Stage Whispers May/June 2018 edition

8 In this issue

Inside The Mind Of A Genius.................................................................... 8 The Curious Incident Of The Dog In The Night-Time touring Australia Aussie Kong Takes Over Broadway ......................................................... 12 Australian producers Global Creatures going global A Christmas Panto In July ....................................................................... 16 Traditional Pantomime making an Aussie comeback

12

Lola Montez - With A Twist Of Lemon .................................................... 18 A legendary Australian musical, and the legend who inspired it

24

Assassins Returns ................................................................................... 20 Bobby Fox on the Hayes Theatre Company’s hit, returning to Sydney Stage On Page....................................................................................... 22 We review Andrew Lloyd Webber’s “Unmasked: A Memoir” Madiba ................................................................................................. 24 Nelson Mandela musical set to tour

26

Lighting & Sound .................................................................................. 25 Feature stories on the technical side of theatre We Will Rock You Rocks......................................................................... 42 Community theatres stage the Queen musical

Regular Features Stage Briefs

41 66

70

6

Stage On Disc

36

Broadway Buzz

38

London Calling

39

Choosing A Show

44

Stage Briefs

46

On Stage - What’s On

48

Auditions

61

Reviews

62

Musical Spice

84

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Editorial

Nancye Hayes shows off her story with Todd McKenney in the last issue of Stage Whispers.

Dear theatre-goers and theatre-doers, Each year our May / June edition has a special focus on the everevolving technical aspects of theatre, and this year is no different.

I first became involved in theatre in the early 1970s, and began directing community, university and school productions a few years later, when lighting was basically confined to Strand’s Patt 23s, Patt 123s, and various floodlights and cyclorama washes. A couple of companies I worked with back then actually used their own jerry-rigged lights, made out of large tin cans.

It’s fascinating in this era of LED, multi-media and moving spots to hear a new generation of lighting designers discovering the joys of older fixtures, and sage advice from one of our sponsors, encouraging companies not to throw away their traditional tungsten lights just yet.

Back in the 1970s, the orchestra almost invariably sat across the front of the stage. Sound enhancement, if any, was generally confined to a few shotgun microphones, and vocal projection was God. Orchestrations, in the old style, were, of course designed to accompany the human voice, rather than compete with it.

In the age of rock musicals, however, giving audiences the sound experiences they expect when attending the theatre is far more complex. I really enjoyed David Betteridge’s must-read article in our Lighting and Sound feature, which sums up the issues so effectively and clearly.

I hope you enjoy these and all the other features in this edition, as we prepare for our bumper July / August edition, with its focus on Performing Arts training.

Yours in Theatre,

Neil Litchfield Editor

CONNECT

Cover image: Joshua Jenkins, Matt Wilman and Crystal Condie in The Curious Incident of the Dog in the NightTime. The National Theatre of Great Britain’s Olivier and Tony Award®winning production will tour to Brisbane, Canberra, Sydney, Adelaide and Perth from June 2018.

See our feature story on page 8.

Photo: Brinkhoff Mögenburg. www.stagewhispers.com.au Stage Whispers 5

Stage Briefs

 Melbourne will host the Australian Premiere of the hit Broadway musical Come From Away at the Comedy Theatre.

Opening on Saturday 20 July 2019, the production will benefit from a major refurbishment to the 90-year-old heritage listed venue. Come From Away tells a true story of the immediate aftermath of the terrorist attacks of September 11, 2001. It depicts the extraordinary convergence on September 12, 2001, when 38 planes and 6,579 passengers were forced to land in Gander, Newfoundland, almost doubling the population of the remote Canadian town.

Read more on our website at http://bit.ly/2H7Apj9 Photo: Matthew Murphy.

 Broadway star Patti LuPone returns to Australia during June 2018, performing her show Don’t Monkey with Broadway at Festival Theatre, Adelaide on June 21, the Sydney Opera House on June 23, Canberra Theatre on June 25, Conservatorium Theatre, Brisbane on June 27, and Arts Centre Melbourne on June 30.

For booking details visit www.pattilupone.net Photo: Rahav Segev.

 Ramin Karimloo, Broadway & West End music theatre star, will tour Australia for the first time in June 2018, with special guest Anna O’Byrne, star of Australia’s My Fair Lady. They will perform on the Gold Coast on June 16, at Hamer Hall Melbourne on June 20, and at the State Theatre, Sydney on June 23.

Read more on our website at http://bit.ly/2HeyNEc 6 Stage Whispers May - June 2018

Online extras!

Check out a preview of Come From Away! Simply scan the QR code or visit https://youtu.be/7Yx_WPj8Rws

www.stagewhispers.com.au Stage Whispers 7

Joshua Jenkins (Christopher Boone).

Photo: Brinkhoff Mögenburg.

Inside the mind of a The National Theatre’s stunning Tony and Oliver Award winning production of The Curious Incident Of The Dog in the Night-Time is touring Australia from June. David Spicer spoke to 30-year-old Joshua Jenkins, the actor who plays Christopher Boone - a 15 year old mathematical genius whose special needs do not get the way of his determination to crack a murder mystery.

What is so special about this story?

It is about universal themes we can all relate to - it is about family, it is about love, it is about loss, it is about coming of age. It is quite difficult not to see a bit of yourself in Christopher or the people that surround him and how we in society view people that are different. I think for that reason alone the book (by Mark Haddon) was so important for so many people.

What do you see of yourself in Christopher?

His passion for maths and science and how he uses that to centre and calm himself. My passion is theatre, literature and music. I almost need those passions in the same way that Christopher does. We all channel our frustrations and disappointments, and joyous occasions, through the things that we love. I have been a 15 -year-old. I know how difficult a time that is. You are trying to find your place. You are no longer a boy, not quite a man and the difficulties that brings.

8 Stage Whispers May - June 2018

While you have been performing or preparing for the role have you met anyone like Christopher?

I went to a lot of schools to meet people on the autistic spectrum, their teachers and parents, who told me their stories. That was invaluable. In the rehearsal room I tried to let that go and stay close to the script and the novel. However, I draw on it without even realising.

Since the play has been up and running, almost on a nightly basis I have met people who are perhaps on the autistic spectrum or have learning difficulties. They absolutely love the book and show. The other night in Singapore we had a postshow discussion. One guy put his hand up and said. ‘I haven’t got a question, I just want to say thank you so much. I see so much of myself in Christopher Boone and that character and story has helped

genius

Cover Story

me realise some of the things I’ve been through in my life.’ We as a company feel a sense of responsibility that goes beyond the play and means so much to so many people.

Christopher Boone’s perspective on the world is eloquently developed in the book because he is the narrator. How powerful is that?

It is a bit like The Catcher in the Rye, where you really feel like you enter the character’s mind and you see the world through the character’s eyes. In the book he can use words and be very descriptive and tell you how he is feeling and thinking. Dramatically that is less interesting in theatre. So we go down the route of using projections and lighting and movement to enter Christopher’s brain. I think the audience goes on that journey with him. It is an immersive experience where the audience feel part of his mind. That is the brilliance of the set designers and lighting; you, the audience, enter his brain

and experience what he feels first hand.

Often you hear people say I loved the novel but the movie or play was not quite as good. Do you think this is a case where the theatre matches the novel?

Absolutely. It is different in many ways to the novel, but at the same time it has somehow managed to keep its core values and in many ways stayed true to it. It is an incredibly theatrical spectacle, as well as being a basic beautiful story in the book. It is about simple story telling and it is done so eloquently that I think it is very difficult for a reader to not fall in love with it.

In the last scene where your character displays some of his mathematical genius, was that quite a sophisticated acting job, given you are not really a mathematician?

Yes, that was a far stretch of my abilities. One of the things most actors are quite good at is learning lines. Dialogue is straightforward. I can make sense of the scene’s beginning, middle and end and I can learn it quite quickly. But the (Continued on page 10)

Online extras!

Check out a trailer for The Curious Incident. Scan the QR code or visit https://youtu.be/WCSQMhbhKlc www.stagewhispers.com.au Stage Whispers 9

Also Christopher can draw from anything on the set. He opens doors mathematical formulae did not make and grabs what he wants for the next sense to me, so it was almost scene. There is one scene where he is impossible. drawing a crime scene with a piece of It took me two months to learn the chalk, where he is trying to figure out appendix at the end of the show. It who the prime suspects will be. As the was a nightmare. Even stuff like trying character draws it, at the same time it to learn prime numbers took me is projected on the back wall. forever. The director had to explain to As the set enters the character’s me what Pythagoras Theorem was. mind it makes my job so much easier.

That took ages.

If you are feeling stressed and anxious The set is quite extraordinary. How the set is projecting that, if you are exciting is it to be inside a wizard-like calm and tranquil the set is doing the set that transforms into a train same thing. It is cheating a little bit, station? but really helps the actor. It is a set The set is wonderful, as it is unlike any I have ever experienced designed to replicate Christopher’s before. This production has the mind. It is all done on the grid system. production values of a big West End Christopher’s feelings are being musical but is something you rarely see projected with lights and images. in a straight play. It is a unique experience. For me it’s a gift.

(Continued from page 9)

Cover Story

The Curious Incident Of The Dog In The Night-Time Concert Hall, QPAC, Brisbane June 12 - 24 Canberra Theatre June 27 - July 1 Roslyn Packer Theatre, Sydney July 4 - 28 Adelaide Entertainment Centre Theatre July 31 - August 4 His Majesty’s Theatre, Perth August 8-20 www.curiousincident.com.au

Joshua Jenkins (Christopher Boone), Bruce McGregor (Reverend Peters) and company.

Photo: Brinkhoff Mögenburg.

10 Stage Whispers May - June 2018

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Esther Hannaford in King Kong.

Photo: Jeff Busby.

Aussie Kong Takes Over Broadway Australian company Global Creatures is opening King Kong on Broadway, Moulin Rouge The Musical in Boston, Strictly Ballroom The Musical in the West End, and Walking with Dinosaurs around the world, all in the same year it successfully premiered Muriel’s Wedding The Musical. CEO Carmen Pavlovic reflects on the journey with David Spicer.

Online extras!

Witness the evolution of King Kong by scanning the QR code or visiting https://youtu.be/TGBGfR-qrZM 12 Stage Whispers May - June 2018

“I remember a few years ago thinking this is all too hard,” said a relieved looking Carmen Pavlovic in her Sydney office.

“I went to Melbourne to meet my business partner Gerry Ryan and told him, I feel like we have made a horrible mistake and I am fine if you feel like that.”

One difficulty after another was piling up. The company could not get venues. Capital costs were spiralling.

One creative team after another was toiling away at making King Kong into a piece of theatre that worked without getting it right.

Gerry told her, “Oh Carmen I just want to tell you nine words my mother said to me ‘Don’t give up.

Don’t give up. Don’t give up.’”

The company’s most ambitious project, King Kong, opens on Broadway in November. It premiered at the Regent Theatre in Melbourne in 2013. Audiences were dazzled by the largest puppet ever created for the stage, described as “a highly sophisticated animatronic/marionette hybrid controlled by the integration of hydraulics, automation and the manual manipulation from a team of puppeteer/aerialists.”

Less seamless was the book and music.

“I found no matter what we did through the workshop process and rewrites, that it felt like this creature was plonked in the middle of someone else’s show.”

The company was offered a theatre on Broadway in 2014 but they did not take it “because we were not ready.”

Mindful of the financial and artistic disaster that befell the Spiderman musical, Global Creatures went back to the drawing boards. Finally came the Eureka moment.

“I realised the great success of Kong was that he was animated by

puppets and his physical vocabulary wasn’t anywhere else in the show.

“It now relies less on book scene, then lets stop and sing a whole song.

Instead, we physicalise the whole storytelling language. Then we finally felt we were onto something.

“We have a company of King’s Men that pull the physical vocabulary right through the story telling.”

An example is the scene in King Kong which takes place on a boat.

“Drew McOnie, who is the director/

on a property owned by Global Creatures’ investor Gerry Ryan.

Now worth an estimated $500 million dollars, Ryan is the founder of the Jayco caravan company, which he established 41 years ago with a ten thousand dollar loan.

“Yes it is expensive R and D, but not nearly as expensive as taking a show that is not ready to Broadway,” said Carmen.

A return on investment also takes a long time. King Kong even needed a

choreographer, found a way of building the boat before everyone’s eyes. The sailors carry cargo together to create certain shapes that tell us we are on a boat. People with ropes tether the boat and cast it off into the harbour.”

Likewise the dynamic of New York in the 1930’s, when many iconic skyscrapers were being built, is also part of the fabric of the production.

Carmen becomes more coy when I pry about what the research and development has cost.

It has been going on for five years, with Kong sitting in a shed somewhere

bit of maintenance ahead of his journey to New York.

Already in New York is Australian composer Eddy Perfect. He has composed songs for the Broadway edition. She describes the soundscape of the work as cinematic in scale - “a journey through time and space.”

Baz Luhrmann’s Strictly Ballroom the Musical has also gone through a transformation ahead of its West End debut in April.

The musical opened to mixed reviews in Sydney in 2014, was (Continued on page 14)

www.stagewhispers.com.au Stage Whispers 13

Muriel’s Wedding.

Photo: Lisa Tomasetti.

Online extras!

Muriel’s Wedding The Musical is a big, brash and cheeky night at the theatre https://youtu.be/kIKTPaoVXnY

(Continued from page 13)

reworked for Melbourne in 2015 and was again updated for its premiere in Canada and the West End, with Baz Luhrmann supervising rather than directing the work.

Carmen said the challenge has been “how do you take the tone and the wit of the film and transpose that to the stage without feeling pantomime like?

“So we have ramped up the story telling device of dance. The idea that props are dancing into place, scenery is danced into place. You see people getting into costume on stage. The whole thing is moving.

“We have created this new character of the band leader, who is on stage, narrates us though the evening and sings most of the music.

“The music very much becomes a comment on the scene playing in front of it, rather than the kind of traditional device of principals stopping and breaking into song.”

Carmen is hopeful of a long run in the West End. “There is a great affinity between the UK and Australia. We understand 14 Stage Whispers May - June 2018

each other’s humour and Ballroom Dancing is beloved in both countries.

“The theme is still relevant 25 years later (after the film was released).

Standing up to artistic oppression.

Speak up, be yourself, dance your own steps and there is more than one way to cha cha cha…

“It has even got a dictator with a bad suntan and a bad wig, which is very much in zeitgeist.”

In Australia, large community theatres are also staging the musical (based on the Australian production) for the first time.

Baz Luhrmann’s other movie destined for the musical stage is Moulin Rouge. The musical has its pre Broadway opening in Boston in July.

The challenge once again is to translate the movie into a theatrical experience.

“The very things that make his films theatrical are not the easiest to replicate on stage. That whip can camera, close ups, opening shots of the Moulin Rouge, panning through the streets of Paris - you can’t achieve those things on stage.”

So how will the creatives transition it to the stage?

“Moulin Rouge (the musical) immerses the audience in something very visceral, lush and sophisticated. It has sophisticated designs, rich costumes and eclectic music that comes together in an operatic way.

“The music, set, and costumes come together so that the audience has the sense that the piece is on the move rather than one scene after another,” she said.

Clearing the rights for Moulin Rouge was immensely complicated as permission was required from from Fox Studios, the Moulin Rouge in Paris and a very large number of music publishers.

Patience is something you need by the truckload in this business.

King Kong is ten years in the making, Moulin Rouge nine years in the making but by contrast, the development of Muriel’s Wedding the Musical was brisk .

Global Creatures first approached PJ Hogan about adapting his film Muriel’s Wedding for the stage only six and a

Walking With Dinosaurs.

Photo: Patrick Murphy.

Online extras!

Missed out on Walking With Dinosaurs?

Get a taste of it now. Just click or scan https://youtu.be/XMvSEA9CgkM Tickets are now on sale for the return season in Sydney mid next year ahead of a national tour.

Global Creatures has now sold 200 27 January, 2018 Muriel’s Wedding The Musical finishes its sell-out season in Sydney million dollars worth of tickets, in large part due to its Walking with Dinosaurs 24 April, 2018 franchise.

Strictly Ballroom The Musical opened in the West End The animatronic masterpieces of 21 July, 2018 Tyrannosaurus Rex, Brachiosaurus, Moulin Rouge has its pre-Broadway engagement in Boston Plateosaurus and Stegosaurus have 20 July, 2018 been seen by over nine million people Walking With Dinosaurs worldwide tour commences in the UK in 250 cities around the world.

8 November, 2018 If King Kong is a hit then goodness, Gerry Ryan might even end up being King Kong opens on Broadway able to completely retire from building July 2019 caravans.

Carmen Pavlovic is keen to Muriel’s Wedding returns to Sydney. develop Global licencing opportunities for her brands. half years ago. Then it had to get “Muriel’s Wedding feels like the But more than financial success, it is permission from ABBA. complete package: a beloved film the challenge of re-working shows After 18 months of rejections by seamlessly updated; a central character which she finds “energising”.

ABBA’s management, Ms Pavlovic flew who retains all the ambiguities that “I love the fact that our productions to Stockholm to meet the band’s made you root for her in the first place; are not locked in on opening night. songwriters, Benny Andersson and a conspicuously inventive score You can come back after a premiere to Björn Ulvaeus, and a deal was struck. peppered with classic pop hits, and a see how those elements of music, The musical opened in Sydney in mainstage debut that will be talked sound and lighting knitted together January and was an immediate success. about for years,” wrote Jason Blake in with the interaction of an audience.

The hard nosed Sydney critics, who the Sydney Morning Herald.

That is the thrilling part.” roasted Strictly Ballroom, were in raptures.

A Big Year In Theatre

www.stagewhispers.com.au Stage Whispers 15

Producer Bonnie Lythgoe is bringing the best of British pantomime traditions to Melbourne and Sydney again this winter with a production of Sleeping Beauty - A Knight Avenger’s Tale. She revealed her recipe for success to David Spicer.

It was oh so silly, but oh so funny.

The entire audience and cast of Peter Pan would routinely dissolve into uncontrollable laughter last year when a veteran British panto actor recited a bastardised version of ‘The 12 Days of Christmas’. Five toilet rolls and a bra that was meant to hold three. A necklace of toilet tolls was flung out into the audience and flung back. Then out came the water pistols.

Producer Bonnie Lythgoe doesn’t do pantomime by half. Dazzling costumes, stunning sets and magic tricks are being shipped out from the UK for her latest season, which she models on the lavish productions you might see in the West End or a regional British theatre.

“I think the key is finding a very good story line, have some great actors and have a few celebrities, take them out of their comfort zone and put Peter Pan. Photo: Robert Catto.

16 Stage Whispers May - June 2018

them into a panto. Then you have to push and push that this panto is all about fun,” she said.

80,000 families have enjoyed her productions, which have graced

Sydney’s opulent State Theatre and Melbourne’s Comedy Theatre over the last five years “Adults laugh because they get the (naughty) jokes. Kids laugh because their parents are laughing even though they haven’t got a clue why their parents are laughing! It is clean fun. I sit back in the lighting area and watch the audience enjoy it.”

The key to comedy and also pantomime is timing. December is the season in the UK but Bonnie says that won’t work down under.

“Australians love their summers they are all at the beach and not going to the theatre. I thought the only time is winter.”

The timing of Sleeping Beauty was excellent for Embla Bishop. The recent WAAPA graduate was last into the audition room, but scored the lead role, helped by years of experience watching pantomimes.

Born in England, attending a regional pantomime with her cousins was an annual treat.

“I remember the bright and broad colours, almost like a children’s picture book with three 3D images and big bits of cardboard,” she said.

“When I heard Bonnie was doing Sleeping Beauty it was my dream to be in it. When I was growing up I loved the character of Aurora in the original Disney cartoon.”

She mentions that Walt Disney struggled to make the movie as he wanted Aurora to be different from Cinderella and Snow White.

“She is a lot sassier than Cinderella or Snow White. Aurora is a stronger and earthier Princess that will be fun to play with.”

Most of Embla’s work is in the first act, when her character is awake.

Based on her experience as a child she said a priority is “breaking the fourth wall to have a conversation with the audience, particularly the children in the first row. You get them active whilst making innuendos to the parents.”

The second act is much easier.

“She falls asleep, I get woken up with a kiss then take a bow.” (Sounds like nice work if you can it.)

Playing the evil fairy who casts the spell over Aurora is music theatre veteran Rhonda Burchmore.

Burchmore told News Limited she was relishing the chance to play a “glamorous but evil” character and had found inspiration in Angelina Jolie’s performance in the 2014 film Maleficent.

“I think Angelina did such a magnificent job with her portrayal of Maleficent. I thought, I can take a bit of that on board and a bit of Rhonda, and channel my evil queen,” Burchmore said.

You can tell that the Producer Bonnie Lythgoe has lots of fun putting the pantomimes together.

“I do go and see proper theatre,” she told me cheekily.

Speaking from England, she had just attended “a very dark” production of Pinocchio, staged by the National Theatre, where there were no children in the audience.

Rest assured there will not be anything dark in her Australian pantomimes, where accessibility is the key.

Peter Pan. Photo: Robert Catto.

Sleeping Beauty - A Knight Avenger’s Tale plays at the Comedy Theatre, Melbourne, from June 29 to July 8 and State Theatre, Sydney, from July 13 to 22.

What she is most proud of are her “relaxed performances”. They are scheduled for 11am and are open for anyone who has trouble sitting still or keeping quiet for a long time.

For families with special needs children it is often their first outing to the theatre.

“I was three years old when I went to the theatre for the first time. When you are very small it is hard to sit through two hours of theatre. But I did and loved it.”

And can we expect an encore performance of ‘The 12 Days of Christmas’? “Yes I would be killed if we left it out.”

www.stagewhispers.com.au Stage Whispers 17

Stage Heritage

Lola Montez With a Twist of Lemon

Legendary Australian composer Peter Stannard died in March, just months before a star-studded concert revival of Lola Montez, the musical he penned sixty years ago, is staged at Sydney’s Riverside Theatre. In his last interview Peter described some of his adventures in music to *David Spicer.

Tell me about your early years of training.

I only had six months of piano lessons in 1942 because my step father left to join the RAAF during WW2. We lived near the harbour and heard the Japanese firing off missiles into Sydney, and depth charges going off near the submarines. We hid under the bed all night with corks in our ears. I stopped piano tuition, but I had big hands and 18 Stage Whispers May - June 2018

could sight read quite well and had mastered Cole Porter, Irving Berlin and Gershwin, so I branched off to composing my own stuff.

How were you introduced to the character of Lola Montez, the famous showgirl who created a scandal with her visit to Australia in 1855?

I became fascinated with her when I met Peter Benjamin (lyricist) and Alan Burke (book writer) at University.

During the four days Lola spent in Ballarat, she wowed all the miners.

They threw little nuggets on stage.

They particularly loved her spider dance, when she pretended there was a tarantula in her dress. She kept taking off bits of clothes and stamped to get rid of all the spiders with a tarantella (dance). We just made it a spider dance where she wraps her whole web around the little Irish lad Daniel. He was overwhelmed by her exotic past as the mistress of Franz Liszt, Alexandre Dumas and King Ludwig of Bavaria. She was virtually running Bavaria until she was kicked out by the church.

What were the musical influences of Lola Montez and what was the reception like to the musical in 1958?

It has universal melodies that were in the style of Broadway musicals of the time such as Annie Get Your Gun. But our musical eclipsed that in terms of audience enthusiasm. We got outrageous reviews across the country.

“The Trust has dug a nugget.” “A show we can be proud of.” “This show is tops.” Everyone was universal in praise. Houses were full. Then it started to wane, and we had to back out of our dream work of six months of a luxurious high income.

Despite this success you were not entirely happy with the original production. Why so?

The Elizabethan Trust imported George Carden, an ex-pat Australian ballet dancer, to direct it. He brought with him a West End dancer from West Side Story. Mary Preston was a divine dancer, but she was only 23. She could not play a 37-year-old. When you are 37 in the 19th century you are old.

Indeed, when Lola left Ballarat for California she was dead in six years.

How have you updated the musical in conjunction with the director and contributor Stephen Helper?

Stephen Helper has dragged it into the 21st century. On his recommendation I have written a new song. A potential investor, who is a lawyer, wanted Lola to sing in the musical before she gets to Ballarat. I didn’t have Peter Benjamin so I have written my own lyrics to a song where Lola has doubts before she goes to into

breaks the rules, so that people take notice. I try to give it that twist of lemon in everything I do. In Be My Saturday Girl it is a four-bar section before it resumes its eight-bar pattern.

Looking back, how do you rate Lola Montez?

A lot of shows have one take away song (that is songs you can take away and perform on their own). In Lola there are five or six.

During research for this production, Stephen Helper uncovered the not so well know story about Lola Montez taking her clothes off in Sydney. What happened there?

The 60th Anniversary Celebration Concert of this Australian Yes, when she came back to Sydney musical takes place on Saturday 2 June 2018 as a one night only with her two maids. She scarpered event. Tickets are available from www.riversideparramatta.com.au after dumping the cast she had in her show (and left behind a trail of debts).

Ballarat. Whilst riding on a Cobb and own advertising agency which became She was apprehended about to board Co. coach she sings: the biggest Australian advertising the craft on the harbour. The bailiffs Will they still love me come agency in the country. I wrote dozens bailed her up and told her she was tomorrow? of jingles. under arrest. She stripped down and The morning light can be unkind.

What is your most famous jingle? said come and take me. She stripped If you’ve got a tickle or a cough, And if they see me as a daytime down to nothing. They backed off red laugh it off with Throaties. If you’re faced. lady Do you think they’ll change their feeling a little hoarse, then of course, Should Stephen put that in the mind? use Throaties. show?

Did you have many opportunities to What do you think is your best That would be wonderful. She compose new musicals after Lola? Was composition? would have to audition for me first.

I have written ballets, written a your talent underutilized? petite waltz, which I like. In all my *David Spicer is the agent for Lola Yes. There were eight different composition I like to add a twist of Montez.

This interview was conducted (recorded) versions of my song from Lola, Be My Saturday Girl, from lemon - somewhere either in the lyrics in 2017. different artists, more than any other or the chording or structure which Australian musical. We were invited to do the last of the Shell Oil Presents (a national TV program). Alan Burke, who was Catholic, said it should be a family show with a Christmas feel. But when we presented that outline to Shell they wanted a different show without any religious overtones. In nine weeks we penned an entirely new musical, Pardon Miss Westcott (the TV Musical, an Australian first, was shown nationally). After that I had no lyricist, so I wrote over 200 other pieces which did not need one - sonatinas, capriccios and choral pieces.

And you earned a living in advertising?

I started as a radio announcer, then a copywriter / jingle writer. I started my Debora Krizak (the new Lola), with Peter Stannard

www.stagewhispers.com.au Stage Whispers 19

Main & inset: Assassins.

Photos: Phil Erbacher.

A hit at the Hayes Theatre Co in 2017, Stephen Sondheim’s Assassins will play a return season at the Sydney Opera House from June 7. Bobby Fox, recreating his performance as Charles Guiteau, the assassin of President James Garfield, spoke to Neil Litchfield.

Best known for the starring role of Frankie Valli in Jersey Boys, Bobby Fox’s first ‘ensemble’ show was quite a change of pace and style, and that’s quite aside from the fact that he and fellow cast member David Campbell have gone from playing iconic popular singers to iconic killers.

“It’s certainly the most unique show I’ve been in, in its production, its preparation and its approach,” says Bobby.

“There were a lot of conversations, a lot of talk around the table in terms of ‘What is this show? Why is this show?

When is this show? And is there a desired effect, and is there a trajectory?’. Just unravelling the web of Sondheim’s

20 Stage Whispers May - June 2018

work, in a sense, and going ‘Right, what is that and why is that?’.”

With all that round table discussion, did those questions get answered, or did they just keep leading you down new paths?

“Down new paths. It took that time to figure out what show we were all in together, so that when we’re on stage we’re telling the same story. A lot of that came from running it.

“What you get is quite a unique Australian production not an American cookie-cutter show.

“It’s a character piece, and it talks about the nature of

the American Dream - you grow up in America being told that anything is possible if you work hard and focus on it but what if your American Dream is not the majority’s American Dream? It fundamentally addresses the idea of an American Dream being an idea within one person, but you can’t sell an American Dream to someone whose American Dream is not what you’re selling. And what if that American Dream involves killing someone with a gun, or that you need to feel famous. That it’s never going to happen that this is the only way to do it.”

It wasn’t just Bobby’s first ensemble piece, but also his first Sondheim.

“It’s so wonderful because it’s open to interpretations. I really, really enjoyed “I am Going to the Lordy” - the ballad of Charlie Guiteau - and was able to find many different ways of performing the number, when you want to get to a point that you know it so well that you can really let go. It was very difficult and very challenging, but that’s where the fun lies.”

What does Bobby think about Assassins moving into a larger space?

“To me, the design was spectacular in the clever use of the Hayes, providing depth and maximizing the use of every

corner of such a tiny space.

The characters are certainly big enough to fill the space, and we’re in the smallest space at the Opera House, so I don’t think there’s that much stage expanse. I think essentially it will just open up the playground, because the joy of the props was that they were just individual things like ropes and letters and bumping cars and pinball machines and a jukebox.

With recent student-led demonstrations in Washington filling the streets with more people than President Trump’s inauguration, could this revival be even more powerful?

“Obviously it’s so poignant to our current political climate; it’s so evocative of the saturation of news, and fake news, and ‘he says, she says’. It was very interesting to try and give voice to the characters. The history books are written by the victor, and it’s so easy to cast aside the people who are essentially the criminals and look at them as just bad people, and crazy, and that’s it. As an actor you have to delve into ‘yes, this person did try to murder someone, and yes, fundamentally this is wrong’, but you have to get rid of that and ask why. You have to understand that people are people, and most of these people came from great pain or misunderstanding. And some of them, quite frankly, had delusions of grandeur.

“It’s not just about American Presidents. It’s about mass shootings, it’s about fame, it’s about winning in a culture that doesn’t recognise a certain side of society, or just casts them off as crazy. That this is their only option if they want to be remembered.

“It’s quite ingenious the way that is looked at, and the manner in which (Director) Dean (Bryant) has used gun history and culture, and the idealisation of guns within the States as part of the show. That theme is tackled with such class, and with a great sense of humour.

