Let's Put On A Show

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Contents Choosing A Show ................................................ 6 Costumes, Props, Sets and SFX ...................... 30 Public Relations ................................................. 54 Sound and Lighting .......................................... 58 Ticketing ............................................................. 82

stagewhispers.com.au/directory-central Cover image: WAAPA Design Department students prepare for Strictly Ballroom (2019). Photo: Stephen Heath. www.stagewhispers.com.au Stage Whispers 5

Choosing A Show

Online extras!

For more listings, check out the Stage Whispers’ directory on our website. http://bit.ly/2nEEIxv Will Manukia and cast of Kinky Boots.

Photo: Grant Leslie.

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Featured Businesses

See more listings online at http://bit.ly/2nEEIxv Australian Plays Australian Plays is a national organisation based in Hobart, a not-forprofit incorporated association providing services to playwrights by publishing and licensing plays and by promoting and supporting their work with producers and educators nationally and internationally.

Founded in 1979, we constantly seek ways to maximise our resources and find innovative ways to promote, curate, connect and champion Australian plays and playwrights.

77 Salamanca Place Hobart, TAS 7000 +61 3 6223 4675 www.australianplays.org David Spicer Productions David Spicer Productions manages the rights to Musicals and Plays in Australia and New Zealand suitable for small or large cast. Genres include Australian musicals, Rock Musicals, Juke-Box Musicals, Operetta, Farce, Dinner Theatre, Drama, Comedy, Pantomime and Youth theatre.

The company’s most popular shows in 2019 were We Will Rock You, Back to the 80’s, Ladies in Black, Masquerade, Popstars, The Boy From Oz, Disco Inferno, Australia Day, Essgee’s Pirates and Song Contest.

PO Box 2280 Rose Bay North, NSW 2030 +61 2 9371 8458 david@davidspicer.com www.davidspicer.com.au Judith Prior Comedy Scripts Australian Comedy Writer, Director and Producer of Musical Theatre, Theatre Restaurant, Dinner Theatre, School and Youth Theatre Musicals for over forty years.

A collection of hilarious comedy scripts, successfully performed in Australia, New Zealand, USA, Ireland and the United Kingdom. Judith’s earthy, sometimes slightly naughty sense of the ridiculous, guarantee her scripts will appeal to all ages.

Dinner Shows have suggested music titles, or choose your own music. Juke Box Musicals include sheet music arrangements for band, rehearsal CD, and backing track.

All of Judith’s work is managed and distributed by David Spicer Productions of Sydney. www.davidspicer.com.au Sample scripts available at www.davidspicer.com.au/author/judith-prior 6 Ryan Street Bundaberg, QLD 4670 +61 4 2752 7003 prior00@bigpond.com Maverick Musicals An exciting selection of original scripts for high school musicals, primary school musicals, one act plays and two act plays for schools and drama groups. Or choose from a good range of award-winning Festival Plays for community theatre groups. You’ll also find popular school plays, including challenging scripts for high school, drama and theatre students. +61 4 2747 7338 editor@maverickmusicals.com www.maverickmusicals.com Choosing A Show directory: http://bit.ly/2nEEIxv

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Music Theatre International (MTI) Music Theatre International (MTI) is one of the world's leading theatrical licensing agencies, granting the rights to perform the greatest selection of musicals from Broadway and beyond.

MTI is particularly dedicated to educational theatre, and has created special collections to meet the needs of various types of performers and audiences.

MTI’s Broadway Junior™ shows are 30- and 60-minute musicals for performance by elementary and middle school-aged performers, while MTI’s School Editions are musicals annotated for performance by high school students.

MTI maintains its global headquarters in New York City with additional offices in London (MTI Europe) and Melbourne (MTI Australasia).

Suite 2, Ground Floor, 20-22 Albert Road South Melbourne, VIC 3205 +61 3 9581 2222 www.mtishows.com.au enquiries@mtishows.com.au Origin Theatrical ORiGiN™ Theatrical manages the Australasian theatrical rights to many of the greatest musicals and plays in the world from the rich catalogues of R&H Theatricals, The Really Useful Group, Samuel French, Tams-Witmark, Dramatic Publishing, Theatrical Rights Worldwide, Playscripts, Playstage Senior, Warner/Chappell Music Australia and Cressrelles Publishing.

Through direct agreements with the owners, ORiGiN™ Theatrical also represents Priscilla Queen of The Desert, SHOUT! The Legend of the Wild One, Dusty - The Original Pop Diva, Seven Little Australians, Grease, Strictly Ballroom, Bad Boy Johnny, Atomic The Musical, MILF The Music@l, Who Loves Me?, Connected The Musical, Her Holiness, Feedem Fighters, Millie's War, Lip Service, Dark Voyager and Harp On The Willow.

Level 1, 213 Clarence Street Sydney, NSW 2000 +61 2 8514 5201 enquiries@originmusic.com.au www.origintheatrical.com.au Playmarket Playmarket represents over 2000 plays by New Zealand playwrights.

Our collection includes comedies, dramas, short plays, musicals and plays for children and youth performers and audiences. They also have an online bookshop selling a comprehensive collection of manuscripts and published books.

Suite 4, Level 1, 35 Cambridge Terrace Te Aro, Wellington, NZ 6011 +64 4 382 8462 holly@playmarket.org.nz info@playmarket.org.nz www.playmarket.org.nz

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Director’s Diary

Cathy Boyle took charge of the NSW Amateur Premiere of Ladies In Black by Strathfield Musical Society. Here are her musings.

I can still remember the QTC production of Ladies in Black which I saw at the Sydney Lyric Theatre. I loved the gorgeous 50’s styling, was envious of the magnificent revolve that wafted scenes on and off the stage, found Tim Finn’s music absolutely approachable and loved the idea of doubling a number of the roles. At interval, I said to my friends “I am really loving this, what about you?” They just replied “Oh yes!” Our opinions didn’t change during Act 2, where we all soaked up the happy endings that abounded in this gentle, charming musical.

When I saw that David Spicer had obtained the rights to this show, I was really keen to do it - but which society would take a risk on this new

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musical? The short answer is Strathfield Musical Society. And how very grateful I was!

The format I eventually decided on for Ladies in Black was very different from what I had seen and loved. Roles were not doubled, the revolve was not going to be included (although to be fair I wasn’t really expecting to use one on Strathfield’s stage) and offstage “voices” from the QTC production would become an ensemble as citizens of Sydney in all their various guises.

My staging was a simple one three large ascending rostra that would become multi-use acting areas.

Some items of furniture rolled on and off but much of the store furniture lived permanently at the edge of the

rostra, very often shrouded in the cream colour that made up the palette of the stage.

I think that all of that cream would have been very boring, except for the beautiful projections designed by Adam Ring and Chae Rogan. The projections not only represented all the locations in the story (and believe me - there are LOTS of locations!) but were able to help delineate the many multi-scene moments of the show.

Every projection added something to the show. I was thrilled when a row of designer gowns appeared behind Magda (Tisha Kelemen) as she sang “Model Gowns”.

Whenever you use projections in shows, you need a very sympathetic lighting designer and I was fortunate to have Gints Karklins. The haze that often creates beautiful and complex lighting effects had to be toned down

Ladies In Black.

Photos: Haydn Allbutt.

to minimal levels; the items of furniture that lived permanently onstage created difficulties with the side lighting that can make beautiful patterns; tiny areas of the stage needed to be lit whilst scenes were being set up in other dark areas and of course, there could be no strong lights towards the back of the stage.

One of the aspects of the QTC show I wanted to keep was that of the beautiful 50’s styling and I had Sharon Palmer as Costume Coordinator and Angela Mosley as Props Co-ordinator.

We scoured online retro clothing sites and Sharon purchased and made an enormous number of costumes.

Not only were there many, many bodies to be clothed in a variety of scenes but there were also racks of clothes that were never worn but hung on the store racks of Goode’s Department Store. Many of the cast had also been entranced by the prospect of wearing delectable 50’s clothes and offered some of their own clothes either for themselves or as display models.

Props were also very important to sustain the feel of the 50’s. I had my first, rather addictive, experience with Facebook marketplace and we were able to source some lovely authentically styled furniture. I think

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my favourite was the emerald green formica topped table with matching chairs. We also had authentic, correctly dated “Women’s Weekly” magazines and newspapers, Mum’s sewing box was exactly like the one I remembered from my childhood and our beach scene was full of lovely details like binoculars, folding chairs, picnic baskets and towels. Angela’s advice to always ask the cast was very wise indeed.

Tim Finn’s music was simple and conversational for the major part of the show and my singers were able to manage it very nicely - thanks to Elisabetta Sonego, my Musical Director. However, there were a number of pieces where quite complex rhythms had to be mastered: two that spring to mind are “Sales Talk” and “Pandemonium”, where shop assistants and customers either spoke over each other or had to pick up another line of their song as another singer was still finishing their line. My performers struggled with the fact that only a few of the songs were available to listen to and these were not the tricky numbers. A cast recording would have been a great help to us in the early stages. We were glad that we had allocated (Continued on page 12)

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Director’s Diary

Ladies In Black.

Photo: Haydn Allbutt.

roles for them. Fortunately, again, the critical people appeared at auditions. I regular revision sessions for the have never felt that an orientation complex numbers. evening had been so worthwhile!

Probably the most important My cast was very patient as I aspect of this show was the cast. We talked to them about their characters, had many talented women audition - quoting from the novel or even the probably we could have double cast a film. I’m sure their hearts sank as I number of roles - but the truly appeared at rehearsals with even problematic role was Lesley Miles. more post-it notes in my copy of the Supposedly a sixteen-year-old, thin, novel! The fact that so few either shy bookworm, this actor is the knew the novel or had even seen the lynchpin of the show. Fortunately for musical meant that we spent longer us, Isobel Lim appeared at the final than normal developing our session of auditions and we were in understandings of what was safe hands - but it is a really tough happening in these people’s lives. It role to cast. There was also a difficulty was time well spent. I think that as in getting men to be interested in the show time approached, we felt we show - they just didn’t know that had fleshed out these lovely people there were beautiful, character-driven and could present something that (Continued from page 11)

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was honest and true to life.

So, what were the pros and cons of doing a new musical? One huge positive for me was that I was able to work with my team to really create something. So often in musicals you are re-creating or trying to satisfy audience expectations about what the show should be like. We felt we had an almost blank canvas and that was exciting.

One difficulty with all that freedom is that lots of time is required and lots of talking has to happen so that everybody involved is clear about the destination. We had a long rehearsal period and I think that I probably spent two or three times as long as I normally do in mulling over characters and events.

There weren’t the resources that are available for most musicals and that sometimes made our progress quite slow. A wonderful woman from Western Australia (Kimberley Shaw) started a Facebook group for those of us who were planning to present the show and that was great. We chatted and were able to solve a couple of the dilemmas presented in the script and score.

Would I do a new show again?

Absolutely! I would need a team as dedicated as the one I had for Ladies in Black and I would hope the stars would align as beautifully as they did for us - but it is possible. And when it works, it is immensely satisfying!

Love Never Ends For Dad Raymond Hopkins explains how his farcical comedies raise money for medical research.

Twenty-six years ago, at the age of nineteen, my daughter, Katy was diagnosed with Multiple Sclerosis.

This life changing news hit my family hard and made me realise that I needed to raise some money for research. It’s a fairly simple equation; the more raised, the sooner a cure will be found.

For some unknown reason, I decided that my way of fund-raising would be to write a stage play, get it published, and give the proceeds to M. S. research. Being a complete novice in this field, I naively thought everything would fall into place and the money would soon start flowing in!

After eighteen months I had completed my first manuscript and called it Love Begins at Fifty. I then proceeded to telephone publishers, who I assumed would be eager to take on my work. Following many frustrating phone calls I was soon brought back down to earth. I realized that getting people interested in an unknown playwright was challenging to say the least. However, with much

Raymond Hopkins with his daughter Katy.

perseverance, I finally found myself a publisher.

My faith in the play proved to be justified, because the following year it ran for the summer season at the TOADS Theatre in Torquay - United Kingdom. The play went down well,

giving it the credence it needed, and more importantly, raising funds for MS research.

I have now written a total of ten full-length farcical comedies, all with the word love in the title. I am pleased to say that the plays are doing well and have had over one thousand productions in the U. K. They have also proved to be very popular in Australia, New Zealand and Europe.

Ending on a happy note, Katy keeps well. So far, over forty-five thousand pounds has been sent for Multiple Sclerosis Research.

As for me, I will continue writing until I can hear those wonderful words: ‘A cure for M.S. has been found.’

To find out more about Raymond’s efforts please visit www.raymondhopkins.com

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Choosing Australian Plays [Bringing Our Stories To Life]

Stage Whispers readers are being offered a three-month free subscription to www.australianplays.org.

Meg Upton explains why it is such a valuable resource.

Each year Drama, English and Literature educators encounter the dilemma of selecting a play to study or produce in collaboration with their students. Which play? Which playwright? What’s good? How long?

How many students? What age?

What about the school’s culture and broader community standards?

Importantly, will it engage them, will it challenge them, and will it enhance their learning?

Why study Australian plays?

Playwright Andrew Bovell told the Daily Review that “Australian audiences are not satisfied with a repertoire only of Noel Coward, Anton Chekhov, Henrik Ibsen and William Shakespeare. They want new plays that tell their stories and reflect their lives … a theatre that prioritises the work of Australian playwrights, in all their diversity. I know that through such writing it is possible to read the pulse of the nation.” (Daily Review August 1, 2017).

In essence, if theatre is concerned with stories and stories are concerned with what it means to be human, then studying Australian plays enables teachers and young people to collaboratively explore Australian stories and feel “the pulse” of what it means to be Australian in a multifaith, multi-cultural society with a complex Indigenous history.

The 2019 seasons of nine major theatre companies indicate at least half of programmed work is Australian, and in many cases new works. Significantly, many are new Indigenous works, and in some instances work written by other culturally diverse playwrights. This is incredibly exciting. More students have the opportunity to experience diverse Australian stories in performance. Studying Australian plays in class is a natural progression

of what is being programmed on our stages.

Australian Plays is dedicated to publishing, promoting, licensing and showcasing Australian playwrights and plays. There are over 2,000 scripts by over 950 playwrights available online as well as a series of focused collections, monologues, and critical essays from current theatre makers and writers. Eight new plays have been added to the catalogue in January alone.

A glimpse at the most popular titles on the front-page reveals Stolen, Black Diggers, Picnic at Hanging Rock, Neighbourhood Watch, Away, Cosi, The Book of Everything, Ruby Moon and Extinction. Many of these titles appear on state based curricula and are powerful plays offering stories of Australia’s Indigenous history, the mythology of the Australian bush and the suburbs, the migrant journey, and the Vietnam War. But what else?

What other plays are possible?

Teachers and students have access to a powerful search application on the Australian Plays site, one that enables them to explore and select plays that respond to some of the key questions posed above. Click on Finda-Play and you can search for a title, author, a keyword, as well as a category. There are forty categories currently in the collection including: Australian History, Children’s Theatre, Comedy, Gender Themes, Indigenous Themes, Verbatim, Plays by Women, and Political and Social Themes. There is also an option to select the target audience, length, cast age and cast size. Further, there is a monologue search application for finding a text to suit individual students interested in, or required to, explore a monologue for their drama studies.

Within the Theatre for Young People category there are twenty-nine

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plays that feature characters 16-18 years, exploring themes of migration, resilience, love, identity, culture and journey. Several have large casts, many offer an ensemble approach, and the theatrical or performance styles offer great scope for page to stage and for literary analysis. By subscribing to the E-News you receive regular updates about new publications, and recommended scripts.

Australian Plays is offering you a free three month subscription!

To gain access simply email admin@australianplays.org with the subject line STAGE WHISPERS. Dr Meg Upton is the Consultant Education Curator at Australian Plays. She is also a drama education lecturer at Deakin University. www.australianplays.org Becoming a subscriber allows you to dig more deeply, to read plays online, to access resources for shows including the newly created Malthouse Theatre Education Collection - 20 years of Playbox/ Malthouse scripts with their accompanying education resource and explore the other collections in more detail. Many scripts are available to purchase online as a downloadable PDF, giving you immediate access to the script you are seeking. Australian Plays also licenses a large range of scripts for production.

