Stage Whispers Jan/Feb 2016 issue

2 Stage Whispers January - February 2016

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8

In this issue

Rob Mills’ Unchained Melody ................................................................... 8 ‘Millsy’ takes on the Patrick Swayze role in Ghost - The Musical

12

Queen Will Still Rock You ....................................................................... 12 Ben Elton talks about keeping the Queen musical fresh Marina’s Evolution ................................................................................. 16 The secrets of Leading Lady Marina Prior’s longevity Restoring My Fair Lady ........................................................................... 18 Julie Andrews’ plans for this year’s My Fair Lady revival

23

18

Chain Play ............................................................................................. 20 Twenty top Australian playwrights - one play Exciting Regional Theatre ....................................................................... 22 Theatre breathes new life into Lismore Railway Station A New Path To The Stage ...................................................................... 32 The AMEB’s Musical Theatre initiative Community Theatre Seasons 2016 ......................................................... 37 Sound Advice For Community Theatre .................................................... 55

Regular Features Stage Briefs

35 48

6

London Calling

26

Broadway Buzz

27

Stage On Disc

28

Stage To Page

30

On Stage - What’s On

58

Reviews

64

Musical Spice

92

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THE NEXT ISSUE OF STAGE WHISPERS IS OUR SCHOOL PERFORMING ARTS RESOURCE GUIDE

68 4 Stage Whispers January - February 2016

PLACE YOUR AD BY FEBRUARY 3 CONTACT (03) 9758 4522 OR stagews@stagewhispers.com.au

Editorial

Dear theatre-goers and theatre-doers, I simply can’t imagine my life without Community Theatre. I wouldn’t want to try.

Forty-five years after first joining the chorus of my local musical society, one of life’s greatest pleasures remains heading off to rehearsals to collaborate with a group of talented people (who also work day jobs), making good theatre.

That’s what makes compiling this edition of Stage Whispers each year such a labour of love for me, as I research the year ahead in non-professional theatre across Australasia with the help of the Stage Whispers team.

Born with two left feet, I’m no triple threat, but over the years Community Theatre has provided me with the chance to act and sing in, or direct, some of my favourite musicals. I’ve also had the opportunity to direct productions of Shakespeare, Moliere and Chekhov, along with the odd thriller or farce, and even the nonprofessional premiere of a wonderful Australian play - much of that while working a day job as a high school teacher.

Following a short hiatus, after the death of my biggest fan (and most honest critic), my mother, I can’t wait to get back on stage with Bankstown Theatre Company as President Roosevelt in Annie this March - quite a promotion from playing the Butler in the same show three decades ago.

Clearly I’ll share the pleasure of performing in, and/or watching, community theatre with many of you, given the number and variety of productions planned for 2016.

Yours in Theatre,

Neil Litchfield Editor

CONNECT

Cover image: Jemma Rix and Rob Mills star in Ghost - The Musical, commencing its Australian tour at the Festival Theatre, Adelaide on January 7, then playing Melbourne’s Regent Theatre (February 5), Theatre Royal, Sydney (March 16), and Crown Theatre Perth (May 21).

Read Coral Drouyn’s interview with Rob Mills on page 8. www.stagewhispers.com.au Stage Whispers 5

Stage Briefs

 Three-time Helpmann nominee Trevor Ashley (Les Misérables, Diamonds Are For Trevor) reprises his darling role of Liza Minelli in a brand new show at Arts Centre Melbourne from January 20-31. Liza’s Back! (Is Broken) explores what would happen if she performed all the great Broadway roles she never got to play, in one special night. http://bit.ly/1Y6Ap8Z  Luigi Lucente and Elisa Colla appear as Tony and Maria in West Side Story, produced by Packemin Productions at Riverside Theatres, Parramatta From February 5 - 20. www.packemin.com.au

6 Stage Whispers January - February 2016

Online extras!

Check out a preview of Quidam by scanning the QR code or visiting https://youtu.be/7uc9lUuJQpE

Quidam by Cirque du Soleil, choreographed by Debra Brown.

Wollongong until to 2 January; Hobart, 6-10 January; Newcastle, 15-24 January; Christchurch, 17-26 January; Auckland, 5-14 February.

Costumes: Dominique Lemieux.

Photo: Matt Beard. http://cirk.me/1IR7jnc

 The Sydney Theatre Company’s Helpmann Awardwinning production of The Secret River, adapted for the stage by Andrew Bovell from the novel by Kate Grenville, returns to Sydney from February 1 - 20, ahead of seasons at QPAC from February 25 to March 5, and Arts Centre Melbourne from March 10 - 19. Photo: Heidrun Löhr.  Legendary Broadway Diva Betty Buckley will be the special guest when composer Stephen Schwartz (Wicked, Godspell) visits Sydney’s Theatre Royal on February 13. A top notch international and local cast will perform Defying Gravity: The Songs of Stephen Schwartz. Broadway and West End stars Sutton Foster, Aaron Tveit and Joanna Ampil will share the stage with local favourites Helen Dallimore and David Harris. http://bit.ly/1QVAZyO www.stagewhispers.com.au Stage Whispers 7

Cover Story

Coral Drouyn talks to Rob Mills as he prepares to open in the biggest challenge of his life…the role of Sam Wheat in Ghost - The Musical.

“My manager asked me what I wanted to do next…and I said Everything!”

Not surprisingly the speaker is Rob Mills, who generates more energy in a single sentence than most of us do in an entire day.

That was his response when

Online extras!

Rob serenades Jemma with “Unchained Melody” during Ghost rehearsals. https://youtu.be/3JkozhBA104 8 Stage Whispers January - February 2016

Jemma Rix and Rob Mills.

he finished Legally Blonde. He’s a born entertainer and in fact can’t remember ever wanting to do anything else. “I’m game to try anything. I just love having new experiences. As long as I am entertaining someone, it’s all good.”

‘Millsy’ (as he is known to fans and the industry) is arguably the most bankable current Leading Man in Musical Theatre. He took time out from rehearsals for a quick sandwich and a million miles an hour interview.

“It is about bums on seats, sadly,” he says. “Yes there are better voices out there, and no matter who you are there is always going to be someone better. I’d never say that no-one could play the role of Sam (the Patrick Swayze character in Ghost) better than me - but for producers it’s about filling up theatres, and they’re trusting me to bring people in. I don’t really get scared, just a little nervous, but it’s a double responsibility. I mean, I’m opposite Jemma Rix, who is awesome, and this is a dramatic role and a lot of people think of me as a clown - and I guess there’s some truth to that. So I’ve got to act my socks off to do Jemma and the show justice, and I’ve got to bring the fans in to justify everyone’s faith in me, but I love this show so much and we haven’t even opened yet. It’s witty and sad and got such a big heart.”

The show, based on the Patrick Swayze/Demi Moore/Whoopi Goldberg film, has been a hit on Broadway and in the West End. Critics have raved about the special effects and the romance. It boasts one heck of a book by Hollywood writer Bruce Joel Rubin and music and lyrics by Dave Stewart (Eurythmics) and Glen Ballard, as well as Rubin. But what about ‘Unchained Melody’, the beautiful music that Alex North wrote for the 1955 prison film Unchained, for which Hy Zaret wrote the lyrics, one of the most recorded songs of all time? Though Al Hibbler had the original hit in 1955, and Bobby Hatfield of The Righteous Brothers made it one of the biggest songs of a decade later, it is indelibly stamped on audiences’ psyche as being the theme from Ghost. So is it in the show, and does Rob sing it.

“Two answers” says Rob, “Yes it is…and …I’m not telling you, you have to come and see for yourself.”

Rob spent the past year or so doubling up on his drama classes (“I need to become Sam, to make the audience believe in me as a ghost. In short I have to prove I can really act”), continuing his vocal classes and even getting in some dancing classes, though he doesn’t have to dance in Ghost.

“Aaaah, my dancing,” he says ruefully. “I got voted off Dancing with the Stars a few years back in just week two.” It would have been enough to stop many performers in their tracks, but Rob is charmingly self-effacing. “Look, I’m never going to be a triple threat, I didn’t have that kind of training. But I work hard and I can at least move like I know what I’m doing now. And guess what? I can even pick up chory now. The first time I tried to follow a choreographer it was like a bad Jerry Lewis routine.

I’m much better now.

Maybe not good…but better.”

Rob has also been hitting the gym regularly. “I have to get

my shirt off in this show. Let’s face it, I’m a ghost for 90% of it, so I need to look as good as I can when I’m not a disappearing spectre,” he laughs as he tells me.

It’s this willingness to try, even if he looks foolish, which has won Rob so many friends as well as fans, but also his detractors. ‘He doesn’t have the training,’ some say, ‘He’s just been lucky.’ So many of our best Musical Theatre talents have spent years in Performing Arts academies, and it seems to some that Rob has had an easy ride from celebrity to star.

“I have been lucky…but we all need luck. I haven’t had the training some of the people I work with have had. I never would have made it into WAAPA or VCA, but that doesn’t mean I haven’t worked hard. From the age of 13 I was out gigging with bands, playing in pubs and clubs, doing cabarets. I learned a different set of skills… how to get people in a noisy room to listen to you; how to cover if the sound system dies; what to say to someone trying to pick a fight; how to work - and hold - an audience, fix a faulty mike….most of all how to connect with people. So I don’t apologise for not finding my way to Musical Theatre through the usual channels. But I’ve loved Musicals since I was a kid. There aren’t any show people in my family, but I used to watch The Sound of Music and Mary Poppins in re-runs on the tele and sing all the songs when I was very little. Mum would sing along with me and we’d have a great time. Maybe that was a signpost to the future, but I was too young to know it.”

A Melbourne boy through and through, Rob joined a series of bands through high school and was always part of Brentwood College’s Battle of the Bands concert. By the time he finished his senior years at Box Hill Secondary College he was gigging regularly with his group The Megamen. Then came the first series of Australian Idol.

(Continued on page 10) www.stagewhispers.com.au Stage Whispers 9

Cover Story

Rob Mills.

(Continued from page 9)

“I didn’t need much convincing to enter,” Rob says, “but it was all about the experience, not the winning. I made it to the finals but I learned so much. I was like a sponge, soaking everything up. Did I think I would be a Rock’N’Roll Superstar? I didn’t really care as long as I was singing, entertaining. Okay…maybe I dreamed it sometimes. Hell, if no-one wanted to pay me I’d even go and do Karaoke, and yes I do realise that makes me sound like a total nerd, not a cool guy in any way shape or form. I still love 10 Stage Whispers January - February 2016

Karaoke. What better thing is there to do than sing songs you love with your mates? And some of them were show tunes and I started thinking about musicals. I just wanted to be on that big stage.”

Rob became ‘Millsy’ during his television days. “I hosted a couple of shows, and then there was Dancing With the Stars and Celebrity Apprentice. I’d jump at anything I hadn’t done before, just to experience it. I wanted to know how the cameras worked, how to find my mark, which

was my best side. Did you know I even did the weather on the morning show?

I wanted to learn how the whole blue screen thing worked because you’re talking about highs and lows and there’s nothing there.”

When Rob got the chance to play Johnny Casino in an Arena tour of Grease, he jumped at it. “Who wouldn’t?” He sounds genuinely awestruck. “On stage with John Farnham, Natalie Bassingthwaite and Craig McLachlan. I walked around with my mouth open even when I wasn’t singing.” Later he got to play Claude in a Perth production of Hair and he was hooked. “Every signpost was taking me towards musical theatre. I’d have to be a perfect idiot to ignore them. And I’m not that perfect!”

When Rob heard the music from Wicked he was blown away. “I had to be in that show…I just had to be.

Okay, Grease and Hair had rock scores, I understand why they took a chance with me….but Wicked? That’s a REAL musical, and I just wanted it so badly. I would have got down on my knees and begged if I had to, and I did several auditions before I landed Fiyero in the Australian Premiere. What a buzz…I can still feel it.”

Other shows followed, The Last Five Years, Legally Blonde, and now the iconic Ghost. It’s not by chance that Rob sends himself up by calling his cabaret show Surprisingly Good.

“Critics are always saying it, no matter what I do,” he says, “Rob Mills is surprisingly good,” as if they somehow expect me to be bad even after all these years, as if they want me to fail for being a middle-class Melbourne boy and not an ‘Artist’. The truth is I will try anything IF I think I am right for it. I’m never going to audition for Phantom or Sweeney Todd. I do know my limitations….but I still keep pushing my boundaries.”

After we make a date for a Karaoke night during the Melbourne run, I ask him one last serious question. What if he accepts something because he thinks he can do it but it turns out he can’t? What if he fails?

Rob answers without hesitation. “If I can’t do it, then I do it again….and I keep on doing it until I CAN do it.”

And that’s why we love him.

Ghost - The Musical begins its 2016 national tour at the Festival Theatre, Adelaide from January 7, then Melbourne’s Regent Theatre from February 5, the Theatre Royal, Sydney from March 16, and Crown Theatre Perth from May 21.

Jemma Rix and Rob Mills.

www.stagewhispers.com.au Stage Whispers 11

Prolific writer Ben Elton is not one to pen a musical and forget about it. The stand-up comedian/author/director has been updating the musical We Will Rock You ever since it debuted on the West End in 2002. Ahead of the national tour of the musical in 2016 he stood up on his soapbox about jukebox musicals to David Spicer.

Ben Elton is so bright you can almost see the sparks coming out of his ears. When I was mid-way through a sentence he would often finish it. I mentioned that I had just read one of his novels and he noted that it was one of fifteen. All those ideas spinning around in his head need somewhere to escape.

Even though his mind is racing ahead, coming up with a concept for a Queen musical took a year to germinate. He was first approached to write the musical in 1999. The project was struggling, as it was being written as a tribute/bio musical dedicated to the late Freddy Mercury.

“One of the problems was that (idea) was very serious, whereas Queen is about fun and lightness.

Freddy, above all, was about the joy of life,” he said. “My name came up for fun, as I had written Black Adder and The Young Ones.”

A year after he was first approached, the idea ‘fell into his head’.

“The idea is of a world dominated by media technology where live music is a threat to the marketing machine. Where kids are not part of their own loop. They get their entertainment downloaded to them directly.

“This idea in 1999 was before American idol, iPhones and Spotify.”

Much of the vision he portrayed has come to fruition.

“Music as a way of making a living has collapsed, apart from the most massive stars.

“I was not the only one thinking that entertainment was getting more

and more corporatized, computerised and digitised, but I had an original take on it. An idea where kids in the future are banned from making their own music and electric guitars are seen as instruments of terrorism. They are a threat to the corporate machine of plastic pop.”

He says at the time the plastic pop was typified by the homogenised music of Disney’s High School Musical.

“When I was a kid, records climbed to number one. The public decided what a number one should be.

“The days when bands could make a living from their small following from album sales are gone.

I predicted a world that has come to fruition.”

It also meant that the original script had become out of date.

“Even though it is set 300 years in the future, like any dystopian vision, it is actually about now.

“It is all about the isolating effect of technology; it was about the need for kids to make live music and the show ends at a live concert...when live music becomes central again to the communal experience and they sing Bohemian Rhapsody.”

Some of the changes since the original production include new jokes and the introduction of social media, which did not exist in 2002, to the narrative.

“Things have got even more privatised and more internalised.”

A new Queen song added to the mix is Best Friend.

Online extras!

Ben Elton discusses the genesis of We Will Rock You. Scan the QR code or visit https://youtu.be/bYSjlmduNhA 12 Stage Whispers January - February 2016

“My two heroes discover they have a thousand friends on-line but no real friends. In my (updated) future vision, real friendships, like electric guitars are banned. People are only allowed to have friends online, because a real friend is a potentially disruptive thing.

“I did all this work for a big US tour. Most originating directors never see the show again. They are re-produced out of a bible by an associate. That is not how Queen and I work. We are always there. I audition the cast. They audition the musicians. We share all our ideas and thoughts and the show changes.

“If you are going to do contemporary comedy and satire you have to keep an eye on the script.”

He put a Twitter joke in a few years ago but later took it out because it became passé.

“These days it is a common observation that Twitter (abusers) post too much. Here is a picture of my latte this morning, which is the best latte I’ve had since yesterday’s latte.”

A character named after Britney Spears has been in, out and now back in again. Britney is a he and is a rebel fighter.

“In the story all these bohemian rebels, who live in the underground,

are trying to revive the age of rock which they scarcely understand; to them rock music is like Greek mythology. They know these names and posters from fragments that they have found.

“For a while we had lots of fun with the name Britney Spears, then she had her breakdown and shaved her head. For a couple of years it wasn’t funny to have a laugh about her. Now she is strong and good again, we use her name for a bit of fun. It is not making fun of her, but this funny idea that this punk rebel guy with big gun, often played by a black guy (is called Britney).”

He describes updating the musical as “a labour of love”.

“I spent three months working on the German production. Eventually it ran for five years. The reason is we got the comedy right.”

Any new jokes for the Australian production will be easier for Ben to devise. He’s now a resident of Fremantle - a dual Australian/UK citizen.

He’s weighing up how many in the audience will be receptive to a joke about the Australian rock band Skyhooks.

Ben Elton says overall the key to the success of We Will Rock You is the story.

“Queen’s music is some of the biggest music ever written, but a Queen tribute show will run for two (Continued on page 14) www.stagewhispers.com.au Stage Whispers 13

(Continued from page 13)

nights. Same goes for Bjorn Again. It wouldn’t run for 20 years like Mamma Mia. You need the right story.”

He is proud of the genre which some label as jukebox musicals.

“We use the word jukebox as a disparaging thing. I find that sad.

Jukeboxes are the most wonderful things. They are the repository of dreams. Everyone loves them. There are the old songs you fell in love with.

“Jukeboxes are about sensual pleasure, until one day someone attaches it to a previous songbook musical and it became a derogatory term.

“To me I find it is no more surprising that you would write an original story to well-known music, than you write original music to a wellknown story.

“I don’t know why The Lion King advances the cause of musicals. It is an adaptation of a movie.”

The most original thing about it is the design.

“I don’t know why critics condemn the idea of using the rock and pop music that people have loved for the last 30 or 40 years. It doesn’t take away from original musicals.”

He says it is also a champagne time for original musicals, pointing to the success of Wicked and Matilda.

“Pop music used to start in the theatres. Cole Porter, Noël Coward and Gilbert and Sullivan wrote pop songs.

They wrote popular short songs that people used to hum and sing at home.

“In the days before recorded music the only way you could popularise a song was through the theatre.

“If Cole Porter was born in 1950 instead of 1900 he would have written pop songs. He would have been Burt Bacharach.

“I think it is wonderful pop music is returning to the theatre, hearing those great songbooks live, the way they should be done.”

Ben apologised for sounding like he is on a soapbox.

A soapbox about jukebox musicals I chimed in.

Ben is no stranger to original musicals. He penned the books for Love Never Dies and The Beautiful Game with Andrew Lloyd Webber, but has had more commercial success with We Will Rock You. It ran for over a decade in London and has had major productions in capital cities almost every year since it premiered in 2002.

We Will Rock You opens its Australian tour at Sydney’s Lyric Theatre on April 30, then plays the Lyric Theatre, QPAC from July 3, the Regent Theatre, Melbourne from August 30, the Crown theatre, Perth from November 16, and the Festival Theatre, Adelaide from January 3, 2017.

14 Stage Whispers January - February 2016

Ben Elton.

Photo: Johnny Ring.

Bernadette Robinson in Pennsylvania Avenue.

Photo: Jeff Busby.

White House Songfest Bernadette Robinson speaks to David Spicer about her latest one-woman songfest drama Pennsylvania Avenue, this time set in the White House, which is touring Melbourne, Sydney and Brisbane.

she is packing up to leave. accents. She has lovely turns of phrase.

“She reminisces of her whole time I find her writing moving. After (I have spent in the White House, the performed it a number of times) I say Presidents she has worked under and now I know what you mean by that. It the various singers that have come in is quite layered.” and out their life.

The play is set in the Blue Room of “She started as the assistant to the the White House. Pictures of Presidents In Songs for Nobodies Bernadette assistant to the assistant…. and events of the time are flashed onto “By chance she runs run into JFK the walls.

Robinson channeled five singers and one night. Through that he remembers “She gets to see the protests against the impact they had on complete her and gets her a small promotion the Vietnam War. strangers. Audiences were stunned at the authenticity of her impersonations leading her into the entertainment “I get to sing Sarah Vaughan (jazz that ranged from Maria Callas to Judy department. singer) and they find her crying in the “It starts off with Marilyn Monroe dressing room. She says she is so Garland. and her breathy voice and finishes with happy, as when she first came to Now Joanna Murray-Smith has Washington she couldn’t even get a penned a new drama for her, featuring Aretha Franklin performing for the even more voices including Barbra Clintons.” motel room.”

Streisand, Sarah Vaughan and Diana Bernadette admits keeping a oneAnother favorite moment for her is woman show going is ‘very the reference in the play to the Ross. challenging’.

Clintons’ marriage problems. It’s a “It’s all about a character named Joanna Murray-Smith “stretches me prompt for her to sing ‘Stand By Your Harper Clements from Thunderbolt Dodger. She has a big journey to work a lot”. Bernadette laughs when I ask Man’. in the White House when she is 18. She her if she has an understudy.

Audiences are expected to be is trying to escape a dim dark secret.

Her writing “is quite poetic in parts standing by this play for an extended but also very funny. She creates run.

“She started as a Baptist girl who wore a dress below her knees. She was different characters with many different a good girl. She had soft little dreams.

When she goes to the White House she Pennsylvania Avenue plays at Arts Centre Melbourne from Jan 21 to starts seeing all sorts of things.

Feb 14, Cremorne Theatre, Brisbane from March 3 to 13 and Sydney “The play starts 40 years later when Opera House from April 28 to May 22. www.stagewhispers.com.au Stage Whispers 15

Marina’s Evolution Marina Prior chats to Neil Litchfield during rehearsals for the new Australian tour of The Sound of Music.

I’ve been fortunate enough to enjoy Marina Prior’s musical theatre career through romantic leading lady roles Mabel, Josephine, Cosette, Hope Harcourt, Christine Daaé, Magnolia and Guinevere transitioning into more mature comedic roles like Miss Adelaide and motherhood as Mrs Banks.

Marina’s career began in spectacular fashion in 1983, when the 19 year-old music and drama student at Melbourne State College went overnight from busking in Melbourne’s Bourke Street Mall to leading lady in the Australian production of the new Broadway version of The Pirates of Penzance.

Now we’re sitting opposite each other in the rehearsal studio, on the terrace furniture from the Von Trapp mansion, as she prepares to play the sophisticated mature glamour role of the Baroness, Maria’s competition in the romantic stakes, in The Sound of Music.

“I am extremely grateful for the fact that I’ve been doing this for over thirty years now,” Marina tells me.

“No!” I utter.

“I know, extraordinary isn’t it? It’s hugely important for young romantic heroine soprano leading ladies to know how important it is to be able to evolve and re-invent yourself, and broaden your skill bases as you mature in the industry, if you want to keep going,” Marina explains. “So something that’s been really important to me has been working on my acting and characterization, and using different colours in my voice. That’s stood me in good stead.

“The production prior to this one for me this year has been a comedy play at Melbourne Theatre Company and Sydney Theatre Company, which had no singing at all.

“In some ways what I’m most proud of is my longevity. I don’t mean that in an arrogant way, I’m just solidly proud that I’ve had longevity in the industry, but also diversity to be able to do straight plays. I think if you love what you do as much as I do, you have to be able to make pragmatic decisions, and understand if you want to be the romantic lead, you really only have 16 Stage Whispers January - February 2016

fifteen years to do that, then if you want to keep going you really have to broaden - become a broad.”

As Marina did in Guys and Dolls.

While she later repeated the role of Miss Adelaide in a 2008 / 9 commercial production, Marina’s first opportunity to play that archetypal ‘broad’ came in a short season at The Production Company in the year 2000.

“I was asked to play the role of Sarah Brown, the romantic, good girl, which is a great role, but I actually asked if I could audition for Miss Adelaide in that production. Roger Hodgman, who has been a great champion of mine, and a big influence on my career choices, allowed me to audition - I had to audition because they were a little skeptical. He said to me, ‘you’ve got that ability, mine it.’

“It was a bit of the talk of the industry. There was no Facebook then, or there probably would have been a bit of chat on Facebook. I was told I was committing career suicide at one stage, but it had the opposite effect.

“I knew within myself that I had a comedic flair and an enjoyment of characterization, as did people who knew me intimately, so it really was the turning point, publicly. Then I also did Annie Get Your Gun, with Roger Hodgman, and my role in The Witches of Eastwick was also a really vampy, comedic type of role.

“Since then I’ve predominantly done comedic roles, but funnily enough, every time I do them the press, or people generally, say ‘this is such a change for you’ and I think they’ll say it forever, because probably there’s just an indelible imprint of the girl from Phantom and the lady who sings at Carols Marina Prior as The Baroness.

Photo: Brian Geach.

by Candlelight in the big frock. But that’s a persona that you assume for Carols by Candlelight, not that it’s not me, but there’s a certain style I tend to call upon. I think people tend to assume, ‘Oh, that’s her, that’s who she is,’ but none of those people are me.”

“And, happily, vocally that’s something you can keep on doing for quite some time,” I suggest.

“I’ve been lucky,” Marina replies. “I have a wonderful singing teacher, Merlyn Quaife, who has taught me since I was 14. I still go to her, not regularly, but whenever I can for what we call a tune-up. She’s given me a technique that’s enabled me, vocally, to get through eight shows a week for three decades, so I’m very grateful to her. I’ve been able to use different facets of my voice, and not damage it.”

“So what is it about comedy that you love?” I ask.

“It’s an adrenaline rush,” Marina tells me. “It’s all about who you’re working with, and if you’re working with a good comedian. I’ve had the

good fortune to work with the likes of Gary McDonald, Grant Piro, who I ended up marrying, Magda Szubanski, and David James, who’s my partner in crime in this, playing Max. The joy of collaborating with another actor and finding the rhythm, and mining the laugh is just such a rush - such a thrill when you get the laugh - not that this role is hilarious, but she certainly has a joie de vivre, a wry wit, and she’s quite delicious to play.”

“And I guess you get more of those rush moments in a passage of comic dialogue than you get with that one big climax moment in a great musical theatre song,” I suggest.

“Yeah, Yeah … rolling laughs. But I’ll never, ever fall out of love with singing, until my voice leaves me, which I hope it won’t for a long time,” Marina assures me.

“I’m releasing an album with Sony.

I’m actually recording it next month. So this year I’m still releasing an album, still touring, still singing. In fact I love what the Baroness gets to sing in The Sound of Music, because neither of her two songs were in the movie. Perhaps that was to play up and enhance Julie

Andrews in the film, not that Julie Andrews needs any enhancing in any way, but the Baroness was quite a small part. I like her in the play because she’s actually wittier, and there’s a viable relationship between her and the captain. She’s not a dreadful woman, she doesn’t hate children, she can just actually see that he’s in love with someone else. C’est La Vie!” “And how are you enjoying playing the role of Elsa?” I ask.

“I’m loving it. I love her sophistication, and as you say, it’s been an evolution. I’ve gone from playing gawky girls, to romantic heroines, to a gothic heroine in Phantom, then developing a motherly role as Mrs Banks in Mary Poppins, to a burlesque dancing cougar - a man-eater - in Jumpy, and now I get to play this woman who is sophisticated, hedonistic, great fun, pragmatic, and she’s wise and gracious. I’d like to be her friend.

“And glamorous,” I add.

“Extra glamorous,” Marina agrees.

“She’s the only one in this show who isn’t wearing a wimple or a dirndl, so I’m very grateful for that.”

www.stagewhispers.com.au Stage Whispers 17

Dame Julie Andrews is in Australia to direct a 50th anniversary production of My Fair Lady at the Sydney Opera House next year. At a packed media conference in November it was revealed that the original set and costumes will be re-created for the production.

“What we wanted to do is recreate that 1956 production,” Producer John Frost said.

“We tracked down the last assistant of Cecil Beaton (who won the Tony Award for best costumes in 1957). He has the original costume

designs, which we will re-create. We also tracked down all the original set designs.

“And of course we have the Julie Andrews to direct it. (Aged 21 when she starred in the original Broadway season) she is the last thread of DNA from that production.

“We are going to re-create that excitement from Broadway in 1956 and when it came to Australia in 1959, which was a total replica production.”

Dame Julie Andrews is delighted.

“It if ain’t broke don’t fix it. It was so glorious. I don’t know how many

My Fair Lady, directed by Julie Andrews, opens at the Sydney Opera House on the 30th of August.

Julie Andrews in Sydney.

Julie Andrews as Eliza Dolittle.

Online extras!

Join Stage Whispers TV at the Q&A session with Julie Andrews. Scan or visit https://youtu.be/6UyPNzL6BYs 18 Stage Whispers January - February 2016

times that original gem has been shown,” she said. “They (the designs) made the audience gasp. There is nothing wrong with doing that again.

“Remember generations of young people have not experienced the wonder of My Fair Lady, so why not go for something that was so iconic.”

Dame Julie spoke after four days of auditions.

“It is very daunting. I have seen a lot of wonderful talent.”

Even more daunting for those auditioning.

“I know how to help a little. I know what helped me and I am thrilled to pass it on. Things like, think about the lyrics, stick to the words, think the role through.”

“George Bernard Shaw wrote the most musical plays. It has highs and lows.

“Eliza, you do so and so, up down, rolling gorgeous sound all over the place.

“I would help whatever Eliza we do find with all of that and more.”

And how does she compare the three iconic roles she played - Mary Poppins, Maria in The Sound of Music and Eliza Doolittle?

“Mary Poppins was austere and uptight. The Sound of Music character was radiant and floating about. Eliza was desperately poor but was bright, and had guts and ambition. Eventually she transcends (poverty) to become a lady but then doesn’t know ‘what’s to become of me’ as she can no longer ‘sell myself’.”

Sketches courtesy John David Ridge

www.stagewhispers.com.au Stage Whispers 19

Photo: Amelia J. Dowd.

Twenty of Australia’s finest playwrights each contributed a three minute scene to a chain play staged in Sydney. The results were more chain saw massacre and sexual hi jinx than Shakespeare.

Martin Portus tells us how the spinning plot linked together.

an ever spinning kaleidoscope of plot, characters and genres.

As for the writers, also unpaid, they were dumped with the accumulated scenes by those who went before, and given three days to add their own. The resulting baton-passing narrative often leapt illogically, even surrealistically, but If one playwright fails to hold your did crackle with speed and invention.

This sort of teamwork in writing and attention then, arguably, twenty of storytelling may be usual for TV writers them should do better. The problem but it’s an anathema to most others. though is to get a plethora of playwrights to all sit down and write Some found it a challenge “having the one, same play. Must be harder to break free from the solitary freedom of imagination and control in their than herding cats. usual work practice, where they’re It’s a challenge Tim Roseman at Playwriting Australia took up when he solely responsible for their own recently asked 20 of our finest to add universe,” says Tim. their bit to The Chain Play. The director It was smart to get Joanna Murraygot the idea from a similar fund-raising Smith to kick it off. With her deft touch in psycho-drama thrillers, she event staged 15 years ago by Britain’s National Theatre, and believes this is a introduced a tangle of leads for others to pursue - a hotel room, a couple of first in Australia.

The luxury for our scribes was to handsome assassins waiting for the write, however shortly, for a big cast of twins, a man at the door, a mysterious box.

12 highly accomplished actors.

Second writer Jane Brodie indulged Volunteers, the actors only had six her fascination about twins and hours to prepare for their reading in a downstairs theatre of Sydney’s Pier 4. grabbed that thread. She stranded the But each jumped masterfully through twins on a highway, drinking Coke and 20 Stage Whispers January - February 2016

threatening to slip into a bad episode of Homeland.

Next to take the baton, David Williamson went anarchic, with lots of meta-theatre gags direct to the audience and - shockingly early - killing off no less than four characters. This left poor Lachlan Philpott with little to play with, but he did come up with the Chain Play’s central character. A Vietnamese teenager called Thahn doing work experience in a Queanbeyan factory …where the twins arrive with that box.

“Yes, David didn’t leave much on the table,” says Lachlan. “The approach I took was to build on the styles that were offered rather than create something new as the writer. Some other playwrights had their own drums to beat or were disturbed by what had come before and reacted against it.”

Ross Mueller certainly did that, spinning off as Writer No. 5 into a completely new play: all the other boxes were washed up on a beach where Tony Abbott was trying to have sex with Joe Hockey.

Phillip Kavanagh at least returned us to the factory - which now makes

Photo: Amelia J. Dowd. dildos - and then David Milroy introduced some welcome new blood.

An environmental scientist, played by Roy Billings, was being targeted by those original assassins. It gets confusing from here - especially no doubt for Billings since John Romeril then gave him some strange sexual predilections, and later he also transforms into a retiring detective about to be shot. and deliver a crime climax to take us to Tim Roseman admits that about interval. now The Chain Play has just too many Tim Roseman swears there was only sharp turns; it’s more a series of minimal intrusion into this heavily sketches before, eventually, settling into populated creative process. some sort of properly developing play. Interestingly, some references to He’s grateful for Writer No.9, Andrew bombs, terrorism and a few jokes Bovell. about croissants and the French were ‘Andrew introduced a new twin for tactfully deleted, given the Paris Thahn and really carried forward the atrocities which preceded opening narrative of the story, and very night. generously didn’t produce any new In Act II, Lally Katz thankfully stays surprises,’ says Tim. ‘We’d already with Thahn and his twin, but then Mary suggested after scene three that with Rachel Brown makes Thahn a virgin and so many people killed off, maybe that drops him into a Fyshwick brothel with was enough for a while. So yes, we did a trio of whores. Mad, yes, but the trio has some very some funny lines. step in - but very gently.’

