Program - 42nd Street

4–13 August 2022 queensland conservatorium Bradford Ropes Original Direction and Dances by Gower Champion Originally Produced on Broadway by David Merrick. The use of all songs is by arrangement with Warner Bros., the owner of music publishers’ rights “42nd Street ” is presented by permission of ORiGiN™ Theatrical on behalf of Tams-Witmark LLC., A Concord Theatricals Company Based on the Novel by

INTRODUCTION

Welcome to Queensland Conservatorium Griffith University for our annual musical production, unquestionably one of the highlights in our calendar. 42nd Street brings together not only all our musical theatre students but involves students and staff from across the entire Conservatorium, with support from the university, to bring it all together. As you will hear and see, while the cast is large and the band also sizeable, the full ensemble (including the many behind the scenes) is even more epic!

While wishing to acknowledge all involved for their efforts, not least given the challenging circumstances which continue to surround us, I do want to draw attention to Professor Paul Sabey for his extraordinary leadership of the Performing Arts program. Paul was recently recognised by Griffith University with its highest accolade in relation to Teaching Excellence. Together we say, “Thank you Paul”!

Last year’s success of Grease, including the subsequent transfer to QPAC, represented a further stage in appreciation of the strength of the QCGU’s Performing Arts program, also evident in the range of student and alumni successes that have been manifest over the past 12 months. Since Grease, it was exciting personally to witness alumni in major roles in An American in Paris and Frozen! (to name but two shows also in the Lyric Theatre at QPAC) and I am sure there have been many more. We look forward to building on this momentum over the coming years as we seek to make South Bank ever more vibrant and inter-connected.

Building out from last year’s successes, it is lovely to welcome back Alister Smith to direct the show, again alongside Dan Venz and Heidi Loveland. Special acknowledgement is due too, to Associate Professor Peter Morris, not only as conductor for the production but also in his role as the Conservatorium’s Deputy Director (Engagement) which oversees all dimensions of our Production, Engagement and Outreach. It is always heartening when the overview is linked so intimately to the

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delivery of the musical detail in such an organic way. Having seen the set coming together over the past weeks, I wanted to thank Penny Challen for bringing her fresh inspiration into the artistic mix.

We are fortunate at the Conservatorium to feel supported so closely at multiple levels in the university. Under the assured direction of Professor Scott Harrison (Pro Vice Chancellor AEL), all elements of the Arts Education & Law Group central team (and in particular the Marketing & Communications team) have offered constant care while the degree of investment from across the University’s Senior Leadership - under the inspiring leadership of Professor Carolyn Evans - is also deeply heartening for the entire Conservatorium community. Thank you for your presence!

We trust you will enjoy the show and look forward to welcoming you to other upcoming events in the coming weeks, months, and years. Thanks to many of you for your support over the years, both through your attendance and philanthropy; for those new to the Conservatorium and to our Theatre, welcome to our special home!

Professor Bernard Lanskey Director, Queensland Conservatorium Griffith University

WELCOME

Following the success of Grease last year, it gives me immense pleasure to welcome you to our production of 42nd Street, featuring the third year musical theatre students along with the second and first year students.

We have been delighted to welcome back director Alister Smith to direct this production for us, musical director Heidi Loveland to musically direct and Dan Venz to choreograph what I’m sure you’ll agree is an amazing production and showcase for this talented group of students.

In 2016, The Secret Garden was the first production in which musical theatre students performed with the Conservatorium Symphony Orchestra. This was followed by West Side Story in 2017, and then Les Misérables in 2019.

I am grateful to all the students playing tonight under the baton of conductor Peter Morris, who agreed to join us for one of the most iconic pieces of musical theatre repertoire.

This production is the result of an incredible amount of hard work from many people, too many to single out.

However, I would like to take this opportunity to thank all the performing arts teaching staff who have helped the students prepare for this production; the instrumental teaching staff and Heads of Departments; the technical team for making this theatre come alive and the performing arts administration for their continued dedication to the students. It’s been exciting working with our set and costume designer, Penny Challen. Creating for the era with such a large cast is no mean feat—there are more than 1,200 items of costume, and in excess of 150 light bulbs in the set.