“It’s kind of the glorification of guns; as kids, guns are toys, and it looks at it in that sense.”

What does Bobby hope audiences will take away from the show?

“It becomes as much about your personal conversation afterwards - it’s evocative of that - it dares you to think and question yourself.

“It’s not one of those shows where you say ‘hey come and see this, it’s the latest blockbuster, it’s incredible’, yet it is - with jaunty tunes, and a very attractive cast, great lighting, incredible design, spectacular direction, choreography second to none, and an original Australian production of Sondheim’s forgotten theatre piece - I’m trying to give you some bells and whistles here. www.stagewhispers.com.au Stage Whispers 21

Stage on Page

By Peter Pinne

Unmasked: A Memoir - Andrew Lloyd Webber (Harper Collins $25.50) Andrew Lloyd Webber, who has just turned 70, has resisted writing his autobiography for years until constant pressuring from friends and family, and badgering by the late literary agent Ed Victor “to tell your story your way”, persuaded him otherwise. All I can say is thank God they did. Not only is it funny, wry, and hugely engaging, it’s the best composer autobiography I’ve ever read.

A doorstopper at 500 pages, yes (and it only goes up to Phantom’s first night), but it’s a compelling page-turner of a monumental career in musical theatre. Coming of age as he did in the Carnaby Street/Swinging Sixties era of Britain, everyone from The Beatles to the Royal Family plays a part in this lively memoir.

He was born in 1948 to a pianoteaching mother and a father who was Professor of Composition at the Royal College of Music. When his Granny Molly took him to see My Fair Lady and West Side Story he was hooked on musical theatre. The attraction only increased after seeing the movies of Gigi and South Pacific (the latter four times). But the movie that resonated deeply with him was Elvis Presley’s Jailhouse Rock. It’s no surprise that he later became an expert at the fusion of musical theatre and rock.

Lloyd Webber lived in a top floor flat in Harrington Court, South Kensington, which he says in the sixties “redefined the ‘B’ in Bohemian.” In the nursery he built a toy theatre he called the Harrington Pavillion and wrote songs for productions he staged there, pressuring his brother Julian to help.

Early influences came from his risqué Aunt Vi (the book is dedicated to her) who taught him how to cook and wrote the first gay recipe book, with a “Coq and Game Meat” section titled “Too Many Cocks Spoil the Broth”.

Meeting Tim Rice in 1965 through his agent, they began collaborating almost immediately. Their first effort The Likes of Us didn’t get up, but their second did. Joseph and the Amazing Technicolor Dreamcoat, based on the Book of Genesis story, was a 20-minute rock-cantata written for Colet Court School, Hammersmith. It went on to be expanded many times and gave them their first smash headline (“Pop Goes Joseph”) in the Sunday Times, following a production at the Edinburgh Festival.

According to Lloyd Webber “it’s the colloquialisms that make Joseph so great.” It’s difficult to top Rice’s clever turn of phrase - “Potiphar had very few cares/He was one of Egypt’s millionaires/Having made a fortune buying shares/In pyramids.”

Stage Whispers Books Visit our on-line book shop for back issues and stage craft books www.stagewhispers.com.au/books 22 Stage Whispers May - June 2018

Next came one of the most important meetings of his career with Southern Music boss Bob Kingston, who gave him a lesson he’s never forgotten. Never give away the “Grand Rights” to your show; from that moment Lloyd Webber never did, making him, and his investors, very rich.

Always fascinated by the tone colours of Benjamin Britten and Richard Strauss, at the suggestion of his father, he enthusiastically took a course in orchestration. At the same time he married his childhood sweetheart Sarah Hugill, and bought a house in the country, Sydmonton, with a church annex which became his tryout theatre for the next forty years.

Jesus Christ Superstar’s three-note signature theme was written on a napkin at the restaurant Carlo’s Place in Fulham Road. For the Superstar single, Lloyd Webber cheekily asked MCA Records for, and got, a symphony orchestra, soul brass section, gospel choir, rock group, and a bluesy vocal courtesy of Murray Head. Prior to the recording sessions Lloyd Webber found difficulty in finding rock musicians who could actually read music. The final lineup included keyboardist Rod Argent of the Zombies and guitarist Gary Moore of Tin Lizzie, who went on to play on many of Lloyd Webber’s recordings.

The album was a spectacular success, especially in America, which saw pop-promoter and impresario Robert Stigwood mounting concert

tours of it throughout the country, a blueprint for what became the global musical of the future.

Like Superstar, Evita, the story of the life of Argentina’s Eva Peron, was first produced as an album which attracted the attention of Broadway producer/ director Hal Prince. Its Broadway opening received withering reviews but went on to complete, according to Lloyd Webber, “the biggest volte face of the media elites in Broadway history”, when it won seven Tonys thanks to the first-ever TV advertising campaign concocted by Stigwood.

The indestructible Cats followed, with one of Lloyd Webber’s most indestructible melodies. Webber had written a tune for a musical that was to be about Puccini and Leoncavallo, which he deliberately made Pucciniesque, so he played it for his father who was an expert on Puccini’s scores. After he played it a second-time, Lloyd Webber asked his father did it sound like anything, and his father said, “Andrew it sounds like a million dollars, you crafty sod,” and so ‘Memory’ was born. When Barbra Streisand recorded it, she sang it live in the studio with an orchestra of 80 musicians. It was the first time she had sung live in over a decade and was the catalyst for her to start touring again.

With the production of Cats undersubscribed, Lloyd Webber mortgaged his Sydmonton Estate to get the necessary finance, but when star Judi Dench (Grizabella) snapped her achilles tendon during rehearsals and Elaine Paige was seconded to replace her, and with a bomb scare on opening night, the project seemed doomed. But it wasn’t. The reaction was unprecedented from the critics and public and the show went on to run 21 years in London and 18 on Broadway.

The Cats eyes logo is the highest selling T-shirt in the world, after the Hard Rock Café.

Cats was also where Lloyd Webber met his muse and second wife Sarah Brightman and found his musical theatre soul-mate Cameron Mackintosh, “the only Brit who loves musicals as much as me.”

Lloyd Webber’s longest running show The Phantom of the Opera had its genesis when Brightman was asked to appear in a melodrama version of the

story by Ken Hill, with an opera potpourri score. Lloyd Webber wrote and recorded the title song with Brightman, but on a trip to New York came across a 50 cent copy of the original Gaston Leroux novel, read it, and realised the story had the potential to be something great. He was not wrong. The musical has now run 32 years in London and 30 years on Broadway, where it has become the longest running musical in Broadway history.

The second-act of Phantom was written while Lloyd Webber and Brightman were holidaying at the Great Barrier Reef, Queensland, after the Sydney opening of Cats. At one time Alan Jay Lerner was attached as lyricist but he died before completing any work.

Piano Sonata. Every one of his musicals has included a song or section in this time-signature. There is even a joke in Phantom’s score which has only ever been laughed at once, by conductor Lorn Maazal. He also has a fondness for 5/4 and every show includes a song in that time signature too. Sunset Boulevard is the only musical title song written in 5/4.

There’s just enough gossip to make this book spicy (Tim Rice, a bit of a stud, bedded every girl who ever played Mary Magdalene), a lot about the nuts and bolts on how the productions were put together (the lead up to Cats opening is nail-biting), and a little of the personal (the race to get Sarah H to hospital before she died when an illness was misdiagnosed).

Andrew Lloyd Webber’s “Harrington Pavilion” toy theatre.

Some projects failed, Jeeves being one of them, but the musical found a new lease of life in the nineties. The one -woman musical Tell Me On A Sunday was cannily coupled by Mackintosh with Lloyd Webber’s Variations on Paganini’s A Minor Caprice as Song and Dance, and his love of the children’s book Thomas the Tank Engine morphed into the roller-blade musical Starlight Express, which is still running after 30 years in a purpose-built theatre in Bochum, Germany.

His fascination for the 7/8 time signatures springs from his time turning pages for prize-winning pianist and another Harrington Court resident, John Lill, when he was playing Prokofiev’s 7th

Lloyd Webber intended to write his memoirs in one volume but his verbosity got in the way, so everything post Phantom will just have to wait for volume two, if and when he gets around to writing it. The book also includes only minor references to his other passions, architecture and PreRaphaelite and Victorian art, which he says belong in another volume.

Lloyd Webber, with his rock-operas and sung-through works, changed the face of musical theatre. This book scrupulously and delightfully tells you how he did it. It comes with coloured and B&W photos, an appendix, and an index. www.stagewhispers.com.au Stage Whispers 23

Online extras!

Watch a trailer for Madiba The Musical https://youtu.be/mQ4uBEhnjcE

MADIBA The Musical

The late South African President Nelson Mandela would have turned 100 in July. Now a French musical, Madiba the Musical - a Celebration of the Life of Nelson Mandela, is set to tour Australia and New Zealand. The composer lyricist Jean-Pierre Hadida spoke with David Spicer ahead of the production’s English translation première.

Main & inset: Madiba The Musical.

Photos: Julien Vachon.

What inspired you about the story of Mandela?

I can say that Africa inspired me a lot. It is such a wonderful continent, where heart and mankind make one.

Everybody seems to be an artist or is into dance and music. You can feel all this energy of Africa, to make a show that has great moments of happiness and hope. The second thing that inspired me was the amazing story of Nelson Mandela - somebody who spent 27 years in jail, who was Nobel Prize winner, then President of South Africa. Those kind of stories in a musical make people very happy. I love the phrase ‘music and dance make me at peace with the world’.

Where did this production originate?

We started in Paris in 2016. We played 60 performances - the theatre was full every night with standing ovations.

What are the musical styles of Madiba?

There are some traditional Broadway songs, there are some reggae songs - from Soweto, the narrator makes some rap music because we want to appeal to the young, we have traditional African 24 Stage Whispers May - June 2018

music like The Rainbow Nation and some funk pop music in the final song. The common point is strong melody.

Who have been your influences?

First of all I am a musician. I love Claude-Michel Schönberg (the composer of Les Misérables). He encouraged me to write. I met him several times. Another musical I love is Rent.

How does the musical theatre scene in Paris compare to other places?

It is a bit different. We call it musical show. Sometimes they are not very strong with the book. It is like a concert with lots of dancers, lights and strong pop songs, but the story is a little bit weak in France. More and more we are like Broadway. Les Misérables was not very successful at first in Paris. The writers went to London and Cameron Mackintosh said you have got a treasure, and the story started again.

Where else has Madiba been on?

We have played in the French language in North Africa, West Indies, and are going to Senegal. This will be the first production in English.

Does the musical sound better in French?

I love the English language. You might say French is romantic but I say English is romantic. It is very smooth.

English lays down on the note. You feel like music is in the air. This is not a direct translation but an adaptation.

Is the Mandela estate involved?

Yes, we are very lucky. The grandson of Nelson Mandela saw the show in Paris and he told me it was the best story he had seen about his grandfather. We are supporting his foundation, helping lift children out of poverty.

Madiba The Musical opens in Melbourne in October and will tour to Sydney and Canberra in November, with dates and booking information for Perth, Adelaide and New Zealand to be announced. www.madibamusical.com.au

www.stagewhispers.com.au Stage Whispers 25

Lighting & Sound Feature Christian Peterson.

Photo: Maxwell Batista.

WAAPA Student Sounds Out Cirque

Production and Design graduate Christian Peterson is now touring the world as a sound engineer with Cirque du Soleil. According to WAAPA, graduates from the Sound and Lighting courses invariably have no trouble finding immediate employment.

sound department. Right place at the right time, but had I not asked, it may never have happened!

What does your job at Cirque du Soleil entail?

When did you decide you wanted ‘make it yours’. That’s crucial for I work as a PA Tech (Public Address to be a sound engineer and why? transitioning into work outside of Technician, known in Australia as a I played music during my high WAAPA, where project management Systems Technician) in the Sound school years and performed in music and collaborating with other people Department; my role involves theatre, which got me interested in and departments is a skill everyone designing, rigging and tuning the sound. It wasn’t until I recorded my needs. The lecturers we had were sound system for each new venue we band’s EP when I was 15 that I really awesome and many of them have arrive in. On arena tours, we move got into sound. I bought some become colleagues and great friends. every week and each venue has its microphones, a little mixer and How did the gig with Cirque du challenges in acoustics, audience software to record it and it was all Soleil come about? seating, height/weight restrictions, etc. done in my bedroom. A bit I left WAAPA in 2015 and was I also mix the show as backup to the cringeworthy to listen back to now, working full time as a sound technician Head of Sound and a lot of my week is though you have to start somewhere. on festivals, concerts and theatre spent on projects, whether new or It’s interesting that a lot of legendary shows around Australia. I met some of maintenance. On this show I have over music producers recorded their first the crew on the Cirque du Soleil 150 speaker cabinets to maintain, rig albums on only four-track cassette show Kooza in Melbourne last year and and tune, and the stage has audience machines and now any kid who has an asked if they were hiring. I took a on either side, so it’s quite unique in its iPad or a laptop can produce, mix and resume, wrote a cover letter, treated it design. We have an eight-piece band export an entire album to the world. like an interview and after pestering as well as artists and props mic’d on What did you enjoy most about them enough that day (and the day I stage. There’s a lot of wireless systems, your studies at WAAPA? came back!), they asked if I would join whether it’s microphones, in-ear The real highlight was working on them for the next leg of the tour in monitoring for the band or comms for the shows; they’re all student run and I Perth. I lived in Perth and they (Continued on page 28) think that allows students a level of happened to need an extra hand in the 26 Stage Whispers May - June 2018

www.stagewhispers.com.au Stage Whispers 27

(Continued from page 26)

the technicians. The show takes a day to load in and have ready for performance, and it’s all packed up in under five hours, but we’ll have that down to even less, soon.

What are you working on now?

I am on Corteo, that’s just begun its North American arena tour, since it’s a remount of a big top show. We spent a few months in Montreal (where Cirque is based) and Quebec City designing and building the show, and since then we’ve opened in New Orleans and (at the time of writing) are about to load-in to Houston.

What do you love most about being a sound engineer?

I really enjoy the mix of creative and technical work that is involved in sound engineering. Some days I’m behind the console mixing a show based on the emotive and acrobatic content on stage and other days I’m rigging the speakers, making cables and loading trucks (and there’s no shortage of trucks...). Sound is very subjective and we all respond to it differently, so if an audience walks away applauding and happy, then that makes it worth the work. Ultimately what we do is a service, and I’m very thankful that I get to do what I love.

You have to enjoy working in a team environment as, like any career, the biggest challenges are often to do with people. Luckily I am surrounded by a great team at Cirque, with people from all around the world!

Corteo.

Photo: Cirque Du Soleil.

Corteo.

Photo: Cirque Du Soleil.

JOIN THE CONVERSATION! Follow us on Twitter: www.twitter.com/stage_whispers Like us on Facebook: www.facebook.com/stagewhispers 28 Stage Whispers May - June 2018

Winter Wonderland at Sofitel.

Photo courtesy: Staging Dimensions.

Lighting & Sound Feature

The Wonder of Gobos Patterns and images called gobos are often used to create dappled lighting onto film sets, theatre stages or for mood lighting in otherwise boring halls and venues during events and functions.

Gobo patterns can be selected from thousands of standard images, with foliage or leaf breakups amongst many of the designs to choose from, or you can design your own if you prefer.

The standard images are cheap gobo stencils that do the job well and can last indefinitely in modern profile spots, as long as they are treated with care.

The end result is up to the creativity of the user, who can colour the beams

with cheap coloured gels to achieve great effects.

cut off the image where light spill is not desired.

A profile is used to create the sharp Half Price Profiles circular beam of light that highlights a To project these patterns and lectern or a speaker. By simply images you need a light fixture that removing the gobo you have a light can focus on the inserted gobo; such a that can shape its beam via the lenses light is referred to as a profile. A profile or by utilising the shutters, to have the can have a fixed lens system or it will light only where it is desired. be a zoom profile that can enlarge or Ten years ago most profiles used reduce the size of the beam. They high power filament globes and were should also have shutters to be able to connected to the dimmer rack in a venue. Many are still in use but more LED fixtures are coming into all types of venues. They don’t require lots of power and don’t emit a lot of heat, so not only are they safer to use but they save both the gobos and the electricity bills.

Gobotech is Australia’s premier gobo manufacturer and can cater for any design you can imagine.

For a limited time they are offering an Italian made 80W LED Zoom Profile with built in dimmer and DMX for $788+GST (that’s half price).

Included is your choice of a stock steel gobo from their extensive catalogue.

For sales and information visit www.gobotech.com.au www.stagewhispers.com.au Stage Whispers 29

Lighting & Sound Feature “We were in one of NIDA’s smaller performance spaces, the Reg Grundy Studio, and the play was staged on a revolving stage in the round,” Veronique said.

“One of the challenges was, because we were lighting the audience area, that we had to create a dynamic lighting rig that worked for all the scenes but also didn’t shine in the audience’s eyes.”

The movement of the stage and how that affected the way actors were seen by the audience was another factor.

“Normally you know where the actor is going to be on stage and how they’re going to move. However, we didn’t have a revolve in the rehearsal room. On a revolve, the lights are coming from all sides as the actors rotate and are dipping in and out of the light, with the shadow on their faces changing the way they look. It’s much more dynamic. Depending on

Set construction for Fraternal.

30 Stage Whispers May - June 2018

Lighting An Audience NIDA’s 2017 October season of student productions offered an interesting challenge for student Veronique Benett. She worked as the Lighting Designer on Fraternal - an original play from NIDA graduate Jake Stewart - which lit the audience. where a person is sitting, the performance looks different,” she said.

“The director wanted the audience to feel part of the production and achieved this by lighting the audience as well as the set. This would then bring them into the same room as the actors. There were also venetian blinds all the way around the set, so the audience could be brought into the room.

“The lighting set the tone for the mood and what was happening. It was also used to help to shift the story along.

“I used a lot of colour, but in really soft tints for the set - like lavenders and chocolate shades. We lit the audience mainly using parcans, around 70 in

total for the whole setup, with predominantly a warm wash.

“We had to shape the space.

Sometimes the lighting was on the audience and we would adjust the brightness and intensity according to the scene and how we wanted the audience to feel. Other times it was completely off them because we didn’t want them to be seen and we didn’t want them to feel as though everyone else could see each other in the room.

“Once you’re in the venue, a lot of it is done as you go along because things look better once you try them out in different places. You have to account for what you see in the venue.

It was a great lesson as a new designer to build flexibility into the lighting rig.”

Another challenge arrived in that the

This image and right: Scenes from Fraternal.

Reg Grundy Studio is a film studio and isn’t equipped with a standard rig like other theatres.

“I found a love of the really lowtech parcans and I also used an older light called a Pattern 23, which had really beautiful light because they’d been maintained by the team at NIDA. I was able to hire a couple of movers - I had four of those in the corners. Other than that it was conventional lights,

based on what we had here. I didn’t use any of the film stock.”

Why is important to be part of the process early?

“If you’re part of the design team early you can be part of the decision making and design process, rather than facilitate someone else’s vision.

You can incorporate the lighting as part of the whole picture on stage”.

Veronique Benett, who was a Bachelor of Fine Arts (Technical Theatre and Stage Management) student at the time of the production, is now studying for a Master of Fine Arts (Design for Performance) at NIDA and training to be a multi-disciplinary designer (lighting, set and costume).

The creative team included Ben Sheen, the Director, and Masters of Fine Arts (Design for Performance) student Genevieve Graham, who was Set and Costume Designer.

www.stagewhispers.com.au Stage Whispers 31

into our mixing desk, with the amps left on stage as props.

Rather than give them fold back, Recently we have been asked to do comes into the audience and straight we stick headphones on the musicians, the audio for a number of groups down the cast’s sensitive microphones. and give each of them an individual staging new rock musicals - such as We approach this at the outset by mixer. Each can then adjust the mix to Rock of Ages and We Will Rock You having gentle negotiations regarding their personal taste, and volume. who have been more used to staging where the company puts the This can reduce the on stage traditional music theatre. The three musicians. The rear of the stage can electronic sound of the band to zero, most important factors here are help move them away from the with the only thing left to manage isolation, isolation and isolation. audience, but puts them very close to being the drums. A recent example The first challenge is the same as a the actors. In some cases they simply was Ashfield Musical Society’s traditional musical: in a lot of instances have to be down in front of the stage - production of Rock of Ages. We could people are doing a musical in a room which can be difficult to manage. make the show very loud in the room, which is not designed for performing a Unless you can isolate them with as there was no spill at all from the musical in (there may not even be an sound shields (as with perspex panels band into the performers’ microphones orchestra pit). So you end up with a lot for trumpets and percussion in regular (adjacent to the band onstage) or of musicians putting out a lot of musicals) then the more separated the directly into the auditorium. better - even in another room volume, often very close to the But don’t forget that the audience audience and performers. (although this does add extra costs for has paid to come and see a musical With a rock band that takes on a video links so the cast and MD can see theatre show, not a live rock concert, whole new dimension, with the extra each other). so the final mix needs to take that into volume compared to a conventional One advantage of a rock musical is consideration. Directors who ask for it orchestra. The musical director often that a rock band has fewer musicians, to be as loud as possible often come wants it to be the full in-your-face rock but on the other hand they want to up to us after opening night and say band, but when their volume exceeds a play loud. A recent solution of ours is that some members of the audience certain manageable point, it becomes to remove the musicians from the found it too loud (and clear, of very tricky. Much of the direct sound amps. We plug the instruments directly course!)

David Betterridge from Loud and Clear Audio in Sydney shares his tips on getting the best sound from rock musicals.

32 Stage Whispers May - June 2018

Can Small Theatres Afford LED?

Lighting & Sound Feature

John McKissock from Clearlight Shows recommends that small theatre companies keep their traditional tungsten lights going for as long as possible.

The speed with which LED lighting is developing is increasing every year, yet the cost to change over to the new technology is still prohibitive for many theatres. In the long term we will all be using LED to light our shows, but in the short term the following is worth considering, prior to making the big jump.

Today there are a huge range of products available to us and all lighting manufacturers have LED products available, from moving lights to fresnel and profile spots, par cans and cyc floods. The challenge is to find the right products for your space within a budget.

From my experience, in over 40 years in the industry, the reality is you get what you pay for and the trap is to try to get more fixtures for whatever your budget is, rather than look at the

investment over several years and purchase products that will give years of trouble-free use.

In April I attended the Prolight and Sound show in Frankfurt and the range of products available from dozens of manufacturers was unbelievable. There were so many copy products that even with my experience I found it difficult to pick what was value for money.

In Australia we have good brands that are at a premium cost, then so many look-alike Chinese copies at a fraction of the price.

The best way to deal with this is to rely on an independent supplier to match the best product to your theatre and consider transitioning to LED over a

Left: A traditional Fresnel.

Right: An LED spotlight.

five year plus period. I suggest looking at what fixtures use the highest wattage lamps and consider replacing them first. Then look at what wash fixtures could be replaced for your basic colour washes.

Many companies push colour changing profile spots for your front of house rig, and these are great, but most designers use a cool and warm colour to light the stage, so consider the cost difference between two warm white only LEDs or half the number of colour changing LEDs. One of the most important considerations is the consistency between the colour batches with the same product. If you buy two cheap LED pars this year

John is the founder of Clearlight Shows.

For lighting sale & hire: www.clearlight.com.au

don’t expect that next year you will get the same matching colours from the same brand when you buy the next two. It is very important to pick brands that calibrate their colours so that you can spread your purchase over several years.

If your budget is very tight, consider some basic maintenance to your existing rig. This is a fraction of the cost of your total replacement and can help give you time to transition to LED over a longer timeline.

Replacement of the lamp base, if it is showing signs of blackening or arcing, could save you money on lamps that are failing early due to faulty lamp bases.

There are still lamps and lamp bases available for most fixtures, so this is worth considering for the short term.

www.stagewhispers.com.au Stage Whispers 33

Lighting Mega-Musicals Or Micro Musicals!

Bowie Rising.

Jason Bovaird from Moving Light Productions gets asked regularly to quote on both large-scale musicals and boutique works. He explains the challenges posed by different scaled productions.

The first questions I ask our clients when quoting for a show are what are the key elements to the production and what style they want. This will determine the size of the lighting rig, lighting equipment required, and the crew needed.

Let’s look at the large commercial production of Avenue Q for Prince Moo productions we designed in 2016 for Her Majesty’s Theatre in Melbourne. The producers of this show were new to the game of commercial musical theatre, so there was already a Avenue Q.

34 Stage Whispers May - June 2018

huge pressure of them getting the show “right”.

As the lighting designer of a commercial musical, the most important thing you want to do is to be able to surround yourself with a great lighting team. I engaged our resident Associate Lighting Designer Maddy Seach and Head of Lighting Declan O’Neill to ensure that it looked great and would be replicated in a transfer to the 3000 seat Burswood Crown Theatre, Perth.

We brought in a mixture of moving light technology and conventional Memphis - The Musical.

lighting. Our fixtures onstage consisted of Mac 700 Profile spots spread across 5 bars. This allowed us to be able to create decal washes, individual specials, and the “fantasy looks” required during the show. We also used a mixture of 12 Moving Head Washes onstage that allowed us to light the set and create silhouettes onstage and strong backlight.

Our FOH rig was the most important clever part of the design in that on our low perch shots we used the new Chauvet LED profile, having 6 per side. This allowed us to create saturated colours during the musical numbers, and fantasy, as well as creating skin tone colours during the dialogue and quieter moments. Also useful in musical theatre design is the Advanced FOH Truss. This allowed us to rig large spot movers and washes to be able to create the face fill upstage or downstage.

For a production of Wicked by the Encore Theatre Company at the Princess Theatre in Launceston, which recently won Production of the Year at the Tasmanian Theatre Awards, our team used a lot of the in-house stock, which saved money for the company in the long run. This meant I was able to use a lot more moving lights in the design and create both a new look for Wicked and still retain the commercial “look” the audience expected. A show like Wicked needs to have a lot of WOW Factor lighting and still be able to tell a great story.

The biggest challenge with Wicked was being able to create the ‘flying’ moment in “Defying Gravity”, where Elphaba had to look like she was flying with no wires being seen. This was achieved with a huge amount of backlight moving head spots creating a huge beam effect through the smoke and haze and creating a large amount of timed lighting cues with the orchestral music. Adding to that we were able to use 12 x Maveric Spots, 12 x Bumble Bee 330-watt spots, 24 x LED Cans, 10 x 60 LED Movers, 6 x Chauvet LED Profiles and 12 Moving Wash Units from our stock, shipped over to Launceston. The ability to be able to also light the set was a major component of the design, creating the huge, bold visual looks that you come to expect of Wicked.

One of the key factors with this lighting rig was being able to light behind the large rotating walls and create huge shafts of light, creating shadows.

Large budgets are able to provide this type of rig and allow you, as a designer and production company, to tour around Australia. Other smaller shows want to create the large bold looks of a musical on a smaller budget.

For Stage Art in Melbourne, Memphis - The Musical was an Australian premiere at Chapel Off Chapel. I opted for a much more compact lighting rig using the stock at Chapel and only brought in eight Spot Moving lights and eight Wash Moving heads. Memphis needed to look like

Wicked.

Lighting & Sound Feature

Moving Light Productions looks forward to working with new clients and can be found at www.movinglight.com.au the 1950’s, with loads of saturated colour and block colour, as well as keeping the black and white feel for dialogue scenes to transport the audience through time. This was the same for a production of Bowie Rising last year.

The in-house rig already had plenty of LED Cans onstage and 2 Robe 700 spots FOH, along with Source Four Zooms. By using a lighting rig like this, already in place at Chapel, it made the bump in cheaper and quicker.

Moving Light Productions has a busy schedule of diverse projects that range from a national tour of Peppa

Pig “Surprise” to the Australian tour of Around The World In Eighty Days and corporate clients. We also enjoy working with schools.

Over the last two years the team from MLP have been working closely with the staff from Mentone Grammar School and theatre designer Richard Stewart in providing the initial lighting consultation and implementation for their multi-million dollar performing arts precinct, culminating in lighting designing for the full version of Les Misérables, which opened the venue in August.

www.stagewhispers.com.au Stage Whispers 35

Stage On Disc

By Peter Pinne

Andrew Lloyd Webber - Unmasked: The Platinum Collection (4 CD Set/Verve) Listening to this set is like listening to the soundtrack of your life - so many iconic recordings, so many iconic shows.

Released to coincide with Andrew Lloyd Webber’s 70th birthday and the publication of his autobiography, the tracks are taken from original cast recordings, soundtracks and pop singles, and include songs from every one of his musicals during his amazing 50-year career.

Not since the late, great Irving Berlin has a musical theatre composer had his hand so accurately on the button of what is commercial and what the public wants. The first album is basically the single pop releases, everything from Murray Head’s original “Superstar” and Julie Covington’s “Don’t Cry For Me Argentina” (Evita) to Boyzone’s “No Matter What” (Whistle Down the Wind) and Jose Carreras and Sarah Brightman’s “Amigos Para Siempre”.

Nicole Scherzinger’s beautiful version of “Memory” from her 2016 stint in Cats at the London Palladium heads the new recordings and first time releases, which also feature Beyonce’s “Learn to be Lonely” (Phantom of the Opera Movie) live from the 2004 Oscars, and several orchestral suites - “Phantom Phantasy”, “Variations on Variations”, “Sunset Suite” and “Aspects of Aspects” by the Orchester Der Vereinigten Büehnen Wien.

The album even finds room for Alice Cooper’s performance of “King Herod’s Song”, which he repeated in NBCs recent Jesus Christ Superstar Live at Easter, and the last song Elvis Presley ever recorded, an early effort by Rice and Lloyd Webber called “It’s Easy For You”. 

include Kelli O’Hara, Randy Graff and Hayden Tee. One of the more unusual tracks has Streisand impersonator Steven Brinberg singing the cut “This Is More Than a Ballroom” from a proposed revival of Ballroom. 

Online extras!

Grab Hamlisch Uncovered on iTunes by scanning the QR code or visiting https://apple.co/2IZpEQq Josh Piterman with the City Of Prague Philharmonic Orchestra (Fanfare Records 300).

