Stage Whispers September/October 2016

2 Stage Whispers September - October 2016

www.stagewhispers.com.au Stage Whispers 3

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In this issue

Dream Lover, Dream Songs, Dream Story .................................................. 8 Talking to the stars and creatives of the new Bobby Darin musical These Boots Are Made For Dancing ......................................................... 12 Toby Francis chats about Kinky Boots ahead of its Australian Premiere Meet Aladdin .......................................................................................... 16 Ainsley Melham and his magic carpet ride in the new Disney blockbuster

19

The Helpmanns ....................................................................................... 18 Best Helpmann gags as Matilda makes a clean sweep of musicals awards All The World’s Their Stage ..................................................................... 20 Aussie playwrights on the global stage

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A Taste Of The Beast... ............................................................................ 23 An excerpt from Eddie Perfect’s hilarious play Steel City Theatre Soars ........................................................................... 26 Whyalla Players celebrate 60 years of theatre in regional S.A. My Fair Costumes ................................................................................... 30 Re-creating Cecil Beaton’s classic costumes for My Fair Lady

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30

58

62 68 4 Stage Whispers September - October 2016

Costume Marketplace ............................................................................. 32

Regular Features Sound and Lighting

36

London Calling

42

Broadway Buzz

44

Stage On Disc

38

Stage To Page

40

On Stage - What’s On

48

Reviews

58

Schools On Stage

77

Choosing A Show

80

Musical Spice

84

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Editorial

A Conversation Worth Having. Main image: Andrew Symes.

Clockwise from top: Shire Music Theatre, Jen Parbery, Dan Kenyon.

All photos: Grant Leslie.

Dear theatre-goers and theatre-doers, On August 26, nine of Sydney’s community Musical Theatre companies united at Sutherland Entertainment Centre to celebrate the life of a much-loved young performer and friend, taken from us before his time by Depression, while raising consciousness about the illness which cut short his promising life.

James Jonathon, affectionately known as J.J., was passionate about musical theatre. Each time we met, he seemed to be rehearsing at least two shows at a time.

J.J.’s loss has touched artists well beyond the community theatre family, as evidenced by the video message from Helpmann Award winner James Millar.

I never had the opportunity to perform with J.J., but knew him as a talented young bass baritone and all-round nice guy, who was always keen to have his performances reviewed. I remember many a theatre foyer chat following one of his performances, or other performances which we had just attended.

I’m certain that everyone who shared in A Conversation Worth Having will strive to ensure that the spirit of the concert is put into action, so that no-one ever again feels that they have to walk this path alone. Hopefully it will open dialogue among members of our community, starting networks of conversation that will, over time, provide support, understanding and love to those in need.

I’m proud of my friends in the community theatre family who have openly acknowledged their own battles with Depression in the hope of helping others, and I’d like to add myself to that list.

Proceeds from A Conversation Worth Having will support the vital work of the Black Dog Institute and beyondblue.

Yours in Theatre,

Neil Litchfield Editor

CONNECT

Cover image: David Campbell plays Bobby Darin in the upcoming production of Dream Lover at the Sydney Lyric Theatre.

Read Neil Litchfield’s article on page 8.

Photo: Brian Geach. www.stagewhispers.com.au Stage Whispers 5

Stage Briefs

 Laura Bunting (Elphaba in Wicked, Maureen in Rent) and Helpmann Award winner Kerrie Anne Greenland (Éponine in Les Misérables) play Daisy and Violet Hilton at Hayes Theatre Co in One Eyed Man Productions’ Australian Professional Premiere of the Broadway musical Side Show from September 23.

Read more at http://bit.ly/2bOXRnx

 Winner of six Tony Aw Piazza will receive a Melb for 2 weeks only from 28 Company, the production (pictured) as well as Chels Green, Jeremy Stanford.

More details at http://bit.

Photo: Colin Page Photog 6 Stage Whispers September - October 2016

 The Broadway musical version of The Color Purple has its Australasian premiere, produced

by StageArt, at Melbourne’s Chapel off Chapel from Thursday 13 October to Sunday 6 November 2016. Spanning four decades and three continents, The Color Purple chronicles the life of Celie (played by Jayme-Lee Hanekom - pictured), a battered and downtrodden African-American woman.

Read more at http://bit.ly/2bOYf5r

 Tony® and Olivier Award winning musical theatre winning star Lea Salonga returns to Australia in February 2016, marking her Sydney Opera House debut with the Sydney Symphony Orchestra, also appearing at Arts Centre Melbourne with Orchestra Victoria. Read more at http://bit.ly/2bOXl98

wards including Best Original Score, The Light In The bourne season at the Arts Centre Melbourne, Playhouse 8th October to 6th November. Produced by Life Like n stars Genevieve Kingsford and Jonathan Hickey sea Plumley, Josh Piterman, Anton Berezin, Madison

.ly/2bOYnlr graphy. www.stagewhispers.com.au Stage Whispers 7

Bobby Darin’s musical repertoire, together with the dramas of his short life, provide rich source material for new musical Dream Lover - The Bobby Darin Story, having its World Premiere at Sydney Lyric Theatre in September. Neil Litchfield speaks to members of the cast and creative team.

Bobby Darin was a prolific talent - singer, songwriter, Golden Globe winner and Oscar nominated film actor, film soundtrack composer, TV Variety show host and more, crossing musical genres from rock, to swing, to folk, and bridging the divide between teen and adult markets.

Add a tempestuous Hollywood romance and marriage with film co-star Sandra Dee, then throw his dark family secrets into the mix, and there’s ample real-life drama for the book of Dream Lover - The Bobby Darin Story.

Darin’s star blazed brightly but all too briefly. Having battled rheumatic fever as a child, he died after surgery on his weakened heart aged just 37. Knowing that his life wasn’t destined to be a long one, Darin drove himself hard to become a success in the music industry, and was often quoted as saying he wanted to be a “legend by the time he was 25.”

Now the rich vein of Gold Records that runs through Darin’s repertoire has finally been mined for the score of a bio-jukebox musical.

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Dream Lover has been more than a decade in the making, as producer John Frost explains. “Stan Zemanek, a broadcaster who died tragically about ten years ago, said to me, ‘Frosty, you’ve got to do a show about Bobby Darin.’

When Stan passed over, I think he was sitting on a cloud up there and he tapped (co-producer) John Gilbert on the shoulder and said, I know there’s a script around, and you’re going to get it. I think Stan, through (writers) John Michael and Frank (Howson), got the script to me.”

David Campbell, who stars as Bobby Darin, has been singing his repertoire for around two decades.

“Bobby had such a diverse range,” says Campbell, “which was what attracted me to him back in the 90s. I’d do medleys of his songs, and I knew I was going to do ‘Splish, Splash’, ‘Dream Lover’, ‘Mack The Knife’ and ‘If I was a Carpenter’.

“All these songs from different genres seemingly shouldn’t go together, but because it was Bobby it all worked. So musically the show has such a breadth,

Cover Story

including other characters in the show; Sandra sings, as do the rock stars that come through the scenes, so everyone’s going to know every song, or they’re going to remember songs that they’ve forgotten, which will come back to them.”

What is it about Bobby Darin’s repertoire that is such a good fit for David Campbell vocally?

“He sang like a man,” says Campbell. “Back in the day men didn’t do a lot of falsetto stuff, or high range screaming - things I’ve done in Shout! They sang in their tone - in their timbre. How they spoke and how they sang was almost the same. When you listened to Bobby live, he would almost talk in the same way; he had this sort of musicality to the way he spoke. So the way he wrote songs, the way he spoke, the way he performed them, is quintessentially Bobby.

“Sinatra had the same thing. He was so cool and layback. But Bobby was a bit more jumpy - at any stage he thought he could be jumped by somebody coming around the corner - he always felt he was going to be attacked, or he was going to attack. That’s a really fascinating rock’n’roll style to have in swing music. It’s a great thing to synch your vocal chords around.”

In a day and age when musicals are mostly accompanied by a handful of synthesizers, Dream Lover is set to burst onto the stage with an 18-piece orchestra.

“The most important thing is that the music and sound is so iconic - you can’t be overly clever and reinvent the wheel. It has to sound somewhat like what the Bobby Darin tracks sounded like for the numbers,” says Musical Supervisor Guy Simpson.

“I think it’s great too, because this style of music was so popular,” adds Musical Director Daniel Edmonds, “and hearing it live was the only way to really hear it properly back in the 50s. It will be like the way Bobby Darin sounded when he toured around the U.S. A lot of contemporary audiences just don’t know how good it is to hear an 18piece band perform this style of music live.

It’s a real treat.”

Hannah Fredericksen and David Campbell.

Photo: Brian Geach.

(Continued on page 10)

Online extras!

Get the first look at a performance of “Splish Splash” from Dream Lover. https://youtu.be/QDVgDAZnQbI www.stagewhispers.com.au Stage Whispers 9

audience member will go home with. It’s a factual life that you couldn’t invent without people accusing you of exaggeration. He lived a very short life, longer than he expected to lead, and a totally action-packed one.”

“What I’m looking forward to in terms of performing the characters,” says Fredericksen, “is that there is such a huge journey for both of them. They have massive character arcs,

Bobby Darins young and old. L-R: Kyle Banfield, David Campbell, Nicholas Cradock and Brendan Godwin. Photo: Brian Geach.

(Continued from page 9)

“We’re avoiding all sorts of synthetic sounds,” says Simpson. “There are no keyboard sounds as such - it’s the real thing - that lost sound. And what’s more, we’re on stage.”

“Getting to perform with a band of this size doesn’t happen very often,” says Hannah Fredericksen, who plays Sandra Dee. “You hear that band and you just can’t help but feel excited and want to move to it. I think the audience will absolutely feel that. It pulses through you.”

Beyond the music, Dream Lover also has a couple of extraordinary real-life stories to tell.

“When this project came to me,” says director Simon Phillips, “I didn’t know much about Bobby Darin, so for me it’s been the kind of adventure that I’m hoping every

10 Stage Whispers September - October 2016

“It’s like Mad Men with Hollywood thrown in.” and we’re playing real people, so you get to read up about them, and you find out what actually happened to both of them, which is almost unbelievable, and do justice to that on stage.”

“It’s like Mad Men with Hollywood thrown in,” David chimes in.

What is it about Sandra Dee’s character arc that appeals to Hannah?

“Her upbringing was horrific,” she says. “She had a difficult relationship with her mother and a difficult childhood. By the time she was 10 she was a child model, and by the time she was 14 she was signed to Universal and making all these pictures, with a huge amount of pressure to be thin and perfect. Then, when she’s 18 she meets this boy from The Bronx, and marries him, and the journey is

huge. Then she loses her husband - all in the space of two and a half hours. It’s going to be a massive - and she’s an alcoholic, and had an eating disorder, so in terms of me as an actress, it’s awful that it was her circumstance, but it’s a gift to tap into and play.”

That all sounds pretty grim, I suggest. Is there anything a bit more uplifting to it?

“It’s this enormous love story,” says Hannah. “They were so passionate about each other. They both found each other coming from really difficult circumstances, and their relationship was tumultuous but also loving and passionate.

They had a child together, they travelled together, they did films together - so there’s a lot of joy in the show.”

“They were desperate to make it work,” David adds, “and no matter what you say about the relationship, which comes through the show, these two people came from a world where they knew they wanted to make it work against all odds, and how that fails and flies is what the show’s all about.”

It’s not just Bobby Darin’s music that resonates with David Campbell.

“I went to New York around 1996, and started doing cabaret in the various rooms around there, and tried to expand my repertoire from doing just songs that I knew, to swing stuff. I latched on to Bobby Darin musically - I loved ‘Mack The Knife’ and ‘Beyond The Sea’. Someone gave me a book about him, and I realized that all the stuff that was happening in his life - all the gaps - not knowing who his parents were, being raised by his grandmother, thinking that she’s his mother, that his mother’s his sister - is exactly the thing that happened to me. So I felt a personal affinity for a musical champion from another generation. He started in rock’n’roll and topped the charts, then swing music, then he started to listen to another part of himself and become political and did folk singing.

How has all of this been wedded into a book musical?

“One of the handy things about Bobby Darin is that he recorded so much,” says Simon Phillips. “He wrote a ton of songs, but he also covered a ton of songs, so if you’re trying

Cover Story

The World Premiere production of Dream Lover The Bobby Darin Musical plays at the Sydney Lyric Theatre from September 22, with a cast that also includes Caroline O’Connor, Bert LaBonte, Martin Crewes and Marney McQueen. to put something together using his music to help you with the book, there’s lots to choose from. It gave us free range to bring the right song for the right moment into the story.

That said, there’s a lot of them being performed in concert as well, like ‘Splish Splash’, which you’d be hard-pushed to make a book number. They just operate as an event in the show - there he was - first big hit.

“The show is a massive sing for David, because he’s never off stage for more than 30 seconds, and there’s barely a song he’s not at least a part of singing. But, while the most important thing is that we’ve got an 18 piece big band - that’s the thrill of the era - both his and Sandra’s stories are so fantastic that I don’t want those to get lost inside the music, so there’s a lot of narrative events to get through and big emotional stuff to cover.

“So that’s my charge. To make sure that still finds a voice inside it.”

Online extras!

This image and top right: David Campbell and the cast of Dream Lover.

Photo: Lightbox Photography.

Go behind the scenes at the launch of Dream Lover. Scan the QR code or visit https://youtu.be/zTGLHRxrr_4 www.stagewhispers.com.au Stage Whispers 11

Then, if you add Geoffrey Rush and David Suchet as Lady Bracknell in The Importance of Being Earnest, and the marvellous Miss Trunchbull in Matilda, with James Millar, as well as all the skilled cabaret performers who work in drag, you can see that it isn’t a novelty.

What IS a novelty is that Kinky Boots is completely dependent on a man in drag for its very existence. The show, with a book by Harvey Fierstein, and music and lyrics by the legendary Cyndi Lauper, is adapted from the British movie of the same name. The story With the Tony Award winning Kinky Boots in rehearsal concerns an up-market shoe company for its Australian Premiere, Coral Drouyn muses on which can no longer find a market for shoes, pop divas and men in women’s roles as she talks its quality shoes and is facing to the young star of the show, Toby Francis. bankruptcy until it’s saved by a When smash hit Broadway musical glamorous drag queen who needs Kinky Boots opens in Melbourne in quality stilettos for her shows.

October, it will be the latest in the If it all sounds a bit contrived, then theatrical tradition of men in female you’ll be surprised to know that truth is clothes. stranger than fiction. Yes, the story is Since the days of Greek theatre, true. The original Kinky Boot maker, through to Shakespeare’s Globe, then Steve Pateman (called Charlie Price in English pantomimes, there have always the film and the musical), faced going been men in frocks playing female bankrupt until a shoe store asked for a roles. special order for a drag queen cabaret performer who requested some hand-

12 Stage Whispers September - October 2016

made boots. And Steve did take the glamorous footwear “on the road” and modelled them for the catalogue that followed, having to shave his legs in the process, which wasn’t altogether welcomed by his wife and son.

The story spawned the film, the film spawned the musical, so the next logical step is Kinky Boots the Video Game - no doubt with Charlie and Lola trying to rescue the stolen infamous red thigh-high stiletto boots. And let’s face it, if you have the legs for them, who wouldn’t want a pair of thigh high soft leather red boots?

“But it’s a show about human relationships rather than drag queens,” Toby Francis, who plays Charlie in the Australian production, tells me. “It’s about accepting people for who they are, and changing your mind, and even your life path in the face of adversity.

It’s also about fathers and sons, often the most difficult relationships. No matter what life throws at you, there is always a second chance if you’re brave enough to take it. It’s genuinely uplifting, in the way all the best

musicals are, so it’s really for everybody.”

Even before auditioning for the show, Toby was a huge fan of the movie.

“I love those British comedies which have real heart, and are slightly offbeat, like The Full Monty and Brassed Off,” he enthuses, “and Kinky Boots is one of those. Plus, my mum is probably Cindy Lauper’s greatest fan and would always sing her songs around the house, so I love her music. I was lovingly brainwashed into being a Lauper fan from childhood. That’s why I auditioned for the show, but I really didn’t think I had any chance of getting in.”

There is a strong connection between Australia and Kinky Boots.

The lead role of Charlie in the film was played by Aussie actor Joel Edgerton, and Cyndi Lauper has visited our shores many times, even being a mentor on a TV talent programme.

“I thought she might come out for the auditions,” Toby says, “then I could tell my mum I had met her. Fingers

crossed she comes out during the season. I know she loves it here.”

Though Lauper is known for her great pop songs, she grew up listening to show tunes from South Pacific and West Side Story, which her parents loved, so when friend Harvey Fierstein suggested that she write the score, there was no way she was going to refuse.

“How much of a stretch is it for me to write songs about fashion, funny relationships, people changing their minds and shoes?” she says.

Lauper wrote the songs by singing the melodies into her iPhone and then sending them to her orchestrator. It’s her gift for melody and lyrics, rather than technical skills, which makes her so special.

(Continued on page 14)

Online extras!

Check out the trailer for Kinky Boots.

Simply scan the QR code or visit https://youtu.be/7Q5cuBwRWnk

Toby Francis plays Charlie in Kinky Boots.

Photo: Herald Sun.

www.stagewhispers.com.au Stage Whispers 13

(Continued from page 13)

“She writes melodies that stay with you,” Toby says, “and that’s really important with a musical. There can’t be anybody who doesn’t know the melody to ‘True Colours’. It takes a very special talent to create something that stays with you, always at the back of your mind.”

Toby is one of those versatile artists you might have seen in musicals, or in his own award winning cabarets, or even as one of The Ten Tenors, an international group of great singers, but not on the main stage in a Broadway Musical. He produced a sellout season of Rent at the Hayes Theatre in Sydney and is an alumni of the Australian Institute of Music.

“In Australia you have to diversify, because you can’t rely on there being a role for you, while there’s always great talent up against you. It’s so hard, but you have to persevere. The breaks come when you least expect them,” he reflects.

Toby’s rock is his partner of 12 years, Lauren. “She encourages me to try things I might not go for otherwise, and when I got through the first audition, she burst into tears. She is so supportive.”

But between the first and second auditions, Toby took off for an overseas tour with The Ten Tenors.

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The Broadway cast of Kinky Boots.

Photo: Matthew Murphy.

“I know it doesn’t sound very cool, but it was my first time out of Australia. I never did the Bali Holiday thing, or the Gap Year adventure,” he explains. “I was with the rest of the group and the work and the places were exciting, but I missed Australia so much. And then, when we were doing a gig in Chicago, I got a call from my agent asking me if I could fly to New York to audition for the director, Jerry Mitchell, and I said of course, even though I was terrified inside.”

Jerry Mitchell was part of the creative team even before the writers, so he knew exactly what he wanted.

When Toby discovered that Mitchell was actually going to be in Chicago preparing for the opening of the show there, he took the bull by the horns and asked his agent to let them know he could audition there.

“It was a huge thrill to be asked,” he says, “and I had nothing to lose. I left the theatre knowing I’d done what I could and I thought ‘that’s it, they’ll take weeks to decide and I’ll probably never hear from them again’. And that’s show business.”

But Toby was only back in the hotel for an hour when his agent skyped him.

“She said, ‘you might want to sit down. They said yes…you’ve got the part’.”

At first I didn’t believe her, but by the time the call ended I was convinced. And then, the worst part, there was no-one there for me to

celebrate with. The rest of the group had already left for the next city, and all my family and friends were in Australia. I called Lauren. She burst into tears and I so wanted to hug her.”

Toby is genuinely emotional as he talks about the love of his life. “So, I ordered a pizza and a beer from room service and I celebrated alone. But I just missed everyone who is close to me.”

Toby can’t wait to get stuck into rehearsals.

“I have the red boots and I’m practising walking in them every day. It was hilarious for the first week,” he tells me. “I’m heavily into the script now, as well as the music, and I love the fact that every time I read it I find something new in there.”

By sheer coincidence Toby’s co-star who plays Lola has the same surname.

Callum Francis has been playing the role in the West End. “We’ve become great mates through social media and I guess we have something of a bro-mance going.

He is great, very open and generous and a wonderful performer. He’s Scottish and Jamaican and he’s been acting since he was nine. He’s only 20 now and he’s a West End star. That’s pretty amazing. I can’t wait to give him a man hug in person,” Toby enthuses.

“I think of every job as a chance to learn something new, and get better at what I do, but it’s even more special when you just know it’s going to be one of the best experiences of your life.

www.stagewhispers.com.au Stage Whispers 15

“My life has been in the three year stages. I finished my schooling and my drama teacher said, ‘if you want to continue this you have to go to this place called WAAPA.’ I’d not heard of Three is Ainsley Melham’s lucky number. It’s the number of wishes his it before. character Aladdin is granted by the Genie and it corresponds with “She helped me fill out the forms. stretches of good fortune in his life that have catapulted the 24-year-old So (I auditioned) and there it was. I was spending three years at WAAPA.” into the title role of the latest Disney extravaganza to land in Australia.

He went straight from school to David Spicer reports.

WAAPA, and straight from WAAPA “No, those riding on a magic carpet into paid work. must be seated at all times. Standing “After graduating I did my final up is a no no!” showcase in Sydney and Melbourne.

Does he wear a seat belt?

There was an agent looking to cast for “Yes, we have to make sure we are kids TV. I was in the right place at the secured in the correct position.” right time and got cast in (the Ainsley Melham’s career has been children’s television series) Hi-5. I thank Ainsley Melham can honestly say one happy magic carpet ride. He first my lucky stars as I wouldn’t be here that his job involves flying on a daily caught the performing arts bug as a without that. basis, but instead of hopping onto a three-year-old when he commenced “I spent three years with Hi-5 and plane, or into a helicopter, his mode of dance lessons in his home town of now we’re in this wonderful aerial transport is a magic carpet.

Bathurst, in regional NSW. production of Aladdin (which “It was a beautiful experience the Whilst he can’t remember when he hopefully) might be another three year first time. Arielle (playing Princess was not dancing, his parents sent him project.”

Jasmine) and I try to remember what it to what he describes as an “all Rugby The audition for Aladdin was at was like the first time we were on it,” school”, St Stanislaus College. another level entirely. he said to me just before he was due “The school supported me and “It was a process. I spent a couple to start warm ups for a performance at fostered my love of singing and of months in and out of the audition Sydney’s Capitol Theatre. dancing, but I was different to all the room - dancing, reading and singing “We are like little kids every night. I other Rugby boys. They were putting all through December and January this can’t believe I get to do it as my job.” on their boots and I’d put on my tap It seems that the best view of the shoes for dance lessons.” theatre is from the carpet.

After school hours he joined the “All perception of height and depth Carillon Theatrical Society. leave you. The lights go down and it’s “When I was very young I played a just you on the carpet, as you can’t see little orphan in Oliver! I did Barnum the the audience or the stage anymore. It’s musical and played Tom Thumb. It was quite fun.” so wonderful to be involved in Is he allowed to stand up? community theatre like that.

Meet Aladdin

16 Stage Whispers September - October 2016

year. It was nerve-wracking and a big learning experience.”

What did he learn from it?

“The main thing is to have a go and be yourself. You can’t fake it. You just have to hope you are what they are looking for.”

Now that the show has settled in, he can relax and enjoy the ride.

“Disney does not do anything by halves. They have such big hearts and pour their energy into the show.

“They also take pride in treating the company in a beautiful way. It makes you excited to come to work and perform at your best.”

Helping Ainsley make his main stage debut are two Broadway leads Michael James Scott as The Genie and Arielle Jacobs as Jasmine.

“I have been soaking up their knowledge and experience. They have such a great energy on stage; they just go for it and I have followed to make Aladdin my own.”

This was a very diplomatic response from Ainsley, as the casting of two Americans in the leads put some noses out of joint in the Media, Entertainment and Arts Alliance (they don’t complain, however, when

Aussies get lead roles on Broadway or in the West End).

Ainsley also reads from Disney’s manual on the interpretation of Arabian culture in the musical. The almost constant appearance of buffed male chests and female midriffs is one aspect that doesn’t look very authentic.

“When dealing with material like this it is heightened and fantasized to a certain degree. This style of theatre is an escape. The audience is coming to forget about what is happening in their lives.”

He says, even so, the look, feel and energy of the show and clothing are taken from Middle Eastern influences.

When I spoke to Ainsley it was a two weeks after opening night. The

Aladdin is on stage at Sydney’s Capitol Theatre and is expected to tour other states in 2017.

production is expected to tour after it finishes in Sydney.

Ainsley’s favourite part of the musical is not riding the magic carpet (maybe you can feel like that when you have clocked up lots of flying hours).

What excites him most is the Cave of Wonders, when his character walks into a cave filled with eye popping gold and jewels.

“Turning around and seeing that stunning set just shine back at you blows my mind every evening. You can hear the audience sitting there with you and the gasps coming from them after the set flies in.

“It’s a dream come true, and a big wish, that I am doing this.”

Photos: Deen van Meer.

www.stagewhispers.com.au Stage Whispers 17

The eight Matildas Photo: Lightbox p

F

Helen Dallimore and Tim Minchin.

Photo: Lightbox photography.

Matilda made a clean sweep, winning 13 Helpmann Awards, but did the industry believe that the musical should have won every category? David Spicer reports from the red carpet about what insiders thought of the awards night and dishes up some of the best jokes.

At last organisers from Live Performance Australia have found the best formula for the Helpmann Awards. Painful memories of train wrecks past, plagued by awkward pauses for commercial breaks, have slipped into the mist. The 2016 event held at Sydney’s Lyric Theatre was as slick as possible for a night with 40 plus awards.

The secret recipe was to have multi-talented presenters come on for short bursts. Helen Dallimore got the ball rolling, declaring that underneath her large frock was an artist painting her portrait for the next Archibald prize.

Dallimore described the Best Male Actor in a Supporting Role as the “meat tray of acting. There are no small parts only small actors.”

Onto the stage waltzed Tim Minchin, the composer of Matilda. What have you been up to she asked?

“My musical Ground Hog Day is in preview in the West End, and then I am off to LA for a movie,” he said.

“No-one asked you to show off,” she replied.

“Why are you (the audience) all here then?” came the response.

Indeed there wouldn’t be a bigger gathering of show offs anywhere in Australia.

18 Stage Whispers September - October 2016

Singer/Actor Queenie van de Zandt was meant to be a host but she “got a rash that went further and further up her face into her mouth”, so her make up assistant Jan van der Stool came on to fill in for her.

Alas Jan got her tongue twisted. “Ladies and Gays, it is now my time to have pleasure.

“The first prize I will be awarding in tonight’s adult Eisteddfod is best presentation for children. I love children.

Peter and I have never been lucky enough to have a children. Perhaps that is a good thing as we are cousins.

“Now for the award everyone is waiting for at the Helpmanns - Best Regional Touring Production. This award celebrates those wonderful productions not just in Sydney or Melbourne. It reaches out to the Aussie heartland like Brisbane and Perth, and even Adelaide.”

Later she explained that the word Cabaret was Mediterranean for brothel.

Simon Phillips got a good line in too. “I am here to celebrate actors who have risen above inept directors to give award winning performances.”

Some of the winners were also in good form.

s. photography.

For a full list of Helpmann Award winners visit http://bit.ly/2bFOrt1 Mark Leonard Winter won two Helpmanns, the first for best supporting actor in King Lear for the Sydney Theatre Company and the second for the MTC’s Birdland. He told the audience that in King Lear he “had to slide around nude for an hour in the rain. This will make my mother feel better about coming to see me.”

Stephen Page, the Artistic Director of the Bangarra Dance Theatre - who won the JC Williamson award - was introduced by his son. “I’m so glad I met your mother,” was his funniest line. On a serious note he summed up the evening. “We are all here because we have a story.”

The eight gorgeous little Matildas all had a polished ten seconds or so in their combined thank you speech after winning Best Female Actor in a Musical. “I love you mum and dad, thank you.” “I’d like to thank all my fellow Matildas.”

“We have been like one big family.” “We are going to be friends for life.”

How cute were they? Enough to put the cuteness in a package with a ribbon on top.

But did Matilda deserve to win all thirteen Musical Theatre categories. Word at the after show party was that it seemed a little over the top. Surely not all the actors, designers, choreographers, etc., were superior to the other finalists in every category? Did the voters see the performance of all eight little Matildas to compare them with the other finalists in their award?

Fair enough it was by far the best and most popular production of the year. It seems that the voters had so much fun at the musical that they couldn’t vote for any other production and once the landslide commenced it could not be stopped.

It is also always awkward when an overseas designer gets an award for something which is just a carbon copy of what

Rod Quantock’s invisible Helpmann.

Photo: Lightbox photography.

they did on Broadway or in the West End, beating an Australian who has created something amazing from scratch.

In other areas there were impressive victories for the little guys. Sydney’s Griffin Theatre Company won three Helpmann Awards for The Bleeding Tree: Best Play, Best Director for Lee Lewis and Best Actress for Paula Arundell.

Despite undergoing financial hardship, Leo Schofield’s Brisbane Baroque festival picked up four Awards for its production of Agrippina, upstaging Opera Australia, which won two Helpmann awards.

One winner noted creating new Australian work is “really hard. Most of the time it sucks.”

The last word goes to Jan van der Stool. She told Eddie Perfect that she hopes a new musical he is writing “is a big success on Broadway so we can see it one day.”

www.stagewhispers.com.au Stage Whispers 19

L-R: Tom Holloway, Eddie Perfect and Finegan Kruckemeyer

All The World’s Their Stage With their plays opening around the world, Coral Drouyn talks to three of Australia’s most influential current playwrights.

Words matter. They are our primary form of communication. And words matter most in theatre, unless you’re giving a dance performance or are part of a mime troupe.

It may surprise you to know that, per capita, Australia has more successful - and prolific - playwrights than almost anywhere on earth (Shakespeare wrote 37 or 38 plays, largely not seen outside of London during his lifetime).

True, Ray Lawler would never have become famous for Summer of the Seventeenth Doll had it not been for a British movie starring John Mills with an awful Australian accent, and it’s possible that David Williamson’s career might have ended at The Pram Factory in Melbourne, if The Removalists hadn’t had a season at London’s Royal Court.