Suzie Miller helped by fleshing out Tommy Murphy, fresh from penning the new Asian twin plot. And Declan Holding the Man, blesses Thahn with Greene even managed to tie up the an immaculate conception, while loose threads of Abbott and Hockey Michele Lee artfully brings most of the

characters back together in a Canberra hospice.

Angus Cervini confused me again with Billings back as a retired corrupt cop and Hannie Rayson inexplicably gives the pregnant Thahn a faulty penis. Nakkiah Lui then throws all the cards in the air, again, with a hip hoppy rant out from the audience against mad plots and empty words.

Kate Mulvany thankfully retrieves some threads of themes, leaving Angela Betzien to deliver the arty thought that the famous empty box is actually the theatre that here surrounds us. And she concludes with the appealing aspiration - if not fully lived up to here - that all of us should write as though the world depended on it.

A Chain Play will be no classic of the Australian theatre and, indeed, may never be seen again. But for a Playwriting Australia fundraiser, at $200 a ticket (just $10 a playwright they spruiked!), it did raise double their target. So Tim Roseman is already thinking of the next Chain Play.

And it’s true. A bad play by 20 writers is so much more entertaining than a bad play by just one of them.

Martin Portus is a Sydney actor, writer and media strategist.

www.stagewhispers.com.au Stage Whispers 21

Exciting Regional Theatre Cockfight was performed by Josh Thomson and Gavin Webber in September. It played four performances and then toured to Townsville and Cairns.

November, a mixture of touring “It will eventually go to Europe. productions and as he calls it “local It’s a Festival show.” home grown”. Among them Bell Other original works include Shakespeare’s Hamlet, QTC’s Country Engine - about young lives lost on Song, Circa’s Beyond, Hit the roads, The HOME Project, which Productions’ Australia Day, looks at people marginalised by their Bangarra’s Kinship, and their own experiences of homelessness, and My Cockfight and Railway Wonderland. Radio Heart, a pop-electro musical What is Cockfight? performed by musicians with disabilities. All three shows were “It’s a metaphor for two guys in the workplace, one older and one developed under the Generator new young. It’s dance based, physical works program, which was launched theatre. We co-produced it with by the company in 2009. (physical theatre company) The “We tour a lot. This year we took Farm. Everyone involved brought Engine to Brisbane and five regional something to the creative process. centres. The HOME Project became We do that a lot. We shape and part of the Australian exhibition at develop ideas by improvisation and the Prague Festival, and My Radio physicality with actors. That’s the joy Heart was invited to be performed at of working regionally - it gives you a Karlsruhe in Germany” licence to experiment, to be able to According to Julian they have bring your audience along with you.” no trouble attracting

NORPA - in Lismore, Northern New South Wales - is certainly living up to its Artistic Director’s claim, as Peter Pinne discovered on a recent trip. It sells thousands of tickets to original plays including Railway Wonderland, coming to a disused railway station near you.

I’m sitting in the office of Julian Louis, situated in the newly renovated Lismore City Hall. NORPA (Northern Rivers Performing Arts) is one of only five professional regional theatre companies in the country.

The walls of his office are splashed with show posters, the desk is messy, but it’s his passion about the company, which he describes as “the most exciting regional theatre in Australia” that drives this interview.

“The Federal Government gave us $5 million and the local council came up with $1 million to do the refurb.

It’s the newest performing arts venue in the country. Upstairs there’s a 520 seat theatre and downstairs there’s a dance studio, rehearsal space and offices,” he says as he gives me a 2015 season booklet.

It’s impressive; nine shows in a season that runs from March until

Railway Wonderland.

Photo: Evan Malcolm.

Online extras!

Watch a timelapse video of how NORPA’s Railway Wonderland all came together. https://youtu.be/PCcCBzDrWn4 22 Stage Whispers January - February 2016

audiences, which is no surprise with Lismore said to be home to the largest concentration of artists in the country.

“We’re a cultural region. We tell stories of the area. We’re inspired by the landscape and the people. We’re reimaging theatre for regional audiences - being adventurous but accessible. We have over 500 subscribers, which I believe is more than some capital city subsidised theatres. We’re not Federally funded but we’re extremely well-supported.

We believe we’re ready for funding on a Federal level and next year we’re going to apply.”

So let’s talk about Railway Wonderland. It has obviously been successful and this year you programmed it for 15 performances which sold-out in a week. What is it exactly? A play, a musical or both?

“It’s probably more a play with music but it does encompass dance and mime and also video. It actually

.

Photo: Grant MacIntrye

crosses multiple genres and features multiple roles. It’s done in a commedia dell’arte style. It’s our most ambitious work to date and our most successful.”

Is it a good example of your original work?

“Absolutely. It’s a site-specific piece set in the disused Lismore Railway Station and played there.”

Why a railway station?

“Well they’re evocative and romantic places. They have so many stories to tell.”

How did it come about?

“Development started in 2009 with a call out to local writers to submit short stories about train stations that were then performed at the 2010 Byron Bay Writers Festival. The personal stories tapped into the

region’s post-war migration and acted as inspiration for the show. We did out first production of the show in 2012 and it was so successful people kept asking us to do it again, so that’s why we programmed it. It was a popular piece.”

Railway Wonderland was performed in the Railway station waiting room and on the platform adjacent to it, with the audience of about 300 seated opposite the action on a specially constructed platform of tiered seats over the train tracks.

Although the trains stopped running in 2004, the station is still used today as a hub for interstate busses.

(Continued on page 24)

Photo: Kate Holmes.

www.stagewhispers.com.au Stage Whispers 23

easy to turn it around but we did. a 3 year Generator project celebrating Will it tour?

We’re now on the wave. We enjoy and connecting with the local “We are currently in negotiations good success and we’re currently Bundjalung culture.” with Newcastle to stage it there.” attracting the right people in terms of I know you’re not announcing your Indigenous content features in your sponsorship and artists.”

2016 season until February but can you programming. Is there a give me any hints as to what high concentration of it might contain? indigenous people in the “In the last two seasons we area? have had stage adaptations “Yes, twice the state of Andy Griffiths and Terry average. The area is home to Denton’s Treehouse Series, the Bundjalung people.

The 13-Storey Treehouse in We’ve recently added an 2014, and The 26-Storey indigenous trainee Treehouse in 2015. Next producer, Mitch King, to our year we’re doing the latest staff.” book in the series, The 52How many staff do you Storey Treehouse, which has have? just won the 2015’s Book of “Sixteen - 6 full-time and NORPA Artistic Director Julian Louis at Lismore Railway Station, the Year for Children. Circa the stage of Railway Wonderland. Photo: Kate Holmes.

10 permanent part-time.” will also return with a new How long have you been show, and we’ll have a visit sitting in the Artistic Director’s chair?

What does the future hold? from comedian Hannah Gadsby.”

“Eight years. I inherited the “We have two projects in And on that note Julian proved his company from Lyndon Terracini (now development, Dreamer and Three point. NORPA is “the most exciting the Artistic Director of Opera Australia). Brothers. Dreamer explores the stories regional theatre in Australia”.

At the time the company was in a of those amongst us who dream, difficult position - operating with a whilst Three Brothers looks at three Check out our review of deficit. It was a difficult culture.” brothers and the effect of a wake Railway Wonderland online at What do you mean? following their father’s funeral. Three http://bit.ly/1m0bvGP “People resisted change. It wasn’t Brothers is part of Bundjalung Nghari, (Continued from page 23)

rt.

NORPA’s My Radio Hea Photo: Heidrun Löhr.

NORPA’s Cockfight.

Photo: Darcy Grant.

24 Stage Whispers January - February 2016

www.stagewhispers.com.au Stage Whispers 25

London Calling

Ralph Fiennes is to play Halvard Solness in the Old Vic Theatre’s new production of Henrik Ibsen’s The Master Builder, in an adaptation by David Hare. Joining Fiennes as his wife Aline is Linda Emond, with Adelaide actress Sarah Snook as Hilde, his young infatuation. Others in the cast are James Laurenson (Knut Brovik), Charlie Cameron (Kaja Fosli) and James Dreyfus (Dr Herdal). It plays 23 January to 19

By Peter Pinne March with direction by Matthew Warchus. Producer Scott Rudin is eying a Broadway transfer following the London Gemma Arterton, who recently won the Evening run. Hare’s previous credits include Amy’s View, Pravda and Standard Award for Best Newcomer in a Musical for Made in Stuff Happens, whilst Fiennes has most recently starred in Dagenham, is to star as Nell Gwynn in Shakespeare’s Globe the new Bond movie Spectre and The Grand Budapest Hotel. production, which will transfer to the Apollo Theatre, West It’s American actress Emond’s first London appearance. On End, beginning previews February 4th 2016 for a February Broadway she has previously been nominated for Tony 12th opening. Directed by Christopher Luscombe, the work Awards for Death of a Salesman (2012) and Cabaret (2014).

by Jessica Swale played a season at the outdoor The Leicester Square Lounge, a fringe venue in central Shakespeare’s Globe Theatre on London’s South Bank last London, is currently home to Graeme of Thrones, a comedy September. Set in the restoration period of 1660, the play parody of Games of Thrones which plays until 10 January follows the rise of Gwynn from 2016. Produced by Alex Jarrett, with Matthew Perry. selling oranges for sixpence at Drury direction by Sam Bailey, the cast Lane, to her becoming one of features Libby Northedge, Mark Britain’s most celebrated actresses Davidson and Ali Brice. All actors and her affair with King Charles ll. play multiple characters in what has Arterton’s previous West End credits been described as “a rollercoaster include The Little Dog Laughed at ride of beheadings, incest and war”. the Garrick, The Master Builder at Friends star Matthew Perry is to star the Almeida, and the Globe in his own play The End of Longing, Theatre’s The Duchess of Malfi and which will have its World Premiere at Love’s Labour’s Lost. The original the Playhouse Theatre, West End, 2015 production of Nell Gwynn and play from 2nd February until the th created much controversy because Gugu Mbatha-Raw, a 14 May, 2016. Directed by Lindsay Posner, the plot follows black actress and friend of author Swale, was cast as Gwynn, four lost souls, Jack, Stephanie, Joseph and Stevie, who have a white historical figure. reached forty and are searching for meaning in their lives.

The Evening Standard Theatre Awards also saw Nicole Perry’s last West End outing was in 2003 in David Mamet’s Kidman walking off with the Natasha Richardson Award for Sexual Perversity in Chicago.

Best Actress for her portrayal of DNA pioneer Rosalind On the strength of the Menier Chocolate Factory season Franklin in Photograph 51. Other winners were Imelda selling out in 90 minutes, producers Sonia Friedman and Staunton for Best Musical Performance as Mama Rose in David Babani arranged an unprecedented transfer of the Gypsy, James McAvoy for Best Actor in The Ruling Class, with Sheridan Smith revival of Funny Girl to the Savoy Theatre, 9 Best Musical going to Kinky Boots and Best Play to The April for an initial 12 week season which has now been Motherf***er with a Hat. Special Awards also went to extended to 10 September. Smith has since received glowing Stephen Sondheim and Vanessa Redgrave. notices (“piercingly truthful performance”) for her portrayal of Ziegfeld comedienne Fanny Brice in the first ever West End revival of the Jule Styne/Bob Merrill musical, which made Barbra Streisand a star in 1964. Book-doctor Harvey Fierstein (Kinky Boots/Newsies) has cut 40 pages from the original script to make the current adaptation stronger for a modern audience. The Savoy Theatre was home to Smith’s previous Olivier Award winning performances as Elle Woods in Legally Blonde. She was the reason the show did better in London than in New York.

Another musical transfer is the Theatre Royal, Bath’s production of Mrs Henderson Presents, which opens at the Noël Coward Theatre, 9th February and is booking until 18th June. As they did in Bath, Tracie Bennett, Ian Bartholomew and Emma Williams star in the stage adaptation of the 2005 movie about London’s famed revue theatre, the Windmill.

Critics out-of-town called it the “Best British musical since Matilda” which is high praise indeed.

26 Stage Whispers January - February 2016

B

roadway uzz

By Peter Pinne

According to Andrew Lloyd Webber (speaking to the BBC), the reviews for School of Rock, his latest musical, are the “best set of reviews I’ve ever had in America by far”.

“We’ve had some rave reviews here - neither, Cats or Phantom did anything like this,” he said, but in reality they were mixed. Although the Guardian said it “lost its mojo” and was “innocuous”, the New York Times thought it “surprisingly easy to swallow”. They also said Lloyd Webber’s “insistent signature melodiousness paradoxically feels less insidious when it’s given a pumped-up decibel count.” The musical is based on the 2003 movie, starring Jack Black, about a substitute teacher who finds his dream band in a roomful of talented kids. Julian Fellowes’ Downton Abbey/ Mary Poppins) script sticks closely to Mike White’s original screenplay, and the score includes songs from the movie and new material written by Lloyd Webber with lyrics by Glenn Slater. Webber has already announced the musical will open in London at the Palladium in autumn of 2016, with a U.S. tour being launched in autumn of 2017.

This year’s NBC Thanksgiving musical The Wiz Live! drew an audience of 11.5 million viewers, up on last year’s dismal result of 9.1 million for Peter Pan Live, but nowhere near the stratospheric The Sound of Music numbers of 18.62 million in 2013. Critical reaction was glowing - “colorful triumph” and “the most satisfying” of NBC’s three efforts so far, and a sure bet to find audiences on replays and DVD. Although the actress playing Dorothy was a newcomer, Shanice Williams, the rest of the star-studded cast were bold-print names; Mary J. Blige, Amber Riley, Stephanie Mills, David Alan Grier and Queen Latifah, which obviously helped achieve the respectable figures. Highlights were Williams belting out “Be a Lion” and “A Brand New Day”, which was called “showstopping”. The African-American version of The Photo: Timmy Blupe.

Online extras!

School Of Rock: The Musical really sticks it to the man. Scan the QR code or visit https://youtu.be/t4VASf8yeIU

Wizard of Oz originally played Broadway in 1975, winning seven Tony Awards. This new version, which includes acrobatics courtesy of Cirque du Soleil, is slated for Broadway in 2016.

Broadway veterans have been added to the behind-thescenes talent associated with Fox’s Grease: Live, which airs on January 31, 2016. They include music supervision by Tom Kitt (If/Then/Next to Normal), design by David Korins (Misery/ Hamilton), and costumes by William Ivey Long (Cinderella/On the Twentieth Century). The production stars Aaron Tveit (Danny), Julianne Hough (Sandy), Vanessa Hudgens (Rizzo), and is to be directed by Thomas Kail (Hamilton), with choreography by Zach Woodlee (Glee).

The Goodman Theatre, Chicago, has announced that Patti LuPone and Christine Ebersole are to star in the world premiere of the new musical War Paint, starting June 28, 2016. With music by Scott Frankel, lyrics by Michael Korie, book by Doug Wright, and direction by Michael Greif, the musical reunites all four creatives responsible for Grey Gardens. The story, about the infamous rivalry between cosmetics entrepreneurs Helena Rubinstein and Elizabeth Arden, is set in the 1930s and tells how the two women negotiated the male-dominated business world of the period to become household beauty names. LuPone will play Rubinstein and Ebersole plays Arden. The musical is inspired by the book War Paint by Lindy Woodhead and the documentary film The Powder and the Glory by Ann Carol Grossman and Arnie Reisman.

After 1,026 performances over two and a half years, the 2014 Tony-nominated Broadway revival of Les Misérables will close September 4, 2016. Returning Jean Valjean John Owen-Jones takes over from Alfie Boe, who is currently playing the part, on March 1st. Hayden Tee, from the Australian production, assumes the role of Javert on January 29th. When this production of Les Misérables closes, the show itself will have played 8,202 performances on Broadway since it originally opened in 1987.

Cicely Tyson and James Earl Jones are to star in a Broadway revival of D.L. Coburn’s Pulitzer-Prize-winning The Gin Game, which sees the octogenarians swapping stories and battling over rounds of gin rummy in a nursing home.

Tyson, 90, and Jones, 84, are reuniting onstage for the first time in 50 years, since they starred together in A Hand is on the Gate, Roscoe Lee Browne’s 1966 staging of poetry and songs by African American writers. The Gin Game, opening October 14th for a limited run at the Golden Theatre, will be directed by Leonard Foglia. Jessica Tandy and Hume Cronyn starred at the same theatre in the Broadway premiere in 1977.

As they say in the classics, nostalgia ain’t what it used to be, as the early shuttering of Dames at Sea has proved. The 1930s Ruby Keeler/Busby Berkeley inspired song and tapdance show failed to ignite a contemporary audience and so -so notices didn’t help. The show opened 22 October and will close after the matinee on January 3rd 2016, after 32 previews and 85 regular performances in Broadway’s smallest theatre, the Helen Hayes. In recent weeks it’s been playing to only 42 percent capacity. A 2017 fall tour has been scheduled but no cities or dates have been announced. www.stagewhispers.com.au Stage Whispers 27

Stage On Disc

By Peter Pinne

The Visit (John Kander/ Fred Ebb) (Broadway Records/ Yellow Sound Label BRYSLCD02). Despite only running eight weeks on Broadway, after taking 14 years to get there, Kander and Ebb’s musical adaptation of Friedrich Durrenmatt’s grim 1956 parable about greed and evil offers many musical delights. The minor-keyed score, European in feel, fits the downbeat story like a glove, and features the 82-year-old Chita Rivera as wealthy widow Claire Zachanassian in probably her last Broadway role. Her signature alto-timber, a little bit croakier these days, does justice to “I Walk Away”, a list song of how she married and kept marrying for wealth, and “Love and Love Alone”, a bittersweet ode to amor and the best song in the show.

As her opposite half, Anton, Roger Rees is unfortunately a better actor than a singer and delivers mostly passionless vocals. As the Mayor, Jason Danieley is excellent leading the ensemble in the optimistic “A Happy Ending” and the jaunty “Yellow Shoes”, whilst “You, You, You”, a quartet for the older couple and their younger selves, is lifted vocally by the performances of John Riddle as Young Anton and Michelle Veintimilla as Young Clare. Accompaniment is by a chamber orchestra of ten.  Doctor Zhivago (Lucy Simon/Michael Korie/Amy Powers) (Broadway Records BR-CD02915). Doctor Zhivago was another recent short-lived Broadway entry that quickly ran out of steam.

Lucy Simon’s score for this epic love story based on Boris Pasternak’s novel and the David Lean movie at times has echoes of Russian folk songs (i.e. “Dark Eyes”) and at others of Tchaikovsky and Rachmaninoff. It has the grandeur of Les Misérables but not the memorability or emotion. Tam Mutu’s powerful voice is perfect for Yuri Zhivago and when coupled with Kelli Barrett’s Lara, their duet “Now” registers strongly. Paul Alexander Nolan doubles as Pasha and Strelnikov and does a credible job in both roles, particularly the latter on “No Mercy at All”, while Lora Lee Gayer’s Tonia brings sympathy to “It Comes as No Surprise”, the duet when wife and mistress meet. Other effective songs are Lara and Yuri’s “On the Edge of Time” and Lara’s “He’s There”. Apart from the interpolation of the movie’s hit song, “Somewhere My Love”, the score remains the same as the version seen on stage in Australia except for the 28 Stage Whispers January - February 2016

dropping of “Something in the Air” and the retitling of “A Man who Lives Up to his Name” as “Yuri’s Decision”. Bonus tracks include a piano version of “He’s There” and a piano and vocal of “When the Music Played” performed by Sharon Azrieli Perez.  Roberta (Jerome Kern/ Otto Harbach) (New World Records 80760-2). New World Records’ Roberta is another complete 2CD recording in their Foundation of the American Musical Theater, which restores pre 1940s musicals. It’s the second time they have looked at the Jerome Kern canon (Sitting Pretty was the previous entry), and there is no doubt Roberta was worthy of restoration. Whilst the recording has exemplary production values, it’s let down by too much linking dialogue and a host of stagey European accents. The plot, based on Alice Duer Miller’s novel Gowns for Roberta, has an All-American fullback inheriting a Paris fashion house run by his Aunt Minnie, with him falling in love with her assistant. The musical is famous for two things; introducing the Kern evergreen “Smoke Gets In Your Eyes” and as the vehicle that gave Bob Hope his start before he went to Hollywood. It’s also famous for a superior score and a dull book, which the linking dialogue proves time and time again. Jason Graae and Kim Criswell head the large cast in a bunch of outstanding songs worthy of any score - “You’re Devastating”, “The Touch of Your Hand”, “Let’s Begin” and “I’ll Be Hard to Handle”. The 1935 movie with Fred Astaire added two more durable hits with lyrics

by Dorothy Fields, “I Won’t Dance” and “Lovely To Look At”, which later became the title of an MGM remake in the 50s. These are included as bonus tracks. Accompaniment is by the Orchestra of Ireland conducted by Rob Berman.  His Monkey Wife (Sandy Wilson) (Stage Door Records STAGE 9043). His Monkey Wife is another obscure West End musical rescued by Stage Door for their Lost British Musicals series. It springs from a 1970 Hampstead Theatre Club production which ran 28 performances, and is based on John Collier’s novel of the same name, set in the 1930s, about an English teacher who falls love with a chimpanzee in the Congo, brings her back to England, and marries her.

It’s esoteric but great fun in Wilson’s witty hands. Robert Swann is marvellously stiff upper-lip as the teacher, with June Ritchie as the chimp who gets an education and ends up starring in a C.B Cochran musical. “Haverstock Hill”, “A Girl Like You” and “Doin’ the Chimpanzee” are great toe-

London Road (Adam Cork/Alecky Blythe) (DVD Spirit Entertainment Ltd). In 2006 London Road in Ipswich became infamous for the murder of five prostitutes in its vicinity. Alecky Blythe interviewed the residents about the killings and, Julie Anthony - Memories together with songs set to (Fanfare 216). Julie Anthony dialogue by Adam Cook, they built her recording career on formed the basis of a singing cover versions of pop successful musical produced hits and this compilation is a by the National Theatre. good representation of her Director Rufus Norris has taken talent. It would have been the stage script, adding news reports and interviews to nice to have included some produce a film version which stars Olivia Coleman, Anita tracks from her two biggest Dobson and Tom Hardy. It’s very British, very original, and stage successes, Irene and very art-house. The songs mostly sound like recitative, with The Sound of Music, but for titles like “Everyone is very, very, nervous”, “You show buffs the album still includes a smattering automatically think it could be him”, “he was only there for of show tunes. These feature a different and original ten weeks” and “They think this might be the verdict”. arrangement of “Some Enchanted Evening” (South Pacific), There’s lots of counterpoint, four-part harmony, choral and a no-frills “I Dreamed a Dream” (Les Misérables), and an ‘round’ singing, and despite being very stagey, it’s all effective mash-up of “Memory” (Cats) with “The Way We extremely effective. Musical aficionados will love it, but Were” (The Way We Were). Marvin Hamlisch’s James Bond others may not. The cast are all actors who sing and they theme “For Your Eyes Only” gets a guernsey, as does Ricky sing it very well indeed. Coleman, known for her work in Lee Jones and Walter Becker’s “The Horses” (Jerry Maguire). Broadchurch and Hot Fuzz, is a standout, as is Nick Holder The best track is a bonus track of the National Anthem, as Ron, a sort of everyman resident of the street who wants “Advance Australia Fair”. Recorded at the opening to save the area from becoming tarnished. The big name in ceremony to the Sydney Olympics, it’s a stirring rendition the cast is Tom Hardy, but he only has one scene. Highly with Anthony joined by Human Nature, James Morrison, recommended.  the Sydney Symphony Orchestra, the Sydney Philharmonia, Rating the Sydney University Musical Society and Sing 2001 Choir.  Only for the enthusiast  Borderline It has never sounded better.   Worth buying  Must have  Kill for it tappers, whilst “Marriage” finds Wilson in a droll lyrical state. The CD also includes 13 tracks from Aladdin, a 1979 Wilson pantomime masquerading as a children’s musical complete with Dame played by Joe Melia. “Hang-Chow” and “Chopsticks” are outrageously camp, “Give Him the Old Kung Fu” gives veteran Elizabeth Welch a turn in the spotlight, while Melia eats up “Life in the Laundry”. 

www.stagewhispers.com.au Stage Whispers 29

Stage on Page WOMEN I’VE UNDRESSED by Orry-Kelly - The Fabulous life and times of a Legendary Hollywood Designer and a genuine Australian original (Ebury Press $39.99) Orry-Kelly was the most prominent costume designer in Hollywood in the thirties, forties and fifties, with an amazing 295 movie credits to his name.

Some of those credits are legendary; Casablanca, Now Voyager, Kings Row, The Maltese Falcon, Jezebel, 42nd Street, and the Oscar winning An American In Paris, Les Girls and Some like It Hot. He dressed or undressed almost every leading-lady from Bette Davis, Katherine Hepburn, Barbara Stanwick, Rita Hayworth, Lauren Bacall and Ingrid Bergman, to Natalie Wood, Jane Fonda and Marilyn Monroe.

Born in Kiama, NSW, in 1897, the son of a tailor and horticulturist, his first experience of theatre was at seven when his mother took him to see the pantomime Dick Wittington and His Cat at Her Majesty’s Theatre, Sydney.

At 17 he was sent to Sydney to live with an aunt at Parramatta to begin a career in banking, but the theatre beckoned and he soon had a job as a straight man in a Stiffy and Mo variety revue, and later was a chorus boy in Irene. It was during this time he became familiar with the seedier side of Sydney, frequenting Alice O’Grady’s sly grog shop, knowing all of the “Gaiety Girls” (high-class prostitutes) on a first name basis, and “Terrible Tilly” (Tilly Devine), a 26-year-old cockney tart who ruled the streets with a razor.

30 Stage Whispers January - February 2016

Sailing to America in 1923, he arrived in New York at the height of prohibition, bootleggers and bathtub gin. He landed some minor chorus parts on Broadway, but mostly supported himself and his English roommate Archie Leach (who later changed his name to Cary Grant) by painting murals on speakeasy walls and hand-painting ties, with occasional injections of cash from his mother.

His first Broadway designer credit was for the revue Padlocks of 1927, which led to him being put on the Shubert payroll, designing sets for their revues and George White’s Scandals and working with Fred and Adele Astaire, Mae West and Texas Guinan. During this period his neighbours were George Burns and Gracie Allen, who became lifelong friends, as did Ziegfeld comic Fanny Brice.

In 1932 Kelly arrived in Hollywood and became Warner Brothers’ chief costume designer, a position he held until 1944, when Jane Wyman insisted on bringing in her own designer and he was out of a job. But not for long, the next day Daryl Zanuck hired him at 20th Century Fox, where he received twice the salary he was getting at Warners.

Drafted into the Special Services Unit during World War 2, he was bullied and spent most of his time on latrine duty until he was discharged for alcohol problems.

The fifties saw him designing Auntie Mame, Gypsy and Rodgers and Hammerstein’s Oklahoma! On Billy Wilder’s Some like It Hot he was hired to not only dress Marilyn Monroe but also Tony Curtis and Jack Lemmon in their cross-dressing roles. It was during this shoot he experienced one of Monroe’s famous temper tantrums, when she blamed her

lateness on getting to set on Kelly’s remark the previous day that Curtis’s arse looked better than hers.

A recovering alcoholic, Kelly died of liver cancer in Los Angeles on February 27th 1964 at the age of 64. The pall bearers at his funeral included Cary Grant, Tony Curtis, Billy Wilder and George Cukor, with his eulogy read by his friend, studio chief Jack L. Warner.

Kelly’s prose is florid but highly readable. His description of places and cities in costume design terms is unique. Kelly obviously had a wicked sense of humour and found it easy to get along with most people.

There’s little behind the scenes gossip, except as it related to him. He arrived to take a fitting at Tallulah Bankhead’s house one day to find, when she opened the door, that except for her mules she was stark naked.

According to legend Kelly and Cary Grant were lovers in their New York days, but there’s nothing in the book to confirm this. Grant also threatened to sue if the book was ever published, but there is also nothing in it that shows him in a bad light except that he was a mean son-of-abitch.

Altogether it’s a fascinating look at a monumental career in design. The book has a foreword by Catherine Martin, who, along with Kelly, is the only other Australian to have won three Oscars. Martin tells of his influence on her design, especially for Nicole Kidman in Australia. There is also an afterword by Gillian Armstrong, whose research for her documentary film on Kelly, Women He’s Undressed, uncovered his memoir, kept by his niece in a pillowslip. The book has been lavishly produced with colour and black and white plates of his designs and sketches, posters of his movies, postcards, and personalities.

Some Like It Hot (1959).

Orry-Kelly and Marilyn Monroe.

Photo: United Artists/Photofest.

Stage Whispers Books Visit our on-line book shop for back issues and stage craft books www.stagewhispers.com.au/books www.stagewhispers.com.au Stage Whispers 31

stunning career ever since. It’s interesting that classical musicians and singers have long been able to use their qualifications earned through an exam system, but, although you have to be super talented, there is no formal qualification along the way for Music Theatre.

It’s taken more than a year for leading musical educator and performer George Torbay to fine tune the syllabus for this new set of examinations, and he’s had help from many of the best known faces in the theatre…Kellie Dickerson and Martin Croft as well as performer/teachers like David Rogers-Smith and Ana Mitsikis, Coral Drouyn examines the new AMEB any young performer is on the right Eisteddfod adjudicators and those with initiative for Music Theatre which is road, yellow-brick or otherwise. a passion for Musical Theatre. available now.

Our ensembles are (arguably) the Torbay himself is a giant in the best triple threats in the world, but it’s world of Australian music as a often a very steep learning curve for What does it take to understand conductor, singing teacher, performer whether you are ready for a graduate performers. As Lisa McCune told me, performing arts course, and whether “There are so many paths you can take, and director, and he was an you are actually qualified? Clearly if you and you have to choose the one that’s adjudicator on television’s Battle of The Choirs. Having worked extensively in fail to get accepted that’s a good right for you. But at least now people education, he knows better than most indication, but most young performers will see a step-by-step path they can what is required to move on an will welcome an initiative which follow if they choose. They won’t just upward trajectory in classical music, prepares them more thoroughly for be playing show tunes in their and wondered why those signposts that final step. Young performers, bedroom and singing along as I did, were denied to Music Theatre students. especially, will welcome a new graded which can be fun, but sometimes It has cost him many sleepless harmful without you realising it. And examination system from the they’ll be well prepared for places like nights. Torbay told an amusing story at Australian Music Examination Board, the programme’s launch of looking for that has been designed to cater for the WAAPA.” Lisa was one of WAAPA’s another version (other than Judy exponentially growing interest in Music youngest Musical Theatre graduates Garland’s) of “Zing! Went the strings Theatre in Australia. some 25 years ago, and has had a Many of our brightest stars on the musical stage graduate from WAAPA… or VCA or Federation, and there’s no doubt that most of those are the cream of young performers. But what about what happens before that; in secondary school or even primary school in some cases? If you ask 99% of our gifted performers they will tell you they performed in school musicals (as did special guest at the AMEB launch Lisa McCune) or went to local dance/ singing classes. But, until now, there has been no standardised signpost that 32 Stage Whispers January - February 2016

of my heart” (a James Hanley song from the 1938 Garland film Listen Darling — and one I used as a cabaret piece some 55 years ago), and catching sight of himself looking frazzled in PJs after hours of searching… ‘A scary and pathetic sight.’ But the hard work has clearly paid off.

The syllabus covers preliminary up to Grade 4, and it’s fascinating to look at the set pieces for each of the grades.

There is very little Sondheim until Grade 4, and rightly so. It takes years of work to come close to perfecting Sondheim, and yet we have all sat through some well-meaning yet excruciating audition renditions of the Master’s greatest works.

Instead, the syllabus is more ageappropriate, and includes songs that young students will have never heard before. They will have to work on their own interpretations; no more Idina Menzel or Kristin Chenoweth impersonations.

At Preliminary and Grade 1 levels, the songs are geared for children and young teens and include songs from Willie Wonka and The Chocolate Factory, Singin’ In The Rain, Oliver! and even Sesame Street….so no more 10 year old girls no matter how good) singing “I Dreamed a Dream” or “Big Spender”. It makes one breathe a sigh of relief just thinking about it. There’s an emphasis on Rogers and Hart (and Hammerstein), Irving Berlin, and even early Jerome Kern & Buddy DeSylva. An exciting by-product of that is that it may well lead to a whole new

Silvie Paladino, Drew Weston and Lisa McCune at the launch.

generation that appreciates composers who are now all but forgotten.

There’s also a requirement to sightread (an absolute must in these days of shorter rehearsal periods for complex major shows) and the entire syllabus, at each level, is supported by books, videos and CDs for teachers and students alike. The ability to sight-read songs will make a world of difference to a young performer auditioning for a major musical, and possibly give them the edge in getting a role.

As Kellie Dickerson explained, “The exams are a checklist, they’re not an end unto themselves. They are designed to recognise singing and performing strengths and weaknesses early and to work on those while performers are at that ‘absorbing every new thing like a sponge’ stage. It’s to make them better prepared for anything and everything musical in the future.”

It’s small wonder then, that the launch was full of excited people who relished the entertainment - two wonderful children who are pupils of Ana Mitsikis, a song from the incomparable Silvie Paladino, once again proving that believing the lyrics is a co-requisite with a great voice, and a song from a new Australian Musical The Silver Donkey -from Bryant and Franks, well performed by Drew Weston…yes, the syllabus even includes local musicals.