In selecting, studying and staging Australian plays we can bring to life a myriad of Australian stories, and the voices of those who comprise this complex, diverse country, to which our students make an important contribution. www.stagewhispers.com.au Stage Whispers 15

Let’s Put On A School Musical Ten top tips from Maverick Musicals and Plays for your next school musical.

rehearsals - no matter how good they are.

Rehearsals Give cast your rehearsal/ Rope others in! performance schedule before starting Rule One - do not try to do it rehearsals. alone. Beg, plead, cajole or blackmail Send the schedule home to others to be involved. parents as soon as you can, with a Your ideal production team should note asking for their co-operation. consist of a producer to pull your Design the rehearsal schedule so team together, director, musical that only those required attend director, set designers, sound/lights specific rehearsals. tech team, set builder, costume It is a good strategy to call the person and advertising/media whiz. chorus first and work on the music.

Always make rehearsals fun for chorus Apply for the rights early and give them plenty to do.

Aim to have approval from the representatives of the musical six Costume months prior to your first rehearsal.

Supply forms (with the rehearsal Carefully note the legal obligations in schedules) that require the character/s the contract. All contracts will have measurements asap and pass on to rules about respecting the author’s your costume department as soon as intentions (sticking to the script), how rehearsals begin. you can promote the work both onParents are more inclined to help line and in print, videography and use make the costumes if you send of production materials. material home that is cut out ready for sewing.

Selecting the right school musical

Encourage cast blogs.

Flood the area with posters and try for coverage on local radio.

Constantly remind the school of the forthcoming production via your social media pages, websites and newsletters.

Offer a prize to the student who sells the most tickets.

Performance Always have a ‘preview’ afternoon which is, in fact, another valuable dress rehearsal; this time with an audience. Primary schools are usually happy to see your High School production.

Post performance No matter how amiable you are feeling towards the cast, never attend a cast party if held at the home of a student! What you may see there, you may later be required to explain.

Have a thank-you meeting for the cast and everyone involved, including front-of-house and back-stage workers. This can be a special lunch.

Have a short break, then start Don’t pick a musical solely because Sets and props looking for a suitable show for next you like it. Make sure it can be done Make sure that the cast know the year. well by your students.

Putting on the school musical is a Commonly five or six girls for each positioning of each set and give them an improvised stage set so they are bit like child-birth, and when you get boy will be the audition ratio, so used to moving around it. it right, you forget the pain and recall choose material that will give girls Get actors used to using any handonly the joy - and find yourself doing something worthwhile to do. props in the show. Improvise it all over again. if they not yet constructed.

Auditioning Select relevant scenes Advertising that will give an indication Create an ‘event’ on social of the student’s ability. media and encourage the Avoid choosing students cast and crew to like and who have other share upload fun rehearsal commitments that will shots, but not too many! prevent them from attending

Origin Theatrical recommends the highly entertaining podcast Afternoon Tea With Miss Patrice. misspatrice.podbean.com

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Music Theatre International Australasia www.mtishows.com.au Matilda Only available for licensing to Australian High Schools.

The story of an extraordinary girl who, armed with a vivid imagination and a sharp mind, dares to take a stand and change her own destiny.

Inspired by the twisted genius of Roald Dahl, with book by Dennis Kelly and original songs by Tim Minchin, Matilda has won 47 international awards.

Packed with high-energy dance numbers, catchy songs and an unforgettable star turn for a young actress. www.mtishows.com.au/roald-dahls-matilda-the-musical Freaky Friday Based on the beloved 1972 novel by Mary Rodgers and the hit Disney films, Freaky Friday features music and lyrics

by Tom Kitt and Brian Yorkey - the composers of Next to Normal.

When an overworked mother and her teenage daughter magically swap bodies, they have just 24 hours before Mom’s big wedding to put things right again.

Set in the present day, Freaky Friday features a tuneful pop-rock score.

Available in Full Length & One-Act versions www.mtishows.com.au/freaky-friday

ORiGiN Theatrical www.origintheatrical.com.au New Agatha Christie plays now available As well as being known for her 66 detective novels, Agatha Christie wrote a number of plays. From Poirot mysteries to melodramas, The Agatha Christie Collection contains 25 plays including plays that are available for the first time.

Akhnaton - an epic historical drama in three acts. 4w,12m.

Butter In A Lordly Dish - a dark and gruesome one act radio play for live performance. 5w,3m.

A Daughter’s A Daughter - an intense personal drama of family ties in two acts. 5w,4m.

Fiddlers Three - a murder caper in two acts. 3w,8m.

Personal Call - a chilling radio play in one act for live performance. 5w,9m.

A Poirot Double Bill - a double bill of short Poirot plays.

2w,7m.

Rule of Thumb - a triple bill of short, contrasting plays comprising The Wasps Nest, The Rats and The Patient.

4w,5m.

The Secret of Chimneys - a political murder mystery in three acts. 4w,10m.

Choosing A Show directory: http://bit.ly/2nEEIxv

Recent Releases The Stranger - a small cast, short version of an intimate psychological thriller taken from Philomel Cottage. 4w,2m.

Towards Zero - Outdoor Version - a clifftop murder mystery set entirely outdoors. 5w,8m.

The Wasp’s Nest - a short, small cast Poirot story. 1w,3m.

Yellow Iris - a short radio play for live performance featuring Hercule Poirot. 2w,7m. www.origintheatrical.com.au/author/1093

Maverick Musicals And Plays www.maverickmusicals.com Mystery on the Rotorua Musical Theatre’s production Orient Express of Mystery On The Orient Express.

Take a ride on the famous train through France, Italy, Switzerland and Austria.

Audiences take a wild theatrical ride, seated in first class, second class, no class or baggage compartments, as the bumbling Holmes, Watson, Inspector Gadget and Miss Marple try to solve the mystery. The World Bra-Unclipping Championships at Garimba by Hugh O’Brien.

A new generation Dimboola, a laugh-out-loud comedy destined to be performed by numerous rural drama groups.

More Than a Little Black Dress by Jo Denver. Coco Channel sizzles, manipulates and charms her way through this stylised play. Two actresses chart her calculated interaction with the Germans throughout the war.

Free perusal scripts, ordering and licensing at www.maverickmusicals.com

David Spicer Productions www.davidspicer.com.au The Incredible Here The Incredible Here And Now. And Now by Felicity Castagna.

First staged by the National Theatre of Parramatta, this is a play about cars and boys and having to grow up too soon.

Michael is living in the shadow of his older brother Dom. He is the biggest guy in the school with the best car and the girlfriend with the huge-arse hair.

When he is gone, Michael roams the streets, navigating life, friendship, love and family.

Cast: 7 female, 6 male. www.davidspicer.com.au/shows/incredible-here-and-now

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Choosing A School Play Or Musical ORiGiN Theatrical origintheatrical.com.au / oztheatrical.com As She Likes It An anthology of short plays from Shakespeare’s canon. These plays offer great roles for women, opportunities for thoughtful scene study, educational exploration and a larger conversation about how these women’s stories resonate in our current era. Full length play.

Cast size: 4 to 18w, 1 to 2 either gender.

Hamlet and Zombies! By Will Averill Shakepeare’s original rich verse and intricate detail, along with a few contemporary updates, this fun, tongue-incheek version of Hamlet is sure to move your heart and eat your brains.

One act play. Cast: 5M, 2F, 13 to 33 either gender.

The Hatmaker’s Wife by Lauren Yee A young woman moves in with her boyfriend expecting

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domestic bliss. Soon the walls of her new home are talking. They reveal the magical tale of an old hat-maker and his long-suffering wife, who runs away with his favourite hat. This sweet and surreal story bends time and space to redefine family, home, and true love itself. Full length play. Cast: 3F 3M. Jasper In Deadland by Hunter Foster and Ryan Scott Oliver Jasper is lost in the living world.

When you’re failing classes, kicked off the swim team, and your family is on the skids, life can feel like it’s going to hell.

“A Magnificent Musical! … moved me in such a way that it brought tears to my eyes!” - New York Theatre Guide. Cast: 5M, 4F. Be More Chill by Joe Iconis and Joe Tracz Jeremy Heere is just an average teenager. That is, until, he finds out about “The Squip” - a tiny supercomputer that promises to bring him everything he desires most: a date with Christine, an invite to the raddest party of the year and a chance to survive life in his high school. Cast: 6M, 4F + ensemble.

Maverick Musicals And Plays maverickmusicals.com.au The Black Hole by Mark Bourgeois and Craig Chambers The new musical by the writers of Creepytown, one of Maverick’s top selling school musicals. When an intergalactic portal is opened between the galaxy Andromeda and the Milky Way, a lowly team of satellite repairmen must battle black holes, aliens and asteroid fields to overcome a menacing threat to planet Earth. When the dreaded Cyborgs enter the portal to claim the Milky Way for themselves, the fate of planet Earth is placed in the hands of the most unlikely of heroes, an engineer named Sparkie - a day-dreamer who loves to gaze longingly into space.

Compass Rose by Timothy Tuck.

Feisty but self-centred ConstanceRose McAlister escapes from her father’s ship to Easter Island to fulfil her dream of becoming a famous explorer. But the fun of exploration turns sour when she and her new best friend, the island Chief’s son, are captured by the pirates.

Fantastic character roles for all of your students.

Hans Christian Andersen Stories from The Ugly Duckling to The Little Mermaid have sparked young imaginations for centuries. With music by legendary composer Frank Loesser, Hans Christian Andersen is a musical storybook that brings the timeless tales (and the struggling cobler in Denmark who created them) to life onstage.

Based on the 1952 film starring Danny Kaye and features classic songs “I’m Hans Christian Andersen”, “Thumbelina”, “Inchworm”, “The Ugly Duckling” and more! mtishows.com.au/hans-christian-andersen-0 Naked Mole Rat Gets Dressed: The Rock Experience A rockin’ show about being comfortable in your own skin - or suit, based on the hit children’s book by Mo Willems. Wilbur and all his fellow naked mole rats in the Tunnel have always been, well...naked. Wondering what other possibilities are out there, Wilbur discovers a love for clothing and style. mtishows.com.au/naked-mole-rat-gets-dressed-the-rockexperience David Spicer Productions davidspicer.com.au

Beach Blanket Tempest by Dennis Watkins and Chris Harriott.

“The summer sun is cookin. The guys and chicks good lookin. And school is over for another year…” A Both now available, with free perusal materials at the new surf rock musical inspired by Maverick Musicals website.

Shakespeare.

In the early 1980’s writer Dennis Music Theatre International, Australasia Watkins made the link. mtishows.com.au “I tried to imagine what would be the most ludicrous update of West Side Story - Schools Edition Shakespeare you can think of and I Young lovers are caught between prejudice and warring arrived at the Beach Party movie street gangs in a high school adaptation of one of the genre.” Includes a genie and a quiz show finale. most important and powerful musicals of all time. davidspicer.com.au/shows/beach-blanket-tempest With additional resources for students and directors, West Side Story School Edition makes the iconic musical more Cruisin’ The Musical by accessible and meaningful for high school performers.

Rod Christian and Peter Read the Director’s Guide libretto for free and sample Waterman. choreography videos!

Set in the late 1950’s. mtishows.com.au/west-side-story-school-edition Vinnie Russo is a 17-year -old kid torn between his love for music and his family traditions. His father thinks that Vinnie is wasting his time with rock and roll music instead of concentrating on his Italian heritage and a solid career in the family small goods business. Filled with comedy, pathos and musical numbers that culminate in the Battle of the Bands. davidspicer.com.au/shows/cruisin-musical Both of these quirky school musicals come with CD backing tracks.

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Ukulele Musical Plucks Heartstrings

Playwright Jane Cafarella describes the moment she realised that the show she had written celebrating the humble ukulele had become a local phenomenon.

It was a cold bright morning in June. The strains of ‘Happy Together’ escaped from the historic Guildford Music Hall where the Uked! band was rehearsing, as I headed to the general store across the road for a warming coffee.

I knew that the story of Karla, who is dumped on her 50th birthday by her violin-playing boyfriend and who finds love and connection with the ukulele, was resonating with locals. Every time I handed out flyers at local events, someone would say, “I know a Karla!”

Or “That’s me!”

But would the 40 or so volunteer performers I had recruited by email over the previous months to play Karla’s fellow club members turn up on this chilly winter day?

22 Stage Whispers Let’s Put On A Show 2020

Uked! Is ideal for ukulele clubs and local theatre companies to produce. Get all the show details and apply for performace rights at uked.com.au

Then another. And another. They began to greet each other. By name.

And then I realised - they all knew each other.

Without the volunteers, the scenes While I’d been emailing them, where Karla joins the fictional they’d been emailing each other, and Newstead Ukulele Group (NUTS) and as ukulele fans travel to each other’s the fictional Guildford Regional clubs and to festivals and concerts, Ukulele Band (GRUBS), simply would they’d spread the word. And here not work. they were, beaming and greeting me The whole premise of the show like an old friend. was audience engagement. I needed “I hope you don’t mind, but I’ve NUTS and GRUBS. And once the show brought my son,” one woman said, opened - in just five days - I needed smiling apologetically, as behind her the audience to bring their ukuleles trailed a 15-year-old boy carrying a and play along with Karla. laptop and a basketball.

I walked back and sat on a bench Another woman approached with outside the pub. You could have a young woman on crutches. “I’ve played cricket on the highway that brought my neighbour,” she said. separated the store and the pub it “She had a car accident and needs was so quiet. The pit in my stomach cheering up.” was becoming a crater.

Inside the hall, they crowded Then a car pulled up. Two people around the merch table, trying on tgot out. Two people with ukuleles. shirts and putting on the badges and

stickers, as the sound of excited voices and tinkling ukuleles grew. “I’ve put off my holiday to come to this,” one woman told me. Another approached with a worried look - “I just wanted to ask about the costume. These are the only black shoes I have. Is this okay?” she said, pointing to her muddy black gumboots.

Another apologised for a friend who couldn’t come. “He asked me to tell you that whenever he plays ukulele he dresses as Freddy Mercury.

Is that okay?”

I began to worry that my cast would be upstaged.

The chatter subsided as Rebecca Morton, playing Karla, and Pete Gavin, playing all her YouTube teachers and love interests, led everyone into the first song. A power surge of voices and ukuleles filled the room: “The only one for me is you. So happy together!” My heart soared.

At the break, they offered suggestions, corrections, help and ideas and effused about the cast and the story.

The next day, those that could came back for the full dress rehearsal.

They played and sang and laughed and cried in all the right places. Some asked if they could be in the show more than once. A waiting list was created. When people couldn’t commit, I had a loyal group of standbys always willing to jump in.

Some played in the show five times, while some audience members came twice and even three times.

As the show progressed, I trimmed and tweaked the script, which was challenging for the cast, but not for the NUTS and GRUBS. They loved playing spot the difference.

But one thing remained the same.

They were committed and invested.

So was the audience, which came from all over Melbourne and interstate. As one patron wrote, “I’ve got my ticket and my ukulele. Where can I park my caravan?”

In the end, it was not my show. It was theirs.

At the cast party, the staff at Guildford General Store presented me with a hot pink ukulele cake, iced with the words “Guildford has been uked.”And so, I realised, had I.

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New Releases Origin Theatrical origintheatrical.com.au Grumpy Old Men Book by Dan Remmes. Music by Neil Berg. Lyrics by Nick Meglin.

Full Length Musical, Comedy. Cast: 5M, 4F. Based on the 1993 film, which starred Jack Lemmon, Walter Matthau and Ann-Margret, this stage adaptation captures the lovably crotchety characters through twinkling humour, great songs, and the affectionate depiction of a small town that feels like home to everyone. origintheatrical.com.au/work/10971

24 Stage Whispers Let’s Put On A Show 2020

David Spicer Productions davidspicer.com.au Uked!

The first play-along ukulele musical.

By Jane Cafarella.

Cast: 2 to 14 roles, plus minimum 2 in band.

Karla is dumped on her 50th birthday by her violin-playing boyfriend, Brian. Desperate to belong and prove her musical worth, she buys a ukulele and joins a dating site, learning that love and the ukulele have a lot in common.