Williamson’s social comedies are the equal of the great Neil Simon (USA), but with more bite. He’s had more than forty hit plays around the world and is still writing at 74. Joanna Murray Smith’s thirty or more plays have made it to stages overseas with great success and Lally Katz (though American born) is following close on 20 Stage Whispers September - October 2016

her heels. Andrew Bovell’s plays are revered everywhere, and let’s not forget Finegan Kruckemeyer.

Finegan who?

Finegan is currently our most successful playwright, but he’s better known outside Australia than at home.

The Irish born Tasmanian has written 79 plays - performed across five continents. So far this year 30 seasons (including nine premieres) have been presented in Australia, Canada, the Czech Republic, Germany, Italy, and throughout the United States.

So why don’t you know his name as well as those who listened to his keynote address at New York’s Lincoln Centre do?

Well, Finegan writes for young people. He creates worlds for those growing up, he asks deep questions often masked in comical madness, and he touches adults, finding the child in each of us, as any parent who has seen The Boy At The Edge of Everything can attest.

At the other end of the spectrum is Eddie Perfect, a much loved performer with almost rock star status as an actor/musician/stand-up comic and with several musicals under his belt,

whose first play The Beast is touring capital cities. A very black and satirical comedy which holds up a mirror to our pretensions, the play is rumoured to have its overseas premiere next year.

Between the two is Tom Holloway, also from Tasmania. Tom has written more than twenty plays, having started his life in theatre as an actor. His play And No More Shall We Part is in production in America, starring Alfred Molina and Jane Kaczmarek, and his new play, Sunshine, has its world premiere at Red Stitch in October.

Three playwrights, all in the same age bracket, yet at varying stages of success. Three different voices, yet they all started out on stage.

How has the world of words treated them? I asked them all the same questions.

Coral: Why writing? When and why did you make the decision to write, and why theatre as opposed to film or TV? Eddie: Playwrighting…? That came very late, and perhaps by accident.

Craig Ilott suggested to me that I should write a play during rehearsal for my one man show Misanthropology which he directed. I’d never considered it, really, but filed that thought away.

When I came across the idea for The Beast (which was a real-life experience

of a dinner party in the Yarra Valley) I happened to also have a meeting with Brett Sheehy (Artistic Director of MTC) who wanted me to write a musical. I said I didn’t have a musical idea, but a play. In about fifteen minutes I walked out of his office with a commission to write a play so I thought, “I better not fuck this up”.

As for “why theatre” not “TV”?

There are less gatekeepers between the text and the performance with theatre.

No cameras, no editors, no set-ups, no locations - you just do it, basically. It felt like the right place to write - a place where I was most likely to have the thing appear in the form I had in my head.

Finegan: It didn’t really feel like there were any decisions. Since a young age I’ve been a voracious reader of words, and very quickly the writing of them was discovered and committed to. Books were coveted items handed down from parents; language was something discussed and celebrated in our home. Favourite rhymes were remembered as a child; cryptic crosswords are my pleasure

MTC’s The Boy At The Edge Of Everything.

Photo: Jeff Busby.

now; ever-larger bookshelves have been built in each house moved into.

From 15, I performed spoken word and stand-up in clubs, from 17, I taught creative writing and drama, from 19, I wrote to commission. As to why theatre, I think because my paired loves are words and people. Theatre

for me is a perfect amalgam of the two, as it demands that words be spoken aloud by some, and listened to by others. It finds you all sat side by side in a room for the sharing of a story, so that some moments may be felt alone, and others invested in (Continued on page 22)

www.stagewhispers.com.au Stage Whispers 21

Griffin Theatre Company’s And No More Shall We Part.

Photo: Brett Boardman.

It feels like our greatest strength, but also the source of all our disappointment. Theatre is a great place to explore humanity’s flaws, because theatre is flawed. There is no such thing as ‘the perfect piece of theatre’. It has error built into its heart.

Eddie: I’m passionate about reflecting my place and time in the world. I’m middle class, Australian, and a father of three kids. I live in an innercity suburb that is probably the most left-leaning area in Australia. I want to talk about what it means to be alive right now, for an audience who might not often get to see themselves

Finegan: I do see myself as a poor example, given the amazing support provided me by others. My family offered encouragement, and an Adelaide youth theatre opened its doors once I arrived in Australia at eight. Over successive years I was a participant, board member, event organiser, tutor - and eventually playwright, as a big-hearted director saw a crucial moment in my evolution and sat me down with a commission and, more importantly, a deadline. The resulting play, while flawed in so many ways, taught me both the pleasure and rigour of writing, and was the first in a

“Why theatre? I think because my paired loves are words and people.”

(Continued from page 21)

together. For me it’s as intimate as a crowd can get, and as shared as a whisper can be.

Tom: Theatre was what I was exposed to as a child, so it was the first form of performance or storytelling I felt I could be part of. I had an amazing, crazy American teacher at my high school who got us doing Sam Shepard plays and so it all seemed so cool that I couldn’t help but want to do it. It shows that I was a pretty big nerd; the fact I found anything in theatre ‘cool’. I actually started off wanting to be an actor, but quickly learnt I wasn’t very good. I’d always written stories and so I then just started writing things for friends to act in and it didn’t take very long to realise I wasn’t as bad at that as I was at acting.

Coral: What is it about society/ yourself/the world that you feel strongly about and you find creeping into all your writing?

Tom: Loss and isolation is a big part of my work, I think. I had a few experiences when I was younger that showed me how well the theatre can let us explore stories that could seem too hard to face on our own. I loved the communal aspect of theatre.

I’m also always both warmed and horrified at just how flawed we all are.

22 Stage Whispers September - October 2016

reflected back at them. I don’t have any heavy-handed message, aside from a desire to point out and laugh at our inconsistencies, our hypocrisies and the hilarious gap between who we are and who we’d like to be.

Finegan: I think in my writing, and in my life as well, there’s the mirrored desire to assess one’s existence through action. To seek to evolve as a person (in character and ethics both) and to chronicle this through the impact one has on others - how I might be a good father and husband, a good son and brother and community member and world citizen, as gleaned not by the theoretics of selfappraisal but by the pragmatics of those lives interacted with. The latter, in my mind, holds far more tangible worth.

Coral: How hard is it to break into theatre as a writer?

Eddie: That’s virtually impossible to answer. How do you measure what’s hard? Everything worth doing is hard.

Writing is hard. It’s lonely and it’s scary and it’s mostly unsupported financially.

Plus, it’s not easy to write well. If writing for the theatre were easy, a lot more people would be doing it. So I’d say that it’s harder than breaking into the hospitality industry but nowhere near as hard as becoming a surgeon.

series of stepping stones that lead to now.

Tom: I began in Tasmania where I was born and bred. Although it felt a long, long way from everywhere else in the world, it also meant the expectations were low. I didn’t think twice about putting plays on, because there was nothing else going on to compare it to. Looking back on that time I was really lucky to start out like that. I wasn’t afraid to make mistakes and to try things that might seem a little too adventurous. The other thing being from Tasmania gave me was the desire to work hard. If you’re going to leave your family and friends to pursue something, you might as well work as hard as you possibly can at it. To get opportunities in theatre you need some talent and a lot of luck, but above all else you need to work yourself to the bone. Because if you don’t, the next person will.

I had to ask what makes a good playwright, because we are the most paradoxical of people. I’ll leave it to Tom to sum it up, tongue in cheek but with a whole lot of truth.

Tom: Empathy. Self-loathing. A huge ego. Humility. A sense of humour. A low IQ… because if you knew what was really good for you, you’d never try to become one in the first place.

Script Excerpt Alison Bell and Eddie Perfect in The Beast.

Photo: Ken Nakanishi.

Stage Whispers proudly presents an excerpt of Eddie Perfect’s organic, free-range, black comedy.

The dinner party. The couples have completed the fifth course of their degustation feast. They are dressed beautifully and the table, now with only left-overs of the meal eaten, is beautifully set with candles and table-cloth, flowers in vases and a wonderful attention to every detail. There are many, many empty wine bottles. They’re currently on the sixth course; steak tartare.

In Scene 3 Baird and Sue, friends married to other people, unexpected are left alone.

(Baird and Sue are left at the table.)

SUE Settling in OK? BAIRD Yes. Thank you. You? SUE Fine. Thank you.

BAIRD That’s good. You have a beautiful home.

SUE You haven’t been in our home, Baird.

BAIRD No but I... internet. We looked it up on Sustainable Architecture. Did the virtual tour and everything.

SUE Oh...

BAIRD Hope that doesn’t make you uncomfortable?

SUE No. No. Of course not. And your new place is... lovely.

BAIRD We like it. Suits our needs. Lovely aspect.

SUE (Dubious.) Well...

BAIRD The west side, I mean. From the kitchen window you can barely see the power lines.

SUE You don’t need to convince me. I’m sure it’s lovely.

BAIRD We like it.

SUE If you like it, you like it.

BAIRD We do. (Pause) This may sound like an odd question, but where do you put your stuff?

SUE (Like it’s the most offensive question she’s ever been asked.) Excuse me?

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

(Continued from page 23)

BAIRD It’s just... as I was going through the photos, your place... it’s so... minimal. No stuff. The photos - which are beautiful, by the way - they just... there wasn’t any... stuff. I mean, I appreciate the minimalist aesthetic, I really do, but I can’t get it right. I never know where the stuff goes.

SUE We don’t like to talk about that, Baird.

BAIRD What do you mean?

SUE It’s not something we discuss.

BAIRD Oh. (Confused.) OK. (A pause before relaunching.) It’s hard to keep up. Frankly, it’s exhausting. I was just getting my head around the idea of focaccia and ciabatta in the mid-90s and then everyone transitioned to piandina and panini.

(Mimes a crazy guy running after a missed bus.) I was like, “wait! I need to catch up! Errrhhh!” (Trying to keep it light but failing.) But with you guys it’s next level. When I fell in with Simon and Rob suddenly it was all about batards and brioche, Russian Borodinsky, Serbian Cesnica, Challah, Dinkelbrot, Kugelhupf, Eritrean Himbasha, Middle-Eastern Ka’ak...

Lavash, Norwegian Lefse, Chinese Mantou Bun, Roti, Chapatti, Phulka - the Indian-Pakistani phase, Zopf, Turkish Yufka...

And this is just bread. This is just fucking bread.

SUE You’re looking at it all wrong. There are no rules.

BAIRD See, you say that, but we both know that’s not true.

SUE Just do what makes you happy. Eat what makes you happy. Food is food. It goes in and out of fashion. I honestly don’t think about it too much.

BAIRD But you do. You must. Watching you all is like - it’s like a flock of birds. There’s a subtle change, almost imperceptible - and in perfect unison you switch directions. What is it you’re reacting to?

SUE I don’t think I know what you mean.

BAIRD Alright. Let me give you an example. Lettuce. Alright?

SUE Lettuce?

BAIRD Lettuce.

SUE OK. Let’s talk about lettuce.

BAIRD From what I’ve observed, it started with iceberg and graduated through cos to roquette, then onto baby spinach and then through that horrific mixed-mescalun leaf stuff and now - if I’m not going completely crazy - now, it’s back to iceberg. Is that possible? Why are we back at iceberg? Could you be mocking me with lettuce? Once upon a time Simon and Rob judged me for eating iceberg. They saw me with my iceberg lettuce sandwich - some shitty, Australian tip-top white bread monstrosity and they exchanged a look. And now we’re eating ICEBERG LETTUCE AGAIN??? HOW DID THAT HAPPEN?!?!

SUE (Draining an almost full glass of wine.) Yes. Yes, it’s difficult.

BAIRD But why, Sue? Why are we back at iceberg?

SUE It’s not personal, Baird. Some lettuce varieties suit certain uses. Iceberg leaves have a structural rigidity that means they can hold other foods. San choi bow would be a good example.

24 Stage Whispers September - October 2016

BAIRD Right. Right. I feel like I should be writing this down.

SUE Please don’t.

Script Excerpt BAIRD But how do you know all this?

SUE How do I know? I don’t know. I’m not really comfortable talking about lettuce.

BAIRD Because it’s a secret?

SUE It’s not a secret, Baird.

BAIRD Then why can’t you tell me?

SUE (She is beginning to get very upset.) Because it’s trivial. It’s lettuce. It’s just lettuce.

BAIRD That’s just it, though. It’s not just lettuce. It’s everything.

SUE (Getting very worked up.) Take an interest, then. Read a magazine. I don’t know. Get involved. It’s not my job to help you understand lettuce. Or anything.

BAIRD What are you keeping from me?

SUE Nothing. Nothing at all...

BAIRD Then why won’t you tell me? How do you know the things you know?

SUE You’re being paranoid. There are no secrets...

BAIRD Why can’t I know the things you know?

SUE I don’t know what you want from me.

BAIRD I just need some answers.

SUE I don’t have any answers!

BAIRD Tell me! Tell me, Sue! Why won’t anyone ‘round here just bloody TELL ME? SUE BECAUSE YOU’RE NOT GOOD ENOUGH, OK? (There is a huge pause while the gravity of this sinks in.)

BAIRD I see. I apologise. I just... I just want to belong.

SUE Well maybe you don’t. Have you thought about that?

BAIRD Sue... I... I’m sorry if I...

SUE Maybe you don’t belong and you never will.

Christie Whelan Browne and Toby Truslove in The Beast.

Photo: Ken Nakanishi.

Online extras!

The Beast plays at the Comedy Theatre until Sept 4, then QPAC, Sept 15 - 18. https://youtu.be/W_NXT4ndDuw www.stagewhispers.com.au Stage Whispers 25

From humble beginnings as a play-reading group in 1956, South Australia’s Whyalla Players is celebrating its 60th anniversary in style with an ambitious musical that will fly as high as the city’s steel works.

The Whyalla Players have entertained thousands of theatre-lovers in Whyalla and surrounding areas through a continuing program of musicals, plays, pantomimes, theatre restaurants and other activities.

Many aspiring actors, singers, dancers, musicians and technicians have been provided with the opportunity to develop their talents.

For some, the skills gained have contributed to a sense of personal fulfilment, while for others they have provided a stepping-stone to future theatrical careers.

Among those the Players proudly claim as “one of their own” is pianist Leigh Harrold, now based in Melbourne, who returned to Whyalla earlier this year as a special guest and performer as part of the society’s anniversary weekend celebrations.

Leigh has appeared throughout 26 Stage Whispers September - October 2016

Europe, North America, Africa and Australia as both soloist and chamber musician, including concerts at Australia House in London, the Royal Academy of Music and the Mozarteum in Salzburg.

Former members travelled from Adelaide and interstate to be part of the historic occasion, which included a meet and greet, Diamond Jubilee Dinner and farewell brunch.

Long-time society member and President Glenise Smith paid tribute to “those hard working, dedicated committees, life and general members, sponsors and audiences who have supported the Players over the decades and contributed to the company becoming the respected premier community theatre group that it is today, presenting quality productions.”

The Whyalla Players’ repertoire has featured productions popular with

community theatre groups. Like many, its first foray into musical theatre was a season of Gilbert and Sullivan. In 1958 it staged Trial by Jury. The first pantomime was Santa in Space in 1992, followed by the first theatre restaurant, Bail’em Up Cobbers, in 1999.

The society has been well supported wherever it performs; in the early days at the city’s former Institute building, then in the Middleback Theatre, built and opened in the mid-1980s, and at the various other venues within Whyalla and regional towns for its theatre restaurants and one-act plays.

Like all theatre groups, without producers, directors, lighting and sound people, set construction and the invariable assortment of crew, gophers and administrators there simply wouldn’t be a show or an organisation.

Like most other societies, the Whyalla Players has had to face changing times as audiences have higher expectations, particularly relating to the staging and professionalism of shows.

In recent years, the group has entered a new era of challenges by taking on productions of Andrew Lloyd Webber’s Cats and The Phantom of the Opera, and in 2016 celebrates its Diamond Anniversary with Mary Poppins.

When Cats was presented in 2011, the Players hit a new level of endeavour in sets, costumes, singing, acting and overall presentation with standing ovations from the three packed houses of almost 1,500 theatre-goers.

In June 2012 a committee member became excited when he read that The Phantom of the Opera had been released to amateur theatre groups in Australia. That was the start of an amazing journey of researching, reporting, budgeting and logistical studies as to how the Players could successfully stage such a production.

What followed was, without a doubt, the Players’ biggest ever undertaking.

Ron Hay, who put forward the idea with a passion, took on the role of producer and subsequently played the Phantom. One of his goals was to cast the show from within the region and (Continued on page 28) www.stagewhispers.com.au Stage Whispers 27

(Continued from page 27)

this was achieved. A significant sized production team was put together and special sponsors signed up to ensure the “green light” could be given.

Requiring massive, specially designed sets, not to mention the colourful costumes, an early decision was made to utilise those created by CLOC Musical Theatre, together with their associated technical knowledge.

The production was also very fortunate to gain support from Timothy Sexton, CEO and Artistic Director of State Opera SA, who guided the cast through their musical needs.

Then, for the first time in the Players’ history, the traditional season (generally of three performances) was extended to six due to the cost of staging the show and the need to generate sufficient income to pay all the bills. The end result in November 2014 was six magnificent houses and six standing ovations.

The bar had been set so high that there were doubts as to whether it could be raised any higher, but such speculation was put aside with the decision to celebrate the group’s 60th Anniversary by taking on Mary Poppins: The Musical.

After successfully bringing Phantom to Whyalla audiences, Ron Hay was given the task of producing Mary

28 Stage Whispers September - October 2016

Poppins, which he regards as equally challenging, with another season of six performances at the renamed Middleback Arts Centre from November 18 to 23. With rehearsals requiring the best part of a five-month commitment, a continued involvement with CLOC to bring in their sets from interstate, and using extensive projection backgrounds for the first time, the Whyalla Players plan to give the city and regional audiences another top show.

Mary Poppins: The Musical will certainly be a huge undertaking for a regional community theatre group, but the satisfaction of delivering an outstanding production is the only reward members seek.

And Mary will fly - another technical first.

Sixty years of achievements is an outstanding milestone for any theatre group, but even more so for one located almost 400 kms from Adelaide.

The Whyalla Players now look forward to many more magical times ahead.

www.stagewhispers.com.au Stage Whispers 29

My Fair Costumes When Dame Julie Andrews was asked to direct the 60 th anniversary production of My Fair Lady in Australia, she insisted on recreating the original production design from the 1956 Broadway production which she starred in. John David Ridge, the last living link to original designer Cecil Beaton, has spent 18 months re-creating it. David Spicer reports.

I waltzed into Opera Australia’s Sydney costume workshop only a few days out from the first dress rehearsal and dozens of workers were putting the finishing touches to dresses, wigs and hats. On one table the glittering ballroom dress for Eliza was being made, but I was forbidden to take any photos of the white silk and bead garment.

70 year old John David Ridge took me into a private dressing room for a chat and drew the curtains. In 1976, then a 23 year old costume maker, he was assigned to assist Sir Cecil Beaton remake the legendary 1956 design of My Fair Lady for a Broadway revival.

Beaton, an Academy Award winning designer, painter and war

photographer, was not in good health and died a few years later.

Ridge thought he would never need to look at the sketches again. “Cecil didn’t leave them to anyone. Most of them were given away,” he said.

“I had photostats of some of the original sketches put together in 76. I keep everything. I pulled them out. I also spent a few days in the Library of the Performing Arts at the Lincoln Centre, which has incredible photographs of every Broadway production. Then I spent three months re-drawing them.”

Was it worth the effort to dig up an old design? Most definitely yes he says, because the original was “brilliant” and Cecil Beaton absolutely “nailed 1912”.

“There have been many productions of My Fair Lady. I don’t think anybody has gone close to what Cecil did. It was a brilliant design job. You see people do variations on his black and white Ascot.

They are never as good as the original.”

Why was it so good?

“He progresses the plot of the show.

He starts with the cockneys, who Shaw (a socialist) considered the real people of the show.

“There is a slow build. First we see Eliza (described by Higgins as a squashed cabbage leaf) in Covent Garden. She is a filthy flower girl. Julie Andrews did some research. The cockneys never had a bath They slept in their clothes because it was so cold.

“Then she gets cleaned up, but nothing fancy, for The Rain in Spain.

Then she gets dressed up for Ascot, and finally she is beautiful for the ball.”

The first moment for Eliza Doolittle to shine is when Higgins takes her to the races.

“There have been man My Fair Lady. I don’t t gone close to what Ce

John David Ridge.

30 Stage Whispers September - October 2016

“The people in the Ascot Gavotte were upper class twits. They are brainless, shallow and vapid, only concerned with surface.

“Then you have the international ball end of act one. Because it is international they are not all upper class nitwits.

“By this time she has started to fall for Higgins. It is the most romantic scene, in a flower garden full of pale pastel chiffons. In the Waltz we see miles of chiffons floating in the air and we can see she is falling in love.

“Cecil helped tell the story with his designs. They are lovely as they should be, but

Costumes

ny productions of think anybody has ecil did.” they are really good when they help tell you a story.”

To recreate the original costumes, John sourced material from around the world. He started in Munich for the bulk of the silk, then London for principals’ costume silk and for Higgins’ wool, then finally New York for bits he couldn’t find anywhere else. Much of the beading was sourced from Los Angeles. He supervised the sewing by Skype.

“In order to look like the original we had to use the techniques they did. The hand embroidery is hand embroidered.

The silk flowers are silk flowers.

“This is thanks to a brilliant man in Huskisson (NSW South Coast) who is last man in Australia who makes them.”

He could have purchased a Chinese boutonniere for 25 cents but it would not have looked right.

“They need to drip wealth and hold up through many performances. When we last did a revival in 1980 we did the entire thing with New York flower makers and embroiders. All those people don’t exist anymore.

The whole exercise “is terribly labour intensive.” He says musicals with 200 plus costumes are now much rarer.

“You used to have 40 in the chorus, each with five costumes. The most recent one like that was Phantom,” he laments.

But for this production at least there is no compromise. Everything is made new and authentically.

Well almost - “Sometimes I can’t remember exactly what we did and Julie Andrews can’t remember; we have to work out what most likely happened.”

And sometimes he has borrowed an item from the Opera Australia costume store.

“When I was short of a cockney hat, I found one off the rack. Also when I

needed some cockney shoes I found them and gave them a few more knocks.”

He describes it as a 99 percent new production - as all the hat makers in Sydney, busy on the project, can attest to. A feast for the eyes and ears awaits the audience.

www.stagewhispers.com.au Stage Whispers 31

Ballarat Lyric Theatre

The Ballarat Lyric Theatre Inc has been supplying theatrical costumes to private individuals and other companies since 1963. Of particular note is that whole show sets are available to complement or complete another company’s needs for shows such as Hairspray, Legally Blonde, Les Misérables, Phantom, Rock of Ages and Cats.

This year it was one of very few companies to produce Rock of Ages, so it is currently ‘swamped’ with doubledenim, animal prints, leather, plus mullet wigs! www.ballaratlyrictheatre.com.au

COSTUME GMS Costumes

The Gosford Musical Society has been producing stunning costumes for its NSW Central Coast shows for nearly 70 years. A dedicated group of sewers create authentic and durable costumes to be hired Australia wide.

With shows such as Mary Poppins, A Chorus Line, Spamalot, Phantom and old favourites such as Pirates, Annie, Oliver and Beauty and the Beast, GMS can assist musical societies and schools that have restricted storage or limited resources. In 2016 GMS staged The Addams Family, The Music Man, Wicked, The Little Mermaid and Tom Sawyer.

The GMS website features up to 100 photos of the 44 musicals available. Call 4324 1305, email gosfordmuscial@bigpond.com or visit www.gmscostumes.com.au.

Costumes Without Drama The Lion King is finally available for school productions, and Costumes Without Drama has a complete range of animal outfits interpretive creations to suit. The base for the main characters of Simba, Mufasa and Scar are printed chiffon ‘African Pants’ and are worn with lion ears and gauntlets. The lionesses have metres taupe chiffon linked with ‘tribal’ patterned bodices.

The resulting scene is one straight out of Africa, and teamed with hand painted giraffes and gazelles and of course the personality plus of Rafiki, and Zazu, The Lion King has never been so accessible to schools.

Call (03) 8838 2616, email info@costumeswithoutdrama.com.au or visit www.costumeswithoutdrama.com.au

32 Stage Whispers September - October 2016

and of

Masks And Puppets Plus

Costumes

Tessa Wallis from Masks and Puppets plus showcased her skills at a Kabuki workshop arranged last year at the Drama Victoria conference.

“I researched the designs and created a set of 12 different masks. They have been ordered by several groups since,” she said.

Kabuki is one of the three major classical theatres of Japan, along with Noh drama and Bunraku puppet theatre. Unlike Noh drama, which is solemn and ritualized, Kabuki is designed to entertain an audience with dramatic, often spectacular, effects.

Plays are performed using a combination of dramatic dialogue and dance, and accompanied by drums, flutes, stringed instruments called shamisen, and chanting.

For more information visit www.masksandpuppets.com.au

MARKETPLACE Shine Trimmings & Fabrics Shine Trimmings & Fabrics has a product range of 15,000 items - enough to please anyone making beautiful and unique costumes or dressing the stage.

The company has the unique ability to have many of its products (including Chiffon and Net), specifically dyed to match a selection of fabrics, including an exclusive range of Four Way Stretch Italian Linel. Many of the Shine team of creative consultants have design, dressmaking and millinery experience and qualifications.

Shine provides an effortless and enjoyable shopping experience both in its Port Melbourne store and online. Shine provides delivery options online including Free Shipping and flat rate Express Delivery.

Shine also supplies wardrobe departments for Theatre, Film & Television.

Contact Shine Wholesale for more information about purchasing their products at wholesale prices.

“We invite you to create unique and beautiful costumes and look forward to helping you make your creation SHINE!” www.shinetrimmingsfabrics.com.au

www.stagewhispers.com.au Stage Whispers 33

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34 Stage Whispers September - October 2016

The Flower Temptress

NIDA’s annual showcase of final year student costumes, props, set model boxes and audio visual displays is open to the public from October 18.

Applications for study in 2017 are open until 30 September 2016.

For more information visit http://bit.ly/2bFMtbW

One item from EXPONIDA is the final year work from Bachelor of Fine Arts (Costumes) student Naomi Mcilgorm.

It is an opera gown made of silk and layered lace from the Wagner Opera Parsifal, designed for a character role.

“She is a flower temptress,” said Naomi. “The men are on the quest for the holy grail when she comes to tempt them.”

For her work she transplanted the era of the opera to 16th century Spain.

“I took the deep reds and golds from that time. There is a long symmetrical torso for the corset.”

The headwear is a willow peak, with a “soft ruff” around the neck.

NIDA’s Bachelor of Fine Arts (Costume) is a practice-based course offering training in costume construction, management and research in a collaborative environment.

Students are introduced to the techniques required to produce creative works integral to the role of a costume professional, including costume construction, tailoring, pattern making, period cutting, draping, costume management, millinery and leatherwork.

The course prepares students for careers as costume supervisors and creators in the arts and entertainment industries.

www.stagewhispers.com.au Stage Whispers 35

Introducing Phantos Lighting

which had pre-existing white floodlights mounted overhead along with LED strip lighting. They wanted to theme the remainder of the studio in a way where the venue could be lit to suit any request. They also wanted to be able to control all the lighting from a different room but not have to run Phantos Lighting is the Australian DMX cables. distributor for some rising brand Phantos came up with a solution names in the professional lighting where the theme lighting wasn’t industry. Its target market is customers washed out by the white floodlights, who may not be able to afford top while being conservative with costs. brands but still need quality product After demoing a number of with strong local support. Over the different lighting and effect fixtures, a years it has supplied lighting products total of 20 PHANTOS LED PARs, 2 and provided installation services to XMLITE 120W LED Spot Moving churches, schools, production Heads, and one MLB 600W Hazer companies and venues. were installed just in time for their When ESL Australia decided to recent official Australian launch for a upgrade their new events studio in video game. Approximately 200 Auburn recently they called Phantos gaming professionals and enthusiasts for some advice on theme lighting. A attended the event. stage was already built in the studio,

Brad Baldwin and his project team were very happy about the performance of these new lighting fixtures.

“The LED PARs provided great overall coverage of the space and the LED moving heads were a really nice touch to add some movement to the set. The hazer made everything look even better and Phantos Lighting’s experience with digital consoles helped us to find a control solution fit for what we needed. I couldn’t be happier with the look we achieved with the timeframe we had and for what it cost.”

Phantos does installations in Sydney but distributes DJpower, KKMark, MLB, XMlite and KOLO brands across Australia.

For more information call (02) 8034 8680 or visit their website at www.phantos.com.au.

Fog In A Can

Geelong Fireworks is now the Australian dealer for Pretend Hair Spray and Fantasy FX Spray.

The product is especially handy in the musical Hairspray but has many other uses.

The reason for Pretend Hair Spray is simply that normal hair spray cannot be seen when sprayed and leaves a sticky residue everywhere. These sprays are safe, non-toxic, non-irritating, odorless, ozone safe and there’s no CFCs.

36 Stage Whispers September - October 2016

Sound & Lighting

coatings and glazes also available for protecting painted surfaces or to provide additional strength and adhesion. Rosco paints have a matte finish, which will not reflect stage light.

Gobos allow the lighting designer to project patterns to help depict the scene. Clearlight Shows is the John McKissock from Clearlight Australian importer for Apollo Design, Shows outlines how his company the world’s leading innovator, brings all aspects of a production manufacturer and distributor of gobos, together. maintaining a catalogue of 1000+ metal gobo patterns. Gobos can Costumes, stage sets, props and provide everything from abstract lighting design should be expressive of dappled light effects to complex nightthe mood and spirit of the play. The time city scenes. set, costume and lighting designers Given a complete understanding of need to work closely together to the physics of colour, the choice of gel ensure their creation produces a filters used in the lighting design will collective look and feel for the have a dramatic impact on the production. Clearlight Shows sells appearance of costumes, sets and scenic paints, gobos and colour filters, props. Stocking 200+ colours, all tools needed to create the mood, Clearlight Shows can supply any colour texture and focus, bringing all aspects required. They also have Lee gel swatch of a theatre production together. books in stock, available free of charge.