The City of Prague Philharmonic Orchestra is what gives class to Josh Piterman’s debut classical cross-over PopOpera album. Piterman brings his big voice and plenty of Latin colour to songs that he sings in Italian, Spanish and English. “Unchained Melody” (Ghost), “A Thousand Years (por mil años mas)” (The Twilight Saga), and “Falling Slowly” (Once), rub shoulders with John Farnham’s “Burn for You” (Vivo per te), “Wicked Game” by Chris Isaak (Melanconia), and Radio Head’s “Creep” (Ad ogni costo).

Needless to say the orchestra is superb throughout. Lucy Maunder guests on the last track, an intense and all-stops-out-finale of “Il Gladiatore” (Gladiator). Best track is an evocative reading of Christina Aguilera’s Grammy-winning break-upsong, “Say Something” (Parlami). 

Online extras!

Buy Josh Piterman’s debut album on iTunes now. Scan the QR code or visit https://apple.co/2H4CgFb

Witches (ABC 481 6820) The Wicked juggernaut continues unabated with this Get the unmissable Unmasked on iTunes collection of Witch related songs sung by four divas who by scanning the QR code or visiting have all played Glinda and Elphaba in the musical. The https://apple.co/2H53vj1 album springs from a 2016 Sydney Opera House concert which featured Lucy Durack, Helen Dallimore, Jemma Rix, Hamlisch Uncovered (Marvin Hamlisch/Howard Ashman/ Amanda Harrison and Ben Lewis, with musical direction by Kellie Dickerson, who also did the orchestrations. Dickerson Carolyn Leigh/Rupert Holmes/Tim Rice/Crag Carnelia) is on board for the CD, where the accompaniment is (Broadway Records) Tony Sheldon gets to sing one of the best tracks on this provided by the Opera Australia Orchestra, a four-piece group with Bev Kennedy on keyboard, and Simon Gleeson piano and vocal collection of unrecorded Marvin Hamlisch songs. “The Only Way To Go”, with a lyric by Tim Rice, was substituting for Lewis.

The Wicked score features heavily in the song stack written for a 1976 TV musical version of John Osborne’s The Entertainer which starred Jack Lemmon. It has the jaunt “Defying Gravity”, “Popular” and “For Good”, along with and memorability of A Chorus Line’s “One”, and is perfect songs from Frozen (“Let it Go”/”Love is an Open Door”) and for the has-been vaudevillian character Archie, and Sheldon Into the Woods (“Children Will Listen”/”Last Midnight”). brings it home with expertise. The rest of this collection features songs from Sweet Smell of Success, Smile, The Rating Nutty Professor, Imaginary Friends and Bullets Over  Only for the enthusiast  Borderline Broadway, sung by a host of Broadway performers who  Worth buying  Must have  Kill for it

Online extras!

36 Stage Whispers May - June 2018

There’s lustrous four-part harmonies on “Pure Imagination” (Willy Wonka and the Chocolate Factory), “Bewitched” (Pal Joey) and “Make Him Mine” (The Witches of Eastwick), whilst Gleeson’s tenor adds nicely to the (initially) a capella finale of “Over the Rainbow” (The Wizard of Oz). 

songs, whose lyrics are finely crafted. The show did not yield any hits, but Lund’s “A Quiet Life” is tender, Johnson and Foy duet winningly on “I Wouldn’t Bet One Penny”, whilst Fagan’s ballad “He Makes Me Feel I’m Lovely” is worthy of rediscovery. Bonus tracks include instrumental versions of the score by the Pete King Orchestra. 

Online extras!

Online extras!

Get the CD of Witches from the ABC Shop by scanning the QR code or visiting https://ab.co/2H4Cv33

Pick up a copy of Donnybrook! from Stage Door. Scan the QR code or visit http://bit.ly/2J0kDa7

Kid Victory (John Kander/Greg Pierce) (Broadway Records BR-CDO 7517) A teenager kept chained in a basement for a year seems an unlikely story for a musical, even a chamber musical like this, but composer John Kander has never been afraid of dark confronting projects. 18-year-old Luke returns home to his devout small-town Christian family after being abducted for a year, struggling with the aftermath of his experience and adjusting back into family life. It’s an interesting premise but as we never hear the teen sing (he’s the only one who doesn’t), his emotions which include guilt, fear and self-hatred are never musically realised and it all feels a bit half-finished. The opening, “Lord Carry Me Home,” a gospel-inflected number sung by Luke’s mother (Karen Ziemba) and company sets the bleak scene well, and occasionally Kander can’t help but draw on his familiar beats, a jaunty jazz moment with Detective Marks and “Not Quite True” and a tap-dance in “What’s the Point”, but otherwise it’s a score of song fragments. The lyrics are prosaic, but Michael Starobin’s charts for the small ensemble frequently save the day. 

Holiday Inn (Irving Berlin) (Ghostlight Records) The stage version of Irving Berlin’s 1942 Paramount movie starring Bing Crosby and Fred Astaire, Holiday Inn, first saw the light of day at Goodspeed Opera House in 2014. It then played The Muny in St Louis in 2015 before finally landing on Broadway in 2016. An old-fashioned song-and-dance show, it was well cast with Bryce Pinkham (Gentlemen’s Guide to Love and Murder) and Corbin Bleu (Mamma Mia!) as the leads, but the generic book added nothing new and it expired after three months. A slew of Berlin hits dot the score which introduced the perennial “White Christmas”. “It’s a Lovely Day Today” from Call Me Madam was added to the songs, as well as “Stepping Out with My Baby” from Easter Parade. It’s an undemanding and pleasant listen. 

Online extras!

Sing along with the cast recording of Holiday Inn on iTunes. Scan or visit https://apple.co/2IXcenZ

Online extras!

Kid Victory is available to download on iTunes now. Scan the QR code or visit https://apple.co/2H4DkZH Donnybrook! (Johnny Burke) (Stage Door STAGE 9054) Debuting on CD, with what turns out to be a charming and tuneful score, is the 1961 Original Broadway Cast recording of Donnybook! An adaptation of the 1952 film The Quiet Man, starring John Wayne and Maureen O’Hara, the story about a former boxer who has returned to Ireland to find a wife was written by songwriter Johnny Burke, whose Hollywood fame never translated to the Broadway stage despite trying four times. An excellent cast led by Art Lund (The Most Happy Fella), Eddie Foy Jr (The Pajama Game), Joan Fagan (Redhead) and Susan Johnson (The Most Happy Fella), bring plenty of vigour and spirit to the www.stagewhispers.com.au Stage Whispers 37

B

roadway uzz

By Peter Pinne

The stage incarnation of Frozen, Disney’s highestgrossing animated film ever, has finally arrived on Broadway to positive but not smash reviews. However, that should not affect the box office, which saw it ranking fourth on the highest-grosses list with a take of over 2 million. New York Times headlined their review “Frozen hits Broadway with a little magic and some icy patches”, while Vulture claimed “it confidently throws its hat into the ring for a long and lively life on Broadway”. Magic comes in the form of Elsa stripping off her glove before singing “Let It Go” and having it miraculously fly away, no strings attached, a dress-switch mid-song worthy of Cher in Las Vegas, and a stunning curtain of Swarovski crystals arranged in patterns of traditional decorative Norwegian folk art. Whilst “Let It Go” is the showstopper and Caissie Levy (Elsa) is “sensational” singing it, the roof-raiser is the new number “Hygge” (pronounced HOO-ga), a Scandinavian custom of sitting by the fire drinking alcohol and surrounding yourself with warmth and coziness. Opening the second act, the Caissie Levy as Elsa, Patti Murin as Anna, and the Company of Frozen.

Photo: Deen van Meer / Disney.

Online extras!

See why Disney’s Frozen is set to smash the box office. Scan the QR code or visit https://youtu.be/sKLREPyI-dY song is sung by Oaken who walks down the aisle greeting members of the audience before breaking into song accompanied by a chorus of prancing Norwegian saunagoers wearing nothing but towels and batting themselves with branches and leaves. As the dancers work themselves into a joyous frenzy about hygge, the towels disappear, leading to some very clever choreography by Rob Ashman, who still manages to make it G-rated. It’s a riot!

But if Frozen under-whelmed the critics, Tina Fey’s movie-to-stage adaptation of her 2004 film Mean Girls had them (almost) salivating, saying the show was “pretty damn funny”, and what a novel statement that was to make about a contemporary musical. According to scribe Steven Suskin, “it succeeds as an exuberantly mirthful crowdpleaser”. Taylor Louderman (Regina), Kate Rockwell (Karen) and Ashley Park (Gretchen), who play the plastic Mean Girls 38 Stage Whispers May - June 2018

of the title, came in for their share of accolades (“treacherously lethal”), as did Grey Henson’s “almost too gay to function” Damian, and Kerry Butler’s turn playing triple adult roles. The music was written by Fey’s husband Jeff Richmond (30 Rock), with lyrics by Nell Benjamin (Legally Blonde), and direction and choreography by Casey Nicholaw (Mormon, Aladdin), who apparently has highjacked one of his Mormon ideas for the glitz and tap of “Stop”. The New York Times thought the elitist put-downs

by Regina were “a lot more entertaining than the more earnestly aspirational doings of the heroines of Frozen, Anastasia, and, their deathless sorority founder, Wicked”, whilst the New York Daily News claimed it “tickles the ears, eyes, and funny bone”.

After a 25-year hiatus, Glenda Jackson returned to Broadway in a revival of Edward Albee’s psychodrama Three Tall Women, in a part that according to the New York Times gave her, her “Queen Lear moment”. Jackson, a classy star of film and television in the 1970s, with two best actress Oscars and a handful of Emmys, pulled the plug on her acting career in 1992 when she was elected to the House of Commons on the Labour ticket. Retiring from politics in 2015, in 2016 she proved she had not lost any of her verve with an exhilarating King Lear at the Old Vic. Now, in this revival of Albee’s play (the first on Broadway), said to be about his fractured relationship with his adopted mother, Jackson’s “astounding return” in a “riveting” performance has made critics re-evaluate Albee’s 1994 Pulitzer Prize-winner, which they’re now calling a “classic”.

Directed by Joe Mantello, the three-hander also stars Laurie Metcalf and Alison Pill.

Before it has even officially opened, Harry Potter and the Cursed Child has made Broadway history with a box-office gross of $2,138,859 the week ending April 8. The previous record was $1,623,495 - set by All the Way starring Bryan Cranston (Breaking Bad) in June 2014. The new Potter play is based on an original story by J.K. Rowling, Jack Thorne and John Tiffany, has a script by Thorne and direction by Tiffany. The production is one play presented in two parts over either a matinee and evening or two consecutive nights. It received its World Premiere at the Palace Theatre, London in July 2016. Seven of the West End cast are transferring to Broadway - Jamie Parker (Harry Potter), Noma Dumezweni (Hermoine), Paul Thornley (Ron), Poppy Miller (Ginny), Sam Clemmett (Albus), Alex Price (Draco) and Anthony Boyle (Scorpius).

Elaine May, the legendary comedienne most well-known for her collaborations with the late Mike Nichols in the 1950s and ‘60s, is set to make a long-awaited return to Broadway in a new production of Kenneth Lonergan’s play The Waverly Gallery. It will be the Broadway premiere of Lonergan’s play, first produced by Second Stage Theatre in 2000. Starring alongside May will be Michael Cera (Lobby Hero) and Lucas Hedges. The play is considered a “memory play” and follows a grandson watching his grandmother slowly die from Alzheimer’s disease. It was a finalist for the 2001 Pulitzer Prize for Drama. Lonergan’s credits include a 2016 Best Screenplay Oscar for the indie movie Manchester by the Sea.

London Calling

By Peter Pinne Casting has been finalised for a new jukebox rock musical, Knights of the Rose, to be directed and choreographed by Racky Plews. The text, created by Jennifer Marsden, taken from the literature of Christopher Marlowe, William Shakespeare and Geoffrey Chaucer, tells the tale of a group of noble knights who must defend both their house and their honour as they return from victory to an even greater threat against their kingdom. The cast features Adam Pearce (King Athelstan), Chris Cowley (Palamont), Oliver Savile (Hugo), Matt Thorpe (Horatio), Ruben Van Keer (John), Rebecca Bainbridge (Queen Matilda) and Rebekah Lowings (Isabel). Songs spring from the catalogues of Bon Jovi, Muse, Meat Loaf, R.E.M., Robert Palmer, The Hollies and Bonnie Tyler. Plews’ previous credits include Green Day’s American Idiot. Knights of the Rose plays the Arts Theatre 29 June - 26 August.

Pressure, a play about the preparations for the Second World War’s D-Day, currently playing at Finsbury Park’s Park Theatre, is to get a West End transfer, playing the Ambassadors Theatre, 6 June - 1 September. John Dove’s production was first staged at Edinburgh’s Royal Lyceum Theatre in 2014 before it transferred to Chichester’s Minerva. The principal cast, who have been with it since the beginning, playwright and star David Haig (James Stagg), Malcolm Sinclair (Dwight D. Eisenhower) and Laura Rogers (Kay Summersby), will also make the West End transfer.

Based on fact, the play is about a lugubrious Scottish meteorologist (Haig), summoned to Allied HQ in Portsmouth to advise General Eisenhower on climate conditions for the biggest amphibious landing in history.

Stagge claims a storm is on the way, but his flashy American counterpart insists the forecast is clear skies and plain sailing. Charles Spencer (Telegraph) said it was “funny, tense and deeply affecting”, claiming Haig “excels as both the writer and the star”.

David Haig as James Stagg in Pressure.

Online extras!

Check out the trailer for Pressure. Simply scan the QR code or visit https://youtu.be/7dx1HPkhnoQ

The Park Theatre venue has just announced its new season, which will include six World Premieres. Les Dennis (Coronation Street/Family Fortunes) will play a faded comedian, Bobby, in Danny Robins’ black-comedy End of the Pier. Once a household name with 20 million TV viewers, but now resigned to live a life of solitude and second-rate panto, Bobby’s life is changed when Michael (Blake Harrison), the nation’s favourite comic, arrives at his door asking for help to save his career. The World Premiere season, which also features Nitin Ganatra and Tala Gouveia, plays from 11 July. Other Park premieres include The Other Place, a psychological thriller about a neurologist by Sharr White (19 September - 20 October), which is followed by Joanna Murray-Smith’s Honour (25 October - 24 November). There are also revivals of The Rise and Fall of Little Voice (15 August - 15 September), and JM Barrie’s original play version of Peter Pan (5 December - 5 January).

Hot button topics pushed in productions offered in the smaller Park90 space include Abigail Hood’s Spiral, set in present day London about a teenager who inexplicably disappears, Stephanie Martin’s Alkaline, about two old secondary school friends whose friendship is tested when one of them announces her conversion to Islam, and Gloria Williams’ Bullet Hole, about a young Londoner who is a victim of Female Genital Mutilation.

London’s mania for jukebox musicals isn’t abating anytime soon. With the recent arrival of Meat Loaf’s Bat Out Of Hell and Tina - The Tina Turner Musical, comes the announcement that a new Rick Astley musical featuring a host of his biggest hits is in the pipeline. Written by Ricky Gervais, the show, to be titled Strangers to Love, tells a story of a rule-abiding couple who are ready to fully commit to each other, but despite their aching hearts, are too shy to admit their feelings. The musical is to star Kaiser Chief singer Ricky Wilson as Rick, making his West End debut. It’s also rumoured that Ricky Tomlinson (Royle Family) will appear as Rick’s father Rick Snr. Further ‘Ricks’ associated with the production include Ricky Martin (choreography), Ricky Hatton (fight direction) and Ric Wakeman (orchestrations). Songs include “Never Gonna Give You Up”, “When Ever You Need Somebody” and “Together Forever”.

The English are past-master purveyors of tea-andcrumpets nostalgia and there’s no better example of it on offer in the West End than the return of Emma Rice’s 2008 stage version of David Lean’s 1945 film Brief Encounter, which is actually playing in a cinema multiplex on Haymarket, a venue that originally opened as a theatre in 1927 before it became a movie house. Based on Noël Coward’s playlet Still Life, the story follows two strangers, both married, who meet at a train station and find themselves drawn into a short but poignant affair. Isabel Pollen and Jim Sturgeon play the would-be lovers who step from the stage into a black-and-white film version of themselves. Coward songs dot the production - everything from “A Room with a View” (This Year of Grace/1932), to “Go Slow Johnny” (Sail Away/1961) - all performed live.

www.stagewhispers.com.au Stage Whispers 39

David Spicer attended the 58th national conference of Musical Theatre New Zealand, where amateur theatre companies fight for the rights for the best shows to serve up to their highly developed audience.

On the far north of the South Island of New Zealand is the ridiculously beautiful town of Nelson. It has gorgeous beaches and is an hour away from spectacular national parks and skiing. In 2018 it was also the host for the national conference of Musical Theatre New Zealand.

The President of the Nelson Musical Theatre Company Ross Benbow rolled his eyes when I asked him how many different companies stage musicals in his town of 70,000.

“About ten,” he said, “excluding high schools.”

They are “Nelson Musical Theatre, Nelson Repertory Theatre, Nelson Theatrix, Nelson Youth Theatre, Theatre Alive, Ghost Light 40 Stage Whispers May - June 2018

Theatre, Sound Stage and two youth groups with 12 or 13-year olds, I can’t think of their names, doing things like Rent,” he said disapprovingly.

Why so many?

“Some of it is ego driven. People not happy with what a society has been doing decide to start their own. Some have been trying to help kids. One was set up as a school but deteriorated into a profit -making venture.”

His club has been forced to call off productions because of a lack of available volunteers. There is much gnashing of teeth at a rival company which picks up the rights to Broadway blockbusters and triple casts them with children.

Nelson Musical Theatre is focussing on dinner theatre - which is making money for it - with an occasional blockbuster in the town’s main 350 seat theatre. The town used to have a 1200-seater but it burnt down - which Ross says was due to “faulty wiring” that proved “very fortunate” to a local property developer.

The community theatre owns its own 140 seat theatre. It leases the land off the local council and constructed the venue from an old cathedral Sunday school building. A developer sold them a 100-year-old building for one dollar. It was delivered to the edge of the town’s historic precinct called Founders Park just over a decade ago.

Ross Benbow, who is a local real estate agent, is confident of his club’s future now that it’s secured by real estate. Its next production is The Wizard of Oz.

Online extras!

Our video from the MTNZ conference is on Stage Whispers TV now. Scan or visit https://youtu.be/NzDpE_8j55s

The success of the Consortium has benefits for smaller groups which they do not appreciate.

The Nelson Musical Theatre company staged Mamma Mia! well ahead of any community theatres in all other English-speaking countries.

The intense rivalry in Nelson is The sector appears to be in reflected across New Zealand. At a good financial health. According to copyright seminar I was verbally a survey by Musical Theatre New attacked for reserving the stage Zealand, more than 50% of rights to We Will Rock You for the productions in 2017 made a profit largest theatre companies in the of more than $5000. country first.

Most involved are volunteers.

New Zealand has half a dozen Only a quarter of the companies theatre companies in regional pay their directors. towns that group together to build Other survey findings were that very sophisticated sets. In the case 61% of the productions staged of We Will Rock You the were musicals and only 21 percent “Consortium” has purchased the were straight plays. The most West End set and shipped it to New popular productions were Beauty Zealand. Other consortium shows and the Beast Junior, Mary Poppins, touring the country Avenue Q, Blood Brothers, include Wicked, Priscilla Queen of Calendar Girls and Rock of Ages. the Desert, Les Misérables, The sector remains Phantom and Sister Act. overwhelmingly Anglo-Saxon. 86% of cast members and 90% of

production teams are European.

The casts are on the young side, with just under 60% aged under 30.

The conference, held at the Nelson’s Founders Park and the very English Grand Mecure Hotel, was very well organised. Traditional activities include fancy dress parties and a welcome to the virgins (conference first timers, who are always given a rousing reception).

www.stagewhispers.com.au Stage Whispers 41

Gosford Musical Society’s production.

We Will Rock You has blasted off around Australia.

Three directors share their notes.

Daryl Kirkness (Gosford Musical Society) Three major ideas influenced nearly every part of my direction.

Wayne Scott Kermond (Rockhampton) Firstly, I wanted the show to feel as much like a rock My “in” when directing WWRY was all about concert as a musical in a theatre, particularly the three big celebrating the amazing Queen music (of which I’m very show stopping numbers at the end of the show. But I built much a fan) and having fun. I decided to make the show towards this by directing some songs to be performed in about pure entertainment, a visual spectacle, and pushed ‘rock’ style and by gradually introducing hand-held microphones for the visual effect as much as the sound the comedy to create a theatrical Rock concert.

The futuristic storyline has the youth of the day implications. spending all their time on screens with little or no real Secondly, I clearly differentiated the two worlds of Ga interaction with other people (which sounded familiar). It’s Ga (brainwashed conformists) and the Bohemians (the important not to get too caught up in the darker side of rebels) clarifying and separating them by some big picture social issues. I introduced ideas such as diversity, gender the piece, as the message is strong and will get through. and oppression. The Ga Gas were gender neutral, whereas I realized that WWRY (like Queen itself) does not take itself too seriously. It has a wonderful tongue-in-cheek the Bohemians celebrated the full range of genders. attitude, with lots of room to laugh. I explored all the The Bohemians were directed to be as individual as comical moments, adding gags and physical comedy. I possible, getting the performers to make their own individual choices within scenes. The Ga Gas were a united broke the forth wall and also localised jokes at times.

We also added the ensemble into principle solo routines, chorus with no individuality. gave them more involvement in scenes, adding characters I also gave the Ga Gas as much technology as possible; to also create more production routines, and made sure laser guns, lights in costumes and the majority of the that the choreography was blended with the story to help lighting effects, but kept the Bohemians simpler, less push it forward, as opposed to isolating the dancers to a electronic, less now and more 60s, 70s and 80s.

Thirdly I ensured that the music, including the band, “back-up role”.

I took risks - like “crowd surfing” (which was safely fully sounded as much like the original songs as possible. I staged) - and let the rawness and vocal prowess, through constantly referred back to the original Queen recordings the brilliant songs of the lead characters, shine though. rather than recordings of WWRY as a show, particularly The result was fantastic with standing ovations at every when it came to harmonies. performance.

42 Stage Whispers May - June 2018

Online extras!

Check out a video for WWRY in Rockhampton. Scan the QR code or visit https://youtu.be/MxCtKMOB9LI

Rockhampton’s production.

Photo: Tracey Hamlyn.

Trevor Patient (Platinum Entertainment Perth) Knowing that the writer of the musical Ben Elton lives down the road and might turn up, we went all out to make it an extravaganza.

We used His Majesty’s Theatre in the centre of Perth, with a double cast, guest professionals (the Murphy brothers) in lead roles and a large chorus that totalled 150 people.

A large AV screen was rigged so it could drop in and out of the stage, allowing space for our large chorus. I commissioned a friend of mine to make the images which were abstract, dreamy, flying through space and a bit psychedelic.

We found out the theatre had a trap door and this was used during “Bohemian Rhapsody”, when four guys sunk down as they sang. Another innovation was having a man in the role of Killer Queen.

The show stopping effect came during the last song. I thought, how about we drop in a huge guitar? It was made from global truss, had lights on it and LED tubes.

Chris Murphy was mounted on it as he played “Bohemian Rhapsody” live.

The whole production took five and half months to put together. It was just so much fun to rehearse and we have created this beautiful community itching to do more.

Ben Elton came on opening night. He told me that he expected to give us notes but instead said, “I have got nothing for you. It was flawless.”

Platinum Entertainment Perth’s production.

Online extras!

Get a load of the A Capella skills of Perth’s WWRY cast. Scan or visit https://youtu.be/Vl4hVSDnFFI www.stagewhispers.com.au Stage Whispers 43

Choosing A Show

New Releases Music Theatre International Australasia www.mtishows.com.au Chitty Chitty Bang Bang JR. Everyone’s favourite high-flying car is ready to land on your stage.

This adaptation of the West End production has many hilarious roles, classic songs from the beloved movie and a new score. www.mtishows.com.au/chitty-chitty-bang-bang-jr Disney’s Aladdin JR. Based on the iconic animated film, with an Academy Awardwinning score by Alan Menken, Howard Ashman and Tim Rice.

When the street urchin Aladdin vies for the beautiful Princess Jasmine, he uses a genie’s magic power to become a prince in order to marry her.

Includes expandable cast and simple instructions for the magic flying carpet. www.mtishows.com.au/disneys-aladdin-jr-0 The Theory of Relativity From Drama Desk Award nominees Neil Bartram and Brian Hill (The Story of My Life), The Theory of Relativity looks at our surprisingly interconnected lives. Whether you’re allergic to cats, in love for the first or tenth time, a child of divorce, a germaphobe or simply a unique individual, audience members and actors alike are sure to find themselves in this fresh new musical. www.mtishows.com.au/theory-of-relativity

ORiGiN Theatrical www.origintheatrical.com.au Dangerous Daughters Book by Nick Stimson. Music and lyrics by Annemarie Lewis Thomas.

Full length musical, drama, docudrama/historic, 1910s / WWI. Casting: 3M, 11F. The lives and loves of Christabel, Sylvia and Adela Pankhurst, the three 44 Stage Whispers May - June 2018

daughters of Emmeline Pankhurst, the figurehead of Britain’s Suffragette movement.

The Pankhursts were a family divided, a family often at war.

The musical tells the story of these three remarkable sisters against the setting of the First World War and other great events of the time.

Chariots Of Fire

By Mike Bartlett. Full Length Play, Drama, 1920s. Casting: 32M, 2F, 7M or F. 1924. The Paris Olympic Games.

A devout Scottish Christian runs for the glory of God. The son of an immigrant Lithuanian Jew runs to overcome prejudice. Two young track athletes who live for the beautiful purity of running and who prevail in the face of overwhelming odds.

Dominie Drama www.dominie.com.au/drama From Pioneer Drama Service (www.pioneerdrama.com) Me, My Selfie & I

By Jonathan Dorf.

Cast: Flexible cast of 640. Duration: 45 minutes.

Through a series of scenes & monologues to explore the world of social media, we meet a group of teens who are struggling to find the balance between documenting their lives and living them.

Ask Shawna

By Vern Harden.

Cast: Flexible cast of 15.

Set: Simple Interior and Exterior Sets. Duration: 30 minutes.

A play about teen drinking and driving. Ideal as an opening to a discussion about teen drinking and driving, the play does not preach, but instead asks teens to learn from the tragedy that unfolds.

From Nick Hern Books 100

By Christopher Heimann, Neil Monaghan and Diene Petterle. Cast: 2m, 2f + 1 m/f.

Imagine that you must choose one single memory from your life.

Imagine that choosing this memory is your only way of passing through to eternity.

Imagine that you have just one hour to choose...

Blue Stockings

By Jessica Swale. Cast: 8-10m, 814m +2.

A moving, comical and eye-opening story of four young women fighting for education and self-determination against the larger backdrop of women’s suffrage (1896).

Great Expectations

By Charles Dickens - a new adaptation by Nick Ormeroo and Declan Donnellan.

Cast: 7f, 16m.

A gritty adaptation of Dickens’ least sentimental love story with a cast of some of his most unforgettable characters.

David Spicer Productions www.davidspicer.com.au The Jailhouse Frocks

By Devon Williamson.

Duration: 120 minutes. 2 Acts. 3F, 2M. Dimwitted Police Officer Dwayne’s tranquil evening is interrupted by the arrests of three unlikely women - the mayor’s wife in a state of complete alcoholic breakdown, the local mad cat-lady looking for somewhere to stay out of the rain, and a dangerous looking New Yorker who has managed to crash her car into the police station while speeding through town.

Choosing A Show Royal Ball, inviting all of the eligible princesses from the surrounding kingdoms in the hope that Alexander will find himself a wife.

Maverick Musicals and Plays www.maverickmusicals.com School musicals are a joyous event - bringing together students, teachers and families each year! But choosing the right musical for your students is often not easy. Maverick Musicals have been creating and supplying original, age appropriate musicals to schools around the world for over 38 years, with an online browsing, ordering and delivery service.

“Musicals on a Stick” is a new online option that means scripts, scores, rehearsal and backing tracks and much more, for any title, can be ordered on a USB for maximum flexibility.

Browse sample script & music packages on the Maverick Musicals website.

The Princess and the Pea Script by Natalie Trengrove, songs by Jim Fury.

Cast 10 F, 5 M and Chorus. Includes CD Backing Track.

Queen Margareter and King Marmaduke are worried that their son, Prince Alexander, is lonely. They decide to hold a

www.stagewhispers.com.au Stage Whispers 45

 Rude mechanicals! Russell Godwin as Bottom and Kathy Godard as Starveling in the Guild Theatre’s upcoming production of Shakespeare’s A Midsummer Night’s Dream, directed by Susan Stapleton. From 18 May to 9 June at the Guild Theatre, Walz St, Rockdale (NSW).

Read more on our website at http://bit.ly/2EZP9yz Photo: Craig O’Regan.

 Beware Earthlings! The cult musical comedy Little Shop of Horrors is heading to Rockdale Town Hall, landing on Wednesday 30 May for 6 performances only.

Dave Collins (pictured here with Audrey II) plays the hapless flower shop worker Seymour Krelborn in the Rockdale Musical Society production.

Read more on our website at http://bit.ly/2qMamHS Photo: Rod Herbert.

46 Stage Whispers May - June 2018

Stage Briefs

 Ross Holohan, Simon Emmerson, Esther HannanMoon and Wills Burke in Lane Cove Theatre Company’s production of She Stoops to Conquer

by Oliver Goldsmith, at St Aidan’s Performance Space, Longueville (NSW) from 11-26 May. Read more on our website at http://bit.ly/2Heh9Az Photo: Dawn Pugh.

 Matt Hourigan as Scott Hastings and Bernice Keen as Fran in Willoughby Theatre Company’s production of Baz Luhrmann’s Strictly Ballroom - The Musical, playing at The Concourse Theatre, Chatswood, from May 19 to June 3. For more information visit www.willoughbytheatreco.com.au www.stagewhispers.com.au Stage Whispers 47

On Stage A.C.T. The Bleeding Tree by Angus Cerini. May 9 - 12. The Playhouse, Canberra Theatre Centre. (02) 6275 2700.

