Stage Whispers May/June 2020 edition

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In This Issue 6

26

19

29

Art Aches ....................................................................................................... 6 How COVID-19 brought our curtains down Stage Heroes ................................................................................................ 12 Extreme understudy and cast replacement tales When Will Theatres Re-Open ........................................................................ 18 John Frost on the challenges of getting theatre back on track A Toast To The Production Company ............................................................ 22 Simon Parris celebrates the iconic Melbourne company Online Theatre Highlights ............................................................................. 27 Some of the great theatre productions streaming online Viral Therapy ................................................................................................ 31 Jan van de Stool on navigating the COVID-19 crisis Theatre In Isolation ....................................................................................... 32 Marvellous musical theatre performances from home Actors Keep Lights On For New Work ........................................................... 39 James Millar on the lockdown project developing new plays and musicals Almost Opening Night ................................................................................. 42 Community theatre shows ready and waiting for an audience A Writer’s Tale From Isolation ....................................................................... 47 Simon Denver juggles writing his next masterpiece with daily errands Lockdown, But Not Out ................................................................................ 48 How New Zealand musical theatre companies are surviving COVID-19 Celebrating Sydney’s Griffin Theatre ............................................................. 57 An extract from John Senczuk’s book on the company’s first decade

Regular Features

54

32

78

Puzzles & Competitions

49

Stage On Page

60

Stage On Disc

62

Musical Spice

64

Reviews: Premieres

66

Reviews: Online

72

Reviews: Plays

73

Reviews: Musicals

81

Reviews: Fringe

92

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87 4 Stage Whispers May - June 2020

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Editorial Dear theatre-goers and theatre-doers, Before COVID-19 turned off the lights in our theatres, this issue of Stage Whispers was set to be our annual Lighting and Sound edition. Sadly now, the only illumination in our theatres is that single lamp, the ‘ghost light’, on empty stages all around the world.

With our regular advertisers struggling as every theatre production across the nation shuttered, we reached a decision to publish this issue as an online only, digital edition.

We’ve embraced this as an opportunity, rather than a setback, and something we can share for free with all of you who would normally be engaged either in making or watching live theatre.

Being online only, we’ve been able to go with a substantially more interactive format too, so as you hover your cursor over many of our features you’ll have the chance to click through to various things – back editions of Stage Whispers, performers getting together in isolation to entertain you on social media, free YouTube screenings of full stage productions or special lockdown concerts and more.

Ghost lights have been illuminated on stages across the globe over the past month.

Regular subscriptions and renewals will be adjusted to take this free edition into account.

Meanwhile, we hope that those of you who are reading Stage Whispers for the first time will join us as subscribers into the future. We’re offering a special discount on our regular subscription prices during May and June.

Obviously these are tough times for our industry, yet while some of our stories reflect the struggles we’re all facing, we’re also sharing accounts of resilience, versatility and hope as we look toward a brighter future.

We look forward to staying in touch via www.facebook.com/stagewhispers, twitter.com/ stage_whispers and www.stagewhispers.com.au over the coming months.

Yours in Theatre,

Neil Litchfield Editor

CONNECT

Cover image: Main: A ghost light on the stage of Sydney’s Capitol Theatre. As theatres around the world go dark, these beacons offer the promise of a brighter future ahead. Michael Brindley begins our coverage of the effect of COVID-19 on the theatre world on page 6. www.stagewhispers.com.au Stage Whispers 5

Queensland Theatre Company’s Triple X. Photo: Brett Boardman.

6 Stage Whispers May - June 2020

Cover Story Since mid-March COVID-19 has been a wrecking ball on the seasons of Australian theatre companies. Some productions squeaked in before the curtains came down; others were cancelled mid-season or just before opening night. Stage Whispers reviewer Michael Brindley has been sifting through the debris.

In cities and country towns across Australia, theatres are dark, shuttered, empty and echoing with the scheduled shows that were to have been. Performances and tours are cancelled for the foreseeable future, leaving theatre-makers bereft - and not just of income, parlous though that is. They are bereft of an essential element of their arts and crafts: an audience.

About a week after COVID-19 restrictions hit, a lone member of Melbourne’s Red Stitch company was rummaging through stuff stored in the company’s second venue, a vast, now still, silent, cavernous space in Prahran.

Unexpectedly, she came upon the little model for the set of what was to be Red Stitch’s next production, Orlando.

It was (it is) exquisite. (The designer is Jonathan Hindmarsh.) It made the actor catch her breath with an almost overwhelming sadness. Reverently, she photographed the model and sent the picture around to all her Red Stitch colleagues. There were some tears: it was the image in miniature of what would be unrealised and unfulfilled.

(We can’t show this picture of the Orlando set because Red Stitch doesn’t want anyone outside the company to see it: one day they ‘might get the show up and showing the pic now puts a curse on it and spoils the surprise...’)

But it’s another, maybe worse heartbreak to build the set - and then to tear it down before opening night.

Queensland Theatre Company was confident of a hit with Triple X - a co-production with the Sydney Theatre Company. On March 14 QTC announced on Facebook: ‘We're so excited to finally be able to share this hot new work with you. Our incredible cast, crew and creatives have worked so incredibly hard to bring this story to life.

We're sure you'll smash it.’

The company managed to get a few preview performances to the stage but had to cancel before opening night. Photos of the production - that hardly anyone saw - were published ironically on their Facebook page on World Theatre Day. Sydney’s Darlinghurst Theatre Company was wildly excited about their season of A Chorus Line. Like Triple X,

it was called off just before opening night. They wrote on their page: ‘We are immensely proud of our A Chorus Line company. They have poured their blood, sweat and tears into this fantastic show. Anyone lucky enough to have experienced one of our preview performances knows that this special production deserves to have its time in the spotlight.’

Disappointments don’t happen on a larger scale than Opera Australia’s planned production of La Traviata on Sydney Harbour.

‘At the very moment when we would have been transferring to the stage on Sydney Harbour, we made the decision to cancel the season,’ wrote Artistic Director Lyndon Terracini. ‘It is heartbreaking for everyone involved. So much work and not even one performance...

Then there are all the suppliers, the contractors working on Handa Opera on Sydney Harbour... The silence is punctuated by drills unscrewing the village as they dismantle the entire structure. This is the saddest sound of all.’

Sydney Theatre Company’s four theatres are all dark.

Torch the Place, already on the boards, was stopped in its tracks. No Pay? No Way!: cancelled mid-run. Triple X was due to open 30 April. It won’t now. Emerald City, ready to go, cancelled, along with Berlin, SLAP. BANG. KISS. and Sexual Misconduct of the Middle Classes - and the list goes on.

The original stage musical version of The Sapphires was on an all-states tour, five shows into a scheduled one hundred and fifty, suddenly stopped. Cast member Brittanie Shipway emphasised to me the particular heartbreak for the indigenous cast since the plan was to take this positive, affirmative show to remote communities - but those communities are among the most vulnerable to the virus.

Rolling Thunder Vietnam - an independent, privately financed show, got off to a mighty and rave-reviewed start in Geelong, the planned beginning of a national (Continued on page 8)

Online extras!

In the spirit of not hoarding, QTC have released a gallery of Triple X images. https://bit.ly/3bDRekR www.stagewhispers.com.au Stage Whispers 7

Cover Story

Online extras!

The dance auditionees for La Traviata have had their dreams put on hold. https://youtu.be/GSG9OibQ6Lw

Opera Australia’s Handa Opera On Sydney Harbour - La Traviata (2012).

Photo: Lisa Tomasetti.

the test of all their work - even when the audience takes for granted the director’s work, and doesn’t consciously tour, sell-out audiences virtually assured - only to be notice the ways that the costumes, the lights, and the stopped. Producer Rebecca Blake says they’ll reschedule. music enhance the characters and story on stage. Every Of course they will. one of these contributors and collaborators needs an In West Australia, Black Swan’s co-production with audience too, to see and respond to their work.

Imagine the thought, the imagination, the planning, Melbourne’s Malthouse, Cloudstreet, just made it, finishing its run days before the restrictions hit. Their next the problem solving, the concentrated creativity all show, an adaptation of The Cherry Orchard, is now ‘in building toward the event you’re sure will happen - and rehearsal’ via Zoom, but there’ll be nothing live on stage then... Creative people are used to rejection (they have to there until Oklahoma! - in November - if that. be), but this is something else.

The sprawling Adelaide Fringe Festival (800,000 tickets There is a visceral need for live performers to perform sold) just made it too, wrapping on March 14 - but what live to a live audience. As Mitchell Butel, Artistic Director next for the hundreds of performers who rely on travelling of the State Theatre Company of South Australia says on the company’s website, ‘It’s hard to perform theatre one festival to the next? Melbourne Fringe: postponed.

Melbourne International Comedy Festival: cancelled. when there’s no one in the seats... The theatre only works And Melbourne Theatre Company cancels six shows - when audiences and artists gather together.’ Mr Butel is touchingly upbeat in this blog, but there’s no escaping shows to which their subscribers have already bought tickets and some of whom are now seeking refunds. the sadness underneath.

Malthouse asks their subscribers to donate their tickets So, what to do? All these companies - and the others I’ve not the space or the morale to mention - have the and ‘feel good’, as they cancel Grey Arias, Macbeth and K problem of maintaining their optimism and if possible, -Box. Will the next three shows scheduled after that disappear forever? the income of all these people, and on the other hand, maintaining contact and engagement with their And of course, let’s remember that a theatre show is more than the visible cast on stage; theatre is made by audiences.

Black Swan is blessed in being fortunately able to many artists - as Lyndon Terracini noted and as is honour all their contracts for the rest of the year. Too bad acknowledged on the Sydney Theatre Company website

by Artistic Director Kip Williams. He refers not just to for other WA companies like Barking Gecko or Blue Room actors but to the directors, designers, musicians and prop (Continued on page 10) makers. The audience is those people’s raison d’être and (Continued from page 7)

8 Stage Whispers May - June 2020

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Indeed, some people are decidedly dubious about the online thing. Kimberly Twiner, a director at PO PO MO CO, an independent, LGBTIQ outfit, specialising in clowning, satire and physical comedy, writes, that live performance is ‘grounded in connection between humans... [it] can only be caught in the pace of the breath, the pit of the stomach, the melting of the heart, the twitch of irritation, the widened eyes, the upturned edges of the mouth - the wildness of the feeling body.’

At the other end of the scale from the big funded or ‘name’ companies, there are the little outfits that are a bit hit and miss but so often surprise and delight us in ways the more risk averse would not dare.

Take The Wolves. It’s a company that’s only an unstoppable, incorrigible writer, Michael Gray Griffith and his actor partner and co-producer Rohana Hayes - no spring chickens either of them. Gray Griffith, sometime tram driver, spent years trying to ‘break in’. He had a good intimate three-hander at La Mama and a powerful two-hander at Northcote - both almost unnoticed and unreviewed. Then Chris Mead at the MTC liked a play called Marooned, about suicide, with a cast of four, liked it enough to arrange for The Wolves to mount a very nofrills production at the Lawler, the smaller space at the MTC’s Southbank. It was rough and raw, but it touched a nerve. Word of mouth meant full houses. The play is about a real problem and soon country towns were booking the show in, all expenses paid. Then ‘the suicide play’ (which is black but funny) became pub theatre too and successful.

The strategy was ‘take drama to the suburbs’. For the first time, Gray Griffith and Hayes were paying their actors and themselves. There were more country towns asking Online extras! for Marooned and it was all set to tour. The Australian A Chorus Line cast speak candidly Defence Force heard about Marooned and offered The about what dance means to them.

Wolves an all-expenses paid tour of army bases across https://youtu.be/_ZdTmv4DkxI Australia with a kick-off at Duntroon... Then COVID-19 struck. Gray Griffith told me, ‘It felt like we reached the (Continued from page 8) top of Everest only to find there was like one of those water slides on the other side...’ (Ballarat has offered who got no Australia Council funding. Companies that $10,000 for The Wolves to mount Marooned there, have the resources to do so are maintaining contact by ‘when all this is over’.) ‘going online’ to bring ‘the joy of theatre’ to their But surely, with this lockdown shutout, we, the audiences in new ways. audience, are deprived too. We are deprived of the whole For instance, the STC features online grabs with Helen ritual or ceremony of simply going out to a communal Thompson, Kate Mulvany, Tim Minchin, Charles Wu and space (maybe dressing up a little, maybe noticing how Shari Sebbens. Sydney’s Griffin Theatre, devoted to others have?), to gathering there, ticket in hand, with a Australian writing, is launching five ‘new, experimental, sense of excited anticipation, and then, in the hush, the interactive and made for livestream works’ on their show begins, the lights reveal a space with live bodies in YouTube channel. Belvoir’s Artistic Director Eamon Flack it, moving, speaking, courageously risking exposure to says the company is switching their energy into ‘creating make us gasp, or think, or laugh, or cry. To quote new work.’

Kimberly Twiner again, ‘The audience becomes active in Others theatre makers with no resources except grit the practice of feeling... they become the comedian, the and a camera are going online too - or are being urged to dancer, the guitarist.’ When it works, when it all comes do so. Sure, it’s a form that can be fun and interesting together, there is nothing like it. Really great theatre and it keeps them visible, keeps them communicating, but makes us forget even where we are, and even if that is I doubt if any of them would claim that ‘online’ even rare, it beats the movies any time. It’s not just all about comes near to performing for live humans in a shared money: it’s the absence too of something vital and physical space. important.

Darlinghurst Theatre Company’s A Chorus Line.

Photo: Daniel Shipp.

10 Stage Whispers May - June 2020

The Sapphires.

Cover Story

STC’s No Pay? No Way! Photo: Prudence Upton.

Online extras!

STC Artistic Director Kip Williams responds to the COVID-19 crisis. https://youtu.be/ce2aeCMRGW0 www.stagewhispers.com.au Stage Whispers 11

Diego Torre as Foresto in Opera Australia's production of Attila (2020).

Photo: Prudence Upton.

With theatres around the world dark, Stage Whispers celebrates some heroic performances by actors thrown in at the deep end to take over a role with just a few minutes, hours or days’ notice. David Spicer chronicles some great escapes.

Online extras!

Take a look at one of Diego Torre’s impressive operatic performances. https://youtu.be/rcP9lhaiXHc 12 Stage Whispers May - June 2020

Heroic Stand-Ins In 2018, Opera Australia tenor Diego Antonio Torre Villegas had just arrived home after an intense two days.

“On Tuesday night I sang in a performance of Aida, then on Wednesday I sang out in rehearsal from 10.30am until 6pm for Lucia Di Lammermoor,” he said.

“And then I go home to have a rest. After an hour I received a call.”

The message was alarming. The lead tenor in Rigoletto had become ill during a performance at the Sydney Opera House, just before the showstopping aria.

La donna è mobile, Qual piuma al vento...

“OK I said. I came to the Opera House and I sang Rigoletto,” he tells me with the casual aplomb of someone describing eating a sandwich.

Diego Torre had performed the role two years prior and he was officially covering the part, but he had hardly any time to revisit the opera in the lead up to his performance.

“When I know I have to be the cover I have to know the work, but I never expected it to happen in the week I was busy the most.”

The pressure to nail the lead role to a live audience, which had endured an unexpected interruption, was intense.

“It was crazy. I was really happy. It was very good and successful.”

Muta d'accento, E di pensiero...

Diego has been an Opera Australia regular since he emigrated from Mexico in 2011. As well as having a formidable voice he has an excellent memory.

“I am easy to learn operas.

Normally takes me two weeks to memorise one.”

After his heroic performance, Opera Australia gave him the next day off.

“Then Friday I again sang Lucia di Lammermoor. Then on the Saturday I sang Aida.”

On Sunday, we presume, he had a sleep in. ___________________

Last year on a Saturday morning, Sydney performer Melody Beck got an exciting message from a friend: could she perform the role of Jenny Lind in the musical Barnum in Melbourne... that night!?

The performance was due to start in ten hours and she was in another state.

“It was a frantic flight down to Melbourne. I was there at three o’clock for a rehearsal. I literally stepped off a plane and onto the stage, where everyone was waiting to place me where I needed to be,” she recalls.

The production had suffered a series of misfortunes. Just a few days after opening night, no fewer than three of the female leads had contracted laryngitis or the flu.

The role of Jenny is critical to the story as she is the love interest of Barnum (portrayed by Todd McKenney).

Melody had only a general knowledge of the musical.

“I had sung Jenny Lind’s most famous song “Love makes such fools of us all”. I had performed it in English before, but (in the musical) the first verse was in Swedish.”

“We all just got on with it: blocking, song learning, movement, scene work, costume fitting, make-up and wig fitting, and at 7pm we were on.

“They developed a (script) booklet for me. I could hold it and look down to read. I would occasionally glance down, then look up.”

The role was slightly trimmed.

“They cut down one track and I would stand in one place and not join in the choreography. I was acting and singing, but not moving.”

Such was the impact of illness on the cast that the director Tyran Parke also had to come on stage to help move around the set.

“I remember halfway through the show, Tyran was running me through some blocking and just stopped and said, 'remarkable, you are remarkable'.”

(Continued on page 14) www.stagewhispers.com.au Stage Whispers 13

(Continued from page 13)

How does she rate her performance?

“I had the time of my life. I thought I did an OK job. I’d say 7 out of 10.” (Even her Swedish got the thumbs up from a native speaker.)

“Everyone stepped back and said who is this girl? I think they were impressed that the show was able to go ahead. I was aching for the chance to do it again.”

Unfortunately, it didn’t work out.

Melody was set to perform the next day at the Sunday matinee, however one of the leads recovered enough to go on, so Melody was on standby.

“I truly cannot wait to work with that incredible team again on another project - maybe with a little more warning next time.” ___________________ Producer Spencer Bignell was sitting in the audience at the opening night performance of Assassins The Musical at the Sydney Opera House in 2018, as Bobby Fox began a routine that was genuinely a showstopper.

For the song “The Ballad Of Guiteau” he was skipping over a plastic rope illuminated by LED lights.

“It looked phenomenal. He was skipping over and over, running really fast. He was up to the last step of the skip when he was due to jump to the side. As he landed, he turned his ankle, completely snapping one of the bones,” Spencer recalls with a wince.

Bobby collapsed and had to be carried off the stage.

“We were in the audience and thought maybe he had just rolled his ankle. The cast tried to continue for about ten seconds. Then David Campbell came out and said they were going to have to stop the show.

“We sprinted backstage. He was in a lot of pain. Our first priority was to see that he was OK and off to hospital.

“Under normal circumstances we would cancel the rest of the show (as it had 20 minutes to go) but it was opening night and at the Opera House. So we thought ‘is there a way we could finish the show?’

14 Stage Whispers May - June 2020

Melody Beck and Todd McKenney in Barnum.

“By freak coincidence Bobby had missed the first chunk of the rehearsal period. I had been reading his lines for him to keep it flowing and standing in to handle props.”

A light bulb went off and Spencer walked on with a script. I was sitting in the audience that night and he fitted very neatly into the remainder of the production.

“People think it must have been a lot more freaky than it was, but I knew he had done his big number. I knew roughly where I had to stand and what I would have to do. My worry was for Bobby and getting the cast to finish their opening night.

“The thing that is really impressive is what happened the next day.

“Ryan Gonzalez was in the audience on opening night and was a month away from starting rehearsals for Jersey Boys.”

Slated to stand-in as Guiteau during Bobby’s recovery, the next day Ryan began rehearsing at 9am. He learnt the whole show in one day, in time for the 7.30pm performance.

“He had a script in hand for two performances but by the first night he knew all the choreography, props and logistics, bar a few bits of dialogue.”

There was extra tension during Ryan’s first performance.

“I remember sitting next to Lisa Campbell, and I don’t think Lisa, or I, breathed for the entire show, but especially during that skipping routine.” Thankfully it was not literally a showstopper.

So, who really needs a long rehearsal period?

“From a producer’s perspective I’d love to save the money, but I don’t think it would go down too well.”

(Continued on page 16)

Ryan Gonzalez as the stand-in Charles J. Guiteau in Assassins The Musical (2018).

Inset: Ashleigh Rubenach with Spencer Bignell, who stepped into the role on the night of Bobby Fox’s injury.

Heroic Stand-Ins

www.stagewhispers.com.au Stage Whispers 15

“The guy who was playing Sweeney Todd (in the Stephen Heroic Stand-Ins Sondheim musical) had stood on the trap door of the (barber shop) module, fallen through the trap door, and had ruptured his spleen,” he said.

“The director asked if I would come to Orange and play the part (in two days’ time). I said I don’t know the role. He said that’s OK, we will rehearse you through it and you can carry a script.

“The next day a script and score arrived on my doorstep. They had couriered it directly from Warner Chappell Music. I was working for a bank. I rang them up and said I am going to have some leave. Goodbye.

“I was very lucky to have my talented wife Jayne to assist, who is a Christopher Hamilton in Miranda Musical Society’s Sweeney Todd (1998). great pianist and a musical director.

We did some work here and both (Continued from page 14) flew down to Orange. I just literally went into rehearsal for two days, Sydney community theatre doyen rehearsing with key members of the Christopher Hamilton received a cast to get this under my belt. frantic telephone call at one o’clock in “I was slightly terrified. I was fine the morning in 1991, from a director until Opening Night, then whilst I was at the Orange Theatre Company. standing in the wings thought what

16 Stage Whispers May - June 2020

the hell am I doing? Why did I agree to this? Then I thought, nobody knows me in Orange, so off I went.”

Did he look at the script on stage?

“Yes and no. It became more of a comfort, just in case. I focussed on learning the songs, particularly at the end of act one, that covered the real turning point of his character.

“I carried the script for the first two performances. For the third performance I put it down on a trunk in the barber shop. The boy inside the trunk opened it and the script went flying and disappeared. So, I had to do it all from memory.”

Later in the 1990s Christopher got the chance to play the role again at Miranda Musical Society.

“It was good to revisit it and be much more across it. Sometimes in community theatre you only have enough time to just get into it. It was good to delve a bit deeper.”

He much prefers having more time to rehearse. “(Only) when you are young and foolish would you gird your loins to take such a surprising risk.”

Browse Our Catalogue

Missed one of our past editions or want to re-visit a favourite feature? With more time on our hands, it’s the perfect opportunity to catch up on our extensive back catalogue by clicking on the covers below.

www.stagewhispers.com.au Stage Whispers 17

When Will Theatres Re-Open?

Even with Australia’s infection rates from COVID-19 the envy of the world, the obstacles to turning the lights back on and filling theatres any time soon are immense.

Leading Musical Theatre Producer John Frost does not think that he’ll be able to open a big new professional musical until mid-2021. Smaller producers are hopeful of returning late this year at best. David Spicer reports.

Paul Slade Smith as Willy Wonka and the cast of Charlie And The Chocolate Factory.

Photo: Brian Geach.

18 Stage Whispers May - June 2020

In March I sat in small theatre in Sydney and a patron sitting in the row behind coughed into the hair of my wife. After interval, the patron returned, minus the people sitting around her, but she continued to cough.

A few days later theatres across Australia got the message that things had to change. Patrons were urged to stay at home if they were sick. Hand sanitiser appeared in foyers, alongside higher standards of cleaning. Even so, theatres across the country reported a downturn in the number of people turning up, regardless of whether they purchased tickets. Performing arts events were amongst the first gatherings forced to close and they are expected to be the last to re-open.

Theatre Producer John Frost (GFO) had six musicals on tour or in preparation in 2020. “We closed Book of Mormon in New Zealand, we closed Shrek in Melbourne, Charlie and the Chocolate Factory closed before the first preview in Brisbane and the set is stuck there, because we can’t get staff into the theatre. We closed 9 to 5 The Musical even before the first rehearsal,” he said from his farm, where he was doing some gardening.

A few days after we spoke, Opera Australia announced that it was cancelling its 25th anniversary coproduction with GFO of The Secret Garden for public health reasons and due to restrictions on foreign creatives. For similar reasons, the coproduction of Fiddler on the Roof in Yiddish is very doubtful.

The bigger and more complex the performing arts event, the longer it needs to get started again. John Frost says his company requires at least six months of clear air to get a musical to the stage.

“Forget about putting it into rehearsals, that is the selling time.

Usually six months as a minimum. I am certainly writing (2020) off. I don’t see us being back before the second half of next year,” he said.

The Prime Minister and premiers have indicated that six months of restrictions are likely. Even if some sectors of the economy are reopened, large scale events with

crowds of people at concerts, theatre, religious gatherings or sporting events are the most problematic, because of the difficulty in tracing people in the event of an outbreak.

“They are talking about a September (re-opening). That is brave.

The last thing you want is a second wave of this thing which will then close you down for longer. (Premiers) Daniel Andrews and Glady Berejiklian are paranoid about this. They are going to listen to doctors.”

When theatres do re-open, will the public flood back? Optimists hope

that the public will be so sick of living in isolation that they will come flooding back.

What is not known is how long it will take for the public to feel that they are safe in a crowded foyer particularly amongst the older demographic, who in many cases are the largest audience for theatre companies and most vulnerable to the virus.

A survey of the intentions of theatregoers in the Washington area was published in April in American Theatre Magazine.

Ben Mingay in Shrek The Musical.

Photo: Brian Geach.

(Continued on page 20) www.stagewhispers.com.au Stage Whispers 19

The results found that “most theatregoers will not immediately be ready to return to theatres even when they reopen. The survey found that around half (49 percent) of those questioned say they will likely wait a few months before returning. Only 25 percent think they would attend right away.”

“It will be devastating if they are not going to open a theatre between now and next June,” said Frost.

Samantha Dodemaide, Caroline O'Connor, Erin Clare and Marina Prior in 9 to 5 The Musical.

Photo: Peter Brew-Bevan.

“Moving forward the biggest problem we are facing is, when we do re-open, are they going to let us sell 1000 or 2000 seats? If you have a big musical for 1500 seats, we need to sell those. The government can’t say you can only sell 500. You can’t move forward when paying top rent and actors and goodness knows what.

“My gut is saying they won’t open up the 2000 seat venues. It will be really slow.”

Best placed to get started when restrictions are lifted is Harry Potter and the Cursed Child. Producer Michael Cassel told The Age that the production only needs two weeks to dust itself off and start again.

So, looking into the crystal ball, what are the best - and worst - case scenarios for the Performing Arts?

Best Case: Australia and New Zealand contain or wipe out the COVID-19 over the next six months.

Writing in the Sydney Morning Herald on April 18, Peter Hartcher forecast that “Australia has chanced upon an exciting new possibility - the prospect of eliminating the new coronavirus. Completely. Not just flattening the curve but crushing it.”

A trans-Tasman bubble proposed

by NZ Deputy Prime Minister Winston Peters could be enacted, allowing free travel between the two countries, quarantined from the rest of the world until a vaccine or treatment is widely available.