Audience members can just sit back and enjoy the show, or they can bring their ukulele and sing and play along with Karla. A screen displays all the chords and lyrics for the sing-along songs. davidspicer.com.au/node/17034

Choosing A Show

Music Theatre International, Australasia mtishows.com.au

Maverick Musicals and Plays maverickmusicals.com

The Scottsboro Boys Original Broadway Version Cast: 13 roles.

The final collaboration by musical theatre greats John Kander and Fred Ebb (Chicago and Cabaret), with a book

by David Thompson, The Scottsboro Boys confronts an infamous event in the history of the American criminal justice system.

In 1931, nine black men were ripped from a train in Alabama and accused of rape by two white women.

Hauled to jail without a shred of actual evidence against them, The Scottsboro Boys were rushed through trial procedures, found guilty and sentenced to death. What occurred in the years following the trials was a harrowing tale of bravery and strength in the face of great adversity. mtishows.com.au/the-scottsboro-boys

Only Children

By Marlene F Magee Cast: 5 to 20 roles.

Tells the true story of the drowning of three children at a beach picnic in the 1950’s. As one of the leaders, now an elderly lady, relives the event, a story of heroism, tragedy and regret is told.

This dramatic ensemble piece is designed for a small or large cast and may be performed by teenagers or adults. It is non-naturalistic in style, utilising monologues and physical theatre. Includes screen images from newspaper articles, witness statements and the memoir of one of the leaders on the picnic. maverickmusicals.com/play/only-children

Performance Accompaniment Recording (PAR) now available For organisations that don’t have a live pit orchestra, MTI’s Performance Accompaniment Recordings provide instrumental tracks for rehearsals and performances that match your show’s score note-for-note.

Also available are cast and crew rehearsal tracks for organisations that have an orchestra.

Shows range from Annie to West Side Story.

See the full list at: mtishows.com.au

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26 Stage Whispers Let’s Put On A Show 2020

Choosing A Show directory: http://bit.ly/2nEEIxv

www.stagewhispers.com.au Stage Whispers 27

New Zealand Plays and Musicals Playmarket New Zealand’s top recommendations for schools.

Musicals The Invisibles by Dan Bain and Luke Di Somma At the beginning of her final year at rugby obsessed Riverhole High School, Lauren, a budding singersongwriter, meets new arrival, rugby star and former dancer Scott, and attempts to enlist him in the annual nationwide music competition BandSmash.

Checkout Chicks by Rachel Callinan and Julia Truscott A fast paced, high-energy musical comedy that celebrates loving your job. In her bid to save her locally owned struggling supermarket, Tashandra enters into the Checkout Operator of the Year Award.

Plays Wheeler’s Luck by Nigel Collins, Toby Leach and Damon Andrews How will the people of Bell End decide what to do when a local personality dies, leaving her prime coastal property to them? It seems a bareback horse race will be the

The Next Big Thing and Auckland Theatre Company’s co-production of Checkout Chicks.

Photo: Michael Smith.

decider.

Ophelia Thinks Harder by Jean Betts A riotous reworking of Shakespeare’s Hamlet that puts Ophelia centrestage.

Heavenly Bodies by Kerry Lynch In an allusion to Greek and Elizabethan theatre, three Fates

realise they have forgotten how to have fun, so they reawaken their playfulness by having teenager Hugo fall in love with Verona, a young Italian girl.

Ziggy’s Tribe by Gary Henderson A group of lost orphans flee south to escape bulldozers causing destruction and desolation, but are their assumptions about what is going on in the world correct?

Whole School Primary School Productions Emma Rose and the Enchanted Forest

by Jon Gadsby Emma Rose and her horse Smuggler head into the Enchanted Forest on a quest to heal Smuggler’s sore tummy.

The Wonderful Wizard of Oz and The Snow Queen by Jenny Wake.

Written for casts of 100-300 and 64154 respectively.

Space Circus by Holly Gooch.

Featuring scientists, astronauts, aliens, moon people, stars and planets, this play combines science education with dance, music and circus spectacle.

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West End Musical Agent International Theatre & Music (IT&M) is the London-based publisher and licensor of musicals by Piers Chater Robinson.

He is best known for Peter Pan the British Musical, created in 1985. After a successful run in the West End, directed by Piers, the show has become an international best-seller amongst community theatres, amateur theatre groups, youth theatres and schools. The libretto has been translated into seven languages.

IT&M also have A Christmas Carol, Through the Looking Glass, The Adventures of Mr Toad, Around the

as PDFs. IT&M’s professional quality backing tracks can be supplied as MP3s or on CD. IT&M also supply World In 80 Days and Tails Of logos, cast recordings and video Hamelin (based on The Pied Piper) - all licences.

Everything is designed to be superclassic family musicals.

As IT&M only licence the shows of fast and efficient to get your show up one composer, their knowledge of his and running quickly. You could ask musicals is unrivalled. IT&M are for a show quotation on a Monday; always able to offer help and support once agreed, IT&M could send you a contract and invoice on the Tuesday; to theatre companies and schools, and Piers is very willing to advise on if you pay via PayPal, you could have all your show materials on the production issues.

Wednesday and start rehearsals on All scripts, scores and band parts the Thursday. are delivered digitally, over the web,

Visit IT&M’s website now where you can browse the shows, listen to all of the songs and request your Free Perusal Script: www.itmshows.com

Priscilla Drives Onto Community Stages Priscilla Queen of the Desert the musical is now available for amateur licensing in Australia for performances from 2020 through ORiGiN™ Theatrical.

Following a glittering tour of Broadway, the West End, Europe, Asia and it’s return to Australia, Priscilla Queen of the Desert the musical is now available to perform.

Based on the smash-hit movie, Priscilla is the adventure of three friends who hop aboard a battered old bus searching for love and friendship and end up finding more than they had ever dreamed of. With a dazzling array of outrageous costumes and a hit parade of dancefloor favourites, this wildly fresh and funny musical is a journey to the heart of fabulous.

For info, check out origintheatrical.com.au/work/8639.

Choosing A Show directory: http://bit.ly/2nEEIxv

www.stagewhispers.com.au Stage Whispers 29

Costumes, Props, Sets and SFX

Online extras!

For more listings, check out the Stage Whispers’ directory on our website. http://bit.ly/2ma7wNZ WAAPA’s student production of Strictly Ballroom (2019).

Photo: Jon Green.

30 Stage Whispers Let’s Put On A Show 2020

Featured Businesses

See more listings online at http://bit.ly/2ma7wNZ Ballarat Lyric Theatre Ballarat Lyric Theatre has over the years compiled an extensive range of costumes. Their costume hire offers a wide range of individual costumes, or sets of costumes from many shows.

882 Humffray Street South Mt Pleasant, Ballarat, VIC 3350 +61 4 3970 0219 hire@ballaratlyrictheatre.com.au www.ballaratlyrictheatre.com.au Costumes Without Drama Costumes without Drama make and hire costumes mostly for school productions. With in excess of 12,000 barcoded and inventoried items, Costumes without Drama provide a unique costuming experience for teachers. Where possible teachers have access to the costumes up to two weeks in advance of the performance. We launder on return. You are welcome to come in and browse, see samples on the website, or email Tracey Nuthall for more information and/or pictures of available costumes.

Unit 6, 13 Molan Street Ringwood, VIC 3134 +61 3 8838 2616 +61 4 1143 1430 info@costumeswithoutdrama.com.au www.costumeswithoutdrama.com.au Geelong Fireworks For 20 years Geelong Fireworks have been providing theatrical effects to Theatres in Victoria, using traditional indoor pyrotechnics and now the new genuine Sparkular E-Firework Machines.

They ship Australia-wide their custom fill confetti cannons along with an extensive range flash and fire gimmicks. Their flash items are currently being used in one of the largest productions in Melbourne They also have a range of items for haunted effects, such as turning candelabras, devices to throw books off shelves, Flaming chalices and more. Their Hollywood-style electronic actor cigarettes are very popular and easy to use.

Contact Steve Lawrence at Geelong Fireworks to discuss what you would like to do on your next production.

PO Box 6176 Highton, VIC 3216 +61 3 4210 9113 steve@geelongfireworks.com.au www.geelongfireworks.com.au

Costumes, Props, Sets and SFX directory: http://bit.ly/2ma7wNZ

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Taking It To The Next Stage Stage School Australia’s The Staging Dept in Melbourne is a treasure trove of theatrical sets and props, many produced specially for the company, with others purchased from other productions.

Popular items include sets and props from the Australian premiere of The Addams Family, full sets and props for Wicked, Les Misérables and Spring Awakening, Professor Marvel’s caravan and Emerald City Gates from The Wizard of Oz, the Chitty Chitty Bang Bang car, props and handprops from The Little Mermaid, Aladdin, The Secret Garden, Alice in Wonderland, Honk, and many more.

Similarly, The Costume Dept is a veritable Aladdin’s cave of costumes from a range of shows and eras.

32 Stage Whispers Let’s Put On A Show 2020

Responsible for costuming all of the performances and production seasons of Stage School Australia, the Costume Dept has sets of costumes for casts as young as four years, all the way up to adult sized costume sets for shows such as Wicked, Les Misérables, Hairspray, Grease, Mary Poppins, Shrek, Babe, Thoroughly Modern Millie, Madagascar Jr, Joseph and lots more.

“We’ve been making our costumes available for school and production hire for about ten years,”

To get help bringing your production to life, visit: costumedept.com.au stagingdept.com.au said Artistic Director Robert Coates.

“In that time we’ve gone from costuming about 10 external shows per year, to over one hundred this year. Most days a team of five or more costume staff are working on production, maintenance and assisting hirers with their requirements. Plus, each semester we’re adding hundreds of new costumes to the collection - so even if you’ve come and had a look before, it’s always worth another visit.”

NJW Designs NJW Designs is a multifaceted design and fabrication hub specializing in the event and entertainment industry. From professional theatre houses to local musical productions and everything in between.

NJW Designs has a multi talented team with skills in design, drafting, fabrication, automation, installation and technical management.

Taking a project from concept right through to market is where they excel. Limited only by imagination, NJW Designs make creative visions a reality.

15 Caravan Street Wendouree, VIC 3355 +61 3 5338 1431 www.njwdesigns.com.au Scenic Studios Scenic Studios specialise in theatrical painting of scenic backdrops and theatre scenery. They also hire backdrops and drapes for theatre productions and sell scenic paints designed for painting soft and hard scenery. Contact Pavla to discuss how they can help with your next production.

14 Fink Street Preston, VIC 3072 +61 3 9484 3422 scenicstudios@scenicstudios.com.au www.scenicstudios.com.au Shine Trimmings & Fabrics Shine Trimmings & Fabrics are leading retailers and wholesalers of quality fabrics and trimmings specifically for Dance, Calisthenics, Ballet, Ballroom, Swimwear & Activewear, Fashion, Ice Skating, Festival Wear, Fancy Dress, Burlesque, Circus, Costumes, Cosplay, Millinery, Set Design, Shows & Productions.

They ship nationwide across Australia and beyond. The team at Shine have backgrounds that span costume making, fashion design, dance and cosplay and are extremely talented, dedicated and passionate for this industry. Making your creation shine!

421 Graham Street Port Melbourne, VIC 3207 +61 3 9646 0072 +61 3 9646 7288 info@shinetrimmingsfabrics.com.au www.shinetrimmingsfabrics.com.au Theatre Star Theatre Star specialise in the manufacture and supply of curtains, backdrops, screens and associated products for the entertainment and event industries. We are a committed team of creatives and our whole focus is to provide the highest quality theatre and studio curtains, manufactured from the best available fabrics available in the quickest turnaround time.

Theatre Star are proudly Australian owned. Contact Rod Paton for more information on their products and services.

Factory 3, 10 Industry Circuit Kilsyth South, VIC 3137 +61 3 8761 6927 sales@theatrestar.com.au www.theatrestar.com.au Costumes, Props, Sets and SFX directory: http://bit.ly/2ma7wNZ

www.stagewhispers.com.au Stage Whispers 33

Director’s Diary Photo: Glenn Pokorny.

The Wizard Of Oz

Tim O’Connor is directing the mega arena production of The Wizard of Oz for the Harvest Rain Theatre, with a cast of 500+ on stages the size of three basketball courts. Cast members range from stage newcomers to Gold Logie winner John Wood.

Harvest Rain produces large-scale arena productions, turning well-known musicals into eye-popping arena spectaculars.

I was completely mesmerized by The Wizard of Oz as a child, so whilst I normally sit in the Producer’s seat, for this one I could not resist taking on the directing duties.

Gather The Mass Ensemble We run auditions for young performers across the country. The show was headed for Newcastle, Brisbane, Adelaide, Sydney, Canberra, Melbourne and Perth. We audition 200 performers at a time and take them through a song and dance audition to find a suitable place for them all in the mass ensemble. By the end of the audition process, we saw over 5,000 young people nationwide.

Time To Get Training Long before we started rehearsals, our team took the young members of our mass ensemble through a dedicated boot camp training program. This gives them a basic crash course in theatre etiquette and stage craft, as more than 70% had never set foot on a stage before.

We see the show as a unique training opportunity for young performers. Our choreographer created a 34 Stage Whispers Let’s Put On A Show 2020

handbook for each participant to work through during a weekend bootcamp in theatre etiquette and some basic performance skills. Towards the end of the training, the mass ensemble of 800 people combined in an exhilarating and exhausting rehearsal.

there are fly towers and wing space where you can bring sets on and off as scenes change and transition, but in the arena, you have a big open space and audience on three sides.

The story of Oz is literally a journey, from Kansas to Munchkin Land, to a corn field, to an apple orchard, into Devising The Show a forest, then a field of poppies, then to the Emerald One of the key things about the arena shows is that City‌.and on and on and on. Even if we built sets to entrances and exits can take a while. We had to find ways depict all the various settings, it would be hard to find a to ensure the show had pace, whilst also allowing time place to store them in the arena. for the traffic on and off the stage.

We were stumped as to how to transport the audience We knew that the chorus would all play Munchkins. to all these places in a vast arena. I started pondering We decided to open the Kansas sequence with only a few what might be possible if we created projections to guide actors on stage to contrast with Dorothy’s arrival in Oz, us through the fantasy world of Oz. when she is greeted by 800 munchkins. The stage would We hired a nine-metre-tall wall of LED screens, which literally explode into life with hundreds of people upon we placed at the back of our set to display continuous her arrival. animations.

Live Action Meets Animation We faced the challenge of how to bring the Land of (Continued on page 36) Oz to life on the arena stage. In a traditional theatre,

Online extras!

The mass ensemble reflect on their experience in The Wizard Of Oz. https://youtu.be/W7L4P8nfY1k Photo: Glenn Pokorny.

Costumes, Props, Sets and SFX directory: http://bit.ly/2ma7wNZ

www.stagewhispers.com.au Stage Whispers 35

(Continued from page 35)

I then worked with an illustrator and projection company and emailed them almost daily for six months.

Ideas flew back and forth - everything from the dusty, sepia landscape of Kansas to the dazzling green vista of the Emerald City.

My favourite sequence to mastermind was the Twister.

Through the wonder of animation, we could see the Twister pick up the Kansas farmhouse and then bring the audience right into the eye of the storm.

Designing The Set I thought that the set for our show would be nothing more than the arena floor and the giant wall of LED screens at the back, but our set designer convinced me that we could do something more interesting.

A structure to sit in front of the LED screens was designed to look like the crumbling ruins of an old castle.

A swirling “yellow brick road” lead down from the castle to the centre of the stage. It was a magnificent playground for the actors to make use of, with lots of secret entrances, hidden trap doors, little nooks and platforms and places for the actors to play.

The whole look of the characters is familiar but peppered with subtle pop culture references.

How Many Costumes Is Too Many?

One of our biggest headaches was sourcing costumes for the mass ensemble.

Each member of the cast played at least three different characters - a Munchkin, a Poppy and an Emerald City Citizen.

Over 2,500 costumes were used in the show. We searched all over the world for suppliers who could send us enough wigs, unitards, hats, glasses and accessories to fully costume all our performers. Once all of the items were shipped to our headquarters in Brisbane, we had to dedicate one whole wing of our building to just storing the thousands of boxes of costumes needed for over 5,000 performers across the tour.

At times we now feel a bit like an Amazon storehouse, keeping track of hundreds of boxes containing thousands of wigs and costumes.

Putting It All Together It took six months to devise the choreography for the mass ensemble.

