DIRECTOR
ASSISTANT DIRECTOR
LUKE VAN DER BEEKE
MUSICAL DIRECTOR
CHOREOGRAPHER
ASSISTANT DIRECTOR KRISPIN MAESALU
NATALEE HUSK
MICHAEL BRETT
CHLOE WALSH
The Gilbert & Sullivan Society of Western Australia presents
Kiss Me, Kate
Music and lyrics by Cole Porter Book by Sam and Bella Spewack
Critical Edition by David Charles Abell and Seann Alderking
“Kiss Me, Kate” is presented by arrangement with ORiGiNTM Theatrical on behalf of Tams-Witmark LLC, A Concord Theatricals Company
This production is rated PG and contains adult language and themes.
CAST of CHARACTERS
Hayley Parker as Lilli Vanessi (Katherine)
Ian Lawrance as Fred Graham (Petruchio)
Taylor Westland as Lois Lane (Bianca)
Calen Simpson as Bill Calhoun (Lucentio)
Sarah McCabe as Hattie
Ben Albert as Paul
Samuel Farr as First Gangster
Tracey Myhill as Second Gangster
Rick Boyd as General Harrison Howell
Trevor Preston as Harry Trevor (Baptista)
ENSEMBLE & DANCERS
Michael Hewson as Gremio
Beau van der Beek as Hortensio
Jennifer van den Hoek as Ruth
Alannah Rose, Alister Walters, Amy Parsons, Ashlee Graveson, Barry Boyd, Charlotte Rollinson, Chloe van der Beeke, David Clark-Murphy, Emma Carver, Emma Fleming, Gabrielle Abel, Jane Anderson, Judith Clark, Juliette Basini, Kacey Murphy, Liza Cobb, Marc Obi, Mary Vidovich, Megan West, Tamar Basini, Thomas La Cava.
ACKNOWLEDGEMENT
OF COUNTRY
The Gilbert & Sullivan Society of WA acknowledge the Nyoongar Whadjuk people - traditional custodians of this land. We wish to acknowledge the strength of their continuing culture and offer our respects to Elders past, present and emerging.
President’s Welcome
Welcome to our second major production for 2024, a rare visit outside of G&S. This time we visit Cole Porter’s smash hit musical Kiss Me, Kate. Every so often the Society has a break from continual repeats of the Savoy Operas for a little light relief. The last time we did a major production of non-G&S operetta was The Land of Smiles in 2012, so it’s not a common occurence. These breaks from our usual menu allows the Society creatives and performers to stretch their horizons a little wider and attracts new people into the Society and our creative pool. These people bring different outlooks and ideas.
This production of Kiss Me, Kate is directed by Natalee Husk, an acclaimed Perth director of many well reviewed shows, including the multi-award winning My Fair Lady of 2022. This is the first time Natalee has directed for the Society. Musical Direction is from the Society’s Master of Music Michael Brett. We have a full chorus, a dance ensemble and a cast of wonderful principals to delight and amaze. Our costume department and set design/construction have done their usual spectacular creations and we look forward to the performance of this classic musical.
Kiss Me, Kate is based on real life. Broadway Producer Arnold SaintSubber conceived the idea for Kiss Me, Kate after witnessing the on-stage/off-stage drama of husband-and-wife actors Alfred Lunt and Lynn Fontanne during their 1935 production of The Taming of the Shrew. Bella and Samual Spewack were asked to write the book and in turn asked Cole Porter to write the music. Kiss Me, Kate opened on Broadway on December 30, 1948, and ran for a total of 1,077 perfomances. In 1949, the production won 5 Tony Awards, including Best Musical.
A West-End production followed, opening on March 8, 1951, and ran for 400 performances at the Coliseum Theatre in London. Minor revivals were popular and then the Royal Shakespeare Company staged a major production in Stratford-on-Avon in 1987 that went on to tour the UK and in 1988 eventually transferred to the Savoy Theatre on London, thereby becoming a “Savoy Opera” and creating a somewhat tenuoues link to Gilbert and Sullivan.
In 1999, the show had another major revival on Broadway. This production was extremely well received and played for 881 performances, scoring another major batch of Tony Awards! A 2001 revival on London played for about 300 performances, revived again in 2012, and believe it or not, another major revival at The Barbican in London in 2024, currently still running.
Following that illustrious history, I hope we have done the show justice and you enjoy this performance as much as we enjoy presenting it to you.
Kevin Langoulant President
Every so often the Society has a break from continual repeats of the Savoy Operas for a little light relief.
We have a full chorus, a dance ensemble and a cast of wonderful principals to delight and amaze. Our costume department and set design and construction have done their usual spectacular creations and we look forward to the performance of this classic musical.
Director’s Notes Musical Director’s Notes
Welcome to our production of Kiss Me, Kate.
This vibrant musical celebrates the theatre, intertwining Shakespearean drama with Cole Porter’s brillirant score and the lively narrative crafted by Samual and Bella Spewack.
