong following for music hall and variety acts to produce an invigorating and often bitingly satirical entertainment: das Kabarett, or cabaret. After the Great War, Berlin enjoyed the relaxation of censorship, and revelling in its new found permissiveness, became the Weimar Republic’s cosmopolitan capital. In an atmosphere of frenzied hedonism, cabaret flourished. Drug taking and a variety of sexual practices were the order of the day for the celebrities of the new art forms, and cabarets became places not only of satirical jibes at social repression, but places where fantasies were enacted in bizarre and grotesque ways (though by modern standards they seem tame enough). A typical example was the Eldorado, a transvestite bar that flourished in Berlin in the 1920s, frequented by homosexual artists and writers and the beau monde of the day; bankers, politicians, and the social elite thought it fashionable to mingle with society’s pariahs in an atmosphere of voyeuristic excitement. A favourite game was guessing which of the clientele was really a “lady” and who was really a “man”. Such pastimes may seem trivial to us now, even offensive, but it does give us some idea of the cabaret’s sense of its role as a provocative and edgy place. At the heart of the cabaret entertainment was the Master of Ceromonies, or the Conferencier. These were expected to be well-versed in literature, masters of improvisation, possess an acerbic wit, and be fully tuned into the street politics. They articulated the spirit of the age, so to speak, at the same time holding their

audiences in sufficient contempt to be able to insult them on a nightly basis. Cabaret makes this persona of das kabarett its main structural device. The Emcee, as he is called, provides our window on the world, with a barely concealed disdain for his audience. The satirical role of the Conferencier had diminished by the early 1930s as the new politics emerged, but some kept up an endless tirade against “brownshirts” and their extremist views, and especially the prevailing anti-Semitism. Even those cabarets which continued to needle the Nazis well into the 1930s eventually were forced to close. When Hitler gained power in 1933, cabaret was one of the first victims of Nazi terror. Some writers and performers were arrested and ended up in concentration camps; some committed suicide; others fled to America or elsewhere in Europe. In many ways, the end of cabaret symbolized (like the burning of the books) the triumph of the totalitarian state over freedom of expression. The musical Cabaret uses the tradition of the cabaret as the lynch-pin of its dramatic structure. The play’s action is divided between the Kit Kat Klub and rooms occupied by the main characters. Outside the club, the songs advance the plot and characterization, as we follow the two main relationships: between the bi-sexual Cliff and the irrepressible but irresponsible bon viveur Sally Bowles; and between the stoical Fraulein Schneider and her boarder Herr Schultz. Minor characters underscore political and personal themes. Inside the Club, the cabaret songs are frequently acerbic comments on the disintegrating world outside. “Leave your troubles outside”, the Emcee tells his audience in the opening number; and adds, with the characteristic cynicism of a traditional cabaret Conferencier: “So – life is disappointing? Forget it! In here, life is beautiful”. But through its songs and dance routines, the darkening mood of the outside world is introduced little by little. By the end of the show, the Kit Kat Klub has become another place, just as the Berlin outside its doors is frighteningly changing. The lives of the characters and the world of the cabaret are fused increasingly throughout, but the genius of the music is to give you an uplifting entertainment while not losing sight of a darker purpose. Only in the final scene are the implications of what has been happening in the world, where life is far from beautiful, fully understood. Life may well be a cabaret for Sally Bowles, as she defiantly sings in her closing number, but the reality lies elsewhere. The cabaret has become a place of dead souls, dissolving finally into a ghastly image of the nightmare to come, the “Tomorrow” which belongs to anyone willing to embrace its horror.

Paddy Martinkus Ernst (wednesday and friday) Another year 11 student, and another making his debut in Cabaret, Paddy’s natural high spirits and professional attitude have been important to the morale of the cast. He rarely misses rehearsal and learned his lines promptly, before just as promptly forgetting them. He hangs around the Music School where he would describe himself as an “identity”, playing drums and guitar in a variety of outfits. Somehow he drifted into the musical audition where he impressed with his vocal talents as well. Paddy is ideally cast as the affable Ernst, and attributes his selection in the part to his textbook Germanic looks, whatever they might be. Ernst in the play turns out to be other than he looks, but Paddy is authentic through and through, right down to his declared passion for silent movies, Russian folk dance, and for growing a beard. Or thinking about it, anyway.