Outcome: Social distancing might be eased to allow small to medium sized theatre companies, amateur theatre companies and schools to stage productions later in 2020.

Those in rehearsal or performance during March will be the first to reopen.

Second Best Case: 2020 is a wipeout but 2021 sees a re-opening.

Fear of a second wave of COVID19 forces governments in Australia to ban all gatherings for the entire year, or regulations on social distancing make indoor theatre unviable for almost any theatre company until 2021.

Tickets Availability (as of April 28) Sydney Theatre Company: The Picture of Dorian Gray. From Jul 21.

Ensemble Theatre: The Woman in Black. From Aug 14.

Belvoir St Theatre. All ticket sales suspended for 2020.

Hayes Theatre: Mental as Everything. From Sep 9.

Melbourne Theatre Company: As You Like It. From Sep 13.

Malthouse Theatre: Loaded. From Oct 30.

Queensland Theatre Company. The Holidays. From Jul 11.

La Boite Theatre. No performances until 2021.

State Theatre Company South Australia. Gaslight. From Sep 4.

Black Swan Theatre: Oklahoma! From Nov 28.

Frozen the Musical. Capitol Theatre Sydney. From Jul 7.

Harry Potter and the Cursed Child. Princess Theatre, Melbourne. From Jun 3.

Come from Away. State Theatre Sydney. From Aug 3.

20 Stage Whispers May - June 2020

Online extras!

Prior to cancellation, The Secret Garden cast gave us a preview performance. https://youtu.be/QMTo7WIzFDw

This is consistent with the warning

by Victoria’s Chief Health Officer Brett Sutton that “large live … events … are likely to remain closed to spectators until at least 2021.” He was referring to sporting events and concerts when quoted in The Age but was equally cautious about the staged return of the public to pubs and restaurants.

Outcome: Entire programs for 2020 will be postponed until 2021 or abandoned as they clash with plans already in place for next year.

Worst Case Scenario: COVID-19 is not curable and returns for many years.

It’s horrible to contemplate but we still don’t know how this drama ends.

As ABC Science reported: “We don't yet have vaccines against any coronaviruses in humans, in part due to the challenges of developing vaccines for viruses that infect the upper respiratory tract.”

Many scientists are pessimistic about ever finding a vaccine and the WHO says there is no evidence yet that being infected once prevents reinfection.

Outcome: Disruptions to theatre seasons could last for years, or until such a time that herd immunity is achieved. Large public theatre companies would be drastically cut back, fold or go into years of hibernation. Private investment in large scale performing arts would disappear.

However, John Frost says he is “optimistic if there is a clear run the public will come back. They will find the money.

“Investors will bounce back. It’s just going to be harder to raise five or ten million dollars, and shows will have to be pretty special.

“The days of us doing four or five shows a year is going to slow down, or I will turn around and do plays.

“Things will change, wages will change, ticket prices will change. Will you still be paying $200 for a premium ticket for a musical?”

Should the Government rescue the industry? The industry’s peak body Live Performance Australia has warned that many companies are on the brink of collapse.

Nigel Huckle, Rodney Dobson, Rob McDougall, Anthony Warlow, Georgina Hopson, Rowena Wallace and Alinta Chidzey in The Secret Garden.

Photo: Jeff Busby.

“Without a targeted, immediate and substantial support package, there will be no bridge to recovery for these companies and they will die. We are on the front and back ends of this crisis, and without immediate and substantial support for undercapitalised commercial and not-forprofit companies, we won’t have an industry in the next few months,” wrote LPA Chief Executive Evelyn Richardson.

Frosty thinks that if any package is coming, the Arts will be the last to receive anything. “They could write us a cheque. I am not saying they should write a cheque to John Frost, actors or musicians. I don’t think the arts has a monopoly on being out of work.

“This is what our business is. It is very fragile and always has been. Like the lyrics in ‘There’s No Business Like Show Business’: the next day you are out in the cold.”

“It is really hard. Everyone is looking for answers and there are no answers.”

www.stagewhispers.com.au Stage Whispers 21

Sadly, The Production Company’s big final show was cancelled due to the Coronavirus. In place of a standing ovation, Simon Parris celebrates ten of the Melbourne company’s landmark musicals.

Carousel (2004) The only professional production of Carousel in Melbourne for decades, this early highlight was crowned with Over twenty-one marvellous years, glittering affair at the Melbourne a highly memorable leading The Production Company presented home of Ms Pratt, as patrons and performance by David Campbell as 65 productions, delivering countless media gathered to hear excerpts Billy Bigelow. The concert staging was hours of entertainment for lovers of performed live by starry leading cast all the more entertaining for the musical theatre. Run by Ken members. creative choreography of Andrew Mackenzie-Forbes and Rachel D. The Production Company saw the Hallsworth, who has gone on to be Taylor, and funded by arts patron local musical theatre scene grow and one of the industry’s most respected Jeanne Pratt (who loved greeting thrive around them, with the source artists. patrons every night), the company of new artists moving largely to Director Gary Young helmed many furthered the careers of hundreds of higher education training institutions a noteworthy show, and performers artists and left lasting memories for such as WAAPA and VCA. in Carousel who went on to be enraptured audiences.

Originally focussing on classic stalwarts at TPC included Anne Wood Beginning with a model of three- musicals that were left behind by as Mrs Mullin and Melissa Langton as performance seasons, its scope grew commercial producers, The Nettie Fowler. The career of Lucy over the years, with seasons Production Company went on to Durack, one of Australia’s brightest expanding to five and then on to ten stage Australian premieres, with their musical stars, was launched by TPC; or more performances. The annual loyal audience following along even if Durack performed in the chorus of season announcement was a the show titles were unfamiliar.

Carousel.

22 Stage Whispers May - June 2020

Robyn Arthur, Todd McKenney and the cast of The Boy From Oz.

Robyn Nevin, Simon Gleeson, Anna O'Byrne and the company of Oklahoma!

Nancye Hayes and Pamela Rabe in Grey Gardens.

Thoroughly Modern Millie (2006) The first Australian premiere from TPC, Thoroughly Modern Millie, fit perfectly alongside the style of classic musicals usually presented.

Broadway’s 2002 Best Musical Tony Award-winner was a welcome sight on the Melbourne stage, and audiences flocked to the season.

Raising the established standard of their concert stagings, Thoroughly Modern Millie featured a striking, large-scale silhouette backdrop representing New York City, designed

by Richard Jeziorny. In his sixth show for the company, prolific director Rodger Hodgman brought the slapstick comedy to life. Leading lady Chloe Dallimore, fresh from the Australian tour of The Producers, delivered her own unique

interpretation of title character Millie Dillmount.

Rising in status from a couple of previous featured roles, David Harris capably displayed his talents as a leading man in the role of Jimmy Smith. By this point already a more established lead performer, Lucy Durack graced the stage as Miss Dorothy.

By the time of the 2018 revival of Thoroughly Modern Millie, audiences were far less accepting of the show’s stereotyped representation of Asian people. While Nicki Wendt scored ample laughs in 2006 as racist aging actress-in-hiding Mrs Meers, perennial favourite Marina Prior faced a tougher challenge in the role in 2018. A revised version of the musical - which addressed this issue - was set to play in New York in May. Hopefully the

reopening of theatres will allow this new version to be seen and enjoyed.

The Boy Friend (2009)

Another show seen extremely rarely on the local professional stage, The Boy Friend was creatively revived by director Gary Young. Inspired by Ken Russell’s movie version, Young provided dialogue for a fictional set of bickering, disillusioned English actors performing The Boy Friend on a drizzly matinee. This framing device meant that if the expressions or actions strayed close to being over the top, it was the indulgence of the English “actors”, not the actual Australian cast.

The Boy Friend featured inventive choreography from Andrew Hallsworth and elegant designs from Richard Jeziorny.

(Continued on page 24) www.stagewhispers.com.au Stage Whispers 23

Silvie Palladino and Simon Gleeson in Chess.

Australian star Todd McKenney triumphantly reclaimed the role as his own. Resplendent in some of the original costumes, McKenney had the audience in the palm of his hand, his comic timing minted to perfection and his athletic dance moves still just as limber. Original cast member Robyn Arthur moved up to the role of Peter’s mother Marion Woolnough, giving a heartbreakingly intimate rendition of “Don’t Cry Out Loud”.

Director Nancye Hayes imbued the production with abundant heart and soul, musical director John Foreman inspired Orchestra Victoria to a rousing rendition of the hit score and Andrew Hallsworth’s tight, sharp choreography benefited from the presence of ten additional dancers.

Stand out supporting cast members included Christen O’Leary as Judy Garland and David Harris as Peter’s lover, Greg.

TPC enjoyed a further success with The Boy from Oz in 2018, with frequent leading man Rohan Browne starring as Peter Allen.

Grey Gardens (2011) Another very welcome Australian premiere, Grey Gardens featured the unforgettable performances of Nancye Hayes and Pamela Rabe.

A smaller scale musical, Grey Gardens was one of several productions over the years to be presented at the Playhouse rather than the regular, much larger venue of the State Theatre, which is also housed in Arts Centre Melbourne.

Director Rodger Hodgman delivered a quality that belied the short rehearsal period.

Arthur. Rhonda Burchmore, The (Continued from page 23) In act one, Rabe played preening Production Company’s original steel magnolia Edith Beale before The Boy Friend brought Esther leading lady, played flamboyant delivering a giddily gleeful turn as Hannaford to prominence, starring in Madame Dubonnet.

Little Edie in Act Two. Hayes, a her first high profile leading role as veteran of the Australian stage and Polly Browne. Alex Rathgeber took The Boy from Oz (2010) also a performer with The Production As their first Australian musical, centre stage as leading man Bobby Company since their first year, was van Husen. Christie Whelan-Browne, a beloved nationwide hit The Boy from almost unrecognisable as the older clear favourite of TPC over the years, Oz was an ideal choice. The Edith Beale, bringing an undercurrent played Maisie opposite Tim Campbell, Melbourne season sold out before of warmth to the cantankerous who proved a slick tap dancer. Kellie opening night, prompting a return in character.

Rode stopped the show with “It’s January 2011 before a March 2011 The ensemble cast of nine actors season in Sydney.

Nicer in Nice”. also included John O’May, Alex Supporting the young lead Hugh Jackman’s massive Broadway Rathgeber, Bert La Bonté and James performers were relative veterans success in The Boy from Oz prompted Millar.

Grant Smith, Robert Grubb and Robyn a local arena tour, but original 24 Stage Whispers May - June 2020

Chess (2012) TPC raised the bar again with their visually splendid, gorgeously sung production of Chess. A popular cast recording due to the score by ABBA's Benny Anderson and Björn Ulvaeus, the notoriously difficult stage musical was tamed by director Gale Edwards, who was able to present the narrative with crystal clarity. Shaun Gurton gave the design an epic feel, and Tony Bartuccio provided crisp choreography.

The rare musical to focus on an adult romance, Chess featured the highly memorable pairing of Simon Gleeson as Anatoly and Silvie Paladino as Florence. Gleeson and Paladino soared in solos and had the audience swooning in duets. Quality casting continued in the supporting roles, with Martin Crewes as Freddy, Michael Falzon as the Arbiter, Bert La Bonté as Walter and Mark Dickinson as Molokov, with Alinta Chidzey, fresh from the national tour of West Side Story, as Svetlana.

Gypsy (2013) Already seen with a terrific cast headed by Judi Connelli in 2000,

Gypsy was one of several shows that TPC staged twice. The 2013 revival of Gypsy reached a zenith in all aspects of production and performance, with cast and creatives at the top of their games.

Having performed with TPC since their first year, international stage star Caroline O’Connor returned to give a towering performance as Mama Rose, inhabiting the role with all her being, taking the audience’s hearts only to ultimately break them.

Director Gale Edwards streamlined the legendary Broadway musical with her unique vision, Andrew Hallsworth provided another set of wonderfully witty choreography, and masterful musical director Guy Simpson led Orchestra Victoria in a sparkling rendition of Jule Styne’s score. Adam Gardnir delivered multiple backdrops and Tim Chappel brought characteristic flair to the costuming.

The strong supporting cast included Matthew Hetherington as Herbie and Christina Tan as Louise, with Chloe Dallimore, Nicki Wendt and Anne Wood strutting their stuff as the broken-down burlesque dames now working as striptease artists.

West Side Story (2015) Seen quite regularly on the local commercial stage, seminal Broadway musical West Side Story was given the polish and respect it deserved and was an excellent choice for TPC’s landmark fiftieth production.

It was compellingly directed by Gale Edwards, with spectacular sets designed by Shaun Gurton. Guy Simpson made deceptively simple work of Leonard Bernstein’s fiendishly difficult score, leading Orchestra Victoria in another sensational performance.

Rising choreographer Michael Ralph expertly recreated, taught and drilled Robbins’ original choreography. Lighting designer Trudy Dalgleish added significantly to the quality of the staging with clever use of colour to enhance mood.

Anna O’Byrne returned from London to play Maria, a role that showcased her angelic soprano perfectly as well as drawing on her dramatic and comic acting skills.

Gareth Keegan’s fine tenor soared in the role of Tony.

(Continued on page 26)

Anna O'Byrne and Deone Zanotto in West Side Story.

www.stagewhispers.com.au Stage Whispers 25

Special mention and thanks to photographer Jeff Busby for vividly capturing memories from so many of The Production Company’s seasons.

Christie Whelan-Browne, Tim Campbell and the cast of The Boy Friend.

of the beloved score. Working with unbridled confidence and flair, Amy On opening night, due to Campbell made an auspicious debut laryngitis, Deone Zanotto played Anita as choreographer, her lively work at on stage, while assistant director its very best in the riveting Dream Natalie Gilhome provided the Ballet, featuring Stephanie Jones as dialogue and Amanda Harrison Dream Laurey. provided the singing. Incredibly, this Design was at a premium, with arrangement worked seamlessly, a Dale Ferguson crafting a giant calico testament to the skills of all three background and Isaac Lummis women. contributing delectable costumes. This was another production blessed by Oklahoma! (2018) the pristine millinery of Phillip Rhodes.

Oh, What a Beautiful production.

The all-star cast featured Simon 75 years young, Oklahoma! was seen Gleeson as Curley, Anna O’Byrne as and heard at its evergreen best in this Laurey, Elise McCann as Ado Annie, highly entertaining staging.

Bobby Fox as Will Parker, Ben Mingay as Jud Fry and Grant Piro as Ali TPC first presented Oklahoma! in 2006, giving a sneak preview of the Hakim. Veteran stage actress Robyn Australian premiere cast of Wicked Nevin made her debut for the company as crotchety sweetheart, with Lucy Durack as Laurey and Amanda Harrison as Ado Annie.

Aunt Eller.

Having played Will Parker in 2006, Ragtime (2019) Chris Parker returned for this season to make his company debut as Working at the very height of their powers, TPC rewarded Melbourne for director. Parker’s respect for the material found authentic humanity 21 years of love and support with a beneath the caricatures, with superlative production of epic 1998 Broadway musical Ragtime. Little did appealing chemistry and affecting drama in abundance. the audience or even the company In his fifteenth TPC engagement, know that it was to be the farewell musical director Guy Simpson lead the production, but what a beautiful orchestra in a delightful performance parting gift.

(Continued from page 25)

26 Stage Whispers May - June 2020

Director Rodger Hodgman gave the epic story plenty of room to breathe, moving the audience to laughter and tears for the vivid, engaging characters. Maestro Guy Noble led the orchestra in a particularly splendid performance.

Even at the last, TPC continued to uncover and showcase new talent.

Georgina Hopson soared as Mother, ending the show with an unforgettable performance of “Back to Before”. Chloé Zuel also delighted as Sarah. Georgina Hopson went on to be cast as Lily in the revival of The Secret Garden, while Zuel (who had also shone in the 2019 national tour of West Side Story) opened in the Australian premiere of Six the Musical.

Supremely gifted actor Alexander Lewis made a striking company debut as Tateh. Kurt Kansley, star of the national tour of Evita, conveyed the dark journey Coalhouse Walker Jr. Established performers from past seasons were seen in Ragtime, including Adam Murphy as Father, John O’May, John McTernan, Mackenzie Dunn, Anton Berezin, Barry Mitchell, Matt Hamilton, Mark Doggett and Greta Sherriff.

From The Opera House To Yours

Theatre Online

The Sydney Opera House has launched a new digital initiative to connect with, inspire, educate and entertain local and global communities while the venue’s doors are temporarily closed to the public. The program will include full-length performances and talks, never-before-seen footage, podcasts, long-form articles and behind-the-scenes content.

In addition to a wide array of digital content available free on demand, every day from Wednesday to Sunday new content will be released on the Opera House website for people to enjoy on their laptops, mobile phones or in their living rooms. sydneyoperahouse.com/digital

Online extras!

The Wolf And Peter is available now as part of Sydney Opera House Digital. https://youtu.be/0l1eg0j9JCQ

Mateusz Szczerek in The Wolf And Peter.

Photo: Ros Kavanagh.

Take Me To The World:

A Sondheim 90th Birthday Celebration Stephen Sondheim turned 90 on March 22, and on April 26 a roll call of Broadway stars came together in isolation to celebrate the life and career of legendary composer and lyricist on broadway.com and its YouTube channel. Viewing of the event is free for everyone to enjoy, but it is also presented as a benefit for ASTEP (Artists Striving to End Poverty), with voluntary online donations going to the Arts Resilience Fund, designated to bring the arts to young people most in need during this time of crisis.

Hosted by Raúl Esparza, directed by Paul Wontorek, with musical direction by Mary-Mitchell Campbell, the live digital concert features musical performances by Iain Armitage, Annaleigh Ashford, Christine Baranski, Laura Benanti, Michael Cerveris, Kristin Chenoweth, Melissa Errico, Beanie Feldstein, Sutton Foster, Maria Friedman, Alexander Gemignani, Josh Groban, Jake Gyllenhaal, Ann Harada, Neil Patrick Harris, Austin Ku, Judy Kuhn, Linda Lavin, Katrina Lenk, Kelvin Moon Loh, Patti LuPone, Lin-Manuel Miranda, Audra McDonald, Brian Stokes Mitchell, Donna Murphy, Kelli O’Hara, Mandy Patinkin, Bernadette Peters, Ben Platt, Randy Rainbow, Lea Salonga, Stephen Schwartz, Thom Sesma, Elizabeth Stanley, Meryl Streep, Aaron Tveit, Brandon Uranowitz, and Chip Zien performing their favourite Sondheim songs.

You can watch the nearly two and a half hour concert in full on youtu.be/A92wZIvEUAw Stephen Sondheim.

www.stagewhispers.com.au Stage Whispers 27

Shakespeare’s Globe Shakespeare’s Globe will release 40 of their productions for live streaming for free via their YouTube channel. Take a sneak peek at Hamlet, Romeo and Juliet, A Midsummer Night's Dream, The Two Noble Kinsmen, The Winter's Tale and The Merry Wives of Windsor - to name just a few - along with behind the scenes interviews, ahead of their broadcast. youtube.com/ShakespearesGlobe

The Metropolitan Opera The Met hopes to brighten the lives of audience members even while their stage is dark. Each day, a different encore presentation from the company’s “Live in HD” series is being made available for free. The schedule will include outstanding complete performances from the past 14 years of cinema transmissions, starring all of opera’s greatest singers. metopera.org

Anna Bolena (2011).

Photo: Christopher Oram.

28 Stage Whispers May - June 2020

Southwark Stayhouse

Theatre Online Natasha Barnes in Wasted.

Photo: Helen Maybanks.

London’s Southwark Theatre has introduced a new streaming service, showcasing several of their productions launching with Wasted, a new rock musical about the Brontë siblings from 2018. southwarkplayhouse.co.uk/streaming

National Theatre Home Each week Great Britain’s National Theatre is free live streaming one of their filmed stage productions, previously screened in cinemas as National Theatre Live. Already they have screened One Man, Two Guvnors, Jane Eyre, Treasure Island and Twelfth Night.

Frankenstein, with Benedict Cumberbatch and Jonny Lee Miller, alternating the roles of Frankenstein and his creation streams until May 8, while Anthony and Cleopatra, starring Ralph Fiennes and Sophie Okonedo, follows from May 7 - 14. youtube.com/ntdiscovertheatre

Online extras!

Watch a preview of the National Theatre’s Frankenstein. Scan or visit https://youtu.be/DmkQHV8e4Rk www.stagewhispers.com.au Stage Whispers 29

Theatre Online

Love Never Dies.

Photo: Joan Marcus.

The Shows Must Go On Helping people stay at home, Andrew Lloyd Webber musicals are being streamed free each weekend at YouTube channel “The Shows Must Go On”. youtube.com/theshowsmustgoon

Lights Up On The Arts [Home Delivery]

James Cutler and Joshua Robson Productions will present a special online concert which will shine a light on the Australian musical theatre industry and support performers whose livelihoods have been impacted by the COVID-19 arts shutdown. Lights Up On The Arts [Home Delivery] will be held on Monday May 11 from 7pm.

Broadway composer Stephen Schwartz (Wicked, Pippin, Godspell, The Prince of Egypt, Children of Eden, The Baker’s Wife) has given the producers and performers access to his extensive catalogue of music. Stephen’s incredibly rich collection of songs tap into many important themes that will create the through-line of the concert: connection, togetherness, unity, a second chance, finding oneself, the joys of a simple life and hope.

For more details on the evening head to facebook.com/joshuarobsonproductions.

And The Rest...

Northern Ballet has made it their mission to keep bringing world-class ballet to your doorstep. Over the next few weeks they’ll be presenting a season of unmissable dance on screen. northernballet.com/pay-as-you-feel-season Hampstead Theatre has launched its At Home series and is regularly screening productions from its archives. Coming up soon are Tiger Country, #AIWW The Arrest of Ai Weiwei, and Drawing The Line. hampsteadtheatre.com Chichester Festival Theatre is sharing the video recording of their 2018 production of the heart-warming musical Flowers For Mrs Harris for free until May 8. cft.org.uk/flowers-for-mrs-harris-broadcast Cheek By Jowl’s productions of Shakespeare’s The Winter’s Tale and Measure For Measure are both available to stream for free until May 25. cheekbyjowl.com 30 Stage Whispers May - June 2020

Viral Therapy

the fear that we are all experiencing at the moment.

There is so much coming at us about the Coronavirus and each week No longer able to conduct her self-help classes at I want to help you sort through the the local scout hall, Musical Therapist Jan van de noise and get clear on the real Stool has “gone digital”. Using her psychological messages and help you thrive not just insight, musical therapy exercises and psychic survive this difficult time. powers, Jan unwraps the weekly Coronavirus news, in an attempt to So, I created a series called help literally tens of people through this difficult period.

Coronavlog With Van De Stool - a Hello readers - Jan van de Stool of Coronavirus but also I had a HUGE weekly series on Vimeo On Demand here - International Musical Therapist, falling out with Terri - who was the where I can continue to help people Interpretive Dancer and now Social Brown Owl from the Girl Guides that to work through the issues of the day, Distance Influencer. were at the scout hall after Tai Kwon just as I did at the scout hall.

Like many Australians, my work Do and before my classes, because I I have been presenting the series has been hugely affected by the saw her, once all the Brownies were for 4 weeks now and in that time, I Coronavirus. Social distancing means I gone, stealing a roll of toilet paper have covered so many issues and can no longer teach my self-help from the Scouts’ toilets! And I problems already. courses at the Manudji Scout Hall in confronted her! I said, “You take that For example...

Woy Woy. toilet paper out of this hall Terri and I helped people to calm down Like Donald Trump, I saw this I’m going to rip that Homemaker about the NRL (that’s the National pandemic coming and was in the badge right off your sleeve.” And that Rugby League) wanting to start middle of teaching a wonderfully really scared her, so she put it back, playing matches again, as early as the empowering course for women called because they are very attached to end of May. Many people had been Opening Your Pandora’s Box - A Sexy their badges in the Girl Guides. complaining that it was outrageous Anyway, she started crying after that and selfish of them! But I explained to Staycation during the Contagion when the lockdown happened. and I said, ‘Stop crying because people, I said, “Let them do it! At I only had 5 in my class and I there’s no tissues either’, so she least, with all those rugby players offered to put the ladies online - but sniffed it back up and went home). back out on the field, they’ll be a big the ladies unanimously felt they had As, I’m sure you all know, I am a drop in domestic violence.” And already got what they needed out of healer - that is my gift. I mean I have everyone felt better after that. the course, so they took their hand healed alcoholism with a tuning fork In episode two I helped people mirrors and their free packs of hand that’s how powerful my musical navigate all those celebrities who therapy is! And as a healer I want to were suddenly streaming concerts or sanitiser and went home.

So, now I find myself at a loss - as help you - my fellow humans across videos of themselves at home. Like I can no longer run my courses at the Australia - to navigate this difficult that weird video of action hero Arnold scout hall (actually not only because time and to unpack the confusion and Schwarzenegger in his kitchen feeding a carrot to 2 miniature ponies.

It was so confusing.

It was like some Russian sex-fetish website had emailed him and said: ‘Arnie, we will give 10,000 Rubles if you will just film yourself feeding a miniature pony a carrot.”

And he wrote back and said, “I’ll feed two ponies.”

Shudder. I just can’t un-see that video.

So, if you would like me to help you through this time - you can find me on the socials @JanvandeStool or just look up Coronavlog With Van De Stool on Vimeo On Demand.

Back in my days of doing my courses at the scout hall, I am proud Jan van de Stool is the comic alter-ego of musical theatre and to say that over the years, I helped, cabaret star Queenie van de Zandt. Find her on Instagram, literally, tens of people, and now that Facebook and Twitter @JanvandeStool I’m on the world wide web - well! I vimeo.com/ondemand/coronavlog look forward to helping tens more. www.stagewhispers.com.au Stage Whispers 31

Theatre In Isolation We’ve scoured the internet to uncover the best videos from the theatre world in recent weeks. They show immense world-wide talent: the result of a creative industry forced to stay apart from one another, just searching for an outlet.

Until we can all once again head to the theatre for a night out, this is the next best thing.

A Chorus Line

44 cast members of the 2006 Broadway revival of A Chorus Line share what brought them all together again. youtu.be/_pALsCSZmWY

Mamma Mia!