Although we started planning for this show more than twelve months ago, the students commenced at the start of this year with a weekly tap boot-camp (in addition to their normal tap classes). To quote a line from the show, “You’re gonna dance until your feet fall off, till you’re not able to stand up any longer, but five weeks from now, we’re gonna

have a show”, and a wonderful show we have (although it took a little longer!).

This year, the third-year students presented the musical revue Putting It Together in our studio theatre in Woolloongabba. Following the season of 42nd Street, they will work towards their final showcase (alongside the Bachelor of Acting students), before graduating in December. Musical theatre takes more than just being able to sing a few songs. It takes a commitment to the text, the music and the physicality—these students have worked extremely hard to be the best they can at all three and to them, thank you. Thank you for allowing us to provide you with the very best opportunities to help you develop into fine young performers. I’m excited to see them follow in the paths of the many graduates from this program who are enjoying wonderful careers in performing arts, teaching or the many other related industries. Once again, thank you for joining us here. I hope you have as much pleasure watching this wonderful production as we have had putting it on.

Professor Paul Sabey Head of Performing Arts, Queensland Conservatorium Griffith University

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SYNOPSIS

Based on the 1932 novel by Bradford Ropes and the subsequent 1933 Hollywood film adaptation, 42nd Street is a Tony and Olivier Award winning musical with lyrics by Al Dubin and Johnny Mercer and music by Harry Warren. In addition to songs from the 1933 film 42nd Street, it includes songs that Dubin and Warren wrote for many other films at around the same time.

The musical is set at the height of the Great Depression and tells the story of talented young performer Peggy Sawyer. With stars in her eyes and armed with her tap shoes, Peggy arrives in New York City from her hometown in Pennsylvania. Her talent catches the eye of famed Great White Way (Broadway) director Julian Marsh, who gives her a role in the chorus of Pretty Lady, a musical he is attempting to mount. Pretty Lady stars Dorothy Brock, a diva whose best days are behind her, and who dislikes Peggy instantly. When Dorothy is injured shortly before the show opens, Julian is persuaded to have Peggy take the leading role. Peggy’s rise from showgirl to star is the stuff of show business dreams.

42nd Street is full of crowd-pleasing tap dances, popular musical theatre standards, and show-stopping ensemble production numbers.

Creatives Producer / Head of Performing Arts

Set and Costume Designer

Professor Paul Sabey

Penny Challen

Director

Lighting Designer

Alister Smith

Keith Clark

Musical Director

Sound Designer

Heidi Loveland

Steve Thornely

Conductor

Costume Coordinators

Associate Professor Peter Morris

Sophia Morris Xanthe Jones (pre-production)

Choreographer Dan Venz

Associate Choreographer Gabriella Boumford

Voice / Dialect Coach Dr Melissa Agnew

Intimacy Coordinator Michelle Miall

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DIRECTOR’S NOTE

42nd Street is the perfect musical antidote for our time.

After the past few years we need a musical that celebrates hope, optimism and happiness. 42nd Street is a multi-Tony Award and Olivier Award winning musical born in 1980, and based on the 1932 novel by Bradford Ropes and the subsequent 1933 Hollywood film adaptation. It’s a classic backstage musical that follows the rehearsal process of a Broadway show being put on during the height of the great depression. This was the first of the jukebox musicals and none have come close to its brilliance. In addition to songs from the 1933 film 42nd Street, it includes songs that Al Dubin and Harry Warren wrote for many other films at around the same time, including Gold Diggers of 1933, Roman Scandals, Dames, Gold Diggers of 1935, Go into Your Dance, Gold Diggers of 1937 and The Singing Marine.

42nd Street has been on my directorial bucket list for my entire professional career. It was the first musical I ever saw way back in the late 1980s when the original Australian production was touring the country.