Every member had their track in the show intricately The Costumes You Expect, With A Twist mapped out into a computer program, to accurately I had a clear idea that I wanted all of the Oz characters predict how 800 people would move around the stage to look like their costumes had been cobbled together without all crashing into one another. from found items - almost as if Dorothy was playing make After exhaustive auditions, we cast a group of eight believe and digging into her dress-up box to clothe the actors to take on the principal roles in the show, led by characters in her imagination.

Gold Logie winner John Wood playing the role of the I wanted the characters to be reminiscent of what we Wizard. all know and love from the movie, but also with a little bit We also employed four actors to serve as Mass of a twist. We gave the Tinman a baseball cap for a hat Captains, who would perform alongside the mass instead of the traditional funnel, and the Lion’s costume ensemble and help teach the choreography and keep was more like a big fur coat than anything else, complete order on stage. with a Scary Spice style wig and some fantastic bling.

We cast Carly Bettinson, a recent graduate of the Glinda’s costume was a mix of the Glinda from the Brisbane Academy of Musical Theatre, in the role of film and Cyndi Lauper, and the Wicked Witch’s costume Dorothy. She had started out performing in the mass was reminiscent of Bellatrix Lestrange from the Harry ensemble of one of Harvest Rain’s arena shows, and Potter films (only with green skin, of course.) playing Dorothy was her professional debut.

Photo: Glenn Pokorny.

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For up-to-date information on The Wizard Of Oz arena spectacular visit wizardofozarena.com

Director’s Diary Photo: Glenn Pokorny.

Rehearsals commenced four weeks prior to opening night. The principals rehearsed at our Brisbane headquarters with me, while the choreography team rehearsed with the mass ensemble in Newcastle (where the show was set to premiere).

It was like working on two different shows in two different cities. I had eight actors in a tiny rehearsal room in Brisbane, while Online extras!

800 actors rehearsed in a Director Tim O’Connor discusses set giant Exhibition Hall in design challenges on The Wizard Of Oz. Newcastle. The two casts https://youtu.be/8k283E8chRo only came together four days before opening night.

We spent almost two weeks in the Newcastle Their passion and enthusiasm energises us and spurs Entertainment Centre, coordinating how the principals us on. We love what we do and can’t wait to take Oz all would interact with the giant animation screens, and how around Oz over the next year! the mass ensemble would interact with the principals.

PRODUCTION TEAM Now our challenge is moving the behemoth of a show Director: Tim O’Connor from city to city. It takes five semi-trailers to hold all our Choreographer & Mass Director: Callum Mansfield sets, lights, sound and AV equipment, not to mention the Music Director: Dennett Hudson thousands of costumes.

Set Designer: Fran Hannaway Moving Oz around Australia feels kind of like a military Head of Wardrobe: Susie Nairn operation - it’s a huge undertaking but we love it, and it’s Illustrator: Elizabeth Botte. all worth it when you see the effect the experience has on Projection: Craig Wilkinson the young people who take part. Seeing the experience Mass Ensemble Manager: Marcelle Wallen. through their eyes reminds us of why we got into this LED Screens: Woohah Productions business in the first place.

Photo: Glenn Pokorny.

Costumes, Props, Sets and SFX directory: http://bit.ly/2ma7wNZ

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Director’s Diary

Look Back In Anger

Photo: Norm Caddick.

In September Lesley Reed directed Adelaide Repertory Theatre’s production of Look Back In Anger by John Osborne.

viewpoint that the work is a ‘classic’ and that its themes of misogyny, toxic relationships, marital breakdown, The Beginning relationships with women were class distinction, unresolved grief and I was browsing among used books turbulent and who was one of a the angst of working class people in a cluttered bookshop in which group of radical young playwrights of against a privileged ‘establishment’ many titles were crammed together the time. In this drama the are timeless, as relevant today as they without classification. The shelves playwright’s working class and under- ever were. However, the challenge extended to the ceiling, making some employed main protagonist Jimmy was to present this play to modern books impossible to reach, but I Porter endures a toxic relationship audiences in its original 1950s period. persisted because it was one of those with his upper middle class wife The ‘angry young man’ persona quirky shops in which one can find Alison in a cramped attic room of a central to the play remains present hidden treasures. Sure enough, I rundown Victorian-era boarding today, but the rampant misogyny in discovered a very early and decidedly house. His workmate and friend, the narrative was a concern. How tattered edition of John Osborne’s laidback Welshman Cliff, also lives in would Adelaide audiences react to it 1950s British drama Look Back in the boarding house but spends much from a modern viewpoint?

Anger. It began a long journey that of his time being peacemaker The Vision And Approach culminated with me directing the play between Jimmy and Alison. Jimmy in September 2019 for Adelaide detests Alison’s parents, brother and I decided not to soften the play’s Repertory Theatre. friends and abhors their class.

1950s misogyny and argued in the Tensions explode when Alison’s friend program notes that the production The Play Helena arrives to stay. aimed to present the work as an essay on the British times it reflected; not to Look Back in Anger is set in the The Challenge mention, that in terms of relevance, Midlands of England during the mid 1950s. It is widely assumed the play is While some might argue that Look many women still suffer abuse and misogyny. based on the real-life experiences of Back in Anger is dated, I instead playwright Osborne, whose personal approached directing it from the

38 Stage Whispers Let’s Put On A Show 2020

In terms of audience analysis of the Porters’ possible future beyond the text, when the emotional reunion of Jimmy and Alison occurs at the end of the play, the actors, despite their own possibly different interpretation of the scene’s intent, played it with their characters utterly believing this is a new start; that things will not go back to their marriage’s former toxic state. Conversely, however, I wanted audiences to go away unsure of this aspect. Is it really a happy ending, or just another step in a cycle of abuse and emotional dependency that is perhaps more often recognised these days than it was when the play was written?

of the scene, to have a break from the returning home from a public laundry. sense of threat and tension that The ‘landlady’ appeared in person on Jimmy creates with his very presence. stage briefly and wordlessly, as if stepping from the projected newsreel Casting And Character Interpretation footage.

The role of working class ‘angry young man’ Jimmy Porter was a major Setting/Set Issues casting decision, as the character Creating a cramped and rundown must drive the action. Jimmy Porter is attic room on the large stage of a dream role for male actors and Adelaide’s Arts Theatre meant a need professional actor Adam Tuominen for creativity in set design. The won the role. He was compelling as atmosphere of the Porters’ grubby, Jimmy, having put in months of work small room must be claustrophobic prior to and during the rehearsal and depressing, one of sadness and period, including learning basic poverty. To achieve the effect on the trumpet playing. wide expanse of stage, set design All five actors interpreted their incorporated not just the Porters’ roles well. Part of the rehearsal period room, but a complete ‘attic floor’ on involved character exercises, such as two slightly different levels, with a Script Challenges developing a detailed ‘beyond script’ side corridor from which doors led to The script, much like others of its private background history for each. stairs and Cliff’s room. The internal day, is wordy and is written in three Work and discussion on characters wall of the Porters’ room was a low acts. In excess of 100 pages, the was intense, including for ‘cut out’, revealing this side corridor. duration of each performance was unconscious motivation. An intuitive The upstage ‘rear wall’ of the room likely to be beyond what today’s approach to ‘blocking’ helped develop was also partly cut out to reveal a audiences would tolerate. My natural movement on stage and back corridor. Both corridors met on a challenge was to present the play contributed to character landing from ‘downstairs’. Furniture with only one interval and to make development. was crammed into the ‘small room’ judicious edits without impacting on space of the Porters’ bedsit. Action in the intent, rhythm, themes, character Projection For Context the corridors included what is given arcs and tension of the play. I edited With the 1950s context important only in stage directions in the script to achieve the single interval, for audiences to know, performances and not normally seen on stage, therefore only two acts, by extending began with projection of historical including people coming and going Act 1. I climaxed the first act with the news footage featuring people of that from the ‘floor’. This additional tension and anger of the ‘tea’ scene time and place going about their lives. action, occurring simultaneously with and Alison’s subsequent quiet The projection concluded with a that in the Porters’ ‘room’, gave defiance of Jimmy. The arrival of ‘landlady’ character, one discussed in further layers to the production; a Alison’s father Colonel Redfern was a the play by the characters, but not ‘filmic’ quality. gentler point at which to begin the normally seen. We filmed her using ‘new’ final act, allowing the audience, one of our cast, blending her with real (Continued on page 40) with the absence of Jimmy for much 1950s footage of a Midlands woman

SPARK 2020 OUR SCHOOLS RESOURCE KIT IS A MUSTREAD FOR EDUCATORS IN THE PERFORMING ARTS stagewhispers.com.au/spark www.stagewhispers.com.au Stage Whispers 39

Photo: Norm Caddick.

PRODUCTION TEAM Director: Lesley Reed Director’s Assistant: Sophie Rendina Cast: Adam Tuominen, Leah Lowe, James Edwards, Jessica Carroll & Jack Robins Stage Manager: Deborah Knapp Production Manager: Genna Dixon Publicity: Laura Antoniazzi Set Concept: Lesley Reed Set Design: Brittany Daw Set Construction: Stanley Tuck and team Lighting Design/Operation: Richard Parkhill Sound Design: Ray Trowbridge Sound Operator: Barry Blakebrough Music Design: Kim Orchard Projection Design: Genna Dixon & Lesley Reed Wardrobe: Fran Hardie & Rebecca Jarratt (also Hair Design) Properties, Set Dressing: Leah Klemm and team Backstage Crew: Stanley Tuck & Josh Gargiulo FOH Manager: Ray Trowbridge Program: Robert Nottage (Continued from page 39)

Music, Lighting, Sound Original music by Kim Orchard helped to enhance the claustrophobic oppression of the Porters’ lives, as well as the sadness, hopelessness and fleeting hopes and joys. Recorded jazz trumpet music was used in key scenes in conjunction with Jimmy’s live trumpet playing. Lighting and sound were entrusted to skilled Arts Theatre technicians, who created realistic effects to add to the atmospherics.

Costumes, Hair And Props The photos used with this story were taken at an early dress rehearsal and don’t exhibit hair design, but the stylist created Victory Rolls and other period-authentic hairstyles. Costumes too, predominantly from Adelaide Repertory Theatre’s extensive wardrobe collection, were enhanced through the talents of a seamstress.

Outcomes In general, audience and critical response was very good. As occurs whenever this play is produced, some people walked out during each show.

In some ways we wore this as a badge of honour because it meant the performances had impacted people in a deep and personal way and perhaps had also raised awareness of the effects of verbal abuse and control.

40 Stage Whispers Let’s Put On A Show 2020

Photo: Richard Parkhill.

I look back on this production of John Osborne’s Look Back in Anger with a sense of having learned much as a Director, as well as with immense satisfaction that it pleased, touched and gave many theatregoers pause for thought. The scrappy little script

that started it all is now a treasured possession of the production’s lead actor Adam Tuominen. *Note: Lesley Reed is also a correspondent for Stage Whispers

www.stagewhispers.com.au Stage Whispers 41

Forgotten Fabrics Get Chance To Shine

sewing rooms, waiting for that ‘ah ha’ moment when its time came to shine. I personally know each of the 13,000 inventoried items, and could probably tell you the source of the fabric.

Providing costumes for school productions is a privilege Costumes costume pieces which are likely to be without Drama honours by providing Tracey Nuthall from Costumes used in the ‘dress up’ box at home. without Drama shares her a full inventory of items supplied, with Right from the start we chose not everything packaged and labeled. philosophy, after running her to buy cheap imported garments, or It was not trendy or even ‘cool’ to company for almost 19 years. garments made by cheap labour send costumes out to schools in overseas. Most costumes are made on recycled bags when we started. I have Costumes without Drama was site or locally. noticed progressively over the years started primarily as a reaction to the We always used reusable bags, that there is finally an understanding waste produced by making costumes for a single use (sometimes even out mostly cloth bags made from fabrics that we do not have to re-invent the saved from landfill, dumped due to wheel for every production. We do of paper, and other materials which being unfashionable designs etc. not have to spend a lot of money, are not able to be laundered) and Many fabrics used have originated and it is OK to use something which ending up either taking up storage has been used by someone else room, never to be used again, or sent from sources other than fabric wholesalers. Garments have been before. to landfill. There are only so many lovingly created from fabric unearthed Finally, as I approach 20 years in items a school can use on multiple business, I am in fashion! occasions, and there are only so many languishing in friends’ and family’s

costumeswithoutdrama.com.au

42 Stage Whispers Let’s Put On A Show 2020

Caring For Costumes Tracey Nuthall from Costumes Without Drama makes a priority of caring for costumes after a performance.

“We are fanatical about sorting. After scanning costumes back in, they are thrown straight into tubs. There will be a tub for hand washing, one for whites, blacks, reds, blues, greens, etc.

“Please be kind to our planet. Choose environmentally friendly detergents and avoid tumble drying.

“We hang wet costumes directly onto coat hangers, trying to straighten and shake out creases then leave them to air dry on racks.

“But, if you wish to save yourself all this work, you can always hire costumes from Costumes Without Drama.

“Our costumes are all barcode labeled. The costumes are picked out and chosen specifically for your students, with respect and sensitivity to your student’s specific sizes.

Where possible, you receive costumes approximately two weeks before the concert, and, best of all, we do all the laundering on return.”

Contact Tracey by phone on (03) 8838 2616 or email info@costumeswithoutdrama.com.au

Costumes, Props, Sets and SFX directory: http://bit.ly/2ma7wNZ

www.stagewhispers.com.au Stage Whispers 43

LOOKING FOR A COSTUME? WE’VE GOT HEAPS!

Check out our Costume Classifieds: stagewhispers.com.au/costumes

stagewhispers.com.au/directory-central 44 Stage Whispers Let’s Put On A Show 2020

www.stagewhispers.com.au Stage Whispers 45

Let’s Put On A Show Suppliers offer tips on some of their most popular products.

Portable Seating And Stages

For nearly a decade, Transtage has been selling portable seating and stages for schools, churches and theatres.

The Sydney company, which delivers Australia-wide, says purchasing the stages is more cost effective than renting, if you have a few repeat uses.

The company says the modular stages can be put together in about an hour and easily deconstructed into flat packs for ease of storage.

The stages have a load capacity of 750 kilograms per square metre, and can be set outdoors or on uneven terrain.

Different uses for the stages include choir risers, seat risers, catwalks and regular platforms for speeches, music and dance. transtage.com.au

Stage Make-up And Accessories

Centrestage Costumes supplies schools around Australia with stage make-up, costumes and accessories for productions, drama classes and Year 12 monologues.

Owner Mary Gurry says the family owned business is one of few companies left in Melbourne which specialises in stage make-up.

“Our most popular products for parties and professionals are fantasy make-up and special effects kits,” she said.

The company is proud to have costumed the Melbourne Marching Girls for their annual appearance in Sydney Mardi Gras. Mary Gurry says the theme this year is white steampunk.

centrestagecostumes.com

Protecting Sets

Creative Film and Theatre Solutions says FoamCoat is an under-rated product which theatres and schools should put on their shopping list.

It’s a non-toxic, water-based coating for styrofoam and polystyrene foam, as well as other surfaces.

The company says FoamCoat provides a hard, durable finish that resists chipping and cracking, yet can be sanded smooth or carved to add detailing.

The flame retardant and water-resistant product is also used on primed wood, concrete block, primed fiberglass, papier mâché, muslin and many other materials.

Creative Film and Theatre Solutions’ new business development manager Natasha Srbinovski is available to advise schools, theatres and universities on their upcoming projects.

Photo: Jann Whaley.

For more info on FoamCoat, visit au.rosco.com/en

46 Stage Whispers Let’s Put On A Show 2020

Scenic Studios Scenic Studios is a Melbourne based company and has been trading for over 40 years, specialising in theatrical painting of scenic backdrops and theatre scenery. It offers a high level of craftsmanship in all fields of scenic art and also manufactures scenic paints and hires scenic backdrops and drapes.

The company’s scenic hire range includes over 200 backdrops which are professionally painted and give depth to the scene to allow for lighting tricks and ambience. The standard size, 12m wide x 6m drop, fits most theatres and school auditoriums.