The current West End cast perform “Mamma Mia!” from self-isolation youtu.be/06ZswSBqqsY

Rent

The Welsh of the West End perform “Seasons of Love” from the musical Rent by Jonathan Larson. facebook.com/watch/?v=861462344321406

Phantom Of The Opera

Andrew Lloyd Webber leads the West End Phantom Orchestra in a rendition of “All I Ask Of You” youtu.be/o04ECIpQFi0 32 Stage Whispers May - June 2020

Hamilton

Lin-Manuel Miranda and the original Broadway cast perform an online rendition of “Alexander Hamilton” for a young fan who missed out on seeing the show on stage. youtu.be/cqvVL8IurMw

Frozen

Stars from the world of Disney Broadway productions team up to perform “Go The Distance”. facebook.com/watch/?v=527105514664895

Carousel

West End stars & Irish Youth Musical Theatre collaborate on a performance of “You’ll Never Walk Alone”. youtu.be/EALsrvwrjzw

www.stagewhispers.com.au Stage Whispers 33

Love Never Dies

A duet of “Once Upon Another Time” by Sierra Boggess and Ramin Karimloo - stars of the original 2010 London production. youtu.be/dZ_70SGx9vQ

Beautiful

Accompanied by a full band, the global cast perform Carole King’s “You’ve Got A Friend”. youtu.be/CDdxXL6fdwA

Les Misérables

In a feat of unimaginable logistics, a mammoth collection of 70 West End stars perform “Do You Hear The People Sing?”. youtu.be/0kIhBgQAw3U

34 Stage Whispers May - June 2020

Dear Evan Hansen

Ben Platt, along with cast members from the current Broadway and National Touring companies perform "You Will Be Found�. youtu.be/_10msPMEick

Theatre In Isolation

www.stagewhispers.com.au Stage Whispers 35

Jesus Christ Superstar

Andrew Lloyd Webber, John Legend and a slew of stars rouse an online chorus with “Hosanna”. facebook.com/watch/?v=212383260198334

Andrew Lloyd Webber vs Lin-Manuel Miranda The two goliaths of Musical Theatre challenge one another to a “play-off”. twitter.com/i/status/1240838352015949830 twitter.com/i/status/1241366724970254336

36 Stage Whispers May - June 2020

Theatre In Isolation

The Broadway Coronavirus Medley

With Broadway closed down due to COVID-19, Zach Timson reimagines some classics with a modern message. youtu.be/n1OCZRann8w

Aussie Pops Orchestra

Led by John Foreman, the Aussie Pops Orchestra band together to bring you “What A Wonderful World”. youtu.be/-Hc_1c_Ask0

Bored Conductor

Guy Noble, domestically renowned conductor, waxes lyrical about being forced to stay at home. youtu.be/n207czOqUcg

Mary Poppins

Actress and opera singer Julia Aks joyously sings about the SuperBadTransmittableContagiousAwfulVirus. youtu.be/BUttIeq-1NQ

Les Misérables

Alfie Boe, John Owen-Jones and many more hit the high notes with “Bring Him Home”. youtu.be/jrVOXROkV1U

www.stagewhispers.com.au Stage Whispers 37

Theatre In Isolation

Rent

The 20th anniversary cast send their thanks to the UK’s NHS through the power of song. youtu.be/1YtAxZzAZws

Six The Musical

Australia’s own Six The Musical cast member Chloé Zuel joins a worldwide cohort of over 3000 other “queens”. youtu.be/kMYKxT7UbLk

We’ll Meet Again

Dame Vera Lynn reassures the theatre industry, as West End stars give a heartfelt rendition of her iconic song. youtu.be/dTWy9jim7Mw

American Idiot

The original Broadway cast reunite online after 10 years for a charity performance of “21 Guns”. facebook.com/watch/?v=557253941863594 38 Stage Whispers May - June 2020

Actors Keep Lights On For New Work The generous spirit of Arts workers is continuing in their darkest hour.

Actor and writer James Millar (best known as Matilda’s nemesis - Miss Trunchbull) has helped initiate a project involving 225 artists, who are developing new plays and musicals.

It’s unusual writing an article on being a performing artist during a global pandemic - partly because it feels like there’s nothing to say that isn’t a shared experience, but at the same time not knowing which particular avenue of its destruction to explore.

Since COVID-19 crept cunningly into all of our homes, workplaces, minds and communities in one way or another, the word “essential” has taken a front seat in our discourse (along with - of course “epidemiologist”, “isolation”, “quarantine” and “distancing”).

In some ways it is thrilling to see our essential workers being rightfully hailed as superheroes - in other ways it’s concerning to see what governments and some sections of society don’t deem valuable enough to recognise.

Tireless members of unions and industries - including the one I work in, the Arts - are daily fighting that battle for representation and respect in a world that obliterated new and long-term careers and made a temporary wasteland of our performance spaces only months ago.

The MEAA has been compelling, passionate and mighty to watch in battling to garner some decent governmental response to this unprecedented destruction of a multibillion-dollar industry.

But for now, I’d like to write about a couple of experiences in my little corner of Iso-World to share a positive view about the resilience, resourcefulness and resounding generosity of Arts workers.

When COVID-19 slowly began to reveal itself as a tenacious beast that was not going to lie down and suddenly disappear, but rather

develop a mightier and more voracious appetite as it fed, there was an ominous sense that whispered, “Oh, gosh. If this thing gets here we aren’t going to see a play, a concert, a cabaret show, a movie at the flicks, a standup comedian or a TV studio audience for a very long time.”

It wasn’t until we watched the legal number of people allowed to gather diminish daily, over the space of just over a week, that a sense that a massive invisible fire had just burned down every performance house across the entire planet - sparing none became horrifyingly apparent.

It’s been inspiring to watch members of our local and international performing arts industries pull themselves back up off the floor to answer the question: “What else can you do?”

The answers, for those who needed one for their sanity, are surprisingly abundant and exciting.

Before I dive into it, I’d like to make it clear that I do not believe that artists should ever work for free. I also don’t believe that the virtual space of the land of the Internet should ever, or will ever, replace the communal and cultural joy of live professional entertainment.

I’m sure you’ve noticed, even if you aren’t a particular social media glutton like me, screen grabs of Zoom meetings bouncing up everywhere: namely - those shots of people at home with crappy hair looking like they’re on a cheap version of the opening credits of The Brady Bunch.

Seven or eight weeks ago, these online meeting rooms were best known to remote business workers or international corporations needing to connect over large distances in a “virtual boardroom”. Little did we

realise that these would so swiftly turn into one of our biggest sociocultural lifelines, from the remote islands of our own homes.

My experience came after writing a Facebook status, pondering that now might be a good time for stage writers with fledgling, recently developed or mid-development projects to “virtually” undertake tablereads. So, along with my associates Meg Deyell, Robert Tripolino and Christian Cavallo - we formed Hope: A New Work Development Initiative.

Actors, directors and dramaturgs are now exercising their craft, meeting and connecting with members of the business they may never have met to help new works develop.

Christian, a recently graduated director from VCA and a graphic designer, helped facilitate the 225strong army of generous creatives who volunteered. Next, Rob, who was in the middle of a flourishing international career as an actor in Music Theatre and had just lost a major US contract as Jesus in JC Superstar, jumped on board offering, like magic, his family-owned theatre “The Palais” in Geelong as our virtual mothership and possible place to actually do readings before social distancing forced us onto the virtual space.

Finally, the brilliant and muchloved Meg Deyell - a seasoned stage manager and director who, in her cocreative directorship, has kept us ongoal, organised and proof-read. A small troupe of four, who certainly didn’t know they would be working together.

In Meg’s words, after losing nine out of eleven contracts for 2020: “I joined Hope: New Works as a way of keeping the momentum of our industry going, even in a small way, when everything is grinding to a halt.

It’s also critical for our mental health for artists to keep engaging in our craft, in whatever capacity we are able to. I’m excited about nurturing these shows in their infancy so that when we do get back on our feet, we are ready to run.”

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Creative Directors James Millar, Christian Cavallo, Meg Dyell and Robert Tripolino.

This unexpected collective set the wheels in motion for the development of 11 new pieces of theatre and music theatre. At the time of writing, three have already been recorded as “packages” for the writer, after two or more weeks of autonomous development time with their teams.

The chief purpose is the process of development itself, and the package being a recorded resource for the writer to revisit in order to continue to develop their work down the track, when, as Meg states, they are back on their feet and ready to run.

It was essential to us that these developments be private, as their purpose is for the future of professional product.

New works for Round 1 are:  Amity Dry's The (M)other Life, a tale of four best friends who meet every Friday in a cafe to discuss career, relationships and parenthood.  Diana Simmonds' The Sooterkin, an adapted Australian fable about a seal, born into a human family and hunted as "a miracle of science".  Jess Newman and Richard Lindenfelzer's Gold, a

More info on Hope: New Works Development Initiative can be found at hopenewworks.com with sample highlights of the developing pieces posted weekly along with details of the creatives involved in each.

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contemporary pop/rock-country fusion musical about two women drawn to Red River Colorado at different times in the elusive search for "Faith's Gold".

Josh White's The Mentor, read by Amanda Muggleton, about a young actor’s relationship with a famous former movie star.

Neylon and Peele's Beau Wants To Be A Billionaire, a high energy musical farce about Beau - a down -on-his-luck guy, whose entire life changes after an appearance on "Who Wants to be a Billionaire".

Jessie Monk's Conversations With Berlin, a play about a young woman's relationship with the city of Berlin, where she finds herself alone - 10,000 miles from home.

Michael Bingham, Nicholas Gentile and Brittanie Shipway’s Coburg, Melbourne, an epic romance between a young music student and his relationship with a nurse in a segregated Australian community in war torn 1939.

Geoff Wallis' The Lorelei and the Siren, an absurdist musical comedy about a group of people isolated on a cruise ship at an Antarctic research base.

AJ Ridefelt's Tied Up With Strings, a new musical being built from the ground up across the season, about a compulsive hoarder and her neat-freak sister - and a hoard that comes to life.

Vicki Larnarch's The Water Code, a new musical about a writer on

retreat who miraculously connects to an alternate reality of the land she is on while trying to write a new work.

All casts will be revealed weekly, with highlights of their reads shared.

The result, so far, has been wild, and the brainchild and product of all involved - not one. Watching esteemed actors working with amazing writers, dramaturgs and directors in email threads and video conferencing - asking questions of the work, reading new scenes and songs, and letting the story “live off the page” - has been invaluable to the works and also to the spirits of everyone involved. A feeling that “we communed to create for the world to come” is prevalent and moving. It’s also given everyone involved a sense of their skill still being aloft and energised, despite the noise from the world outside.

It has been equally rewarding to see the masses of similar initiatives flowing across social media. An evening with Trevor Ashley on Sunday nights; the amazing enterprise of the Old Fitz to produce a live reading of Orphans with Alec Baldwin; Troy Sussman’s cooking classes; JRP’s Lights Up On The Arts program; “Watch This” series The Art of Making Art; the National Theatre At Home series; and the amazing work from the Australian theatre companies and independent sectors. It is thrilling to see the platform put to use for one purpose: to maintain community.

In short, this is a (hopefully) oncein-a-lifetime period for us all, until all of our businesses and marketplaces and centres for gathering and sharing our work are rebuilt. In terms of the Arts, these platforms haven’t replaced a profession as they are not our professional spaces, but I think there is great cause to celebrate the way in which they have been used to keep our profession connected and creating. We may not have our jobs, livelihoods, incomes and performances with us for the time being, but my hope is that the salvaging of community in this way will mean that we have them again, stronger, and in abundance when we are rebuilt.

Emergency Assistance Fund

A small, steady philanthropic light is sending out a powerful ray of hope through the gloom of venue closures.

As thousands in the entertainment sector lost their jobs, the Seaborn Broughton & Walford Foundation, a charity established to assist the performing arts in Australia, reached out to help those in the industry who lost their livelihoods.

Foundation President and Chairman Peter Lowry OAM, with unanimous support from Board members, contacted Bruce Spence, Chair of the Actors Benevolent Fund, and offered to seed fund a new Peter Lowry.

COVID 19 Emergency Assistance Photo: Karen Watson.

Fund.

The Foundation currently awards substantial twice-yearly grants, on a competitive basis, to worthwhile performing arts projects. However, in announcing that $100,000 would be donated instead to the ABF’s Fund, Peter Lowry added, “To be able to support the people who provide us with so much enjoyment through the arts, when they’re most in need, is of the utmost importance at this time.”

The SBW Foundation believes that the ABF is ideally placed to support actors, directors, designers, sound and lighting creatives, playwrights, stage managers and technical crew who need help to survive the present situation.

For 75 years, the ABF has been assisting theatre practitioners of all ages, and of varied experience, from every discipline in the performing arts, who are in need of financial assistance due to accident, illness, age-related issues and at times of severe stress.

Within weeks of establishing the fund, the ABF received over 50 requests for assistance and distributed in excess of $25,000 to those in dire straits. Food and fuel vouchers have been distributed, and assistance has been given to pay household and medical bills.

Many of those who have applied for Jobseeker assistance have found it slow in coming and insufficient to meet larger expenses. Others discover that they are ineligible for Government assistance programs.

The Actors Benevolent Fund provides a safety net by offering a range of grants, one-off amounts and monthly payments.

Bruce Spence expressed gratitude to the Foundation for initiating the partnership and for the generous donation.

The new fund has already attracted many donations, although it will need many more to meet the increasing need.

The Actors Benevolent Fund is a fully registered charity and all donations are tax deductible.

Every dollar donated to this fund goes to helping an artist or theatre practitioner in distress, and a bond of confidentiality ensures that identities of recipients are never disclosed.

All information is detailed on actorsbenevolentfund.org.au www.stagewhispers.com.au Stage Whispers 41

With COVID-19 restrictions impacting all community theatres across the country, Stage Whispers talks to just a few of the companies, performers and directors whose productions were just about to open.

Beautiful: The Carole King Musical.

Photo: Rosanna Bruno.

42 Stage Whispers May - June 2020

Beautiful Postponed “Just like the famous words penned by Irving Berlin - ‘There’s no business like show business... there’s no people like show people they smile when they are low.’

“And that is how my cast and I felt about disappointing our audience by not being able to perform our show ready production,” says Col Peet, director of Miranda Musical Society’s production of Beautiful: The Carole King Musical in Sydney’s south.

“We had to stop our final rehearsals - six days before we were scheduled to move into the theatre when the company formalised the decision to postpone the show.

“I have been in the sad position of bumping in a show then bumping it out again without any audience seeing it when I worked at the Regent Theatre in Sydney during the Australian Ballet’s dancers strike. The current postponement feels just the same.

“We are all citizens and have to react to the current situation brought about by COVID-19.

“Like most people, I was ambivalent about how the virus would affect me but was really concerned with any of my cast, band and crew being affected.

Also, we are in show business and had to consider the fiscal implications of performing to a reduced audience. At that stage the

numbers were a maximum of 500.

With the current number for gatherings set at 5, we made the correct decision.

“The severity of what this virus can do came home to roost when one of my sons and his family, who live in New York, contracted the virus. My son was rushed to hospital when his lungs had a spasm and he could not breathe. Thankfully with medical intervention in hospital he is now home - looking like crap but on the mend.

“I would hate to think how I would feel if our actions had any of our fellow performers, crew, band, FOH team or audience member take sick or worse.

“Once the notice was given to the cast, we gave them the option of doing the rehearsal, in costume, as if it were a performance. No Notes!

They took up the challenge and gave a performance standard version of the show. The whole creative team was over the moon with the result.

“We will live to perform Beautiful another time. And won’t we give them a “Beautiful” experience.”

Emilie Lawson was just six days away from playing the title role of Carole King in Miranda’s production when COVID-19 restrictions intervened, When she first started hearing about COVID-19, did Emilie think it was possible that the show might be cancelled?

“I guess it was an underlying fear, and I would often joke about it being cancelled with my colleagues, but I never assumed it would actually happen. I don’t think any of us assumed COVID-19 would take hold as fast and as aggressively as it did.’

When she found out that the show might be postponed, surprisingly Emilie actually felt quite relieved “Before the show was postponed, we were advised that we would be moving ahead, just limiting our audiences to 500 guests. There was a lot of worry involved with moving ahead with a show when people could potentially be put at risk. I think the decision to postpone was the best outcome for everyone involved and I

Things I Know To Be True.

Photo: Chris Lundie.

had greater comfort in knowing that we wouldn’t be creating a high-risk environment for our audience.

“The mood and emotion at rehearsals definitely felt like a bit of a rollercoaster. Initially, shock and disappointment were inevitable feelings, however ultimately I was so grateful that the committee allowed us to have a final dress rehearsal and perform the show with everything we had. Despite the sadness in the air, there was a great joy that came out of that final rehearsal together - with our audience claiming it was the best and most energetic they had ever seen us perform.”

Has this experience made the team closer than usual?

“I definitely think it has, just in different ways. Times of crisis always seem to create a bonding effect on communities and so it was beautiful to see the way people rallied around each other, gave such heartfelt encouragements and were truly gutted that the experience was over for the time being.”

What does Emelie imagine it will be like when the cast eventually reunites to put the show on?

“I think it will be bittersweet. A great theatre show really shines when the cast are working closely together and have strong camaraderie. While that will definitely be the case with our Beautiful cast, it will be sad to potentially not have everybody from the initial cast available to do it again.

However, ultimately, I’m choosing to be grateful that we get an extended

rehearsal period, which means more time being around people who love this show, love each other, are going to be so proud of what we’ve achieved - and will put on a damn good show!”

An Early Preview At the Sydney’s Pavilion Theatre, home of Castle Hill Players, Andrew Bovell’s Things I Know to be True was about to begin previews when COVID -19 restrictions stopped the production in its tracks. Stage Whispers’ own Carol Wimmer was directing, and shares the experience.

“In a less tumultuous world, our production would have opened on 27th March. That would be the culmination of weeks of careful planning and over three months’ work for six dedicated actors, a proud director, a busy stage crew, a creative design team, the construction of a beautiful set - and an orchestra of twenty-two young people who had recorded a stunning piece of music composed by their talented conductor. It would be the first community theatre production of this play in NSW. The pressure was on.

March 19th was the penultimate rehearsal before our first preview.

“Alas it was not to be! Like many productions across Australia - and the world - we fell victim to the evil Coronavirus that had crept quietly and viciously across the seas.

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READ ONLINE NOW stagewhispers.com.au/stageresources

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“To stem its virulent spread, the government directed many venues to close. The far-reaching effects would be devastating - for theatres, companies, actors, creatives, technicians, administrators, front-ofhouse staff, cleaners... and playwrights. For small community theatres like the Pavilion, that seats 150 and produces six plays a year with no funding other than the tickets bought by its very loyal patrons, those effects are almost unfathomable.

“But what of the immediate effect? What happened? How did we feel? What’s happening now?

“I guess the way we felt was similar to other casts and crews - but sharing those feelings might be a way to reach beyond the dark stages, empty wings and quiet green rooms...

“That Thursday night would have been our second last rehearsal. The set was finished, complete with a symbolic tree! Even the floor had been painted. Our tech rehearsal had gone well. The sound and lighting designers had complemented the poignancy of Bovell’s themes. The cast had been ‘dress rehearsing’. The prompt had been spirited away. The stage manager had every prop and cue in hand. The program was printed.

“Then, on that fateful Wednesday, the plug was pulled! We knew it could... might... would... come. And now it had! How to tell the cast and crew? What would we do? Many phone calls later it had been agreed that, instead of our last rehearsal, we would meet the next night at 7.30 as planned for a ‘socially distanced postponement party’. It would be an opportunity to commiserate, to take home make up and costumes, and to hear the final decisions of the Management Committee, who were meeting an hour beforehand.

“All that preparation! All those hours of rehearsal and building and painting! All that wonderful music that had been composed and rehearsed and recorded! All those lights that had been rigged and focused!

“It was 7.30! Most of us were there! A bottle of bubbly was at hand! We knew by then that the play would be able to be staged later in the year with the permission of the playwright’s agent. We knew that one or two of the cast might not be available but that shouldn’t be a problem. We were as bright as could be expected under the circumstances.

“In the foyer of the theatre, the Management Committee was winding up serous deliberations - and the cast of the next play was about to be told that, instead of a rehearsal, their play would, sadly, be cancelled and, hopefully, moved to a later date.

“So much to be sad about. Our lovely play! And the awful scourge that was causing so much illness, so many deaths and such confusion and upheaval.

“Then the President of the company came in and asked to see me. Did I think the cast might like to ‘go on’ for the seven members of the Management Committee? Did I? Would they?

“I did! And they would!

“Once they got over the initial panic, the adrenaline kicked in and by 8 o’clock they were dressed, made up, the crew and the operators were ready, and our little audience was socially distanced around the 150 seats in the theatre. The lights went down and the beautiful, sad music that had been composed especially for the production trickled over the audience.

“In that last rehearsal the cast gave a very special performance. The pace was perfect. The tension was edgy.

The emotion was heart-breaking. The audience was emotional. And I was very proud!

“Later, the green room was empty.

Next day the SM and I packed all the props carefully away in plastic crates.

The garden furniture we moved on to the ‘verandah’ of the set. The ‘tree’ was carefully moved to centre stage right - and the theatre went dark.

“And there everything remains, waiting patiently, until we get the “all clear” to open again... in a future that is less fearful, less isolating and more hopeful.”

The Importance of Postponing Earnest “For St Luke’s Theatre Society, 2020 meant many changes,” explained President Trevor Bond. “Firstly, because of construction work on our home premises, we had to find alternate premises for the year.

We negotiated with the Anglican Christ Church at Yeronga. The first play was set to be Oscar Wilde’s classic The Importance Of Being Earnest. Well known Brisbane director Gary O’Neil was set to direct this play. He assembled a very talented cast including Jason Nash and Stephen Quinn, popular Brisbane actors, as well as myself in the dual roles of Lane and Chasuble.

“Rehearsals began in the Christ Church hall, and at the same time, St Luke’s set construction crew began adjusting the smaller stage to suit our needs. To extend the stage, a temporary extension was set to be put in place for the performances. St Luke’s Theatre Society also put air

conditioning in the hall for the comfort of patrons on the predicted hot summer afternoon matinees. Our set designer, Una Hollingworth, constructed reversible sets for the smaller stage that could be quickly swung into place for the next scene. Storage space was also negotiated. Great period costumes were hired from Savoyards and gleaned from the costume department and from Villanova Players. All was moving along quite smoothly, and then the virus hit.

“Regrettably, it became clearer and clearer that the show was (Continued on page 46) www.stagewhispers.com.au Stage Whispers 45

Ipswich Little Theatre Daytime members during rehearsals.

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endangered. And then one cast member became exposed to the virus and that was that. The Management Committee made the difficult decision to cancel the show. The cast met and it was decided to postpone the production until October, the next available time for all cast members.

The play was such a popular one that it was decided not to let the opportunity pass to present it.

“It’s an old but true adage that we must all stand together on this issue and hope and pray that things will get better. We wish all other Australian theatre companies all the very best through these unprecedented times.”

Cancelling The Biggest Show On Earth!

“Well, maybe not! But when you are a community theatre with a significant diversity of activities, that is what it seemed like to Ipswich Little Theatre Society members,” ILT Honorary Secretary Helen Pullar explained.

“Our first casualty was the pantomime production in rehearsal by our Daytime Theatre Troupe. This group, formed in 1983, entertains youngsters in Ipswich, most of whom see their first live theatre on our stage.

With scripts specifically written by members, fabulous costumes and incredible sets, they hold their young audiences spellbound (and there are enough subtle asides to amuse the 46 Stage Whispers May - June 2020

accompanying adults). The production of Wally Llama’s Circus Adventures would have been no exception, but the realisation that performances in June could be at the height of virus, coupled with the unlikelihood of any preschool or early childhood excursions, made the decision to cancel inevitable.

“There was a teary response from our Junior Theatre children when the curtain was brought down on their rehearsals of A Ghost of a Second Chance just a couple of weeks prior to performance. Fortunately, their parents and those of our even younger Little Players had a clearer understanding of why public performances were not viable. The cruel irony is that for these two primary school-aged groups, and a similarly affected group of high schoolers - our Young Theatricals this is just the time when an interactive, creative activity would have been a godsend. Hopefully, there is a second chance!

“For nearly thirty years, Ipswich Little Theatre has fostered a unique group - S Troupe - which caters for people with special needs, or, as we say, special abilities. For many of them their Sunday afternoons at ILT are the highlight of the week. It was extremely difficult to explain to even those with a degree of cognitive understanding why their rehearsals for Almost the Greatest Show on Earth had to be suspended. Their performances are always uplifting and

heart-warming and, even if no two performances are ever the same always the greatest show on earth.

We will all miss them.

“So, before we even considered our main house program, the activities of approximately 100 ILT thespians had been axed.

“Waiting for God had just bumped in to the Incinerator after several weeks of rehearsal and was on target for the home run. However, instead of the impetus of working in the actual set with props, costumes, lighting and effects that normally kicks in at this point, rehearsals were quickly overshadowed by a suspicion that maybe the show was not going anywhere.

“Following a series of sell-out seasons, we opened bookings with a degree of uncertainty which escalated into the realisation that all our activities had to end. So, we have to wait for a little longer and our set builder’s neighbours will wonder why he has a coffin in his carport!

“The final, and in some ways, the hardest realisation of all was that our one act play festival - the longest running drama competition in Australia - would not be able to go ahead. Since 1955, even floods have not stopped this wonderful event, but it looks like COVID-19 will see it cancelled.

“Even clairvoyant Madame Arcati from our most recent play, Blithe Spirit, could not have predicted this catastrophe!”

Simon Denver, the writer of Man Of Steel and many other musicals and plays, is poised to write a new masterpiece - as soon as he finishes a few errands.

I presume that a couple of weeks ago my fellow creative writers embraced the idea of some form of isolation/ lockdown as a godsend. I also presume that most of my fellow creative writers realised that this was the time to create their opus, their masterpiece, their finest work.

(Of course, this does not apply to the composers for musicals. They already live a solitary life, shunned by most of society. They probably don't even realise there are lockdowns happening and are wondering about this new fashion trend of wearing face masks).

I also presume that most of my fellow creative writers have since procrastinated for four or five weeks and although their masterpiece hasn't even been started, they have caught up on all correspondence and paperwork dating back to the early 2000's. They have cleaned everything in their writer's garrets that could possibly be cleaned. Some of them might even have mastered the use of a vacuum cleaner. All those little "get round to it one day" jobs have been done.

So, what now?

With every possible task completed, we have no other excuses. It is time to create our masterpieces. But can we?

Please spare a thought for many writers world-wide who will struggle over the next few months with the new dominant paradigms.

For it is indeed a brave new world for us writers. Some will discover that they can write without an Arts Grant.

Unfortunately, some won't.

Some will discover that they can write without a deadline. Some won't.

And some will discover they can write without any input from arts workers. Not many, but some.