Clearlight Shows is a distributor of Contact Clearlight Shows for all Rosco scenic paints. These are designed your scenery paints, gobos and gel to give an artist clean, bright colours colour requirements. Phone (03) 9553 that can be mixed without greying.

1688, email sales@clearlight.com.au Rosco paints are supple and adhere or visit www.clearlight.com.au. well to a wide variety of surfaces, with

Theatre Production Tools Pretend Hair Spray is also used to create the appearance of fog, haze or steam effects quickly and safely - a portable alternative to fog or haze machines, creating beams of light or the appearance of hot steam. Add a dreamy (or eerie!) atmosphere to a room or make light/laser beams stand out and come alive.

Photographers carry a can in their kit to easily produce haze on demand, with 5 minutes continuous fog per can. Each 30 second spray should last about 30 minutes in a normal room.

The spray was not available until recently in Australia due to the difficulty in importing aerosol cans.

Available now at: www.geelongfireworks.com.au

www.stagewhispers.com.au Stage Whispers 37

Stage On Disc

By Peter Pinne

PAINT YOUR WAGON (Alan Jay Lerner/Frederick Loewe) (Masterworks Broadway 88985334092) This new Encores! cast recording is the first time Lerner and Loewe’s Paint Your Wagon has been recorded since the Original Broadway Cast album of 1951. The score is classic Broadway of the fifties with rousing male choruses, tender love ballads, and wry comedy numbers, and on this recording all of the dance music and reprises, making it the most complete recording of the show. Keith Carradine is the perfect Ben Rumson, the goldminer who can’t contain his wanderlust. His light baritone sits comfortably on the tender “I Still See Eliza”, “In Between” is ruefully comic and it just feels like he was born to sing “Wand’rin’ Star”, the show’s enduring hit. As his daughter Jennifer, Alexandra Socha brings spunk and personality to “What’s Goin’ On Here”, “How Can I Wait” and “All For Him”, and couples tenderly with Justin Guarini on the hit of the time, “I Talk to the Trees”. Guarini also gets a chance to shine on the score’s forgotten gem “Another Autumn”. But it’s the male choruses that define this score and the Encores! cast do them proud - “I’m On My Way”, “There’s Coach Comin’ In”, “Hand Me Down That Can O’ Beans” and “They Call The Wind Maria”. The bonus track of the cut “What Do Other Folks Do?” is a curiosity which shows Lerner was just as adept at recycling ideas as other lyricists. It later turned up in Camelot as “What Do the Simple Folk Do?” 

38 Stage Whispers September - October 2016

KINKY BOOTS (Cyndi Lauper) (Masterworks Broadway 88985313902) The London Cast recording of Cyndi Lauper’s hit show is just as exciting and just as good as the Broadway original, with the added advantage of being recorded live. It features the same number of songs as Broadway, plus an additional “Charlie’s Soliloquy” following “Not My Father’s Son”. Killian Donnelly, last heard on the London Cast recording of Memphis, is an excellent Charlie Price with a genuine Northumberland accent. His three “Soliloquys” beautifully shape the character, “Take What You Got” burns, and he sings the heart out of his eleven-oclock number “Soul of a Man”. It’s a great performance.

Likewise Matt Henry’s Lola; a powerhouse on stage, he’s deliciously ribald in “Land of Lola”, outrageous in “The Sex is in the Heel”, and doesn’t hold back on channelling Whitney Houston on the penultimate “Hold Me in Your Heart”. “Not My Father’s Son” is a knockout, with both performers pushing the emotional buttons to the max.

Amy Lennox as North-Country lass Lauren is fun and scores heavily with “The History of Wrong Guys”. The album includes more dialogue than the Broadway version which gives a better understanding of the show as a whole.

Particularly good is Charlie’s Milan phone message apology to Lola near the end. It’s heartbreaking. Lauper’s infectious beats are in the hands of Peter White, who keeps tight control of the pit, whilst the sound and mix are top of the range. There’s also a nice touch on the album sleeve with the show’s distinctive logo being cleverly altered for the UK with one of the boots covered in the Union Jack. 

THE HUNCHBACK OF NOTRE DAME (Alan Menken/Stephen Schwartz) (Ghostlight Records 8-1482) Like Paint Your Wagon, the chorus work is also what defines Alan Menken and Stephen Schwartz’s reworking of their highlypraised Disney animated film score into a work for the stage. Returning to their source, Victor Hugo’s novel, this much darker version combines most of the movie songs, plus songs written for the 1999 Berlin production and new material. Called a musical, but in reality an oratorio, this recording springs from a 2014 Paper Mill Playhouse production which featured Patrick Page (Spider Man - Turn off the Dark) as the villainous priest Frollo, Michael Arden as the hunchback Quasimodo, Ciara Renée as the gypsy-dancer Esmerelda, and Andrew Samonsky as the smitten Captain Phoebus. With an orchestra of twentyeight and a choir of forty under the baton of Brent Alan Huffman, and with outstanding vocals from the principals, the work sounds thrilling. The movie’s two hits, “God Help the Outcasts” and “Someday” (reinstated into the score after being dropped from the film and sung over its end credits), are still the two best songs, but “Top of the World” and “Esmeralda” from the Berlin production register strongly, as do “The Bells of Notre Dame”, used throughout as a recurring them, and the new power-ballad “In a Place of Miracles”.  TWO CITIES (Jeff Wayne/ Jerry Wayne) (Stage Door STAGE 9045) After Lionel Bart’s success with Oliver! the literary works of Charles Dickens attracted musical theatre writers like bees around a honey pot. First came Pickwick (1963) and then came Two Cities (1969), a version of Dicken’s A Tale of Two Cities. Stage Door has released the original London Cast album on CD for the first time. With lyrics by producer Jeff Wayne and music by his son Jerry (The War of the Worlds) the show was blasted by the critics and limped along at the Palace Theatre for forty-four performances.

Edward Woodward, who starred in High Spirits on Broadway, is a good Sydney Carton, but he has nothing good to sing. He does what he can with the patter song “Independent Man”, and makes “It’s a Far, Far Better Thing” into a stirring finale, but little else captures the ear.

Aussie actor Kevin Colson as Charles Darney gets a nice moment in the spotlight with “And Lucie Is Her Name”, but the character of Madame Defarge, played by Nicolette Roeg, who replaced another Aussie, Joy Nichols, before the

show opened, is woefully under-represented musically. Jeff Wayne’s music pleases but his father’s banal lyrics never rise above the obvious. Bonus tracks include ten 1966 demos.  MEGAN HILTY - LIVE AT THE CAFÉ CARLYLE (No Label/No #) Megan Hilty’s recent stints at various Australian Cabaret festivals virtually repeated the song line-up on this album recorded live at New York’s Café Carlyle.

The ‘blonde bombshell’ performer, best-known for appearing as Ivy in NBC’s Smash, sings two terrific songs from that series, “They Just Keep Moving the Line” and “Second-Hand White Baby Grand”, plus a couple of tracks from Gentlemen Prefer Blondes in which she starred for Encores! as Lorelei Lee, “Bye, Bye Baby” and “Diamonds Are a Girl’s Best Friend”. Hilty, who has a strong head and chest belt, superbly delivers the goods on all of them. She salutes Garland on “Get Happy” and “The Man That Got Away”, and duets with her musical director Matt Cusson on Sinatra’s “That’s Life”. Best track on the disc is the coupling of “Autumn Leaves” with Johnny Mercer’s posthumously published “When October Goes”, with lyrics by Mercer and a melody by Barry Manilow. It’s a truly poignant riff on aging.  MARINA PRIOR & MARK VINCENT - TOGETHER (Sony) Australia’s favourite tenor and soprano, Mark Vincent and Marina Prior, have released this album just prior to an Australia wide tour. Featuring show songs, opera and pop sung in Italian, Spanish, French and English, the CD quickly went to No. 8 on Aria’s classical music charts.

Vincent and Prior’s voices blend perfectly on this collection which features “The Prayer”, “Time to Say Goodbye” and “Amigos Para Siempre”. Two songs from The Phantom of the Opera, “The Music of the Night” and “All I Ask Of You”, make the cut, along with “Somos Novios” (It’s Impossible), Ennio Morricone’s “E Più Ti Penso” and the Cuban written “Quizas, Quizas, Quizas”. La Traviata’s “Brindisi (Libiamo ne’ lieti calici)” shows off their impressive vocal range, whilst Piaf’s “La Vie En Rose” is a sweet and nostalgic finale.  Rating  Only for the enthusiast  Borderline  Worth buying  Must have  Kill for it www.stagewhispers.com.au Stage Whispers 39

Stage on Page

alumni Joan Maitland who, after much haggling with Bart and the threat of a lawsuit, finally received a 1%

By Peter Pinne (uncredited) royalty of the show.

Director Peter Coe also reworked the OLIVER! A Dickensian Musical by Marc wrapper, which pictured the image of script so the libretto writing credit is a grey area. a boy thrusting forth his empty bowl.

Napolitano (Oxford University Press) Sean Kenny’s remarkable set of When Lionel Bart’s Oliver! opened The musical owes a lot to David Lean’s 1948 film in terms of structure wooden beams and stairways that at the New Theatre, London, on June revolved to depict various Dickensian 30th 1960, the audience were cold and but then it also owes a lot to its unresponsive until midway into the first original Dickens source, as Napolitano London locations was one of the painstakingly documents. By keeping highlights of the production which act when the Artful Dodger sang critic Kenneth Tynan claimed at the “Consider Yourself” and they burst into his through-line ‘Oliver’s search for time was “by far the best in London”, spontaneous applause. From that show love’ Bart simplified the story and later acknowledging Kenny as “the cleverly made it more -stopping moment on there was no hero of Oliver!”. It wasn’t doubt the musical would be an acceptable to a general audience. The composer the first time Bart and unqualified success. And it was, Kenny had worked together receiving an unprecedented twenty-six was a good fit for the but it was the production curtain calls, which resulted in a sixmaterial, having worked at the left-leaning Unity that had the most impact on year run and 2,618 performances. their lives.

Theatre and having an East Oliver! came along as the British Bart had a continuing feud theatre was in the throes of the ‘angry End Jewish background.

The Unity Theatre with star Ron Moody and his young men’ syndrome and ‘kitchen portrayal of Fagin which kept sink’ drama in late 1950’s. John connections are important changing night by night as Osborne’s Look Back in Anger had in the overall Oliver! story the show got into its run, because the tunes to “Be started the movement and Arnold although he softened his Back Soon” and “Boy for Wesker continued it with The Kitchen anger towards Moody once the movie and Chicken Soup with Barley. In terms Sale” were originally written by Jack of impact Cameron Mackintosh asserts Grossman for Unity Theatre shows. The version premiered, calling his that Oliver! was the musical equivalent former, which carried a Bart co-lyricist performance the ‘highlight’ of the film. credit, was called “Be a Man, John Fagin’s Jewishness is also discussed of Look Back in Anger. All of these in great detail, along with the antiBull” and appeared in Unity’s facts and much minutia, along with semitic sentiments associated with the Bart’s inspiration, the musical’s history Cinderella, whilst the latter was a character. Ideas and songs from early modified version of “Green Jungle” and its legacy have been welldrafts of the musical are useful pieces documented by Marc Napolitano in his from Turn it Up. In later years Bart of information in the show’s evolution, acknowledged he “pinched them”. book which is a loving tribute to this as are the music-hall influences in the Although he took the sole writing English musical theatre classic. score.

Bart’s original idea to turn Dickens’ libretto credit on Oliver! Bart was Napolitano chronicles Bart’s career masterpiece into a musical sprang from helped in this endeavour by his longfrom pop-song writer to musical time secretary and Unity Theatre a Terry’s of York chocolate bar theatre craftsman, Joan Littlewood’s influence, his successes, Fings Ain’t Wot They Used T’Be, Lock up Your Daughters, Blitz!, Maggie May, and his flops which ironically were at the beginning and end of his career, Wally Pone - King of the Underworld, a musical version of Ben Jonson’s Volpone, which played to empty houses for ten weeks at the Unity Theatre in 1958, and the final debacle of Twang!! - his Robin Hood fiasco which ran for 43 performances in 1965. Despite his academic arguments and prose, which at times reads like a thesis, the book is an invaluable reference work on the importance of Oliver! in the history of the British musical theatre.

40 Stage Whispers September - October 2016

BUT HE DOESN’T KNOW THE TERRITORY The Making of Meredith Willson’s The Music Man by Meredith Willson (University of Minnesota Press) This slim paperback is a 2009 reprint of the original, which was first published in 1959. It’s a first-hand account of how an Iowa brass-band piccolo-player became a Broadway songwriter and created one of Broadway’s most loved musical comedies.

The story of The Music Man, about a travelling salesman who cons the inhabitants of small-town Mason City, Iowa, into buying band instruments for their kids and along the way falls in love with the town librarian, made stars of Robert Preston and Barbara Cook when it opened on Broadway in 1957.

Producers Ernest Martin and Cy Feuer, who had hits with Guys and Dolls, The Boy Friend and Silk Stockings, first suggested that Willson write a musical - so did Guys and Dolls composer Frank Loesser, and so did Willson’s wife Rini. He wrote forty drafts of the script and took over six years to write the song “My White Knight” to his satisfaction. His opening song “Rock Island Line” was written as dialogue without rhymes. It was revolutionary at the time and is the first instance of rap music used in a Broadway show. The Music Man was also the first and only show to feature a barbershop quartet, and its final love duet “Till There Was You” has the distinction of being the only showsong The Beatles ever recorded.

“Seventy Six Trombones” and “Goodnight My Someone” share the same melody and are written to be sung in counterpoint, but what most people don’t know is that “The Sadder But Wiser Girl For Me” and “My White Knight” were also written to be sung in counterpoint but never were.

Willson’s whimsical prose and natural Iowa dialect lace the book. The innumerable backers’ auditions, the out-of-town tryout, and the opening night on Broadway are all captured with the disarming guile of a firsttimer. It’s a delightful read.

BRINGING UP OSCAR - The Story of the Men and Women who Founded the Academy by Debra Ann Pawlak (Pegasus).

Debra Ann Pawlak’s story of how thirty-six members of Hollywood’s elite came together on January 11th 1927 and created the Academy of Motion Pictures Arts and Sciences, which gave birth to the Oscars, is interesting mainly for its mini-biographies.

Early Hollywood in the silent era was filled with get-rich-quick hustlers, gold prospectors, vaudevillians, cowpokes and even junk dealers, who made up the rules as they went along. During prohibition the industry was plagued with murders, drug-scandals, illicit affairs and struggles with censorship.

The Academy was formed to help Hollywood clean up its act. Those in attendance that night included MGM’s head honcho Louis B. Mayer, flamboyant director Cecil B. De Mille, “America’s Sweetheart” Mary Pickford, her husband Douglas Fairbanks, funnyman Harold Lloyd, theatre-owner Sid Grauman, Studio head Jack L. Warner, and a heavyweight director at the time, Fred Niblo, whose career in movies started in Australia.

Niblo, an actor/comic, and his wife Josephine Cohan, sister of actor / composer / dramatist George M. Cohan, came to Australia under the banner of J.C. Williamson in 1913.

They appeared in three successful George M. Cohan comedies - Get-RichQuick Wallingford, Officer 666 and Seven Keys to Baldpate. In 1915 Williamson bought a film studio and Niblo directed movie versions of all three plays. They were unsuccessful and primitive examples of the film medium, but it did give Niblo a taste for celluloid and when he returned to Hollywood he was responsible for the direction of three important Hollywood silent movies, The Mark of Zorro (1920) with Douglas Fairbanks, Blood and Sand (1922) with Rudolf Valentino, and Ben Hur: A Tale of Christ (1925). Niblo’s career and history is similar to many of the thirty-seven who mostly had their start in Vaudeville.

Sometimes Pawlak’s choice of content is bizarre reading, like a small-town society column that covers weddings and engagements. Her worst sin, however, is not welding the content into a cohesive whole. It’s a very disjointed narrative. B&W photographs accompany the text but there’s no index although there is a listing of websites, books and quote sources.

Stage Whispers Books Visit our on-line book shop for back issues and stage craft books www.stagewhispers.com.au/books www.stagewhispers.com.au Stage Whispers 41

London Calling

Vic quickly put it into the sold-out category as well. The team behind Matilda the Musical have reunited to bring the classic movie to the stage. Not without its teething problems, the original lead Broadway producer Scott Rudin departed the project before opening, citing creative differences with the director Matthew Warchus. Whether this delays the Broadway opening, scheduled for early

By Peter Pinne January, is unknown. Warchus has described the show as an “unconventional musical” and a “very complex” production.

Harry Potter and the Cursed Child is still making “Each actor has an average of 20 costume changes - which headlines. The play is sold-out through December 2017 and has got to be some sort of record.” Stephen Sondheim once when producers put a new batch of 250,000 tickets on sale considered the same movie for possible adaptation into a in August they sold-out in a day. Since the show opened in musical but abandoned the project believing it would be late July, to a slew of fantastic reviews (Henry Hitchings in impossible to improve on the film, which he thought was the Evening Standard said it was “a feast for fans, packed perfection. Obviously the Matilda team have improved on it, with pathos, dazzling choreography and moments of pure with some critics calling it “an instant classic”, saying that it enchantment”), scalpers have been having a field day. One “could be better than the movie”. resale website recently listed a single ticket for £6,200 The Arcola Theatre, East London, has announced that its ($8,000) (making Hamilton’s top scalper ticket price of earlier-in-the year hit production of Mike Poulton’s Kenny $1,500 pale into insignificance). Staff at the Palace Theatre, Morgan will play a return four-week season 20 September where the show is playing, have refused entry to anyone to 15 October. Paul Keating reprises his role of Kenneth they suspect as having a resold ticket. To combat the Morgan, as does Simon Dutton (Terence Rattigan) and scalpers, the producers have instigated an on-line lottery Pierro Niel-Mee (Alec Lennox). Poulton is the Tonyevery Friday in which 40 tickets are released for the nominated creator of Fortune’s Fool, Wolf Hall and Bring up following week. The play, set 19 years after the events of the the Bodies. The period play, set in 1949 London, tells the last book, Harry Potter and the Deathly Hallows, is a very true story of the relationship between playwright Rattigan long night in the theatre lasting over five hours and split and actor Morgan, which was a closely guarded secret at into two parts. the time. When Morgan falls for a younger man the Harry Potter is not the only hot ticket in London at the consequences are tragic. The real-life events became the moment. Rave reviews for Tim Minchin’s new musical inspiration for Rattigan’s most famous play, The Deep Blue version of the Bill Murray movie Groundhog Day at the Old Sea. Gemma Sutton and Sam Lips have been cast in the West Jamie Parker as Harry Potter.

Yorkshire Playhouse production of Baz Luhrmann’s Strictly Photo: Manuel Harlen.

Ballroom, the first international production of the musical.

Sutton most recently starred in the Imelda Staunton West End production of Gypsy, initially as June and then as Louise, whilst Lips, a Broadway performer, has Pippin, Cinderella and Wicked credits. The cast also includes Tamsin Carroll, Stephen Matthews, Julius D’Silva and Richard Grieve.

Direction and choreography are by Drew McOnie. The musical, produced by West Yorkshire Playhouse and Global Creatures, plays from 30 November until 21 January, when it moves to Toronto prior to a projected Broadway run in 2017.

Ivo van Hove’s Off-Broadway production of Lazarus, the final work of David Bowie, will receive its London premiere at the King’s Cross Theatre, playing from 25 October until 22 January. Three of the original New York cast will cross the pond to appear in the show - Michael C. Hall (Dexter), Michael Esper and Sophia Anne Caruso. The musical, written

by Bowie and Enda Walsh, is a sequel to Walter Trevis’s novel The Man Who Fell to Earth. Bowie previously starred in the 1976 film. The score features songs from Bowie’s back catalogue plus three new tracks - “No Plan”, “Killing a Little Time” and “When I Met You”.

Hot on the heels of the recently announced new Online extras! production of 42nd Street, which is due to open at the Meet Jamie Parker, who plays the lead Theatre Royal Drury Lane on the 20th March 2017, comes role in Harry Potter and the Cursed Child. the strong rumour that the upcoming Theatre du Chatelet, https://youtu.be/5h1lK3xP-lY 42 Stage Whispers September - October 2016

Andy Karl as Phil Connors in Groundhog Day. Photo: Manual Harlen.

Paris, production of the same show could also transfer to London. The Paris production opens 17 November and runs until 8 January. It will be directed and choreographed by Stephen Mear and will star West End favourites Alexander Hanson, Ria Jones and Dan Burton. The Drury Lane production is to be directed by original book writer Mark Bramble, with choreography by Randy Skinner, scenic design

by Douglas W. Schmidt and costume design by Roger Kirk.

The show was last seen in London when it played the Dominion Theatre in 1990.

Imogen, reimagined by Globe Associate Director Matthew Dunster and billed as “Shakespeare’s Cymbeline renamed and reclaimed”, plays Shakespeare’s Globe from 17 September to 16 October. It stars Maddy Hill (Imogen), best known for her recurring role of Nancy Carter in Eastenders. Others in the cast include Jonathan McGuinness (Cymbeline), Ira Mandela Siobhan (Posthumus) and Matthew Needham (Iachimo). Imogen enrages her father Cymbeline by marrying against his will, but after hearing lies about his wife’s virtue, her husband Posthumus decides she should die. In an urban world that is as strange, erotic and violent as Shakespeare’s ancient Britain, Imogen is forced to re-imagine herself as she fights for the life she deserves and not the one that is being determined for her. Dunster’s most recent credits include The Hangmen (Royal Court/West End), Love’s Sacrifice (RSC), The Seagull (Regent’s Park Open Air Theatre) and Liberian Girl (Royal Court). www.stagewhispers.com.au Stage Whispers 43

B

Bio-musicals keep appearing with monotonous regularity.

Goodspeed Opera House, East Haddam, is premiering Chasing Rainbows - The Road to Oz, a new musical about 1930s MGM star Judy Garland. It chronicles the time before Meet Me in St. Louis, Easter Parade, and A Star is Born when Garland was just the little “girl with the great big voice”.

Songs that Garland made famous are featured, including “I Can’t Give You Anything But Love”, “You Made Me Love

By Peter Pinne You” and “Over the Rainbow”. Ruby Rakos (Billy Elliot) stars as Frances Gumm/Judy Garland, reprising her 2015 Josh Groban, the prince of pop-power ballads, is about performance at North Carolina’s Flat Rock Playhouse. to make his Broadway debut in The Great Comet, based on Also in development is a new jukebox-musical about rock Leo Tolstoy’s War and Peace, which opens at the Imperial musicians Pat Benatar and her husband Neil Giraldo which is Theatre 14 November. Groban, a three-time Grammy aiming for Broadway in 2017. Garry Lennon, Executive winner, plays Pierre opposite Denee Producer and scripter of Orange is the New Black, is writing Benton as Natasha who’s also the book, with Jamie Cesa as producer of the musical which making her Broadway debut in will trace the personal and professional lives of rock vocalist the musical. The plot comes from Benatar and guitarist Giraldo. Grammy winner Benatar’s hits Volume 2, Part 8 of the Russian include “Heartbreaker”, “Hit Me with Your Best Shot”, “Love classic and focuses on is a Battlefield” and “We Belong”.

Natasha’s affair with Sutton Foster will play Charity Hope Valentine in a 50th Anatole, and Pierre’s anniversary revival of Sweet Charity from 2 November search for meaning in through 11 December at the Pershing Square Signature his life. Dave Malloy Center. The cast also features Shuler Hensley (Waiting for Godot/No Man’s Land) as Oscar, Emily Padgett (Bright Star) Online extras! as Helene, Asmeret Ghebremichael (The Book of Mormon) as Nickie, and Joel Perez (Fun Home) as Herman/Vittorio/Daddy Hear Josh Groban perform ‘Dust and Brubeck. The musical will be directed by Leigh Silverman, Ashes’ from The Great Comet. with choreography by Joshua Bergasse. https://youtu.be/sRnK5mQiQ6c According to Stephen Sondheim his new musical All Together Now, written in collaboration with playwright wrote the music and libretto, which merge Russian folk and David Ives (Venus in Fur), will likely be produced Offclassical music with indie rock and EDM influences, and Broadway by the Public Theatre in 2017. The Public liberally uses direct quotes from Tolstoy in the lyrics. He previously produced his and John Weidman’s Road Show in describes the through-composed work as “electropop opera”. The piece originally premiered in 2012 and was well 2008. All Together Now is in two acts, the first based on Luis received by the New York press - Time Out New York gave it Bunuel’s movie The Discreet Charm of the Bourgeoisie about five out of five stars and said “this is theatre like no other in people trying to find a place to have dinner, while the second is based on Bunuel’s film The Exterminating Angel, New York. It grounds you and transports you at once, and where people have dinner and can’t leave. Thomas Ades’ leaves you beaming with pleasure.”

Composer/lyricist Stephen Schwartz revealed at the recent opera version of the latter recently premiered at the Salzburg Festival. Sondheim has clarified Ades has the opera rights to San Diego Comic-Con he is adding three new songs to the the story, whilst he has the commercial musical rights. long-in-development film adaptation of his billion-dollar During the nineties Sondheim began work with Terrence blockbuster Wicked. He’s also reinstating one number that McNally on an unrelated musical which had a tentative title was cut from the original show, but declined to say which of All Together Now. one. The screenplay has been written by Winnie Holzman, Cameron Mackintosh’s London production of Miss who also wrote the musical’s book. Stephen Daldry (Billy Saigon will play its original home when it returns to Elliot) is to direct. No details on casting yet, although two Broadway. The revival of the popular work loosely based on years ago it was reported Glee star Lea Michele was in the running to play Elphaba. Universal Pictures have a projected Madam Butterfly and set during the Vietnam War will play the Broadway Theatre, 1 March 2017 through 15 January in-cinema release date of 20 December 2019.

2018. The production follows a successful run at London’s Jeremy Jordan, a Tony nominee for his performance as Prince Edward Theatre and will feature Jon Jon Briones and the rabble-rousing paperboy Jack Kelly in Disney’s Newsies and Kim will return to the touring production which is being filmed at Eva Noblezada repeating their roles of The Engineer th in New York.

The musical is currently the 13 longest the Pantages Theatre during the musical’s Los Angeles run.

Kara Lindsay will also repeat her role of the female journalist running musical in Broadway history. Following the revival season the production will embark on national tour, which Katherine Plumber, along with other, but not all, original will begin in Providence and play dates in Boston, Chicago, cast members. Alan Menken (music) and Jack Feldman Los Angeles, San Francisco, Toronto, Washington DC, (lyrics) took home a Tony for their score when the musical premiered on Broadway in 2012, as did Christopher Gattelli Philadelphia and 50 other cities. for his choreography.

roadway uzz

44 Stage Whispers September - October 2016

Barbra Streisand Encore: Movie Partners Sing Broadway (Sony) Barbra Streisand’s new album Encore: Movie Partners Sing Broadway finds her dueting with a host of “A” list Hollywood Stars who include Hugh Jackman, Chris Pine, Anne Hathaway, Daisy Ridley, Melissa McCarthy, Antonio Banderas, Patrick Wilson, Seth MacFarlane, Alec Baldwin and Jamie Foxx.

It’s a companion-piece to her 2014 big-name musicbiz duets album Partners, a salute to the Broadway songbook, and a thirdcousin to her previous The Broadway Album (1985) and Back to Broadway (1993).

As is to be expected with a Streisand album, the song selection is eclectic; five Sondheim tracks (if you include the bonus tracks on the “deluxe edition”), two by her original Funny Girl rehearsal pianist and later musical-director Marvin Hamlisch, two by Richard Rodgers, and surprisingly two by Anthony Newley and Leslie Bricusse, with Newley making a virtual appearance thanks to the wonders of the edit-suite.

At 74 the diva is singing as well as ever. Her take on one of the finest songs in the Rodgers and Hart catalogue, “I Didn’t Know What Time It Was”, a bonus track, could have been recorded for Simply Streisand back in the sixties it’s that good, likewise

her reading of Ballroom’s emotional “other” woman classic “Fifty Per Cent”.

One of the album’s highlights it the 7-minute trio “At the Ballet” from A Chorus Line, with Streisand as Sheila, Anna Hathaway as Maggie and Daisy Ridley as Phoebe. The mix of vocals, with the youth of Hathaway and Ridley, and the maturity of Streisand add a new dimension to the song’s dynamic.

A feature of the album is the use of scenarios to set-up a dramatic situation for each song. It works brilliantly on some tracks, particularly “At the Ballet” which has a very “original cast” feel, but on others it sounds like it could very quickly wear-out-itswelcome on repeat.

Patrick Wilson’s fabulous Broadway belt thrills on “Loving You” (Passion) and lifts it into another class, as does Hugh Jackman on “Any Moment Now” from the uncompleted Smile, a show with music by Hamlisch and lyrics by Dorothy Fields. Alec Baldwin on “The Best Thing That Ever Happened” (Road Show) makes up for what he lacks in vocal chops with charisma, Melissa McCarthy is fun on some altered jokey lyrics to Annie Get Your Gun’s

“Anything you Can Do”, while Seth McFarlane’s bigband-Sinatra sound is a perfect fit for “Pure Imagination” (Charlie and the Chocolate Factory).

Best of all however is Anthony Newley’s “Who Can I Turn To” (The Roar of the Greasepaint - The Smell of the Crowd) with Streisand battling it out with Newley’s famous vibrato in the top-note diva stakes, and Jamie Foxx, who brings a touch of soul to “Climb Ev’ry Mountain” (The Sound of Music) for a great finale. The song has always been an emotional rollercoaster ride and this version shows Streisand in top form hitting notes like she did in her twenties.

Not satisfied to sit on her laurels, and they’re legendary, Streisand’s return to her Broadway roots pays off big-time. 

www.stagewhispers.com.au Stage Whispers 45

Stage Briefs

46 Stage Whispers September - October 2016

 Rockdale Musical Society presents the musical Leap of Faith at Rockdale Town Hall from September 9-18.