Something changed in my DNA that day as we sat and watched the Saturday matinee at Her Majesty’s Theatre in Melbourne. Something was planted, something that would cause me to spend a life dreaming and creating. To this day, whenever I’m in a theatre I’m still that little boy in 1989, hanging over the balcony fixated on the magic of theatre and the extraordinary experience of escaping into the magic of imagination.

42nd Street is set in 1933 in New York City, the home of Broadway, during one of the darkest times the world has seen. People across the globe lost their life savings, their jobs, and were desperately trying to keep a roof over their heads and food in their bellies. New York was the epicentre of this global catastrophe. Through our production we have focused on this grit and the power art has on restoring hope in troubled times. Through Penny Challen’s brilliant monochromatic design, we see colour punch through as hope and life returns to the city through the magic of theatre. Through Dan Venz’s genius and magnificent choreography, combined with Heidi Loveland’s incredible musical virtuosity, we escape into a world of joy and vitality, where our imaginations are ignited, and we are inspired to take on a new day.

This is the timeless showbiz fable of “rags to riches”; nothing encapsulates the American dream more than this musical.

It tells the story of the strength and hope of the human condition in times of great crisis. Our hero Peggy arrives in New York armed with her tap shoes and a dream. Her rise from showgirl to star is the stuff of show business legend.

She re-ignites the hope of Broadway and brings light and colour back to the darkness all around her.

42nd Street celebrates the tenacity of the human spirit and especially the resilience of the performing artist. Our world has just been through some very dark times. We are still grieving and hurting. These students know first-hand what it was like to see their industry completely disappear with their futures and dreams hanging in the balance as we dealt with the global pandemic. Going through this darkness has galvanized the fundamental importance and civic duty of theatre and live art. Theatre has never been more vital than it is today! It is a place to commune, heal, laugh and evolve.

A place where our community can dream again.

“Think of Broadway damnit!”

Alister Smith Director

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42ND STREET MUSICAL NUMBERS

Act One OVERTURE and AUDITION

Andy and Chorus

YOUNG and HEALTHY

Billy and Peggy

IN FOUR: SHADOW WALTZ

Maggie

IN THREE: SHADOW WALTZ

Dorothy

PRODUCTION: SHADOW WALTZ

Dorothy and Chorus

REPRISE: SHADOW WALTZ GO INTO YOUR DANCE

Dorothy Maggie, Peggy, Annie, Phyllis, Lorraine and Andy

YOU’RE GETTING TO BE A HABIT WITH ME

Dorothy, Billy and Chorus

GETTING OUT OF TOWN

Maggie, Bert, Pat and Full Company

DAMES

Billy and Chorus

I ONLY HAVE EYES FOR YOU

Dorothy, Billy and Chorus

WE’RE IN THE MONEY

Annie, Phyllis, Lorraine, Peggy and Chorus

ACT ONE FINALE

Dorothy

Act Two THERE’S A SUNNY SIDE TO EV’RY SITUATION LULLABY OF BROADWAY MONTAGE ABOUT A QUARTER TO NINE SHUFFLE OFF TO BUFFALO FORTY-SECOND STREET

Annie and Chorus Julian, Billy, Annie, Maggie, Abner and Full Company Peggy and Chorus Dorothy and Peggy Bert, Annie, Maggie and Chorus Peggy and Dancers

FINALE ACT TWO BOWS

Julian Full Company

P E R F O R M A N C E R U N S F O R 2 h r s A N D 1 5 m i n s I N C LU D I N G A 2 0 m i n I N T E R VA L

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CAST LIST

Chrysler

Empire

Performances Thursday 4th 7.30 pm Saturday 6th 7.30 pm Thursday 11th 7.30 pm Saturday 13th 2.30 pm

Performances Friday 5th 7.30 pm Tuesday 9th 7.30 pm Friday 12th 7.30 pm Saturday 13th 7.30 pm