These could prove to be painful lessons. There will be casualties. Already there are rumours of a second-hand arts grant trade on Gumtree. Social media is full of horrific tales of bogus deadlines being circulated. Most sinister of all are the reports of a new telephone scam. People coldcalling and posing as arts workers who, for a "small fee", will guide you with your creative process (luckily most

writers don't actually have any money so now the telephone scam people have their eyes set on theatre curtain technicians. Good luck there...)

But to those of us who survive this culling, we will eventually write. And I do believe that we will produce an outpouring of brilliant scripts. This pandemic is by far the most important, far reaching incident of modern times. It will fundamentally change how we live and govern ourselves. We are witnessing history. Major history. Stop cleaning and answering emails from 2013 - start writing!

So, my prediction: In nine months' time there will be a spike in births... and a spike in masterpieces.

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Musical Theatre companies in New Zealand are weathering the COVID -19 storm writes Kirsty Skomski.

Inspirational, generous, supportive and resilient are a few of the words that come to mind when Music Theatre New Zealand was asked to describe the response from member theatres as the executive received notification after notification of societies cancelling or postponing their shows due to COVID19.

MTNZ knew a little of this agonising disappointment, as only a few days before, it had to cancel its own conference for the first time in 60 years. Generosity and support came pouring in from individuals all over the country as, just four days later, the country went into a four-week lockdown.

Member companies are staying connected with their audiences and each other. While in lockdown, many still entertain from their living rooms, a

constant reminder of how crucial the arts are for our society.

Shows in their production weeks, only days out from opening, were forced to close. Boards and committees called urgent meetings and the difficult decisions were made. The disappointment was felt by crews, casts and creative teams - all of whom contribute huge volunteer hours to community theatre.

An MTNZ survey conducted throughout the lockdown indicated that 95 per cent of member societies had to postpone or cancel at least one show.

The Whangarei Theatre Company had the huge disappointment of having had a dress rehearsal and then closing before opening its season of Ladies In Black. Since then the cast have been great and continue to rehearse their lines at home. Audiences have been great too - some have had a refund, but many have taken a credit note for future shows and some have even donated their ticket money.

They await a return to level 2, whenever that may happen, which will hopefully allow Ladies In Black to reappear and allow re-scheduling of the other planned shows for 2020 and 2021.

On March 27, the Napier Operatic Society production of Grease was supposed to hit the Tabard Theatre stage. The cast had been rehearsing since September 2019, the costumes were done, the stage set and the cast ready to rock’n’roll for a sold-out season that had been extended by public demand.

Four days prior to opening the company made the hard decision to postpone the season.

Napier Operatic Society rehearsals for Grease.

48 Stage Whispers May - June 2020

“Postponement meant a change in direction for myself in the dual role of Grease production manager and the society secretary,” said Sonya Aifai.

“I was hurled into a new direction of publicity - informing and encouraging our patrons, members and show company that we were full steam ahead with the show, and that we will have a positive experience for everyone when our heads have lifted out of lockdown and into normal life.”

The company also had to reschedule four other shows planned for 2020 and 2021.

“Many aspects of Napier Operatic have been affected by COVID-19.

Permanent staff had to stand down as we closed our Wardrobe Hire department.”

“As for the Grease cast, they communicate frequently on our group page - sharing what is going on in their lives, posting jokes, cartoons and music. And of course practicing their lines as well!”

MTNZ is encouraging societies to use any down time to attend to any inhouse areas that may need attention strategic plans, policies, training and development, all often in the “todo” pile - and are working hard to provide societies the resources to do so.

During the lockdown, people are consuming music, dance, comedy, poetry and their preferred forms of art from their living rooms. In the meantime, MTNZ societies are gearing up to launch back into theatre once given the green light, although that could be a while way yet.

Kirsty Skomski is the General Manager of Musical Theatre New Zealand.

Shakespeare Quiz

Puzzles & Competitions

Quizmaster: Tony Knight.

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‘What a piece of work is man’ is a speech from Hamlet. It is also a song in a hit Broadway musical. Can you name this musical?

What is the name of the hit Broadway musical based on Shakespeare’s The Comedy of Errors?

What is the Shakespeare play that relies upon a character dropping a handkerchief?

Is Hamlet alone on stage for his so-called ‘soliloquy’ To be or not to be?

What are Shakespeare’s ‘Roman Plays’?

‘Exit, pursued by a Bear’ is from what Shakespeare play?

What is the name of the actor who first played Hamlet, Richard III, Othello, and King Lear?

Which of the three Witches in Macbeth is the ‘psychic’ witch’?

Does Shakespeare specifically state there is a ‘balcony’ in the so-called ‘Balcony Scene’ in Romeo and Juliet?

What are Romeo and Juliet doing when they first meet and speak to one another? What are they doing with their respective hands?

Competition

Write a story of 100 words or less using at least ten musical titles. Thanks to Coral Drouyn for this competition idea, and for the example below.

I was feeling Next To Normal in Chicago so I used some Hairspray to make myself look Beautiful. I wanted to ride on the Carousel on 42nd Street, but the ticket office was a Little Shop of Horrors run by a Wicked Gypsy. I could hear a Flower Drum Song in the distance so I ran away to The Sound of Music.

Enter at the link on our Facebook page (facebook.com/stagewhispers). The winner, to be selected by Coral, will win a DVD, BluRay or CD from our subscription page.

Answers 1.

Hair 2.

The Boys from Syracuse 3.

Othello 4.

No - he is not alone. Ophelia is present on stage, although silent.

5.

Titus Andronicus, Julius Caesar, Anthony and Cleopatra and Cymbeline 6.

The Winter’s Tale 7.

Richard Burbage 8.

The 2nd Witch. She is the one who has the prophetic answers to the others questions in Act 1.1. of Macbeth.

9.

No - there is no specific mention or reference to a ‘balcony’ in this scene.

10.

They are dancing at the Capulet Ball.

What they are doing with their hands is up to you. Act it out. www.stagewhispers.com.au Stage Whispers 49

Rehearsing In Isolation

Music Theatre International, Australasia has tools for community theatres and schools to stay connected with their cast during the COVID-19 Pandemic. Nikol McKail reports.

As the COVID-19 pandemic continues, our usual way of doing things has been uprooted with the new practices of quarantine and social distancing. Public spaces have either shut down or restricted contact, non-essential employees have moved to work remotely, and students everywhere are regularly taking their classes online.

Students, educators and staff in the performing arts are particularly affected as we've lost the ability to have face-to -face contact. Theatre folk are now navigating new avenues as schools and community organisations face the challenge of putting on a production while everyone is remote.

Amidst this time of uncertainty, theatre teachers and directors have become unsung heroes as they push to keep their students engaged.

MTIA wants to help you connect to your casts during this time, keep them uplifted and make sure the show goes on!

Here are some of the wonderful digital resources MTIA has for you.

Help your performers learn the show’s music and dance numbers remotely - it's almost like having them in your rehearsal room.

50 Stage Whispers May - June 2020

Nick Hedger, Ben Nicholson and select students for Patrick Studios Australia

RehearScore App

RehearsScore is now a mobile app and lets you run rehearsals straight from your mobile device with a virtual accompanist that plays every note of your show’s score. Every musical number (including scene changes, dance music and underscoring) is recorded in its entirety.

Key Features:

 Available for Apple iOS & Android      

devices Every cast member can have access to the RehearScore App. Suited for individual practice or group practice sessions.

Dance or choral rehearsals can be conducted.

Find the right key as transpositions are easy.

Complete flexibility as you isolate, increase or remove any particular vocal line.

Click and jump to any measure, add cuts and vamps and save your changes.

REHEARSCORE APP Check show availability & further information mtishows.com.au/marketplace/resource/pre-performance/rehearscorer-app2

Performance Accompaniment Recordings

Designed for organizations that don’t have access to a live pit orchestra, MTI’s Performance Accompaniment Recordings provide instrumental tracks for rehearsals and performances that match your show’s score note-fornote.

 



 

Key Features: Available for Apple iOS devices (iPad or iPhone) Rehearsal Tracks - Rehearse your entire show with the rehearsal tracks that can be distributed to cast and crew.

Outstanding Quality - Each Performance Accompaniment Recording was created by credentialed industry professionals and tested by thousands of organizations.

Edits for Your Production - MTI can customise the tracks to your specific needs by changing the tempo up to 40%, cutting or duplicating measures and changing keys up or down a major third.

Cue Sheet - An easy-to-follow guide highlighting the major cues throughout the show.

PERFORMANCE ACCOMPANIMENT RECORDINGS Check show availability & further information mtishows.com.au/marketplace/resource/performance/performance-accompaniment-recording

If you have any queries at all, please contact MTIA enquiries@mtishows.com.au | mtishows.com.au www.stagewhispers.com.au Stage Whispers 51

Easy Stagecraft

this scene? The discussion then turns to introductory elements of lighting design, script analysis and design composition.

Teaching Drama and Theatre Studies to students has never been in “I realised there was a crucial part such an interesting and tumultuous time of change as it is now in of stagecraft - of theatre - being the middle of the COVID-19 pandemic. missed at the classroom level because Whilst the jury is still out on lighting and projection designer. it was either so hard to get accurate whether face-to-face teaching or e“I noticed that during these and easy-to-digest information, or learning is now the best platform, the productions, I would always have an because the schools didn’t have a next step is for teachers to create amazing team of school students to theatre, or space of their own to content and lesson plans for this new mentor, that had an insatiable experiment in,” said Daniel. method of teaching. appetite for learning how the theatre “The best bit about Easy Stagecraft Easy Stagecraft has been and this technology worked,” is that I am constantly updating it as reimagined from an in-school remarked Daniel. technology is constantly changing. stagecraft training service to a “But whenever I asked them if they I’ve tried to take an open, honest and completely online platform. Teachers had the opportunity to learn this deliberate look at not only how we and their students have direct access during class time, their response was design, but why we design what we to a program designed to fill the hole always a categorical ‘No, we do not do for the stage. But behind the when it comes to teaching stagecraft, get that chance, we just don’t have design elements, in my belief, as part of the drama and theatre the gear or resources’.” students need to know how it all goes studies curriculum, nationwide.

So Easy Stagecraft was formed as together, and that’s why there is such Daniel “Goz” Gosling - Easy an in-school training program, a deep look at the systems and Stagecraft’s founder and senior originally starting out with a lighting practical elements behind the design stagecraft coach - has over 15 years’ workshop component. It taught component. experience in live production - from students how lights worked, how to “While I want teachers to have the touring with international artists to operate them, how colours worked, resources, they need to break down working on theatre, opera and dance but also the beginning of those questions and assign tasks - I also in every department imaginable. fundamental discussions of how the want to give them a break! The Recently, he has been spending most light, colour or angle impacts the course is designed to be self-guided, of his time working in the schools scene? How is the mood affected, or and self-led. There are quizzes, videos, sector on school musicals and plays as impacted by the use of certain worksheets - all of which the students both a production manager and a lighting? What do you need to light can work through at their own pace!”

For more details on course, and to sign up please visit easystagecraft.com With yearly access starting at just $197 for 1 teacher and 20 students, each package gives full access to the following courses:  Stagecraft 101  Stage Management  Lighting Basics  Lighting Design  Sound Basics  Sound Design  The Interview Hub  And for teachers - The Teachers Hub Resource Centre.

Students participate in an Easy Stagecraft lighting workshop.

52 Stage Whispers May - June 2020

Preview the course contents with these sample videos: youtu.be/ymTNELEcKFE youtu.be/xGKeJo7NppE

www.stagewhispers.com.au Stage Whispers 53

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?

54 Stage Whispers May - June 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. www.stagewhispers.com.au Stage Whispers 55

Spotlight On NIDA

Wun Zee was lighting designer of pool (no water), written by Mark Ravenhill and directed by Ben Schostackowski, in the NIDA Playhouse Theatre as part of the 2019 June NIDA production season. She explains the lighting design in the pictured scene.

lights on stage as part of the props has really allowed for the characters to be separated in their own world that was created with the use of a floating set. The use of the dedos on stage also provided a more flexible use of lighting that could be easily manipulated by the cast members on stage to create the shots. That not only lends itself to their characters as artists but also to be able to light small details that would otherwise have been very difficult with traditional theatre lighting.

SW: What is happening in the scene?

WZ: The characters have just found out that their friend who had been in a terrible accident had recovered and they're feeling a mix of guilt and disappointment that SW: Do you think it was successful? she is better. They are considering what it means for them WZ: I think that all the different elements of this individually and the work they have done photographing production including (but not limited to) the set, sound, her recovery, while she had been unconscious. video, props and lighting melded together successfully to create and maintain the world that these characters exist SW: What was your artistic aim in lighting this scene? in. In terms of lighting, I think the use of practical film WZ: The aim in this scene was to create a stark lights on stage was really successful in lighting the atmosphere, as they had just arrived here from a place of characters, especially in intimate moments, and really excitement, and the feeling of having a rug being pulled helped capture the emotions that these characters were out from under them. It was also important to express feeling. how they were now back in reality after having experienced an almost dreamlike situation. And of course SW: How important is lighting in setting the mood of having to light each of the characters to make them a production? clear and distinct in the live recordings.

WZ: I think that lighting definitely helps in creating the mood of a production, but in this particular production SW: How was it achieved? lighting was only part of it. The use of sound and video WZ: The use of cool white light on the set had helped was also very important and the combination of the three bring starkness, almost as if they were in a hospital allowed this production to be told in an engaging way. waiting room. Along with sidelights, the use of the film 56 Stage Whispers May - June 2020

Celebrating Sydney’s Griffin Theatre The Griffin Theatre Company celebrated a landmark 40 year anniversary in 2019. Establishing its home at the Stables Theatre in Kings Cross - a venue created by NImrod; carried forward by Bob Ellis and Anne Brooksbank; and subsequently from 1986 made available to the Griffin enterprise by the munificent Dr Rodney Seaborn and the SB&W Foundation - the company was hailed during the 80s as ‘the cradle of new Australian playwrights’.

John Senczuk’s history of the first decade of the Griffin Theatre Company, from which the following extract comes, was launched on 2 December last year.

The National Institute of Dramatic Art graduating class of 1978 had some anxiety about their futures as they began rehearsals for their mid-year production of Bernard Shaw’s satire Major Barbara. Work opportunities in the theatre in Sydney were diminishing.

The Independent Theatre closed the previous year. The last ditch effort to revive the Old Tote Theatre Company with the appointment of Robert Helpmann as director didn’t appear to assuage the Australia Council’s view that ‘a limit has been reached in the affairs of [the Company] beyond which they may not go’ and maintained their intention to cease funding the organisation. The Chair of the Theatre Board of the Australia Council for the Arts, Brian Sweeney, stated that ‘the money can be better used elsewhere.’

NIDA’s chief, John Clark, directed Major Barbara. It was designed by graduand Stephen Curtis. The assistant director was Jenny Laing-Peach, the second-only female directing student since the program was offered in 1972.

Alison Richards, the first, graduated in 1975. It opened on 18 July, 1978 at the NIDA Theatre ‘[It] has vigour and spirit,’ wrote Sydney Morning Herald critic HG Kippax, who thought it ‘among the best student performances ‘ he had seen at NIDA. Another design graduand, Edie Kurzer, meanwhile, was working with Aubrey Mellor on his production of Brecht’s Mother Courage, and Her Children that was running concurrently at the Jane Street Theatre. Robert Menzies was amongst the ensemble cast playing Swiss Cheese.

Robert had graduated the previous year, 1977, and had found work as an understudy in Alan Edward’s production of King Lear for Queensland Theatre Company (starring Warren Mitchell).

Towards the end of August, 1978, just as the NIDA company were about to begin rehearsals with director George Whaley on their graduation production, The Threepenny Opera, the Australia Council announced that the Theatre Board would definitely not finance the Old Tote in 1979. The Chair of the Australia Council, Professor Geoffrey Blainey, said that the Board ‘did not believe the $607,000 it spent on the Old Tote during the current year

yielded sufficient benefits to theatre-goers, actors, producers, playwrights and other people connected with the theatre.’ The essence of the decision was that the Old Tote ‘did not provide adequate value for the subsidy provided.’ The Threepenny Opera (in a translation by Brecht specialist John Willett, at the time a guest lecturer at NIDA) opened on 18 October, again in the NIDA Theatre. It was designed by Bill Haycock, choreographed

by Keith Bain, with Roma Conway the Musical Director.

Jenny Laing-Peach’s next NIDA project was to direct John Clark’s adaptation of Gammer Gurton’s Needle for a private production with first year students in the rehearsal room (known as D1) in October. Jenny, who has a part Chinese father, and an Irish mother, was a few years older than her NIDA colleagues. She spoke Chinese before English but always had a passion for the English language.

She was fond of quoting playwright and theatre critic Kenneth Tynan: ‘The English hoard words like misers, and the Irish spend them like sailor.’ After graduating from Sydney University and with a Teacher’s College Scholarship, plus a Masters (on Irish Playwrights) she taught for ten years in the Western suburbs (Sefton and Chester Hill High Schools) and became involved with the theatre through the very practical act of producing school plays. She was on the committee that established drama as a HSC subject. Jenny made her professional debut at the end of 1978 directing her own adaptation of Lewis Caroll. Wonderland and Alice for the Australian Theatre for Young People at the Recording Hall at the Sydney Opera House.

A dazzling New Year’s Eve Gala Concert on the Sydney Opera House forecourt - with performances from Sherbert, John Paul Young and Johnny Farnham - launched Stephen Hall’s Sydney Festival in 1979. The heatwave that had swept across Australia blew into Sydney at the same time, with hot north-easterly winds that kept temperatures well above average for weeks.

Jenny had just had her first child and was living at 57 Griffin Street, off Foveaux Street, Surry Hills with her (Continued on page 58) www.stagewhispers.com.au Stage Whispers 57

(Continued from page 57)

partner journalist Barry Porter. Penny Cook recalled that it was in late January, ‘on the hottest afternoon, in the smallest house … where the baby basket was put in the sink and the bed tipped up against the wall to make room’ that she, Jenny, Robert Menzies and Edie Kurzer had ‘morning tea and miseries about the industry.’ Robert complained that he had little work lined up, and the others ‘could see none on the horizon.’

At this time the Nimrod Theatre Company was enjoying a sold-out season of Tom Stoppard’s Jumpers. The Ensemble-in-the Round were playing Neil Simon’s Last of the Red Hot Lovers and Marian Street was about to open Jack Sharkey’s The Murder Room. But it was rumoured that Nimrod was ‘in trouble’; the Ensemble generally regarded as ‘a closed shop’; and Marian Street out of their demographic. All eyes were on the proposed new State Company.

Soon after the demise of the Tote, The Australia Council and the NSW Premier’s Department approached NIDA’s administrator Elizabeth Butcher to establish a replacement Company. She named the organisation the ‘Sydney Theatre Company’ and appointed John Clark as an interim Artistic Director to program a season of ‘guest productions.’ The ‘World Play Season’ launched with Jim Sharman’s (short-lived) Paris Theatre Company providing the first production: Patrick White’s A Cheery Soul.

But the Griffin Street mob couldn’t see a way into that enterprise in the short term. According to Jenny, everyone dispersed after lunch. She sat on for a while, ‘then Eurekalike, realised that instead of waiting around for the offers to come to them they should take the initiative and put on their own show.’ They re-convened some hours later, this time including Perth-born actor Rosemarie Lenzo (a recent NIDA drop out). They agreed to form a co-operative [three actors, one designer and a director] and mount a production. There was no platform, but a general

58 Stage Whispers May - June 2020

agreement - ratified with Vodka - to operate ‘by consensus.’

A couple of days later, Jenny ran into Peter Carmody.

An actor and director, Peter was a founding member of La Mama and the Australian Performing Group in Melbourne before relocating to Sydney in 1975 to take up a position on the NIDA Acting Staff as lecturer in Theatre History. He had been looking around for a two-hander for himself and Robert Menzies, but Jenny had a long-time interest in directing Irish/American writer JP Donleavy’s own stage adaptation of his controversial novel The Ginger Man...

Rehearsals started - before permission from the playwright - and were held at night, initially at Griffin Street. Later Jenny (whose Irish mother was related to James Joyce) managed to convince the Irish Club to allow the Company to use their space rent-free.

A ‘start-up’ fund of $1,000 was established through donations from Jenny and Barry Porter, and Peter. It was Peter who suggested the name ‘Griffin Theatre Company’ but the decision was confirmed by the core group. Penny remembered that ‘we must have been somewhat influenced by Jane Street, Nimrod Street and Marian Street... after the street in which Jenny lived.’ A logo was designed by Andrew Blaxland (a friend of Jenny’s brother) who was working at the ABC: he chose a silhouette of the legendary Greek mythological creature, with the body, tail, and back legs of a lion (considered to be the king of beasts) and the head, wings and front talons of an eagle (the king of the birds). By the Middle Ages the griffin was thought to be an especially powerful and majestic creature, known for guarding treasure and priceless possessions. Jenny thought 'it represented both strength and aspiration’ and, Penny recalled, that ‘she thought we would need both.’

The immediate issue, however, was finding a venue and it was by chance that Jenny was walking down High Holborn Street to the bus stop on Cleveland Street when she saw a remarkable sight over a back fence: ‘a near naked man was sun-baking on the hood of an old rusting

car in a yard overtaken by weeds …

The Griffin office was given as 57 eating oysters.’ His name was Les Griffin Street [Jenny’s home]. It was Geisler and he managed the impractical for her to take bookings building on the site: the Kirk Gallery and there was no infrastructure in (at 420-422 Cleveland St, Surry place for ticket sales at the Kirk so Hills). He offered her an oyster and Jenny arranged for Exile’s they struck up a conversation.

Bookshop, 207 Oxford Street at The former Wesleyan Chapel Taylor Square, to provide the erected in 1879 in Cleveland Street, service. Griffin tickets were set at near Crown Street, Surry Hills - had $4.00 and $2.50 concession. The been used as a synagogue, foodproduction scheduled to play a four distribution centre and Greek week season, Tuesdays to Saturdays school, but it had been deat 8.00pm (no performance on consecrated and long derelict Good Friday). (‘frequented by hobos and bikies’) The Griffin Theatre co-operative’s when it was leased by twenty-three inaugural production opened on year old industrial designer, painter the first day of the Royal Easter and photographer Peter Day in Show, Friday 6 April, 1979. The 1972. ‘critics night’, with an invited The building was on the brink of audience, was held on Tuesday 10 being condemned: ‘part of the April, after which there was a main floor had subsided; there were celebratory supper of Guinness and bullet holes in the roof which oysters (supplied by the Irish Club).

Griffin Theatre Company’s founders. leaked alarmingly’; and a fire had HG Kippax gave the Company’s first burnt out part of the nave. ‘It’s a review in the Sydney Morning Griffin Rising: The First good place for art,’ Day said at the Herald, and welcomed the initiative Decade of the Griffin Theatre time. He renamed it the Kirk Gallery with the heading ‘Well-acted play Company 1979-1988, [kirk, the Scottish word for Church], by new group.’ The only dissenting Janus Imprint (2019) and had the intention of turning it voice came from Katharine Brisbane $45.00 + postage into an exhibition space. The (The Australian): ‘The Ginger Man janusentertainment.com.au building soon became available as a needs Gingering up’ she lamented. live music venue and Day handed Fortunately audiences were over the management to Les Geisler. Geisler opened the supportive and, when the season closed on Sunday 6 May, Kirk to bands looking for somewhere to play: for a flat fee the co-op recorded a profit: box office receipts were of $100 a band could rent the venue; Les would do the $3,096.00 and after expenses (mostly the rent on the Kirk) promotion; and they’d ‘get the lights and lighting man the sum of $657.05 was available to be shared amongst thrown in.’ the six co-op members who had worked on the show.

The other Griffin co-op members looked at the space, a Jenny, who carried all the cash around in a sock, planned deal was struck and an opening night set for Friday, 6 to withhold a seventh share to reinvest (with Donleavy’s April 1979. ‘Peter scared the life out of Les by telling him sixpence) in another show. Robert donated his share back, we had no money,’ Penny recalled. ‘Although this was prompting the others to do the same. The consensus was true, we thought it unnecessary to share the information. that the Griffin Theatre Company would continue.

Les immediately asked for his rent upfront.’

A week after The Ginger Man closed, it was announced When Donleavy wrote back, granting the rights for the by Premier Neville Wran that Richard Wherrett was play to be performed, he suggested that Jenny ‘keep the ‘unanimously selected’ by the three-man interim board to sixpence’ and to reinvest it in another production. But with be the first Artistic Director of the Sydney Theatre the go-ahead, the co-operative needed to expand. As Edie Company. There were thirty-seven other applicants (half of was unavailable, Andrew Blaxland took on the set design them from overseas). Nimrod’s John Bell, who was listed role. He had some stage experience - working with Paul amongst them, said that he was ‘delighted’ by Wherrett’s Quinn at the New Theatre - but had turned to television as appointment. He agreed that Sydney could support both the better career option. He was assisted by the lighting of companies. ‘I think it will be marvelous,’ he told Jenny 1977 NIDA Technical Production graduate Bryon Jones Tabakoff (SMH). (who had worked with Robert on the Jane Street As You Jenny Laing Peach was personally very pleased.

Like It). His NIDA colleague Suzanne Humphries joined as Richard’s uncle and Jenny’s father were close friends and Stage Manager. she had known Richard for many years. He had been Jack Ritchie had just completed a design course at East extraordinarily supportive of her over the previous six Sydney Tech and shared a house at 27 Norfolk Street, months during the development of the Griffin, and, Paddington with NIDA grads. He later discovered that the through Nimrod, afforded the Company a great deal of inhouse was owned by Penny’s mother Pam. kind assistance. www.stagewhispers.com.au Stage Whispers 59

Stage on Page

By Peter Pinne

Balancing Acts - Behind the Scenes at the National Theatre by Nicholas Hytner (Vintage $34.70) When Trevor Nunn was running Britain’s National Theatre, he asked Nicholas Hytner to direct two plays during his last year (2001) at the helm of Britain’s cultural behemoth. Hytner, who’d been an associate director of the theatre back in 1988, agreed because he was in the running to take over from Nunn and so he used the two plays as an audition for the top job. Cambridge educated and having spent his theatrical apprenticeship at Exeter, Leeds and Manchester, with periods in commercial theatre (he directed Miss Saigon), he’d built up an impressive CV. Amongst his many creative arms was his love and mastery of Shakespearian text, so he told Nunn he wanted to direct The Winter’s Tale and Mother Clap’s Molly House, a Mark Ravenhill (Shopping and F**king) play that had been sitting on the National Theatre shelf for years.

The play was based on fact - in eighteenth-century London there were around forty molly houses, where men met to have sex with other men, wear women’s clothes, and call each other by women’s names. Ravenhill used this scenario for his play, with intercuts of a

contemporary sex party in the second act. It was ribald, licentious and bawdy, and Nunn was immediately enthused. With a cast of straight young actors, amongst them Dominic Cooper at the start of his career, the play gave the young, funky (a lot of them gay) audience a really good time.