Pictured: Daniel O’Connell and company members.

Photo: Chloe Snaith. http://bit.ly/2bFVceb

 CLOC Musical Theatre presents Jesus Christ Superstar

by Andrew Lloyd Webber and Tim Rice at the National Theatre, St Kilda from October 7 to 22.

Photo: Ben Fon. www.cloc.org.au

 OCPAC present Catch Me If You Can, the musical comedy based on the incredible true story and hit film starring Leonardo DiCaprio and Tom Hanks, from September 220 - 17, in Kew, Victoria.

Pictured: Mikaila Cass, Gracie O’Neill, James Watkinson, Olivia Sweeney and Emily Skinner.

Photo: Ben Fon. http://bit.ly/2bFTWI4 www.stagewhispers.com.au Stage Whispers 47

On Stage A.C.T. Funny Girl by Isobel Lennart, Jule Styne and Bob Merrill.

SUPA Productions. Until Sep 4.

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

The Greek Project. Canberra Youth Theatre. Until Sep 3.

Gorman Arts Centre - Theatre C. (02) 6182 0000.

The Faithful Servant by Tom Davis. Sep 7 - 18. The Street Theatre, 15 Childers St, Canberra City West. (02) 6247 1223.

Miss Brontë by Mel Dodge and Charlotte Bronte. Brave Theatre.

Sep 9 & 10. The Q, Queanbeyan. (02) 6285 6290.

The Wharf Revue - Back to Bite You. By Jonathan Biggins, Drew Forsythe and Phillip Scott.

Sydney Theatre Company. Sep 13 - 24. Playhouse, Canberra Theatre Centre. (02) 6275 2700.

Carnival of the Animals. Circa.

Sep 13 - 24. Canberra Theatre.

(02) 6275 2700.

The Gruffalo. Based on the award-winning picture book by Julia Donaldson and Axel Scheffler. CDP with Tall Stories.

Sep 13 - 18. The Q, Queanbeyan. (02) 6285 6290.

She Stoops To Conquer by Oliver Goldsmith. Canberra Repertory Society. Sep 22 - Oct 8. Theatre 3. (02) 6257 1950.

Shaolin Warriors. Sep 27 & 28.

Canberra Theatre. (02) 6275 2700.

Mother by Daniel Keene. If Theatre. Starring Noni Hazlehurst. Sep 27 - Oct 1. The Q, Queanbeyan. (02) 6285 6290.

Kitty Flanagan - All New Whitey McWhiteboard Tryout Show.

Oct 4 - 14. The Courtyard Studio. (02) 6275 2700.

Wicked. Music and Lyrics by Stephen Schwartz. Book by Winnie Holzman. Based on the novel by Gregory Maguire. FreeRain Theatre. Oct 13 - 23.

Canberra Theatre. (02) 6275 2700.

Othello by William Shakespeare.

Bell Shakespeare. Oct 14 - 22.

48 Stage Whispers

A.C.T. & New South Wales

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

Educating Rita by Willy Russell.

Christine Harris and HIT Productions. Oct 26 - 29. The Q, Queanbeyan. (02) 6285 6290.

Sophocles’ Antigone. New adaptation Andrea Demetriades, William Zappa, Damien Ryan and Terry Karabelas. Oct 27 29. Playhouse, Canberra Theatre Centre. (02) 6275 2700.

New South Wales KOOZA. Cirque du Soleil.

Continuing. Entertainment Quarter, Moore Park. 1800 036 685 My Fair Lady by Alan Jay Lerner and Frederick Loewe. Opera Australia and John Frost.

Continuing. Joan Sutherland Theatre, Sydney Opera House.

(02) 9318 8200 or (02) 9250 7777.

Gloria by Benedict Andrews.

Griffin Theatre Company. Until Oct 8. SBW Stables Theatre.

(02) 9361 3817.

Love, Love, Love, by Mike Bartlett. Newcastle Theatre Company. Until Sep 10. NTC Theatre, Lambton. (02) 4952 4958.

The Odd Couple (Female Version) by Neil Simon. Theatre on Brunker. Until Sep 17. St Stephen’s Hall, Adamstown (Newcastle). (02) 4956 1263.

Sydney Fringe Festival - Sep 1 30. www.sydneyfringe.com Risqué Revue - French Cabaret.

Slide, Darlinghurst. Sep 1, 8, 15, 22, 29. (02) 8915 1899.

Battlers and Dreamers by Romy Bartz and Erin Brookhouse. Doll pARTS / Sydney Fringe. Musical ‘homage’ to 80s TV soaps. Sep 1-3, Midnight Shift, Darlinghurst / Sep 10 / 11, Giant Dwarf, Redfern. www.sydneyfringe.com Calendar Girls by Tim Firth (Drama / Comedy). Pigs Fly Productions Inc. Sep 2 - 17.

Mittagong Playhouse. 1300 657 559.

Our House by Tim Firth with the music of ‘Madness’. Genesian

Theatre, 420 Kent St, Sydney.

Sep 2 - Oct 8. 1300 237 217.

El Circo. Slide, Darlinghurst. Sep 2, 3, 9, 10, 17, 23, 24. (02) 8915 1899.

The Wharf Review 2016.

Written and created by Jonathan Biggins, Drew Forsythe & Phillip Scott. Sep 6 - 10.

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

Work Shorts 2016. Wollongong Workshop Theatre. Upcoming and untried writers, actors and directors. Sep 7 - 17. 190 Gipps Rd, Gwynnville. 0467 091 146.

The Songs That Got Away.

Written and Performed by Johanna Allen. Sep 8 - 11. Glen Street Theatre. (02) 9975 1455.

Aida - The Musical. Based on the opera by Giuseppe Verdi, with music by Elton John, lyrics by Tim Rice, and book by Linda Woolverton, Robert Falls, and David Henry Hwang.

Pantseat Academy. Sep 8 - 10.

Civic Playhouse, Newcastle. (02) 4929 1977.

Confessions of a Chocaholic by Geraldine Brophy. Off The Avenue / Sydney Fringe. Sep 10 - 24. Canvas Bar, Sydney. www.sydneyfringe.com Othello by William Shakespeare.

Bell Shakespeare. Sept 8 - 9, Civic Theatre, Newcastle, (02) 4929 1977; Sep 13 - 17, Illawarra Performing Arts Centre, IMB Theatre, (02) 4224 5999.

A Midsummer Night’s Dream by William Shakespeare. Sydney Theatre Company. Sep 12 - Oct 22. Drama Theatre, Sydney Opera House. (02) 9250 1777.

4 Minutes 12 Seconds by James Fritz. Outhouse Theatre Company, in association with Red Line Productions. Sep 13 Oct 8. Old Fitz Theatre. www.oldfitztheatre.com Grounded by George Brant.

Robot Sparrow / Sydney Fringe.

Sep 13 - 17. Off Broadway Festival Hub, Annandale. www.sydneyfringe.com

Great Detectives of Old Time Radio Live. Preachrs Podcast OnLine & OnStage / Sydney Fringe. Sep 13 - 18. Old 505 Theatre, Newtown. www.sydneyfringe.com The Women by Clare Boothe Luce. Edgewise Productions / Sydney Fringe. Sep 14 - 17.

Depot Theatre, Marrickville. www.sydneyfringe.com Red Cross by Sam Shepard.

Sydney Fringe. Sep 14 - 17. Off Broadway Festival Hub, Annandale. www.sydneyfringe.com Blithe Spirit by Noël Coward (Fantasy comedy). Maitland Repertory Theatre, Sep 14 to Oct 1. 244 High Street, Maitland. (02) 4931 2800.

The Great Gatsby by F Scott Fitzgerald, adapted by Simon Levy. NSW Premiere. Epicentre Theatre Co. Sep 16 - Oct 9. Kuring-gai Town Hall, Pymble. www.epicentretheatre.org.au The Snow Queen. Adapted by Pamela Whalan from Hans Anderson’s fairy story. DAPA. Sep 16 - 24. DAPA Theatre, Hamilton (Newcastle). 0416 252 446.

Hidden Sydney - The Glittering Mile. Concept by Olivia Ansell in collaboration with Wendy Richards. Live Ideas and Working Management with Art & About Sydney. Sep 16 - Oct 9. The Rear Entrance of “THE NEVADA” at The World Bar, 1 Mansion Lane, Kings Cross.

Ticketmaster 136 100.

Sydney Comedy Festival Showcase. Sept 17. Civic Theatre, Newcastle. (02) 4929 1977.

The Drover’s Wife by Leah Purcell. Belvoir. Sep 17 - Oct 16.

Upstairs Theatre, Belvoir. (02) 9699 3444.

Power Plays. Five new short plays by Melissa Bubnic, Michele Lee, Nakkiah Lui, Hannie Rayson and Debra Thomas. Sydney Theatre Company. Sep 17 - Oct 15. Wharf 2. (02) 9250 1777.

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

On Stage

New South Wales

Oct 8. Civic Playhouse, Newcastle. (02) 4929 1977.

The Listies 6D. Children’s comedy by The Listies. Sep 29.

Cessnock Performing Arts Centre. (02) 4990 7134.

Patience by Gilbert and Sullivan.

Gilbert and Sullivan Opera Sydney. Sep 30 - Oct 8. Smith Auditorium, Shore School, William St, North Sydney. www.gsosydney.com.au Bugsy Malone by Alan Parker, with music by Paul Williams.

Young People’s Theatre Newcastle Inc. Oct 3 - Nov 5.

Cnr Lindsay & Lawson Streets, Hamilton. www.ypt.org.au Enda Walsh’s Disco Pigs, produced by Throwing Shade Theatre Communicating Doors by Alan Company, returns to the Sydney stage as part of the Sydney Fringe Ayckbourn (Thriller/Comedy).

Pymble Players. Oct 5 - 29.

Festival from September 20 to 24 at PACT Centre for Emerging Artists, Players Theatre, Cnr Mona Vale Erskineville. Directed by Andrew Langcake, Disco Pigs stars Jeff Road & Bromley Ave, Pymble.

Hampson and Courtney Powell. Book at www.sydneyfringe.com (02) 9144 1523.

Catherine Alcorn - Cathartic.

Disco Pigs by Enda Walsh.

Turner. A MAKEbeLIVE Late - a Cowboy Song by Sara Slide, Darlinghurst. Oct 5, 12, Throwing Shade Theatre production. Sep 21 - Oct 9.

Ruhl. Ladylike Theatre 19. (02) 8915 1899.

Company / Sydney Fringe. Sep Downstairs Theatre, Belvoir. (02) Collective / Sydney Fringe. Sep The Wharf Revue. Written and 20 - 24. PACT - Emerging Artist 9699 3444.

27 - Oct 1. Erskenville Town created by Jonathan Biggins, Hub, Erskinville.

Hall. www.sydneyfringe.com Travelling North by David Drew Forsythe and Phillip Scott. www.sydneyfringe.com Williamson. Roo Theatre Light Bites & Tasty Treats. Nine Sydney Theatre Company. Oct 5 Fag Boy & The Married Guy by Company. Sep 23 - Oct 1. 12 short comedies by Alex Broun Wayne Tunks. Tunks Addison St, Shellharbour. and other writers. Hunter Valley - 15. Glen Street Theatre. (02) Productions / Sydney Fringe. Sep www.roo-theatre.com.au Summer Theatre and Straylight 9975 1455.

First Date. Book by Austin 20 - 24. New Theatre, Productions. Sep 28 - Oct 9.

Always...Patsy Cline by Ted Winsberg and music and lyrics Newtown.

Kevin Sobels Wines, Pokolbin.

Swindley. Sep 23 - 24. The Joan

by Alan Zachary and Michael www.sydneyfringe.com eventbrite.com.au Sutherland Performing Arts Weiner. Shire Music Theatre.

Crave by Sarah Kane. Montague Centre. (02) 4723 7600.

Debora Krizak - Laugh Be A Oct 7 - 16. Sutherland Memorial Basement / Sydney Fringe. Sep Lady. Slide, Darlinghurst. Sep ‘Allo ‘Allo by Jeremy Lloyd and School of Arts.

28.

(02) 8915 1899.

20 - 24. Erskenville Town Hall.

David Croft. Players Theatre, 33 www.shiremusictheatre.org.au www.sydneyfringe.com Lord St, Port Macquarie. Sep 23 La Sonnambula by Bellini.

The Nerd by Larry Shue. DAPA The Wasp by Morgan Lloyd - Oct 9. (02) 6584 6663.

Operantics. Sep 29 - Oct 2.

Theatre. Oct 7 - 22. DAPA Malcolm. Golden Jam Independent Theatre, Nth Boeing Boeing by Marc Theatre, Hamilton (Newcastle).

Productions / Sydney Fringe. Sep Camoletti, translated by Beverley Sydney.

0416 252 446.

20 - 24. Erskenville Town Hall.

Cross. Castle Hill Players. Sep 23 Carnival of the Animals. A Mother by Daniel Keene. Oct 7 www.sydneyfringe.com - Oct 15. Pavilion Theatre, production by Circa & QPAC’s Out Of The Box Festival. Sep 29 8. The Joan Sutherland Arms and the Man by George Doran Drive, Castle Hill. (02) Bernard Shaw. Exit Game 9634 2929. & 30. Illawarra Performing Arts Performing Arts Centre. (02) Productions / Sydney Fringe. Sep Noises Off by Michael Frayn.

Centre, IMB Theatre. (02) 4224 4723 7600.

Legally Blonde. Music & lyrics by 21 - 24. Depot Theatre, 5999.

Armidale Drama and Musical Marrickville.

Society. Sep 24 - Oct 16. TAS Shrek - The Musical Jr. Book and Laurence O’Keefe and Neil Benjamin. Book by Heather www.sydneyfringe.com Hoskins Centre, Armidale. lyrics by David Lindsay-Abaire, Young Frankenstein by Mel www.adms.org.au music by Jeanine Tesori. Hunter Hach. Campbelltown Theatre Group. Oct 7 - 22.

Drama. Sep 29 - Oct 1. Civic Brooks and Thomas Meehan.

Bugsy Malone. Book by Alan Campbelltown Town Hall Miranda Musical Society. Sep 21 Parker, music and lyrics by Paul Theatre. (02) 4929 1977.

Theatre, Campbelltown. (02) - 25. Sutherland Entertainment Williams. Young People’s Clegg Festival 2016. Original 4628 5287.

Centre. (02) 8814 5827.

Theatre. Sep 26 - Oct 5. Young plays staged by Hunter TAFE People’s Theatre, Hamilton Regional Institute of Performing The Nutcracker. Russian Ballet Ruby’s Wish by Holly Austin, Ltd. Oct 7 & 8. Illawarra Adriano Cappelletta & Jo (Newcastle). (02) 4961 4895.

Arts acting students. Sep 29 -

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

Stage Whispers 49

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

Other Desert Cities by Jon Robin Baitz. Newcastle Theatre Company. Oct 8 - 22. NTC Theatre, Lambton (Newcastle).

(02) 4952 4958.

Twelfth Night by William Shakespeare. CHATS Productions (Coffs Harbour).

Oct 9 - 23. Jetty Memorial Theatre, Coffs Harbour. (02) 6652 8088.

Gilbert and Sullivan Forever! By Melvyn Morrow. Popinjay Productions. Featuring Andrew O’Keefe and Glenn Amer. Oct 9 at 3pm. Mosman Art Gallery. www.trybooking.com/209160 Hecuba Reimagined.

Contemporary reworking by Carl Caulfield of Euripides’ play.

Stray Dogs Theatre. Oct 12 - 22.

Civic Playhouse, Newcastle. (02) 4929 1977.

Oh My God, I’ve Been Kidnapped and I Hate What I’m Wearing by Drew Fairley. Hunter

50 Stage Whispers

New South Wales

Valley Summer Theatre. Drew Fairley and Kate Smith. Oct 12 23. Kevin Sobels Wines, Pokolbin. eventbrite.com.au Mother by Daniel Keene. If Theatre production starring Noni Hazlehurst. Oct 12 - 15.

Illawarra Performing Arts Centre, Bruce Gordon Theatre.

(02) 4224 5999.

Title and Deed by Will Eno. Belvoir. Oct 13 - Nov 6.

Downstairs Theatre, Belvoir. (02) 9699 3444.

Mary Poppins. Music and Lyrics

by The Sherman Brothers (additional lyrics by George Stiles and Anthony Drewe) with script by Julian Fellowes. Orange Theatre Company. Oct 14 - 29.

Orange Civic Theatre. Ticketek: (02) 6393 8111.

Wicked. Music and lyrics by Stephen Schwartz and book by Winnie Holzman. Gosford Musical Society. Oct 14 - Nov 12. Laycock Street Community

Theatre, North Gosford. (02) 4323 3233.

The Turquoise Elephant by Stephen Carleton. Griffin Theatre Company. Oct 14 - Nov 26. SBW Stables Theatre. 02 9361 3817.

Mary Poppins. Music and Lyrics

by The Sherman Brothers (additional lyrics by George Stiles and Anthony Drewe) with script by Julian Fellowes.

Willoughby Theatre Company.

Oct 15 - 30. The Concourse Theatre, Chatswood. www.willoughbytheatreco.com.au Of Bing I Sing - Cabaret Tribute to Bing Crosby. By Melvyn Morrow. Popinjay Productions.

Featuring Rob Palmer and Glenn Amer. Oct 16 at 3pm. Mosman Art Gallery. www.trybooking.com/209160 The Wharf Revue. Written and created by Jonathan Biggins, Drew Forsythe and Phillip Scott.

Sydney Theatre Company. Oct

19 - Dec 23. Wharf 1. (02) 9250 1777.

Manning the Fort. Play developed by Tantrum Youth Arts looking at women who manned a seaside fort in World War 2. Oct 20 - 29. Fort Scratchley, Newcastle. (02) 4929 1977.

The Secret Garden. Script and Lyrics by Marsha Norman. Music

by Lucy Simon. Bankstown Theatre Company. Oct 21 - 30.

Bankstown Arts Centre. (02) 9676 11941.

Off the Hook by Derek Benfield.

Newcastle G and S Players Comedy Club. Oct 21 - Nov 12.

St. Matthew’s Hall, Georgetown (Newcastle). 0432 886 149.

When Dad Married Fury by David Williamson. The Henry Lawson Theatre. Oct 21 - Nov 11. Henry Lawson Ave, Werrington. (02) 4729 2996.

Dracula by Bram Stoker.

Genesian Theatre. Oct 21 - Dec

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

On Stage 3. Genesian Theatre, 420 Kent Street Sydney 1300 237 217.

Rodgers and Hammerstein’s Cinderella. EUCMS. Oct 21 Nov 5. Eastwood Uniting Church. 8061 7195 after 7pm, after Sep 7.

Back to the 80s by Neil Gooding. Berowra Musical Society. Oct 22 - 29. Berowra Community Centre. www.bmsi.org.au Faith Healer by Brian Friels.

Belvoir. Oct 22 -Nov 27.

Upstairs Theatre, Belvoir. (02) 9699 3444.

Oliver! by Lionel Bart. Engadine Musical Society. Oct 22 - 30.

Engadine Community Centre, Engadine. 1300 616 063.

Othello by William Shakespeare.

Bell Shakespeare. Oct 25 - Dec 4. Sydney Opera House. (02) 9250 7777.

Queen Bette. Devised by Peter Mountford and Jeanette Cronin.

Hunter Valley Summer Theatre and G.Bod Theatre. Oct 26 -

Nov 6. Kevin Sobels Wines, Pokolbin. eventbrite.com.au Spoon River. Adapted by Hunter Drama’s Acting Company from Edgar Lee Masters’ Spoon River Anthology. Oct 27 - 29. Civic Playhouse, Newcastle. (02) 4929 1977.

Miss Saigon by Alan Boublill & Claude-Michel Schonberg (Musical). Roo Theatre Company. Oct 28 - Nov 12. 12 Addison St, Shellharbour. www.roo-theatre.com.au Absurd Person Singular by Alan Ayckbourn. Woy Woy Little Theatre. Oct 28 - Nov 13.

Peninsula Theatre, Woy Woy. (02) 4344 4737.

It’s My Party and I’ll Die if I want to by Elizabeth Coleman. Guild Theatre Rockdale. Oct 28 - Nov 26. Guild Theatre, Walz Street Rockdale. (02) 9521 6358 Loot by Joe Orton. Arts Theatre Cronulla. Oct 28 - Dec 3. 6 Surf Road, Cronulla. (02) 9523 2779.

New South Wales & Queensland The 25th Annual Putnam County Spelling Bee. Music & Lyrics by William Finn, book by Rachel Sheinkin. NUCMS. Buckingham Drive, Normanhurst. Oct 29 - Nov 13. www.nucms.org Elf - The Musical. Songs by Matthew Sklar and Chad Beguelin, book by Bob Martin and Thomas Mehan. DAPA. Oct 29 - Nov 12. DAPA Theatre, Hamilton (Newcastle). 0416 252 446.

Poisoning Pigeons in the Park.

By Melvyn Morrow, songs by Tom Lehrer. Popinjay Productions. Featuring Glenn Amer and Zach Selmes. Oct 30 at 3pm. Mosman Art Gallery. www.trybooking.com/209160 A Flea in Her Ear by Georges Feydeau, in a new adaptation by Andrew Upton. Sydney Theatre Company. Oct 31 - Dec 17.

Drama Theatre, Sydney Opera House. (02) 9250 1777.

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

Joseph and the Amazing Technicolor Dreamcoat by Andrew Lloyd Webber and Tim Rice. Blue Mountains Musical Society. Oct 22 - Nov 6. Blue Mountains Theatre, Macquarie Rd, Springwood. (02) 4723 5050.

Queensland Equus by Peter Shaffer. Arts Theatre, Brisbane. Until Sep 3.

(07) 3369 2344.

St Mary’s In Exile by David Burton. QTC. Bille Brown Studio.

Until Sep 25. 1800 355 528.

The Tale of Peter Rabbit by R.Eugene Jackson and David Ellis. Arts Theatre, Brisbane.

Until Sept 10. (07) 3369 2344.

Les Liaisons Dangereuses by Christopher Hampton. Villanova Players. Until Sep 11. (07) 3395 5168.

Snow White by Gustav Mahler.

Ballet Preljocaj. Lyric Theatre, QPAC. Sep 2-11. 136 246.

Stage Whispers 51

On Stage

Queensland

Savoyards Musical Theatre Brisbane presents the Queensland Premiere of Nice Work If You Can Get It, a Prohibition era musical, with music and lyrics by George and Ira Gershwin, at Iona Performing Arts Centre from September 24 to October 8. www.savoyards.com.au Blanc De Blanc. Strut and Free Production House. Spiegeltent.

Sep 2-24. 136 246 Brisbane Festival. Various Venues. Sep 3-24.

En Avant Marche. Les Ballets C de la B. Sep 3-7. Playhouse, QPAC. 136 246.

California Crooners Club.

Spiegeltent. Sep 3 - 11. 136 246.

Rules of the Game by Jonah Bokaer and Daniel Archan.

Powerhouse. Sep 4-17. (07) 3358 8600.

Snow White by Suzie Miller, Zulya Kamalova and Lindy Hume. Opera Q, La Boite & Brisbane Festival. Sept 7-24.

Roundhouse Theatre, Kelvin Grove. (07) 3007 8600.

Jurassic Park The Musical by Aaron Holmes and Phillip Malcom. Brisbane Arts Theatre.

Sep 7-18. (07) 3369 2344.

Wish - The Devil’s Own Musical.

Arts Theatre, Brisbane. Sept 818. (07) 3369 2344.

Oklahoma! by Rodgers and Hammerstein. SQUIDS. Sep 952 Stage Whispers

17. Redcliffe Cultural Centre. www.squids.org.au Annie by Charles Strouse and Martin Charnin. Toowoomba Choral Society. Sep 9-11.

Empire Theatre, Toowoomba.

1300 655 299.

A Midsummer Night’s Dream by Shakespeare. Lyric Hammersmith/Filter Theatre (UK). Sep 9-17. Playhouse, QPAC. 136 246.

Wicked. Music and Lyrics by Stephen Schwartz. Book by Winnie Holzman. Based on the novel by Gregory Maguire.

Ipswich Musical Theatre.

Ipswich Civic Centre. Sep 9-18.

(07) 3810 6100.

Albert Herring by Benjamin Britten. Queensland Conservatorium.

Conservatorium Theatre. Sep 917. 136 246.

Beyond Reasonable Doubt by Jeffrey Archer. Sunnybank Theatre Group. Sep 9-24. (07) 3345 3964.

The Mayne Inheritance by Errol O’Neil. Centenary Players,

Chelmer. Sep 10 - Oct 1. 0435 591 720.

Hart by Ian Michael. Theatre Republic. The Loft, QUT. Sep 13 -17. 136 246 Troppo. Circa. South Bank Courier-Mail Piazza. Sep 13-23.

136 246.

Always Patsy Cline by Ted Swindley. Hit Productions.

Gardens Theatre, Brisbane. Sept 14-15. (07) 3138 4455.

Lippy - Dead Centre. Cremorne Theatre, QPAC. Sep 14-17. 136 246.

Meow Meow’s Little Mermaid.

Malthouse/Sydney Festival.

Spiegeltent. Sep 15-24. 136 246.

Songs For A New World by Jason Robert Brown. Javeenbah Theatre Company. Sep 16 - Oct 1. (07) 5596 0300.

Breast Wishes by Bruce Brown.

Spotlight Theatre Company, Gold Coast. Sep 16 - Oct 2. (07) 5539 4255 Wolf Lullaby by Hilary Bell. Gold Coast Little Theatre. Sep 16 Oct 1. (07) 5532 2096.

Peter Pan by Peter Denyer. Arts Theatre, Brisbane. Sep 17 - Nov 5. (07) 3369 2344.

Carnival of Flowers One-Act Play Writing Competition.

Toowoomba Repertory Theatre.

Sep 19-24.

Backstage in Biscuit Land. Cocreated by Jess Thom, Jess Mabel Jones and Matthew Pountney. QPAC and Melbourne Festival. Oct 19 - 23. Cremorne Theatre, QPAC. 136 246.

La Verita by Daniel Funzi Pasca.

Playhouse, QPAC. Sep 20-24.

136 246.

You and Me and the Space Between. Paul Lato. Cremorne Theatre, QPAC. Sep 20-24. 136 246.

Deckchairs by Jean McConnell.

Ipswich Little Theatre. Sep 21 Oct 8. Incinerator Theatre, Ipswich. (07) 3812 2389.

Singin’ In The Rain. Music and lyrics by Nacio Herb Brown and Arthur Freed. Script by Betty Comden and Adolph Green.

Lunchbox Theatrical Productions, David Atkins Enterprises, Michael Cassel

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

On Stage Group and Dainty Group International. Lyric Theatre, QPAC. From Sep 22. 136 246 Grease by Warren Casey and Jim Jacobs. Toowoomba Philharmonic Society. Sep 2325. Empire Theatre, Toowoomba. 1300 655 299.

Inspector Drake and the Black Widow by David Tristam. Lind Lane Theatre, Nambour. Sep 23 - Oct 1. (07) 5441 1814.

Nice Work if You Can Get It. Music and lyrics by George and Ira Gershwin. Book by Joe DiPietro. Savoyards Musical Comedy Society Inc. (Qld). Sep 24 - Oct 8. IONA Performing Arts Centre, IONA College, Wynnum West. (07) 3893 4321.

The Princess and the Pea by Jim Fury and Natalie Trengrove.

Tweed Theatre Company, Tweed Heads. Sep 24 - Oct 9.

1800 674 414 A Murder is Announced by Agatha Christie. Mousetrap Theatre, Redcliffe. Sep 30 - Oct 15. (07) 3888 3493.

Shaolin Warriors. Playhouse, QPAC. Sep 30 - Oct 2. 136 246 Mark Vincent & Marina Prior.

Concert Hall, QPAC. Sep 30.

136 246 The Importance of Being Ernest

by Oscar Wilde. Beenleigh Theatre Group, Beenleigh. Sept 30 - Oct 8. (07) 3807 3922.

Fabulosity. Noosa Arts Theatre.

Sep 30 - Oct 2. 5449 9343.

The Little Mermaid by Alan Menken and Howard Ashman.

Phoenix Ensemble, Beenleigh.

Sep 30 - Oct 22. (07) 3103 1546 Tequila Mockingbird. Shake & Stir. Cremorne Theatre, QPAC. Oct 5-15, 136 246 & Empire Theatre, Toowoomba, Oct 19, 1300 655 299.

Best Of The Pops. Queensland Pops Orchestra. Concert Hall, QPAC. Oct 8. 136 246.

The Memory of Water by Shelagh Stephenson. Nash Theatre. Merthyr Uniting Church, New Farm. Oct 8-29.

(07) 3379 4775.

Guards! Guards! By Terry Pratchett. Arts Theatre, Brisbane. Oct 8 - Nov 12. (07) 3369 2344.

Into The Woods by Stephen Sondheim and James Lapine.

PRIMA. Redcliffe Cultural Centre. Oct 15-23. prima.org.au Disgraced by Ayad Akhtar. QTC. Playhouse, QPAC. Oct 14 - Nov 6. 1800 355 528.

A Streetcar Named Desire by Tennessee Williams. La Boite.

Roundhouse Theatre, Kelvin Grove. Oct 15 - Nov 12. (07) 3007 8600.

One Flew Over The Cuckoo’s Nest by Dale Wasserman. Cairns Little Theatre. Oct 21-29. 1300 855 835.

Mother by Daniel Keene. If Theatre. Empire Theatre, Toowoomba. Oct 22. 1300 655 299.

Victoria We Will Rock You by Ben Elton and Queen. From Aug 30.

Regent Theatre, Melbourne.

1300 111 011.

Jasper Jones based on the novel

by Craig Silvey, adapted by Kate Mulvany. Melbourne Theatre Company. Until Sep 9.

Southbank Theatre, The Sumner. (03) 8688 0800.

Disgraced by Ayad Akhtar.

Melbourne Theatre Company.

Until Oct 1. Arts Centre Melbourne, Fairfax Studio. 1300 182 183.

Falling From Grace by Hannie Rayson. The Mount Players.