Peggy Sawyer

Katie Loxston

Andrea Zappacosta

Dorothy Brock

Lucy Goodrick

Tiffany Payne

Julian Marsh

Aidan O Cleirigh

Jonathon Gardner

Maggie Jones

Jacqui Dwyer

Rae Rose

Bert Barry

Jack Ingram

Jack Ingram

Billy Lawlor

Hudson Glynn

Gabriel Tiller

Ann Reilly

Isabel Lanigan

Brooke Szych

Andy Lee

Rohan Treanor

Rohan Treanor

Phyllis Dale

Lara Salamacha

Genevieve Dawkins

Lorraine Flemming

Bianca Love

Chelsea Burton

Pat Denning

Nicolas Van Litsenborgh

Nicolas Van Litsenborgh

Abner Dillon

Jai Jackson

Jai Jackson

Mac and Others

Oliver Pinkett

Oliver Pinkett

Oscar and Others

Corey Smark

Corey Smark

Covers Bert Barry

Oliver Clisdell

Andy Lee

Oliver Pinkett

Pat Denning

Matthew Casamento

Abner Dillon

Mackinley Brown

Mac

Nicolas Van Litsenborgh

Oscar

Ben Peters

Maggie Ensemble Track

Sophie Montague

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THIRD YEAR STUDENTS

Chelsea Burton

Genevieve Dawkins

Jacqui Dwyer

Jonathon Gardner

Hudson Glynn

Lucy Goodrick

Jack Ingram

Jai Jackson

Isabel Lanigan

Bianca Love

Katie Loxston

Aidan O Cleirigh

Tiffany Payne

Oliver Pinkett

Rae Rose

Lara Salamacha

Corey Smark

Brooke Szych

Gabriel Tiller

Rohan Treanor

Nicolas Van Litsenborgh

Andrea Zappacosta

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ENSEMBLE LIST Third Year Students

Second Year Students

First Year Students

Chelsea Burton

Olivia Ayoub

Imogen Alexander

Genevieve Dawkins

Mackinley Brown

Juliette Coates

Jacqui Dwyer

Taylor Brown

Kaylen De Gersigny

Jonathon Gardner

Matthew Casamento

Madelene Kirkwood

Hudson Glynn

Oliver Clisdell

Ally Long

Lucy Goodrick

Gemma Dandie

James Macaulay

Jack Ingram

Natasha Dyson

Alyssa Mastromanno

Jai Jackson

Isabella Gaskin

Ashley McLaren

Isabel Lanigan

Sophie Gulloch

Sophie Moman

Bianca Love

Eliza Gunther

Jay Monck

Katie Loxston

Ben Peters

Charly Oakley

Aidan O Cleirigh

Meg Hargraves

Faith Oosthuizen

Tiffany Payne

Michael Jarrett

Oliver Palamara

Oliver Pinkett

Aimee Jones

Ebony Portelli

Rae Rose

William Kasper

Henry Rheinberger

Lara Salamacha

Izzi Kratz

Jack Ryan

Corey Smark

Juliette Milne

Charlotte Sligar

Brooke Szych

Sophie Montague

Nick Smith

Gabriel Tiller

Bradley J Oakman

Finlay Underwood

Rohan Treanor

Charlotte Page

Nicolas Van Litsenborgh

Benjamin Richards

Andrea Zappacosta

Alexander Tye Emma Wilby

ORCHESTRA Flute

Vittoria von Caemmerer Sophie Schafer

Clarinet

Hinata Nishimura Thomas Cunningham

Alto Saxophone Sean Thompson

Tenor Saxophone

Timpani/Glock/Xylo

Baritone Saxophone

Drumkit/Percussion

French Horn

Keyboard

Trumpet

Keyboard 2 (Harp)

Ryan Park

Ryan Taylor

Lauren Owens

Alto Saxophone Isaac Reed

Tennyson Hall James Battersby Cooper Williams

Tenor Saxophone

Trombone

Abbey Schumacher

Thomas Evans-Grulke Tate Cassell

Quinn Ramsey

Matthew Morgan Heidi Loveland

Cameron McConville

Guitar/Banjo Lawson Mackreill

Contrabass/Electric Bass Regan Hickey

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CREATIVES

Alister Smith | Director

Heidi Loveland | Musical Director

Alister is a Melbourne-proud Theatre Director and Dramaturge. He is a graduate of the Victorian College of the Arts (Theatre Directing) and The Arts Academy Ballarat (Company 2004—Music Theatre Performance). Alister is the founder and Artistic Director of The Smith Company and The Actor Workshop. He works extensively with performing arts students within the university sector working with the Victorian College of the Arts, Federation University (formally The Arts Academy), the National Theatre Drama School and the Queensland Conservatorium Griffith University.