Fame - The Musical. Conceived and developed by David De Silva. Book by Jose Fernandez, lyrics by Jaques Levy and music

by Steve Margoshea. Supa Productions. May 11 - 26. The Q Performing Arts Centre, Queanbeyan. (02) 6285 6290.

Quiet Faith by David Williams.

May 15 - 18. The Courtyard Studio, Canberra Theatre Centre. (02) 6275 2700.

Arms and the Man by George Bernard Shaw. Canberra Rep. May 17 - Jun 2. Theatre 3. (02) 6257 1950.

Bosom Buddies - Nancye Hayes & Todd McKenney. May 21 & 22. Canberra Theatre Centre.

(02) 6275 2700.

The Merry Widow. The Australian Ballet. May 25 - 30.

48 Stage Whispers

A.C.T. & New South Wales

Canberra Theatre. (02) 6275 2700.

- Jul 1. Canberra Theatre. (02) 6275 2700.

Sense and Sensibility by Kate Hamill, adapted from Jane Austen’s novel. May 29 - Jun 2.

The Playhouse, Canberra Theatre Centre. (02) 6275 2700.

Switzerland by Joanna Murray Smith. Jul 3 - 14. The Courtyard Studio, Canberra Theatre Centre. (02) 6275 2700.

Radio on Repertory Lane.

Canberra Rep. Jun 7 - 16.

Theatre 3. (02) 6257 1950.

New South Wales

The Book of Mormon. Book, Music and Lyrics by Trey Parker, Robert Lopez and Matt Stone.

The Beginning of Nature.

Continuing. Lyric Theatre, Australian Dance Theatre. Jun Sydney.

14 & 15. Canberra Theatre. (02) BookOfMormonMusical.com.au 6275 2700.

Going Down by Michele Lee. The Wedding Singer. Music by Matthew Sklar, lyrics by Chad Beguelin, and a book by Beguelin and Tim Herlihy.

Queanbeyan Players. Jun 22 Jul 1. The Queanbeyan Performing Arts Centre. (02) 6285 6290.

World Premiere. Sydney Theatre Company / Malthouse Theatre.

Until May 5. Wharf 2 Theatre.

(02) 9250 1777.

The Children by Lucy Kirkwood.

Australian Premiere. Sydney Theatre Company / Melbourne Theatre Company. Until May 19.

The Curious Incident of the Dog Drama Theatre, Sydney Opera in the Night-Time. Adapted by House. (02) 9250 1777.

Simon Stephens from Mark Sherlock Holmes and the Haddon’s book. National Speckled Band by Arthur Conan Theatre of Great Britain. Jun 27 Doyle, adapted by Max Gee.

Genesian Theatre Company Inc. Until May 12. 420 Kent St, Sydney. www.genesiantheatre.com.au Limbo. Strut & Fret. Until May 6.

The Spiegeltent Wollongong.

(02) 4224 5999.

Disney’s Alice in Wonderland Jr. Adapted from Lewis Carroll’s novel, with music and lyrics by Sammy Fain and Bob Hilliard, Oliver Wallace and Cycoban, Allie Wrubel and Ray Gilbert, Mack David, Al Hoffman and Jerry Livington. Young People’s Theatre. Until May 19. Young People’s Theatre, Hamilton (Newcastle). (02) 4961 4895.

Rock of Ages. Book by Chris D’Arienzo, Arrangements & Orchestrations by Ethan Pop. Campbelltown Theatre Group.

Until May 5. 0426 285 287.

Still Point Turning: The Catherine McGregor Story. By Priscilla Jackman. Based on interviews with Catherine McGregor. World Premiere.

Just $50 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage Sydney Theatre Company. Until May 26. Wharf 1 Theatre. (02) 9250 1777.

The Hollow by Agatha Christie.

Maitland Repertory Theatre.

May 2 - 20. (02) 4931 2800.

Youth & Destination by James Raggatt. Until May 13. KXT Kings Cross Theatre. www.kingsxtheatre.com

Josephine Wants to Dance.

Based on the book by Jackie French and Bruce Whatley. May 2 - 5. Glen Street Theatre, Belrose. (02) 9975 1455.

The Lieutenant of Inishmore by Martin McDonagh. New Theatre. Until May 26. www.newtheatre.org.au

Benefactors by Michael Frayn.

Pymble Players. May 2 - 26.

Pymble Players Theatre. (02) Sylvia by A.R. Gurney. Woy Woy 9144 1523 (Mon-Fri 11am7pm).

Little Theatre. Until May 13.

Peninsula Theatre, Woy Woy. Revolt. She Said. Revolt Again (02) 4344 4737.

by Alice Birch. House of Sand.

Summer of the Seventeenth Doll Old 505 Theatre. May 2 - 19. www.old505theatre.com

by Ray Lawler. Newcastle

Theatre Company. Until May 12. Shirley Valentine by Willy NTC Theatre, Lambton. (02) Russell. Ensemble Theatre. May 4952 4958.

3 - Jun 9. (02) 9929 0644.

New South Wales Good Cook. Friendly. Clean. By Brooke Robinson. Griffin Theatre Company. May 4 - Jun 16. SBW Stables Theatre. (02) 9361 3817.

Seussical by Stephen Flaherty and Lyn Ahrens. Coffs Harbour Musical Comedy Company. May 4 - 27. Jetty Memorial Theatre, Coffs Harbour. (02) 6648 4930.

Disney’s Mulan Jr. Music and lyrics Matthew Wilder, David Zippel, Stephen Schwartz, Jeanine Tesori and Alexa Junger.

Based on the 1998 Disney film “Mulan” and the story “Fa Mulan” by Robert D San Souci.

Arcadians’ Children’s Theatre.

May 4 - 6. arcadians.org.au

Annie KIDS. Musical for young performers, adapted from the Black Coffee by Agatha Christie. Wicked: The Untold Story of the book and score by Thomas An adaption of the Hercule Witches of Oz. Music and Lyrics Meehan, Charles Strouse and Poirot Story (Dinner & Show).

by Stephen Schwartz, Book by Martin Charnin. High Street Cowra Music & Dramatic Holzman based on the novel by Productions. May 4 - 12. St Society. May 4 & 5. Billimari Gregory Macguire. Carillon Philip’s Christian College Community Hall.

Theatrical Society. May 3 - 12 Theatre,Waratah (Newcastle). fb.me/cowramds fb.me/CarillonTheatricalSociety (02) 4960 6600.

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

The Sugar House by Alana Valentine. Belvoir. May 5 - Jun 3. Upstairs Theatre, Belvoir Street Theatre. (02) 9699 3444.

Barry Humphries: The Man Behind the Mask. Developed and staged by Humphries. May 5 - 6. Civic Theatre, Newcastle.

(02) 4929 1977.

The Readers by Scott Smart.

25A Season. May 5 - 19.

Downstairs Theatre, Belvoir Street Theatre. (02) 9699 3444.

Troilus and Cressida by William Shakespeare. Secret House. The Depot Theatre, Marrickville. May 9 - 19. thedepottheatre.com The Aspirations of Daise Morrow. Based on Patrick White’s short story ‘Down At the Dump’, featuring Zephyr Quartet. Brink Productions. May 9 - 12. Wollongong Town Hall, Main Auditorium. (02) 4224 5999.

Personal by Jodee Mundy. Jodee Mundy Presents. May 9 - 13, The Playhouse, Sydney Opera

Stage Whispers 49

On Stage

New South Wales

House, 9250 7111 & Jun 8 & 9, Riverside Theatre, Parramatta, (02) 8839 3399.

Stages and Salvador Dinosaur.

May 11 - 12. Civic Playhouse, Newcastle. (02) 4929 1977.

26. Dural Soldiers’ Memorial Hall. duralmusicalsociety.org

Cruise Control by David Williamson. Criterion Theatre Grafton Inc. May 10 - 20. www.criteriontheatre.org.au

Two One Act Plays. Cooma Little Theatre, 26 Monaro Ave, Cooma. May 11 - 26. www.clt.org.au

Coup de Grace by Robin Hawdon. Australian premiere.

Arts Theatre Cronulla. May 11 Jun 16. 6 Surf Rd, Cronulla. www.artstheatrecronulla.com.au

The 25th Annual Putnam County Spelling Bee. Book by Rachel Sheinkin. Music and Lyrics by William Finn. Originally Conceived by Rebecca Feldman.

Theatre & Company. May 10 13. Riverside Theatre, Parramatta. (02) 8839 3399.

Disney’s Aladdin Jr. The Regals.

May 11 - 19. Rockdale Town Hall, 448 Princes Highway, Rockdale. www.theregals.com.au

Kiss of the Gallery Guard by Carol Dance. May 11 - 26.

Philharmonia Choirs Hall, Walsh Bay. www.kissofthegalleryguard.net.au

Popular Theatre Company. May 17 - 19. Civic Playhouse, Newcastle. (02) 4929 1977.

Belfast Girls by Jaki McCarrick.

Highlands Theatre Group. May 18 - 27. Mittagong Playhouse. www.htg.org.au

Moonlight Cabaret Moondance. Bright cabaret by Jerry Ray looking at sexual relationships. May 18 - 26.

Royal Exchange, Newcastle. (02) Legally Blonde The Musical.

Motherhood The Musical by Sue 4929 4969.

Book by Heather Hach. Music & Fabisch. Parkes Musical and Cabaret “GOLD”. A Program of lyrics Lawrence O’Keefe & Nell Dramatic Society. May 12 - 27. music celebrating Strathfield Woyzeck. Adapted by Claire Benjamin. Orange Theatre The Little Theatre, Parkes.

Musical Society’s 50 years in Pasvolsky from Georg Büchner’s Company. May 11 - 20. Orange www.parkesmandd.com.au community theatre, compiled play. Pasvolsky Actors Studio.

Civic Theatre. (02) 6393 8122. and directed by Philip Clark.

Blackie Blackie Brown: The May 10 - 12. The Dungeon, May 18 - 20. The Latvian She Stoops to Conquer by Oliver Traditional Owner Of Death by Adamstown (Newcastle).

Theatre, Parnell St, Strathfield.

Goldsmith. Lane Cove Theatre Nakkiah Lui. World Premiere. stickytickets.com.au (02) 8007 7785.

Company. May 11 - 26. St Sydney Theatre Company / An Inspector Calls by J B Aidans, Longueville.

Malthouse Theatre. May 12 Yeomen of the Guard by Gilbert Priestley. Glenbrook Players. www.lanecovetheatrecompany.com Jun 30. Wharf 2 Theatre. (02) and Sullivan. EUCMS. Eastwood May 11 - 18. Glenbrook 9250 1777.

Uniting Church Musical Society.

Robin Hood & The Babes in the Community Theatre. (02) 4739 Wood by Ben Crocker.

Priscilla Queen of the Desert by May 18 - Jun 2. Eastwood 1110. (traditional English pantomime). Stephan Elliott and Allan Scott. Uniting Church. (02) 8061 7195.

The Orchid & the Crow. Comedy Dural Musical Society. May 11 - Michael Cassel Group and cabaret by Daniel Tobias. Critical Nullarbor Productions in A Midsummer Night’s Dream by association with MGM on William Shakespeare. Guild Stage. From May 13. Capitol Theatre, Walz Street Rockdale.

Theatre, Sydney.

May 18 - Jun 9. (02) 9521 priscillathemusical.com.au 6358.

The Walworth Farce by Enda Walsh. Workhorse Theatre Co. May 14 - Jun 10. KXT - Kings Cross Theatre. www.kingsxtheatre.com

Jekyll & Hyde. Conceived for the stage by Steve Cuden & Frank Wildhorn. Manly Musical Society. May 18 - 26. www.manlymusicalsociety.com

We Will Rock You by Queen and Ben Elton. Engadine Musical Society. Sutherland Entertainment Centre. May 16 20. 1300 616 063.

Baz Luhrmann’s Strictly Ballroom The Musical. Book by Baz Luhrmann & Craig Pearce, adapted by Terry Johnson.

Willoughby Theatre Company.

May 19 - Jun 3. The Concourse Theatre, Chatswood. (02) 8075 8111.

The Tempest by William Shakespeare. Sport for Jove.

May 16 - 19, Riverside Theatre, Parramatta, (02) 8839 3399, & May 23 - 26, Seymour Centre, (02) 9351 7940.

Josephine Wants to Dance.

Adapted from the book by Jackie French and Bruce Whatley. Monkey Baa Theatre Company. May 17 - 18. Civic Theatre, Newcastle. (02) 4929 1977.

A Mystery Musical. Well-known musical, with the title a secret until the overture. The Very 50 Stage Whispers

Urinetown the Musical. Book and lyrics by Greg Kotis. Music and lyrics by Mark Hollman.

Blue Mountains Musical Society.

May 19 - Jun 3. Blue Mountains Theatre, Springwood. www.bmms.org.au Julia Morris: Lift & Separate Golden Jubilee Tour. Amusing look at the title performer’s recent life. Live Nation. May 20.

Civic Theatre, Newcastle. (02) 4929 1977.

Just $50 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage

New South Wales

STOMP returns to Australia and New Zealand from May to August, touring to Melbourne (May 1 - 6), Wellington (May 9 - 13), Christchurch (May 16 - 20), Auckland (May 27 - 30), the Gold Coast (May 31 - Jun 3), Adelaide (Jun 6 - 10) and Sydney (Jul 31 - Aug 5). Visit StompTour.com.au or StompTour.co.nz for details.

Photo: Steve McNicolas.

The Bride of War. Co-created by Hannah Cox, Caitlin West and Pierce Wilcox. Sekrit Projekt. Old 505 Theatre. May 22 - 26. www.old505theatre.com Quiet Faith by David Williams.

Alternative Facts. May 22 - 26.

Civic Theatre, Newcastle. (02) 4929 1977.

13 The Musical. Music and Lyrics by Jason Robert Brown.

Book by Dan Elish and Robert Horn. Hills Musical Theatre Company. May 25 - Jun 2. www.hillsmtc.com Rent by Jonathan Larson.

Ashfield Musical Society. May 25 - Jun 3. (02) 9793 1331.

Lost Boys by Lachlan Philpott.

Merrigong Theatre Company.

May 23 - Jun 2. Illawarra Performing Arts Centre, Bruce Gordon Theatre. (02) 4224 5999.

Chicago. Music by John Kander.

Lyrics by Fred Ebb. Book by Fred Ebb and Bob Fosse. Berowra Musical Society. May 26 - Jun 2.

Berowra Community Centre. www.bmsi.org.au

Rock of Ages. Book by Chris D’Arienzo, Arrangements & Orchestrations by Ethan Pop. Wyong Musical Theatre Company. May 25 - Jun 2. The Art House, Wyong. www.wmtc.com.au

The Importance of Being Earnest by Oscar Wilde.

Genesian Theatre Company Inc. May 26 - Jun 30. www.genesiantheatre.com.au Bosom Buddies - Nancye Hayes & Todd McKenney. The musical theatre stars look through story,

Online extras!

Feel the beat of the return of STOMP by scanning the QR code or visiting https://youtu.be/GRpbV1YwafI

song and dance at the highs and lows of their renowned careers. Christine Dunstan Productions. May 28 & 29; Capitol Theatre, Tamworth, (02) 6766 2028; Jun 1, Shoalhaven Entertainment Centre, Nowra, 1300 788 503; Jun 3, Riverside Theatre, Parramatta. (02) 8839 3399.

Rockdale Town Hall. www.rockdalemusicalsociety.com Hinterland. Comedy by Matt Cameron. Young People’s Theatre Newcastle Inc, Hamilton. May 30 - Jun 8. (02) 4961 4895.

Things Not To Do After A Break Up by Wayne Tunks. Tunks Productions. The Depot Theatre, KX Ultra. bAKEHOUSE theatre Marrickville. May 30 - Jun 16. company in partnership with KX thedepottheatre.com Hotel for Vivid. May 28 - Jun The Winslow Boy. Castle Hill 10. KXT - Kings Cross Theatre.

Players. Jun 1 - 23. Pavilion www.kingsxtheatre.com Theatre, Doran Drive, Castle Hill.

Twilight and Mut. Motimaru (02) 9634 2929.

Dance Company (Berlin). Old Playhouse Creatures by April de 505 Theatre. May 29 - Jun 9.

Angelis. Newcastle Theatre www.old505theatre.com Company. Jun 2 - 16. NTC Little Shop of Horrors by Theatre, Lambton (Newcastle).

Howard Ashman and Alan (02) 4952 4958.

Menken. Rockdale Musical Lola Montez In Concert. By Society. May 30 - Jun 3.

Peter Stannard and Peter

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

Stage Whispers 51

On Stage Benjamin. Diadem Productions.

Jun 2. Riverside Theatre, Parramatta, (02) 8839 3399.

New South Wales & Queensland

Music by Larry Grossman. Lyrics

by Hal Hackady. Miranda Musical Society. Jun 14 - 24.

Sutherland School of Arts.

Shakespeare Festival.

Adaptations of Shakespeare Bliss by Peter Carey, adapted for mirandamusicalsociety.com.au scenes by junior performers. the stage by Tom Wright.

Marjorie Prime by Jordan Hunter Drama. Jun 3. Civic Belvoir. Jun 9 - Jul 15. Upstairs Harrison. Ensemble Theatre. Jun Playhouse, Newcastle. (02) 4929 Theatre, Belvoir Street Theatre.

15 - Jul 21. (02) 9929 0644.

1977.

(02) 9699 3444.

Joseph and the Amazing Saint Joan by George Bernard Shaw. Sydney Theatre Company. Jun 5 - 30. Roslyn Packer Theatre. (02) 9250 1777.

August Osage County by Tracy Letts. New Theatre. Jun 5 - Jul 7. www.newtheatre.org.au Quiet Faith by David Williams.

Jun 6 - 10. Glen Street Theatre, Belrose. (02) 9975 1455.

Jimmy Barnes - Working Class Man: An Evening of Stories & Songs. Frontier Touring, Triple M & MAX. Jun 6. Civic Theatre, Newcastle. (02) 4929 1977.

A Midsummer Night’s Dream by William Shakespeare. Sport for Jove, Jun 6 - 9, Seymour Centre, 9351 7940 & Jun 14 - 16, Riverside Theatre, Parramatta, (02) 8839 3399.

Tramp Steamer Tramp. Cabaret

by David Baker and Chris Gill, with a cargo ship setting.

Cabaret. Jun 7 - 10. Royal Exchange, Newcastle. (02) 4929 4969.

Melbourne International Comedy Festival Roadshow 2018. Jun 7, Cessnock Performing Arts Centre, (02) 4993 4266 & Jun 8 - 10, Civic Theatre, Newcastle, (02) 4929 1977.

Oliver! By Lionel Bart. Roo Theatre Company. Jun 8 - 23.

Roo Theatre, Shellharbour. (02) 4297 2891.

The Girl and The Woman.

National Theatre of Parramatta.

Jun 28 - Jul 7. Riverside Theatre, Parramatta. (02) 8839 3399.

Present Laughter by Noël Coward. Orange Theatre Company. Jun 29 - Jul 1.

The Perfect Murder by Peter Technicolor Dreamcoat. Musical Orange Civic Theatre. (02) 6393 James. Nowra Players. Jun 9 by Tim Rice and Andrew Lloyd 8122 or Ticketek.

23 Players Theatre, Bomaderry. Webber. Novocastrian Players Roomba Nation by Hurrah and Theatre on Brunker. Jun 15 Hurrah. Old 505 Theatre. Jul 3 1300 662 808.

- 30. St. Stephen’s Hall, Dresden by Justin Fleming.

21. www.old505theatre.com Adamstown (Newcastle). (02) bAKEHOUSE Theatre. Jun 11 The Tragedy of Hamlet: The Jul 8. KXT - Kings Cross Theatre. 4956 1263.

Prince of Skidmark - A www.kingsxtheatre.com Star Struck 2018. 26th annual Badaptation of The Bard by The celebration of music, theatre, Stolen by Jane Harrison.

Listies. Sydney Theatre National Theatre of Parramatta. song, dance and comedy with Company. Jul 4 - 22. Everest students from NSW Education Jun 12. Cessnock Performing Theatre, Seymour Centre. (02) Department Hunter schools. Jun 9250 1777.

Arts Centre. (02) 4993 4266.

15 - 16. Newcastle Air by Joanna Erskine. Old 505 The Rolling Stone by Chris Urch.

Entertainment Centre, Theatre. Jun 13 - 30.

Broadmeadow. (02) 4921 2121. Outhouse Theatre Co. Jul 5 - 21. www.old505theatre.com Reginald Theatre, Seymour Impending Everyone by Michael They Divided The Sky. From the Andrew Collins. ATYP @ Griffin. Centre. (02) 9351 7940. novel by Christa Wolf, adapted Jun 20 - Jul 7. SBW Stables Queensland

by Daniel Schlusser. 25A Aladdin by Alan Menken, Theatre. (02) 9361 3817.

Season / Daniel Schlusser Howard Ashman, Tim Rice and Macbeth by William Ensemble. Jun 13 - 30.

Shakespeare. Sport for Jove. Jun Chad Beguelin. Disney. Until Jun Downstairs Theatre, Belvoir 3. Lyric Theatre, QPAC. 136 Street Theatre. (02) 9699 3444. 20 - 23, Riverside Theatre, 246.

Parramatta, (02) 8839 3399 & Downtown - The Mod Musical Jun 27 - Jul 7, Seymour Centre, The Crucible by Arthur Miller.

by Phillip George, David Brisbane Arts. Until May 19.

(02) 9351 7940.

Lowenstein, Peter Charles (07) 3369 2344.

Unqualified by Genevieve Morris. The Arcadians Theatre X Files - The Musical by Lindsay Hegney and Catherine Moore.

Group. Jun 14 - 23. The Kerns, Aaron Holmes, Phillip Ensemble Theatre.

Jun 22 Jul Arcadians’ Miner’s Lamp Malcolm, Ben Laye-Skinner, 21.

(02) 9929 0644.

Theatre. (02) 4284 8348.

Allen Gilbert and Phil Hamilton.

Letters to Lindy by Alana Micro Theatre Newcastle - The Brisbane Arts. Until Jun 4. (07) Valentine. Jun 22 & 23, Director’s Cut. Eight acclaimed 3369 2344.

Illawarra Performing Arts plays from previous Micro Funny Girl. Music by Jule Styne.

Theatre festivals staged by new Centre, Bruce Gordon Theatre, Lyrics by Bob Merrill. Book by (02) 4224 5999; Jun 26 & 27, directors. Jun 14 - 23.

Isobel Lennart. Noosa Arts Joan Sutherland Performing Arts www.microtheatre.com.au Centre, (02) 4723 7600; Aug 29 Theatre. Until May 29. (07) Disney’s High School Musical 5449 9343.

- Sep 2, Glen Street Theatre, On Stage! Book by David Belrose. (02) 9975 1455.

Man Of La Mancha by Dale Simpatico, music and lyrics by 13 composers. Bling Performing Dash by Robert Allan. The Depot Wasserman, Joe Darion and Mitch Leigh. Gold Coast Little Theatre, Marrickville. Jun 27 Arts. Jun 14 - 15. Lake Theatre. Until May 19. (07) Jul 13. thedepottheatre.com Macquarie Performing Arts 5532 3224.

Centre, Warners Bay Lucia di Lammermoor by

Mary Poppins. Based on the book by P.L. Travers and the Walt Disney Film. Music and Lyrics by Richard M. Sherman and Robert B Sherman. Book by Julian Fellows. New Songs by George Stiles and Anthony Drewe. Singleton Theatrical Society. Jun 8 - 23. Singleton (Newcastle). (02) 4961 0490.

Civic Centre. singletontheatricalsociety.com.au Snoopy. Based on The Comic Strip PEANUTS by Charles M. Season’s Greetings by Alan Schulz. Book by Charles M. Ayckbourn. Hunters Hill Theatre. Schulz Creative Associates, Jun 8 - 17. Hunters Hill Town Warren Lockhart, Arthur Hall. (02) 9879 7765.

Whitelaw and Michael L. Grace.

52 Stage Whispers

Performing Arts Centre, IMB Theatre. (02) 4224 5999.

Donizetti. Opera Australia. Jun 28 - Jul 27. Joan Sutherland Theatre, Sydney Opera House.

(02) 9318 8200.

Secret Bridesmaids’ Business by Elizabeth Coleman. Cairns Little Theatre. Until May 5. 1300 855 835.

The Beginning of Nature by Garry Stewart. Australian Dance Theatre. Jun 28 - 30. Illawarra

One Flew Over The Cuckoo’s Nest by Dale Wasserman and Ken Kesey. Mousetrap Theatre,

Just $50 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage Redcliffe. Until May 13. (07) 38883493.

Queensland

Concert Hall, QPAC. May 11.

136 246.

The Longest Minute by Robert Kronk and Nadine McDonaldDowd. Queensland Theatre.

Big Fish by Andrew Lippa and The Dog Logs by C.J. Johnson.

John August. Phoenix Ensemble, Javeenbah Theatre Co. May 11 - Cremorne Theatre, QPAC. May 26 - Jun 23. 136 246 Beenleigh. Until May 19. (07) 26. (07) 5596 0300.

3103 1546.

We Will Rock You by Ben Elton Rachmaninov Symphonic and Queen. Brisbane Arts. May Baskerville by Ken Ludwig.

Dances. Qld Symphony Spotlight Theatre Co, Gold Orchestra. Concert Hall, QPAC. 26 - Aug 11. (07) 3369 2344.

Coast. Until May 13. (07) 5539 4255.

Twelfth Night by William Shakespeare. Qld Theatre.

Playhouse, QPAC. Until May 19.

136 246.

Steel Magnolias by Robert Harling. Toowoomba Repertory Theatre. Until May 12. (07) 4632 8058.

The Village by Cievash Arean, Arwin Arwin, Silva Asal, Joyce Taylor, Lili Sanchez and Ngoc Phan. La Boite. Roundhouse Theatre. Until May 5. (07) 3007 8600.

May 12. 136 246.

The Shifting Heart by Richard Beynon. Centenary Theatre Group. Chelmer Community Hall. May 12 - Jun 2. 0435 591 720.

Burn The Floor. Dance Partner Productions. Concert Hall, QPAC. May 8 - 9. 136 246.

A Prudent Man by Katy Warner.

Empire Theatre, Toowoomba.

May 9, 1300 655 299 & Gardens Theatre, May 11 - 12, (07) 3138 7750.

Dirty Dusting by Ed Waugh & Trevor Wood. Ipswich Little Theatre. May 9 - 26. (07) 3812 2389.

Barry Humphries - The Man Behind the Mask. Teg Dainty.

Concert Hall, QPAC. May 10.

136 246

The Foreigner by Larry Shue.

Sunnybank Theatre Group. Jun 1 - 16. (07) 3345 3964.

As You Like It by William The Naked Magicians. Empire Shakespeare. Nash Theatre. May Theatre, Toowoomba. Jun 2.

12 - Jun 2. (07) 3379 4775.

1300 655 299.

Brisbane by Matthew Ryan.

Villanova Players. F.T. Barrell Auditorium, Yeronga. May 12 27. (07) 3395 5168.

The Harpist: Zavier De Maistre.

Australian Brandenburg Orchestra. Concert Hall, QPAC. May 15. 136 246.

Rent by Jonathan Larson. QPAC and Matt Ward Entertainment. One Act Plays. Mousetrap Cremorne Theatre, QPAC. May 2 Theatre, Redcliffe. May 18 - 19.

- 19. 136 246 (07) 3888 3493.

The Best of British. Qld Pops Carousel by Rodgers & Orchestra. Concert Hall, QPAC, Hammerstein. Griffith Musical May 5, 136 246 & Empire Theatre. Burke Street Studio Theatre, Toowoomba, May 6, Theatre, Woolloongabba. May 1300 655 299.

19 - 26. (07) 3735 3224.

Cinderella & Scheherazade by Tchaikovsky, Strauss, Prokofiev and Rimsky Korsakov. Qld Symphony Orchestra. Concert Hall, QPAC. May 6. 136 246

Pop Goes The 80s. QPAC Choir.

Concert Hall, QPAC. May 29.

136 246.

Joseph Stein. Toowoomba Choral Society. Empire Theatre, Toowoomba. Jun 7 - 9. 1300 655 299.

4Seasons. Expressions Dance Co. Playhouse, QPAC. Jun 12 22. 136 246.

The Curious Incident of the Dog in the Night-Time by Simon Stephens. Concert Hall, QPAC. Jun 12 - 24. 136 246.

The 78-Storey Treehouse by Richard Tulloch, adapted from the book by Andy Griffiths and Terry Denton. Empire Theatre, Toowoomba. Jun 18 - 19. 1300 655 299

Swan Lake by Tchaikovsky.

Queensland Ballet. Regional Tour - Jun 20 - Jul 7. Mackay Entertainment & Convention Centre, Jun 20; Pilbeam South Pacific by Rodgers & Theatre, Rockhampton, Jun 23; Hammerstein. Queensland Empire Theatre, Toowoomba, Musical Theatre. Jun 6 - 10. 136 Jun 29 - 30; Brolga Theatre, 246 Maryborough, Jul 4; Munro Fiddler on the Roof by Jerry Martin Parklands, Cairns, Jul 7.

Bock, Sheldon Harnick and The Mathematics of Longing by Suzie Miller. La Boite, Roundhouse Theatre. Jun 2 22. (07) 3007 8600.

Tex Perkins - The Man In Black.

Concert Hall, QPAC. May 24 25. 136 246.

Bare: A Pop Opera by Jon Hartman (Lyrics) & Damon Intrabartolo (Music).

Understudy Productions.

Brisbane Powerhouse. May 24 Jun 2. (07) 3358 8613.

Carmen & Firebird by Georges Bizet & Igor Stravinsky. Qld Ballet. Playhouse QPAC. May 25 - Jun 3. 136 246.

Bosom Buddies. Todd McKenney & Nancye Hayes.

Empire Theatre, Toowoomba.

May 25. 1300 655 299.

Heathers The Musical by Laurence O’Keefe & Kevin Murphy. Spotlight Theatre, Benowa, Gold Coast. May 25 Doug Parkinson - Dear Prudence Jun 18. (07) 5539 4321.

50th Anniversary Tour. Ben Maiorana Entertainment.