Until Sep 8. Mountview Theatre, Macedon. (03) 5426 1892 between 9am - 6pm.

The Resistable Rise of Arturo Ui

by Bertolt Brecht. Until Sep 10.

Theatre Works, St Kilda. (03) 9534 3388.

In The Garden by Sara Gmitter.

Malvern Theatre Company Inc. Until Sep 10. 1300 131 552.

Much Ado About Nothing by William Shakespeare. Third Door Theatre. Until Sep 10. Doncaster Playhouse.

You Got Older by Clare Barron.

Red Stitch. Until Oct 1. (03) 9533 8083.

Queensland & Victoria Wit by Margaret Edison. The Artisan Collective. Until Sep 18. fortyfivedownstairs. (03) 9662 9966.

Lilith: The Jungle Girl. A Sisters Grimm Production. Melbourne Theatre Company. Until Oct 1.

Southbank Theatre, The Lawler.

(03) 8688 0800.

First Date: The Musical. Book by Austin Winsberg and music and lyrics by Alan Zachary and Michael Weiner. Pursued by Bear. Sep 1 - 11. Chapel off Chapel. (03) 8290 7000.

Secret Bridesmaids Business by Elizabeth Coleman. MOARTZ. Sep 2 - 10. Monash Hall, Yallourn North. (03) 5127 6514.

Six Dance Lessons in Six Weeks

by Richard Alfieri. Mordialloc Theatre Co. Inc. Sep 2 - 17.

Shirley Burke Theatre, Parkdale.

(03) 9587 5141.

Harvey by Mary Chase. Eltham Little Theatre. Sep 2 - 17.

Eltham Performing Arts Centre, Research. 0411 713 095.

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

Ruben Guthrie by Brendan Cowell. The 1812 Theatre. Sep 7 - 12. (03) 9758 3964.

Empty Bodies. Writer: Stephen Sewell. NICA Second Year Ensemble Show. Sep 7 - 10.

NICA National Circus Centre, Prahran. www.nica.com.au The Weekend by Michael Palin.

Essendon Theatre Co. Sep 8 17. Bradshaw Street Community Hall, West Essendon. 0422 029 483.

Sitting Pretty by Amy Rosenthal.

Williamstown Little Theatre. Sep 8 - 24. (03) 9885 9678.

Catch Me If You Can. Book by Terrence McNally, score by Marc Shaiman and Scott Wittman.

OCPAC. Sep 9 - 17. Memorial Great Hall, 349 Barkers Rd, Kew. A Streetcar Named Desire by Tennessee Williams. Heidelberg Theatre Co. Sep 9 - 24. (03) 9457 4117.

Speaking in Tongues by Andrew Bovell. Geelong Repertory

Stage Whispers 53

On Stage Theatre Co. Sep 9 - 24. (03) 5225 1200.

The Boardwalk Republic at Gasworks Arts Park, Albert Park.

Family friendly festival with 14 shows including circus, theatre, comedy, cabaret, burlesque, magic and sideshow - free outdoor entertainment as well as ticketed productions. Sep 13 - Oct 1. (03) 8606 4200 / www.gasworks.org.au Area 51. Created and Produced

by Stephanie Watson. Ancient Pickle. Sep 14 - 21. Gasworks The Clover Club. Melbourne Fringe.

Committee by Cameron Seivers.

La Mama Theatre. Sep 14 - 25.

Melbourne Fringe. www.melbournefringe.com.au Melbourne Fringe Festival 2016.

Sep 15 - Oct 2. www.melbournefringe.com.au Breathing Corpses. One Little Room Theatre. Sep 15 - Oct 1.

Candyland, Thornbury, Melbourne Fringe. www.melbournefringe.com.au 1984. By George Orwell, adapted by William A Miles Jr, Wilton E Hall Jr, and Robert Owens. Warrandyte Theatre Co. Sep 16 - 24.

Girl in the Wood - a frightening forest fairy tale by Geordie Crawley. Sep 16 - 23. Fringe Hub: Arts House -Rehearsal Room, North Melbourne.

Melbourne Fringe. www.melbournefringe.com.au Switzerland by Joanna MurraySmith. Melbourne Theatre Company. Sep 16 - Oct 29.

Southbank Theatre, The Sumner. (03) 8688 0800.

Killjoy by Jerry Mayer. Tangled Web Theatre Productions. Sep 16 - Oct 1. Factory 3, Bayswater. (03) 9729 8368.

Hobo. Jeffrey the Cat Productions / Yirra Yaakin Theatre Co. Sep 16 - 23. Fringe Hub: Arts House, North Melbourne. Melbourne Fringe. www.melbournefringe.com.au A Prudent Man by Katy Warner.

Lab Kelpie and Katy Warner. Sep 16 - Oct 1. Fringe Hub: Arts 54 Stage Whispers

Victoria

House - Rehearsal Room.

Melbourne Fringe. www.melbournefringe.com.au Ceremony of the Innocent - a story of the children’s crusade.

By George Franklin. Music by Gabriel Piras. Sep 17 - 24.

Trades Hall - New Ballroom, Carlton South. Melbourne Fringe. www.melbournefringe.com.au Echoes by Henry Naylor. Gilded Balloon in Association with Redbeard Theatre. Sep 20 - 25.

Theatre Works, St Kilda. (03) 9534 3388.

Julius Caesar by William Shakespeare. Essential Theatre.

Sep 20 - 29. Space 338, North Melbourne. Melbourne Fringe. www.melbournefringe.com.au Gonzo. Malthouse Theatre and St Martins. Sep 21 - Oct 1.

Beckett Theatre. (03) 9685 5111.

BlaaQ Catt by Maurial Spearim.

La Mama. Sep 21 - Oct 2. La Mama Courthouse. Melbourne Fringe. www.melbournefringe.com.au 2.0 | Contact. Co-devised by Ashton Sly, Danny Carroll and Joseph Lai. Sep 22 - 30. Sokol Melbourne. Melbourne Fringe. www.melbournefringe.com.au Low Level Panic by Clare McIntyre. Someone Else Theatre. Sep 22 - 30. L1 Studios, Level 1, 377 Little Bourke St, Melbourne.

Melbourne Fringe. www.melbournefringe.com.au Hart by Penny Harpham. Sep 22 - Oct 2. La Mama Courthouse.

Melbourne Fringe. www.melbournefringe.com.au Bombshells by Joanna MurraySmith. The Dog Theatre. Sep 22 - 27. Wick Atudios - Studio A, Brunswick. Melbourne Fringe. www.melbournefringe.com.au Falling Apples by Lene Therese Teigen. Produced by La Mama Theatre. Sep 22 - Oct 1.

Kensington Town Hall.

A Midsummer Night’s Dream by William Shakespeare. Leongatha Lyric Theatre Inc. Sep 23 - Oct

1. Mesley Hall, Leongatha. 0439 873 368.

Daisy by Terry Mervin. ARK Theatre. Sep 23 - Oct 1. Lilydale Heights College - PAC. 0491 151 340.

The Best Man by Gore Vidal.

Ballarat National Theatre Inc. Sep 24 - Oct 1. (03) 5332 3277.

Bipolar Bear by Ryan Smith. Sep 24 - Oct 2. Courthouse Hotel The Jury Room. Melbourne Fringe. www.melbournefringe.com.au 5 Lesbians Eating A Quiche by Evan Linder and Andrew Hobgood. Sep 22 - Oct 1.

Fringe Hub : Lithuanian Club Main Theatre. Melbourne Fringe. www.melbournefringe.com.au Gilbert & Sullivan Spectacular.

Gilbert & Sullivan Opera Victoria. Oct 2 at 3pm. Ian Roach Hall, Scotch College, Hawthorn. www.gilbertandsullivan.org.au Melbourne Festival - Oct 6 - 23. www.festival.melbourne/2016 Our Ladies of Perpetual Succour.

Adapted by Lee Hall from the novel The Sopranos by Alan Warner. National Theatre of Scotland / Melbourne Festival.

Oct 6 - 22. Arts Centre Melbourne, Fairfax Studio. 1300 182 183.

The Echo of the Shadow. Teatro de los Sentidos / Melbourne Festival. Oct 6 - 23. Found Space, Federation Square. 136 100.

Jesus Christ Superstar by Tim Rice and Andrew Lloyd Webber.

CLOC. Oct 7 - 22. The National Theatre, St Kilda. 1300 362 547.

Table Manners by Alan Ayckbourn. Encore Theatre Inc. Oct 7 - 22. Clayton Community Centre Theatrette. 1300 739 099.

Lady Eats Apple. Back to Back Theatre / Melbourne Festival.

Oct 8 - 12. Hamer Hall. 1300 182 183.

Anything Goes by Cole Porter and P. G. Wodehouse. Babirra Music Theatre. Oct 7 - 15. The

Whitehorse Centre, Nunawading. (03) 9262 6555.

Sunshine by Tom Holloway. Red Stitch. Oct 11 - Nov 11. (03) 9533 8083.

Backstage in Biscuitland by Jess Thom, Jess Mabel Jones and Matthew Puntney.

Touretteshero / Melbourne Festival. Oct 12 - 16. Beckett Theatre, Malthouse. (03) 9685 5111.

Ancient Rain by Paul Kelly, Camille O’Sullivan and Feargal Murray. Melbourne Festival. Oct 12 - 15. Playhouse, Arts Centre Melbourne. 1300 182 183.

The Colour Purple. Music and lyrics by Brenda Russell, Allee Willis and Stephen Bray, book

by Marsha Norman. StageArt. Oct 13 - Nov 6. Chapel off Chapel. (03) 8290 7000.

Australia Day by Jonathan Biggins. Foster Arts Music & Drama Association (FAMDA).

Oct 14 - 23. Foster War Memorial Arts Centre. 0435 535 867 or (03) 5682 2077.

The Shifting Heart by Richard Beynon. Cathouse Players, Kyneton. Oct 14 - 22. Kyneton Masonic Centre. 0409 542 985.

War and Peace (Around a Kitchen Table). Gob Squad / Malthouse Theatre. Oct 18 - 30.

Merlyn Theatre. (03) 9685 5111.

Milo’s Wake by Marjorie Forde & Michael Forde. Off The Leash Productions. Oct 19 - 30.

Various venues. www.offtheleashtheatre.com.au 887 by Robert Lepage. Ex Machina / Melbourne Festival.

Playhouse, Arts Centre Melbourne. 1300 182 183.

From Here To Maternity by Elise Hearst. Oct 26 - 30. Chapel off Chapel. (03) 8290 7000.

White Day Dream. Weave Movement Theatre. Oct 27 Nov 6. fortyfivedownstairs. (03) 9662 9966.

The Lyons by Nicky Silver.

Wyndham Theatre Company.

Oct 27 - Nov 5. www.wyndhamtheatrecompany.org.au

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

On Stage The Curious Savage by John Patrick. The Colac Players. Oct 27 - Nov 5. Carolyn Theatre, Red Rock Regional Theatre and Gallery, Cororooke. (03) 5232 1072 The Light in the Piazza by Adam Guettel (music and lyrics) and Craig Lucas (book). Life Like Company. Oct 28 - Nov 6. Arts Centre Melbourne, Playhouse.

1300 182 183.

Tasmania The Marriage of Figaro by Mozart. Opera Australia. Sep 1 3, Theatre Royal, Hobart, (03) 6233 2299; Sep 6, Princess Theatre, Launceston. (03) 6323 3666.

Something’s Afoot. Book, Music and Lyrics by David Vos, James McDonald and Robert Gerlach, with additional music by Ed Linderman. Hobart Repertory Theatre Society. Sep 2 - 17. The Playhouse Theatre. (03) 6234 5998.

Snugglepot and Cuddlepie.

Adapted from stories by May Gibbs. CDP / Monkee Baa Theatre Co. Sep 5 & 6. Earl Arts Centre. (03) 6323 3666.

Twelve Angry Men by Reginald Rose. Three River Theatre. Sep 14 - 18. Earl Arts Centre. (03) 6323 3666.

Twentysixteen. Circus Oz. Sep 17, Princess Theatre, Launceston, (03) 6323 3666; Sep 22 - 24, Theatre Royal, Hobart, (03) 6233 2299 Right of Spring. Tasmanian Theatre Co / Second Echo Ensemble. Sep 21 - 30. Peacock Theatre and surrounds.

Legends 3. Andrew Casey, Graeme Paine and John X. Oct 5 - 8. The Playhouse Theatre. (03) 6234 5998.

Peter Pan The Musical. Stage Right Theatre Company. Sep 19 & 20. Princess Theatre, Launceston. (03) 6323 3666.

The Nutcracker. Imperial Russian Ballet Company. Oct 12 & 13, Theatre Royal, Hobart, (03) 6233 2299; Oct 14 & 15.

Princess Theatre, Launceston.

(03) 6323 3666.

Victoria, Tasmania, South Australia & W.A.

The Island of Doctor Moreau by Alex Rigozzi, from the story by HG Wells. Loud Mouth Theatre Company. Oct 20 - 29. Moonah Arts Centre. (03) 6234 5998.

Always…Patsy Cline by Ted Swindley. Oct 20. Princess Theatre, Launceston. (03) 6323 3666.

The Tempest by William Shakespeare. Blue Cow Theatre.

Oct 25 - Nov 5. Tasmanian Museum and Art Gallery. (03) 6233 2299 Up for Grabs by David Williamson. Hobart Repertory Theatre Society. Oct 28 - Nov 12. The Playhouse Theatre. (03) 6234 5998.

Antarctica - A New Musical.

Book: Dana Michelle Bergstrom.

Librettist / Composer: Dugald McLaren. Tasmanian Theatre Company. Oct 29 - Nov 12.

Theatre Royal, Hobart. (03) 6233 2299 South Australia Oscar & Felix by Neil Simon (Comedy). Adelaide Repertory Theatre Sep 1 - 10. Arts Theatre, 53 Angus Street, Adelaide SA. (08) 8212 5777.

OzAsia Festival. Sep 17-Oct 2.

Adelaide Festival Centre and various Adelaide venues. www.ozasiafestival.com.au or BASS. Our Country’s Good by Timberlake Wertenbaker. Sep 23-Oct 8. The Stirling Players.

Stirling Community Theatre. www.trybooking.com/MIQY Funny Money by Ray Cooney.

Sep 28-Oct 8. Tea Tree Players.

Tea Tree Players Theatre. www.teatreeplayers.com Thoroughly Modern Millie.

Music by Jeanine Tesori, lyrics by Dick Scanlan, and book by Richard Morris and Dick Scanlan. Sep 29-Oct 8. Gilbert & Sullivan Society of SA. The Arts Theatre. tickets@gandssa.com.au or (08) 8447 7239.

Pippin - The Musical. Music and lyrics by Stephen Schwartz and a book by Roger O. Hirson. Oct 8-22. South Coast Choral and

Arts Society. Victor Harbor Town Hall. www.sccas.org.au or (08) 8552 1033.

The King and I. Music by Richard Rogers, book and lyrics

by Oscar Hammerstein II. Oct 13 -22. The Met. The Arts Theatre. www.metmusicals.com.au or BASS. Cheaters by Michael Jacobs. Oct 26-Nov 5. Galleon Theatre Group. Domain Theatre. bookings@galleon.org.au or 0437 609 577.

Western Australia Grease by Jim Jacobs and Warren Casey. APAN. Until Sep 4. Regal Theatre. Ticketek 132 849.

The Importance of Being Earnest by Oscar Wilde. Serial Productions and Stirling Players.

Until Sep 11. Classic comedy.

Stirling Theatre, Innaloo. (08) 9440 1040.

KADS One Act Season. Various authors. KADS. Until Sep 3.

KADS Town Square Theatre,

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

Kalamunda. Lucky Charm Newsagency, Kalamunda. (08) 9257 2668.

Clinton the Musical by Paul Hodge and Michael Hodge.

Black Swan State Theatre Company of WA. Until Sep 11.

Australian Premiere Musical.

State Theatre Centre of WA, Northbridge. Ticketek 132 849.

Tilt. WAAPA 3rd Year Performance Making. Until Sep 10. Original self-directed work.

Blue Room Theatre, Northbridge. (08) 9227 7005.

Roleystone One Act Season by various authors. Roleystone Theatre. Sep 2 - 3. Roleystone Theatre, Brookton Hwy, Roleystone. (08) 9367 5730. www.roleystonetheatre.com.au Barefoot in the Park by Neil Simon. Melville Theatre. Sep 217. Melville Theatre, Stock Rd, Palmyra. (08) 9330 4565 www.meltheco.org.au One Act Season by various authors. Darlington Theatre

Stage Whispers 55

On Stage

Western Australia & New Zealand

Players. Sep 2 - 10. Marloo Theatre, Greenmount. (08) 9255 1783.

Monty Python’s Spamalot by John Du Prez, Eric Idle and Neil Innes. Koorliny Arts Centre. Sep 2 - 17. (08) 9467 7118 www.koorliny.com Old Mill Theatre 3 Short Plays by various authors - Moby Dick, Under The Rainbow and Widow’s Peak. Old Mill Theatre.

Sep 7 - 10. 9367 8719 oldmilltheatre@iinet.net.au Playlovers One Act Season by various authors. Playlovers. Sep 9 - 11. Short plays. Hackett Hall, Floreat. 0415 777 173.

Romeo and Juliet.

Choreographed by David Nixon.

West Australian Ballet. Sep 9 24. Classic ballet with the WA Symphony Orchestra. His Majesty’s Theatre, Perth. www.ticketek.com.au 132 849.

WAAPA Best Bits. WAAPA 3rd Year Music Theatre. Sep10 - 11.

Graduating students present highlights from their years at WAAPA. The Roundhouse Theatre, WAAPA. (08) 9370 6895.

Radio and Juliet.

Choreographed by Edward Kug. West Australian Ballet. Sep 14 22. Music by Radio Head. His Majesty’s Theatre, Perth. www.ticketek.com.au 132 849.

Three of Hearts by Johnny Grim.

A Lad In Sane Productions. Sep 14 - 18. Short plays with adult themes. Rigby’s Bar and Bistro.

(08) 9324 1196.

Class of 77 by David Hines.

Phoenix Theatre Inc. Sep 15 Oct 1. Phoenix Theatre, Memorial Hall, Hamilton Hill. www.taztix.com.au or (08) 9255 3336 The Love List by Norm Foster.

Harbour Theatre. Sep 16 - 25.

Comedy about the perfect woman. Camelot, Mosman Park. TAZ Tix (08) 9255 3336.

Hills Festival of Theatre by various authors. Darlington Theatre Players. Sep 16 - 18.

Variety of short plays. Marloo

Roleystone. 9367 5730 www.roleystonetheatre.com.au Big Bad Wolf. Wesfarmers Arts and AWESOME Festival. Oct 5 8. Children’s theatre. Heath Ledger Theatre, State Theatre Centre of WA, Northbridge. www.ticketek.com.au 132 849.

Nation by Mark Ravenhill from the novel by Tery Pratchett.

WAAPA 2nd Year Acting. Oct 7 - 13. Humour and humanity.

Enright Studio, WAAPA, Mt Lawley. 9370 6895 waapa.ecu.edu.au/boxoffice Rent by Johnathon Larson.

WAAPA 3rd Year Music Theatre.

Oct 8 - 15. Humour and humanity. Roundhouse Theatre, WAAPA, Mt Lawley. 9370 6895 waapa.ecu.edu.au/boxoffice The Beat Generation. Devised by Andrew Lewis and students.

WAAPA 3rd Year Acting. Oct 12 - 16. Collaboration with Jazz Students. Fremantle Arts Centre. fac.org.au Portraits. Phoenix Theatre and Lyrical Infusion. Oct 13 - 15.

Locally written blend of art, performance, poetry and music.

Phoenix Theatre, Memorial Hall, Hamilton Hill. www.taztix.com.au (08) 9255 3336 Honour by Joanna MurraySmith. Old Mill Theatre. Oct 14 - 29. Australian play directed by Dale James. Old Mill Theatre, South Perth. (08) 9367 8719 oldmilltheatre.com.au The Witches of Eastwick by John Dempsey and Dana Prowe.

Koorliny Arts Centre. Oct 21 29. Musical Comedy. Koorliny Arts Centre. (08) 9467 7118 www.koorliny.com Moliere’s Tartuffe the Hypocrite

by Justin Fleming. Black Swan State Theatre Company. Oct 22 - Nov 6. Revival of 17th century classic. Heath Ledger Theatre, State Theatre Centre of WA, Northbridge. www.ticketek.com.au 132 849.

The Pearl Fisher by Bizet. West Australian Opera. Oct 25 - Nov 5. His Majesty’s Theatre, Hay St,

56 Stage Whispers

Theatre, Greenmount. (08) 9255 1783.

YouthFest. Independent Theatre Association. Sep 17-18. WA State One Act Drama Festival for young performers. Stirling Theatre, Innaloo. www.trybooking.com Ghost Stories by Jeremy Dyson and Andy Nyman. Prince Moo Productions. Sep 21 - Oct 2.

Haunting psychological thriller.

Heath Ledger Theatre, State Theatre Centre of WA, Northbridge, www.ticketek.com.au 132 849.

Skylight by David Hare.

Wanneroo Repertory Club. Sep 22 - Oct 8. Limelight Theatre.

(08) 9571 8591 www.limelighttheatre.com Tribute by Ruth Wilkins. Sep 22 - 24. Award winning cabaret.

Downstairs at His Majesty’s Theatre, Perth. www.ticketek.com.au 132 849.

DramaFest. Independent Theatre Association. Sep 23-25.

WA State One Act Drama Festival. Stirling Theatre, Innaloo. www.trybooking.com Nobody Owns the Moon by Tohby Riddle. Spare Parts Puppet Theatre. Sep 24 - Oct 8.

Two friends have a magic night at the theatre. Spare Parts Puppet Theatre, Short St, Fremantle. (08) 9335 5044 www.sppt.asn.au The Wee Small Hours by Alice Dale. Garrick Theatre. Sep 29 Oct 15. Locally written World Premiere. Garrick Theatre, Guildford. (08) 9378 1990.

Cole by Anna Goldsworthy. Sep 29 - Oct 1. Cole Porter cabaret.

Downstairs at His Majesty’s Theatre, Perth. www.ticketek.com.au 132 849.

Happy Days at War by Believe Productions. Sep 30 - Oct 8.

Immersive theatre. Subiaco Arts Centre. www.ticketek.com.au 132 849 Storytime in the Hills.

Roleystone Theatre. Oct 4 - 7.

Children’s theatre. Roleystone Theatre, Brookton Hwy,

Perth. Ticketek www.ticketek.com.au 132 849.

Boodijar Kaatijin by Ian Wilkes.

Yirra Yaakin Theatre Company.

Oct 27- Nov 5. Noongar Stories for Children. Studio, Subiaco Arts Centre. www.ticketek.com.au 132 849.

New Zealand God of Carnage by Yasmina Reza. 16th Avenue Theatre, Tauranga. Until Sep 10. iTICKET. Barnum. Music: Cy Coleman.

Lyrics: Michael Stewart. Book: Mark Bramble. Napier Operatic Society. Until Sep 10. The Tabard Theatre Restaurant. iTICKET. Romeo and Juliet by William Shakespeare. Detour Theatre, Tauranga.

The Merry Widow by Franz Lehar. Wellington G & S Light Opera. Wellington Opera House, Sep 2 & 3; Napier Municipal Theatre, Sep 17; Regent Theatre, Palmerston North, Sep 24.

Ali Baba and the Forty Thieves pantomime by Ben Crocker. Te Awamutu Light Operatic Society. Sep 1 - 18. Woolshed Theatre. www.teawamutulightoperaticsociety.com Girls Night Too by Louise Roche.

Coasters Musical Theatre Inc. Sep 1- 17. 04 905 6704.

Motel by April Phillips. Theatre Hawkes Bay. Sep 1 - 10. The Playhouse, Hastings. iTICKET Nunsense The Mega Musical by Dan Goggin. Halswell Drama Group. Sep 2 - 10. 0508iTICKET. Searching for Doctor Branovic

by David Tristram. South Canterbury Drama League. Sep 2 - 9. The Playhouse, Timaru. iTICKET. Close City by Marius Ivaskevicius. The Basement. Sep 6 - 17. Basement Studio, Auckland. iTICKET. 12 Angry Men Jurors by Reginald Rose Porirua Little Theatre. Sep 7- 17. ’ Pop Up’ Porirua Little Theatre. iTICKET. Monty Python’s Spamalot by Eric Idle and John Du Prez.

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

On Stage Musical Theatre Dunedin. Sep 7 - 17. Mayfair Theatre. www.musicaltheatredunedin.org.nz Gruesome Playground Injuries

by Rajiv Joseph. Navi Collaborative. Sep 8 - 17. Lot 23, Auckland. iTICKET. Not In Our Neighbourhood by Jamie McCaskill. Tikapa Productions in partnership with Taki Rua, The Court Theatre and Fortune Theatre. Sep 8 - 10, Scottish Hall, Invercargill, (03) 211 1692; Sep 13 - 17, Fortune Theatre, Dunedin; Sep 20 - 24, Court Theatre, Christchurch, (03) 9630870.

Jeeves & Wooster in Perfect Nonsense. Adapted by The Goodale Brothers. Sep 8 - 11. St James Theatre, Wellington.

0800 842 538.

Boys Will Be Boys by Melissa Bubnic. Silo Theatre. Sep 8 - 24.

Q Theatre, Auckland. (09) 309 9771.

Calendar Girls by Tim Firth.

Centrestage Theatre Company, Orewa. Sep 9 - 17. iTICKET. Last Legs by Roger Hall. Circa Theatre, Wellington. Sep 10 Oct 8. 04 801 7992 Sister Act by Bill and Cheri Steinkellner, with additional book material by Douglas Carter Beane, lyrics by Glenn Slater and music by Alan Menken.

Wellington Musical Theatre. Sep 14 - 24. Wellington Opera House. Ticketek.

Urinetown The Musical by Mark Hollmann and Greg Kotis.

Stagecraft Theatre, Wellington.

Sep 14 - 24. Gryphon Theatre, Wellington. iTICKET. Evita by Tim Rice and Andrew Lloyd Webber. Showbiz Christchurch. Sep 15 - Oct 1.

Isaac Theatre Royal. 0800 842 538.

Quartet by Ronald Harwood.

Sep 15 - 24. Theatre Pit, Auckland. 0800 BUY TIX (289 849).

Macbeth by William Shakespeare. Sep 15 - 24.

Mangere Arts Centre - Nga Tohu o Uenuku, Auckland.

0800 BUY TIX (289 849).

The Fence by Fran Olds. Sep 15 - 24. BATS Theatre, Wellington.

04 802 4175.

Of Mice and Men by John Steinbeck. Sep 16 - 24.

TheatreWorks, Auckland. 0800 BUY TIX (289 849).

Sweeney Todd. The Demon Barber of Fleet Street. A Musical Thriller. By Stephen Sondheim and Hugh Wheeler. NZ Opera.

Sep 17 - 24, Civic Theatre, Auckland: Sep 30 - Oct 5, St James Theatre, Wellington: Oct 12 - 15, Isaac Theatre Royal, Christchurch.

A Lion in the Meadow and Other Stories by Margaret Mahy, adapted for the stage by Tim Bray, songs by Christine White. Tim Bray Productions.

Sep 19 - Oct 8. The PumpHouse Theatre, Auckland. 094898360.

Under The Same Moon by Renee Liang. Arts on Tour NZ. Sep 7, Baycourt Community and Arts Centre, Tauranga; Sep 22, Arrowtown Atheneum Hall, 0800 BUY TIX (289 849); Sep 24, Fortune Theatre, Dunedin; Sep 27, Twizel Event Centre; Sep 28, Ashburton Trust Event Centre; Sep 30, Isaac Theatre Royal, Christchurch, 0800 TICKETEK. The Gruffalo. Based on the picture book by Julia Donaldson & Axel Scheffler. CDP / Tall Stories. Sep 24 & 25, Turner Centre, Kerikeri, 09 407 0260; Sep 27 & 28, Vodafone Events Centre, Auckland, 0800 224 224; Oct 6 - 8, The Opera House, Wellington, 0800 842 538; Oct 12, Regent on Broadway, Palmerston North, 0800 224 224; Oct 14 & 15, Napier Municipal Theatre, 0800 842 538; Oct 19, Sir Howard Morrison Performing Arts Centre, Rotorua, 0800 111 999; Oct 25, Baycourt Community and Arts Centre, Tauranga, 0800 842 538.

A Funny Thing Happened on the Way to the Forum by Stephen Sondheim, Burt Shevelove and Larry Gelbart.

Manukau Performing Arts. Sep 24 - Oct 8. iTICKET

New Zealand Wild Dogs Under My Skirt by Tusiata Avia. Sep 26 - Oct 1.

Mangere Arts Centre - Nga Tohu o Uenuku, Auckland.

0800 BUY TIX (289 849).

Suits (alt-cabaret). The Basement. Sep 27 - Oct 1.

Basement Studio, Auckland. iTICKET. Valerie. Created by Robin Kelly, with Tom Broome and Cherie Moore. Last Tapes Theatre Company. Sep 27 - Oct 8.

Basement Studio, Auckland. iTICKET. When We Dead Awaken by Henrik Ibsen. Walking Shadows.

Sep 27 - Oct 1. BATS Theatre, Wellington. 04 802 4175.

Dexter’s Amazing African Adventure by Jess Sayer and Darlene Mohekey. Sep 28 - Oct 9. The Blue Baths, Rotorua. 07 350 2119.

Starlight Express by Andrew Lloyd Webber. Peaches and Pickles Productions. Sep 29 Oct 2. Stanmore Bay Pool and Leisure Centre, Auckland. iTICKET. Mary Stuart by Friedrich Schiller.

Globe Theatre, Dunedin. Sep 29 - Oct 8. 0800 224 224.

Robin Hood and Maid Marian

by Ross McKellar. Fantail Farm Productions. Oct 1 - 9.

Centrestage Theatre, Orewa. iTICKET. The Devil’s Half-Acre. Trick of Light. Oct 1 - 4. Fortune Theatre, Dunedin. 0800 224 224.