Kiss Me, Kate includes classical Cole Porter songs including “Another Op’nin’, Another Show”, “Wunderbar,” “So In Love,” “Too Darn Hot,” and “Brush Up Your Shakespeare.”
Set in 1948, it is a show within a show, where the presentday troupe is presenting Shakespeare’s The Taming of the Shrew and the audience travels between Shakespeare’s Padua and the intrigues within the theatrical company.
Kiss Me, Kate, when viewed through a contemporary lens, does present themes that may appear dated, particularly its reliance on traditional gender roles and the battle of the sexes. Critics frequently note that the comedic dynamics between the characters can reflect outdated sexual politics, making it a challenge to reconcile the show’s humour with modern sensibilities.
What strikes me most about Kiss Me, Kate is its exploration of the relationships we build - both professional and personal - under the spotlight. These dynamics are filled with tension, humour, and ultimately, reconciliation. By emphasizing these core themes, I hope to create a production that not only honours Shakespeare’s timeless narratives but also reflectes our collective experiences, showcasing how the theatre serves as a beacon of hope and a catalyst for personal transformation. The cast and crew have worked tirelessly to bring these characters to life with heart, energy, and plenty of fun. We invite you to sit back, relax and enjoy our production of Kiss Me, Kate.
Natalee
Husk Director
My first foray into the world of Musical Theatre was at the tender age of 16 when I was invited by my school music teacher to be the rehearsal accompanist for the Hamilton (N.Z.) Amateur Dramatic Society’s semi-professional production of The Music Man. I had grown up listening constantly to my parents’ collection of LP recordings of such shows as My Fair Lady and Hello, Dolly!, so I already had a fairly good idea of what to expect – musically, at least. What I had not expected was the truly unique brand of people collectively known as “theatre-folk”, a revelation to a rather naïve, shy teenager! Well, there’s been rather a lot of water under the bridge since then and once again I find myself back in the Musical Theatre world, for only the second time in my life – this time, as Musical Director!
The truly unique brand of people collectively known as “theatre-folk” are all here in this show as well, bringing a vibrant and joyous sense of style and commitment to the stage! The cast have been fantastic fun to work with and I know you will enjoy their performances.
As always, I owe a huge debt of gratitude to the orchestra, many of whom (at the time of writing this) I have yet to meet, as well as Assistant Musical Director, Krispin Maesalu, for his expert direction of orchestral rehearsals whilst I was recently overseas. Our regular audiences will notice many different faces in the pit, reflecting the different style of orchestration for this sort of show. However, they’re not all first -timers to a G&S pit and my thanks also go to concertmaster-extraordinaire, Susan Page, along with one of the Society’s truly musical treasures – oboist, Sheila Byfield, in her 58th year playing in the Society’s productions!
Michael Brett Musical Director
Synopsis
Act 1
The cast of a musical version of William Shakespeare’s The Taming of the Shrew is rehearsing for the opening of the show that evening (“Another Op’nin’, Another Show” ). Egotistical Fred Graham is the director and producer and is starring as Petruchio, and his movie-star ex-wife, Lilli Vanessi, is playing Katherine. The two seem to be constantly arguing, and Lilli is particularly angry that Fred is pursuing the sexy young actress Lois Lane, who is playing Bianca. After the rehearsal, Lois’s boyfriend Bill appears; he is playing Lucentio, but he missed the rehearsal because he was gambling. He tells her that he signed a $10,000 IOU in Fred’s name, and Lois reprimands him (“Why Can’t You Behave?” ).
Before the opening, Fred and Lilli meet backstage, and Lilli shows off her engagement ring from Washington insider Harrison Howell, reminding Fred that it’s the anniversary of their divorce. They recall the operetta in which they met, which included (“Wunderbar” ), a Viennese waltz; they end up fondly reminiscing and singing and dancing. Two gangsters show up to collect the $10,000 IOU, and Fred replies that he never signed it. The gangsters obligingly say they will give him time to remember it and will return later. In her dressing room, Lilli receives flowers from Fred, and she declares that she is still (“So In Love” ) with him. Fred tries to keep Lilli from reading the card that came with the flowers, which reveals that he really intended them for Lois. However, Lilli takes the card with her onstage, saying she will read it later.
The show begins (“We Open in Venice” ). Baptista, Katherine and Bianca’s father, will not allow his younger daughter Bianca to marry until his older daughter
Katherine is married. However, she is shrewish and illtempered, and no man desires to marry her. Three suitors – Lucentio, Hortensio, and Gremio – try to woo Bianca, and she says that she would marry any of them (“Tom, Dick, or Harry” ). Petruchio, a friend of Lucentio, expresses a desire to marry into wealth (“I’ve Come to Wive it Wealthily in Padua” ). The suitors hatch a plan for him to marry Kate, as Baptista is rich. Kate, however, has no intentions of getting married (“I Hate Men” ). Petruchio attempts to woo her (“Were Thine That Special Face” ). Offstage, Lilli has an opportunity to read the card. She walks on stage off-cue and begins hitting Fred, who, along with the other actors, tries to remain in character as Baptista gives Petruchio permission to marry Kate. Lilli continues to strike Fred, and he ends up threatening to spank her. Offstage, Lilli furiously declares she is leaving the show. However, the gangsters have reappeared, and Fred tells them that if Lilli quits, he’ll have to close the show and won’t be able to pay them the $10,000. The gangsters force her to stay at gunpoint. Back onstage, the chorus performs (“We Sing of Love” ), covering a scene change.