Scenic Studios says a good backdrop will set the scene or create the atmosphere you desire for your performance. Many different themes are available, from traditional productions such as Oliver!, The Lion King, Seussical and Beauty and the Beast, to ballrooms, circuses, forests and gardens. All can be found on the company’s website under backdrop hire.

The company has also has sequin drapes, slash curtains, lame curtains and crush velvet drapes.

The scenic paints it supplies are designed to paint theatre backdrops and scenery. There are 28 colours to choose from, with special paints such as texture, canvas / surface primers and stage black.

The company ships paint and hires backdrops Australia wide.

The specialist team at Scenic Studios is ready to help with your next production.

For more information call (03) 9484 3422 or visit scenicstudios.com.au

www.stagewhispers.com.au Stage Whispers 47

Building 19 Century Paris In Brisbane th

Photo: Nick Morrissey.

Online extras!

Director Alister Smith discusses staging Les Misérables. Scan or visit https://youtu.be/gKTF9uqPSUs After a successful season the set was returned to the NJW workshop in Ballarat for modifications. To suit the The project encompassed design, Harnessing the enormity of the much larger performance space of the drafting, fabrication, automation, ports and large ships of 1800s France Conservatorium Theatre in Brisbane, installation and technical managewas a focal design element, as was set pieces including catwalks, stairs ment. using levels to differentiate class. The and backdrops were enlarged and Company Director and designer set design included catwalks, staircas- adapted. Assisted by a CNC Nathan Weyers joined with Meles, ropes, dock cleats and huge steel (Computer Numerical Control) mabourne-based theatre director Alister beams, all of which were sourced and chine, a skilled set of builders and Smith earlier this year to design and fabricated. scenic painters cut new staircases, build the set for Footlight ProducOnce the concept was sketched, tions’ Les Misérables in Geelong. the design team spent a week draftFrom Alister’s vision, the NJW ing construction drawings. The NJW team began with research; exploring technical department then added setthe text, themes, time period and vis- electrics and special effects. ual imagery related to the production.

Approval was sought by the Director and Production team before the construction drawings made their way to the workshop for the fabrication stage.

Over 70 sheets of MDF (Medium Density Fibreboard) then arrived in the workshop, destined to become aged and weathered timber floorboards.

The first week was dedicated to undercoat, basecoat, graining effect, ageing and sealer, all requiring at least 24 hours drying time between coats.

Other parts of the build included guns, a barricade (fit to fight from) NJW Designs is a multi-faceted and hand painting final details onto design and fabrication hub custom printed hanging scenery, detackling projects for picting the sketches and writings of professional theatre houses to Victor Hugo. The whole build took one month but was bumped into the local musical productions.

Geelong Performing Arts Centre in For more info visit one day. njwdesigns.com.au

NJW Designs joined with Griffith University to design and build the set for their recent acclaimed production of Les Misérables.

48 Stage Whispers Let’s Put On A Show 2020

welded handrails, and painted timber floors over two-weeks.

Meanwhile, rehearsals commenced for the triple cast of 80 musical theatre students from the Queensland Conservatorium Griffith University. To help bring the vision to life for the new creatives and cast, NJW Designs built a scale model to travel to Brisbane.

Using 3D print technology, all elements were reproduced at a 1:25 scale, allowing set positioning, scene change logistics and actor blocking to be realised.

Taking the project from the initial design phase many months ago right through to its second installation, the team from NJW Designs visited Brisbane in July to bump the set into the theatre.

Costumes, Props, Sets and SFX directory: http://bit.ly/2ma7wNZ

Working over two days, and ably assisted by the mech team at the Conservatorium Theatre, the entire set was constructed, flown scenery hung, and props checked and sorted, ensuring that Alister’s vision became a reality once more. Because at the end of the day, turning vision into reality is NJW Designs’ ultimate goal.

www.stagewhispers.com.au Stage Whispers 49

Create a concept sketch of your costume. Include as many notations as you can into your concept sketch to help guide you through the construction process. These notations will ensure your overarching costume concept is not lost in creation. The colours, fabrics, trimmings and embellishments you intend to select for your costume should also be noted in your design.

Making Your Own Costume Shine

Tanya Szulc from Shine Trimmings & Fabrics says making your own costumes should not seem like a daunting task.

Taking an initial design through to a successful costume might feel like a difficult journey, however if you follow these guidelines, you will increase your chances of success immensely.

high shine/sparkle element, ensuring it looks effective under stage lights, or perhaps it needs to portray movement with draping/flowing fabric or trims, or capture the feel of an era gone by.

Determining these factors and incorporating them into your design is Initial design a crucial step in developing your Research your theme and costume fabulous costume. Shine have requirements thoroughly. Make sure excellent design templates you can your design will also match the music download from our website. if required. Pinterest has some fabulous ideas, as does the Shine Instagram account. Discover what are the important design elements that your costume will need to portray the look, feel and/or era that you are looking to capture.

A costume may need to have a

Shine sales staff possess extensive knowledge in costume making with many of them being costume makers in their own right, and are always happy to provide advice and assistance.

Call 1300 SHINE 1 or visit shinetrimmingsfabrics.com.au

50 Stage Whispers Let’s Put On A Show 2020

Measurements An extensive list of measurements should be obtained from the intended recipient of the costume. Accurate measurements provide you with the information you need to calculate the lengths of fabric you require and also allow you determine the cost of your creation.

Ensuring a costume fits its recipient well is crucial. Again the Shine template you downloaded from our site is perfect for this step and provides you with a document that you can continually refer back to throughout the entire construction process.

Choosing your fabrics and trimmings Take the time to thoroughly search for quality fabrics, trimmings and embellishments that will best achieve the design you have worked hard to develop. Obtaining samples will ensure that the fabrics and trimmings you have chosen for your costume are true to colour, have the necessary look/texture/feel/stretch required for

Smoke And Fireworks

Geelong Fireworks is well known for indoor pyrotechnics and the “world’s largest range” of flash and fire products, but the company also stocks a range of other items to enhance productions.

your creation and are complementary to one another.

Once you have confirmed your choices it’s time to order/purchase your selected fabrics, trimmings and embellishments. Shine Trimmings & Fabrics stock over 12,000 products which can be viewed on our website or in our Port Melbourne retail store.

We ship direct to your doorstep worldwide.

Construction A dressmaker’s mannequin is an ideal tool at this stage, however if you do not have access to one, the next best option is a dressmakers bodyboard. A bodyboard is a flat, stiff template which you can stretch your costume on, ensuring your costume will look great and will also fit the natural curves and shapes of a body.

These are perfect when you commence beading & decorating the costume.

Plan how you are going to construct your costume before beginning construction. Ensuring you know which step you need to do before another will save you time and mistakes.

If you’re ever unsure how to proceed, simply seek advice from an experienced costume maker/designer or Shine Trimmings & Fabrics. The team at Shine are highly qualified in costume making, fashion design or dance. They are always happy to help and are looking forward to making your creation shine!

The Actor Electronic Cigarette is used in many movie productions as it enables the actor to inhale and blow smoke. It has a “burning” tip while inhaling. The product is available with a tan or white filter and charges via a USB port. A budget Puff Cigarette, which contains corn-starch that is blown out of the cigarette, is also available.

A new range of products for ghost/horror productions includes rotating candelabras, haunted vases that fall on command, books that open and can shoot flames, books that fall - all by the press of a remote control. A showstopper is a skull that can shoot fire from its eyes.

Just as spooky is a collection of books falling off a bookshelf. Spirits About is the product which makes it happen.

Visit the Geelong Fireworks website to see what is available or to order a custom-made special effect. www.geelongfireworks.com.au

Costumes, Props, Sets and SFX directory: http://bit.ly/2ma7wNZ

www.stagewhispers.com.au Stage Whispers 51

Curtains For Shakespeare In Love

Love.

MTC’s Shakespeare In Photo: Jeff Busby.

When the Melbourne Theatre Company needed lavish looking drapery for its blockbuster production of Shakespeare In Love in 2019, a local specialist company was on hand to assist with the design and creation.

Theatre Star Pty Ltd has a specially fitted out factory in Melbourne, with a large squeaky clean floor-space, huge cutting tables and a motorised bar for test hanging drapes.

Owner Rod Paton says whilst Gabriela Tylesova designed the lavish look for the MTC play, it was up to his company to work out how to create some of the more challenging aspects.

He says the components of the drapery in Shakespeare In Love included “big stylised pleats on the OP side, three enormous swagging velvet curtains above, a whole range of cut canvas cloths with scenic artworks to create depth, a huge scenic painted cloth at the rear, and various other gauzes and panels.”

Rod says drapes play an important role in many shows and often add to the illusions used in theatre.

“Layer after layer of various speciality cloths are often used for various purposes such as filtering, reflecting or blocking light, adding depth, concealing and revealing scene changes, not to mention painted backdrops, projection surfaces and fancy front drapes.”

Rod says his team of professionals have many years of experience.

“We manufacture for theatre productions, events, films, television studios, schools, universities, churches

and festivals and have worked on countless productions all around Australia.”

For those without the budget of the Melbourne Theatre Company, he has other solutions.

To assist with school and amateur productions, Theatre Star has recently introduced a new drape support product known as the Instaframe.

The Instaframes are a lightweight and

portable drape or backdrop support which fold out for use and pack away for storage. The frames can support digitally printed backdrops as well as black masking curtains.

Rod says “not only are they portable, lightweight, safe and budget friendly, but they are re-usable for years after.”

Bumping-in at MTC’s Shakespeare In Love.

For details about Theatre Star’s “Drama Deal” packages, which include Instaframes, digitally printed backdrops and black masking curtains, visit theatrestar.com.au/dramadeals or call (03) 8761 6927.

SPARK 2020 OUR SCHOOLS RESOURCE KIT IS A MUSTREAD FOR EDUCATORS IN THE PERFORMING ARTS stagewhispers.com.au/spark 52 Stage Whispers Let’s Put On A Show 2020

www.stagewhispers.com.au Stage Whispers 53

Public Relations

54 Stage Whispers Let’s Put On A Show 2020

Featured Businesses IP PUBLICITY IP Publicity specialises in publicity and promotions for the performing arts and other entertainment events, a small and highly skilled team based in Sydney and led by Ian Phipps. From large scale productions and high profile artists where the media communication needs to be managed strategically, to smaller productions which require a niche, targeted approach, IP Publicity has strategies and the experience to ensure that entertainment events are well promoted to media and the general public across Australia.

IP Publicity provides strategic media placement in all media outlets, promotional activity and a substantial media and celebrity database for opening night red carpet coverage. +61 2 9368 1474 ian@ippublicity.com.au www.ippublicity.com.au Neil Ward Publicity Neil Ward Publicity Pty Ltd (NWP) is one of Adelaide’s leading arts and entertainment publicity companies, specialising in publicising high end, film, arts and entertainment events in Adelaide since 1994.

93 George Street Norwood, SA 5067 +61 4 3809 5580 +61 8 8361 3577 neil@neilwardpublicity.com.au www.neilwardpublicity.com.au Promotix Promotix is an Australia wide papering service for the theatre and entertainment industry.

Their team has an extensive history in theatre and event production, and a passion for encouraging people to explore and experience new and exciting Australian shows and performances.

What they provide: * Distribution of your complimentary tickets to our enthusiastic and reliable member database. * Word of mouth publicity * Honest and unbiased feedback from our members who attend your show * Our service is completely free for you to use * Office hours are 7 days a week between 8am - 10pm Contact Catherine Hutchison to discuss your ticketing needs.

Suite 13, Level 4, 150 Albert Road South Melbourne, VIC 3205 +61 3 9376 4933 catherine@promotix.com.au www.promotix.com.au

www.stagewhispers.com.au Stage Whispers 55

The Art of Publicity Sydney Publicist Geoff Sirmai provides his top ten tips for gaining media coverage.

what’s-on listings and feature articles.

They invite and liaise with opening night guests including reviewers, VIPs, and celebrities you might want involved.

You’ve done your flyers, Advertising is still transparently bombarded your friends and family, spammed your network and flooded yourself blowing your own trumpet and social media like Facebook, all the usual suspects, yet your sales Instagram or Twitter will only reach are stalling. What are you doing to those - at most - a few degrees of reach new audience? separation away. Remember, as the In my view the number one Bard might have said, “A Facebook priority on your list should be public ‘like’ doth not a ticket sale make!” relations (‘PR’) or media publicity.

Media coverage through publicity Just as marketing (paid advertising, reaches new audiences. Press and banners, posters, flyers and direct mail) and social media networking are electronic media coverage carry the weight of editorial approval or ‘third important in promoting a show, party endorsement’, complementing media publicity - which involves, your more transparent selfessentially, free editorial - is promotion. indispensable in getting known in a Your creative team also appreciate crowded arts and media world. coverage which rewards them for A publicist arranges free editorial: press articles, radio and TV interviews,

Geoff Sirmai is director of Geoff Sirmai Arts Publicity.

Read more and download the free booklet ‘You And Your Publicist’ (which includes a comprehensive guide to timing, photos, reviews, writing a media release and much more) at www.sirmai.com.au 56 Stage Whispers Let’s Put On A Show 2020

their efforts and gains them wider recognition.

Ideally you should engage a professional publicist: they have the skills, the comprehensive, up-to-date contacts and the dedicated time to cut through the competition.

Plus the regular, close relationships with media associates that will make all the difference. That will leave you the time and space to get on with your main business... that’s show business!

However, whichever way you decide to handle your media editorial publicity efforts - whether with a dedicated company/committee member or a professional - don’t forget about it! It’s a vital part of your promotional toolkit.

Top Ten Tips Start early: Give yourself and your publicist time to place the stories Vary your approach to suit the medium: One style doesn’t fit all. Match the ‘angle’ with the outlet - is it a local paper, radio, ethnic or arts specialist? Give your publicist ideas and angles, Make your release newsworthy: Try and ‘hang’ your release on a hot current issue or feature interest beyond the play’s obvious theme.

Remember: what you think is interesting may not be so to every journalist or editor, who is second-guessing their reader’s agenda, not yours. It’s a competition for space.

Great photos: Quality promotional and production shots will double your coverage. Not cheesy posed shots, but dramatic, powerful or funny ‘moments’. High resolution (300dpi) for the press and low res web versions (72dpi) to preview.

Don’t over-hype: Passion and ingenuity and originality, yes… absurd hyperbole, no. No-one likes a rip-off.

Invite opening night guests and the press: Make a buzz, make a splash.

Give away tickets judiciously: Don’t look desperate but do give away a few ‘comps’ (say on radio or through competitions) in exchange for coverage. A full opening night will set you on your way.

Don’t be afraid to invite reviewers: But be ready on opening night if you do.

Cross-promote: Do complementary offers to another company’s audience in exchange for access to theirs. Negotiate mutual leaflet drops. Remember: a theatregoer at any other show (but especially at the same venue) is your best target audience.

Measure your success: Do you poll your audiences? It’s worth slipping a short survey in the program to see how they found out about the show. Offer an inducement to maximise returns - a prize, a discount voucher etc.

www.stagewhispers.com.au Stage Whispers 57

Sound and Lighting

Online extras!

For more listings, check out the Stage Whispers’ directory on our website. http://bit.ly/2nEHzGK Lighting Design at WAAPA. Photo: Stephen Heath.

58 Stage Whispers Let’s Put On A Show 2020

Featured Businesses

See more listings online at http://bit.ly/2nEHzGK Artlux Artlux provides high quality custom and standards, gobos and projectors made in Italy by Goboservice, for multiple applications such as advertising, events, weddings, architecture and safety projections.

Artlux is an Australian lighting service supplier of high quality gobos and projectors.

Contact Daniela Galante for information about Artlux products.

Botany, NSW 2019 +61 4 5027 9460 www.artlux.com.au B.S. Sound PA Hire B.S. Sound PA Hire can provide hire of Headset mics, Lapel mics and other cordless mics and wireless audio links.

Shotgun microphones. Digital mixers up to 32 channels, delayed speakers, low profile fold-back monitors, etc. LED Lighting; flat par, ground row and follow spots. Projectors & screens also available.

All hires need to be booked in advance. Hires can be picked up if you have your own crew. We can also deliver, set up and operate if required. Technicians have Working With Children Check cards. All electrical equipment is Test & Tagged. Contact Mark Barry for all enquiries.