It sealed Hynter’s future as director of the National Theatre for the next 12 years. During that time he introduced 10 pound seats, a sponsor (Travelex), National Theatre Live film programs, and a cauldron of hits that traveled around the globe: The History Boys, War Horse, The Curious Incident of the Dog in the Night-Time and One Man, Two Guvnors. The first night of The History Boys was “the most euphoric of Hytner’s life.”

With cheaper prices came more of a young and hip audience. There were grumbles that the top job had gone to another white, male Cambridge educated graduate, but Hytner, who is gay and Jewish, deflected the claims by saying the NT was too white, too middle-aged and too middle-class.

There was a lack of innovation, too much of the programming was safe, and they had to change.

Hytner’s first year was dominated by his production of Henry V, which auspiciously opened the day British

troops entered Baghdad in the Iraq War. It wasn’t planned that way, but was a happy confluence that gave contemporary authority to the war scenes. Jerry Springer: The Opera, during the same season, spearheaded the new wave - a pop-culture marriage of low-entertainment and high art. Plays by Alan Bennett (The Habit Of Art), David Hare (Stuff Happens) and Michael Frayn (Democracy) headed the new plays, but Hytner always found room for Shaw, Pinter and Shakespeare.

At his leaving party, Hytner stole a joke from Bennett when he thanked everybody and “the contribution we have all made together to showbusiness history, by playing a small part in the inexorable rise of James Corden.” On the strength of his Broadway performances in The History Boys and One Man, Two Guvnors, Corden became a successful late night TV host in the U.S. Balancing Acts is a delightful read - a bit gossipy, lots of the nuts and bolts of running a theatre, and a memoir that’s affectionate and fun.

They Made Us Happy: Betty Comden & Adolph Green’s Musicals & Movies by Andy Popst (Oxford University Press U.S.$30.25) If your credits include the screenplay for one of Hollywood’s most beloved musical movies, Singin’ In The Rain, then you deserve a place

60 Stage Whispers May - June 2020

in Hollywood history, but then Betty Comden and Adolph Green’s credits also include Broadway’s On The Town, Wonderful Town and Bells Are Ringing, plus a song-stack that features “Make Someone Happy”, “Just In Time” and “The Party’s Over” amongst others, so it was only right that in 1991 they received the Kennedy Center’s Lifetime Achievement in the Performing Arts Award.

They wrote in a period when if a Broadway show ran a season it was classified as a hit.

Both were born in New York (Green in the Bronx/Comden in Brooklyn) and they never lost their love for the city, penning several musicals about it.

Green had an encyclopedic knowledge of the movies. His idol was Charles Chaplin, who later became a friend. Comden found her love of movies sitting in a New Haven cinema owned by her uncle. They both aspired to be stage performers, with Comden’s first role in Having a Wonderful Time, and Green’s playing the Pirate King in Gilbert and Sullivan’s The Pirates of Penzance, with Leonard Bernstein accompanying on piano.

They created “The Revuers”, a group who specialised in satire and appeared at Greenwich Village’s Village Vanguard in 1938. Judith Tuvina (later Judy Holliday), whom Green had met in the Poconos, Pennsylvania, joined them as did Gene Kelly, who did choreography, with Bernstein on piano.

They both married in 1942.

Comden’s lasted - Green’s didn’t. It was the first of Green’s three marriages.

Bernstein asked them to write the book and lyrics for On The Town, a musical based on his ballet Fancy Free, which had successfully premiered for the American Ballet Theatre in 1944 and has remained in their repertoire until this day.

On The Town was a hit, putting them on the map as performers (they appeared in it as Ozzie and Claire) and wordsmiths. They followed with Billion Dollar Baby, with music by Morton Gould. Set in

Take Me Out to The Ball Game and It’s Always Fair Weather. Their biggest TV success was Mary Martin’s Peter Pan, which attracted 65-75 million viewers.

They had their last hit with 1991’s The Will Rogers Follies, which won them a Tony Award and, at 993 performances, ran the longest of all their shows.

Comden and Green had an amazing career and Andy Propst has done a fine job of condensing and distilling it into this enjoyable read.

The projects that didn’t get up are almost a fascinating as those that did: they wrote two unused drafts for the book of Cole Porter’s Out of This World, a musical version of Thornton Wilder’s The Skin Of Our Teeth was aborted, whilst a bio-pic about Busby the 1920s, and about the Miss Berkley went the same way.

America Beauty Pageant, it failed, as Comden and Green were famous did Bonanza Bound (music by Saul for their “Readers Digest” sketch, Chaplin), about the Alaskan gold rush. which condensed famous books into But they hit it big again working with three lines. Propst ends his book with Bernstein on Wonderful Town, a one they might have written for musical version of My Sister Eileen themselves: which starred Rosalind Russell.

“Comden and Green wrote films They followed with Bells Are and shows, Ringing, which they wrote for their Many of which the whole world friend Judy Holliday, Say Darling, Do knows, Re Mi, Subways Are For Sleeping, They made us all forget our woes, Fade Out - Fade In and Hallelujah The end!”

Baby, all with scores by Jule Styne.

It’s a fitting and clever tribute to From the late forties they lived bi- their amazing body of work. coastal lives, writing for Hollywood and Broadway. Their MGM credits include Good News, The Band Wagon, The Barkleys Of Broadway,

Stage Whispers Books Visit our on-line book shop for back issues and stage craft books www.stagewhispers.com.au/books www.stagewhispers.com.au Stage Whispers 61

realised that the stereo versions differed from the mono.

The studio cast recording features two of the dropped songs, “I’m Seeing Rainbows” and “Happy Is The Cricket”, which are also included on the jazz version of the score by

By Peter Pinne the Billy Taylor Orchestra. Of the cover recordings, there Kwamina (Richard Adler) (Stage 9069) are three male versions of “Another Time, Another Place” Stage Door have reissued (for the first time on CD) a

by Jerry Vale, Al Martino and Robert Goulet, who all give deluxe 2 disc set of Richard Adler’s 1961 Broadway it a Latin beat, a version by Howes taken from the Stars musical Kwamina. It contains the original Broadway cast For Defense program and Gordon MacRae’s “Ordinary album, alternate takes of four songs, a studio cast People”, but the gem is The Kingston Trio’s calypso-styled recording, a jazz interpretation and pop covers. Prior to its “Nothing More To Look Forward To”.  opening at the 54th Street Theatre on 23 October 1961, the press hype for the show had been enormous. It was 9 to 5 (Dolly Parton) (ATG 0874678) the first musical for Adler without his The Pajama Game Who would have thought that Dolly Parton’s 9 to 5, and Damn Yankees writing partner Jerry Ross, who had which only managed a 148 Broadway run in 2009, would died in 1956. Expectations were high, but Kwamina was become a smash West End hit. It’s not the first time this much different to both those shows and not your usual has happened. Paint Your Wagon’s London run (478 Broadway entry. With the story set in Africa - about the performances) in the fifties almost doubled that of London educated doctor son of a tribal chief who clashes Broadway (289), whilst Legally Blonde in 2010 ran for 974 with, but falls in love with, the village’s white female performances, easily surpassing the Broadway effort of doctor - it was an ambitious attempt to marry African 595. The success of 9 to 5 is entirely due to director/ tribal music with Broadway, an attempt that didn’t quite choreographer Jeff Calhoun, who created the re-imagined succeed. A lukewarm critical response saw the show close US touring production in 2010 which Australia is also set after just 32 performances, but Capitol Records still went to see. Recorded live, the West End cast acquit themselves ahead and recorded the original cast album on the very well. The title tune is still the best song in the show, Monday after closing. Since then the LP has developed a and it’s enhanced by having Dolly Parton introducing it cult following. The choral numbers are strong and and singing along with the company, which is repeated in powerful. Opening with “The Cocoa Bean Song”, which the “Entr’Acte” reprise. The three girls, Natalie McQueen tells what African laborers have in common with their (Doralee), Amber Davies (Judy) and Caroline Sheen crops (‘One does the drinkin,’ the other gets drunk’) and (Violet), bring the first act to a close with a smashing following with the lovely Bantu-inspired “Nothing More “Shine Like The Sun”, Sheen dazzles on “One of the To Look Forward To” and “The Sun Is Beginning To Boys”, whilst McQueen Crow”, Adler’s Tony nominated music and lyrics sparkle. absolutely nails Sally Ann Howes, Adler’s wife at the time, is perfect for “Backwoods Barbie”. the stitched-up Eve, an Anna Leonowens/Eliza DoolittleAs the lecherous boss, type character whose songs range from “You’re as English Franklin Hart Jr, Brian As” and “What’s Wrong With Me?” to the big ballad Conley is sleaze “Another Time, personified in “Here Another Place”.

For You”, while With little to sing, Bonnie Langford’s co-star Terry Carter Roz brings comedic duets nicely on obsession to “Heart “Ordinary People”, To Hart”. It’s a fun whilst “One Wife” album.  succinctly espouses the tribal view of Online extras! monogamy. The Stream the 9 To 5: The Musical West alternate takes are End Cast Recording on Spotify now. included, as it was https://spoti.fi/3c22Led

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TINA: The Tina Turner Musical (Various) (Ghostlight 584577) This jukebox musical based on Tina Turner’s life is one of the better ones of the genre thanks to raw and searing vocals by Adrienne Warren in the title role. All the hits are

Rating  Only for the enthusiast  Borderline  Worth buying  Must have  Kill for it 62 Stage Whispers May - June 2020

present but not in chronological order, and the cast, especially Warren, do them justice. “River Deep Mountain High”, “Proud Mary” and “Disco Inferno” rub shoulders with “Private Dancer”, “What’s Love Got To Do With It” and “We Don’t Need Another Hero”, but the finale “(Simply) The Best” is, as the Hollywood Reporter claimed, ‘roofraising.’ Kobna Holdbrook-Smith is good as her abusive ex-husband Ike (he won an Olivier for his performance), whilst the band do amazing work recreating Turner’s iconic sound.



songs includes “Vienna, City of my Dreams”, “Vienna Only Becomes Beautiful at Night” and two popular Hans May songs from the 1936 movie Today Is the Most Beautiful Day in my Life, which were originally sung by Joseph Schmidt - “There Is More Taken In Life Than Is Given” and the title song. Kaufmann is in good voice and charms throughout, especially on the duets, which are the best tracks on the disc.

Accompaniment by the Vienna Philharmonic under the baton of Adam Fischer is luxurious, and the recording is state-of-the-art.

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Get your copy of Wien from JB Hi-Fi today. Scan the QR code or visit https://bit.ly/2VMUrcu

Download the album from Apple Music today. Scan the QR code or visit https://apple.co/3aN2eLp Wien - Jonas Kaufmann (Various) (Sony 19075950412) Jonas Kaufmann’s new album Wien is almost a companion piece to his 2014 album of operetta pieces You Mean The World To Me, being another selection of favorite operetta arias and songs, but this time related to Vienna. Kaufmann claims it was his grandmother who instilled in him a love of the waltzing classics of Strauss, Robert Stoltz and Franz Lehar, when he visited his grandparents’ farm in Tyrol, Austria. His first professional production was playing Caramello in Strauss’s Eine Nacht in Venedig (A Night in Venice) in Regensburg (1993-94), so it’s only natural he would include songs from it along with duets from Wiener Blut, Die Fledermaus and Die lustige Witwe (The Merry Widow), sung with the gloriousvoiced Rachel Willis-Sørensen. The selection of Viennese

Auditions Place your audition notice in the next edition of Stage Whispers magazine.

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Disney Dreamin’ - Matthew Morrison (Various) (Disney 003059502) Matthew Morrison’s new album raids the extensive Disney songbook with pleasing results. Opening with two Alan Menken tunes, the bouncy “Friend Like Me” (Aladdin) and “Go The Distance” (Hercules), he segues into blues mode with Randy Newman’s “You’ve Got A Friend In Me” from Toy Story, following with Aladdin’s blockbuster hit “A Whole New World”, which he duets with former Wicked Elphaba, Shoshana Bean.

Acoustic guitar and harp add lustre to Peter Pan’s “The Second Star To The Right”, Pinocchio’s “When You Wish Upon A Star” is given the finger-snapping swing treatment, whilst “Zip-A-Dee-Doo-Dah” (Song of the South) coupled with “The Bare Necessities” (Jungle Book) are straight out Dixieland. His vocal sound is more poppy than it was as Lt. Cable in South Pacific, but then the new coat of paint he gives these standards is very enjoyable.

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Musical Spice

Fiddler on the Roof in Yiddish.

Photo: Matthew Murphy.

A Little Yiddle Audition Since the last edition, Stage Whispers’ readers have been on tenterhooks. In March I reported in this column that I was about have an audition for Fiddler On The Roof in Yiddish. The suspense has been killing our regular readers. None of them have been have been talking or tweeting about COVID-19, but whether I got in.

To recap, Opera Australia and John Frost are planning to stage A Fidler Afn Dakh - in the original language spoken by the good folk of Anatevka - later this year in Sydney and Melbourne (pandemic permitting).

I was a long shot, but with experience in synagogue choirs and a gig (a long time ago) in the chorus of a professional opera, I scored an audition.

Less than a week out I came down with the flu. Not the coronavirus, but a good old-fashioned sneezy croaky cold.

Oi vey - my big shot at performing at the Sydney Opera House was about to be coughed away. I dosed up on chicken soup.

Everything else in my life was turned off as I focussed on the looming audition. My two-month old beard was well sprouted. Singing coaching, a dance lesson and drama critique was sought.

Day and night, I recited my lines in Yiddish - even whilst driving the car. I drove my family nuts by mouthing the words. Un di tsvey laykters. Zilberne Zilberne (And the two candlesticks.

Silver Silver).

Learning Yiddish takes at least three times as long as English. Nothing would stick on the first day. Only after 64 Stage Whispers May - June 2020

sleeping on it would words sink in. I learnt a wedding MC speech and two songs. Sabbath Prayer was sweet, whilst The Rumour has hilarious tongue twisters including: Sprin-tse pokt un Mozlt (Sprintse got chicken pox and measles).

My cold cleared and the day arrived. I was going to enjoy my first (and probably last) audition for Opera Australia. In the dance studio waiting room I perused the competition mainly men aged in their twenties, auditioning for Motel the Tailor. This was a good sign, as there were only two other middle-aged men and they weren’t Jewish like me.

Some of the auditionees were in meditation-like trances as they went over lines with headphones on. One told me he worked in catering another was an usher. A bit sad that these highly intelligent and highly trained men had low paid jobs, which didn’t require their talent.

“David Spicer” announced the assistant. In I walked - gulp. There was a row of men and women sitting behind a table. The director said he didn’t want to hear Sabbath Prayer (well that was a waste learning that song) but could I sing The Rumour.

I nailed it! Yeeha. “Your movement is nice but can we have it again but louder?” said the American director. I can do loud I thought.

Again, I nailed it.

Next the speech at the wedding, unveiling the gifts. They smiled at me. I felt good. Thank you for learning Yiddish and growing a beard, one of them said.

Out I walked. “David are you available for a dance call back in an hour?” Yes, I might be able to fit it in. I felt triumphant. Now how do I disguise my rather primitive dance skills?

Into the room we all marched. The friendly choreographer divided us into three lines - character parts (middleaged men), boys and dancers. He said something which made me cheer. In Anatevka there are no dance schools goodness, maybe I have a shot at this after all. We all learnt a simple routine to the song Tradition. It was fun and I was beginning to taste the spotlight at the Sydney Opera House. Maybe I should start preparing my speech for best new talent at the Sydney Theatre Awards.

Then he said something which made my heart sink. “In this production there are only 26 in the cast, which means everyone has a lot to do, whereas there were 35 in the cast in the US.” All the middle-aged men were asked to leave. I did the maths in my head. 26 in the whole cast? Take out 13 principals, four or five bottle dancers, mothers, sons and daughters, plus an understudy for Tevye etc - this meant I was competing for two or three non-principal middle-aged male roles.

There was no way I was in the top three from all those seasoned professionals who auditioned in Sydney and Melbourne. Maybe if there had been a substantial male chorus, like other operas, I might have snuck in. Another auditionee in my round who was not Jewish, but had a louder voice, got a further call-back.

I waited by the phone no-one called. I shaved my beard off and relaxed.

When and if the season goes ahead (this year or perhaps down the track) I will be a well credentialed reviewer.

David Spicer

Read scripts, listen to music and order free catalogue at: www.davidspicer.com.au david@davidspicer.com (02) 9371 8458

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Taras Berezhansky in Opera Australia's Attila.

Photo: Prudence Upton.

Reviews: Premieres

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Watch the preview of Opera Australia’s Attila. Scan the QR code or visit https://youtu.be/XDXB1nSxgz0

Attila Music by Giuseppe Verdi. Librettist: Temistocle Solera. Coproduction by Teatro alla Scala and Opera Australia. Joan Sutherland Theatre, Opera Australia. From Mar. JUST when you thought Opera Australia couldn’t possibly squeeze any more opulence onto the stage of the Joan Sutherland Theatre, along comes this mind-boggling production of Verdi’s second opera.

Attila was composed by Verdi in his early 30s, before he produced his long list of blockbusters. This Australian premiere of the opera was made possible by a coproduction with La Scala in Milan, where it was first staged in 2018 and attracted great adulation.

I lost count when I got to 60 counting members of the cast. There is a grand ornate set which blends ancient Roman ruins with World War II era structures, lavish videography, that resembled a scene from the movie Gladiator, and even two horses!

One beautiful white horse was particularly striking. It was ridden onto the stage by Pope Leo I, in a scene which recreates Attila’s dream, set at the gates of Rome. The nervous looking nag did its duty, but gave the impression that standing on a stage with bright lights and lots of music wasn’t exactly its idea of a good time.

The horse’s eyes were covered by lavish white hair and I imagine there were ear muffs in there as well, but even so I hope they gave it extra carrots on opening night. The conclusion of this scene was gorgeous - reminiscent of a grand work of Renaissance art.

66 Stage Whispers

The opera is based on the play Attila, King of the Huns and chronicles the fearsome conqueror’s epic battle with Rome. Director Davide Livermore updates the action from 5th century Italy to fascist Italy during the 1930s. There are moments of brutal violence which you would expect in an opera about a ruthless conqueror, but the bluntness is nonetheless confronting.

For Verdi buffs it is fascinating to hear an opera from early in his career. Many of the arias felt familiar as they were structured in a style which he developed later in his career. Whilst there are no immediately recognisable show -stopping beautiful tunes, there are several highlights.

One of the best musical moments is the early striking duet “Uldino a me dinanzi” performed with great gusto by baritones Attila (Taras Berezhansky) and the Roman General Ezio (Simone Piazzaola).

No grand opera would be complete without a battle of the heart. Providing the heartache in spades in this opera is soprano Natalie Aroyan as Odabella and bullet proof tenor Diego Torre, whose characters scheme to undermine Attila.

Sitting in front us at the opera was the Director Davide Livermore. His boyish enthusiasm for the production was amusing but he was distressed that the audience laughed at a ludicrous moment in the final scene.

Talk at the after show party was that this moment might be tweaked. Sadly, only two performances of this lavish production were performed before the restrictions imposed by COVID-19.

David Spicer

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

Our Blood Runs In The Street Chopt Logic / Red Line Productions. Old Fitz Theatre, Woolloomooloo. From Feb 19.

WITH The Campaign, about the activists who drove Tasmanian gay law reform, running at the Seymour Centre, and now this show about five decades of gay violence in NSW, Mardi Gras shows itself as more than just sex, glitter and show tunes.

Both plays are impressively researched verbatim documentaries drawing on interviews and records and both are told with empathy and imagination.

Our Blood Runs in the Street is a tribute to the 89 mostly gay men murdered - each named - most at the height of AIDS anxiety between 1988 and 1995. It’s also an exposure of the tolerated violence and homophobia, especially from teenage males, and the inexplicable failure of the police to investigate these murders.

A current NSW Parliamentary Enquiry into Gay and Transgender Hate Crimes may - finally - produce some answers.

Meanwhile, seven young actors slickly play various victims, their grieving family members, journalists, police officers and researchers as well as the gangs of teenager murderers. They’re backed by long low notes of music from Nate Edmondson and composer Damien Lane and Richard Whitehouse’s spotlighting through the dark on Veronique Benett’s effective open set.

Director Shane Anthony has tailored the text just as well as he’s choreographed the intense physicality of his

actors, into surges of violence or male group solidarity or gay strutting and courtship.

At best (ignoring the odd lecturing to the audience), it borders on the fabulous male focused dance theatre of Lloyd Newson’s DV8. The actors are Andrew Fraser, Cassie Hamilton, David Helman, Eddie Orton, Sam Plummer, Ross Walker and Tim Walker.

Martin Portus The Curtain

By Daniel Keene. 45downstairs, 45 Flinders Lane, Melbourne. Feb 26 - Mar 15.

DANIEL Keene’s writing is always intriguing, most particularly because his characters and their issues are so acutely realised. He distils day-to-day life and brings us his own unique ‘poetic realism’ that proffers subtle, perceptive, poignant and thought-provoking insights.

It seems, to me, that this work is about when the everyday meets the ‘shadow’ - where the sudden announcement of life changing intentions throws light onto what has tacitly been ignored.

Two older gentlemen are boarding in a house owned by a widow. They have a way of rubbing along together that is functional though not necessarily particularly comfortable. Their communication is somewhat stilted.

Wittily they reference Absurdist Theatre, whilst they are ‘waiting for their landlord’ to return home. As with much of Keene’s writing, we are reminded of Samuel Beckett.

The Curtain.

Photo: Theresa Harrison.

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

Stage Whispers 67

The landlady is ‘foreign’ and in actual fact rather exotic, we realise, when we finally meet her in an inebriated state, and flagrantly, getting drunker.

The Curtain is about aging, loss and unrealised dreams. It is also about the very personal, self-inflicted misery that could be attributed to having unflinching expectations despite aging and changing times. As it turns out, neither of the men appear to have been looking beyond the immediate so their lives could, quite likely, spiral out of control if their landlady makes the changes she so suddenly plans to execute.

The décor (Andrew Bailey) is of the 1960s, as is the often delightful and subtly faded in music (Ben Keene).

There are literal curtains, on set, as well as the symbolic curtains that hide and/or reveal and bring things to a close.

The casting is spot on. Milijana Čančar really shines as the landlady. Gill Tucker and Paul Weingott work very nicely together to convey their edgy, somewhat competitive relationship. The direction by Beng Oh is most simpatico with the text.

Suzanne Sandow

It is mostly set at the back of Patricia’s country cottage, where she has bunked up in her sleep-out. This is perhaps due to the house being over full of memories and the hoarding of a lifetime.

Patricia has a deep love of birds that is expressed almost as an ardent longing to fly by Ms. Nihill.

Patricia is disrupted by the sudden arrival of her granddaughter Krystal, who has decided to move in with her grandmother. She has rolled into town with a view to shaking up the small conservative community to embrace refugees as new residents.

Nihill’s rich vocal tones are, at times, delightfully contrasted with Elizabeth Sly’s more strident and youthful vocal tones as they argue and haggle with each other.

Kim Durban has masterfully directed her cast to work in a comfortable measured tempo that best serves Merilee Moss’s poetic text. She imbues the work with clarity and nourishes its musicality.

Kevin Dee plays a somewhat self-serving and bigoted Mayor and a bloke called Sparra. He does so with lovely relaxed, appealing energy. Sam Baxter brings us Raffale, a sensitive and mysterious Italian immigrant whose mysterious presence makes ultimate sense. Gregory J Fryer adds a rich dimension with the character Pie. Running With Emus

By Merrilee Moss. La Mama Courthouse. From Mar 11.

In the end, everything seems to be whittled away and refined down to a spiritual connection between THE beautiful dulcet tones and clarity of Julie Nihill’s voice and the sincerity of her stage presence, as the aging generations of Patricia’s family.

Patricia Reilly, instantaneously connect with the audience One can see why this work has been chosen as a VCE text, as it touches on a number of topical and pertinent to engage us with the themes of this absorbing family and social history.

Julie Nihill and Elizabeth Sly in Running With Emus.

Photo: Gregory J Fryer.

68 Stage Whispers

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

Kate Maree Hoolihan, Katie McKee, Ian Stenkale in The Bridges Of Madison County.

Photo: Grant Leslie.

issues to do with our past, present and hopes for a harmonious future.

Very absorbing.

Suzanne Sandow

between them is beautifully crafted, reaching a crescendo with soaring arias from Francesca - enough to fill the whole kitchen with steam.

The narrative roams between a small house, the inside of a moving truck and of course the picturesque bridges The Bridges Of Madison County of Madison County. The Hayes Theatre’s reputation for gorgeous and clever sets is further enhanced with this Book by Marsha Norman. Music and Lyrics by Jason Robert Brown. Based on the novel by Robert James design from James Browne. With a twirl of shutters it Waller. Hayes Theatre Company. Directed by Neil transforms from a 1960’s kitchen to a dusty road in Gooding. From Mar 6. picturesque farm country.

THIS musical is like a good slow cooking recipe. You The central characters are ably supported by a fine add all the ingredients, leave it in a pot and come back ensemble. The role of nosey neighbour Marge is played hours later, where the lamb is falling off the bone. Many with fabulous humour by Beth Daly. One of the funniest aspects of the production are very tasty. The music by scenes in the musical is where she discusses with her very droll husband Charlie (Michael Beckley) what he would do Jason Robert Brown has a mixture of folk, country, pop and operatic influences. It’s easy to see why It won Tony if she had an affair (seems he has it all worked out).

Awards in 2014 for its score and orchestrations. Musical Playing Francesca’s husband “Bud” very Director Geoffrey Castles’ five piece ensemble allowed the sympathetically was Anton Berezin. You feel sorry for him musical juices to stew sumptuously, as the temperature keeping a lid on his boisterous children Carolyn (Zoe on stage heated up.

Ioannou) and Michael (Grady Swithenbank).

Set in Iowa in 1965, the central romance is between a Overall this is an Art House musical which is enhanced (previously) devoted housewife Francesca (Kate Maree by being able to watch it in the intimate 111 seat theatre.

However, it is on the long side - some in the audience felt Hoolihan) and a roaming National Geographic photographer Robert (Ian Stenlake). He turns up at her it a little overcooked - which is no reflection on this door for directions when her husband and two quarrelling production, but an aspect that was also noted by critics at children are away for four days. its Broadway premiere.

Robert keeps offering to leave her alone but there is David Spicer something magnetic in their attraction. The chemistry Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 69

Breaking The Castle.