It’s not surprising that the launch was a great success. This is a first class initiative that promises great things for teachers, students, and audiences alike…it will be fascinating to hear stories from the first graduates, and hopefully we can follow this up.

Meanwhile, if you’re a hopeful, give some thought to getting those qualifying letters after your name.

Silvie Paladino performs at the launch.

www.stagewhispers.com.au Stage Whispers 33

With Military Precision

Think putting on a show is a challenge? Imagine staging a production with 1200 participants with just three days of rehearsals. Brigadier David Allfrey, the Producer of The Royal Edinburgh Military Tattoo, is ‘invading’ Melbourne and Wellington during February. He spoke to David Spicer.

David Spicer: So you are a Brigadier?

Brigadier David Allfrey: Yes someone made a mistake somewhere along the line. I had a very happy 34 years in the regular military. I have been doing this job for just over four years. It is a wonderful change of scene, but not a change of pace.

DS: How do you compare running the military to running the Tattoo?

34 Stage Whispers January - February 2016

This page and opposite: Royal Marines.

BDH: Putting on a show is effectively a military operation. When you put together a combined arms operation you’ve got an awful lot of assorted elements, each with different capabilities. You have to synchronise those to make sure they work, and you have to apply the right mix of capability to the problem you are presented with. Frankly the Tattoo is just that with lights and a rather expensive sound system.

An awful lot of the people involved are from the military, so in terms of getting people in the right mood to focus intensely over three days of rehearsal, that makes it easy.

Although we are a civilian organization, we have very much a military ethos. People are expected to fall in step and operate in sympathy with all our military contingents that come in.

DS: You had a tour of duty in Kosovo …this sounds much more pleasurable.

BDH: My operational tours have been modest compared to many modern soldiers who have gone through extraordinary things in Iraq and Afghanistan. As a solider you focus on parts of world that aren’t going terribly well.

The beauty of my job is that of course I am focusing on those bits which people are terribly proud of - their national heritage and their armed services that embody the values of their nation. So I have a miserable job visiting a lot of talented people all round the world.

DS: When I saw the Tattoo on TV I was struck by the different bands and extraordinary flavours.

BDH: There are only a certain number of notes but there are an extraordinary number of styles around the world. We put South Korea next to China, next to Brazil, next to Mexico. They all have things that are of their own, that have real character. The fun is finding different musicians. Each

Gold Coast ArtsFest The Gold Coast might just have Australia’s best organised community arts scene.

Online extras!

Head to Melbourne to see the show!

Scan the QR code or visit https://youtu.be/COiGEcikt8U

The Royal Edinburgh Military Tattoo in Melbourne will perform at Etihad Stadium from Feb 12 - 16. act has a civil and military component. It is entirely natural to have folkloric next to military. And we get these fantastic acts where they combine in new and interesting ways.

DS: What will be unique about the Tattoo in Melbourne and Wellington?

BDH: We have those elements that are traditional to the Edinburgh Tattoo - our enormous pipes and drums. But it is not just 14 or 15 bands that come together, but 14 or 15 bands that have been tuned and orchestrated together.

That is what makes the sound quite astonishing. There will be military bands from the UK, Australia and New Zealand.

Into that, mix a number of high class international performers. There will be a replica castle at one end.

We don’t travel outside of Scotland very often. We went abroad in 2000 to Wellington and 2005 to Sydney. We get a colossal lot of invitations. There were an enormous number of people very keen to help us bring it to Melbourne. Over a weekend we move it to New Zealand.

DS: Can you afford to pay any of the 1200 performers?

BDH: No they are volunteers. I spend a considerable amount of time talking to governments at the highest levels about the business case of lending us their service people for a month. I outline the five pillars of benefits: Defence, Foreign Affairs, Trade, Tourism and Culture. If you take your armed services to another country it creates an impression.

DS: I note you have a British accent. Do you have to be a diplomat, given the resurgence in Scottish nationalism?

BDH: It has been a most interesting 24 months. We had the referendum last year and a most interesting general election result. I don’t have to be political. I was born an Englishman but my heart is Scottish. I served in a Scottish regiment and it feels like home for me. Scotland is a genuinely magical place.

In early December more than 500 participants took part in a talent quest and season launch called ArtsFest, run by the Gold Coast Theatre Alliance - a network of more than 30 community theatres, choirs, orchestras and dance groups.

The arts organisations stretch from Northern NSW to just south of Brisbane.

Each year the companies stage more than 100 productions.

“We don’t have a professional theatre company here so community theatre has been encouraged to grow,” said Alliance Business Secretary Annie Lotocki.

“We are multi-faced and are trying to build collaboration with every area of the arts. We want to cover music, dance, singing, choral and theatre,” she said.

The Alliance sponsored a talent quest which saw singers and dancers from six years old to sixty plus take part in a day long competition.

The Alliance puts out a glossy brochure twice a year and shared a video on YouTube.

Daniel Mallari and the 2015 ArtsFest dancers in Jesus Christ Superstar.

Photo: Shane Caddaye.

Online extras!

Check out highlights of the Gold Coast community arts scene. Scan or visit https://youtu.be/B_MHdBMqZXo www.stagewhispers.com.au Stage Whispers 35

2015 CONDA Awards

telling a radio-play-style story about the jazz era, won the CONDA for Best Special Theatrical Event.

Wendy Leis, who retired in April after more than two Stagings of Mary Poppins and My Fair Lady topped the decades as artistic director of Newcastle Young People’s 37th City of Newcastle Drama Awards (CONDAs) Theatre, was presented with the CONDA Inc Award for presented in November.

Outstanding Contribution to Newcastle Theatre for her The musicals each won five awards, with Mary work in training thousands of young people in acting, direction and other theatre skills.

Poppins, staged by Metropolitan Players, named Best And the 2015 CONDA Youth Theatre Encouragement Musical Production. The judging panel declared it to be a Award went to a 19-year-old YPT member, Ben Stuart, world-class presentation.

The judges were also enthusiastic about the production who, several days after the awards night, won a place in of My Fair Lady, which featured senior students of the musical theatre course at the WAAPA. Newcastle’s St Philip’s College, saying that despite their youth they delivered the personalities of the diverse characters.

The Best Dramatic Production CONDA went to The Popular Theatre Company’s The Book of Everything, a look at the troubled lives of a Dutch family in the years after World War II. It won four awards.

The Tantrum Youth Arts and Paper Cut Collective coproduction No One Cares About Your Cat, a humorous look at the way social media is changing people’s relationships, collected Best New Play or Musical.

Don Mitchell, CONDA Youth Development Grant sponsor with The Smokin’ Chops Jazz Quintet cabaret-style show recipient Benjamin Stuart.

The Speakeasy, which used 1920s and 30s jazz songs in

2015 Bruce Awards

OCPAC kicked off the entertainment with a rousing Megamix from Footloose. It was impossible not to dance in your seat. James Crozier absolutely nailed “The Gypsy in Coral Drouyn was at the Music Theatre Guild of Victoria’s Me” from the St Michael’s Grammar School production of 2015 Bruce Awards ceremony in Geelong.

Anything Goes.

The buzz started in the foyer, where spray tans and Chris Burgess as Pippin and Josh Gordon as the Lead fake lashes seemed to be de rigueur along with frocks to Player were mesmerising in Corner Of The Sky. die for. Guild President Bev Meldrum avoided the words My favourite tiny company, Fab Nobs Theatre, has found a true star in the making in Melissa Harrington, “Amateur” or “Community” and talked about “NonProfessional” Theatre instead. But there was nothing “Non who nailed “Why Not Me” from Carrie. She won the Bruce Professional” about the ceremony or the companies who for First Performance in a Featured Role. Fab Nobs - with performed. their shoe-string budgets - picked up five nominations.

From the moment the stunning orchestra started its The delightful (and Best Female Performer winner) overture the evening was a Masterclass in how to run an Megan Coe, joined with Ju-Han Soon for a marvellous performance of “Shall We Dance” from Babirra Music awards ceremony and still be hugely entertaining.

The big winner of the night was PLOS’ sensational mid- Theatre’s multi-nominated production of The King and I year production of Legally Blonde. The show, which I and the indefatigable CLOC gave us a somewhat frenetic considered far superior to the Gordon Frost Main Stage “Supercalifragi……well, you know the rest” which almost production, picked up eight awards, including Production overflowed the stage, colour and movement everywhere. of The Year.

BLOC’s much talked about production of Miss Saigon was powerfully represented by some of the finest voices you Multi award-winning PLOS. will ever hear in “Bui Doi”. Leongatha Lyric Theatre showed us why their production of Gypsy was in the mix.

Every number was beautifully balanced.

But when the fabulous Elise Stevens (as Paulette) took to the stage with the cast of PLOS’ Legally Blonde for “Bend and Snap” it was all over Red Rover. She almost brought the house down.

Truly a night to remember, I didn’t hear one single bitching comment from anyone who lost.

For our complete coverage, visit http://bit.ly/1NjJFym 36 Stage Whispers January - February 2016

Community Theatre 2016

How To Succeed In Business Without Even Trying. Savoyards.

Oz heads to Aus in 2016, with the release of non-professional rights to Wicked the biggest news for Community Theatre around Australia.

The international mega-hit, still playing to capacity houses on Broadway after more than a decade, will be produced across the country.

Months before it hits the National Theatre stage in St Kilda in May, we hear that CLOC’s World Amateur Premiere set is booked to travel widely.

Doubtless last year’s experiences flying nannies and vintage cars from stages around Australia will see tech crews well prepared, with great solutions ensuring that Elphabas around the country are defying gravity in spectacular fashion.

Though its professional Australian national tour foundered, Rock of Ages is another musical with international cred which makes its debut on the community theatre circuit.

Also new is Catch Me If You Can, the 2011 Broadway Musical based on the Spielberg directed movie starring Leonardo DiCaprio about a high-flying young con man, which

has gone straight to our nonprofessional stages.

Willoughby Theatre Company will present the NSW Premiere.

“Catch Me if You Can is an allsinging, all-dancing musical comedy that has been a popular choice for our company and our patrons,” says Willoughby President Tom Sweeney.

“The show has a spectacular original score by the team behind Hairspray and a well-known story that resonates with audiences of all ages.”

Last year’s mega-release Mary Poppins hasn’t worn out its welcome either, with the mystical nanny flying into community theatres across Australia again in 2016.

At the opposite end of the spectrum, Gilbert and Sullivan Opera Victoria will turn back the clock a century to stage the biggest West End musical hit of the day, Chu Chin Chow by Oscar Asche, in the 100th anniversary year of its premiere.

Oscar Asche was born in Geelong, where part of the season will be presented, with a libretto updated by Melvyn Morrow.

Across the Tasman, New Plymouth Operatic Society will be

presenting the Australasian premiere of Sister Act, leading off yet another New Zealand consortium, sharing the cost of sets and costumes.

In between there’s a broad repertoire of musical theatre on show, from operetta, through classic Broadway, to rock opera, with the occasional obscure Off Broadway musical to spice up the mix.

“Community theatre exists to give our communities the opportunity to participate in theatre but we must also produce a product that will attract audiences,” says Janet Raymond, from Savoyards Musical Theatre, Brisbane. “Performers have very different opinions to our audiences in regards to show choice.

Actively seeking input from both these groups allows us to make a more educated decision for our seasons.”

Anniversaries abound in 2016.

Brisbane Arts Theatre celebrates 80 years, with nearby companies Ipswich Little Theatre and Centenary Theatre Group both chalking up 70 years.

Since 1969, the Ipswich Little theatre has called The Burley Griffin Incinerator Theatre home. www.stagewhispers.com.au Stage Whispers 37

38 Stage Whispers January - February 2016

Mary Poppins. Metropolitan Players.

Seasons 2016

Chester Street Theatre, at Epping in Sydney, celebrates 60 years with a season of ‘classics’ in 2016, following a successful all-Australian season in 2015.

Engadine Musical Society in Sydney’s south and Orange Theatre Company in regional NSW both mark 40 years.

Early 1976 saw The Orange Civic Theatre established as a leading edge performance space for the region.

Local performance groups - The Orange Dramatic Society, Bloomfield Theatrical Society and The Orange Musical Theatre Company amalgamated as The Orange Theatre Company with the intent to better utilise the facilities of the new theatre and of course the talents of the groups.

Plans are already underway at Engadine Musical Society for celebrations to mark 40 years of Community Theatre.

“Community theatre provides a stepping stone for children who have a love of performing, and EMS have witnessed multiple achievements from members who have started off

being part of community shows,” says EMS President Sue Bunt. “Past EMS performers have appeared in professional productions of The Addams Family, An Officer and a Gentleman and Matilda the Musical, have been employed in the industry overseas, entertained at Disneyland and on cruise ships, used their craft to enhance their teaching skills, attended NIDA courses, or like so many of us, just do it for the love of theatre.”

2016 marks the 50 th year that the Guild Theatre has been in its current building at Walz Street, Rockdale, so for their directors it’s an exciting year to be chosen to direct a play.

Chris Searle, director of When Dad Married Fury in May/June, who joined in 1966, celebrates both her Guild anniversary and wedding anniversary (yep, she met her husband at the Guild that year too!) during the run of her play. “I felt as if I had found something precious and absorbing to focus on in my life and I am still enjoying it.”

For Sue Stapleton, “I chose to direct It’s My Party and I’ll Die If I

Want To (Oct/Nov) by Elizabeth Coleman firstly because I had the pleasure of acting in one of her other hit comedies Secret Bridesmaids Business. I also fell in love with Coleman’s characters, who reflect a unique insight into our sense of Aussie fun. This play, reflects a particularly Australian sense of comedy that is irreverent and deliciously dark; taking family insensitivities and dysfunction to hilarious levels.”

A quick glance at dramatic groups across the country shows we are keen to hear and speak in Australian voices on our stages, and while David Williamson’s extensive catalogue is clearly the frontrunner, there are also more adventurous choices like Speaking in Tongues or When The Rain Stops Falling, together with classic plays from the repertoire, like The Shifting Heart or Away, together with the occasional world premiere of a new work by a local writer.

While Australian musicals are somewhat thinner on the ground, there is a resurgence in stagings of www.stagewhispers.com.au Stage Whispers 39

Beauty And The Beast. Savoyards.

Seasons 2016

The Seasons

Victoria CLOC: Wicked (May), Jesus Christ Superstar (Sept/Oct).

Babirra Music Theatre: Mary Poppins (Jun), Anything Goes (Oct).

Gilbert and Sullivan Opera Victoria: The Gondoliers (Apr), Chu Chin Chow (July).

Williamstown Musical Theatre Company: Catch Me If You Can Victorian Premiere (May), City of Angels (Nov).

Fab Nobs Theatre: The Toxic Avenger Musical (Apr), Dogfight (Nov) Latrobe Theatre Company: The Little Mermaid (May).

PLOS Musical Productions: Mary Poppins (Jan), Miss Saigon (July).

Catchment Players of Darebin: Seussical Jr (Apr).

PEP Productions: Spring Awakening (Feb/Mar).

OCPAC: Catch Me If You Can (Sep).

SPX Waterdale Players: Essgee’s The Pirates of Penzance (Mar).

Windmill Theatre Company: The Little Mermaid (Jun).

ARC Theatre: Oliver! (Jul).

Cardinia Performing Arts Co: The Boy From Oz (Feb/Mar).

NOVA Music Theatre: Legally Blonde The Musical (May), Wicked (Oct).

Aspect Theatre Inc: Joseph and the Amazing Technicolor Dreamcoat (July).

MLOC Productions: Young Frankenstein (May).

SLAMS Music Theatre Company: The Little Mermaid (Mar).

MDMS: Joseph and the Amazing Technicolor Dreamcoat (Jun).

Panorama Theatre Co: Grease (Apr).

Altona City Theatre: Alice in The Boy From Oz, inspired in part by with thrillers, whodunits, farces and Wonderland - Panto (Feb/Mar) the Seven Network Peter Allen mini classics at the heart of so many Heidelberg Theatre Co: Moonlight and series. programs, while popular playwrights Magnolias (Feb/Mar), Twelve Angry More recent plays joining the like Neil Simon, Alan Ayckbourn and Men (Apr/May), God of Carnage (Jul), repertoire include international hit Agatha Christie remain staples.

A Streetcar Named Desire (Sep), One One Man, Two Guvnors, Pulitzer Prize Across Australia and New Zealand, Man, Two Guvnors (Nov/Dec). finalist Other Desert Cities and Obie we look forward to 2016 in The Mount Players: The Prime of Miss community theatre, as performers Award Winner Circle Mirror Jean Brodie. work their day jobs by day, then Transformation.

Brighton Theatre Company: Bette and That doesn’t mean that the rehearse, perform and entertain by Joan (Feb/Mar), Over My Dead Body traditional favourites are on the wane, night.

40 Stage Whispers January - February 2016

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42 Stage Whispers January - February 2016

Evita. Willoughby Theatre Company.

Seasons 2016

(May/Jun), Blood Brothers (Aug/Sep), Other People’s Money (Nov).

Mordialloc Theatre Company Inc: The Importance of Being Earnest (Feb/Mar), Role Play (Apr/May), Visiting Mr Green (June/July), Six Dance Lessons in Six Weeks (Sep), Inspector Drake’s Last Case (Nov).

Frankston Theatre Group: The Odd Couple (Female version) (Apr).

Strathmore Theatre Arts Group (STAG): Killing Jeremy (Mar).

Malvern Theatre Company Inc: Cash On Delivery (Feb/Mar), Pygmalion (Apr), And Then There Were None (Jun/Jul), In the Garden (Aug/Sep), Tomfoolery (Oct/Nov).

Williamstown Little Theatre: Sweet Road (Feb), The Nance (Apr/May), If I Should Die Before I Wake (Jun/Jul), Sitting Pretty (Sep), London Suite (Nov/ Dec).

Peridot Theatre Inc: Two and Two Together (Feb), One Act Play Season (Apr), Ancient Lights (Jun), Les Liaisons Dangereuses (Aug), Becky’s New Car (Nov/Dec).

Encore Theatre Company Inc: Little Red (Jan), The Dining Room (Apr), An Inspector Calls (Jul), Table Manners (Oct).

Lilydale Athenæum Theatre Company Inc: The Vicar of Dibley (Mar), Breaker Morant (May/Jun), Caught in the Net (Aug/Sep), Yes, Prime Minister? (Nov).

Sherbrooke Theatre Company Inc: Cat on a Hot Tin Roof (Apr/May), The Importance of Being Earnest, Last Cab to Darwin.

The 1812 Theatre: ‘Allo ‘Allo (Feb/ Mar), The Haunting of Daniel Gartrell (Apr), Sherlock Holmes and the Adventure of the Suicide Club (May/ Jun), Driving Miss Daisy (Jul / Aug), My First Time (Oct), Fawlty Towers (Nov/ Dec).

Essendon Theatre Company: Five Women Wearing the Same Dress (Apr), Seminar, The Weekend, Witness For the Prosecution.

Beaumaris Theatre Inc: Grease (Mar), Flowers for Algernon, Avenue Q, One for the Pot. Gemco Players: Canterbury Tales (Feb), Measure for Measure (Mar/Apr),

Teechers (Nov), Murder on the Puffing Billy Express.

Eltham Little Theatre: Ten Minute Quickies (Mar), Dinkum Assorted (May), Annie (Jul), Harvey (Sep), Secondary Cause of Death (Nov).

Hartwell Players: One Acts 2016 (Jul).

Mooroolbark Theatre Group: Steel Magnolias (June).

The Basin Theatre Group: My Brilliant Divorce & Snow Angel (Feb/Mar), Sleuth (May/Jun), Dangerous Corner (Aug), Moon Over Buffalo (Nov).

Regional Victoria Geelong Repertory Theatre Company: God of Carnage (Feb), The Shifting Heart (Apr), A Funny Thing Happened on the Way to the Forum (Jul), Speaking in Tongues (Sep), Rumors (Nov/Dec).

Footlight Productions (Geelong): Mary Poppins (Jan/Feb).

Off The Leash Productions: Next to Normal (Apr) BLOC Music Theatre (Ballarat): Mary Poppins (May).

CenterStage Geelong: Oklahoma! (Apr). www.stagewhispers.com.au Stage Whispers 43

Magic of the Musicals - The Gershwin Songbook (Jul), Mary Poppins (Oct).

Seasons 2016 Packemin Productions: Back to the 80’s (Jan), West Side Story (Feb).

Strathfield Musical Society: Encore cabaret show (May) Engadine Musical Society: Mary Poppins (May), Oliver! (Oct).

Bankstown Theatre Company: Annie (Mar), Chess (Jul), The Secret Garden (Oct).

EUCMS (Eastwood): Godspell (May/ Jun).

Manly Musical Society: A Chorus Line (May), Grease (Nov).

NUCMS: Two Gentlemen of Verona (May/Jun), The 25th Annual Putnam County Spelling Bee (Oct/ Nov).

Rockdale Opera Company: Rendezvous at Orlofsky’s Cabaret (Apr), Orpheus in the Underworld (Jul/Aug), The Bartered Bride (Nov).

The Regals Musical Society: The Boy From Oz (May).

Hornsby Musical Society: Guys and Dolls (Apr).

Sydney Youth Musical Theatre: Legally Blonde (Jul), Disney’s Beauty and the Beast (Nov).

Blue Mountains Musical Society: West Side Story (Jun), Joseph and the Amazing Technicolor Dreamcoat (Oct/ Nov).

Holroyd Musical and Dramatic Society:’ H.M.S. Pinafore (Apr).

Rockdale Musical Society: Calamity Jane (Mar).

Canterbury Theatre Guild: Steel Magnolias (Feb), Avenue Q (May), The Little Mermaid (Nov).

The Book Of Everything. The 1812 Theatre.

Shire Music Theatre: Bonnie and Clyde Photo: Ian Turner.

(May), First Date (Oct).

Warragul Theatre Company: Paris Shepparton Arts Theatre Group: 10 in Berowra Musical Society: Urinetown (May), Back to the 80s (Oct).

(May).

Ten: 2016 (Mar), Dookie - World Ashfield Musical Society: Sweet Charity Premiere of local play (Mar), God of Wangaratta Players: Last of the Red (May).

Carnage (May), Sweet Charity (Jul), Hot Lovers.

Shaken, Not Stirred (Sep/Oct), Gilbert & Sullivan Opera Wonthaggi Theatrical Group: Bend it Showstoppers (Oct).

Sydney: Patience (Sep/Oct).

Like Broadway 2016 (Feb), Evita, The Dural Musical Society Inc: A Funny New South Wales Diary of Anne Frank (Aug), Little Shop Thing Happened on the Way to the of Horrors (Sep).

Miranda Musical Society: Man of La Mancha (Mar), Jacques Brel is alive and Forum (May).

Bendigo Theatre Company: Snow Campbelltown Theatre Group: The 39 well and living in Paris (Jul), Young White (Jan), The Addams Family, The Steps (Mar), Legally Blonde (Oct).

Frankenstein (Sep).

Boy From Oz (Sep).

Castle Hill Players: Treasure Island (Feb), Benalla Theatre Company: Breaking Up Willoughby Theatre Company: Catch Me If You Can - NSW Premiere (May), The Game’s Afoot (Apr), Circle Mirror Is Hard To Do. 44 Stage Whispers January - February 2016

www.stagewhispers.com.au Stage Whispers 45

46 Stage Whispers January - February 2016

Seasons 2016

Tommy. Blue Mountains Musical Society.

Transformation (Jun), On Golden Pond (Jul/Aug), Boeing Boeing (Sep/Oct), The Accused (Nov).

The Theatre On Chester (Epping): The Hypochondriac (Apr), Who’s Afraid of Virginia Woolf (Jul/Aug), The Accidental Death of an Anarchist (Nov).

Pymble Players: Sylvia (Feb/Mar), Enchanted April (May), God of Carnage (Jul/Aug), Communicating Doors (Oct), Dick Whittington and his Clever Cat (Panto - Dec).

Guild Theatre, Rockdale: Exit Laughing (Feb/Mar), When Dad Married Fury (May/June), The Underpants (Jul/Aug), It’s My Party and I’ll Die if I Want To (Oct/Nov).

Hunters Hill Theatre: Bedroom Farce (Mar), Birthrights (May/June), Gaslight (Aug), Moonlight and Magnolias (Nov).

Genesian Theatre: The Picture of Dorian Gray (Feb/Mar), Nothing Personal by David Williamson (Apr/ May), Far From the Madding Crowd (May / Jun), Agatha Christie’s Appointment With Death (Jul/Aug), Our House (Sep/Oct), Dracula (OctDec), Much Ado About Nothing (Jan/ Feb 2017).

Arts Theatre Cronulla: Proof (Feb/Mar), Moon Over Buffalo (May/Jun), My Wonderful Day (Jul-Sep), Loot (OctDec).

Sutherland Theatre Company: Beyond Caring, the premiere of a new locally written play (Mar), The Final Test (Jul/ Aug), Don’t Talk to the Actors (Nov).

Penrith Musical Comedy Company: The Boy From Oz (May).

Epicentre Theatre Company: Rumors (Apr/May), Summer of the Seventeenth Doll (Jun/Jul), The Great Gatsby (Sep/ Oct), Theatresports (Nov).

Elanora Players: Whose Life is it Anyway? (Jan), Table Manners (Apr).

Lane Cove Theatre Company: Away (Mar/Apr), The Last Five Years (Aug), The Jungle Book (Nov/Dec).

Henry Lawson Theatre (Werrington): The Oldest Profession (Feb), Love Begins at 50 (Apr/May), ‘Allo ‘Allo (Jun/Jul), When Dad Married Fury (Oct/Nov).

Cameo Theatre Company: Opportunity Knocks (May).

The Acting Factory (Penrith): The Taming of the Shrew - Shakespeare by

the Nepean River (Feb/Mar), A Kidshow (Apr).

Glenbrook Players: London Suite (May) Richmond Players: The Sound of Music (May), The 39 Steps (Aug).

Cumberland Gang Show (Scouts and Guides): Power Up (Jul).

Newcastle and Hunter Region DAPA Theatre: Hotbed Hotel (Feb), Witness for the Prosecution (Mar/Apr), Emma (May), Mixed Doubles: Two One -Act Plays (Jul), The Snow Queen (Aug), The Nerd (Oct), Elf - The Musical (Oct/Nov).

Hunter Drama: Roald Dahl Festival 2016 (May), Shrek: The Musical Jr (Sep/Oct), The Spoon River Project (Oct).

Maitland Musical Society: Showstoppers Curtain Call (Feb), She’s Only the Colonel’s Daughter, premiere (Apr), The Gilbert and Sullivan Story, premiere (Sep), Nunsensations (Nov/ Dec, co-production with Maitland Repertory Theatre).

Maitland Repertory Theatre: Therese Raquin (Feb), Funny Money (Apr), Titus Andronicus (Aug), Blithe Spirit (Sep). www.stagewhispers.com.au Stage Whispers 47

Seasons 2016

Footloose. OCPAC. Photo: Benjamin Fon.

Metropolitan Players: Wicked (Aug/ Sep).

The National Theatre Company: Evita (Mar).

Newcastle Theatre Company: Proof (Jan/Feb), Death and the Maiden (Mar), The One Day of the Year (Apr), Robert Gott’s Good Murder (Jun), Noises Off (Jul); Love, Love, Love (Aug/Sep), Other Desert Cities (Oct), Festive Spirit, by Sally Davies (Nov/Dec).

Opera Hunter: The Marriage of Figaro (Jun).

48 Stage Whispers January - February 2016

Pantseat Productions: Disney’s High School Musical Jr (Apr), Dags (Jul), Seasons (Australian premiere - Sep), A Chorus Line (Nov).

The Paper Cut Collective: Hello, Stranger, premiere (Newcastle, Feb/ Mar; Bathurst Mar).

Stooged Theatre: Punk Rock (Mar), Blood Bank (Aug).

Tantrum Youth Arts: Trailer (Wyong, May; Sydney, Jun; Newcastle, Jun), Trajectory 1, site specific work (Aug), Manning the Fort, site specific work

(Sep/Oct), Trajectory 2, site specific work (Oct), Hissyfest 2016 (Nov).

Theatre on Brunker: Something Wonderful: The Music of Rodgers and Hammerstein (Jan), The 39 Steps (Apr), The Best Little Whorehouse in Texas, with Novocastrian Players (Jun), The Odd Couple (Female Version) (Oct).

Young People’s Theatre: The 25th Annual Putnam County Spelling Bee (Feb), Disney’s Mulan Jr (Apr/May), The History Boys (Jun), Three Little Pigs: (Jul/Aug), Bugsy Malone (Oct/Nov), Disney’s Winnie the Pooh Jr (Nov/Dec).

NSW Central Coast Wyong Musical Theatre: Oliver! (Apr).

Gosford Musical Society: The Little Mermaid (Jan), The Addams Family (Mar), Tom Sawyer (Jul), The Music Man (Aug), Wicked (Oct/Nov).

Woy Woy Little Theatre: Humble Boy (Feb/Mar), Dinkum Assorted (May/Jun), Wait Until Dark (Aug), Absurd Person Singular (Oct/Nov).

NSW North Coast Ballina Players: Legally Blonde The Musical Jr (Jan), Funny Money (Apr), Return to the Forbidden Planet (Jun/ Jul), The Best Little Whorehouse in Texas (Nov/Dec).

Coffs Harbour Musical Comedy Company: The Pirates of Penzance (May), Mary Poppins (Nov).

Murwillumbah Theatre Company: The Importance of Being Earnest (Mar) Players Theatre, Port Macquarie: The Odd Couple (Mar), The Producers (May), Festival of One Act Plays (Jun), Grease (Jul/Aug), ‘Allo ‘Allo (Sep/Oct), Sweet Charity (Nov/Dec).

CHATS Productions Inc (Coffs Harbour): Noises Off (Mar), Cosi (Jul), Twelfth Night (Oct).

NSW South Coast and Southern Highlands Nowra Players: Camelot the Panto (Mar), Ghost Train (May/Jun), A Month Of Sundays (Aug/Sep), Avenue Q (Nov / Dec).

Wollongong Workshop Theatre: A Super Villainous Cabaret (Feb), Albert and Jameson: A Play With Vampires (Apr/May), Sweeney Todd - The Play (Jun), Workshorts 2016 (Sep), The Laramie Project (Oct), Get Smart (Nov).

www.stagewhispers.com.au Stage Whispers 49

50 Stage Whispers January - February 2016

Roo Theatre Co (Shellharbour): Cinderella (Jan), 13 - A New Musical (Feb), The Buddy Holly Story (Mar), Charlie and the Chocolate Factory (Apr), Saturday Night Fever (May), Fawlty Towers (Jul), Kiss Me, Kate (Aug / Sep), Travelling North (Sep/Oct), Miss Saigon (Oct/Nov).

Arcadians Theatre Group (Corrimal, Wollongong): The 39 Steps (Feb/Mar), A Funny Thing Happened on the Way to the Forum (Apr).

Nowra Players: Camelot: The Panto (Mar), Ghost Train (May/Jun), A Month of Sundays (Aug/Sep), Avenue Q (Nov/ Dec).

Pigs Fly Productions (Mittagong): Calendar Girls (Sep).

Spectrum Theatre Group (Merimbula): The Addams Family (May / June).

Regional NSW Parkes Musical & Dramatic Society: Footloose (May / June).

Orange Theatre Company: Hairspray (May), Lend Me A Tenor (Jul), Mary Poppins (Oct).

Tamworth Musical Society: Mary Poppins (May).

Tamworth Dramatic Society: The Tempest.

Lithgow Musical Society: Oklahoma!

Armidale Drama and Musical Society: Favourite Shorts (Apr), Tommy (Jul), Noises Off (Sep / Oct).

Albury Wodonga Theatre Company: Oliver!

Muswellbrook Amateur Theatrical Society: The Sound of Music (July).

Carillon Theatrical Society (Bathurst): Rock of Ages (May).

South Australia Adelaide Repertory Theatre: The Elephant Man (Apr), Cat on a Hot Tin Roof (Jun), Oscar & Felix (Sep), Don’t Dress for Dinner (Nov).

Adelaide Youth Theatre: Disney The Little Mermaid (Jan), Into The Woods Snr and Jr shows (March), Aladdin Jr (Apr).

Balaklava Community Arts: Seussical (Apr).

Briggs & Heaysman Theatre Co: The Angel of Death (Jan- Fringe).

Butterfly Theatre/ Burnside Players: Titus Andronicus (Aug).

Davine Interventionz: The Light in The Piazza (Feb/Mar - Fringe).

Galleon Theatre Company: Sex Cells (May), Cheaters (Oct).

Hills Youth Theatre: Cinderella - A Pantomime (Jan).

Hills Musical Company: The Full Monty (Apr/May).

Independent Theatre: Hamlet (Apr), Suddenly, Last Summer - staged play reading (Apr), The Matchmaker (Aug), Ross (Nov).

Marie Clark Musical Theatre: Catch Me if You Can (May).

Matt Byrne Media: Wicked (Jul).

South Australian Light Opera Society: La Perichole (Apr).

St Jude’s Players: When the Rain Stops Falling (Apr), Boeing Boeing (Aug), Calendar Girls (Nov).

Tea Tree Players: Bob’s Your Auntie (Feb), Family Planning (Mar/Apr), Up Pompeii (May/Jun), Who’s Dying to Be a Millionaire - Youth/Junior (Jul), Happy Event (Aug), Funny Money (Sep/Oct), Pantomime (Nov/Dec).

The Metropolitan Musical Theatre Company: Sugar (May).