25 Cromwell Street Glen Iris, VIC 3146 +61 3 9889 1999 +61 4 1999 3966 bssound@bigpond.com www.bssound.com.au Clearlight Shows Specialising in theatrical lighting hire and sale, Clearlight Shows is well known for being a one stop theatrical lighting shop. Their staff have years of practical experience and are able to assist you with any queries you have.

The products imported are known internationally for their quality, reliability and value for money.

All products they sell are supported by in-house technical staff. They also offer equipment training and maintenance.

Clearlight Shows aim is to assist you in purchasing or hiring theatrical or architectural lighting equipment and accessories.

They also stock gel filter, lamps and spare parts. Contact John McKissock for all your lighting hire and sale needs.

5 Horscroft Place Moorabbin, VIC 3189 +61 3 9553 1688 sales@clearlight.com.au hire@clearlight.com.au www.clearlight.com.au

Sound and Lighting directory: http://bit.ly/2nEHzGK

www.stagewhispers.com.au Stage Whispers 59

Factory Sound Factory Sound is Australia’s leading supplier of professional audio equipment. For school productions, amateur theatre and professional acts, our range covers microphones, speakers, mixing consoles and all the bits in between. With a large showroom in South Melbourne and experienced, knowledgeable staff on hand to answer questions, you can be assured of swift solutions and the best price available. After 25 years serving the pro audio needs of Australia’s entertainment industry, it’s no wonder so many people say “go to Factory Sound, you’ll get looked after.''

Contact Artie Jones for audio sales, project design and installation, and first-class advice.

75-85 York Street South Melbourne, VIC 3205 +61 3 9922 1000 +61 3 9690 7077 sales@factorysound.com www.factorysound.com Gobotech Gobotech Pty Ltd have been manufacturing gobos in QLD since 1996. Today a world leader in their field they can work with you to take your custom design to projection success.

You can also select from a massive range of stock images for a great result on a budget. Gobos are manufactured in stainless steel, black and white glass or full colour glass. The latest 2019 stock gobo catalogue is now available to download from their website.

3/4 Northward Street Upper Coomera, QLD 4209 +61 7 5573 3177 sales@gobotech.com.au www.gobotech.com.au www.grandlighting.com.au HME Services “Engineered Solutions for a Creative World”, HME Services is a mechanical and control engineering company that designs and automates machinery for the entertainment industry.

With locations in Sydney and Brisbane we also have a high level capabilities for Audio Visual/Light design and venue integration which enables HME to be the one stop shop for many of our clients.

Our strength is designing and building our own products to safely solve unique hoisting, rotation and translation challenges presented by our clients. Resulting in a large product range that we have proudly supplied and installed into venues throughout Australia and New Zealand.

64 Harley Crescent Condell Park, NSW 2200 1300 USE HME (873 463) sales@hmeservices.com.au www.hmeservices.com.au

1/17 Blue Eagle Drive Meadowbrook, QLD 4131 1300 USE HME (873 463) sales@hmeservices.com.au www.hmeservices.com.au

Loud And Clear Loud And Clear’s specialty is providing professional audio solutions for theatre and corporate events.

They provide a complete service including production design, hire and operation of all equipment for any production. From the simple hire of a single radio microphone, to a full scale sound system for a musical with 40 radio mics and an orchestra of 38 players in an 800 seat auditorium. Their staff are passionate about theatre and customer service. Contact David Betterridge to discuss your audio needs.

Contact details at top of next page 60 Stage Whispers Let’s Put On A Show 2020

PO Box 334 Mosman, NSW 2088 +61 2 9439 9723 info@loudandclear.com.au www.loudandclear.com.au Moving Light Productions Moving Light Productions (MLP) is one of the leading production companies in Victoria and now Australia. Moving Light Productions has provided lighting designs for shows and companies such as London’s West End International Touring show Peter Pan Goes Wrong, The Play That Goes Wrong (Australian Tour 2017), Les Misérables (Launceston, Tasmania), Avenue Q (Her Majesty’s Theatre Melbourne & Crown Theatre, Perth), Wicked (Launceston Tasmania), In The Heights (Australiasian Premiere), Jon English’s Paris - A Rock Odyssey (2017).

With many years of experience in professional theatre and independent theatre, Moving Light can design a light show to suit your needs whether its using the in-house standard rig through to a LED and Moving Light Rig incorporated with LED Screens. They can customise package lighting with designers that will suit your school production or concert. With the innovation of LED Screens Moving Light Productions has access to the highest quality of high resolution LED Screens that can be used for any type of production.

They are passionate about what they do and their staff will be on board with your production all the way through to the bump out. All staff at MLP are willing and wanting to work closely with your staff and school giving you the most professional result. Contact Jason Bovaird to discuss your next production.

Factory 10, 22 Makland Drive Derrimutt, VIC 3030 +61 4 0955 2936 jasonmovinglights@gmail.com www.movinglight.com.au Riedel Riedel Communications designs and manufactures the most pioneering communications solutions for a theatre environment.

RIEDEL also provides real-time networks for video, audio, data and communications for theatre, pro-audio, event and large venues, sports, broadcast and security applications worldwide. RIEDEL Australia offers a large rental operation that provides radio, intercom, event IT solutions, fiber-based and wireless audio & video transmission systems.

2/38 Morley Avenue Rosebery, NSW 2018 +61 2 9669 1199 australia@riedel.net www.riedel.net State Automation State Automation is dedicated to the design and manufacture of state of the art lighting control and automation systems for the entertainment industry.

Our lighting and stage solutions are helping some of the world’s most prestigious venues. We tailor your needs and expectations a solution that is reliable and cost effective in the long run. Everything is possible is our motto!

Factory 25 / 191-195 Greens Road Dandenong South, VIC 3175 +61 4 3707 7580 info@stateautomation.com www.stateautomation.com

Sound and Lighting directory: http://bit.ly/2nEHzGK

www.stagewhispers.com.au Stage Whispers 61

We Will Rock You A Lighting Designer’s Diary

Jason Bovaird from Moving Light Productions and Daniel Jow designed the lighting for We Will Rock You, staged by Centrestage Productions in Geelong, using 800 lighting and vision cues in a combination of state of the art and old school rock lighting. Jason explains how they achieved this combination.

My first question to the production team was whether they wanted to replicate the professional production or do something new.

The director Paul Watson created a wonderful new set design that evoked the feeling of Wembley Stadium. It comprised a semi-circular row of seats that gave the feeling of the last remains of the stadium. This allowed us to have four 3-metre lengths of hanging truss to create the feeling of light towers. These pieces of truss had ray-cans hanging off them to also create the old school rock feel that Queen had in its earlier days.

I wanted to add a design element to the rig that had never been used before in a musical of this size and researched ways to incorporate revolving truss and moving lights. The problem was that most of the revolving 62 Stage Whispers Let’s Put On A Show 2020

trusses were way too big or only moved at one speed.

After months of investigation I found the perfect design from a company in Melbourne - Lighting Lab. The company had been testing a prototype from China - 1.5 metres in diameter with variable DMX speeds. It was perfect for the show, given that it required a “laser cage” to rotate regularly.

We put 230 beam “sharpies” on the truss as they would give a strong thin beam like a laser and also had some great gobos that would be used for many other scenes.

The most impressive moment that the truss was used for was the opening scene when director Paul Watson wanted to create the feeling of the cast member being chased by helicopters.

This moment had the rotating truss

revolving fast, with the sharpies in an open white to create the feeling of helicopter blades rotating.

A show of this size - with over 800 lighting and vison cues over 60 moving lights along with 150 generic fixtures - cannot be plotted in a normal production week due to the time in the theatre and the experience of the cast and crew.

It was decided to pre-visualise the show in a vison suite a week beforehand. Moving Light Productions engaged the services of Nathan Aveling from Starlight Productions and their factory. Nathan spent two weeks drawing up the scaled venue plan. He then created the lighting design in Vectorworks, which allowed the creative team to sit in virtual mode and begin plotting the cues of the show.

Being able to design the show in the visualisation suite with the director allowed us to be able to spend extra time on each of the cues and get the show almost perfect before we bumped into the theatre.

This allowed us to spend more time

Jason has just returned from London having taken over Lighting Design of the hit West End show Peter Pan Goes Wrong, produced by Lunchbox Theatrical Productions, which opens in New Zealand before its Australian Premiere in Melbourne in December. His team will also design the lighting for Melbourne Luna Park’s “Luna Dark” Halloween event. www.movinglight.com.au

Sound and Lighting directory: http://bit.ly/2nEHzGK

incorporating three LED screens: two thin 4-metre LED screens and a centre 8 metre x 4 metre large central screen into the production.

These screens provided all the story -telling content, ranging from “live feeds” through to moving images, still images and text. The screens were able to provide wonderful images during the show that also added the extra design element.

Putting all this together created powerful imagery that allowed the creative team to provide the audience with a strong, visually entertaining production.

Technical details: The story has an element of the old world and new world of Rock and Roll which needed to be shown through the use of parcans, moving lights, LED cans and lasers. The lighting rig consisted of 24 x Bumble Bee 330 spots, 12 x 230 Beam Sharpies, 12 x 60 watt LED Profiles, 30 x 8 watt LED Cans, 64 x Par VNSP Cans, 15 x 1500 watt Blinders, and 12 x Ray Cans.

www.stagewhispers.com.au Stage Whispers 63

Multi-award-winning Nick Schlieper talks to Martin Portus about the rigour and magic of lighting our landmark operas, plays and dance works for four decades.

STC’s Saint Joan (2018).

Photo: Brett Boardman.

64 Stage Whispers Let’s Put On A Show 2020

Nineteen-year-old Nick Schlieper first plugged into his craft alone backstage at Doris Fitton’s old Independent Theatre in North Sydney in 1977.

It was a time in Australian theatre when the lighting guy was usually one of the mechs. Nick was the Independent’s resident stage manager; restless, he began experimenting every night during the show by shifting around the lights.

Actors learnt to just work around it.

Schlieper has been playing with light ever since, earning - and demanding - a respect for the precision, invention and storytelling role of his craft, and his very distinctive signature in lights.

It’s no surprise that painters are his first inspiration - think Turner and Edward Hopper and Nick’s own late brother. Michael Schlieper, Nick’s senior by 11 years, would work on his canvases through the night at the family home in Chatswood. Every morning, getting ready for school, Nick would observe the added layers, the depths appearing from new light and colours.

“I think I learnt most about lighting design and light from that exposure, watching him painting and then, growing up, talking to him about it, and watching his style change radically over a few decades,” says Nick.

“He started out as a wildly abstract painter, went through a very figurative, so-called Teutonic, social commentary period and then ended up painting landscapes but with a great facility for technique, which I learnt from him.”

Nick’s start in stage management also added a practical insight into the logistics of theatre - and the required diplomacy. He was soon responsible for casts and crews far older than he, calling shows, later operas, with the big companies in Sydney, Brisbane and Adelaide. Finally as a production manager, young Schlieper always had work …until, that is, he put out his shingle as a freelance lighting designer.

The jobs were few but, somehow, he scored the lighting gig on the STC’s Summer of the Seventh Doll and

Away, both of which went to New York in 1988. He remembers Roger Kemp’s three model houses signifying the three families intersecting in Away.

“It was played in tight areas and was the first time I had to create a naturalistic pool of light in an abstracted stylised space yet evoking a sense of place. And I approached it from an incredibly simple point of view - of standing under a light bulb, but expanded.”

German director Harald Clemen commissioned Nick to light a show at the prestigious Schillertheater/ Berlin just before the Wall came down,

angles, very cold light, all things very unfashionable then.”

Home he may be, but Nick was also staggered at the absence in Germany of expressive techniques in lighting design. Images of German theatre may look stunning, but the lighting was fixed.

The idea of leading the audience’s eye, lighting the actor and expanding on the emotion was becoming essential to Nick’s story-telling toolkit back in Australia but, then at least, it was foreign in Germany.

“Germans called it dramaturgical lighting, and actors even said to me that they resented me doing their job

Bangarra’s Bennelong (2017).

Photo: Daniel Boud.

which was, he says, like “dancing on a volcano “ with the arts integral to everyone’s fervent conversation, and part of the arsenal between East and West.

“And at the theatres I suddenly understood where my aesthetic had come from - it was like coming home,” says Nick, whose family immigrated from Germany.

“In Australia I was jokingly criticised for my work being very Teutonic, very stark, without much colour. I spent a lot of time making people look right, not nice - which is not the same thing. I do use very steep

for them. It was best to do it under fluoros and with the house lights on!

It was a Brechtian hangover.”

Times have changed. Nick went on to work regularly across Germany, and notably at the Salzburg Festival: he’s just returned from there, lighting a brilliantly urbane contemporary version of Médée. For more than a decade he’s taught lighting design in Munich and he went on to see WAAPA in Perth establish Australia’s one major lighting course.

But ‘dramaturgical’ remains his best descriptor. He rejects all jobs (Continued on page 66)

www.stagewhispers.com.au Stage Whispers 65

“We always made sure that after fabulous visuals we came back to a permeable box with no scenery in it, just lots of light and that light in those interludes, even more than usual, with a focus all about the singers.”

With a set that filled 38 shipping containers (an average opera may fill three) and a lighting rig with a thousand lamps, this was the biggest theatre show ever staged in the country. Oddly for the celebrated designers, the job offers then dried up.

“You’re so easily pigeon-holed by this industry. I think we were branded as, they only do huge now!”

Nick however did join another trusted collaborator, director Simon Phillips, in 2006 to create the stage Still, five years out, he joined the version of the film hit, Priscilla, Queen (Continued from page 65) creative team, all of them leaving of the Desert. unless he’s included from the start in behind their phones and locking “I’m not drawn to musicals but I that first collaborative planning with themselves away in a Blue Mountains was keen to get over my prejudice the director and other designers. He retreat. that they’re all flash and giggle and reads the script or score over and over “But at the end of that week at not much craft.” again and, he says, he eschews tricks “Camp Wagner”, we’d only got as far With a colour palette beginning and focuses his lights only on as the first five minutes of the first with hot pink, he was also repainting advancing the meaning of the work. opera, and most of that was the his reputation as a master of stark “We start with that simple prelude! white light. Nick’s starting point with question - why are we doing this “Still, all that time we were Priscilla was that every scene have the work? It’s all the more vital a question addressing the whole framework with sparkle, the heightened colours, as when it’s a classic. I’ve done five the same question - why are we doing though viewed through the lens of a productions of Macbeth; if you don’t this work yet again and why in drag show - just like back then at the ask why you’re doing it here at this Adelaide?” famed Imperial Hotel in Newtown, time and place, then they’d all look This landmark Ring had massive, Sydney. He admits that the lighting the same. And once you answer that strikingly lit set pieces, but here again took a leap elsewhere, especially with question, you find the environment in for the lighting designer the priority the introduction of Brian Thomson’s which you’ll do it.” was story-telling, of not losing sight of magically inventive bus and a huge All this was well tested when Nick the human stories over time. tech budget. And Nick finished up and his frequent collaborators, director Elke Neidhardt, and set and Médée (2019). costume designers Michael Scott Photo: Thomas Aurin.

Mitchell and Stephen Curtis, started planning what was Australia’s first full production of Wagner’s Ring Cycle. It was premiered by the modest sized State Opera Company of SA in 2004, but years earlier Nick was getting his head around a score lasting 16 and a half hours.

And it was all the harder, given his block about Wagner, one he suggests is common in many Germans.

“It just makes me very uncomfortable, to the base of my spine, since it’s so laden with his vile thoughts…. so learning what I find fairly repugnant music was a challenge.”

Nick Schlieper at the lighting desk for Love Never Dies (2012).

Photo: Jeff Busby.

66 Stage Whispers Let’s Put On A Show 2020

with a lighting plot of 2,500 cues.

The arc of Nick Schlieper’s career has seen an ever-growing respect from audiences, critics and industry colleagues - for the craft of a lighting designer, and an astonishing shift in the technology at their fingertips.

“I’ve seen manually operated desks replaced by computer boards; football -sized globes replaced by ones golfball -sized; and colour temperature and heat emissions have changed so much we can have an expanded palette of colour gels. And importantly we can now have a whiter, less yellow light.

“At first with computers doing a lighting fade we missed the skill of a good operator, but now these have a control which is incredibly sensitive.

You can virtually move a host of lights throughout a show without the audience being aware of what you’re doing.”