Photo: Shelly Higgs.

(production), Gerry Corcoran (lighting) and Kimmo Vennonen (sound) excel in creating.

This may seem bleak, but ultimately this is a narrative of hope, as David spends time in an addiction clinic in Thailand and finds the means to pull his life back together.

This was an incredibly powerful work that was a privilege to see.

Cathy Bannister

Sherlock Holmes And The Death On Thor Bridge

By Arthur Conan Doyle, adapted by Sandra Bass. Genesian Theatre Company. From Feb 29.

SHERLOCK Holmes mysteries have now overtaken Agatha Christie whodunnits in popularity for the Genesian Theatre, which has thrived as Sydney’s home of good oldfashioned drama. So keen were the Genesians to ride the sleuth’s wave of popularity, that the company has programmed a world premiere adaptation by member Sandra Bass.

The first challenge was how to squeeze a bridge onto its small stage. Set designer Tom Bannerman rose to the challenge - building a compact but authentic looking bridge, which is the scene of the crime. It neatly rotates for the second act, when the mystery deepens.

Originally written by Conan Doyle as The Problem of Thor Bridge, the crime appears to be an open and shut case. Maria Gibson is found lying in a pool of blood on Thor Bridge with a bullet through her head and a note from the governess in her hand, agreeing to a meeting at that location. The governess, who was being pursued by the dead woman’s husband, is an obvious suspect.

Breaking The Castle However, when Roger Gibson (Dean Tuttle) bursts into Written and performed by Peter Cook. Directed by the home of Sherlock Holmes seeking help to find his Caroline Stacey. The Street Theatre, Street Two. Feb 28 wife’s killer, the sleuth is immediately suspicious. Played Mar 14. with panache by Patrick Magee, the leading man was in THE latest offering from The Street’s First Seen fine form, sparring with other actors and dropping program, Breaking the Castle is an extraordinary and dollops of wit and home truths. beautiful portrait of an actor’s life as he descends into At first there was a little awkwardness when Sherlock and then overcomes meth addiction. It begins with what Holmes abruptly a scolded a housekeeper, which made seems like a conceit: David Smith (played by first time me feel that some of the era’s attitudes to women would writer Peter Cook) as an actor, talking about how in jar. But thankfully this is a tale where a central female control and connected with the audience he is and more character takes control of her life. tenuously, how the audience themselves were reacting. As There are lots of fun characters in the play. Nick the opening monologue progresses, the character hasn’t Fitzsimmons as Dr John Watson helped milk some of the yet built a rapport and it feels a little like we are being best jokes when he had to re-enact the crime. Myles told how we should respond. But then, David begins Waddell was amusing as the slow-coach Detective Phillips. building this relationship with the audience and by the Joanne Coleman was authentic as the suspect Grace end it was absolutely true - the audience were right there Dunbar. In an era often dominated by male characters, with him, feeling his urgency, despair, desperation and this play has a further four other female roles who are relief. part of the narrative, although not the brains of the The production springboards off the script’s poetic investigation. descriptions, and overlays a perfectly-timed sound and The production was briskly directed by Carlin Hurdis, lighting design, which works in the small area of Street’s aided by the punchy filmic flashbacks in the script. Set Street 2 theatre space to immerse you in David’s psyche, around the same era in which the soon to be vacated making you feel almost as if you are literally inside David. Genesian Theatre was constructed, this is a good fit for The design moves between realistic, surreal and dramatic, the venue - which, sadly, is being converted into a hotel. producing an overwhelming, visceral experience, which is David Spicer something Street’s design team of Imogen Keen 70 Stage Whispers

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

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Artistic Director Kok Heng Leun discusses the project. Scan or visit https://youtu.be/ZoQ9nyuoabg Margaret Leng Tan in Dragon Ladies Don't Weep.

Photo: Pia Johnson.

Dragon Ladies Don’t Weep Chamber Made and Culture Link Singapore. Asia TOPA. Arts Centre Melbourne. Feb 28.

INTERNATIONAL Avant-garde musician Margaret Leng Tan is playfully dubbed ‘Queen of the toy piano’. Her new show Dragon Ladies Don’t Weep, co-produced by Chamber Made and Culture Link Singapore, is a masterful experimental collage of music, spoken word, performance and visuals for the triennial Asia TOPA. In a work featuring twelve short musical scores by Erik Griswold, director Tamara Saulwick and Tan have collaborated to devise a uniquely structured, visually stunning choreographic, sound-based performance.

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Numeracy and counting are central to Tan’s life; she bursts on to the stage in a sprightly self-absorbed manner and announces her age of ‘74 years old’. At six years old, she tells us her parents managed her obsessive compulsive counting with piano lessons. For her it was ‘delightful’ to count the beats in a piece of music while embracing its rhythmic tones.

Her performance revolves around the Steinway and her toy piano, as she flutters across the stage like a butterfly virtuoso.

Childhood memories in Singapore, youthful years at the Juilliard School of Music in New York, then meeting and later working with pioneering composer and theorist John Cage as part of his “Winter Music” ensemble, are intrinsically interwoven in this cross-cultural exploration of music and aesthetics.

It is truly sensational to watch a septuagenarian rotate her Steinway 74 times, between bouts at her toy piano, playing her cherished Cantonese nursery rhyme “The Moon is Bright”.

There is rear projection, with a neon lit rectangle beaming across the floor. Visuals are creatively constructed to reflect on Tan’s narrative and coincide with Griswold’s sound composition. Images of her father, her mother and her six-year-old self with a bow in her hair; video footage of her at home feeding her dogs; John Cage and Tan working together - are all images that reflect on Tan’s experiential musical autobiographical performance.

Flora Georgiou

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Ramin Karimloo in Phantom Of The Opera (2011).

Photo: Really Useful Group.

Reviews: Online The Phantom of the Opera Music: Andrew Lloyd Webber. Lyrics: Charles Hart.

Additional Lyrics: Richard Stilgoe. Book: Richard Stilgoe & Andrew Lloyd Webber. Director: Nick Morris. Stage Director: Laurence Connor. Choreographer: Gillian Lynne.

Conductor: Anthony Inglis. Royal Albert Hall, London, 1-2 Oct, 2011. Screened free on Apr 18 and 19 on The Shows Must Go On YouTube Channel.

OVER 11 million people around the world watched The Phantom of the Opera when it was available for screening for free on YouTube channel “The Shows Must Go On” for a limited 48-hour period. The channel had previously shown Lloyd Webber’s Jesus Christ Superstar and Joseph and the Amazing Technicolor Dreamcoat, which both pulled over 2 million viewers.

To mark the extraordinary milestone of 25 years running in London, Cameron Mackintosh and Andrew Lloyd Webber planned a special, and, inspired by the original staging of Harold Prince and Gillian Lynne, the musical was restaged at the Royal Albert Hall in October 2011.

It was a daunting task for designer Matt Kinley. Reconceiving a proscenium show for a concert hall was not without its problems, but the finished result was a tremendous success.

Viewing it nine years later takes me back to the first time I saw the show. It was in London at Her Majesty’s Theatre on the last preview performance - 15 October 1986. I was blown away by the theatricality and grandeur of the production and revelled in the score and the 72 Stage Whispers

voices. At last musical theatre was “singing” again with some stunning vocals.

Up the road at the Palace where Les Miz was playing was no different – thrilling voices. The next day I was in Tower Records in Piccadilly Circus and they were playing Cliff Richard and Sarah Brightman’s version of “All I Ask of You” and I couldn’t believe it was sitting at Number 3 on the charts. Suddenly musical theatre was popular again. To hear ‘real’ voices in the theatre again was a joy.

And did the London critics go overboard on the opening? Not exactly but all acknowledged it was Lloyd Webber’s best score, Maria Bjornson had done a magnificent job of the production design, and Harold Prince’s direction was some of his best in years. Who would have thought we were witnessing a show that would go on to become the longest running musical in Broadway history.

Ramin Karimloo and Sierra Boggess play the Phantom and Christine respectively and they’re perfect. Karimloo, no stranger to the role having played it on Broadway and in London, brings searing pathos to the role, whilst Boggess, also a London and Broadway alumni, is creamy and warm in her vocals and has an upper register to die for. He scores with a dynamic “The Music Of The Night”, she with a ravishing “Wishing You Were somehow Here Again”. Together they blend beautifully in their duet “Point of No Return”.

Hadley Fraser as (the wimpy) Raoul brings some classy vocal chops to the part, and of course gets to sing the show’s iconic duet with Boggess, “All I Ask Of You”. It’s musical theatre at its most romantic. Barry James (Firmin) and Gareth Snook (Andre) get maximum laughs out of the “Notes” sequence, Wendy Ferguson is a spitfire as Carlotta, whilst Liz Robertson’s Madame Giry appropriately has ice in her veins.

The six-part harmony of “Prima Donna” is a showstopper, “Masquerade” is a visually and excitingly costumed treat, and the finale, when Christine kisses the Phantom without his mask, is breathtakingly emotional.

The Grand Finale featured Lloyd Webber introducing the Royal Albert Hall creative team, the original leads from London and Broadway, and the original Christine and Phantom, Sarah Brightman and Michael Crawford.

Brightman then sang the title song with four Phantoms from around the world - Anthony Warlow, Colm Wilkinson, Peter Jobeck and John Owen-Jones, before Karimloo joined the other four Phantoms to sing “The Music of The Night”.

Anthony Inglis conducted an orchestra of over 200, which sounded simply magnificent, and kudos should go to the technical crew and cameramen who captured it all superbly.

Peter Pinne

Online extras!

Check out the YouTube channel every Friday for new full-length performances youtube.com/theshowsmustgoon

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Harriet Gordon-Anderson in Bell Shakespeare’s Hamlet.

Photo: Brett Boardman.

Reviews: Plays Hamlet

By William Shakespeare. Bell Shakespeare. Sydney Opera House. From Feb 29.

BELL Shakespeare betters a run of disappointing shows with this conventional, touchingly domesticated telling of Hamlet.

Screens of imposing snowclad forests surround the stage, interlaced in part with family videos of happier, nostalgic times for young Hamlet and his kin.

Snow too falls on the actors as they plough through shaggy white carpet and a house scaffolding with its furnished interior, Denmark circa 1960s. Anna Tregloan’s homely design - and ubiquitous drinks trolley - sometimes clutters the stage, robbing the play of grandeur, but in all this is fine storytelling from director Peter Evans.

Harriet Gordon-Anderson presents a clear, unadorned Hamlet, in no way mad or sensational but bitten by grief and anger. It’s a boyish, certainly male Hamlet but her sex nicely engenders those well-rendered words with a female wisdom and irony.

Lisa McCune is a compelling, smartly mini-skirted Gertrude, lusty with new love for the cardiganed Claudius, whose murderous underbelly is well etched by James Lugton. Sophie Wilde brings a perky naivete to Ophelia, dressed up cute for Carnaby Street, while Robert Menzies is a comic Polonius, her ponderous, caring Dad. The play is much edited but Hamlet’s old friends, the now deceitful Rosencrantz and Guildenstern (Jeremi Campese and Jane Mahady) are more central.

Online extras!

Director Pete Evans discusses staging Hamlet. Scan the QR code or visit https://youtu.be/6c4BBoL128I Max Lyandvert’s long chords and Benjamin Cisterne’s lighting helps mesh the scenes. Tregloan’s 1960’s costuming is vivid, effective and another nod to nostalgia.

Not all the cast matches Gordon-Anderson’s vocal clarity - which remains an ongoing challenge (and irony) for this company devoted to Shakespeare - but this Hamlet is well worth catching.

Martin Portus Emerald City

By David Williamson. Directed by Sam Strong. MTC Southbank Theatre, The Sumner, Southbank. From Mar 6.

DAVID Williamson’s plays often provide a microscopic view of some of the more staunch Anglo-Celtic aspects of Australian culture. The incisive manner in which he dissects some of the questionable aspects of stereotypical Australian characteristics shows a discomfort with the way they expose parochial attitudes and behaviours. Emerald City examines the film and publishing industries but echoes many of Williamson’s own personal experiences of being a writer who is caught up in the cultural rivalry between Sydney and Melbourne.

The play has been revived to celebrate Williamson’s 50th anniversary as a playwright. The staging of this production employs an exquisite and simple set design and subtly conjures up the glamour and glitz of Sydney, where all the action takes place. The clean crisp lines, minimalist set and the expanse of space is combined with a clever use of large windows, which often act as a vast mirror, and all this perfectly captures the opulence of

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Sydney society. The reflections of the characters and the audience onto the panes of glass create a wonderful disorienting and mesmerising effect, echoing the abundant charm Sydney has to offer. While shortcomings of both cities are frequently at the centre of the dialogue, Sydney is represented as the more desirable and iconic Australian location. It is hard to imagine much of the wheeling and dealing that Williamson so accurately portrays occurring in a less glitzy Melbourne.

The star-studded cast delivers some strong individual performances and the sardonic humour is especially evident in the protagonists. Colin (Jason Karwein) is made endearing with a somewhat naïve quality that somehow excuses some of his more ill-considered choices. Kate (Nadine Garner) is portrayed as a typical professional working mother whose success is always at odds with that of her husband, eliciting some very sensitive issues related to gender imbalances. Mike (Rhys Muldoon) is made especially despicable by accentuating his blatant chauvinism and ruthless ambition. His version of Australian bravado and larrikin antics evokes a rather repulsive persona. These characterisations are well envisaged and the performances are finely tuned.

Yet this production lacks real impetus and the rhythm of the show seems quite static. The characters never seem to be building up to a climax which renders the end of the play as somewhat inconsequential. The revival of this play requires more urgency in its revisiting of this particular historical moment and the state of the two

industries and cities at the centre of the story. Many of Williamson’s criticisms still ring very true but this production may need to consider how to make this more relevant to a contemporary audience.

Patricia Di Risio Falling From Grace Written by Hannie Rayson. Directed by Elizabeth Morris.

Presented by Villanova Players. Ron Hurley Theatre. Feb 28 - Mar 8.

THE complexities of women’s friendships are laid bare in this play. Relationships are tested, secrets revealed, and scruples challenged as three women - Maggie, Suzannah and Janet - navigate the trials of working with your best friends in the pressurised environment of a magazine.

The acting is sound from all cast members, who appear well-rehearsed and committed. Allison Clark (Maggie) has good comic timing and is sensitive in her interpretation of the serious moments. Gregg Goriss is completely natural and believable, with excellent delivery of his lines. Michelle Malawkin beautifully captures the difficult character of the focussed and driven Dr Miriam Roth.

Elizabeth Morris has nurtured a strong team ethos in this cast. You can see them working to lift one another up throughout the show. Everyone gives it their all and appears to delight in their chance to bring this story to life. Lucy Moxon’s set design is functional and adaptable.

Emerald City.

Photo: Jeff Busby.

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apparition entrances, had fun moving props around, and managed to be a flighty, but sprightly, minx. Tracey Spence as the no-nonsense second wife ripped through Coward’s dialogue with relish, whilst David Austin (Dr Bradman) and Linda Shapcott (Mrs Bradman) were an amiable and bemused pair of guests at the séance.

The role of the play, of course, has always been Madame Arcati, the eccentric, push-bike riding medium.

Nataliya Thacker’s new-age version of it had a midEuropean accent somewhere between Hungarian and Germanic, an op-shop dress sense, and an eccentric performance that drew attention. An audience favourite, she never missed a laugh.

Finally, Georgie Page was delightfully bewildered as the maid Edith, whose phsycic abilities revealed at the finale, are the crux of the play. Despite it being creaky at times, Coward’s wit carried the day.

Peter Pinne The Hitmen

By Mish Wittrup. Theatre Works and Baker’s Dozen Theatre. TheatreWorks, St Kilda. Mar 4 - 14.

THE Hitmen is riddled with surprises, shocks and some fun local and popular culture references. It is a great, lively, clever, imaginative play by Mish Wittrup, that keeps everyone on their toes.

A handful of people come to a job interview for the position of Hitman for K O C (Australia’s largest agency of contract killers and assassins). The stakes are very high as Falling From Grace.

Photo: Christopher Sharman. there is only one position and all rejects will be eliminated.

Cass Bainbridge is Gwen, the CEO of the company she It makes for swift scene changes that support a wellinherited from her father. She loves her job and company. paced performance.

This is evident in her lively bright demeanor and the This is a production with great roles for the leading enthusiasm with which she approaches the potential women to sink their teeth into, as Rayson provides employees. She is ridiculously and hysterically joyful - so complex, multi-dimensional characters in the script. It’s a funny. wonderful chance for the audience to question their own Gwen’s ‘back is being watched’ by the silently brusque sense of what’s right, with no one character being and faithful minder John, who is played skilfully by Tim perfectly flawless or completely evil. While written in Lancaster.

1994, the subject matter and themes all feel very current.

Couple - John (Eidann Glover) and John (Harry Although much of the subject matter is no joke, the Borland) really excel in portraying a believable pair of script is packed with humour, making this a light-hearted ‘bogan’ crooks. This couple is pepped up on pills, lust and yet thought-provoking experience for adult audiences. spiralling games of jealousy. They are driven by nasty Kiesten McCauley niggling issues of power and control that ultimately get the better of them.

Blithe Spirit Michael Argus plays John, a former employee. He is

By Noël Coward. Ipswich Little Theatre. Director: Kate something of a physical reconstruction. Like a cowboy Mallory. Incinerator Theatre, Ipswich. Feb 27 - Mar 14. continually about to draw his guns, he struts around the CHARLES, a cynical writer, accidentally summons the office. ghost of his first wife Elvira to a séance. She tries to kills Then there is enthusiastic job hopeful John ‘the him but instead kills his current wife, Ruth, which leaves gamer’, played by Raymond Martin. He is the butt of him with two ghosts to nag him. quite a number fabulous of laughs.

Director Kate Mallory wisely kept the play in period, co The pretty young mum John (Sophia Petridis) pulls on -designed an atmospheric set with Ian Pullar, and used the heartstrings of John the Arts Grad (Will McDonnald) forties swing music to give it ambience. as the rest of the action is put on hold and the music is Charles Condamine was in good hands with Josh sentimental.

Dixon, who looked suave, landed the quips with accuracy, Writer Wittrup pulls a number of most surprising and and adroitly handled the jealousies and petty deceits of entertaining stunts, causing the audience to jump and his ghostly spouses. Liz Ball’s Elvira made the most of her gasp.

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and white theming of the set is continued into the costuming, co-ordinated by Christine Gribble - with splashes of red including a fabulous pant-suit worn by the only female character. Effective lighting by Mark Ramsey and a supportive sound design by Gabriel Ferrari.

Frequently breaking the 4th wall, occasionally breaking character and being obviously and purposefully theatrical, this is stylistically very different, but the seemingly conservative matinee audience took this show in their stride and appeared to enjoy the change of pace.

Central character 'The Maniac’ is played by Peter Neaves in a bravura performance - and one he nails. This role allows us to see the duplicity and inconsistencies of most of the other characters, as posing as a magistrate (then other characters) he takes it upon himself to investigate the death of an anarchist that police claim was “accidental”.

Great work from the team of police, all of whom nearly matched Neaves’ manic energy and had great pace.

Owen Phillips as Inspector Bartuzzo opened the show well, Lliam Gregory made a very impressive return to the stage after a long absence, David Gribble was strong as The Superintendent, while Dan Finn had great timing as The Constable.

Virginia Moore-Price stood out in many positive ways, as the only female character - The Journalist Maria Feletti.

There was a lovely “actor aside” about being the lone woman, which received applause - especially notable on International Women’s Day. The efforts of a hard-working crew were noticeable, with some quick changes and prop provision - good work from Stage Manager Christine Gribble and her stage hand Sound by Zachary Camm is used fairly sparingly, Michael Watson. generally, to underscore and enhance atmosphere.

A show with a famously ambiguous ending that leaves Costumes (Louise Parsons) are character appropriate. The you thinking, Accidental Death of An Anarchist is a great set by Thomas Mitton is serviceable. Lighting by Harrie conversation starter and will be appreciated by discerning Hogan is strong, solid and appropriately atmospheric. theatre goer. A well directed, well performed and The Hitmen holds together well, however some rewarding show. characters are played more naturalistically than others and Kimberley Shaw perhaps it could do with some dramaturgical editing. As it currently stands, the direction by Blake Barnard is Firebringer sympathetic and supportive of the whole hysterical Music and Lyrics: Meredith Stepien & Mark Swiderski conceit.

Book: Nick Lang, Matt Lang & Brian Holden. Spotlight Outrageous and hugely entertaining.

Basement Theatre, Ashmore, Gold Coast. Director: Suzanne Sandow Mitchell Walsh. From Mar 13.

FIREBRINGER deals with climate change but from a Accidental Death Of An Anarchist very different point of view. To quote the director’s notes,

By Dario Fo. KADS Theatre. Directed by Andrew Watson.

“Firebringer tackles the current climate crisis with an KADS Town Square Theatre, Kalamunda WA. Mar 6 - 21. almost stupid, low-brow and idiotic humour” and as such ACCIDENTAL Death of An Anarchist is an unusual may not appeal to everyone. choice for KADS Theatre, perhaps best known for light Set around the dawn of civilisation, the story is comedies and farces. While this play is decidedly in the presented in a way that makes much use of a number of comic vein, though fifty years old this year, Accidental swear words (which were the creation of a more recent Death of An Anarchist remains a strong choice - a political age). commentary that is a little outside the box.

This is an ensemble piece with a cast of 10 plus the We are alerted to the fact that this is going to be a occasional assistance of stage crew working the puppets. little different from the outset, with a dynamic angular set The set is basic and the ‘out of this world’ orchestra; design by Peter Neaves (who also has the starring role) under the direction of Rachel Love (actually in a nearby that shows that things are a little out of kilter. The black The Hitmen.

Photo: Justine McArthur.

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Firebringer.

dressing room), are used to enhance the native atmosphere.

Director Mitch Walsh has chosen an unusual piece as his first venture into directing and does a great job in the use of his talented cast. Assistant director and choreographer Brooke Edwards, another “newbie”, recreated the ‘pre-historic’ antics of the cast to great effect.

So, if you like pantomime for big kids, you’ll love this!

Roger McKenzie

are cast in the drama. Dobson’s interplay with his amiably good humoured sister, Liz, (played by Fiona Lohrbaecher) is warm and charming.

The material given to the characters of Daisy and Onslow is limiting, a single note refrain, but Leah Venatacchi and Mark Morgan make the most of it.

Venatachhi’s mobile face is a delight. Morgan’s initial appearance on stage was received with a very positive audience reaction. He is a very fortuitous casting choice.

Brent Bastian takes on a new character in the action.

“Milly” (Mr Milson) is a newcomer to the village. His initial Keeping Up Appearances reserve is assailed by Rose (played by Janet Smith). Smith

By Roy Clarke. Hobart Repertory Theatre Company. is often found behind the scenes but reveals a great deal Shauna-Lee Ward (Director). The Playhouse, Hobart. From more of her talents as the histrionic Rose.

Into this solid ensemble comes Hyacinth Bucket. This Feb 28.

ROY Clarke wrote the original Keeping Up pivotal role is safely delivered by Pip Tyrell who, with Mark Appearances television series as well as the stage Morgan, managed the production. Tyrell looks and sounds the part. She is an excellent comedienne with adaptation. For this reason, Hobart Repertory’s significant experience. Any trepidation Tyrell may have felt production faithfully revisits all the characters and situations one has come to expect from the television in approaching the role should be now assuaged by an appreciative audience. show via an original script. The only difference is that there is no canned laugh track. The audience response is It is unfortunate that the action suffers the occasional hiatus which is seemingly related to costume changes. genuine and spontaneous.

One can only assume Mrs Bucket insisted on a personal All the action takes place within the confines of the town community hall. Emmet (Matt Dobson) is directing dresser and wig wrangler! Otherwise the simple set facilitates a well-paced show. an Agatha Christie style who-dunnit. All the key characters, apart from Richard, who is suitably invisible, Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 77

Keeping Up Appearances.

Online extras!

Mind how you pronounce “Bucket” in Keeping Up Appearances. Scan or visit https://youtu.be/9yZOqXNFgL0 Jon Lenthall provides vocal assistance for this production. The on-stage accents are clear and consistent.

Those who know the television show will not be disappointed with this faithful yet original production.

Anne Blythe-Cooper

making this truly immersive theatre, in a lovely theatre space.

The Athenians are costumed in what might be described as an early Renaissance style - beautifully frocked and dressed by wardrobe co-ordinator Penny Ramsell. William Everett-Knight brings a lovely authority A Midsummer Night’s Dream to the role of Theseus, Duke of Athens, working very well

By William Shakespeare. Roleystone Theatre. Directed by with Nicquelle Rhodes as Hippolyta, Queen of the Paul Treasure. The Amphitheatre, Araluen Botanic Park, Amazons. The sun was highlighting their blonde locks Roleystone, WA. Feb 22 - Mar 8. perfectly, giving them a touch of royal magic. Sarah Boyle brought a new interpretation to Egeus, now mother to ROLEYSTONE Theatre has presented Shakespeare in the Park for the first time, playing over 4 “late afternoons” Hermia - a portrayal that worked well. Great work from in February and March. Joining a crowd of over 200 the young lovers. Bree Hartley leads the group as a headstrong and determined Hermia, nicely matched with patrons at the penultimate performance, I found a great picnic atmosphere, and a great sense of occasion as a sweetly loving Zac Skelton as Lysander. Max Gipson patrons prepared to watch one of Shakespeare’s most brings depth to a lovelorn Demetrius, with Becky Hunt popular plays. The anticipation was rewarded with a high completing the quartet as Helena. energy, exuberant production that was well directed and The fairy folk look more modern and are also a strong and diverse group. Oberon is likeable despite his mischief, performed.

With the Pool of Remembrance as a gorgeous as played with strength by Sam Barnett, but he meets his backdrop, A Midsummer Night’s Dream needs no sets or match in Jess Lally’s Titania, a 2020 fairy with agency and attitude. Titania’s entourage have personality and furnishings. Lighting is provided by the sun, and sound design is what nature provides - most notably the vibrancy, with great teamwork from Elise Kelly (Peaseswooshing of landing ducks - twice perfectly timed at this Blossom), Monique Nelson (Cobweb), Caitlyn Boyle (Moth) and Lily-Anne Burns (Mustard Seed). Andre Victor performance. The actors move through the audience sometimes playing scenes within the “audience space” is perhaps one of the least fairy-like actors in Perth, both 78 Stage Whispers

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in appearance and demeanour, but his casting and performance of Puck is a delight. Surprisingly light on his feet, this funny and cheeky interpretation is embraced by the audience, and deservedly so. The fairies featured makeup design by Yvette Drager-Wetherilt.