Krapp’s Last Tape by Samuel Beckett. Oct 1 - 9. Fortune Theatre, Dunedin. 0800 224 224.

Oliver! by Lionel Bart.

Morrinsville Theatre. Oct 1 - 8.

Morrinsville Little Theatre.

Mockingbird by Lisa Brickell. The Basement. Oct 4 - 8. Basement Studio, Auckland. iTICKET. Goodbye My Feleni by D F Mamea. Circa Theatre, Wellington. Oct 4 - 8. 04 801 7992.

Madwoman / Gentlewoman by Kate Bartlett. The Basement. Oct 11 - 15. Basement Studio, Auckland. iTICKET. Priscilla Queen of the Desert by Stephan Elliott and Allan Scott.

From Oct 14. Civic Theatre, Auckland. (09) 970 9700.

Brassed Off by Paul Allen adapted from the screenplay by Mark Herman. Wellington Repertory Theatre. Oct 19 - 29.

Gryphon Theatre, Wellington.

Lungs by Duncan Macmillian.

Show Pony. Oct 22 - Nov 19.

Circa Theatre, Welington. 04 801 7992.

Four Flat Whites in Italy by Roger Hall. Playhouse Theatre, Glen Eden. Oct 27 - Nov 5.

Promise and Promiscuity. A new musical by Jane Austen and Penny Ashton. Oct 28 - Nov 5.

Globe Theatre, Dunedin. iTICKET. The Sound of Music by Rodgers and Hammerstein. Centrestage Theatre, Orewa. Oct 28 - Nov 9.

(09) 426 7282.

Waiting In The Wings by Nöel Coward. Ellerslie Theatrical Society. Nov 3 - 12. Stables Theatre, Auckland. iTICKET.

Auditions

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Reviews: Premieres

Ainsley Melham in Aladdin.

Photo: Deen van Meer.

Aladdin Music by Alan Menken. Book by Chad Beguelin. Lyrics by Howard Ashman, Tim Rice and Chad Beguelin. Disney Theatrical Productions. Capitol Theatre, Sydney. Opening Night: Aug 11.

ON OPENING night Aladdin got two standing ovations the first one, half way through the first act. An extravagant song and dance routine earnt the ovation when young Aladdin stepped inside a cave filled with eye popping gold and treasure. The routine included snippets from a range of Disney musicals. Magic tricks and frenzied choreography added to the sumptuous kaleidoscope.

It’s the best scene in the musical, or, to be more accurate, the elaborate pantomime, with a dash of vaudeville, which Aladdin is.

Every panto needs a villain to boo and hiss. Adam Murphy filled the bill as the scheming royal Vizier - Jafar, aided by his eccentric offsider Iago.

The pantomime Dame is the Genie, played by American actor Michael James Scott. The presence of an imported leading man put some local noses out of joint, but given his charismatic performance and the characterisation as an Afro-American, it was justified. Ironically he got his biggest laughs when had made Aussie jokes.

Getting the big break of his career was local lad Ainsley Melham, who looked every bit the part of Aladdin.

When it came to the look of the costumes, however, the Disney style didn’t always match history. All the young men had their chests permanently on display. Wouldn’t they get sunburnt in Arabia?

58 Stage Whispers

And what Arabian Princess would ever be seen around the Palace with her stomach and shoulders on display? Yes, granted the Tales of the Arabian Nights is set in the third century AD - 200 years before the establishment of Islam, but even then the culture was more modest.

Further, the opening number Arabian Nights was the only song which had a hint of middle eastern flavour. The odd joke about middle eastern food didn’t quite fill the void. Elsewhere the songs were pleasing if not memorable, apart from A Whole New World.

The special effects, though, were stunning. There are visual feats aplenty and as hard as I tried I could not see any strings attached to the magic carpet.

Families will love Aladdin - as I officially confirmed with a thumbs up from my 12-year-old date.

David Spicer Trevor

By Nick Jones. Directed by Denis Moore. Red Stitch Theatre, St Kilda. July 29 -Aug 26.

TREVOR is a delight from start to finish. Trevor is a chimp - but Nick Jones has written him as a down and out Hollywood actor whose big moment has come and gone and who is bitter that true stardom eluded him. Part man, part child, he lives with his ‘mother’ in a suburban house where he is bored and fills the time stealing her car and terrorising the neighbours, between phone calls to his agent, and causing mayhem.

Rory Kelly is a gift as Trevor. It takes no more than a few minutes to convince us that he is a chimp - the loping gait,

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

picking up things with his toes (even autographing his fan photos that way), baring his gums, climbing furniture; and yet we understand the frustration, the insecurity, that lies beneath. It’s a stellar piece of acting, both hilarious and poignant. As Sandra, his ‘mother’, Andrea Swifte gives a perfectly measured and layered performance, balancing genuine love for her child with desperate selfishness.

Dion Mills once again brings his charisma to Oliver, an older chimp who has played by the rules and reaped the benefits. He’s pretentious, and condescending - with an air of ennui. Angela Kennedy is a joy as Morgan Fairchild.

Eva Seymour is the neighbour who fears for her baby’s safety with a wild animal living next door. Seymour is full of promise, but often seems to confuse projecting with shouting.

Andrew Gilbert, as the sympathetic cop Jim, and Kevin Haufbauer, as the animal welfare officer, both contribute to the credibility of the play.

Denis Moore directs with skill and bravery. At times the action appears shambolic because we’re seeing this world through a Chimp’s eyes. He takes, or allows Kelly to take, wild physical liberties with Adrienne Chisholm’s suitably middlle class set, but always goes for the king-hit in the emotional subtext.

This is a play about humanity, and alienation, wrapped in laughs. Red Stitch has handled it beautifully.

Coral Drouyn

Anyone who enjoys experimental theatre will appreciate the cleverness of this visually stunning piece.

Cathy Bannister

Suicide, Incorporated

By Andrew Hinderaker. Directed by Patrick Campbell. Knock and Run Theatre. The BlackBox Theatre, Hamilton (Newcastle). July 25 - 28.

JASON, who is being interviewed by Scott, founder of a company that puts together for a fee comforting letters by people planning suicide, suggests that its motto should be “Legacy Letters, words to be remembered by”. It’s not surprising, then, that Jason is employed ahead of 27 other applicants.

But as the story unfolds, Jason is shown to have a message strategy of his own, and one that has arisen from a suicide-related incident in his own life.

Andrew Hinderaker’s play begins as a dark comedy, but transforms to a riveting drama as the stories of the characters unfold. The staging team of this Australian premiere of the American work had audience members laughing heartily in the early stages but on the edge of their seats in the final scenes.

James Chapman’s Jason, who made his mark as a writer of cheerful messages for Hallmark cards, showed his capabilities from the opening moments, putting forward suggestions for ways of attracting clients that had the coldhearted Scott (Phillip Ross) accepting them or showing with The Pigman’s Lament stony glances that they weren’t what he had in mind.

By Raoul Craemer. Directed by Paul Castro. Presented by Scott’s generally dismissive treatment of Perry (Cooper The Street Theatre, Canberra. June 24 - July 3.

McDonald), the letter writer virtually being replaced by THE PIGMAN’S Lament is an intense, surreal Jason, showed the irony of him establishing such a monologue. Raoul Craemer spent part of his childhood in business.

India with an Indian mother, but his father was German, Jason’s reasons for wanting to be part of Legacy Letters and his grandfather a Nazi who died on the Russian front. were gradually revealed as he was seen with younger The piece focuses on the grandfather as a secret, almost brother, Tommy (Lindsay McDonald), and his first client, shameful part of Craemer’s own history.

Norm (Carl Gregory), a man whose disastrous relationship There is something culturally disturbing about the idea with his wife had led him to plan suicide. Lindsay of pig/human hybrids. Craemer seems to be saying that the McDonald’s Tommy, generally seen surrounded by beer Nazi in his background is like something awful that he bottles, was clearly very much in Jason’s mind, with the despises and dislikes about himself, likening himself to a pig interchanges between the brothers showing how Tommy’s man. Through the course of the play, the monster becomes actions had contributed to Jason seeking the new job. more human as Craemer tries to flesh out his character, Carl Gregory likewise brought out the needs of Norm based on what little he knows. with a mix of humour and pathos. The scenes in which The show comprises of a series of evocative and Jason took Norm under his wing were increasingly gripping. frightening, yet beautiful nightmarish images and small, Director Patrick Campbell and the actors made excellent fascinating sub-narratives, which fit together piecemeal use of the set, with Legacy Letters’ tidy office and the rather than as a traditional story. Director Paul Castro has a littered lounge room of Jason’s home side by side. fine visual sensibility in the theatre of the absurd tradition.

Ken Longworth The design by Christiane Nowak is Dada-esque, with clean white everyday objects on a pristine reflective metallic Rumours of Polar Bears surface forming an almost forensic setting; fitting for the

By Jonathan Dorf. Eclectic Productions. BlackBox Theatre, dissection of a psyche.

Hamilton (Newcastle). July 20 - 23.

Craemer uses German language on occasion for the AMERICAN writer Jonathan Dorf’s play looks at a future poetry and harshness of the language as much as for where war and climate change have eradicated adults but meaning, but non-German speakers shouldn’t worry that many of the youngsters who have survived are replicating they’ll miss something as much of the German text is the activities of their vanished elders. repeated in English.

Teenage girl Deme leads her younger brother, Romulus, and others on a search for a new homeland where people Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 59

will live amicably, with Deme’s determination to find a paradise spurred by radio reports of an area where polar bears are still flourishing.

The largely teen team which put together this Australian premiere staging of the play, written for young performers, showed their theatrical adeptness, with directors Chloe McLean and Joel Mews bringing out the humour of many of the situations alongside the threats Deme and her team face from groups they encounter.

The bleakness of the world they are trying to escape was shown by the background setting, with graffiti covering corrugated iron sheets and the paint virtually vanished from timber fixtures. And there was occasionally a chill to sounds they heard.

But that didn’t stop many of the youngsters from trying to have a good time. Romulus, who was just three when their parents disappeared, joyfully noted at appropriate times that “Friday night is party night”.

The actors brought out the very different natures of the characters.

Samantha Lambert’s Deme refused to accept the dictates of others they met on their long trail, Conagh Punch’s Romulus was attracted to girls along the way, such as Jasmine Travers’ initially optimistic Cassie, the younger sister of Andi (Lizzy Lindus), the strong-willed leader of a team living in a rural area. Romulus also showed caring for Scrubs (Parisse Latimore), a hyperactive girl whose behaviour was hard to predict.

Adam (Jack Twelvetree) and Eve (Genevieve Lawson) headed off on their own search for paradise; Noah (Alastair Anderberg) protectively cared for a team of youngsters who continued to act like the pre-school drama class team they had been when disaster struck; Pan (Beth Traynor) was the girl leader of a bikie gang who had adopted the name of the ageless story character to show her determination to continue ruling; Kali (Joanna Gorton), whose name was that of a Hindu goddess associated with destruction, was a frightening figure as Pan’s second-in-command; and Jack Andrew’s Echo indeed did that in mimicking other people’s words. Hannah Richens and Amelia Chorlton played several figures, including members of a brave new world - or was it a very distant past?

Ken Longworth

A mother, distraught, bone weary and ravaged by guilt agonises about her daughter - she was playing with her brother - the door was locked - how did she get outside?

Meredith Penman plays the distraught mother, Mel, with an intensity that finds depths of despair and wretched self-recrimination that resonate and reverberate in a tightly controlled, finely wired performance.

Gabrielle Scawthorn as Alex, a witness to the accident, uses pause and hesitance effectively to achieve both distress and unease, the reason for which is eventually revealed as covering underlying guilt and secrecy.

Ivan Donato plays Dominic, the father, a role that requires a range of emotions - concern, blame, guilt, remorse. Donato juxtaposes these in a performance that is at one moment strained, at the next self-reproaching.

Distress and anxiety, apprehension and accusation transfuse as different layers of the characters and their secrets are revealed. It is at times harrowing, because it is also very real.

Carol Wimmer

The Chat

By J R Brennan & David Woods; concept J R Brennan; collaborator Ashley Dyer. Arts House, North Melbourne. July 27 - 31.

THIS show questions the nature of ‘justice’ and the responsibility of a society (i.e. us) that leaves it up to the ‘justice system’ to administer it - not so well. There are eight performers - Nick Apostilidis, Arthur Bolkas, Ty Luke, Nick Maltzahn, John Tjepkema, J R Brennan, Ashley Dyer and David Woods. The show has been devised by real parole officer and theatre maker J R Brennan, who, together with Mr Dyer, has been doing performance workshops for convicted criminals since 2014. Out of that and working with the marvellous chameleon David Woods has come this show.

Its central set piece: a parole officer interviews a prisoner to ascertain whether the prisoner will gain parole. But the prisoner, Arthur (Mr Bolkas), plays the parole officer, and Mr Woods plays the criminal convicted of theft and drug charges. A ‘parole board’ assesses Arthur’s readiness for parole by assessing his performance - as someone else. Mr Woods’ uncooperative, nihilistic criminal asks tough questions. Arthur falls back on things worth living for from Hurt his life. His life? Arthur’s or the ‘parole officer’s’?

By Catherine McKinnon. Old 505 Theatre, Newtown, NSW. Then Mr Woods asks, well, what do we, the audience, July 5 - 23. think? The Arts House audience made well-meaning (naïve) HURT wrestles with the complexities of our actions suggestions about Arthur’s future. Arthur demolished each towards one another at a time of crisis. with patient bitterness - and then challenged the audience Three people, implicated in an accident involving a child, with the key question and a curse on us all. face each other in the stark, impersonal space of a hospital Jenny Hector is the lighting designer. Alex Davies and waiting room. Their reactions, distorted by guilt, grief and Nick Roux provide system design and custom hardware. J R fear, expose the fragility of the human psyche.

Brennan designs the set and creates the video art. Yvette Director Kim Hardwick has found all this complexity in Turnbull is costumes assistant to Willoh S Welland. With a her interpretation of Catherine McKinnon’s carefully drawn show that can change with each performance, I’d guess Mr characters and economic dialogue. The direction is tight; Brennan and Mr Woods co-ordinate, manage and wrangle the pace fast; the action edgy. in turns. It is funny, satiric, moving, gripping - and timely.

Michael Brindley 60 Stage Whispers

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

Eric Beecroft as Robin in A History Of Falling Things.

Photo: Phil Erbacher.

A History of Falling Things

By James Graham. Ensemble Theatre (NSW). July 7 - Aug 20.

THE AUSTRALIAN premiere of Welsh playwright James Graham’s delightfully poignant play sits beautifully on the intimate Ensemble stage. It’s a gentle, touching story about love, fear … and some of the good things about modern technology. In the deft hands of director Nicole Buffoni, this production finds the “all heart and love” the play deserves.

Robin and Jacqui are both afraid to leave their homes because they suffer from keraunothnetophobia, the unusual fear of things that fall from the sky; Robin since a shoe fell on his head when he was a small boy, Jacqui more recently, when she was trapped on the tube during the London bombings. She desperately wants to overcome her fear; he is too frightened of failure to try.

When they connect via a website on keraunothnetophobia, they begin an online relationship that blossoms - and grows - encouraged by their loving but concerned parents and Jimmy, the courier, who becomes their go-between.

Designer Anna Gardiner has conceived an atmosphere that suggests their withdrawn existence and the fear, while striking visuals by Tim Hope emphasise the beauty of their relationship and their almost childish belief and trust in each other.

Eric Beecroft as Robin shows the grip this uncommon fear has upon him in hesitant gestures and perplexed

expressions. Yet he also finds the gentleness of the character, his sense of humour and kindness - and eventually his tenuous strength.

Sophie Hensser has created a very sensitive and perceptive Jacqui. The complexities of her reactions and expressions bring even greater depth to this carefully constructed role.

Together Beecroft and Hensser make the realness of their relationship plausible … and charmingly funny.

Merridy Eastman as Robin’s mother and Brian Meegan as Jacqui’s father show the tenacity and understanding needed to support a loved one affected by mental illness.

Jimmy, the courier, becomes an understanding artbiter, despite being called out at odd hours. Sam Sullivan makes the most of this small, but engaging role.

This production brings together insightful writing, sensitive direction and design and the perceptive characterisation.

Carol Wimmer A Perfect Specimen

By Nathaniel Moncrieff. Black Swan Lab. Directed by Stuart Halusz. Theatre Underground, State Theatre Centre of Western Australia. Jun 30 - Jul 17.

THE TRUE story of ‘ape woman’ Julia Pastrana, star of a travelling exhibition, and her husband and exhibitor Theodore Lent, A Perfect Specimen is set during 1859/1860 in Russia as they travel with the show. Written by Perth born playwright Nathaniel Moncrieff, this lavish, fully

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

Stage Whispers 61

Zahra Newman & Grant Cartwright in The Mill On The Floss.

Photo: Pia Johnson.

fleshed production brings great quality to the downstairs theatre at the State Theatre Centre.

Frances Danckert’s lovely set design captures the grubby faux-luxury of the travelling circus and highlights the public nature of Julia’s life - the use of double revolves is both practical and highly theatrical as befits the lifestyle of the protagonists.

Lynn Ferguson’s costumes give us well-researched Victorian elegance and show business shabby glamour, and help to highlight the fragility of Julia against the coldness of rural Russia.

Performances are very strong throughout. Petite Adriane Daff appears without transforming makeup to present the famously unique-looking Pastrana. She delivers an elegant, sensitive and mesmerising performance and gives us a window into Pastrana’s heart-breaking life.

Luke Hewitt is unnervingly impressive as the despicable Theodore Lent - giving him depth and power as well as a formidable presence. Lent’s lover, American acrobat Marian Trumbull, is very nicely played by Rebecca Davis, who also plays the very different Valeriya Nekrasov, a midwife, with conviction.

Excellent support came from an unrecognisable Greg McNeill as Cornell Wurlitzer and Igor Sas as Dr. Gregory Alyokhin.

This shortish play tells an excellent story, beautifully guided by director Stuart Halusz.

Kimberley Shaw

62 Stage Whispers

The Mill On The Floss Adapted from the novel by George Eliot (Mary Ann Evans)

by Helen Edmundson. OpticNerve Performance Group.

Theatreworks, Acland Street, St Kilda. July 28 - Aug 13 DIRECTOR Tanya Gerstle brilliantly creates a contemporary interpretation of a much loved, classic 19th century novel. A highly intelligent nine-year-old, Maggie Tulliver (Maddie Nunn) faces what will be an uncertain future. We will see her grow up, subject to all the restrictions, obstacles and assumptions of 1820s rural England - compounded by poverty.

There are three iterations of ‘Maggie’ Tulliver: Zahra Newman is the teenage Maggie: her warmth thwarted by a self-abnegating, angry front. Rosie Lockhart as adult Maggie is her splendid self, torn by pride, her sense of what is ethical posed flat against her desire. At crucial turning points, all three are on stage together - for instance, when adult Maggie falls in love with ‘the wrong man’, the charming Stephen Guest (George Lingard - perfect in this and as a teacher), child Maggie urges her on while judgemental teen Maggie admonishes her.

But the entire cast shines - six of the eight playing two roles. James O’Connell is ebullient Mr Tulliver. Louisa Hastings Edge transforms from the insouciant Mrs Tulliver to Maggie’s rich fun-seeker cousin Lucy. Grant Cartwright grows loving boy Tom Tulliver into a grim, chip-on-hisshoulder man - and the flinty Mr Wakem. Tom Heath is moving as the sensitive but deformed Philip Wakem - and the cheerful illiterate Bob Jakin.

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

Lucy Burkinshaw’s lighting is highly dramatically expressive, illuminating then isolating, making sunshine and nightmares. Russell Goldsmith and Tom Backhaus’ subtle sound design supplies the rushing river and the rain, almost unnoticed until crucial to the action.

This production asks you to enter into its supreme theatricality with your imagination. It engages the emotions and reveals a comprehension, indeed an apprehension, you may not quite have had before you saw this piece of theatre.

Michael Brindley

Witches Sydney Symphony Orchestra. Sydney Opera House. July 15 and 16.

HELEN Dallimore, Lucy Durack, Amanda Harrison and Jemma Rix provided enough soaring musical theatre moments to lift the audience to its feet after the finale when they sang Defying Gravity as a quartet. They were not hoisted into the air but their fans were.

The four divas entered the Concert Hall of the Sydney Opera House looking sparkling but the opening numbers were on the low-key side.

A giant screen behind them and the orchestra was filled Ghosts of Operas Past with lush images of giant moons and landscapes to set the

By Paul Causley. Maitland Musical Society. St John’s Hall, mood for an evening of magic and witchcraft.

Maitland. July 20 - 24. James Theatre, Dungog, July 30-31.

The song choice leaned towards the popular side of the Soldiers Point Bowling Club, August 6-7. musical theatre. ‘Total Eclipse of the Heart’ from Dance of THIS bright and amusing new work, with a script by the Vampires, the theme from the TV series Bewitched and Maitland’s Paul Causley, is a good introduction to the ‘Let it Go’ from Frozen were balanced against more musicals of Gilbert and Sullivan. traditional concert fare from the musicals Pippin, The A rural musical theatre group offered the use of an old Witches of Eastwick and Into the Woods. hall finds that it houses a large collection of G and S The four women were featured as they are former leads material, including musical scores and costumes. So the of the musical Wicked in the roles of Glinda and Elphaba. group decides to stage one of the pair’s collaborations, Trial In the solo stakes Amanda Harrison’s aria in the second

by Jury. In the audition phase, the participants are watched act appeared to draw the loudest applause. by portraits of Gilbert and Sullivan and their producer, Lucy Durack felt like she was having the most fun, D’Oyly Carte, with the figures coming to life to help them. especially when she sang ‘Princess’, composed especially for Numbers from several G and S works were performed by her by friend Matthew Lee Robinson. colourfully dressed auditionees, with the lively first act and In the acting department the duet ‘Popular’ from its cast of more than 50, setting up an engaging second Wicked between Lucy and Helen was most pleasing. half Trial by Jury.

Other highlights were provided by Ben Lewis, reprising The show gave many of the performers a chance to ‘Till I Hear You Sing’ from Love Never Dies, while Jemma Rix show their versatility. Writer Paul Causley, for example, always delights. wearing bright attire, sang a lively Tit Willow from The The swirling music of the Sydney Symphony Orchestra Mikado in the first half, then, as the elegantly clad and stunning harmonies under the baton of Kellie defendant in Trial by Jury, persuasively explained why he Dickerson rounded off the evening of sweet and spooky breached his promise of marriage to the plaintiff. And melodies.

Angie Hutchison-Ussher, in a trio with Causley and Ben David Spicer Starling as they auditioned, offered a foot-tapping Never Mind the Why and Wherefore from HMS Pinafore, following it with several brightly Witches.

Photo: Robert Catto pleading numbers as the plaintiff in Trial

by Jury.

There was a smile-raising difference, too, between Geoff McLaren’s D’Oyly Carte, who unsmilingly had to try and stop the sharp barbs Gilbert and Sullivan threw at each other in the sequences where they were come-to-life portraits, and his Trial by Jury judge with an eye for the plaintiff and at least one of her bridesmaids.

Jeanette Massey, who has been involved in many G and S works over the decades, confirmed her experience in the show’s direction, with Causley as her assistant. This premiere production showed just how delightful G and S songs, stories and characters can be.

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

Stage Whispers 63

Caroline O’Connor in Funny Girl.

Photo: Jeff Busby.

Reviews: Musicals

Funny Girl Music by Jule Styne. Lyrics by Bob Merrill. Book by Isobel Lennart. The Production Company. Directed by Gale Edwards. Arts Centre Melbourne. Jul 23 - 31.

WHEN Caroline O’Connor, as Fanny Brice, sings “I’m The Greatest Star” you’d better believe her. And while most will remember Barbra Streisand in the film (she originated the role on Broadway), O’Connor matches her vocally in such iconic songs as “People”, “Don’t Rain On My Parade” and “His Is The Only Music That Makes Me Dance”.

Gale Edwards brings her years of expertise to her directing role, but it’s all very “by the book” with no clear delineation in performances between “on stage” and “off” (life). It would have been nice to see some grittiness or edge in the “real life” drama. David Hobson is lovely but seems miscast as Fanny’s great love, Nick Arnstein. There is charm, without sexiness, and he seems more boy than playboy.

It’s lovely to see old JC Williamson stalwarts Judith Roberts (Mrs O’Malley), Jan Russ (Emma) and the legendary Nancye Hayes (Mrs Brice) again together. Hayes, as always, shows us that indefinable quality befitting a legend in “Who Taught Her Everything She Knows?” Luke Alleva works a little too hard as Eddie Ryan; David Ross Patterson (Florenz Ziegfield) conversely didn’t seem quite big enough to fill those legendary shoes. The ensemble, however, were excellent throughout.

Apart from O’Connor the real stars are the costumes from Owen Phillips and Tim Chappell, and Shaun Gorton’s stunning set. This is a good, but not great, production, 64 Stage Whispers

nicely performed and with a powerhouse star to drag it over the line and win it extra points.

Coral Drouyn Wicked Music & Lyrics: Stephen Schwartz. Book: Winnie Holzman.

Based on the novel by Gregory Maguire. Director: Madeleine Johns. Musical Director: Sherree Drummond.

Redcliffe Musical Theatre. July 29 - Aug 14.

ANY production of Wicked hinges on the ability of the two actresses playing the lead roles and on that point Katherine Vacca (Elphaba) and Dani Heraud (Glinda) did not disappoint.

From the moment she started singing “The Wizard and I” we knew Vacca had the vocal chops to do the part justice and she continued with knockout performances of “I’m Not That Girl,” and the ultimate diva showcase “Defying Gravity.” Heraud matched Vacca every step of the way, bringing spunk and a sparkling satirical edge to the bimboesque Glinda. She pulled the laughs in “Popular”, soared with Vacca on “Defying Gravity”, and together pushed the heartfelt button on “For Good”.

Head brought charisma and a toned-body to Fiyero, David O’Keefe was an outstanding Wizard with a voice to match (his “Wonderful” routine was a joyful romp), whilst Danika Saal’s Madam Morrible trilled and fussed maliciously. Georgia Murray and Liam J. Kirkpatrick handled the underwritten romantic sub-plot of wheelchair-bound Nessarose and the diminutive Boq well.

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

Despite Winnie Holzman’s book being saddled with lots of pop-psychology, political symbolism and good versus evil tropes, the piece didn’t get bogged down thanks to astute and pacy direction by Johns and spot-on musical direction

by Sherree Drummond. It was a classy and enjoyable return to Oz. Peter Pinne

Matt Byrne Media’s Wicked.

Photo: Denys Finney.

Matt Byrne Media. July 7 - 30.

The first amateur production of Wicked to be staged in South Australia is a triumph.

Sets are modestly scaled, with the production relying heavily upon video projections to establish each different location, some of which are animated. They are vividly evocative and combined with the subtle nuances of the show’s lighting scheme, create an appropriately otherworldly atmosphere. Costumes are boldly colourful, but also do a good job of reflecting the personality of the characters inhabiting them.

Dianne Lang’s Wicked Witch Of The West is by turns fiercely sardonic and quietly vulnerable. Kat Jade’s Glinda is frequently hilarious in her catty, “mean girl” attitude, but knows when to pull back and allow the audience a glimpse at the insecurity lurking beneath her façade of blondebombshell superiority. Together the two have a heated chemistry, be it as opponents in argument or as the yinyang soul-mates they eventually become. As the man who comes between these two formidable women, Michael Bates brings just the right measure of swagger and sensitivity to his performance.

Rick Williams (The Wizard) and Lisa Simonetti (Madam Morrible) are both chillingly effective as villains who hide their evil nature behind a carefully crafted mask of charming affability. Whereas Sophie Bubner (Nessarose) and Zak Vasilou (Boq) ultimately emerge as the kind of antiheroes that the audience can feel some pity for, if not outright sympathy, even after their fall from grace. The rest of the ensemble all acquit themselves well, and do justice to the lively choreography.

Benjamin Orchard

throughout. Next we met the green witch, Elphaba.

Ashleigh O’Brien lit up the stage with her presence from her first entrance, youthfully portraying the lonely and differentto-the-norm character. Throughout the show Williams and O’Brien shared many special moments vocally and dramatically, nowhere more evident than in “Popular”, sung by Galinda. Character portrayal by both women balanced the comical with the emotional on their journey to becoming friends. O’Brien performed “Defying Gravity” with great maturity.

Other stand-out performances came from Jeremy Curtin as Doctor Dillamond, the talking goat. Curtin’s delivery in every aspect was brilliant, creating sympathy for him.

Packemin Productions. Riverside Theatre, Parramatta. July Wayne Scott Kermond gave a very physical performance as 29 - Aug 13.

PACKEMIN’S production Wicked was an incredible night The Wizard; his number “Wonderful” was simply that.

Both young male leads, Nicholas Richard as Boq and of theatre.

Linden Furnell as Fiyero, stood their own against the Even before the main set was revealed, the map of Oz brilliance of Williams and O’Brien. For me Furnell warmed centre stage looked stunning. When the Overture began, into the role throughout, but vocally was powerful in every played with vigour by Peter Hayward’s orchestra, we noticed many odd creatures appear on stage lead out by line he sang. Richard played the timid Boq wonderfully and showed the right amount of strength when needed in Cameron Boxall as Chistery, the head of the monkeys, fighting with Nessa Rose, before his transformation into the whose physicality was exceptional.

The stage opened up on a striking set and cast for the Tin Man. Neil Gooding and team have mounted an exceptional opening number “No One Mourns The Wicked”, brilliantly sung by the ensemble. Mikayla Williams, as the Good Witch production; from the sets (made by CLOC in Melbourne), to Galinda, descended as if from the sky, one of the highlight the performances on stage, to the detailed costumes, to making Elphaba fly. set pieces. Her delivery of her vocals was spectacular.

The ensemble costumes all looked stunning in their James Russell opening number, with costuming equally splendid Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 65

Little Women Music: Jason Howland. Lyrics: Mindi Dickstein. Book: Allan Knee based on the novel by Louisa May Alcott. Prima.

Director: Melanie Evans. Musical Director: Andrew Wadley.