The Stirling Players: Variation on a Theme (Feb/Mar), Our Country’s Good (Sept/Oct).

Therry Dramatic Society: The Philadelphia Story (Mar/Apr), Big Fish (June), Death of a Salesman (Aug).

University of Adelaide Theatre Guild: The Peach Season (Mar), The Two Gentleman of Verona (May), The Crucible (Aug), The Effect (Oct).

Unseen Theatre Co: Feet of Clay (Apr).

Northern Light Theatre Company: Cinderella (Apr).

Venture Theatre Co: Space Junk (Apr).

Zest Theatre Group: Grease (Jan/Feb).

South Coast Choral and Arts Society: My Fair Lady (May).

Gilbert & Sullivan Society: The Mikado (May).

Seasons 2016 Witness for the Prosecution, Macbeth, She Stoops to Conquer, Noises Off, Wait Until Dark.

SUPA Productions: Funny Girl (Aug/ Sep).

Western Australia Roleystone Theatre: High Fidelity (Mar), Shrek Jnr (Apr), The Cat and the Canary (May/Jun), On Our Selection (Aug), West End Gala (Aug), One Act Season (Sep), Storytime in the Hills (Oct), Little Shop of Horrors (Dec) Garrick Theatre: See How They Run (Jan/Feb), And Then There Were None (Apr), You’re A Good Man Charlie Brown (Jun), A Murder Is Announced (Jul/Aug), The Wee Small Hours (Sep/Oct), Christmas Pantomime TBA (Nov/Dec) KADS: Murder in Company (Feb/ Mar), The Herringbone Saga (May), KADS One Act Season (Aug), Kalamunda SHS Showcase (Sep), The Rise and Fall of Little Voice (Nov/Dec).

Stirling Players: Tuesdays With Morrie (Feb/Mar), You Can’t Have One (Apr/May), Brief Encounter (Jul), The Importance of Being Earnest (Aug/ Sep), Ruby Quicksilver (Nov/Dec) Murray Music and Drama (Pinjarra): Sweeney Todd (May), In The Spotlight (Variety Show - Aug), Peter Pan (Nov).

Darlington Theatre Players: Footloose (Feb/Mar).

Wanneroo Repertory: Kitty Klaxton, Blonde Downstairs (Jan/Feb), One Act Plays (Feb), Gaslight (Apr), Run For Your Wife (Aug), Skylight (Sep), Blitz (Nov/Dec).

Primadonna Productions: Judith Prior’s What’s New Pussycat (Feb), Joseph and the Amazing Technicolor Dreamcoat (Apr), Mother Goose (Aug).

Harbour Theatre: The Hound of the Baskervilles (Feb).

A.C.T. Irish Theatre Players: Plough and the Free-Rain Theatre Company: The Little Stars (Mar/Apr), Communication Mermaid (Apr) Card (Jul), One Act Season (Aug/Sep), Queanbeyan Players: The Music Man War (Nov) (Jun), The Merry Widow from Bluegum APAN: Fame (Feb), Grease (Aug/Sep).

Creek (Nov).

Old Mill Theatre: It’s All Greek to Me Canberra Rep: The Threepenny Too (Feb), Closer (June), Season of One Opera (Feb / Mar), Uncle Vanya, www.stagewhispers.com.au Stage Whispers 51

Seasons 2016 Act Plays (Sep), Honour (Oct), Scrooge the Musical (Dec).

Melville Theatre Company: Inside Job (Feb), Dancing at Lughnasa (May), Under the Bright Blue Sky (Jul), Barefoot in the Park (Sep), One Man, Two Guvnors (Nov/Dec).

Koorliny Arts Centre: Disney’s The Little Mermaid (Jan/Feb), Return to the Forbidden Planet (Apr/May), Side by Side by Sondheim (Aug), Monty Python’s Spamalot (Oct) Phoenix Theatre/Dark Psychic Productions: Avenue Q (Mar), Stage Recess the Musical (May), The Darkness and The Kraken (Jun) Puss In Thongs (Jul), Class of 77 (Sep), Portraits (Oct), The Addams Family (Nov).

Bunbury Repertory Club: Herringbone Saga (Apr), The Club (Jun/Jul).

Williams Repertory Club: Great Australian Rock Musical (Jun).

Queensland Savoyards: Legally Blonde (Mar), A Chorus Line (Jul), Nice Work If You Can Get It (Sep / Oct).

Redcliffe Musical Theatre: Mary Poppins (Mar), Into The Woods Jr (Apr), Beauty & the Beast (Jun), Wicked (Aug).

S.Q.U.I.D.S: Oliver! (May).

PRIMA: The Little Mermaid (Apr / May), Little Women (July), Into The Woods (Oct).

Ipswich Musical Theatre: Wicked (Sep).

Sunnybank Theatre Group: Key For Two (Feb/Mar), Sleuth (Apr). One Act Plays - 49A /Roses are Red /Post Its (May/Jun), Anyone for Breakfast (Jul/ Aug), Beyond Reasonable Doubt (Sep), Sister Amnesia’s Country & Western Nunsense Jamboree (Nov).

Brisbane Arts Theatre: Baby with the Bathwater (Jan/Feb), The Boy From Oz (Mar/Apr), Are You Being Served? (Apr/ Jun), Sense and Sensibility (Jun/Jul), Equus (Jul / Sep), With - The Devil’s Own Musical (Sep) Guards! Guards! by Terry Pratchett (Oct/Nov), When the Rain Stops Falling (Nov / Dec), The Reindeer Monologues (Dec).

Villanova Players: Five Women Wearing the Same Dress (Mar), Long Gone Lonesome Cowgirls (Apr), Seven Little 52 Stage Whispers January - February 2016

Australians (May/Jun), The Kursk (Jul), Les Liaisons Dangereuses (Aug/Sep), God of Carnage (Oct), Rough Crossing (Nov/Dec).

Mousetrap Theatre Company: The Cinderella Spell (Jan), Much Ado About Nothing (Feb/Mar), Blithe Spirit (Apr/ May), A Feast of One Act Plays (Jun), Shall We Dance - Music of the 70s and 80s (Jul), Once Upon a Mattress (Jul/ Aug), A Murder is Announced (Sep/ Oct).

Nash Theatre: Rebecca (Feb / Mar), The Tempest (May/ Jun), Harvey (Jul), The Memory of Water (Oct), The Fall & Rise of Mr Scrooge (Nov/ Dec).

Centenary Theatre Group: When Dad Married Fury (Feb/Mar), Agatha Crispie

by Cenarth Fox (May), Up Pompeii (July/Aug), The Mayne Inheritance (Sep/Oct), A Little Murder Never Hurt Anyone (Nov/Dec).

Growl Theatre: Harvey (Mar), Blackadder the Third (May/Jun), The Constant Wife (Aug/Sep), A French language production (Oct/Nov) Phoenix Ensemble: The Wedding Singer (Feb), Next To Normal (Apr/May), Emerald City (Jul), The Little Mermaid (Sep /Oct), Spice Fire - Cabaret Festival (Nov).

Tweed Theatre Company: Steel Magnolias (May), Seven Little Australians (Jul), The Princess & the Pea (Sep/Oct).

Beenleigh Theatre Group: RENT (Feb/ Mar), Noises Off (Apr/May), Joseph & the Amazing Technicolor Dreamcoat (Jun/July), The Importance of Being Earnest (Sep/Oct), SHOUT! - The Legend of the Wild One (Nov).

Gold Coast Little Theatre: West Side Story (Jan/Feb), The Shoe-Horn Sonata (May / Jun), Make ‘Em Laugh (One Act plays - Jun), Wolf Lullaby (Sep / Oct), How to Succeed in Business Without Really Trying (Nov / Dec).

Tugun Theatre Company: Over My Dead Body (Feb), Golden Oldies Variety Show celebrating 45 years at Tugun Theatre (May), Exit Laughing (Aug), Cat’s Cradle (Nov).

Ipswich Little Theatre: Lipstick Dreams (Mar), The Glass Menagerie (May), The Narcissist (Jun/ Jul), Deckchairs (Sep/ Oct), The Final Test (Nov/Dec).

Javeenbah Theatre, Nerang: Writers Block (Jan/Feb), Minefields and Miniskirts (Apr), Communicating Doors (May/Jun), After January (Jul/Aug), Songs for a New World (Sept/Oct), The Smell of Money (Nov/Dec) Top Hat Productions: Hooray for Hollywood (Mar).

Spotlight Theatrical Company, Benowa: Robin Hood The Pantomime (Jan), Pippin (Feb/Mar), Bonnie and Clyde (May/June), Higher & Higher the Motown Musical (Aug/Sep), Breast Wishes (Sep/Oct), The Mystery of Edwin Drood (Oct/Nov).

Burdekin Singers: The Addams Family (Jan).

Coolum Theatre Players: The Addams Family (May), Sherlock Holmes & the Case of the Stolen Suspender (Aug/ Sep), The Best Little Whorehouse in Texas (Nov - Dec).

Noosa Arts Theatre: Old Mother Hubbard (Jan), Australia Day (Feb), Mary Poppins (Apr), Shorts on Stage (May), One-Act Play Festival (Jun - Jul), Fabulosity (Sept - Oct), Still (Oct), Under Milk Wood (Nov).

Rondo Theatre/Cairns Little Theatre: Who’s Under Where? (Feb), Night Mother (Apr), Corporate Vibes (Jun), Honour (Aug), One Flew over the Cuckoo’s Nest (Oct).

BATS Theatre (Buderim): And so Say All Of Us (Jan).

Lind Lane Theatre, Nambour: Move Over Mrs Markham (Feb), Echo of the Great War -Two One Act Plays - The Old Woman Shows Her Medals, The Private War Of Corporal Cooper (Apr), The History Boys (May/Jun), Love & Hate - 10 min plays (July), Inspector Drake and the Black Widow (Sep/Oct), Act Your Age (Nov).

Mackay Musical Comedy Players: Cinderella (Feb), Mary Poppins (May), Sweeney Todd (Aug /Sep).

Empire Theatre Toowoomba: Legally Blonde (Apr).

Toowoomba Repertory Theatre: The Gift (Feb), The Last Romance (Apr/ May), Here on the Flight Path (Jul), Winning plays from National One Act Play Writing Competition (Sep), The Seven Year Itch (Nov).

North Queensland Opera & Music Theatre (Townsville): Titanic (Apr).

Esgee’s The Pirates of Penzance. Gosford Musical Society.

Photo: Cliff Kent.

www.stagewhispers.com.au Stage Whispers 53

Whorehouse in Texas (Aug), Back to the 80’s (Nov).

Seasons 2016 Whangarei Theatre Company: The Maleny Singers: HMS Pinafore Nunsense (Apr), The Sound of Music (Jun).

(Jul).

Tasmania Harlequin Musical Theatre: Jesus Christ Superstar (Apr / May).

Gilbert and Sullivan Society of Tasmania: Trial by Jury (Jan).

Tauranga Musical Theatre Inc: Disney’s Hobart Repertory Theatre Society: The Beauty and the Beast Jr (Jan), Avenue Q (Apr), Mamma Mia (Sep).

Elephant Man (Mar), Habeas Corpus (May), Macbeth (Jul), Something’s West Otago Theatrical Society: Afoot (Sep), Up for Grabs (Oct/Nov).

Saturday Night Fever (Jun).

Launceston Musical Society: Dusty Cambridge Repertory: Hot Water.

Devonport Choral Society Inc: The Rotorua Musical Theatre: Evita (July), Addams Family (May).

The Addams Family (Oct).

Burnie Musical Society: Wicked.

Musikmakers, Hamilton: The Addams Family (Apr).

New Zealand Napier Operatic: Jesus Christ Superstar Auckland Music Theatre: Evita (May/ (Apr), Annie Jr (Jun), Barnum (Sep), Jun).

Essgee’s The Pirates of Penzance (Nov).

Taieri Musical Society (Dunedin): Grease (Jul), Mary Poppins (May 2017). Musical Theatre Oamaru: Evita (Jun).

Abbey Musical Theatre: Sweeney Todd Blenheim Musical Theatre: Mamma Mia! (May).

(Mar), Hair (May/Jun).

Butterfly Creek Theatre Troupe: The Manukau Performing Arts: A Funny Tempest.

Thing Happened on the Way to the Detour Theatre, Tauranga: Checkout Forum (Jun), Dreamgirls (Oct).

Chicks (Mar/Apr), A Murder is Centrestage Theatre Company, Announced (Jun/Jul), Romeo and Juliet Orewa: Monty Python’s Spamalot, (Aug/Sep), Nana’s Naughty Knickers Rent.

New Plymouth Operatic Society: Sister (Nov/Dec).

Act (Jul / Aug) - Australasian Premiere. Wellington G & S Light Opera: The Merry Widow (Aug/Sep).

Variety Theatre Ashburton: Oliver!

Dolphin Theatre: One Man, Two North Canterbury Musical Society: Elton John and Tim Rice’s AIDA (May). Guvnors (Feb/Mar).

Nelson Music Theatre: Nunsense: The Ellerslie Theatrical Society: The End of Golden Weather (Mar), Murder in Mega Musical (Apr), The Best Little Stages (Apr).

54 Stage Whispers January - February 2016

Elmwood Players: Jumpy (Apr), Bouncers (Jun), Winter Tales (Aug).

Hawera Repertory Society: Duets (2016), Peter Pan (2017).

Howick Little Theatre: Central Otago Man (Feb / Mar), The Perfect Man (May), Ladies in Lavender (Jul), How To Be Happy (Sep), The Top Secret “Mystery Play” (Nov).

Papakura Theatre Company: Disney’s Alice in Wonderland Jr (Apr).

Stagecraft Theatre (Wellington): Kafka’s Dick (Mar), Steel Magnolias (May), The History Boys (Jul), Urinetown: The Musical (Sep), Comedy of Errors (Nov).

Tauranga Repertory Theatre: Star*Man (Jan) - youth production.

Theatre Whakatane: Avenue Q (Jan).

Company Theatre (Auckland): When Dad Married Fury (Apr), All My Sons (Aug), One Man, Two Guvnors (Nov).

Mairangi Players: The Glass Menagerie (Mar).

Titirangi Theatre: Wyrd Sisters (Mar), Daughters of Heaven (Apr), Messiah on the Frigidaire (June), Compleat Female Stage Beauty (Aug/Sep), Robin Hood and the Three Little Pigs - Panto (Nov/ Dec).

Shoreside Theatre (Auckland): King Lear & The Tempest (Jan / Feb).

Wellington Repertory Theatre: Arsenic and Old Lace (Apr), Rope (Aug), Brassed Off (Oct).

Sound Advice For Modern Community Theatre

Bump-in at the Blue Mountains Community Hub. Photo: Aubtin Namdar.

Mixing sound is never as simple as just turning up someone’s microphone.

Cameron Hissey from Loud and Clear says being a sound engineer is like being a performer. The bigger the show, the bigger the performance skills needed. He describes the efforts behind a mammoth production of The Phantom of the Opera.

Imagine you’re responsible for ensuring every line of dialogue, every oboe solo, every sound effect is heard at the right moment, and more importantly, not heard when it shouldn’t be. Imagine 80+ individual unique sound sources at your fingertips, requiring constant fine adjustment. Imagine turning these 80+ individual elements into a blended, musically appealing mix of orchestra, soloists, chorus and effects.

Now imagine you have two rehearsals (sometimes if you’re lucky, three) to achieve that mix before you are presented with an opening night audience. Sound stressful? This is the job of a musical theatre sound engineer.

President, said: “We are very happy to have a lovely new venue but it has some serious technical hurdles. There is nowhere for an orchestra, so we’ve had to find a way to virtually represent the sound of a live orchestra playing elsewhere in the venue.”

Planning had to start months ahead, and this is twice as important when working in a brand new theatre.

I attended a number of site inspections, where we took copious amounts of notes and measurements, allowing us to completely model the room we would be working in. We identified where power was available, what tie lines were available to stage, what rigging points were installed and what their ratings were.

The orchestra for The Phantom of Recently, I was the sound designer the Opera has 27 parts. Eight channels and mix engineer for the Blue Mountains Musical Society production of Audio were needed for percussion of The Phantom of the Opera. It ran for alone.

We found a meeting room that 10 performances, across 3 weekends, would be large enough for this in the newly completed Blue orchestra but there was no connectivity Mountains Community Hub. Like many community venues, there available. Thankfully the musical society understood the value of investing in were funding limitations that led to a some cabling, and were happy to number of shortcomings in the final building. Aubtin Namdar, Vice(Continued on page 56) Erin Hambly safeguards the centre hang of Alcons LR7s as they are winched into the ceiling. Photo: Cameron Hissey.

www.stagewhispers.com.au Stage Whispers 55

Blue Mountains Musical Society’s The Phantom Of The Opera.

Photo: Grant Blackwell.

the existing speakers? Are they up to the job? organise an electrician to install Finally, how much can the society Ethernet/Data, Audio tie lines, and RF afford to spend on sound? cabling to our specs from the theatre The Blue Mountains Community control room to the remote room.

Hub has a pair of Bose speakers as the When designing sound for PA in the room, allowing for Left and community theatre, there are a number Right. For this production, we installed of elements to consider. Three factors an Alcons Audio LR7 Centre cluster and that must intersect: the show, the 4 surrounds. In total, that gave Left, venue and the budget. A show like The Centre, Right, Surround Mid Left, Surround Mid Right, Surround Rear Phantom of the Opera calls for surround sound, and as such many Left, Surround Rear Right, Subwoofers more P.A. elements will be required and Front Fill. than in a production of The Sound of Another important part of planning Music. The venue must also come into the audio for any musical production is the mic plot. Who will wear a consideration - what PA is already in the room? Are there any rigging points microphone? In what scenes will they for additional speakers? Are there need a microphone? Community patch points to get signal to those groups do not have the budget for speakers? How can we get signal into every performer on stage to be wearing a microphone, and often with (Continued from page 55)

Sound mix position.

Photo: Cameron Hissey.

56 Stage Whispers January - February 2016

much larger casts than would be seen in a professional production, it would become untenable to expect all 75 - 90 members of a cast to be able to wear a microphone simultaneously.

We have a few tricks up our sleeve for getting all the voices out to the audience. Months in advance we will review a score and libretto, and work with the production team to ensure all individual solos are captured by someone wearing a microphone. This can lead to some creative challenges for a Microphone Technician: “There have been productions where I’ve had to change who was wearing a microphone in a short blackout side of stage, or even halfway through a song while performers are still on stage,” David Tucker regales.

Thankfully in this production, with 24

headsets on stage, we were able to limit the changes only to a select few.

After many months of planning and production meetings the time finally comes to arrive at the venue. It took five people three full days, 12 hours each day, to get all the equipment loaded in and setup.

Tasks included rigging and flying the centre PA speakers, rigging and flying the surround sound speakers, building the mix position, setting up microphones for every orchestra member, setting up headphones for every orchestra member (with their own personal mixers), setting up large TVs and cameras so that the cast can see the conductor (and the conductor can see the cast), installing and configuring numerous fold back speakers on stage (so the cast can hear themselves and the orchestra), as well as setting up nine different computers in multiple isolated computer networks. The show also calls for a large amount of pre-recorded singing and dialogue, so a make-shift vocal booth was erected and about four hours was spent recording various pieces of dialogue.

In this production of Phantom, video backdrops were used to great effect, as well as a number of sound effects and the pre-recorded dialogue.

Vision, Sound Effects and Pre-Records needed to be triggered at different times by either the Stage Manager, me at the Sound Console, or the Conductor.

Three computers were networked to achieve this, and QLab was used across these machines to allow all three of us full control at remote locations. All in all, there were 10 separate sends of sound effects into the console, as well as time code control of the lighting console for the overture. This allowed Vision, Lights and Sound to all perform in perfect unison. Additionally, a number of

they are heard in balance to other singers and instruments? What microphones need to be turned down, because someone is being kissed, or someone is blowing a whistle, or screaming?

While mixing a show you are constantly moving, making slight adjustments, turning levels up, down, on, off, as well as adding and removing effects. It is never as simple as just turning on everyone’s microphone and hoping for the best.

In essence, mixing the sound for musical theatre is also a performance.

To ensure you can give a consistent performance each night, especially given such limited rehearsal time, it is vital to mark up a score or libretto with great detail. This ensures singers’ entries, sound effects, solo orchestral lines, as well as balance between singers and balance between voices and the orchestra are consistently musical every show. It can take up to eight hours to mark up a score correctly (an example of score mark-up can be seen to the left).

My experience working with BMMS computers were used to monitor and was extremely positive. By the end of control the Radio Mic receivers, and the season, I realised as always, that I the multiple mixing consoles. had devoted many more hours than Over five days leading up to we had billed the client for. At the end opening night, we had four rehearsals: of the day, it really boils down to Act 1 Tech, Act 2 Tech, First Dress, whether or not it is fun to work with Final Dress. the people you’re with, and the cast Once rehearsals begin, it is finally and crew at BMMS are a group of possible to get a true understanding of great people trying to do great things, what lines are being said off-stage? and I’d say they are achieving their What lines need to be turned up so goals.

www.stagewhispers.com.au Stage Whispers 57

On Stage A.C.T. Storytime Ballet: The Sleeping Beauty. Jan 20 - 23. The Playhouse, Canberra Theatre Centre. (02) 6275 2700.

4000 Miles by Amy Herzog.

Critical Stages, Mophead and Catnip Production. Feb 11 - 13.

The Q, Queanbeyan Performing Arts Centre. (02) 6285 6290.

A.C.T. & New South Wales

Feb 25 - Mar 12. Theatre 3. (02) Jan 19 - 24, Glen Street Theatre, Company. Jan 6 - 26. The Royal 6257 1950.

(02) 9975 1455.

Botanic Gardens, Sydney. 1300 122 344.

New South Wales Storytime Ballet: The Sleeping Matilda. Music and lyrics by Tim Minchin. Book by Dennis Kelly.

Royal Shakespeare Company, Louise Withers Michael Coppel & Michael Watt. Ongoing. Lyric Theatre, Sydney. Ticketmaster.

Beauty. The Australian Ballet.

Until Jan 3, The Concourse, Chatswood. (02) 8075 8100.

The Good Doctor by Neil Simon after Anton Chekhov. Ensemble Theatre. Until Jan 17, Ensemble Theatre, (02) 9929 0644 and

Spiegeltent, Hyde Park North.

1300 856 876.

The Very Worst of the Tiger Lillies. Jan 6 - 17. The Famous Spiegeltent, Hyde Park North.

1300 856 876.

The Magic Flute by Mozart.

Opera Australia. Until Jan 16.

Woyzeck by Tom Waits, Joan Sutherland Theatre, Sydney Kathleen Brennan and Robert Wilson. Thalia Theater Opera House. (02) 9250 7777 The Sound of Music. Music: La Clique. Feb 19 - Mar 14. The Richard Rodgers. Lyrics: Oscar Jasper Jones. Based on the novel Hamburg / Sydney Festival. Jan Famous Spiegeltent, outside the Hammerstein 2nd. Book: Howard by Craig Silvey, adapted by Kate 7 - 12. Carriageworks. 1300 Canberra Theatre Centre. (02) Lindsay & Russell Crouse. John Mulvany. Belvoir. Jan 2 - Feb 7. 856 876.

6275 2700.

Frost, Andrew Lloyd Webber, Upstairs Theatre, Belvoir. (02) La Verità by Daniele Finzi Pasca.

David Ian and the Really Useful 9699 3444.

Compagnia Finzi Pasca / Sydney Robyn Archer - The Great Group.

Ongoing.

Capitol Festival. Jan 7 - 17. Riverside (Other) American Songbook.

La Bohème by Puccini. Opera Theatre, Sydney.

1300 111 011.

Theatres, Parramatta. (02) 8839 Feb 19 & 20. The Famous Australia. Jan 2 - Mar 23. Joan 3399.

Spiegeltent, outside the King Lear by William Sutherland Theatre, Sydney Canberra Theatre Centre. (02) Shakespeare. Sydney Theatre Opera House. (02) 9250 7777. Storytime Ballet: The Sleeping 6275 2700.

Company. Starring Geoffrey Beauty. The Australian Ballet Meow Meow’s Little Mermaid.

Rush. Directed by Neil Armfield. A Decidedly un-Disney Cabaret. Kids. Jan 7 - 9. IMB Theatre.

All My Love by Anne Until Jan 9. Sydney Theatre. (02) Malthouse / Sydney Festival. Jan (02) 4224 5999.

Brooksbank. Christine Harris production. Feb 24 - 27. The Q, 9250 1777.

6 - 23. Magic Mirrors What Will Have Been. Created Queanbeyan Performing Arts Centre. (02) 6285 6290.

The Threepenny Opera by Bertolt Brecht. Canberra Rep.

58 Stage Whispers

The Wind in the Willows by Kenneth Grahame. The Australian Shakespeare

by Yaron Lifschitz with the Circa Ensemble. A Norfolk and Norwich Festival and La Teatreria (Mexico) commission.

Sydney Festival. Jan 7 - 14.

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

On Stage Magic Mirrors Spiegeltent, Hyde Sutherland Theatre, Sydney Park North. 1300 856 876.

Opera House. (02) 9250 7777.

Back to the 80s by Neil Gooding. Packemin Productions.

Jan 8 - 23. The Concourse, Chatswood. (02) 8075 8111.

Vortex Temporum. Rosas and Ictus, Belgium / Sydney Festival.

Jan 15 - 18. Carriageworks.

1300 856 876.

Something Wonderful: The Music of Rodgers and Hammerstein. Musical revue.

Theatre on Brunker. Jan 8 - 30.

St Stephen’s Church Hall, Adamstown (Newcastle). (02) 4956 1263.

The Tribe. Adapted by Michael Mohammed Ahmad & Janice Muller, based on the novel by Michael Mohammed Ahmad.

Composer Oonagh Sherrard.

Belvoir / Urban Theatre Projects.

Jan 19 - Feb 7. Backyards in Surry Hills Meet at Belvoir St Theatre. (02) 9699 3444.

The Fantasticks by Tom Jones and Harvey Schmidt. Wooden Horse Productions in association with the Hayes Theatre Co. Jan 11 - 31. Hayes Theatre Co, Potts Point. (02) 8065 7337.

Thomas Murray and the Upside Down River by Reg Cribb. Stone Group and Griffin Independent.

Jan 13 - 20. SBW Stables Theatre. (02) 9361 3817.

Alan Cumming Sings Sappy Songs. Sydney Festival. Jan 8 & 9. Magic Mirrors Spiegeltent, Hyde Park North. 1300 856 876.

Cinderella by Peter Denyer (Pantomime). Roo Theatre Co. Jan 8 & 9. Shellharbour Village.

(02) 4297 2891.

The Events by David Greig.

Sydney Festival / Belvoir / State Theatre Company of SA. Jan 13 - 17. Granville Town Hall. 1300 856 876.

Songs for the Fallen by Sheridan Harbridge. Critical Stages / Shane Anthony/ Sydney Festival.

Jan 19 - 24. The Famous Spiegeltent, Hyde Park North.

1300 856 876.

The Tiger Who Came to Tea. Based on Judith Kerr’s book.

AKA Australia. Jan 20. Civic Theatre, Newcastle. (02) 4929 1977.

The Pearlfishers by Bizet. Opera Australia. Jan 15 - Mar 12. Joan

The Barber of Seville by Rossini.

Opera Australia. Jan 28 - Mar 22. Joan Sutherland Theatre, Sydney Opera House. (02) 9250 7777.

its theatre. Feb 10 - 27. (02) 4931 2800.

Luisa Miller by Verdi. Opera Australia. Feb 11 - 29. Joan Sutherland Theatre, Sydney Opera House. (02) 9250 7777.

The Whale by Samuel D Hunter. Dawn French: Thirty Million Red Line Productions. Feb 2 Minutes. Live Nation. Feb 12.

Mar 4. Old Fitz Theatre.

Civic Theatre, Newcastle. (02) Reviewing the Situation by Phil 4929 1977.

Scott and Terence O’Connell.

Exit Laughing by Paul Elliott.

Feb 4 - 7. Hayes Theatre Co. Guild Theatre Rockdale. Feb 12 (02) 8065 7337.

Mar 12. Guild Theatre, Walz

and Arthur Laurents. Packemin Productions. Feb 5 - 20.

Riverside Theatres, Parramatta.

(02) 8839 3399.

The Picture of Dorian Gray by Oscar Wilde, adapted by Nathan Farrow. Genesian Theatre Company. Feb 5 - Mar 19. 1300 237 217.

Street, Rockdale (opposite Rockdale Station). (02) 9521 6358.

The Blind Giant is Dancing by Stephen Sewell. Belvoir. Feb 13 - Mar 20. Upstairs Theatre, Belvoir. (02) 9699 3444.

Dust of Uruzgan. Fred Smith Productions. Feb 13. Fort Scratchley, Newcastle. (02) 4929 1977.

Showstoppers: Curtain Call.

Musical revue. Maitland Musical Society. Feb 13 - 14, Maitland City Bowling Club. Feb 20 - 21, Treasure Island by Robert Louis East Cessnock Bowling Club.

Stevenson, adapted by Ken Feb 27 - 28, Hawks Nest Ludwig. Castle Hill Players. Feb 5 Community Centre.

- 27. The Pavilion Theatre, Castle www.maitlandmusicals.org.

Hill. (02) 9634 2929.

Defying Gravity - The Songs of Hotbed Hotel by Alan Parker.

DAPA Theatre. Feb 5 - 20. DAPA Theatre, Hamilton (Newcastle).

(02) 4962 3270.

The 25th Annual Putnam County Spelling Bee. Libretto by The Producers: The Mel Brooks Rachel Sheinkin, songs by Musical. So Popera Productions. William Finn. Young People’s Jan 22 - 30. IMB Theatre. (02) Theatre. Feb 5 - 27. Young 4224 5999.

People’s Theatre, Hamilton (Newcastle). (02) 4961 4895.

Gentleman’s Island and The Telephone. Operantics. Jan 23 & Arcadia by Tom Stoppard.

24. The Independent Theatre, Sydney Theatre Company. Feb 8 North Sydney. (02) 9409 4462. - Apr 2. Drama Theatre, Sydney Opera House. (02) 9250 1777.

Proof by David Auburn.

The Rabbits by Lally Katz and Kate Miller-Heidke. Sydney Festival / Opera Australia. Jan 14 Newcastle Theatre Company.

Jan 23 - Feb 6. NTC Theatre, - 26. Roslyn Packer Theatre.

Lambton (Newcastle). (02) 4952 1300 856 876.

4958.

The Golden Age by Louis Nowra. Sydney Theatre Company. Jan 14 - Feb 20.

Wharf 1. (02) 9250 1777.

The Secret River. By Kate Grenville, adapted for the stage

by Andrew Bovell. Sydney Theatre Company and Allens.

Feb 1 - 20. Roslyn Packer Theatre. (02) 9250 1777.

Ladies Day by Alana Valentine.

Griffin Theatre Company. Feb 5 The Good Doctor by Neil Simon. - Mar 26. SBW Stables Theatre.

Ensemble Theatre production.

(02) 9361 3817.

Jan 19 - 24. Glen Street Theatre. West Side Story by Leonard (02) 9975 1455.

Bernstein, Stephen Sondheim

All The Sex I’ve Ever Had. Sydney Festival and Sydney Opera House. Jan 21 - 24.

Drama theatre, Sydney Opera Knee Deep. Casus Circus / Sydney Festival. Jan 12 - 26. The House. (02) 9250 7777.

Famous Spiegeltent, Hyde Park The Divine Miss Bette. Jan 22 23. The Joan Sutherland North. 1300 856 876.

Masterclass 2 by Gareth Davies Performing Arts Centre. (02) 4723 7600. and Charlie Garber. Red Line Productions. Jan 12 - 30. Old Fitz Theatre.

New South Wales

13 A New Musical. Lyrics and music by Jason Robert Brown and a book by Dan Elish. Roo Theatre Co. Feb 8 - 13.

Shellharbour Village. (02) 4297 2891.

Therese Raquin. Adapted by Emile Zola from his novel, translation by Pip Broughton.

Maitland Repertory Theatre, at

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

Stephen Schwartz. Presented by Enda Markey. Feb 13 at 3pm and 8pm. Theatre Royal, Sydney. 136 100.

Australia Day by Jonathan Biggins. Feb 16-21. Glen Street Theatre. (02) 9975 1455.

All My Love by Anne Brooksbank. Feb 16 - 20, Lennox Theatre, Riverside.

Parramatta, (02) 8839 3399; Mar 1 - 6, Glen Street Theatre, (02) 9975 1455.

Six Dance Lessons in Six Weeks

by Richard Alfieri. Ensemble Theatre production. Feb 17 20. IMB Theatre. (02) 4224 5999.

Sylvia by A.R.Gurney. Pymble Players. Feb 17 - Mar 12. (02) 9144 1523.

Hello, Stranger. Created by Sarah Coffee, Tamara Gazzard, Lucy Shepherd. The Paper Cut Collective. Feb 17 - Mar 5, Stage Whispers 59

On Stage

New South Wales & Queensland

Almost three decades old, Glenn Elston’s The Wind in the Willows has played to audiences of more than 500,000 across Australia. The Wind in the Willows is once again transforming Melbourne’s Royal Botanic Gardens until 23 January, with special regional performances in Gippsland. www.shakespeareaustralia.com.au

Newcastle Season (check venue). Mar 11, City Hall, Bathurst.

Little Shop of Horrors by Alan Menken and Howard Ashman.