The curtain opens, revealing the exterior of a church; Petruchio and Kate have just been married, and they exit the church; the gangsters, dressed in Shakespearean costume, are onstage to make sure that Lilli stays. Petruchio implores Kate to kiss him, and she refuses. He lifts her over his shoulder and carries her offstage while she pummels his shoulder with her fists (“Kiss Me Kate” ).
Act 2
During the show’s intermission, the cast and crew relax in the alley behind the theater. Paul (Fred’s assistant) and other crew members lament that it’s (“Too Darn Hot” ) to meet their lovers that night. The play continues, and Petruchio tries to ‘tame’ Katherine and mourns for his now-lost bachelor life (“Where Is the Life That Late I Led?” ). Off-stage, Lilli’s fiancé Harrison Howell is looking for Lilli. He runs into Lois, and she recognizes him as a former lover but promises not to tell Lilli. Bill is shocked to overhear this, but Lois tells him that even if she is involved with other men, she is faithful to him in her own way (“Always True to You in My Fashion” ). Lilli tries to explain to Howell that she is being forced to stay at the theatre by the gangsters, but Howell doesn’t believe her and wants to discuss wedding plans. Fred insidiously points out how boring Lilli’s life with Howell will be compared with the theatre. Bill sings a love song he has written for Lois (“Bianca” ).
Synopsis song list
Act 1
“Another Op’nin’, Another Show” Hattie and Company
“Why Can’t You Behave?”
Lois Lane and Bill Calhoun
“Wunderbar”
Fred Graham and Lilli Vanessi
“So in Love”
Lilli Vanessi
“We Open in Venice”
Fred Graham, Lilli Vanessi, Lois Lane and Bill Calhoun
“Tom, Dick or Harry”
Bianca, Lucentio, Gremio and Hortensio
“I’ve Come to Wive it Wealthily in Padua”
Fred Graham and The Men
“I Hate Men”
Lilli Vanessi
“Were Thine That Special Face”
Fred Graham
“We Sing of Love (Cantiamo D’Amore)”
Lois Lane, Bill Calhoun and Ensemble
The gangsters discover that their boss has been killed, so the IOU is no longer valid. Lilli leaves - without Howell - as Fred unsuccessfully tries to persuade her to stay (“So in Love” (Reprise)). The gangsters get caught on stage and improvise a tribute to Shakespeare in which they explain that knowing Shakespeare is the key to romance (“Brush Up Your Shakespeare” ). The company prepares for the conclusion of the play, the wedding of Bianca and Lucentio, even though they are now missing one of the main characters. However, just in time for Katherine’s final speech, Lilli arrives onstage (“I Am Ashamed That Women Are So Simple” ). Fred and Lilli wordlessly reconcile on stage, and the play ends (“Kiss Me Kate” (Finale)) with them, as well as Bill and Lois, kissing passionately.
Synopsis courtesy of Wikipedia
Act 2
“Too Darn Hot”
Paul and Ensemble
“Where is the Life That Late I Led?”
Fred Graham
“Always True to You in My Fashion”
Lois Lane
“From This Moment On”
Harrison Howell and Lilli Vanessi
“Bianca”
Bill Calhoun and Company
“So in Love” (Reprise)
Fred Graham
“Brush Up Your Shakespeare”
First Gangster and Second Gangster
“I Am Ashamed That Women Are So Simple”
Lilli Vanessi
“Kiss Me, Kate” (Reprise = Finale) Company
Brush Up Your Shakespeare
(Start singing with Company at Curtain Bows)
Brush up your Shakespeare
Start quoting him now
Brush up your Shakespeare
And the women you will wow!
So tonight, just recite to your matey
Kiss me Kate, Kiss me Kate, Kiss me Katey!
Brush up your Shakespeare
And they’ll all kow-tow...
And they’ll all kow-tow...
And they’ll all... kow... tow...!
the production team
Director – Natalee Husk
Natalee’s love for the stage developed from the age of two when she started calisthenics, and the Song & Dance portion quickly became her favourite.
Her love of directing began at the age of six when she would call all the neighbourhood kids together, write a script, cast the show, have her mum organise costumes and props, and have her dad turn her large rectangle trampoline on its side to hang a sheet as backdrops to put shows on for the neighbourhood!
In her 20s Natalee was a performer and then Musical Director for Perth Gang Show (Scouts WA), moving next into the role of Director, where she directed Gang Shows, Review Shows, and directed and choreographed Variety Shows.