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

Stage Whispers 53

On Stage

Queensland & Victoria

Hit Off-Broadway play PUFFS or: Seven Increasingly Eventful Years at a Certain School of Magic & Magic, which has been playing in New York since December 2015, will have its Australian premiere at the Alex Theatre, St Kilda on 31 May, 2018 with previews commencing 26 May, 2018. For seven years a certain boy wizard went to Wizard School. This, however, is not his story. This is the story of The Puffs, who just happened to be there too. Image: L-R: Keith Brockett, Ryan Hawke and Eva Seymour in PUFFS. Read more on our website at http://bit.ly/2qK0vTf Photo: Sanjeev Singh.

The Merry Widow by Franz Lehar. Opera Q. Lyric Theatre, QPAC. Jun 22 - 30. 136 246.

Victoria

Priscilla Queen of the Desert by Stephan Elliott and Allan Scott.

Les Misérables by Alain Boublil, Michael Cassel Group and Nullarbor Productions in Claude Michel-Schönberg, Herbert Kretzmer and Jean-Marc association with MGM on Stage. Until May 5. Regent Natel. Savoyards. Iona Theatre, Melbourne.

Performing Arts Centre, priscillathemusical.com.au Wynnum. Jun 23 - Jul 7. (07) 3893 4321.

Right Now by Catherine-Anne Toupin, translated by Chris Patti Lupone - Don’t Monkey with Broadway. Conservatorium Campbell. Red Stitch. Until May 20. Red Stitch Actors Theatre, St Theatre, Southbank. Jun 27.

Kilda East. (03) 9533 8083.

136 246.

Fred by Wendy Waters and Ian Camilleri. Tweed Theatre Co. Jun 29 - Jul 15. 1800 674 414.

A Little Princess by Andrew Lippa & Brian Crawley.

Beenleigh Theatre Group. Jun 29 - Jul 14. (07) 3807 3922.

Kiss Me, Kate. Book: Samuel and Bella Spewack. Music & Lyrics: Cole Porter. Gold Coast Little Theatre. Jun 30 - Jul 28.

(07) 5532 3224.

54 Stage Whispers

La Traviata by Verdi. Opera Australia. Until May 11. Arts Centre Melbourne. 1300 182 183.

Stones in his Pockets by Marie Jones. Williamstown Little Theatre. Until May 5. 0447 340 665.

All Things Considered by Ben Brown. Mordialloc Theatre Company. Until May 5. Shirley Burke Theatre, Parkdale. (03) 9587 5141.

Our Town by Thornton Wilder.

Malvern Theatre Company Inc. Until May 5. 1300 131 552.

The Resistable Rise of Arturo Ui

by Bertolt Brecht, adapted by George Tabori. Geelong Repertory Theatre Company.

Until May 5. www.geelongrep.com

The House of Bernarda Alba by Fredrico Garcia Lorca, translated

by David Hare. Heidelberg Theatre Co. Until May 12. (03) 9457 4117.

One Act Play Season. Eltham Little Theatre. Until May 12.

0411 713 095.

Bosom Buddies - Nancye Hayes Away by Michael Gow. Encore & Todd McKenney. May 1, Theatre Company Inc. Until May Frankston Arts Centre, (03) 5. 1300 739 099.

9784 1060; May 4 & 5, Whitehorse Centre, Tosca by Puccini. Opera Nunawading, (03) 9262 Australia. Until May 10. Arts 6555; May 8, Ulumbarra Centre Melbourne. 1300 182 Theatre, Bendigo, (03) 5434 183.

6100; May 10, Wendouree Anthony and Cleopatra by Centre for the Performing Arts, William Shakespeare. Bell (03) 5338 0980; May 15, Shakespeare. Until May 13. Arts Latrobe Performing Arts Centre Melbourne, Fairfax Centre, Traralgon, (03) 5176 Studio. 1300 182 183.

3333; May 17, Drum Theatre, Deceptive Threads by David Dandenong, (03) 8571 1666; Joseph and Karen Berger. La May 18 & 19, The Clocktower Mama Theatre. Until May 13.

Centre, Moonee Ponds, (03) (03) 9347 6142.

9243 9191.

Just $50 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage Hello Beautiful by Hannie Rayson. Theatre Works. May 2 6. Theatre Works, St Kilda. (03) 9534 3388.

Carmilla by Adam Yee. Kle Zeyn Theatre. May 2 - 13. La Mama Courthouse. (03) 9347 6142.

Hungry Ghosts by Jean Tong.

Company. May 3 - 19.

Southbank Theatre, The Lawler.

(03) 8688 0800.

Don Quichotte by Massenet.

Opera Australia. May 3 - 12.

Arts Centre Melbourne. 1300 182 183.

Bliss by Peter Carey, adapted for the stage by Tom Wright.

Malthouse Theatre / Belvoir.

Merlyn Theatre. May 4 - Jun 2.

(03) 9685 5111.

Agnes of God by John Pielmer.

Powderkeg Players. May 4 - 12.

0407 802 165.

The Wedding Singer. Book by Chad Beguelin and Tim Herlihy.

Lyrics by Chad Beguelin. Music

by Matthew Sklar. Bairnsdale Production Line Theatre Co. May

4 - 20. Forge Theatre and Arts Hub, Bairnsdale. (03) 5152 1482.

Victoria Going Down by Michele Lee. Malthouse Theatre / Sydney Theatre Company. May 10 - Jun 3. Beckett Theatre, Malthouse.

(03) 9685 5111.

Company. May 11 - 19. benallatheatrecompany.org.au

Ghost. Music & Lyrics by Dave Stewart & Glen Ballard. Based Witness for the Prosecution by on the Paramount Pictures film Agatha Christie. Croydon Parish written by Bruce Joel Rubin.

Players. May 4 - 12. Melba Phoenix Theatre Company. May College Theatre. 0447 014 584. 11 - 19. Doncaster Playhouse.

(03) 9012 5897.

Wild by Mike Bartlett.

Swerling and Abe Burrows.

NOVA Music Theatre. May 12 26. 1300 304 433.

Joseph and the Amazing Technicolor Dreamcoat. Music

by Andrew Lloyd Webber, lyrics

by Tim Rice. Horsham Arts Council Inc. May 4 - 19.

Horsham Town Hall. horshamartscouncil.com

Melbourne Theatre Company.

May 5 - Jun 9. Southbank Theatre, The Sumner. (03) 8688 0800.

Almost Face to Face by Stephen House. The Butterfly Club, Melbourne. May 8 - 12. thebutterflyclub.com Resident Alien by Tim Fountain.

Cameron Lukey. May 9 - 13. fortyfivedownstairs. (03) 9662 9966.

Ruby’s Wish. MakeBELIEVE. May 12 & 13. Arts Centre Melbourne, Playhouse Rehearsal Love Letters by A.R. Gurney. The Room. 1300 182 183.

Mount Players. May 11 - 27.

Guys and Dolls. Music and lyrics www.themountplayers.com

by Frank Loesser. Book by Jo

Calendar Girls by Tim Firth.

Wyndham Theatre Co. May 11 26. Crossroads Theatre, Werribee. wyndhamtheatrecompany.org.au

Strangers on a Train by Craig Warner. May 14 - 26. Torquay Theatre Group. www.ttt.org.au Shhh its and Giggles. Britni Leslie. The Butterfly Club, Melbourne. May 14 - 19. thebutterflyclub.com

The Bleeding Tree by Angus Cerini. Griffin Theatre Co. May Jane Eyre by Charlotte Brontë 15 - 19. Arts Centre Melbourne, adapted by Christine Davey. Skin Fairfax Studio. 1300 182 183.

Of Our Teeth Productions. May Beyond the Beehive: Amy 11 - 26. Shenton Theatre, Winehouse’s Musical Mastery.

Geelong. 0409 389 461.

Carol Whitfield. The Butterfly Love Letters by A.R. Gurney. The Club, Melbourne. May 15 - 19.

Mount Players. May 11 - 27. thebutterflyclub.com Mountview Theatre, Macedon.

Elegy by Douglas Rintoul.

(03) 5426 1892.

Theatre Works and Lab Kelpie.

Baz Luhrmann’s Strictly May 16 - 20. Theatre Works, St Ballroom The Musical. Book by Kilda. (03) 9534 3388.

Baz Luhrmann and Craig Pearce, Ellida by Henrik Ibsen, translated adapted by Terry Johnson. CLOC

by May-Brit Akerholt. La Mama Musical Theatre. May 11 - 26.

Courthouse. May 16 - 27. (03) National Theatre Melbourne, St 9347 6142.

Kilda. cloc.org.au Nunsense 2 The Second Coming

by Dan Goggin. Benalla Theatre

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

Stage Whispers 55

On Stage DE STROYED. May 16 - 27. fortyfivedownstairs. (03) 9662 9966.

Victoria

The Phantom of the Opera.

Music: Andrew Lloyd Webber.

Book: Andrew Lloyd Webber and Richard Stilgoe. Lyrics: Swansong by Connor Charles Hart and Richard McDermottro. Theatre Works Stilgoe. Echuca Moama Theatre and Red Hot Productions. May 16 - 20. Theatre Works, St Kilda. Company. May 25 - Jun 9.

Echuca Paramount. (03) 5482 (03) 9534 3388.

3399 Bully Virus. La Mama Theatre.

The Boy From Oz. Music & May 16 - 27. (03) 9347 6142.

Lyrics: Peter Allen. Book: Nick Forget Me Not by Tom Enright. Wonthaggi Theatrical Holloway. Brighton Theatre Group. May 26 - Jun 10.

Company Inc. May 17 - Jun 2. www.wtg.org.au Bayside Cultural Centre, [title of show]. Music and lyrics Brighton. 1300 752 126.

by Jeff Bowen. Book by Hunter Chaim’s Love Song by Marvin Bell. Mansfield Musical & Chernoff. The 1812 Theatre.

Dramatic Society (MMuDS). May May 17 - Jun 9. (03) 9758 26 - Jun 2. Mansfield 3964.

Performing Arts Centre.

Night, Mother by Marsha www.mmuds.org.au Norman. The Basin Theatre Electro Girl. The Butterfly Club, Group. May 18 - Jun 9. The Melbourne. May 28 - Jun 2.

Basin Theatre. 1300 784 668. thebutterflyclub.com Wizard Actors: A Brief History of Fury by Joanna Murray-Smith.

Magic. The Butterfly Club, Red Stitch. May 29 - Jul 1. Red Melbourne. May 22 - 26.

Stitch Actors Theatre, St Kilda thebutterflyclub.com East. (03) 9533 8083.

The Pillowman by Martin The Nightingale and The Rose McDonagh. Patalog Collective.

by Oscar Wilde. Little Ones May 22 - 27. Chapel off Chapel.

Theatre. May 30 - Jun 10.

(03) 8290 7000.

Theatre Works, St Kilda. (03) The Elephant Man by Bernard 9534 3388.

Pomerance. Lilydale Athenaeum my sister feather by Olivia Theatre Company Inc. May 24 Satchell. VIMH. May 30 - Jun Jun 9. (03) 9735 1777.

10. La Mama Courthouse. (03) Play It Again, Sam by Woody 9347 6142.

Allen. Strathmore Theatrical Arts Child’s Play: Season of One Act Society (STAG) May 24 - Jun 3.

Plays. Essendon Theatre Strathmore Community Hall.

Company. May 31 - Jun 9.

(03) 9382 6284. essendontheatrecompany.com.au The House of Bernarda Alba.

Bipolar Karaoke by Spescha Adapted by Patricia Cornelius, Barakat. May 31 - Jun 10. La after Federico García Lorca.

Mama Theatre. (03) 9347 6142.

Melbourne Theatre Company.

Singin’ in the Rain. Music and May 25 - Jul 7. Arts Centre Melbourne, Fairfax Studio. 1300 lyrics by Nacio Herb Brown and Arthur Freed. Screenplay: Betty 182 183.

Comden & Adolph Green.

The Mystery of Irma Vep by Babirra Music Theatre. Jun 1 Charles Ludlum. Beaumaris 16. The Whitehorse Centre, Theatre Inc. May 25 - Jun 9.

Nunawading. www.beaumaristheatre.com.au www.babirra.org.au Spring Awakening. Book and Marveled: An Original Parody lyrics by Steven Sater, music by Cabaret. Phill Davies. The Duncan Sheik, original play by Butterfly Club, Melbourne. Jun 4 Franz Wedekind. MLOC - 9. thebutterflyclub.com Productions. May 25 - Jun 2.

Charing Cross Road adapted by Shirley Burke Theatre.

James Roose Evans from the www.mloc.org.au 56 Stage Whispers

book by Helen Hanff. Peridot Theatre. Jun 7 - 23. Unicorn Theatre, Mount Waverley Secondary College. (03) 9808 0770 (10am-2pm Mon-Fri) Brothers Wreck by Jada Alberts.

Malthouse Theatre / State Theatre Company of South Australia. Jun 8 - 23. Merlyn Theatre, Malthouse. (03) 9685 5111.

Hansel and Gretel by Engelbert Humperdinck. Victorian Opera.

Jun 7 - 12. Arts Centre Melbourne, Playhouse. 1300 182 183.

Butterfly Club, Melbourne. Jun 12 - 16. thebutterflyclub.com Holy Cow by James Joyce.

Bloomsday of Melbourne. Jun 13 - 17. fortyfivedownstairs.

(03) 9662 9966.

A Noble Cause by Neil Cole. Jun 14 - 24. La Mama Courthouse.

(03) 9347 6142.

Morning Sacrifice by Dymphna Cusack. Malvern Theatre Co Inc. Jun 15 - 30. 1300 131 552.

Gloria by Branden JacobsJenkins. Melbourne Theatre Company. Jun 16 - Jul 21.

Southbank Theatre, The 84 Charing Cross Road by James Sumner. (03) 8688 0800.

Roose Evans (adapted from the Swan Lake. The St Petersburg book by Helen Hanff). Peridot Ballet Theatre. Presented by Theatre Inc. Jun 8 - 23. Unicorn Andrew Guild & Simon Bryce Theatre, Mount Waverley. (03) Theatre Tours International.

9808 0770.

From Jun 20. The Princess Doubt by John Patrick Shanley. Theatre, Melbourne. 136 100.

Warrandyte Theatre Co. Jun 8 Chronic by Milton. Jun 20 - Jul 23.

1. La Mama Theatre. (03) 9347 warrandytehallarts.asn.au/theatre 6142.

Richard Carpenter is Close to You. Matthew Floyd Jones. The

Just $50 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage Here’s to my Ecz. The Butterfly Club, Melbourne. Jun 20 - 23. thebutterflyclub.com

Victoria, Tasmania & South Australia

11 - 26. Devonport Entertainment Centre. (03) 6420 2900.

Rachel Sheinkin. Conceived by Rebecca Feldman. Launceston Musical Society. Jun 22 - 30.

Earl Arts Centre, Launceston.

The Old People are Revolting by Mind How You Go. Blue Cow Devon Williamson. Sherbrooke Theatre. May 17 - 26. Backspace (03) 6323 3666.

Theatre Company Inc. Jun 22 Theatre, Theatre Royal, Hobart. Yo Diddle Diddle. Adapted by 30. www.sherbrooketc.org.au (03) 6233 2299.

Patch Theatre from the Agatha Christie’s Appointment book The Cow Tripped Over The Season’s Greetings by Alan Moon by Tony Wilson. Jun 26 & Ayckbourn. Mordialloc Theatre with Death. Hobart Repertory Company. Jun 22 - Jul 7. Shirley Theatre Society. May 18 - Jun 2. 27. Theatre Royal, Hobart (03) 6233 2299.

Burke Theatre, Parkdale. (03) The Playhouse Theatre. (03) 9587 5141.

6234 5998.

Sweeney Todd by Stephen Sondheim and Hugh Wheeler.

Under Milkwood by Dylan 50 Shades of White. 2108 Uni Thomas. Williamstown Little Revue. Old Nick Company. May Bijou Creative. Jun 28 - Jul 7.

The Playhouse Theatre. (03) Theatre. Jun 28 - Jul 14. 0447 30 - Jun 2. Princess Theatre, 6234 5998.

340 665.

Launceston. (03) 6323 3666.

10 by 10 Minute Plays. The 1812 Theatre. Jun 28 - 30. www.1812theatre.com.au The Taming of the Shrew by William Shakespeare. Frankston Theatre Group. Jun 29 - Jul 8.

Langwarrin Performing Arts Centre, Langwarrin. 1300 665 377.

Barefoot in the Park by Neil Simon. Geelong Repertory Theatre Company. Jun 29 - Jul 14. (03) 5225 1200.

The Communication Cord by Brian Friel. Frankston Theatre Group. Jun 30 - Jul 8.

Langwarrin Performance Centre. frankstontheatregroup.org.au

Stepping Out by Richard Harris.

Launceston Players. May 23 31, Earl Arts Centre, Launceston; Jun 3, Longford Town Hall; Jun 10, Scottsdale High School. launcestonplayers.com Roald Dahl’s George’s Marvellous Medicine. Shake & Stir Theatre Co and QPAC. May 31 - Jun 2, Theatre Royal, Hobart (03) 6233 2299 & Jun 6, Princess Theatre, Launceston, (03) 6323 3666.

Alice’s Adventures Under Ground. Hamley Productions.

Jun 1 - 9. Theatre Royal, Hobart.

(03) 6233 2299.

Eight Gigabytes of Hardcore Fiddler on the Roof. Book by Pornography by Declan Greene.

Jospeh Stein. Music by Jerry Bock. Lyrics by Sheldon Harnick. Tasmanian Theatre Company.

Bendigo Theatre Company. Jul 5 Jun 6 - 16. Moonah Arts Centre.

(03) 6234 5998.

- 8. Ulumbarra Theatre. bendigotheatrecompany.org

Blackie Blackie Brown by Nakkiah Lui. Malthouse Theatre / Sydney Theatre Company. Jul 5 - 29. Beckett Theatre, Malthouse. (03) 9685 5111.

Tasmania Alice’s Adventures Under Ground. Adapted from the works of Lewis Carroll by Christopher Hampton in collaboration with Martha Clarke. Hamley Productions.

May 3 - 5. Earl Arts Centre, Launceston. (03) 6323 3666.

Young Frankenstein by Mel Brooks and Thomas Meehan.

Devonport Choral Society. May

131246 or statetheatrecompany.com.au High Society by Arthur Kopit.

Music & Lyrics by Cole Porter.

Metropolitan Musical Theatre Company of SA. May 10 - 19.

Arts Theatre. 0407 457 821. www.metmusicals.com.au Les Misérables by Alain Boublil & Claude-Michel Schonberg.

South Coast Choral and Arts Society. May 11 - 26. Victor Harbor Town Hall. www.sccas.org.au

Continental Quilt by Joan Greening. Tea Tree Players. May 23 - Jun 2. Tea Tree Players Twelve Times He Spoke by Finegan Kruckemeyer. Blue Cow Theatre.

Theatre, in association with www.teatreeplayers.com Tasmania Performs and Guy Terrestrial by Fleur Kilpatrick.

Hooper. Jun 28 - Jul 7.

State Theatre Company SA. May Backspace Theatre, Theatre 24 - Jun 2. Matthew Flinders Royal, Hobart. (03) 6233 2299. Theatre, Flinders University. 131 Snow White. Ballet Victoria. Jun 246.

30 & Jul 1. Theatre Royal, statetheatrecompany.com.au Hobart (03) 6233 2299.

Caligula by Albert Camus. Red South Australia Phoenix Theatre. May 24 - Jun A Little Night Music by Stephen 2. Holden Street Theatres. www.redphoenixtheatre.com Sondheim and Hugh Wheeler.

Until May 5. Gilbert & Sullivan Society of SA. The Arts Theatre. tickets@gandssa.com.au or (08) 8447 7239.

Spamalot. By Eric Idle and John Du Prez. Marie Clark Musical Theatre. May 25 - Jun 2. www.marieclark.asn.au/tickets

Born Yesterday by Garson Kanin. Until May 5. Independent Theatre. Goodwood Theatre. www.independenttheatre.org.au

The Vicar of Dibley. Adapted from original TV series.

Noarlunga Theatre Company.

Jun 1 - 9. Port Noarlunga Arts Centre. (08) 8376 0611 or noarlungatheatrecompany.com

Incorruptible by Michael Hollinger. Australian premiere.

Josephine Wants to Dance.

Galleon Theatre Group. May 3 Written for the stage by Eva Di 12. Domain Theatre. 0437 609 Cesare, Sandra Eldridge and Tim 577.

McGarry, based on the book by Wolf Lullaby by Hilary Bell. Oily Jackie French and Bruce Rag Theatre. May 3 - 12.

Whatley. Monkey Baa Theatre Holden Street Theatres.

Company. Jun 5 & 6, Theatre www.holdenstreettheatres.com Royal, Hobart, (03) 6233 2299 Myth, Propaganda, and Disaster & Jun 12 & 13. Earl Arts Centre, in Nazi Germany and Launceston. (03) 6323 3666.

Contemporary America by Pride and Prejudice. A musical Stephen Sewell. University of

by Carl Lawton and Louella Jury. Adelaide Theatre Guild. May 5Gilbert and Sullivan Society of 19. The Little Theatre.

Tasmania. Jun 8 - 23. The www.trybooking.com/TCBS Playhouse Theatre. (03) 6234 Sense and Sensibility by Jane 5998.

Austen, adapted by Kate Hamill.

The 25th Annual Putnam County State Theatre Company SA. May Spelling Bee. Music and Lyrics 5 - 26. Dunstan Playhouse.

by William Finn and Book by

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

Holiday Inn. Music and lyrics by Irving Berlin. Therry Dramatic Society. Jun 7 - 16. Arts Theatre. www.therry.org.au or (08) 8294 7907.

Perfect Wedding by Robin Hawdon. Adelaide Repertory Theatre. Jun 21 - 30. Arts Theatre. www.adelaiderep.com Polyanna by Joan Leslie, adaptation by Di Mason. Hills Youth Theatre. Jun 22 - Jul 1.

Stirling Community Theatre. hillsyouththeatre.com Brothers Wreck by Jada Alberts.

State Theatre Company SA. Jun 27 - Jul 14. Odeon Theatre. 131 246. statetheatrecompany.com.au Stage Whispers 57

On Stage Western Australia Camelot by Alan Jay Lerner and Frederick Loewe. Old Mill Theatre. Until May 12. Classic musical. Old Mill Theatre, South Perth. www.oldmilltheatre.com.au ‘Allo ‘Allo by David Croft and Jeremy Lloyd. Stirling Players.

Until May 12. Based on the TV series. Stirling Theatre, Morris Place, Innaloo. (08) 9446 9120.

Mr Bailey’s Minder by Debra Oswald. Melville Theatre. Until May 12. Tough, funny, Australian drama. www.meltheco.org.au Breath (Count to Ten) by Daley King. The Blue Room. Until May 12. Suicidal themes. The Blue Room Theatre, James St., Northbridge, WA. www.blueroom.org.au The Return by Reg Cribb KADS. Until May 12. WA Play set on a train. KADS - Town Square Theatre, Kalamunda. whatson.com.au

58 Stage Whispers

Western Australia

The Anniversary by Bill MacIlwraith. Darlington Theatre Players. Until May 19. Black comedy about family. Marloo Theatre, Greenmount. (08) 6270 1465 or trybooking.com/TZMQ Hive Mind by Georgie Crawley.

The Blue Room. May 1 - 19.

Community, faith and obsession. The Blue Room Theatre, Northbridge. www.blueroom.org.au Caught in the Net by Ray Cooney. Wanneroo Repertory.

May 3 - 12. Sequel to Run For Your Wife. Limelight Theatre, Wanneroo. 0499 954 016. www.limelighttheatre.com.au New Owner by Arielle Gray & Tim Watts. The Last Great Hunt.

May 3 - 5. Award winning show for 7-12s. Octagon Theatre, University of WA. www.ticketswa.com Murder on the Nile by Agatha Christie, Koorliny Arts Centre.

Mar 4 - 19. Murder mystery

directed by Kim Angus. Koorliny Arts Centre. (08) 9467 7118. www.koorliny.com.au The Seagull by Anton Chekov.

WAAPA 2nd Year Acting Students. May 4 - 10. Classic directed by Jane Woolerd.

Enright Studio, WAAPA, Edith Cowan University, Mt Lawley.

(08) 9370 6636.

The Importance of Being Earnest by Oscar Wilde. WAAPA 3rd Year Acting Students. May 4 - 10. Classic British comedy directed by Dan Bird. The Roundhouse Theatre, WAAPA, Edith Cowan University, Mt Lawley. (08) 9370 6636.

Summer of the Seventeenth Doll

by Ray Lawler. Black Swan State Theatre Company. May 5 - 20.

Classic Australian play. Heath Ledger Theatre, State Theatre Centre of WA. (08) 6212 9292. www.tickets.ptt.wa.gov.au Rise. WAAPA 2nd and 3rd Year Dance Students. May 5 - 11.

Neo and contemporary dance work. Geoff Gibbs Theatre, WAAPA, Edith Cowan University, Mt Lawley. (08) 9370 6636.

Annie by Thomas Meehan, Charles Strouse and Martin Charnin. Roleystone Theatre.

May 9 - 19. Family musical.

Roleystone Theatre, Brookton Hwy, Roleystone. www.roleystonetheatre.com.au Solo Stage: Alchemy. WAAPA 2nd Year Performance Making Students. May 9 - 12. Inspired by the 1924 surrealist movement. The Edith, WAAPA, Edith Cowan University, Mt Lawley. (08) 9370 6636.

HLT by Taylor Mac, Black Swan State Theatre Company. May 10 - 27. Humorous portrayal of a family in crisis. Theatre Underground, State Theatre Centre of WA. (08) 6212 9292. www.tickets.ptt.wa.gov.au How to Succeed in Business Without Really Trying by Frank Loesser, Abe Burrows, Jack Weinstock, Willie Gilbert and Shepherd Mead. Murray Music and Drama. May 11 - 26.

Musical comedy. Pinjarra Civic Centre. www.outix.com.au Shrek - The Musical by Jeanine Tesori and David Lindsay-Abaire.

Stray Cats and Mandurah Performing Arts Centre. May 17 - 20. Musical based on the animated film. www.manpac.com.au Be More Chill by Joe Iconis and Joe Tracz. Phoenix Theatre, May 18 - Jun 2. Musical based on the novel by Ned Vizzini.

Phoenix Theatre, Memorial Hall, Hamilton Hill. www.phoenixtheatreinc.com.au La Syphilde. Choreographed by August Bournonville. West Australian Ballet. May 18 - Jun 2. Timeless classical ballet with WA Symphony Orchestra. His Majesty’s Theatre, Hay St, Perth. www.tickets.ptt.wa.gov.au or (08) 6212 9292.

Spring Storm by Tennessee Williams. Performing Arts Association of Notre Dame Australia. May 22 - Jun 2. sensual yearnings vs societal pressure. 19 Mouat St, Fremantle. www.fremantlepaanda.com Tales of Tales by Clare Testoni.

Bow and Dagger and The Blue Room. May 22 - Jun 9. Italian Australian war story. The Blue Room Theatre, James St, Northbridge. www.blueroom.org.au Equal Different. LINK Dance Company. May 23 - 26. Includes students from Beijing. Geoff Gibbs Theatre, WAAPA, Edith Cowan University, Mt Lawley.

(08) 9370 6636.

The Edge by Nick Choo. The Blue Room. May 29 - Jun 16. A good-bye musical. The Blue Room Theatre, James St, Northbridge. www.blueroom.org.au From Music Hall to Cabaret.

WAAPA Classical Vocal Students. May 31 - Jun 2.

Evening of song. The Edith, WAAPA, Edith Cowan University, Mt Lawley. (08) 9370 6636.

Just $50 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

On Stage Macbeth by William Shakespeare. GRADS - Graduate Dramatic Society. Jun 6 - 9.

Dolphin Theatre, University of WA. www.ticketswa.com The Man and the Moon.

Subiaco Theatre Festival and Variegated Productions. Jun 6 9. An astronomical love story.

Subiaco Arts Centre, (08) 6212 9292. www.tickets.ptt.wa.gov.au Find the Lady by Matt Penny.

Subiaco Theatre Festival. Jun 6 9. Magic and mayhem. Subiaco Arts Centre, (08) 6212 9292. www.tickets.ptt.wa.gov.au When He Gets That Way by Lisa Louttit & Taryn Ryan. Subiaco Theatre Festival. Jun 13 - 16.

Downton Abbey meets Monty Python. Subiaco Arts Centre. www.tickets.ptt.wa.gov.au or (08) 6212 9292.

Interrupting a Crisis. Subiaco Theatre Festival and Ribs. Jun 13 - 16. True story. Subiaco Arts Centre, (08) 6212 9292. www.tickets.ptt.wa.gov.au Ajax in Afghanistan by Timberlake Wertenbaker.

WAAPA 2nd Acting Students.

Jun 15 - 21. Epic drama of heroism, love and homeland.

Enright Studio, WAAPA, Edith Cowan University, Mt Lawley.

(08) 9370 6636.

A Streetcar Named Desire by Tennessee Williams. WAAPA 3rd Year Acting Students. Jun 15 21. American classic set in the south. The Roundhouse Theatre, WAAPA, Edith Cowan University, Mt Lawley. (08) 9370 6636.

Fame by David De Silva, Jose Fernandez, Jacques Levy and Steve Magoshes. Laughing Horse Theatre. Jun 15 - 23. Rock musical. Koorliny Arts Centre. (08) 9467 7118. www.koorliny.com.au Assassins by Stephen Sondheim and John Weidman. Black Swan State Theatre Company. Jun 16 - Jul 1. Musical about assassins and potential assassins of American presidents. Heath Ledger Theatre, State Theatre

Western Australia

Kate Hamill’s adaptation of Sense and Sensibility by Jane Austen, produced by State Theatre Company SA, plays the Dunstan Playhouse, Adelaide, from May 5 - 26, www.statetheatrecompany.com.au and the Canberra Theatre Centre from May 29 - Jun 2 www.canberratheatrecentre.com.au “In the collision of Jane Austen and American actor / playwright Kate Hamill we’ve found a piece that provides a limitless landscape for comedic invention while digging into the heart and soul of one of the Western canon’s great works,” says director Geordie Brookman.