The Mechanicals are excellent - playing mostly to the groundlings - while creating some really interesting new interpretations. Patrick Downes is a strong and funny Bottom, with great timing. The Mechanicals are led by Sherryl Spencer as Quince, whose final scene’s “director’s breakdown” is brilliant. Seren Moulds plays Flute with humour, clearly relishing the drag performance as Thisbe, Michelle Juschke’s natural accent brings a lovely difference to Starveling, Mark McLeod’s schoolboy humour as Snout is great, while Callum Morrison makes a strong community theatre debut as a loveable Snug (Well roared Lion!). The role of Snug was shared with Connie Wetherilt.

Kudos to Roleystone Theatre for an exciting venture.

Kimberley Shaw As You Like It

By William Shakespeare. Melbourne Shakespeare Company. Directed by Jennifer Sarah Dean. Central Park, Malvern. Mar 7 - 15.

THIS wonderful performance brings the magical aspects of the play to life in a vibrant and animated manner. This company is renowned for exploiting the challenges of outdoor performances and turning them to their advantage. The performance space is well-defined, but the company does not hesitate to take advantage of the expanse of the park to allow small details to be included in the performance. Watching characters in the distance as they approach the stage area adds to the overall attention to detail exhibited in this production.

The set and costume design give both locations a magical realism which blends in perfectly with the park greenery. The court of Dame Frederick (Amanda McKay) and the Forest of Melbourne each have a distinct and cohesive look that defines these contrasting environments. This provides a perfect frame for the delightful and energetic performances. Rosalind (Annabelle Tudor) and Celia (Joanna Halliday) are engaging and captivating in their roles. Orlando (Jackson Head) is portrayed as innocent and charming and while Oliver (Daniel R Nixon) is given a sinister streak. The entire cast provide strong performances in all their roles and this consistency is one of the many strong points of the production. The presence of the iconic actor Don Bridges (Corin), as well as regular actors and newcomers reflects the fantastic range and depth of talent in the show. The inclusion of the excellent singing and dancing adds to the vibrancy of the performance, and the choice of songs, such as “Come On Eileen” by Dexy's Midnight Runners, highlights the inventiveness and playfulness that characterises the production.

The clever and thoughtful staging of scenes is often ingenious and brings the text and the action to life beautifully. Orlando’s wrestling contest with Silvius (Henry

O’Brien) is made exciting and extremely humorous, which sets the tone for all the action in the play. Each line is savoured and delivered with passion and emotional depth. This produces great clarity to the complex web of romancing that occurs in the forest and the manner in which the various couples are love stricken and come together. The show provides a great opportunity to enjoy Shakespeare’s play in a fun, family friendly atmosphere that is enticing and enthralling.

Patricia Di Risio The Opposite Sex

By David Tristram. Mousetrap Theatre, Redcliffe, QLD. Directed Craig Longoria. Feb 28 - Mar 15.

THIS farce about marriage and contemporary relationships with a bittersweet twist is set in 1980s London, with its focus on a secret shared by the two couples. The mayhem that ensues when the secret is revealed makes for hilarious and farcical interchanges between the characters. It was also great entertainment for the audience.

The lively pace set from the outset by director Craig Longoria was maintained fully. For a farce to succeed, the set has to have numerous doorways - of stable construction - and a cast that is spot on with script and repartee. This was achieved for the most part. The director chose his cast of four well.

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The Opposite Sex.

Stage Whispers 79

The first couple - and I use the term lightly - are Mark and Vicky. John Da Cruz was very good as Mark, matched

by Caitilin Jones as Vicky. The sparring between the two set the tone from the start. What a relationship! Of course things only get worse when the other couple come to the house. They are Judith, played by Melanie Pryde, and Eric, as acted by Claran Kowald. Their relationship is equally tumultuous but in a somewhat different manner.

Then the secrets are revealed. Wow! The cast as a whole was very good with their interaction and delivery but I did feel that Claran Kowald could, at times, add a bit more subtlety and variation to his role as Eric.

This production was at the high standard one expects from Mousetrap Theatre and it gave the audience an entertaining and enjoyable night.

William Davies

while it receives lots of belly laughs, we still feel the beauty of the language and the writing.

The title roles - friends Mistress Ford and Mistress Page - who receive identical love entreaties from Falstaff and determine to have fun in revenge, are played with lovely camaraderie and teamwork by Anna Head and Meredith Hunter. Highlights include some wonderful coarse acting as they endeavour to entrap and embarrass their wouldbe lover. Falstaff is superbly played by Grant Malcolm, in a beautifully crafted, very likeable, extremely funny portrayal - where we (sort of) forgive his intended lechery, while delighting in his downfall.

The husbands of the merry wives are nicely played by Andrew Nowrojee, as Master Ford, who takes to disguise to investigate his wife’s fidelity, adding to the fun, and a firm and determined performance from Jeffrey Watkins as Master Page.

The love interest in this show is the Page daughter The Merry Wives Of Windsor

By William Shakespeare. GRADS. Directed by Thomas Anne, who is being courted by three suitors. Rochelle Dimmick. The New Fortune Theatre, University of Western Emanuel-Smith is an attractive, centred and sensible Anne Australia, Nedlands, WA. Mar 5 - 14.

Page, nicely pursued by Jason Dohle, a gorgeously PERTH'S Shakespeare fans have been very spoilt in the awkward Slender, Nigel Goodwin as the confident French doctor, and Cameron Leese as the overtly sexy, barely last couple of years, with numerous productions, both community and professional - with this being one of two dressed Fenton. outdoor Shakespeare productions this week. The Merry Julie Holmshaw is very well received by the audience, Wives of Windsor, though, is a particular treat, as I don’t bringing depth and a natural charm to Mistress Quickly, with very solid support from Briana Dunn as a female Sir remember this playing within the last twenty years, and GRADS - Graduate Dramatic Society’s production is a fun, Hugh Evans, Barry Park as Shallow and Sarah Thillagaratnam as the Host of the Garter. The remaining frolicsome, and well presented.

Playing in UWA’s The New Fortune Theatre, which has soldiers and servants are played with distinction by Robert the exact measurements of the original New Fortune, the Jackson, Kaitlin Okely, Tarryn McGrath, Shivas Lindsay and Lindsay Crane. audience feels close to the action - and with the cast moving through the crowd, and direct address to the The set, by Dean McAskil, is simple but appropriate, audience, we are drawn into this highly comedic romp of and the show features effective lighting on the temporary rig by Mark Tearle, with costumes by Merri Ford. a tale.

Said to have been written because Queen Elizabeth A rare opportunity to see this less frequently performed show, this Shakespearean sit-com is simply desired another play about Falstaff, The Merry Wives of Windsor has a little of the “fun at the expense of impact” good, easy to watch entertainment. that we now see in movie sequels (which is perhaps why Kimberley Shaw it is less frequently performed). But this is directed so that

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Elegies - A Song Cycle.

Reviews: Musicals Elegies - A Song Cycle Music & Lyrics: William Finn. Director: Jason Langley.

Musical Director: Heidi Loveland. Choreographer: Joseph Simons. Griffith University Musical Theatre Students.

Burke Street Studio, Woolloongabba, QLD. Mar 10 - 14.

WILLIAM Finn’s Elegies has love, loss and a smattering of humor in its life-loving song cycle of family (particularly Jewish New Yorkers), friends and acquaintances. Using 9/11 as his jumping off point and also reflecting on the AIDS crisis, the songs chronicle the lives of those Finn has loved and those who have died in tunes that are melodic, catchy, and tellingly simple. Normally staged with a cast of five, this production uses twenty-three on basically a bare stage except for four meccano-like towers on which the cast pin photos of the characters they sing about.

Jason Langley’s direction was imaginative and fluid and with the occasional use of chairs as props, and some arresting lighting by Tom Dodds, the show was an elegant 90 minutes of contemporary musical theatre.

During the rehearsal process the cast and director shared stories, and these - coupled with some research and personal interviews - formed the basis of a text to sit alongside the existing score. I’ve never seen the show before so can’t say how this material interacted with the original, but what I can say is what was on offer was extremely effective.

First to impress was Danielle Remulta with a poignant piece about a shop across the street that was there one day and gone the next (“Mr Choi and Madame G”). Paris Valentino followed with a song about an unmarried and childless teacher reflecting that if “Only One” student is

inspired by her teaching then that is enough, whilst quirky comedy came with Hannah Gardiner’s “My Dogs”, a litany of her experiences with dogs who died.

Thomas Currie and the guys gave heart to “Mark’s AllMale Thanksgiving”, a tender piece about AIDS loss, Liam J Kirkpatrick’s “Saying My Goodbyes” and Kaitlin Nihill’s “Boom Boom” were chilling reminders of 9/11, when someone makes a final phone call before the towers come crashing down, with light relief coming in the breezy ode to “Joe Papp” sung by Jake Tolich and the guys.

A Jewish family celebrating “Passover” was a chance for the whole company to sing about matzo balls and such, whilst Nina Lippmann as Finn’s mother Barbara recounted her family growing up in “14 Dwight Ave, Natick, Massachusetts”, which had genuine pathos.

Best song in the piece was Jade Delmiguez’s “Infinite Joy”, a gorgeous optimistic anthem.

As usual, the choral arrangements and harmony singing of the group were faultless, with Heidi Loveland’s piano accompaniment a lesson in dynamic light and shade.

Peter Pinne Singin’ In The Rain Music and lyrics by Nacio Herb Brown and Arthur Freed.

Screenplay: Betty Comden & Adolph Green. Rockdale Musical Society. Rockdale Town Hall. Mar 6 - 14.

WHILE you shouldn’t anticipate the cinematic bells and whistles of MGM’s 1952 classic film musical Singin’ In The Rain, Rockdale Musical Society’s production of the stage

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Singin’ In The Rain.

Photo: Grant Leslie.

version has technical bells and whistles all its own, along with plentiful lashings of charm.

The stage show sticks incredibly close to the rom-com script of the movie, set against a background of Hollywood transitioning from silent flicks to talkies and early musicals.

The filmed sequences, featuring the cast, capture the essence of 1920s film-making marvellously. They are hysterical, as are the live movie-making sequences, where Veronica Clavijo’s Lina Lamont challenges the film’s Jean Hagen for the sheer controlled cringe-worthiness of her portrayal. The film sequences blend seamlessly with the striking LED scenic designs throughout, which display a very high level of Community Theatre achievement.

As matinee idol Don Lockwood, Christopher Brennan is charming and likeable, with a pleasing baritone voice. His portrayal capably combines the ham-acting of his screen persona with a warmth and sincerity in off-screen scenes.

Michael Osborne brings terrific comic timing to the role of Don’s sidekick, Cosmo Brown, and both of them hoof their way effectively through a number of routines.

It’s Bronte Tonks, though, as Cathy Seldon, who adds the genuine triple threat to the trio. As the aspiring actress who captures Don Lockwood’s heart, she also engages the audience’s affection at first sight. Her characterisation is appealing and sassy, her voice pure and warm, and her dancing impressive.

I’ve mentioned Veronica Clavijo’s Lina, but let’s get more specific there. Her cheese-grating voice, which Cathy will have to dub for the talkies, is wonderfully 82 Stage Whispers

excruciating, her timing in the classic microphone shots is perfect, and her bitchiness leaves scorched earth.

These four leads get good support from secondary characters including Alan Rosengarten as the studio producer and Paul Adderley as the director, though the standout support, for mine, comes from Sonya Eliopulos in her cameo as the quirky, bemused vocal teacher.

The joyous, shared enthusiasm of the ensemble and featured dancers is palpable throughout, and they help build the atmosphere and focus in their various scenes.

Choreographer Chris Bamford caters effectively to their diverse dance skills, so the only quibble I have is that sometimes their groupings and placement beyond dance routines don’t quite work.

Thomas McCorquodale’s large orchestra sweeps you away with its lavish accompaniment.

Making her musical theatre directing debut, Kathy Petrakis has capably pulled together the complex challenges she has set herself with this production. On top of directing the cast, the technical aspects of the show appear to have been vast.

The restrictions of the heritage venue, however, meant that the iconic title song and dance had to be performed with a lighting and LED illusion of rain, rather than actual water. The representation was very effective in its own right, without making a real splash. Other indelible film moments, like Cosmo’s “Make ’Em Laugh” and Gene Kelly and Cyd Charisse’s steamy dance in “Broadway Melody”, are impossible to reproduce on a Sydney suburban stage,

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so do like I did, and endeavour to park your preconceptions at the door.

For those who apparently didn’t grow up on MGM musicals courtesy of Bill Collins’ Golden Age of Hollywood, this effervescent live telling of the classic story was very clearly a genuine crowd-pleaser.

Neil Litchfield Pirates Of Penzance

By Gilbert and Sullivan (adapted by Trevor Patient and Chris Cox). Platinum Entertainment. Directed by Katrina Patient and Trevor Patient. Musical Direction by Chris Cox. Quarry Amphitheatre, City Beach WA. Mar 12 - 22.

PLATINUM Entertainment’s production of Pirates of Penzance is one of their best shows to date, but has been plagued by some terrible timing - opening at the emergence of concerns about Coronavirus, and also coinciding with some inclement weather - such a shame as this vibrant and fun production is a great antidote to the current gloom.

It is clear from the outset that this will be a big pop version of Pirates, with a fabulous industrial, stadium-feel pirate ship catching the audience’s attention as you enter the amphitheatre. Add the large number of people on stage - 67 cast members and a four-piece rock band - this show has a large event feel (if not the crowds it deserves).

Ryan Dawson leads the cast as a funny, likeable, larrikenesque Pirate King. He works well alongside Leesa Steele, who is a larger-than-lfe and loveable Ruth, and Ash Scofield, who makes a great entrance and continues to have great fun as Samuel.

Leading man Frederic is played by Nicholas Cruse, who has rather co-incidentally recently returned from several years living and performing on ships. With rock star good looks and superb vocals, he is a worthy young hero, but also shows some awesome acrobatic skills and some comic chops. He is nicely paired with Charlotte Louise, who blends 1879 sweet voiced ingenue with independent, modern ideas as Mabel.

Good camaraderie from the contemporarily dressed pirate crew, who have a great sense of fun, and bring great energy.

The twenty daughters of the Modern Major General look like they might be contestants on Love Island or have stepped away from the pool on The Bachelor (great colour palette and modern costuming by Katrina Patient), but their instagrammable vibe is matched by wonderful voices, with some excellent dancers showing off the best of Una Genuino’s fun choreography. The sisters are led by Hayleigh French-Bluhm (Edith), Vanessa Hince (Kate) and Tori Brown (Isobel). Their father is played with a lovely nod and a wink by Jamie Mercanti - whose “I am the Very Model of a Modern Major General” takes on a rap feel.

A very unique interpretation of the chorus of police, who are led by Andrew Milner as the Sergeant, with his lovely bass tones. These police are a SWAT team, armed with Nerf Guns (and a light sabre). Fabulously unlikely policemen, the casting of men’s singing ensemble Vocal Evolution (directed by Ash Scholfield) in these roles is a great choice, and their acapella presentation of “When a Felon’s Not Engaged in His Employment” was a highlight.

Lots of little contemporary jokes - including a little stab at the COVID-19 virus - add to the fun, in a production where there have been some liberties taken with the feel of the music - most of which work very well. The updates serve as a reminder of the cleverness and timelessness of the original work.

Kimberley Shaw Mamma Mia! Music by Benny Andersson and Björn Ulvaeus, originally written for ABBA. Book by Catharine Johnson. Gosford Musical Society. Laycock Street Community Theatre. From Mar 6.

MAMMA Mia! has been playing to sold out houses around the world since its debut in the West End in 1999.

It’s so popular that it spawned not only the 2008 film, but also a sequel, aptly named Mamma Mia! Here We Go

Pirates Of Penzance.

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Gosford Musical Society’s Mamma Mia!

Again in 2018. The long-awaited community theatre performance rights were finally released mid last year, and so began the tsunami of mirror balls, spandex and synthesised music across regional Australian theatres.

Gosford Musical Society was bound to be amongst the horde of companies applying for the rights, but GMS have a secret weapon up their sleeve that many regional companies do not - Rebecca Johnston and her fantastic production team. Her direction has taken Catherine Johnson’s somewhat janky script and polished it until it glimmers. The songs don’t feel crowbarred into the plot anymore, and at points I might even have thought they were written specifically for the musical, had I not been raised by same sex parents. ABBA forms part of the soundtrack of our people.

Sancia West as Donna commands the stage, but it’s Dana MacPhail and Samantha Powell as Tanya and Rosie respectively who bring the heart and comedy to the trio.

Felicity Jackson brings a naïve warmth to the role of Sophie, with Rayelle Payne and Maddi Zuereb as her best friends Ali and Lisa bringing the energy in spades to the younger trio. The male cast hold their own, with Stephen McDonald as Sam, Marc Calwell as Harry, David Rowe as Bill, and Damon Wilson as Sky all leaning into their roles with enough style and charisma to please, while ensuring the focus is on the story of female identity and independence. Special mention must be given to Darren George’s cameo as the priest, not a role destined to be a scene stealer, but here we are.

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The production design overall is almost flawless.

Johnston provides set design, and Jody Leslie’s costume design is perfectly ‘of its time’. Damien Rice delights with his lighting, as does Sandy Chapman and Dean Harrington’s sound design, though perhaps it could have a little louder in Act One so those chosen to star on stage are always heard over the 6 people who chose themselves to star in the row behind me. I suppose that’s the curse of ABBA - there’s destined to be an unprompted singalong every now and then.

Hayley Liddell and Jessica Mann’s choreography finds the right mix of music theatre, disco, and whatever dance style the 90s spawned, to complement, rather than outshine, Johnston’s vision.

But above all of this, this musical is a loud and proud tribute to one of the biggest pop groups in history. With musical director Nathan Barraclough at the helm (assisted

by Chris Hochkins) it’s no surprise that the hidden 7-piece band is comparable to the original artists themselves.

The show sold out weeks before it opened. Those lucky few with tickets, enjoy this theatrical feast. Those without, my condolences.

Joshua Maxwell Mamma Mia! Redcliffe Musical Theatre. Directed by Madeleine Johns.

Mar 13 - 22.

AUSTRALIANS can take much credit for the success of Abba, the group who originally made these songs hits.

Since its debut on the English stage in 1999, this musical

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has drawn mass audiences around the world and was the basis for the movie of the same name - and a sequel. Set at a small tourist stop on a Greek Island, it tells of the coming wedding of Sophie, who does not know her actual father and thus invites the three possibilities to give her away. It goes from there and is driven by the popular Abba music.

Director Madeleine Johns has assembled a strong cast, particularly with the four main female roles, while moving a very large ensemble cast of both singers and dancers with fluency and vim. The set was an open space that needed little adjustments for the changing scenes. It was great to see the boat with the fathers “float” across the stage to the pier. Well done.

The most demanding role was that of Donna, the mother of the bride to be, as she had to cover the full range of emotions. She did this well and matched that with her singing. Congratulations to Meg Kiddle for this performance. Georgia Burnett, as the bride-to-be Sophie, gave a very good performance as the centre of the events of the musical. They were ably assisted by Melanie Fuller as Tanya and June Tretheway as Rosie, who were Donna’s friends and old singing partners of years before. They added some necessary humour. Charlie Harrison, David O’Keefe and Matt Leigh played the three fathers quite

competently. Matt Leigh as Sky needed more strength of character. The large stage area was fully utilised to allow the dancers to move with such fluency.

Madeleine Johns has the habit of presenting challenging musicals with very large casts - over fifty this time - and has done so very well indeed.

William Davies Mamma Mia! Empire Theatres Production. Director: James Shaw.

Musical Director: Craig Renshaw. Choreographer: Tess Hill. Empire Theatre, Toowoomba, QLD. Mar 5 - 15.

THIS production of Mamma Mia! would have to be one of the best pro-am productions of the musical I have seen. A good-looking cast, snappy choreography and great sound were the plusses in a show that was tight and zippy thanks to director James Shaw.

Diana Holt gave a nice rounded performance as Donna, the mother of the bride. At times the role can come across as bitter, but Holt managed to play the angst and still be likeable, although with little (or no) regional accent, it was hard to believe she was a mum from an English council estate. Vocally she was spot-on, wringing pathos out of “Slipping Through My Fingers” and “The Winner Takes It All”.

Redcliffe Musical Theatre’s Mamma Mia! Photo: Abi Moss.

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Sophie Volp, as her daughter Sophie, mixed spunk and sweetness and sang prettily, whilst James Taylor’s Sky had a youthful naivety that pleased.

Empire Theatre stalwart Vicki Bravery was in her element in another fine performance as Tanya. Waspish and dry, she scored with the boys in “Does Your Mother Know”, while working with Gayle Dixon’s funny and rambunctious Rosie, brought the house down with “Chiquitita”. The three dads - Trent Sellars (Harry), Tristan James (Bill) and Michael Escober (Sam) - acted well and made the most of their centre-stage moments, especially Sellars’ “Our Last Summer”.

The band under Craig Renshaw had the theatre rocking and swaying with the finale walk-down and encores raising the applause meter to deafening levels.

Peter Pinne Into The Woods Music & Lyrics: Stephen Sondheim. Book: James Lapine.

Savoyards. The Star Theatre, Manly, QLD. Mar 7 - 14.

THE Savoyards community theatre group tackle Into The Woods, and its 28 musical numbers, in a year when we celebrate Stephen Sondheim’s 90th birthday. Proudly community-based since 1961, this group’s experience certainly shows in their deft handling of this challenging musical piece that intertwines the plots and characters of several tales by the Brothers Grimm and Charles Perrault.

While the fairytale characters makes it easy to impart the ‘be careful what you wish for’ moral with humour, it is demanding for performers to show the emotional connection of the bigger themes of longing, loss, disappointment and death that are part of going ‘into the woods’.

This cast manage both sides of the challenge.

It is difficult to single out any one performer in this consistently excellent ensemble production that really reflects community theatre at its best. Astin Hammermeister and Andrew Dark make a forceful couple, holding the loosely strung plot together in their quest to retrieve the elements deemed by the Witch, played to the hilt by Jacqui Cuny. Reinterpreting the cast of principals are Paige McKay (absolutely superb as the feisty Red Riding Hood), Tavis Bancroft (an endearing Jack of Beanstalk fame), Lara Boyle (Cinderella meets Sex and the City), and Julie Eisentrager (hilariously mixed-up Millennial Rapunzel). Elyse Rea, Georgina Purdie and Erika Tucker have fun as Cinderella’s Stepmother and Stepsisters; Conor Ensor and Tony Ahchay milk every moment as the rakish Princes; there is a splendid showcase scene for David McLaughlin as the Wolf; and Warryn James adds a touch of Broadway banter with his Narrator. This group is ably supported by a clearly confident ensemble cast.

My only regret is that the 16-piece band could not be accommodated on stage because they added great energy and quality to the production. Under the musical direction of Matthew Semple, they were the best live musical theatre orchestra I’ve heard in a community theatre production.

Beth Keehn Jekyll And Hyde

By Leslie Bricusse and Frank Wildhorn. Directed by Zoe Jay. Musical direction by Liam House. Don Russell Performing Arts Centre, WA. Mar 13 - 21.

LAUGHING Horse Productions’ Jekyll and Hyde opened on Friday 13th, which seemed a perfect date for the opening of this very dark musical. Unfortunately, it was the day that the Prime Minister announced the

Into The Woods.

Photo: Sharyn Hall.

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Jekyll And Hyde.

recommendation that large events be cancelled following the weekend - setting off a rash of cancelled shows, uncertainty and fear within the theatre community.

Simply set on two levels, as designed by Karen, Zoe and Russel Jay, director Zoe Jay's lighting design enhances the eerie atmosphere. The era is set with costumes by Alyscha Hasch - with one of the most difficult time periods to dress.

Liam House leads quite a large ensemble of 16, who tackle Frank Wildhorn’s score very well. Vocals are well coached by Jodie Mars, with quite a few performers really shining vocally.

The title roles are played by Alex White, with strong vocals and distinct characterisation. There is no costume differentiation between the two egos of Jekyll and Hyde it is all done physically and vocally, and done well.

The two leading ladies are very different and both played very well. Sweet Emma Carew, well-bred fiancé of Dr Jekyll, is portrayed by Isabella Bourgalt in a very sweetly sung, nicely layered performance. Brittany Isaia is strong and impresses as Lucy Harris, a young lady from the wrong side of the tracks, in a bold, beautiful performance.

Friends and colleagues of the good doctor, a good percentage of whom later fall victim to Hyde, are well done - with likeable performances from Cody Fullbrook, as friend Gabriel John Utterson, Neil Young as Emma’s father Sir Danvers Carew, and strong support from Luke Miller, Liam Tickner, Alan Gill, Jedd Crilly, Chris Alvaro and

Sharyn Fleming, creating distinct characters in little stage time.

Nice work also from Elizabeth Elliot as bar girl Nellie, bringing a welcome change of energy, Azza Gee as the evil Spider and Charlie Schirmer dignified as loyal manservant Poole.

An ensemble of 13 work well throughout, fleshing out scenes, broadening vocals and bringing the wider world into the story.

Well done to a production that deserves success.

Kimberley Shaw Falsettos Music and Lyrics by William Finn and book by Finn and James Lapine. Theatre and Company. Lennox Theatre Parramatta. Mar 5 - 14.

FALSETTOS is a fast-paced whirlwind of a musical that takes you on an emotional roller-coaster from start to finish. Boasting a score that includes some crazy and hilarious numbers along with ones that pull at your heart strings, the story takes you on the journey of three dysfunctional couples and one 12 year old, who is also on a journey towards his Bar Mitzvah.

The three couples are Marvin and his boyfriend Whizzer, Marvin's ex-wife Trina and her partner Mendel and a Lesbian couple, Charlotte and Cordelia. We get an insight into their lives, from the highs of new loves and a marriage to a gut wrenching death just before the final curtain.

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Falsettos.

The romantic dynamics between the characters could make or break this show. Theatre and Company's cast exceed expectations of an amateur show; each couple was so believable that you could forget that you were watching actors.

Simon Ward portrayed the lead character of Marvin perfectly, showing the character’s struggles of wanting a “Tight-Knit Family”, dealing with a young son, his ex-wife dating his Psychiatrist and keeping up with much younger lover. Ward was vocally strong and his final number “What Would I Do?” really pulled at your heart strings.

Aleksander Justin played Whizzer with passion and honesty. The way he tried to grapple with the love of his new older boyfriend was evident in all aspects of his performance.

Linda Hale's maturity as a performer was personified in her portrayal of the wife, Trina. The character was being pulled in three directions by son Jason, the ex-husband and her new lover Mendel. Her breakdown in the number “I'm Breaking Down” was a highlight of the show.