Performer: Guys & Dolls, Chicago, Showboat & Calamity Jane
Orchestral Musician: My Fair Lady, Gypsy, How to Succeed in Business Without Really Trying Musical Director: Guys & Dolls, Seven Brides for Seven Brothers, Dick Whittington
Director: Snow White, Guys & Dolls, The Boyfriend, My Fair Lady (Finley nominated)
Natalee is excited to direct another Golden Age Musical as Gilbert & Sullivan WA presents Cole Porter’s Kiss Me, Kate.
Musical Director – Michael Brett
Born in Auckland, New Zealand, Michael is well-known to G&S audiences as Musical Director for the Society’s productions of Trial by Jury/Cox & Box (2015), Iolanthe (2016), H.M.S. Pinafore (2017), Gondoliers (2018), Pirates of Penzance (2021), The Grand Duke (2022) and Ruddigore (2023). He also directed The Yeomen of the Guard (2019) and Iolanthe (2022) for the Society.
Michael’s career as a dance accompanist has taken him around the world, having worked in New Zealand, Singapore, Germany & the U.K. before moving to Australia in 2006. Since 2013 he has been Head of Music at West Australian Ballet where he has enjoyed a varied and challenging career culminating in a Performing Arts W.A. Award in 2018 for Best Composition or Arranging for the score of the ballet, Dracula. Michael’s arrangement has since been performed by ballet companies nationally and internationally, including Latvia, Poland & Finland with further seasons planned in 2025 & 2026.
Choreographer – Chloe Walsh
Chloe started dancing with Vivace Performance Company in Greenwood at the age of 4. In 2016 Chloe had the opportunity to tour with Vivace Performance Company on their Dance Around The World tour. Chloe has danced at Universal Studios and Disney World in the USA and also as part of cruise ship entertainment in the Bahamas. In 2019 Chloe performed in Grease the Arena Experience. Chloe has a Cert III in Dance and has won multiple awards including the Distinguished Performing Art Awards in Year 12. During her school years Chloe was part of the Kolbe Dance Company and competed in multiple school competitions such as CPAF (Catholic Performing Arts) Dance for 4 years and Singing for 3 years and YOHFEST for 3 years. As part of her dance journey, Chloe has completed TPA (Theatrical
Performing Arts), Jazz & Tap exam levels. In 2022 she was Assistant Choreographer for her school production of Grease at Kolbe Catholic college. Chloe is currently teaching Jazz and Contortion classes at Vivace Performance Company. This is Chloe’s first major musical as Choreographer.
Assistant Director – Luke van der Beeke
Luke’s love for the theatre was rekindled in recent years after encouraging his two children (now teens) to tread the boards.
In his early years he performed in numerous shows, including personal favourites Oliver! and The Pajama Game. He now enjoys working behind the scenes, particularly in creative roles. Over the past few years Luke has worked backstage on productions including Robin Hood: A Pantomime (Darlington Theatre Players 2021), The Ultimate Triumph of Supreme Brilliance (Darlington Theatre Players 2021), The Jungle Book (Laughing Horse Productions 2021), and Young Frankenstein (Darlington Theatre Players 2024).
In 2021 he stepped in as Assistant Director on Wizard of Oz (Laughing Horse Productions 2021), where he met Kiss Me, Kate Director, Natalee Husk. She asked him to join her as Assistant Director on My Fair Lady (Alexandria Theatre Company 2022) which played to sellout crowds at The Regal and won multiple Finley Awards. The invitation to work with Natalee on Kiss Me, Kate, and to bring something a little different to one of Perth’s most iconic theatrical companies, was an opportunity too good to refuse. The entire experience has been thoroughly rewarding and the quality of the end product is a testament to the passion and hard work of all involved.
Assistant Musical Director – Krispin Maesalu
Krispin is a true denizen of the arts, most at home in the limelight and low-light. His versatility as a singer, actor, musician and composer has seen him work extensively across the country, garnering a wealth of experience directing and performing in numerous productions and on television over the last fifteen years. Whilst completing a BMusEd at WAAPA / ECU, Krispin directed and performed with many wind ensembles, pit orchestras and FRINGEWORLD performances. Krispin is an alumnus of the Albany Light Opera and Theatre Company, an active member of many theatre companies across Perth, and an instrumental music specialist.
He is most proud of his Robert Finley Award nominations: Best Actor in a MusicalHorton the Elephant in Seussical (2020), Terry McAuley Award for Best Costumes in a Musical (2019), and Best Musical Director (2013 and 2014).
Direction credits include Little Good Wolf (FRINGEWORLD 2023), Jungle Book the Musical (LHP, 2021) Be More Chill (Phoenix Theatre 2019), Honk! (Phoenix Theatre 2017), Side by Side by Sondheim (Koorliny Arts Centre 2016)
Cole Porter
“Cole Porter’s wit and playful style in lyrics and music will never find a challenger. He lived life and music with style, with energy, and a hearty appreciation for the subtle, the grandiose, the lively, and the silly.”
– coleporter.org
Cole Porter was an American composer and lyricist who brought a worldly élan to the American musical and who embodied in his life the sophistication of his songs.