Photo: James Hartley.

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Stage Whispers 59

On Stage Centre of WA, (08) 6212 9292. www.tickets.ptt.wa.gov.au Carousel by Richard Rodgers and Oscar Hammerstein II. WAAPA 2nd and 3rd Year Music Theatre Students. Jun 16 - 23.

Classic musical. The Regal Theatre, Subiaco. www.ticketek.com.au Hiro by Samantha Chester and Humphrey Bower. The Blue Room. Jun 19 - Jul 7. True story of tsunami survivor. The Blue Room Theatre, Northbridge. www.blueroom.org.au Bus Boy. Subiaco Theatre Festival. Jun 20 - 23. A boy on Rottnest obsessed with buses.

Subiaco Arts Centre, (08) 6212 9292. www.tickets.ptt.wa.gov.au Gutenberg! The Musical by Anthony King & Scott Brown.

Subiaco Theatre Festival, Western Sky Productions and Holland Street Productions. Jun 20 - 23. Musical about a hilarious backers’ audition Subiaco Arts Centre, (08) 6212 9292. www.tickets.ptt.wa.gov.au Tissue by Timothy Green & Samantha Nerida. Subiaco Theatre Festival and Static Drive Company. Jun 20 - 23. Sex, lies and camera phones. Subiaco Arts Centre, (08) 6212 9292. www.tickets.ptt.wa.gov.au The Events by David Greig. Black Swan State Theatre Company.

Jun 21 - Jul 8. features Catherine McClements and community choirs. Studio Underground, State Theatre Centre of WA, (08) 6212 9292. www.tickets.ptt.wa.gov.au A Fairytale of Sorts by Johnny Grim. Wanneroo Repertory. Jun 28 - Jul 7. World premiere - set in the middle ages. Limelight Theatre, Wanneroo. 0499 954 016. limelighttheatre.com.au The Lion in Winter by James Goldman. Darlington Theatre Players. Jun 29 - Jul 14. Period drama. Marloo Theatre, Greenmount. (08) 6270 1465.

60 Stage Whispers

Western Australia & New Zealand

New Zealand Death of a Dream by Richard De Luca. Dolphin Theatre, Auckland. Until May 5. dolphintheatre.org.nz Fiddler on the Roof. Book by Joseph Stein. Music by Jerry Bock. Lyrics by Sheldon Harnick.

Manukau Performing Arts. Until May 5. Spotlight Theatre, Papatoetoe. www.mpatheatre.co.nz Mrs Warren’s Profession by George Bernard Shaw. Auckland Theatre Company. May 1 - 16.

ASB Waterfront Theatre, Auckland. 0800 ATC TIX (282 849).

Priscilla Queen of the Desert by Stephan Elliott and Allan Scott.

Musical Theatre Dunedin. May 3 - 12. Regent Theatre, Dunedin.

0800 224 224.

Social Climbers by Roger Hall.

Pukekohe Performing Arts. May 4 - 19. Harrington Theatre, Pukekohe. iTicket.

The Darling Buds of May by H. E. Bates. South Canterbury Drama League. May 5 - 11. The Playhouse, Timaru. dramaleague.org.nz The House by the Lake by Hugh Mills. Howick Little Theatre. May 5 - 26. iTicket.

High School Musical. Book by David Simpatico. Musikmakers, Hamilton. May 5 - 19. Riverlea Theatre, Hamilton. iTicket.

Still Life With Chickens by D. F. Mamea. Auckland Theatre Company. May 8 - Jun 2. Circa 2, Wellington. (04) 801 7992.

The Addams Family. Music and Lyrics by Andrew Lippa. Book by Marshall Brickman and Rick Elice. Theatre Whakatane. May 9 - 26. Little Theatre, Whakatane. iTicket.

The Colour Purple. Book by Marsha Norman and music and lyrics by Stephen Bray, Brenda Russell, and Allee Willis. May 9 12. Selwyn Theatre, Auckland. iTicket.

The Book Club by Roger Hall.

Tadpole Productions. May 9 20. PumpHouse Theatre. (09) 489 8360.

STOMP. May 9 - 13, Opera House Wellington; May 16 - 20, Isaac Theatre Royal, Christchurch; May 23 - 28, The Civic, Auckland. stomptour.co.nz Jekyll & Hyde. Book and Lyrics

by Leslie Bricusse. Music by Frank Wildhorn. North Canterbury Musicals. May 10 26. Rangiora Town Hall. 0508 iTicket (484 253).

Snip & Bonking James Bond by April Phillips. Taieri Dramatic Society Inc. May 10 - 19. 027 589 3088.

Problems by Joe Musaphia. May 10 - 26. Circa Theatre, Wellington. (04) 801 7992.

One Man, Two Guvnors by Richard Bean. Papakura Theatre Company. May 11 - 26. Off Broadway Theatre. (09) 361 1000.

Popcorn by Ben Elton. Company Theatre (Auckland). May 12 28. The Rose Theatre, Auckland. iTicket.

Blood Brothers by Willy Russell.

Gillies Theatre Group. May 16 26. Expressions Arts & Entertainment Centre. (04) 527 2168.

Mamma Mia! Music and Lyrics

by Benny Andersson and Björn Ulvaeus. Book by Catherine Johnson. Variety Theatre Ashburton. May 18 26. Ashburton Trust Event Centre. TicketDirect.

Brontë by Polly Teale. Stagecraft Theatre (Wellington). May 23 Jun 1. iTicket.

Welcome to the Murder House

by Jacob Rajan and Justin Lewis.

Indian Ink. May 26 - Jun 10. Te Kāhui Auaha, Wellington.

Ticketek.

Tops of the Pops - Cabaret.

Coasters Musical Theatre. May 31 - Jun 8. www.coastersmusicaltheatre.com Tan- Knee by Maraea Rakuraku.

Jun 1 - 16. Circa Theatre, Wellington. (04) 801 7992.

The House of Angels by Ruth Mayo. Ellerslie Theatrical Society. Jun 7 - 16. www.ellerslietheatre.co.nz

The Atom Room by Philip Braithwaite. Circa. Jun 9 - Jul 7.

Circa 2, Wellington. (04) 801 7992.

The Cherry Orchard by Anton Chekhov. Auckland Theatre Company. Jun 12 - 26. ASB Waterfront Theatre, Auckland.

0800 ATC TIX (282 849).

Leaves of Glass by Philip Ridley.

Elmwood Players. Jun 14 - 23.

Elmwood Auditorium, Merivale. www.elmwood-players.org.nz The Phantom of the Opera by Andrew Lloyd Webber, Charles Hart and Richard Stilgoe.

Waipawa Musical & Dramatic Club. Jun 13 - 23. waipawamusicalanddramatic.com Noises Off by Michael Frayn. Jun 13 - 30. New Plymouth Little Theatre. www.littletheatre.co.nz Cellfish by Miriama McDowell, Rob Mokaraka & Jason Te Kare.

Silo Theatre. Jun 13 - 24. Q Theatre, Auckland. silotheatre.co.nz Meremere by Rodney Bell. Circa.

Jun 22 - 30. Circa One. (04) 801 7992 Les Misérables. Music by Claude -Michel Schönberg. Lyrics by Herbert Kretzmer. Original French text by Alain Boublil and Jean-Marc Natel. Additional Material by James Fenton. West Otago Theatrical Society. Jun 22 - 30. www.wotsup.co.nz An Inspector Calls by J. B. Priestley. Dolphin Theatre. Jun 22 - Jul 7. dolphintheatre.org.nz Macbeth by Dean Parker, based on the play by William Shakespeare. 2018 Fortune Company. Jun 23 - Jul 14.

Fortune Theatre, Dunedin. (03) 477 8323.

King Lear by William Shakespeare. Stagecraft Theatre (Wellington). Jun 27 Jul 7. i Ticket.

The Great White Man-Eating Shark and Other Stories by Margaret Mahy. Tim Bray Productions. Jun 30 - Jul 21.

The PumpHouse Theatre, Auckland. (09) 489 8360.

Just $50 a month to reach thousands of theatre goers. Contact Stage Whispers for details.

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

Email stagews@stagewhispers.com.au or call (03) 9758 4522

Online extras!

Check out all the auditions that didn’t make it to print. Scan the QR code or visit www.stagewhispers.com.au/auditions

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

Stage Whispers 61

Flight Paths.

Photo: Noni Carroll.

Reviews: Premieres Flight Paths

By Julian Larnach. National Theatre of Parramatta. Riverside Theatres. Mar 16 - 24.

FLIGHT Paths is a different take on the ‘coming-of-age’ theme. Its characters, from diverse backgrounds, with diverse aspirations, are thwarted by the same “flawed system” - whether it be in an over-crowded slum in Kenya, or the exclusive Oxford University.

Julian Larnach’s writing is economic, the dialogue effectively honed. In short, carefully edited scenes he explores complex themes that question both altruism and classism, examining the realities of both.

His words are delivered crisply and clearly by talented actors who, under Anthea Williams’ perceptive direction, have found compassion and empathy with the characters.

The pace is fast, commensurate with the youth of the characters and the new tempo of their lives.

Luisa and Emily are two young Australian women following a dream. Luisa has arrived in Oxford on a scholarship. Emily is in Kenya as a volunteer. Both are strong-willed and highly scrupled.

Ebony Vagulans is gentle, yet staunchly down-to-earth as Luisa, determined to be true to herself in the intellectual life of Oxford, exemplified by Brandon McClelland who, in a double role, represents both the elitism and political competitiveness of the Oxford collegiate. Monica Kumar is Anika, a graduate from a working-class family seeking the acceptance that the class system denies.

Airlie Dodds is righteous - and vulnerable - as the disheartened Emily, working in the heat of Kenya under the 62 Stage Whispers

supervision of Adhama, played by Richie Morris. Morris finds the tight self-control that covers the bitterness and loneliness of this character, while Aileen Huynh balances the tension they create as the more realistic, less-scrupled, Charlie.

Carol Wimmer The Lover Adapted from the memoir by Marguerite Duras by Lawrence Strangio; original translations by Barbara Bray, Leigh Harvey and Linda Coverdale. Dramaturg Annie Thorold. La Mama Courthouse, Carlton VIC. Mar 15 - 25.

LAWRENCE Strangio, an always interesting, original and risk-taking theatre-maker, has adapted Marguerite Duras’ novella/memoir The Lover - published in 1984. It tells of an affair between a fifteen-year-old French schoolgirl and a twenty-seven-year-old Chinese businessman. The ambiguous seduction begins as an experiment that develops into manipulation and erotic power.

Mr Strangio plays the story out as a dialogue played by two performers. Brenda Palmer is the old Duras - around seventy, the age at which Duras wrote her book - and Annie Thorold is a younger self, maybe thirty. This mode of storytelling is a legitimate ‘take’ on the book: complex and contradictory, mixing time frames, switching from first person ‘I’ to third person ‘she’, eschewing ‘narrative’ per se, at times detached, at others engaged by past emotions.

The demands this mode of telling the story makes on the actresses are great. The older Duras remembers details with complete candour or something like glee. The younger

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

Duras is rueful. She remembers what she felt rather than events themselves, but she can also still revel in sensual memories of her erotic encounters with her lover.

The story qua story, told in allusive, elliptical sentences, and with startling insight, is compelling, but I remember having the impertinent thought, ‘I wouldn’t do it this way…’ But with some tweaking, more high key lighting and a little more voice projection, The Lover will snap into clarity. Better something original and brave than predictable cliché.

Michael Brindley

with a woman at the turn of last century, Hartstone captures little celebrated Muriel Matters and her extraordinary life as a suffragette and political agitator, with colour and passion.

Written and performed by Hartstone, a veteran of 12 Fringe seasons, not a single second of the hour-long production devoted to Matters’ multi-faceted story is wasted.

The stage is set with a trunk, used brilliantly as a “flying machine”, a mirror, coat rack, lamp, dressing table and several Bentwood chairs. Each has a role to play as the story unfolds. The chair and box used as a carriage are a triumph.

Azza Sound effects are well used, particularly as Matters is heckled and abused by angry naysayers of the time. Nikki

By Amir Nizar Zuabi. Music by Faraj Suleiman. ShiberHur Fort’s costumes are appropriate, utilitarian and often Theatre Company. Adelaide Festival. The Space. Mar 14 18. layered for skillful effect. An unobtrusive screen on stage is AZZA is like a well-structured piece of choreographed used effectively to herald and link chapters of Matters’ verse, luring you into one of the most poignant and painful activist life.

Born in Adelaide, where enlightened politicians had times in our lives. Azza, the play and ritual, explores a already given women the vote, Matters claimed that, “I was mourning ritual which takes place in both Christian and born a suffragette.”

Muslim communities.

Hartstone’s skill is as a master storyteller who immerses Azza, a personal piece, drawn from his father’s recent death, is the work of acclaimed director Amir Nizar Zuabi. It herself in Matters’ character, and makes the audience feel explores a family and village grieving for a much-loved, that it is Matters to whom they are listening.

In the end, it was war that solved the issue and women revered man. The ritual is rigid, formal and adhered to; the play opening with ceremonial handshaking, chest tapping in England finally got the vote. Hartstone’s beautiful, clear celebratory song rendition is powerful and moving. and condolence giving.

The audience is introduced to six simply dressed Were this a history lesson, students would be lining up men. Each moves about, changing chairs, reappearing, to subscribe to this mesmerising tale. It is a story, in Matters’ own words, that ushered in “a new order founded moving on. Moods ebb and flow and frustration, born of on character”. days of proximity, guides the atmosphere and memories.

See it and celebrate courage and achievement.

Stories and blessings are on the lips of mourners. Each Jude Hines has their anecdote, some funny, some confronting. Stories are short, but so evocative you feel that you are there.

Death is assuaged, there are tears, memories, and deep, The Wolves

By Sarah DeLappe. Redline Productions. Old Ftiz Theatre unleashed sibling anger and guilt.

(NSW). Mar 14 - Apr 14.

Khalifa Natour, one of the mourners who also weaves WRITTEN by a woman, directed, designed and stage through a recurring role as Death, inviting people to confront their own mortality, is mesmerising. managed by women, and performed by nine fit, feisty, Henry Andrawes and Amer Hlehel, two brothers female actors, this prize-winning first play by American playwright Sarah DeLappe raises the bar in the pursuit of mourning their father, are heart-wrenchingly believable. recognition and equity across the arts.

They fight, accuse, forgive and teach us that shared The nine actors are the Wolves, a high school, indoor lifetimes never loosen their grip. We feel their isolation, anger and mutual misery. Adeeb Safadi, Amer Khalil and soccer team. They are committed and bright. They talk Wael Wakeem give powerful performances, adding their about a range of topics, from the treatment of the stories, strengths and weaknesses. perpetrators of the Khmer Rouge massacres, to the benefits of tampons over sanitary pads. Conversations overlap, The staging is simple, with side lighting effectively topics switch quickly, the pace defined by the stretches and creating a sombre mood, lighting faces and interactions.

The performance is entirely in Arabic. The audience has passes of their carefully co-ordinated warm up sequences. the benefit of English surtitles, but this story is so universal The play takes them through the ups and downs of the that language is no barrier. season, the demands of home and school, gossip, boy troubles, a new girl, personal confidences, an accident that Jude Hines side-lines their striker, and a tragedy before the final match.

It’s a play of the times, a 2017 coming-of-age insight into That Daring Australian Girl the insecurities and aspirations of late teenage women.

By Joanne Hartstone. Adelaide Fringe. The Arch, Holden Street Theatres. Mar 6 - 18.

Jessica Arthur directs with integrity and truth. The action is fast, timed to each sit up and crunch, each slap of a FROM beginning to end, Joanne Hartstone’s catch, each smack of a ball. Movement and fitness are as performance in That Daring Australian Girl is a triumph. important as the theatrical skills of the actors, who have to With subtle nuance, expression and gestures, in keeping Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 63

concentrate on fast, changing, physical routines while delivering intersecting dialogue that passes just as rapidly.

The actors work as a collaborative ‘whole’. Each is in every moment, true to her character, integral to the action, depicting the intricacies and varied dimensions of the characters, whilst effortlessly, following the complicated warm up regimes.

Carol Wimmer The Great War Presented by Hotel Modern & Arthur Sauer. Adelaide Festival. Dunstan Playhouse. Mar 8 - 11.

ANYONE who demands innovation when they enter a theatre should prioritise The Great War, brainchild of artists from The Netherlands. This is a show that truly seems to be developing a unique medium of theatrical communication, one that could be described as ‘live cinema’: events and actions are depicted on-stage in often-ingenious miniature form, while being photographed/transmitted in-themoment, and in close-up, to a screen above the stage.

Muddy battlefields, tanks in motion, scorching flame, snow and rain, symbolic replenishment of greenery after the devastation; all and more are here. Accompanying the images are live narration and SFX/music.

What the members of Hotel Modern attempt here is, on a technical level, quite remarkable, though it does not always achieve the piercing emotional connection that it might have done. Without a narrative or clearly defined characterisation, even the accomplishment on display cannot prevent interest level from dipping occasionally over the course of an hour.

There has always seemed to be a grim irony regarding the use of the word ‘great’ to refer to World War I - or any war, for that matter. This particular show, however, does achieve moments of greatness in its idiosyncratic depiction of historical combat, enough to make The Great War into something special, worth seeking out.

Anthony Vawser

original songs and music, anecdotes about life with a mental illness and interesting facts about their issues.

Without doubt, the small opening night audience held fellow sufferers as well as those not struggling with such issues, but, looking at the faces, each person was hanging on every word, zany song and anecdote.

Whatever way Damon and Adam see themselves through the prism of their illnesses, the audience see two fantastic, funny and musically talented guys who are facing their demons with courage and putting on a teriffic show.

Mental As Everything is fun, powerful and totally immersive. Don’t miss it.

Lesley Reed

Hott Property

By Matt Byrne. Adelaide Fringe Festival. Matt Byrne Media.

Maxim’s Wine Bar. Feb 14 - Mar 17.

YOU would be hard pressed to find a harder-working man in Adelaide theatre than writer and director Matt Byrne. Celebrating his 21st year at Maxim’s Wine Bar and his 15th self-penned show for the Fringe, he does not disappoint with his latest comedy.

Byrne is joined on the dance floor by a talented ensemble. Theresa Dolman, Amber Platten and Brad Butvilla bring to life various characters, as they poke fun at the world of Real Estate. The adage ‘less is more’ does not apply to this show; it is packed with musical numbers, skits, jokes, feather boas, sexual innuendo, audience participation and the odd political statement.

The intimate setting means that the audience is very much a part of the show. Actors ad-lib with ease and patrons, fuelled by a glass or two, are more than happy to play along.

Highlights are in some of the characterisations; Byrne’s nerdy bank manager is a hoot, as is Butvilla’s turn as a religious property buyer. The ensemble is full of enthusiasm as they show us the dark side of the property game and all are given their moment to shine.

This is not Shakespeare, nor does it pretend to be. Byrne Mental As Everything does what Aussies do best by ‘taking the piss’ out of an Under The Microscope. Adelaide Fringe. Queen’s Theatre At industry which does not favour the Aussie battler. Some jokes are better than others, but there is no time to ponder The Lab. Playhouse Lane, Adelaide. March 2 - 4.

IMAGINE seeing courage sharing a stage with cabaret. the vagaries because this show moves at a rollicking pace.

Tucked away in the city, far from the bright razzamatazz of Kerry Cooper Fringe activity in Adelaide’s East End, an unassuming performance brilliantly showcases this rare mix and it’s The Empress And Me Adelaide Fringe Festival. Grist to the Mill Productions. taken my breath away.

Bakehouse Theatre. Feb 22 - Mar 2.

Mental As Everything stars Damon Smith and Adam Coad. Each suffers from a mental health issue, but they face FOR 40 years half the world was ruled by women, it head on in this show, a production that melds mental namely Queen Victoria and Empress Cixi of China. Lizzie Der health with music in a unique, entertaining and impactful Ling lived through 16 years of their reigns while being up way. close and personal with one of them in The Empress And Me. Anxious Damon has spent tens of thousands of hours dealing with his obsessive compulsive disorder, including Born in China, Lizzie was posted with her family to obsessive thoughts, involuntary movements and utterances, Japan then recalled to China to become lady-in-waiting to as well as compulsive tasks. Adam struggles with severe the infamous Empress Dowager Cixi. anxiety.

She left her role in 1905 and married a caucasian, Despite and because of these issues, they have teamed Thaddeus C White, moving to America in 1928 to embark up to present an intimate, laid back show full of humour, on lecture tours.

64 Stage Whispers

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

Online extras!

Check out a video of Hamlet. Simply scan the QR code or visit https://youtu.be/ayI7PvrN4dE

Hamlet.

Photo: Richard Hubert Smith.

The Empress And Me has a clever script from Ross Ericson, costumes from Laura Boseley and an engaging performance from Michelle Yim. With a bare black stage only relieved by a slash of red curtain, Yim takes us through Lizzie’s lecture tours. Her performance is simple, genuine and heartfelt.

Her message the audience takes away is powerful, namely the story of a woman who is trying to find out who she really is in multiple cultures where she feels she does not really belong.

My only reservation was the red curtain which served as a screen for her to change. For me, red symbolises the opulence of the Forbidden Palace. The creases in this curtain were distracting and needed ironing.

Overall, a very educational, entertaining night with a message that has not changed over decades; what do you do if you feel you don’t fit in an ever changing world?

Barry Hill

given to recitative and aria, it is each character’s investment in that drama that is highlighted.

Neil Armfield (Director) has accomplished a feat rarely seen in opera. His performers deliver well-drawn, complex characters in physically demanding performances.

Add to this Ralph Myers’ elegant and functional set especially the graveyard scene, Alice Babidge’s sophisticated costumes and Jon Clark’s moody lighting, supplementing the action.

Allan Clayton’s Hamlet is mesmerising. He runs the gamut of emotions with a voice that swoops, soars and whispers. It would have given his character more depth if we could have seen his descent into madness.

Rod Gilfry uses his rich bass voice to advantage as the villain of the opera. Lorina Gore gives a masterful performance as Hamlet’s love Ophelia. Her mad scene at the start of Act 2 was one of the finest moments I have seen in opera.

Cheryl Barker’s Queen Gertrude is heart rending, a Hamlet woman having to choose between power and her son. She

By Brett Dean (musical score) and Matthew Jocelyn elicits real sympathy from the audience. (libretto). A Glyndebourne Festival Production. Adelaide SA Opera favourite Douglas McNicol’s Horatio has just Festival. Festival Theatre, Adelaide. Mar 2 - 6. the right amount of friend/mentor to Hamlet, together with HAMLET (the opera) is one of the jewels of the Adelaide his powerful voice; a solid performance.

The State Opera chorus provides a powerful backing to Festival. It is a juggernaut, featuring an orchestra of 70, a cast of approximately 60 and a set that is monumental. the principal performances.

The real heroes of this opera are Shakespeare, Brett The overwhelming response from the audience at the Dean (musical score) and Matthew Jocelyn (libretto). conclusion of the opera justifies every dollar spent.

Brett Dean’s score may not appeal to traditional opera Barry Hill lovers. The emphasis is on drama. With equal time being Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 65

Elexi Walker and Lottie Vallis in A Pacifist’s Guide To The War On Cancer.

Photo: David James McCarthy.

Online extras!

Get a taste of A Pacifist’s Guide To The War On Cancer. Scan the QR code or visit https://youtu.be/Mi5kpfwzJgc A Pacifist’s Guide To The War On Cancer

By Bryony Kimmings and Brian Lobel with Kirsty Housley.

Complicité Associates. Directed by Kirsty Housley. Canberra Theatre Centre, Feb 28 - Mar 3, then Malthouse Theatre and Seymour Centre.

“EVERYONE who is born holds dual citizenship, in the kingdom of the well and in the kingdom of the sick,” wrote Susan Sontag in Illness As Metaphor. In A Pacifist’s Guide To The War On Cancer, Bryony Kimmings leads the audience by the hand from the kingdom of the well into the kingdom of the sick in a way that’s both gentle and deceptive. Initially there’s a kind of am-dram informality with self-effacing humour and rock songs. At this point the cancer is theoretical - viewed through books and activists’ quotes. Very gradually, as the play progresses, she ramps up the emotional content as her own personal journey entwines with that of the women with cancer that she meets, until at the end you discover you’ve been boiled like the proverbial frog: slowly and imperceptibly the temperature has ramped up until you’re up to your neck in emotion. She achieves this by using real people’s voices, and recreating sounds familiar to anyone who has been in a hospital, and embedding her own experience, not with cancer but with illness. It’s a kind of ultra-subjectivity which gives the play an incredible intimacy, not least because the people who lived it are right in front of you.

In all honesty I wasn’t looking forward to this show. My mother died of a wildly aggressive squamous cell carcinoma a couple of years ago and I thought it was going to be too 66 Stage Whispers

close to the bone (no pun intended). But it turned out to be an extraordinary experience, wrenching and cathartic.

Cathy Bannister Memorial Adelaide Festival. Dunstan Playhouse. Mar 1 - 6.

HOMER’S epic poem Iliad describes a few weeks in the final year of the siege of Troy. In Memorial: An excavation of the Iliad, published in 2011, author Alice Oswald set out to translate the Iliad’s atmosphere. In doing so she has stripped the Iliad of its narrative and drawn forth the biographies and deaths of the 215 soldiers Homer named.

Chris Drummond, Artistic Director of Brink Productions, had a vision to bring those 215 soldiers back to life through a large-scale production of Oswald’s translation. And there he has succeeded.

As the lights come up, we are presented with a field of bodies as far as the eye can see. And then, almost as an apparition may appear, Helen Morse is amongst them. She is a powerhouse in this role and shows great grit and endurance, for she alone is tasked with the recitation of Oswald’s words. And recite she does, with great poise, great equanimity, almost detachment.

Upstage, high above, sit the musicians. British composer Jocelyn Pook delivers a beautifully atmospheric score which heightens the beauty of the text. The musicians are extraordinary and the Bulgarian and Macedonian singing simply spine-tingling.

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As the soldiers’ names are called, their lives and deaths laid bare, the 215 strong “soldier chorus” moves silently around Michael Hankin’s set. Yaron Lifschitz must be commended for achieving the unhindered movement of so many people. At times though, the constant movement takes the attention away from Ms Morse and in doing so detracts from the barbarity and beauty of the words that should be the focal point.

Memorial is a stark reminder that warfare does not discriminate; it affects all members of society. Those left behind are victims of brutality as much as those who are lost to them. In this year, the Centennial Anniversary of Armistice, as well as a time of heightened world tension, Memorial reminds us of the importance of remembrance.

Jenny Fewster Josephine Wants To Dance Adapted by Eva Di Cesare, Sandra Eldridge and Tim McGarry, from the book by Jackie French. Music and lyrics

by Phil Scott. monkey baa theatre company. Lendlease Darling Quarter Theatre, Sydney, Apr 14 - 24, and touring.

THIS delightful adaptation realises the deeper message in Jackie French and Bruce Whatley’s story: if you really believe in yourself, your dreams can come true.

With music and lyrics by Phil Scott, design by James Browne and direction by Jonathan Biggins, the story of Josephine, a kangaroo who yearns to dance, is lifted into a lively, colourful, funny, third dimension.

In grey plush jodhpur-style pants over grey leotards, with bouncy tail swinging, Rebecca Hetherington is delightfully engaging as Josephine, who defies her brother, Joey (Hayden Rodgers), refusing to graze with the mob in order to keep practising her dance steps.

She begs the brolgas (Chloe Dallimore and Rodgers in lots of white feathers) to teach her to dance, and they are impressed with her efforts: “Quite brolgary in a kangaroo kind of way”.

The lyrebirds (Dallimore and Amanda Laing), a glitzy black and gold sequins and fringes, preen and pose with an “inclination for imitation”, as Josephine follows their leaps.

Big Annie (Laing), putting up the posters for the ‘City Ballet’ production of Swan Lake, gets lots of adult laughs as she complains about the touring company’s requests for separate dressing rooms and bottled water.

When Prima Ballerina (Laing) twists her ankle, ballet director, Madame Katerina Baroninski Gavriova (Dallimore), gives Josephine the ‘gig’ as Odette. She dances with Prince Seigfried (Rodgers) to the strains of The Dying Swan in a cute piece of choreography that brings the ballet and the play to a happy end.

Carol Wimmer

his own bowling alley, or so you would think, but all he really wants is a friend.

The world premiere Australian adaptation of David Walliams’ book, Billionaire Boy, was chucklesome, entertaining and appealing to all ages.

Billionaire Boy’s cast of five portrayed an array of believable characters. These included Joe and his new friend, Bob; the school Bully, Grubb; Joe’s Dad, Len; his “surprise” girlfriend, Sapphire; newsagent owner, Raj and the school canteen lady who comes up with a rather unusual lunchtime menu.

I was impressed by the actors’ ability to switch from one individualistic character to the next. The surprise addition of music and dancing, particularly a jazz number full of pizzazz and sparkle, and a rap take on Prince’s Purple Rain (called Purple Pain), added an extra element and boosted the entertainment factor.

While there is plenty of quick wit and some toilet humour for the kids, the show light-heartedly conveys the value of friendship and family. Joe learns that money can’t buy you everything and sometimes the best way to be a friend is to be beside someone and not try to fix their problems for them.

CDP has produced a number of world premiere stage plays which are adaptations of popular books. Their productions successfully engage young audiences and bring the book characters to life, fostering a love of reading and theatre.

Shannon O’Connell

The Owl And The Pussycat An opera for children based on the poem by Edward Lear.

Flowstate, Festival 2018 and Little Match Productions.

Directed by Bridget Boyle. At Surfers Paradise, Apr 5 - 8, Flowstate, South Bank, Apr 11 - 15.

THE festival supporting the 2018 Commonwealth Games is as full of “personal bests” as the Games themselves and The Owl And The Pussycat is a marvellous example.

Commissioned for the festival, this operatic story expands on Edward Lear’s famous poem about a misfit Owl and Pussycat who find each other and despite the misgivings of their families, run away on an adventure.

With overtones of Into The Woods and even Les Misérables running through this production, our two heroes Owl (Sarah Murr) and Pussycat (Irena Lysiuk) entrance their audience - the younger half are on cushions on the floor with older kids and adults on chairs behind.