Luckiest Productions and Tinderbox Productions in association with The Hayes Theatre Co. Feb 18 - Mar 19.

Hayes Theatre Co. (02) 8065 7337.

The Empire Strips Back...

AWAKENS!: A Star Wars Burlesque Parody. Russell S. Beattie. Feb 18. Civic Theatre, Newcastle. (02) 4929 1977.

Romeo and Juliet by William Shakespeare. Bell Shakespeare.

Feb 20 - Mar 27. Sydney Opera House. (02) 9250 7777.

Burn the Floor. Dance Partner Productions. Feb 23. Civic Theatre, Newcastle. (02) 4929 1977.

Teacup in a Storm by Noëlle Janaczewska. The Q. Feb 25 27. The Joan Sutherland Performing Arts Centre. (02) 4723 7600.

The Taming of the Shrew.

Shakespeare by the Nepean River - Regatta Park. The Acting The 39 Steps by Patrick Barlow, Factory Inc. Feb 26, 27, 28 & based on the Hitchcock film and Mar 4, 5, 6,12, 13, 14 at John Buchan novel. Arcadians 8:00pm. Picnic area opens at Theatre Group. Feb 19 - Mar 5. 7:30pm. No bookings needed.

The Miners Lamp Theatre. (02) Queensland 4284 8348.

Les Misérables by Claude-Michel Humble Boy by Charlotte Jones. Schonberg & Alain Boublil.

Woy Woy Little Theatre. Feb 19 Cameron Macintosh Production.

- Mar 6. Peninsula Theatre, cnr Lyric Theatre QPAC. Until Jan McMasters and Ocean Beach 17. 136 246.

Road, Woy Woy. (02) 4344 4737.

60 Stage Whispers

Old Mother Hubbard. Noosa Arts Theatre. Jan 2 - 17. (07) 5449 9343.

and Arthur Laurents. Gold Coast Little Theatre. Jan 16 - Feb 13.

(07) 5532 2096.

Robin Hood - Pantomime.

Spotlight Theatre Company. Jan 6 - 16. (07) 5539 4355.

Baby with the Bathwater by Christopher Durag. Brisbane Arts Theatre. Jan 16 - Feb 20.

(07) 3369 2344

George’s Marvellous Medicine

by Roald Dahl. Shake & Stir.

Cremorne Theatre, QPAC. Jan 6 - 23. 136 246

Cats by Andrew Lloyd Webber & T.S. Eliot. Lyric Theatre, QPAC. Jan 29 - Feb 14. 136 246.

Cirque Adrenaline. Concert Hall, Quartet by Ronald Harwood.

QPAC. Jan 7 - 17. 136 246.

Playhouse, QPAC. Jan 30 - Feb 21. 1800 355 528 The Cinderella Spell by Ralph Ashby. Mousetrap Theatre, Redcliffe. Jan 8 - 17. 0439 954 719.

Heathers The Musical by Laurence O’Keefe & Kevin Murphy. Showwork Production.

Playhouse, QPAC. Jan 9 - 17.

136 246 The Tiger Who Came To Tea by David Wood. Andrew Kay Production. Playhouse, QPAC. Jan 14 - 17. 136 246.

West Side Story by Leonard Bernstein, Stephen Sondheim

The Wedding Singer by Matthew Sklar & Chad Beguelin.

Phoenix Ensemble. Feb 5 - 27.

(07) 3103 1546.

Dance Dialogues. Queensland Ballet. Thomas Dixon Centre, West End. Feb 11 - 20. 136 246.

Who’s Under Where? by Marcia Kash & Doug Hughes. Cairns Little Theatre. Feb 12 - 20.

Rondo Theatre, Cairns. 1300 855 835.

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

On Stage Pippin by Stephen Schwartz, Roger O. Hirson and Bob Fosse.

Spotlight Theatre Company. Feb 19 - Mar 12. (07) 5539 4255.

Anthony Drewe. Book: Julian Fellowes. PLOS Musical Productions. Until Jan 9.

Frankston Arts Centre. (03) 9784 1060.

Key For Two by John Chapman & David Freeman. Sunnybank Shakespeare’s Best Bits.

Theatre Group, Brisbane. Feb 19 Australian Shakespeare - Mar 6. (07) 3345 3964.

Company. Until Mar 12. Royal Botanic Gardens Melbourne.

Move Over Mrs Markham by (03) 8676 7511.

Ray Cooney & John Chapman.

Lind Lane Theatre, Nambour.

Feb 20 - 27. 1300 732 764.

The Secret River by Kate Grenville, adapted for the stage

by Andrew Bovell. Playhouse, QPAC. Feb 25 - Mar 5. 1800 355 528.

The Three Little Pigs by George Stiles and Anthony Drewe. Arts Centre Melbourne / Kenny Wax Family Entertainment. Jan 2 17. Playhouse, Arts Centre Melbourne. 1300 182 183.

The Illusionists 1903. Arts Centre Melbourne in association Australia Day by Jonathon Biggins. Noosa Arts Theatre. Feb with Tim Lawson and Simon Painter. Jan 2 - 10. State 25-27. (07) 5449 9343 Theatre, Arts Centre Melbourne.

RENT by Jonathan Larson.

1300 182 183.

Beenleigh Theatre Group. Feb Alan Cummings Sings Sappy 26 - Mar 12. (07) 3807 3922.

Songs. Arts Centre Melbourne Much Ado About Nothing by in association with Hyam, Horne William Shakespeare. and Hall. Jan 5 - 7. Playhouse, Mousetrap Theatre, Redcliffe.

Arts Centre Melbourne. 1300 Feb 26 - Mar 12. 0439 954 182 183.

719.

The Pianist by Thomas When Dad Married Fury by Monckton and Circo Aereo. Jan David Williamson. Centenary 12 - 17. Fairfax Studio, Arts Theatre. Chelmer Community Centre Melbourne. 1300 182 Hall. Feb 27 - Mar 19. 0435 591 183.

720.

Little Red - The Panto by Voyage to the Moon. Musica Matthew Chaloupka-Wagner.

Viva. Victorian Opera & Opera Jan 14 - 23. Encore Theatre Inc. Q. Qld Conservatorium. Feb 29 Clayton Community Mar 1. 136 246.

Centre 1300 739 099.

Victoria Ladies in Black. Book by Carolyn Fiddler on the Roof. Book by Burns, adapted from the Joseph Stein. Music by Jerry Madeleine St John novel, music Bock. Tim Lawson for The Works and lyrics by Tim Finn.

Entertainment. Lyrics by Melbourne Theatre Company.

Sheldon Harnick. Continuing.

Jan 16 - Feb 27. Southbank Princess Theatre, Melbourne.

Theatre, The Sumner. (03) 8688 Ticketmaster.

0800.

Georgy Girl - the Seekers Frank Woodley - Noodlenut.

Musical. Written by Patrick Arts Centre Melbourne presents Edgeworth with script a Token Event. Jan 19 - 24. consultant Graham Simpson.

Fairfax Studio, Arts Centre Continuing. Her Majesty’s Melbourne. 1300 182 183.

Theatre, Melbourne. 132 849.

Trevor Ashley in Liza’s Back (Is Cats by Andrew Lloyd Webber. Broken). Arts Centre Melbourne Continuing. Regent Theatre, and Showqueen Productions.

Melbourne. 136 100.

Jan 20 - 31. Fairfax Studio, Arts Centre Melbourne. 1300 182 Mary Poppins. Music & Lyrics: Richard M. Sherman, Robert B. 183.

Sherman, George Stiles,

Queensland & Victoria Thrill Me - The Leopold & Loeb Story by Stephen Dolginoff.

Ghost Light with Moving Light Productions. Jan 20 - 31. Chapel off Chapel. (03) 8290 7000.

Pennsylvania Avenue by Joanna Murray-Smith. Duet. Jan 21 Feb 14. Playhouse, Arts Centre Melbourne. 1300 182 183.

Gees. StageArt. Feb 11 - 28.

Chapel off Chapel. (03) 8290 7000.

Sweet Road by Debra Oswald.

Williamstown Little Theatre. Feb 11 - 27. (03) 9885 9678.

Voyage to the Moon by Michael Gow and Alan Curtis. Victorian Opera. Feb 15 - 19. Melbourne Recital Centre, Elizabeth Murdoch Hall. 1300 822 849.

La Verità by Daniele Finzi Pasca.

Arts Centre Melbourne presents Compagnia Finzi Pasca. Jan 21 - At Last - The Etta James Story.

23. State Theatre, Arts Centre Room 8. Feb 16 - 21. Playhouse, Melbourne. 1300 182 183.

Arts Centre Melbourne. 1300 Mary Poppins. Music & Lyrics: 182 183.

Richard M. Sherman, Robert B. Boxy & Sticky. Created and Sherman, George Stiles, directed by Sarah Argent.

Anthony Drewe. Book: Julian Theatre Iolo. Feb 17 - 21.

Fellowes. Footlight Productions. Playhouse Rehearsal Room, Arts Jan 22 - Feb 6. Playhouse Centre Melbourne. 1300 182 Theatre, Geelong. (03) 5225 183.

1200.

Bette and Joan by Anton Burge.

Meow Meow’s Little Mermaid.

Brighton Theatre Company Malthouse. Jan 28 - Feb 14.

(BTC). Feb 18 - Mar 5. Brighton Merlyn Theatre. (03) 9685 Theatre Company, 1300 752 5111.

126.

North by Northwest. Adapted The Importance of Being

by Carolyn Burns from the Earnest by Oscar Wilde.

Hitchcock film. Kay + McLean Mordialloc Theatre Company.

Productions. Jan 29 - Feb 10.

Feb 19 - Mar 5. Shirley Burke State Theatre, Arts Centre Theatre. (03) 9587 5141.

Melbourne. 1300 182 183.

Moonlight and Magnolias by Bend it Like Broadway 2016.

Ron Hutchinson. Heidelberg Wonthaggi Theatrical Group.

Theatre Company. Feb 19 - Mar Feb 12 - 14. www.wtg.org.au 5. (03) 9457 4117.

Lungs by Duncan Macmillan.

Exile - Songs of Irish Australia.

Melbourne Theatre Company.

Feb 20. Arts Centre Melbourne, Feb 5 - Mar 19. Arts Centre Hamer Hall. 1300 182 183.

Melbourne, Fairfax Studio. 1300 ‘Allo ‘Allo by Jeremy Lloyd and 182 183 David Croft. The 1812 Theatre.

The Village Bike by Penelope Feb 25 - Mar 19. (03) 9758 Skinner. Red Stitch. Feb 2 - Mar 3964.

5. (03) 9533 8083 Spring Awakening by Duncan Ghost The Musical by Bruce Joel Sheik and Steven Sater, based Rubin, Dave Stewart and Glen on the play by Franz Wedekind.

Ballard. Ambassador Theatre PEP Productions. Feb 25 - Mar Group Asia Pacific, GWB 5. Doncaster Playhouse.

Entertainment and Red Live in Picnic at Hanging Rock by Joan association with Colin Ingram, Lindsay, adapted by Tom Hello Entertainment and Wright. Malthouse. Feb 26 Paramount Pictures. From Feb 5.

Mar 20. Merlyn Theatre. (03) Regent Theatre, Melbourne. 136 9685 5111.

100.

Cash on Delivery by Michael Saturday Night Fever. Book by Cooney. Malvern Theatre Nan Knighton (in collaboration Company. Feb 26 - Mar 12. with Arlene Phillips, Paul 1300 131 552.

Nicholas, and Robert Stigwood) and music and lyrics by the Bee

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

Stage Whispers 61

On Stage Alice in Wonderland. Altona City Theatre. Feb 26 - Mar 19.

0425 705 550.

The Boy From Oz. Book by Nick Enright. Cardinia Performing Arts Company. Feb 27 - Mar 11.

Cardinia Cultural Centre, Pakenham. 0407090354 or a/h (03) 9587 1750.

Tasmania Pinocchio. Big Monkey Theatre.

Until Jan 24. Royal Tasmanian Botanical Gardens. (03) 6234 5998.

Beckett Triptych - Eh Joe, Footfalls and Krapp’s Last Tape

by Samuel Beckett. Jan 13 - 17.

Theatre Royal, Hobart. (03) 6233 2299.

Much Ado About Nothing by William Shakespeare. Directions Theatre. Feb 12 & 13. Royal Tasmanian Botanical Gardens.

6234 5998.

South Australia Ghost The Musical. Book and lyrics by Bruce Joel Rubin and music and lyrics by Dave Stewart and Glen Ballard. From Jan 7.

Festival Theatre, Adelaide Festival Centre. BASS 131 246 or bass.net.au Oklahoma! By Rogers & Hammerstein. Emma Knights Productions. Jan 7 - 10. Four Oaks Farm, Littlehampton. www.dramatix.com.au/events/1522

Cinderella - A Pantomime by Ben Crocker. Hills Youth Theatre. Jan 12 - 17. Stirling Community Theatre. www.hilsyouththeatre.com/current-show The Angel of Death by Matthew Briggs & Josh Heaysman. Briggs & Heaysman Theatre Co. Jan 26 - 30. The Bakehouse Theatre. www.bakehousetheatre.com Bob’s Your Auntie by Thomas Amo. Tea Tree Players. Feb 10 20. (03) 8289 5266.

2016 Adelaide Fringe - Feb 12 Mar 14. 228 music events, 24 interactive events, 112 cabaret shows, 35 circus and physical theatre shows, 305 comedy events, 12 magic events, 32 62 Stage Whispers

Victoria, Tasmania, S.A. & W.A.

dance shows, 151 theatre productions, 58 children’s events and 45 special events. www.adelaidefringe.com.au

Centre. www.fringeworld.com.au

Gianni Schicchi by Giacomo Puccini. West Australian Opera.

The Leftovers by Kyle Kash. Rag Feb 6. Opera in the Park. and Bones Productions. Jan 24 - Langley Park, Perth. Free event.

Variation on a Theme by Feb 3. Death - we all face it.

Fame. Conceived and Developed Terrence Rattigan. The Stirling Hellenic Club, 75 Stirling St,

by David De Silva. Book by Jose Players. Feb 19 - Mar 5. Stirling Perth. www.fringeworld.com.au Fernandez. Lyrics by Jacques Community Theatre. 0414 075 Little Bobo. Kaleidoscope Levy. Music by Steve Margoshes.

413.

Ensemble. Jan 27 - 30. Musical Australian Performing Arts The Light in The Piazza by Craig play for children. Heath Ledger Network. Feb 6 - 7. Octagon Lucas and Adam Guettel. Davine Theatre, State Theatre Centre of Theatre. (08) 6488 2440.

Interventionz. Feb 21 - Mar 5.

The Tiger Lillies Perform Hamlet WA. Ticketek 132 849.

The Star Theatre One.

by William Shakespeare and Mentality by Alyssia Boyer. www.startheatres.com.au Joondalup Entertainers Theatre Martyn Jacques. Theatre Republique and PIAF. Feb 7 Western Australia School. Jan 27 - 30. Powerful journey of grief and loss. Stage 21. Anarchic take on The Lion King. Music & Lyrics: Shakespeare's classic Regal Door, Subiaco.

Elton John & Tim Rice.

Theatre, Subiaco. (08) 6488 www.fringeworld.com.au Additional Music & Lyrics: Lebo 5555.

M, Mark Mancina, Jay Rifkin, See How They Run by Phillip The Object Lesson by Geoff Julie Taymor, Hans Zimmer.

King. Garrick Theatre. Jan 28 Sobelle. Geoff Sobelle and PIAF. Disney. Continuing. Crown Feb 13. British farce. Garrick Feb 11 - 21. The stuff that Theatre, Perth. Ticketek 132 Theatre, Guildford. (08) 9378 defines us. Studio Underground, 849.

1990.

State Theatre Centre of WA. Miss Lily’s Fabulous Feather Boa Conversations. Jan 28 - Feb 6.

(08) 6488 5555.

by Margaret Wild. Spare Parts Improvised conversations. Lazy Every Brilliant Thing by Duncan Puppet Theatre. Jan 4 - 30.

Susan’s Comedy Den, Brisbane Macmillan and Jonny Donahue.

Puppetry for children. Spare Hotel, North Perth.

Paines Plough, Pentabus Theatre Parts Puppet Theatre, Short St, www.fringeworld.com.au and PIAF. Feb 11 - 20. Life Fremantle. (08) 9335 5044.

Disney’s The Little Mermaid. affirming play about depression.

A Midsummer Night’s Dream by Koorliny Arts Centre. Jan 29 Downstairs, State Theatre William Shakespeare. Modicum Feb 13. Based on the Disney Centre of WA. (08) 6488 5555.

Theatre Perth. Jan 7 - 9. film. Koorliny Arts Centre, Within by Aditi Mangaldas.

Shakespearean comedy. Nexus Kwinana. (08) 9467 7118.

Aldita Mangalas Dance Theatre, Murdoch University.

Shen Yun. Shen Yun Performing Company - The Drishtikon http://trybooking.com/JCAQ Arts. Jan 30 - Feb 6. Chinese Dance Foundation and PIAF. Feb Loaded: A Double Bill of New theatrical experience. Regal 11 - 14. Indian dance theatre.

Plays by Gita Bezard and Will Theatre, Subiaco. Ticketek 1300 Heath Ledger theatre, State O’Malley. Black Swan Lab. Jan 795 012.

Theatre Centre of WA. (08) 14 - Feb 7. World Premiere of 6488 5555.

Gruesome Playground Injuries Girl Shut Your Mouth and

by Rajiv Joseph. Kristen Twynam It’s All Greek To Me Too by Noel Tonsils and Tweezers. Studio Perkins. Feb 1 - 3. Black O’Neil. Old Mill Theatre. Feb 12 Underground, State Theatre comedy. Parrot House, - 27. Sequel to popular local Centre of WA. Ticketek 132 Maylands. play. Old Mill Theatre, South 849. www.fringeworld.com.au Perth. (08) 9367 8719.

The Tiger Who Came To Tea by The Wild Duck by Simon Stone Refuse the Hour by William Judith Kerr, Andrew Kay and and Chris Ryan after Henrik Associates. Jan 20 - 23. Subiaco Ibsen. Belvoir Sydney and PIAF. Kentridge, Philip Miller, Dada Masilo, Catherine Meyburgh Arts Centre. Ticketek 132 849.

Feb 3 - 13. Modern version of and Peter Galison. PIAF. Feb 12 Darren the Explorer by Luke Ibsen’s classic. Heath Ledger - 14. South African chamber Bolland, Fringeworld. Jan 23 theatre, State Theatre Centre of opera,. Perth Concert Hall. (08) Feb 6. Adults only parody of WA. (08) 6488 5555.

6488 5555. kids’ TV. Ramen Room at the Five By Night: Ballet at the Skin Deep by Tyler Jacob Jones Noodle Club.

Quarry. West Australian Ballet. and Cynthia Fenton. Pickering www.fringeworld.com.au Feb 5 - 27. 5 varied works.

Productions. Feb 12 - 21.

Bash by Neil LaBute. Susie Quarry Amphitheatre, City Comedic beauty cabaret.

Comte. Jan 23 - Feb 6. Wicked Beach. 136 100.

Hellenic Club, Northbridge. monologues. Subiaco Arts www.fringeworld.com.au Just $40 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage Blackmarket by pvi collective.

City of Subiaco, PICA and PIAF. Feb 16 - 27. Site specific theatre on the streets of Subiaco.

Meeting place TBA. (08) 6488 5555.

Plexus by Aurelien Bory.

Compagnie III and PIAF. Feb 17 - 20. Visual theatre from France and Japan. Heath Ledger Theatre, State Theatre Centre of WA. (08) 6488 5555.

Saucy Jack and the Space Vixens. Grey Lantern Productions. Feb 18 - 20. Space themed musical. Rigby’s Cabaret Bar in the Atrium at 221 St George’s Terrace, Perth. www.fringeworld.com.au A Mile in My Shoes by Clare Patey, Kitty Ross and Roman Krznaric. The Empathy Museum and PIAF. Feb 18 - Mar 6. Try someone else’s life on for size free. Stirling Gardens. (08) 6488 5555.

One Act Season. Wanneroo Repertory. Feb 19 - 28.

Limelight Theatre. (08) 9571 8591.

Inside Job by Brian Clemens.

Melville Theatre Company. Feb 19 - Mar 5. Melville Theatre, Stock Rd, Palmyra. 9330 4565.

Western Australia & New Zealand

Theatre, University of WA. (08) 6488 5555.

Apocrifu by Sidi Larbi Cherkaoui. Theatre Royal de la Monnaie and PIAF. Feb 25 - 27.

Dance ignites the brevity of language. Heath Ledger Theatre, State Theatre Centre of WA. (08) 6488 5555.

Murder in Company by Philip King. KADS. From Feb 26. Town Square Theatre, Kalamunda.

(08) 9257 2668.

Effie The Virgin Bride by Mary Coustas. Frontier Touring. Feb 26 - 27. Effie’s found love at last. Astor Theatre, Mt Lawley. www.astortheatreperth.com New Zealand Robin Hood The Pantomime by Roger Hall, songs by Paul Jenden and Michael Nicholas Williams. Until Jan 9. Circa Theatre One, Wellington. 04 801 7992.

Disney’s Beauty and the Beast Jr

by Alan Menken, Howard Ashman, Tim Rice and Linda Woolverton. Tauranga Musical Theatre Inc. Jan 15 - 23.

Westside Theatre. taurangamusicaltheatre.co.nz

Cirque du Soleil: Quidam. Feb 5 - 14, Vector Arena, Auckland; Feb 18 - 25, Horncastle Arena, Christchurch Polo by Dean Parker. Auckland Theatre Co. Feb 11 - Mar 5.

Maidment Theatre. 09 309 3395.

The Phantom of the Opera by Andrew Lloyd Webber, Charles Hart and Richard Stilgoe. Amici Trust. Feb 11 - Mar 3. Civic Theatre, Auckland. 0800 111999.

Shen Yun. Feb 12 - 14, ASB Theatre, Aotea Centre, Auckland, 0800 111 999 & Feb 16 & 17, St James Theatre, Wellington, 0800 842 538.

Romeo and Juliet by William Shakespeare. Pop-up Globe Theatre Company. Feb 19 - Apr 10. Pop-up Globe Theatre, Bard’s Yard, 38 Greys Avenue,

Auckland. 0800 BUY TIX (289 849).

Twelfth Night by William Shakespeare. Pop-up Globe Theatre Company. Feb 21. Popup Globe Theatre, Bard’s Yard, 38 Greys Avenue, Auckland.

0800 BUY TIX (289 849).

Much Adoe About Nothing by William Shakespeare. Young Auckland Shakespeare Company. Feb 19 - Apr 10. Popup Globe Theatre, Bard’s Yard, 38 Greys Avenue, Auckland.

0800 BUY TIX (289 849).

Central Otago Man by Justin Eade. Howick Little Theatre. Feb 27 - Mar 19. 534 1406.

The ACB with Honora Lee by Kate De Goldi, adapted by Jane Waddell. Feb 27 - Mar 26. Circa Theatre One, Wellington. 04 801 7992.

Auditions Place your audition notice in our next edition. Email stagews@stagewhispers.com.au or call (03) 9758 4522

Star*Man by Sam Martin. 16th Avenue Youth Theatre. Jan 13 The Great Escape (A Borrower’s 23. 16th Avenue Theatre, Tale) by Kazuko Hohki and Andy Tauranga. iTICKET Cox. Battersea Arts Festival and PIAF. Feb 19 - 21. Children only King Lear & The Tempest by William Shakespeare. Shoreside event for 6 to 11 year olds.

Theatre - Auckland Shakespeare Geography Building, University of Western Australia. (08) 6488 in the Park. Jan 16 - Feb 13. The PumpHouse Amphitheatre, 5555.

Takapuna. 489 8360 I Know You’re There by James Much Adoe About Nothing by Berlyn. Performing Lines WA and PIAF. Feb 19 - Mar 6. How William Shakespeare. Young do our family secrets define us? Auckland Shakespeare Company. Jan 26 - 30. TAPAC, World Premiere, State Theatre Centre of WA. (08) 6488 5555. Auckland. 09 845 0295.

No Guts, No Heart, No Glory by Aisha Zia. Common wealth and PIAF. Feb 23 - 28. Young Muslim women and boxing.

Queen Street Gym. (08) 6488 5555.

Meow Meow’s Little Mermaid

by Meow Meow. PIAF, Malthouse Theatre and Sydney Festival. Feb 24 - 28. Octagon

As You Like It by William Shakespeare. Outdoor Shakespeare in the Bay. Jan 27 Feb 7. Te Puna Quarry Park, Tauranga.

Twelfth Night by William Shakespeare. Summer Shakespeare. Jan 29 - Feb 13.

The Historic Village, Tauranga.

0800 BUY TIX (289 849).

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Check out all the latest auditions online.

Scan the QR code or visit www.stagewhispers.com.au/auditions Stage Whispers 63

Violet.

Photo: Grant Leslie.

Reviews: Premieres

Violet Music by Jeanine Tesori, Book and lyrics by Brian Crawley.

Hayes Theatre, Sydney. Nov 27 - Dec 20.

THIS is the type of musical that we rarely see in Australia: a small-scale show based on an unusual American story. The Hayes is providing a home for such works, often staged as dream projects of industry performers.

Violet blends music styles including folk, gospel and blues and was first produced in 1997. The name behind it is Jeanine Tesori, who won a Tony award this year for Fun Home. It’s set in 1964 and follows a young woman from North Carolina whose face was horribly scarred as a child.

She’s taking a bus to Oklahoma, seeking out a TV preacher who she believes can “heal” her.

Mitchell Butel directs a talented cast in a tight, wellstaged production. Sam Dodemaide is heartfelt as Violet, strong in voice and convincing in character. Barry Conrad, playing a love interest, shows true potential in a musical theatre debut.

Producer Damien Bermingham also shines as Violet’s father. Dash Kruck demonstrates brilliant timing as the preacher and Genevieve Lemon is hilarious in various smaller parts. Elenoa Rokobaro’s vocals in “Raise Me Up” are stunning.

Overall, the songs aren’t amazing but Violet succeeds in its ambitions: to tell a story of honest characters with heart.

It will have limited impact but let’s hope it inspires local writers to create works with even greater resonance.

Peter Gotting 64 Stage Whispers

Our House Songs by Madness, book by Tim Firth. The Regional Institute of Performing Arts. Civic Playhouse, Newcastle. Dec 10 - 12.

THE songs of ska-pop group Madness generally fit well into this musical which was given a lively and enjoyable Australian premiere staging by the graduating Advanced Diploma in Arts (Acting) students at Hunter TAFE. Tim Firth put together an unusual story, with the central character, Joe Casey, breaking into a new apartment building so that he can show the girl who is helping him celebrate his 16th birthday his family’s historic adjoining London suburban house.

When the police turn up, alerted to the break and enter, Joe faces two choices: running away or staying and being arrested.

The tale shows what happens to Joe’s life over the next few years if he becomes Bad Joe and flees or Good Joe taking his punishment.

While the show won an Olivier Award for best musical when it premiered in London in 2002, it was revised in 2008 to try to make the two stories more distinct. This staging showed, however, that despite the changes Our House is still confusing at times.

But it was a fun night, with the recurring title song a toe -tapper, and lively song-and-dance numbers that included a glittering Wings of a Dove, sung at Bad Joe’s Las Vegas wedding to Sarah, the girl of his dreams, a delicate It Must Be Love, as Good Joe and Sarah finally got together, and a

Longer versions of many reviews can now be found at www.stagewhispers.com.au

bright look at the world around the characters in The Sun and the Rain.

Chris Henderson was an effective Joe, bringing out the differences between the two versions of him (although having him wear a closed jacket over Bad Joe’s black shirt Good Joe wore a white one - sometimes made it confusing as to which he was).

Samantha Lambert likewise made Sarah’s differing reactions to the two Joes believable, Isla Mayenschein and Jamahla Barron were colourful as her best friends, and Nathan Ham and Jake Fox provided a lot of fun as Joe’s not -so-practical best mates.

There wasn’t a weak link in the 15-member cast, with most of the actors in multiple roles.

Brendon Harris had the most difficult role, as Joe’s dead father, whose own criminal behaviour has him trying to persuade Joe to follow a legal path. This linking character isn’t well written, but Harris did a good job under David Brown’s direction.

Ken Longworth

strongest and most memorable. Jordan Fraser-Trumble has gone from strength to strength in his season with Red Stitch, and his drug addict doing community service at the hospital is a perfectly judged performance, while the youngest member, Edwina Samuels, is totally convincing in a number of roles.

It was exhilarating and thought provoking theatre - and Red Stitch excels in both of these.

Coral Drouyn

We Can Work it Out

By Gabriel Bergmoser. Club Voltaire, North Melbourne. Nov 3 - 14.

REINCARNATING four of the most famous musical figures in history seems like it could be a rather risky project but Bitten By Productions have proven that revisiting these musical icons is an intriguing and worthwhile enterprise.

The script uses a good mix of humour and drama to illustrate the collision course The Beatles were headed towards at the peak of their career.

Their stereotypical qualities are used effectively in this Middletown play and each of the four characters has the opportunity to Written by Will Eno. Directed by Alice Darling. Red Stitch show the depth of their emotions. Kashmir Sinnamon (Vic). Nov 20 - Dec 19.

(John) effectively captures the arrogance and selfimportance that also made Lennon so captivating. Karl IN keeping with the old adage “save the best till last”, Red Stitch ends its 2015 season with a stunning Australian Sarsfield (Paul) portrays the apparent naivety of McCartney. premiere from American playwright Will Eno, who may well Sean Paisley Collins really fires up as George Harrison. Brett be the first absurdist existentialist since Samuel Beckett. Is Wolfenden (Ringo) could be mistaken for the famous there a point to living? And is there a statement to be made drummer’s twin brother and makes his light-hearted manner endearing. in dying? Is it better to kill yourself or just say “F$#@k It” The play imagines the four sharing a bottle of scotch as and go fishing? Ultimately both playwrights believe that the only point is loving, connecting. But that’s easier said than they confront a number of their demons, including their done. disparate musical interests and the ever increasing inflated Middletown is a place….built upon another (and egos of both Paul and John. In 1966 Lennon made the quip another and another) and it’s filled with generations of that The Beatles were more popular than Jesus and the ensuing controversy continued beyond their acrimonious Everyman and No-One Special, all living their lives while waiting for life to begin. The play is basically a series of break-up and their independent careers. The seeds of that vignettes exploring what it is to be human….the discord are all addressed in this production. commonality of living (“Everyone in the world is born” ) Patricia Di Risio and dying.

Alice Darling barely falters in her direction, though there Saucy Jack and the Space Vixens are moments in act one when the blocking feels

By Charlotte Mann. Blak Yak. Directed by Lorna Mackie. undercooked. Emily Collett gives us a mind-blowing set - a Memorial Hall, Hamilton Hill, WA. Nov 19 - Dec 5. microcosmic universe that looks like a tip of discarded 20th BLAK Yak’s Saucy Jack and the Space Vixens was century materialism. James Lipari’s lighting design and Chris immersive theatre, the venue transformed into a cosmic Wenn’s soundscape work to perfection. cabaret bar. Played in the round, the audience became part of the action.

The cast is superb. Chrissy O’Neil brings credibility, vulnerability and a deep yearning for love and a need to This was fabulous looking, thanks to stunning costumes belong to the character of Mary, in spite of the lie she is and wigs by Lynda Stubbs. Gorgeously and gloriously glitzy, living, and the child growing within her. Gareth Reeves is costumes were central to the plot and a treat within Everyman and as such is barely noticed by anyone. A sad, themselves.

The cast were clearly having fun, giving the show grey, closeted romantic, his John is the tragedy of humanity. His astonishing scene in the hospital, harrowing warmth. Tom Hutton revelled in bad boy, Saucy Jack, while in the extreme, shows the depth of a truly fine actor. Evelyn Mitch Maypole was nicely played by James Hynson. Stuart Krape plays the Librarian with her usual idiosyncratic style.

Porter, in his first musical, played Dr. Von Wackoff with She’s quite hilarious and almost steals the show. James enthusiasm.

The Space Vixens were a glitter booted delight. Joanna Wardlaw is superb. His prologue - as a Public Speaker - is so brilliantly realised that it’s worth the price of a ticket on its Tyler sang gorgeously, Therese Cruse was sweet and own, but it’s his performance as the doctor which is the Nicquelle Rhodes revealed a gorgeous smoky jazz voice.

Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 65

Sarsi Grace was sensuous and strong as Chesty Prospects, Joshua Towns charmed as Booby Shevalle and Sherryl Spencer made a lovely cameo. Audience favourite was sweet Sammy Sax, played beautifully (both as actor and saxophonist) by Lee Wilson.

The small ensemble worked hard throughout.

Alex Coutts Smith’s great technical plot and clever lighting design helped the audience to follow the action through the performance space and was funky and atmospheric.

The show isn’t perfect. Some dialogue was stilted, jokes didn’t land and action didn’t always flow smoothly, but singing was strong throughout and the show had great heart.

Kimberley Shaw The Yellow Wave

By Jane Miller collaborating with director and cast, based on the novel by Major General Kenneth MacKay. 15 Minutes from Anywhere Company / Poppy Seed Festival.

The Butterfly Club, Melbourne. Nov 17 - 29.

BASED on a racist, paranoid, melodramatic novel of the late 19th century about a Chinese invasion of Australia, masterminded by evil Russians, but resisted by some dinkum blokes, The Yellow Wave certainly had the audience laughing almost without pause for its entire length - not just at its jokes, wit and ironies but with delight at the instant character transformations by two fellows - Keith Brockett and John Marc Desengano - in drab brown outfits.