Heidi Loveland holds degrees in music, performance and education.

Most recently Alister has directed the national tour of Cruel Intentions The 90’s Musical (DVE Enterprise), which is now playing across the country, and the international tour of The Wedding Singer for which he won the Green Room Award for Music Theatre Direction. His creative highlights include: Grease (QCGU & QPAC); Romeo & Juliet (Essential Theatre); Bring It On: The Musical (Australian Première— DVE); Heathers! (Federation University); Macbeth (Essential Theatre); London Road (QCGU); The Drowsy Chaperone (VCA Music Theatre); The Boys (VCA Theatre); Much Ado About Nothing (VCA Theatre); Chicago (Federation University); Les Misérables (QCGU); The Mystery Of Edwin Drood (Federation University); Wicked (Footlight Productions); Project: Hysteria—A Tennessee Williams Exploration (TBC Theatre Company); Femme Fatale (Melbourne Fringe 2015); URINETOWN! The Musical (VCA Music Theatre); Slavs! (National Theatre Drama School); Pacific Overtures (Watch This Theatre Company and Manila Street Productions); Penelope (Red Stitch Actors Theatre); Himmelweg (The Smith Co); Behind Closed Doors (Red Stitch Actors Theatre); Tribes (The Melbourne Theatre Company); Hose (MKA Theatre of New Writing); John Patrick Shanley’s Doubt (VCA) and The Threepenny Opera (The Smith Co).

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In recent years, she has provided musical direction for Rachael Beck, Martin Crewes and Queenie van der Zandt. She has musically directed numerous productions for Queensland Conservatorium Griffith University’s Bachelor of Musical Theatre including Putting It Together, Grease, The Wedding Singer, It’s Only Life, Legally Blonde The Musical, London Road, Elegies, The Drowsy Chaperone, Les Misérables, Dogfight, Company, West Side Story, The Secret Garden, the touring productions of Personals, Godspell, I Love You, You’re Perfect, Now Change, Elegies for Angels, Punks and Raging Queens and Working, as well as the graduating Musical Theatre Showcase tours.

Heidi has performed in the Brisbane QPAC seasons of 9 to 5 The Musical, Frozen the Musical, Charlie and the Chocolate Factory, Chess the Musical, Muriel’s Wedding, Strictly Ballroom, The Sound of Music and backed the Brisbane leg of Natalie Weiss’ Australian tour. She is a regular audition accompanist and was rehearsal pianist for Matilda the Musical and The Sound of Music. Other engagements include the Queensland Symphony Orchestra Harry Potter In-Concert Series, QSO Wave Festival and QSO Musical Theatre Gala.

Associate Professor Peter Morris | Conductor Associate Professor Peter Morris is Deputy Director (Engagement) of the Queensland Conservatorium Griffith University, in addition to being Head of Ensembles and leading the orchestral conducting program. He is the resident conductor of the Conservatorium Symphony Orchestra, Wind Orchestra, Musical Theatre pit orchestras and other interesting ensemble projects that arise. Peter conducted the Conservatorium productions of The Secret Garden (2017), West Side Story (2018) and Les Misérables (2019).

Prior to immigrating to Australia in 2002, Peter performed in the US and internationally on trumpet and as a conductor in a wide variety of genres from Baroque orchestras to commercial session work in Los Angeles for film and Television. Peter completed his doctoral studies in conducting at UCLA and has held teaching positions at American universities in California, Texas and Colorado.