Porter was the grandson of a millionaire speculator, and the moderately affluent circumstances of his life probably contributed to the poise and urbanity of his musical style. He began violin study at the age of six and piano at eight; he composed an operetta in the style of Gilbert and Sullivan at 10 and saw his first composition, a waltz, published a year later. As a student at Yale University (B.A., 1913), he composed about 300 songs and wrote college shows; later he studied at Harvard Law School (1914) and Harvard Graduate School of Arts and Sciences in music (1915 - 16). He made his Broadway debut with the musical comedy See America First (1916), which, however, closed after 15 performances.
In 1917, after the United States entered World War I, Porter went to France. He became an itinerant playboy in Europe and, though rather openly homosexual, married a wealthy older American divorcée, Linda Lee Thomas, on December 18, 1919. They spent the next two decades in lively partying and social traveling, sometimes together, sometimes apart.
In 1928 Porter composed several songs for the Broadway success Paris, and this led to a string of hit musical comedies, including Fifty Million Frenchmen (1929), Gay Divorcée (1932), Anything Goes (1934), Red, Hot and Blue (1934), Jubilee (1935), Dubarry Was a Lady (1939), Panama Hattie (1940), Kiss Me, Kate (1948, based on William Shakespeare’s The Taming of the Shrew), Can-Can (1953), and Silk Stockings (1955). He concurrently worked on a number of motion pictures.
Over the years, Porter wrote such glittering songs and lyrics as “Night and Day,” “I Get a Kick Out of You,” “Begin the Beguine,” “I’ve Got You Under My Skin,” “In the Still of the Night,” “Just One of Those Things,” “Love for Sale,” “My Heart Belongs to Daddy,” “Too Darn Hot,” “It’s Delovely,”
“I Concentrate on You,” “Always True to You in My Fashion,” and “I Love Paris.” He was especially adept at the catalog song, his best-known efforts being “Let’s Do It” and “You’re the Top.”
Porter was one of the wittiest of all lyricists, with a subtlety of expression and a mastery of the interior rhyme. His work continues to stand as the epitome of sophisticated, civilized detachment in the popular song form.
Information from britannica.com; the Cole Porter Trust, and various online sources.
Sam & Bella Spewack
Kiss Me, Kate - full of romantic discord and backstage shenanigans - was penned by veteran husband-and-wife playwriting team Samuel and Bella Spewack. Theatrical lore holds that the couple, married 25 years but separated at the time of writing Kiss Me, Kate, reunited through their work on the piece, and remained married throughout their lives.
Bella Cohen was born in 1899 near Bucharest, Romania. By 1903, she and her mother had immigrated to the United States and settled on New York’s Lower East Side. After graduating from Washington Irving High School, she worked as a publicity agent and reporter for several newspapers, including The Call, a socialist daily.
Samuel Spewack was likewise an immigrant, born in the Ukraine in 1899. He immigrated to New York City with his family and graduated from Stuyvesant High School before entering Columbia College (now University) and dropping out to pursue work as a reporter. Sam was working for the New York World when he met Bella. “Sam really fell in love with my writing,” Bella told The New York Times in 1971. They married in 1922 and spent four years in Europe as foreign correspondents, including stints in London, Riga, Amsterdam, Moscow, and Berlin.
When they returned to the U.S., the couple settled in Pennsylvania. Sam wrote novels, and Bella embarked on a career as a press agent. She was working for the Girl Scouts of America when she came up with the idea for Girl Scouts to sell cookies. Bella and Sam also began collaborating on plays. Their first success was Clear All Wires! (1932), a comic farce about a foreign correspondent. It was turned into a successful film in 1933 and established the Spewacks as writers of madcap comedies with witty dialogue.
Their librettos, such as Leave It to Me (1938) and Kiss Me, Kate (1948), both Cole Porter collaborations, were characterized by fast-tempo witty remarks and biting irony. The Spewacks wrote screenplays for several 1940s Hollywood hits, including My Favorite Wife (1940) starring Cary Grant, nominated for an Academy Award for Best Original Story; and Weekend at the Waldorf (1945) starring Ginger Rogers and Lana Turner.
As a writing team, it was widely acknowledged that Sam created the plot and action, while Bella wrote most of the dialogue. George Abbott, the legendary Broadway director, said that the Spewacks “know how to write lines which are not only funny to read but which crackle when spoken in the theatre.”
Kiss Me, Kate was the Spewacks’ greatest success and won them the Tony Award for Best Author (Musical).
Article courtesy of The Roundabout Theatre; Taub, Michael. “Bella Spewack.” Shalvi/Hyman Encyclopedia of Jewish Women - 20 March 2009 - Jewish Women’s Archive. Image of Samuel and Bella Spewack courtesy of The Billy Rose Theater Collection, The New York Public Library for the Performing Arts, the Astor, Lennox and Tilden Foundation.
principal cast
Ian Lawrance – Fred (Petruchio)
Hayley Parker – Lilli (Katherine)
Hayley has an arts background that has seen her journey from her birthplace South Africa, to New York, London, China and Australia. She is a wife and a mother with a big passion for the performing arts. A Registered RAD Ballet Teacher, Hayley also holds multiple tertiary qualifications in Dance, Musical Theatre and Dance Education. Recently she has appeared on the singing reality show The Voice (2023) and many stage musicals including My Fair Lady, Mamma Mia, Chicago, Nine and Oliver, while also playing in TV commercials and short films. She can’t wait to bring Lilli Vanessi (Kate) to life and release her inner diva… Enjoy the show!