Between them they create about fifteen characters, but there is no confusion: every soldier, salt -of-the-earth bushman, horseman, jockey, strapper, shy maiden, not so shy maiden, hypnotist, Russian count, Russian soldier of fortune, Chinese mercenary, Scots squatter, et al. are all perfectly delineated in gesture, posture and voice. There’s also a Narrator (Andrea McCannon), less flashy, but no less skilled and entertaining. And as an added bonus preposterous as the story is - you actually care what happens next!

Director Beng Oh, who has proven already both a capacity for risk and great sense of humour, keeps the show rocketing along at a pace that could be exhausting if it were not so much fun.

Michael Brindley

Three actresses play the iconic woman of the title.

Priscilla Cornelius is stunning as ‘Melba’, present on stage almost continually as the confident diva she becomes, looking back on her life. She delivers breath-taking operatic performances and wonderful depth of character.

Developing artist ‘Nellie’ is played by Esther Counsel and Eimear Foley, who sing exquisitely and whose performances reveal different aspects of this complex, fascinating woman.

Nellie’s son George was played by Monica Brierley-Hay with gorgeously voiced, cheeky vulnerability. Charming, aristocratic love-interest Phillipe was portrayed with panache by Robin Fletcher.

Excellent support came from the remaining cast and a focused, talented chorus.

Musical director David Wickham accompanied Johannes Leubbers’ evocative score on a piano tucked into a corner of Rozina Suliman’s decorative, consciously operatic set.

Matthew Dibbs’ lighting highlighted contrast between the overt theatricality of Nellie as performer and the intimate drama of her private life.

The talents of WAAPA’s post-graduate vocal students under direction of librettist Nicholas Christo was an excellent way to bring this new work to life.

Kimberley Shaw

Jurassica

By Dan Giovannoni. Red Stitch Actors Theatre. Oct 9 - Nov 7.

JURASSICA is a portrait of a family over three generations: Italian immigrants Rafael/Ralph (Joe Petruzzi) and Sara (Caroline Lee), their son Ichlis (Jordan FraserTrumble), and his son Luca (Edward Orton). The play moves between past and present, the transitions aided by Amelia Lever-Davidson’s subtle lighting. Ichlis does not reconcile with his father. Luca, who loves Ralph in a less complicated way, is still caught in the hostilities.

Dan Giovannoni adds another layer. Olga Makeeva is Serbian Kaja - intimidating, unsettling and loveable. A refugee from Belgrade, she stands outside the family drama - and provides prickly support for young gay Luca. But all performances are excellent. Joe Petruzzi’s Ralph is strong but stubborn, a touching figure with an old-fashioned masculinity. Devon Lang Wilton, as Ichlis’ partner Penny, gives a nice arc to her character: warm, adaptable, teasing, funny - but eventually defeated by this family’s past.

Melba Caroline Lee’s Sara is no stereotypical Italian Mama; she is almost ethereal, floating through her scenes. Mr FraserBy Johannes Luebbers and Nicholas Christo. Directed by Nicholas Christo. Roundhouse Theatre, WAAPA, Mt Lawley, Trumble is a brooding presence, his character continuously WA. Nov 13 - 19. irritable or emotionally inept. Mr Orton, least experienced THE World Premiere of Melba, written by Johannes member of the cast, is totally convincing - a self-absorbed Luebbers and Nicholas Christo, beautifully performed by kid with depths of unspoken feeling.

WAAPA Postgraduate Vocal students, reveals an exciting Mr Giovannoni’s play is beautifully and subtly observed, new biographic ‘operatic drama’ about an Australian icon. and sensitively directed by Bridget Balodis. But in the end This look at the turbulent personal life of Nellie Melba as truthful observation is perhaps not quite enough. The play, she rises to stardom is juxtaposed against operatic fine as it is, is a portrait rather than a story; they are not the performances from the masterpieces of her time — which same thing. in turn help to tell Melba’s story. The mix of opera-inspired Michael Brindley new music and the work of operatic composers works extremely well.

66 Stage Whispers

Longer versions of many reviews can now be found at www.stagewhispers.com.au

Jacqueline McKenzie in Orlando.

Photo: Prudence Upton.

Silhouette

By Simon Brett. Directed by Fred Petersen. Garrick Theatre, Guildford, WA. Nov 18 - Dec 5.

THRILLER Silhouette is to be Fred Petersen’s swan-song as a director and this well-structured, well-performed play makes a good farewell piece.

Interestingly structured, with Act II set chronologically immediately before Act I, the events of the murder at the centre of the play are gradually revealed.

Major players are the newly widowed actress Celia Wallis, played with broad-stroke precision by Anna Head, the seemingly humourless, efficient Detective Inspector Bruton, played by Rhett Clarke in a carefully measured performance and awkward local journalist Neville Smallwood, nicely played by Pearce McGrogan. Good support comes from Amber Moore as WPC Leach and Terry Brown as Detective Sergeant Fisher.

In Act II we meet the “dead body”, Martin Powell, a thoroughly dislikeable self-centred actor, excellently played

by David McGarr. Rounding out the cast are Alison Burke and Tania Clohessy, both making stage debuts.

Geoff Holt’s sound and lighting design allows for key moments of the plot, including the silhouette of the title, to play out, while director Fred Petersen’s set design feels like an English South Coast barn conversion.

This show certainly had the audience interested and hooked and the revelation clearly comes as a surprise. Au Revoir director Fred Petersen - you have departed in good form.

Kimberley Shaw

Orlando From the novel by Virginia Woolf, adapted by Sarah Ruhl.

STC. Drama Theatre, Sydney Opera House. Nov 9 - Dec 19.

GENDER bending may seem a modern idea but 90 years ago novelist Virginia Woolf was creating Orlando, a handsomely hosed, favourite page boy of old Elizabeth I, who is later transformed into a woman and projected through the centuries.

American playwright Sarah Ruhl has skipped faithfully if a little glibly through Woolf’s words to re-create this shapeshifting pageant of history. It’s a whimsical tale beautifully narrated by the four men of the cast and Orlando herself, with lots of wry wit and asides. Director Sarah Goodes has forged an inventive ensemble, fresh with theatrical energy, improvising with quick threads of costume.

John Gaden is a delight as the old Queen, desperate for page boy kisses, and Luisa Hastings Edge is formidable as the beautiful Russian Princess who steals Orlando’s heart while they skate on the Thames - but betrays him.

After a bender in Constantinople, Orlando returns as a woman, never aging but smartly observing the shifting spirits of her times. Even now confined by crinoline, Jacqueline Mckenzie is impressively (and atypically) robust and dynamic as Orlando. She masterfully embodies the androgyny of the soul.

Gaden, Anthony Taufa, Garth Holcombe and a mercurial Matthew Backer artfully play a parade of lovers and other characters, adding a sometimes queer eye to Woolf’s fantasies on sexual identity.

Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 67

Online extras!

Check out a clip of Hugh tap-dancing at Melbourne’s dress rehearsal. Scan or visit http://bit.ly/1NjINK8

Broadway to Oz. Photo: James Morgan.

Renee Mulder’s revolving set of double staircases is functional, with handy drawers for props, and leaves the magic-making to the actors, and Damien Cooper’s complex lighting.

Orlando is a poetic, absorbing time in the theatre, which ends powerfully when Orlando crashes into the bright lights of the 20th Century.

Martin Portus

surrounding the main runway met his flirtatious overtures.

Others were more comfortable. A female fan got to dance with him and two young ballroom dancers were called onto the stage.

The finale - a rendition of “I Still Call Australia Home” with a giant Australian flag unfurled across the floor was visually splendid and poignant. Peter Allen opened the Sydney Entertainment Centre in 1988 with this song. Now the Entertainment Centre is closing.

Hugh Jackman - Broadway to Oz The highlight for me was a sneak preview of Hugh’s Sydney Entertainment Centre. Presented by Paul Dainty and next big project. He’s playing Barnum in the movie musical Robert Fox. The Greatest Showman on Earth. From it he sung “This is IT was his home town. His family and friends were in the Me.” audience. Hugh Jackman sang and spoke as if he was in a Few leaving the Entertainment Centre would argue that small cabaret venue. they just watched one of the greatest showmen on earth.

His rendition of “I’ve Been Everywhere Man” was apt.

David Spicer His father took his family on road trips around Australia.

The lyrics include the suburb where he was raised…

Disclosed Turramurra.

By Caitlin Richardson. Three River Theatre. Earl Arts Centre, Hugh Jackman has been everywhere - and he has the Launceston. Nov 12 - 15. full package to boot - the looks, the acting, the dancing DISCLOSED: a Port Arthur Dream in Three Cells is an and singing, but also so nice. investigation into the effects of isolation on those in His revue dazzled North America three years ago. In an captivity, in the new form of prison where ideas about the arena there are extras…including a crane to arrive as Peter exercise of power were appearing in the colony of Tasmania Allen from the roof in a mirrored jump suit. and around the world. Physical violence was being replaced For the Wolverine fans - just a glimpse of his pumped with more subliminal methods of bureaucratic control. body, which he notes drips away when he performs his Disclosed, a highly dramatic trilogy of plays: The Visitor, song and dance show.

The Clock Stoppe and A Broken Window, exposes the What a contrast when he performed an ensemble of horrors of the Separate Prison system and its effects on its songs from The Boy From Oz. The security guards inmates. Cleverly written, well-researched and harrowing, 68 Stage Whispers

Longer versions of many reviews can now be found at www.stagewhispers.com.au

about the prison system in Port Arthur Tasmania in 1860, it’s more than a history, or compilation of stories from history.

The experience of director Peter Hammond was evident throughout. Ten actors lived their roles, with no “stars”, as all characters and their stories were equally important.

Disclosed was polished, with sustained tension, while still raw and emotional. The stories and action were linked by the singer Danny Spooner, whose traditional style permeated the mood of the starkness, isolation and lost hope of the prisoners.

Disclosed gives the audience an insight into the history of the convict era, while giving a voice to the voiceless. It was a privilege to see such a high quality, new theatre work in its early stages.

Merlene Abbott

childhood that haunts them even as one of them faces death - and a woman who reaches out to them … because she understands.

In the hands of thought-provoking new Australian playwright Christopher Harley, these three characters connect in a way that is convincingly real, revealing their fragility - and their strength - as he weaves their lives together.

Gabrielle Scawthorn is superb as Abbey. She finds the underlying buoyancy, confidence and self-awareness that Abbey has had to learn from life, the cheeky humour that Harley has built into her craftily written lines - and the compassion that motivates her character.

Tom Stokes plays both brothers. Justin is undergoing treatment for cancer. Michael is waiting to donate blood for his brother. Stokes shows compelling understanding as he seamlessly morphs from one to the other, sustaining the The Chain Bridge depth and complexity of the emotion that motivates each of them.

By Tom Davis. Directed by Caroline Stacey. The Street Meredith Penman plays a duty nurse and a Theatre, Canberra. Nov 21 - 29.

STEADILY unravelling the secrets that have lain in wait chemotherapy patient who is not amused by Abbey’s for up to 54 years in the memories of three survivors of persistence.

World War II and Soviet-controlled Budapest, this Tobhiyah Stone Feller’s set and Nicholas Higgins’ multidimensional piece reveals how those living with lighting are backed by haunting music composed by the memories of loss and compromise can contain complexities playwright - and wide screen on which videos (Tim Hope) of gentleness and vehemence, of perspicuity and blindness, depict the past that has shaped their present. of deep humanity and unleashed violence.

Carol Wimmer The play does not view its subjects with cynicism or unkindness. Rather, it peels back the experiences that have The Art of Teaching Nothing

By Kirsty Budding. Free-Rain Theatre. Directed by Cate made them the complex, rich characters they are, having Clelland. Courtyard Studio, Canberra Theatre Centre. Oct 22 them translate directly from one setting to another with a simple, often prestidigitational alteration in clothing or - 25 accessory and a quick change in furniture and lighting, with THIS romp has it all: power plays, secret relationships, dexterity and minimal fuss. It was remarkably easy to know mystery, sex, more secret relationships, and lots of comedy. who had become whom, considering that each actor When a new teacher arrives in a school that has given up on genuine education and a faculty beset by played at least five roles (and one played ten). Clever set design by Imogen Keen and remarkable lighting by Gillian mismanagement, inadequacy, and political correctness, she Schwab were crucial in keeping us oriented. The changing finds encouragement in just two people: the vehemently character of the sound stage, which seemed to surround indifferent young art teacher, and three A-grade students -the audience, played its part too. and she is instructed from the top to find unfair fault with The 34 characters who came to life on stage from eight the work of the year’s absolute star. But the school’s distinct periods (sometimes, cleverly, two periods executive team soon finds itself pilloried in a blog simultaneously) in the bodies of just five actors were hard scandalously revealing its corruption. to fault. If the emotionality with which secrets were held in Many of the play’s lines, rich in meaning as well as deft, the first act rather revealed that secrets existed to be could have been played in a far more understated way than uncovered, and if the first act’s plot could have had greater several of the characters played them. Over all, though, the acting did justice to the script’s intentional misdirections, forward impetus, the play acquired real subtlety and momentum in its second act. It left us feeling that we’d and the script’s occasional forays into obscenity, along with come to experience something worth while, something its truly comedic moments, were pitched to seem original, something with a satisfying inventiveness. appropriate rather than gratuitous.

John P. Harvey The Courtyard Studio’s being rather long and narrow offers interesting challenges and opportunities in set Blood Bank design, and director Cate Clelland met the challenge using

By Christopher Harley. Ensemble Theatre, Sydney. Oct 16 lighting.

Nov 22.

The play’s wordsmithery caused me some regret at ANTHONY Skuse makes his directorial debut at the having seen nothing before by this new playwright. The play is a gem, and Kirsty Budding is a name to watch.

Ensemble with Blood Bank, and it is just the sort of play John P. Harvey that suits his sensitive, intuitive style. It is a beautifully touching story about two brothers and a ghost from their Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 69

A Riff on Keef: The Human Myth

By Benito Di Fonzo. Ocelot Productions and Griffin Independent. SBW Stables Theatre. Nov 27 - Dec 12.

BENITO Di Fonzo has written three impossibly titled, poetical plays about his heroes - Bob Dylan, Lenny Bruce and now that shaman of guitarists, Keith Richards.

A Riff on Keef: The Human Myth is no incisive exploration into Richards’ times, character or startling longevity; but more a wandering William Burroughs style mediation on his moods, his chemical and musical quest.

Fonzo and his regular director Lucinda Gleeson are lucky to have Terry Serio’s raffishly perfect Richards, be-decked in scarves, droopy-eyed, somehow both world weary and life affirming. And Serio’s own guitar riffs are polished, while the remaining ensemble - when not all shouting at feverpitch Fonzo’s overwritten script - also contribute to the production’s musical appeal.

Each of them also introduces entertaining snippets of characters in Richards’ life, but these rarely stay long enough for any real dramatic revelation. Abe Mitchell does a nicely cool Nick Cave and a great Jagger, all lips-and-arse; Lenore Munro struts as Marianne Faithful in furs; Branden Christine is both Chucky Berry and an impossible Queen Elizabeth II; while Dorje Swallow is the haunting presence of Richards’ musical and rebellious old granddad.

Hugh O’Connor’s rock star garb and his circular stage, lit with Sian James Holland’s vivid palette of colours, helps maintain the fantastical leaps across the world and through the mysteries of Richards’ mind.

By end, he remains though that alluring hero of hedonism, but having found his chords, without much more to say.

Martin Portus Edmund. The Beginning

By Brian Lipson. Antechamber Productions. Arts House, North Melbourne. Nov 10 - 22.

BRIAN Lipson’s costume suggests half man, half woman. A crown, a school blazer, a string of pearls, half an Elizabethan ruff, a 50s schoolbag, a sword. One leg in hose and a high heel pump, the other in jeans and a heavy work boot. These elements turn out to represent the fourteen characters he segues between in his one hour and twenty minute monologue.

If you are not au fait with the following, you may find yourself left out: Shakespeare’s life, King Lear, Hamlet, Harold Pinter’s first marriage and his estranged son Daniel, Pinter’s plays, in particular The Homecoming, Japanese Noh drama, as well as Ted Hughes, Sylvia Plath and their daughter Frieda. ‘Brian Lipson’ (aged 13) also appears, together with his brother Martin (17) when they go to see The Homecoming.

The narrator (some of the time) is Pinter’s son Daniel Brand - who changed his name after his parents’ divorce and his mother Vivien Merchant’s death from alcoholism at 53. The eponymous Edmund is Shakespeare’s younger brother, who had the ambition of being an actor like his famous brother. He failed, never appearing in any play at 70 Stage Whispers

all. His contribution to posterity was to lend his name to the ‘base bastard’ villain of King Lear.

Armed with some prior knowledge, the show is, from point to point, interesting, insightful, amusing, moving, angry and speculative. But so many things in it seem completely arbitrary or mischievous or alienating. The program credits two prestigious directors - Peter Evans and Susie Dee - but this is decidedly and definitely Mr Lipson’s show.

Michael Brindley The Listies Ruin Xmas Creator/ Performers: Richard Higgins and Matthew Kelly.

Beckett Theatre, Malthouse. Nov 25 - Dec 13.

THE Listies are presenting a fresh and very engaging Christmas show for everyone, except perhaps ‘old grumps’.

No, seriously, it is a very funny, joyful, silly and heartwarming show for everyone.

Although this show is like a great big Christmas party, proceedings commence with a balancing reminder, that, as overwhelming as it is, Christmas is only one of many important cultural and religious festivals celebrated in Australia.

Richard Higgins and Matthew Kelly as confident, consummate, charismatic performers are able to ad-lib with unflappable, fluid, flexible and highly energetic spontaneity for the duration.

Popular culture is referenced throughout and kooky characterization abounds.

There are Christmas trees, crazy present wrapping, night -time karaoke with Nan, Barbies, bad cracker jokes and an hysterical parody called ‘Jack and the Beans Talk’, even an alien attack and snow.

A well-managed chaos, aided by set and costume design consultant Marg Horwell, abounds as proceedings move at a brisk and lively rate. And yes there is heaps of audience interaction.

Suzanne Sandow La Mama, Spring EXPLORATIONS 2015 Oct 12 - Dec 16.

LA Mama’s 2015 EXPLORATIONS series has provided the opportunity for theatre practitioners to present works in progress and created a space for real experimentation. The series involves thirty-three unique new Australian works in various stages of development. Seasoned professionals as well as new and emerging artists have created original pieces with the aim of testing the boundaries of theatre performance.

The series has lived up to its promise and included a stimulating and eclectic range of styles and productions with fresh ideas and novel approaches. Breaking the Binary, designed and performed by YGLAM (MCHS), is a play about same-sex attracted and gender diverse young people and was performed with disarming honesty and authenticity.

No Former Performer… Has Performed This Performance Before, by Born in a Taxi, is a piece of physical theatre that is simply astonishing. Acrobatics, text, sound and music were all combined with charm and passion to create a

Longer versions of many reviews can now be found at www.stagewhispers.com.au

Ladies In Black.

Photo: Joseph Byford.

visually exciting show.

Charles Manson and the Subtle Art of Radicalisation, by Scott Welsh, reincarnated the spirit and allure of Manson’s perfidious nature with chilling accuracy. Mawson’s Providence, devised and performed by Tamblyn Lord, beautifully and poetically examined the physical and psychological trials of the famous explorer. These inviting and stimulating performances are just a few examples of the dedication to indulging in creativity and innovation that the series offers.

Patricia Di Risio

fashion and the lives of her co-workers. As Lisa, newcomer Sarah Morrison projects innocence and wonder and has a soaring soprano to boot. Lucy Maunder finds heart and sympathy in Patty, a woman who is struggling with the fact her husband walked out on her after ten years of marriage because he could be impotent, and Naomi Price is a comic gem as Fay, who has been searching for Mr Right and finally finds him in a ‘continental’. Leading the company she makes “I Kissed a Continental” into a showstopper.

Magda, the Slovenian head of “Model Gowns” adds piquancy to the mix and couldn’t be in better hands than those of Christen O’Leary. Greg Stone lends authority to Lisa’s father who spouts clichéd attitudes of the time Ladies in Black Music & Lyrics: Tim Finn. Book: Carolyn Burns, based on believing women don’t need higher education.

Madeleine St John’s novel. Additional Lyrics: Simon Philips Tim Finn’s first score for the musical theatre is a mixed & Carolyn Burns. QTC. Playhouse Theatre, QPAC. Nov 14 bag. He gets it right with a great opening number in “I Got it at Goode’s” and a boisterous and funny “He’s a Bastard”, Dec 6.

QTC’s first original musical in 16 years, Ladies in Black, is but the second act, with the exception of “Continental” has appealing in its evocation of an era (the late 50s), but lacks far too many song fragments that don’t come together as a emotional conflict to make it really engaging. Not an easy cohesive whole. Gabriela Tylesova’s set with its opaque book to adapt, most of what is in the pages of Madeleine glass columns reeks of department store gloss and her St John’s wisp of a novel is on stage in Carolyn Burns’ costumes, which mirror Chanel, Ames and Laurent, time and time again bring class to the stage. Andrew episodic adaptation of it, stylishly staged by Simon Phillips Hallsworth’s choreography is good and punchy, David using revolves.

The protagonist, 17-year old Lesley, a would-be poet, Waters’ lighting hits its mark, and Isaac Hayward conducts gets a seasonal job at F.G. Goode’s Sydney department a tight chamber orchestra that when needed delivers a loud store (think David Jones), changes her first name to Lisa, thumping bass.

Peter Pinne and becomes embroiled in the haute couture world of Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 71

Delta Goodrem in Cats.

We were able to relish some wonderful character acting and wizard-like dance performances. Ah yes, now we remember why we loved the musical so much.

Onto the stage returned Delta. She belted out Memory the second time with gusto, bringing her fans to their feet and even exciting some shop-worn critics.

The Cats are back on the prowl.

David Spicer

Grey Gardens

By Scott Frankel, Doug Wright and Michael Korie.

Squabbalogic. Seymour Centre, Sydney. Nov 18 - Dec 12.

ODDLY enough, the story of Jackie Onassis’ ultimately reclusive aunt and cousin living with cats in an East Hampton mansion makes a good musical.

Stage-struck Edith Bouvier Beale, the older, loves to dominate her parties with a song, even as she plans the 1941 engagement do of her daughter, Edie. Beth Daly plays Edith as a fine patrician bulldozer and Caitlin Berry brings a desperate grace to young Edie who longs to leave Grey Gardens and hit the boards as well.

So with older Edith’s drunken gay pianist (Blake Erickson) and the Bouvier kids arriving, all tensions are expertly put to song. Simon Greer’s elegant mansion and gardens (and Brendan Hay’s dashing costumes) left space for artful choreography while in a small gallery Hayden Barltrop on keyboards controls a tight band of eight.

This is a polished, confident production from Squabbalogic and director Jay James-Moody. The snappy songs nicely drive the action and characters; with the added poignancy that after the privilege we know all will end in tears and retreat.

Cats The second half, now 1973, sees the house decayed and Music by Andrew Lloyd Webber. Based on ‘Old Possum’s older Edith (now Maggie Blanco), near bed-ridden but just Book of Practical Cats” by T.S Eliot. Capitol Theatre, Sydney. as manipulative. Daly now plays the entrapped daughter From Nov 1, 2015, then touring.

Edie but we miss the full pathos of her life disappointment.

A PRE-SHOW announcement informed the audience With the action stilled, Scott Frankel’s jazzy score and who was conducting the live band….just in case they did Doug Wright’s book and Michael Korie’s lyrics lose some not believe it was live. The new streamlined three keyboard dynamo and a few songs, like an evangelical Choose to be dominated nine-part orchestrations sound in part like a Happy, seem incongruous. Squabbalogic still bursts though backing track. with onstage talent.

It makes sense for one of the songs updated by Andrew Martin Portus Lloyd-Webber - a rap version of “Rum Tum Tugger” - to have this highly synthesized sound. At other times, for Musical of Musicals the Musical those who have seen Cats before, it was disconcerting.

By Joanne Bogart and Eric Rockwell. Directed by Allen Those new to Cats and occasional music theatre goers Blachford and Kate McIntosh. Koorliny Arts Centre, will be dazzled by the choreography, the up close patting Kwinana, WA. Nov 13 - 28. of the pets in the audience, the wonderful characters of T S MUSICAL of Musicals the Musical might be better Eliot and blockbuster tune Memory. described as five musicals in one. Taking the basic story of a With great fanfare Delta Goodrem stepped into the role young woman who is unable to pay her rent, we see the of Grizabella - the sad and lonely cat who spends her time story as if written by Rodgers and Hammerstein, Stephen remembering the times she was young and adored.

Sondheim, Jerry Herman, Andrew Lloyd Webber and Looking most un-Grizabella-like, a glamourous Delta crept Kander and Ebb. onto the stage in a slightly jilted manner singing a first The cast of four - Ruth Bennett, Rachel Monamy, David rendition of Memory in a subdued fashion.

Wallace and Jesse Watts, beautifully accompanied by By the end of the first act this musical was badly in need director (and occasional narrator) Kate McIntosh, are all of some oxygen. Thankfully it arrived just in time in the superb and work outstandingly well as a team. second act.

Ruth Bennett shines in her first lead role, playing a gamut of personalities from Kansas farm girl, through Evita-

Reviews: Musicals

72 Stage Whispers

Longer versions of many reviews can now be found at www.stagewhispers.com.au

inspired aspiring star, to sleazy speakeasy performer. Rachel Monamy is excellent throughout, and is especially impressive as the Mame styled Auntie Abby.

Jesse Watts is wonderful as a variety of leading men, from deep-thinking composer to gay jail-bird. David Wallace’s characters are all the villain of the piece, but are amazingly varied, and he embodies each character and musical style with conviction.

The solid looking set, designed by the directorial team, manages to transcend the five musicals - Corn, A Little Complex, Dear Abby, Aspects of Junita and Speakeasy, with ease. Jon Lambert’s lighting design is noticeably conscious of each production style and well operated by Lee and Joshua Germain.

One of the funniest musicals you could hope to see, Koorliny’s Musical of Musicals the Musical is a beautifully produced, gorgeously performed show.

Kimberley Shaw

Munoz) really gave balls to Stone’s nemesis Munoz and fully delivered in the witty “All Ya Have To Do is Wait”.

Hannah Fredericksen is delightfully fresh as Avril and a smouldering vamp as Mallory. And the Angel City Quartet (Melissa Langton, Jennifer Peers, Andrew Kroenert and Connor Crawford) provide marvelous harmonies and vignettes, with Langton being the stand out.

This is superb theatre, slick, sophisticated, elevating the audience with its excellence.

Coral Drouyn

Forbidden Broadway Created and written by Gerard Alessandrini. Hobart Repertory Theatre Society. Playhouse Theatre, Hobart. Oct 23 - Nov 7.

FORBIDDEN Broadway takes a poke at Broadway’s blockbuster musicals. Director/choreographer Cassie Xintavelonis managed 21 cast members through 23 segments, with 30 or more song and dance routines from at least 17 musicals, in a fast medley of numbers.

City Of Angels Music by Cy Coleman. Lyrics by David Zippel. Book by Larry Superb costumes, changed often - well done to the Gelbart. Playhouse Theatre, Arts Centre Melbourne. Nov 5 - backstage crew under stage manager David Clements and 8. costume co-ordinator Karen Fahey. Musical Director LIFE Like’s Australian professional stage debut of City Of Andrew Morrisby, on stage with a piano, led the pace Angels delivers on every level. A stunning cast is enhanced throughout.

Ensemble and solo work was terrific, making it difficult by a brilliant live band, which the amazing Kellie Dickerson to pick out “stars”. So many delightful numbers - I handles with aplomb.

The story is clever, but not earth shattering: Stine is especially liked Andrew Hickman’s “Into the Words”. In adapting his highly successful novel into a screenplay, with “Mucous of the Night” (The Phantom and Ethel segment) way too much interference from Buddy Fiddler, a the dilemma of projection v technology was hilariously highlighted by Hickman and Chelle Burtt as Ethel Merman. megalomaniacal film producer. Stine’s alter ego is hero Kristian Byrne showed the pain of singers when singing detective, Stone, the man he tries to be, until he sells out his characters for big bucks. There are laughs galore in beyond their range in “It’s Too High” (“Bring Him Home” genuinely witty exchanges. Martin Croft’s deft and classy from Les Mis), and Jaime Mollineaux-Herbert was a direction shows deep respect for this sparkling diamond of gorgeous ventriloquist’s dummy in the Chicago segment. a show. Somehow Tom Willis, with a magnificent lighting Anna Kidd as Carol Channing, with dancing boys Jeremy Pyefinch and Campbell Braithwaite, were riotously welldesign, manages to give us reality and film on stage together at the same time. Kim Bishop’s costume designs timed. are just sensational. Corinne Day has done a magnificent This fast-paced parody of popular musicals is a delicious job with wigs and makeup and Robert Alexander’s set… romp, showcasing theatrical and musical skills - even a with its mirror reflection of rostrums and balance of colour/ technical hitch like a failed follow-spot highlighted the black and white in apposition… works to perfection. Ben performer’s craft when overcoming onstage problems.

Merlene Abbott Osbourne’s snappy and authentic choreography is the icing on the cake.

But it’s the cast itself which shines brightest. Anton Avenue Q Berezin is the perfect Stine, a fine actor with a soaring tenor Music & Lyrics: Robert Lopez & Jeff Marx. Book: Jeff Whitty. voice that delivers in every number. In “You’re Nothing Brisbane Arts Theatre. Oct 17 - Dec 19.

Without Me” he manages to top Kane Alexander, who is WITH its insanely catchy score, its clever book, and its himself well endowed with vocal chops. set of lovable characters, Avenue Q is a real musical theatre Chelsea Plumley (Gabby/Bobbi) almost steals the show. hoot, and Arts Theatre’s revival of their 2014 production is Her 1940s ‘sophisticated’ poses are hilarious and timed to still hugely enjoyable. perfection. Amanda Harrison totally nails two very different Griffith Musical Theatre alumni Joshua Moore in the secretaries in Oolie and Donna and kills both versions of her lynchpin role of Princeton does great work, sings well, and big number “You Can Always Count On Me”. And Troy brings warmth and humanity to the character. Opposite Sussman makes mincemeat of the two equally obnoxious him as Kate Monster, Maree Butterworth also displayed producers. Anne Wood (Carla Haywood/ Alaura Kingsley) some fine acting chops, as did Nathan Hollingworth, an brings her customary style and class to her twin roles. audience favourite as Rod. His “My Girlfriend Who Lives in Rohan Browne gives 120% as the vain and mediocre Jimmy Canada” was a riot. Trent Richards landed all the laughs as Powers, and Adam Fiorentino (Pancho Vargas/Lieutenant Trekkie Monster (you can’t go wrong with this role), Natalie Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 73

Mead sang up a storm as the Super, Gary Coleman, whilst Lucy the Slut vamped lasciviously in Lauren Ashlea Fraser’s capable hands.

Andy Kennedy’s set design mirrored the Broadway original and worked well on Arts’ small stage, Faron Swingler’s musical direction was assured and didn’t overpower the performers, while the joint direction of John Boyce and Katherine Alpert kept the whole show pacy.

Final kudos must inevitably go to the superb puppets and their creators. They were brilliant.

Peter Pinne Jesus Christ Superstar

By Andrew Lloyd Webber and Tim Rice. MLOC (Vic).

Director/Choreographer: Rhylee Nowell. Musical Director: Matthew Hadgraft. Phoenix Theatre, Elwood. Nov 6 - 14.

LIVING on the other side of town, I haven’t encountered an MLOC production for some time, but this was the best.

The direction was tight, the chorus energetic and the drama confronting.

In the title role Ben Paine had the open, happy face that made him ideal for this role. The fact that he could sing and do the pathos as well was a bonus. The whisper quiet opening to “Gethsemane” was imbued with impending tragedy.

As Judas, Omar Moustafa also sang well and the high tessitura held no fears for him. We felt his struggle to understand Jesus. Carly Daley was very good as Mary Magdalene. Operatic baritone Dean Allen-Craig was a strong Caiaphas and Tim Ryan an excellent Pilate. Sam Marzden was very funny as King Herod.

The chorus sang well and the choreography was energetic and tight. Good use was made of the multi-level single set.

I don’t recall the whipping scene done better. There was no whip, but just the sound of it as Jesus, with his arms outstretched, reacted to the pain. Then he collapsed and revealed a back covered in blood.

The five-piece band was excellent.

Graham Ford Company Music & Lyrics by Stephen Sondheim. Book by George Furth. Directed by Fiona Delaine. Stirling Community Theatre, Stirling. Nov 6 - 21.

CONSTRUCTED as a series of vignettes, Company revolves around Bobby (Josh Barkley), a well-liked yuppie who struggles to commit to a steady relationship, flitting between a series of short but passionate flings - which include an airheaded but tender-hearted stewardess (Kerry Straight), a flaky bohemian hipster (Stefanie Rossi) and an old flame that he still carries a torch for (Nicole Hall).

Bobby’s anxiety over settling down isn’t exactly helped much by the peer pressure of his five best friends, who are all coupled up and neurotically conflicted over whether or not this is a good thing (James McCluskey-Garcia & Jenny Scarce-Tolley, Jamie Richards & Kate Anoulak, Jonathan Knoblauch & Jess Rossiter, Matt Redmond & Danni Zappia, 74 Stage Whispers

Anthony Vawser & Lauren Renee play the oddly matched spouses).