A negative for Nick is LED technology. He argues it reduces the colour ring spectrum to just 70%; with the missing 30% so critical because that’s the light most sympathetic to skin tones, to lighting the actors and telling the story.

MTC’s North By Northwest (2016).

Photo: Jeff Busby.

It didn’t stop him, however, employing a huge back wall of white light in the STC’s Cat on a Hot Tin Roof. The lighting bank initially simmered and then blasted direct into the audience, suggesting the fireworks - and raw emotions - that climaxed at the end of the play.

Nick has the perfect collaborator in STC artistic director Kip Williams,

whose own stage signature often strips everything to an empty space, often with a revolve, defined with little set or clutter, and so often dramatised by cross lighting.

Their recent credits also include Chinamerica, with its complex storytelling across countries and (Continued on page 68)

www.stagewhispers.com.au Stage Whispers 67

(Continued from page 67)

decades; the epic dramatisation of Ruth Park’s Harp in the South; Brecht’s Arturo Uri with Hugo Weaving; White’s ghoulishly vaudevillian A Cheery Soul; and Shaw’s St Joan. He just finished lighting Simon Phillips’ STC production of Stoppard’s The Real Thing.

He remains a big fan of white light and cross-lighting, and his reasoning, of course, comes back to what’s true to the performers.

“It solves the age-old problem of people standing next to each other talking as we do in real life, by lighting along the axis they’re speaking to each other.

“And it gives such a sculptural impact to dancers. It makes bodies look fantastic and faces so much more interesting and more present.”

Nick has lit six notable shows by Bangarra. With Patyegarang and the most recent, Bennelong, he’s lit Stephen Page’s significant shift to a dance theatre storytelling involving points of view both indigenous and colonial.

68 Stage Whispers Let’s Put On A Show 2020

Ring (2004).

Nick Schlieper spoke to Martin Portus for a State Library of NSW oral history project on leaders in the performing arts; the full interview is now available on amplify.gov.au “In terms of the practical, it’s about being very careful about colour and choosing the optimum angle for dancers … but with the episodic story of Bennelong I also had to be wary about leaving the audience with a clear dramatic structure.”

He’s getting over being what he describes as “the whitest thing

possible in that context, yes Aryan even!

“It’s a very useful reminder - as if it’s needed - of how strongly you can feel being the ‘other’, and useful to have the boot on the other foot.”

www.stagewhispers.com.au Stage Whispers 69

70 Stage Whispers Let’s Put On A Show 2020

Taking Charge Artie Jones from Factory Sound estimates that more than a quarter of a million disposable batteries could end up in landfill after being used in productions each year in Australia. He says there is a better alternative.

Batteries, maths and landfill When it comes to the best way to power your wireless systems - alkaline battery or rechargeable - there are many factors to consider. The saying “Less is More” is the key.

A wireless microphone system that’s used for three performances, then put back in the cupboard until next year, equates to fewer performances, but a greater risk of battery leakage inside the wireless transmitter.

The risk of battery leakage from a nickel metal hydride (NiMH) rechargeable battery, however, is negligible, even if left inside a device for a prolonged period.

How much landfill is acceptable?

Let’s imagine a typical user of wireless microphones - the annual school production. A small-tomedium sized production, with a handful of shows and a couple of tech rehearsals, could consume 140 batteries for a production.

There are around 8000 schools in Australia. If just 15% of these attempt an annual production, 168,000 batteries would be used. Add to that a few end-of-year concerts, and it would be a very conservative estimate of 250,000 batteries heading to landfill annually.

This figure doesn’t include amateur theatre, professional

productions, theatre restaurants, nor the thousands of bands that use the same wireless systems and in-earmonitoring systems.

Brand-specific rechargeable batteries If you are the person responsible for wireless microphones, the very first thing you’ll notice is how quickly alkaline (single use) AA batteries disappear. It might be because the AA batteries have been ‘borrowed’ by students and co-workers, as they fit a variety of other devices.

Generic rechargeable AA batteries offer the ‘double-whammy’ of not only being desirable to the borrower, they also may not deliver the (approximately) 1.2V per cell consistently throughout the charged state.

Once your battery level drops, although the wireless will remain on, the actual RF performance - the quality of the wireless transmission will suffer greatly, leading to dropouts and possible interference.

The safety net and convenience factor With single-use alkaline batteries giving us a landfill concern, and generic rechargeable batteries possibly not performing ‘up to scratch’ , there are great reasons to choose a wireless-specific rechargeable (such as BA2015 for Sennheiser, or SB900A for Shure).

If you load your BA2015 into the Sennheiser bodypack, then drop it into the L2015 charger after the gig, it simply will not over-charge.

Similarly, if you put the bodypack into the charger without the correct BA2015 battery in place, it won’t charge. The safety nets are in place to ensure there is no danger of damage.

With a lifecycle of around 1000 discharge / charge cycles, using the correct NiMH rechargeable battery pack in the wireless transmitter, the battery is highly likely to last for the same number of performances as the wireless itself. Because they’re a unique shape, they are unlikely to be borrowed as well.

Smart RF (wireless) technicians keep a spare rechargeable battery for each wireless device, and they will also find a way to document the life of each battery. Get ready to buy another one after around 800 charges.

If all theatres and performance venues around the world approach battery usage the same way, imagine how much less landfill we would contribute each and every year.

For all your wireless microphone system needs (including spare batteries) get in touch with the friendly staff at Factory Sound at factorysound.com or on 1800 816 244.

www.stagewhispers.com.au Stage Whispers 71

Sound Advice Artie Jones from Factory Sound shares his tips for trouble-free use of wireless microphones.

Troubleshooting Wireless No matter how big or small the stage may be, wireless microphones are the essential first ingredient to help bring an intimate and detailed sound to the audience.

A well-designed system will always make the complex appear simple, and reputable wireless manufacturers have done huge amounts of ‘heavy lifting’ to make the set-up of a clear channel as easy as touching a button (or two).

Online extras!

Factory Sound can keep up to date with all of the latest in pro audio gear.

Dreaded Dropouts www.youtube.com/FactorySound There’s nothing worse than an unexpected ‘drop out’ of the wireless signal. It leaves the audience disappointed, while often proving to be unsettling for the performers.

More Antennas = More Headaches For inexperienced operators, there is nothing An unfortunate side-effect of having multiple channels surprising about wireless interference and drop-outs, if of RF running concurrently for a performance is that not the golden rules of wireless tech haven’t been followed only will the active channels have their own frequency before every show. signature taking up space in the RF spectrum, but extra nodes in between those frequencies will appear - kind of Rule #1 - Scan, Scan, Scan like a reflection - and this effect of intermodulation will It is the most basic rule to follow, and it costs cause, in some cases, interference to your wireless nothing!

With the maturing of wireless microphone technology channels.

Reducing the amount of antennas around the stage over the past decade, the process is simple. It involves area will actually decrease the amount of intermodulation, pressing a button on the wireless receiver (which will and so a well-designed Antenna Splitter is a great way to normally be placed at side of stage, or at the mixing desk maximise the efficiency and effectiveness of any multiposition), allowing it to find the most clear frequency channel wireless system. available. Then you simply sync the wireless microphone (or bodypack) to the same frequency, and voila, the system is ready for soundcheck, and the show.

The number one cause of wireless interference is failure to follow Rule #1. It doesn’t matter if the wireless system, or systems (more on that later) worked perfectly when you first pulled them out of the box, the fact remains that a scan will be the best way to avoid any problems.

Managing Multiples Sophisticated productions usually involve more than just one wireless system, which introduces a whole range of potential Radio Frequency (RF) concerns.

Adhering to Rule #1 when you are dealing with many wireless systems will involve a little more concentration, and large-scale set ups will usually involve a laptop with some kind of Wireless System Manager on-board, to assist with frequency scanning, channel allocation, and monitoring of RF integrity.

72 Stage Whispers Let’s Put On A Show 2020

Cables And Other Considerations Are you using the right cable for antennas? (50ohm, not 75ohm). Are the antennas in the right position? Can you select frequencies for your area that actually minimise the amount of intermodulation?

Managing wireless microphones can seem complicated, but really, follow Rule #1 and follow it often, and when it’s time to expand or refine your system, get in touch with RF specialists for advice.

Oh, and fresh batteries for every show!

Factory Sound is Australia’s largest supplier of professional audio equipment.

For sales or hire please visit factorysound.com, email sales@factorysound.com, call 1800 816 244 or stop by their showroom located at 75-85 York Street, South Melbourne.

Advanced Wireless Tips Artie Jones from Factory Sound follows up his Sound Advice from last issue, where Rule #1 was ‘Scan, Scan, Scan’, this time focussing on the successful, hassle-free integration of multiple wireless systems. (Missed the first instalment? Visit http://bit.ly/2VUkuMq.) Antenna Splitter When using a good quality wireless microphone system, it will have True Diversity technology, meaning that the receiver will determine which of the antennas is receiving RF (radio frequency) the best, and instantly switch to that antenna. True diversity provides a constant signal, no matter where a performer moves on the stage.

The problem with multiple wireless is, with two antennas per system the abundance of antennas can cause extra cases of Intermodulation (interference between radio frequencies). A good quality antenna splitter will allow you to use just two antennas to pick up all the wireless RF signals on stage, and then feed those signals to the relevant receiver in the rack of RF goodies.

Not only is it neater, it also improves RF performance.

Types of Antennas Generally, there are two kinds of antennas to choose from - Directional or Omnidirectional. In a smaller theatre (especially relevant in a multipurpose auditorium), omnidirectional antennas may seem easier to use, because their performance it is not dependent on specific orientation. Unfortunately, you may also end up getting interference from sources that aren’t relevant to your audio, including nearby LED panels or LED lighting.

Directional antennas have the advantage of being able to focus on an area, thus rejecting sources of interference. They are also able to reach (pick up signals) farther in the direction they’re pointing than what is possible with an omnidirectional antenna.

They can either be positioned both at the front of stage, or both at the back of stage. Get them up high, but not too high. Somewhere between 2m to 3m is ideal, and remember, mounting them on some lighting truss could cause unwanted RF interference.

To Boost, Or Not To Boost?

This is one of those “a little bit of knowledge can be dangerous” situations.

Products that come under the Antenna Booster category do not help ‘boost’ the effective reach distance of your receiving antennas. Correct placement is the best way to cover your stage area.

Antenna boosters are very useful to counter the detrimental effects of having a long cable run. Boosting helps negate the attenuation of your signal that occurs between your antenna and splitter, when a long cable run exists.

However, for most smaller stages, where 15m of good quality antenna cable (stranded, solid core, low loss, 50 ohm) is adequate, using any Antenna Booster will adversely affect the signal, causing your audio signal to be degraded, and losing some of the ‘top end’ brilliance.

As always, get in touch with RF specialists when it’s time to expand or refine your system.

Antenna Placement Best practice for theatrical stage settings is to place your two directional antennas 3 metres apart, pointing in towards the talent hot spots. This will ensure overlap of the ‘lobes’ of your antenna pickup patterns, helping to maintain the true diversity of your wireless system.

Sound and Lighting directory: http://bit.ly/2nEHzGK

www.stagewhispers.com.au Stage Whispers 73

capsule. In an emergency, try the triangle-tape technique, to secure and surround a lavalier capsule.

Keeping Mics Hidden

Artie Jones from Factory Sound shares his tips for schools and amateur theatre companies on discreet and crackle free use of microphones.

An incredible amount of research, design and engineering goes into producing every microphone you can see (and those you can’t see) in use on the stage and in studios around the world.

This won’t guarantee perfect performance every time. There are steps you can take to improve performance - or at the very least, prevent audible interference or physical problems that arise from misuse.

options, but there is no guarantee the sound will be great, unless some careful steps are followed Securing a miniature lavalier microphone right at the hairline, at the top of the actor’s forehead, is a great place to hide the microphone. It also picks up a very natural sound from the singer, without overloading the capsule via a ‘proximity effect’ (the more pronounced bottom end sound which you may get from a handheld mic when it is closest to the source).

Shrinking Graduation Other places include elsewhere In Primary School performances, around the hairline, such as above the lead roles often pass a handheld ear. Underneath clothing is an option wireless microphone to each other for some actors and costumes, but the when there is a line to deliver or a song horrible sound of clothing rustle on a to sing, while many Secondary School microphone capsule (which can sound productions will feature headset like wireless microphone interference) microphones. may then arise.

More sophisticated productions will ‘feature’ microphones totally hidden Tale Of The Tape from the audience, but what is the best Essential in the theatre audio toolkit way to do this? is tape, and lots of it. Gaffer Tape (the 510-matte variety), Hypoallergenic Invisible, Not Impossible surgical tape, Lav tape, and specially Moving to miniature microphones, prepared Undercovers and Stickies are often called lavalier microphones, is a all useful in making sure the capsule step in the invisibility direction, but this stays put, and the actor is comfortable. usually comes at a cost. A highShould a microphone need placing performance microphone capsule under clothing, the UNDERCOVER smaller than your pinky fingernail is not range of adhesives makes sure that the only often priced higher than the other apparel does not rub against the

74 Stage Whispers Let’s Put On A Show 2020

Stashing The Pack For each mini microphone, a wireless transmitter (bodypack) will be required.

It’s easy to imagine simply popping it under some clothing, but steps need to be taken to ensure both the integrity of the wireless signal, and also the longevity of the wireless transmitter.

Sweat from an actor’s skin is the number one enemy of sensitive electronics, so care must be taken to avoid direct skin contact. A protective neoprene pouch is often used to safely strap a pack to the waist area.

Sometimes an extra layer of protection via a latex sheath is used if the actor is “a sweater”. Moisture seeping into the electronics of a bodypack will decrease the functional lifetime and affect the wireless integrity.

Antennas must be clear of any metals to avoid ‘detuning’ the wireless signal and ensure they are allowed to sit in their ‘straight’ position, without an unnatural bend.

Before Moving To Miniatures Both the “Primary” and “Secondary” microphones listed above are not without their charm and benefits. While a handheld microphone has the obvious drawback of taking a performer’s arm away, it does offer the most flexibility for a powerful singer.

We can all visualise the action of a singer being able to control how far away from their mouth the microphone capsule sits, depending on how hard they’re belting out a note.

The headset solution turns fixed distance into a feature, by ensuring the microphone capsule is in exactly the same place for the entire performance.

In effect, the microphone moves with a performer’s mouth, so every time they turn their head for a stage direction or choreography, the microphone capsule is right there ready to capture the sound without missing a beat.

As always, if wireless microphones are causing more headaches than you can handle, get in touch with an RF specialist to make sure you get looked after.

Microphones In The Pit

Royal Opera House Covent Gardens Photo: Sim Canetty-Clarke.

Artie Jones from Factory Sound dives into the orchestra pit to help ensure your magnificent musicians can be heard with clarity.

The ‘spot’ microphones that work best are usually a small diaphragm ‘pencil’ condenser mic. Use one of It’s not just about the audience the mixing engineer to blend the these for each of the sections that From a full 2,000 seat theatre, music with the cast’s wireless may need a little extra tickle of right back to a small school microphones. Once this is blended volume to be heard when the whips production held in the multipurpose nicely, it’s all sent out of the speakers are really cracking - like the smaller hall, it’s not ‘just’ the audience who for the audience, which has the effect hand percussion, or flutes. needs to hear the right balance of of the sound ‘making sense’ all music and singing. In fact, the coming out of the same place (even if Limitations of the mixing console performers on stage are the first ones the audience doesn’t realise it’s Unless you’re involved with a big who need to get a clear feed of the happening).

Broadway show, with 180+ channels music, to ensure pitch and timing of worth of microphones and a their singing is perfect.

Getting the right balance sophisticated mixing system, there will When the music is provided by Having a great conductor is the be a point where you’ve reached the (gasp) a CD or laptop, it’s even more best way to ensure a nice balance maximum number of microphone important to have a speaker on the between all the instruments. channels available on the mixing side of stage, pointing at the However, if you’re doing West Side console. performers. This ‘foldback’ speaker Story, it’s hard for the percussionists For smaller shows, it may be 5 or 6 makes it much easier for the singers playing finger cymbals, small maracas wireless packs, 2 or 3 hanging to have the best chance of singing in and claves to keep up with the microphones for the stage, a couple time, and in pitch. Waiting for the volume generated from seven brass of ‘floor’ microphones for the stage sound to travel from the Front of and the ‘orchestra pair’ plus 3 spot players. Equally, the flute may House (audience) speakers, back to struggle to heard over the 12 string microphones for your musicians. Very the stage can be problematic. players. quickly, that has already added up to 16 channels (which is the size of a This is where ‘spot’ microphones Microphones for the band in combination with ‘orchestra’ small digital mixing console).