Ian Lawrance has been involved in musical theatre and choral work for many years, commencing in his schooling and university. He learnt vocal technique in Sydney and in the ACT. Following his PhD he left Australia to undertake a post-doctoral fellowship and joined the early music singers of Cleveland, Ohio, performing A Capella and with a baroque orchestra. In 2023 he joined the Gilbert and Sullivan Society of WA to play Captain Corcoran in H.M.S. Pinafore and continues to play principal roles. He plays the alto saxophone, is an award-winning dark fantasy author, a molecular biology researcher and a specialist medical physician.
Taylor Westland – Lois Lane (Bianca)
After hailing from Melbourne, Taylor is excited to be a part of another great production in Perth. From a young age Taylor has performed in a large variety of musicals and plays, including being a part of two Australian premier casts in Shrek the Musical and Catch Me if You Can. Whilst in Perth she has been fortunate enough to be a part of multiple shows, three of which were at the Regal Theatre - Kinky Boots, My Fair Lady and SpongeBob the Musical. She is very excited to bring Lois to life in Kiss Me, Kate and she hopes you enjoy the show!
principal cast
Calen Simpson – Bill Calhoun (Lucentio)
Calen started his acting experience at the early age of 5. Through high school, he was heavily involved in musical productions including, Aladdin, The Addams Family, and Grease. He has even performed with the ARIA award-winning artist, Peter Combe OAM for two years as a featured dancer. After high school, Calen was a part of amateur productions such as Hairspray, Wizard of Oz, and Little Shop of Horrors. He has also performed shows at Regal Theatre including My Fair Lady, Seussical and SpongeBob the Musical. Calen is very excited to perform for everyone tonight as Bill Calhoun and he wishes you enjoy the show.
Sarah McCabe - Hattie
Sarah has been performing in musicals since 2021 and is delighted to be involved in Kiss Me, Kate in her debut with the G&S WA. You may have seen Sarah as Pavela in The Hollow Cause (2024, KeshetWorks), as Madame Thenardier in Les Misérables (2023, Laughing Horse Productions), and as Maggie Jones in 42nd Street (2022, Drew Anthony Creative). Most recently, Sarah was Frau Blucher in Young Frankenstein (Darlington Theatre Players). She spends what spare time she has with her rescue dog Bowie and her husband Dan, without whose support none of this would be possible.
Ben Albert - Paul
Ben found his home in the theatre nearly ten years ago and has experienced many roles on, off and under the stage. Originally a pit musician, Ben has enjoyed roles in Honk!, Carrie (Phoenix Theatre 2017), Bare: a Pop Opera (Hand in Hand 2018), Da (Irish theatre Players 2019) He also found success as a Director and Musical Director (Be More Chill, Phoenix), Musical Director (Clue the Musical, Seussical and FringeWorld Weekly Award winner ( Avenge the Tell-Tale Heart: Discoveries Through Foley Art, Phoenix). Ben now tutors percussion at John Septimus Roe Anglican Community School and was warmly welcomed by this wonderful cast and crew for his debut with G&S WA.
principal cast
Samuel Farr - First Gangster
Originally from New Zealand, Samuel has been performing on stage for over 25 years covering a mix of vocal, dance, dramatic and musical theatre performance. This is their first production with the G&S Society and only their second here in Perth. Oddly enough Kiss Me, Kate is their second Cole Porter musical too! Much like the thuggish literati they play, Samuel has covered a little of everything from promenade Shakespeare to Wicked Samuel is passionate about theatre in all the many forms the art can take and is currently pursuing a PhD in theatre and museum studies. Now sit back and let us help you Brush up your Shakespeare!
Tracey Myhill – Second Gangster
This is Tracey’s second production with G&S WA, having been a part of the ensemble for last year’s production of Ruddigore. Tracey is also a member of G&S WA’s choir Savoy Singers. Tracey has extensive experience both on-stage and backstage with theatre companies in Albury / Wodonga and Brisbane. Tracey has also performed with Perth based Garrick Theatre and Darlington Theatre Players (Marloo Theatre). When not treading the boards, Tracey is studying to become a Pharmacy Technician and enjoys building miniature dollhouses. Tracey would like to publicly thank her husband for all his support and for caring for their mischievous feline fur baby, Luna.
principal cast
Rick Boyd – General Harrison Howell
Rick Boyd’s stage career suffered a forty-year hiatus between high school theatre and musical productions in New Zealand, and Gilbert and Sullivan productions in Perth as a somewhat more mature baritone / bass. Dragged along by a musical daughter to the ensemble in the G&S Society’s 2022 Iolanthe, Rick rediscovered his love of the stage and singing before a voluntary audience. He subsequently joined the chorus of H.M.S. Pinafore and Ruddigore in 2023 and now graduates to a slightly more substantial role as the long-suffering General Harrison Howell in Kiss Me, Kate.