Annabelle Tudor Fraulein Kost Another year 11 student, Annabelle established her credentials as a character actor in the Middle School with her portrayal of the Nurse in Romeo and Juliet in 2005. It’s a part beloved of many actors, and Annabelle gave it a nuance and subtlety not always associated with its interpretation by even those on the professional stage. After a year off Annabelle returned to the stage in Stags and Hens in 2007, and this year her Miss Prism in The Importance of Being Earnest was a gem, and was one of the highlights of that polished production; her coy interaction with Ryan Murphy (as Canon Chasuble) was hilarious, her timing spot on. In Cabaret she again takes hold of another “character” role, that of Fraulein Kost, one of Fr Schneider’s boarders making ends meet by “entertaining” sailors (or patriotic boys in need of comfort). But Annabelle also brings out the dark side of her character with chilling accuracy.

Clio Renner Stage Band vocalist, pianist, accordionist Now in year 12, Clio has been one of the stalwarts of the performing arts in her time here at St Kilda Rd. She is an accomplished musician and is now in her third year with the highly-rated Big Band, on keyboard and as occasional vocalist. She is always on hand to lend something of her musical talent. On the Adamson Hall stage she made her debut in Footloose, winning a significant singing part while still only in year 9. She continued to made outstanding vocal contributions after that in Les Miserables (2006) and Hot Mikado (2007). If she was disappointed at not securing a lead in her final year, it has never been apparent; Clio has thrown herself into the production with all the enthusiasm and professionalism she has displayed in the past. She leaves us an admired and respected leader amongst the group.

SCENES AND Scene One: Berlin train station, New Year’s Eve, 1929. Scene Two: The Kit Kat Club 1. Wilkommen Scene Three: Cliff’s room in Fraulein Schneider’s boarding house 2. So What?

Emcee, Klub Singers and Dancers, and Company Fraulein Schneider

Scene Four: The Kit Kat Club, later that evening 3. Don’t Tell Mama 4. The Telephone Song 5. Mein Herr

Sally Bowles, Klub Singers and Dancers Kit Kat Klub patrons Sally Bowles, Klub Singers and Dancers

Scene Five: Cliff’s Room, the next day 6. Perfectly Marvellous

Sally and Cliff

Scene Six: The Kit Kat Klub 7. Two Ladies

Emcee and Two Klub Girls

Scene Seven: Fraulein Schneider’s living room 8. It Couldn’t Please Me More

Fraulein Schneider and Herr Schultz

Scene Eight: The Kit Kat Klub 9. Tomorrow Belongs to Me 10. Maybe This Time

Klub Workers and Girls Sally

Scene Nine: Cliff’s Room, a few weeks later Cliff

11. Don’t Go Scene Ten: The Kit Kat Klub 12. The Money Song

Emcee, Klub Girl and Company

Scene Eleven: Fraulein Schneider’s living room Fraulein Schneider and Herr Schultz

13. Married Scene Twelve: Herr Schultz’s Fruit Shop 14. Tomorrow Belongs to Me (reprise)

Fraulein Kost, Ernst and Company

T H E R E W I L L B E A N I N T E R VA L O F T W E N T Y M I N U T E S R ef resh ments w ill b e ser ved in t he Cato R oom . C h o c To ps, M a l tesers, C hocolates, Nat ural Confec t ioner y, Ch i ps a nd B everages availab le.

SCENES AND ACT TWO Scene One: The Kit Kat Klub The Klub Band Dancers

1. Entr’acte 2. Kick Line Scene Two: Herr Schultz’s Fruit Shop, the following day 3. Married (reprise)

Fraulein Schneider and Herr Schultz

Scene Three: The Kit Kat Klub Emcee and Dancer

4. If You Could See Her Through My Eyes Scene Four: Cliff’s Room 5. What Would You Do? 6. I Don’t Care Much

Fraulein Schneider Emcee

Scene Five: The Kit Klub 7. Cabaret

Sally Bowles

Scene Six: Cliff’s Room Scene Seven: Berlin train station, then later The Kit Kat Klub 8. Finale Ultimo

Cliff, Emcee, Fraulein Schneider, Herr Schultz, Sally, Ernst, Fraulein Kost and Company

A P P R OX I M AT E R U N N I N G T I M E S ACT ONE: 85 Minutes

ACT TWO: 40 Minutes

The Adamson Theatre Company would like to thank the generosity of the Belgian Beer Café Bluestone for their support.