Audience participation, particularly when engaging 4-10 year olds, is essential and is scattered through the show, making everyone feel as though they are aboard the “beautiful pea-green boat”.

Billionaire Boy Look beneath the feathers and fur of this production

By Maryam Master, based on the novel by David Walliams. and you’ll find a creative gem of homegrown talent. There CDP Kids. Sydney Opera House (Playhouse). Apr 14 - 29. are 13 creatives working behind the scenes while 6 are on AFTER his Dad made eleventy squillion dollars inventing stage, including a three-piece Puffin band.

Bumfresh toilet wipes, 12 year old Joe has everything a boy They may be performing to our youngest critics, but could ever want including a golden underwater Ferrari and their craft is of the highest calibre. The creative designs of Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 67

Penny Challen and Lisa Cheney’s enchanting composition feel instantly familiar. Jackson McGovern’s deftness in capturing his young audience even before the show begins pays off and the children look to him for visual cues throughout the 45 minute adventure.

Debra Bela

shocking audiences. It is hard to pick which nose I liked best (pardon the pun); the one which was flung into the audience, the ugly snouts which were attached to the motley of characters, the tap dancing nostrils, or the giant sniffer which was hoisted on a giant hook?

Incongruous images swirl around the stage. Heavily bearded men with steep curly hair run around in tight red Dr Frankenstein underpants showing off their legs and high heels. In

By Selma Dimitrijevic. Canberra Rep. Directed by Jordan another scene they don fur coats and suspenders. The Best. Theatre 3, Acton, Canberra ACT. Apr 5 - 20. women’s costumes are more modest but equally WHAT a fascinating choice of play for Canberra Rep’s extravagant.

“Power and Passion” season. Rather than the masculineThe Nose was composed by Shostakovich when he was based original novel by Mary Wollstonecraft Shelley, this 20. There are no tunes which stick in your head as you leave the opera, but the swirling joyous opera tingles with new re-telling has changed Victor into Victoria. This play premiered in England last year and it is good to see recent delightful motifs under the baton of Andrea Molino. reinterpretations, especially one as well-structured and Two of the male leads, Platon (Martin Winkler) and Ivan eloquent as this.

(Sir John Tomlinson), brought great wit to their roles. The Victoria Frankenstein (played perfectly by Jenna Roberts) rest of the cast and excellent ensemble are locals. must deal with her ambition, intelligence, innovation and Antoinette Halloran shone as Praskovia and Kaneen Breen conscience as she moves from university student to has a hilarious combination of roles - District Police renegade researcher, with the consequences of her Inspector and Eunich. experiments having reverberations right into her own It is extraordinary to see such a lavish production staged family. for five performances. The cost was being shared by Michael Sparks plays the Creature, giving the Creature companies in London, Berlin and Madrid. both menace and pathos. Emily Pogson plays Justine, full of David Spicer faith as well as youthful mischief, and her development through the play is truly touching.

Sami in Paradise The set (designed by Chris Zuber) is atmospheric, Based on The Suicide by Nikolai Erdman, adapted by Eamon rotating from a cosy household to a chilly laboratory, and Flack and The Company. Belvoir. Director: Eamon Flack. Apr later on, the chill fills the Frankenstein house with Gothic1 - 29. style window frames at the side. The music composed for WRITTEN in 1928, Nikolai Erdman’s The Suicide is the play by Matthew Webster is some of the best incidental considered one of the finest comedies to have emerged music I have heard recently, and adds considerably to the from the early phase of Communist Russia. Never played in grief and menace. Lighting design (Chris Ellyard) and sound Russia, it remains happily, blissfully above the run of normal design (Jenna Golab) work seamlessly with the action and drama - a real one-off. the set, heightening moments without overdoing it.

Eamon Flack has set it in a refugee camp named This play is both fascinating and horrifying, even to one Paradise - nothing to do with Manus Island, we are who knows the original story well. cheerfully warned - amid blanket walls and scavenged Rachel McGrath-Kerr shoes. He’s probably wisely renamed it Sami in Paradise, and we watch as his main character, Sami Bazzi, begins to The Nose learn to play the tuba, but loses all confidence in his Music by Dimitri Shostakovich. Libretto by various, after the circumstances and announces that he intends to commit story by Nikolai Gogol. Opera Australia. Joan Sutherland suicide.

Theatre, Sydney Opera House. Feb 21 - Mar 3.

Surrounded by a ragbag selection of people, some of EX-PAT Director Barrie Kosky has managed to pull off a whom have been in the camp for most of their lives, Sami production that meshed jokes about the Rooty Hill RSL with discovers that his life in the camp is worth little or nothing. surreal scenes of dancing noses.

And it’s here that the production really scores, with 12 The opera commences with a pompous bureaucrat actors playing more than two characters each, in a busy Platon Kovalov complaining about how much the hands of bustle of well-rehearsed daily life. his barber Ivan Iakovlevitch smell. He wriggles deliciously in Sami (Yalin Ozucelik) has a wife, Maria (Victoria the barber’s chair as his face and head is shaved.

Haralabidou) and a mother-in-law, Fima (Paula Arundell).

The next morning the barber’s wife is baking bread They are all exceptional, quick and busy, and directed by when she discovers a nose embedded in the dough.

Flack to within an inch of their lives.

Meanwhile Kovalov wakes up - recovering from a hangover Charlie Garber is a white South African man trying, - worried about a pimple on his face but is shocked to hilariously, to start his own N.G.O. Nancy Denis, a Haitian, discover that his nose missing. makes her mark as a hugely inflated official. Vaishnavi So you get the picture - that this is a very silly story Suryaprakash plays at least four parts, each to perfection. which is sublimely suited to Barrie Kosky’s passion for Frank Hatherley 68 Stage Whispers

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Reviews: Plays

Hugo Weaving (background) and Monica Sayers (foreground) in STC’s The Resistible Rise of Arturo Ui. Photo: Daniel Boud.

The Resistable Rise Of Arturo Ui

By Bertolt Brecht, translated by Tom Wright. Sydney Theatre Company. Roslyn Packer Theatre. Mar 21 - Apr 28.

BRECHT wanted us to see the fragility of our democratic institutions, and the urgency for vigilance against the honeyed, fake truths of the next brute to turn demagogue.

He would love this Arturo Ui from the STC’s Kip Williams.

Hugo Weaving is outstanding as the heartless mastermind running a protection racket in the city’s vegies market, but who transforms himself into a slick, be-suited master of Orwellian shibboleths.

Brecht would also admire the live projections from onstage cameras: here perfectly integrating into theatre another medium to question the performative lies of power. Weaving works the cameras as well as he does us!

And he should love Tom Wright’s artful adaptation. It’s a moral thriller in a corruptible contemporary city like - but not - Sydney, mixing Cockney and diverse Aussie characters, and the dead slogans of recent political leaders with rich Shakespearean villainy.

It may look like Richard III in Gotham City, but from the Philippines via Moscow to Washington, it could be any of these bullies. Through the camera eyes of a B-Grade movie, it leaps the implausible and works as a gothic tale which grabs you by the throat.

Squeezing out the blood is Colin Moody as Ui’s enigmatic henchman, Peter Carroll as the corruptible chief

minister and fine playing from Anita Hegh and Mitchell Butel, among others.

Designer Robert Cousins delivers an empty space with a few iconic props and dark character-rich costumes. A vital credit is cinematographer Justine Kerrigan and her team.

It’s more than two hours, non-stop and flags not a bit.

Martin Portus Don’t Dress For Dinner.

Written by Marc Camoletti. Directed by Keith Wilson Mousetrap Theatre Redcliffe. Playing Feb 23 - Mar 11.

THE setting is Bernard and Jacqueline’s country home, a converted French farmhouse, northwest of Paris in the 1980’s. While Jacqueline is to be away for the weekend, Bernard arranges for his Parisian mistress to call, for his friend Robert to be there as an alibi and finally a cook to prepare the gourmet meals. What could go wrong?

Everything. It begins when Jacqueline senses something and does not go - she is having an affair with Robert.

Hilarious confusion follows as Bernard and Robert improvise at breakneck speed. This evolved with farcical, side-splitting speed in front of us.

Director Keith Wilson has brought a strong cast to the various roles and maintained the necessary speed and interplay very well. David Scheiwe as Bernard and John Honey as friend Robert blustered and interacted as you imagine friends in this situation would. They made their characters

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This Is Our Youth.

real - not necessarily nice - and this carried the play. Karen Matthews as Jacqueline had our sympathy as the only normal one of the group in being the relatively steady influence in the rapidly changing scenes. Outstanding was Caitlin Jones as Suzette, the cook come mistress come cousin with her excellent stage presence. The mistress Suzanne was played very suitably by Susie Bushnell. We were confused sometimes by the clever use of the names of Suzette and Suzanne. Jonathan Sweeper as George brought the madhouse to an end. It is more than a giggle, it is good.

William Davies This Is Our Youth

By Kenneth Lonergan. Underground Broadway / Between the Flags. Metro Arts Theatre. Feb 28 - Mar 4.

BEST known for his Oscar-winning screenplay for Manchester by the Sea, in 1996 Lonergan staged This Is Our Youth off Broadway. The wonderfully worn, former warehouse that is Metro Arts Theatre in Brisbane is a fitting setting for this micro-run revival.

The action takes place in a New York studio apartment in 1982, the beginning of the Reagan era. The focus is a lopsided friendship between two self-absorbed young men and a girl, and their quest for a good time. These 80s brats have money: it is their language, their entertainment and their absolver. But, as Director Tim Hill puts it: “What is the consequence of a lack of consequences?”

70 Stage Whispers

Normally at the helm of musical theatre, Hill proves he can steer from Times Square glitz to edgy off-Broadway angst. And he certainly encourages winning performances from his young cast of talented performers. As perpetual loser Warren Straub, Jackson McGovern embodies Buscemilike menace, showing he can cut it in a darker role. Fresh from NIDA but already a seasoned performer, Mark Hill’s Dennis Ziegler is American Psycho as played by a coked-up Michael J Fox, blissfully unaware of how hilarious he is.

Saving us from the aggressive boys’ banter, Bellatrix Scott just about steals the show as Jessica Goldman. A recent QUT graduate, Scott displays the confidence and comic chops of a much more experienced performer.

Thank goodness spaces like Metro Arts still exist to cater for this hot-house production by Underground Broadway.

Beth Keehn True Minds

By Joanna Murray Smith. Centenary Theatre Group.

Director: Gary O’Neil. Chelmer Community Centre, Chelmer, Qld. Mar 3 - 24.

JOANNA Murray Smith is one of Australia’s most prolific and popular playwrights. She knows her middle-class audience and writes accordingly.

The premise of True Minds is that a man never marries a woman his mother doesn’t approve of, a concept espoused in a best-selling book by the protagonist Daisy Grayson (Beck Haining). On a stormy night, Daisy’s warehouse loft is besieged by her divorced hippy, prone to bedding-younger-

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men mother Tracey (Leigh Varma), her philandering and politically leftist father Maxim (Trevor Bond), her ex-lover recently released from rehab Mitch (Stephen Quinn), and the far-right stitched-up mother Vivienne (Beverley Wood) of her newly intended lawyer fiance Benedict (Trevor Sammon).

Every hot-button topic is floated from the feminist agenda to gay marriage, substance-abuse, parents and more, in a facetious script that is full of laughs but little humanity.

Director Gary O’Neil keeps it moving at a fast clip despite a plethora of tongue-twisting wordy laugh lines.

Haining played Daisy with a nice edgy fire, making her believable within the frequently unbelievable scenario - like who could seriously love a man who likes to individually wrap his firewood and tie it with a bow? But this is broad satire of the pretentious yuppie set. Quinn’s bad-boy Mitch was one of the most honest characters on the stage and whilst the character tropes are clichéd, Quinn brought an added likeable spin.

Peter Pinne The Ladies’ Foursome

By Norm Foster. Toowoomba Repertory Theatre. Feb 17 Mar 3.

TOOWOOMBA Repertory Theatre teed off their 2018 season with The Ladies Foursome, a comedy staged around a game of golf. Each hole on the course is a chance for the four golfers to grapple with the game and revelations about their friendships. This is situation comedy on stage carved up into mini-scenes, the perfect format for community theatre - minimal setting and props, simple screen projections, each vignette giving the actors a showcase comic moment.

As Margot, the hard-drinking businesswoman, Helen Holmes adds a calm confidence to the stage; Anneke Shea’s Tate, the ‘happily’ married Mom, is a chirpy cartoon-like bird; Elaine Coates gives Connie the TV Anchor a sassy charisma, and Beth Geoghegan’s Dory has a cryptic outsider’s air worthy of a TV murder mystery.

Director Peter Devey proves he can elicit from his actors punchline timing and consistent comic characterisation, even mastering the tricky Canadian accent. It’s just the pace of play that worried me - if this was a real golf course, the Marshall would have threatened writer, Norman Foster, with ‘slow play’.

Foster is often called ‘the Canadian Neil Simon’. But, for me, while Simon is chipping in a swift birdie, Foster is still trying to hit out of the bunker. However, this didn’t detract from the welcoming venue and the hard work of the team.

Beth Keehn Proof

By David Auburn. FREEFALL Productions. Directed by Derek Walker. The Q, Queanbeyan. March 14-17 and touring NSW and Vic. DAVID Auburn’s Proof addresses the perennial problem of overestimating our knowledge, particularly our knowledge of others’ limits.

Catherine (Ylaria Rogers) has been sitting in her backyard awaiting the departure of Hal, former protegé of her late father, Robert (Gerard Carroll). Hal has been upstairs in Robert’s study, searching Robert’s notebooks for buried intellectual treasure; Robert earlier twice revolutionised entire fields of mathematics. A final notebook, containing a mathematical proof that overshadows Robert’s previous accomplishments, challenges the assumptions of Hal (Alexander Brown) and Catherine’s sister, Claire (Julia Christensen), concerning the fragile mental health of a professional mathematician and the abilities of a mathematical nobody, somebody with next to no formal training.

This mildly intellectual play, which won a Pulitzer Prize in 2000, demands respect for the logical processes that the mathematically literate must follow, as well as for the intuitive leaps they must share, in discussing cutting-edge mathematics. In that regard, FREEFALL’s production plays directly to the script’s strengths, its mathematicians reasoning as mathematicians might.

Excepting unconvincing accents and occasional hasty lines, the performances by all four actors were impeccable.

John P. Harvey The Irresistible

By Zoe Pepper, Adriane Daff and Tim Watts. Side Pony Productions & The Last Great Hunt in partnership with Brisbane Powerhouse. Visy Theatre. Feb 23 - 24.

THE Irresistible consists of parallel narratives and a slew of characters adeptly played by two leads, Adriane Daff and Tim Watts. Stories bleed from one to another quite impeccably. There’s a moodiness and tension worthy of a Hitchcock movie. Strange lights in the sky, black ooze and a child with otherworldly powers all add to the thrilling tales.

Reading that description, you might be surprised to hear it’s also hilariously funny. Zoe Pepper, Adriane Daff and Tim Watts have done a great job to keep the script at once comical, current and gripping. The tightly-scripted show explores themes of gender politics, family expectations and obligation in relationships. You’re challenged to explore your own unconscious assumptions about people based on class, job and sex.

Much of the success of the visual special effects was due to the lighting design by Richard Vabre and the set and costume design by Jonathon Oxlade. The creative use of smoke machines, plastic partitions and black slime was simple, effective and impressive. Actors Adriane Daff and Tim Watts are fantastic slipping between characters, ably aided by autotune and other vocoder effects. The actors wear microphones that allow them to manipulate their own vocal tone. The clear plastic sheets that separate audience from performers also help the vocal effect by muting the actors’ real voices.

This is powerful theatre that opens conversations we need to be having now and into the future.

Kiesten McCauley

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Sorry Wrong Number and Sunset Boulevard Directed by Gary Klinger. New Farm Nash Theatre, Qld. Feb 23 - Mar 17.

MOST people would, perhaps, remember both of these shows as films with famous stars but they were initially radio plays. Well this was a chance again to listen to radio plays with live actors reading their parts in front of us.

Sorry Wrong Number, the first of the two, is a short, sharp, black tale of a woman who is home alone and on her phone overhears a murder being planned. She tries to make contact with nearly everyone, including her husband, as the tension builds to the time of the murder. The main role of the woman is very well done by Karen Neale who conveys the growing tension so well vocally. The other roles are minor by comparison but maintain our interest.

Sunset Boulevard is far more complicated as it tells of a silent movie star, unable to accept that times have changed, and a young writer attempting to achieve fame by selling his soul and his body. The main role of Norma Desmond was excellently played by Lindi Melbourne, while Edward Haworth as the overly ambitious Joe Gillis interacted well in his role. Perhaps he could have varied his delivery pace at times to more match the emotion he was representing.

They had good solid support from the other cast members.

When I shut my eyes to just listen, I think I had a clearer understanding of that was going on and Jonathan Collins, the sound effects expert, helped in every way.

Congratulations to director Gary Klinger for a good night of listening.

William Davies

Bouncers explores lad culture, superficial young ladies and the flawed courtship rituals of the club set. It does so in such a humorous fashion, it doesn’t feel mean spirited or too ‘heavy’, yet still leaves you with food for thought.

Kiesten McCauley

Thyestes

By Thomas Henning, Chis Ryan, Simon Stone and Mark Winter after Seneca. Adelaide Festival / The Hayloft Project / Belvoir. Directed by Simon Stone. Space Theatre, Adelaide Festival Centre. Mar 2 - 7.

HOW do we explain, understand and live with the acts of humans’ inhumanity to others, and our ability to commit atrocities, create fear, inflict pain, denigrate and dehumanise others?

Thyestes shares ‘the moments between atrocities’ and shows us that it isn’t a matter of them, but us. It is a part of how we as humans are.

The stage is a white box with open sides; the audience is split, facing itself on either side. Even the setting says this is you! This is what you are capable of. It isn’t gods or monsters that do these things, but people like the ones around you and looking at you.

The story of Thyestes begins with a killing and ends with a killing and in between the characters laugh, joke, play, eat, drink, love, cry, dance, argue, terrify, seduce, abuse and talk or don’t. The performers, Thomas Henning, Chris Ryan and Toby Schmitz, are superb. The naturalism of the dialogue and action is so believable that it is as if they are these people and this is happening now. This is acting of the highest level, to make it appear so natural, so real that Bouncers the audience feels like voyeurs.

Written by John Godber. Directed by Sherri Smith and David The scenes change rapidly and props appear as if by Paterson. Presented by HeartBeast Theatre. Spring Hill magic. The music is well chosen and brings moments of Reservoir. Mar 10 - 31. introspection, drama and explanation. The technicalities of BOUNCERS is energetic, accessible and packed full of this performance are, like the acting, seamless and of the humour. The cast give it their all and have nothing left in highest level. the tank by curtain call. They work very effectively together This is a production that I will be talking about and and are clearly well-rehearsed. No one actor stands above remembering for many years. the rest; all are well matched in skill.

Sally Putnam The stage is literally inside an old water reservoir. It has difficult sight lines and it echoes the sound and bounces it Kaput upward, forcing the cast to over-project in order to Adelaide Fringe 2018. The \ The Garden of Unearthly compensate. Fortunately, directors Sherri Smith and David Delights. Feb 17 - Mar 12.

Paterson have blocked the actors effectively and the play A LOVE story between a performer and an audience lends itself to the kind of bombast that suits a bit of overmember can’t go wrong, right? Wrong! Kaput, starring projection.

Tom Flanagan, is a delightful comedy that pays homage to Audiences love the play’s pace and non-stop laugh-out- the classic physical comedy and slapstick of Charlie Chaplin, loud humour. Many of the characters being parodied are Buster Keaton and skits such as “The Plank”. very recognisable and relatable. Much of the script is Flanagan has children and adults in stitches within altered to suit 2018 Brisbane. minutes as popcorn is shared around the room and a The weakest sections are the raps. The cast has trouble romance blossoms between a front row audience member sticking to the beat. Their commitment to the genre, and the performer. A film begins, ‘A Love Story’, but this is however, can’t be faulted. The rest of the music is fantastic soon interrupted by all means of hilarious issues involving a and really well chosen by sound designer Mark Richardson. film projector, a movie screen, a ladder, and of course, Lighting by Emily Allen and Paige Williams adds to the what must be the all-time favourite slapstick prop, a glue atmosphere, and is especially effective in the slow-motion bucket. fight scenes.

Flanagan handles the audience with expert ease, giving back strong energy and working quickly to improvise 72 Stage Whispers

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God Of Carnage.

Photo: Kaymar Kreations.

whenever an audience member is involved. His physical antics and immense acrobatic skill transcend words and enable the show to be enjoyed by people from all walks of life, including those who may not speak fluent English, or those who are hearing impaired. Look out for a cameo from Australia’s youngest up and coming circus performer, Tom’s seven month old son Earnest Flanagan; it’s an added treat if you’re lucky enough to catch it.

Jenny Fewster God Of Carnage Written by Yasmine Reza. Translated by Christopher Hampton. Directed by Leonie Walsh. Sunnybank Theatre Group. Apr 6 - 21.

IF you’re looking for an enjoyable, relatable, laugh-outloud comedy, God Of Carnage is not to be missed. The first thing that hit us was the outstanding attention to detail in the set design. The costuming was also very well chosen, and together they spoke volumes about the characters before a single word was uttered.

The script centred around two couples whose children have been involved in an altercation in the local park. What began as polite discourse descended quickly into arguments, judgement and preaching. On a superficial level it was a comedic work, but on a deeper level explored parenthood, litigation, complacency in marriage and corporate criminality.

The ensemble cast worked well together. All were very well cast and did a great job with comic timing and believability. Direction by Leonie Walsh was of a

professional standard, with beautifully balanced blocking.

We particularly loved the idea of the best chair in the room being the domain of whichever character held the highest status at any given time. The special effects were very clever and worked to great comic effect. Lighting and sound were executed seamlessly.

This was a very friendly, hospitable theatre environment.

Everyone from the staff at the bar to the actors on stage put a lot of effort into their jobs and their passion for the theatre was palpable.

Kiesten McCauley The Shifting Heart

By Richard Beynon. White Box Theatre. Seymour Centre (NSW). Mar 8 - 24.

WRITTEN in 1956, this is one of the first plays to explore the racial discrimination in Australia following the arrival of European refugees and migrants after the World War II. It tells of the Bianchi family who moved to Melbourne from Italy. Maria, their daughter, has married Clarrie, son of an Australian war widow. Gino, their twenty-one-year-old son has become “naturalised” and regards himself as an Australian.

The discrimination they face might seem mild today, but sixty years ago it was effectively hurtful. Despite this, the Bianchis strive for acceptance, buoyed by the friendship of one neighbour, Leila Pratt.

Director Kim Hardwick makes no attempt to set this production anywhere but Australia in the 1950s. And

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somehow this makes its contemporary message even clearer. Things haven’t changed!

The set, designed by Isobel Hudson, and atmospherically lit by Martin Kinnane, is the back verandah of an old, twostorey, inner-city weatherboard house, exactly as described

by Richard Beynon in his original stage directions.

Tony Poli and Dina Panozzo are convincing and lovable as Poppa and Momma Bianchi. They mix accented English with rapid Italian in a way that is as natural as their gestures and expressive faces.

Hardwick’s direction makes this vignette of 1950s Australia both credible and compassionate. By reaching into the past so convincingly, she almost makes it the present.

Carol Wimmer

This is a compelling one hour play about the sudden death of twenty-two-year-old Nick and shows how, in any similar circumstance, those left behind change after suicide; the self-blaming, the recriminations, the often false insights as to the reasons behind the death and most of all, the regrets borne of hindsight…those two sad words - ‘if only’.

The cast for the Adelaide Fringe production included a fine fusion of trained actors and volunteers from postsuicide support organisation Talk Out Loud.

Three performances had a particular impact on me.

Antony Von Der Borch was devastatingly real as Nick. Von Der Borch’s monologue in which he reveals the true reason for his suicide was chilling. As Nick’s Mother, Denise Alexander’s performance was superb. Stefanie Rossi was wonderful as Nick’s sister Hannah.

FoRT At the play’s finale each actor entered with a pair of Asking for Trouble. Adelaide Fringe. The Garden of shoes and placed them on the surface of the stage. These Unearthly Delights. Mar 12 - 18. shoes were formerly owned and worn, not by the actors, but by someone who had suicided. This scene, along with FORT is a physical theatre show that uses everyday objects such as a sofa, chairs, coffee table, ironing board, projected photos of people lost to suicide brought into mops and brooms as a vehicle for creating imaginary harsh relief that suicide can impact anyone; any age and landscapes and providing a stage for Christy Flaws and Luke from any walk of life.

O’Connor to showcase their acrobatic and circus skills.

This profound and impactful play serves to underscore The audience is invited into the world of the Talk Out Loud’s mantra: talk out loud about suicide, imagination, where camping in the wilderness, walking on because some silences are meant to be broken. the moon, climbing Everest or floating over the land in a Lesley Reed hot air balloon are all possibilities. This show uses sounds, lighting and music to create the atmosphere, as there is no Smoking With Grandma spoken script.

Adelaide Fringe Festival. Threewoods Playwright (Hong It is a play about the possibilities of play using only Kong). Bakehouse Theatre. Feb 26 - Mar 10. found objects and a sense of wonder. Simple in concept SMOKING With Grandma is a ‘mixed media’ work from but showcasing high-level skills, the performers were Hong Kong, involving a warm and loving relationship careful to add a disclaimer at the end of the show - to between a Chinese grandmother and grand-daughter. The check with a supervising adult before attempting the more grandmother is from Taiwan, living in Hong Kong and this spectacular physical feats. play is a journey home, a journey from being a displaced My normally fidgety three and half year old grandrefugee in Shanghai and Hong Kong, and then finally home daughter was totally engaged throughout the show, to Taiwan. The grand-daughter is a dancer who goes to watching not only the show, but also the shadow play on London leaving her beloved Grandmother, who is patiently the walls some of the scenes created. waiting in Hong Kong for many years to be given FoRT is a great introduction to physical theatre for permission to return to Taiwan. younger audiences and a reminder to the older members of The two female performers tell this beautiful, poignant the pleasure of making dens under tables, obstacle courses tale simply and extremely effectively. It covers a time and in the sitting room and generally repurposing everyday event in Chinese history in the 20th Century about which objects to create different worlds. one knows very little; subsequently it is highly enlightening Sally Putnam as well as very moving. This is a tale about being a refugee, about isolation and the determination and strength that love can give in times of adversity - as well as smoking.

41 Seconds In a disarming and moving way this play offers up a

By Mary Galouzis. Adelaide Fringe. Presented by Support Group, Talk Out Loud Talk Out Loud. Adelaide Fringe. Mar reason for smoking. In fleeing through war-torn 9 - 17. revolutionary China in the 1930s, the Grandmother has THE devastation of suicide doesn’t stop with the tragic nothing except for her pipe. As the Grandmother reveals, in finality of the actual act. Across the world - in fact, every 41 this situation, and in her later trials the pipe offers solace, as it is her only companion. This all may sound rather seconds statistically - families and friends must begin to deal with lifetimes of facing the reality of their loss. depressing, but it is not; it is a deeply profound and moving Hence the title of Mary Galouzis’s powerful and tribute to human survival. impactful play 41 Seconds.

Tony Knight

74 Stage Whispers

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The Crucible

By Arthur Miller. Directed by Matt Edgerton. Geoff Gibbs Theatre, WAAPA, Edith Cowan University, Mt Lawley, WA. Mar 16 - 22.

WAAPA’s The Crucible, performed by Third Year Acting atudents, feels different to the typical production of Arthur Miller’s classic, with director Matt Edgerton’s desire to encourage the audience to look at the play with fresh eyes.

Designers Georgia Manning (set) and Maeli Cherel (costumes) have abandoned heavy interiors and starched collars, giving an impressionistic picture of a Christian community at the edge of an unexplored land. Lighting, designed by Bradley Hodgkiss, is strong and atmospheric, and composition (Pavan Havi) and sound design (Mitchel Tinsley) support this vision.

Wonderful “moments” abound in this production, adding emotion.

Cameron Rouse brings wonderful physicality to Betty, Lily Stewart is excellent as manipulative Abigail, Mikayla Merks makes an outstanding Mary, with a wonderful journey, while Kian Pitman and Mia Morrissey excel as Susanna and Mercy. Teresa Moore’s Tituba is movingly performed.

Mike Cameron and Ellen Robson create a believable, fraught relationship as John and Elizabeth, and Will Bartolo’s incarnation of Reverend Hale is the best I have seen.

Jimi Rankin gives tangible fervour to Reverend Parris and James Thomasson has wonderful presence as Giles.

Wonderful and believable maturity from Jessie Lancaster and Luke Smith as Rebecca and Francis Nurse.

Shannon Ryan performs triple duty, creating distinct characters. Solid performances from Sam Corlett, Adam Marks, Tom Jackson and Jarryd Dobson.

An excellent approach to a classic text, that I am sure inspired the many students in the audience. Beautiful and moving performances from another strong Acting cohort and a clever creative team.

Kimberley Shaw

brings light to Mrs Fainall. Dominic Masterton is charming as foppish Witwood, nicely paired with an impressive Jonathon Hoey. Keith Scrivens nicely plays Sir Wilful Witwood. Lovely work from the remainder of the large cast.

A treat for lovers of a good costume drama, students of theatre and those who love a complex web of manipulation.

Kimberley Shaw A Few Good Men

By Aaron Sorkin. Ballina Players. Director: Mike Sheehan.

Players Theatre. Apr 6 - 15.

THIS ‘tour de force’ production is another feather in the cap of the Ballina Players.

Director Mike Sheehan has assembled an outstanding cast of seasoned and new recruits in this epic Court (Martial) drama, led by Dylan Wheeler as Lt Daniel Kaffee, Mel Strawbridge - Lt Cmdr Joanne Galloway and John Rado - Lt Col Nathan Jessep (in the movie version these roles were played by Tom Cruise, Demi Moore and Jack Nicholson).

Liam Gatt, Luke Mulder, Carl Moore and Graeme Speed also gave strong performances as the Naval personnel caught up in the drama.