Trevor Preston – Henry Trevor (Baptista)
Trevor has whistled pass the graveyard in many productions - as lead, principal, Svengali, or shrew tamer with G&S WA, Old Mill Theatre, Stirling Players, Limelight Theatre, and other companies. His roles have ranged from gangster (Guys & Dolls), ruffian (Man of La Mancha), con artist (Flapper!), a pirate (Pirates of Penzance), sly old roué (The Boyfriend), and mutinous sailor (H.M.S. Pinafore)… always one of the good guys. He remains mystified as to who you have to save from drowning in a bath of gin to be the bad guy who gets to kiss Kate. Trevor appreciates your support for musical theatre – goditi lo spettacolo! (Enjoy the show!)
Alannah Rose
Alister Walters Amy Parsons
Barry Boyd
Beau van der Beeke
Charlotte Rollinson
Chloe van der Beeke
David Clark-Murphy
Ashlee Graveson ensemble
Jane Anderson
Gabrielle Abel
Emma Fleming
Jennifer van den Hoek
Judith Clark
Juliette Basini
Kacey Murphy
Liza Cobb
Emma Carver ensemble
ensemble
Michael Hewson
Megan West
Mary Vidovich
Tamar Basini
Thomas La Cava
Marc Obi
The Orchestra
Conductor: Michael Brett
Violin and Concertmaster: Susan Page
Violin: David Macononchie
Cello: Amanda Reynolds
Bass: Emma Youd / Keith Bender
Flute & Piccolo: Rachel Hicks
Oboe & English Horn: Sheila Byfield
Reed I: Talitha Broughton
Reed II: Stella Sawyer
Reed III: Tara Oorjitham
Reed IV: Marie-Claire Donnelly
Reed V: Alice Annetts
Trombone: Aaron Canny
Horns: Sandra McKenna / Sarah Robinson
Keyboards: Nick Williams, Michael Brett
Percussion: Daniel Nievelstein
Kit: Lachlan O’Driscoll
About The Gilbert & Sullivan Society to WA
For over seven decades the Gilbert & Sullivan Society of WA has brought laughter and joy to generations of Western Australians. Founded in 1951 by former D’Oyly Carte Opera Company alum, Bernard Manning, who had toured in the UK and then joined the renowned JC Williamson Company in Australia, Manning played many principal roles such as the Mikado, Dick Deadeye (HMS Pinafore) and the Pirate King (The Pirates of Penzance).
In 1927 Manning visited Perth with the Company and met biology teacher, Mildred Le Souef. They married in 1951 when Bernard retired and he formed the Society shortly after, playing an active role in its success for the next 10 years. Manning passed away on 5 May 1961.
Our current headquarters is the Nollamara Recreation Centre, which serves as our rehearsal space for the Society’s productions and permanent choir, The Savoy Singers. It also holds our vast store of production costumes and a library of scores and literature.
The first production of the G&S Society of WA was HMS Pinafore held at the Assembly Hall from April 30 to May 9, 1953. From that time onwards the Society has presented productions of the Gilbert and Sullivan repertoire as well as other musical theatre and operetta works in WA.
The Society is supported by The Gilbert & Sullivan / AN Bullock Trust created in 1983 through the bequest of the late Arnold Bullock.
The Board of The Gilbert & Sullivan Society of WA (Inc.)
President: Kevin Langoulant
Senior Vice-President: Susan Page
Junior Vice-President: Roger Starbuck
Treasurer: Glenn Rowan
Secretary: Tanya Hill
Immediate Past President: Max Page OAM
Board Members: Barry Boyd, Michael Brett, Judith Clark, Jessica Henderson, Ian Lawrance, Anne Poepjes
THANK YOU TO OUR SUPPORTERS
Thank you to our Supporters
The production team
Director Natalee Husk
Musical Director
Choreographer
Assistant Director
Assistant Musical Director
Dance Captain
Additional Choreograper
Production Manager
Michael Brett
Chloe Walsh
Luke van der Beeke
Krispin Maesalu
Chloe van der Beeke
Chloe van der Beeke (Tarantella)
Hayley Parker (Were Thine Thy Special Face)
Max Page OAM
Production Secretary Roger Starbuck
Production Treasurer Glenn Rowan
Theatre Liaison & Ticketing
Susan Page
Stage Manager Alexander Kiely
Assistant Stage Manager
Stage Assistants
Set Design & Construction
Heads of Wardrobe
Wardrobe Team
Lighting Design
Follow Spot Lighting Operator
Orchestral Arrangements
Properties
Transport
Poster Artwork & Design
Programme Editorial & Design
Publicity Photography
Cast Programme Photography
Promotions & Marketing
Library
OUR SPECIAL THANKS TO:
Christie van der Beeke
Monica Burnell, Ivy Burnell, Linda Galbraith, River Davis & Belinda McLean
Barry Boyd
Veronica Hudson & Gail Reading
Jenny Dawson, Charlotte Rollinson
Don Allen
Kade Cataldo
Michael Brett
Janey Byrne, Christie van der Beeke
Barry Boyd
Alister Walters
Judith Clark, Alister Walters, Juliette Basini
Nicholas Madeley, Judith Clark, Tanya Hill, Juliette Basini
Max Page
Judith Clark, Alister Walters
Roger Starbuck, Anne Poepjes
The Gilbert and Sullivan Society / AN Bullock Foundation for their ongoing support. Members of the Cast and their family, friends and partners who have generously assisted behind the scenes. David Hobbs and the staff and crew of University Theatres for their assistance.