The Master of Ceremonies (Emcee) Cliff Bradshaw an American novelist Ernst Ludwig a friendly Berlin resident Berlin Customs Officer Fraulein Schneider a landlady Fraulein Kost a boarder in Fr Schneider’s house Sally Bowles an English cabaret singer Herr Schultz another boarder and Fruit Shop owner Two Ladies cabaret performers Other Kit Kat Klub vocalists Max owner of the Kit Kat Klub Bobby a flamboyant Kit Kat Klub patron Victor his usual companion Three sailors clients of Fr Kost The Kit Kat Klub Band

Joel Skurrie Maxwell Simon Paddy Martinkus or Gustaf Sjodin Enstrom Morgan Stubbs Lauren Midgeley Annabelle Tudor Chiara Hunter Ryan Murphy Casey Dolcetta Elora Ledger Monica Shkolnik Isabella Grabowsky Giulia Kossmann Leo Thompson Daniel Dindas Chris Borzillo Elliot Munn Nick Peachey Michael Godfrey Clio Renner (vocalist and piano) Darcie Foley (trombone) Jess Turnbull (tenor saxophone) Sidonie Lowe (drums)

All other minor roles played by members of the Company

OTHER MEMBERS OF THE ENSEMBLE Zoe Anderson Kitty Coleridge Seamus Kavanagh Grace Maddern Lizzie Prest Hannah Wright

Stephanie Bacon Beth Exiner Paul Lewis Ben McMullin Michael Shalit

Matthew Bagnara Emily Greig Sebastian Lindner Will McMullin David Thomas

Libby Bentley-Singh Francesca Kavanagh Simon Lipson Phoebe Neave Georgia Vann

THE KIT KAT KLUB DANCERS Maddie Cordner Grace Gross Ellen Rattray

Sarah Bacon

Tess Duyker Celina Jackson

Alice Donnan Elizabeth Goldsmith Joanna Ward


Simon Lipson

Will McMullin

Music Director Violins

Flutes Clarinets / Saxophones Viola Oboe Cello Bassoon Bass Trumpets Piano Synthesizer French Horns Guitar and Banjo Trombones Percussion

David Mowat Amelia Fahie Dovi Hanner Emily Jeffreys Imogen Ackerly Kate Turnbull Melinda Keys Victoria Gillett Qiaofeng Wang Brinley Hosking Danielle Elmer Masson Man Shirui Li Malcolm Liu Marcel Delany Claire Kelly Jeremy Hede Timothy Hetzel William South Meg Wardrop Sofia Exina Andrew Aronowicz Adam Friedman Mikaela Mowat Chase Frankenfeld Ellie Phillips Matthew Linden James Base

Ben McMullin Dancer, Chorus leader Ben is the last of a distinguished line of McMullins of various artistic abilities, and has long favoured the stage as his means of expression. He is prepared to do anything to help a production, and this has made him an invaluable member of the Company over many years. Ben’s dancing and gymnastic skills, and his not inconsiderable vocal talents, have ensured him a place in the musical team since Middle School, and his energy and commitment have lifted many flagging casts. He won’t tolerate the second rate. Now in year 12, he had his biggest theatrical moment this year as a most elegant Algernon in The Importance of Being Earnest. His accent was a revelation, as was his delivery of Wilde’s wit. Many in the audience over the years have commented on Ben’s presence on the stage, always working overtime to lift a scene, and he has been very much a star in his own right, exemplifying the teamwork that makes these undertakings so pleasing to our audiences.

Sam Whitney and David Browne Technical Crew Seen here at their beloved sound desk, Sam Whitney (right) and David Browne (left) are essential to the show; they enable you to hear it. They have been working as a team for several years now, and are highly skilled and unnervingly efficient in devising sound plots and seeing that radio microphones are attached to the right heads, mixing vocals and instruments, and ensuring that the orchestra backstage is balanced with what is happening out front. The complexities are way too much for directors to grasp, so Sam and David are left to work it out, but always handle their position of power with tact and diplomacy. Sam, who is in his final year, is the Performing Arts Prefect, while David, who is in year 10, will stay on to keep a great tradition going.



Music Directed by


Choreographed by Designed by Technical Direction by


Costumes by


Produced by


Vocal Coach and Pianist Accent Coach


Stage Managers


Set Construction


Backstage Crew

Technical Crew

Properties Programme Business Manager/Front of House/ Poster


The Adamson Theatre Company would like to thank System Sound, Belgian Beer Cafe Bluestone, Steve Coker and Margaret Molina for their support.



“Leave your troubles outside!” THE ADAMSON THEATRE COMPANY AT WESLEY COLLEGE ST KILDA ROAD PRESENTS Music by John Kander | Lyrics by Fred Eb...