Despite loose plotting, the pacing never drags. Both the lyrics and dialogue possess a biting wit that is compelling, and the social commentary remains relevant. Also, the tunes are quite catchy.

Barkley makes for an amiable lead, and the various couples have just the right mix of sweet and sour in their chemistry, both with Barkley and each other. The actresses playing Bobby’s three girlfriends do so with surprising depth.

The sets are minimal and rather abstract, but adequate for an intimate show like this, Similarly, costumes are plain but acceptable.

Benjamin Orchard A Man of No Importance Music by Stephen Flaherty, lyrics by Lynn Ahrens and a book by Terrence McNally. Playlovers. Directed by Andrew Baker. Hackett Hall, Floreat, WA, Nov 20 - Dec 5.

PLAYLOVERS’ A Man of No Importance is billed as a ‘heartwarming Irish musical’. It is certainly that and more a beautiful production with an enormous heart.

Very much an ensemble production, every performer is involved at almost all times — and all performances are excellent. Central character Alfie Byrne is played outstandingly well by David Gardette. As an awkward, unlikely and unassuming hero, David wins the audience’s affection in an exquisitely sung, consummately acted performance.

Trudy Dunn gives a sympathetically acted, standout performance as Alfie’s sister Lily. Chris Gerrish performs brilliantly as Lily’s beau and villain of the piece, also making a wonderful cameo as Oscar Wilde.

WAAPA students Josh Firman and Daisy Valero play the younger roles with wonderful freshness, enthusiasm and conviction.

Vocally the cast is very strong, with lack of perfect execution in some cases, balanced with excellence in others, and dedication throughout. Tim How leads a strong sevenpiece band.

Designer Rhiannon Walker has used the community hall aesthetics of Hackett Hall as a basis to create an authentic church hall look and costuming and accurate props help create Ireland in 1964 very convincingly. Accents are used to excellent affect, probably due to strong support from the Irish Theatre.

A beautifully presented, exceptionally strong production.

Kimberley Shaw Nunsense

By Dan Goggin. Eltham Little Theatre. Director/ Choreographer: Susan Rundle. Musical Director: Richard Pengelley. Nov 12 - 28.

OVER the years I have enjoyed many ELT productions.

Their intimate venue is ideal for plays, but not for largescale musicals, so Nunsense, with its small cast, was an ideal choice.

It was also one of their best.

Longer versions of many reviews can now be found at www.stagewhispers.com.au

Nunsense.

Photo: Ian Clark.

At least three of the five performers had professional experience, and all had to sing, dance and act. Of course, the acting was strong, but they sang well and the dancing was surprisingly good.

In recent times ELT have employed backing tracks, so it was a pleasant surprise to find a keyboard and guitar at the back of the stage, occasionally joining in the action. There were microphones suspended along the front of the stage, but the singers had no problems being heard and the sound was well balanced.

Young Heidi Yule as Sister Leo was an accomplished ballet dancer with an excellent voice. Her mother, Jane Menze, was the Mother Superior, struggling to keep her brood under control.

Judith Sivasubramaniam was delightfully vague as Sister Amnesia. Her strong operatic voice was often distorted to achieve the characterization she wanted. Laura Marcucci sang beautifully as Sister Hubert and Lisa Upson was a delightful Sister Robert Anne.

But it was the engagement with the audience which made the show, with the performers sometimes coming into the audience. It was very funny.

Graham Ford

Costumed Front of House, a transformed auditorium, wonderfully decorated table settings and a gangster photo booth allowed the audience to be completely involved.

This was a strong production. Kim Moore and Scott Blachford formed a wonderful dastardly duo, remaining likeable despite dreadful deeds and delivering impressive music and dramatic performances.

Young Bonnie and Clyde were nicely played by Mikayla White and Luke Newman, promising young performers, who opened the show and set the tone.

Samantha Ferguson shone as righteous Blanche Barrow, struggling over her love for her wayward husband, nicely played by Gareth Jay. Some impressive newcomers appeared. Scott Baggaley played his first major role as lovelorn Ted Hinton, as did Troy Plackett as The Preacher. Carl Grice made a solid stage debut. More experienced performer Diana Oliver was particularly poignant as Bonnie’s mother Emma.

Russell Jay led a solid eight piece live band, providing excellent support for well-executed vocal performances throughout, coached by Sam Ferguson and Darren Bilston.

Sound was well balanced.

The show looked great. Tommi Barrie’s costumes reflected the period beautifully, while Karen Jay’s lighting Bonnie and Clyde was well used on Trevor Delaporte’s expertly designed set.

Music by Frank Wildhorn, lyrics by Don Black and a book by Despite the dark themes, this was a feel-good show that Ivan Menchell. Murray Music and Drama Club. Pinjarra Civic was a joy to watch.

Centre (WA). Nov 13 - 28.

Kimberley Shaw MURRAY Music and Drama Club created a 1930s gangster world for director Zoe Jay’s Bonnie and Clyde.

Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 75

Fame: The Musical.

Photo: Mark Anolak.

Fame: The Musical Conceived and Developed by David De Silva. Book by Jose Fernandez. Lyrics by Jacques Levy. Music by Steve Margoshes. Title Song ‘Fame’ by Dean Pitchford and Michael Gore. Marie Clark Musical Theatre Company. The Goodwood Institute, Goodwood. Oct 23 - 31.

THIS lively and spirited production of Fame serves as an impressive showcase for the cream of Adelaide’s emergent musical theatre talent, the high-energy ensemble offering an abundance of names worth remembering. Chris Daniels’ sober direction, which shuns undue sensationalism in favour of emotional realism, ensures the production as a whole transcends its (sometimes kitsch) period trappings and is able to connect with a contemporary audience.

Jasmine Garcia has ferocious spitfire charisma to spare as Carmen, the student whose drive for success overrides any instinct for self-preservation. Josh Angeles brings a compellingly unpredictable mix of cocksure petulance and wounded vulnerability to the role of Tyrone, a dynamic hiphop dancer who struggles academically. His romance with Taylor Coad’s sweet-but-determined working class ballerina, Iris, produces some of the show’s most poignant moments, owing to the warm chemistry between the two.

The more studied performances of Mitchell Smith and Lucy Carey, as aspiring thespians Nick and Serena, serve to cleverly deconstruct showbiz stereotypes - whereas Georgia Broomhall’s overweight dancer Mabel and Aled Proeve’s brashly egotistic wannabe comedian Joe both deliver scene stealing turns of comic relief.

The cast’s triple-threat passion combined with dynamic choreography bring out the best in the show’s uneven score.

Benjamin Orchard

76 Stage Whispers

Chitty Chitty Bang Bang Music & Lyrics: Richard & Robert Sherman. Book: Jeremy Sams & Ray Roderick. Directed by Karen Francis. Mandurah Performing Arts Centre, WA. Oct 15 - 18.

STRAY Cats Theatre’s Chitty Chitty Bang Bang, with a cast of eighty-eight and an orchestra of thirteen, was a huge production, with lavish settings, beautiful backdrops, countless costumes and the titular automobile. Chitty the car, constructed by Peter Sydney-Smith, was very impressive and even ‘flew’.

Lovely work from the principals, with Jon Lambert a likeable Caractacus Potts and Kristie Gray a sweet-voiced Truly Scrumptious. Although both were very good, their voices didn’t always blend well.

The Potts children, Jeremy (Sebastian Cruse) and Jemima (Marisa Pereia), had lovely voices and gorgeous energy.

The villains were delightfully eccentric and beautifully played. Daniel R. Nixon and Nicholas Gaynor worked extremely well together as the Vulgarian Spies, while The Baron and Baroness (Joshua Towns and Kim Moore) had wonderful chemistry and tight comic timing. Scott Hansen seemingly channeled Sir Robert Helpmann, in an appropriately derivative, excellent performance.

The orchestra was talented and balance generally wellhandled, but while there were some outstanding vocal performances, harmonies weren’t always well executed.

The large cast was very enthusiastic, but sometimes pulled focus at inopportune moments and often there were simply too many people on stage. The large amount of children, however, was a distinct advantage, and they performed “Teamwork” with precision.

This show was deservedly well received and was great fun to watch. Well done to all involved.

Kimberley Shaw

Longer versions of many reviews can now be found at www.stagewhispers.com.au

Grease

By Jim Jacobs and Warren Casey. Phoenix Ensemble. Nov 6 Dec 5.

WHEN you hear the words ‘Greased Lightning’, you can’t help but feel the need to dance and sing along to one of the world’s most loved musicals. In Phoenix Ensemble’s production of Grease, the cast and crew delivered one brilliant night out.

The set, created to portray a jukebox, invited the audience to be a part of the fun and sing along with a list of the show’s songs as a permanent fixture on the wall. It was easy to enjoy every performance, with Alexander Thanasoulis as Danny and Taylor Williams as Sandy bringing together the T-Birds lead bad boy and a naive innocent school girl in a typical High School romance.

There were definitely no small parts in this performance, with a special mention to the charismatic Kenickie, played

by Brock Dunstan and the brilliant comedic timing of Brooke Edwards as Patty Simcox.

It was clear in this production that the ensemble members were strong and confident together with the TBirds and Pink Ladies being perfectly cast. When Rizzo, played by Rebecca Haining, sings ‘There and worse things I could do’, goosebumps were instantaneous - a fine example of perfect casting if ever there was one.

This performance of Grease is the reason that amateur theatre still exists; everything was exactly how it was meant to be. Frog Johnson has delivered a production that Phoenix Ensemble is sure to reap the rewards of in future.

Melissa Bobbermien Putting it Together Music & Lyrics: Stephen Sondheim. Direction: David Austin.

Ipswich Little Theatre Society, Incinerator Theatre, Ipswich.

Nov 29 - Dec 5.

IPSWICH Little Theatre chose to mount Putting it Together as their first ever musical, an ambitious choice indeed for a theatre group whose audiences are most comfortable with farce and thrillers.

Standing in front of the house curtain, Sam Hoepner as the Butler and Courtney Murrin as the Maid were the perfect personable couple to open the show with “Invocations and Instructions” from The Frogs, Sondheim’s amusing patter-piece which explains the dos and don’ts of theatre etiquette and eloquently brings the audience into his world. Murrin, with an impish twinkle in her eye, made a meal of “The Ladies Who Lunch” (Company). Hoepner nicely captured the ambivalence of “The Road You Didn’t Take” (Follies), Michael Hogg had his best moment as The Husband with the rueful “Good Thing Going” (Merrily We Roll Along) and dripping with bling, Liz Ball had a ball as The Woman who wanted “More” (Dick Tracy). From the same movie score Robert Shearer used his powerful tenor to nail “Live Alone and Like It” and Company’s “Marry Me a Little”. Despite suffering pitch problems throughout the show, Tracey Spence finally delivered a spot-on version of the bride’s tongue-twister section of “Not Getting Married Today”.

The off-stage five-piece band under the direction of Kenneth Weaver accompanied with skill, whilst the rear stage design of a night shot of New York City set the appropriate mood.

Peter Pinne The Boy From Oz Music and Lyrics by Peter Allen, book by Nick Enright.

Spotlight Theatre, Benowa, Gold Coast. Director: Tony Alcock. Oct 23 - Nov 14.

SPOTLIGHT’S final production for their 60th Silver Anniversary Year was The Boy From Oz. Under the baton of Matt Pearson, the 15 piece orchestra brought all the music to life with a wonderful sound worthy of the calibre of Peter Allen.

As the man himself, Jonathan Whitlow fulfilled the expectations of the audience. His energy was boundless!

Jacy Moore took over the role of Judy Garland at very short notice and was outstanding, as was Daniela Martiri as Liza Minnelli. Martina French - Marion Woolnough, Jordan Briggs - Greg Connell and Brady Burchill as the Young Peter all turned in memorable performances and together with the talented minor principals were supported by a large cast. The costumes and the scenery lacked the pizzazz one has come to expect from a production of this show, however Laura Carrett’s choreography (and that of her assistants) was full of life.

Roger McKenzie Big River Book by William Hauptman. Music and Lyrics Roger Miller.

Players Theatre, Ballina. Director/Musical Director: Paul Belsham. Nov 13 - Dec 5.

IN reviving Big River, Ballina has presented a seldom seen musical and what a joy it is.

Paul Belsham’s staging of the story based on Mark Twain’s loveable characters including Huckleberry Finn and Tom Sawyer is full of wit interwoven with Roger Miller’s music. A fabulous set including the raft “floating” down the mighty Mississippi is certainly a force to be reckoned with.

The talented cast is led by Brian Pamphilon as Huck, “star in the making” Josh Green as Tom, Carl Moore as the coloured slave Jim with Tim Roberts and Graeme Speed as ‘The Duke’ and ‘The King’ respectively.

Jamie Sheehan’s choreography added to the goings on of the River Folk and, as one has come to expect, great technical support made this an enjoyable evening.

Roger McKenzie Legally Blonde Music & lyrics by Laurence O’Keefe and Neil Benjamin. Book

by Heather Hach. Directed by Cat Baxter. Koorliny Arts Centre, Kwinana, WA. Oct 22 - 31.

NINE Lives Theatrical Production Company bumped into Koorliny Arts Centre to present this fun and upbeat musical.

Annika Kononen, a tall, striking natural blonde was a picture-perfect Elle Woods in the central role. She was

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Stage Whispers 77

nicely paired with Jethro Pitt, making a sterling West Australian debut as a loveable Emmet, with a lovely voice.

Almost stealing the show was Vikki Walker as Paulette, in a gorgeously sung, beautifully acted performance.

Partnering her was Clayton Mitchell, making a promising debut, tripling the roles of Kyle, Dewy and Aaron.

Legally Blonde has eighteen named roles and a plethora of cameos, and to mention all is impossible. Those standing out included Taneeka Loreto as Enid Hoopes, Sarah Elizabeth Hubber as Brooke Wyndham and Caris Read as Kate. Brad Tudor played anti-hero Warner Huntington well.

The most memorable number was probably ‘Gay or European’ with Nathanial Prosser (Nikos) and Joshua Munroe putting the button on this song beautifully.

Anita Telkamp, in her choreographic debut, coped well with the varied experience of the big cast with some energetic dancing, while Kenn Ellis led the five piece band, which was placed on stage.

Legally Blonde was a feel-good production with lots of joy radiating from the stage.

Kimberley Shaw

Miriam Ramsay leads a pumping “Whipped Into Shape” as Brooke Wyndham, while Bonnie Kellett goes on a nice journey from snooty bitch to sisterhood.

Stephanie Edmonds, Cassandra Smith and Erin Carlton delight in vivacious performances as Elle’s college besties.

Tom and Joy Sweeney ham it up deliciously as Elle’s parents, while Joy is also responsible for the show’s vibrant costumes.

The three canines, Tiara, Elphie and Gracie, are cute as hell.

Jess T’s bright, clever choreography, plus a tremendous band, meeting Musical Director Mark Pigot’s expected professional standard, complete the impressive creative mix.

Sleek, stylish, and a wonderful night’s entertainment.

Neil Litchfield

Gypsy

By Stephen Sondheim, Jule Styne and Arthur Laurents.

Beenleigh Theatre Group (Qld). Directed by Steven Pimm.

Crete Street Theatre. Nov 13-28.

THIS show is a good choice for a local community because it requires a large cast from a wide range of age Legally Blonde groups and a backstage staff with a multitude of talents.

Music & lyrics by Laurence O’Keefe and Neil Benjamin. Book It’s also a suitable vehicle to show off local talent and give those star struck individuals a chance to sample the delights

by Heather Hach. Willoughby Theatre Company. The Concourse, Chatswood. Oct 16 - 25. of being on the stage.

SNAPPY designs and slick transitions, tightly And, interestingly, isn’t this what this show is all about? conceptualized, are vital if film-based musical Legally This musical adaptation of the life of famous burlesque Blonde is going to have cinematic flow. As is the performer Gypsy Rose Lee is no easy task to stage because it technology that supports them! is one of the big budget Broadway musical hits from the past. However Beenleigh Theatre Group, with their limited On my second visit to The Concourse in about a week those theatrical stars were finally aligned, after the flying budget, managed to bring the show to life and capture the software failed dramatically, halting opening night after just essence of the story and the characters, in particular fifteen minutes.

Gypsy’s mother, in a grand and exuberant performance by Legally Blonde is a simple charm film, yet the staging of Della Kidd, and Ian Maurice, superbly cast, as her agent/ companion Herbie. Additionally there were some terrific the musical comedy version is deceptively complex. performances from the younger set; even the munchkins However, director Courtney Cassar’s strategically planned transitions ensure a production that really zips along. were enough to make any mum proud, including Mr For anyone who doesn’t know the plot, after her Biggles, the lamb. boyfriend dumps her, Elle, an archetypally blonde college Though needing more pace, the show still demonstrated an enjoyable assortment of character actor performances, girl follows him to Harvard Law School.

The production begins as it will continue. A young, high too many to mention here, to enhance the action and tickle the funny-bone including a suitable mini orchestra with energy female ensemble, vibrantly dressed in a dazzling array of colours, flounce exuberantly around the stage; Musical Director Christine Leah at the keyboard. stereotypical American college girl perkiness abounds.

This is a fun-filled community theatre night out and an In her break-out lead role, Laura Sheldon’s Elle backs opportunity to see one of the great mainstream musicals from the past. vivacious spark with strong, confident vocals. Her Elle has Brian Adamson great heart, growing palpably through her character arc, with the moments of pathos quite heartbreaking.

Willoughby’s principal cast has no weak links.

Jerry’s Girls Regularly threatening to steal the show is Jocelyn Music and Lyrics by Jerry Herman. Directed by Dean Bryant.

O’Brien, with great musical theatre pipes, high-octane The Production Company. Playhouse, Arts Centre Melbourne. Nov 21 - Dec 6. characterisation and down-to-earth comic timing as Paulette.

IF you take eleven of our finest leading ladies and let Shaun Young’s Emmet is a credible, sympathetic evolved them loose singing these songs you would have every right male, Peter Meredith is effectively pretentious as Warner, to expect a triumph. And, indeed, you almost get it. The Kevin Potter lands the authority and sleaze factor as “Girls” are (mostly) sensational. The handicap comes in the Professor Callahan, while Damien Schmitt nails the beefcake form of Writer/Director Dean Bryant. Mr Bryant has concluded that’s what’s missing is a comic backstory; a fun of Kyle.

78 Stage Whispers

Longer versions of many reviews can now be found at www.stagewhispers.com.au

script by Dean Bryant, starring Dean Bryant (played by the terrific Brent Hill), set in a rehearsal room as he tries to muster the collective egos of 11 super talented women.

Whilst Herman’s songs do suffer in this process, the talent of the performers could not be hampered by the ‘direction’ of the direction; it was simply too great to sublimate altogether. Rhonda Burchmore camped it up with her spins and her quasi “rich bitch” persona…but she showed us WHY she’s a star with ‘If He Walked Into My Life Today’. Silvie Paladino gave us a superb version of “Time Heals Everything” (what a song…what a singer!) and Christie Whelan Browne proved once again her strength in comedy.

Nancye Hayes…well, she’s a Superstar. She commands attention, looks sensational and owns the stage. Each of the Leading Ladies gave superb performances, but the performance of the night came from the amazing Debora Krizak as an overblown aging stripper doing her “Put It On” version of “Take It All Off.” It was hysterical, sad and endearing all at the same time.

Exhilarated by the fabulous talented performers, yet dismayed by the script and direction, I loved and hated Jerry’s Girls at the same time.

Coral Drouyn Next to Normal

By Tom Kitt and Brian Yorkey. Black Swan State Theatre Company. Directed by Adam Mitchell. Heath Ledger Theatre, Perth. Nov 7 - 22.

BLACK Swan State Theatre Centre’s Next to Normal was an outstanding production, musically excellent, emotionally engaging and practically perfectly performed.

Director Adam Mitchell described the role of Diana Goodman as the Hamlet or Lear of musical theatre. In addition to delivering a dramatic performance that would be impressive in any realm, Rachael Beck’s Diana is vocally stunning and emotionally charged.

Also brilliant is Shannen Alyce as overlooked daughter Natalie. Beautifully acted and gorgeously sung, her performance is wonderfully articulated.

Joel Horwood brings charm to Henry in a tightly nuanced performance. The intriguing and challenging role of Diana’s idealised son is played with panache by James Bell.

Michael Cormick performs with understanding and wonderful surprises, while Brendan Hanson provides excellent support as Diana’s long struggling husband Dan. Musical Director David Young, playing keyboard, led a full sounding six-piece band to back excellent vocal performances.

Bruce McKinven’s clever set design incorporated a double revolve, used to great effect; very much part of the show as well as ensuring seamless transitions. Trent Suidgeest’s lighting had impact yet sympathy. Sound design (Ben Collins) was well balanced (although mike operation was occasionally a fraction slow). Choreography both of dancing (Claudia Alessi) and fighting (Andy Fraser) was tight and well executed.

Next To Normal.

Photo: Gary Marsh.

A first class production with a wonderful lead actress and amazing supporting cast.

Kimberley Shaw Mary Poppins Music and Lyrics by The Sherman Brothers (additional lyrics

by George Stiles and Anthony Drewe) with script by Julian Fellowes. Gosford Musical Society. Director: Chris King.

Musical Director: Christopher Hochkins. Choreographer: Lauren Miller. Laycock Street Theatre. Oct 23-Nov 14.

WITH my own childhood attachment to this iconic Disney character, and having missed the professional production, I was eager to see how GMS would handle this notoriously tricky show. Chris King and his team have outdone themselves. The energy on opening night certainly belied the monumental effort behind it.

Two gifted 20-something GMS Juniors’ ‘veterans’ were cast in the pivotal lead roles of Mary and Bert, providing the professional edge needed - so as to not be upstaged by the meticulous stage-design and dazzling costumes.

Casey Thompson (with a noticeable resemblance to Julie Andrews) gives such a poised, all-round performance that it’s difficult to imagine anyone being better suited to the role. David Simes’ contagious physical energy lit up the stage every time Bert’s sooty persona appeared. Every featured player gave strong performances, especially Mr and Mrs Banks (Elizabeth Herd and Geoff Hay), while Michael and Jane (Ella Powell and Callum Hobson) were truly delightful brats. It’s a long show but with huge production numbers, precision choreography, strong vocals and a thumping score, the audience sprang to their feet as one for the finale.

Rose Cooper

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Stage Whispers 79

Geoffrey Rush in Sydney Theatre Company’s King Lear.

Photo: Heidrun Löhr.

Reviews: Plays

King Lear

By William Shakespeare. Sydney Theatre Company. Directed

by Neil Armfield. Roslyn Packer Theatre. Nov 28 - Jan 9, 2016.

WE were teased by the pre-publicity into thinking that Geoffrey Rush (King Lear) would strip down to his crown jewels in public for the first time since jumping on that trampoline in the movie Shine.

What was naked for the whole production was the stage, first black in act one, then a foggy blinding white in the second, as a metaphor for having everything taken from you.

Also starkers was Mark Winter as Edgar, naked for so long, and so exposed to the rain as he walked and slid (sunny side down) around the stage, that he might be at risk of catching pneumonia (and splinters) during the season.

Robyn Nevin (The Fool) opened proceedings as Marilyn Monroe in the royal court. She was crackingly good.

King Lear loved being flattered. He gives away his kingdom to two undeserving daughters Helen Thomson (Regan) and Helen Buday (Goneril) and banishes Eryn Jean Norvill (Cordelia) because his most beloved daughter declined to shower him with praise as they did. The two successful daughters were deliciously insincere.

We waited with anticipation for the best poetry of the play as Lear rages against the storm.

“Blow, winds, and crack your cheeks!”

80 Stage Whispers

Yet instead of allowing the power of the words to dominate undiluted, Neil Armfield almost drowned the cast in wind and water.

Rush did not descend slowly into madness, but displayed snatches of it.

There was a playfulness and physical comedy, which was spectacular if not utterly heart wrenching. Was the audience moved to tears? Not quite.

With its cast and director King Lear looked on paper to be the best play of the year. It did not quite get there.

David Spicer Frankie & Johnny in the Clair de Lune

By Terrence McNally. 45 Downstairs, Melbourne. Nov 11 29.

MCNALLY’S stunning play is about the fear of connection, the alienation of loneliness, the redemption of love. Frankie works in a diner, Johnny is the cook - and unapologetic romantic - who believes the linking of their names is more than just synchronicity. They have a date which ends in sex … and that’s the easy part of the relationship. It’s what lies beneath that threatens to swamp them.

Kate Kendall is superb as Frankie, bruised, maybe damaged beyond repair. Damien Richardson brings us an annoyingly desperate Johnny who tries too hard to impress, to be romantic, to woo the un-wooable. This Johnny is not bitter, not cynical…he’s hyper, and a little scary because he gushes, and shouts, and overworks his case.

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Jacob Battista has outdone himself with a set that is totally convincing as Frankie’s one roomed apartment.

There’s even a working kitchen, which adds so much to the credibility when Johnny cooks for Frankie to show his love an absolute masterstroke.

Lighting designers Michael Tait and Chris Kappa bring an innovative freshness to stage lighting and an integral part is the use of outside the theatre. Director Colette Mann is skilled throughout and uses the alleyway and the huge arched windows to create an outer world. The lighting gives us streetlights, and the moon - all exterior - and a sunrise to fall in love by.

This is clearly a work of love from all concerned, and very special and worthwhile theatre.

Coral Drouyn

The audience initially sees a 25-year-old single mother, Stephanie, gushingly voicing her determination to make her six-year-old daughter, Raquel, a child star.

Then, a 19-year-old youth, Timmy, who seems to be more down-to-earth and relaxed, appears. But Timmy soon reveals that he has been incarcerated in a correctional facility for eight years after being found guilty of murdering a younger boy, and is about to transfer to a halfway house as the first step towards his release.

This was the first production by a new Newcastle stage company, Two Tall Theatre, established by the show’s director, Patrick Campbell, and actress Amy Wilde, who played Stephanie. The pair’s combination with 18-year-old actor Jerry Ray as Timmy created a work that had audience members waiting for the next, often casually delivered, revelation.

A Murder Is Announced The actors’ down-to-earth delivery of the characters’

By Agatha Christie, adapted by Leslie Darbon. Therry words was increasingly unsettling. In her last appearance, Stephanie’s reflections made it unnervingly clear that Dramatic Society. Arts Theatre Adelaide. Nov 5-14.

THERRY’S production of A Murder Is Announced is very Raquel was now in the hands of a paedophile producer traditional ‘Christie murder mystery’ theatre and therefore who was supposedly putting her into the big time of falls a little into the tedium trap that the play’s wordiness television commercials and stage shows. And while Timmy inevitably produces. was more forthright about the consequences of his fiveDespite the gorgeous box set, I felt myself wishing minute action, he likewise was in denial of the impact it Director Ian Rigney had taken some risks with the staging in had on other people’s lives. order to add visual variety and unexpected surprises.

Ken Longworth The people of Chipping Cleghorn are shocked to read an advertisement in the local newspaper that announces a A Christmas Carol murder will take place at the home of well-known local,

By Charles Dickens. Malanda Theatre Company. Nov 27-Dec Miss Letitia Blacklock, at 6.30 pm that day.

6.

Due to unforeseen circumstances, Nikki Fort took over MALANDA Theatre Company is well into the Christmas the major role of Letitia Blacklock with only nine days’ spirit with an excellent stage adaptation of Charles Dickens’ notice. On opening night she performed it wonderfully, A Christmas Carol. The exceptionally large cast does a fine without a script in hand. job. Director Mark Baker has opted for a minimal set with Lindsay Dunn is an excellent Inspector Craddock. Anna superb background projections to bring the story to life.

Pike looks and sounds ideal as Miss Marple, but had some The opening projection of a snow covered Victorian-period issues with lines on opening night. Jude Brennan is very street really sets the scene. good as Dora Bunner, but could lift her volume. Zoe Dibb is Jim Hill’s Ebenezer Scrooge seems more kindly than a scene-stealer as Mitzi the maid. Her comic timing is what is usually portrayed but his characterisation works. terrific. The remaining cast all do well.

Alex Dawson as Bob Cratchit is engaging in an emotional Overly long closed-curtain scene changes tend to role. Alex’s scenes with Tiny Tim, so well played by Rex exacerbate pace issues.

Oliver, are very touching. Also impressive are Chris Kemp as This production will gain momentum as the season the young adult Scrooge and his then girlfriend Belle, continues. In the true tradition of good community theatre played confidently by Emily Curcio. Their scene together is companies, Therry, along with Director Ian Rigney and his one of the most crucial in the storyline. cast, have soldiered on against adversity.

The various Christmas spirits are all excellent, as is Mark Lesley Reed Baker as Jacob Marley, Scrooge’s long-dead business partner. However, I thought Scrooge did not seem too The Age of Consent surprised to see the hideous, chain-embalmed phantom of

By Peter Morris. Two Tall Theatre. Royal Exchange, Marley haunting his bedroom.

Newcastle. Oct 29-31.

Peter Cummins as Scrooge’s nephew Fred is strong THE transition from childhood to being an adult is not along with Kirsten Adams as Mrs. Cratchit and Howard easy, with growing youngsters and the older people who Smith as Mr. Fezziwig. There is also an amusing comedy care for them alike generally involved in the creation of scene involving Tony Birch (old Joe), Gill Birch (Mrs. Dilber) problems. and Marg Proctor (Mrs. Harrington) in act two.

In The Age of Consent, playwright Peter Morris uses two The costumes are all amazing and authentic looking. alternating monologues to look at issues that impact on First time director Mark Baker has done a commendable job young people’s lives, and, in some cases, are generated by in bringing a classic story to life. them.

Ken Cotterill Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 81

Project: Hysteria - The Pretty Trap and Interior: Panic Two one-act plays by Tennessee Williams. TBC Theatre / Poppy Seed Festival. Trades Hall Ballroom, Melbourne. Nov 10 - Dec 13.

THE immediate impression is of heat, sweat, languor and frustrated sexuality in a 1930s ‘south’ of the USA. This vision is a triumph for director Alister Smith and lighting designer Daniel Chapman.

Each play has a cast of four, but as one play is enacted, the other four cast move like silent ghosts and suggest the darker, more ‘hysterical’ motives of the characters. The device at times works extremely well, but at others can be a distraction.

The Pretty Trap is a forerunner of The Glass Menagerie.

Described as ‘light comedy’, it’s not that great. Painfully shy Laura (Jessica Redmayne) is too easily won over by ‘gentleman caller’ Jim (Eddie Orton), while brother Tom (Damien Harrison) is no more than a plot device.

Interior: Panic is a precursor to A Streetcar Named Desire. Harassed, pregnant Grace (a lovely restrained performance from Fleur Murphy) is the peacekeeper between her sister Blanche (Annie Last) and her husband, butch working man Jack (Vaughn Rae). George (Luke Cadden) is the gentleman caller - bland and menacing.

It is unfortunate then that the acoustics, the too loud music, the struggle with ‘southern’ accents and a propensity to suggest ‘hysteria’ by excess tend to overcome the text. In The Pretty Trap, Trudi Boatwright as Mama Amanda has great presence, but in her big speeches much meaning is lost. With Interior: Panic, Ms Last is seductive, sensual, radiating anxiety with every move - but she suffers much the same fate.

It’s disappointing that these miscalculations mar wonderful theatricality and images redolent with darkness, sadness and desire.

Michael Brindley

(Tamara Bennetts & Sue Wylie). Both have very different ideas of what constitutes acceptable workplace behaviour and come to see the other as a threat to their career ambitions. The chemistry between these two ladies is suitably heated, and comes to the boil at just the right pace.

In the second play, Fortune, a pensioner (Michael Eustice) reeling from the recent death of his girlfriend faces the prospect of being kicked out of the house by her estranged son (Mark Healy), who is now the legal owner of the property. This piece takes longer to build momentum, in part due to the more emotionally reserved nature of the characters, but Eustice and Healy both radiate an affecting vulnerability.

The closer, Night, sees a ditzy shop assistant (Anna Bampton) drunkenly strike up a conversation with a worldly nurse (Cheryl Douglas) in a crowded, noisy nightclub. Both Douglas and Bampton play drunk with hilarious flair.

Sets and props are minimal, yet sufficient to firmly establish each scene, while the blocking makes good use of the limited space available.

Benjamin Orchard

The Game’s Afoot

By Ken Ludwig. Javeenbah Theatre Co, Nerang, Gold Coast.

Director: Jim Dickson. Nov 13 - 28.

LIKE all good murder mystery/comedies, this show twisted its way to a somewhat surprising conclusion, delivering plenty of laughs as it progressed.

Jim Dickson’s cast of Chris Hawkins, Marie Dickson, Nathan Schulz, Lilias Davie, Sophie Lawson, Andrew Barnes, Gai Byrne and Virginia Leaver suited the characters they portrayed and complemented each other beautifully.

The set was impressive, with a secret revolving bar put to good use for stashing the body. The stylish costumes and ‘arty’ furniture added to the ambiance of the piece. The numerous effects required were in the capable hands of Beer Theatre technical wiz Colin Crow. The impressive array of deadly

By Raimondo Cortese. Butterfly Theatre. Directed by Geoff weaponry gave the murderer plenty of options when it Britain. The Wheatsheaf Hotel, Thebarton (SA). Nov 10 - 19 came to doing the dastardly deed.

BEER Theatre consists of three two-hander plays, of Making his stage debut as pampered pooch Portia, “Monty” was completely at home and looked suitably around half an hour each. bored with the whole situation.