WARDROBE HIRE
Gilbert & Sullivan WA have an extensive range of costumes, stages props and assorted scenery for hire for shows, photoshoots and celebrations of any kind. For more information and competitive prices contact Veronica (Head of Wardrobe) on 0431 550 212 or wardrobe@gandswa.org.au
DO YOU LIKE TO SING?
Consider joining our no-audition choir, The Savoy Singers! We rehearse and perform shows as varied as choral recitals to abridged versions of Gilbert & Sullivan and other one act musicals.
The SOC rehearses each Wednesday night at our headquarters in Lemana Rd, Nollamara and sings a variety of works, not just Gilbert and Sullivan.
Our concerts have included well-known songs from Broadway, opera choruses by well-known composers, and wonderful choral arrangements of popular songs.
For more information: Call Max Page - 0408 386 164 or see our website www.gandswa.org.au/soc
Act Belong Commit
Act Belong Commit is an evidence-based health promotion campaign designed to encourage people to take action to improve and protect their mental health and wellbeing.
First developed in 2002, Act Belong Commit is Australia’s longest running mental health promotion campaign.
We know that staying active, connecting with others and doing something meaningful are powerfully protective and provide the foundations for mental health and wellbeing.
Read more about Arts and Mental Wellbeing at: www.actbelongcommit.org.au
WIN A DOUBLE PASS TO OUR 2025 SEASON!
Gilbert & Sullivan WA are giving you and a friend a chance to win two tickets to the rarely performed gem Utopia, Limited, Gilbert & Sullivan’s penultimate operetta; and one of the world’s most loved and popular musical comedies, The Mikado
To go in the draw, please enter your name, email, and a contact number in the form below. Pop it in our Competition Entry Box only available during our season of Kiss Me, Kate at Dolphin Theatre.
Name
Competition closes Sunday, 13 October 2024. The lucky winner will be contacted in early November 2024.
The prize includes two tickets to any performance during the show seasons of Utopia, Limited. (May 2025) and The Mikado (October 2025) plus a complimentary program to the respective production.
Phone/Mobile
All entries will be subscribed to The Gilbert & Sullivan Society of WA newsletter. Tick box to opt out.
G&S WA Concert Party
Enjoy the magic of live performance at your next event!
Featuring up to 5 performers, including a pianist, consider a G&S WA Concert Party at your next occasion.
Catering to various budgets and locations, we can design a concert program to suit your requirements and audience. To find out more, contact Max Page on 0408 386 164 or productions@gandswa.org.au
GSWA Merchandise
The Society will soon be setting up a little eShop via our website for those interested in getting their own G&S WA branded merchandise (currently on display in the entry lobby of the Nollamara Hall). All funds raised will be in support of Gilbert & Sullivan WA.
Find out more: www.gilbertandsullivanwa.org.au/shop/
Advertise in our Programme
The Gilbert & Sullivan Society of Western Australia offers competitive rates for individuals, businesses and other theatre companies for advertising within our programmes. Well designed and informative, programme placement can offer your brand an approachable advertising option to the discerning theatre patron.
To find out more please contact us at: marketing@gandswa.org.au
Donations & Bequests
Please consider donating to G&S WA as we approach our Diamond Jubilee 75th Year Anniversary in 2026! The Society has brought laughter and joy to generations of Western Australians and with your support for we can continue to champion our local performers, creatives, and company, now and into the future.
Please contact Treasurer, Glenn Rowan at: treasurer@gandswa.org.au to discuss further.
Volunteer with G&S WA
If you have some time, a skill, or an interest, please join us and help contribute to the Society as a very valued volunteer.
Please contact G&S WA President, Kevin Langoulant – president@gandswa.org.au if you would like to help out. No special skills required. Thank you!
If you would like to consider a bequest or thoughtful legacy gift in your Will, please contact:
President Kevin Langoulant president@gandswa.org.au
Expression of Interest for performing in our 2025 season!
We would love you to be part of our upcoming productions of Utopia, Limited and The Mikado! Please send an Expression of Interest for roles both on-stage and off, principal and ensemble to: auditions@gandswa.org.au and we will get back to you when the Audition Packs are arranged.
Subscribe to our Newsletter
Interested in keeping up to date with our News and Notes?
Send an email to: promotions@gandswa.org.au to be added to our monthly newsletter list.