Levi Burrows and Oscar Langmar as Mendel and Jason both had some moving moments and each was very vocally and physically entertaining to watch. Chloe Angel and Ashleigh Campbell added an extra fiery element to the mix in the second act as Charlotte and Cordelia. Both harmonised beautifully with Ward and Justin in the number “Unlikely Lovers”.

The technical elements added to the thrilling look of the show. The simple set design and its clever use was exciting to see and the lighting enhanced the mood and thoughts of the characters brilliantly. The very small stage band, lead by Alex Ash, played the Finn's Score superbly 88 Stage Whispers

and sounded amazing. Director and choreographer Adam Haynes and Melissa Ayers have made great use of the Lennox Theatre. The blocking of scenes and the movement of set by cast throughout acting scenes was good idea. The energetic and at times complex choreography was performed confidently and looked fun to be a part of.

Falsettos shows how families, no matter how dysfunctional, can still work.

Theatre and Company keeps providing exceptionally high standards of theatrical experiences.

James Russell The Pirates Of Penzance In Concert

By Gilbert and Sullivan. Directed by Michael Nunn.

Presented by Lynch & Patterson. Princess Theatre, Brisbane. Feb 21 - 22.

WHILE a lot has changed since the Victorian era, this musical masterpiece still delights modern crowds with its lovable characters, wit and wordplay.

Popular singer Nathan Kneen was charming in the coveted role of the Pirate King. He was lovable and nuanced, and his singing was undeniably beautiful. In fact, everyone in this Lynch & Patterson production had a moment to shine, while their talents all appeared very much of the same, high standards.

The singing was pitch perfect, the dancing well executed, the acting style suitably farcical, the humour on point, the leads charismatic. Even the ensemble parts were wonderfully sung and acted, with everyone giving the show their all.

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One of the great joys of this production was having the conductor Lucas D. Lynch leading the on-stage orchestra. There were some very funny moments of interaction between Lynch and the show’s performers.

The orchestra was outstanding, and Lynch’s conducting was precise yet poetic and passionate.

Director Michael Nunn had rehearsed everyone to an extremely high standard. Blocking was well balanced, and he had the cast use the minimal sets to great effect.

Technical and creative sides worked in perfect symbiosis.

Costuming showed a great eye for detail and period appropriateness from Anita Sweeney. Kamara Henricks’ choreography supported the songs and era very well, while playing to the strengths of the performers.

This is definitely a production team worth keeping your eye on. They’re aiming for very high standards of performance and delivering wonderful treasures for audiences to enjoy.

Kiesten McCauley How To Succeed In Business Without Really Trying Music & Lyrics: Frank Loesser. Book: Abe Burrows, Jack Weinstock and Willie Gilbert. March Productions. The Goodwood Institute, Goodwood. Mar 5 - 8.

I LOVE youth theatre shows! They are full of honesty, integrity and energy. March Productions’ staging of How to Succeed in Business Without Really Trying is a perfect example!

This classic 60s musical has remained a staple of amateur theatre companies.

That being said, it is an extremely tricky musical to stage due to the number of men required to give the full ensemble the sound needed, as well as the difficulty of many scenes, some lasting less than a minute.

March productions have risen to the challenge.

As usually happens in youth productions, there are two alternating casts, the Groundhog cast and the Chipmunk cast. I saw the latter cast.

Director Michelle Davy works with her large cast to develop well rounded characters, designs a clever functional set that enables swift changes and blocks her cast to ensure that every performer has their chance to shine.

Musical Director Mark DeLaine produces remarkable vocal performances from a cast of such tender years. The solo voices are strong and the harmonies true. His 10piece band sounds marvellous in the vocal numbers. In the overture and entr’acte, the orchestration seems a little thin - probably due to having to use the alternate orchestration.

Choreographer Brady Lloyd has a real knowledge of the style of choreography that excites young performers and therefore showcases them to their full potential. His choreography is quirky, stirring and totally engaging for both the cast and the audience.

The costumes, co-ordinated by Sue Winston, take us back to the 60s (for those of us who remember). I am not a fan of the fiesta tights worn by some of the girls though, which would not have featured in this period.

As J. Pierpont Finch, Deon Martino-Williams is a powerhouse. He is a triple threat - a strong true voice, a

The Pirates Of Penzance In Concert.

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confident actor (particularly his knowing smiles to the audience) and an extremely competent dancer. He needs to ‘drive’ the show and he does so with ease. He handles the difficult "I Believe in You" extremely well.

Rosemary is often a thankless one-dimensional role, but Georgie Raft makes it her own and we as an audience sympathise with her constant battle to win her man.

"Happy to Keep His Dinner Warm" is a highlight.

Jeremy Thomas’ Bud Frump ‘steals everything that’s not nailed down’. He seems to have a body and face made of rubber and the athleticism to go with it. He is one of the highlights from "Coffee Break", a brilliant number from the ensemble.

Sophie Morris’ Hedy LaRue is the caricature of every dumb blonde ever seen in Hollywood films. She plants every laugh and achieves maximum results. Her number "Been a Long Day" with Smitty and Finch is a delight.

The other characters - Imogen Brown (Smitty), Tristen Farrow (J.B. Biggley), Michael Shizas (Mr Bratt), Ella Spiniello (Miss Jones), Harry Ince (Mr Twimble), Jacinda Tsakalos (Miss Krumholtz) and Laura Lines (the voice of the book) all add their unique characterisations to complete the story.

There is no musical without an ensemble and March Productions are fortunate to have so many enthusiastic performers. Highlight numbers include "How to Succeed", "A Secretary is Not a Toy", "Paris Original" and the rousing "Brotherhood of Man".

There were a few minor set problems on the first night, but this also happens in adult shows and I am confident these will be corrected during the season.

March Productions should be justifiably proud. Their How to Succeed in Business Without Really Trying captures the true spirit of the show and gives young talent a chance to shine!

Barry Hill Song Contest: The Almost Eurovision Experience

By Glynn Nicholas and Bev Killick. Primadonna Productions. The Fish Trap Theatre, Mandurah Performing Arts Centre, WA. Mar 6 - 8.

PRIMADONNA Productions’ Song Contest. The Almost Eurovision Experience starts in the foyer, with lovely ‘European’ people welcoming the audience to Minsk in Belarus, presenting them with “clackers” (“Is gift from Belarus government to you”, assigning you to a country and lending you a flag to wave. The atmosphere is joyous - which continues into the production.

A sequel (of sorts) to Eurobeat, presented by director Carole Dhu some years ago, we are once again taken to the Eurovision Song Contest, with an over the top hostess, lots of Eurovision cliches, desperate to win contestants and lots of audience involvement. The audience really vote, now using an app on your phone, to determine a different winner at every performance.

The Belarusian Minister for Tourism and Poultry, a lovely cameo by the director, welcomes us to the show

Song Contest: The Almost Eurovision Experience.

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Sir Arthur Sullivan & Friends.

Photo: Robin Halls.

and we enjoy a rousing parade of countries and opening number. We are introduced to Belarusian mega-star Bettina Bitjakokov, played superbly, and with outstanding improvisation, by Sian Dhu. She works the audience beautifully, keeps the production at a rollicking pace, and abuses her assistant host, the sweet, awkward and fangirling Katarina Vogbogalov, played with lovely timing and good grace by Gemma Little.

A twenty strong ensemble play eleven different entries.

The quality of both the songs and performances isn’t uniform, but that is part of the fun, as is spotting actors as they pop up as different characters, in a variety of wigs, in a variety of numbers. The audience vote for their favourites before they go to interval, returning for the results in Act 2 (some beautifully improvised 'live crosses’), before a reprise of the winning entry - Italy’s “Nothing More Beautiful” (performed by Vinny Moore with Alexander Cooke and Ashleigh Riley) on Opening Night.

The items and voting procedure are supported by some top notch projections by Sian Dhu and Matthew Wake, with a plethora of colourful costumes. Clearly no expense has been spared because precious toilet rolls were strewn across the stage.

A fun, vibrant production that touched the hearts of its audience, and was obviously loved by both audience and the performers.

Kimberley Shaw Sir Arthur Sullivan & Friends Music: Sir Arthur Sullivan. Lyrics: Sydney Grundy, F C Burnand, Julian Sturgis, Arthur Pinero, J Comyns Carr, Basil Hood and Edward German. Gilbert and Sullivan Opera Victoria (GSOV). The Knowe, Sassafras, Victoria.

Feb 29 - Mar 8.

GILBERT and Sullivan's collaboration in the 1800s produced masterpieces including HMS Pinafore, The

Pirates of Penzance and The Mikado that have stood the test of time. Surprisingly though, Sullivan's lesser known non Savoy operettas, written with other lyricists, contain musical treasures of equal beauty and wit. This two hour soiree contains rarely performed songs and arias, carefully selected by the director Robert Ray and musical director and piano accompanist Geoffrey Urquhart.

The cast of 12 seasoned G&S performers entertained an intimate and appreciative audience in the beautiful gardens at The Knowe, Sassafras. Performers included sopranos Jenny Caire, Jade Biezen, Laura Caire and Renee White, altos Andrea Tappe, Naomi Tooby and Jenny Wakefield, tenor Brett O'Meara, baritone Nick Sharman, bass baritones James Douglas and Andrew Ferguson and pianist Geoffrey Urquhart.

Linking dialogue shared between the cast, simple props and changes of hats transported the audience into the world of each operetta and helped us learn more about the life of Sullivan. There were many comedic highlights including "Hoity Toity, What a Kiss" (Andrew, Nick and Naomi), “'Twas a Dear Little Dormouse” (Andrea), "My Parents Were of Great Gentility" (Jenny Wakefield) and “The Gay Hussar" (Brett).

The emotional highlights of the afternoon included "He Will Return" (Jade), "Lord Of Our Chosen Race" (Renee), "Only the Night Wind Sighs Alone" (Laura), " 'Neath My Lattice" (Jenny Caire), "Mine, Mine at Last!" (Laura) and "Come Away, Sighs the Fairy Voice" from The Emerald Isle (Renee & Ensemble), which had the audience in tears.

What a wonderful way to spend an afternoon, not just to enjoy the superb singing and piano accompaniment, but to learn more about some rarely performed gems from yesteryear and of the brilliance that was Sir Arthur Sullivan.

Jonathan Cox

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Reviews: Fringe

Attenborough And His Animals

Adelaide Fringe: Feb 14 - Mar 15.

Attenborough And His Animals Clownfish Theatre. Cupola at the Garden of Unearthly Delights.

ONE of the most recognisable voices in wildlife documentaries must be the dulcet tones of Sir David Attenborough. Providing us with an intimate look inside the world of animals, he has provided much joy for this reviewer over the years.

Clownfish Theatre is a UK based company comprised of performers Jess Clough-MacRae and Jonathon Tilley.

Multi-skilled, they have found a way to transport the 92 Stage Whispers

essence of this loved documentary maker and naturalist to the stage.

With nothing but a bare performance space, sound effects and each other, Clough-MacRae and Tilley are hysterically funny. With the art of mime and clowning they manage to imitate the movements and sounds of our natural world. Tilley’s voice is eerily like Attenborough and Clough-MacRae’s rubbery face provides unbelievably evocative imagery.

This duo hit the ground running with an abundance of energy and hilarity. Imitating animals such as the blue whale and sloths, their mimicry had the audience in stitches. Clough-MacRae’s interpretation of a gorilla was sublime!

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The joy of the actors is infectious. Using physical comedy to touch on important topics is a fantastic way to leave audiences with a lasting message. Tackling issues such as climate change, habitat loss and pollution, the show left me wondering if this presentation should not be performed in the Australian Parliament.

Kerry Cooper

woman in modern-day London. When one has fallen from grace in this particular world there is often little real help. At one point early in the play, the female character in desperation calls her friend and ex-flat mate (who had kicked her out of the flat in the first place) for help. The response she gets is a text message that expresses sympathy for her current state, but adds advice that she needs ‘to find someone who will support you’; in other The Wild Unfeeling World words - not her. This use of a modern-day expression of Lion House Theatre. Hartstone-Kitney Productions and personal rejection also features significantly in Kieran Holden Street Theatres. The Garden, Holden Street Hurley’s Mouthpiece that is part of this year’s Adelaide Theatres / Coventry Library Lawns, Stirling.

Festival. The fact that this appears in two contemporary THE Wild Unfeeling World is a wonderful and thrilling dramatic works from the UK and is used for similar effect one-woman show that has been inspired by Herman and purpose gives it significance. It reveals this seemingly Melville’s Moby Dick. Like Bram Stoker’s Dracula, acceptable, well-intended passive-aggressive rejection of a friend in need as a deliberate act of selfish selfMelville’s Moby Dick has surfaced a number of times in this year’s Adelaide Fringe and Festival shows. preservation and cruelty. In both plays, audiences are challenged with this statement - would you say this to a Why this is so is curious, nonetheless, it is clear that friend in need? these two great novels, and their respective dramatic adaptations and references have major universal themes The conclusion of this terrific little gem of a play and performance differs from Melville’s Moby Dick. Ms. about humanity and inhumanity that still resonate with today’s world. They are both ‘Romances’, in the ‘classical’ Andrews ultimately identifies the modern-day female definition of the word and genre, as they are ‘a journey’ character with the character of Ishmael in the novel. Both are survivors, but whereas Melville’s novel has a tragic through darkness with the breaking of dreams, to enlightenment, acceptance and transformation. tone to its conclusion with the devastating sense of loss, As the wonderful Ms. Andrews states in her Ms. Andrews offers hope. Her character accepts her fate and situation, especially her relationship with Moby Dick ‘Prologue’, this is not really a version of Melville’s masterpiece and very long novel. This is a 60-minute story the Cat. Acceptance leads to enlightenment, the getting about a modern woman living in London who goes on a of wisdom, a new maturity, and a way forward not just journey through the course of one day that has significant for her but for all women. Wonderful and powerful. parallels and resonances with part of Melville’s Moby Tony Knight Dick. This includes using some of the names of the characters in the novel, and invariably in a truly delightful Kafka’s Ape and engaging way; for example, Moby Dick is now a cat Holden Street Theatres, Adelaide. with whom the young woman is engaged in a battle of “EXPERIENCE is not what happens to you; it’s what hatred and the desire for revenge. you do with what happens to you.” When Red Peter The dramatic narrative shifts with great speed from delivers this Aldous Huxley quote, we’re already uneasy in our seats, disturbed emotionally and physically - and the modern-day story to Melville’s Moby Dick. It is thrilling and constantly engaging. This is primarily due to wondering what we’re going to do with this experience.

Ms. Andrews’ wonderful presence, talent and skill in Based on a Franz Kafka short story, this solo performance from South African Tony Bonani Miyambo is telling a story. She is alone up on this bare, small, open stage, with not much in regard to lighting and other delivered as a speech to an Academy, of which we are the theatrical elements to help her. However, she herself is esteemed members. As Red Peter, Miyambo tells us of his previous life as an ape, and how he changed to become dynamically theatrical, imaginative, smart, witty, passionate, committed, clear and thrilling to experience. human - not for freedom, only to have a way out.

From the first grunts and shuffles in the darkness, Absolutely top-notch dramatic storytelling.

Miyambo brings an utterly convincing physicality to Red Production-wise, Ms. Andrews draws on whatever is available and possible within her next-to-nothing budget, Peter: he lopes hunched on his toes, his arms reaching, testing the lectern before using it to swing his body as well as her immediate audience. This includes tiny figurines to represent characters, such as Moby Dick the upright. He smells, sneezes, scratches and stares as an Cat, as well as at one point using members of the ape - then articulates his words as an educated man. audience to help her re-enact a stormy sea from Melville’s Using Kafka’s language and his own primate Moby Dick with small buckets of water. It is hilarious, embodiment, Miyambo brings us to the hunt that captured him, then we’re feeling his anguish and pain in utterly irreverent to Melville’s novel, but theatrically wonderful and still able to make a point as well as being all our senses as he’s trapped in a crate. As the story faithful in essence to Melville. unfolds, the hunch straightens, the scratches less distracting, yet not without the memory-induced terrors The fabulous theatricality, wit and humour of Ms. unleashed in his primate form - Red Peter’s screams from Andrews and her one-woman play is balanced by some rather poignant passages and observations about being a torture are still echoing.

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Kafka’s Ape.

playing traditionally male characters, but also more than one romantic relationship that - certainly in the Elizabethan era - could be considered ‘unconventional’.

Such a liberating step away from Shakespearean formula is merely the best of many reasons why this production is both commendable and recommendable.

Another reason: the many strong and striking performances on offer, particularly in the role of Tybalt, performed by Luci Rawson.

For a piece of theatre that takes just 45 minutes to play itself out, Children of an Idle Brain manages to make each one of its minutes count, texturing each scene and each encounter with drama, humour, intrigue, or any combination of the three. Direct traces of Shakespeare’s language remain to orientate us, but the minds and personalities of Scrambled Prince ensure that this new conception feels not only original, but also unpredictable and memorable.

Anthony Vawser

Spitfire Solo

By Nicholas Collett. Bakehouse Theatre.

2020 MARKS the 80th Anniversary of The Battle of Britain. In May of that year German forces swept through France, culminating in the French surrender in June. Hitler now had a full- scale invasion of Britain in his sights.

Spitfire Solo, written and performed by Nicholas Collett, tells the story of Peter Walker, who fought out the battle for Britain over the English Channel alongside many other brave Royal Air Force pilots. The Supermarine Spitfire planes with the Rolls Royce Merlin engine and elliptical wings were at the time the most agile fighter planes in the sky. The brave, young lads who flew them There’s an unsaid parallel with stories from South loved them with a passion usually reserved for young African apartheid - and racism that still pervades Australia women.

- but the sinister is carefully balanced with humour: even Now in his eighties, Peter is resident at Silver Birches to improvise around the handful of latecomers to his Retirement Home. Here he finds the routine to be not speech. dissimilar to “being in the RAF” but the place is “too hot, The stage is sparse - a lectern, a poster for the too full of people and smells of piss”. Days become a blur conference where Red Peter is speaking - and the lighting of eating, sleeping and being grateful when two biscuits is magnificent: guiding us emotionally as well as instead of one arrive with your cup of tea. physically, experiencing Red Peter’s humanity in the bright Collette astutely navigates the audience through spotlight; his primal screams in the darkness.

Peter’s life story. He transitions seamlessly from a young Our discomfort is real - not just because of what we boy experiencing the “living kaleidoscope” of fields and see and hear, but because of our increasing awareness of villages from his first flight, to an old man who is not our own part in the stories of Red Peter and others like feeling quite so confident as a passenger on a long-haul him. flight to Australia. The piece steps back and forth in time Mark Wickett from The Battle of Britain, to the battle to renew his relationship with his estranged daughter.

Children Of An Idle Brain Far from being confusing, the reminiscences are Devised and directed by cast, with George Franklin. cleverly played out. An armchair provides a Spitfire Scrambled Prince Theatre Company. Bakehouse Theatre. cockpit, a walking stick the plane’s joystick. An array of IT FEELS entirely appropriate that a playwright whose condiment bottles become assets lost or protected in war. canon contained multiple instances of gender-based An uncomfortable-looking upright chair appropriately deception from various characters - and whose female becomes an economy seat on a long-haul flight. roles could initially be played only by men - has inspired Changes in time and place are well designated by Scrambled Prince to devise and present a rethinking of Stephen Dean’s lighting design. The piece opens with, perhaps his most iconic tale - Romeo and Juliet - that and is interspersed with projected newsreel footage from features not just a number of female cast members the 1940s. It’s a shame that the projection wasn’t on to a 94 Stage Whispers

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flat surface. The folds of the curtain at the back of the stage do give the footage a dream like quality, which perhaps was the intention.

Collette, directed by Gavin Robertson, plays all of the characters, young and old, male and female and does so with delightful physicality, pathos and pluck. His array of impressions and accents are many and varied, from schoolchild to Winston Churchill, northerner to public school British. His Aussie is pretty good for a Brit too!

Spitfire Solo is a lovely piece of theatre, cleverly written and played with a heartfelt and moving performance by talented and highly skilled Collette. It’s an hour in the theatre that will stay with you long after the show is over.

Jenny Fewster

shaped or left a mark on his life; he switches between more than 20 characters. His presence is athletic, believable, beautifully enunciated and humbling.

He held us in his hand, all of us seeking a new beginning for this fictional man whose pledge was to the next generations.

Chandler alighted from the bus and left me feeling that I would like to know more. Such is the power of a great piece of theatre presented by a superlative performer.

Jude Hines

The Will To Be

By Mark Salvestro. Studio at Bakehouse Theatre Adelaide.

‘HE COURSE of true love never did run smooth’: Tales Of An Urban Indian William Shakespeare, A Midsummer’s Night Dream (Act 1,

By Darrell Dennis. The Bus Stop - Adelaide Botanic scene 1).

Garden.

Never a truer word was said, particularly in The Will To IN TALES of an Urban Indian, 35-year-old Canadian Be, written, produced and performed by Mark Salvestro. indigenous actor Brendan Chandler ‘becomes’ Simon We are taken back to 1962 and a university lecturer Douglas, growing up on two different reserves. This piece (William O’Halloran) in Melbourne has been fired from his of non-traditional theatre is compelling, all embracing, lecturing position accused of having an affair with a male challenging and uplifting. The 90-minute, one-man student. narrative is the journey of a young man coming to It’s set in a lecture room sparsely furnished with a understand his Indian heritage and its impact on his life. desk, chair, bookcase featuring a copy of the works of We journey with him, literally, as he traverses his world of hopelessness, drugs, alcohol and desperation to discover and embrace who, rather than what he really is.

The Will To Be. Canadian company Talk Is Free Theatre (TIFT) has Photo: Sare Clarke. presented two challenging performances at this year’s Fringe. Their work is modern, edgy and features a strong moral and social compass that points the audience to examine their own beliefs and well-held views.

The use of non-traditional venues is repeatedly used to symbolise key elements or contextualise the tale they tell.

In this performance, directed by Herbie Barnes, riding a bus is about sharing the notion of life journey, poignantly stopping strategically at parks and a cemetery, with the bus door opening and shutting as people leave his life, sometimes in the wake of devastation, occasionally leaving the gift of hope.

Chandler radiates energy and passion from the second he boards the bus. This is a masterclass in how to sustain and personalise a beautifully written script so that it captivates, entertains and presents a universal message about the plight of and challenges for indigenous people, worldwide. It is not sympathy seeking; it is, rather more, a tale of hope. Simon tells it as it was for him growing up, graphically enacting teenage sexual fumblings, a horrific car crash, and the deaths of precious people in his life.

We live through Simon’s mother’s attempts to save him from the common destiny proclaimed for indigenous men, his momentary fame when to be Indian was ‘fashionable’, then his ultimate substance abuse battle that leads him to the realization that ‘chance is the only thing that you never lose.’

Chandler’s pace is impeccable, his performance never faltering as he moves up and down through the bus, inhabiting the persona and voices of people who have Longer versions of many reviews can now be found at www.stagewhispers.com.au

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Tim Ferguson in A Fast Life On Wheels.

William Shakespeare, hatstand and framed degrees, with “Whispering Grass� playing softly in the background.

As he packs his belongings, he considers what the next chapter of his life will bring. Should he stay silent and continue living a lie with his adoring wife, or should he take a chance and explore his newfound feelings for Henry at a time when homosexuality is still illegal in Australia?

Having grown up in the sexual repression of the 60s and 70s, for me William’s story rings true with his trembling voice, disbelief, self-reproach, disgust and fascination.

His story unfolds, alternating between monologues with the audience and flashbacks to his marriage to his 96 Stage Whispers

wife Lola (who interestingly has the same facial features as his love to be) and his meeting with Henry, a student who meets him on the pretence of wanting to research an audition for Romeo and Juliet.

Salvestro as William pleads his case convincingly, particularly in the seduction scenes which are sexually charged, portraying him as the willing victim, and also in the scene in which he explains to his wife why the marriage must end.

Right from the opening monologues, he is engaging and rapidly draws us into his life. The rare moments of silence give us time to reflect on his plight as a gay man in a society where being openly gay at that time is abhorrent.

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Laced with the Bard’s words throughout the production, Silvestro not only gives us a masterful performance of a married man trapped in a non-sexual relationship, but also of a man brave enough to make a new start alone and face the world as himself, not what society expects him to be - particularly difficult in the 60s.

The Will To Be offers a fresh glimpse of Australia’s history of homosexuality and its accompanying oppression. It is well written, well performed and a reminder of how far we have come as an inclusive society - and the distance we still need to travel.

Barry Hill Tim Ferguson - A Fast Life On Wheels The Box. Garden of Unearthly Delights.

TIM Ferguson is a powerhouse of wit, joy and inspiration. Whilst it is obvious his MS has progressed unfairly to a stage where he is quite debilitated and wheelchair-bound, this does not affect in any way the irreverent, anarchic humour that we have grown to know and love. His Fringe show Tim Ferguson - a Fast Life on Wheels finds us peeling the layers off his life. He is a consummate storyteller and we find out throughout the show that there is so much more to this man than just his sense of (very) self- deprecating humour.

Utilising screen projections to tell his story, Tim shows us where his love of seditious revolution was born. His father, Tony, was a war correspondent and then worked for the ABC on Today Tonight and Four Corners. A ground -breaking journalist, he discussed issues that were “not the norm” and one in particular about a lesbian marriage resulted in him getting the sack in 1971. This resulted ultimately in Tim’s family living in Canberra where he met up with Richard Fidler and Paul Mc Dermott, and Doug Anthony All Stars was born.

From here we wander through Tim’s life, travelling the world with The Allstars and suffering the first onset symptoms of MS. Early on Tim ignored these and continued to work. Eventually they resulted in him leaving DAAS, but then going on to work on the hilarious ‘Don’t Forget your Toothbrush’. As his life began to change with more and more serious symptoms, he confessed on ‘Good News Week’ to all, that this was what was happening in his life.

This show is funny and poignant. His attacks on millennials, baldness and many politicians are a riot and all throughout his storytelling we are treated to his wickedly seditious sense of humour. We also find ourselves moved by his plight - a video documentary of his life on tour with DAAS and severe MS symptoms reduced this reviewer to tears. I had no idea this disability is so cruel and Tim himself confessed he is in constant pain.

Tim Ferguson tells us at opening that as a small boy he wanted to fly and tried, crashing to the ground. This wonderful man continues to fly, having crashed many times. Nothing passes Tim Ferguson by, despite his current somewhat restricted circumstances.

Shelley Hampton

PERFORMING ARTS MAGAZINE MAY/JUNE 2020. VOLUME 29, NUMBER 3 ABN 71 129 358 710 ISSN 1321 5965

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