July 15 - 24.

PRIMA’s production of Little Women is one of the best and most satisfying community theatre productions of the year.

The character of Jo dominates this adaptation and Lara Boyle gives the perfect performance of it. Wilful and feisty, yet vulnerable, she captures the spirit and pathos of the role and sings the heart out of “Astonishing”, a song in the vein of Wicked’s “Defying Gravity”.

Sarah Chappell’s Amy was also a standout bringing out the petty and jealous strains of the adolescent sibling and later revealing an accomplished adult with flaws.

No actress can go wrong with the part of Marmee.

Melissa Beilby succeeded grandly. She gave the role warmth, was critical of her offspring but always supportive and loving and got to sing two of the score’s best ballads, “Here Alone” and “Days of Plenty”.

The other performance to be noticed in this tight ensemble cast was Liam J. O’Byrne’s Laurie. Whether playing the rejected suitor, the loving husband, or the melodramatic ‘Rodrigo’, he was assured and confident and brought a nice touch of humour to his and Amy’s duet “The Most Amazing Thing”.

Musical director Andrew Wadley and vocal coach Dale Cox are to be congratulated on achieving such a high standard of vocals. They gave the production class.

Peter Pinne A Chorus Line Music: Marvin Hamlisch. Lyrics: Edward Kleban. Book: James Kirkwood, Nicholas Dante. Savoyards. Director: Shelley Quinn. Musical Director: Ben Murray.

Choreographer: Sue Harvey. July 15 - 23.

A CHORUS Line requires every performer to be a triple threat and although director Shelley Quinn’s seventeen dance-hopefuls performed admirably as dancers and singers it was their level of acting that pushed this production a notch or two above the normal community theatre standard and made each soliloquy and dramatic exchange truthful.

Mike’s (Reindert Toia) introduction to dance class, Cassie (Astin Blaik) and Zach’s (Walter Lago) work and romantic history, and Paul’s (William Hinz) searing confession of the time his parents saw him dancing as a drag queen, were all truly memorable. Selin Doygun was a super Diana Morales getting maximum mileage out of the comic “Nothing” and the show’s big-ballad “What I Did for Love.” Grace Clarke made a meal of “Tits and Ass” (“Dance Ten, Looks Three”), while Reindert Toia owned the stage with his tap-routine “I Can Do That.”

In a strong ensemble it’s hard to pick favourites but those to be noticed included Luke Marino (Richie), Alana Tierney (Maggie), Natalie Lennox (Sheila), Jack Treby (Bobby), and of course Astin Blaik whose, “The Music and the Mirror” was one of the highlights.

66 Stage Whispers

Sue Harvey’s choreography was smart, making everyone look good, while Ben Murray’s off-stage orchestra played Hamlisch’s score with energy and spirit.

Peter Pinne Avenue Q Music and lyrics by Robert Lopez and Jeff Marx. Prince Moo Productions. Directed by Peter Snee. Her Majesty’s Theatre, Melbourne. Aug 3 - 14.

WHEN Avenue Q won Broadway’s Tony Awards triple crown in 2003, some people were surprised. This deceptively simple musical which features “full frontal puppet nudity and other vulgarities” wasn’t the usual stuff that hit musicals were made of, but Robert Lopez and Jeff Marx channelled their inner kids to give us an Adults Only Sesame Street.

This new production has more energy, more ‘oomph, than the original Australian production and, dare I say it, better voices and more talent.

The vitality is contagious, yet there’s plenty of subtlety and gentleness when needed. An integral part of this is Trevor Jones leading of a fabulous band with just the right amount of light and shade and great music chops, and Jason Bovaird’s marvellous lighting design.

The cast is stupendous. Ross Hannaford, as Princeton the nerdy graduate looking for his purpose in life, and as Rod, middle-aged and still in the closet - gave us two totally different voices and characters, and sang beautifully. Small wonder he’s always in demand. Vincent Hooper was a sheer delight as Trekkie Monster and Nicky, and a standout as a Bad Idea Bear, partnered with the luscious and devilish Lulu McClatchy, whose comic timing is perfection. Sophie Wright (Kate Monster & Lucy the Slut) showed why she is a hot property as a leading lady right now. Surely ‘It’s A Fine Fine Line’ has never been sung better. Andrew “Hondo” Hondromatidis (Brian) and Sun Park (Christmas Eve) were completely believable, funny, and added great vocals. And Zuleika Khan, as Gary Coleman, owned the stage.

All in all it’s great entertainment. You can’t ask for more than that.

Coral Drouyn Titanic Music and Lyrics by Maury Yeaton. Story and Book by Peter Stone. Directed by James Cutler. StageArt. Chapel off Chapel. July 7 - 24.

“CHARMING” is an odd word to use about a show which tells of the death of more than 1,000 people, but charming is the first word that comes to mind with Titanic.

But it is the production itself (and all thanks to the producers and the remarkable work of director James Cutler) that touches us with its humanity and reduces the audience to tears.

Kent Ross’ Musical Direction is of the highest order with keyboards and drums hidden to create the illusion that the string quartet is part of the fabric of life aboard.

The cast is exemplary - all twenty; the voices and harmonies are terrific, and individual acting is always on point. This is an ensemble par excellence, with no weak

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

The Secret Garden.

Photo: Nick Morrissey.

links anywhere. An added bonus is that diction is impeccable in all cases. It’s possibly the only time in my memory I have seen a show of which I heard every single word, and it was quite marvellous.

So cleverly is the raked stage designed, and so excellent Cutler’s direction, that many of the audience felt the stage was moving and the rake increasing as the ship sank, and passengers and crew lost their footing and stumbled and fell. The abstract nature of the design allowed a few wooden chairs to be the only props needed. The drowning scene was particularly moving and I have never heard such silence in a theatre. We were mesmerised.

The fact that this is the first professional production of this multi award winning show in Melbourne adds weight to how much we need a company like StageArt to boldly push the envelope (and themselves) with each new production. And James Cutler - thank you.

Coral Drouyn

the rambling narrative and brought a warmth to the piece that I found missing in the original.

Shannon Sarstedt’s Mary Lennox was feisty and outgoing, and displayed genuine warmth and understanding in her pivotal scenes with Colin (Stephen Adams), who managed to elicit some sympathy from an unsympathetic priggish character. Thomas ArmstrongRobley’s Archibald captured the obsession of a man still in love with his dead wife with conviction and sang “Race You to the Top of the Morning” with feeling. His fierce tenor also shone in the duet with Kieran Rodriguez’s doctor on the soaring “Lily’s Eyes” and in the penultimate duet with Lily “How Could I Ever Know”, the score’s best and most memorable song. As Lily, the object of his obsession, Rebecca Riley’s pristine soprano had charm and lilt, particularly apparent on “Come to my Garden”.

The whole production had excellence stamped all over it.

Peter Pinne

The Secret Garden Music: Lucy Simon. Book & Lyrics: Marsha Norman. Based on the novel by Frances Hodgson Burnett. Director: Ian Good. Musical Director: Heidi Loveland. Griffith University 3rd year Musical Theatre Students. Aug 18-26.

THE SECRET Garden, this year’s main-stage production

by Griffith Musical Theatre’s graduating class, was exquisite musical theatre. With fine and robust performances, striking set and costume design, and an orchestra that brought depth and subtlety to Lucy Simon’s score, it was worthy of Broadway.

In actual fact I enjoyed it better than the original Broadway production because Ian Good’s direction clarified

Rhonda Burchmore on Broadway With the Queensland Pops Orchestra conducted by Patrick Pickett. Concert Hall, QPAC. Aug 13.

SWATHED in a different jewel-encrusted evening gown at every entrance, Rhonda Burchmore brought glamour and a whole lot of show-business savvy to this Queensland Pops concert. Using her trademarked belt on “Broadway Baby” and “All That Jazz”, she pushed her vocal chords to the max on “Don’t Rain On My Parade”. She got laughs on “Diamonds are a Girl’s Best Friend” and crooned a mix of “When You Wish Upon a Star” and “Over the Rainbow” to good effect.

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

Stage Whispers 67

which dotted the musical landscape throughout were no doubt due to Dominic Woodhead’s excellent musical direction. They, and his brilliant work on keyboard, were the glue that held the whole production together.

Woodward’s “Monticello”, about “dying dreams” in a small-town, resonated, as did Luke Hodgson and Pia Frangiosa’s fear of commitment piece “I Hmm You”. Danika Saal’s chewingthe-scenery take on “In Short”, a piece about wanting to kill your ex, pulled the laughs and big applause, as did her gay ode “Man of my Dreams”.

Stephanie Long’s “Perfect” (“I could be perfect, tell me what to do, I could be perfect for you”) was emotionally poignant, whilst Woodhead’s comic-cut “Along the Way” of not being dependable and Rhonda Burchmore on Broadway. letting his pet gerbil die, had Photo: Dominika Lis. the sobering tag of “That’s Burchmore brought years of experience to yesterday’s why I’m so afraid to raise a kid.” His showy turn on concert, but it was the students from Griffith University’s keyboard was complimented by some nice guitar work by Musical Theatre program who gave it youthful energy and a Tom Collins, who also did the charts, and unobtrusive raw edge. They opened the show with a stunning version of drums by Nick Woodhead.

Jason Robert Brown’s “The New World” and closed it with Peter Pinne an even more impressive “Tonight” Quintet from West Side Story. In between they offered solos and duets from Miss Annie Saigon, Chess, Les Misérables and Aspects of Love with the By Thomas Meehan, Charles Strouse and Martin Charnin. best performances being delivered by Tom ArmstrongEltham Little Theatre (Vic). Director/Choreographer: Kath Robley on “Stars” and Hayden Rodgers’ impassioned take Buckingham. Musical Director: Nicola Ramsay.

Choreographer: Amanda Bryon. July 1 - 17. of Jekyll & Hyde’s “This Is the Moment”.

But the third star of yesterday’s show was the orchestra ANNIE was an ideal choice for Eltham Little Theatre, under the bravura baton of Patrick Pickett. They attacked allowing plenty of juniors, as well as the adults, to have a sing. the material with brio, and accompanied with skill.

With the entire company on-stage at the finale singing Towering over the production was John Leahy’s Daddy “I Still Call Australia Home”, patriotic sentiment mixed with Warbucks. Having seen him before, I was expecting his big genuine lump-in-the-throat emotion for a thrilling climax. voice and strong personality, but I was quite taken aback by Peter Pinne his sensitive singing. Nicola Ramsay, a strong Grace Farrell, also sang well.

Edges: A Song Cycle Annie herself has some difficult music to sing. It Music: Justin Paul. Lyrics: Benj Pasek. Understudy generally lies a little high and young singers can push their Productions. Director: Ian Good. Musical Director: Dominic chest voice up too high, or break into a thin head voice.

Woodhead. Metro Arts, Brisbane. July 20-23.

Ava Keiper did neither, easily coping with the high notes NEW-kids-on-the-block Understudy Productions, formed without change of technique. She had more trouble with the dog, and did an amazing job not to be thrown. She

by Alexander Woodward and several ex-students of the Griffith University Musical Theatre Course, are to be also worked very well with the adults and had some tender congratulated on the quality of Edges: A Song Cycle, their scenes with Warbucks.

Merinda Gallagher was a very funny Miss Hannigan, first production.

Obviously the cast benefitted by London director Ian working very well with Gavin Baker and Nicola De RosboGood’s experienced hand, but the terrific six-part harmonies Davies as Rooster and Lily. Lily was hilarious, deliberately 68 Stage Whispers

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

dancing in the wrong direction, with Miss Hannigan trying to put her on the straight and narrow. Sarah Hill also shone in a small solo.

The minimalist sets worked well, allowing the action to flow.

Backing tracks were utilised and seemed to work well, though sometimes words were missed. The children and adult chorus numbers were all well sung.

This was a most enjoyable show.

Graham Ford

work. All members, whether they are experienced performers or newcomers, have a chance to be involved.

Merlene Abbott

A Chorus Line Songs by Marvin Hamlisch and Edward Kleban, book by James Kirkwood and Nicholas Dante. Pantseat Performing Arts. Civic Playhouse, Newcastle. Aug 4 - 6.

THE musical A Chorus Line grew out of interviews with Broadway dancers about their experience in auditioning for shows, and this production showed how engaging its Higher & Higher characters can be as they reveal how they developed a Conceived by Jamie Watt & Peter Laughton. Spotlight passion for dance.

Theatre, Benowa, Gold Coast. Aug 12 - Sep 3.

The long opening number, I Hope I Get It, as 26 dancers THE BIG Band sound has been successfully recreated for who hope to be chosen for eight chorus positions jointly go Spotlight’s production of Higher & Higher. through paces under the gaze of imperious director Zach Conceived, written, directed, choreographed and (played by Zac Smith), made clear their determination to performed by Jamie Watt and his associates, this “jukebox” make the cut. musical of 55 hit songs was non-stop entertainment. With Each of the candidates subsequently revealed their a cast of four female singers, plus Jamie, four backing backgrounds on Zach’s instructions, with much moving and singers and 6 dancers, this high-energy production will be amusing information coming out. Aggressive Mike (Justin one to remember for a long time.

Smith), for example, told in I Can Do That how he was Musical Director and keyboard player Ben Murray taken as a pre-schooler to an older sister’s dance class, ensured a cracking pace throughout the show and the subsequently attended lessons, and became a better dancer dancers were hardly off stage. Well costumed, the than her. production was a “Motown” Tsunami of hit after hit!

And in the riveting long solo The Music and the Mirror, Everyone had their talents showcased to advantage and the Cassie (Keely Boyden), a former partner of Zach and a oneresult was a credit to all concerned, though special mention time featured player, poignantly revealed while other must be made of first time lighting designer Kyle Fuz for a auditionees were having an offstage break how she had job well done. fallen on hard times and desperately needed a chorus job.

Choreography was by Kellie Niebling and Lauren All the characters were very real people, with the songs Wormald. and dialogue emotionally bringing that out.

Roger McKenzie The vibrant finale, One, with all the dancers in the same attire, accentuated how performers put their personal Two Tales of a River problems aside to give watchers something they can enjoy.

By Richard Davey (revised Liz Connor), Darren Hayden and Directors PJ Willis and Lauren Handsaker (with the latter Liz Connor. Huon Valley Theatre Company. Directed by Rod also developing the astonishing choreography that put tap Gray. 15 - 30 July. and ballet alongside each other) made the Civic Playhouse THE latest production by the Huon Valley Theatre group small stage a realistic audition space, with the wall behind is two stories, one-act musical plays, both telling of life on the auditionees transforming into mirrors at appropriate and around the Huon River and set in the 1850s. The Tale times to further highlight their skills. of Betsy the Boat Girl, written by Richard Davey in 1981, Ken Longworth and The Tale of Paddy and Monwell, written by Darren Hayden in about 2014, have both benefitted from the Into the Woods writing and theatrical experience of Liz Connor.

Music and lyrics by Stephen Sondheim. Book by James Director Rod Gray created two lively, fast moving plays. Lapine. Musical Theatre Crew Senior Ensemble. Playhouse The first tale was about a real boat girl working on the Theatre, Hobart. Aug 4- 14. river, Betsy Walton, with Olivia Bittner (Betsy) and Monica CO-DIRECTORS Leiz Moore and Allan Jeffrey chose Into Robbie (Emily) as the female heroes who won the race. The the Woods as the (graduating) project for their Musical filmic action, creating impact and immediacy, added to Theatre Crew Senior Ensemble. lovely sets, including production paintings by Meta Musical Theatre Crew productions are training vehicles.

Forward, and appropriate costumes and props, integrated Alternating roles means that most performers learn several well with the actors on stage to advance the stories. sets of roles, dialogue and music. It’s teamwork training The second tale is fictional. Stuart Nicholls, Alisha Foggo and theatre craft - performers thrive on the discipline and and David Brannigan are characters in The Tale of Paddy rehearsal experience, resulting in a high level of competence and Monwell. Film sequences also add to the narrative. The in each production. supportive and enthusiastic cast of 24 plus stage and Slick, fast-paced and visually stunning, with pretty production crew, shows how well community theatre can costumes and sparkling, bubbly young performers, the clever plot rolled along quickly with precision and vivacity.

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Stage Whispers 69

Miss Saigon.

Photo: Michael Fletcher.

Excellent sets, and clever props - Milky White the Cow was a scrawny looking beast, and the birds who advised Cinderella were well handled.

Emilia Hawkey and Emily Orange alternated as bird wranglers Rapunzel and Snow White. Cassie Ogle was Cinderella the night I went. Her competence was obvious, and her confidence with the double meanings and silliness of the role was hilarious. Jack Norris was Cinderella’s Prince, and the wolf - he played both roles with irony and over-thetop silliness. Martine Holliday played Red Riding Hood with mischief and charm, and Jaime Mollineaux-Herbert was a skilfully scary witch.

Former student James Bourke was the capable musical director. The entire cast, crew and musical team deserve a big fat round of applause for presenting such a fun, enjoyable entertainment. Well done!

Merlene Abbott

Director Scott Hili has done a stunning job of casting the piece and his blocking is crisp, his interpretation full of clarity.

Guada Banez is a beautiful Kim, with a strong pop voice capable of opening up a fully operatic range when she needs to and a lovely edge of vulnerability in her acting.

Tom Green (Chris) is a stupendous twenty one year old who, if there is any justice, is destined for a great career on the professional stage. His voice is rich in his chest register, and heart-achingly melodic in his head register. Michael Laity’s wealth of professional experience shows in every move, every nuance of his stellar performance as the pimp The Engineer. Adam Jon as Thuy, Kim’s cousin who was promised her in marriage, is strikingly impressive with a voice like liquid velvet.

Matt Woodford is fine singer and actor and his rendition of the anthem Bui Doi brought goose-bumps to many of the audience. The singing of the ensemble was incredible.

Miss Saigon Chris’s American wife Ellen is beautifully played by Kaela Music by Claude-Michael Schonberg. Lyrics by Richard Raku, a soprano with crystal clear top notes. The smallest Maltby jnr and Alain Boublil. PLOS (Vic). Directed by Scott role was beautifully filled by Matilda Doughty, playing Kim’s Hili. July 22 - 30. young son Tam. She delighted at every appearance.

The orchestra was always impressive and Mike Fletcher’s THERE are people who think that Miss Saigon is a set is innovative and artistic. marvellous musical - I am not one of them, but Peninsula Light Opera Society (PLOS) bring such skill and commitment All in all this production was a triumph of talent over substance. to every production that they even make this a magical theatrical event.

Coral Drouyn 70 Stage Whispers

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

Reviews: Plays

the conscientious teacher, Olga (Janine Watson), the artistic but unhappily married, Masha (Paige Gardiner), and the excitable Irina (Zoe Jensen).

Tom Campbell plays their hopelessly unravelling brother and Lauren Richardson, his unfaithful, bullying wife. The Harvey soldiers, Justin Stewart-Cotta as the philosophising

By Mary Chase. Nash Theatre. Director: Bianca Butler Lieutenant-Colonel and Graeme McRae and Dorje Swallow Reynolds. Merthyr Road Uniting Church, New Farm, as competing suitors, are all convincing, all with their own Brisbane. July 9-30.

DESPITE being written in 1944, Harvey, the play about a ghosts.

Noel Hodda is also inventive as the old drunken doctor, man whose best friend is an imaginary six-foot rabbit, still as is Kenneth Moraleda as the cuckolded teacher. has currency. On the surface it may appear to be whimsy, Sport for Jove has hit another six. but Daren King as Elwood P. Dowd grounded it in reality.

Martin Portus With the character appearing in every scene, it’s a heavy actor workload, but King carried it off well imbuing Elwood The Beast with warmth and empathy.

As his upwardly-mobile sister Veta, Jenny Bonney-Millet By Eddie Perfect. Directed by Simon Phillips. Ambassador Theatre Group. Sydney Opera House, July 27 - Aug 14; not only looked the part to perfection but played it as though she had been born to it. Whether flustering around, Comedy Theatre, Melbourne, Aug 25 - Sep 4; QPAC, Brisbane, Sep 15 - 18. giving orders, or putting on a brave face, she was BLACK comedy The Beast starts on a fishing expedition charmingly believable. It was quite the best performance of the play. gone wrong, where desperate hungry friends eye off their recently departed skipper, then shifts to the most The other performance of note was Troy Granzien as pretentious dinner party imaginable.

Judge Gaffney, a breath of sanity amongst the delusional.

Brendan James (Dr Sanderson) and Emily McCormick Once you settle into the ride there are plenty of delicious (Nurse Ruth) were a couple of funny dishevelled love birds, and differently flavored morsels to feast on. Whilst the lost fishermen search desperately for land, their delirious skipper Frances Foo played the spoilt Myrtle with lashings of can’t stop babbling about Sydney real estate. At the dinner pettiness, Trevor McMillan brought a gangster “heavy” touch to Mr Wilson, whilst Patrick Farrelly’s Dr Chumley was party there is both erudite analysis of vineyard flavours and painfully overbearing. also ball twisting slapstick.

The friends have gathered to slaughter the grain fed Finally, I did enjoy Linda Shapcott’s triple turns as the organic cow but things go desperately wrong. Even aunt, Chumley’s wife and the rather butch taxi-driver three different characters, nicely delineated, and funny! carnivores might be a little squeamish at the bloody end of the first act.

Peter Pinne The second act is easier to digest, helped by the Three Sisters exceptional cast. Writer Eddie Perfect had nicest part - the

By Anton Chekhov. Sport For Jove. Reginald Theatre, sweet and insecure character of Baird. His repartee with Seymour Centre (NSW). July 28 -Aug 13.

THE PLOT may be simple - three sisters pine to return to fellow diner Sue (Heidi Arena), over the merits of lettuce, is both hilarious and fiendishly clever.

Moscow, but they don’t - yet nothing is left unexplored in Skillfully playing Simon, the complete arsehole at the this mighty new production from Sport For Jove.

Mighty is the cast size of 20, and so too is the running dinner party, is Rohan Nichol. His long suffering wife Gen, Christie Whelan Browne, gets several moments to shine and time of three and a half hours, in this direct translation (Karen Vickery) true to Chekhov’s original. Georgia Hopkins does not miss them - in particular, her re-enactment at the dinner table of her husband’s infidelity. also fills her wide stage with all the details of Chekhov’s What box do you put a play like this in? Is it Theatre of world of provincial Russia circa 1900, while Emma Vime the Absurd or a black social satire with extra bite? does the same with fine period costumes.

Audiences can be the judge.

This big production also overflows with a rich David Spicer choreography, as visiting soldiers, servants and all those usual Chekhov hangers-on all come and go through the Equus upper class home of the three sisters. Guest director Kevin

By Peter Shaffer. Brisbane Arts Theatre. Director: Brenda Jackson foregrounds our focus through all key revelations, while his ensemble maintains a wonderful ongoing White. Jul 30 - Sep 3.

PETER Shaffer’s story of a deeply disturbed young tapestry, on and offstage, of whispered chatter, drama, teenager who has a psychosexual fixation on horses, which laughter and music (with Peter Neville’s soundscape).

This then is a boisterous, very Russian household, a non- leads to him blinding five of them with a metal spike in one horrific night, still has the power to engage, provoke and hierarchical group longing to escape themselves into dancing and drink, all sentiment, self-absorption and repulse.

Alan Strang, a troubled 17-year-old is court-appointed flashes of anger. to provincial psychiatrist Martin Dysart in the hope he may The ensemble level of acting truth and empathy is impressively consistent, especially from a truly sisterly trio - be able to help him. Dysart peels layer after layer off the Longer versions of many reviews can now be found at www.stagewhispers.com.au

Stage Whispers 71

The Caucasian Chalk Circle.

Photo: Philip Gostelow.

boy’s psyche like an Agatha Christie sleuth in an effort to reveal the reasons for the boy’s despicable act.

Christopher Batkin, as the sexually aroused naked-riding youth, was indeed impressive displaying raw teenage emotion, conflicted rage and a touching innocence. Dom Tennison, as the shrink who’s stuck in a sterile marriage, was also impressive, empathetically drawing answers from Strang, at times confrontational, but always sympathetic to the boy’s fixation. They played off each other beautifully.

As Alan’s parents, Katherine Morgan and John Benetto offered fairly two-dimensional emotions. Josephine Dino was a formidable court lawyer, whilst Claire Argente’s Jill Mason captured the free-spirited nature of the character and looked incredibly sexy naked.

Despite Shaffer’s play being big on psycho-babble it still entertains, and White’s production of it was intense, reverent and totally satisfying.

Peter Pinne The Caucasian Chalk Circle

By Bertolt Brecht. Black Swan State Theatre Company of WA / National Theatre of China. Directed by Dr. Wang Xiaoying. Heath Ledger Theatre. July 30 - Aug 14.

LION Dancers and drummers greeted opening night patrons for The Caucasian Chalk Circle. Based on an ancient Chinese legend, retold by a German playwright and performed by Australian actors in a fusion of Brechtian and Chinese style, this made for a fascinating production.

This production drew on the best of Brechtian traditions, as the ensemble of a dozen actors transformed into various roles - wonderful group work and characterisations 72 Stage Whispers

throughout, and excellent use of song - supported by Musical Director Dr. Clint Bracknell.

Alex Malone’s complex and loveable Grusha was captivating throughout. Geoff Kelso’s nicely played Azdak was a quintessentially Australian portrayal. All performances were strong, although I was particularly struck by Caitlin Beresford-Ord’s haughty Governor’s wife, Kylie Farmer’s bossy Mother-In-Law and Luke Hewitt’s pompous Fat Prince and unscrupulous lawyer. Felicity McKay was lovely as she manipulated the puppet form of young Michael. All the actors used mask well.

Costuming (Zhao Yan) and Masks (Professor Zhang Huaxiang) were a beautiful element, giving a wonderful sense of place and time. Richard Roberts set design is aesthetically striking, drawing on Chinese tradition and culture.

The Caucasian Chalk Circle was a rare treat for lovers of theatre, wonderfully directed, with influences from a variety of traditions.

Kimberley Shaw Macbeth

By William Shakespeare. Hobart Repertory Theatre Society.

Director: Chris Hamley. Jul 15 - 30.

DIRECTOR Chris Hamley’s reimagining of Macbeth, inspired by elements of Japanese culture, featured live Taiko drummers, samurai-like warriors, ninja-like murderers, a geisha-like Lady Macbeth and five witches, creating a creepy and action packed Macbeth.

These commanding and decisive new elements, especially the initial impact of the Taiko drumming, set the tone of menace and danger. Design by Chris Hamley (set/

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

lighting/sound) worked well, with a dark theme relieved by red lighting on the cascading tassels at entrances, and use of lights and smoke effects.

The most well known speeches were powerful, although there was difficulty hearing some dialogue. Karen Kluss (Lady Macbeth) had beautiful enunciation and projection, and a wonderful range of feeling. Her Lady Macbeth was excellent, particularly when she exhorted Macbeth to ‘manup’. Jon Lenthall (Macbeth) was believable as the warrior king, playing with intensity and commitment.

The five witches proved to be an excellent directorial choice, acting as ghouls, menaces and conscience to Macbeth and Lady Macbeth.

What didn’t work so well was the use of actors in multiple roles, causing some audience confusion. Tai Gardner (Duncan/McDuff) was convincing as Duncan but not so easy to understand as McDuff (although the fight scene with Macbeth was well executed). Similarly, Sophie Hope, while beautifully portraying Banquo’s ghost, wasn’t as convincing as the warrior Banquo, though that just may have been the difficulty of accepting a female Banquo.

This was a moody, and at times quite marvellous, reinterpretation of Macbeth, although maybe not what Macbeth purists want.

Merlene Abbott Macbeth

By William Shakespeare. Pre Canberra REP. Directed by Jordan Best. Theatre 3. Aug 4 to 20.

CANBERRA REP’s Macbeth features deft direction by Jordan Best, a brilliant sound design and excellent characterisation.

Jenna Roberts’ Lady Macbeth is every bit as lustful, bloodthirsty and ruthless as you’d expect. Ms Roberts gives her character’s psychopathy a hypnotic quality. With distinctly different public and private personas, there’s nothing vulnerable about Lady Macbeth but at times she shows brief flashes of uncertainty and even surprise and a childlike delight at her own gall. Later, her tortured handwringing in the famous sleepwalking scene speaks of a truly unhinged mind. Chris Zuber’s Macbeth is besotted with his wife, giving her manipulative power. Other cast give great performances, notably Jim Adamik startlingly funny drunk porter.

The set, lighting, and costume design were surreal, minimalist and deceptively simple. All the supernatural effects occurred on the far side of a scrim, which the lighting gave a misty, unreal quality, as well as creating stage magic with people vanishing or seeming to pass through the scrim itself. With the set black and costuming muted, the bright red of the blood when it appears is visually startling. The violence was well practised and convincingly gory.

One last and important element of the setting was the sound design by Tim Hanson. Full of unnerving low chords, the original music created an unsettling mood from the start, and was particularly effective during the appropriately chilling witch scenes.

Cathy Bannister

Noises Off

By Michael Frayn. Newcastle Theatre Company. NTC Theatre, Lambton. July 16 - 30.

MICHAEL Frayn’s farcical comedy is an amusing look at what can go wrong in theatre, with the first act of a play called Nothing On shown in three performances: the final dress rehearsal, a matinee early in the tour, and another afternoon show near the end of its run.

Director Adelle Richards and her cast made the growing chaos increasingly hilarious, with the middle scene, which shows the actors backstage waiting for entrances or trooping back into the wings, making it clear that their personal relationships have impacted on the staging. And in the final sequence the onstage action is far removed from what was seen initially, with three men in identical costumes simultaneously appearing at one point because of confusion as to where one of the actors is.

Lynda Rennie, Brian Randell, Andrew Black, Rebecca Wall, Jennifer Halliburton, Paul Sansom, Tracey Gordon, Jay Smith and Michael Smythe showed just how funny stage errors can be, at least in this context, with the audience becoming part of the show.

Nothing On’s director, Lloyd Dallas, played by Brian Randell, moved between the audience and the stage as he became increasingly frustrated with the actors. And Michael Smythe’s veteran actor Selsdon was amusingly more adept at hiding gin bottles around the theatre than in delivering lines and actions.