The first play, Hotel, is a conversation between two members of a resort’s cleaning staff on their smoko break Roger McKenzie

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Quartet

By Ronald Harwood. Directed by Terry Hackett. KADS Theatre, Kalamunda, WA. Nov 13 - Dec 5.

SET in a home for retired opera singers, Quartet sometimes feels like a cross between Sex and the City and The Golden Girls with its sexy and funny themes.

On a set beautifully designed and gorgeously dressed by Rose Weighell and Jan Taylor, we meet established residents of the home. Cissy Robson (Kerry Goode) is a former leading soprano who is losing her marbles. Douglas Sutherland-Bruce plays slightly naughty, rough around the edges Wilfred Bond, while Kim Taylor is the straight-laced, marmalade loving Reginald Pagett. Their quiet, amiable

Longer versions of many reviews can now be found at www.stagewhispers.com.au

Good Works.

Photo: Helen White.

existence is threatened by new resident, renowned star Jean Norton (Anita Bound), who also happens to be Reginald’s ex-wife.

This nicely presented play, very well acted by the four actors, rattles along in what is a solid show.

A lovely atmosphere front of house (thanks to KADS President Lesley Marshall and staff) adds to the warm feelings of the show, which is being well-received by capacity houses.

Kimberley Shaw Good Works

By Nick Enright. Darlinghurst Theatre Company. Nov 4 - 29.

IF only Australian plays were revived more often. This production of Good Works, written by Nick Enright in 1995, proves the value of our own storytelling on stage. It’s an ambitious play in that it throws away chronology and other conventions of the stage. But it succeeds in that ambition and 20 years later, resonates strongly.

From before the Second World War through to the 1980s, Good Works traverses three generations of two Australian families. They live in a small country town, where intolerance is common and cruelty often the key to survival.

The play is essentially a set of memories that Tim Donovan (Stephen Multari) confronts as he looks back at his relationship with a childhood friend, Shane Kennedy (Anthony Gooley). Multari and Gooley are skilful, grounding the play around its central characters. Taylor Ferguson (Rita) and Lucy Goleby (Mary Margaret) are vivacious and

compelling; Toni Scanlan and Jamie Oxenbould play smaller parts but their performances are the biggest of all.

Iain Sinclair’s production is ravishing (on Hugh O’Connor’s beautiful set). He allows time to shift without signposts and, although this can be confusing, it’s ultimately rewarding. The play becomes dreamlike but insight pushes through to reveal a uniquely Australian story.

Peter Gotting With Love From The Trenches

By Vicky Horwood. Cabaret Under The Star. Oct 23 - Nov 1.

WITH Love From The Trenches is a very fine example of theatre based on war.

English-born, Adelaide’s well known actor/director Vicky Horwood has written the short play in honour of the Centenary of WWI and dedicates it to the memory of her grandfather.

Told through correspondence between mother and son, interspersed with poems and an occasional recorded song from the era, the story evokes memories of any family caught up in war. As such, it is powerful, absorbing and intensely moving theatre.

Essentially, the play tells of the importance to the troops of little things, of the comfort of hearing about everyday happenings at home. It also starkly highlights that these young men protected their mothers from the true realities of the trenches and in their return correspondence, told little of their suffering.

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Stage Whispers 83

The Popular Mechanicals.

Photo: Shane Reid.

In addition to writing and directing her short play, Vicky Horwood plays The Mother in this current production. She embodies the gentle stoicism of mothers of the time. This is an excellent performance.

Hal Bruce is very good as The Son and does well to convey the need his character has for a link to his mother and his extended family through correspondence.

The conduit between the war-separated worlds of mother and son is the Muse, played by Russell Starke. His performance is superb as he provides commentary and context through many wartime poems from the likes of Thomas Hardy, Siegfried Sassoon and more.

Lesley Reed

Mowldie. Mayer drapes his long legs and rib-tickling comedic talent all over the set. A screamingly funny highlight of the night is Mowldie’s secretive and drawn-out sculling directly from a cask of red wine.

Amber McMahon’s Snug is deliciously naughty, with her Tudor ruff and little black moustache. Lori Bell, as Tom Snout, is also wonderful, especially in Tom’s memorable, eye-watering rendition of a cracked wall through which lovers kiss. Julie Forsyth is absolutely brilliant and delightfully endearing as Robin Starveling. Her portrayal of Robin playing ‘the moon’ brings the house down.

Rory Walker’s comic timing is superb and his expressions are sublime as Peter Quince. Tim Overton rounds out a terrific ensemble and is wonderful as Francis Flute.

The Popular Mechanicals Just when I thought I couldn’t laugh any harder, out

By Keith Robinson, William Shakespeare and Tony Taylor. came the rubber chickens. Gasp!

State Theatre Company SA. Space Theatre, Adelaide Festival Lesley Reed Centre. Nov 6 - 28.

MONTY Python eat your heart out; what a hoot STCSA’s Eurydice production of The Popular Mechanicals is.

By Sarah Ruhl. Directed by Yasmin Gurreeboo. Plant One, Narrated like a fairytale (peppered with plenty of rude Bowden (SA). Oct 27 - Nov 7. bits, mind), the story is set in Tudor times. Shakespeare’s THE virtuoso musician, Orpheus’ love for the fair Rude Mechanicals from A Midsummer Night’s Dream Eurydice is so strong, that when she dies he ventures into become the stereotype of amateur actors as they rehearse the underworld to retrieve her. Initially disoriented by her entrance into the world of the dead, Eurydice struggles to The Most Lamentable Comedy and Most Cruel Death of Pyramus and Thisbe, in the hope their little thespian troupe remember her mortal life. A reunion with her deceased will be chosen to perform in front of the recently married father helps Eurydice recall the joy of living, but also leaves royal couple. her conflicted about returning to the mortal world.

Tall and lanky, Charles Mayer is lead actor Bottom, but is Annabel Matheson portrays Eurydice with a winsome particularly hilarious as inebriated ‘professional’ actor zest for life in the early scenes, detailing her whirlwind 84 Stage Whispers

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romance with Orpheus in the Earthly realm, but is equally impressive in communicating her scatterbrained confusion upon entering the underworld and the anguish of her divided loyalty. Patrick Frost brings both warmth, and an authentic world-weary authority to the role of her father and the two actors demonstrate a natural rapport. If the play has a weakness, it’s that Eurydice’s relationship with her father often registers more strongly than her relationships with Orpheus (Antoine Jelk) and The Lord Of The Underworld (Eddie Morrison). That said, Jelk and Morrison do have impressive individual scenes. The chorus played by Graham Self, Katherine Shearer and Britt Plummer - are frequently hilarious in their alien mannerisms.

Sets are minimal but immediately striking in their use of unusual components, and the lighting ensures clarity in scene transitions.

Benjamin Orchard Don’t Dress For Dinner

By Marc Camoletti. Directed by Chris McLean. Heidelberg Theatre Company. Nov 20 - Dec 5 HEIDELBERG Theatre Company has a gem of a director in Chris Mclean, and he, in turn, has mounted a gem of a production in Marc Camoletti’s Don’t Dress For Dinner.

Bernard (Justin Stephens) and Jacqueline (Cat Jardine) are married but, unbeknown to each other they each have a lover - and Jacquie’s just happens to be Bernard’s best friend, Robert (Mark Briggs). Then there’s Bernard’s lover Suzanne (Eleni Miller) who somehow gets mistaken for Suzette (Rhiannon Leach) a chef from a catering company who also happens to be married to the jealous George (Gavin Baker). There’s a lot of mix-up between bedrooms in the old farmhouse that were once the Cow-shed and the Pigsty. You can see where this is going and the mayhem that ensues is beyond explanation. In any case, you won’t care; you’ll be laughing too hard. The cast is exceptional, with all showing great comic timing and inventive business - Briggs in particular. But it’s the combination of Briggs, Stephens and McLean that steals the night.

Coral Drouyn

professional conflict naturally has a ripple effect on Ira’s personal life, straining his relationship with wife, Margaret (Isabella Rositano).

The portions of Chakrabarti’s play chronicling this illfated but game-changing production are electrifying. The dialogue is ferociously snappy and the ensemble cast deliver it in an energetically vigorous style, playing off each other with impeccable comic timing. Though the wit in these conversations is rapier sharp, none of the phrasing comes across as unrealistically stylized and the underlying dramatic conflict feels authentic. Unfortunately, the framing device used for the main action comes across as tediously pompous. The play would’ve been considerably improved if these scenes were cut out altogether, though the dynamic blocking and lighting design inject some life into these scenes.

Benjamin Orchard Private Peaceful Based on a book by Michael Morpurgo, adapted by Simon Read. Rondo Theatre, Cairns. Oct 29 - 31.

AN extraordinary one-man, one-act play, based on a book by Michael Morpurgo (War Horse), Private Peaceful tells the story of Tommo, a British soldier shortly before his dawn execution.

In a prison cell Tommo recalls his very short life story. He tells us of his carefree childhood on a Devon farm and his relationship with his brother and his first girlfriend, Molly.

Then, how he was recruited into the British army and his harrowing time on the battlefields of Belgium, the heavy bombardments and the insane orders. Finally, he tells of his conviction for cowardice.

Andy Bramble as Tommo is outstanding. He plays all the various characters in Tommo’s life, with different accents and mannerism. On a sparse set Bramble, accompanied by excellent sound effects, relives the horrors of trench warfare and the insanity of it all. At the same time we are in his prison cell, counting down the hours until his dawn execution.

Brilliant theatre, well directed by Kevin Shorey, Private Peaceful is a quality play performed by a quality actor.

Ken Cotterill

Live character projection during The Red Velvet Game at Melbourne Gang Show 2011.

By Lolita Chakrabarti. Director: Rob Crosser. Independent Soulmates Theatre (SA). Goodwood Institute. Nov 20 - 28.

By David Williamson. St Jude’s Players. St Jude’s Hall, IN 1833 London, Pierre Laporte (Domenic Panuccio), the Brighton (SA). Nov 12 - 21. manager of Covent Garden’s Theatre Royal, chooses African ADELAIDE’S St Jude’s Players do an ingenious job on a -American actor Ira Aldridge (Shedrick Yapkai) to replace tiny stage to portray the multiple settings of David ailing veteran Edmund Kean in the role of “Othello”. Ira’s Williamson’s Soulmates, with the cast dealing well with the very presence upsets the more conservative members of the frequent costume changes. company, especially Keane’s smugly entitled son, Charles Ex-pat Australian author Katie Best plans revenge when (Will Cox) and cynical stage veteran, Bernard (David Roach). she hears at her base in New York that back home, But Ira’s pioneering approach to acting also challenges the Melbourne literary critic Danny O’Loughlin has panned her more progressive members of the company (Haley Smith, popular novels as ‘airport trash’.

Jett Zivkovic, Rebecca Plummer). The theatre’s In setting his play in the aftermath of the 2001 terrorist unpretentious Jamaican-born housekeeper (Noma Mpala) attacks in New York, Williamson adds additional dimension watches on in quiet bemusement as the dysfunctional to the play’s social comment, because he doesn’t shy away troupe struggle to resolve their differences, and this from an occasional irreverent, cutting and perhaps

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politically incorrect one-liner about aspects of the post event public reaction.

Debbie Walsh is a standout as Heather, wife of literary critic Danny. Walsh develops the character’s vulnerability and wide-eyed infatuation with Max Van Niekerk extremely well. Brian Knott is also very good as the book critic.

Joanne St Clair is terrific as effusive author Katie Best, growing louder and more crudely calculating as the story unfolds. Brian Godfrey develops the quietly long-suffering nature of Katie’s American husband Gordon well, although struggling to maintain the accent.

Georgia Stockham is excellent as Fiona and Barnaby Grant is also good as Greg. Andrew Horwood produces a fine performance as South African writer, womaniser and ‘user’ Max Van Niekerk, even down to the accent.

Lighting and sound are each crisply achieved, complementing the good pace ensured by the directing, acting, set design and backstage work. Well done to all involved, particularly in view of the multiple scene changes.

Lesley Reed

GCLT’s intimate venue is ideally suited for this type of entertainment; the audience felt as though that they were part and parcel of this ‘bonding session’ and really enjoyed the whole process.

Roger McKenzie

Moonlight and Magnolias

By Ron Hutchison. 1812 Theatre (Vic). Nov 19 - Dec 12, THERE can’t be anyone who doesn’t know of the blockbuster movie Gone With The Wind. Ron Hutchison’s play is a farce - and the events it is based on (in Ben Hecht’s autobiography) are farcical in themselves. When Producer David O. Selznick called Script Doctor Hecht and Director Victor Fleming into his office, it was to lock the door and hold them hostage, fed only on bananas (nutrition and vitamins) and peanuts (energy) for five days while they wrote a new script for the film, which had foundered.

Skilled director Loretta Bishop has a marvelous cast of four highly talented actors who (mostly) avoid going too far over the top. Tim Byron is superb as Selznick, completely convincing as the producer who has his future on the line, Social Climbers and is determined not to be beaten. He makes Selznick real

By Roger Hall. Gold Coast Little Theatre, Southport. Nov 21 and believable, and truly lets loose only when - Dec 12. impersonating Scarlett O’Hara or Butterfly McQueen (“I WHAT do you get when you take 6 women (in varying don’t know nothing ‘bout birthing babies Miss Scarlett.”). stages of their personal journeys), an isolated bush hut, Brett Hyland’s Hecht hasn’t even read the book and has to alcohol and 4 days at the mercy of the elements and wild be told the story as he’s writing the script. He also has real life? A hilarious piece of theatre! presence on the stage, and great timing, necessary to Helen Maden has taken this play and talented cast and counter the acting chops of Mr Byron. Kirby Chenhall is created a memorable piece of theatrical magic.

Victor Fleming, and brings the right degree of arrogance The ensemble cast bounce of each other (and everything and self-assurance to the role, plus some delicious comic that they bump into) with flare and take the audience along touches. Wendy McCrae is often hilarious as Selznick’s for the experience. hapless assistant, though she teeters on the OTT tightrope.

Great performances from Suzanne Grant, Susan Carey, Robin Miller’s gorgeous set was of exceptional standard Del Halpin, Amy McDonald, Laney McLean and Camille and Robin LeBlond gave us a practical but effective and well Chorley, along with Helen’s fabulous set (including the -executed lighting plot but sound does need a rethink. outdoor dunny).

Coral Drouyn Despite a few minor technical hitches this show certainly lives up to it’s description of “a glorious romp”!

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A Bad Year For Tomatoes.

Photo: Chris Lundie.

A Bad Year for Tomatoes

By John Patrick. Castle Hill Players. Pavilion Theatre, Castle Hill. Nov 20 - Dec 12.

THERE are lots of laughs in this almost-farcical comedy set in a country town west of Hollywood.

Famed character actress Myra Marlowe has taken time out to write her autobiography … and grow tomatoes. She has chosen Beaver Haven because it is a small town. To ensure she is not recognised, she has gone back to her real name, which provides one of the word ‘gags’ of the play.

Her plans go painfully awry when the local community busybodies come visiting - constantly.

Annette van Roden gives a confident, skillful performance as Myra, finding the elegance and guile of the successful actress yet the naivety of dealing with small town curiosity and meddling.

Ben Freeman plays her agent, Tom Lamont who would prefer her to be back in Hollywood earning him some commission.

Mary Clarke and Annette Snars play the nosey neighbours, Cora Glump and Reba Harper. Both push the parody of these comical caricatures. Another local, Willa Mae Wilcox, clairvoyant-cum-soothsayer-cum-meddler, is a gift for Sandy Velini’s comedic timing.

Jason Spindlow is perhaps the comic glue that binds the production. He plays Piney, local woodchopper and manure supplier. With Meredith Jacob’s tight direction and his own immaculate timing and facial expressions, Spindlow makes the character scarily funny and increasingly endearing Carol Wimmer

Dangerous Corner

By J.B. Priestley. Centenary Theatre Group. Chelmer Community Centre, Brisbane. Nov 14 - Dec 5.

DANGEROUS Corner dates from 1932, J.B. Priestley’s first play, one of his impressionistic ‘time plays’ which explored the nature of time and presented alternative versions of the same series of events. The play is of its time and dated, but being written as a thriller it plays like one.

Kurt A. Lerps has retained the period setting, tunes from the era emanate from a radio along with static, while everyone sits around a very fifties-looking living room in evening dress.

Julie Moran was the strength of this production as the spinsterish Olwen, an authoritative presence with a command of the stage. Brian Hinselwood’s Charles was also a nicely drawn character performance. As Freda, the wife who eventually spills her secrets, Meg Hazelwood kept it stoic until the reveal, while Simone-Maree Dixon’s Betty displayed all the strain of marital indiscretion. Erik de Wit’s Robert suffered somewhat by his frequent OTT outbursts and his playing of the text as melodrama. Nathaniel Young as the conflicted Gordon was believable, as was Anita Parakh-Morgan as author Miss Mockridge.

Lerps direction was fairly run-of-the-mill, but he kept it pacy as the revelations unfolded and Priestley’s theme of how much truth can we handle in our private lives was punched home to the full.

Peter Pinne

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David Lynch and Kate Raison in The Good Doctor.

Photo: Clare Hawley.

Away

By Michael Gow. Pantseat Productions. Civic Playhouse, Newcastle. Nov 12 - 14 THIS production confirmed the status of Michael Gow’s Away as one of the best Australian plays. Director Allison Van Gaal, the actors and the technical team evocatively brought out the sadness and humour in the lives of three families who head to northern NSW beaches and the Gold Coast for summer holidays.

A scene, for example, has Vic, the mother of a critically ill teenage boy, telling new arrivals about the joy of walking with her husband and son along the beach near their campsite. At one point she talks about looking back “and there are just three lines of footprints trailing away into the distance”.

Stephanie Priest, as Vic, movingly brought out the mother’s concern about her son’s illness when she paused after saying that, with the look on her face telling the audience she realised this was probably the last time she would see three sets of footprints in such a situation.

The director also made an interesting and moving change to the play’s final moments. The holiday scenes are framed by high school students engaged in performances or readings of Shakespeare plays. The end has a return-toschool class being introduced to the tragedy King Lear, with a teacher, in Gow’s text, asking the ill boy, Tom, to read the king’s opening speech which points darkly to Tom’s fate.

Allison Van Gaal didn’t have Tom in the scene. As other students wordlessly went through the text, the audience saw projected scenes of Tom enjoying himself on the 88 Stage Whispers

holiday. He had clearly died before returning to school, and the brightness of the images added to the poignancy of his fate.

The set, by Matt Bundy, Daniel Kavanagh and Allison Van Gaal, allowed constant changes of place without difficulties. The two low platforms, and the area in front of them were a sandy yellow, with the floor section close to the audience a watery blue. It was indeed a lovely place for a holiday away.

Ken Longworth The Good Doctor

By Neil Simon. Ensemble Theatre (NSW). Director: Sandra Bates. Nov 27 to Jan 17, 2016, then Glen Street Theatre Jan 19 - 24, 2016 USING several works by Chekhov, this is a series of vignettes linked by a conversation between the writer Chekov himself - and the audience. The stories are typical Chekhov, the style, typically Neil Simon - witty dialogue that requires good timing and creative direction.

Both are evident in this production, despite the fact that Glenn Hazeldine, who was playing the pivotal role of the writer, was hospitalised just before the first preview.

Fortunately Adriano Cappelletta was available and prepared to take on the mammoth task of filling Hazeldine’s shoes. And he does a sterling job. He is engaging, very funny and sets the necessary pace.

David Lynch plays the ‘older’ male characters with true Chekhovian style, in one scene depicting a widower’s sad lack of self-confidence with tender understatement.

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Kate Raison wears the Russian characters elegantly, moving from imperious employer to lonely widow to shrewish harridan with experienced ease.

Chloe Bayliss plays five different young women with quiet aplomb, but it is as a shy, young governess that she is most impressive.

Nathan Wilson plays a variety of young men, all requiring energy and a range of emotions, especially those of a lowly public servant who sneezes on his boss.

The production is entertaining and funny and sustains a fast pace.

Carol Wimmer

Maria Thompson’s Emma was not earthy enough, whilst Liz Morris’ Pearl lacked style with nary a hint of ‘muttondressed-up-as-lamb.’ Gabrielle Dallas was an innocent looking Bubba, but her projection was spotty.

Leo Bradley’s set design was terrific, a bit on the large side for a terrace house in Carlton, but the attention to detail in the dressing was impressive. Only blot on Wockner’s fine production was a soundtrack of folk songs, which seemed totally out of place for these characters.

Peter Pinne

Don’t Dress for Dinner

By Marc Camoletti. Directed by Walter Learning. Canberra The Farndale Avenue Housing Estate Townswomen’s Guild REP. Theatre 3, Canberra. Nov 19 - Dec 5.

Dramatic Society Murder Mystery DON’T Dress for Dinner is a fast and funny farce, and an

By David McGillivray & Walter Zerlin Jnr. Director: Nash amusing evening of mind-twisting fibs, truth Theatre. Merthyr Road Methodist Church, New Farm, entanglements and wit. It is set in a renovated farmhouse Brisbane. Nov 14 - Dec 5 in France, where Bernard the philandering husband is NASH Theatre rounds out their season of Murder They sending his wife Jacqueline to her mother’s house for the weekend. His plans are messed up by the early arrival of Wrote with one of the Farndale Avenue Housing Estate titles, a very popular series for amateur theatre companies Robert, his friend, as well as the arrival of Suzy the caterer, worldwide. Basically it’s a poor man’s Noises Off where an and Jacqueline changing her plans. amateur group put on a play and everything goes wrong.

The standout casting of Peter Holland as Bernard and But where Noises Off is written with far more sophistication Rob de Fries as Robert was inspired, as both men appear to and is funnier, Farndale Avenue Murder Mystery aims its relish the roles and bring the right level of levity, desperation, bewilderment and triumph to each character. arrows lower at an undemanding theatre restaurant level with lots of double entendre about sex and genitals, and a Direction by Walter Learning shows perfect timing and good supply of cross-dressing. tightness, with no wasted moments. Physical comedy is In the play, the group’s spokesperson and master of under control, and there are many laugh-out-loud ceremonies is the bossy Phoebe Reece, which Phillipa Bowe moments.

Natalie Waldron who plays Suzette the caterer shows played to the hilt with a delicious plummy accent. Rob Harvey’s Police Inspector was fun, and paired with Brenda- the character’s wit and sharp mind. Monique Dyson plays Keith Walker’s ditzy Daphne Bishop they incongruously Jacqueline, Bernard’s wife and Michelle Cooper plays mimed and did a dance routine to “I Could Be Happy with Suzanne, the mistress You” from The Boy Friend. The other two members of the The set evokes the renovated farmhouse perfectly, with cast, Emily McCormack and Lisa Wheildon, ran around the right touches of rusticity. Kudos to Andrew Kay and the set construction crew. Dashing in and out of doors (four in missing cues, forgetting props and playing dead bodies. this particular set) as well as disappearing up the staircase Farce has to be fast and director Gilly Graham kept it moving. It’s very English, silly, innocuous, and probably best gives the set a good work out. enjoyed after a glass of wine.

A welcome addition to Canberra Rep’s tradition of an Peter Pinne amusing farce to finish the season.

Rachel McGrath-Kerr Summer of the Seventeenth Doll Macbeth

By Ray Lawler. Villanova Players. F.T. Barrell Centre, Yeronga, Brisbane. Nov 20 - Dec 6.

By William Shakespeare. Tropical Arts, Cairns. Oct 23 - 31.

SUMMER of the Seventeenth Doll completes Villanova’s MACBETH is one of the darkest of Shakespeare’s plays.

Doll Trilogy, which began in 2013 with Kid Stakes, followed It tells the story of plotting, intrigue, fear and murder as in 2014 with Other Times. Leo Wockner’s production Macbeth leaves a bloody trail in his quest to be King.

The Tropical Arts powerful production, directed by Avril pushed all the right emotional buttons, proving why the Duck, required strong team work from a large cast. The play is a classic and still has contemporary currency.

Meagan Lawson as Olive brought depth to the character setting is sparse and dark with excellent lighting, mist and and a heartfelt pathos when her world was crumbling sound effects. As Macbeth, James Mousa is a commanding around her. It was the performance of the play. Almost figure, dominating the stage and, at times, resembling a Roman Emperor as he plots to kill King Duncan and seize matching her performance level was Gary Conwell as Barney, who played the joker and womaniser well, but also the throne. As Lady Macbeth, Velvet Eldred is convincing as found honesty when faced with the truth. Dom Tennison’s Macbeth’s scheming wife.

Roo had all the hallmarks of a proud man losing his virility, After a slow first act the action picks up in the second. while Roo’s nemesis Johnnie Dowd was a perfect fit for Ben Matthew O’Connor as the murdered King Duncan’s oldest son is outstanding as are Matthew Kerr as MacDuff and El Staver, who had the necessary bulk and abs for the role.

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Stage Whispers 89

Rumours.

Ibo as Lady MacDuff. Warren Clements, Jim Gosden, Michael Gleed and Dell Beckman are also strong in supporting roles.

Six deaf actors are in the play, each interpreting their roles assisted by Auslan (Australian Sign Language) interpreters.

Macbeth is powerful theatre and this production is no exception.

Ken Cotterill Rumours

By Neil Simon. Galleon Theatre (SA). Domain Theatre, Marion Cultural Centre. Nov 19 - 28.

GALLEON Theatre Group has developed a very fine South Australian Premiere of Rumours, the British version of Neil Simon’s well-known comedy.

Four sophisticated married couples arrive in cocktail attire at the upmarket home of prominent government official Charley and his wife Vivian. They expect to help the two celebrate their tenth wedding anniversary, but instead are caught up in a night of hilarious deception and confusion.

Supported by a mostly highly experienced cast, Director Kym Clayton keeps the action at hectic pace, particularly in the first act.

Anita Canala is outstanding as Chris Bevans. She gives one of the best performances of someone inebriated that I’ve ever seen on stage. Peter Davies as Chris’s husband Ken is excellent and particularly funny when Ken temporarily loses his hearing.

Giving Anita Canala a run for her money in terms of stealing scenes is Andrew Clark as Len Cummings. His final 90 Stage Whispers

monologue of desperately imagined explanations is terrific.

Linda Lawson is delightful as Len’s wife, Claire Cummings.

David Lockwood is wonderful as the therapist Ernest Cusack, while Lindy LeCornu is absolutely hilarious as his wife Cookie. John Koch is terrific as Glenn Cooper and Leanne Robinson is suitably venomous as Cassie, his wife.

Galleon Theatre Group invariably puts on high quality comedies, but the company’s production of Rumours is a quite a standout.

Lesley Reed Only An Orphan Girl

By Henning Nelms. Adelaide Repertory Theatre. Directed by Pam O’Grady. The Arts Theatre, Adelaide. Nov 19 - 28.

WITH Only An Orphan Girl the Adelaide Rep have put together a lively pastiche of ye olde music hall variety shows, in which a nonsensical melodrama unfolds episodically, interspersed with snappy stand-up comedy routines, spirited singalongs and some simple magic tricks.

Joshua Coldwell’s MC introduces each segment of the show with extravagant hyperbole and contagious enthusiasm.

The 19th century melodrama that unfolds concerns a dastardly Snidely Whiplash style villain (played with moustache-twirling glee by Barry Hill), trying to swindle some wholesome, all-American farmers out of their land - the damsel in distress is played with nauseating sweetness by Sophia Bubner, and the hero with gormless idealism by Robert Bell. The country-hick supporting characters (Jude Hines, Rose Vallen, Gary Anderson, Jean Walker and

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Penelope Hamilton-Smith) all have striking moments of camp stupidity. Taken as a whole, it’s cheez elevated to the level of comic genius.

Much the same can be said about Wayne Anthoney’s magic routine, in which he assumes a bungling persona and makes a whole lot of “so unfunny that they’re funny” jokes, which has the effect of making his successful sleight-of-hand tricks seem almost surprisingly competent.

Richard Hobson, Rebecca Kemp and Annie Hall lead the singalong portions of the evening with gusto, and are strongly supported by pianist Sandi McMenamin and drummer Rowan Dennis.

Benjamin Orchard The Importance of Being Earnest

By Oscar Wilde. Upstage Youth Theatre. Albion Farm Gardens, Woodville (Maitland). Nov 13 - 28.

THIS reviewer has seen many productions of Oscar Wilde’s delightful comedy, but few that have had me and other audience members laughing so effusively at the crackerjack staging.

The title is a jesting reference to the two central male characters pretending to be called Ernest because the women they are attracted to are determined to marry men with that name.

And when circumstances bring the four together in the same place, the very earnest protestations of love and devotion offer witty repartee.

Wilde set the play in the 1890s, the time it premiered, but directors Andrew Coates and Ann Croger showed how timeless the situations and people are by moving it to the 1920s.

I saw the production on the opening night in circumstances that reinforced its quality. While it was intended for staging in an outdoor setting, a fierce storm led to it being performed in an alternative venue, a historic barn. The thunder and lightning and occasional heavy rain on the roof did not distract from the engaging dialogue and action.

The mood was set by an unsmiling butler holding up placards with drawings that amusingly delivered the preshow messages, such as turning off mobile phones.

Then that butler’s young master, Algernon Moncrieff, prepared for bed, with the expressions and movements of the actor, Jack Gow, having the audience in fits. And when Algernon got out of bed to welcome his friend, Jack Worthing (Tim Moran), the story got briskly under way, with Jack explaining that he called himself Ernest when in London because that name appealed to the prim Gwendolen Fairfax, Algernon’s cousin, with Gwendolen (an elegant Bree Ryan-Hill) soon arriving with her mother, Lady Bracknell (a sternly refined Ann Croger).

The action in the second half moved to Jack’s country home, with a garden setting, and the audience delightedly enjoying the increasing confusion caused by both Jack and Algernon declaring themselves to be Ernest in their wooing efforts.

Ken Longworth

PERFORMING ARTS MAGAZINE JANUARY/FEBRUARY 2016. VOLUME 25, NUMBER 1 ABN 71 129 358 710 ISSN 1321 5965

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LIMITED BACK COPIES AVAILABLE ADVERTISERS We accept no responsibility for material submitted that does not comply with the Trade Practices Act. CAST & CREW Editor: Neil Litchfield 0438 938 064 Sub-editor: David Spicer Advertising: Angela Thompson 03 9758 4522 Digital production: Phillip Tyson 0414 781 008 Contributors: Merlene Abbott, Brian Adamson, Cathy Bannister, Michael Brindley, Stephen Carnell, Rose Cooper, Kerry Cooper, Ken Cotterill, Coral Drouyn, Graham Ford, Peter Gotting, Frank Hatherley, John P. Harvey, Eric James, Neil Litchfield, Ken Longworth, Rachel McGrath-Kerr, Roger McKenzie, Benjamin Orchard, Alex Paige, Peter Pinne, Martin Portus, Lesley Reed, Natalie Salvo, Suzanne Sandow, Kimberley Shaw, David Spicer, Anthony Vawser, Carol Wimmer and Maryann Wright.

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Stage Whispers 91

Musical Spice Don’t tell anyone but I am well versed at sitting my bottom down in a theatre without paying. Sometimes my bottom is in such a plush seat that it makes my cheeks blush!

My career began when I was at University and was taken on a date by a girl in Melbourne. She took me to Arts Centre Melbourne for a classical music performance. When we were about to enter the theatre she started lying to the attendants that she had ‘lost her ticket’ and begged them to ‘please let us in’. She made such a scene that they waved us through.

The girl confessed that she never paid for a ticket, but always managed to bluff her way in. I was mortified. It was the last time I went out with her.

I have to confess that I still get into theatres without paying. Usually by invitation to review a production, or to a play or a musical I represent.

Sometimes I am lucky to be part of the opening night crowd and don’t have to work for it.

What happens if I don’t get an invite to a production I really want to see? I am not averse to paying for tickets, so long as I can choose where my seat is. For large venues I despise websites which allocate seats like a lucky dip.

How I ‘Steal’ Theatre Tickets

On occasions I use some of the chutzpa shown by my former friend. A few years back my opening night invitation to the Sydney Opera House performance of The King and I went astray. On the day I contacted the Opera Australia publicist who said she could squeeze me in, but the tickets could be in the clouds.

I walked up the steps expecting the long haul to the top of the theatre but was surprised that my ticket was in the front. Even more surprised to sit in the seat usually held for the Governor of NSW, that is dead centre four rows from the front. Lucy and Malcolm Turnbull were in the seats behind us.

(For tickets on the day they slot you in where there is a gap!)

I repeated the trick for Hugh Jackman’s Broadway to Oz. I was taken aback when the publicist said there are no media tickets, as Stage Whispers paid for a videographer to attend the launch. The reason was that ticket sales were so strong that they did not need any extra publicity.

I attempted to buy a ticket at the venue, but the major ticketing agency did not believe in having any staff at the box office to help me choose my seat allocation.

Then I noticed that some other ‘more important’ media had written reviews of the Melbourne opening. I emailed the publicist again and used two magic words. I can’t reveal what they were, but let’s say it had something to do with my business connection to one of the producers.

Hey presto two tickets to the opening became available. Not in the clouds but in the royal box, two rows behind Hugh Jackman’s father.

I think I was the only Sydney media to review it. Hugh Jackman fans shared my review on their Facebook page and thanked me for taking a video on my iPhone of the giant flag being unfurled in I Still Call Australia Home, which you can see on the Stage Whispers Facebook page.

My cheeks were blushing.

David Spicer

92 Stage Whispers January - February 2016

Read scripts, listen to music and order free catalogue at:

www.davidspicer.com.au david@davidspicer.com (02) 9371 8458

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