Over the past 20 years in Australia, he has complemented his academic work with professional conducting activity in large-scale cultural projects and recording sessions for local film and TV. Peter conducted the Queensland Symphony Orchestra’s soundtrack recording to the new Australian film The Second, and often works with the QSO for their contemporary and collaborative WAVE projects and regional tours. He conducted the 2021 Brisbane season of Love Actually In Concert, and launched a new touring Australian stadium show, Classic Rock Live in 2022 with the Queensland Symphony Orchestra.

Peter is an advocate for commissioning new works and re-imagining existing musical structures and has an enthusiasm for exploring exciting collaborations to create performances that matter.

Dan Venz | Choreographer Dan’s love for the stage began in preschool, directing and starring in his own sandpit scenes, and after a small12 year hiatus, he began his professional career with Raw Dance Company, touring Australia as a dancer in Urban Wonderland. Dan has many onstage credits including Spring Awakening (Hanschen), Wizard of Oz (Tinman), The Neverending Story (Atreyu), Cats (Skimbleshanks), Spamalot, Hairspray National Arena Tour (Link Larkin), Grease Arena National Tour (Eugene and DC), Sweet Charity (ensemble), Six Inches and the AVNC and Boy&Girl cabaret series’ as well as multiple corporate and festival engagements.

But offstage, Dan is also a commercial, cabaret and musical theatre choreographer, creative and director, curating performances for events such as Brisbane Festival and Creative Generation for the past three years. Choreographing and performing both internationally and locally, Dan’s work can be seen in kids shows including Alice in Wonderland, The Jungle Book, The Little Mermaid and Paw Patrol for Nickelodeon and Nick Jr. as well as Pirates of Penzance, Footloose, The Drowsy Chaperone, Legally Blonde, Carrie-the musical, State of Origin the Musical, Margaret Fulton, and Xanadu (to name a few!). Dan is also a Creative/Choreographer for Oscar ProCo’s ‘Boy&Girl’ series, and for the last 5 years has Directed/Choreographed the “A Very Naughty Christmas” series, as well as choreographed and performed in Sweet Charity and Yank!—A WWII Love Story, at The Brisbane Powerhouse for Woodward Productions.

This is Dan’s second show for Queensland Conservatorium after working on Grease in 2021 with the same creative team. His passion for excellence and storytelling has made him a sought after name in the theatre industry, working with multiple educational organisations including as Dance Director with the Queensland Government’s ‘Creative Generation’ program and with Queensland Conservatorium Griffith University. Dan continually strives to make work that is fresh and unique and has developed several new works of Australian musical theatre.

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Penny Challen | Set and Costume Designer Penny Challen trained at QCA and NIDA before becoming Resident Trainee Designer at the Royal Shakespeare Company (RSC).

Whilst living in London Penny designed productions for the Bush Theatre, Soho Theatre, Gate Theatre, and RSC. She also worked with renowned designers Es Devlin, Rae Smith and Tom Piper creating & delivering over 40 mainstage projects for the RSC, Royal Opera House, English National Opera, National Theatre and others across Europe and America. Locally, Penny has

designed productions for Opera Queensland, Queensland Theatre, Belloo Creative, La Boite Theatre and others. She is the Co-Artistic Director (with Alicia Cush) of Little Match Productions, an independent music-driven production company based in Brisbane. Little Match creates new stories and compositions for Queensland audiences in contemporary contexts, with revitalising opera at the heart of their productions. Penny is a board member of the Matilda Award Executive Committee and holds an MA from QUT.

Steve Thornely | Sound Designer Steve graduated from his Music Technology studies as the Queensland Conservatorium Medalist in 2012 and went on to achieve 1st class honours in Music Technology the following year. Since then, Steve has entered into a portfolio of musical projects. He has performed the role of sound designer for theatre shows including West Side Story, Company, Little Women, Dry River Run, The Woman in Black, Les Misérables and Grease.

When the shows stopped in 2020, he worked as a Quality Control supervisor on Netflix and Amazon TV shows. As a music producer based at Unison Sound, Teneriffe, his portfolio has amassed over ten million listens on Spotify.