The elaborate set, with seven doors, a flight of stairs and a landing, was used well, especially when it was seen from backstage and the actors’ tensions mounted as they waited for their entrances.

Ken Longworth Who’s Afraid of Virginia Woolf?

By Edward Albee. The Theatre On Chester, Epping, NSW. Jul 22 - Aug 13.

OPENING in 1962, this play was the harbinger of a new wave of theatre that did what theatre is meant to do reflect society and question prevailing values and behaviour.

Set on an American college campus at a time when changing social values affected even the privileged, the dialogue is at one moment almost poetic, at another raw and biting.

Carla Moore’s production is true to the text and the time. Set fairly and squarely when it was written, it is almost a tribute to the play itself and its place in theatre history.

All the characters should be ideal citizens - even at 2am after a college faculty party, but as they continue drinking, their behaviour becomes more confronting, more revealing, and more destructive.

Martin Bell as George, the harried history academic, finds all the complexities of the character with a naturalness that is very real. Alison Chambers, as his disillusioned wife Martha, sets the initial tension of the play and accelerates it, taunting George constantly, until eventually they lay bare the delusion that is their life.

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Stage Whispers 73

Matt Bevan is Nick, the newly appointed young Biology lecturer, and Emily McKnight is Honey, his “mousey” wife.

Despite the inherent social criticism and the shallowness and fragility of the characters, this is an entertaining and thought-provoking piece of theatre.

Carol Wimmer

production maintains all the opulence and physical dexterity of the play by exploiting all the tools of the tradition with refinement and finesse. The costumes and masks exude beauty and the movements and gestures are always picturesque and beautifully executed.

Truffaldino (Christian Bagin) is hysterical and his ownership of the part is always apparent. Smeraldina The Matchmaker (Sharon Davis) is given a modern twist that fits in

By Thornton Wilder. Independent Theatre. The Goodwood seamlessly. Silvio and Brighella (Roby Favretto) allow the performer to showcase a range of caricatures. Beatrice Institute. August 5-13.

THORNTON Wilder’s comedy The Matchmaker is an (Leida Kapsis) brings charm and sincerity to the role. unlikely blend of farce and comedy of manners. Adelaide’s Pantalona (Irene del Pilar) is exemplary in her physical Independent Theatre makes the most of it with a very good presence. Clarice (Freya Pragt) captures the irony in her part production directed by the company’s Artistic Director Rob perfectly and Florindo and Il Dottore (Darcy Kent) are played with a sense of sheer enjoyment. This show is undoubtedly Croser.

David Roach is excellent as Horace Vandergelder, and unquestionably enchanting and astonishing. portraying the controlling, misogynistic and bombastic man Patricia Di Risio with great expertise.

Bronwyn Ruciak embodies Dolly Levi, a slyly funny and After January outgoing woman who can manipulate whatever she wants Adapted by Philip Dean from a story by Nick Earl.

Javeenbah Theatre, Gold Coast. Director: Amy-Louise from a man, in a very fine performance.

As Horace Vandergelder’s poorly paid and put-upon Anderson. Jul 22 - Aug 6. assistant Cornelius Hackl, Will Cox produces the sort of SET on Queensland’s Sunshine Coast, After January tells the story of two teenagers’ chance meeting and subsequent performance we’ve come to expect from this talented young actor. relationship.

Georgia Penglis is a delight as Irene Molloy, Hackl’s love The teenagers - Alex, played by Ethan Robinson, and interest.

Fortuna, played by Josie Cross - both portrayed their Having lauded these actors, I have to say that two characters with confidence and gave performances well others steal the hearts of the audience - Kyle Hall and Pam beyond their years. Ethan was onstage for most of the O’Grady. As young grocery assistant Barnaby Tucker, Kyle performance and although sometimes a little hard to hear, Hall’s capacity for physical comedy is sublime, his energy appeared to be ‘right at home’ as the awkward and inexperienced boy finding love for the first time. Josie was levels wonderful and his characterisation superlative. Pam O’Grady takes her role as Miss Flora Van Huysen to the equally suited to her character and the fact that she was brink of the hilariously melodramatic, but never goes over battling a throat infection made no difference to her the top. A towering performance. convincing performance as the member of her family that The remaining cast also create strong characterisations. everyone depended on.

Adult members of the cast were Jocelyn Moore-Carter as Rob Croser and David Roach’s set design is simple and effective, providing a generic yet decorative structure as Alex’s meddling mother, Janet Thwaites as the reliable background for the various settings of the play. neighbour, Libby Bancroft and Bruce Alker Jnr as Fortuna’s The Matchmaker has much to satisfy lovers of comedy, alternative lifestyle parents and Barry Gibson as the period plays, farce and strong storylines, so there’s “concerned” plumber dispensing “relationship” advice something in this play for almost everyone. along with his plumbing services.

A single set with various acting areas created Caloundra Lesley Reed and surrounds.

The Servant of Two Masters Roger McKenzie

By Carlo Goldoni. Translated and directed by Rosa Campagnaro. Make A Scene. La Mama Courthouse. Jul 13- God of Carnage 31.

By Yasmina Reza. Pymble Players (NSW). Jul 20 - Aug 13.

WHEN one 10-year-old boy hits another with a stick in a THE MAGIC of Goldoni has been brought to life by an enormously gifted troupe of actors in this impeccable park in Paris, their parents agree to try to settle the matter production. Rosa Campagnaro’s credentials as a physical amicably. From a strained but polite beginning, the tenor of the meeting declines and tempers rise, accusations fly and theatre practitioner and expert in Commedia dell’ Arte are impressive and the Australian theatre scene is reaping the etiquette is forgotten.

Director Dave Went and his cast find both the comedy benefits of her fantastic artistry.

The translation is given a truly Australian flavour without and the underlying truths of the plot. Went has insisted on losing any of the fundamental elements of the original text. a pace that is seemingly no problem to the four actors, who are able to define and sustain their characters despite the This show is a rare opportunity to witness a brilliant example of a 16th century Italian theatrical art form that escalating tension and complicated stage business that continues to thrill and delight audiences of all ages. The adds to the humour of the play.

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God Of Carnage.

Photo: Des Harris.

Allan, father of the offending child, inaugurates this by constantly taking mobile phone calls. George Trippis shows the disdain and impatience of this character in a tight, controlled performance.

His wife, Annette, is conciliatory, but just a little nervous. Nicole Brennan epitomises this. Initially passively compliant, she becomes increasingly disturbed and upset, eventually throwing the whole situation into hilarious turmoil.

Margareta Moir plays Veronique, mother of the ‘victim’ and initiator of the meeting. Moir shows the both the strong control of this character and the bubbling unrest beneath the almost arrogant surface.

Her husband, Michel is played by Peter Rhodes, who obviously revels in finding the various dimensions of this character, phyiscalising reactions with comedic skill and carefully controlled timing.

Carol Wimmer

outstanding comic duo, nicely supported by sweet ingenue Simonne Mathews, while Zack Inglis, who joined the show late in the rehearsal process, did a fine job.

A strong ensemble offered excellent support. I particularly admired the versatility of Liz Pemberton and Karin Staflund, while Craig Edwards delivered a sympathetic performance as Laura’s husband Fred. Very focused 12-year -old Lakeesha Motley and her very cute little brother Charlie were impressive as Laura’s children.

Fran Gordon’s costumes were a highlight, nicely evoking the 1930s (the usherette costumes at the start setting the tone for the production), while Jane Sherwood’s set design was simple, clean, effective and allowed action to flow smoothly.

The judicious use of film footage was a good choice and definitely added atmosphere.

A short show which flows well and has broad appeal.

Kimberley Shaw

Brief Encounter

By Noël Coward, adaptated by Emma Rice. Directed by Jane Sherwood. Stirling Theatre, Innaloo, WA. Jul 1-16 BASED on the Noël Coward play Still Life, Brief Encounter is an adaptation of the film of the same name.

Jane Sherwood has cast this show very well, her excellent choices giving lovely chemistry and very commendable performances.

Central characters Laura (Maree Anderson) and Alec (Glenn Scott) are a young couple having a very intense and loving affair. The actors are a real-life engaged couple, whose affection is tangible, and both deliver passionate performances with depth.

Staff at the local train station, a frequent meeting point, quickly become audience favourites with some gorgeous characterisation. Ann Speicher and Hadrian Fuller form an

Othello

By William Shakespeare. Directed by Peter Evans, presented

by Bell Shakespeare. Arts Centre Melbourne, Fairfax Studio.

Jul 12-23.

IN THIS play the villainy of Iago is a perplexing phenomenon, and the ease with which the Moorish General falls prey to his own weakness of character is indicative of the insecure masculinity that dominates the story. While the male characters are often the focus of this play, this production goes to great lengths to ensure that the female voices are not only strong but also rebellious.

Desdemona (Elizabeth Nabben) retains her sweetness and innocence while also proving she is wilful and resistant to her fate. Emilia (Joanna Downing) is strident in her defence of Desdemona and contributes to a powerful and dramatic climax.

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Stage Whispers 75

Othello (Ray Chong Nee) seems to struggle to find his equilibrium as the charismatic character who yields to his insane jealousy. His presence is sometimes spiritless and other times savage and the contrast is often too pronounced. Iago (Yalin Ozucelik) manipulates the people around him in a ruthless and calculated manner that renders him pathological. He is portrayed as incredibly sociopathic and this is a perfect fit with the way he is driven by envy and with his total lack of remorse. Ozucelik is completely at home in Iago’s skin and frequently revels in the part. The simple and striking staging, combined with the modern setting, allows this performance to highlight aspects of the text that are often neglected or overlooked.

Patricia Di Risio Honour

By Joanna Murray-Smith. Cairns Little theatre. Director: Lynn Cropp. Aug 19-27.

HONOUR, the latest Cairns Little Theatre production, is a tight drama about love, infidelity and ever-changing human relationships.

Honor (with no u), played by Judy Gittings, and her writer husband George (Peter Merrill) have been married for thirty two years. But when Claudia (Candice Smee), a young journalist, interviews George and indicates that she is available, George develops an intimate relationship with her. Well-directed by Lynn Cropp, the play is a battle of words, strong language and emotions as the characters explore the dynamics of their new relationships.

The drama unfolds over eighteen scenes on a set that consists of two short staircases and several black boxes against a dark curtain. Props are few but the acting is extremely good. Gittings and Merrill give powerful performances as does Smee in her first role. Ciara Grossman, in her role as Sophie, Honor and George’s daughter, is also strong in what is her first play.

All the actors interact well together to create entirely believable characters. Despite the familiar plot, and a far too quick relationship development between George and Claudia, the director and cast make Honour an engrossing night of theatre.

Ken Cotterill Boeing Boeing

By Marc Camoletti. St Jude’s Players (SA). St Jude’s Hall Brighton. Aug 11-20.

ST JUDE’S Players production of French farce Boeing Boeing is in the hands of an experienced director and good cast, who keep the play safely in the air.

Bernard is a successful Parisian architect, who shares his apartment with his air hostess fiancée whenever she flies into Paris. The trouble is, there are actually three prospective brides, with this fact completely unknown to each of the ladies, who are all from different countries and different airlines.

John Koch is good as Bernard, but I’d like to see a little more physicality and urgency in his portrayal as this would lift the overall pace somewhat.

76 Stage Whispers

As Bernard’s visiting friend Robert, Tim Taylor steals most scenes with a very funny and physical performance.

His facial expressions are priceless.

Charlotte Batty is excellent as the effusive and selfconfident American hostess Gloria, while Carla Hardie is delightful as the Italian fiancée Gabriella. Jessica McGaffin has great stage presence and a talent for arm wrestling in her very funny portrayal of German hostess Gretchen.

Always reliable for a good performance, Lindy LeCornu is strong in her role as grumpy and put-upon housekeeper Bertha.

At the opening performance the second act rollicked along at a cracking pace, serving to highlight that the first half somewhat lacked this energy.

Overall, Boeing Boeing is a great night out, attested to on opening night by the full house, laughter and enthusiastic applause.

Lesley Reed Titus Andronicus

By William Shakespeare. Red Phoenix Theatre & Butterfly Theatre Production. Holden Street Theatre. Aug 18 - 27.

SHAKESPEARE’s Titus Andronicus is called in theatrical terms a “pot-boiler”; deliberately sensational, excessive, and thoroughly entertaining. This production completely honours the sensational, bloody “pot boiler” aspect of this play.

Titus Andronicus was Shakespeare’s first ‘revenge’ tragedy, written in the shadow and under the influence of Christopher Marlowe.

In his Director’s Notes, Michael Eustice states that Titus Andronicus is ‘a rollicking good action thriller, and a brilliant tale of lust, murder, and revenge’. On this level the production works very well. Eustice goes on to state that it is also a ‘deeper study of human behaviour’. Here, however, this production is less successful - whilst ‘rollicking’ and fun, I was entertained but not moved.

Eustice’s very ‘modern’ production goes for the melodrama - there is a lot of shouting and playing attitudes of rage and despair. You don’t get much else. Very rarely is anyone just simply still.

There are, however, some who do keep their gesturing under some form of discipline, allowing the words to carry effect, notably Brant Eustice as Titus and Tracey Walker as Marca. Both these actors are terrific in these challenging roles. Aldolphus Waylee is also very engaging in the pivotal role of Aaron the Moor.

Whilst I thoroughly enjoyed this energetic and ‘rollicking’ production of Shakespeare’s ‘pot-boiler’ Titus Andronicus, nonetheless I missed the more sombre and sinister ‘thinking’ of the characters that too often was overwhelmed by melodramatic emotional and physical excess.

These characters are killers, and they consciously and deliberately set about to destroy others not only with heated passion but also with cool rational ‘thinking’. It is the coolness of their violence that makes the play so chillingly relevant.

Tony Knight

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Schools On Stage

Hairspray.

Hairspray Music: Marc Shaiman. Lyrics: Scott Wittman, Marc Shaiman. Book: Mark O’Donnell, Thomas Meehan. Mercedes College Performing Arts Centre, Perth WA. Directed by Kathleen Cocks. Aug 3-13.

MERCEDES College presented Hairspray with energy, colour and contagious enthusiasm.

Jemma Middleton shone as a picture-perfect Tracy Turnblad, singing and dancing up a storm. She was a wonderful anchor for a strong cast of students from Year 7 to 12.

There were lots of memorable performances in this strong cast. Tracy’s parents were beautifully played - Harry Boyle as Edna, in an endearing performance from a boy who can dance backwards in heels, and the gorgeously deep-voiced Hannah Anderson as Wilbur.

Heart-throb Link Larkin, expertly played by Seamus Harrison, made ladies swoon both on stage and in the audience in a wonderfully layered performance.

The Corny Collins Show featured a smooth Euan Macmillan as Corny, Sarah Cocks delightfully evil as Velma Von Tussle, mother of nasty Amber (Sophie Bottega), and a talented team of Councilettes.

The Dynamites were smoothly played by Iesha and Hannah Palelei and Francesca De Nuncio, with hard working performances from Nina O’Rourke (Motor Mouth Maybelle) and Harry Pitts (Seaweed).

Little Inez (Bianca Metcalf) was an audience favourite, while Tess Metcalf was a very well characterised Penny.

Some top-notch cameos and smaller roles also had impact.

A live band, headed by Harry Oliff, provided wellbalanced, tight accompaniment.

A bright, functional, multi-level set was well used, and bright costumes highlighted the race segregation and were a nostalgic delight.

A student production of the highest caliber, Hairspray deserved its sell-out season.

Kimberley Shaw Anything Goes Music and Lyrics by Cole Porter. New Book by Timothy Crouse and John Weidman. Ringwood Secondary College.

Aug 5 - 13.

DIRECTORS Michael Kent and Gaynor Borlase, along with Music Director (and Director of Performing Arts) Ben Moody, have crafted a show that zings with energy and vitality. The band is excellent, the costumes are luscious and the choreography is always on point. True, not all voices are as strong as they might be, and there are some pitch problems, but there are also great comic moments, performers oozing stage presence, and tap routines to delight the most fastidious of fans.

Two casts alternate at performances and I had the pleasure of seeing Kirsten Manuel play Reno Sweeney.

Kirsten has a lot in common with a great Broadway star of yesteryear, Ethel Merman. Kirsten is brash, full of confidence, has charisma on stage and great comic timing.

She is a force to be reckoned with. She knows how to belt a number and connect with the audience in a way far beyond her years and experience. Sam Clarke is an adorable Billy www.stagewhispers.com.au Stage Whispers 77

Schools On Stage

42nd Street.

Photo: Tim Allan.

Anything Goes.

Photo: Peter King.

Crocker who knows exactly where to place a line and get a laugh. His voice is passable and he is endearing, but it’s simply cruel to put him in a tails suit which is as least two sizes too big. He deserves better. Harley Pettet was terrific as Lord Evelyn and Caleb Lindner showed real comic chops as Moonface Martin. All of the principals showed great energy and stage presence but the show was almost stolen

by Patrick Masterlerz as the purser. All in all, a show for far more than just family and friends.

Coral Drouyn 42nd Street Music by Harry Warren. Lyrics by Al Dubin. Directed by Adam Goodburn. Scotch College. Aug 4-13.

THOUGH very distinctly the product of a bygone era, there is also something timeless about 42nd Street - which tells the story of a dysfunctional theatre company’s accident-prone efforts to mount a Broadway show at the height of the Great Depression. The youthful energy of Scotch College’s production brings out the best in this show, ensuring that it never comes across as a museum piece.

The principals are well cast. Tayla Coad brings enough spunk and grit to the role of Peggy, the fresh off the bus ingénue; her wide-eyed wonderment at the glamour of Broadway never comes across as cloying. In contrast, Paris Anderson is a delectable slice of ham n’ cheese as the overbearing star, Dorothy, clearly reveling in her diva antics. Jordan Tomljenovic has ditzy, goofball charm to spare as the utterly clueless leading man and Tayla Prime radiates maternal warmth as the experienced chorus girl who often finds herself assigned the role of mediator.

Youth Theatre requires generous suspension of disbelief and it is hard for even the most talented teenager to effectively play a burnt-out and world-weary character.

Lachlan Williams does about as well as can be expected in the role of ageing director Julian. Still, he is poignantly

78 Stage Whispers September - October 2016

effective in the scenes that call for some romantic vulnerability.

The singing is quite consistently strong. The large dance ensemble is tightly co-ordinated, most impressive given that there are in excess of 30 tappers on stage in some scenes.

Choreographer Linda Williams is to be commended for pulling off routines on such a huge scale.

Sets are very simple, but sufficiently evocative, and the production makes skilful use of video projection incorporating 1930s newsreel footage. Scene transitions are swift and fluid, ensuring that the production moves along at a brisk pace.

Overall, this is a class act - a stylish presentation of a classic show.

Benjamin Orchard High Performance Season at The McDonald College THE McDonald College in Sydney will present its annual High Performance Season and the Premier State Ballet production of Coppelia from September 12 - 24.

Showcasing the talents of the College’s junior and senior students together with its pre-professional ballet dancers and students from the After Hours program, Principal Maxine Kohler tells Stage Whispers about this exciting performance showcase.

“High Performance Season has become an integral part of our performance repertoire. We have an ongoing relationship with NIDA, Riverside Theatre and the Sydney Opera House in conjunction with The Australian Ballet, giving our students the opportunity to perform in some of Sydney’s iconic performance venues thus extending our audience to include family, friends, supporters of the arts,

and to the general public.

“The students, regardless of age, are inspired by the shows that have gone before them gathering strength knowing that they are performing on the same stage as world renowned artists.

“Starburst showcases our Junior School students as they perform Circus Skills, Ballet, Jazz, Acting, Musical Theatre and Instrumental and Vocal items.

The Secondary School presents two performances filled with variety featuring music, dance, musical theatre and acting and showcasing our stars of tomorrow. DANCE+ introduces our youngest students through to our seniors from our after hours school showcasing their love of dance and performance in all forms.”

“Under the Artistic Director Joshua Consandine (former Principal Artist of The Australian Ballet) Premier State Ballet will perform Coppelia, with passion and the youthful energy of our elite ballet students at the Parramatta Riverside Theatre.

“Premier State Ballet has been and continues to be the platform on which many young artists launch their careers into the world of professional ballet. Alumni of PSB include Robert Curran (former Principal with The Australian Ballet), Gina Brescianini (former Soloist with The Australian Ballet), Josef Brown (Dirty Dancing), Amanda McGuigan (ABT, NDT, The Australian Ballet), Lachlan Monaghan (Royal Birmingham Ballet) and so many more.

“If you want to be enthralled with the talent of tomorrow and support our Australian burgeoning talent, I can assure you of an energetic and passionate night at the theatre at any of The McDonald College High Performance Season evenings.”

The McDonald College.

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Choosing A Show

New Releases For Community Theatre David Spicer Productions www.davidspicer.com.au

David Spicer Productions has released its Biennial catalogue of plays and musicals.

DSP is also pleased to announce that it is now the Australian and New Zealand representative of Steele Spring Stage Rights (Los Angeles). Their works include: Lend Me a Tenor: The Musical This critically acclaimed large cast musical played in the West End in 2011, when it was described as “Smart, sophisticated, and wonderfully funny.” The riotous tale of mistaken identities and unexpected romance explodes in this brand new musical comedy based on Ken Ludwig’s Tony Award nominated play.

The Marvellous Wonderettes This smash off-Broadway hit created by Roger Bean takes you to the 1958 Springfield High School prom where we meet Betty Jean, Cindy Lou, Missy, and Suzy, four girls with hopes and dreams as big as their crinoline skirts! As we learn about their lives the girls serenade us with classic ‘50s hits including “Lollipop”, “Stupid Cupid” and “Lipstick on Your Collar”. Cast: 4W.

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Also From David Spicer Productions: Steele Springs Stage Rights www.stagerights.com

The Snow Queen and Princess K.I.M. the Musical Plus many new Australian written Theatre Restaurant comedies in the DSP catalogue.

Also new in 2017 will be Aotearoa, a New Zealand jukebox musical, and Masquerade, based on the Kit Williams book, adapted by Kate Mulvany, with music by Pip Branson & Mikelangelo.

Dominie Drama www.dominie.com.au/drama

Around the World in 80 Days

By Laura Eason. Original author Jules Verne. (from Nick Hern Books) Laura Eason’s celebrated adaptation of Jules Verne’s classic novel was seen at the New Vic Theatre, Stoke, and Manchester’s Royal Exchange before receiving its London premiere at the St. James Theatre in 2015.

Packing in more than 50 unforgettable characters.

Cast Notes: 3f 5m, doubling (very large cast possible) Crush: The Musical

By Maureen Chadwick and Kath Gotts.

Brimming with catchy tunes and witty lyrics, Crush is a hilarious pastiche of Girls’ School stories - a blend of Malory Towers and St Trinian’s - with added hockey sticks and ‘lashings of jolly good fun’ Coventry Telegraph. An outrageously fun musical set in an all-girls school in the 60s, from the team behind Bad Girls: The Musical.

Little Women From the Louisa May Alcott novel. Adapted by Gary Peterson, published by Pioneer Drama Services This adaptation of the literary classic by Louisa May Alcott is rich with strong and superb acting roles for all performers. Four sisters, each with a distinctively different personality, offer an irresistible charm as we see them grow up to experience life’s joys and disappointments. Cast: 5M, 8F. Time: 90 minutes.

Hal Leonard Australia www.halleonard.com.au

It Shoulda Been You The bride is Jewish. The groom is Catholic. Her mother is a force of nature, his mother is a tempest in a cocktail shaker. And when the bride’s ex-boyfriend crashes the party, the perfect wedding starts to unravel faster than you can whistle “Here Comes the Bride!” Plots are hatched, pacts are made, secrets are exposed - and the sister of the bride is left to turn a tangled mess into happily ever after in this musical comedy for anyone with parents.

9 To 5: The Musical, with music and lyrics by Dolly Parton and book by Patricia Resnick, is based on the 1980 hit movie Nine to Five. This highenergy show is ideal for a large, mostly female cast.

Curious George: The Golden Meatball Join Curious George, the inquisitive, lovable monkey-star of books, movies, and the awardwinning PBS television show in a brand new musical. Curious George: The Golden Meatball is a lovable adventure specifically designed for young audiences sure to leave them singing and swinging down the aisles.

Singin’ In The Rain Jr. The “Greatest Movie Musical of All Time” is faithfully and lovingly adapted by Broadway legends Betty Comden and Adolph Green, from their original awardwinning screenplay in Singin’ in the Rain JR. Three extraordinary roles for young dancers and a tour de force comedic turn.

Jekyll & Hyde is rereleased for all musical societies & schools in Australia and New Zealand.

ORiGiN Theatrical www.origintheatrical.com.au

4000 Days

By Peter Quilter After a blood clot unexpectedly formed in his brain, Michael has been in a coma for three weeks. Watching over him in hospital is his bitter mother Carol and his dull but well-meaning partner Paul. They are united in their grief over Michael, and in their intense dislike of each other. When Michael awakes, they realise that 11 years of his memory have been completely erased. He remembers nothing of the last 4000 days.

Casting: 2M, 1F. Clark Gable Slept Here

By Michael McKeever When the corpse of a male prostitute is found

(Continued on page 82)

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Choosing A Show

(Continued from page 81)

in his client’s hotel room during the Golden Globe Awards, Hilliard and hotel manager Gage Holland are left to sweep things under the rug. But when you work in the makebelieve world of movies, everyone’s acting, and nothing’s what it seems in this jet-black comedy about what it means to be a “man” in Hollywood.

Casting: 3M, 2F. What A Glorious Feeling! The Story of Singin’ in the Rain

By Jay Berkow There’s lightning in a bottle but a storm behind the scenes at the studio where Gene Kelly begins work on Singin’ in the Rain. He’s determined to keep both his longtime collaborator Stanley Donen and trusted assistant Jeanne Coyne on set, despite the fact that they’ve just divorced, and the torch Coyne carries for Kelly is the reason why.

Casting: 4M, 2F. 82 Stage Whispers September - October 2016

Maverick Musicals www.maverickmusicals.com

Mystery On The Orient Express Director’s Notes All aboard the crazy train! Actually the Orient Express! I had the pleasure of directing Mystery On The Orient Express from Maverick Musicals late last year and we had a blast. The ability to choose songs that fit in with what you want to do makes expressing your vision of the show that little more special. The team at APRA are super to deal with and were able to come back really quickly and let us know what we could and couldn’t use.

One of the challenges I find with some shows is how to make it current or different and this show was no different.

I decided to put a steampunk flavour on the whole show.

The set was a mechanical back wall which had moving cogs, vintage lights and steam pipes everywhere. It was truly a visual delight. Adding the steampunk theme to the costuming gave some older characters like Sherlock Holmes, Watson and Inspector a breath of life. We ran this show as a dinner show and it worked perfectly, with the auditorium divided into first class, second class, no class and baggage it was a riot every night.

The script is super funny and it is a high paced show and not for the faint hearted. It is written so wittily it will have you in stitches in the first read through. Our wardrobe department probably had the hardest task of creating costumes that were steampunk but still recognisable as their characters. I love the challenge of bringing to life a show that has no YouTube clips or movies attached to it. It allows me to actually step inside the story and create without limitations. Because of the diversity of characters in this show it allowed for a diverse cast of ages, sizes and abilities, which is what amateur theatre is about for me. I would highly recommend this show to other societies, especially if you have a smaller theatre and are able to do a restaurant theatre experience.

Natasha Benfell Director / President - Rotorua Musical Theatre

PERFORMING ARTS MAGAZINE SEPTEMBER/OCTOBER 2016. VOLUME 25, NUMBER 5 ABN 71 129 358 710 ISSN 1321 5965

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Musical Spice

Sometimes you can put your foot in it. This happened to me in August when I interviewed Jan Utzon, son of the legendary Sydney Opera House architect, Jørn Utzon. I told Jan that when the Opera House opened, in 1973, I was too young to attend and watched it on TV. My words to Jan were, “I bet you had good seats at the official opening.” He responded, “No, we weren’t invited!” Ouch.

Of course, how could I (momentarily) forget the Sydney story of the famous sacking of Jørn Utzon, before the project was finished. He stormed out of Sydney with his family in 1966.

The Danish architect never saw the completed building. There has even been an Opera written about it, which I have seen twice and which will be restaged outside the Opera House later this year.

Taking my foot out of my mouth, I sheepishly continued to report on the story.

84 Stage Whispers September - October 2016

Jan Utzon, himself an architect, is impressed with the latest renovation plan but yearns for something even more special. 200 million dollars plus is being is being spent this time, in the biggest upgrade since the Opera House opened.

Most of the cash is being spent on the Concert Hall, which is being used for an increasing variety of events apart from classical music. The famous, odd looking, suspended acoustic donuts above the concert stage will be removed. New surround sound audio will be installed, together with a flexible rising stage and much better lighting than was available 40 years ago.

Access for the disabled will also be improved significantly. Pictured here is Jan Utzon, speaking with disability

campaigner and actor Emily Dash at the spot where a tunnel will be built leading to a new lift.

The Sydney Opera House is famous for being extraordinary on the outside but disappointing inside.

The London Review of Books described the interiors as “a mess of tacky ideas reminiscent of a bingo hall in, say, Middlesbrough.”

A few years back the former State Government considered a grander plan to “fix” the Opera Theatre, now named after Dame Joan Sutherland. The problems it has are a relatively small pit (for 70) musicians and limited wing space, which makes grand opera impossible. The plan involved lowering the stage by 18 metres by digging down into the building, and adding more seating.

The interior design was going to be as dramatic as the Opera House’s exterior white shells. Bands of red and gold were planned across a new ceiling, on walls and above the stage, as envisioned by Utzon.

The problem was the prohibitive cost ($700 million), not to mention the three year building time.

Instead, the Opera House is closing the Joan Sutherland Theatre for part of next year just for essential maintenance, for a lazy 45 million dollars.

I asked Opera House CEO Louise Herron what was happening with the big renovation plans? She replied, “they are on ice”. Sounds like it needs a billionaire to put his or her hand up to make it happen, as no Government could ever justify it.

David Spicer