In Act 2, Wheeler, Strawbridge and Rado had the audience in the palm of their hands as the accusations and counter-accusations flowed thick and fast. By the end of the performance, I was emotionally drained!

The ‘standout’ performance of the evening was delivered by Wheeler in a well-crafted characterization which was a joy to experience. In such a talented line up it was a tribute to this fine actor.

Once again, The Players have lived up to their slogan Regional Theatre at its best!

Roger McKenzie

Communicating Doors

By Alan Ayckbourn. Tea Tree Players (SA). April 4 - 14.

COMMUNICATING Doors is Alan Ayckbourn meets Doctor Who on speed.

The Way Of The World The premise of the story is simple, but the plot

By William Congreve. Directed by Raymond Omodei. Garrick convoluted.

Theatre, Guildford, WA. Mar 1 - 18.

Communicating Doors is Ayckbourn’s 46th play and WILLIAM Congreve’s comedy of manners was brought possibly one of his trickiest to stage. to life in a visual feast under the stewardship of Raymond Samuel Creighton’s direction is tight and insightful. It is Omodei. a tribute to his leadership that the cast were so at ease.

This lavishly costumed production looks amazing, with David Kinna’s Julian is suitably evil and menacing. The beautiful costumes by Marjorie de Caux and gorgeous wigs maniacal look in his eyes is unnervingly frightening. supplied by Liddy Reynolds and maintained by Lynda Lisa Wilton’s Poopay is world-wise but with a heart. Her Stubbs. Designer Jake Newby’s subtle, muted set with character develops during the play and forms a close bond skeletal furnishing allows costuming to shine. with the audience.

A hard-working cast show obvious passion and Richard Hobson delivers a totally believable performance dedication, Rhett Clarke plays Mirabell with wit and as the 70-year-old Reece. His scenes with Poopay at the presence. He is keen to marry Millamant (an admirable, beginning of the play are both hysterical and heart rending. elegant Siobhan Vincent), but is disliked by her guardian Frank Cwiertniak’s Harold is a scream. Cwiertniak Lady Wishfort - beautifully characterised by an indomitable underplays the character nicely.

Kerry Goode.

Hannah Doyle’s Jessica is seemingly naive at the Kael McGechan is a dark manipulator as Fainall. Sherryl beginning of the play but is not as innocent as she seems.

Spencer is outstanding as Mrs Marwood. Sarah House Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 75

As convincing as these characters are, the play belongs to and is relentlessly driven by Chris Galipo as Ruella. She nails every laugh line. Act 1 is long, but thanks to Galipo’s pace and energy it rolls along.

Tea Tree Players are famous for their box sets, but this is no ordinary box set thanks to the scenic design and art work of Damon Hill.

All in all, Communicating Doors is a highly entertaining night that had me laughing and with a little tear in my eye at the conclusion.

Barry Hill

comes and goes perfectly on time to suit Bernard’s dalliance with each. However, things go drastically wrong when the new Boeing 707 brings the girls to Paris faster than Bernard anticipates.

The play is performed with pace and comedy. Paul Hynes was outstanding as the befuddled Bernard. Not sure what Paul is doing in amateur theatre. He’s a professional in everything he does. Totally brilliant. The flight attendants, played by Danielle Aquilina, Simone Pires and Cleo Legge, were all strong and very eye-catching in their roles. Robert de Rooy as Robert, Bernard’s old friend, provided the bulk of the comedy, fumbling his way through various Kiss Me Like You Mean It improbable situations as the girl traffic became

By Chris Chibnall. Maitland Repertory Theatre, at its theatre. unmanageable. Tracey Psiuk was also brilliant as Bertha, Mar 16 - 24.

Bernard’s overworked and stressed maid. The set, with four BRENDON Harris, the director of Kiss Me Like You Mean doors, was perfect for all the mad comings and goings. The It, discovered the play when he was a student in Hunter background music, combined with a big jet take-off sound, TAFE’s Diploma of Arts, Acting, course, and a lecturer brilliantly created the moment. This was great delivered an engaging romantic monologue delivered by a entertainment that was fully enjoyed by the big crowd.

Ken Cotterill young man who has encountered an attractive girl on a verandah, when the two escape separately from a noisy allnight party. His enjoyment of the play led him to persuade Perfect Wedding Maitland Repertory Theatre to stage it. Audience reactions By Robin Hawdon. Theatre on Brunker, at St Stephen’s Hall, to the production, with loud laughter throughout its Adamstown (Newcastle). April 6 - 28.

AS the title indicates, people who are preparing for a running time, showed why he was so keen to present it. marriage ceremony want it to be bright and trouble-free.

English writer Chris Chibnall looks amusingly and ultimately movingly at how romantic relationships begin But when things go wrong, as happens in Robin Hawdon’s and develop, with a focus on two pairs of characters - Tony comedy, chaos can result. and Ruth, who are in their 20s and meet at 3am when they Hawdon, who is one of Britain’s most highly regarded individually head to a verandah to get a break from the current writers of farcical works, makes this a lively look at party, and Don and Edie, a couple who have been married the two hours before a well-planned wedding is due to for 50 years and find themselves facing a problem relating start, and the staging team headed by director Brian Wark to their age. had audience members laughing from beginning to end.

The play’s first act focuses on Tony and Ruth, with Don The action takes place in the wedding suite of a hotel and Edie occasionally seen and heard through a window of outside London, with the groom, Bill (Lee Mayne) waking up just after 9am and finding an attractive woman (Bridget an adjoining house where they are obviously engaged in sexual antics. They eventually emerge and meet the young Barry) in bed beside him. Bill has a hangover from the pair. In the second half, the older duo are shown in their previous night’s stag party that was held in the hotel, and house as the sun begins to rise, with Edie asking Don hides the woman, Judy, in the bathroom when other questions about their life together, often sharply, and his people, including housemaid Julie (Sandra Aldred) and best man Tom (Carl Gregory), begin to arrive. Things increasingly responses raising laughs. get worse, especially when bride Rachel (Madeline The cast brought out the natures of their characters well, with Zac Smith’s frustrated Tony clearly needing a new Valentinis) and her mother, Daphne (Amanda Woolford), relationship and Hope Maguire’s Ruth understandably appear. uncertain about her responses. Michael Smythe’s Don and Excellent use was made of the doors in Chris Bird’s very Maria Bardarkos’s Edie gave warm reality to their aged real two-room set and the confusion about who is who that results from the names Judy and Julie never lost its characters, with their idiosyncrasies raising bright smiles.

The director and the technical team contributed to making funniness. The costumes also added to the fun, with this an early morning to remember.

Daphne’s over-the-top wedding garb and constant singing Ken Longworth of Here Comes the Bride leading one of the others to refer to her as something out of a pantomime. And the irate Boeing Boeing comment, “Look, this isn’t funny”, made by one of the males in the early stages of the confusion, had audience

By Marc Camoletti, Beverly Cross and Francis Evans. Cairns Little Theatre. Feb 23 - Mar 3. members laughing loudly and showing that indeed it was.

CAIRNS Little Theatre’s production of the popular Ken Longworth comedy Boeing Boeing opened to a full house at The Rondo Theatre, Cairns. Directed by Frank Joel, the farce centred around Bernard and his three girlfriends who are all flight attendants with different international airlines. Each girl 76 Stage Whispers

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Venus In Fur. Photo: Marc Dimmick.

Kalamunda, Here I Come

By Noel O’Neill. Directed by Caroline McDonnell. KADS Town Square Theatre, Kalamunda, WA. Feb 14 - Mar 3.

THIS show, by Noel O’Neill, was presented in its “spiritual home” of Kalamunda.

Cork born Noel O’Neill lives locally and tells of a young Irish woman considering a move across the world to the strange sounding Kalamunda. A kitchen-sink drama of the best kind, it is warm and funny.

Elmer Baylor is delightfully likeable as Lulu, a vibrant young nurse who needs to stretch her wings. Gerry Grogan gives a natural, relaxed performance as Paddy, while Denice Byrne makes a lovely, loving Mammy. Conor Rice is suave as Davey, Ultan Keily is believable as Charlie, Brian O’Donovan is convincing as Billy and Nathan Holland has lovely timing as Mikey. Rounding out the cast nicely is Stanley O’Neill.

There is a lovely understanding of the situation, with director Caroline McDonnell and almost all the cast, being Irish transplants. The style is very naturalistic with beautiful moments of truth.

Noel O’Neill, Bill Weighell and Geoff Rumsey’s set feels cramped but realistic and lived-in. Sound and Lighting (Mark Ramsey and John Spurling) was well managed and nicely timed.

An entertaining and enjoyable show that is bitter-sweet and uplifting.

Kimberley Shaw

Venus In Fur

By David Ives. Melville Theatre, WA. Directed by Trevor Dhu. Feb 16 - Mar 3.

MELVILLE Theatre’s Venus in Fur is a dynamic and expertly presented two-hander that had the audience on the edge of their seats.

Set in New York, Thomas Novachek is directing his own adaptation of Venus in Fur, and lamenting the suitability of the actresses who have auditioned for lead character Wanda von Dunayev, when actress Vanda Jordan crashes into the room and demands an audition. Despite seeming obviously unsuitable, her reading is amazing and the lines between the novel, the play and life become increasingly blurred.

Grace Edwards was a stunning Vanda, at once exasperating and exciting, demanding and dynamic; an absolutely compelling performance, in which she owned the stage. Thomas Dimmick was excellent as namesake Thomas (a really interesting naming coincidence that pushes the reality vs fiction lines even further). A clever, deep and nuanced performance. The pair had a wonderful on stage relationship that was beautifully structured by director Trevor Dhu. Set design, by the director, was believable and functional. Lars Jensen’s lighting design was great fuel for the plot, and Barbara Lovell’s sound design was excellent both aspects beautifully timed by operator Trevor Dhu. A very high quality production that provides much to ponder.

Kimberley Shaw

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Stage Whispers 77

Reviews: Musicals

We Will Rock You. Photo: Stephen Heath.

We Will Rock You

By Ben Elton and Queen. Directed by Trevor Patient. His Majesty’s Theatre, Perth. Mar 23 - Apr 7.

BIG, bold, brassy and loud, We Will Rock You by Queen and Ben Elton is constantly updated to stay relevant to audiences and it remains as fun, vibrant and topical as it was when the show first played in Perth in 2004.

Lots of passion from the choir and the ensemble, who were well drilled, focused and energised.

Normie Rowe brought more than presence to ‘Buddy’, with a beautifully rounded performance.

Courtney Murphy’s Britt was excellent - working perfectly with Paula Parore, whose characterisation and vocals were outstanding.

Chris Murphy’s Macca was exciting and his finale reappearance is worth waiting for.

Dean Misdale, aka Feminem, is the first performer world -wide to play Killer Queen in drag. It adds extra edge to her power and makes a ‘killer’ performance. Khashoggi is played with strength by Ryan Dawson.

Blake Williams is an earnest and likeable Galileo Figaro.

Holly Denton rocks out beautifully as Scaramouche.

Nice work from Jessie James, the Teen Queen quintet and the Barbershop Boys.

Leah Andrews’ costumes are cleverly eclectic and well considered. Lighting, designed by Franz Jansen, has a rock concert vibe.

Annie Quinn’s choreography felt original and inspired and was well executed.

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The six piece rock band, led by Frank La Cava, had authentic rockers and sounded great.

A high energy production that excited its audiences Kimberley Shaw Essgee’s Pirates of Penzance Music: Arthur Sullivan. Libretto: W.S. Gilbert. Additional Lyrics: Melvyn Morrow. Director: Terence O’Connell. Empire Theatre Toowoomba. Mar 14 - 17.

PIRATES of Penzance has got everything you could ask for in a musical - a slew of well-known songs, colourful characters, and a fanciful and funny plot. Director Terence O’Connell did an amazing job of this pro-am production which had the cast delivering every laugh with slapstick and tightly controlled OTT performances.

Top marks to choreographers George Canham and Alison Vallette who had the chorus drilled to within an inch of perfection. Whether they were pirates, maidens or policemen, their routines were executed with polish.

West End star Michael Cormick was a robust, swashbuckling Pirate King, letting his glorious voice rip through “I am a Pirate King” and leading the company in the delicious high-kick romp of “With cat-like tread”.

Recent Griffith Musical Theatre graduate Alex Woodward was a handsome hero and handled the top tenor notes with ease, along the way milking every laugh, especially with the redoubtable Ruth (Angela Ponting) as his coconspirator. The trio “Paradox” was a delight in the hands of Cormick, Woodward and Ponting.

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But it was Sophie Salvesami’s effortless soprano trills in “Poor Wandering One” as Mabel that brought thunderous audience applause, as did Mathew Collins as the Modern Major General, with the score’s incomparable patter number.

Conductor Craig Renshaw, who parried with the cast when they broke the fourth wall time and time again, had a jolly old time with a 16-piece orchestra. It was a fun night!

Peter Pinne Curtains Book by Rupert Holmes. Music by John Kander. Lyrics by Fred Ebb. Beenleigh Theatre Group. Mar 9 - 24.

CURTAINS is a hilarious murder mystery send-up, set backstage at a theatre. The story: Jessica Cranshaw (Madi Jennings), the star of tryout musical-within-the-musical “Robbin’ Hood”, is bumped off on opening night. This brings Lieutenant Frank Cioffi (Tony Campbell) to Boston’s Colonial Theatre, where he quickly falls for ingenue Niki Harris (Lauren-Lee Innis-Youren). Campbell is the dream theatre performer - he can sing, dance, act, and land punchlines, all with dignity, class and heavenly diction.

Accompanied by theatre star Lauren-Lee, these two make the perfect remedy of calm in a world full of chaos.

The show’s composer Aaron Fox (William Boyd), lyricist Georgia Hendricks (Genevieve Tree), co-producer Carmen Bernstein (Fiona Buchanan) and financial backer Oscar Shapiro (Ian Maurice) were all strong characters, with a nice feel for ensemble and deadpan comic delivery. The stand out performers in this ensemble featured none other than belting songstress Fiona Buchanan, and the relationship with her estranged daughter, Bambi Bernet (Lauren Conway). The pair were brilliant both together and in their own respective scenes. Jim Price as Director of “Robbin’ Hood”, was the comedic relief with every punchline landing, and a commanding presence on stage in every scene.

Brilliant execution of the band behind the stage, led by Julie Whiting, gave the show the 1950’s appeal, with full sound resonating off the theatre walls.

For all its lightness and melodrama, this detailed and witty show was no small undertaking, and director (Andrew Cockroft-Penman) rose to the occasion with a bright and colourful production that conveyed exactly what Show People are all about.

Mel Bobbermien Oh, What a Lovely War!

By Theatre Works, Charles Chilton, Gerry Raffles and members of the original cast. Joan Littlewood’s Musical Entertainment. Canberra Repertory Society. Director: Chris Baldock. Theatre 3, Acton. Feb 22 - Mar 10.

CANBERRA Rep’s production of the classic sticks closely to the original, preserving the Pierrot costumes and minimalistic set. What makes it a fresh and vibrant interpretation is the youthfulness of the cast, the majority of whom are in their teens or twenties. This production leans more towards the surrealist music hall comedy side of the script, and ironically this has the effect of making the

tragedy all the more poignant in contrast. The Irish troop scene (with the very funny Kate Blackhurst as captain) is simultaneously blackly hilarious and utterly tragic.

The program didn’t list songs or singers which makes it a little challenging to identify the stand outs, but Keren Dalzell blew me away with her gorgeous crystal-clear bell of a voice, using perfect 1910s music hall vibrato and phrasing. Meaghan Stewart’s Belgium Put the Kibosh up the Kaiser was character-filled and memorable. Holly Ross’s rendition of I’ll Make a Man of You was spine-tingling and surprisingly raunchy, given her youth. The ensembles’ Sister Suzie’s Sewing Shirts had the audience singing along with enthusiasm and 15-year-old Katy Larkin’s lively dance and sweet voice (in Roses of Picardy) mark her as another young talent to watch. The emotional centre of the play, the Christmas Armistice scene, was handled with alternating humour and foreboding, formality and relief.

It feels a bit odd to say that a show highlighting the folly that led to the deaths of at least ten million people is a lot of fun, but it was.

Cathy Bannister Edges

By Benj Pasek & Justin Paul. Adelaide Fringe. Irregular Productions. The Parks Theatre, Angle Park. Mar 7 - 11.

LOOKING for a genuinely pleasurable, easy-going time in the theatre, but one that doesn’t skimp on emotional substance or musical quality, and which serves as a showcase for professional-level performers? Of course you are!

Technically this is a song cycle, but the deft staging and superb ensemble acting bring it very close to being a piece of sung-through musical theatre. Whatever label you want to place on this brilliant production of Edges, it’s a winner every which way.

Anyone familiar with the past stage work of Millicent Sarre, Casmira Hambledon, Mitchell Smith and Scott Reynolds - musical or otherwise - will come to this show with high expectations which, thankfully, are more than met. All four display enormous levels of energy and empathy in their roles of regular young people looking to make their way in the world.

Musicians Peter Johns, Louis Cann and Max Ziliotto bring expertise, sensitivity, and stamina to a show that requires their contribution virtually non-stop for 75

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minutes. Cambell Lawrence’s audio was well-balanced and effective for the most part, while set design smartly allowed for the necessary versatility in staging.

Director Ellis Dolan, himself a noted performer who welcomes the audience with his own vocal talents as drinks are ordered and seats are taken, can be justifiably proud of what he and his team have achieved. Hats off to theatre groups who are prepared to introduce lesser-known works to Adelaide audiences, rather than simply dusting off something ‘tried-and-true’.

Edges is a genuine highlight of this year’s Adelaide Fringe.

Anthony Vawser

A great night out for lovers of rock, fans of the eighties and those who love their theatre immersive and intense.

Kimberley Shaw

42nd Street Music by Harry Warren, Lyrics by Al Dubin. Book by Michael Stewart & Mark Bramble. Presented by Free Rain Theatre.

Directed by Chris Baldock. The Q - Queanbeyan Performing Arts Centre. Mar 26 - Apr 15.

THANKS to Harvey Weinstein, 42nd Street has dated.

Characters like sugar daddy Abner Dillon and liberty taking Julian Marsh make it almost impossible to view 42nd Street in the original context. But this is what Free Rain’s latest production does. Unashamedly nostalgic, this production Rock of Ages stays true to the spirit of the Broadway original.

Book by Chris D’Arienzo. Arrangements & orchestrations by Sophie Highmore makes an adorable, fresh-faced Peggy Ethan Popp. Directed by Stephen Carr, Musical direction by Sawyer. Hers isn’t a big voice but it’s youthful and vibrant, Kate McIntosh. Koorliny Arts Centre, Kwinana, WA. Mar 2 - and her dance is beat perfect. Her version of the signature 17.

“Forty-Second Street” is a highlight. Jarrad West’s Julian Marsh is amiable (for a liberty-taking, thug-commissioning ROCK of Ages played to packed, enthusiastic houses with an enthusiastic cast, who rocked out with abandon.

42nd Street.

Photo: Janelle McMenamin.

The strong Rock of Ages band were given pride of place on the set designed by director Stephen Carr and Peter “Pear” Carr. The set also featured eighties icons, a hidden revolve, multi levels and a pole - well employed by talented ensemblist Shona Shultz.

Costume design by Kiri Silva and Evangalyn Little captured the era.

This nostalgic but highly energised show is narrated by unlikely hero Lonny, played larger than life by Tim How. The romantic leads were played by Katie Elizabeth Williams and Matthew Arnold, who were believable and likeable. Gareth Jay was strong as club owner Dennis, and Tate Bennett brought lots of fun in a great portrayal of deplorable Stacee.

Georgia McGivern was a stand-out as passionate Regina, beautifully matched with the very charming Max Gipson as Franz.

Bad guy Hertz was well portrayed

by Grant O’Neil. Rachel Monamy shone as Justice. Special mention must be made of Ruth Bennett’s excellent Waitress Number One. The ensemble maintained focus throughout, singing with Online extras! gusto and executing Allen The cast of 42nd Street discuss their time Blachford and Claire Ballin the show. Scan the QR code or visit Matthews’ choreography with http://bit.ly/2EZUZzZ fervour.

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Matilda Moran in Merrily We Roll Along.

Photo: Clare Hawley.

beast). Peggy and Julian’s duet takes “Lullaby of Broadway” a little bit slower, bluesier and dreamier than I’ve previously heard it. Peggy and Billy Lawler (played by Sam Ward) do a great job of the duet “Young and Healthy”. Meanwhile, Louiza Blomfield positively sparkles as Dorothy Brock, bringing her big, rich voice to “Shadow Waltz” and “You’re Getting to Be a Habit with Me”.

The greatest strengths of this show, however, were the band (which was note perfect) and the tap routines. They weren’t completely rhythmically perfect, but they were solid, vibrant and exciting. A fun production.

Cathy Bannister Merrily We Roll Along Music and Lyrics by Stephen Sondheim. Book by George Furth. Little Triangle Company. The Depot Theatre, Marrickville. Mar 7 - 24.

ONE of the least performed of Sondheim’s works, Merrily We Roll Along reviews the life of composer and musical producer Franklin Shepard and his best friends, lyricist Charley Kringas and writer, Mary Flynn. Going backwards in time from 1976 to 1957, it compares the disappointments of adulthood with idealism of youth.

Sondheim’s work requires clear character development as well as musical talent, and director Alexander Andrews ensures that every character is well-defined and convincingly portrayed, sharing their despair and their joy in carefully drilled choreography and clear, beautifully blended, microphone-free voices.

Patrick Howard as Frank, Zach Selmes as Charley and Victoria Zerbst as Mary establish the strong, yet damaged, bonds between the three ‘Old Friends’ in both action and song, and the connections that tie them inexorably to the people who have defined their history over nineteen years.

Beth, Shepard’s betrayed first wife, is played with hurt stoicism by Shannen Sarstedt, especially in the lingering notes of ‘Not a Day Goes By’.

Matilda Moran depicts both the celebrated performer and clever manipulator in Shepard’s second wife, Gussie.

Moran has an imposing presence and strong voice, which she uses skilfully.

Using minimal set suggestions, Alexander sets a pace that matches the changing tempo of the music - and the highs and lows of what is, unfortunately, a typical show business story.

Carol Wimmer Fiddler on the Roof Book by Joseph Stein. Music by Jerry Bock. Lyrics by Sheldon Harnick. Rockdale Musical Society. Rockdale Town Hall. Mar 2 - 11.

THE characters of Fiddler on the Roof remind the world of the effects of oppression in one of the most effective ways possible - through theatre and music.

Director and designer Colin Peet gives this production the faithful attention that this gem of musical theatre demands. The costumes carefully recreate the historical, traditional and economic elements. The accents and gestures recreate the distinctiveness of a small Jewish

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Stage Whispers 81

Fiddler On The Roof.

Photo: Rod Herbert.

community immersed in its beliefs and traditions. The blocking and choreography reinforce that authenticity.

A talented cast and over twenty musicians bring Tevye, his family and the community of Anatevka to convincing life, finding both the humour and pathos of the drama and the power and beauty of the music.

Adam Scicluna recreates the role of Tevye with the clarity and strength required of this tour de force role.

Charmaine Gibbs, playing Golde, brings similar musical and theatrical experience. As their daughters, Veronica Clavijo (Tzeitel), Emilie Davila (Hodel) and Isabella McIntosh (Chava) find emotional turmoil in the clear, controlled delivery and movement.

Choreographer Chris Bamford has augmented the original choreography with new ideas that, in keeping with the traditional steps and gestures, breathe a little new life to the chorus numbers making the ‘massed’ cast numbers particularly effective.

This is a musical that requires believable acting as well as fine singing, and this cast assures both.

Carol Wimmer Chitty Chitty Bang Bang Music & Lyrics: Richard & Robert Sherman. Book: Jeremy Sams & Ray Roderick. Northern Light Theatre Company (SA). Shedley Theatre, Elizabeth. Apr 14 - 28.

JUST in time for the school holidays Northern Light Theatre Company are presenting that ‘child catcher’ of a musical, Chitty Chitty Bang Bang.

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Director Gordon Combes has created a true fantasy land with that nice fuzzy feeling at the end of a family musical.

Add to that the talent of Paul Sinkinson as Musical Director and Sue Pole who creates extended dance numbers.

The non-human star of the show is of course the car herself, Chitty Chitty Bang Bang, and she did not disappoint.

Andrew Crispe as Caractacus Potts gives us a powerful velvety voice that rises above the cast, a genuine performance. Kate Hodges’ Truly Scrumptious makes the perfect love interest for Caractacus.

Russell Ford’s Grandpa is suitably eccentric and lovable.

Harry Ince and Holly Abbott are delightful as the Potts children.

Gavin Cianci’s Baron Bomburst is cute, cuddly and petulant. Georgia Stockham’s Baroness Bomburst does not hold back. Their duet was a standout.

Tom Adam’s Boris and Gary Humphries’ Goran, the two spies, kept the show rolling on with their comedy antics.

A number of minor principals all give consistent performances, while the adult and youth chorus provide the colour and glitz of the show.

My only reservation was the constantly changing brightly coloured lighting that caused the principals to often be in the darker areas of the stage.

But this did not prevent me enjoying this family friendly show that goes like a rocket, or should I say, like a flying car?

Barry Hill

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

2018 Newcastle Fringe Festival

PERFORMING ARTS MAGAZINE MAY/JUNE 2018. VOLUME 27, NUMBER 3 ABN 71 129 358 710 ISSN 1321 5965

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Telephone/Fax: (03) 9758 4522 Advertising: stagews@stagewhispers.com.au Editorial: neil@stagewhispers.com.au

because there was fire.

2018 Newcastle Fringe Festival Various shows staged at six Newcastle venues, Mar 21 - 25.

THERE were 25 events featuring overseas, Australian and local artists in this year’s Newcastle Fringe, and it was significant that just under half were staged by companies from Newcastle and its environs. The quality of the region’s events was shown in the prizes, with because there was fire, a play written by Adelaide’s Jamie Hornsby, under commission from Central Coast youth theatre company Jopuka Productions, winning the Best New Production category, and Newcastle comedy writer and performer Clark Gormley’s Clark’s Nerdy Science Show taking the trophy for Best Newcastle Production. because there was fire, which ran for just over an hour, showed the relationship of two people in their late teens, Clara, who lives with her father, and Andrew, a member of a wealthy family and newcomer to the suburban area. He has his own car and the pair, unhappy with what’s happening in their lives, drive off to the bush in search of adventure. They eventually turn to hold-ups and thefts to pay their way, and threatening things increasingly happen.

The dialogue is a mix of what is on their minds and what they say to each other, which are often different. Actors Jessica Pearson and Beau Wilson, directed by Danielle Braeme Whiting, made this a gripping story, with the production appropriately touring to the Central Coast and Adelaide.

Clark Gormley again showed his talents for making a serious subject engaging in a 60-minute performance. He looked amusingly and engrossingly at the lives and work of people involved in science research through the ages, noting that the letters in his first name were scientific symbols: cl for chlorine, ar for argon, and k for potassium, with his initials, cg, meaning centre of gravity. He used background images of paintings and photographs to show the scientists, included a video of “the world’s first eco space trek”, and sang a love song called Test Tube Baby.

His previous Newcastle Fringe shows were hits in Sydney and Melbourne and this one should follow their path.

Ken Longworth

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

Stage Whispers 83

Musical Spice

I met Queen Elizabeth II just over 25 years ago, at a reception in Government House in Sydney. Her Royal Highness was in town to re-dedicate the Sydney Town Hall and exchanged pleasantries with myself, and a group of other journalists, about - you guessed it - the weather. A colleague asked if she got bored talking about the weather and she replied, “No…it is important.”

I can remember the nervous wait for her to enter the room and the instructions about protocol. Bow when she approaches, if you wish, and call her Ma’am.

It was a similar experience for me when the prospect of meeting Brian May, the lead singer from Queen, arose in February. Having signed up the amateur rights to We Will Rock You I had a backstage appointment with his manager, just prior to the Queen and Adam Lambert concert. I had never even spoken with his manager before, only exchanged emails, so it was a big deal all round.

My big brother, who saw Queen in

Online extras!

See my 33 seconds with Brian here by scanning the QR code or visiting http://bit.ly/2HNXU1E 84 Stage Whispers May - June 2018

Sydney back in the 1970’s, was giggling with excitement. I was told to pick up an envelope at one of the box offices which would contain secret instructions about how to go backstage prior to the performance.

The envelope had a special ticket with instructions to go to gate such and such and wait. That is exactly what we did - wait for an hour as other VIPs were allowed in ahead of us. Left stranded with us a was a young Queen fanatic from Germany who travelled the world attending every concert. “We are friends,” she said.

Up walked Brian May’s personal security guard. He was a retired Mossad agent, so we impressed him with our very limited knowledge of Hebrew. Like the Last Supper, he spoke in general terms of 13 people being allowed in. There were another 10 who were relatives of Brian and the Queen fanatic. Did my brother and I make up the 13?

Brian’s relatives and the Queen fanatic were then led downstairs to the backstage area. We had to stay put. I thought our opportunity to meet Brian had bitten the dust. There was only 20 minutes until the concert was scheduled to commence.

Then Mr Mossad waved us in. Queen’s manager was busy, so instead we were ushered into a reception room.

Then a minute later in strolled His Royal Highness, tall and skinny with those unmistakable curls.

Like the real sovereign, he was showered with gifts.

One relative gave him a book, another a stuffed koala.

I stayed back - then swooped. My gift was the DSP published book of the script and music for Australia and New Zealand of We Will Rock You. Quick, I urged my brother - now is a chance for my piece to camera (the camera being the video on my iPhone).

Being a television journalist, a live piece to camera was a cinch. I thanked him for releasing the amateur rights and he whispered approvingly as he flicked through the book.

“You have put the top line of the music in.”

He put his arm around me for a still photo.

My 33 second audience with Brian May was over and Mr Mossad ushered us out of the room. Queen’s manager popped his head out of the dinner he was attending and gave most of his attention to my big brother, because he looked more grown up in a coat.

Now I am like the Governor General, sort of Queen’s representative in Australia (for WWRY), attending different productions of the musical.

Long may We Will Rock You reign over us.

David Spicer

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