He has also worked on projects for Disney, Moose Toys, and Sesame Street.

This year, Steve has been sending mixes off to Sir Elton John for approval and sculpting live mixes for The Whitlams. Steve is behind the recordings for the wildly popular Pub Choir and Couch Choir, helping thousands of ordinary people from around the world sing together.

As live events returned in 2022, Steve has been behind consoles at The Tivoli and Princess Theatre working with touring international and domestic acts.

2022 also saw Steve work as a Music Editor for Joe Vs. Carole, the hit Stan TV series based on the story of Joe Exotic, the Tiger King.

Keith Clark | Lighting Designer Keith Clark’s lighting design work includes Single Asian Female (La Boite Theatre Company), Boy Girl Wall and Packed (The Escapists), Handle with Care (Joymas Creative), De-Generator, Opposite of Prompt, Angel-Monster, and The Machine that Carries the Soul (Phluxus Dance Collective), Moon Spirit Feasting (Elision Music Ensemble), Juice (The Crash Collective), Kazka and Legend (Lehenda Dance Company), Laramie Project (Forward Movement), Wind in the Willows (La Boite Theatre Company) and Tarnished (La La Palour). Improvised designs have been for such artists as The Necks, Jeff Lang, The

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Ordinary Fear of God, Aaron Goldberg, Kate Miller-Heidke, The Church, and Nakhane.

His designs for various productions have toured nationally and internationally to Europe and America. Keith is also a member of the award winning independent theatre group The Escapists.

CREDITS

For the production Production Managers

Sound Technicians

Keith Clark Amy Hauser

Eleanor Steels Tj Wells

Company Stage Manager

Set Builders

Amy Hauser

A Noble Event Tony Noble Craig Anderson

Assistant Stage Manager Samuel Seagrott

Orchestral Manager

Scenic Painting

Daniel Possi

Leo Herreygers Members Of The 42nd Street Cast

Head Mechanist

Costume Maker

Greg Nowlan

Desley Macpherson

Flys

Wardrobe Maintenance

Tobias Trstenjak Daniel Shapland Eleanor Steels Len Mcpherson

Lindsay Wilkins

Hair Consultant

Production Electrician

Makeup Consultant

Keith Clark

Fiona Willard

Head Electrician

Dance Captains

Stu Cochrane

Genevieve Dawkins Rohan Treanor

Lighting Operator

Ruby Munn

Karina ‘Ray’ Parks

Voice Captains

Follow Spot Operators

Chelsea Burton Jai Jackson

Jed Stoneman Jaelyn Lyas

Sound Operator Andy Griffiths

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SPECIAL THANKS

Special thanks to Alexandra Beresford.

DONOR ACKNOWLEDGEMENTS Special thanks to Queensland Conservatorium supporters and donors.

Philanthropy plays a vital role at Queensland Conservatorium. Only through your support can our students experience valuable learning opportunities through productions such as this one.

To make an investment in the future of music and performance in Queensland, contact us on +61 7 5552 7218 or email giving@griffith.edu.au

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25 August — 3 September 2022 25 August — 3Studios September 2022 Burke Street

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Queensland Conservatorium Director | Professor Bernard Lanskey

Queensland Conservatorium Griffith University

Deputy Director (Engagement) | Associate Professor Peter Morris

140 Grey Street, South Bank 4101 Concert enquiries: +61 (7) 3735 6241

Deputy Director (Research) | Dr Alexis Kallio Deputy Director (Learning and Teaching) |

Associate Professor Donna Weston Head of Performing Arts | Professor Paul Sabey Conservatorium Manager | Stuart Jones

Technical Team Leader | Cameron Hipwell Front of House Operations Manager | Michael Hibbard Operations Administrator | Clare Wharton

Technical Officers | Keith Clark, Amy Hauser, Len McPherson Performing Arts Administration | Cathy Healy, Dominique Fegan Venue Officers | Alex Penca, Grace Royle

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