Having actual musicians perform microphones become important. the score is easier than playback in Setting up a pair of microphones We’ll take a closer look at different many ways, but it’s not without its (large-diaphragm condenser mics microphones for specific instruments, own set of concerns. work very well for this application) to along with hanging and floor Depending on where the record the overall sound of the microphones for stage in the next musicians are positioned, there may orchestra are essential. This will allow edition of Tech Tips. be no need for the abovementioned As always, get in touch with a ‘feed’ to the foldback monitor on ‘foldback speaker’, as playback is now stage (if needed), and also a feed to microphone specialists if you need generated acoustically, with no CD or the backstage/green room area. more immediate information. laptop involved.

Factory Sound have the skills and expertise to help guide your At the very least though, a couple next microphone purchase. Call 1800 816 244 or visit of microphones picking up the ‘overall’ sound of the orchestra allows factorysound.com

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Kosky’s Animated Magic Flute Audiences in Perth, Adelaide and New Zealand enjoyed a lavish production of Mozart’s The Magic Flute earlier this year. The production from Australian director Barrie Kosky, for the Komish Oper Berlin and the UK theatre company 1927, captures the vaudeville anarchy of the original opera.

basically a screen for projected animation with a few revolving platforms at various levels resembling statue plinths for the singers. The whole effect is mind blowing.

Anything is possible - pink elephants lounging in giant martini glasses, forests of flowers, mechanicals and clocks, anything of whimsy and fantasy can be conjured and disappeared in a blink.” -Barefoot Review.

“He turns “Flute” into a dazzling live-action cartoon. A “The white wall set allows the kaleidoscope of large screen on which animation is projected has various colourful animations to create scenes around the cut out doors and platforms for the characters to pop in characters - the fluidity of these and precision of timing by and out. Rather than projected opera, Met style, Kosky’s the actors, create a mesmerising dreamscape.” -Shelley idea is projected animation as living theatre.” -Los Hampton, Stage Whispers.

Angeles Times.

“The entire set is only a couple of metres deep. It is This image and above: The Magic Flute.

Photos: Tony Lewis.

76 Stage Whispers Let’s Put On A Show 2020

Clearlight Shows News Clearlight Shows’ Hire Manager Martin Bowman is celebrating 25 years in the job. He’s pictured here at the Entech Roadshow giving the company’s latest product - a Swefog haze machine - a work out.

Martin says the industry has changed radically since he started, nominating the introduction of LED fixtures in the early 2000s as the most exciting new development of his career.

He says the job of Hire Manager requires a good problem-solving brain.

Martin says the most common mistake that customers make is that they focus so hard on their lighting rig that they forget to order necessary extras: cabling leads, spare bulbs and colour filter.

Clearlight Shows offers one of Australia’s largest range of theatrical lighting equipment for hire.

“It’s ultimately my client relationships that I enjoy the most. Hearing about their families and what they do in their spare time etc. I love solving problems, like when a certain piece of gear is needed and then being able to work out what would suit them best,” Martin said.

“Hearing that a hire (especially a long term one) was flawless is the ultimate feeling.”

Clearlight Shows Pty Ltd has now been trading for 40 years under Director John McKissock.

It carries a large range of the latest LED fixtures and moving lights, through to consoles and followspots. The company prides itself on meticulously maintained and competitively priced equipment, backed by a well-stocked sales department offering gels, gobos and tapes.

Sound and Lighting directory: http://bit.ly/2nEHzGK

Clearlight Shows has a special offer exclusively for Stage Whispers readers. See the 20% discount code (and terms and conditions) in the ad below.

Call (03) 9553 1688 today to claim your hire gear discount.

Check out Clearlight Shows’ 2019 Hire List at https://bit.ly/2Knd6rB or contact Martin in their Hire Department at hire@clearlight.com.au

Online extras!

Find out more about the Swefog 1K8 haze machine available from Clearlight Shows. https://youtu.be/l36TO5C5kXg

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Going Wireless Using a hard wired intercom system was proving one big headache for students and production staff at the Western Australian Academy of Performing Arts at ECU.

WAAPA is recognised nationally and internationally for the quality of its graduates. It provides the most comprehensive range of performing arts training in Australia. WAAPA’s world-class staff, working in state-ofthe-art performance and teaching facilities, provide rigorous and specialised training of the highest order.

Over the course of its academic year, WAAPA stages around 25 key productions of musicals, plays, dance, jazz and classical concerts. With such a rigorous production schedule, having a reliable communications infrastructure is paramount in the successful delivery of each show.

78 Stage Whispers Let’s Put On A Show 2020

Speaking with Tim Landauer, Venue Services Coordinator of WAAPA, he explained a few of the challenges that WAAPA faced before he found a new wireless system, installed by Riedel Communications.

“The best approach in teaching is with clear concise communication.

However, after using the old hardwired system for production communication between technical crew such as lighting, sound, stage managers and mechanists, we saw around 50 hours of downtime annually.”

Maintenance delays and fault finding hampered WAAPA’s ability to

put on modern productions and the downtime was amplified in all the key departments, leading to hundreds of ineffective student hours as staff triaged the breakdowns in communication.

“It was obvious our systems were at the end of their useful life in terms of supporting multiple productions.

This left us with the choice of investing in reliable, state of the art technology or ultimately a reduction

in production capability, which was simply not an option,” said Tim. In May 2018 WAAPA commenced installation of a Riedel Bolero Wireless System into their venues. The modular system has been used both on and off campus for a major musical production, highlighting several benefits of the portable wireless system, including: Using a modular and integrated design allows for fast setup times and cost efficiency No extra hardware is required, only minimal configuration changes No risk of cable entanglement with machinery - such as fly lines and large moving trucks Safe and reliable communication for stopping elements and calling out hazards.

“Riedel Systems are Industry standard in the broadcast and theatre production/event workspace meaning that our production students receive training on technology they will use in the real world. Riedel can also provide additional equipment when required on a rental basis which keeps our total cost of ownership down,” Tim added.

Publication and recording

management is integrated with digital rights management and IP control allowing a neatly edited face to the world backed by well managed campus-wide infrastructure.

Prior to the upgrades WAAPA hired two discreet systems annually, at a substantial cost for the equipment, whilst having to pay the associated support costs on top. With Riedel, WAAPA receives convenient support in a local time zone after setup, training and install.

“It is not impossible to foresee the end of analogue technology’s general use for this purpose within the industry,” explained Tim. “We also found that Riedel’s experience in major performing arts venues, theatres and universities across Australia was

www.stagewhispers.com.au Stage Whispers 79

Lighting designer Aron Murray, a NIDA student in the MFA Design for Performance degree, explains the lighting design for Roberto Zucco, an upcoming production.

Guest Director Robert Schuster, from the Ernst Busch Academy of Dramatic Art in Berlin, will stage French playwright Bernard Marie Koltes’ last play, which focuses on the life and crimes of the notorious 1980s Italian serial killer, Roberto Zucco.

Asking where does evil come from, the play explores excess, social violence and alienation, with Zucco the image of a depressive world searching for meaning. Challenging the actors to abandon their own moral determination and inhibition, the piece exposes Zucco as an angel of death that everyone seeks, yet no one understands.

The design is a three-story structure that sits on a revolving stage in the NIDA Parade Theatre. The scenes take place within that structure, at different heights or rooms. The lighting is projections and light sources that emanate out from it and within it.

“What we are interested in with Roberto Zucco is exploring how

80 Stage Whispers Let’s Put On A Show 2020

lighting and video can be brought together to create a more dynamic, living space than is traditionally possible with lighting or video alone,” says Aron. “In the work we are making use of projection technologies to cast textures onto the set that simulate reflections and light wash from the world beyond the play. In this way, we are trying to add detail back to the image onstage that is usually lost through lighting’s process of approximation.

“The set is a multifaceted, multistorey building that sits on a ten metre wide revolve. As the set rotates it reveals different rooms and scenes

to the audience. There are a number of practical lights within the revolve to light the scenes locally and give the feeling of living, and in some cases lived-in, space. In some instances these practicals are directly interacted with by the actors on stage and in others instances their operation is cued from the lighting console. The lighting rig is still being developed but consists mainly of conventional fixtures with a complementary assortment of moving lights, all controlled from a front-of-house console.

“There are obvious challenges with lighting and projecting onto a revolving set, especially with the degree of localisation and accuracy that the work requires. We are looking to explore different approaches for tracking the revolve’s position and ways that this data could then be used to aid or augment the lighting and video systems.”

sixth collaboration with the national company.

Cisterne is particularly proud of his work as the lead lighting design consultant on the upgrade to the First World War galleries at the Australian War Memorial in Canberra, including new lighting designs to the dioramas.

Cisterne describes how diverse his working day can be, taking him from discussing an upcoming production with a choreographer in a dance studio, to running through cues with a director of a theatre work that’s bumping in, to meeting with a construction manager on a building site to pass on instructions for the electrical contractor.

Spartacus.

Cisterne’s advice to budding Photo: Jeff Busby. lighting designers is to become a part of the industry by taking in everything that’s available.

“See every performance you can.

Go to every art gallery and museum, A passion for Lighting Design has propelled 2002 WAAPA graduate and see every film you can. Start Benjamin Cisterne into a successful career. building a library of ‘intel’ in your Benjamin Cisterne has worked as a Later with my move into the design head and start collecting imagery that lighting designer for 20 years with field I found myself often referring interests you for any reason,” he numerous major companies. back to those basic principles taught recommends.

“When I was a kid, I really enjoyed at WAAPA when beginning a “If you can, go to university. Once pulling things apart and working out project.” out of uni, take some time to travel. how to put them back together,” Cisterne now runs his own lighting There are so many opportunities to go explains Cisterne. “I was really design and consultancy business, on tour and spend time in Europe, interested in the mechanics and working as a designer and design Asia or the US. It will enable you to technology of how something manager for Performing Arts see more of the world. Your career worked. companies, museums, exhibitions and will naturally unfold if you’re “By the time I was 14, I was doing on architectural projects throughout interested in the industry and become the lighting at school for the drama Australia and the world. a part of it.” productions, so it all really started by His most recent work with the me following what I was naturally Australian Ballet on Spartacus was his interested in doing.”

After working as a general technician, doing lights and sound for independent theatre companies in Sydney, Cisterne was encouraged by lighting designer and former WAAPA lecturer Joe Mercurio to study lighting design at a tertiary level.

Cisterne was accepted into WAAPA where he trained under Mark Howett and Efterpi Soropos.

“The WAAPA course was well rounded and I entered the industry with a solid base knowledge of the roles I could fulfil,” he says.

“When I graduated, I spent my first five years in the industry as a junior, building on that learning and increasing my knowledge and skill set.

A Love Of Lighting

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Ticketing

Online extras!

For more listings, check out the Stage Whispers’ directory on our website. http://bit.ly/2n4aqnu

82 Stage Whispers Let’s Put On A Show 2020

Featured Businesses

See more listings online at http://bit.ly/2n4aqnu 356Tix 365Tix is an Australian-owned online ticket agency for shows, events and workshops. 365tix works 365 days a year to provide customer service from 9am-9pm.

You can choose pick-off-the-plan seating, promo code discounts, merchandise sales, flexible terms of classes and more. There are no lock in contracts or set up fees. 365tix provides clients with free online marketing support which includes access to our own extensive database of customers. Contact Eloise O’Toole for information. +61 4 0016 1125 +61 7 3266 9885 manager@365tix.com.au www.365tix.com.au TicketHost TicketHost is a powerful, user friendly online ticketing service that can be used for selling tickets to events of all sorts. From School Productions, Theatre Companies, Charities, Sports Clubs and Fundraisers, in fact any event large or small can be up and selling tickets in minutes.

Best of all, their ultra-low fees make them an incredibly cost-effective solution.

7 Somme Avenue Frankston, VIC 3199 +61 3 9011 3221 info@tickethost.com.au

stagewhispers.com.au/directory-central Ticketing directory: http://bit.ly/2n4aqnu

www.stagewhispers.com.au Stage Whispers 83

For more information, visit 365tix.com.au manager@365tix.com.au or call 0400 161 125 (07) 3266 9885

Ticketing 365 Days A Year With 365tix With decades of first-hand experience in the circus, dance and other performing arts, 365tix has a family friendly approach to ticketing.

True to the company’s name, 365tix is staffed 12 hours a day, 365 days a year - including Christmas Day. The company prides itself on speedy service to make sure every experience is fun and memorable for the audience.

Company directors John and Angela Le Mare have enjoyed long standing ties to the worldwide circus community.

The Manager, Eloise O’Toole, enjoys taking a hands-on approach, routinely visiting 365tix shows to record a popular series of YouTube videos that showcase the people

84 Stage Whispers Let’s Put On A Show 2020

behind the spectacle. From contortionists to aerialists, dancers to tumblers, 365tix knows it’s the people that make each performance special audience included.

The company has grown organically over the last 14 years in response to the needs of the industry.

Manager Eloise O’Toole says 365tix is operated by people who love the arts.

“We bring technology and arts together. We are continuously giving back to the arts and supporting the growth of smaller companies through our marketing reach and easy-to-use selling platform.”

She adds that whilst many other names in ticketing are just ticketing software operated by the user, 365tix has real people working every day.

“Show producers can be reassured that there will always be someone here to assist with any technical or ticketing issue. We take care of those problems quickly.”

Like many of the newer, agile ecommerce companies, 365tix uses technology to save money on operating costs. Working on the internet allows for far longer hours and more flexible work conditions than the old-fashioned high street offices with a 9-5 workforce.

Ticket buying peak times are evenings and weekends and so 365tix responds to that with real time customer support.

“365tix is excited to be operating at a time of commercial disruption.

This is the perfect time to be using a new customer-friendly business model. The big companies may go off -shore and have restricted trading hours but 365tix is one Australian company which is setting the bar higher than that.”

Fast, friendly and professional, 365tix truly understands the needs of both artist and audience.

How To Guarantee A Full House

Promotix can put as many ‘bums on seats’ as you’d like. Having been producers, publicists and promoters too, they know that the atmosphere of a full house enhances the vibe at a show and helps build positive word of mouth - the most important tool in marketing shows today.

Everyone who receives a ticket will be asked for show feedback that is provided to the producer at no cost.

How it works The database is informed of the event. Those who are keen log on and accept the tickets. Producers are sent the guest list to manage at the door or box office.

Theatre companies love having their opening night full, but how do you achieve that without compromising ticket sales? Promotix is a company which discreetly finds theatre companies bums on seats.

Promotix was created by an event promoter, a theatre producer and a publicist with a combined 65 years industry experience, who created a platform to allow productions to enjoy the benefits of the vibe of a full house, and maximise word of mouth opportunities without having to ticket discount.

They operate a member database of 50,000 nationwide. It allows Producers, Publicists and Promoters to discreetly offer a number of tickets to its members to create full houses.  Unlike a discount ticket offer, theatres can set the number of tickets that are given away.

Ticketing directory: http://bit.ly/2n4aqnu

 Tickets are offered as discreetly or as openly as theatres like, via direct emails to members in the relevant state and/or on the Promotix social media and/or website.  The website tile promoting a show with a link to your ticket office remains in place from the day the offer is released right up until the day of the show.  All correspondence links to your ticket office and/or website.  Posts may include images and links to a video

www.promotix.com.au

What about no-shows?

Promotix members pay an admin fee per transaction regardless of how many tickets they take, though it’s generally limited to two only. This serves two purposes. Over a period, Promotix and the companies they have worked with have found that this nominal charge reduced noshows significantly and it enables Promotix to operate at no charge to those promoting the events.

So in summary, it’s a free marketing/PR tool for you - it helps fill your venue and in turn, and most importantly, spreads the word about your event.

Promotix offers extremely personalised service, with direct phone contact available to producers seven days a week on (03) 93764933 (8am - 10pm).

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